THIS SHOW HAS BEEN CANCELED
Tickets purchased online through Etix will be refunded automatically, as will tickets purchased in person at First Avenue, the Turf Club, the Depot Tavern, or through our local ticket outlets if the transaction was processed via credit or debit card. Tickets purchased in person with cash can be refunded at The Depot.
Peter Perrett has had to postpone his planned US and Canadian tour dates that were set to commence in Toronto on Feb 28. Unfortunately Peter has not been able to secure the appropriate visa that would enable him to play in the USA. Although Peter has used all reasonable endeavor to facilitate the process, US immigration need a little more time. Peter is respectful of and understands this decision and he is hopeful that a visa will be approved in due course so that the planned dates can be rescheduled.
Peter is disappointed that fans who have bought tickets will have to wait and he’s very grateful to the promoters and venues along with his US agency who have all worked so hard to make this happen and had faith in his return to the studio and the stage, says Peter “’I would like to apologise to everyone who was looking forward, as much as us, to the upcoming North American gigs. Unfortunately, we have had to postpone them. (We hope to reschedule soon). It seems there was an underestimation of the time needed to expedite my particularly unique case, regarding visa application. As my father used to say….’where there’s life, there’s hope’….’where there’s a will, there’s a way’….etc., etc. Peter xx”
Peter Perrett and his band will continue to play dates in the U.K. and Europe, Islington Assembly Rooms London May the 4, along with This Is Not A Love Song Festival in France and Primavera Festival in Spain June 1 and 2 respectively are confirmed with new dates to be announced soon. His critically acclaimed solo album How The West Was Won was released by Domino Records earlier in 2017 and Peter is very hopeful that he can bring his latest work and classic tracks to live audiences in the USA and Canada later in the year.
PETER PERRETT (of THE ONLY ONES)
In the hands of certain songwriters, a story of resurrection and redemption might ring a little hollow. Worse, it might sound like pseudo-messianic psychobabble. But when the songwriter is Peter Perrett, the usual rules have never applied. Perrett, whose incisive songcraft and sardonic drawl made him one of the most distinctive voices of the Seventies (and briefly, the Nineties), has indeed got a tale of resurrection and redemption to tell. And even if he’s telling it with copious doses of his trademark deadpan wit, the miracle is that he’s telling it at all.
Perrett made his reputation in The Only Ones (1976–1981) by writing about – and living – a life of the utmost decadence without worrying too much about the consequences. “I always flirt with death,” began his most famous song (‘Another Girl, Another Planet’), “I look ill but I don’t care about it.” It was an exotic universe full of strange creatures, but an incredibly dangerous one to inhabit. Not once but twice, Perrett retreated into a hermetic haze and transmitted nothing but radio silence for ten years. The two decades of his life that were surrendered to drug addiction were his own business, of course, but they were music’s loss as well.
What a fantastic surprise it is, then, to hear an older, wiser Perrett singing of having music back in his bloodstream again. Take a listen to ‘Something In My Brain’, a song towards the end of his debut solo album HOW THE WEST WAS WON: it’s about making good choices, bad choices and ultimately the only choices that will guarantee survival. All too conscious of his mortality in 2017, Perrett no longer views illness as an occupational hazard or death as a source of amusement, like that swaggering young existentialist of 1978. When he gets to the line about being “just about capable of one last defiant breath,” he’s not exaggerating. But if his lung power is depleted, his other powers – his intuitive feel for words; his flair for idiosyncratic metaphors; his mordant wit – are still as sharp as razors. The image of the laboratory rat being forced to choose between food and crack is as darkly comical as anything Perrett ever wrote for The Only Ones. By the time he steps aside to allow his son Jamie to play an emotional guitar solo, ‘Something In My Brain’ (“an allegorical tale”) has become a double-sided epiphany. Peter Perrett has rediscovered the importance of rock’n’roll, and rock’n’roll has rediscovered the importance of Peter Perrett. It will surely be hailed as one of the standout tracks on HOW THE WEST WAS WON, his new album on Domino, the comeback that nobody saw coming.
First, let’s meet Moloch. You remember him, right? The ancient god, the child eater, the demander of sacrifice, the villain in Ginsberg’s Howl (and also real life) and now the personal antagonist of singer and songwriter Lucas Fitzsimons, who named his band the Molochs because he knew he’d have to make sacrifices to get what he needed, and because he always wanted a reminder of the Ginsbergian monster he’d be fighting against.
And so this is how you make a record right now: you fight for every piece, and when Moloch takes apart your relationships and career potential and leaves you sleeping on couches or living in terrifying apartments and just about depleted from awful people involving you in their awful decisions, you grab a bottle of wine (and laugh at the cliché) and put together another song. And once you do that eleven hard-won times in total, you get a record like America’s Velvet Glory: honest, urgent, desperate and fearless because of it.