chvrches tour australia 2023

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CHVRCHES  

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CHVRCHES are an electronic pop group from Glasgow, Scotland, who formed in 2011 and released their debut full-length, “The Bones of What You Believe”, in September 2013.

As has increasingly become the case for electronic acts in the past few years, CHVRCHES actually managed to generate some serious buzz about their music despite never having played a live show; in fact, such was the intensity of the attention that was on them from the beginning that they felt compelled to play their first ever gigs under an alternative name - Shark Week - as they were still in the process of figuring out how to translate their specific brand of synthpop to the stage and were eager not to have some uneven early performances come to define them, especially in front of crowds that would likely be packed out with music bloggers and A&R record label employees. Not that they should have worried, though, because they’ve certainly not wanted for the opportunity to practice since; vocalist Lauren Mayberry and synth operators Iain Cook and Martin Doherty have been on the road pretty much relentlessly since early singles “Recover” and “The Mother We Share” were met with a rapturous reception in early 2013.

All three members have some degree of musical experience - Mayberry as a member of Blue Sky Thinking, Doherty as a live performer with The Twilight Sad and Cook as part of Aerogramme and The Unwinding Hours - but it all seems to have come together pretty spectacularly for them as CHVRCHES (the v was intended to make their name easier to find through search engines.) They’re looking ahead, now, to writing album number two once they wrap up their final commitments for “The Bones of What You Believe” - something they can do with their reputation as one of Britain’s most exciting young bands ensured.

Live reviews

I consider myself a Chvrches fan, so was very excited about this gig in advance. The concert was at The Bournemouth O2 Academy. The queues stretched for what seemed like miles, but they got us in quickly. A mix of age groups in attendance, but mostly younger people. Good to know synth-pop can still have a young following.

Firstly the support act, Let's Eat Grandma. I hadn't heard of them prior to the gig and from the name I thought they might be thrash metal, however I was very pleasantly surprised when three girls came onto the stage playing (dark) synth-pop. One on drums, and the other two played synths and sang. Also we were treated to glockenspiel, saxophone and recorder amongst others. After the gig I downloaded their album which is now playing in my car.

They played for about 45 minutes. The highlights for me were Whitewater, Hot Pink and Falling Into Me. Unfortunately I missed an opportunity to meet the band as I had a great place near the front and didn't want to lose the top spot watching Lauren Mayberry!

Now Chvrches entered the stage after a break. Lauren's high pitched squeak, endeared me to her even more as she introduced songs and pleased us with general chit chat.

They opened with Get Out, recent big chart hit, and infectious anthem. Straight into Bury It, which I am now used to with the Hayley Williams (Paramore) vocal, so I noticed when it was lacking. It didn't detract from the enjoyment one bit though.

Gun came next, a classic, then (in my opinion) their best song We Sink from the first album The Bones of What You Believe. So euphoric, that it has perked me up on many a bad day.

Another recent hit Graffiti came next, then Graves, a gem from the new album Love Is Dead, this could have been a single. After that I had hoped to hear Heaven/Hell, but unfortunately it was absent from the set list. Shame. They can't do them all I suppose!

Martin Doherty was up on main vocals for the next two songs. God's Plan and Under The Tide. I've always really liked his songs. Martin displayed a lot of energy and on his own was great, but get back behind that keyboard boy now, here she comes again.

Lauren came back with Miracle and then Science/Visions. As we reached the end, hand went up like we were all at a rave, in fitting with the edgy feel of this track.

Really Gone, Deliverance, Forever and Recover came next. Lauren announced the last two songs, Leave a Trace and Clearest Blue. It was so great to hear Clearest Blue live, so infectious and a defining song for everything Chvrches, a fun electro-stomper which namecheck the second album (Every Open Eye).

Of course there was an encore. Obviously they performed The Mother We Share, this was followed by the final song New Say Die. A great ending to a fantastic gig.

In general the sound was great, but occasionally the vocal dipped below and it was harder to hear Lauren. It was loud, but then I was right at the front.

The songs were pretty much in versions close to their released format, though the encore version of The Mother We Share started with some atmospheric pads before the "Oh ah oh oh ah ah" we all know and love.

I had hoped for a cover version, but actually their own songs are so great, it would have meant missing one out, so better that they didn't. I will be at the next UK tour 1000%! 9/10

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For a 3-piece from Glasgow, CHVRCHES pack an incredible punch live and they have a warmth that many other bands can only dream of. Lauren Mayberry is, on the face of it, a very unassuming front woman but, as their live show kicks in, you’re transfixed. She has an air of cool and ease about everything she does and her inbetween-songs banter is funny and lighthearted; the kind of conversation you have with your closest friends.

Irrespective of the venue size (I’ve seen them in art schools in the Netherlands through to theatres in London and at outdoor festivals too), they always make a show seem intimate and their songs take you on a journey. From the punchiness of tracks like Lies and We Sink, through to the subtlety of Tether, they hit all the markers for a great live act.

When Martin Doherty steps out from Keyboard duties to perform Under The Tide that you see a dancier side to their show – and the crowd reacts as if they’ve been transported to the best rave of their life! Their simple lighting rig (with an LED recreation of the cover to their album, The Bones of What You Believe, as a backdrop) helps to accentuate the stripped-back set-up and allows their songs to really take centre stage.

Whatever you do though, don't go with expectations of them to play a lot of the cover versions that they've performed on radio shows. It's 100% about CHVRCHES. And rightfully so. I can never bore of watching them live – and that comes from someone who has seen them 13 times (so far)!

It was after midnight at a post ACL show in Austin where CHVRCHES lit up a room full of half asleep concert goers and put on an amazing show. Seeing as most people in the venue had either attended Austin City Limits that day or were exhausted from a long week of work, it didn't seem like it would be the most lively crowd. However, when the light show started and the music began, the whole room was alive. CHVRCHES woke us up like we had all injected a few cups of coffee straight into our bloodstreams.

The overall presentation of the show was top notch. The CHVRCHES logo design lit up in the back of the stage to open up the show and changed colors to match the mood of the music. Flashing lights matched the beat of the music and painted the crowd with neon colors. The whole band was energetic and put on a great show. You could tell they love what they do and love the music they make.

In terms of the music, it sounded almost indistinguishable from their recorded album, if not better. CHVRCHES played to perfection and Lauren's voice was spot on throughout the whole show. The energy they brought through the music and their stage presence projected onto the crowd and got everybody moving. They also had some banter between themselves and the crowd to really add a personal touch to the show. This one show proved to me that CHVRCHES know how to put on a great show and make memories. If any CHVRCHES shows pop up around me I'll be sure to do everything I can to attend, and I suggest you do as well.

Come for the music, stay for the Scottish charm.

This was my third time seeing CHVRCHES and it's been great to see them mature and become more and more comfortable in their own skin. The songs are amazing and translate perfectly live. Watching Iain stroke a guitar or drum up a beat while Martin does his hypnotizing beeps and blorps would be enough for even the most casual concert-goer. Add spritely Lauren to the mix and you have a very engaging, entertaining show.

Lauren's off-the-cuff commentary and sense of humor make the shows more relaxed and approachable. We in the Midwest don't get many Scottish acts, so when we hear that charming accent it's hard not to smile and want to run up and give her a big hug.

The show itself is amazing start to finish. The light show has gotten better and better and compliments the music perfectly. Sharing singing duties between Lauren and Martin helps please all members of the audience while giving a nicely shifting dynamic to the show. Now, this being my third time seeing them in a little over a year may speak for itself. Their EP and album are amazing and their live show doesn't disappoint; it's a great compliment to this super talented, up-and-coming Scottish act.

Chvrches has been my favorite band ever since they first started. I have wanted to see them live for years but never could because I couldn't afford it or we just didn't have time. What I know of, they don't come to America often, because they live in Scotland. Well once I figured out they were coming, I traded my piggy bank money for these tickets. Let me tell you, that must've been one of the best concerts I've ever been to. Everyone in the audience was nice and cheerful and they didn't mind if you went all the way to the front. Well, as always, I cut to the front so I could be closer to my idols. I got some axmazing photos. Lauren is always super nice and funny, and her voice was OUTSTANDING. A lot of artist don't sound good live but Lauren Mayberry has an outstanding voice, ever since Boyfriend/Girlfriend and Blue Sky Archives. Ian and Martin did an amazing job with the sound, they didn't mess up once! I went to a concert one time and the band kept messing up with the guitars and drums. The lights and fog made the show look incredible! Lauren, Ian, and Martin DEFINATTLY know how to put on a good show. 100/100 for them! It's definitely a show I will NEVER forget!

Let me say first and foremost, Chvrches is the best. Best on record, best on stage. Their sound and stage presence is unequalled.

That said, how on earth do you match up Chvrches tour de force energy and massive sound and lights, with the cavernous compacted Wiltern? It was not a good match. I've seen Chvrches many times live, and they are built to play unrestricted venues. No stage or arena is too large for them. The result was the sound reverberated in all directions, too loud, too contained, with an overtly dizzying affect from the light show spectacular, but not the good kind of dizzy.

Chrvches = Wiltern.... not a good match.

Again, Chvrches is the best live show I've seen at different venues. They are truely standup for playing a benefit show for great causes. Cannot wait to see them live in 2020. My dream would be to see them play an acoustic show at a small club. But please, think about matching the sound to the surroundings.

Not my first CHVRCHES show, but the best! The entire band was in really fantastic form, and Lauren's voice was both powerful and flawless-- and her constant being sure to cover the entire stage ensures that even the people on the very edge of the crowd feel like they're in the front row. As ever, they brought a ton of energy and enthusiasm to the stage, as well as fun. Lauren, who often fills the little breaks between songs with non sequiturs, drew attention to a group of people dressed in rather strange animal costumes, and Iain suggested that they should include them in the show somehow. Martin jumped on the idea, and Lauren told them to make their way to the side of the stage. Several songs later the creatures came out dancing, at which point Lauren struggled to sing at all through laughter. She apologized to the crowd afterwards, "I just see you dancing over here and I wonder, is this how I die?" I really fantastic, fun show!

Amazing concert!! The music was pretty much perfect, not a single mistake by any of the band members! It sounded just like the studio version, except it was a concert of course, making the experience soo much better.

The band was so energetic the entire concert through and emphasized the atmosphere of every song perfectly, especially Lauren.

There was also an amazing lightshow where there were panels in the background which showed some of the album art as well as some well made animations related to the songs that were playing.

In addition, Laurens talks between the songs really made for some funny moments.

Would definitely recommend seeing them live, it's an awesome experience!

The best concert of my life. Lauren, Martin and Iain hold nothing back and were at least as excited as the sold out venue. This is one of the best bands to see live, because even if they don't have the frenzy factor that a live drummer always brings along, they are some of the most committed, professional and down to earth bands. Lauren is the perfect frontperson, perfect voice, silly and fun interaction with the crowd and ALWAYS moving up & down the stage. But oh man, when Martin sings, it's time to get fucking TURNT, SON! Martin's Under The Tide is one of the natural phenomenoms everyone has to see once in their lifetime.

10/10 would die for them

Saw them in April 2016 at Brooklyn Bowl in Vegas and enjoyed the show a great deal. The band are tight and musically adept live - Lauren Mayberry's voice is particularly strong - and their set nicely mixed new and old material. But what stood out is their charming and deeply engaging stage presence. You can see why their touring and festival appearances continue to win them fans. Mayberry turns out to be a sharp, confident, and wonderfully self-deprecating storyteller between tunes. A fun evening of well-crafted electronic pop tunes, delivered by a band you sense it would be rewarding to have a beer, chat and laugh with after the gig. Recommended.

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CHVRCHES: ‘We Weren't Sure If It Would Be Possible To Tour Australia’

“Whenever we're on a night out in Australia, it feels very Glaswegian to me in a lot of ways."

Photo Credit: Sebastian Mlynarski & Kevin J Thomas (Source: Supplied)

Glasgow favourites  CHVRCHES ,  aka vocalist Lauren Mayberry, multi-instrumentalists Iain Cook and Martin Doherty, and drummer Jonny Scott, have created some of the finest synth-pop music we've heard in the last decade. 

Their debut album, The Bones Of What We Believe , released in September 2013, debuted at #9 on the UK Albums Chart and the Top 15 on the ARIA Albums Chart. Every Open Eye followed in September 2015. The second CHVRCHES record performed better in the US, debuting at #8 on the Billboard 200 and #4 on the UK Albums Chart. Love Is Dead came next in May 2018. Their third album landed at #7 on the ARIA Chart, #7 in the UK, #11 on the Billboard 200 and #1 on both Billboard Top Alternative and Top Rock Albums Charts. 

However, Mayberry is Zoom-ing in from her Glasgow home with her cat to chat about the fourth CHVRCHES album,  Screen Violence , which came out in August last year, and the band's return to Australia for Falls Festival and Heaps Good Festival. The stunning album debuted at #6 in Australia and #4 in the UK.

When we catch up with Mayberry, she's preparing for Halloween. "I try not to be too much of a planner," she says, as the band is usually away for Halloween. "The last couple of years, it's just been me and my boyfriend. I've dressed up and sat in the house with great sadness," she laughs. "I want to do something now I'm allowed to go outside again. We were talking about maybe going to the cinema that's near us and doing something like that. I feel it would be very non- Screen Violence of me not to do anything.

"Wild horses will not keep me from Hocus Pocus Two ," Mayberry says, confirming that she thought someone was playing a cruel prank on her when the sequel movie was announced. 

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In a not-so-subtle metaphor, the singer does consider herself the titular character on Final Girl, one of the most moving tracks on Screen Violence . "Once Iain put the guitar parts in that song - he's such a great guitar player - and we had the other instrumentals, I felt I could run with the metaphor a bit more, and people would understand it," she explains. CHVRCHES didn't explore guitars too often pre- Screen Violence , but the addition certainly works in the band's favour. " Final Girl  was one of the last songs we wrote for the album. It's about a period of disillusionment and exhaustion that I think many people, especially women, feel at a certain point in their careers.

"There was a point when I was so dog-tired of doing this every day. I was trying to figure out how you make that better. You can't change any of this stuff. So how do you proceed knowing that? I like the idea that the whole album is a bit gloomy," she says. While Screen Violence  can be thematically gloomy, there are rays of brightness shining. "It's a bit melancholic at points, but there's a thread of hope. And I like the idea that it is like running for the horizon and trying to get to the end. So yes, TBD, whether I am, in fact, the Final Girl. We shall see. I hope. I try my best. I put the t-shirt on at the show every night. Like, 'Here we go, guys!' Let's cross our fingers.

"We never want anything to be too depressing or too surface level. I feel like it's always about this balance and juxtaposition between the lighter stuff and the darker stuff, lyrically and sonically," Mayberry tells. 

Lyrics are where Mayberry gets to be the most honest version of herself and perhaps where she shines brightest. On He Said, She Said , she sings, " He said 'you need to be fed' / 'But keep an eye on your waistline' and 'Look good but don't be obsessed' / Keep thinking over, over I try ", and on Good Girls , she asserts " Good girls justify, but I don't ," after struggling against the ideas of male heroes, as she eloquently puts it: " Killing your idols is a chore / And it's such a fucking bore ".

"Lyrics are where I can say things I wouldn't say to people in conversation," she begins. "When I was writing Good Girls , it was like, this is how I want to be if I didn't take any of this stuff. I shouldn't justify it, so I won't. But in real life, I'm probably justifying about 60% of the time.

"But at that moment, in that persona, you can hope and write a better version of yourself. And then, in the other half of the album, I'll write the truest, most cutting things that wouldn't say but about yourself and other people. I feel like that's some of my favourite stuff that we've done is when you can kind of turn the pain on yourself and have that self-reflection. It's free therapy, I guess."

Mayberry explains that when you're writing lyrics and don't feel comfortable being honest, people will hear it and feel it. "There are definitely times where I've done that in songs, and you can tell those songs just sound different or resonate differently than the ones where you really get to the gut of it," she says. "And that's the kind of writing I prefer because I'm a big emo bastard at the end of the day. I want the songs that are going to suck me up."

CHVRCHES had the title Screen Violence swimming around for years; at one stage, it was the front-runner for the band's name. "At first, when we started, we had the title for the album. And when we were starting to write, I thought it would be more of a full concept album, and there wouldn't be a lot of personal stuff in there," she starts before her cat wanders into the room and begins cleaning herself. "The cat has thoughts on the album. She doesn't like it. She thinks it's too loud. As time went on, it became clear to me that I was writing about personal things and using this [concept] as a backdrop to tell the stories against, and then that's when it got quite fun," Mayberry explains.

Then she wondered: how can I make sure there's consistent imagery throughout the record? "If you're looking for those little moments, you can find them, so it was fun to watch a lot of films and think about the things that you can take and interpret into your own stories," she says. Mayberry is a big fan of horror movies, referencing The Nightmare On Elm Street on Violent Delights and  The Lost Boys  in California .

"On California , I was like, I love the idea of the town where The Lost Boys is set and how everything seems really nice and lovely. And underneath, there are all these horrible things happening. And I was like, 'Well, isn't that just life, isn't it? So let's take that as a metaphor, and off we go.'"

CHVRCHES worked with one of their biggest heroes on Screen Violence , following previous collaborations - live and in-studio - with Hayley Williams from Paramore, Matt Berninger from The National, and Ben Gibbard from Death Cab For Cutie. This time, they enlisted Robert Smith from The Cure, who was unbelievably giving with his time and features on How Not To Drown.

"Oh, man, he's been so incredibly generous to us, creatively and otherwise, and he's so generous with his time and his stories," Mayberry smiles. "It's amazing to talk to somebody so far in their career who doesn't sit there all cynical. He's cynical about the right things but not about making music and art. I always worry that when you meet someone you admire, you're like, what if this goes badly?

"I can confirm that he's the real deal in all senses of the word. It was surreal to perform [ Just Like Heaven ] and our song with him. It was quite anxiety-inducing - the idea of covering that and messing up was too much pressure; there are quite a few people who love that song; it's not like it's one of the most iconic pop songs of all time!"

CHVRCHES are returning to Australia for Falls Festival in Melbourne, Byron Bay, and Fremantle (29 December 2022 - 8 January 2023) and Heaps Good Festival (6 January 2023) in Adelaide. The performances will be the first time Australian audiences have witnessed the Screen Violence  songs live.

"Playing live does give you a different relationship with the songs because you sit with them in isolation and solitude for so long," she says. Playing concerts has been reassuring for the band, "When we were making the record, I felt like CHVRCHES fans would get it; we're on the same page about what we want. It's been fantastic to play shows and see how people connect with the record. 

"Now that album has been out for a year and a little bit, it's really lovely to go to shows and people are wearing their favourite horror shirts. They've carried makeup from different tours that we've done on the record. It's nice to feel like people can express that kind of stuff. It feels like a friendly little community around the album and that it isn't just ours anymore."

There are often a lot of Final Girl t-shirts worn by fans in the front row; Mayberry loves that fans have made their own shirts. "I've seen a Final Dad one, a Final Gay one, and I was like, 'Yes, everyone is reclaiming Final Girl  for their own purposes!' That, to me, is the great thing about the horror genre. On the face of it, some things are misogynistic and do not handle gender, sexuality or race very well. 

"But other films talk about those things and dig into those things. There's so much interesting discussion around the role of women in horror and the role of queer stories. It's been fascinating to see that play out over the album to people making and finding their own space within those themes."

For a long time, CHVRCHES didn't know if they would tour  Screen Violence . They had a lot of planning time, which led to the best tour Mayberry thinks the band has ever done in terms of stage production and visuals. The band have taken a semi-concept album and transferred the ideas into a live show that feels dramatic and theatrical. Mayberry has also incorporated costume changes in the live shows, something that she loves about pop shows.

"I've thought about it for a long time. But then I was like, 'Oh, it's not something that gets done at indie rock shows,' but that's so dumb and arbitrary," she explains. "And that's because most indie rock venues and indie rock bands are straight white dudes who have no interest in costume changes. It's a little tricky in some venues. There's a lot of my poor tour manager holding a torch on our mouths trying to help me get changed and stuff!"

CHVRCHES are excited to bring their latest live show back to Australia. "For a long time, we weren't sure if it would be possible for bands to tour Australia," she says, but local fans have always embraced the band, so coming back will feel like a homecoming away from home. "There's a common sensibility in terms of outlook and a sense of humour. Whenever we're on a night out in Australia, it feels very Glaswegian to me in a lot of ways."

Festivals are different, too, a different beast to a headline show. "At the time of year and what's happening, it feels nice to be doing something that feels celebratory and joyful," Mayberry explains. "We're definitely not one of those bands that only play the new album; we've got quite a good cross-section of stuff from all the years. But the aesthetic is all very Screen Violence -y. The festivals will be good, spooky fun."

CHVRCHES will perform spooky sets at Falls Festival and Heaps Good Festival . Screen Violence is out now.

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Lauren Mayberry Announces Her ‘First-Ever Solo Music’ And Tour While Clarifying What That Means For Chvrches

Chvrches leader Lauren Mayberry explained to Mark Hoppus on Apple Music’s After School Radio in 2021 that she was a “ bad entry level journalist ” in her twenties because “if you’re in a band, […] it’s hard to review other bands the way that people, critics, want you to.”

Music journalists will soon be able to review Mayberry as a solo artist for the first time, as she announced on Thursday, July 20. The Scottish artist posted a narrated video, tour dates, and an open letter, the latter of which says:

“This year is the 10th anniversary of the first CHVRCHES album. I met Iain and Martin when I was 23 — a little baby of a person, in hindsight. Looking back on what we’ve achieved together, so much of it doesn’t feel real or even possible. Thank you to every person who has been a part of that. I am so proud of all the chapters our band has been able to have and I am so grateful to my bandmates for taking me on that journey with them. We are all confident that the CHVRCHES story has many more pages yet to be written. For now, though, I am excited / terrified / bewildered to tell you that I have been working on my first ever solo music and will be able to start sharing it soon. For a long time, I couldn’t imagine ever doing anything outside of CHVRCHES. Since I was 15 years old, I have always, only, ever been in a band. I always wanted so badly to belong somewhere — to be one of the boys, and to fit in. But as I sail / stumble through this era of my life (your 20s really do go by in a flash, kids), it has started to feel like there are things I want to write and say and do that need to be done on my own. Thank you for being kind to us and for giving me the opportunity to do this. The first headline shows are now announced and on sale at 10am local tomorrow in the US and Monday in Europe. I guess here we f*cking go?!”

View this post on Instagram A post shared by Lauren Mayberry (@laurenevemayberry)

I guess here we fucking go?! https://t.co/9EEWlPGeX0 pic.twitter.com/gcVZO9gS22 — Lauren Mayberry (@laurenevemay) July 20, 2023

In the Instagram video, Mayberry says, “The only thing I ever really wanted as a writer, as a performer, was to connect with people. Being the only girl and the only woman in so many bands I’ve been in was a very lonely experience a lot of the time. I internalized a lot of things, and it’s strange to start unraveling some of that. It’s not an ending, and it’s not a beginning, but it would be a shame to let this moment go to waste.”

As Mayberry said, tickets for her North American headlining dates will go on public sale beginning on Friday, July 21, at 10 a.m. local time. UK and European dates will become available on Monday, July 24, at 10 a.m. local time.

Check out Mayberry’s solo dates below, and find more ticketing information here .

09/04 — Washington, DC @ 9:30 Club 09/16 — Brooklyn, NY @ Music Hall of Williamsburg 09/18 — Allston, MA @ Brighton Music Hall 09/20 — Toronto, ON @ Horseshoe Tavern 09/22 — Chicago, IL @ Lincoln Hall 09/23 — Urbana, IL @ Pygmalion 09/25 — Seattle, WA @ Neumos 09/26 — Portland, OR @ Mississippi Studios 09/28 — San Francisco, CA @ August Hall 09/29 — Los Angeles, CA @ Troubadour 10/05 — Glasgow, UK @ Oran Mor 10/06 — Birmingham, UK @ O2 Institute 3 10/08 — Manchester, UK @ Gorilla 10/09 — London, UK @ Scala 10/11 — Amsterdam, NL @ Melkweg Oz 10/12 — Berlin, DE @ Lido 10/13 — Munich @ Strom 10/15 — Paris, FR @ La Maroquinerie 10/16 — Cologne, DE @ Luxor 10/17 — Prague, CZ @ Rock Cafe 10/19 — Vienna, AT @ Flex 10/21 — Zurich, CH @ Bogen F 10/22 — Milan, IT @ Magnolia 10/24 — Barcelona, ES @ La Nau 10/25 — Madrid, ES @ Sala Capernico

Chvrches On New Album ‘Screen Violence’: “It’s Easily Our Best Work As A Band”

By Cyclone Wehner

The beloved Scottish synth-pop band Chvrches have returned with their fourth album, Screen Violence – and, intriguingly, it’s a goth soundtrack for the age of ghostly music festivals.

Back in 2014, Chvrches – Lauren Mayberry, Iain Cook and Martin Doherty – covered Bauhaus’ goth classic ‘Bela Lugosi’s Dead’ for the movie Vampire Academy . Yet, in Screen Violence , they’ve developed a full horror aesthetic, albeit with glamour, wit and charm. On Screen Violence , the trio traverse the fraught interconnection between human emotion and digital technology.

Formed a decade ago, the Glaswegians self-produced 2013’s debut The Bones Of What You Believe , establishing themselves as one of the UK’s most dynamic bands with their EDM-adjacent sonics while maintaining a grassroots indie spirit. For their last album, 2018’s Love Is Dead , the usually self-contained unit approached outsiders like the two-time Grammy-winning US producer Greg Kurstin, resulting in instant and zestful alt-rock. Crucially, Love Is Dead explored weighty social and political topics.

Chvrches commenced Screen Violence in early 2020, just as COVID-19 impacted globally. Again working in-house, the group were compelled to collaborate long-distance, with Mayberry and Doherty now residing in Los Angeles, and Cook still in Glasgow. They relied on video calls and audio-sharing platforms.

Screen Violence is at once personal and allegorical. Mayberry’s lyrics expose the fractured culture of the digital age with its anonymous surveillance, abuse and trolling (in 2013, the Chvrches frontwoman penned an op-ed for The Guardian about encountering misogyny online and her ambivalence toward social media). At the same time, Chvrches acknowledge how paradoxically, in the pandemic, devices have united otherwise isolated people. Screen Violence could serve as an unfettered manifesto of communal reclamation.

On the anthemic lead single ‘He Said She Said’ – already synced for the TV show American Horror Stories – Mayberry addresses the ways in which women are scrutinised, tone-policed and gaslit. Chvrches are then accompanied by an illustrious guest vocalist in The Cure’s Robert Smith on the outstanding ‘How Not To Drown’, which Doherty has revealed chronicles his own mental health history . In keeping with the horror theme, Chvrches solicited John Carpenter to remix their current single ‘Good Girls’ – the cult film director likewise an influential composer renowned for his trailblazing use of synths (Chvrches have since tweaked Carpenter’s ‘Turning The Bones’).

Chvrches are popular on Australia’s live circuit, last touring with the 2018 /2019 Falls Festival. In July, they joined the virtual music fest Splendour XR – fittingly involving screens. The band will hit the road in November for a North American run.

At the height of COVID, Cook bunkered down with his partner, actor Morven Christie (‘Grantchester’, Agatha Christie’s ‘Ordeal By Innocence’, ‘The Bay’). But, ahead of the Screen Violence roll-out, he’s reunited with his bandmates in the US.

Music Feeds caught up with Cook in LA over Zoom to discuss Screen Violence , what surprised him about Robert Smith, and the pandemic – the multi-instrumentalist, sporting a baseball cap and long-sleeve stripey T, relaxing in an airy room with mint green walls and botanic prints. Cook is cheerful, laughing often. However, he’s also inquisitive about Australia’s lockdowns (“How are you guys coping with that?”), promising to tour when restrictions ease.

Music Feeds: I was actually wondering where you were because it’d be 2am in Glasgow. I’m guessing you’re in the US?

Iain Cook : Yes, I’m in LA just now. I’m doing some more writing with the other two, so I’m out here for another four weeks.

MF: How can you be doing more writing – you’ve just completed an excellent album?

IC : Well, you know, we’re not touring yet, so we might as well keep ourselves occupied, doing what we do best (laughs).

MF: Chvrches recently participated in the virtual Splendour In The Grass – Splendour XR. I’m sure you’ve done other virtual performances. But how was that for you? What kind of feedback did you get?

IC : We have done a few virtual performances, but none on the sort of scale of the one that we put together for Splendour. We were able to do a full set and get creative with the set design and the lighting design and stuff like that. So it was actually really, really fun to do. In fact, that’s the first time we’ve played together as a band for over a year-and-a-half, so it was quite a momentous experience – even though we were in different parts of the world when we were filming it. Yeah, I don’t know about the reception. I don’t really look online, so I have no idea what people were saying, but I hope it’s positive.

MF: You recorded this album in very unusual circumstances, too – you were largely working remotely. What challenges did that present technically and just psychologically?

IC : Well, the technical problems were reasonably easy to get over once we figured it all out. We were able to use screen-sharing software and audio-sharing software and Zoom and Dropbox – a combination of four different applications. So with Martin, for example, running the main session in Los Angeles, I could be running a session back in Scotland. While I was recording stuff, he could really quickly import it into the main session. We swapped about roles, doing that stuff. It meant that we were able to use two studios concurrently, which was really great for productivity and communication. But it’s a very different vibe to being all in the same room as your bandmates, as I’d been so lucky and used to doing over the years.

The psychological aspects of it are harder to overcome. I mean, we couldn’t really find a way to write songs from scratch remotely, because that’s so much about the energy of being together with people and firing off ideas that you can discuss and tweak in real-time.

But, because of the delays in telecommunications, it made it too awkward to even try. Luckily, we had a bunch of songs, some demos, that were around before we started writing, but also I was able to get out to LA for a few weeks before the pandemic hit. So the album sessions sort of came from all of those sources. Then what we were doing after that was just kind of arranging and producing, which was much easier to do remotely. But we got there in the end.

MF: I was interested in how you responded to the climate of the pandemic, because both you and your partner [Morven Christie] are in industries that have been profoundly affected by the shutdowns. We’ve been following how in the UK there hasn’t been a lot of government support for the entertainment industries generally. But how did that shape Screen Violence , because it’s quite a big, outgoing album in many ways – it feels like an album for festivals.

IC : Yeah, I mean, that’s certainly how we hope to eventually play those songs! We’re doing a show in a few weeks in Seattle [for the Day In Day Out festival], if everything goes according to plan. That’ll be the first proper festival show back, so we’re excited about that. But, yeah, no, it’s been a really tough time. We’ve been lucky enough that we sort of were able to navigate it with no support from the government whatsoever. But it’s been a tough time, psychologically and financially otherwise. Hopefully, the industries are starting to get back up and running again. Certainly, the film production thing is starting to tentatively go back. But you hear every other day that productions are being shut down and tours are being cancelled because one of the crew’s got bloody COVID and everybody has to isolate for a week – and then it’s very, very expensive to do that in the middle of a production. But we’re just being as careful as we can be. We’re double-vaccinated and we’re not being idiots and going out to clubs and parties all the time (laughs). Not now. [We’re] just really doing what we can do, you know.

MF: You worked with outside producers like Greg Kurstin on Love Is Dead . But this record is again autonomous. What fuelled that conscious decision to go back to your roots and work as a trio?

IC : It’s something that we’d been talking about when we were playing on the Love Is Dead album campaign; that it would be really cool to sort of go back to the original working relationship with just the three of us and see, after all the experience that we’ve had as writers and as performers, what that would actually look like in this new era of the band. It was just completely coincidental that that happened at the time of COVID, where we were on lockdown anyway and couldn’t collaborate with anybody else. But I do think that it was the right thing to do at the time. It felt like the gains that we got from going back to square one and just doing it with the three of us were enormous. I feel like it’s easily our best work as a band – certainly since the first album [ The Bones Of What You Believe ]. I’m super proud of it. But that’s not to say we won’t work with other people in future. It’s certainly something that we’re very open-minded about.

MF: You collaborated with the mythic Robert Smith – and that actually trended on Twitter in Australia, people flipped out. But it’s an incredible collaboration because it just feels so organic. What most surprised you about your exchanges with Robert?

IC : It was all on email until actually the song was out and we were talking about it. Then the first time we all met was just before a Zoom call with, I don’t know what it was, maybe Apple Music or something like that. But the exchanges were surprising in that he is like super, super detailed and really technical. I don’t know why, but I assumed he would just be like, “OK, here’s my stuff, do with it what you want and hope for the best.” But he was really hands-on with every aspect of how the mix ended up being – and we loved that because that’s exactly how we are as musicians as well. We loved that somebody with his stature and legendary status would actually give a shit about this sort of collaboration in the way that he did (laughs). So that was surprising. It wasn’t surprising that he was an absolutely lovely man. Very funny.

MF: I remember when you were working with Simple Minds on the Big Music album – and, actually, they’re one of my lockdown rediscoveries. New Gold Dream (81-82-83-84) still sounds amazing. Do you stay in touch with Jim Kerr?

IC : I do keep in touch with Jim periodically, yeah. I haven’t seen him for many years now. Whenever he’s back in Glasgow, we tend to try and hook up, but we haven’t managed to do so because we’ve both got very busy schedules. But, yeah, I’d love to – I’d love to properly get a beer with Jim and catch up. It’s been quite a long time. He was very lovely to us and he was always giving me guest lists to go and see Simple Minds wherever they were playing (laughs). I’m a bit of a fanboy. So I enjoyed that a lot.

MF: The horror theme, and the horror aesthetic, to this album is really cool. You’ve had some interesting forays into that world. You had the Bauhaus cover for Vampire Academy . You also had ‘He Said She Said’ synced for American Horror Stories . But at what point did that aesthetic start to creep into the arc of this record? Was it something retrospective that you could discern or was it something you planned much earlier? Because you’ve also had a John Carpenter remix too, I should add!

IC : Yes, yes, indeed (laughs). Don’t forget to mention the master of horror himself! Yeah, no, we’ve been massive horror fans since we were teenagers, really. So we always like to dip into these sort of horror and sci-fi references when we’re writing music – like we’ll reference a particular movie score that we loved from the ’80s and play around with those ideas and those sounds.

But this [album] was different in that the title came before any of the music. [Screen Violence] was an old band name that we had discarded right at the beginning in favour of ‘Chvrches’. Lauren had come across the spreadsheet and thought it was a cool name that we could maybe do something with. So she had picked it – not as a concept, as in, “We’re making a concept album,” because we’ve got no interest in doing that. But, as a kind of aesthetic or as a kind of lens to focus her lyrics and her stories, we thought it would be a fun thing to play around with creatively. As it developed, and obviously the real-world horrors unfolded, it just more and more felt like the right thing to do.

So we went into it with the aesthetic around the visuals, the video, the album cover… You know, we didn’t wanna do that too early in the band’s career, because we didn’t really want to be thought of as a kind of throwback ’80s pastiche band – because we obviously use synths and instruments and sounds from that era. But there were a lot of synthwave things around near the start of this band and we didn’t want to be lumped in with that. Because, as much as we love looking back and we love those movies and those sounds, we also are quite a kind of future-facing band and want to take those ideas and update them with some modern production and modern writing. So it felt like a good time to indulge those nostalgic fantasies a little bit.

MF: John Carpenter is such a legend. That’s a good thing maybe with the pandemic – you can do more of these collaborations because people are sitting around at home. But did you expect him to respond like that? Because it sounds like he was more than up for the remix?

IC : No – we just asked. We were talking about ideas for film people and film composers to reinterpret some of the songs to fit in with the Screen Violence aesthetic. We thought we’d just try it for a laugh – to ask John Carpenter, because he is, after all, the father of that sort of sound of movie-scoring and obviously the movies themselves. But he came back and he was like, “I really like that one ‘Good Girls'” – we sent him the album – and [he said] “I really like that one, ‘Good Girls’, I could do something with that.” So we were like, “Go for it, man!” Then he said, “Well, if you don’t wanna do like a money thing, you can do one of mine [‘Turning The Bones’] and we’ll just call it that.” So we were like, “That’s such an honour!” It was really fun to work on. He seemed to be really into the ideas as well. Plus he plays lead guitar on that, which is just crazy!

MF: Lauren has talked about some of the narratives on the album and what they mean to her. Martin has also alluded to his own experiences with depression and anxiety. What parts of Iain are embedded in this album; things that are personal to you?

IC : That’s a good question. I suppose I would say a lot of the guitar stuff – because Martin was really into making guitar pedals and stuff during this lockdown and that transpired in there being more scope to play with guitar textures. That’s my first instrument – I was always playing in bands before Chvrches, so I was always playing guitar [Cook was notably in the late ’90s alt-rock band Aereogramme]. So it was a great opportunity for me to go back into that, ’cause I’d been playing keyboards for the most part for the last 10 years – which I love. I love playing synths, but guitar and bass actually are my first kind of loves, musically speaking. I feel like I was really able to dig deep and write more with that stuff in mind, which I think comes out on the album as well – you know, tracks like ‘Final Girl’. But, yeah, it really feels to me like the most complete expression of what this band have always tried to be in terms of our past influences and where we want to go and everything that we’ve picked up along the way. This to me is so far the pinnacle of what we’ve done. So I’m super happy with it.

MF: We’re hoping you’ll come back to Australia finally when our borders reopen.

IC : Absolutely. We really, really love playing Australia. People have always been super kind to us over there. The fans are great. So, yeah, that’s something that we’re gonna do as soon as we possibly can.

MF: Well, you’ve got heaps of dates to get through before then. So I hope you enjoy the US dates later this year and you’ve got the UK next year.

IC : Yeah, well, we might be able to squeeze a couple of weeks in Australia before that, but no promises at this point! (laughs).

MF: Everyone’s having to do the two weeks quarantine. But pretty much every musician I’ve spoken to would be quite happy to be in quarantine because they can turn the hotel room into a studio.

IC : Well, that’s true, but also you shouldn’t discount how much impact jetlag has, coming to Australia. Every single time, I’m like, “OK, here we go, we’ll play a gig in a few days” – and I’m ruined for the first 10, 11 days, just feeling awful. So, yeah, maybe the quarantine is a good thing, from our point of view!

MF: I’m creating a cry-dance playlist. What Chvrches song would fit that brief, past or present?

IC : You know, cry-dance is where most of our music lives. I’m gonna say the new opener on Screen Violence . ‘Asking For A Friend’ is, I think, our best cry-dance song.

‘Screen Violence’ is out today. This weekend the band will perform at Masonic Lodge at Hollywood Forever in Los Angeles, marking their first live performance in nearly two years. The show will be live-streamed globally on Amazon Music’s Twitch Channel; fans in Australia and New Zealand can tune in from 2pm AEST / 4pm NZST on Saturday 28 August .

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CHVRCHES Announce New North American Tour Dates

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The post CHVRCHES Announce New North American Tour Dates appeared first on Consequence .

If you haven’t caught CHVRCHES on their current tour, you’re in luck. The Scottish band has announced a new run of North American shows in support of their latest record, Screen Violence , extending their travels through the end of the summer.

The next leg of the tour kicks off on July 24th at Austin’s Float Fest. From there, Lauren Mayberry and co. will spend some time in the South, hitting the likes of New Orleans, Birmingham, Alabama, Atlanta, and Asheville, North Carolina. A couple of dates in Virginia take the band up the East Coast, and by the time September hits, they’ll head west to play Los Angeles, Portland, and Seattle. The tour wraps up on October 3rd in Boise, Idaho.

See the full list of tour dates below, and grab tickets via Ticketmaster when pre-sale begins on Wednesday, May 11th at 10:00 a.m. local time (use code DELIGHTS ). A public on-sale follows on Friday, May 13th. Get tickets to all of the band’s upcoming shows here .

CHVRCHES, Consequence ’s 2021 Band of the Year , released Screen Violence  last August. Earlier this year, they teamed up with Robert Smith to perform their collaborative track,  “How Not to Drown,”  at the NME Awards .

CHVRCHES 2022 Tour Dates: 05/13 — Mexico City, MX @ Tecate Emblema 05/18 — Monterrey, MX @ Showcenter 05/21 — Guadalajara, MX @ Corona Capital 05/27 — Napa, CA @ BottleRock Music Festival 05/30 — Tampa, FL @ Jannus 05/31 — Miami, FL @ Revolution Live 06/01 — Orlando, FL @ House of Blues 06/02 — Raleigh, NC @ The Ritz 06/04 — Charlotte, NC @ The Fillmore 06/05 — Washington, DC @ 9:30 Club 06/09 — Buffalo, NY @ Artpark 06/10 — Grand Rapids, MI @ 20 Monroe Live 06/11 — Indianapolis, IN @ WonderRoad Music Festival 06/13 — Madison, WI @ The Sylvee 06/15 — Omaha, NE @ The Admiral 06/16 — Kansas City, MO @ Uptown Theater 06/18 — Manchester, TN @ Bonnaroo Music and Arts Festival 07/06 – Madrid, ES @ Mad Cool Festival 07/24 — Austin, TX @ Float Fest 07/26 — New Orleans, LA @ Orpheum Theater 07/27 — Birmingham, AL @ Iron City 07/29 — Atlanta, GA @ The Roxy 07/30 — Asheville, NC @ The Orange Peel 07/31 — Richmond, VA @ The National 08/01 — Norfolk, VA @ The Norva 08/03 — Brooklyn, NY @ Brooklyn Mirage 08/04 — Boston, MA @ Roadrunner 08/05 — North Adams, MA @ Mass Moca 09/20 — Denver, CO @ Mission 09/22 — Salt Lake City, UT @ Twilight 09/24 — Phoenix, AZ @ Marquee Theatre 09/25 — Los Angeles, CA @ Hollywood Bowl ^ 09/26 — Sacramento, CA @ Ace of Spades 09/28 — Vancouver, BC @ Queen Elizabeth Theatre 09/30 — Seattle, WA @ Paramount Theatre 10/01 — Portland, OR @ Roseland Theater 10/02 — Spokane, WA @ Knitting Factory 10/03 — Boise, ID @ Knitting Factory

^ = w/ Grace Jones

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CHVRCHES Announce New North American Tour Dates Carys Anderson

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• January 8, 2023 Setlist

CHVRCHES Setlist at Fremantle Park, Fremantle, Australia

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• Song played from tape Main Title (A Nightmare on Elm Street) ( Charles Bernstein  song) Play Video
• Song played from tape Screen Violence Tour Intro Play Video
• He Said She Said Play Video
• Forever Play Video
• Leave a Trace Play Video
• California Play Video
• Bury It Play Video
• Recover Play Video
• Miracle ( Lauren forgot the lyrics during the first verse ) Play Video
• How Not to Drown Play Video
• Final Girl Play Video
• Never Say Die ( Extended outro ) Play Video
• Asking for a Friend Play Video
• The Mother We Share Play Video
• Clearest Blue Play Video
• Song played from tape Bad Moon Rising ( Creedence Clearwater Revival  song) Play Video

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5 activities (last edit by PeppePark , 10 Jan 2023, 02:34 Etc/UTC )

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• Asking for a Friend
• He Said She Said
• How Not to Drown
• Clearest Blue
• Leave a Trace
• Never Say Die
• The Mother We Share

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• Jan 01 2023 Falls Music Festival New South Wales 2022 Byron Bay, Australia Add time Add time
• Jan 06 2023 Heaps Good Festival 2023 Adelaide, Australia Start time: 8:00 PM 8:00 PM
• Jan 08 2023 Falls Music Festival Fremantle 2023 This Setlist Fremantle, Australia Add time Add time
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CHVRCHES Announce 2022 North American Tour

In continued support of last year's Screen Violence

CHVRCHES are returning to North America for a string of 2022 tour dates in further support of last year’s Screen Violence .

The latest leg of their ongoing trek kicks off in Mexico City on May 13th following a festival appearance at Atlanta’s Shaky Knees . The Glasgow trio will go on to make stops in cities like Orlando; Washington, DC; and Kansas City before wrapping up at Bonnaroo on June 18th. Along the way, they will also make festival appearances at BottleRock and WonderRoad Music Festival in Indianapolis.

A ticket pre-sale (code: VIOLENTDELIGHTS ) begins on Wednesday, March 2nd at 10:00 a.m. local time here , with tickets available to the general public on Ticketmaster on Friday, March 4th.

Check out CHVRCHES’s ful tour itinerary below. In addition to shows in the UK and Mexico, they’re also slated to appear alongside Grace Jones for a one-off gig at the Hollywood Bowl on September 25th.

Revisit our 2021 Band of the Year interview with CHVRCHES, check out frontwoman Lauren Mayberry’s recent appearance on Kyle Meredith With…

CHVRCHES 2022 Tour Dates: 03/10 – Dundee, UK @ Fat Sames 03/12 – Glasgow, UK @ SWG3 Poetry Club 03/14 – Edinburgh, UK @ O2 Academy 03/15 – Newcastle Upon Tyne, UK @ Newcastle City Hall 03/16 – London, UK @ O2 Academy Brixton 03/18 – Birmingham, UK @ O2 Academy 03/19 – Manchester, UK @ O2 Academy 04/29 — Atlanta, GA @ Shaky Knees Festival 05/13 — Mexico City, MX @ Tecate Emblema 05/18 — Monterrey, MX @ Showcenter 05/21 — Guadalajara, MX @ Corona Capital 05/27 — Napa, CA @ BottleRock Music Festival 05/30 — Tampa, FL @ Jannus 05/31 — Miami, FL @ Revolution Live 06/01 — Orlando, FL @ House of Blues 06/02 — Raleigh, NC @ The Ritz 06/04 — Charlotte, NC @ The Fillmore 06/05 — Washington, DC @ 9:30 Club 06/09 — Buffalo, NY @ Artpark 06/10 — Grand Rapids, MI @ 20 Monroe Live 06/11 — Indianapolis, IN @ WonderRoad Music Festival 06/13 — Madison, WI @ The Sylvee 06/15 — Omaha, NE @ The Admiral 06/16 — Kansas City, MO @ Uptown Theater 06/18 — Manchester, TN @ Bonnaroo Music and Arts Festival 07/06 – Madrid, ES @ Mad Cool Festival 09/25 – Los Angeles, CA @ Hollywood Bowl ^

^ = w/ Grace Jones

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The Glaswegian trio will return to the road for a short run of shows in June

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CHVRCHES has announced details of a trio of UK headline shows set to take place this summer.

The Glaswegian trio will return to the road in June for three gigs, including one that was rescheduled from an earlier tour.

CHVRCHES will stop at Nottingham, Glasgow, and Dundee on the short run, kicking off on June 9. Tickets for the dates will go on sale on Friday (March 3) at 9am, except for the Dundee date, which is already sold out. For more details and to purchase tickets, visit the band’s official website .

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The tour news follows the release of the band’s latest single, “Over,” which arrived last week (February 24). The first piece of new material from the group since its 2021 album Screen Violence – and its extended edition, Screen Violence: Director’s Cut – the track arrived after a series of dramatic visuals were teased online and takes the form of a soaring alt-pop anthem that “explores themes of trying to exist in an escapist dreamscape.”

“‘Over’ is a song that we wrote with Oscar Holter, a producer we really respect and admire,” CHVRCHES explained in a press release. “Normally, we collect songs over the course of months (or years!) until we have an album’s worth of material, but this time we just wanted to release something we were excited about and give the fans something new to mark the end of the Screen Violence era and the start of whatever the next CHVRCHES chapter might be.”

This year marks the 10th anniversary of the band’s first EP, Recover , and its debut album, The Bones Of What You Believe . Both records featured its hit single “The Mother We Share.”

Buy or stream “Over.” View CHVRCHES’ tour itinerary below.

Jun 9 – Nottingham, UK – Rock City Jun 10 – Glasgow, UK – Barrowland Ballroom Jun 12 – Dundee, UK – Fat Sam’s

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