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European Tour

• 1 June 2024 Primavera Sound, Barcelona, Spain Tickets  ›
• 4 June 2024 Les Nuits de Fourvière Festival, Lyon, France Tickets  ›
• 6 June 2024 Primavera Sound, Porto, Portugal Tickets  ›
• 7 June 2024 Noches del Botánico, Madrid, Spain Sold out
• 9 June 2024 Best Kept Secret, Hilvarenbeek, The Netherlands Tickets  ›
• 12 June 2024 Bergenfest, Bergen, Oslo Tickets  ›
• 26 – 30 June 2024 Glastonbury Festival, Somerset, UK Sold out
• 4 July 2024 Rock Werchter, Werchter, Belgium Tickets  ›
• 6 July 2024 Roskilde Festival, Roskilde, Denmark Tickets  ›
• 9 July 2024 Montreux Jazz Festival, Montreux, Switzerland Tickets  ›
• 12 July 2024 Vieilles Charrues, Carhaix, France Tickets  ›
• 7-10 August 2024 Øyafestivalen, Oslo, Norway Tickets  ›
• 8 August 2024 Way Out West Festival, Gothenburg, Sweden Tickets  ›
• 10 August 2024 Flow Festival, Helsinki, Finland Tickets  ›
• 13 August 2024 Zitadelle Spandau, Berlin, Germany Tickets  ›
• 15 August 2024 Cabaret Vert, Charleville-Mézières, France Tickets  ›
• 18 August 2024 Gunnersbury Park, London, UK Tickets  ›
• 20 August 2024 The Piece Hall, Halifax, UK Tickets  ›
• 22 August 2024 Custom House Square, Belfast, UK Tickets  ›
• 25 August 2024 Rock en Seine, Paris, France Tickets  ›

North American Tour

• 11 September 2024 The Anthem, Washington, DC Tickets  ›
• 13 September 2024 The Met, Philadelphia, PA Tickets  ›
• 15 September 2024 Terminal 5, New York, NY Sold out
• 16 September 2024 Terminal 5, New York, NY Sold out
• 18 September 2024 MGM Music Hall Fenway, Boston, MA Tickets  ›
• 21 September 2024 Place Bell, Montreal, QC Tickets  ›
• 25 September 2024 HISTORY, Toronto, ON Tickets  ›
• 26 September 2024 HISTORY, Toronto, ON Sold out
• 28 September 2024 Masonic Temple – The Cathedral, Detroit, MI Sold out
• 30 September 2024 The Salt Shed, Chicago, IL Sold out
• 2 October 2024 Palace Theatre, St Paul, MN Sold out
• 6 October 2024 Paramount Theatre, Seattle, WA Sold out
• 7 October 2024 Theater of the Clouds, Portland, OR Tickets  ›
• 10 October 2024 The Masonic, San Francisco, CA Tickets  ›
• 11 October 2024 The Masonic, San Francisco, CA Sold out
• 14 October 2024 The Greek Theatre, Los Angeles, CA Tickets  ›

• Consequence

PJ Harvey Announces 2024 North American Tour

Marking her first American outing in seven years

Last year, PJ Harvey teased a Fall 2024 North American tour , and now she’s made it official.

The headlining trek in support of last year’s I Inside the Old Year Dying will kick off in Washington, DC on September 11th. It will be followed by stops in New York City, Toronto, Chicago, Detroit, and Seattle, before wrapping up in Los Angeles on October 14th. See the full schedule below.

Get PJ Harvey Tickets Here

Fans can look for deals or get tickets to sold-out shows via StubHub , where orders are 100% guaranteed through StubHub’s FanProtect program. StubHub is a secondary market ticketing platform, and prices may be higher or lower than face value, depending on demand.

To accompany the tour announcement, Harvey has shared a new music video for “Seem an I.” Directed by Colm Bairéad and starring British actor Ruth Wilson, it was filmed at Kennel Farm outside of Salisbury, England. Watch it below.

Harvey recently released a concert film shot at her October 13th performance at L’Olympia in Paris after giving a Tiny Desk Concert in November.

Ahead of the North American leg, she has European festival appearances slated for Primavera Sound , Roskilde Festival , Rock Werchter , and more. Get tickets for those dates here .

PJ Harvey 2024 Tour Dates: 06/01 – Barcelona, ES @ Primavera Sound 06/06 – Porto, PT @ Primavera Sound 06/07 – Madrid, ES @ Noches del Botánico 06/07-06/09 – Hilvarenbeek, NL @ Best Kept Secret Festival 06/12-06/15 – Bergen, NO @ Bergenfest 06/29-07/06 – Roskilde, DK @ Roskilde Festival 07/04 – Werchter, BE @ Rock Werchter 08/07-08/10 – Oslo, NO @ Øyafestivalen 08/08 – Gothenburg, SE @ Way Out West Festival 08/09-08/11 – Helsinki, FI @ Flow Festival 08/13 – Berlin, DE @ Zitadelle Spandau 08/15 – Charleville-Mézières, FR @ Cabaret Vert 08/18 – London, UK @ Gunnersbury Park 08/20 –Halifax, UK @ The Piece Hall 08/22 – Belfast, UK @ Custom House Square 08/25 – Paris, FR @ Rock en Seine 09/11 – Washington, DC @ The Anthem 09/13 – Philadelphia, PA @ The Met 09/15 – New York, NY @ Terminal 5 09/16 – New York, NY @ Terminal 5 09/18 – Boston, MA @ MGM Music Hall Fenway 09/21 – Laval, QC @ Place Bell 09/25 – Toronto, ON @ History 09/26 – Toronto, ON @ History 09/28 – Detroit, MI @ Masonic Cathedral Theatre 09/30 – Chicago, IL @ The Salt Shed 10/02 – Minneapolis, MN @ Palace Theatre 10/06 – Seattle, WA @ The Paramount Theatre 10/07 – Portland, OR @ Theater of the Clouds 10/10 – San Francisco, CA @ Masonic 10/11 – San Francisco, CA @ Masonic 10/14 – Los Angeles, CA @ Greek Theatre

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• Alternative Rock

PJ Harvey Announces North American Tour in 2024

by Em Casalena February 26, 2024, 11:23 am

Singer/songwriter PJ Harvey is coming to the United States and Canada in fall of 2024! After a lengthy tour across Europe, Harvey will make several stops across North America in promotion of her recent album I Inside The Old Year Dying . There do not appear to be any supporting acts for this tour.

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This is a big deal for American fans of Harvey since this will be her first stateside tour in almost seven years!

The North American leg of the PJ Harvey Tour 2024 will begin on September 11 in Washington, DC at The Anthem. The tour will close on October 14 in Los Angeles, California at the Greek Theatre.

Announcing PJ Harvey's first North American tour in seven years, taking place this autumn. General sale Friday March 1st 10am local. Sign up to receive pre-sale access Tuesday February 27th at 10am EST – https://t.co/Qq4XPl9k0l . 📷 #SteveGullick . Clothes by Todd Lynn pic.twitter.com/p7Ut3Na1FU — PJ Harvey (@PJHarveyUK) February 26, 2024

The artist’s presale event will kick off on February 27 at 10:00 am EST, and fans can subscribe to get access through Harvey’s website . Fans can access a few different presale events via Ticketmaster as well using the code “ENERGY”. General on-sale for the tour will start on March 1st. We recommend using Stubhub after the general on-sale begins, especially if you want a better chance of scoring cheap tickets.

Tickets for this tour will not last. Get your tickets to see PJ Harvey live in 2024!

PJ Harvey Tour 2024 Upcoming North American Dates

September 11 – Washington, DC – The Anthem

September 13 – Philadelphia, PA – The Met

September 15 – New York, NY – Terminal 5

September 16 – New York, NY – Terminal 5

September 18 – Boston, MA – MGM Music Hall Fenway

September 21 – Laval, QC – Place Bell

September 25 – Toronto, ON – History

September 26 – Toronto, ON – History

September 28 – Detroit, MI – Masonic Cathedral Theatre

September 30 – Chicago, IL – The Salt Shed

October 02 – Minneapolis, MN – Palace Theatre

October 06 – Seattle, WA – The Paramount Theatre

October 07 – Portland, OR – Theater of the Clouds

October 10 – San Francisco, CA – Masonic

October 11 – San Francisco, CA – Masonic

October 14 – Los Angeles, CA – Greek Theatre

Photo by Joseph Okpako

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The Driver Era Announces North American Tour in 2024

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PJ Harvey (born October 9, 1969) is the stage name of seminal British indie/alternative rock musician Polly Jean Harvey, who through steady critically-acclaimed releases has become of the one most revered artists in the genre, hailing from Bridport, Dorset, England.

Born in the coastal town of Bridport, Dorset, Polly Jean Harvey picked up her first instrument in her early teens, the saxophone. She later joined the octet instrumental group, Bologne, during her time in school before becoming one half of the folk duo, the Polekats. It wasn’t until Harvey was 19 however that the singer began to grow in recognition with the Bristol-based group, Automatic Dlamini. It was here Harvey met John Parish and Rob Ellis who would subsequently prove to have a huge influence on the musician’s future output. After recording the album “Here Catch, Shouted His Father” towards the tail-end of 1989 and early 1990, Harvey left the group and formed her own alongside Ellis and Oliver.

Initially a trio, PJ Harvey recorded their debut album “Dry” in 1991 for under $5,000, and played their first show at a bowling alley at Charmoith Village Hall. The band’s debut single, “Dress”, was released by Too Pure Records in October 2001, drawing instant and widespread critical acclaim. Following the release PJ Harvey was invited to record a live radio session for John Peel, and recorded the tracks “Oh, My Lover”, “Victory”, “Sheela-Na-Gig”, and “Water”. PJ Harvey’s debut album was subsequently released in February 1992. Highlighting Harvey’s tremblingly candid lyrics, and raw heavy-hitting guitar, the musician was later named Rolling Stone’s Best Songwriter and Best New Female Singer in late 1992.

After singing with Island Records in mid-1992, the trio enlisted the help of producer Steve Albini to aid the recording of their sophomore “Rid of Me”. Featuring a punk-infused cover of Bob Dylan’s “Highway 61 Revisited”, the full-length was released in May 1993. In support of the record, PJ Harvey embarked on an extensive tour of the UK, before heading to the U.S. in the summer, which is where tensions stated to rise between members. Following a final tour as a trio in support of U2 in August, the group announced it had disbanded with Polly Harvey continuing as a solo artist.

Her debut solo album, “To Bring You My Love”, arrived in February 1995 extolled by critics, and followed by her last full-length of the millennium “Is This Desire?” in 1998. Marked by themes of love and affection, and winning the 2001 Mercury Prize, PJ Harvey’s fifth studio album “Stories from the City, Stories from the Sea” was released in October 2000. Cementing the multi-instrumentalist’s position as an uncompromising, wildly-talented, high-integrity music maker, the record was seen as her finest to date. The studio album “Uh Huh Her” appeared in 2004 in which Harvey played every instrument on the album, followed by “White Chalk” in 2007. Winning her second Mercury Prize, PJ Harvey’s eighth studio album “Let England Shake” was released in February 2011.

Live reviews

I had never heard that many songs by PJ Harvey when I saw her live. A friend of mine had an extra ticket, and she was like, "You should come. You won't regret this." She played a few PJ Harvey songs for me before we left, and I thought "Ok, I guess I'll go." I had nothing else to do that night so I went, and my life was forever changed! PJ Harvey is this quirky, indie rock, folk rock singer whose magic doesn't translate until you see them live.

When I saw her in 2012, it was a few months after her album "Let England Shake." She had a long black feather in her hair and a magnetic personality. Her voice had this fanciful energetic quality to it that echoed into the entire crowd, which was pretty amazing coming from such a tiny singer.

One of the reasons, I think she's so awesome as a singer live is because she's a great improvisational singer. No rendition is exactly the same as the other, I could tell.

She yodels; she plays the autoharp; she sings earnestly. I've never seen a singer, who so completely trusts her audience, and when I say trust I mean she trusted all of us to hear the music, to appreciate it without the added distractions that contemporary singers add to their performances.

She sang from the heart. She sang her truth, and the entire experience was magical, mellow and contemplative. I like to go to performances, where I can just chill and feel the whole world around me transported to me through music. She moved me profoundly.

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PJ Harvey is one of Britain's most critically acclaimed artists having won the Mercury Prize award twice. She also holds an MBE for her services to music, so clearly she is rather adored in her homeland. One would not imagine her as a festival act, yet when she stepped onto the Bestival stage following the release of 'Let England Shake' the crowd erupted in cheers.

An eccentric through and through, the multi-instrumentalist made sure the crowd were continuously involved within the show. Constant interaction kept the growing number of revellers engaged as Harvey ran through a sort of career smorgasbord setlist for those who were not familiar with her work. Performing a bold rendition of the title track from 'Let England Shake', she swiftly moved on to earlier material such as 'The Devil'.

Her ability as an artist is applaudable and there is no real variation from the high quality of work in this variable setlist. The emotive way in which PJ delivers her personal sonnets is captivating as you imagine it must be exhausting to continuously lay your soul bare onstage for thousands to see.

Unfortunately, I found the pictures to be the best of the show. Second was PJ's music, but I wasn't blown away by it... It's a pity to say so, but I feel like she stood still in her style, and I feel no surprise as with 'This is England'.

Finally, the American woman leading the show annoyed me with both her pace and her ongoing praise, which felt like a forced feeding to me. I want to like things myself, because I judge them myself, not because someone else repeatedly talks about how great, unique, and special they are.

In general, I was disappointed by the whole show, not the least because listening to PJ's poetry would have been nicer to experience, read by someone else.

I feel really sorry to express my disappointment, but when I would have loved the show, I would have told so as well...

I think this was one of her best performances i've ever seen. PJ Harevey was superb! The band behind her are extraordinary and i loved that she individually introduced them half way through the set. Her voice was exquisite and it was fascinating to see how she dealt with a couple of awkward situations, making everything more intimate and special (the night we saw her) And her outfit was wonderful. I think Brixton Academy is the perfect setting for this kind of gig, particularly the sound system and I’m quite fussy. Absolutely LOVED the show

The majority of the songs she sang were from her last two albums, but she also did some of her classics such as 50 Ft Queenie, Down By The Water, When Under Ether... The band was so perfect and PJ was so full of energy. It was such a dynamic gig, she also stated herself that it was 'wonderful' to be in Istanbul. The audience was so pleased by the performance, almost every song was sung by hundreds. Even after the encore 'Near the Memorials of Vietnam and Lincoln' the crowd didn't dissolve, they eagerly clapped, cheered and asked for more.

What a fabulous show by a fabulous artist and band. the Shrine is magnificent venue; sort of a cross between a factory and a giant European church with great acoustics.

we got in a little late because parking near USC is impossible. but once in we were in heaven.

my favorite was To bring you my love. the best. and by the way, it plays on Peaky Blinders.

dont know her work as well and i should and no music critic but she was in great voice, the band amazing.

well worth going

they need to sell merch!

Energetic. If you like PJs most recent work,The Hope Six Demolition Project and Let England Shake, this concert pleased. John Parish was on hand along with about 6 additional band members, supplying lots of percussion and guitar. PJ was in fine singing form. Show went about an hour and 10 minutes and then a 10 minute encore. Only minor disappointments were the venue and the lack of more early material to balance the new material.

She is perhaps my favourite artist of all time, love all her records, and saw her last time she was in amsterdam. unfortunally her last record of 2016 only has one good track, in my opinion. In her concerts she plays 95% of the time the songs from her last album, then one or maybe two of older songs, therefore I would not recommend to go to her 2016 tour. Such a pity... hope next album is awesome again.

An absolutely mesmerising performance.

Performance is definitely the correct word, the show was the most perfect Edinburgh Festival evening I can remember.

Largely featuring music from the Hope Six Demolition Project but with a selection of classics from her back catalogue, the audience could not help but be entranced.

The only regret we had was that we were not able to go both evenings.

Fabulous and distant, always in charge of everything. A great band, two hours of concert and several interesting moments. The set-list, is exactly the same of the whole tour, includes songs like 'To Bring You My Love', 'Donw By The Water' and 'Shame' in addition to the themes of his last albums. She is unique.

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PJ Harvey Schedules First North American Tour in 7 Years, Shares New Music Video

PJ Harvey has announced her first North American tour in seven years. Harvey, who released her Grammy-nominated tenth album  I Inside The Old Year Dying in July 2023, will perform 16 shows across the continent between September and October 2024. Read on to see which towns and venues she will play in. Tickets go on sale Friday, March 1 and can be accessed here .

Harvey will be joined onstage by I Inside The Old Year Dying producer John Parrish, plus bandmates Jean-Marc Butty, Giovanni Ferrario, and James Johnston.

In addition to the tour, Harvey shared a new music video for “Seem An I.” The video was directed by Oscar-nominated Irish screenwriter and director Colm Bairéad. It also stars actor Ruth Wilson. The video was shot at Kennel Farm outside Salisbury, Wiltshire, according to a release. Watch the video for “Seem An I” below.

PJ Harvey North American Tour Dates Autumn 2024:

9/11 – Washington, DC – The Anthem 9/13 – Philadelphia, PA – The Met 9/15 – New York, NY – Terminal 5 9/16 – New York, NY – Terminal 5 9/18 – Boston, MA – MGM Music Hall Fenway 9/21 – Montreal, QC – Place Bell 9/25 – Toronto, ON – History 9/26 – Toronto, ON – History 9/28 – Detroit, MI – Masonic Cathedral Theatre 9/30 – Chicago, IL – The Salt Shed 10/02 – Minneapolis, MN – Palace Theatre 10/06 – Seattle, WA – The Paramount Theatre 10/07 – Portland, OR – Theater of the Clouds 10/10 – San Francisco, CA – Masonic 10/11 – San Francisco, CA – Masonic 10/14 – Los Angeles, CA – Greek Theatre

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PJ Harvey Announces First North American Tour in 7 Years and Shares ‘Seem an I’ Video

A year after PJ Harvey released her tenth studio album, the art rock icon is hitting the road.

Harvey, 54, announced on Monday, February 26 that she will perform in support of 2023’s I Inside the Old Year Dying , the album adapted from her epic poem, Orlam (published in 2022). The tour begins in June in Barcelona, Spain, before snaking its way throughout Europe. In August, Harvey will touch down stateside to play The Anthem in Washington D.C., kicking off her first North American tour in 7 years.

With 16 North American dates total, Harvey will hit Philadelphia, New York and Boston from there before going to Canada to play Leval, Quebec, and Toronto, Ontario. She’ll return to the U.S. by way of Detroit before hitting cities like Chicago, Seattle, and San Francisco.

Along with the tour announcement, Harvey shared the music video for “Seem an I.” The picturesque visual was directed by Colm Bairéad ( The Quiet Girl, The Joy ) and features actress Ruth Wilson ( The Affair, Luther, His Dark Materials) running across the landscape of England’s Kennel Farm.

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“Ruth and I became friends after working together on Clio Barnard’s film Dark River ,” said PJ Harvey in a press statement. “I have always greatly admired Ruth’s work as an actor, so I had long harbored a dream that we might work together again in some way. When the opportunity to work with Colm Bairéad came up I knew him to be a director Ruth thought highly of, as I did, so it felt right to ask her if she would star in the film. I find the resulting short film beautiful and moving for having Ruth’s magical presence and Colm’s unique vision.”

“I have always been a huge fan of PJ, so it was a great privilege to work alongside Colm and Polly [Jean Harvey] to bring ‘Seem an I’ to visual life in this mysterious and hypnotic short film,” added Wilson in the statement. “There is no better way to spend a day in the magical world of PJ Harvey.”

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Havey began her career in the late 1980s as a part of the British band Automatic Dlamini. She formed an eponymous band in 1991 with Rob Ellis and John Parish . After two albums, the trio disbanded. Harvey continued as a celebrated solo artist, often collaborating with Parish and other like-minded musicians.

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She became an icon of the alternative and underground music scene with albums like 1993’s Rid of Me a nd 1995’s To Bring You My Love , the latter of which contains “Down by the Water,” her highest charting song on the U.S. Alternative charts. In 1994, Harvey appeared alongside her fellow alternative icons Bjork and Tori Amos on the cover of British magazine Q , Though the feature helped establish PJ Harvey as a powerhouse in the public eye, the feature’s title (“Hips. Lips. Tits. Power.”) angered many, with some fans calling it misogynistic.

I Inside the Old Year Dying is Harvey’s tenth album, her first since 2006’s The Hope Six Demolition Project . It earned Harvey a Best Alternative Music Album nomination at the 2024 Grammy Awards. Critics praised the work, with The Guardian calling the project “eerily forbidding, but intoxicating, and easy to lose yourself in.”

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PJ Harvey teases career-spanning 2024 US tour

It looks like a 2024 US tour could be on the way from Harvey

PJ Harvey has teased a career-spanning US tour that could be happening next year.

• READ MORE:  PJ Harvey live in Manchester: a show full of pinch-yourself moments

Earlier this year, Harvey shared her first album in seven years, ‘I Inside The Old Year Dying’. In a four star review of that ,  NME  said it was “an immersive return from a modern master.”

Harvey has been touring the album in the UK and Europe recently and has now hinted at a possible US tour in a new interview with Vulture. In that, Harvey discusses her ongoing European tour while also shining a light on what’s ahead for her in the future.

Speaking ahead of the upcoming UK and European tour, Harvey told the outlet: “It’ll be a look at all of my material over the years, but with a concentration on the latest album…I think it’ll be a really comprehensive show for all ages of PJ Harvey fans,” she said.

“It’s been a great joy, actually, to play some of those earlier songs. I haven’t played many of them live for years. So, I think it’s gonna be a special show for that reason as well.”

The interview noted that the artist had “stateside shows due for fall 2024”, but no further information about these dates are available as yet.

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Earlier this week (October 3), Harvey was joined on stage by  Johnny Marr at her show in Manchester.

The singer-songwriter was performing the second of two consecutive gigs at the city’s Albert Hall as part of  her current UK and European headline tour .

After playing her latest album  ‘Inside The Old Year Dying’ in full, Harvey treated the audience to a second set of songs. “I’d like to welcome a very special guest to the stage – please welcome Johnny Marr,” the artist said ahead of a collaborative rendition of ‘The Desperate Kingdom of Love’. The former  Smiths  guitarist later returned for the encore tracks ‘C’mon Billy’ and ‘White Chalk’.

Following the concert, Marr took to X/Twitter to share an image of himself on stage with Harvey and her band. “Brilliant show by the amazing  @PJHarveyUK  and her magic band,” he wrote. “A real privilege to play those songs. Love ya Polly.”

In a five-star review of the gig ,  NME wrote: “The encore sees the return of…Marr, who joins Harvey for ‘C’mon Billy’ and ‘White Chalk’ – two moments that again silenced the audience. Harvey’s stunning falsetto awes on these songs, after being a frequent scene-stealer all evening. The encore feels like another of those special, pinch-yourself moments. It’s good to have her back.”

Harvey’s 2023 UK and European tour kicked off in Dublin last month . The date marked her first live show in six years. While the UK tour has now ended, it’s resumed this weekend in Europe

Check out the full schedule below and purchase any remaining tickets here .

OCTOBER 09 – Cirque Royal, Brussels 10 – Cirque Royal, Brussels 12 – Olympia, Paris 13 – Olympia, Paris 15 – Volkshaus, Zurich 16 – Volkshaus, Zurich 18 – Velký sál Lucerna, Prague 19 – Velký sál Lucerna, Prague 21 – Admiralspalast, Berlin 22 – Admiralspalast, Berlin 24 – Palladium, Warsaw 25 – Palladium, Warsaw 27 – Falkonersalen, Copenhagen 28 – Falkonersalen, Copenhagen 30 – Sentrum Scene, Oslo 31 – Sentrum Scene, Oslo

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PJ Harvey Changed Her Mind About Touring

PJ Harvey has achieved one of music’s rarest feats: a water-tight discography with few weak spots and little repetition. The lone throughline in her work is a desire to convey multiple states at once, collapsing the boundaries between dreaming and waking, euphoria and melancholy, life and death. For three decades, that approach has received unwavering adulation from fans, critics, and peers. Kurt Cobain listed Dry as one of his all-time favorite albums; three of her LPs ( Rid of Me, To Bring You My Love, Stories From the City, Stories From the Sea ) appear on Rolling Stone ’s list of 500 Greatest Albums of All Time ; and she is the only artist to have won the U.K.’s prestigious Mercury Prize more than once.

Now in her early 50s, Harvey is bringing life to imagined worlds that resemble modern folklore, inhabited by characters rich with contradictions and duality — no more so than on her latest album I Inside the Old Year Dying , one of her strangest and most ambitious achievements yet. The project is a musical extension of 2022’s Orlam , an epic coming-of-age poem that Harvey composed over the span of eight years. Written largely in Dorset dialect, it chronicles a year in the life of its 9-year-old protagonist Ira-Abel, a West Country girl who encounters perverse horrors, spectral magic, and horny goats and gods in the English countryside.

While Harvey originally intended to turn her poem into a piece for the theater, the words took on a new life when she applied them to piano and guitar. That rush followed a period of musical silence from Harvey. The exhaustion caused by her last tour in 2017 had prompted an existential reckoning, and she wondered whether she’d lost her touch or if her love for music had dwindled. Now, as she prepares for her first tour in six years — with stateside shows due for fall 2024 — Harvey seems to have refound her purpose: “I feel excited and ready and confident that the show is a strong one.”

You originally envisioned Orlam as a piece for the stage. Are you bringing any of those ideas to the I Inside the Old Year Dying tour? This show with my band isn’t really connected to Orlam . I think that I Inside is a strong piece of work that stands on its own. I don’t think that that piece needs Orlam to be understood and so we’re really presenting the album as well as my back catalog of songs. It’ll be a look at all of my material over the years but with a concentration on the latest album.

How far back does the catalog stretch on the setlist? Oh, back to album one. I think it’ll be a really comprehensive show for all ages of PJ Harvey fans. It’s been a great joy actually to play some of those earlier songs. I haven’t played many of them live for years. So I think it’s gonna be a special show for that reason as well.

How has it been embodying the voices of early PJ? Were you able to jump right back in? Not all the time, so I had to choose the songs quite carefully. I worked very closely with John Parish, who’s been my right-hand man for 30 years. John and I chose what we felt worked well with I Inside in terms of lyrical content and musicality so that the evening has a certain feel to it and doesn’t lean into lots of radically different fields. But I think over the evening, it will be a very slow progression. A sort of gradual change occurs rather than lots of greater changes all the way through.

Have you thought at all about what your relationship with the audience will be like on tour? Do you have any expectations for a post-pandemic audience? It hadn’t even occurred to me to think of it in a different way. But you’re right in flagging it because I do think it’s taking us quite a long time to adjust to going out into crowds again. I say that because even myself, going out to crowded theater shows or concerts recently, I sense that people are still a little bit cautious.

The only way I might be performing a little differently is purely through getting older — 2017 was my last tour and now I’m at that age where your body changes, and it has different needs, and it can cope with different things in greater or lesser degrees. So I’m looking after myself now as a 53-year-old and that will change the show. But there are wonderful things too, in that my voice is actually better than it’s ever been. I think that is one of the lovely things about getting older as a singer, your voice discovers new depths and greater soulfulness because as we get to know ourselves better, we get more comfortable and accepting of ourselves. The voice is an instrument that you carry with you inside and it’s affected by emotion.

That’s a phrase you’ve used a lot in your latest press cycle: “As I get older.” I’m curious to know whether there was a certain event or marker in time that made you realize, Okay, this is it; I’m in the “older” part of my life now.  It’s funny, I suppose turning 50 is quite a big one. I remember the other one was turning 30. That felt like a milestone to me. I’m not sure when my next one will be — 65, maybe. But I also remember thinking on the last tour: Gosh, it’s taking me longer to recover after a show than it used to . So I noticed it then in quite a big way. When I was a younger woman, I could spring back easily because a show takes a lot out of you. It’s an hour and a half of movement and singing, and singing requires a lot of energy and a lot of use of the diaphragm muscle and all the stomach muscles. So you have to be really fit. And then you put movement and dancing on top of that. I mean, I’m so glad I’m not a dancer or a tennis player because their lifespan can be, you know, a lot less than a singing performer.

Do you see any parallels between childhood and getting older? It seems you’ve refound the kind of joy and creative capacity one might have had as a child. Ah, I think so, especially going into Orlam and the writing of it. Obviously, I had to draw a lot on childhood memory, but I also spent a lot of time reading other books that do similar things. And I think it did take me back to my childhood feelings and imagination. But also, as a creative artist, you never stray too far from that, because the life you have to go into in order to create has to be quite childlike and playful.

It’s such a joy to read Orlam aloud. I feel like I’m put into that childlike state when I read the Dorset dialect; I instinctively understand the words, despite not quite having a context for them. I’d love to hear you talk about your role in the preservation of the dialect. I don’t want to sound too highfalutin, but I did feel it was important to carry on the tradition and not let this dialect die out. I love language and I love dialects from all countries and from all counties. I think it’s absolutely fascinating how words have evolved and changed over so many years. So to even have a small part in trying to keep this alive is really important to me, and I’ve been so happy to see how many people have enjoyed Orlam and have become interested in that part of the world.

Do you remember the first poem you ever wrote? I do. I think it was about my friend Cindy. I had obviously fallen out with her. It was a poem about “I hate Cindy because she is mean;” it was something about shoes as well. I’d also write poems about our animals, our cats, and our sheep. It was when I first learned to write. We used to have these little books at our first school when I was 5 or 6. They had lines at the bottom and a blank space at the top, so you could do a little drawing and you could write a few words. And I loved this book. I carried it around with me while playing in the garden or in the woods. Wherever I was I was making little drawings and writing little poems. I’ve still got it because my dear mum saved everything myself and my brother ever did. I treasure it.

Would you ever want the public to see these early poems? Well, I’m putting together an art exhibition, which we hope to present sometime next year or the year after, but it’s pretty much going to show everything I’ve ever drawn. And I actually find that quite lovely.

Back to the tour. Do you have an outfit planned? Yes, I’ve been working with a designer that I’ve worked with for many years. His name is Todd Lynn. And I first started working with him in 2001. I think the first outfit he made for me was the leather suit that I wore in the “ This Is Love” video . It’s like a beautiful sort of tailored leather Elvis jacket with fringes. He and I became friends after that. This is the first tour that we’ve done together. We’ve come up with an evolution from the dress that you see on the back of the I Inside album cover. So there are different themes on that dress for this tour.

I believe I might have spotted a safety pin on that dress, which made me think about how keen you’ve been in recent years to show the early drafts of your work, whether that’s been recording an album in front of a live audience or releasing your demos . Why do you feel it important to expose the creative process as well as the final product to your audience? It’s not even something I contrive to do; it just happens. You know, I think that I feel more comfortable now than I used to as a younger artist, but I like showing the process because there’s often quite a journey to get from one place to another. I mean, you see it in the poetry drafts. It’s a lot of work and a lot of time. I also think it can be useful to younger artists to see that process.

Going back to the costumes, Todd and I decided that we almost wanted to present what would be the first draft of the costume. So for instance, the back of the album dress is like the first draft. It’s a tulle. It’s made in very cheap material, and we’ve continued that theme into the actual dress that I’m wearing on stage. I think there is something beautiful about showing this sort of skeletal process behind it all.

I’m curious to know what will be on your mind as you try to recreate the voices and embody the characters of I Inside . Will you be thinking about the conditions that were created for you in the studio, for instance? No, I always think of the story I’m telling. I worked for years with a wonderful theater director called Ian Rickson. I worked on soundtracks for his theater plays and then we became greater friends and developed a deeper, collaborative relationship. From Let England Shake onwards, he’s directed my live shows. Something I’ve learned from observing him directing, not only actors but also myself, is that if you visualize something in your head while singing it, the audience will see it.

Do you see “PJ Harvey” as a separate character, someone distinct from yourself? No, everything feels very me. I don’t feel like I have to embody a different person. But like an actor, I can inhabit different characters to portray the vehicle of the song like an actor would portray a character in a film. So it doesn’t mean I’m not Polly doing that.

It was on your last tour that you had this big reckoning of “Do I even want to do this anymore?” Now that you’ve been through that, do you feel more purposeful going into this one? I do. I think I had to go through that questioning. I had to ask myself: Is this still the thing that feels best to put my energies into, and is it the best contribution I have to give? And I think the answer is yes. I think that’s been shown to me during rehearsals and during the making of the new album, where I felt sort of in the place I should be and doing the thing I can do best in this world.

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​PJ Harvey tour dates: 36 concerts in 14 countries

About pj harvey.

Polly Jean Harvey MBE (born 9 October 1969) known as PJ Harvey, is an English musician, singer-songwriter, writer, poet, and composer. Primarily known as a vocalist and guitarist, she is also proficient with a wide range of instruments. Harvey began her career in 1988 when she joined local band Automatic Dlamini as a vocalist, guitarist, and saxophone player. The band's frontman, John Parish, would become her long-term collaborator. In 1991, she formed an eponymous trio and subsequently began her professional career. The trio released two studio albums, Dry (1992) and Rid of Me (1993) before disbanding, after which Harvey continued as a solo artist. Since 1995, she has released a further nine studio albums with collaborations from various musicians including John Parish, former bandmate Rob Ellis, Mick Harvey, and Eric Drew Feldman and has also worked extensively with record producer Flood. Among the accolades she has received are the 2001 and 2011 Mercury Prize for Stories from the City, Stories from the Sea (2000) and Let England Shake (2011) respectively—the only artist to have been awarded the prize twice—eight Brit Award nominations, seven Grammy Award nominations and two further Mercury Prize nominations. Rolling Stone awarded her 1992's Best New Artist and Best Singer Songwriter and 1995's Artist of the Year, and listed Rid of Me, To Bring You My Love (1995) and Stories from the City, Stories from the Sea on its 500 Greatest Albums of All Time list. In 2011, she was awarded for Outstanding Contribution To Music at the NME Awards. In June 2013, she was awarded an MBE for services to music.

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PJ Harvey Announces Tour, Shares Video for New Song “I Inside the Old I Dying”: Watch 

By Evan Minsker

PJ Harvey has shared the new song “ I Inside the Old I Dying ” from her forthcoming album, I Inside the Old Year Dying . It arrives with a new animated video directed by Cristóbal León and Joaquín Cociña, who describe the visual as “a short story about love, death, and resurrection.” Harvey has also announced a tour of the United Kingdom and Europe. Watch the video and find her tour itinerary below.

“This delicate and beautiful song eluded us until the very last day in the studio,” Harvey said in a statement. “Over the previous five weeks we had tried so many times to capture it and failed, and/but then John [Parish] reinvented the feel of the guitar pattern. As he was demonstrating it in the control room, Flood handed me a microphone and pressed record whilst I sat next to John trying to work out how to sing to it. The result somehow captures the ethereal and melancholic longing I was looking for. In the lyric everyone is waiting for the savior to reappear—everyone and everything anticipates the arrival of this figure of love and transformation. There is a sense of sexual longing and awakening and of moving from one realm into another—from child to adult, from life to death and the eternal.”

The new album is out July 7 via Partisan . The follow-up to 2016’s The Hope Six Demolition Project features the previously shared single “ A Child’s Question, August .”

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09-22 Dublin, Ireland - 3Olympia Theatre 09-23 Dublin, Ireland- 3Olympia Theatre 09-25 Glasgow, Scotland - Barrowland 09-26 Glasgow, Scotland - Barrowland 09-28 London, England - Roundhouse 09-29 London, England - Roundhouse 10-02 Manchester, England - Albert Hall 10-03 Manchester, England - Albert Hall 10-06 Amsterdam, Netherlands - Paradiso 10-07 Amsterdam, Netherlands - Paradiso 10-09 Brussels, Belgium - Cirque Royal 10-10 Brussels, Belgium - Cirque Royal 10-12 Paris, France - Olympia 10-13 Paris, France - Olympia 10-15 Zurich, Switzerland - Volkshaus 10-16 Zurich, Switzerland - Volkshaus 10-18 Prague, Czech Republic - Velký sál Lucerna 10-19 Prague, Czech Republic - Velký sál Lucerna 10-21 Berlin, Germany - Admiralspalast 10-22 Berlin, Germany - Admiralspalast 10-24 Warsaw, Poland - Palladium 10-25 Warsaw, Poland - Palladium 10-27 Copenhagen, Denmark - Falkonersalen 10-28 Copenhagen, Denmark - Falkonersalen 10-30 Oslo, Norway - Sentrum Scene 10-31 Oslo, Norway - Sentrum Scene

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PJ Harvey Pays Tribute to Steve Albini: ‘He Taught Me So Much About Music, and Life’

By Daniel Kreps

Daniel Kreps

PJ Harvey paid tribute to Steve Albini , who she recorded her acclaimed second album Rid of Me with, following the death of the noise-rock pioneer .

“Meeting Steve Albini and working with him changed the course of my life. He taught me so much about music, and life. Steve was a great friend – wise, kind and generous. I am so grateful,” the singer wrote on social media after Albini’s death at the age of 61. “My thoughts are with him and his family and friends as we suffer his loss.”

View this post on Instagram A post shared by PJ Harvey (@pjharveyofficial)

A year after her 1992 debut album Dry , Harvey enlisted Albini for her sophomore LP after hearing his work with Pixies and the Breeders. “His sound just sounds like a band. He’s the only person I know that can record a drum kit and it sounds like you’re standing in front of a drum kit,” Harvey told MTV’s 120 Minutes at the time . 

Recorded in less than two weeks at Albini’s then-go-to Pachyderm Studios, 1993’s Rid of Me would ultimately be regarded as Harvey’s masterpiece and land on Rolling Stone ’s 500 Greatest Albums list , where we noted “the intense dynamic shifts in her music, which careen from blues to goth, often in the space of one song. Harvey was under the influence of Howlin’ Wolf, Tom Waits, and Flannery O’Connor, and her singing, writing, and lead-guitar playing coalesce into something marked by flames. The lyrics have lots of licking, moaning, bleeding, stroking, open mouths, and dismembered body parts. The songs spew viscera as they build to a sticky ecstasy.”

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Nirvana, PJ Harvey, and the Pixies: Bands influenced by the late Steve Albini

PJ Harvey 2024 North America tour: Everything you need to know

P opular English musician PJ Harvey recently announced that she will be giving up her almost-decade-long hiatus from North America. A career that began way back in 1988, PJ Harvey is a multiple Mercury Award winner. She has been nominated for a total of 8 times for the Brit Awards and also has a total of 8 Grammy nominations.

Announcing alongside her hotly anticipated album called I Inside the Told Year Dying which came out in September 2023, Harvey also announced her first North American tour in almost 10 years. Starting on September 11 in Washington DC, the tour will take her to a range of destinations across the US and Canada and will end with a performance at the Greek Theatre, in LA.

Major cities such as Boston, Chicago, and Philadelphia will be covered. With a range of further details about the tour being revealed recently, we look at everything that fans need to know, about PJ Harvey's upcoming tour.

PJ Harvey's North American tour to kickstart in September 2024

PJ Harvey will be going on tour also for the promotion of the latest album. However, fans have long clamored for live performances , and they will finally be answered. Initially announced in 2023, the 54-year-old musician announced a total of 16 destinations that she will be covering during this tour. It included the following:

• Sept. 11 – Washington, DC @ The Anthem
• Sept. 13 – Philadelphia, PA @ The Met
• Sept. 15 – New York, NY @ Terminal 5
• Sept. 16 – New York, NY @ Terminal 5
• Sept. 18 – Boston, MA @ MGM Music Hall Fenway
• Sept. 21 – Laval, QC @ Place Bell
• Sept. 25 – Toronto, ON @ History
• Sept. 26 – Toronto, ON @ History
• Sept. 28 – Detroit, MI @ Masonic Cathedral Theatre
• Sept. 30 – Chicago, IL @ The Salt Shed
• Oct. 02 – Minneapolis, MN @ Palace Theatre
• Oct. 06 – Seattle, WA @ The Paramount Theatre
• Oct. 07 – Portland, OR @ Theater of the Clouds
• Oct. 10 – San Francisco, CA @ Masonic
• Oct. 11 – San Francisco, CA @ Masonic
• Oct. 14 – Los Angeles, CA @ Greek Theatre

Hence, with multiple major destinations such as the Terminal 5 in New York City and the Masonic Cathedral Theatre in Detroit, fans will be delighted with the vast array of cities they can catch PJ Harvey at. The musician will be supported by a range of other artists. The overall team will include theater director Ian Rickson, set designer Rae Smith, lighting designer Paule Constable and Louisa Smurthwaite, and fashion designer Todd Lynn.

PJ Harvey also promised that the show she has created will be visually stunning and completely immersive. She will also be accompanied by bandmates John Parish, Jean-Marc Butty, Giovanni Ferrario, and James Johnston.

Still, the music on display will be Harvey's own, and the band will only be adding value to her performances, most notably with respect to the recently released I Inside the Told Year Dying .

Set to kickstart in September later this year, further updates for the ticketing and their availability were also revealed.

Tickets will be available on the official website starting this Friday, which means that fans might have to hurry to get their hands on their chosen shows. While there is still a long wait to boot, fans will be delighted with what is PJ Harvey's first North American tour in almost a decade.

Steve Albini's best records, from Nirvana and Pixies to PJ Harvey and Joanna Newsom

Steve Albini, the musician and recording engineer behind some of the most acclaimed albums of the past 30 years, has died of a heart attack . He was 61.

Albini's list of credits is impossibly long and impressive. His work with artists like Nirvana, Pixies, PJ Harvey and Ty Segall, as well as his own bands like Shellac and Big Black, have resulted in some of the most influential records of all time.

His no-nonsense, anti-capitalist attitude towards the music industry has made him a beacon for musicians who want to enjoy a career making art without becoming too entangled with the machinations of the music industry.

His famous The Problem With Music essay , and his letter to Nirvana before they worked together are classic examples of his unique ethos.

Below, we've put together just 10 examples of Albini's greatness as an engineer and musician to help celebrate a truly remarkable career.

Nirvana – In Utero

Perhaps the best-known work of Albini's career was probably also the most contentious. Nirvana's 1993 album is a true modern rock classic, but the path to its release got messier than anyone would have liked.

Albini jumped on triple j not long after its release to chat with Richard Kingsmill about the album and the effect it had on his life at that point, in typically forthright fashion.

"I enjoyed working with them and recording that record quite a bit," he said.

"All of the chaos that ensued with the controversy about the record afterward really was a disgusting example of how control-happy the music industry is. I didn't enjoy that at all."

The chaos he speaks of started when the band's label took issue with the album's abrasive sound, a hallmark of Albini's work that Nirvana had initially wanted to tap into.

Songs were ultimately remixed by slicker producers, to Albini's chagrin, and there was a lot of back and forth about why the record sounded the way it did.

Albini told triple j that, importantly, Nirvana got their way.

"The record that is in the stores now is ultimately the record that the band wanted to be there," he said.

"The band did ultimately get everything that they wanted. They were responsible for picking the songs, the songs that were remixed were remixed at their behest and under their supervision. The mastering was done under their control.

"The record that people are buying in the store is exactly the record that Nirvana wanted them to buy."

However, the experience left a sour taste in Albini's mouth and he admitted he wasn't able to listen to the final product.

"I haven't listened to it at all since it's been released," he said.

"I was quite proud of the job I did on that record before all the chaos started, and then all the yelling and shouting and finger pointing and people saying that I'd ruined their record and stuff. Once that started, it became very difficult for me to even hear those songs and keep my lunch down."

At the time, he felt that working on In Utero would be detrimental to his career as major labels perceived him as difficult to work with.

"There's no chance that I will ever record another big band," he said. "That Nirvana record has effectively ruined my career in that regard. The major record companies are absolutely through dealing with me.

"I did that record in in February and, since then, I haven't had a single telephone call from somebody from a record company asking me to work on a major band. I haven't even had so much as a as a whisper of interest from a big band since then. I'd be very surprised if it ever happens."

Moreso, the types of fledgling bands that Albini had worked with consistently since the beginning of his career began to see him as out of reach after working with the world's biggest rock band.

"The Nirvana record has been pretty destructive in that respect," he said.

"A lot of the smaller bands tend to think that I'm either now part of the big corporate music industry, or they think that because of that record was a success, I am now going to be charging outlandish sums of money to do records and I'm out of their league.

"There are lots of things about it that have been quite negative and quite destructive."

Jimmy Page and Robert Plant – Walking into Clarksdale

The impact of the Nirvana ballyhoo didn't stop the creative forces behind Led Zeppelin, one of the world's biggest rock bands, from enlisting Albini to help them make a rare late-era record.

Jimmy Page and Robert Plant's Walking Into Clarksdale is not their best work, nor is it Albini's, but its testament to the engineer's reputation that these titans of rock'n'roll chose him when they decided they wanted to make a straightforward, stripped back rock record.

"He really caught what was in the room," Plant told Dave Grohl for Ray Gun magazine.

"He got it all sounding really good in the shortest space of time. Without any pain at all.

"Without him, we wouldn't have made a great record."

Pixies – Surfer Rosa 

The album that essentially drafted the alt-rock blueprint and cemented the Pixies and Albini's names in the history books.

The quiet-loud dynamics, the surreal songwriting, the gritty, experimental flourishes — it's all here on a record whose influence extended to luminaries like Kurt Cobain, Smashing Pumpkins, Radiohead, David Bowie and well beyond.

But Surfer Rosa had humble beginnings, with a simple suggestion from the head of Pixies' label, 4AD, they should link up with the frontman for underground Chicago faves, Big Black.

"We met Steve Albini at a coffee shop and that was it, we were in the next day," guitarist Joey Santiago told Guitar.com in 2018. "We were excited to get the Pixies on the map."

The band were confident in the road-tested material that would make up their full-length debut, "it just had to get captured in an exciting sense, and Albini was a pretty damn good choice."

That's the understatement of the century.

Albini's no-nonsense recording philosophy was a perfect match for Pixies' offbeat song-craft. His approach was exacting, prioritising authenticity above all else while still getting gnarly guitars, pummelling drums, spontaneous takes and rendering plenty of actual space between it all.

Surfer Rosa was certified proof you didn't need a fancy studio or effects to craft a classic. Kim Deal's vocals for 'Gigantic' and 'Where Is My Mind?' — two of indie rock's most enduring anthems — were recorded in a cement-lined bathroom.

Holed up at Boston's Q-Division studio, Surfer Rosa was recorded in just 10 days. That "seemed lavish by my standards," Albini told the Life of the Record podcast in 2023 , adding with a chuckle: "Having more than a week to make a record just seemed like an absurd luxury in my mind.

"Get in, spit on your hands, make the record and get out, you know, like that's my entire work ethic. [It is] kind of hardened into that way of thinking."

Albini charged a fee of US$1,500 and declined to take royalties, a rule he lived by his whole career because he deemed it "unethical" to make money from artists' work in perpetuity.

Living by those same rigorous standards and a deep disdain for commercial music practises also led to him disowning the album that first cemented his legacy.

In a 1994 issue of fanzine Forced Exposure, he dismissed Surfer Rosa as "a patchwork pinch-loaf from a band who at their top dollar best are blandly entertaining college rock".

However, he'd later walk back his comments and apologised.

"I'm ashamed of the way I treated [Pixies]. They didn't deserve that," Albini told Life of the Record.

"At the time, I had all of these like conflicting intellectual perspectives on it, and I couldn't just listen to it for its effect. And now when I hear it as a finished record, I think it sounds very good and I think the band sounds very good and I don't find a lot to criticise."

Nearly 40 years later, very few music scholars can either.

PJ Harvey – Rid of Me

When Albini was approached by Nirvana to work on In Utero, he sent them a copy of Polly Jean Harvey's second album Rid Of Me.

"Kurt told me very specifically that he thought Polly's voice was great on those recordings," Albini told SPIN magazine in 2013. "He was a fan."

It's easy to trace a sonic line between the two albums. Rid Of Me is easily the toughest and most intimidating PJ Harvey has ever sounded. It's a bracing, feminist statement where the band's punk thrashing is augmented by Albini's abrasive, stormy work behind the desk.

"I really wanted that very bare, very real sound. I knew that it would suit the songs," Harvey said. "It's like touching real objects or feeling the grain of wood. That's what his sound is like to me. It's very tangible. You can almost feel the room."

The bulk of the album was knocked out in three days, giving an intensity to the likes of the burly 50ft Queenie and the searing Man-Size.

"I have found that records don't get better if you work on them longer. They get better if you work on them with more attention," Albini said.

His approach was "to set the band up completely and let them perform normally, then record as it happened."

It's easier said than done but the no-nonsense results speak for themselves.

On the unsettling, cool-as-f**k title track it's as if you can hear Harvey stalking the studio. Impossibly, she hisses "Lick my legs, I'm on fire", from behind while battering you from the front: "Don't you wish, you never, never met her?"

The Jesus Lizard – Goat

One of Albini's longest standing relationships was with The Jesus Lizard, who first teamed up with the engineer when they moved to Chicago in the late 1980s.

"If I had to place money for who is the best rock band in the world right now, it would be The Jesus Lizard in all categories," Albini told Richard Kingsmill on triple j in 1993.

On Goat, the band's second album, the band's tense and ferocious brand of noise-rock cuts deep. The sneering attitude of David Yow's expressive voice the perfect complement to the band's rumbling rhythm section and searing guitar.

His work with this band no doubt helped Albini link up with bands of a similar ilk, with everyone from The Mark Of Cain to Fugazi to Mclusky choosing to enlist Albini to help them make records with a similar menace.

While he loved their music and live show, Albini was equally as impressed with the band as people, believing they had the foresight to ensure a strong independent future by learning from bands who'd gone before them.

"The fact they've been so good for so long is just testament to the calibre of people they are really," he said.

"In the years they've been around, they've seen many bands that are their contemporaries sign to major labels and be destroyed by the process. They've learned from other people's mistakes."

Shellac – 1000 Hurts

Shellac only made six albums in the 30 years they were together (their sixth, To All Trains, is out this Friday) but every one of them was a brilliantly pummelling display of terrifying rock'n'roll.

Like much of the music Albini made as a musician, 1000 Hurts is both proficient and primal. While the sinewy three-piece lock in together with apparent ease, the noise they make is constantly tense and often abrasive.

Lyrically, Albini's anger and sadness is palpable as he processes the death of his mother, and dreams about revenge, making for plenty of uncomfortable moments.

Savages front woman Jehnny Beth says it was 1000 Hurts that made her want to become a bassist, and that she learnt how to play the whole album from start to finish.

"I love everything about Shellac," she told Uncut magazine in May 2020.

"It's everything I like about music and the way to approach music.

"I've heard a lot about Steve Albini and how he records music: the idea is that it's a performance, and if you capture something that's unique then you will sound unique."

Dirty Three – Ocean Songs

Long before he became Nick Cave's closest collaborator, Warren Ellis was the weirdy, beardy violinist out front of Dirty Three, conjuring electric instrumentals with guitarist Mick Turner and drummer Jim White.

Currently back in action on tour with their first album in a decade , the group's recorded their fourth album, Ocean Songs, at Albini's Chicago studio, Electrical Audio.

During the recording, "Steve Albini gave me some words I live by" Ellis recalled in an Instagram tribute to the famed production engineer.

"We were lost in the middle of recording and about to give up. We were trying to make a quiet album and we were anything but quiet," He wrote.

"Steve recognised the creative struggle. 'Don't forget what you came in here to do'. [The] album's existence as it is, is down to his advice in a fragile moment of doubt. I think of this advice most times I am in the studio. A gentleman and pleasure to work with."

Toning down their turbulent tempos and distorted violins for the first time, Ocean Songs instead ventures into the eye of the storm, upping the atmosphere in evocative, sometimes fragile music that expresses something words never could.

While Dirty Three captain the ship, Albini's presence is felt in the stern and rudder, gently guiding and capturing three musicians at their most elemental, deeply tapped into crafting 'Authentic Celestial Music' — as the album's centrepiece is titled.

Albini may have worked with several Australian acts — The Mark of Cain, My Disco, Purplene and Sleepwalks among them — but there's a reason Dirty Three is the first one people think of.

Joanna Newsom – Ys

On paper, Ys seems like a record well outside Albini's raw, noisy wheelhouse. Joanna Newsom's ambitious second album is a collection of five lengthy orchestral folk pieces with lush arrangements from Van Dyke Parks and mixing by Jim O'Rourke.

While Newsom enlisted producer Tim Boyle to record the backing orchestra, she chose Albini to commit her vocals and harp to tape.

"I was in this small room with Steve Albini and nobody else, and I was playing the songs exactly as they are, and it was a pretty intense time," she told The Wire in 2006.

"I had it candlelit, in the dark with just candles and conjuring up these pretty insane moments that I had been experiencing."

"My task was a really straightforward one," Albini told Mel Bampton on The Producers Series in 2007.

"I gotta say, she tore ass on that thing. She's one of the best musicians I've ever worked with. It's an unwieldy instrument, really difficult to control and she has that thing down."

Albini even got to try out a few new microphone techniques "as a means of capturing all the subtleties of the instrument. It worked out pretty well, I was pleased."

Indeed, Newsom's haunting presence and playing anchors the album's sweeping, symphonic compositions.

"It was a joy working on that record," Albini said. "She's a terrific player, she sings like an angel, everything about it was great."

The feeling was mutual. Newsom later called Albini "pretty much the best producer in the world" and reunited with him for 2015's Divers.

Cloud Nothings – Attack On Memory

The Cleveland band had released records before Attack On Memory but it was the first Cloud Nothings album that truly mattered, making multiple end of year lists.

It has all of Albini's fingerprints — a spacious recording that sounds truly alive, making the dynamics all the more explosive — but credit must go to frontman Dylan Baldi's nervy, hooky songwriting. His throat-shredding yelps and infectious riffs leap out at you.

From moody opener 'No Future/No Past' to the triumphant 'Stay Useless' and epic, cathartic 'Wasted Days', the album is another stellar example of how Albini would just let a band play like they do live and allow us to bask in the raw, urgent afterglow of that synergy.

That famously hands off approach was quite literal.

"Steve Albini played Scrabble on Facebook almost the entire time [we were recording]," Baldi told Pitchfork in 2012.

"He would alternate between that and writing on his food blog. I don't even know if he remembers what our album sounds like."

In a Reddit AMA, Albini explained it wasn't disinterest but a form of disciplined attention.

"When I first started making records I would sit in front of the console concentrating on the music every second. I found out the hard way that I tended to fiddle with things unnecessarily and records ended up sounding tweaked and weird. I developed a couple of techniques to avoid this, to keep me from messing with things while still paying attention enough to catch problems."

In any case, there was no hard feelings. Cloud Nothings reunited with Albini for 2020's The Black Hole Understands and were among the first acts to share an online tribute to the late, great producer.

Songs: Ohia – The Magnolia Electric Co

The relationship between Albini and singer-songwriter Jason Molina was particularly special, evidenced in the way the engineer could make the singer's heart-wrenching songs sound as pained as the words on the page.

They first worked together on Molina's final album as Songs: Ohia, 2003's The Magnolia Electric Co., a classic album of beautiful yet tortured Americana that sounds like no one else.

"Just his natural talents were remarkable," Albini told the Better Yet podcast in 2019.

"He had a beautiful voice and a way with words that allowed you to imagine that the words meant far more than they actually did. His delivery, his choice of words, the imagery in his songs, all of it was unique to him."

Albini's hands-off approach gelled beautifully with Molina's way of working. The engineer understood that the musician was looking for something deeper than perfection.

"There is a class of artist that is more interested in surprising themselves and having the experience of discovery than they are in meticulously crafting something," Albini said.

"Someone like Bob Dylan, or Will Oldham, or Jason Molina, they're okay with it coming out bad. The whole point of it isn't to do something that is objectively good, the point is to do something that's meaningful on more than one level."

Head to the ABC listen app to hear interviews with and tributes to Steve Albini. 

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'brilliant mind, great artist': alt rock pioneer steve albini dies aged 61.

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Legendary musician, producer Steve Albini dead at 61

Producer for pixies, nirvana died after heart attack, says engineer at albini's studio.

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Steve Albini, an alternative-rock pioneer and legendary producer who shaped the musical landscape through his work with Nirvana, the Pixies, PJ Harvey and more, has died. He was 61.

Brian Fox, an engineer at Albini's studio, Electrical Audio Recording, said Wednesday that Albini died after a heart attack Tuesday night.

In addition to his work on canonized rock albums such as Nirvana's In Utero , the Pixies' breakthrough Surfer Rosa , and PJ Harvey's Rid of Me , Albini was the front man of the underground bands Big Black and Shellac.

He dismissed the term "producer," refused to take royalties from the albums he worked on and requested he be credited with "Recorded by Steve Albini," a fabled label on albums he worked on.

At the time of his death, Albini's band Shellac were preparing to tour their first new album in a decade, To All Trains , which releases next week.

Other acts whose music was shaped by Albini include Joanna Newsom's indie-folk opus, Ys , and releases from bands like the Breeders, the Jesus Lizard, Hum, Superchunk, Low and Mogwai.

Albini was born in California, grew up in Montana, and fell in love with the do-it-yourself punk music scene in Chicago while studying journalism at Northwestern University.

As a teenager, he played in punk bands, and in college, wrote about music for the prescient indie zine Forced Exposure. While attending Northwestern in the early 1980s, he founded the abrasive, noisy post-punk band Big Black, known for its mordant riffs, violent and taboo lyrics and drum machine in lieu of a live drummer.

It was a controversial innovation at the time, from a man whose career would be defined by risky choices. The band's best-known song — the ugly, explosive, six-minute Kerosene  from their cult-favourite 1986 album  Atomizer —  is ideal evidence of that, and not for the faint of heart.

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Then came the short lived band Rapeman — one of two groups Albini fronted with indefensibly offensive names and vulgar song titles. In the early '90s, he formed Shellac, a ferocious, distorted noise-rock band that was an evolution from Big Black, but remained punctuated by pummelling guitar tones and aggressive vocals.

In 1997, Albini opened his famed studio, Electrical Audio, in Chicago.

"The recording part is the part that matters to me — that I'm making a document that records a piece of our culture, the life's work of the musicians that are hiring me," Albini told the Guardian last year , when asked about some of the well-known and much-loved albums he's recorded. "I take that part very seriously. I want the music to outlive all of us."

'A heartbreaking loss of a legend'

Albini was a larger-than-life character in the independent-rock scene, known for his forward-thinking production, unapologetic irreverence, acerbic sense of humour and criticisms of what he saw as the music industry's exploitative practices — as detailed in his landmark 1993 essay The Problem with Music  — as much as his talents.

Later in life, he became a notable poker player and apologetic for his past indiscretions.

"Ugh man, a heartbreaking loss of a legend. Love to his family and innumerable colleagues," wrote actor Elijah Wood on X, the platform formerly known as Twitter. "Farewell, Steve Albini."

Author Michael Azerrad, who included a chapter on Big Black in his comprehensive history, Our Band Could Be Your Life: Scenes from the American Indie Underground, 1981-1991 , also posted on X.

"I don't know what to say about Steve Albini's passing," Azerrad wrote. "He had a brilliant mind, was a great artist and underwent the most remarkable and inspiring personal transformation. I can't believe he's gone."

Albini is survived by his wife, Heather Whinna, a filmmaker.

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Steve albini, big black and shellac frontman, dead at 61, steve albini shellac frontman & nirvana engineer dead at 61.

Indie rocker Steve Albini , who was best known for being the front man for the rock bands Big Black and Shellac, has died.

His employees at his Chicago-based studio, Electronic Audio, confirmed the sad news Wednesday ... sharing that the musician's cause of death was a heart attack.

Albini rose to fame in the '80s with his punk rock band, Big Black, which he started alongside guitarist Santiago Durango and bassist Jeff Pezzati . The group was known for controversial lyrics ... and for choosing to use a drum machine over a drum kit. They released 2 studio albums before disbanding in 1987.

Despite his disdain for the term producer, Albini went on to work on several high-profile albums, including the Pixies’ 1988 album “Surfer Rosa” and Nirvana's 1993 “In Utero" album. He also recorded PJ Harvey ’s second studio album, “Rid of Me,” which also came out in 1993.

He famously rejected royalty payments ... asking for a flat fee in most cases -- often criticizing musicians for being in it for the money.

Albini went on to front another rock band, called Shellac ... releasing 5 albums over their tenure together. Shellac was set to release their 6th album next week ... it was their first album in a decade. They were also reportedly planning to tour the album later this year.

Elijah Wood paid tribute to the late music legend on X ... writing ... "Ugh man, a heartbreaking loss of a legend. Love to his family and innumerable colleagues."

The great Steve Albini has died. He engineered some of the greatest albums of all time. Here’s our 2015 talk in remembrance. Rest in heavy peace, Steve. https://t.co/4SadvtH6zG pic.twitter.com/MLGIiome7z — marc maron (@marcmaron) May 8, 2024 @marcmaron

Marc Maron expressed a similar sentiment, noting ... "The great Steve Albini has died. He engineered some of the greatest albums of all time. Here’s our 2015 talk in remembrance. Rest in heavy peace, Steve."

He was 61 years old.

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Steve Albini, Big Black and Shellac Frontman and Nirvana Engineer, Dies at 61

By Jem Aswad

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Steve Albini , a leading light of indie-rock’s sound and morality as frontman of Big Black and Shellac and recording engineer for Nirvana , PJ Harvey and many other artists, has died at the age 61. The news was confirmed to Variety on Wednesday by Taylor Hales, who works at Albini’s Chicago recording studio, Electronic Audio; the cause of death was a heart attack.

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Albini also worked with acts such as the Breeders, Slint, Helmet, the Jesus Lizard, Jon Spencer, the Dirty Three and even former Led Zeppelin members Jimmy Page and Robert Plant on their 1998 album “Walking Into Clarksdale.” The latter album in particular benefited from Albini’s spare, no-frills sound, which was at odds with the duo’s elaborate latter-day recordings.

He was also the founder, owner and principal engineer at Electrical Audio, a recording studio complex in Chicago. Even now, Albini was still consistently taking up production gigs for a flat fee, refusing royalty payments in a show of support with his indie artists.

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