DOUBLE VEE CONCERTS bepaalt zelf wie de kaartjes verkoopt aan het publiek. Dat geldt ook voor de clubs, theaters en festivals waar deze artiesten optreden. KOOP ALLEEN CONCERTKAARTEN VOOR DE OP DEZE SITE AANGEGEVEN CONCERTEN BIJ DE VERTROUWDE VOORVERKOOPADRESSEN OF CHECK MET DE ORGANISATOR. DOUBLE VEE CONCERTS betreurt de zwarthandel, woekerhandel en heeft ook geen eigen of vermomde "secondary ticketing", en doet als bekend ook principieel geen zaken met zgn "secondary ticketvendors". Wij doen een beroep op het publiek om die handel ook niet te steunen. Klachten over dit soort handel in kaarten met de artiesten die wij vertegenwoordigen gaan rechtstreeks naar de Tweede Kamer fractie van de SP.



The 2017 January night before Donald Trump was elected 45th President of the USA, art-rock alchemists
Mogwai played Berkeley in California. Inside the packed UC Theatre they stoically steered through Atomic,
their 2016 soundtrack for Atomic: Living In Dread And Promise, northern Irish film director Mark Cousins'
devastating dissection of nuclear history as the film itself rolled out behind the band. Mogwai's eerie symphonic
intensity dramatically magnified the catastrophic imagery of actual armageddon. For some, it was a
sensory overload too far.

“Sixteen people passed out,” notes Stuart Braithwaite, merrily, Mogwai's guitarist, worldly sage, Twitter wit
and (very) occasional singer. “I don't know if the Americans had done their research. 'What the...!?' Stretchered
out. It was warm, a lot of them were stoned and they were seeing a nuclear apocalypse in from of them
when they were about to elect as President a man-baby with no soul, who's in the pocket of the Russians,
about to start world war three. It was too much, the perfect storm!”
For twenty-two years Mogwai have been making the rest of us metaphorically pass out: in rapturous awe, in
brutalised dread and transcendental promise. Since 1995 Glasgow's post-rock pioneers have been a sonic
perfect storm, the musical equivalent of both Francis Bacon's horror paintings and William Blake's visions of
angels in the trees (or, if you like, the aural equivalent of Blake's Songs of Innocence and of Experience
Showing the Two Contrary States of the Human Soul, except by exuberant Scottish jesters in sturdy rainwear,
here in the 21st Century).

The more precarious the world becomes, the more their music is escapist balm, more so than ever inside the
cocooning deliverance of their ninth studio album, Every Country's Sun. “If we can distract anyone from the
shambles and stupidity for even a couple of minutes,” decides Barry Burns, Mogwai's ever-wry multiinstrumentalist,
“then that’s better than anything, excepting valium.”
Every Country's Sun takes two decades of Mogwai's signature, contrasting sounds – towering intensity, pastoral
introspection, synth-rock minimalism, DNA-detonating volume - and distills it, beautifully, into 56 concise
minutes of gracious elegance, hymnal trance-rock and transcendental euphoria. Produced by psycherock
luminary Dave Fridmann it's a structural soundscape built from its stark foundations up, from a gentle,
twinkling, synth-rock spectre to a solid, distortion-rock, skyward-thrusting obelisk. There's percussive, dreamstate
electronics (Coolverine), church organs as chariots of existential fire (Brain Sweeties), tremulous, foreboding
bleeping, possibly from a dying android (aka 47) while the last three songs explode from the sonic
womb into raging, elemental life. Their most transportive album yet, it also hosts their most fully realised artpop
sing-along of all time, Party In The Dark, a head-spinning disco-dream double-helix echoing New Order
and The Flaming Lips, featuring Braithwaite's seldom-heard melodic vocals declaring he's “directionless and
innocent, searching for another piece of mind”. Burns still can't believe his ears. “That one turned out as
close to a radio hit as we’re likely to get,” he smiles. “I find myself humming it which is not normal.” This is
music as a keep-out chrysalis, protective audio armour through exalting organs and portentous, dissonant
guitar fuzz warping at the edges, bending the world inside out into a reality you'd much rather live in. The last
three songs ascend into explosive exorcism, closing with the colossal Every Country's Sun, its searching
intensity wooshing towards infinity in a dazzling cosmic crescendo.
“The last song is my favourite,” says Braithwaite. “The whole record builds and builds, a lot of it's synth
heavy, then guitar heavy and that last song encompasses everything. This album definitely has a trajectory
to it, building towards something scary and overwhelming.”
It began in the tumultuous year of 2016, the band submerged in individual demos, working for the first time
without John Cummings (who left in late 2015); Braithwaite, Burns, Dominic Aitchison (bass) and Martin
Bulloch (drums) all pooling ideas via Dropbox. Braithwaite worked at home in Glasgow, “in my temple to
hoarding, very much a Man Cave, piles of records and skateboards and Celtic scarves”, Burns in Berlin, in a
tiny art studio where he and his wife once lived. “I messed around with loads of synths,” says Burns. “I play
very little guitar on this record, so there’s tonnes of old organs and old synths from Dave Fridmann's studio
too. The Berlin studio is essential for productivity. I tried home working and it was totally unproductive, internet
seduction and all that mind-fizz.”
Buoyed with new ideas they reconvened physically at their Glaswegian studio, the wryly-titled Castle of

“At that stage things were sounding wildly different and we just had to trust that when we got together and
played it would sound like us,” says Braithwaite, “rather than some demented mix-tape made by someone
who thinks the government is spiking their coffee.”
In October 2016 they took their glimmering bounty to Dave Fridmann, collaborator and friend since producing
Mogwai's Come On Die Young, '99 and Rock Action, 2001, his Tarbox Road Studios in Chautauqua
County, New York State in perfect isolation surrounded by woods, wild hounds and marauding deer hunters.
Home to a myriad recording greats since 1997, including Flaming Lips and Mercury Rev, our Caledonian
heroes were soon followed by Californians Haim, to whom they bequeathed “a lot of beer”. Full immersion
ensued, through to January 2017, “in a bubble,” notes Braithwaite, emerging into the new world order in
January 2017. Every Country's Sun became, subconsciously, a musical salve, a transportation sanctuary
while the divisive bedlam of the wider world continued at ever-accelerating pace.
“What's going on in the world politically and socially has to affect you,” muses Braithwaite. “It was very much
on our mind, especially in America. We were vaguely getting over the Scottish referendum, then the death of
David Bowie, along comes Brexit and then Trump. The album was written in a very turbulent, intense period
so I think it maybe feels like some kind of shield from that? That's maybe just my take. Because it literally
was for me.”

These are exceptional days for the Lanarkshire quartet, now in their 22nd year of creative singularity. Eighth
studio album Rave Tapes was a top ten album in 2014, “in the proper charts,” notes a chuffed Braithwaite
(on its release, the biggest-selling vinyl album of 2014); their 20th anniversary ATP season at Camden's
Roundhouse in 2015 featured artists who'd inspired them (Public Enemy, Godspeed You! Black Emperor,
GZA, The Jesus & Mary Chain); an email correspondence began in 2015 between Braithwaite and his hero
Iggy Pop (16 years after Punk Rock from Come On Die Young featured a sample of Iggy Pop gnarling, magnificently,
over “trashy old noise” in 1977) while the Atomic tour of 2016/17 was acclaimed worldwide, including
their show in Hiroshima, a dramatic experience which moved the band to tears. “It became kind of 3D
and really on top of you,” notes Burns, “I count that tour as one of our best achievements.”
Back on Trump's inauguration day in 2017, meanwhile, Mogwai found themselves with a day off in Las Vegas,
Braithwaite eschewing rolling TV news for Britney Spears at Planet Hollywood. “Amazing, actually,” he
smiles. “I'm not a deep Britney Spears fan, I just liked the singles, but something of the sheer showbiz and
Americanism of it, on that day, was apt.” Burns, elsewhere, spent the last $30 of his per diems “on black at
the roulette table...and won!”

Mogwai in 2017 are winners alright, staggeringly prolific musicians whose output today numbers nine studio
albums, 13 EPs, two remix albums, two live albums and four compilation albums including 2015's greatest
“hits” Central Belters. They're also established soundtrack titans, sound sculptors behind an impressive
spectrum of cinematic releases (both full soundtracks and contributions): alongside Atomic (a top 20 UK album
in 2016), there's been consistent acclaim through Michael Mann's Miami Vice (2006), The Fountain
(2006, collaborating with Clint Mansell and Kronos Quartet), Zidane: A 21st Century Portrait (2007), Amnesty
International's PEACE project (2010), French TV series Les Revenants (2013) and contributions to Leonardo
DiCaprio's climate change documentary Before The Flood (2016) alongside soundtrack Oscar-winners Trent
Reznor and Atticus Ross. “It's taken a while,” notes Braithwaite, “we couldn't have done soundtracks when
we were young. And film people are different, they're quite fussy!”
Arriving in 1995 Mogwai were 70s-born punk rock renegades who “hated everything”, who named themselves
after the comedy-horror gonk in Gremlins, whose lifelong politicised worldview inspired the 1998 EP
No Education = No Future (Fuck The Curfew), an indignant protest against a Strathclyde Police initiative
demonising Lanarkshire teenagers. Skateboarding kids who loved Nirvana, The Cure and Star Wars, their
1999 merchandising t-shirt in the pre-millennial, post-Britpop wilderness declared Blur: Are Shite. They
aligned themselves, instead, with the symphonic divinity of Canada's Godspeed You! Black Emperor, their
own terror-rock epic Mogwai Fear Satan (from debut album Young Team, 1997) pioneering late-90s “post
rock” instrumental sorcery. Pavement's Stephen Malkmus, with late-90s foresight, pronounced them “the
band of the 2Ist century”. Their autonomous, uncompromising attitude remains steadfast today, releasing
music on their own Rock Action label since 2010, now home to a diverse spectrum of equally maverick

“We've made some good choices, getting independence, our own label and studio,” says Braithwaite. “It's
not easy being independent, it's a lot more work. But setting the label up properly, cutting our teeth putting
out other bands, makes me so proud. Seeing Sacred Paws doing well gives me an immense feeling of pride,
doing for other people what Chemikal Underground did for us when we were making our first records. People,
largely, make music out of love now, rather than any expectation. There's not many folk getting rich off
music anymore. You have to be really into it, otherwise why do it? You have to actually care!”
Mogwai profoundly care, while retaining their peerless position as the most musically perilous comedy band
on Earth. Every Country's Sun adheres to the now-legendary Mogwai ruse of the random, amusing songtitle,
an irresistible ploy which previously gave us Secret Pint, I'm Jim Morrison, I'm Dead and the prophetic
George Square Thatcher Death Party two years before the non-turning lady's demise in 2013. This year's
titles were chosen, as ever, from a cache of everyday quips, often while “pished in the pub”, choosing from
literally hundreds during the mastering stage this March. Among the new album's corkers are Crossing The
Road Material (person to be avoided, definitely never marry), 1000 Foot Face (Braithwaite's mum came up
with an accidental version of the “thousand yard stare”) and Don't Believe The Fife (a pal made a winning
region-related quip while listening to Public Enemy). Every Country's Sun itself, their stately, dramatic closer,
all electro dynamics and molten guitars, was inspired by the psychedelic thoughts of one of Burns' pals. “A
close friend told me she thought the reason some countries were warm and others cold was because each
country had a different sun, not realising that the Sun was a star, our star,” he boggles. “She also thought
you could 'land on space' like it was a solid place.” “It does have an inclusive meaning too,” adds Braithwaite.
“Every Country's Sun feels optimistic. It feels pro-humanity.” No wonder: both twinkling and traumatic, it
sounds, in music's magical way, like it's searching for answers, their mostly wordless musical impressionism
wide open to interpretation.

“People have told me, about the same song, it's the happiest song they've ever heard and the saddest song
they've ever heard,” says Braithwaite. “The music just evokes something in people in different ways and
makes a connection. Maybe lets them detach from the everyday to something they're feeling anyway. It's a
great thing. To be part of people's personal experience.” This being Stuart Braithwaite, though, this earnest
statement concludes with a burst of mirth. “Without them having to put up with your shite patter,” he guffaws,
loudly. It's a music, too, which is the aural equivalent of Free Drugs. Braithwaite nods. “I like that.”
Mogwai are a unique, defiant, Scottish success story, a band who named their second album twenty years
ago Come On Die Young and turned, instead, into musical lifers. Now regular festival headliners across Latitude,
Green Man and End Of The Road, this September they headline Festival No.6 in Portmerion before an
extensive World Tour 2017, beginning in Oslo on October 10th, ending with their biggest-ever headline show
on December 16th at Glasgow's HSS Hydro, the perfect homecoming celebration. The sometime outsider
iconoclasts are now an immovable, centrifugal force.
“We've survived because of hard work,” decides Burns. “Doing stuff where we feel out of our depth, that only
helps you get better. We’ve been, for the most part, allowed to breathe and make decisions with little outside
influence. The trust that people have had and still have in us helps us stay fairly confident that we’re doing
something worthwhile.”

“We started in 1995,” concludes Braithwaite, “it's totally mental. I remember when the Pistols came back and
they were forty. We were young then thinking, 'imagine being in a band when you're forty?!' Music is no
longer just about youth culture. But all I know I just want to keep making music that's amazing.”
In our unpredictable world, all of us under the same sun, you could bet on that happening forever, on the
black in Las Vegas as civilisation crumbles, and definitely win.
Mogwai are Dominic Aitchison (bass), Stuart Braithwaite (guitar, vocals), Martin Bulloch (drums) and Barry Burns
(keyboard, computer, guitar).Mogwai always meant to change the name of their band, but they never got round to it. No matter: their moniker suits them just fine.

Mogwai is a fitting name for the sublime and deafening Glasgow five-piece who formed in the midst of a local DIY uprising in 1995. It means “ghost” in Chinese, and the band’s largely instrumental music (dis)embodies this rendering: it is abstract, haunting and beautiful. And sometimes terrifying. (Not to mention the fact that their second studio album CODY’s sleeve art invoked The Exorcist.). Their name’s linguistic origin is echoed in Mogwai’s penchant for pentatonic scales – a tendency that also indirectly roots them in Scotland (in folk tradition and mood, at least).

Mogwai have played with their backs to the audience, and often appear in silhouette onstage – they remain one of the most exceptional live acts of our time – and their aesthetic approach can be similarly inconspicuous yet striking. “We have this attitude when we’re sound-tracking something – we don’t want to get in the way,” guitarist Stuart Braithwaite said recently. “We’re not attention-seeking.” He was talking about Mogwai’s extraordinary work on Douglas Gordon and Philippe Parreno’s 2006 film, Zidane – which the band performed live with screenings for the first time in Manchester, Glasgow and London in July 2013 – but he could equally be referring to their excellent 2013 soundtrack for French TV drama Les Revenants (The Returned), which also, incidentally, translates as “ghosts”.

From Les Revenants’ barely-there piano motifs to a gorgeous, spectral paean called “What Are They Doing In Heaven Today?” (originally recorded by Texan gospel troubadour Washington Phillips), Mogwai create tension, set scenes and frame stories while remaining almost invisible. They revoke theatrics and (usually) voices and words, in favour of atmosphere, music and silence. (And volume.)

These recent film and TV soundtracks have not been at the expense of Mogwai’s own dynamic, ever-evolving narratives. 2011 saw the release of their terrific seventh studio album, Hardcore Will Never Die, But You Will (its ace remix offshoot, A Wrenched Virile Lore, followed in 2012) and the band are making visitations to their Castle of Doom studios as we speak, preparing for album number eight. They’re returning to close this year’s final ATP End of an Era weekender in November 2013 – they curated and headlined the inaugural ATP back in 2000 – and their Glasgow-based Rock Action label (also the name of their third studio album) continues to thrive.

Mogwai are: Stuart Braithwaite (guitar, vocals), who met Dominic Aitchison (bass) at a Ned’s Atomic Dustbin gig in the early 90s. They formed Mogwai in 1995, with Martin Bulloch (drums) and then John Cummings (guitar, piano and computers) shortly thereafter. Barry Burns (piano, flute, guitar and computers) officially joined in 1998, before the recording of Come On Die Young (CODY).

Mogwai are: what you want them to be. “Totally abstract,” Stuart Braithwaite once said. “Just music. Make of it what you will.”

Mogwai Discography – Studio Albums (UK / US labels)

Mogwai Young Team (1997, Chemikal Underground / Jetset)
Come On Die Young (CODY) (1999, Chemikal Underground / Matador)
Rock Action (2001, Play It Again Sam / Matador)
Happy Songs For Happy People (2003, Play It Again Sam / Matador)
Mr Beast (2006, Play It Again Sam / Matador)
The Hawk Is Howling (2008, Wall of Sound / Matador)
Hardcore Will Never Die, But You Will (2011, Rock Action / Sub Pop)

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