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Alvvays Will Spread Their Indie Joy All Over North America in 2024

By Angie Martoccio

Angie Martoccio

Fresh off their Grammy nomination , Alvvays have announced a 2024 North American tour.

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The Canadian indie pop band received their Grammy nomination for Best Alternative Music Performance for “Belinda Says” last month. Blue Rev , the band’s third record, was released in 2022, following 2017’s Antisocialites .

“I find it really fun to make these tiny little movies in my mind,” Rankin told us last year . “I’m a pretty sensitive person, so I feel a lot of feelings, and I try and channel that into the little scenarios that I make. But I don’t feel like my life is all that wild or exciting. To me, it’s more entertaining to create a different universe.” Alvaays Tour Dates April 18 – Cleveland, OH @ Agora Theater  April 19 – Cincinnati, OH @ Bogart’s  April 20 – Columbus, OH @ Newport Music Hall  April 22 – Milwaukee, WI @ Pabst Theater  April 24 – Madison, WI @ The Sylvee  April 25 – Kansas City, MO @ The Truman  May 1 – Tampa, FL @ The Ritz Ybor  May 2 – Orlando, FL @ The Plaza Live  May 3 – Athens, GA @ Georgia Theatre  May 4 – Charlotte, NC @ The Underground  May 6 – Louisville, KY @ Mercury Ballroom  May 7 – St. Louis, MO @ The Pageant  May 9 – Fort Collins, CO @ Aggie Theatre  May 10-May 12 – Salt Lake City, UT @ Kilby Block Party  May 11 – Las Vegas, NV @ Brooklyn Bowl May 13 – Sacramento, CA @ Ace of Spades  May 16 – Phoenix, AZ @ The Van Buren May 17 – Tucson, AZ @ Rialto Theatre

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Alvvays announce Spring 2024 US tour dates

The announcement follows the band’s first Grammy nomination

Alvvays have announced a US tour in Spring 2024 – see the full list of dates below.

• READ MORE: The 50 best albums of 2022

The Canadian indie rock quintet took to X to announce the upcoming tour in the early morning today (December 6). The lengthy tour will see them perform in 18 different venues across the States, beginning with a date in Cleveland, Ohio’s Agora Theater on April 18, and concluding in Tucson, Arizona’s Rialto Theatre on May 17.

wormin our way thru rustbeltsouthwest spring ‘24 presale wed 10am (pw = PHARMACIST) onsale fri 10am https://t.co/uGmLEOicSN poster @victoriasiecz pic.twitter.com/jm4m4WH9nL — Alvvays (@alvvaysband) December 5, 2023

Pre-sale tickets are now available for purchase through the band’s website using the password ‘PHARMACIST’, while general ticket sales will open on Friday, December 8 at 10AM local time through Ticketmaster .

The announcement is Alvvays’ first since receiving their first Grammy nomination , namely ‘Best Alternative Music Performance’ for ‘Belinda Says’, a standout cut from their excellent 2022 full-length album, ‘Blue Rev’ . The album received a four-star review from NME , and was featured on NME’s ‘50 Best Albums of 2022’ list .

In his review , Will Richards highlighted the holistic improvements the band made on ‘Blue Rev’, stating: “Released after half a decade away, the Canadians’ third album ‘Blue Rev’ is still identifiably Alvvays, but the hooks here are sweeter, the instrumentation brighter, the energy more palpable.”

In an interview with NME following the album’s release , band leader Molly Rankin commented on the arduous journey they took making ‘Blue Rev’ – which involved navigating COVID restrictions, their practice space flooding and Rankin’s hard drive getting stolen – stating: “The only thing I know how to do is just put my head down and keep swinging. That’s how we’ve been from the beginning – just keeping going and pushing through whatever life throws at us.”

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Alvvays have spent 2023 touring in support of their third full-length album, with the most recent leg of their tour seeing them perform in Asia and Australia. In addition to their Grammy nod, the band received a nomination at the 2023 Polaris Prize for ‘Blue Rev’ , though they did not win the award.

In January, they made their debut on The Tonight Show Starring Jimmy Fallon , performing their Grammy-nominated track, ‘Belinda Says’.

Alvvays’ US tour dates in Spring 2024 are:

APRIL 18 – Cleveland, Ohio – Agora Theatre 19 – Cincinnati, Ohio – Bogart’s 20 – Columbus, Ohio – Newport M Hall 22 – Milwaukee, Wisconsin – Pabst Theater 24 – Madison, Wisconsin – The Sylvee 25 – Kansas City, Missouri – The Truman

MAY 01 – Tampa, Florida – The Ritz YBOR 02 – Orlando, Florida – The Plaza Live 03 – Athens, Georgia – Georgia Theatre 04 – Charlotte, North Carolina – The Underground 06 – Louisville, Kentucky – Mercury Ballroom 07 – St. Louis, Missouri – The Pageant 09 – Fort Collins, Colorado – Aggie Theatre 10, 12 – Salt Lake City, Utah – Kilby Block Party 11 – Las Vegas, Nevada – Brooklyn Bowl 13 – Sacramento, California – Ace of Spades 16 – Phoenix, Arizona – The Van Buren 17 – Tucson, Arizona – Rialto Theatre

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Upcoming concerts (37) See all

Beyond the Pale Festival

O2 Ritz Manchester

O2 Academy Glasgow

Glastonbury Festival

Live Is Live

Siren's Call

Roskilde Festival

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Alvvays (formed in 2012) is a Canadian melodic-pop infused indie-rock band who took the indie blogosphere by storm in 2012 with their debut single “Adult Diversion”, hailing from Toronto, Ontario, Canada.

Prior to forming Alvvays, lead vocalist Molly Rankin had always taken a keen interest in music; strongly influenced by her father John Morris Rankin – member of the Canadian musical family group, The Rankin Family. Molly Rankin subsequently teamed up with keyboardist, friend and childhood next-door neighbour, Kerri Maclellan, and the two begun playing music together. After meeting a concert during their teenage years, Rankin and Maclellan invited guitarist Alec O’Hanley to join in on their practice sessions and whom later became a full-time member.

In 2010 Rankin issued a solo EP “She”, recorded with O’Hanley on guitar duties. Whilst failing to cause a stir in the indie-pop world, Rankin had gained some invaluable recording and live performance experience and subsequently formed Alvvays. Featuring Rankin, Maclallen, O’Hanley, bassist Brian Murphy and drummer PhilMacIssac, the group toured extensively in support of Pains of Being Pure at Heart and Peter, Bjorn and John. This period of touring did wonders for the group’s exposure and allowed Alvvays to test out new material before heading to the studio.

After signing with Royal Mountain Records in Canada, the group headed to Chad VanGaalen’s record studio in Calgary to record their debut. Released in July 2014, the band’s self-titled release earned a string of rave reviews from the critical press and topped the U.S. College Charts in August 2014. Also featuring production from Holy Fuck’s Graham Walsh and John Agnello, the record introduced the band to a huge international audience, aided by the singles “Archie, Marry Me”, “Adult Diversion”, “Next of Kin”, and “Party Police”. The record was supported by not stop touring of North American and Europe including shows at SXSW, Glastonbury and Osheaga.

Live reviews

I was curious as to how the album would translate live. I'm pleased to report that the sound was great, the vocals stood out in the mix and the band played with some real gusto. As a fan of the band, what more can you want? Alvvays' music is heartfelt, melancholic, and they seem to be taking what they do very seriously, so I didn't expect any onstage gimmicks or the like. Instead, the band came across as friendly and grateful for the opportunity to be playing London. Well done, guys, I wish you all the success in the world!

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I've watched a few radio station promo recordings of Alvvays and thought the show would be equally subdued.

It was not. The band was tight and energetic. They ripped thru the set with a bit of witty banter. The crowd was wild, racous and I had way more fun than I expected. Every song is a hit and I hope they keep it up for years to come. They bring a deeply personal originality to their weird brand of edgy pop songwriting, which is a far cry from a lot of the overly referential indie bands out there today. Go see em.

They are SO good live. Some people don't like their stage banter, but I think it's so cute and quaint. I brought along a friend of mine who didn't really know them, but he was super into them as soon as they started playing. Molly is just as adorable live as in pictures and for some reason I felt starstruck being in the same room as her. I've only seen them once, but at least at the show I went to, the whole crowd was so lively and dance-y, which made it even more fun. One of my favorite concerts.

Alvvays' Scala gig was dreamy, quirky and cute-- never mind the mini breaks that were taken to fix guitar strings/ tune guitars. Molly kept the crowd engaged and the energy up and her voice is Amazing live (as well as the accompanying harmonies). The projected psychedelic-1970s visuals which accompanied the songs were topped the the oh-too-short set! Great things await Alvvays!

These guys were spot-on, and the mix was so good I wanted to thank their sound guy on my way out (but he left right before I got to him in the line out the door). This is a professional outfit.

Molly was charming and warm, and Molly and Alec banter like siblings.

Although there were many high points, for me, "Forget About Life" was rapturous.

Very highly recommended.

The band is great, tight, faultless delivering shimmering twee pop.

The mix was drowning into ultra low bass shit.

This is indie and extra low bass leave it to hip hop and other genres.

The venue was poor and oversold.

It should be good to control better the quality of the venues and the greedy promoters.

I saw them on Tokio Marine Hall in São Paulo, Brazil and waas my first concert ever. They're amazing, the crowd was singing in each song and the band was feeling the energy, with a big smile on the face, Molly was so charismatic and cute, i had a amazing night and i certainly believe they too.

I LOOOOOOOVE IT i have seen a lot of video on youtube that live performance by Alvvays is not as in the album, & the impression that since it was their last performance on tour, they had learn about the technical thingy so i think it was the best. Good luck for everything & see you soon x

Well worth coming out for. The sound at the venue was off for the first half of the set, too little guitar, but they did eventually get it right. They played almost exclusively from the excellent net album. I'll definitely see them again.

ALVVAYS Muffatwerk-Ampere, Munich March 1st 2018

A nice, cheerful band with refreshing music.

Good performance !

Many thanks to the band and the Ampere team. Better live than on CD.

Hope to see them again in South Germany.

Posters (84)

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Alvvays tour dates and tickets 2024-2025 near you

Want to see Alvvays in concert? Find information on all of Alvvays’s upcoming concerts, tour dates and ticket information for 2024-2025.

Alvvays is not due to play near your location currently - but they are scheduled to play 37 concerts across 16 countries in 2024-2025. View all concerts.

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• Wicklow, Ireland
• Bristol, UK
• Manchester, UK

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• New York (NYC) (18)
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Alvvays Announce 2024 US Tour Dates [Updated]

Fresh off their first Grammy nomination for "Belinda Says"

Fresh off the heels of their very first Grammy nomination , Alvvays have expanded their tour with a US leg in 2024.

After wrapping up their Australia and New Zealand dates this month, Alvvays will return to the states in March. Their headlining dates kick off in Cleveland on March 18th, before they hit cities including Kansas City, Orlando, Charlotte, St. Louis, Las Vegas, and more. They’re also set to play the Kilby Block Party in Salt Lake City and Just Like Heaven Festival in Pasadena.

Update: Alvvays have added to their schedule with a new run of west coast shows in August.

Get Alvvays Tickets Here

Last year, Alvvays’ Molly Rankin spoke about the band’s latest album Blue Rev on an episode of Consequence ‘s Kyle Meredith With… podcast.

Alvvays 2023-2024 Tour Dates: 04/04-04/08 – Puerto Aventuras, MX @ Hard Rock Hotel Riviera Maya 04/18 – Cleveland, OH @ Agora Theater * 04/19 – Cincinnati, OH @ Bogart’s & 04/20 – Columbus, OH @ Newport Music Hall * 04/22 – Milwaukee, WI @ Pabst Theater * 04/24 – Madison, WI @ The Sylvee * 04/25 – Kansas City, MO @ The Truman * 04/27 – Norman, OK @ Norman Music Festival 04/28 – Austin, TX @ Austin Psych Fest 05/01 – Tampa, FL @ The Ritz Ybor # 05/02 – Orlando, FL @ The Plaza Live # 05/03 – Athens, GA @ Georgia Theatre # 05/04 – Charlotte, NC @ The Underground # 05/06 – Louisville, KY @ Mercury Ballroom # 05/07 – St. Louis, MO @ The Pageant # 05/09 – Fort Collins, CO @ Aggie Theatre # 05/10 – Salt Lake City, UT @ Kilby Block Party 05/11 – Las Vegas, NV @ Brooklyn Bowl $ 05/13 – Sacramento, CA @ Ace of Spades $ 05/14 – Santa Cruz, CA @ The Catalyst $ 05/16 – Phoenix, AZ @ The Van Buren $ 05/17 – Tucson, AZ @ Rialto Theatre $ 05/18 – Pasadena, CA @ Just Like Heaven Festival 06/21 – Wicklow, IE @ Beyond the Pale 06/22 – Bristol, UK @ SWX + 06/23 – Manchester, UK @ O2 Ritz + 06/24 – Glasgow, UK @ O2 Ritz + 06/26 – London, UK @ Troxy + 06/27 – Brighton, UK @ Chalk + 06/28 – Antwerp, BE @ Live Is Live Festival 06/29 – Luxembourg, LU @ Siren’s Call 07/02 – Paris, FR @ Elysee Montmartre + 07/03 – Amsterdam, NL @ Paradiso + 07/04 – Hamburg, DE @ Gruenspan + 07/05 – Roskilde, DK @ Roskilde Festival 07/07 – Berlin, DE @ Huxleys Neue Welt + 07/09 – Milan, IT @ Magnolia + 07/10 – Bologna, IT @ Bonsai Garden + 07/12 – Madrid, ES @ Mad Cool Festival 07/13 – Bilbao, ES @ Bilbao BBK Live 08/08 – Oslo, NO @ Øya Festival 08/09 – Gothenburg, SE @ Way Out West 08/11 – Helsinki, FI @ Flow Festival 08/15 – San Luis Obisbo, CA @ Madonna Inn ^ 08/16 – Oakland, CA @ Fox Theater ^ 08/18 – Portland, OR @ PDX Live at Pioneer Square ^ 08/19 – Seattle, WA @ Seattle Zoo ^ 08/21 – Spokane, WA @ Knitting Factory ^ 08/22 – Boise, ID @ Treefort Music Hall ^ 08/24 – Denver, CO @ Mission Ballroom ^

* = w/ Spllit # = w/ Horse Jumper of Love $ = w/ Joanna Sternberg + = w/ Girl Scout ^ = w/ The Beths

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Alvvays management team.

If you're looking to get in touch with Alvvays's management team for business purposes, Booking Agent Info provides the comprehensive contact details you need. We offer access to Alvvays's agent, manager, and publicist contact information, including email, phone number, and address. By creating an account, you gain entry to our extensive database of contacts.

Whether you're looking to book Alvvays for an event, secure an endorsement deal, arrange an interview for your media outlet, or handle any other business inquiry, our service ensures you have the accurate and up-to-date contact info you need. Access Alvvays's management team details today through Booking Agent Info.

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Alvvays Tour Dates

About alvvays.

Coming from Toronto, Ontario, Canada, Alvvays was formed in 2011. It was found by lead vocalist Molly Raknin, Kerri MacLellan for keyboards, Alec O’Hanley as guitarist, Brian Murphy for bass, and Phil Maclssac as drummer. The five-piece band toured heavily as support acts for Pains of Being Pure at Heart and Peter Bjorn and John .

Their debut album was recorded at Calgary studio in 2013, enlisting Chad VanGaalen to join the record sessions. Their standout performance was at 2014’s SXSW. They also had an internet hype with their demo “Adult Diversion” under Polyvinyl Records.

Alvvays (rock band) contact information is available for you to look at. We have Alvvays’s manager information, along with their booking agents info as well. If you want the Alvvays email address for their management team, or booking agency, we have that available for you to view by signing up. You can find the Alvvays booking info and booking price here:

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Alvvays Concert Setlists & Tour Dates

Us spring tour 2024 tour, upcoming shows.

• Date and Venue Doors Scheduled
• Jun 21 2024 Beyond the Pale Festival 2024 County Wicklow, Ireland Add time Add time Add times
• Jun 22 2024 SWX Bristol, England  –  Find tickets Add time Tickets Add time Add times
• Jun 23 2024 O2 Ritz Manchester, England  –  Find tickets Add time Tickets Add time Add times
• Jun 24 2024 O2 Academy Glasgow Glasgow, Scotland  –  Find tickets Add time Tickets Add time Add times
• Jun 26 2024 Troxy London, England  –  Find tickets Add time Tickets Add time Add times
• Jun 27 2024 Chalk Brighton, England Add time Add time Add times
• Jun 28 2024 Live /s Live 2024 Antwerp, Belgium Doors 12:00 PM  –  Scheduled: 2:30 PM 12:00 PM 2:30 PM
• Jun 30 2024 Glastonbury Festival 2024 Pilton, England Add time  –  Scheduled: 5:00 PM Add time Add times 5:00 PM
• Jul 02 2024 Élysée Montmartre Paris, France Add time Add time Add times
• Jul 03 2024 Paradiso Grote Zaal Amsterdam, Netherlands Add time Add time Add times
• Jul 04 2024 Gruenspan Hamburg, Germany Add time Add time Add times
• Jul 07 2024 Huxley's Neue Welt Berlin, Germany Add time Add time Add times
• Jul 08 2024 Karlstorbahnhof Heidelberg, Germany Add time Add time Add times
• Jul 09 2024 Circolo Magnolia Segrate, Italy Add time Add time Add times
• Jul 10 2024 BOnsai Garden Bologna, Italy Add time Add time Add times
• Jul 12 2024 Mad Cool Festival 2024 Madrid, Spain Add time Add time Add times
• Jul 13 2024 Bilbao BBK Live 2024 Bilbao, Spain Add time  –  Scheduled: 12:30 AM Add time Add times 12:30 AM
• Jul 28 2024 Have a Nice Trip 2024 Goyang-si, South Korea Add time Add time Add times
• Aug 02 2024 Area 506 Festival 2024 Saint John, NB, Canada Doors 5:00 PM  –  Scheduled: 10:15 PM 5:00 PM 10:15 PM
• Aug 04 2024 Osheaga Festival 2024 Montreal, QC, Canada Add time Add time Add times
• Aug 08 2024 Øyafestivalen 2024 Oslo, Norway Add time Add time Add times
• Aug 09 2024 Way Out West 2024 Gothenburg, Sweden  –  Find tickets Add time Tickets Add time Add times
• Aug 11 2024 Flow Festival 2024 Helsinki, Finland Add time Add time Add times
• Aug 14 2024 The Sound Del Mar, CA, USA Add time Add time Add times
• Aug 15 2024 Madonna Inn San Luis Obispo, CA, USA Add time Add time Add times
• Aug 16 2024 Fox Theater Oakland, CA, USA  –  Find tickets Add time Tickets Add time Add times
• Aug 18 2024 Pioneer Courthouse Square Portland, OR, USA Add time Add time Add times
• Aug 19 2024 Woodland Park Zoo Seattle, WA, USA  –  Find tickets Doors 4:30 PM  –  Start time: 7:08 PM (Est.) Tickets 4:30 PM 7:08 PM Estimated
• Aug 21 2024 Knitting Factory Spokane, WA, USA  –  Find tickets Add time Tickets Add time Add times
• Aug 22 2024 Treefort Music Hall Boise, ID, USA  –  Find tickets Add time Tickets Add time Add times
• Aug 23 2024 Ogden Twilight 2024 Ogden, UT, USA Add time Add time Add times
• Aug 24 2024 Mission Ballroom Denver, CO, USA  –  Find tickets Add time Tickets Add time Add times
• Aug 31 2024 Merriweather Post Pavilion Columbia, MD, USA  –  Find tickets Add time Tickets Add time Add times
• Dec 05 2024 The Concert Hall Toronto, ON, Canada  –  Find tickets Add time Tickets Add time Add times
• Dec 06 2024 The Concert Hall Toronto, ON, Canada  –  Find tickets Add time Tickets Add time Add times
• Dec 07 2024 The Concert Hall Toronto, ON, Canada  –  Find tickets Add time Tickets Add time Add times

Alvvays at Middle Waves 2024

• After the Earthquake
• In Undertow
• Many Mirrors
• Very Online Guy
• Adult Diversion
• Not My Baby
• Atop a Cake
• Tom Verlaine
• Belinda Says
• Tile by Tile
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Alvvays at Boston Calling 2024

• Archie, Marry Me
• Dreams Tonite
• Easy on Your Own?

Alvvays at Just Like Heaven 2024

• Pomeranian Spinster

Alvvays at Rialto Theatre, Tucson, AZ, USA

• Bored in Bristol

Alvvays at The Van Buren, Phoenix, AZ, USA

Alvvays at the catalyst, santa cruz, ca, usa, alvvays at ace of spades, sacramento, ca, usa, alvvays at brooklyn bowl, las vegas, nv, usa, alvvays at kilby block party 2024.

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Alvvays at Aggie Theatre, Fort Collins, CO, USA

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Most played songs

• Archie, Marry Me ( 394 )
• Adult Diversion ( 376 )
• Dreams Tonite ( 306 )
• Next of Kin ( 304 )
• Hey ( 298 )

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August Hotel Chris Farren Fevernova Flyte Benjamin Gibbard Briston Maroney Declan McKenna Podesta Pyramid Scheme Dream Team Molly Rankin Rock Melon Stars The Way Out

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Gigs seen live by

3,085 people have seen Alvvays live.

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Marquee memories: friedberg.

• Jun 14, 2024
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Alvvays Enter Their Epiphany Era

By Carly Lewis

Photography by Fifoluwa Adebakin

On the ferry ride back to the city during Toronto’s last week of broiling weather, Alvvays ’ guitarist Alec O’Hanley extols the virtues of the quaint video game Stardew Valley . With wide-eyed reverence, he explains how the farm simulator’s creator developed its catchily pastoral soundtrack, cottagey graphics, and immersive concept on his own over four years, an eternity by today’s content creation standards. The other two band members on the boat, frontwoman Molly Rankin and keyboardist Kerri MacLellan—childhood partners-in-crime—are also fans of the game, in which players discover they’ve inherited farmland from their grandfather and must figure out what to do with the legacy. It’s a pleasant escape from life’s chaos, they say, much like the serenity of the Toronto Islands, a quiet haven 13 minutes from downtown to which residents flock throughout the warm months to shake off their cabin fever.

After a day spent eating grapes on the beach there, the three enlighten me as to the magic of a wholesome video game in which no one dies and everyone cultivates their own vegetable crops. There’s no real end to Stardew Valley ; fulfillment comes from exploration, not superiority.

That the Canadian critical darlings would find solace in a soothing rejection of scorekeeping aligns with where they currently find themselves more than a decade after forming. In repose on the island, inboxes ignored as they pile with press requests and tour logistics, Alvvays are one month away from releasing their third album, Blue Rev , a prodigious feat of hard-earned intricacies that puts a jet pack on their unerring ascent.

In 2014, Alvvays’ self-titled debut shot Rankin’s voice into the consciousness of indie rock, her softly sung allegories declaring searing profundities and blunt propositions, while the band’s boppy compositions swerved toward post-punk despondence. The album’s lead single, “ Archie, Marry Me ,” critiqued the conventions of modern love, becoming an anthem of sorts for people who didn’t want to get married but also didn’t want to be alone.

Three years later, with Antisocialites , Rankin became even more respected as a purveyor of scathing lullabies, sweetly ethering with lyrics like, “You’re the seashell in my sandal that’s slicing up my heel,” one of many lines in Alvvays lore that salutes the three original members’ Canadian East Coast upbringings. (Newer additions Abbey Blackwell and Sheridan Riley hail from America’s West Coast.) Like their first record, Antisocialites was shortlisted for Canada’s revered Polaris Music Prize. It also won the Juno Award for Alternative Album of the Year, suggesting that Alvvays would do well to keep sounding like Alvvays.

When COVID hit in March 2020, the band was on tour with the Strokes. “We were in catering, and they started putting the cutlery the other way up,” says Rankin, recalling the slapstick safety practices of the pandemic’s early days. “I was just thinking, We as a society are not ready for this .” As they were set to play Los Angeles and begin work on their next album, the rest of the tour was postponed. With pent-up momentum and nowhere to record, they flew home to Toronto, where a backyard shed became their makeshift atelier.

The unplanned time off allowed Alvvays’ members, now in their 30s, to pause and consider how they wanted their next album to sound. They moved slowly through daydreams of possibilities, ridding themselves of pressures they no longer wanted to carry. For Rankin, those considerations included the matter of her own legacy—as Canadians will suspect from last name alone, she is a child of storied folk group the Rankin Family, whose Celtic-inspired style and sentimental harmonies are a cherished part of Canadian music history. Her father, John Morris Rankin, who tragically died in a car crash in 2000, was a founding member.

“We started thinking about escaping expectations—of what we sound like, what we need to sound like, what people think we sound like, what we think we sound like,” says Rankin. “That all fell by the wayside, and we became free to explore different ideas. We played around with leaving things in that were louder and stranger than we would have kept in the past.”

The result of the band’s introspective pandemic period isn’t a detour, but a collage of various temperaments, an evolution of expression. The songs on Blue Rev stretch into the cobwebby corners of messy experiences, musically traversing a gauntlet of moods and intensities. “After the Earthquake” jangles awake before blowing out into a gloriously boisterous pop-rock odyssey, abruptly pausing to ensure the listener really hears Rankin’s verisimilitude as she sings with wisened dejection, “Why would I ever fall in love again, when every detail is over the guardrail?” On “Very Online Guy,” MacLellan’s turbulent keys haul Rankin’s voice across a trenchant scrutiny of digital era dynamics. “Bored in Bristol” finds Rankin dabbling in a position of lyrical subservience, a far cry from the sagacity of “Pharmacist” or the dispirited pleas of “Lottery Noises.”

“It’s important to me to embrace all the different parts of one’s personality, whether or not they’re pleasant,” says Rankin, “and to not be overly concerned with the perception of the phases that we go through—regret, annoyance, reeling.”

The band realized that quality will tolerate experimentation—that truly good songs will survive unconventional approaches, uncharted tactics, even failures. This released Alvvays from limitation, allowing them to evolve from techniques that had previously guaranteed success.

After lockdown lifted, Alvvays hunkered down with Grammy-winning producer Shawn Everett , whose resume includes work with Adele, Kacey Musgraves, Big Thief, the Killers, and Kesha. “Everyone was into the smallest details, in an intense way—that may sound like other people’s nightmare, but that’s my heaven,” says Everett, who notes that he bought a Rankin Family album in the fifth grade. “Sometimes you feel the energy of people just wanting to have their album out, because it’s a reason to tour, but Alvvays really appreciated the craft of it, like a painting. They wanted to get it done correctly, not immediately.”

Everett reveled in the possibilities that arose from the band’s open-minded ethos. He decided to run the tracks through a finicky tape machine that was technically broken, but produced a sound he liked. “Every time I’d print a mix it would sound slightly different—it was an excruciating process,” he says. “But I always try to have one chaotic aspect that is outside my control, so I’m not just working into my own thoughts. It’s good to have something that fucks with you a little bit.”

Or a lot. Deep into the process, the band learned the vinyl pressing plant’s hard deadline was days away, forcing them to wrap urgently if they wanted a physical record produced within the year. The band stayed up for days with Everett, trying to remain detail-oriented while the clock ticked and lucidity waned. “It was hell on earth,” the producer says. “Horrible. Truly awful.”

After a sleepless home stretch in which big decisions were made in zombie-like states, the band’s valiant attempt at a gentle pace in tatters, they finally finished Blue Rev around 8 a.m. the day of the deadline, and immediately delivered the album to the pressing plant.

It’s during fraught moments like these that Rankin feels closest to her family’s musical legacy. “People usually focus on the success and comfort that comes from having a catalog of familiar songs, but there were very challenging times,” she says of the Rankin Family’s history. “They sold records out of the trunks of cars for years, and there was a lot of hardship and tragedy. When I was a teenager it wasn’t something I would willingly put on, because it felt like everyone’s reference to who I was. But now when I hear their music, it’s very beautiful, and I enjoy it.” At the island, when O’Hanley’s speaker, nestled in the sand on shuffle, starts one of her family’s songs, Rankin seems pleasantly surprised: “Are you putting on Rankin Family ?” Shortly after, she goes for a solo dip in Lake Ontario.

Blue Rev is lovingly named after the candy-sweet vodka cooler Rankin and MacLellan drank as teens in Cape Breton, Nova Scotia. As the pair reminisce about getting tipsy behind ice rinks and in graveyards, there’s an undertone of solemnity. The memory and longevity intertwined with the title hold some grief. Rankin and MacLellan went to a lot of funerals as kids; the cover of the album features a childhood photograph of Rankin and her parents, Rankin looking adorably venturesome in a lifejacket as she climbs toward her dad.

“We did want Blue Rev to be in the ‘ Strawberry Wine ’ vein, where you’re transported into this other era by taking a sip of something,” says Rankin, referring to country singer Deana Carter’s bittersweetly nostalgic song. “You end up reliving things that play a role in your life whether or not you want them to.” “Pharmacist,” says Rankin, is about finding forgiveness and closing a chapter. “I was thinking about the realization that where you come from will never really be the same. I just thought it was this heavy-beautiful blend of moving on for yourself, making peace with it all to come out on the other side in a better way.”

O’Hanley adds, “There’s a sensory thing that gets tied up in the inflection point between childhood and adulthood. There’s a lot of power there, and vulnerability. You can really spiral off in several directions from that point, but there’s a universality that people recognize.”

In that universality, the band has figured out, is a sly invitation for straight men to enter the Alvvays arena through the guise of fuzzy rock songs—then stay for the teary catharsis. The members of Alvvays aren’t on any kind of mission to make men cry, but looking out at their audiences, they’ve seen how their songs neutralize emotionality among the sorts of indie rock guys you’d expect to be too cool.

“There’s footage of the Smiths playing some crazy soccer stadium, with all these teenage boys singing the most tender lyrics at the top of their lungs. That would be the way we try to integrate and subvert, by exposing dudes to sensitivity,” says O’Hanley. “Pile enough distortion on and it becomes a truck they want to get in the front seat of.”

“I’ve seen several hundred men sing the words of ‘ Not My Baby ’ at a show,” says Rankin, of an Alvvays breakup song written from the brink of saddened peace. “It is pretty fulfilling to see that. It’s nice that the world’s idea of rock is expanding.”

Rankin and the other members of Alvvays became unwittingly associated with rock’s misogyny problem in 2017, when a video of an audience member in Antwerp, Belgium storming the stage and attempting to kiss her as she performed spread online . Rankin dodged the intruder, and he walked off the stage. It wasn’t the first, or last, time that has happened. “I didn’t really get a chance to react,” she says. “You don’t choose how you react. Looking back I would have done something differently.” (“It is in no way, shape or form acceptable to harass women on or off stage,” the venue’s director wrote in a statement following the incident. “We apologize to the band and audience that this happened on our watch. This was not OK.”)

Not far from the Gibraltar Point Lighthouse, the oldest one on the Great Lakes, I ask Rankin, wrapped in a Cape Breton flag towel as waves creep up the shore, what pushes her songwriting forward. “Does this move me? Do I believe me?” she answers, explaining the questions against which she considers the viability of songs-in-progress. “Is this an expansion of things we’ve done?”

As a songwriter, Rankin approaches lyrics like a novelist, again looking for universality in emotional landscapes of her own design, imagining characters and situations as vessels for storytelling. “I channel my feelings into little universes and create different scenarios based on those feelings. I’ve never written directly about my interactions with people,” she says. “I make movies in my head.” It’s fitting that when we talk about the album title, O’Hanley points out there’s room for interpretation in that, too. The idea of a cerulean blue vodka cooler may not resonate with everyone, but Blue Rev could also mean a dream—rêve, in French.

A few minutes’ walk from our spot in the sand is a cluster of cabins used for artist residencies. Before the pandemic, Rankin hauled her gear there in a wheelbarrow, settling in for early Blue Rev writing sessions. “Toronto is great, but there’s a lot going on all the time, it’s hard to focus,” she says. “It’s fun to turn all the lights off and be detached.”

Tucked away in the trees, she began to write, the island’s environs showing up subtly in lyrics referencing swimming, the sunrise, and the breeze. When not toiling inside her quiet retreat, Rankin would wander the shoreline collecting beach glass—tossed away shards that tumbled around Lake Ontario for years, becoming smooth cyan charms in the calamity of the tides, proof that patience has a purpose.

CORRECTION: An earlier version of this story mistakenly stated that Alvvays recorded Blue Rev in Los Angeles’ Sunset Sound studio. They had intended to work there but ultimately recorded the album in producer Shawn Everett’s studio instead.

By Nina Corcoran

By Matthew Strauss

By Jazz Monroe

By Isabelia Herrera

By Alphonse Pierre

By Anna Gaca

Alvvays announce summer tour dates with The Beths

Alvvays keep on touring behind their most recent album, 2022’s Blue Rev , and they’ve lined up even more tour dates this year. After a series of shows this spring in North America and in Europe this summer, the band will make a lap around the West Coast with The Beths . Check out all their upcoming dates below.

Alvvays’ Blue Rev is one of our top 50 albums of 2022 . The Beths’ last album was 2022’s Expert in a Dying Field .

Alvvays tour dates: 4/4-4/8/2024 – Puerto Aventuras, Q.R. – Hard Rock Hotel Riviera Maya & 4/18/2024 – Cleveland, OH – Agora Theater * 4/19/2024 – Cincinnati, OH – Bogart’s * 4/20/2024 – Columbus, OH – Newport Music Hall * 4/22/2024 – Milwaukee, WI – Pabst Theater * 4/24/2024 – Madison, WI – The Sylvee * 4/25/2024 – Kansas City, MO – The Truman * 5/1/2024 – Tampa, FL – The Ritz Ybor ^ 5/2/2024 – Orlando, FL – The Plaza Live ^ 5/3/2024 – Athens, GA – Georgia Theatre ^ 5/4/2024 – Charlotte, NC – The Underground ^ 5/6/2024 – Louisville, KY – Mercury Ballroom ^ 5/7/2024 – St. Louis, MO – The Pageant ^ 5/9/2024 – Fort Collins, CO – Aggie Theatre ^ 5/10-5/12/2024 – Salt Lake City, UT – Kilby Block Party 5/11/2024 – Las Vegas, NV – Brooklyn Bowl # 5/13/2024 – Sacramento, CA – Ace of Spades # 5/16/2024 – Phoenix, AZ – The Van Buren # 5/17/2024 – Tucson, AZ – Rialto Theatre # 6/21/2024 – Wicklow, Ireland – Beyond The Pale 6/26/2024 – London, UK – Troxy 6/28/2024 – Antwerp, Belgium – Live Is Live Festival 6/29/2024 – Luxembourg, Luxembourg – Siren’s Call 7/5/2024 – Roskilde, Denmark – Roskilde Festival 7/11-7/13/2024 – Bilbao, Spain – Bilbao BBK Live 8/8/2024 – Oslo, Norway – Øya Festival 8/15/2024 – San Luis Obispo, CA – Madonna Inn % 8/16/2024 – Oakland, CA – Fox Theater % 8/18/2024 – Portland, OR – PDX Live @ Pioneer Square % 8/19/2024 – Seattle, WA – Seattle Zoo % 8/21/2024 – Spokane, WA – Knitting Factory % 8/22/2024 – Boise, ID – Treefort Music Hall % 8/24/2024 – Denver, CO – Mission Ballroom %

& w/ My Morning Jacket * w/ Spllit % w/ The Beths ^ w/ Horse Jumper of Love # w/ Joanna Sternberg

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Alvvays with special guest cootie catcher, latest setlist, alvvays on june 15, 2024.

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with Horse Jumper of Love

Set Times: Alvvays – 9:00pm Horse Jumper of Love – 8:00pm Doors – 7:00pm *Set times are approximate and subject to change without notice.

About Alvvays

Alvvays never intended to take five years to finish their third album, the nervy joyride that is the compulsively lovable Blue Rev. In fact, the band began writing and cutting its first bits soon after releasing 2017’s Antisocialites, that stunning sophomore record that confirmed the Toronto quintet’s status atop a new generation of winning and whip-smart indie rock.

Global lockdowns notwithstanding, circumstances both ordinary and entirely unpredictable stunted those sessions. Alvvays toured more than expected, a surefire interruption for a band that doesn’t write on the road. A watchful thief then broke into singer Molly Rankin’s apartment and swiped a recorder full of demos, one day before a basement flood nearly ruined all the band’s gear. They subsequently lost a rhythm section and, due to border closures, couldn’t rehearse for months with their masterful new one, drummer Sheridan Riley and bassist Abbey Blackwell.

At least the five-year wait was worthwhile: Blue Rev doesn’t simply reassert what’s always been great about Alvvays but instead reimagines it. They have, in part and sum, never been better. There are 14 songs on Blue Rev, making it not only the longest Alvvays album but also the most harmonically rich and lyrically provocative.

There are...

There are newly aggressive moments here—the gleeful and snarling guitar solo at the heart of opener “Pharmacist,” or the explosive cacophony near the middle of “Many Mirrors.” And there are some purely beautiful spans, too—the church- organ fantasia of “Fourth Figure,” or the blue-skies bridge of “Belinda Says.” But the power and magic of Blue Rev stems from Alvvays’ ability to bridge ostensible binaries, to fuse elements that seem antithetical in single songs—cynicism and empathy, anger and play, clatter and melody, the soft and the steely. The luminous poser kiss-off of “Velveteen,” the lovelorn confusion of “Tile by Tile,” the panicked but somehow reassuring rush of “After the Earthquake”. The songs of Blue Rev thrive on immediacy and intricacy, so good on first listen that the subsequent spins where you hear all the details are an inevitability. This perfectly dovetailed sound stems from an unorthodox—and, for Alvvays, wholly surprising—recording process, unlike anything they’ve ever done. Alvvays are fans of fastidious demos, making maps of new tunes so complete they might as well have topographical contour lines.

But in October 2021, when they arrived at a Los Angeles studio with fellow Canadian Shawn Everett, he urged them to forget the careful planning they’d done and just play the stuff, straight to tape. On the second day, they ripped through Blue Rev front-to-back twice, pausing only 15 seconds between songs and only 30 minutes between full album takes. And then, as Everett has done on recent albums by The War on Drugs and Kacey Musgraves, he spent an obsessive amount of time alongside Alvvays filling in the cracks, roughing up the surfaces, and mixing the results. This hybridized approach allowed the band to harness each song’s absolute core, then grace it with texture and depth. Notice the way, for instance, that “Tom Verlaine” bursts into a jittery jangle; then marvel at the drums and drum machines ricocheting off one another, the harmonies that crisscross, and the stacks of guitar that rise between riff and hiss, subtle but essential layers that reveal themselves in time.

Every element of Alvvays leveled up in the long interim between albums: Riley is a classic dynamo of a drummer, with the power of a rock deity and the finesse of a jazz pedigree. Their roommate, in-demand bassist Blackwell, finds the center of a song and entrenches it. Keyboardist Kerri MacLellan joined Rankin and guitarist Alec O’Hanley to write more this time, reinforcing the band’s collective quest to break patterns heard on their first two albums.

The results are beyond question: Blue Rev has more twists and surprises than Alvvays’ cumulative past, and the band seems to revel in these taken chances. This record is fun and often funny, from the hilarious reply-guy bash of “Very Online Guy” to the parodic grind of “Pomeranian Spinster.” Alvvays’ self-titled debut, released when much of the band was still in its early 20s, offered speculation about a distant future—marriage, professionalism, interplanetary citizenship. Antisocialites wrestled with the woes of the now, especially the anxieties of inching toward adulthood. Named for the sugary alcoholic beverage Rankin and MacLellan used to drink as teens on rural Cape Breton, Blue Rev looks both back at that country past and forward at an uncertain world, reckoning with what we lose whenever we make a choice about what we want to become.

The spinster with her Pomeranians or Belinda with her babies? The kid fleeing Bristol by train or the loyalist stunned to see old friends return? “How do I gauge whether this is stasis or change?” Rankin sings during the first verse of the plangent and infectious “Easy on Your Own?” In that moment, she pulls the ties tight between past, present, and future to ask hard questions about who we’re going to become, and how. Sure, it arrives a few years later than expected, but the answer for Alvvays is actually simple: They’ve changed gradually, growing on Blue Rev into one of their generation’s most complete and riveting rock bands.

Connect with Alvvays

About horse jumper of love.

2022 saw the release of Horse Jumper of Love’s latest full-length, Natural Part, and now less than a year later, the band are back with an unexpected new release. Heartbreak Rules is a mini-album of sorts: a collection of eight completely fresh songs, two reimagined versions of standout tracks from Natural Part, and a cover of The Smashing Pumpkins classic, “Luna.” But the most striking thing about Heartbreak Rules is the volume–or more specifically, the lack of it. This is a sparse, intimate version of Horse Jumper of Love, one that forgoes the waves of fuzz and feedback, and instead highlights the indelible songwriting at the core of their music.

Heartbreak Rules was written and recorded solely by vocalist/guitarist Dimitri Giannopoulos, but it is undeniably a Horse Jumper of Love release. “When I started writing, I didn’t really know what it would be,” he explains. “I went into it with no intentions.” Seeking a creative outlet during the pandemic, Giannopoulos decamped to the Catskills with engineer and longtime band collaborator, Bradford Kreeger, and the pair spent five days casually recording what would become Heartbreak Rules. “It was really fun, we were drinking heavily and grilling steaks,” Giannopoulos laughs, adding, “We only brought the bare minimum stuff: a practice...

Heartbreak Rules was written and recorded solely by vocalist/guitarist Dimitri Giannopoulos, but it is undeniably a Horse Jumper of Love release. “When I started writing, I didn’t really know what it would be,” he explains. “I went into it with no intentions.” Seeking a creative outlet during the pandemic, Giannopoulos decamped to the Catskills with engineer and longtime band collaborator, Bradford Kreeger, and the pair spent five days casually recording what would become Heartbreak Rules. “It was really fun, we were drinking heavily and grilling steaks,” Giannopoulos laughs, adding, “We only brought the bare minimum stuff: a practice amp, a midi keyboard, a very spare drum kit. The low key vibe just made the songs sound great to me because I knew I was in a good headspace.”

That laidback and peaceful feeling comes through in Heartbreak Rules’ hushed and unvarnished recordings, making the expert songcraft shine through even more. “As I play music more, I just want to play quieter,” Giannopoulos says. “We’re rehearsing these songs as a full band now and we’re not blasting our amps like we used to–it feels really good. I think it has to do with our confidence level at this point. I used to play loud because I wasn’t confident in my vocal delivery or my lyrics, and now I want to showcase those things.”

The eight new songs on Heartbreak Rules accomplish just that, with the minimal arrangements and earworm melodies of the title track, “A Tune Drifts Out The Window,” or “Snake Eyes” metamorphosing  Giannopoulos into an otherworldly acoustic balladeer. Elsewhere, “Queenie’s Necklace” and “Pendulum” still manage to incorporate the elements of dissonance and tension that are essential to Horse Jumper of Love’s sound, now only made more effective by the sense of space and distance within the recordings. Giannopoulos provides his surrealist musings on family, friendship, vices, and the unpredictability of life–his voice and lyrics confidently upfront in the mix as he paints pictures with words just as vivid as the melodies that carry them.

Heartbreak Rules ends with the hazy cover of “Luna,” an early Horse Jumper of Love recording from nearly ten years ago. Unearthed from Giannopoulos’ collection of old Tascam tapes, the track is gauzy and relaxed, but also a fitting line between the band’s past and their future. “Recording these new songs sort of reminded me of how I used to do things. It was like a callback to how fun that looseness could be. These songs really just feel like they’re for me because they weren’t written with the studio or playing live in mind. There was no pressure around them.” Luckily these songs aren’t just for Giannopoulos, they’re the essential next step for Horse Jumper of Love and we all get to follow their Heartbreak Rules.

Connect with Horse Jumper of Love

Tuesday, May 7, 2024

Doors 7:00 pm

Show 8:00 pm

Venue The Pageant

Age Restrictions All Ages

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Reserved Balcony $45.00 GA $30.00adv | $35.00dos

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Artist profile | alvvays.

Alvvays never intended to take five years to finish their third album, the nervy joyride that is the compulsively lovable  Blue Rev . In fact, the band began writing and cutting its first bits soon after releasing 2017’s Antisocialites, that stunning sophomore record that confirmed the Toronto quintet’s status atop a new generation of winning and whip-smart indie rock.

Global lockdowns notwithstanding, circumstances both ordinary and entirely unpredictable stunted those sessions. Alvvays toured more than expected, a surefire interruption for a band that doesn’t write on the road. A watchful thief then broke into singer Molly Rankin’s apartment and swiped a recorder full of demos, one day before a basement flood nearly ruined all the band’s gear. They subsequently lost a rhythm section and, due to border closures, couldn’t rehearse for months with their masterful new one, drummer Sheridan Riley and bassist Abbey Blackwell.

At least the five-year wait was worthwhile:  Blue Rev  doesn’t simply reassert what’s always been great about Alvvays but instead reimagines it. They have, in part and sum, never been better. There are 14 songs on Blue Rev, making it not only the longest Alvvays album but also the most harmonically rich and lyrically provocative.

There are newly aggressive moments here—the gleeful and snarling guitar solo at the heart of opener “Pharmacist,” or the explosive cacophony near the middle of “Many Mirrors.” And there are some purely beautiful spans, too—the church- organ fantasia of “Fourth Figure,” or the blue-skies bridge of “Belinda Says.” But the power and magic of  Blue Rev  stems from Alvvays’ ability to bridge ostensible binaries, to fuse elements that seem antithetical in single songs—cynicism and empathy, anger and play, clatter and melody, the soft and the steely. The

luminous poser kiss-off of “Velveteen,” the lovelorn confusion of “Tile by Tile,” the panicked but somehow reassuring rush of “After the Earthquake”.

The songs of  Blue Rev  thrive on immediacy and intricacy, so good on first listen that the subsequent spins where you hear all the details are an inevitability.

This perfectly dovetailed sound stems from an unorthodox—and, for Alvvays, wholly surprising—recording process, unlike anything they’ve ever done. Alvvays are fans of fastidious demos, making maps of new tunes so complete they might as well have topographical contour lines.

But in October 2021, when they arrived at a Los Angeles studio with fellow Canadian Shawn Everett, he urged them to forget the careful planning they’d done and just play the stuff, straight to tape. On the second day, they ripped through  Blue Rev  front-to-back twice, pausing only 15 seconds between songs and only 30 minutes between full album takes. And then, as Everett has done on recent albums by The War on Drugs and Kacey Musgraves, he spent an obsessive amount of time alongside Alvvays filling in the cracks, roughing up the surfaces, and mixing the results. This hybridized approach allowed the band to harness each song’s absolute core, then grace it with texture and depth. Notice the way, for instance, that “Tom Verlaine” bursts into a jittery jangle; then marvel at the drums and drum machines ricocheting off one another, the harmonies that crisscross, and the stacks of guitar that rise between riff and hiss, subtle but essential layers that reveal themselves in time.

Every element of Alvvays leveled up in the long interim between albums: Riley is a classic dynamo of a drummer, with the power of a rock deity and the finesse of a jazz pedigree. Their roommate, in-demand bassist Blackwell, finds the center of a song and entrenches it. Keyboardist Kerri MacLellan joined Rankin and guitarist Alec O’Hanley to write more this time, reinforcing the band’s collective quest to break patterns heard on their first two albums.

The results are beyond question: Blue Rev has more twists and surprises than Alvvays’ cumulative past, and the band seems to revel in these taken chances. This record is fun and often funny, from the hilarious reply-guy bash of “Very Online Guy” to the parodic grind of “Pomeranian Spinster.” Alvvays’ self-titled debut, released when much of the band was still in its early 20s, offered speculation about a distant future—marriage, professionalism, interplanetary citizenship. Antisocialites wrestled with the woes of the now, especially the anxieties of inching toward adulthood. Named for the sugary alcoholic beverage Rankin and MacLellan used to drink as teens on rural Cape Breton,  Blue Rev  looks both back at that country past and forward at an uncertain world, reckoning with what we lose whenever we make a choice about what we want to become.

The spinster with her Pomeranians or Belinda with her babies? The kid fleeing Bristol by train or the loyalist stunned to see old friends return? “How do I gauge whether this is stasis or change?” Rankin sings during the first verse of the plangent and infectious “Easy on Your Own?” In that moment, she pulls the ties tight between past, present, and future to ask hard questions about who we’re going to become, and how. Sure, it arrives a few years later than expected, but the answer for Alvvays is actually simple: They’ve changed gradually, growing on  Blue Re v into one of their generation’s most complete and riveting rock bands.

Supporting Acts

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Alvvays at Moore Theatre

Alvvays tickets, moore theatre | seattle, washington.

The Canadian Indie pop favorite, Alvvays, just announced their Fall US tour with a stop at Moore Theatre on Saturday, 22nd of October, 2022. With a new album finally coming out, five years since the release of their highly-acclaimed sophomore record "Antisocialites", Alvvays recently shared their newest single "Pharmacist" where they explore themes of confusion and reassurance. Known amongst the indie crowd for their singles "Archie, Marry Me", "Not My Baby", and "In Undertow", a big new era is in store for the Canadian indie stars with their upcoming new album "Blue Rev". Witness Alvvays' indie hits and fresh new tracks come to life this October by booking those tickets now!

Hailed as an "indie-pop wonder" by Rolling Stone for their self-titled debut album with its track "Adult Diversion", Alvvays became a crowd staple in the indie-pop scene. The debut album hit #1 on US college charts in 2014. With a strong start, they received nominations at the Juno Awards of 2015 for Breakthrough Group of the Year and Alternative Album of the Year.

Their follow-up record, Antisocialites, also received nominations at the Juno Awards for Group of the Year and won Alternative Album of the Year for "Antisocialites". They also received a nomination for a SOCAN Songwriting Prize with their track "Dreams Tonite". The album made it to the Billboard 200, and featured their hit single "In Undertow".

Known for their strong melodies described as "jangle pop", the band strongly emphasizes their melodies rather than sticking to a specific genre. Band members who bring color to Alvvays are lead vocalist Molly Rankin, keyboardist Kerri MacLellan, lead guitarist Alec O'Hanley, drummer Sheridan Riley, and bassist Sheridan Riley.

Five years since the release of "Antisocialites", Alvvays is finally dropping their newest album "Blue Rev" this October 7th, 2022. Though it wasn't a smooth sailing journey when an apartment break-in had demos stolen and a basement flood damaged the band's gear. Leaving the past behind, they're back even stronger with a new song "Pharmacist" giving listeners and fans a sneak peak of the highly-anticipated new record.

Alvvays' notable hits and indie crowd favorites include "Archie, Marry Me", "Next of Kin", "Not My Baby", "Dreams Tonite", "Adult Diversion", "Plimsoll Punks", and "In Undertow".

With a big new era right ahead of them, Alvvays is set to bring in big surprises after a five-year journey with "Blue Rev", which also happens to be the name of "the sugary alcoholic beverage Rankin and MacLennan used to drink as teens on rural Cape Brenton". So, don't miss out on Alvvays' big return to the live stage with a new record right around the corner by booking your tickets now!

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Who is matthieu pavon 5 things to know about the frenchman surging up the u.s. open leaderboard, share this article.

If you haven’t been watching a ton of golf outside of the major tournaments this year, you may be wondering a bit about the top of the leaderboard at this weekend’s U.S. Open at Pinehurst No. 2.

French native Matthieu Pavon has remained in contention for the title all week and finally grabbed the outright lead on Saturday. So who is the 31-year-old golfer?

Let’s dive into his background as he looks to win his first major title.

1. Pavon is currently ranked No. 24 in the world

That’s likely to change after this week. Pavon entered the U.S. Open with just one victory on the PGA Tour since turning pro in 2013. That came earlier this year at Torrey Pines in the Farmer’s Insurance Open . He followed that up with a third place finish at Pebble Beach in the following week’s AT&T Pro-Am.

Yet Pavon hasn’t had a ton of success in the majors until this week. His previous best at the U.S. Open is a T25 in 2018 and his best finish at any major is a T12 at the Masters this year. Pavon missed the cut in his other three major tries.

2. He’s a native of Toulouse, France

Pavon would become the first Frenchman to win the U.S. Open — which is saying something since this is the 124th edition of the tournament.

But that would be nothing new since his win at the Farmers Insurance Open made him the first French winner on the PGA Tour since 1907.

3. He’s the son of pro soccer star and manager Michel Pavon

Pavon’s father Michel actually played on the U21 French national team during nearly a decade with Toulouse FC, scoring 42 goals in 388 career appearances as a midfielder from 1986-2001.

Since retiring, Michel has managed for Bordeaux, Blanquefort and Libourne.

I didn’t realise that Matthieu Pavon’s dad was a very successful footballer until he referenced it yesterday. Scored against Man United in the Champions League back in 2000 no less. The keeper’s had a bit of a shocker here, but nice strike from Dad Pavon all the same. pic.twitter.com/Pz9nCRqhrc — Sam Harrop (@sam_golf) January 28, 2024

4. Pavon earned his 2024 PGA Tour card by finishing 15th in the 2023 DP World Tour

And if he keeps up this level of play he won’t have to worry about losing his Tour status anytime soon.

5. Pavon’s favorite quote is tattooed on his hand

Pavon has plenty of tattoos but one on his hand is especially meaningful , as he explained earlier this year:

"The saliva that flows now will become the tears of joy tomorrow." A closer look @MatthieuPavon 's inspiring tattoo. The Frenchman looks to secure his first TOUR victory in his rookie season. pic.twitter.com/wQ91V6FJdi — PGA TOUR (@PGATOUR) January 27, 2024

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Chris Bailey's estate questions the newly reformed version of punk band The Saints

The estate of Chris Bailey, the founding lead singer of iconic Australian punk band The Saints, has released a statement in response to a new line-up of the band announced earlier this week.

"Chris Bailey's Family and the Chris Bailey Estate have questioned the decision to reform The Saints with Mark Arm from Mudhoney replacing Chris Bailey on vocals," a statement issued overnight, Australian time, read.

"Neither the late singer's family, nor the Chris Bailey Estate, were informed or consulted on this decision.

"We are surprised that Mark Arm agreed to do this without consultation."

Bailey died in 2022 . An Australian tour from a new version of the band, marketed as The Saints '73-'78, was announced this week to coincide with a long-awaited box set reissue of the band's seminal first album, (I'm) Stranded. 

Founding members Ed Kuepper and Ivor Hay will appear in this latest iteration of the group. Guitarist Mick Harvey and bassist Peter Oxley are fellow newcomers, alongside Arm. 

After Kuepper left the band in 1978, Chris Bailey retained the name The Saints. He toured and released new music under that name with various line-ups encompassing dozens of musicians, until his passing. 

Tim Pittman of Feel Presents — who manages Kuepper and is promoting the upcoming The Saints '73-'78 tour — said he wasn't surprised to see the statement, but there was no requirement to clear this celebration of the band with the Bailey estate.

"We don't need to ask anyone to use the name The Saints '73-'78, and none of the members need to get anyone's approval to perform the songs that they wrote and recorded," he said.

"It might be different calling yourself The Saints – I don't know – but we're not doing that."

There is a long history of discussion around the use of the name The Saints, leading Kuepper and Pittman to settle on using the elongated title some time ago.

"The Saints '73–'78 as a name has been in use since about 2010, firstly as a fan Facebook page, and then the members from that period took it on as an official page," Pittman said.

"After having agreed to terms with Chris prior to his death, and the other members of The Saints, we use it as the merchandise link to differentiate ourselves from the other Saints.

"The band is called The Saints '73-'78. They requested of us to use that name moving forward in whatever manner we were using it to promote that era of the band. 

"We were already using it anyway, so it was a no-brainer for us to say yes. It was a request, but we were already using it.

"There's five people who have a stake in that band: Kym [Bradshaw, bassist from 1975-1977], Ed, Chris, Ivor and Algy [Ward, bassist from 1977-1980]. The Bailey estate took exception to the fact that Chris had agreed to everything prior."

The estate also accused Kuepper and Feel Presents of issuing merchandise without permission. 

"Ed Kuepper and his management team, Feel Presents, also recently put out unauthorised merchandise and reissues without any consultation with the Estate and were eventually forced to change the name to The Saints 1973-1978 and promised not to do anything else without consultation," the statement read.

Pittman refuted those claims. 

"The 7" last year (a reissue of (I'm) Stranded, the band's classic debut single) and the merchandise was approved by the Bailey estate: the artwork, the idea, and the bank details that they gave me for payment for the supposed unapproved releases," he said.

Bailey's estate said it was operating to "honour Chris Bailey’s memory and the Saints' significant legacy with integrity", and hit out at reported attempts to undermine Bailey's role in the band.

"Furthermore, there have been attempts in interviews to reduce or negate the role Chris Bailey played in the original Saints," the statement read.

The ABC contacted the estate for examples of this, but had not received a response at time of publication.

Speaking with the ABC last week, Mark Arm said paying respect to Chris Bailey was his top priority in this new gig.

"I want to be true to Chris and try to honour him," he said.

The Saints '73-'78 will tour Australia this November. The reissue of (I'm) Stranded will be out on November 15.

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