Sign up for early access: https://themaccabees-2026.com/
The presale begins at 10 am on Wednesday, 26 November GMT.
General sale starts at 10 am on Friday, 28th November GMT.
Concert in your area for Rock, Electronic, and Indie & Alt.
Find out more about Rock and Electronic.
Initially formed of Orlando Weeks (guitar/vocals), Hugo and Felix White (guitars/backing vocals), Rupert Jarvis (bass) and Robert Dylan Thomas (drums), the band released their debut single, "X-Ray," on Promise Records, which caught the attention of XFM-Radio, gaining substantial airplay. This led to The Maccabees being chosen as the support slot for an Arctic Monkeys tour. The Maccabees moved to Fierce Panda Records to release their second single, "Latchmere," which was to be a success, bolstered by the support of Radio 1 DJ Steve Lamacq. The accompanying video became popular on YouTube and also received significant airplay on MTV2.
The band then moved to major label, Fiction Records, to release their debut album, "Colour It In," which came out in May 2007. The album was a success, receiving widespread positive acclaim, charting at number 24. Their first single off the album, "First Love," entered the Top 40 in the UK. Their second, "About Your Dress," also breached the Top 40, peaking at number 33 in the UK charts. They then embarked on a US tour with Bloc Party and performed a sold-out show at the Roundhouse in London, UK.
Thomas left the band in 2008, being replaced by Sam Doyle on drums. In 2009, "Wall of Arms" was released, produced by Arcade Fire's Markus Dravs. The album built on the success of their debut, reaching number 13 in the UK Albums chart, receiving high praise from music critics, with Artrocker magazine naming it joint number one album of the year in 2009, alongside Yeah Yeah Yeah's "It's Blitz."
The band's popularity was displayed by their selection for main stage slots at Reading and Leeds Festival in the UK. After touring in support of their second album, The Maccabees spent two years writing and recording for their third offering, "Given to the Wild," released in 2012, featuring the lead single, "Pelican." The album received a Mercury Award nomination for album of the year.
For their fourth studio album, the band naturally found themselves taking a more introspective approach. Hiding themselves away in an anonymous two-storey building in Elephant & Castle, South London, and focussing on a more stripped-back band dynamic, they later sought an outside perspective in the form of much-admired producer Laurie Latham (Ian Dury & the Blockheads amongst others). The resulting LP Marks to Prove It was released on 31st July 2015 and shot straight to No. 1 in the UK album chart. Following another busy summer of festivals, the band will soon embark on an extensive US tour before returning to the UK in November.
Maximo Park was formed in 2001 by guitarist Duncan Lloyd who brought together Archis, Lukas and Tom. The band started out playing small venues, including In The City in Manchester, which showcases unsigned bands; however, in 2003 Duncan and Archis decided they wanted a frontman so that they could focus on song writing instead of vocals. They eventually recruited Paul Smith.
In March 2004 a friend of the band helped fund 300 copies of a single “Graffitti/ Going Missing” on 7’ vinyl. They followed up with another 7’ vinyl single entitled “The Coast Is Always Changing” and “The Night I Lost My Head,” and gigged around, catching the attention of Warp Records. By 2005 they recorded and released their first album, “A Certain Trigger,” which sold over 300,000 copies and was nominated for the Mercury Prize in 2005.
The following year they started to record their sophomore album entitled “Our Earthly Pleasures,” and was announced to be released on 2 April 2007. They also announced an upcoming tour with the same name as the album. Maximo Park released their third album, “Quicken The Heart” which was led off by the single “The Kids Are Sick Again,” in 2009. The band continued to put out albums and successfully tour, and in 2014 released “Too Much Information.”
From the swooned-over contemporary R&B of Destiny’s Child and R. Kelly, to the eclectically-inclined Radiohead and the emotionally-charged Nirvana, Everything Everything’s influences span years and genres. Formed of falsetto-vocalist and keyboard player Jonathan Higgs, drummer and vocalist Michael Spearman, guitarist Alex Niven, and bass player Jeremy Pritchard, the band’s name derived as a commentary on the state of today’s media culture. After a series of performances that earned the attention of the music industry representatives, Everything Everything signed to the XL Recordings offshoot Salvia and released their debut single “Suffragette Suffragette” in December 2008. The single was produced by respected producer David Kosten and followed-up by “Photoshop Handsome”, which marked the beginning of the band’s excursions into synthesisers.
Everything Everything subsequently embarked on a year of touring before releasing the single “MY, KZ, UR BF” on the London label Young & Lost Club. Released in late 2009, the single introduced the band to a much wider audience and led to a nomination for the BBC Sound of 2010 award in December 2009. Shortly after, the group signed with with Geffen Records who issued the single “Schoolin’” in June 2010. Debuting at No. 152 the single was taken from Everything Everything’s debut album “Man Alive”. Once again produced by David Kosten, the album debuted at No. 17 on the UK Album Chart, earned strong reviews from the musical press, and was shortlisted for the 2011 Mercury Prize.
Known for their unpredictable and eclectic delivery, the band’s follow-up full-length “Arc” arrived in January 2013. Noted for its simpler expression of emotion, the album debuted at No. 5 on the UK Album Chart and spawned the singles “Cough Cough”, “Kemosabe”, “Duet”, and “Don’t Try”. “Kemosabe” was later nominated for Best Contemporary Song at the 2014 Ivor Novello Awards and won the UK Single of the Year at The Music Producers Guild Awards.
Originally formed of 12 year old drummer Blaine Harrison, guitarist William Rees, and Blaine’s father Henry Harrison on bass, the group underwent a series of lineup alterations prior to their musical debut. Following the arrival of Kai Fish on bass and Tamara Pearce-Higgins on the organ, Henry Harrison became the second guitarist and the band settled on the moniker The Misery Jets. Prior to the band’s debut EP Blaine misspelled Misery Jets “Mystery Jets” on his drum skin and pleased with the result the band kept it.
Having practiced in Henry’s Eel Pie Island boat shed, the band began practicing steadily with Blaine assuming the role of lead singer. Influenced by the melodies of Hall and Oates and experimentalism of Pink Floyd, Mystery Jets released their eponymous debut EP in 2004. Produced by Bishop Dante, the group’s subsequent EP the “Eel Pie Island” was issued later in 2004, following which the band began to develop new material and tightness on a modest UK tour. Mystery Jet’s first official single “Zoo Time” was released on up-and-coming label Transgressive Records, after which the band hosted a series of illegal parties. Due to this exposure the group were subsequently signed by 697 Recordings, who issued the single “The Boy Who Ran Away”.
Mystery Jets’ debut studio album “Making Dens” was released in March 2006, extolled by many, aided by the singlex “You Can’t Fool Me Dennis”, “Diamonds in the Dark”, and “Alas Agnes”. Following the release the band hosted a tribute show to Syd Barrett, featuring artists Kid Harpoon, Kate Nash, and Dan Treacy among others, and embarked on their first worldwide tour. In May 2007, the band released the U.S. only album “Zootime”, which was almost entirely made up of songs from their debut “Making Dens”.
Ahead of their sophomore album “Twenty One”, Mystery Jets released the single “Young Love” featuring indie-darling Laura Marling. The album’s second single was the seductively groovy “Two Doors Down”, which reached No. 24 on the UK Singles Chart. “Twenty One”, produced by Erol Alkan and Nick Launay, earned widespread critically acclaim, peaking at No. 42 on the UK Albums chart. Following the release the band moved away from 679 Recording and signed with the established independent Rough Trade Records. With new label backing Mystery Jets issued their third studio album “Serotonin” in 2011 lead by the singles “Flash a Hungry Smile” and “Dreaming of Another World”. The band’s fourth LP 2012’s “Radlands”, was recorded in a home studio by the Colorado River of Texas, and was supported by extensive international touring.
The Maccabees take their name from the traditional Hebrew story, but their music is far from traditional. They take the stage with silent smiles, allowing the emotion in the crowd to build to a crest before launching into the slow opening notes of their first song. They come together slowly, playing their sounds off of each other with their backs to the crowd until one by one they turn to begin.
Orlando Weeks on vocals, sings with a smooth, soft lilt, and his eyes never waver, leaving him with a soul-staring look that matches the melancholy tone of the music. They play with no errors or flaws, a well rehearsed show, on a large outdoor stage to a sea of fans stretched out in front of them.
Despite the enormous volume of the venue, they manage to play soft, quiet and subdued music with a beautiful perfection that can only be accomplished with practice. They don't over utilize stage effects or props, allowing the stage lights to form a gentle background with occasional flares to match the music.
During a melodic breakdown in one song, Orlando takes the opportunity to dance and smile and bob in time with the crowd to the tune of the song, before breaking away to return to the gentle, quiet, and sad final verse of the opening song, which fades into dead silence and then a roar of applause.
Alt-rockers Maxïmo Park wrapped up their latest UK tour in their home base of Newcastle with the second of two shows at the O2 Academy. The band have been touring in support of their fifth studio album "Too Much Information" - a genuine candidate for ugliest album cover of the year, which is a shame because the album represents something of a return to form after 2012's disappointing "National Health" which was released in the darkest depths of the recession. The new album sees an increased reliance on beats and electronics but singer and writer Paul Smith remains a poetic, romantic lyricist and Duncan Lloyd a seriously underrated and melodic guitarist. The tour got off to something of a bad start with a couple of shows having to be rescheduled due to Smith requiring an emergency eye operation, but to his credit he soldiered on even though this meant that his stage presence wasn't quite as animated and acrobatic as normal. It also provided a rare case of a rock star wearing sunglasses on stage through necessity rather than affectation. Opening with a fine trio of songs - the catchy "Give, Get, Take" from the new album, "Our Velocity" and "Signal & Sign" - the band soon got into their rhythm, with Lukas Wooller pogoing around his keyboard while Smith in trademark trilby, shades and check-suit struck a series of camera pleasing poses and even demonstrated some sub-Peter Crouch style robotics for the crowd crushed against the barrier. Although the new material such as "Brain Cells", the terrific "Midnight On The Hill" and "Leave This Island" was greeted enthusiastically, it was the songs from the first two albums “Our Earthly Pleasures” and “A Certain Trigger” that got the adrenalin pumping quickest and the biggest crowd responses. Old favourites like "Graffiti", "Limassol", "Books From Boxes", "By The Monument" (always popular in Newcastle, where the Academy is only a few hundreds yard from said monument), "Girls Who Play Guitars" and a tremendous version of "Apply Some Pressure" received wild responses. Some of the better songs on “National Health” were also performed such as the title track and “The Undercurrents”. A few years ago I saw Maxïmo Park play to a packed crowd at Newcastle Arena - where they even flirted with lasers - and it seemed for a time that they might be lost to the bigger sheds which would have been a shame. Venues like the Academy are the perfect place for the band - Smith is a genuinely likeable frontman easily capable of whipping up a crowd of this size. The band relate to their audience well, and it would be a shame to see this relationship diluted in bigger arenas. “The Park” always a deliver a passionate performance and Saturday night’s tour finale was no exception.
I don't know how Jonathan Higgs' voice holds out. Night after night, belting out that raucous falsetto with an intensity and passion you just can't imagine is sustainable. But that's Everything Everything. I've seen them in a bunch of different London venues over the past five years, as they've grown in popularity and musical expression.
Everything Everything aren't easy to categorise – most critics label them "math rock" but there's all sorts in there: lyrical silliness and satire, driving guitars, biting synths, expansive quasi-orchestral arrangements, funky r'n'b drum grooves, and That Voice.
At a live show, Jonathan's vocals can lose something of their crispness, but often the crowd is shouting and singing along too: word-for-word (tumbling out like an unstoppable torrent).
The most memorable recent moment for me was their epic performance of "Cough Cough" at the Village Underground (which is an incredible space). Jonanthan is thumping at a drum, the crowd belting out "I'm comin' alive, I'm happenin' now" accompanied by explosions of light and thunder. The hairs on my skin were standing on end, I was hoarse from shouting, and sweaty with the crush of EE fans bouncing along.
Their most recent material suits live performances pretty well, but it's still the Everything Everything classics that send the crowd wild: "Photoshop Handsome" and "MY KZ, UR BF".
Mystery Jets, already, have had quite the eccentric career; starting out on Eel Pie Island in the mid-noughties, their debut record, Making Dens, was a strange brew of influences - it was almost as if they’d made a progressive indie rock record. That was during a time, of course, when frontman Blake Harrison could count his dad, Henry, amongst his bandmates; he no longer tours with the band, but as far as I can discern, he’s still involved in the recording process. When they followed up Making Dens with the terrific Making Dens in 2008, it marked one of the great reinventions in recent British history; suddenly, the eccentricity that had marked their previous output fell by the wayside, and in its place, we simply had a fabulous pop album. On stage, the setup’s remained much the same since Harrison Sr.’s departure, save for the loss of bass player Kai Fish a few years later; Harrison Jr., who suffers with spina bifida, plays gigs seated, but still flits between guitar and keyboards - the band also have a policy, as far as possible, to avoid venues that don’t offer suitable access for disabled fans. Guitarist William Rees takes on lead vocal duties on his fair share of songs, too, including Laura Marling collaboration ‘Young Love’, which they performed with her at London’s Royal Festival Hall back in 2012, the same year they dropped their most recent full-length, Radlands; expect them back before long with new material and dates.