wombats tour 2023

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The Wombats

Red rum club.

• Date Sep 27 , 2023
• Event Starts 7:30 PM
• Doors Open 6:30 PM
• On Sale On Sale Now
• Ages All Ages

The Wombats - NORTH AMERICA 2023 TOUR

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Tuesday 26 September 2023

The Wombats

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701 North 1st Avenue 55403 Minneapolis, MN, US (612) 338-8388 www.first-avenue.com/

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Doors open: 19:00

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The Current presents

The wombats, with red rum club, show starts, day of show.

Note: There is a 6 ticket limit, and 4 ticket presale limit.

Even after eighteen intense years of bouncing, bellowing, and soul-baring your way to the top, some successes strike when you’re not looking. While The Wombats were hard at work remotely...

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Red rum club.

Red Rum Club are a brass-infused indie sextet from Liverpool, UK. Through extensive touring and regular releases, they have built a huge following – a measure of this is that...

First Avenue is more than just four walls, a soundboard, and a stage; it is the epicenter of live music and entertainment in Minneapolis. Having celebrated its 50th Anniversary in…

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The Wombats Concert Setlists & Tour Dates

• The Wombats ( UK indie rock band )
• The Wombats ( Garage rock revival band from Ohio, US )
• The Wombats ( US Power pop band )

North America Tour 2023 Tour

The wombats, upcoming shows.

• Date and Venue Doors Scheduled
• Aug 24 2024 Reading Festival 2024 Reading, England  –  Find tickets Add time Tickets Add time Add times
• Aug 25 2024 Leeds Festival 2024 Leeds, England  –  Find tickets Add time Tickets Add time Add times

The Wombats at Grapevine Gathering 2023

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• Moving to New York
• Lemon to a Knife Fight
• Ready for the High
• Pink Lemonade
• Tokyo (Vampires & Wolves)
• Kill the Director
• If You Ever Leave, I'm Coming With You
• Greek Tragedy
• Let's Dance to Joy Division

The Wombats at Grapevine Gathering Victoria 2023

The wombats at brooklyn steel, brooklyn, ny, usa.

• Cheetah Tongue
• People Don't Change People, Time Does
• Jump Into the Fog
• Is This What It Feels Like to Feel Like This?
• I Don't Know Why I Like You but I Do
• This Car Drives All by Itself

The Wombats at Union Transfer, Philadelphia, PA, USA

The wombats at all things go music festival 2023, the wombats at big night live, boston, ma, usa, the wombats at vic theatre, chicago, il, usa.

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Most played songs

• Let's Dance to Joy Division ( 576 )
• Moving to New York ( 559 )
• Tokyo (Vampires & Wolves) ( 500 )
• Techno Fan ( 491 )
• Jump Into the Fog ( 474 )

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Dandelion Revenge Felix Pate Tom Felton The Fraudsters Good Question Lost Frequencies Love Fame Tragedy Vinny Mauro mtn air The Rise Sea Girls The Seamonsters The Shermans Small Words Vistas The Walking Method Willis Yo La Tengo

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4,789 people have seen The Wombats live.

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The Wombats – Sounds Of The City

Event details discription, fri 14 jul, 6pm, millennium square venue name, tickets & times.

The Wombats will perform on Millennium Square on Friday 14 July 2023 as part of Sounds of the City 2023 with special guests Circa Waves and The Royston Club.

Over 15 years into their career, The Wombats are pulling in bigger audiences than ever before. The viral success of Oliver Nelson’s remix of 2015 hit ‘Greek Tragedy’ has enraptured a whole new generation of fans, a feat they’ve managed to continually repeat since their 2007 debut A Guide To Love, Loss & Desperation. The band met and formed in Liverpool, UK in the early 2000’s, and have moved onto have international success over the course of five studio albums, topping the UK album chart with 2022’s Fix Yourself, Not The World and reaching over 1 billion streams worldwide with their acclaimed discography. 2022 has seen the band play their biggest headline shows to date across the US, UK, Europe and Australia, including a headline show at The O2 in London .

Please note this is a standing outdoor event.

A limited number of pre-bookable tickets for the Raised Accessible Viewing Platform are available to purchase in advance for disabled customers plus 1 companion. Customers will be required to sign up to the Council’s Essential Companion Scheme to access these tickets. For further details please contact  [email protected] or call 0113 376 0318 (Mon-Sat, 10-4pm).

Standard: £40.15 (price includes booking fee)

Dates, Times & Book

Separator millennium square, join our friends to save money and enjoy priority booking on selected shows, become a friend of leeds ticket hub, people who booked the wombats – sounds of the city also booked....

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Events office:, 0113 378 6988, [email protected], leeds ticket hub:, 0113 376 0318, [email protected].

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333 S. Boylston St., Los Angeles, CA

The Bellwether

La's premier independent music venue located just west of downtown..

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The Wombats

Red rum club.

This event is all ages.

$40.00 – General Admission

*plus applicable service fees

For an additional $85.00, you can opt in to upgrade your experience to include access to the exclusive Looking Glass Lounge before, during and after the show! Please note all Looking Glass Lounge upgrades are subject to availability.

All doors & show times subject to change.

Even after eighteen intense years of bouncing, bellowing and soul-baring your way to the top, some successes strike when you’re not looking. While The Wombats were hard at work remotely constructing their fifth album Fix Yourself, Not The World from LA, London and Oslo, a new generation of TikTokers were sending the band viral by making over 600,000 videos — some viewed over 100 million times — around the opening lines of the Oliver Nelson remix of their 2015 Glitterbug album track ‘Greek Tragedy’: “We’re smashing mics in karaoke bars, you’re running late with half your make-up on.”

“I think one influencer made a video of her dancing, singing the opening, and then it took off and every man and his dog were doing it,” says singer Matthew ‘Murph’ Murphy of a viral breakout that has seen the remix streamed 30 million times, the original track 120 million (sending it gold in the US) and add 2.4 million to their monthly Spotify listeners since January 2021. “Someone sent me Charlie Puth singing it like whilst having some granola. I guess people were searching ‘what is this song?’ It turned out that remix was on some Hed Kandi compilation [Dusk ‘Til Disco, 2015] and that was the only outlet for it. It’s cool that random celebrities are singing the opening lines to something I wrote a long time ago, it’s great that it’s doing well but it’s just completely random.”

The success of the ‘Greek Tragedy’ remix is further illustration, if any were needed, of The Wombats’ ability to remain relevant to new generations of fans through the timeless power of their songwriting alone. Formed at the Liverpool Institute Of Performing Arts in 2003, they were the three-headed guitar pop sensation — Murph, bassist Tord Øverland Knudsen and drummer Dan Haggis — that erupted out of Merseyside with Top Twenty hits like ‘Let’s Dance To Joy Division’ and ‘Moving To New York’ during the late-’00s indie rock explosion, stamped their mark on the era with 2007’s fervidly melodic debut album A Guide To Love, Loss & Desperation, and then transcended it. By 2011’s This Modern Glitch (a UK Number 3 hit) and 2015’s Glitterbug (Number 5) they’d easily hurdled the shift to streaming and become a playlist phenomenon thanks to tracks such as ‘Tokyo (Vampires & Wolves),’ ‘Techno Fan,’ ‘1996,’ ‘Emoticons’ and their online secret weapon ‘Greek Tragedy.’

Murph’s magnificent way with melding deeply infectious melodies with dark, wry and surreal confessions from his fractured psyche and shame-filled romantic history — combined with the band’s gradual embrace of the synthetic tones and textures of modern pop — endeared them to new waves of young streaming fans (over half are under 24) and has seen their popularity continually expand. Their sets at festivals such as Reading & Leeds would draw the biggest crowd flockings of the entire weekend, and the UK tour for 2018’s Top 3, silver-certified fourth album Beautiful People Will Ruin Your Life (home of ‘Turn,’ ‘Cheetah Tongue’ and post-row domestic confessional ‘Lemon To A Knife Fight’ and currently nudging 300 million streams) culminated in a celebratory show at Wembley Arena, complete with dancing wombats.

“Top five gig ever,” Murph remembers, “I’m very proud that we’ve stuck in like some dirty little warthogs. It hasn’t been the easiest road but we’ve always kept our focus and it’s paying off…I thought it was gonna stay in that mid-2000s indie rock phase forever and then swarms of younger people are now getting into the band and finding the older stuff.” Testament to the strength of your songwriting? “I think for me it’s a combination of hard work and that lyrically and musically we’ve always done what we like. I’ve never tried to tone it down for any commercial gain. I like weird, odd lyrics, crazy titles or strange concepts for songs. I struggle to write songs that come from more of an accessible or blander place.”

Not a band averse to internal frictions, The Wombats took a well-earned break after the Beautiful People tour wrapped up at Reading & Leeds 2019 and reconvened early in 2020, first as a group at Murph’s home studio in LA where a “bedrock” of four or five songs came together, then working and recording remotely throughout 2020 once lockdown hit, marshalled by a variety of producers including Jacknife Lee, Gabe Simon (Dua Lipa, Lana Del Rey), Paul Meaney (Twenty One Pilots, Nothing But Thieves) and regular Wombats desk-man Mark Crew. “The plan before we started was David Byrne — a decent amount of brass going on — meets LCD Soundsystem,” Murph says of the album’s intended direction. “All I had in the back of my head was to keep it real and as organic as possible and not throw the kitchen sink at it. Then we ended up throwing the kitchen sink at it. Somehow the kitchen sink just appears no matter how much I’d like it to disappear. It’s great, but we’ve absolutely lobbed everything at it again.”

With Murph in Highland Park in Los Angeles, Tord in Oslo and Dan in London, discussing each day’s plan via Zoom, then recording separately and sending individual files to the producers to mix into the finished tracks, the recording was “pure madness, to be honest. Dan and Tord can be like fire and ice and the fact that I was away and disconnected made things madder than they needed to be. I wouldn’t recommend it.”

The Wombats have the bond and experience to power through such setbacks however; Fix Yourself, Not The World turned out to be a remarkably cohesive, inventive and forward-thinking guitar pop record, and arguably their best yet. Incorporating cutting edge electronica, pop and R&B elements into the melodic energies of classic new wave, alt-rock and indietronica, it’s a record that will appeal equally to fans of Talking Heads, New Order, The Cure and Charli XCX. It also finds Murph turning a psychological corner: where Beautiful People… was full of semi-comic stories from the brink, or the midst, of meltdown, Fix Yourself, Not The World — as its title suggests — reads more like a self-help manual for the domesticated malcontent.

“The pandemic and all the social upheaval massively influenced the idea that the most powerful thing I can do as a human being is to shake my fist at myself rather than shake my fist at the outside world,” Murph explains. “There was this Jungian theory about if you change something within yourself or your actions, you immediately change something in society as a whole.”

Throughout the album, there’s a whole lot of fixing going on. The trash disco funk punk of ‘You Flip Me Upside Down’ — set in James Murphy’s Brooklyn wine bar The Four Horsemen, if not one of his catchiest fever dreams — has Murph admitting “I don’t wanna sit around and just get high” as the hedonistic life loses its lustre in the head-clearing rush of fresh love: “It’s aware that the party scene is not gonna be as fulfilling as I may have thought it was in the past,” Murph says. On ‘This Car Drives All By Itself,’ a melting pot of space pop, acid house, The Tom Tom Club, ‘Bizarre Love Triangle’ and gang chant punk, he repurposes the concept of the self-driving vehicle as a topical metaphor for coming to terms with humanity’s helplessness. “I thought that that was a great way of saying, we row but the universe steers,” he says. “We’re not in control as much we think and I want to learn to be okay with that.”

Where Beautiful People… spotlit the plate-flinging paranoias behind marital bliss, Fix Yourself… focusses more on the transformative release of romantic commitment. ‘Wildfire’ is a heat-hazy tribute to his wife, ‘If You Ever Leave, I’m Coming With You’ an electropop ode to obsessive devotion, ‘Ready For The High’ a sultry buzz rock note-to-self to accept the good times now they’re here. Portishead-esque ballad and first release ‘Method To The Madness’ pinpoints his honeymoon in Barcelona as the breakthrough moment when Murph decided to dump his demons and “fuck my sadness,” and even a song called ‘Everything I Love Is Going To Die’ is an upbeat New Order/Cure homage about trying to live to the fullest while we still can. “Icarus was my best friend,” Murph sings, “so I’m gonna make him proud in the end.”

“I’m maybe learning to start not beating myself up so much,” Murph says. “There’s only a finite amount of time that we have in these ridiculous vessels of ours and we should try to enjoy it. The whole album is kind of about not trying to control anything but just completely letting go.”

Well, not completely. Dotted with snippets of Murph discussing the everyday niggles and irritations that drive him to distraction, ‘Worry’ details the superstitions, paranoias and idiosyncrasies tormenting him daily, from needing everything to be in multiples of three to an irrational fear of mariticide. “It’s supposed to be inside the head of someone who’s losing it a bit,” he explains. And the space rock ‘Work Is Easy, Life Is Hard’ finds just as much fear and confusion in the bark of the online attack dog.

“It’s about cancel culture,” Murph says of pointed lines like “why don’t you chop my tongue out?” and “you don’t speak for me.” “The toxicity of social media. One of my friends said there’s no room for nuance in anyone’s opinions or views on the world, you’re either with us or you’re against us. I think people are sucked into a vortex of pretty bad ideologies when I feel like wouldn’t it be nice if we formed our own ideology individually and talked about them properly, rather than shoving them down people’s necks or cancelling people for not agreeing with us? Where is the conversation, because it’s not gonna progress anywhere without being able to talk to one another intelligently. Maybe the things you’re talking about are far, far, far too complex to be put in 280 characters.”

The Wombats, on the other hand, are becoming pan-generational masters at weaving the complexities of the everyday struggle to stay sane, happy and psychosis-free into forty-five minutes of exuberant future rock, as ever more young streamers are discovering in their millions. As their unstoppable ascent continues, next year they headline London’s O2 Arena. Ready for another high?

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The Wombats

Tuesday, September 26 7:00 pm

First Avenue

701 First Avenue North, Minneapolis, 55403

with Red Rum Club First Avenue, Minneapolis on Tuesday, September 26, 2023

Doors 6:00 p.m. | Show 7:00 p.m. | All Ages

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Wombats fans. Thousands of ‘em. The Reading & Leeds promoter checking his onsite heat-tracking app was stunned to discover hordes of fans descending en masse on the Festival Republic Stage set like an alien swarm, one of the biggest stage-rushes of the 2015 festival. Two months later the band stepped onstage to headline Alexandra Palace for the first time, kicking off the most euphoric pop party of the year. Somewhere between those two moments, the UK went Wombats crazy. Again. 

“Something happened in the UK at the back end of ‘Glitterbug’,” says singer Matthew ‘Murph’ Murphy, recalling the fresh wave of Wombat-mania that swept the country in the wake of their Top Five third album. “It felt like a bit of a u-turn for us and made me feel more secure being in The Wombats. Maybe there was a slight sense of establishment that came from those shows. It felt like there was a resurgence for us in the UK, which was really exciting for me.”

Not that there’d been any sign of a stumble along the way. Ever since Murph, bassist Tord Øverland Knudsen and drummer Dan Haggis – who met and formed The Wombats at the Liverpool Institute Of Performing Arts in 2003 - emerged in 2006 and swiftly became chart-quashing champions of the noughties guitar pop explosion with hits including ‘Moving To New York’, ‘Kill The Director’ and ‘Let’s Dance To Joy Division’, they’ve barely looked back. The euphoric tales of romantic misadventures in cinemas, forests, weddings and rock clubs that filled their platinum-selling 2007 debut album ‘A Guide To Love, Loss & Desperation’ garnered them a strong and dedicated fanbase in thrall to Murph’s amalgam of irrepressible hooks and downbeat tragi-comic lyricism and, with such bare-hearted emotional depth to their ditties, The Wombats resolutely refused to be a flash in the pan.

Their 2011 second album ‘This Modern Glitch’ hit Number Three in the UK on the back of “flawless” (BBC) and “triumphant” (Daily Mirror) tunes such as ‘Techno Fan’, ‘Tokyo (Vampires And Wolves)’, ‘Jump Into The Fog’ and ‘Anti-D’, Murph’s brave, confessional epic about his addiction to antidepressants. And by the time their more synth-pop third album ‘Glitterbug’ was sent Top Five in the UK by a whole new generation of Wombats fans and had gone gold in Australia, they’d proved themselves amongst the most enduring bands of the noughties indie rock generation and one of the UK’s biggest and best guitar pop sensations.

Though their Alexandra Palace headline show was “amazing… insane”, and the string of lower-key 2017 shows to celebrate the tenth anniversary of the debut album (including two sold-out shows at the Sydney Opera House and a Brixton Academy show that sold out in a day) were a “ridiculous party” involving various drunk friends and crew members dancing onstage in wombat costumes, like all the best creative minds, Murph craved refinement.

“‘Glitterbug’ was a weird one for me,” he says. “I like the songs but it felt a bit too kitchen sink-y. We were pushing the red line button a bit too much and needed to think a bit more organically – less is more, rather than recording ten different harmonies and turning them up to twelve. I didn’t want to make that kind of record again. I wanted to make an album that had more swagger, was a bit more laid back, something that wasn’t punching you in the face every time you listen to it.”

Escaping their deal with Warners, the band signed with Kobalt and set about writing their fourth album in February 2016 from three corners of the globe. Dan was in London, Tord was nursing his new family in Oslo and Murph had already relocated to LA ahead of ‘Glitterbug’ to be with his new partner, so the trio convened for fortnight-long writing sessions in Oslo, keen to produce a follow-up sharpish because “when we’re not on tour we don’t know what the hell we’re doing”. Though many songs were written by Murph in LA, their long-distance methods actually helped bring the band together. “I’ve been perpetually jet-lagged for about a year,” Murph says, “but on every level, musically and interpersonally, we’re much closer now than we were on ‘Glitterbug’ and I think you can hear that. A few songs on this album were the first time we'd ever started and finished a song all together from scratch in the studio, so it was nice we’ve now got that gun in our arsenal.”

Recorded at The Pool in Bermondsey (in April 2017) and One Eyed Jacks in Wimbledon (August to October 2017) with producers Mark Crew (Bastille, Rag’n’Bone Man) and Catherine Marks (Wolf Alice), ‘Beautiful People Will Ruin Your Life’ finds The Wombats stepping up to the frontline of alt-pop innovation alongside The xx, Perfume Genius and The 1975. From the ultramodern whooshes and AI heartbeats of ‘Cheetah Tongue’ to the Vampire Weekend-doing-‘Tomorrow Never Knows’ that is ‘Dip You In Honey’, it sounds like a 2040s indie record today, slavered in Blade Runner synths, future grooves, celestial solos and space age melodies.

Lyrically, the new material acts as something of a surrealism-tinted sequel to the autobiographical meltdowns of ‘Glitterbug’. “The last album was about me meeting someone and my life going upside down in Los Angeles, partying too hard and getting myself in trouble,” Murph explains. “This album is about me battling against that, trying to live an adult life. And failing.”

Recently married, Murph claims to love the LA lifestyle and that his anxiety and depressive issues are “at least 40 per cent better” as a result of being lifted on the wings of the City Of Angels, but on the album he characteristically pans in on the more nightmarish side of the Californian dream. “I guess that’s what I’m drawn to, the difficulties and negatives,” he admits. “I’m definitely more content out there but I still have the same bullshit going, directly related to anxiety and depressive issues. My life is all kinds of fucked up but there’s a part of me that actually enjoys it.”

So the state-of-the-art buzzpop of ‘Lemon To A Knife Fight’ is about how Murph is “constantly dominated” in his relationship, inspired by “getting my arse handed to me” on a drive along Mulholland Drive after a fraught dinner. ‘Black Flamingo’, built around a ‘Coffee & TV’-like rhythm, reflects his comfort in dysfunction in lines like “I wanna stay here in this curse”. And then there’s the Fiestian ‘Lethal Combination’, “about how me and my partner continue to fuck each other up and we’re actually terrible for each other but there’s nothing either one of us is gonna do about it. That’s her favourite song.”

There’s an intractable draw to the dark edges of a silvered life – to the loss of control at the edges of sanity. ‘White Eyes’ recalls a night in New York where Murph’s social awkwardness tipped over into “a freak out”. ‘Out Of My Head’ reads like a diary of the deranged – “That was when I’d just moved to LA and felt like everything was crazy,” Murph reveals. “It sounds like someone who could be on the brink of a nervous breakdown, which I did feel like I was at the time.”

There are moments of all-out euphoria on the record too: psychedelic Ibiza noir of ‘Turn’ is “a full-on love song” according to Murph. And perhaps the album’s finest example of The Wombats’ tongue-loosely-in-cheek dance into the darkness comes with the Strokes-like ‘I Only Wear Black’. “That’s the most me song on there,” Murph says. “It’s appreciating my moodiness. It’s maybe the closest song to ‘Let’ Dance To Joy Division’ that we’ve had, the lyrics encapsulate The Wombats perfectly.”

Encapsulating The Wombats, however, is about to get far trickier. ‘Beautiful People Will Ruin Your Life’ is a giant leap into maturity, a record that’s still instantly sing-along but demands to be taken seriously. “It’s probably my proudest moment,” Murph says. “We always figure out a way to triumph in the face of adversity. Occasionally we’ve been given a bad rap but we’ve always come through. It’s like in The Shawshank Redemption when he swims through a river of shit but comes out clean on the other side, that’s this album for me. It’s the album we always should have made.” 

If beautiful people ruin The Wombats’ lives, the resulting album will make your year. The ‘Bats take wing.