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Assemblage 23 (A23)

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Past Events

Here are the most recent UK tour dates we had listed for Assemblage 23 (A23). Were you there?

September 2018

• Sat 8 Sep London, Electrowerkz Assemblage 23 (A23), Rainland
• Fri 7 Sep Manchester, Aatma Assemblage 23 (A23), Rainland
• Thu 6 Sep Glasgow, Ivory Blacks Assemblage 23 (A23), Rainland
• Sat 1 Apr London, Electrowerkz Assemblage 23 (A23)
• Fri 31 Mar Manchester, The Flour & Flagon Assemblage 23 (A23)
• Thu 30 Mar Glasgow, Ivory Blacks Assemblage 23 (A23)

August 2015

• Sat 8 Aug London, Electrowerkz Assemblage 23 (A23), Analog Angel
• Fri 18 Apr ➙ Sun 20 Apr Sheffield, Corporation Resistanz Festival 2014 Apoptygma Berzerk, Assemblage 23 (A23), Belzebass, CHROM, Cyferdyne…
• Sat 14 Jul London, O2 Academy Islington Assemblage 23 (A23), Cybercide, Das Fluff, Analogue Angel
• Fri 13 Jul Manchester Academy Assemblage 23 (A23)
• Thu 12 Jul Glasgow, The Classic Grand Assemblage 23 (A23), , Analog Angel
• Sun 19 Jun Glasgow, The Classic Grand Assemblage 23 (A23), Obscenity Trial, Analog Angel
• Sat 18 Jun London, O2 Academy Islington Assemblage 23 (A23)

February 2010

• Sun 14 Feb Glasgow, The Classic Grand Assemblage 23 (A23)
• Sat 13 Feb London, O2 Academy Islington Assemblage 23 (A23), RBN, Tenek
• Sat 5 Jul London, Electrowerkz Assemblage 23 (A23)

August 2007

• Sat 18 Aug London, Electrowerkz Assemblage 23 (A23), Revolution By Night

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Assemblage 23 Franklin, Massachusetts

Assemblage 23 is the project of Providence’s Tom Shear. Founded in 1988, A23 would go on to become one of the most successful American industrial acts of the time. Known for poetic, emotional lyrics and irresistible dance music, The band’s latest release, “Mourn” showed the band isn’t slowing down any time soon. ...   more

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Assemblage 23 “Mourn” – album review

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“ This isn’t what I signed up for/this is misery ”, Assemblage 23 frontman and creator Tom Shear sings on the opening track “Epiphany.” Over the years, the dark, synth-pop influenced future-pop sound of Assemblage 23 has filled dance floors around the world with iconic singles like “The Noise Inside My Head”, “Salt The Earth,” and “Disappoint,” among many others. Shear’s emotionally cathartic lyrics against unforgettable dance beats and huge synths have been a fixture of the dark alternative music scene for decades. It’s only fitting then that this single lyric would adequately sum up such a universal feeling of despair and grief, less than five minutes into the album.

Starting slow and dark, Mourn gathers momentum through “Factory,” an anti-war anthem, “Bloom” with its reminder that we’re not alone, and “Confession”, baring all in a sound reminiscent of Depeche Mode’s Violator era. It feels a little strange and sad to listen to what so many of us think of as “club music” in the isolation of our homes, but there’s something so brutally introspective about this one that sets it apart.

Yet, the album would not be without its messages of hope at the end of the song: “ Faces on a tiny screen/we’ll see you soon .” Mourn moves through themes of betrayal in “Could’ve”, tackles self-awareness in “Tragedy” and on the last song, “This House Is Empty”, brings us closure. It starts off airy and sparse. It doesn’t need an epic instrumental build-up in the chorus because the words say it all: “ Burn it down .”

Mourn is a soundtrack for the club-goers who sit at home on Friday evenings scrolling despondently through Twitch streams while longing for the world to return to normal. But it’s also more than that; the overarching themes of isolation, anxiety, and despair are relatable to many of us right now. The album is made for soul-searching, seemingly from the point of view of a nameless protagonist who could be any or all of us, as they work through phases of grief and mourning. As a lyricist, Shear is a master at making the personal into the universal, and making individual experiences and feelings relatable to all; when we listen, we feel that the song is about us.

Set for release on September 11th, 19 years after the tragedy, Mourn sets a mood that feels very much like our collective grief has reached its peak; if it doesn’t speak for all of us, it at least speaks to most of us. Yet, instrumentally, the programming and melodies are beautifully layered and dynamic, allowing the album to pull us out of ourselves, to remind us that we can still dance… even alone in our living rooms.

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Assemblage 23

Assemblage 23 concert setlists & tour dates, assemblage 23 at el corazón, seattle, wa, usa.

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Assemblage 23 at Tracks, Denver, CO, USA

Assemblage 23 at fixation 2024, assemblage 23 at subkult 2023, assemblage 23 at les foufounes électriques, montreal, qc, canada, assemblage 23 at conduit, winter park, fl, usa.

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Assemblage 23 at New World Brewery, Tampa, FL, USA

Assemblage 23 at wave gotik treffen 2023, assemblage 23 at plage noire 2023, assemblage 23 at resistanz 2023.

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• Document ( 54 )
• Disappoint ( 53 )
• Naked ( 53 )
• Let the Wind Erase Me ( 49 )
• Drive ( 47 )

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175 people have seen Assemblage 23 live.

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An intimate interview with Tom Shear (Assemblage 23)

Stumbling through the darkness and into the light

The new album ' Mourn ' by Assemblage 23 ( read full review here ) is about to be released on 11th September and I had the chance to ask Tom Shear a few ques­tions regard­ing his album and his work as a musi­cian. In this inter­view, Tom Shear shared with us a few very intim­ate details about some of the dark­er moments in his life and about how his latest album became a part of his way out of this struggle. Thank you so much Tom Shear for answer­ing our ques­tions and shar­ing these very per­son­al details with us!

1. I had the chance to review your new album ‚Mourn’ and I really loved every single track. What about you, are you satisfied with the final result?

Thanks so much. It's actu­ally the hap­pi­est I've been with an album in a very long time. Of course if I listen to it now I still hear things that bug me that I wish I could change, but you'll drive your­self insane if you don't just accept your work as being done at a cer­tain point. But the album came out pretty much exactly as I had hoped.

2. How long have you been working on the album?

Musically, I think one of the songs I had star­ted as early as 2016 when we were on the "Endure" tour, but the real meat of the writ­ing and pro­duc­tion happened over maybe a year and a half.

3. The lyrics are quite intimate and personal and I couldn’t help but wonder if current events might have influenced you. Would you like to tell us a bit more about what exactly inspired you in the writing process?

Yeah, there are cer­tainly tracks like "Welcome, Apocalypse" and "Factory" that are kind of inspired by cur­rent events. It's hard to write mater­i­al like that because if you marry it too obvi­ously to the time that inspired it, it can be a bit dated as time goes on. So I've always approached songs like that with a cer­tain amount of vague­ness so they could apply to any time, really. History is a big circle any­how, so it's bound to be rel­ev­ant again in anoth­er context.

The bulk of the mater­i­al, though, came out of a pretty dark peri­od in my life that star­ted around the time I returned from the "Endure" tour. My depres­sion just kicked the hell out of me. It got bad enough that even get­ting out of bed on some days seemed impossible. I did a lot of reflec­tion and I real­ized that if I was ever going to get bet­ter, I had to make some changes in my life. So the over­all arc of the album is sort of the theme of over­com­ing dark­ness through change.

4. What are your personal favorite tracks on this album and why?

That's always such a tough ques­tion to answer. I like them all for one reas­on or the oth­er. Otherwise, they wouldn't have got­ten released. But I think the song I that came out the most like I was hear­ing it in my head was "Confession". "Bloom" was anoth­er where the atmo­sphere turned out exactly as I had hoped.

5. Even though the current situation might not allow musicians to play concerts at the moment, are you planning a tour or any festival gigs for next year?

We do have some gigs sched­uled for next year, but as of right now, they're just res­ched­uled dates that had to be can­celled this year due to the pan­dem­ic – some of them twice. Whether or not they hap­pen remains to be seen, but I'm try­ing to be pos­it­ive about it. I really do miss see­ing my band­mates and play­ing shows. It's really strange to be releas­ing an album without tour­ing right away. As far as tour­ing goes, I'm not plan­ning any­thing until it has for sure become viable and safe to do so. Booking a tour is a lot of work, and it doesn't make sense to go through that entire pro­cess if you don't even know if the ven­ue will still be open by the time the show comes around, or even if live shows can hap­pen at all. It sucks, but I'd rather we all con­cen­trate on stay­ing safe right now. Shows can come later.

6. As far as I know, you have been working alone on the production of this album. Is there a specific band or artist you can imagine to collaborate with in the future, for example to record a song or a whole album?

Yeah, I've always worked solo on the Assemblage 23 stuff. I think it's just such a per­son­al pro­ject to me that I feel pro­tect­ive and a bit too close to it to turn the reins over to someone else. I would've loved to work with late 80's/early 90's era Flood. I think he was at the peak of his game then. I'm not so wild about what he's been doing lately, but it's made him very suc­cess­ful, so who can begrudge him that? Giorgio Moroder would be pretty cool. I think it would be quite cool to work with Trevor Horn… his pro­duc­tion style in the 80's was very influ­en­tial to me. So many of his records soun­ded so huge.

7. Do you have a personal creative hotspot or place that inspires you and helps you find ideas for new songs?

Anywhere but the stu­dio, weirdly enough. That's not to say that I don't get a lot of good ideas in the stu­dio as well, but if I ever get stuck on a song or I'm lack­ing in ideas, I'll go for a walk or a drive and it usu­ally works itself out. Maybe there's some sort of sub­con­scious pres­sure in the stu­dio, I don't know. But get­ting out­side of that envir­on­ment always seems to spark things for me.

8. Do you have some kind words to Electrozombies for our testimonials section 'People who spread love'?

Our little scene only still exists through the hard work and pas­sion of zines and web­sites like Electrozombies!

9. Any last words to the audience?

Stay safe, stay healthy, and be kind to each other.

Assemblage 23

Assemblage 23 – Mourn Review

September 7, 2020 David Oberlin CD Reviews

Tom Shear is really hitting it out of the park with new album Mourn. And where it was previously described as phenomenal (on Bandcamp) that statement is nothing short of true. Because Mourn is a preternatural soundscape filled with succinct vulnerability and transparent assertions– lyrically. With this in mind and accompanied by wonderfully crafted synths, that weave and bob like ghosts in a copper fire, the amalgamation of which hits like electronic substance abuse, there really is beauty in suffering.

Assemblage 23 takes onus for whatever tragedy Tom has inflicted on his notepad and forges a compelling reserve of emotion. The opening track Epiphany alone breaches the distance between artist and listener. Causing an emphatic bulb to well in at least this listeners throat. The narrative of Mourn is mostly introspective but it touches on commonalities so ingrained in today’s’ first world problems that it speaks volumes. Even if it is mastered near perfection.

For the most part Mourn continues to deliver arresting rhythms coupled with buoyant leads. Where it follows up the incredibly potent opening with a good few hot floor killers before cooling down to a simmer of transitional fillers, only to burst out again like a geyser in a tepid fjord. It is a charming album that leaves you satisfied and fulfilled.

Mourn is an intelligent and thoughtful album; An effective and candid article on modern life. And Toms’ maturity is a welcome voice in an industry over saturated with excessively flamboyant plumage. But with over twenty years of always on par or below records you are bound to learn a thing or two and Toms’ perseverance, and diligence, makes Assemblage 23 synonymous with darkwave.

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Assemblage 23 Interview

Thanks for giving PCN magazine some of your time as you prepare to release your much anticipated new album.

My pleasure.

First things first… congratulations on your recent engagement to Mari… life seems to be in the up for you atm. (I expect my wedding invitation in the post now!!)

Thank you very much! It can’t all be doom and gloom all the time!

For the uninitiated readers can you give a beginners guide to A23? (As detailed as you like)

Assemblage 23 has been kicking around formally since the mid-90’s, although it technically started much earlier than that. At the time, most of the scene music coming out of the United States was guitar-oriented, so it was a bit tough to get a foothold at first, but as the tide shifted to more electronic-oriented stuff, I started getting more attention until I signed with the Canadian label Gashed Records. They put out the first couple of albums and helped me get established with a European label so I could reach that audience as well. From there, I went to Metropolis Records and that’s where things kind of took off for A23. “Failure” was the album that kind of got the most notice, so that’s a good one to start with even though it’s quite old now. “Storm” is another good place to start for anyone unfamiliar with the kind of stuff I do.

I’ve been lucky enough to hear the new album – Mourn – and it’s my pick of 2020 so far. It’s a pretty dark album.

This may be too personal a question to answer but What are the influences behind the package as a whole?

Thanks! Yeah, it’s probably the darkest thing I’ve done since the early days. It came out of a really dark period in my life where I was really struggling with depression. That’s probably not surprising to anyone who has read my lyrics, but this was at a level I’d never experienced before. I was having a tough time just getting by day to day. I hid it pretty well, so I don’t think anyone around me really knew how bad things had gotten. I realized that if I was going to turn things around, I needed to make some rather drastic changes in my life. So the album is about this difficult period in my life, which I am happy to say is behind me now.

What are your hopes for the album?

It’s hard to know what to hope for these days since the music business has changed so much, so I mostly just hope that people like it. Anything else on top of that is just a bonus.

Are you excited to see the reaction to the album and do you still get the same buzz as you did in the beginning?

I can’t really say it’s the same, because there’s something special about the first time you read a positive review of your stuff, but its similar. These days I’m more just amazed that the fans have followed along through all this time. It’s hard to maintain people’s interest for such a long time, so I’m just really thankful people are still interested in what I’m doing.

From a technical point of view what gear was used on the album and what is your typical start to finish process?

For hardware, I used a Moog Sub 37, an Access Virus B, a Roland SE-02, a Behringer Neutron, a Korg Arp Odyssey, a Roland SH-01A, a Roland JU-06, and a Roland JP-08. For software, I used a lot of stuff, but the stuff that got used the most frequently was U-he DIVA, U-he Hive, U-he – Repro 1/5, Spectrasonics Omnisphere, Sonic Academy ANA2, Dmitry Shes Thorn, a bunch of the Arturia stuff, etc. DAWS used were Bitwig Studio and Logic Pro X.

The album was crowdfunded; how did this come about and was it a success?

This was the third crowdfund I’ve done. The first was for my Surveillance side project, the second was for A23’s “Endure” , and the third was for the new album. I’m backed by a good label, so for me, crowd-funding wasn’t a make or break proposition. But what I discovered through doing these before is that the fans like the ability to get special stuff they can’t get elsewhere and enjoy playing a part in the process of the album’s release.

It makes it a bit more personal. So it’s a really good way to build a relationship with fans. In the end, it did about twice what the previous campaign had done, which really shocked me. But that’s the kind of shock I wish I had more of in my life.

The big topic Worldwide is obviously COVID -19. Has this affected you professionally in any way and how do you see it affecting A23 in the immediate future? I’m obviously thinking about live promotion of the album.

Yeah, it’s really strange to be just about to release an album and not have a tour lined up to promote it. We had to cancel a tour in Europe we had planned for April, and now we’re having to cancel some of the make-up dates we were planning for the fall. In a few months, it’ll have been a year since we’ve performed live anywhere. I really miss it.

The members of A23 as a live unit live in different parts of the USA; how does that work in terms of rehearsing?

We never actually rehearse together. We all rehearse individually, and then when we get together to play new songs, it’s the first time we’ve played them together. It sounds like a formula for disaster, but it’s actually worked pretty well. I think it adds a little nervous energy to the set and it’s actually quite exciting over the course of a tour to see the performances develop.

Talking about live appearances; how will Brexit affect you in terms of UK appearances?

I have no idea at this point. I’m not sure anyone does. What I was hearing didn’t sound encouraging, but then COVID happened and kind of hijacked everything. I guess we’ll see. We’ll try hard no matter what obstacles there are because we all really love performing in the UK. And visiting Nando’s.

Having seen your live show in Various UK cities and in Germany it’s clear to see the warmth between you and your fans. Is this something that is important to you? (I didn’t tell you I came to Germany as I didn’t want to be “that guy” who pesters for guest lists )

It’s pretty much the most important thing. The fans are the ones who have made it possible for me to make a living doing what I love for 2 decades now. I actually find it pretty weird when scene bands don’t reach out and try to create a relationship with their fans. They’re missing out on meeting a lot of cool people.

Do you get downtime to listen to other acts and, if so, us there anyone catching your attention?

I have to admit I’ve been slacking a bit on new music during the time I’ve been working on the new album. I think the last thing I picked up that I really enjoyed was the new Street Fever EP . I think Empathy Test makes some really nice stuff, too.

As if you weren’t busy enough, You have a number of side projects and collaborations that you are involved with. I’m thinking Surveillance and your remix/production work in particular. Can you tell us a bit about those?

Surveillance came about because I had a bunch of track ideas that didn’t quite seem to fit A23 , so I decided it might be kind of fun to do something darker and sort of dystopian-themed.

Little did I realize a few years after I released it that I’d be living in a dystopia. Haha, I do hope to re-visit the project again soon. Production and remixes are just something that I’ve done on the side to keep busy and keep learning. I like the perspective of working on something I didn’t write gives me. I think it’s important as a musician and producer to always be learning.

One of your side projects involves working with your betrothed. You did a live stream recently as HELIX. How did that work out?

It was a really strange feeling, but it was also a really positive experience. So much of the experience of putting on a performance as a performer is the interaction with the audience, and when you can’t see the audience, it’s really odd. But it was also really nice doing a show in a place that was so comfortable to us and not to have to drive home from the club afterwards! Also, our cat inadvertently became an internet celebrity for 15 minutes.

Your A23 live act involves other musicians on stage with you. Who are they and what do they bring to the A23 party?

On keys is Paul Seegers. He’s been with me from A23’s very first show in 1996. On drums is Mike Jenney and he’s been with me for a good slot of time now, too. When we’re sorting out the live arrangements, I basically give them free reign over what they want to play, so I think it adds a bit of a different edge versus if we just stuck strictly to the way it sounded on the album. If I’m going to have musicians with me on stage, I want them to be adding something to it, and Paul and Mike both do a great job at that. Also, we can peacefully co-exist in a van for weeks on end, which is kind of important for touring. It’s bad form to murder your bandmates.

Back to Mourn if I may… this is undoubtedly a strong album. Why do you think albums as good as this from A23 and others are not picked up by the mainstream music industry; is being part of the contemporary mainstream something that even appeals to you?

I think sometimes we become so immersed in our scene that it seems normal to us and we’re not as conscious of how weird or gloomy it sounds to people used to mainstream music. I think there’s a lot of great music that has been made in this genre, but I don’t really think it’s a good fit for a mainstream audience. I think the fashion and imagery of our scene probably scares a lot of people off, too. Anyway, I don’t know how I would feel about being a part of the mainstream. It seems to me that situation can go either way. It’s made a lot of careers, but it’s probably destroyed even more. I’m pretty happy where I’m at.

The “scene” that A23 operates in is pretty tight knit and, at the moment, appears big enough to sustain itself. Do you feel that there is tough competition for sales or is there enough love to go around?

This is a discussion I’ve had with many people. I think it’s a lot like other scenes but on a smaller scale. While there are hundreds of bands making this kind of music, only a relative handful are going to see a lot of recognition and have long careers. But what our scene lacks in numbers, I think it makes up for in passion. People are really passionate about this kind of music and I think that is what sustains it. Smaller numbers of people but giant amounts of enthusiasm

Finally Tom… what does the future hold for Tom, Mari and Mila; where do you see A23 in the near future?

After the kind of the year 2020, who can even say anymore? When it’s safe to tour again, we’ll go out and do some shows. Mari and I are going to work on some more Helix stuff. How it all turns out, no one can say, but I’m feeling a lot more optimistic these days.

Many thanks for spending time with us at PCN 

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On my travels with trusty Nikons and iPhone. Live music to Landscapes and everything in between. Lover of electronic music but willing to taste the rest. I Spread the PCN Magazine love with your friends!|

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Touren am meisten mit, live-bewertungen.

Tom Shear, the founder and singer of Assemblage 23, is an incredibly talented multi-instrumentalist who plays incredible electro-industrial and synthpop music with his band. He opened the show by inviting his instrumentalists to the stage to perform a couple of solos, whilst he spoke over the top and introduced himself to the audience. The combination of live guitar and drums from his band, along with the industrial sound samples that Shear had previously mixed, made a great crossover of sounds, and provides an exciting sound.

He opened the show with his track Spark, and the powerful lyrics, which seem even more poignant live, held the audience in silence from start to finish. The way that he performed and translated the message of his lyrics to the audience was something that you can never experience from a studio recording. He played a great selection of his tracks, from songs on Contempt, his first studio album, right up to Bruise, the newest of the collection. I especially enjoyed the way that he switched from playing his instruments, to performing vocals, and it was a real showcase of his talent that I was unaware that he possessed from simply listening to recorded tracks and albums.

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An excellent set spoilt slightly by a strange choice of final song (a merely OK cover) and no encore.

Problem with the venue/promoters - photo ID required by everyone for entry- never been asked for this before (and I’ve been going to music events in London since the 1980’s). Didn’t have any on me - ended up getting my daughter at home to e-mail a scan of my driving licence to an address provided by the promoter. Some people couldn’t do this and were refused entry. No believable reason was given for the photo ID requirement - security - but no one was searched on entry!

Poster (31)

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Assemblage 23 Tourtermine und Tickets 2024-2025 in deiner Nähe

Du möchtest Assemblage 23 auf einem Konzert sehen? Hier findest du Informationen zu allen kommenden Konzerten von Assemblage 23 sowie Tourtermine und Ticketinformationen für 2024-2025.

Assemblage 23 wird derzeit nicht in der Nähe deines Standorts auftreten – hat aber vor, 4 Konzerte in 3 Länder in 2024-2025 zu geben. Alle Konzerte anzeigen.

Nächste 3 Konzerte:

• Seattle, WA, US
• Helsinki, Finland
• Hildesheim, Germany

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• Los Angeles (LA) (14)
• Seattle (11)
• New York (NYC) (8)
• Leipzig (7)

Meiste Auftritte mit:

• Angel Theory (31)
• EsperMachine (28)
• Suicide Commando (11)
• Combichrist (7)
• Alter Der Ruine (7)

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Sabrina Carpenter Unveils Dates for Her ‘Short n’ Sweet’ North American Tour

By Thania Garcia

Thania Garcia

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Singer-songwriter Sabrina Carpenter has announced her upcoming North American headlining arena tour. The “ Short n’ Sweet ” tour, which kicks off September 23 in Columbus, Ohio, includes dates at New York’s Madison Square Garden and Crypto.com Arena in Los Angeles.

Amaarae , Griff and Declan McKenna will be supporting Carpenter on this tour. Carpenter has partnered with PLUS1 on this tour to launch the Sabrina Carpenter Fund, which will support the well-being of people and animals, including national and local organizations working on the issues of mental health, animal welfare, and support for the LGBTQ+ community.

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Nearly six albums into her career, Carpenter made Hot 100 history with her new single “Please Please Please” debuting at No. 2, and “Espresso” rising to a new peak of No. 3 on the list. The 25-year-old singer-songwriter became the first solo act in the history of the Billboard chart to land two simultaneous top-three hits without having previously charted in that realm.

“Please Please Please” was completed by a cinematic music video starring “Saltburn” star and Carpenter’s real-life boyfriend, Barry Keoghan. The song was co-written with Amy Allen, who also helped pen “Espresso.”

The singles will appear on her new album, “Short n’ Sweet,” due out Aug. 23. “This project is quite special to me and [I] hope it’ll be something special to you too,” she wrote on social media with the announcement. Half of the LP was produced by Jack Antonoff, along with returning collaborator, Julian Bunetta, as reported by Rolling Stone.

Carpenter released her fifth album “Emails I Can’t Send” in 2022 , as well as its deluxe edition “Emails I Can’t Send Fwd” the following year. It became her highest-charting to date and boasted a hot single “Nonsense,” a song that caught fire after she provided alternate closing lyrics while opening for Taylor Swift’s Eras Tour in South America and Australia. She also toured the album on her own 80-date headlining world tour.

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Joe Bonamassa announces 2025 UK arena tour

Joe Bonamassa's new album Live At The Hollywood Bowl With Orchestra is out now

Blues rock whizz Joe Bonamassa has announced a UK arena tour for 2025. The five-date trek kicks off the SEC Armadillo in Glasgow on April 21, and climaxes at the Brighton Centre on April 27. Bonamassa has also announced a pair of mainland European shows in the Czech Republic and Belgium.

A pre-sale will begin tomorrow (June 26) at 10am, while tickets go on general sale at the same time this Friday from Joe's website and via Gigantic . Full dates below.

“I am looking forward to touring the UK again,” says Joe. “UK audiences have always been supportive of my music. The fans are always energetic and enthusiastic."

Bonamassa's US your schedule kicks off at the Freeman Arts Pavilion in Selbyville, DE, on July 17. 

In other JoBo news. the guitarist has hooked up with music retailer Reverb to release Welcome Back To Nerdville, a sequel to their 2016 mini-documentary Welcome Back To Nerdville, which finds Bonamassa's collection of vintage guitars to be even nerdier than before. 

Joe Bonamassa's latest album, Live At The Hollywood Bowl With Orchestra , was released on Friday.

Jore Bonamassa US tour 2024

Jul 17: Selbyville Freeman Arts Pavilion, DE Jul 19: Bangor Savings Amphitheater, ME Aug 02: Albuquerque Sandia Casino Amphitheater, NM Aug 04: Denver Red Rocks Amphitheatre, CO Aug 06: Omaha Orpheum Theatre, NB Aug 08: Topeka Performing Arts Center, KA Aug 09: Durant Choctaw Casino & Resort, OK Aug 10: Jackson Thalia Mara Hall, MS Aug 12: Birmingham BJCC Concert Hall, AL Aug 14: North Charleston Performing Arts Center, SC Aug 16: Evansville Aiken Theatre, IN Aug 17: Indianapolis Murat Theatre At Old National Centre, IN Aug 18: Nashville Ryman Auditorium, TN Aug 20: Dayton Fraze Pavilion, OH Aug 21: Hershey Hershey Theatre, PE Aug 23: Port Chester Capitol Theatre, NY Aug 24: Port Chester Capitol Theatre, NY Aug 25: Rochester West Herr Auditorium Theatre, NY Aug 27: Albany Palace Theatre Albany, NY Aug 29: Hyannis Cape Cod Melody Tent, MA Aug 30: Hampton Hampton Beach Casino Ballroom, NH Aug 31: Hampton Hampton Beach Casino Ballroom, NH Oct 26: Henderson Lee's Family Forum, NV Oct 28: Santa Barbara Granada Theatre, CA Oct 30: Rancho Mirage Agua Caliente Casino, CA Nov 01: Tucson Linda Ronstadt Music Hall At Tucson Convention Center, AZ Nov 02: Phoenix Financial Theatre, AZ Nov 03: Long Beach Terrace Theater At Long Beach Convention Center, CA Nov 05: San Diego Civic Theatre, CA Nov 07: San Jose Civic, CA Nov 08: Sacramento Performing Arts Center, CA Nov 09: Reno Grand Sierra Theatre, NV Nov 12: Portland Keller Auditorium, OR Nov 13: Boise Morrison Center For The Performing Arts, ID Nov 16: Salt Lake City George S. And Dolores Dore Eccles Theater, UT Nov 17: Cheyenne Civic Center, WY Nov 19: Wichita Park City Arena, KA Nov 20: Springfield Juanita K. Hams Hall, MO Nov 22: Minneapolis State Theatre, MN Nov 23: Minneapolis State Theatre, MN Nov 26: Springfield Sanga Auditorium, IL Nov 27: Appleton Thrivent Financial Hall At Fox Cities Performing Arts Center, WI Nov 29: Davenport Adler Theatre, IA Nov 30: Des Moines Des Moines Civic Center, IA 

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Jo Bonamassa European Tour 2025

Apr 21: Glasgow SEC Armadillo, UK Apr 23: Cardiff Utilita Arena, UK Apr 25: Liverpool M&S Bank Arena, UK Apr 26: Nottingham Motorpoint Arena, UK Apr 27: Brighton Centre, UK

May 02: Prague O2 Universum, Czech Republic May 10: Antwerp Lotto Arena, Belgium

Online Editor at Louder/Classic Rock magazine since 2014. 38 years in music industry, online for 25. Also bylines for: Metal Hammer, Prog Magazine, The Word Magazine, The Guardian, The New Statesman, Saga, Music365. Former Head of Music at Xfm Radio, A&R at Fiction Records, early blogger, ex-roadie, published author. Once appeared in a Cure video dressed as a cowboy, and thinks any situation can be improved by the introduction of cats. Favourite Serbian trumpeter: Dejan Petrović.  

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