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Cate Le Bon  

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Cate Le Bon, Portland House, Cardiff 29-8-19

I thought Cate and the band were very good tonight, there was a big turn out for the gig at Portland House in butetown. The first few songs were again so strong and she has a really good back catalogue of songs to go to, ok it became a little quiet at times but overall its another high quality performance from Cate and I know she can feel this with the response from the audience. It really is a 'love in' in all senses.I wasn't too sure of the lights but perhaps that's something of the organisers Clwb ifor bach's responsibility. There were no negatives for me though and I'd recommend seeing her live if you havn't yet, Cate is excellent entertainment.

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amazing. and that band ...

i feel like these are my favorite concerts, where there is not only a great artist with their band, but actually just A band. like everyone was so good and present, it was a really beautiful experience. really amazing live music by great musicians.

i actually hesistated a bit with buying a ticket.

wouldn't hesitate again, if i read that CATE LE BON is playing in my city.

Well, that was extraordinary. I really wanted to see how the band translated the album to a live scenario, being Mercury prize runners and all. Jeezy Peeps... Amazing musicians who share, swap, harmonize instruments all delivered with a stiletto sharp synchronisation. I found myself hypnotically drawn in, wondering who and what was making the strange, unusual sound that make the aural spectrum. Mesmerising

Amazing wailing guitar jams, cool theatrical make up and absolutely transformative songs - perfect.

The gig venue was perfect, really intimate which suited their songs, dark, a bit odd and totally magical!

Just Awesome as always ..Cate and her band deliver their awesomeness in buckets and Rough trade .. what a venue.. I even stayed back and did the superfan bit and got my cd signed by the good lady herself

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Cate Le Bon tour dates and tickets 2024-2025 near you

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Cate Le Bon is not due to play near your location currently - but they are scheduled to play 1 concert across 1 country in 2024-2025. View all concerts.

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Cate Le Bon Announces Fall 2022 U.S. Tour Dates Featuring Parquet Courts’ A. Savage

Skyy Rincon

[READ FULL BIO]

‘The Grief Is in the Saxophones’: Cate Le Bon Reveals New Album ‘Pompeii’

By Angie Martoccio

Angie Martoccio

Cate Le Bon gazes into television screens across eerie synths in the video for “Running Away,” her first new music since 2019’s Reward.

“I’m not cold by nature,” Le Bon sings, accompanied by saxophonist Euan Hinshelwood. “But this could bring me to my knees.” The track is the lead single off the Welsh singer-songwriter’s new album Pompeii , out February 4th, 2022 via Mexican Summer.

“ Pompeii was written and recorded in a quagmire of unease,” Le Bon said in a statement. “Solo. In a time warp. In a house I had a life in 15 years ago. I grappled with existence, resignation, and faith. I felt culpable for the mess but it smacked hard of the collective guilt imposed by religion and original sin.”

“The subtitle is: You will be forever connected to everything,” she added. “Which, depending on the time of day, is as comforting as it is terrifying. The sense of finality has always been here. It seems strangely hopeful. Someone is playing with the focus lens. The world is on fire but the bins must go out on a Tuesday night. Political dissonance meets beauty regimes. I put a groove behind it for something to hold on to. The grief is in the saxophones.”

Le Bon will tour in support of Pompeii , kicking off in Woodstock, New York, on February 6th. She’ll hit major cities — from Chicago to Los Angeles — before heading to Europe in the spring. You can preorder the record here.

Pompeii Tracklist

1. Dirt on the Bed 2. Moderation 3. French Boys 4. Pompeii 5. Harbour 6. Running Away 7. Cry Me Old Trouble 8. Remembering Me 9. Wheel

Cate Le Bon North American Tour Dates

2/6 – Woodstock, NY @ Colony 2/8 – New York, NY @ Bowery Ballroom 2/9 – New York, NY @ Bowery Ballroom 2/11 – Toronto, ON @ Great Hall 2/14 – Chicago, IL @ Thalia Hall 2/16 – Portland, OR @ Wonder Ballroom 2/17 – Seattle, WA @ Crocodile 2/19 – San Francisco, CA @ Great American Music Hall 2/20 – San Luis Obispo, CA @ The Rock / SLO Brew Music Hall 2/24 – Los Angeles, CA @ Teragram Ballroom 2/26 – Pioneertown, CA @ Pappy’s

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Cate Le Bon unveils new album, announces tour for 2022

• Kevin Fullerton
• 12 October 2021

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The eccentric songwriter will play London, Manchester, Glasgow and more in support of new album

Off-beat singer-songwriter Cate Le Bon has announced a number of UK dates for her 2022 world tour. Tickets for the shows go on sale at 10am on Friday 15 October.

The tour comes as Le Bon announces her sixth studio album Pompeii , set for release on Friday 4 February through Mexican Summer records.

Le Bon says of the album, ' Pompeii was written and recorded in a quagmire of unease. Solo. In a time warp. In a house I had a life in 15 years ago. I grappled with existence, resignation and faith. I felt culpable for the mess but it smacked hard of the collective guilt imposed by religion and original sin.

'The subtitle is: You will be forever connected to everything. Which, depending on the time of day, is as comforting as it is terrifying. The sense of finality has always been here. It seems strangely hopeful. Someone is playing with the focus lens. The world is on fire but the bins must go out on a Tuesday night. Political dissonance meets beauty regimes. I put a groove behind it for something to hold on to. The grief is in the saxophones.'

The artist, whose last album Reward was nominated for the Mercury Prize, has also unveiled the lead single from the album, 'Running Away.' Listen to the single and see a detailed list of Cate Le Bon's tour dates below.

Check out Cate Le Bon's latest single 'Running Away'

Cate Le Bon's 2022 UK performance dates: Monday 14 March – Engine Rooms, Southampton Tuesday 15 March – Hackney Empire, London Wednesday 16 March – Albert Hall, Manchester Thursday 17 March – SWG3, Glasgow Friday 18 March – Empire Music Hall, Belfast Saturday 19 March 19 – National Concert Hall, Dublin Monday 21 March 21 – Arts Club, Liverpool Tuesday 22 March – Irish Centre, Leeds Wednesday 23 March – Mill, Birmingham

Tickets for Cate Le Bon go on sale at 10am on Friday 15 October.

• Cate Le Bon

Indie-folk singer-songwriter who was born in Penboyr and is now based in Cardiff.

IDLES, Cate Le Bon, Witch Fever

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Cate Le Bon Is a Slippery Tour Guide Through Time and Space

By Laura Regensdorf

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Topanga, a canyon community tucked into the Santa Monica Mountains, an hour’s drive west of downtown Los Angeles, is a place of contradiction. There is unadulterated beauty, accessible via 36 miles of hiking trails across protected land. And there is a simmering threat. Wildfires have ripped through the area periodically over the decades, with the most recent one, in 1993, claiming 18,000 acres and three lives. (Last year’s neighboring Palisades Fire was visible from certain Topanga hilltops.) The coexistence of risk and reward is a routine consideration for people who spend time there, even outside of peak fire season. The winding slip of road that makes for a slow, scenic entry is the same route out.

Cate Le Bon, the Welsh musician, is waiting on a bench outside Topanga’s Country Natural Foods on a crisp Sunday morning when I pull up. A roadside fender bender stalled my arrival by a few minutes—the glimpse of crumpled metal a reminder to play it safe in my rental Prius, a welcome-to-California upgrade that chirped with unidentifiable alerts. At the top of the steep hill behind her, Le Bon is at work producing Devendra Banhart ’s forthcoming album while gearing up to release her own sixth full-length effort—the shimmering, synth-heavy Pompeii . (It arrived in February via the label Mexican Summer, with a summer tour that is now winding through Europe and parts of the U.S.) Le Bon has suggested coffee and a hike, as if doling out medicine to a penned-in New Yorker. Across the street, a folksy Smokey Bear sign issues a report in calming green: FIRE DANGER LOW TODAY!  

Le Bon, who owns a house in Joshua Tree with her partner, Tim Presley, along with a place in Wales, initially set down roots in L.A. while recording her third album, 2013’s Mug Museum; she ended up staying more than three years. “The last six months I spent waking up really early and leaving the city, to come to Topanga to go on hikes or to go to Malibu to swim in the ocean. Those, to me, were the places where you could shed and become invisible and get lost in daydreams,” Le Bon explains at a café down the road. It took her a while to recognize the link between those escapes and her output as a musician and writer. “I thought maybe there was something wrong with my work ethic because I didn't have a repeatable process; I couldn't sit behind a desk and draft and have any kind of successful results. That meandering and allowing yourself to disappear is something that I really lean into.” 

For her last record, 2019’s acclaimed Reward, Le Bon embarked on a rather monastic retreat, studying furniture making in England’s Lake District by day and keeping company with a piano by night. Any hint of that solitude had flashed off by the time I saw Le Bon perform in Central Park that summer, with a shock of platinum blonde hair. Her stylized hand gestures and an air of coolly distant intelligence reverberated at the same frequency as a Tilda Swinton performance.  But to make something new, Le Bon needed to strip away familiar comforts: “what I think [Virginia] Woolf calls the ‘enormous eye,’ being somewhere where you are suddenly tapped into this level of creativity that's unencumbered and uninhibited,” she tells me, drawing on a Rebecca Solnit essay . The full line, from Woolf’s 1930 “Street Haunting: A London Adventure,” is worth repeating: “The shell-like covering which our souls have excreted to house themselves, to make for themselves a shape distinct from others, is broken, and there is left of all these wrinkles and roughnesses a central pearl of perceptiveness, an enormous eye.”

Le Bon, 39, is wearing an olive knit hat over her ash-brown hair, the ends peeking out in an unassuming shag. She describes her original hopes for a 2020 hibernation: maybe a studio in Chile or Norway, “a place that was really remote, where you could completely shed any preconceptions or any idea of an audience.” The pandemic upended all that. Instead, she found herself holed up at a friend’s Cardiff place—together with Presley and her co-producer, Samur Khouja —where she had lived in her mid-20s. “It was like a strange time travel,” Le Bon says of coming back to a house where she instinctively knew her way in the dark. (“Reaching without watching / the switches on the wall,” she sings on Pompeii ’s “Dirt on the Bed,” painting a scene of muscle-memory intimacy.) “You think about, ‘What else am I storing inside of me that I’m unaware of, but is not really serving me?’” she recalls. At the time the musician was making her way through Gaston Bachelard’s The Poetics of Space, which “talks about the house as a metaphor for your soul and your memories and all that stuff. I had to stop reading it because it was getting spooky.” The act of superimposing present and past tense—revisiting that earlier self, back when she was still plotting out a career ahead—was “like catching up with memories of the future from the past,” Le Bon says. She manages to speak plainly and like a riddle in the same breath. 

In those early days of lockdown, while I was listening to Reward and picking out prescient lyrics (“Sad nudes in my room” prefiguring the realities of lonely people in quarantine), Le Bon was methodically constructing the world of Pompeii —a synth-heavy dreamscape that similarly has a long tail into present life. Le Bon began to think of the ancient city, buried by Vesuvian ash, as “some playground of human fascination, someone’s final gesture captured in a way that is possibly misunderstood.” She’s referring to the plaster casts made by 19th-century archaeologists, which vividly depicted the negative space left behind by its last residents: curled into fetal position, clutching a child, head in hands. “You start projecting your own pain and your own feelings into someone’s very final private moment,” Le Bon cautions. In a way, the pandemic—with its empty storefronts and canceled plans and lives lost—has us all peering into the void. 

“Running Away,” the sixth track on Pompeii, gets off to a jaunty start, with a bass line that bounces along like rickrack trimming a hem. It’s a counterbalance to lyrics that portend a devastating loss, however much the narrator is steeled against it. “It’s my pillow and plate / to not care anymore,” Le Bon sings in the opening verse, methodical and spare. 

“Bass, to me, is such a playful instrument,” Le Bon says, explaining how it guided her songwriting this time around, acting as the record’s spine and a spiritual tonic. “In choosing the bass to lead, I was maybe trying to pull things back from being totally drenched in despair.” The instrument flirts again in “French Boys,” this time with a louche propulsion. Over top, Le Bon’s voice pings between octaves: “Some noise / About / Some noise.” The line seems at once dismissive and disarming, as if lowering the stakes for art and interpretation, all the way to nil.

The Pompeii album art nods to a painting by Le Bon’s partner, Tim Presley, which had a magnetic hold over their Cardiff household. “Often he sits and paints without a plan,” says Le Bon, “and to me that’s when he conjures things beyond explanation.”

Le Bon’s manner of control is precise without being white-knuckled, subversive rather than showboating. “I wholeheartedly believe that Cate is the greatest bass player of my generation,” Banhart tells me. He points to her talents as a multi-instrumentalist (on Pompeii she also plays guitars, synth, and piano, with Stella Mozgawa on drums, Euan Hinshelwood on saxophone, and Stephen Black on saxophone and clarinet). But just as beguiling are Le Bon’s powers of restraint. “It takes real discipline and a kind of artistic maturity to not fill in the space. Cate does that really, really well,” Banhart says. He finds the phrase economy of words to be insufficient; it’s more a distillation, as if everything superfluous has been excised with an X-acto knife. 

There’s perpetual motion too. “Over the years she has developed into something of a chameleon, not allowing herself the luxury of staying in one lane,” says fellow Welshman John Cale, who has invited Le Bon to perform with his band. “Risk is good, and she’s not afraid of it.” If each of her albums is a reinvention, this one brings in a lush, New Wave quality, courtesy of an ’80s-favorite synth, the DX7. “It’s a huge-sounding record sonically, because of its big drums and big synths, but with a beautiful, minimalist sense,” says Heba Kadry, who mastered Pompeii and Reward, as well as recent projects that Le Bon has produced (Deerhunter; John Grant ). “Cate is brilliant beyond the imagination, but also extremely giving,” she adds, describing room to maneuver within Le Bon’s finely crafted soundscapes, shaded by her “dry wit and humor and darkness.” 

It’s satisfying to sit with Le Bon’s words. The album’s title track veers from confessional (“All my language is vulgar and true”) to something out of a fantasy epic (“I’ve pushed love through the hourglass / Did you see me putting pain in a stone?”). A listener with lava on the brain, or climate change, might tease out references to extremes of temperature. There’s a porous quality to her writing, which makes room for shifting associations. In January, amid a spike in coronavirus cases, a couplet from the second-to-last track had me thinking about generational detritus: “Louder than empty rooms / Face down in heirlooms.” Later, as war in Ukraine unfolded during the early weeks of Le Bon’s Pompeii tour, the words evoked newspaper images of bombed-out homes. Life has always been fragile, but this time the ash was fresh. 

“I found the lyrical process to be really hard because I didn’t want to be decorative—because there was nothing really I felt decorative about,” Le Bon says at the cafe, looking back on that strange pandemic drift. Instead, she found herself leaning into ambiguity. “Anything like furniture design, architecture, music—it’s really about what you do with space and what you do with silence as much as it is about what you do with materials and notes.” Pompeii turned out to be a “record of dualities, whether it’s hot and cold or despair and hope or faithfulness and grief. I just don’t think it could have been any other way, under the circumstances.”

The hiking trail snakes along at a gentle incline. We pass a woman carrying her tuckered-out dog in a backpack. “Aw, he looks so happy,” Le Bon says by way of encouragement. She and Khouja, her co-producer, have lately been escaping the vertiginous hills of their temporary neighborhood to run here, where the reward is a panorama of mammoth boulders and valleys below. “Looking around, it feels really ancient—it makes you feel very insignificant,” Le Bon says, summoning Jurassic Park into the conversation. Her running habit is just starting back up, which makes it both “absolutely brutal” and like medicine in its meditative way. “I don’t listen to music. It’s the most free thinking I think I do, without being aware that I’m thinking.”

The routines of Le Bon’s life belong to all time: walks for the sake of walking, reading, some yoga in the mornings. While making Pompeii, the household would head out early in search of coffee and dinner provisions, then meander back home through the picturesque Cardiff parks. “It’s a pretty healthy way of starting the day, this idea of commuting to your own house,” Le Bon says. She and Samur would then get to work in their makeshift studio, set up in a child’s bedroom decorated with an Animals of Farthing Wood mural. It sounds to me like a sensible mix of technology—her vintage synths backed by imagery from a ’90s-era British cartoon—unlike the raft of musicians who have lately come forward about the pressure to churn out promotional content on social media. “It’s almost like an animal that you have to keep feeding, and it terrifies me,” Le Bon says. Her Instagram slipped into the third person last fall, a notably elegant gesture in our always-on age. “I made the decision before Pompeii was announced to hand over my socials to the record company.” 

Technological advancement gone awry is a theme in another inspiration for Le Bon: “The Moon,” a short but forceful 1958 essay by the architect and writer Lina Bo Bardi. “This is the year of space exploration,” Bo Bardi begins. “Man has quit the earth and wants to go to the Moon.” The late architect is critical of the drive toward splashy conquests ( Elon Musk , rocket man and wannabe Twitter overlord, comes to mind) and the short-sighted way people marvel at the fruits of such labors. “And that fruit? – the prospect of self-destruction, the yawning chasm that has opened up between scientific and technical progress and the human capacity to think,” Bo Bardi writes. 

The music video for “ Moderation ” includes a sly homage to the architect. In the opening shot, Le Bon—dressed in a rakish nun’s habit, raspberry tights, and sheer green gloves—poses in front of an amorphous cutout window, akin to those at Bo Bardi’s SESC Pompéia , a community center in São Paulo that opened in 1982. The gray sky has a Shakespearean sense of gloom, befitting a musician who has endured Welsh weather. The only other figures in the video—a headless neoclassical torso and a plaster replica of Le Bon’s face—commune with the ancients. 

Filmmaker duo Juliana and Nicola Giraffe directed the video, with costume design by their mother, Monica Adriana Rowlands. Los Angeles natives with an interest in mime and modernist furniture, the Giraffe sisters originally suggested a black-and-white concept, but Le Bon envisioned “Moderation” (and their second collaboration, the trippy, Bowie-esque video for “ Remembering Me ,” featuring Le Corbusier’s LC1 chair) in color. Nicola, who goes by Nicky, recalls a “transcendent” moment on set, as they filmed “Cate singing the whole song in the black void, at half-speed.” The intent was to create a blurred-motion effect, layering slow and fast for a poetic asynchronicity of image and sound. In the finished video, it gives her likeness a slippery quality, as if hard to contain within a single frame.

In recent years Pompeii seemed doomed to suffer yet another round of destruction—the haplessness of modern man playing out as Bo Bardi foretold. The Schola Armaturarum, where military training took place, collapsed in 2010, with climate change contributing to instability; the arch of Venus buckled four years later. An editorial in Milan’s Corriere della Sera pinned the blame on Italian mismanagement, calling the site’s disrepair “the symbol of all the sloppiness and inefficiencies of a country that has lost its good sense and has not managed to recover it.” 

This spring, though, as Le Bon brought Pompeii through the British Isles and onto the festival circuit, things started looking up for the ancient city. A new director is in place, and his team are working to situate the site within the contexts of gender and socioeconomics. A $137 million fundraising effort, organized by the European Union in the wake of the 2010 collapse, is opening the door for preservation-minded technology that can measure humidity or seismic activity. Images of restored frescoes and mosaics (including Cave Canem at the House of the Tragic Poet—a heavy dog for a backpack) spill out to Pompeii’s 303,000 Instagram followers. 

Le Bon’s “Remembering Me” touches on legacy and renewal. “In the remake of my life / I moved in straight lines,” she sings in the opening verse. “My relationship with music has been in a period of flux, I suppose,” Le Bon says as we head back to the car. That’s what led her to furniture making. “I was trying to figure out whether I was making music out of habit, or if I was making it out of heart.” She decided to step away from the machine and do something else entirely. “It’s really the idea of getting back on the horse that’s really hard to catch hold of—they end up coming to you hopefully, you know?”

For the musician, who grew up in rural Wales with a pet goat named Bluebell and an array of animals, the metaphor is rooted in experience. “Actually, I’m thinking of one particular horse,” Le Bon says. She seems comfortable at that juncture of wildness and plan, more interested in the present than what’s behind or ahead. “I’m done with sentimentality,” she says. “Something can be the most important thing and the least important thing at the same time. I just like to move on.” Right now, deep in the performance phase with Pompeii, she’s looking for an outlet to balance out the music, something more travel friendly than a furniture workshop. I point out a spiky trailside plant, wishing I were a botanist with a baked-in field guide. “Maybe that’s what I’ll do,” Le Bon muses. “Have you seen the extreme survivalist show called Alone? They pick an inhospitable terrain, like Chile or Alaska, and they take 10—it’s the real deal—trained survivalists.” She describes the setup: each person given a patch of land, living in remote isolation. “They have to become self-sufficient, and they’re allowed to take one tool,” she says. “It’s the last man standing.” 

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Cate Le Bon Announces Album and Tour, Shares New Single

'Pompeii' is arriving in February

BY Kaelen Bell Published Oct 12, 2021

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Cate Le Bon Concert Setlists & Tour Dates

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Cate Le Bon at Wilco's Sky Blue Sky 2023

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Cate Le Bon at El Rey Theatre, Los Angeles, CA, USA

Cate le bon at pitchfork music festival london 2022.

• French Boys
• Daylight Matters
• Typical Love
• Mother's Mother's Magazines
• Home to You
• Remembering Me

Cate Le Bon at Le Guess Who? 2022

• Running Away

Cate Le Bon at Le Lieu Unique, Nantes, France

Cate le bon at festival les indisciplinées 2022, cate le bon at l’orangerie du botanique, sint-joost-ten-noode / saint-josse-ten-noode, belgium, cate le bon at llais festival 2022, cate le bon at the black cat mainstage, washington, dc, usa.

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Cate Le Bon at Webster Hall, New York, NY, USA

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Most played songs

• Home to You ( 84 )
• Daylight Matters ( 82 )
• Miami ( 79 )
• Mother's Mother's Magazines ( 79 )
• The Light ( 71 )

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Big Star Bona Dish John Cale Drinks The Hamsters Richard Hell & the Voidoids Joe Jackson The Kinks The Lemonheads Galt MacDermot Paul McCartney Bill Nelson Todd Rundgren Arthur Russell Thin Lizzy Wham! White Fence

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Cate Le Bon

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“Running Away”

“Home to You”

By Philip Sherburne

“Daylight Matters”

“Rock Pool”

“Wonderful”

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Pitchfork Music Festival London 2022 Live Photos

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Pitchfork Music Festival 2022 Photos: Live Shots

The Rise of Dissociation Music

By Jayson Greene

The 39 Best Albums of 2022: Our Favorite Music of the Year So Far

Cate Le Bon Chooses Absurdity

Photography by Jessica Lehrman

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Cate Le Bon Shares Video for New Song “Typical Love”

By Matthew Ismael Ruiz

Cate Le Bon Adds Fall 2022 U.S. Tour Dates

6 Albums Out This Week You Should Listen to Now

By Quinn Moreland

Cate Le Bon Shares Video for New Song “Remembering Me”: Watch

By Madison Bloom

Cate Le Bon Shares Video for New Song “Moderation”: Watch

Cate Le Bon Announces New Album Pompeii , Shares Video for New Song: Watch

By Allison Hussey

Kurt Vile and Cate Le Bon Postpone Tour

By Matthew Strauss

Kurt Vile Announces Tour With Cate Le Bon

Cate Le Bon and Deerhunter’s Bradford Cox Announce New EP, Share Song: Listen

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Cate Le Bon Shares New Song “Home to You”: Listen

By Braudie Blais-Billie

Cate Le Bon Announces New Album Reward , Shares Song: Listen

St. Vincent Returning With a ‘Darker and Harder’ Album, ‘All Born Screaming,’ Featuring Dave Grohl and Cate Le Bon

By Chris Willman

Chris Willman

Senior Music Writer and Chief Music Critic

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St. Vincent , aka Annie Clark, will be returning in April with her follow-up to 2021’s “Daddy’s Home,” and as looks evident from the new album’s title, “All Born Screaming,” things may be a bit more hard-edged than last time. The album arrives April 26, via a new label imprint for St. Vincent, Virgin Music Group.

It’s St. Vincent’s first self-produced album, following a run of two albums with producer Jack Antonoff that included 2017’s “Masseduction.”

Popular on Variety

In an explanation of going the self-production route, Clark said in an announcement statement, “There are some places, emotionally, that you can only get to by taking the long walk into the woods alone — to find out what your heart is really saying,” Clark says. “It sounds real because it is real.” 

Clark had further described the new album in a recent interview with Mojo, before the album title or lineup were announced. “I needed to go deeper in finding my own sonic vocabulary,” she told the magazine. “I like to think of [the record] as post-plague pop, it’s a lot about heaven and hell – the metaphorical kinds. Which is appropriate, because sitting alone in a studio for that many hours I would say is a version of hell.”

She further told Mojo that the new record, which is marked by the sound of analog synths and “lots of guitar,” sounds “urgent and psychotic, in equal parts the most caustic sound and also, I think, the most sonically blooming. It’s high stakes and intentional.”

Tour dates for 2024 have not been announced, beyond a few festival appearances, including Bottlerock in Napa Valley in late May. She also revealed on Twitter that she will be doing individual gigs related to the festival in San Francisco and Napa.

The full track list:

Hell is Near Reckless Broken Man Flea Big Time Nothing Violent Times The Power’s Out Sweetest Fruit So Many Planets  All Born Screaming (featuring Cate Le Bon)

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