No running for shelter. No nervously checking the sky between songs. No photographers desperately trying to keep cameras dry. For the first time all weekend, Stanford Hall can simply get on with being a country festival, and with Maren Morris, Emmylou Harris, Kezia Gill, Ryan and Rory, The Felice Brothers, Anne Wilson, Jim Lauderdale and plenty more still to come, there is a lot to squeeze into the final day.

The Long Road Festival 2026

The Long Road Festival 2026 (Henry Finnegan / @finneganfoto)

There is also a familiar face with some unfinished business. Liam Price has spent Saturday gathering people around a rain-soaked VIP Stage, but he has already told me where his attention really is. Sunday means the Rhinestone Stage.

Having earned his opportunity at The Long Road Festival by winning the festival’s competition the previous year, this is the moment he has been working towards. The Rhinestone Stage is a very different proposition from the smaller stages around Stanford Hall. It is enormous, exposed and there really is nowhere to hide, particularly when you are the artist tasked with opening the final day. But Price has earned his place there, and he looks like he knows it.

There is something satisfying about seeing that journey completed. Twenty-four hours earlier, people have been huddled around him trying to avoid the rain; now he is standing on the biggest stage at the festival. The Long Road Festival talks a lot about supporting emerging talent, but moments like this are where you actually see what that can mean.

Errol Linton offers something entirely different, bringing his blues pedigree to the festival before attention turns back towards two artists who are impossible not to enjoy.

Ryan and Rory bring exactly the sort of energy Sunday needs. Both come into country music with previous careers in pop, and you can hear some of that instinct in their songwriting. These are two guys who know how to write a catchy tune, something their new song BEER WANTS ME proves almost immediately. Even the title feels designed to lodge itself in your head, and live it has exactly the sort of instant singalong quality that festival crowds thrive on.

What makes them particularly entertaining on stage, though, is how much they throw into delivering those songs. Switching between multiple instruments, bouncing off one another and seemingly incapable of standing still for very long, their infectious personalities quickly spread across the crowd. Add in the harmonies, obvious chemistry and, of course, the good looks, and they are something of a dream to watch on stage, particularly through a camera.

But underneath all that personality is genuine musicianship. Their pop backgrounds have clearly given them an understanding of how to construct something immediate and memorable, while country has given them a space where their personalities seem completely at home. BEER WANTS ME feels like a perfect example of that combination: fun, ridiculously catchy and not taking itself too seriously. They are one of my highlights of Sunday because there is simply something joyful about watching them. Ryan and Rory look like they are having the time of their lives, and before long everyone watching is having a pretty good time too.

Oliver Hazard shifts things towards indie-folk before another of my Sunday highlights arrives on the Rhinestone Stage.

Kezia Gill has become one of the most recognisable figures in British country, and her performance shows exactly why. There is a confidence to Gill now that comes from years of doing this, but crucially, it has not removed the warmth and personality that helped people connect with her in the first place.

Even what she is wearing tells you something about the artist she is. Gill walks onto one of the biggest stages at The Long Road Festival in an outfit she has made herself, every detail put together by her own hands. There is something rather poetic about that when you consider her career has been built in much the same way: piece by piece, detail by detail, doing the work herself and gradually creating something unmistakably hers.

And then comes perhaps the most perfect moment of the set. After two days in which the British weather has seemingly declared war on The Long Road Festival, Gill speaks about her late father and how she has prayed to him for some sunshine during her set. And, lo and behold, the sun comes out. Stanford Hall suddenly seems to light up around her, the sunshine arriving almost perfectly on cue. You can believe whatever you want about moments like that, but standing there watching it happen, it is difficult not to smile.

It gives an already emotional performance another layer. Gill commands a stage without making it feel like she is trying to command it. The big vocals are there, the songs are there, but so is the person behind them. On Sunday, dressed in something she has made herself and finally standing in the sunshine she has asked her dad for, it feels like we are seeing a little snapshot of her entire journey. She has built the outfit, she has built the career, and for a few minutes even the weather seems willing to play its part.

Around the rest of Stanford Hall, Lily Fitts brings a softer touch to proceedings, while Henry Grace and Dan Byrne offer still more reasons to keep wandering rather than planting yourself in front of the main stage for the entire day.

That remains one of the joys of The Long Road Festival: you can have a list of artists you absolutely need to see and still end up losing half an hour to somebody you have barely heard of simply because you happen to walk past at the right moment.

Jim Lauderdale is another artist who feels completely at home in the more intimate surroundings of the festival. A GRAMMY®-winning songwriter and one of those names whose fingerprints can be found across American roots and country music, Lauderdale does not need enormous production to make an impact. Give him songs, an audience willing to listen and a stage that allows both to breathe, and there is not much else required.

Emily Scott Robinson provides another reminder that some of The Long Road Festival‘s best performances do not necessarily need to be the loudest. Her songwriting-led approach rewards anyone willing to stop moving between stages for a while and simply listen, while Anne Wilson brings a more contemporary country sound as the afternoon moves towards evening.

Then there is Hayley Jensen. I have already caught Jensen on Saturday, but her Sunday appearance on the Front Porch is something else entirely. Calling it a Front Porch performance almost undersells what happens because the crowd seems determined to turn the whole area into one enormous dance floor. Jensen absolutely tears into the set and people pack around the stage, dancing wherever they can find enough room to move.

This is exactly why I love that stage. On paper, it is one of The Long Road Festival‘s more intimate spaces, but when the right artist catches fire, it can suddenly feel enormous. Jensen has already demonstrated the power of her voice the previous day, but here she seems to feed off the crowd and the crowd feeds straight back. By the end, the Front Porch feels less like somewhere you have wandered across at a festival and more like a party you have accidentally discovered and do not want to leave.

The Felice Brothers and The Brothers Comatose continue to demonstrate the depth of Americana, folk and roots running through the weekend, while Emmylou Harris brings something altogether different: genuine country music history.

Seeing Harris on the Rhinestone Stage is always going to be one of the most significant moments of the weekend. Her influence stretches far beyond country into folk and Americana, and simply having the opportunity to see an artist of her stature feels important. Musically, she is everything you would expect. That voice remains unmistakable and there are moments of genuine beauty throughout the set. Yet, if I am being critical, there is something slightly distant about the performance.

For all the history and significance surrounding her appearance, Harris does not always seem particularly thrilled to be there. Perhaps that is simply her understated stage presence, but from where I am standing there is a noticeable lack of connection with the occasion. It creates a strange contrast. I know I am watching a legend. I know how important those songs are and how rare the opportunity is. The performance itself is beautiful. Yet I cannot quite shake the feeling that Harris would rather be somewhere else.

That does not take anything away from what it means to see her. If anything, it makes the experience slightly more complicated. This is not a triumphant, arms-in-the-air festival performance; it is quieter, more restrained and perhaps one to appreciate for what you are witnessing rather than how loudly it demands your attention.

Outpost Drive and Jonny Morgan & The Moral Support help keep the music flowing elsewhere as the final hours of The Long Road Festival begin disappearing.

And then it is time for the final Rhinestone Stage headliner of 2026. Maren Morris arrives at Stanford Hall with a catalogue containing some enormous songs and a career that has increasingly refused to sit comfortably within a single genre.

Morris is an interesting artist for me because, personally, quite a lot of her music drifts beyond what I would normally consider country and into pop and R&B territory. The lines between genres have become increasingly blurred anyway, and Morris has spent much of her career happily walking across them, but there are certainly moments where this feels quite a long way from the traditional country and Americana heard elsewhere across the weekend. The crowd could not care less. They love her. And ultimately, that is what matters at a festival.

From the moment Morris arrives, the field in front of the Rhinestone Stage belongs to her. Whatever your personal opinion on exactly where her music sits within the country landscape, watching the reaction around Stanford Hall makes it impossible to question the connection she has with her audience.

For me, some of the material may sit closer to R&B and pop than the country music I naturally gravitate towards, but thousands of people singing and dancing around me clearly feel differently. That contrast is part of what makes The Long Road Festival interesting. The same festival that can give you Jim Lauderdale and Emmylou Harris can also end with Maren Morris, without feeling the need to tell you which version of country you are supposed to prefer.

And suddenly, that is it. Three days earlier, people have arrived at Stanford Hall beneath threatening skies. Since then, we have had thunderstorms stop performances, First Time Flyers turn an evacuation into a singalong, The Shires battle technical problems, Bec O’Malley step up, Josh Ross look every inch a future headliner, and Ronnie Wood and Imelda May somehow turn a replacement booking in the pouring rain into arguably the performance of the weekend.

Sunday has been different. For once, the weather has not become the enemy. Instead, we have watched Liam Price complete the journey from competition winner to the Rhinestone Stage, Ryan and Rory demonstrate that catchy songs, serious musicianship and infectious personalities are a pretty formidable combination, Kezia Gill stand in an outfit she has made herself as the sunshine she has asked her father for arrives almost on cue, and Hayley Jensen turn the Front Porch into one enormous dance floor.

We have watched a genuine legend in Emmylou Harris, even if the connection between artist and festival does not quite feel as strong as I had hoped, before Maren Morris shows exactly why country music’s boundaries continue to be debated — and why her audience does not seem particularly interested in debating them.

The Long Road Festival 2026

The Long Road Festival 2026 (Henry Finnegan / @finneganfoto)

But the big names are not necessarily what stick with you most about The Long Road Festival. It is the smaller moments. It is being squeezed into shelter while a band starts singing. It is watching an emerging artist step onto a stage they have spent a year trying to reach. It is thousands of people refusing to leave while Ronnie Wood plays in torrential rain. It is a woman asking her late father for sunshine and watching the clouds seemingly listen. It is discovering someone you had not planned to see and immediately making a note of their name.

That is what The Long Road Festival does better than almost any festival I have attended. You arrive with a schedule full of artists you want to see and leave talking about half a dozen you did not know you needed to. By Sunday night, the boots are destroyed, the camera has survived more water than I would ever willingly expose it to again, and my legs are very aware that Stanford Hall is considerably bigger when you have spent three days repeatedly walking across it.

The Long Road Festival 2026

The Long Road Festival 2026 (Henry Finnegan / @finneganfoto)

The Long Road Festival has given us pretty much everything: rain, lightning, sunshine, technical failures, surprise performances, new discoveries, genuine legends and one Rolling Stone standing in a field in Leicestershire while the heavens open. There is really only one thing left to face. The Long Road home.

Live review & photography of The Long Road Festival 2026 – Day Three @ Stanford Hall, Leicestershire, by Henry Finnegan on 30th August 2026. Instagram: @finneganfoto | Facebook: @finneganfoto

The Long Road Festival 2026 – Day Two: Who Needs Sunshine When You’ve Got Ronnie Wood?

Dummy

Dummy (Kyle Berger)

The new record sees Dummy push their distinctive blend of experimental pop, shoegaze, electronic music and post-rock into more politically charged territory, while retaining the infectious grooves and melodic instincts that have defined the band’s work to date.

Comprised of Alex Ewell, Emma Maatman, Nathan O’Dell, Joe Trainor and Lance Umble, Dummy have spent the period since their 2024 album Free Energy developing their sound through an intense touring schedule. The band played approximately 113 shows across around 150 days, including extensive US touring and two European trips, bringing their music to increasingly larger stages and allowing their live experience to directly shape the new album. “Touring has had a huge impact on us and our music,” Ewell explains.

That experience is reflected in do you love the color of the sky?, a record that deliberately resists being neatly reproduced on stage. Rather than attempting to create a polished studio replica, Dummy embrace the unpredictability and physicality that comes from five musicians constantly testing the boundaries of their material.

The album’s opening track, April Limousine, provides an introduction to that world while also functioning as a kind of musical map for what follows. According to Maatman, the song contains references to every other track on the album, including demos that ultimately did not make the final record. “It leaves you with the thesis statement and the question, ‘do you love the color of the sky?’” she says.

The song also confronts the degradation of the planet, setting the political tone for an album that explores environmental anxiety, technological advancement and the changing relationship between humanity and the world around it.

The accompanying video develops those ideas visually, contrasting the beauty of nature with the growing chaos of technological progress. That tension leads directly into Alluvial Fan, where guitarist Nathan O’Dell and drummer Alex Ewell build a track around stretched-out chords, pulsing rhythms and hypnotic textures.

The song moves between dream-pop atmosphere and jungle-influenced electronics, while O’Dell’s vocals provide another layer to Dummy’s increasingly expansive sound. Melodic lines from Maatman, Ewell and O’Dell remain central to the track, giving the experimental arrangements a strong pop sensibility.

Maatman directs the accompanying visual, in which O’Dell becomes increasingly drawn towards the wires surrounding him by an unexplained force. The imagery mirrors the song’s themes of technological connection, identity and the possibility of becoming consumed by an increasingly interconnected digital world.

O’Dell explains that the lyrics combine imagery inspired by a 2000s anime exploring mass digital connection with the natural phenomenon of alluvial fans — geological formations created when sediment spreads out as flowing water leaves a confined channel. The track also features guest vocals from Allyson and Paul of New Issue, adding another dimension to Dummy’s layered vocal approach.

Together, April Limousine and Alluvial Fan offer an early glimpse of an album that embraces contradiction. do you love the color of the sky? is Dummy’s most politically trenchant release to date, yet the band deliberately wraps those ideas in music that remains inviting, rhythmic and playful.

Breakbeats, shimmering guitars, electronics and Maatman’s captivating vocals create an enveloping sound that allows the album’s ideas to emerge gradually. The politics are not delivered as lectures; instead, they become part of the atmosphere, encouraging listeners to move while simultaneously confronting questions about the future.

The album follows Free Energy, which marked another step forward for the band and explored the euphoria of rave culture and Madchester alongside Dummy’s experimental instincts. Its subsequent remix album, Bubbelibrium DLC, further demonstrated the group’s willingness to pull apart and reconstruct their own music.

For the new record, Dummy turn their attention towards a more uncertain future, drawing on the textures of post-rock, drone, dream pop and electronic music while retaining a colourful pop sensibility. The result is a record that can move from abstract experimentation to immediately memorable melodies without losing its sense of identity.

The band’s influences remain broad, but their approach is anything but nostalgic. Dummy are less interested in recreating a particular era than in taking elements from different musical worlds and finding ways to make them work together in the present. That same philosophy extends to their work ethic. Their relentless touring since Free Energy has changed how the band approach both performance and songwriting, with hundreds of hours spent travelling and playing together feeding directly into the creative process.

There is a deliberately tongue-in-cheek quality to the band’s assertion that “making music shouldn’t be fun,” but beneath the joke is a serious commitment to the process of making something worthwhile. For Dummy, experimentation comes through repetition, touring, collaboration and a willingness to discard ideas and start again.

do you love the color of the sky? consequently represents a creative leap without abandoning the qualities that make Dummy recognisable. The songs remain rhythmic, melodic and often joyous, but underneath those surfaces is a growing sense of uncertainty about technology, environmental collapse and the direction of modern life.

With April Limousine and Alluvial Fan, Dummy introduce an album that asks difficult questions without sacrificing the pleasure of listening — music designed to make both the body and the mind move.

Evanescence Create A Sanctuary Of Sound, Spectacle And Survival At The O2

Angine de Poitrine

Angine de Poitrine (Dustin Rabin)

The performance arrives during an already extraordinary 2026 for Angine de Poitrine, who are currently in the midst of a completely sold-out US tour. Following their US television debut, the duo will return to the UK and Europe in October for a further run of dates before heading back across the Atlantic for an extensive series of Canadian and US shows through November and December. The October run includes two nights at London’s Troxy, alongside dates in Bristol, Glasgow, Dublin and Leeds, before the European leg continues through France, Belgium, Germany and the Netherlands.

At the heart of the band’s increasingly global presence is their second full-length album, Vol. II, released in April and now available alongside their debut Vol. I. The physical releases of both albums arrived in June, subsequently reaching the top of nine US Billboard charts, while Vol. II also topped the Official Rock & Metal Albums Chart and Independent Breakers Chart in the UK.

Vol. II pushes Angine de Poitrine’s already distinctive approach into even more adventurous territory. The duo’s music is built around a collision of acid techno, disco and rock, with microtonal guitar, tightly controlled percussion and constantly shifting rhythmic structures creating music that can feel simultaneously mathematically precise and completely unrestrained. One of the album’s standout tracks, Fabienk, exemplifies that approach. Built around a single microtonal guitar loop, the track repeatedly develops, doubles and transforms around an insistent groove, turning repetition into something physical and liberating.

That tension between structure and chaos has become central to the Angine de Poitrine experience. Khn de Poitrine handles microtonal guitars and vocals, while Klek de Poitrine provides percussion and vocals, with the duo constructing a sound that constantly evolves through the addition and removal of musical patterns.

The band’s performances have become a major part of that story. Over the past two years, Angine de Poitrine have moved from cult curiosity to international touring force, playing headline shows and festivals across North America, Canada, Japan, Europe and the UK. Their acclaimed live session for KEXP has now amassed more than 19 million views, further expanding an audience drawn to the duo’s highly physical and visually distinctive performances.

2026 has seen that momentum accelerate dramatically. Alongside the release of Vol. II, Angine de Poitrine have maintained an almost non-stop international touring schedule, with venues selling out rapidly and audiences continuing to grow across multiple continents. Among the year’s highlights is a one-off performance supporting Jack White at Toronto’s RBC Amphitheatre, while a free headline appearance at the Montreal International Jazz Festival attracted more than 80,000 people.

The appearance on The Tonight Show Starring Jimmy Fallon now adds another significant milestone to that remarkable run, while Zugzegk offers a glimpse of where the duo might take their restless musical vision next.

With their UK and European dates already sold out, Angine de Poitrine’s October return promises to be another chapter in a year that has seen the anonymous project grow into one of the most unusual and talked-about live acts to emerge from Quebec. Angine de Poitrine are an anonymous artistic project, and speculation regarding the identities of its members remains unverified and is not endorsed by the band.

Upcoming UK & Ireland Live Dates:

OCTOBER
13th – Bristol, The Prospect Building
14th – Glasgow, O2 Academy Glasgow
16th – Dublin, Vicar Street
18th – Leeds, O2 Academy Leeds
19th – London, Troxy
20th – London, Troxy

Evanescence Create A Sanctuary Of Sound, Spectacle And Survival At The O2

The February run follows an exceptionally busy period for Pain Of Truth, who have spent much of 2026 building momentum around their forthcoming second album. The band are currently in Japan for a series of performances around Bloodaxe Festival before returning to North America for an extensive headline tour featuring a rotating cast of hardcore heavyweights including Madball, 100 Demons, Killing Time, Contention, Fatal Realm and Mizery.

Pain Of Truth

Pain Of Truth (Estevan Orio)

The European and UK dates will provide the band with their first major opportunity to take the new Pain Of Truth material across the continent, following the release of recent singles UNFORGIVEN, STRANDED and FED BY FEAR. Together, the tracks offer a preview of an album rooted firmly in the physical intensity of modern hardcore while retaining the confrontational spirit that has defined Pain Of Truth since their emergence from Long Island’s hardcore scene.

For the new album, the band have worked with producer Will Putney, whose production credits include Body Count, Incendiary and Counterparts. The collaboration sees Pain Of Truth pushing their sound further, combining aggressive lead vocals and unified gang shouts with riffs that shift between grimy grooves and more electrifying passages.

The rhythmic foundation remains central to the band’s attack, with pounding drums designed to drive the songs towards the kind of breakdowns and mosh parts that have become synonymous with their live shows. But beneath the physicality of the music, the album is driven by a more serious lyrical purpose. Pain Of Truth addresses resistance, struggle and determination, taking aim at divisions within society while presenting its songs as a call to challenge the circumstances that create them.

The new record therefore arrives as both a continuation of the band’s hardcore roots and an expansion of their ambitions. Rather than softening their approach, Pain Of Truth have used the sophomore album to intensify the elements that have established their reputation: uncompromising vocals, heavy riffing, collective shouting and a relentless rhythmic pulse. The band’s current lineup features Michael Brian Smith on vocals, Nick Barker on drums, Nik Hansen and Ridge Rhine on guitar, and Zach Stachura on bass.

The release of Pain Of Truth on 25th September will be followed by a packed touring schedule, with the newly announced February dates taking the band through Belgium, the Netherlands, Germany, the Czech Republic, Austria, Italy, Switzerland and France before their UK run.

With three singles already establishing the direction of the new album and an increasingly extensive live schedule stretching across three continents, Pain Of Truth are set to make 2027 another significant year for one of Long Island’s most uncompromising hardcore acts.

Upcoming UK Live Dates:

FEBRUARY 2027
16th – Leeds, Project House
17th – Glasgow, Slay
18th – Newcastle, Anarchy Brew Co
19th – Birmingham, XOYO Birmingham
20th – London, EartH (Hall)

Evanescence Create A Sanctuary Of Sound, Spectacle And Survival At The O2

Ash @ Scala

Ash @ Scala (Kalpesh Patel)

Three decades later, the song has finally been recovered and completed, with Bittersweet Blue now released as a 7-inch single accompanied by a brand-new video.

The discovery is particularly remarkable given the track’s history. Ash originally wrote the song ahead of the Rockfield 96 recording sessions and performed it while supporting Therapy? at The Point Depot in Dublin in December 1995. By early January 1996, the band had committed the song to tape, but it was subsequently dropped as other material began to take shape and ultimately formed the album that would propel the teenage Northern Irish band to the top of the UK charts.

Yet Bittersweet Blue had already become something of a favourite within the band. So much so that Tim Wheeler would perform it live despite the song not yet having complete lyrics, improvising and developing the words as he went. For years, the track appeared destined to remain part of Ash’s mythology — perhaps existing only on a handful of old tapes and lucky bootlegs. Then the trail went cold.

As drummer Rick McMurray explains, the song resurfaced decades later when the band’s back catalogue was moved to a new home for digitisation. Missing master tapes were discovered, prompting a search that would eventually lead back to the elusive recording. The mystery was finally solved when Wheeler discovered that the original tape had been mislabelled. But recovering the tape was only the beginning.

Ash @ Ipswich Regent Theatre

Ash @ Ipswich Regent Theatre (Emma Shaw)

What remained was far from a finished Ash recording. There was a usable drum take, bass, some rhythm guitars and a scratch vocal — but crucially, there were no finished lyrics. Rather than abandon the track for a second time, the band decided to resurrect it. Wheeler effectively had to reconnect with the teenager who had written and performed the song 30 years earlier, reconstructing the missing lyrics and completing a piece of Ash history that had been sitting unfinished since the 1977 era.

The result is Bittersweet Blue, a genuine sonic time capsule from the period in which Ash were transforming themselves from teenage hopefuls into one of the defining guitar bands of the Britpop era. The accompanying video continues that journey through time. Rather than attempting to recreate the past elsewhere, Ash returned to their formative rehearsal space — the very place where they first played Bittersweet Blue all those years ago.

The setting gives the video an appropriately full-circle quality, connecting the band they were in the mid-1990s with the musicians they have become three decades later. It also gives the space itself a permanent place in the band’s story.

Bittersweet Blue arrives as anticipation builds for the 30th Anniversary Edition of 1977, due for release on 16th October via BMG.

Originally released in 1996, 1977 is the platinum-selling debut that takes Ash from teenage upstarts to Britpop-era icons. Fuelled by breakneck energy, razor-sharp hooks and a succession of instantly recognisable singles, the album includes enduring favourites such as Girl From Mars, Goldfinger, Kung Fu, Oh Yeah, Lose Control and Darkside Lightside. Three decades on, the anniversary collection offers an expansive look back at the era while also adding material that has never previously been available in this form.

The anniversary celebrations will also extend to the stage, with Ash continuing their global 1977 tour throughout 2026. Following dates across Japan, Southeast Asia and Europe, the band return to the UK and Ireland in November and December for a run of shows that includes two London appearances. The tour provides another opportunity to hear the songs that established Ash at the height of the Britpop era, while the rediscovery of Bittersweet Blue adds an entirely new chapter to the story of an album that has already survived three decades.

Ash @ Wembley Arena

Tim Wheeler of Ash @ Wembley Arena (Kalpesh Patel)

For a band whose career has been built around youthful energy, melodic songwriting and an enduring connection with their fans, there is something particularly fitting about Ash reaching back into their teenage years and finding a song they thought had disappeared forever. Thirty years after it was first recorded, Bittersweet Blue is finally getting its moment.

Upcoming UK & Ireland Live Dates:

NOVEMBER
25th – London, Electric Ballroom
26th – Bristol, Electric
28th – Limerick, Spiegeltent
29th – Cork, Cyprus Avenue

DECEMBER
1st – Torquay, Arena
2nd – Southampton, O2 Guildhall
4th – Cardiff, Tramshed
5th – Norwich, UEA
6th – Nottingham, Rock City
8th – Manchester, Albert Hall
9th – Dublin, Olympia
10th – Belfast, Ulster Hall
12th – Newcastle, Northumbria SU
13th – Glasgow, Barrowlands
15th – Birmingham, O2 Institute
16th – Leeds, O2 Academy
17th – London, Roundhouse

Natalie Imbruglia Makes Kingston’s Circuit Her Own At Intimate ‘Algorithm’ Launch