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The Cranberries

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• 746 past concerts

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Getting to see The Cranberries in 2012 at the 9:30 Club in Washington, D.C. was simply one of the best rock concerts I've ever been to, especially considering I wasn't very familiar with The Cranberries before that evening.

Sure I knew "Zombie" and "Linger", their two big radio hits during the mid-1990's. But what I didn't know is The Cranberries have been releasing music on and off since then, including their 2012 album, Roses (which is what they were touring at the time).

Dolores O'Riordan is truly a vocal master, seeing her perform live, I was blown away at how completely identical she sounded to the songs on the album. In the age of auto-tuning, Dolores and The Cranberries brought such an authentic, almost past world sound to the concert that night, it was hard not to be swept up in their total Irish whimsical charm.

Their style is a bit more melodic than the angsty 90's rock vibe I remember being drawn to, like so many other listeners of alternative rock. Instead of moshing and crowd surfing, the audience was mostly relaxed, happy, and just starstruck by The Cranberries beautiful, yet sometimes still dark music.

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The show was amazing! The band performed extremely well and the mood in the concert hall was buzzing. Dolores' voice remains one of the most unique voices by a band's lead singer and it was an honour for me to see and listen to the band live. Definitely one of my most awesome concerts ever! :)

The Cranberries show was amazing!

all the classics in a great show! definitely worth it!

But the opening show, cant remember the name of the duo, was terrible... sounded like playback

I thought the concert was canceled according by you guys.

Nothing to review. All United States shows were cancelled. Refund received. Waiting to see if a another tour is announced. All depends on Dolores health. Keeping an eye on this.

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The Cranberries

Concerts and tour dates of The Cranberries

About the cranberries.

The Cranberries are an Irish rock band who formed in Limerick in 1989. The band consists of lead singer Dolores O'Riordan, guitarist Noel Hogan, bassist Mike Hogan, and drummer Fergal Lawler. Although widely associated with alternative rock, the band's sound also incorporates indie pop, post-punk, Irish folk, and pop rock elements. The Cranberries rose to international fame in the 1990s with their debut album, Everybody Else Is Doing It, So Why Can't We?, which became a commercial success. The Cranberries are one of the most successful rock acts of the '90s and have sold over 40 million records worldwide. The band has achieved four top 20 albums on the Billboard 200 chart (Everybody Else Is Doing It, So Why Can't We?; No Need to Argue, To the Faithful Departed and Bury the Hatchet) and eight top 20 singles on the Modern Rock Tracks chart ("Linger", "Dreams", "Zombie", "Ode to My Family", "Ridiculous Thoughts", "Salvation", "Free to Decide", and "Promises"). In early 2009, after a six-year hiatus, the Cranberries reunited and began a North American tour, followed by shows in Latin America and Europe. The band recorded their sixth album Roses in May 2011, and released it on 27 February 2012. Something Else, an album covering earlier songs together with the Irish Chamber Orchestra, was released on 28 April 2017.

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Cranberries Tap Collective Soul For Summer Tour

After wrapping separate spring tours, the Cranberries and Collective Soul will head out on the road together for six weeks of amphitheater dates starting on August 5 in Tampa, Florida.

The Cranberries will headline the upcoming "Loud and Clear Tour," and Collective Soul will open for the Irish band on all of the dates except for the August 9 concert slated for Atlanta.

"We are really excited to return to North America this summer," offered Cranberries singer Dolores O'Riordan in a statement announcing the shows. "This tour will give us the opportunity to reach out to more of our fans in cities we were not able to perform in during the current tour."

The Cranberries also plan to make tickets for the shows available through its official website (www.cranberries.com) before they go on sale to the general public via regular ticket outlets, a method the band employed for its current tour (see [article id="1427567"] "The Cranberries Map Out U.S. Tour, Make Tickets

Available Online"[/article]).

Dates for the Cranberries/Collective Soul summer tour:

• 8/5 - Tampa, FL @ Sundome
• 8/7 - Miami Beach, FL @ Coral Sky Arena
• 8/9 - Atlanta, GA @ Chastain Park
• 8/10 - Charlotte, NC @ Blockbuster Pavilion
• 8/13 - Holmdel, NJ @ PNC Arts Center
• 8/14 - Wantagh, NY @ Jones Beach
• 8/17 - Philadelphia, PA @ E-Center
• 8/19 - Columbia, MD @ Merriweather Post Pavilion
• 8/21 - Boston, MA @ Tweeter Center
• 8/22 - Hartford, CT @ The Meadows
• 8/24 - Buffalo, NY @ Darien Lake PAC
• 8/27 - Toronto, ONT @ Molson Amphitheater
• 8/28 - Montreal, QUE @ Molson Center
• 8/30 - Detroit, MI @ Pine Knob
• 8/31 - Columbus, OH @ Polaris Amphitheater
• 9/2 - Cleveland, OH @ Blossom Music Theater
• 9/4 - Indianapolis, IN @ Deer Creek Amphitheater
• 9/5 - Chicago, IL @ The World Music Theater
• 9/7 - Minneapolis, MN @ Roy Wilkins Auditorium
• 9/9 - Milwaukee, WI @ Marcus Amphitheater
• 9/12 - Denver, CO @ Fiddler's Green
• 9/16 - Los Angeles, CA @ Universal Amphitheater
• 9/18 - San Francisco, CA @ Shoreline Amphitheater

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**************************************************** The Cranberries – Statement  (USA Shows) July 19th 2017 The outpouring of support The Cranberries have received from fans and followers during the past several months is greatly appreciated. Unfortunately Dolores O’Riordan’s recovery from her ongoing back problem which forced the cancellation of most of the band’s European tour this Summer has not been going as well as expected to such extent that her Doctors have now instructed her to cancel her upcoming almost sold out tour of North America with the band. Dolores and the band are very disappointed that it has come to this and send their sincere apologies to all fans and ticket holders, and hope to see you all again in the future when Dolores is well again. All of the band’s shows in North America from September 11th to October 6th as listed below have been cancelled. Ticket holders should seek a refund at point of purchase. Cancelled shows: 9-11-2017 - Nashville, TN - Schermerhorn Symphony Center 9-13-2017 - Atlanta, GA - The Tabernacle 9-15-2017 - New York, NY - Terminal 5 9-16-2017 - New York, NY - Terminal 5 9-18-2017 - Washington, DC - 9:30 Club 9-20-2017 - Philadelphia, PA - The Fillmore 9-21-2017 - Boston, MA - House of Blues 9-23-2017 - Montreal, QC - Place des Arts 9-24-2017 - Toronto, ON – Rebel 9-26-2017 - Detroit, MI - The Fillmore 9-28-2017 - Chicago, IL - Riviera Theatre 9-29-2017 - Council Bluffs, IA - Stir Cove at Harrah's Casino 10-1-2017 - Denver, CO - Paramount Theatre 10-4-2017 - San Francisco, CA - Masonic Auditorium 10-6-2017 - Los Angeles, CA - The Wiltern **************************************************** The Cranberries – Statement  (European Shows) June 17th 2017 Most regrettably, Dolores O’Riordan has been instructed by her doctors to not resume touring as planned to help facilitate a full recovery to an ongoing back problem that she is currently receiving treatment for. The Cranberries commented “It is with a heavy heart that we have had to pull these shows. Dolores is making good progress however we understandably don’t want to jeopardise a full recovery. We have really been thrilled to be back on the road and sharing our music with everyone, and so look forward to seeing everyone as soon as possible”. All the band’s shows from 30th May to 30th August have been cancelled. Where The Cranberries were playing a headline show, this event will now not take place and ticket holders should seek refund at point of purchase. These are marked with a (*) on the list below. The Festival Appearances that the band were due to undertake have also been cancelled, these events will go ahead without The Cranberries present. 30 May – Le Vinci, Tours FRANCE (*) 31 May – Amphitheatre de la Cite International, Lyon FRANCE (*) 2 June – Cite des Congres de Nantes, Nantes FRANCE (*) 4 June – Auditori Forum, Barcelona SPAIN (*) 5 June – Barclaycard Centre – The Ring, Madrid SPAIN (*) 7 June – Le Silo, Marseille FRANCE (*) 9 June – Palais des Congres, Salle Erasme Strasbourg FRANCE (*) 10 June – Theatre Du Leman, Geneve SWITZERLAND (*) 12 June – Teatro degli Arcimboldi, Milano ITALY (*) 16 June – Rai Theatre, Amsterdam, NETHERLANDS (*) 23 June – Anfiteatro Camerini, Piazzola sul Brenta ITALY (*) 24 June – Firenze Rocks (Arena Visarno), Florence ITALY 26 June – Auditorium Cavea, Rome ITALY (*) 27 June – Arena della Regina, Cattolica, ITALY (*) 29 July – Trollrock, Beitostølen NORWAY 3 August – Expofacic Festival, Cantanhede PORTUGAL 5 August – Starlite, Marbella SPAIN (*) 7 August – Cambrils Festival, Cambrils SPAIN 8 August - Summer Sporting Festival, Monte Carlo MONACO (*) 11 August – Fete du Bruit, Landernau FRANCE 13 August – Theatre Antique, Orange FRANCE (*) The previously cancelled UK dates in May will also not be rescheduled; ticket holders should seek refund at point of purchase. 22 May – Colston Hall, Bristol UK 24 May – Sage, Gateshead UK 25 May – Royal Concert Hall, Glasgow UK 27 May – Barbican, York UK 28 May – Bridgewater Hall, Manchester UK ****************************************************

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The Making of the Cranberries’ Haunted Farewell

By David Browne

David Browne

Every night, around the same time, they expected her to show up.

It was hard to blame them, since much of what the Cranberries were doing last April and into May evoked old times. Once again, the members of the Irish alt-pop band were gathered in a studio with their longtime producer, Stephen Street. The core trio — guitarist Noel Hogan, his bass-playing brother Mike and drummer Fergal Lawler — worked on arrangements while listening on headphones to unfinished vocals by their lead singer, Dolores O’Riordan. Mike Hogan was even playing one of the same basses he had used throughout the Cranberries’ career.

O’Riordan rarely showed up in studios during daylight hours; concerned about over-singing and smothering the raw emotion in her delivery, she preferred to arrive later, after the rest of the band had done their work. “Dolores would come in to do the vocals and we’d have a chat,” says Lawler. “She’d have a listen to what we’d done and then we’d head off and let her do her thing. So in the evening time, you’re almost looking out in the corridor to see if she’s coming in.”

Lawler pauses. “And then you realize, ‘Oh, yeah, she won’t be in.’”

About three months before those sessions, on January 15th, 2018, O’Riordan had been found dead in the bathtub of her London hotel room at age 46. An inquest later determined she had drowned from excessive drinking. The alcohol in her system added up to more than four times the legal limit for driving in the U.K. The British coroner called it a “tragic accident.”

Yet O’Riordan left behind songs and tapes — and with the band playing along to her now-ghostly voice, those recordings have been fashioned into a new album, In the End . Scheduled for release this April, it is being billed as the last Cranberries album. “It’s the end of the Cranberries and so on,” Hogan says. “I think it just brings it full circle. Everybody knows now that this is the final … for us, definitely … It makes it feel like a proper ending after so long spent with this thing.”

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By “this thing,” Hogan means the process of constructing a unique posthumous record. But in some ways that phrase also means more: the often uplifting but equally difficult life of one of the most treasured alt-rock stars of the ’90s.

Everyone remembers the girl in the tracksuit who showed up at an audition in Limerick, Ireland, in 1990 to sing in a local band, the Cranberry Saw Us. “It was a Sunday afternoon,” says Lawler. “She arrived with a keyboard under her arm, just set it up and played a few songs. We couldn’t really hear her because she was singing through a guitar amp or something. I gave her a lift up to the bus stop and I was saying, ‘Will we see you next week?’ We gave her a tape of the music for ‘Linger,’ which she took with her. The following week she came back, and she had lyrics written out and melodies and she sang along to what we were playing, and it was like, ‘Oh, my God. She’s great.’”

Thanks to early songs like “Linger” and “Dreams,” the renamed Cranberries rode the alt-rock wave of the early ’90s. Their music was grunge-hard but also crisp and wispy, and O’Riordan, seemingly frail but siren-voiced, captivated music fans. Although the band was greeted with a collective meh in their home country, America took to them — starting with an opening act slot on a U.S. tour with Suede — and the band’s first two albums, 1993’s Everybody Else Is Doing It, So Why Can’t We? and the next year’s No Need to Argue , sold millions. “Zombie,” from the second album, fulfilled O’Riordan’s wish to give the group a harder musical edge. In 1994, she married Dan Burton, a former Duran Duran road manager; their first of three children arrived in 1997.

Even if her band mates didn’t know it yet, O’Riordan was, as she later called herself, “a bit of a trainwreck.” She later confessed she had been sexually abused by someone in the Limerick area, starting when she was 8 and lasting for four years. The band’s success and accompanying luxuries (like a personal wardrobe assistant for O’Riordan) didn’t diminish her feelings of self-loathing, and the pressures on the singer, who was in her early twenties when international fame hit, were enormous. A bout of flu and exhaustion forced the band to cancel U.S. tour dates in 1996. “She lost an awful lot of weight from an eating disorder,” her mother, Eileen O’Riordan, says. “She was very young. I remember I brought her back home to her little small bedroom in the house once. It was too much, too soon.”

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Starting in 2003, the Cranberries took a five-year hiatus, and O’Riordan began spending more time in a small town just west of Toronto with her husband and children. “The fame thing definitely didn’t help,” says Lawler. “Her mother had wanted her to become a piano teacher or teach music. Had she gone down that path, who knows? It might have been more suited to her.”

But the quiet life didn’t stick. “She tried breaking up with the band, taking time off and being ordinary,” Eileen says, “but she went to music all the time.”

After various side projects, including two under-the-radar O’Riordan solo albums, the band reunited in 2009. O’Riordan talked openly about her issues in the years that followed. In a notorious incident in 2014, she was arrested for alleged assault after accidentally stepping on the foot of a flight attendant with her heavy boots; the attendant had asked an agitated O’Riordan to take her seat as the singer was attempting to grab something from her overhead bin. Although charges were dismissed, she made a voluntary contribution to a charity.  Gaunt and sometimes skeletal-looking, O’Riordan announced she had bipolar disorder. She and Burton divorced that same calamitous year. According to Lawler, “She never really drank until she was older. Until after she got married.”

To be near her children but not in Canada, O’Riordan wound up in New York, forming a new, electronic-rooted band, D.A.R.K., with Smiths bassist Andy Rourke and DJ and producer Olé Koretsky, her new romantic partner. But she seemed to rarely find peace. “She missed her kids a lot,” Lawler says. “She found it very hard to be away from them. That kind of ate away at her.”

With a new album of acoustic and orchestral remakes, Something Else , the Cranberries planned to tour Europe and the U.S. in 2017, but they had to cancel due to O’Riordan’s back problems (which Mike Hogan says were a legit herniated disc, not an excuse for substance abuse). “We always knew there was some kind of mental issues there, you know,” says the bassist. “It was something we had to work around in a certain way, especially when we’re doing gigs and things like that, and not put too much pressure on her. It seemed to work out pretty well, apart from the back issue. That was a different story.”

With no roadwork on their schedules, O’Riordan and Noel Hogan — her regular songwriting collaborator in the band — found themselves with free time starting in June 2017. Adding to the chaos in her life, the two had had a few fallings-out, culminating in O’Riordan filing an undisclosed and later retracted High Court action against him in 2013. (Neither would discuss it.) She had once told Hogan she couldn’t write when she was in good place, so the fact that she wanted to jump on new material was telling. “She said, ‘Oh, we’ve got to start writing songs, because I have so much to say right now,’” he says. “She found it a lot easier to write lyrics when there was turmoil in her life.”

On and off over the next six months, the two wrote new songs, usually by email. Hogan would shoot her a melody, and she would add a rough vocal and send it back. She told Hogan that she also had songs she’d written and recorded in bare-bones form in the States, which she would be willing to contribute to the Cranberries as well.

As Christmas 2017 approached, the band mapped out its future. According to Noel Hogan, they were to start rehearsing early in 2018 for a tour of China that spring, after which they would begin recording what would be the first all-original Cranberries studio album since 2012’s Roses . “That was the plan,” Hogan says, “even up to the last couple of conversations I had with her that week. It was like, ‘We’ll get moving on this stuff in the next couple of weeks.’ Everything was normal.”  

First, however, O’Riordan had to visit London; a new D.A.R.K. album was in the works there, and she had been asked to sing on a remake of “Zombie” by the L.A. hard-rock band Bad Wolves. On her way from New York to London, she stopped in Limerick, and Eileen O’Riordan noticed her daughter was struggling. “She was a bit down on herself,” she says. “She wasn’t really herself. She wasn’t happy. But she was very happy that this would be something positive, to get her album done.”

On Friday, January 12th, two days before she was scheduled to fly to London, O’Riordan spoke with Noel Hogan, who still sensed their plans were in motion. She was so eager to work, he says, that she emailed him from Shannon Airport on Sunday, January 14th, to make sure he’d received an earlier message about a new song. “Check this out and I’ll call you tomorrow,” she wrote. After arriving in London later that day, she checked into the Park Lane Hilton hotel.

That day, exchanges with family, friends and work associates were equally reassuring and vexing. She emailed Lawler, asking if they should consider a song called “So Good” for the new album. Lawler had to remind her that they had already cut it and included it on Roses . “She said, ‘All right — pity, it’s a good song,’” he recalls. “She didn’t realize we had already recorded it.” Just after midnight, she left two voicemails for Dan Waite, a label executive (and former business associate of the band) who had set up the collaboration with Bad Wolves. In the messages, she talked sweetly about her children and sang a snippet of the Verve’s “Bitter Sweet Symphony” (produced by Youth, who was overseeing the D.A.R.K. album).  Waite says she was in “good spirits and making jokes.”

Eileen O’Riordan says her daughter had earlier gone into rehab and hadn’t had wine in three years. After, she’d called her mother and said, proudly, “Mum, I filled up a glass of wine and threw it down the sink.”

But in her hotel room that Sunday night, with a mini-bar apparently within reach, O’Riordan found herself drawn to old temptations. About two in the morning, she called her mother. “She was up, talking about all she was going to do,” Eileen says. “She was full of life.”

Still, from the sound of her daughter’s voice, Eileen also sensed something wasn’t right. “I knew she was drinking,” she says. “She said to me, ‘Well, it only relaxes me and makes me happy.’ I can’t remember what I said to her. I tried to talk her out of it and I thought she would [stop].”

Instead, O’Riordan’s lifeless body, wearing pajamas, was found in her bathroom, her head and nose submerged, about seven hours later. Five empty miniature bottles and an empty bottle of champagne were found nearby. Eight days later, she was buried in Limerick, following an open-casket viewing attended by thousands of fans. Her music was played throughout the church service. When the Cranberries’ “When You’re Gone” was played at the end, those in the church broke out into applause.

When word of her death began making its way to her fellow Cranberries the morning her body was found, the musicians first had trouble processing it. “That’s the weirdness of it all,” says Noel Hogan. “ That Dolores, and the Dolores of the year before, were like two different people. It had felt like this fog had kind of lifted and gone, that she was coming out of a darker time in her life. She walked away from it, and then suddenly this happens.”

Lawler agrees with that assessment. “She seemed pretty good, you know?” the drummer says. “It was up and down, to be honest. Some days she’d be better than others and be struggling. And other days she’d be great and strong. But I definitely didn’t expect anything like this. She was working on her mental health and getting herself better. But this … I think this was just an accident, you know? A pity. Because 46… Jesus , you know?”

A few weeks after O’Riordan’s death, Noel Hogan filled in his brother and Lawler on the unfinished songs he and O’Riordan had left behind, stressing they were all from a specific period and were meant for what he calls “a proper album.” Even in their incomplete form, the songs reminded Lawler of the songs from their first two albums, and the decision was made to flesh them out. First, though, the band ran the idea by O’Riordan’s family — including her brother P.J., who manages the Cranberries. The family approved, as did fans by way of a Facebook post from the band announcing their intentions. “I know people can get a bit funny about this kind of thing — ‘Oh, you shouldn’t be doing this,’” Noel Hogan says. “But it was the complete opposite. It was met with this really positive outpouring.”

Given that they’d be working with unfinished songs, Lawler admits that some on the business side expressed concerns about the quality of the project. “Even some of the record company were worried that it might be a bit patchy, but we reassured them the whole time that we were not going to disrespect Dolores and just throw something out there,” he says. “It had to be either a top-quality album, or an EP if we didn’t have enough songs.”

To facilitate the process, the band turned to Street, convening at his favorite London studio last spring. “It was emotional seeing each other for the first time since Dolores’ passing, but it was also, ‘All right, we can do this,’” Street recalls. “You just have to try to hold it together. It had to be good, since you don’t want to mess with the legacy of what was done in the past.”

Still, the process was daunting. It wasn’t simply that they had to strip away the instruments on the tapes — whether it was Noel Hogan’s guitar and drum machine or the accompaniment on the tapes O’Riordan had made in New York. As they gathered in the studio with her voice in their ears, they were playing together for the first time in over a year while trying to fashion Cranberries-style melodic flourishes for songs only Noel Hogan had heard before. “It was a bit strange hearing her through the headphones,” says Mike Hogan. “Sometimes there might be a break in the song and you could hear her voice, talking. You’re kind of expecting her to walk in.”

Another issue was O’Riordan’s vocals, which weren’t always finished and required a degree of editing. “Dolores had the first chorus and middle eight, things like that, so we chopped and changed a few things as well,” says Mike Hogan. To bolster O’Riordan’s demo-tape voice, and even fill out an incomplete word here or there, the band turned to Johanna Cranitch, who sang backup on Cranberries tours. “There were things, especially in a couple of the choruses, where you could almost hear what Dolores would’ve done,” says Noel Hogan. “We brought Johanna in for them because we felt she had worked with us for so long on tour that she, of all people, would know best what kind of direction Dolores would’ve gone in. It was easy to explain to her, ‘Look, we need you to just do a little bit of oohs and ahs here and there and mimic her words.’”

The band powered through and, in about a month, they had completed all the backing tracks. “We just couldn’t believe it,” says Lawler. “We were kind of looking at each other going, ‘Geez, we’ve six songs done already’ or, ‘Oh, we’ve 10 done now.’ The days were flying by. I don’t know, maybe it was a good distraction for us. We were still feeling hugely emotional. It was better that we did it then, rather than waiting till a year had passed. We wouldn’t have been as fresh and as, I don’t know, emotionally charged.”

Since there were no lyric sheets and the songs were numbered, not titled, Street took to writing down the lyrics as he heard them. He was struck by their intensity. “A Place I Know” appears to be addressed to her children (“I’m sorry I left you/I’m sorry, I love you”) while “All Over Now” details a fight between a woman and her partner (“She told the man that she fell on the ground/She was afraid that the truth would be found”); chillingly, it also mentions “a hotel in London.” Other songs hinted at wanting to escape her inner pain: “Trudging through the darkness/Escaping from yourself/Only shoot to kill your pain,” she sang in “Catch Me When It’s Over.” As Lawler says, “Some of them…  I kind of want to say she could see into the future. There were some quite poignant ones there, even more so now that she’s passed.”

For all their productivity, reality would hit them later, as when Noel Hogan would return to his hotel room after a day’s work. “I found that the most difficult time through the whole thing,” he says. “You’re sitting down listening to what you did that day, and you’re not as focused, maybe, as you were when you were in the studio. The realization of it all comes to you more. Then you got up the next day and shook yourself off again, and you went back in and got kind of stuck into it again.”  

All along, Street knew there was at least song he wanted the Cranberries to refrain from tackling until the album was nearly wrapped up. “In the End,” one of the songs that required a degree of editing and tweaking, has spare but affecting lyrics: “Ain’t it strange?/When everything you wanted/Was nothing much you wanted, in the end?” O’Riordan sang. As Street recalls, “I didn’t feel it was right to work on it until we had achieved recording the major part of the album. I wanted the band to emotionally feel as if it was a conclusion.”

Given the lyrics, the band agreed to hold off on recording it until near the end of their work. “It’s a very emotional song,” says Noel Hogan. “You want all this when you start out, you want everything, but then you get it and it’s not really what you think it is. At some point in our careers, we’ve all felt that way.”

On the final day of recording, Lawler remembers the band listening to another especially moving song, “Lost,” and breaking down. “When we were listening back to that the last day,” he says, “I just couldn’t help myself. I lost it.” Adding to the intensity of the moment, the three musicians, who’d been playing together since they were teenagers, also realized they might have just played together for the last time.

“Nobody said anything,” Noel Hogan says, “but I know we all had to be thinking the same thing, because nobody wants to be the one bringing things down even more than they have been. It’s hard enough as it is without also trying to do, ‘Hey boys, by the way, do you realize that this is the last time we’re going to be playing together in a studio as the Cranberries?’” They went out for a bite to eat, told some stories, before two of them flew back to Ireland.

Living up to the band’s goals, In the End feels like a fully realized album, not a collection of incomplete sketches. The songs recreate both the metallic pulse of “Zombie” and the brisk, wide-screen ambience of “Linger,” but with a resigned, adult O’Riordan at their center. According to the band, it will be the last anyone will hear of them. There are currently no plans for the surviving members to tour with another singer or even play a tribute concert. The word “hologram” has come up but been dismissed. “People have said it to me,” Noel Hogan says. “People have said a lot of dumb things to me the last year, you know? It’s come up as well, ‘Well, find another singer.’ I don’t think people who say that fully get it. Maybe they think they’re being nice or something. It’s not something we’re ever going to entertain. I think the band accomplished a lot, and I think we’ll leave it on a high with this album.”

As of a few weeks ago, Eileen O’Riordan had not yet spent time with In the End . She has had a copy for several weeks, but it’s still too difficult to listen. “I’m delighted with it, that it’s finished,” she says. “I thought I’d listen to it, but I don’t feel ready yet to listen to anything. No use in getting yourself upset. I think she’s in heaven now. I think she’s at peace.”

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‘Dolores was such a great interviewee. It is a fantastic way of remembering her, and of celebrating the music that was her life’s work.’

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Irish publisher Hot Press Books has announced it will be releasing the first authorized book about The Cranberries titled, Why Can’t We? – The Story Of The Cranberries .

Fully supported by The Cranberries and by the estate of Dolores O’Riordan, Why Can’t We? documents the extraordinary rise of the band through their seminal hits such as “Linger” “Dreams,” and their global smash, “ Zombie .”

The forthcoming book, including a limited edition format signed by band members Noel Hogan, Mike Hogan, and Fergal Lawler, and on behalf of Dolores O’Riordan, by her mother Eileen, goes on pre-sale today.

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Curated by Stuart Clark, Why Can’t We? will be published by Hot Press Books in two formats, the Deluxe Platinum Limited Edition; and the Special Gold Edition.

The book chronicles the band’s remarkable success and Dolores’ solo adventures and side projects involving Noel until her tragic passing on January 15th, 2018 in London.

“We covered every step of The Cranberries’ – and Dolores’ – journey in Hot Press,” editor Niall Stokes said. “The magazine has always enjoyed a very close, personal working relationship with The Cranberries crew. It is fantastic that this will now be immortalized in Why Can’t We? , with the full support of the band and of Dolores’ estate.”

First published in 1977, Hot Press has been at the heart of the growth and development of music in Ireland. Hot Press continues to fly the flag for Irish music across all genres via its monthly print edition.

Following the book’s announcement, Noel Hogan of The Cranberries said: “Stuart Clark wrote the first press release that we ever did, as The Cranberry Saw Us, so it will be great to see his name on what promises to be an absolutely brilliant, blow-by-blow account of the incredible adventure we embarked on, all those years ago. We’ve always had a fantastic relationship with Hot Press, so I think fans are going to really relish re-living all of the highs, as well as the sadness and the pain, as told through the pages of the magazine.”

Fergal Lawler adds: “I think fans are going to love ‘Why Can’t We?’ Stuart Clark and Hot Press were there from the very start with the band, and Dolores was such a great interviewee. It is a fantastic way of remembering her, and of celebrating the music that was her life’s work.”

Why Can’t We? – The Story Of The Cranberries is available for pre-order .

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Russia arrests another suspect in the concert hall attack that killed 144

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A Moscow court has detained another suspect as an accomplice in the attack by gunmen on a suburban Moscow concert hall that killed 144 people in March, the Moscow City Courts Telegram channel said Saturday.

Dzhumokhon Kurbonov, a citizen of Tajikistan, is accused of providing the attackers with means of communication and financing. The judge at Moscow’s Basmanny District Court ruled that Kurbonov would be kept in custody until May 22 pending investigation and trial.

Russian state news agency RIA Novosti said Kurbonov was reportedly detained on April 11 for 15 days on the administrative charge of petty hooliganism. Independent Russian media outlet Mediazona noted that this is a common practice used by Russian security forces to hold a person in custody while a criminal case is prepared against them.

Twelve defendants have been arrested in the case, including four who allegedly carried out the attack at the Crocus City Hall concert venue, according to RIA Novosti.

Those four appeared in the same Moscow court at the end of March on terrorism charges and showed signs of severe beatings. One appeared to be barely conscious during the hearing. The court ordered that the men, all of whom were identified in the media as citizens of Tajikistan, also be held in custody until May 22.

A faction of the Islamic State group has claimed responsibility for the massacre in which gunmen shot people who were waiting for a show by a popular rock band and then set the building on fire. But Russian officials including President Vladimir Putin have persistently claimed, without presenting evidence, that Ukraine and the West had a role in the attack.

Ukraine denies involvement and its officials claim that Moscow is pushing the allegation as a pretext to intensify its fighting in Ukraine .

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