The Hives' frontman Pelle Almqvist declares the group is at ‘peak' of its powers
Pelle, 46, made the comments during an interview with NME, following a livestream by the group from Mexico City where they unveiled their new record The Hives Forever Forever The Hives — the follow-up to 2023's The Death Of Randy Fitzsimmons.
He said: 'After 30 years of being a band, we're at the peak of our powers. That doesn't happen a lot.'
His declaration comes as The Hives have announced a run of intimate UK shows to celebrate the release of their upcoming album.
The new album has been described by the group as 'so full of energy, joy, anger and life that you will be questioning reality as you have known it'.
To mark the album's arrival, The Hives will perform a series of small-venue shows across the UK, beginning on 30 August at Nottingham's Rescue Rooms.
The run continues with dates at Arts Club in Liverpool on 31 August and Leeds' Brudenell Social Club on 1 September.
A special London performance at HERE at Outernet — in collaboration with Rough Trade — is scheduled for 2 September, before the band closes out the dates at Brighton's Concorde 2 on 3 September.
The band said in a statement on Instagram: 'COME ONE, COME ALL! The Hives will be gracing intimate venues across the wondrous United Kingdom.'
Tickets for the gigs go on sale at 10am BST on Friday (30.07.25.)
The announcement follows the release of new single Legalize Living, a riff-driven track taken from the forthcoming album.
It comes after earlier releases Enough Is Enough — which debuted in April — and Paint A Picture.
Discussing Enough Is Enough, Pelle said: 'I think Enough Is Enough got picked as a single really early when there were demos because our manager thought it would sell concert tickets.
'(The record company) wanted to release that first because it's got a big riff and it's a perfect tempo for a crowd to jump up and down.
'It got picked so early when the other songs weren't done, but I really like how it starts: 'Everyone's a little f****** b****…'.
'That's as close to political commentary as you're gonna get! Basically, 'F*** both sides.''
The Hives — completed by Nicholaus Arson, Vigilante Carlstroem, Chris Dangerous and The Johan and Only — will also embark on a full UK and European tour later in the year.
The dates include arena shows at OVO Hydro in Glasgow, Aviva Studios in Manchester, and Alexandra Palace in London.
Joining them on the tour are Yard Act, who will serve as support for all UK and EU dates.
Announcing the support slot, Pelle said: 'That's right! Your king has spoken. Yard Act will be joining The Hives, not just at their Alexandra Palace show but on the whole UK/EU tour.
'A worthy contender, let's see if they can handle The Hives.'
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Perth Now
a day ago
- Perth Now
The Hives' frontman Pelle Almqvist declares the group is at ‘peak' of its powers
The Hives' frontman Pelle Almqvist thinks the band is at the 'peak' of its powers. Pelle, 46, made the comments during an interview with NME, following a livestream by the group from Mexico City where they unveiled their new record The Hives Forever Forever The Hives — the follow-up to 2023's The Death Of Randy Fitzsimmons. He said: 'After 30 years of being a band, we're at the peak of our powers. That doesn't happen a lot.' His declaration comes as The Hives have announced a run of intimate UK shows to celebrate the release of their upcoming album. The new album has been described by the group as 'so full of energy, joy, anger and life that you will be questioning reality as you have known it'. To mark the album's arrival, The Hives will perform a series of small-venue shows across the UK, beginning on 30 August at Nottingham's Rescue Rooms. The run continues with dates at Arts Club in Liverpool on 31 August and Leeds' Brudenell Social Club on 1 September. A special London performance at HERE at Outernet — in collaboration with Rough Trade — is scheduled for 2 September, before the band closes out the dates at Brighton's Concorde 2 on 3 September. The band said in a statement on Instagram: 'COME ONE, COME ALL! The Hives will be gracing intimate venues across the wondrous United Kingdom.' Tickets for the gigs go on sale at 10am BST on Friday (30.07.25.) The announcement follows the release of new single Legalize Living, a riff-driven track taken from the forthcoming album. It comes after earlier releases Enough Is Enough — which debuted in April — and Paint A Picture. Discussing Enough Is Enough, Pelle said: 'I think Enough Is Enough got picked as a single really early when there were demos because our manager thought it would sell concert tickets. '(The record company) wanted to release that first because it's got a big riff and it's a perfect tempo for a crowd to jump up and down. 'It got picked so early when the other songs weren't done, but I really like how it starts: 'Everyone's a little f****** b****…'. 'That's as close to political commentary as you're gonna get! Basically, 'F*** both sides.'' The Hives — completed by Nicholaus Arson, Vigilante Carlstroem, Chris Dangerous and The Johan and Only — will also embark on a full UK and European tour later in the year. The dates include arena shows at OVO Hydro in Glasgow, Aviva Studios in Manchester, and Alexandra Palace in London. Joining them on the tour are Yard Act, who will serve as support for all UK and EU dates. Announcing the support slot, Pelle said: 'That's right! Your king has spoken. Yard Act will be joining The Hives, not just at their Alexandra Palace show but on the whole UK/EU tour. 'A worthy contender, let's see if they can handle The Hives.'
Sydney Morning Herald
20-07-2025
- Sydney Morning Herald
One of the best live bands in the world is finally back in Melbourne
In a long-running tradition, Almqvist splits the crowd in two for the final song of the night, Tick Tick Boom. He strides up the middle and implores everyone to get down low, then all jump up at once as he runs back to the stage. It's pure chaos, just like the band is. Their latest album title says it best: The Hives Forever Forever The Hives. Reviewed by Giselle Au-Nhien Nguyen JAZZ Pat Jaffe's LUNSEN ★★★★ The JazzLab, July 18 Pat Jaffe's new band is named after an enchanting forest that he discovered while on a student exchange in Uppsala, Sweden. Lunsen (the forest) captivated Jaffe with its combination of tranquil beauty and untamed wildness, and LUNSEN (the band) aims to capture and reflect that dichotomy. Friday's concert at JazzLab was only the quintet's second outing, and – while all the players were all reading charts and still getting to grips with the music – it was clear that Jaffe had picked the perfect colleagues to bring his vision to life. The Melbourne composer-pianist also introduced each tune with the story of its genesis, setting the scene for the musical tales that were about to unfold. Jaffe has a wonderfully effusive, enthusiastic presence, and his stories were often hilarious – but also touchingly honest and sincere. Likewise, the music contained both irrepressible energy and heart-melting beauty. Glass and Glue began as a delicate duet between Jaffe and bassist Claire Abougelis, before adding subtle horns and spacious cymbals as Jaffe's rippling piano built into a rousing cascade. Wide Pants moved seamlessly between flowing lyricism and majestic propulsion, Jaffe beaming with delight and bouncing on his piano stool as his emphatic chords urged the band forward. Grandma's Song was gorgeously tender and restrained, while Greg's Benedict – inspired by South African jazz and underpinned by Marissa Di Marzio's exuberant drumming – conjured an air of joyful celebration. Now Music featured expressive solos from Thien Pham (on trumpet) and Zac O'Connell (alto sax), and a recurring melodic motif that the audience was invited to hum as the musicians drifted into silence. The night's final number, Eldorado, was a soulful jazz waltz that swept the band and the audience along in an evocative stream of nostalgia, memory and sheer pleasure. With LUNSEN, Jaffe has turned one of his favourite places in nature into a musical space for discovery, trust, passion and vulnerability. It's a space I'd gladly revisit any time. Reviewed by Jessica Nicholas MUSIC Axis Mundi ★★★★ Elision Ensemble, Melbourne Recital Centre, July 18 Served by some extraordinarily skilled musicians, Elision Ensemble's contemporary music encounter offered some ear-opening experiences as emerging and established composers rubbed shoulders in thought-provoking juxtaposition. American bassoonist Ben Roidl-Ward scaled the heights and depths of Liza Lim's Axis Mundi with breathtaking dexterity, while Richard Haynes revelled in the huge technical and expressive demands of John Rodgers' Ciacco for solo bass clarinet. Both scores embraced a kaleidoscopic spectrum of sounds, including guttural elements spiked with multiphonics and microtonal inflections of pitch. Mexican composer Julio Estrada's yuunohui'nahui'ehecatl featured a titanic trombone cadenza in which Benjamin Marks punctuated his playing with sounds of breathing and vocalisation. This writing, reminiscent of the performance art of 20th century Italian composer Luciano Berio, later included Marks and trumpeter Tristram Williams facing each other, so that the trumpet's bell could be placed into the trombone's in quasi-erotic fashion. By contrast, Charlie Sdraulig's Air began with barely audible susurrations, perhaps evoking the distant memory of a seaside scene. Yuin woman, Brenda Gifford from Wreck Bay in New South Wales, adopted jazz-like elements in Wanggadhi to recount the Dreamtime story of the seven sisters who eventually become the Pleiades constellation. Roidl-Ward's dazzling technique shone again in Victor Arul's Barrelled Space, a relatively lengthy and complex ensemble piece that began life as a solo bassoon work. Loading Bryn Harrison's Double Labyrinth after Richard Dunn, a tribute to the late Australian artist, was a masterclass in harnessing techniques and structure to satisfying musical purposes and a timely reminder that fascinating effects and academic constructs are not an end in themselves. Effectively using a gentle busyness to portray the navigation of labyrinthine pathways, the coalescing of quiet and cohesive textures signalled emergence from a puzzling journey. While contemporary music may be a puzzling journey for some, Elision remains one of its most convincing advocates. THEATRE Rumbleskin ★★ Ames May Nunn, fortyfivedownstairs, until July 27 Three queer vignettes in Rumbleskin twist into some strange terrain. The show explores a collective imaginary that seems to have been colonised by the American Western, and the play vacillates between an action quest with cowboys and rodeos into body horror, psychological suspense, teen melodrama, and even earnest folk-style musical theatre, without much rhyme or reason to guide the way. Unfortunately, this dreamlike melange of disparate elements interferes with consistent world-building, leading to confusing and somewhat threadbare exposition – a problem when you've got multiple narrative strands on the go at the same time. A mysterious affliction known as Rumbleskin stalks the land. It's unclear whether this is a supernatural curse, an infectious disease, or perhaps an ancient reminder of the power to be found in the skins we wear. Whatever the case, it brings a smudge of gothic to tales of a trucker rescuing a teen runaway, a young rodeo champion meeting his match, and a god-fearing town whose way of life is upended by a stranger and a preacher's daughter. None of these stories is particularly compelling or complete, nor does the choice of the American Western feel entirely organic, especially when international publishing can't get enough of outback Oz Gothic right now. I wonder if the fact of our cultural familiarity with US film and television alone is enough to justify it, although it must be said that camp and exaggerated gender performance have always been part of the genre and the queering of the Western has a long tradition that stretches back to well before Ang Lee made Brokeback Mountain. It's just that Rumbleskin doesn't make the most of that cultural intersection, dramatically. All the panto-like caricature can sometimes be funny – cue ridiculous Southern drawls – but the performers lean too hard on low comedy to pave over a thin script, in a way that undercuts emotional investment in the characters and their fates. Loading That said, the comedy is more reliable the larger the lampoons get, and you're glad of the occasional laugh to alleviate the cringe of some downright embarrassing moments, including strained chorus numbers where the ensemble bursts unexpectedly into song. Ames May Nunn's central conceit of an affliction involving skins remains tantalisingly underdeveloped. It needs more elaboration and definition if it's to corral the onstage world into something more thematically cogent and turn this thigh-slapping vision of a queered Wild West into more than a fragmentary oddity. Reviewed by Cameron Woodhead
The Age
20-07-2025
- The Age
One of the best live bands in the world is finally back in Melbourne
In a long-running tradition, Almqvist splits the crowd in two for the final song of the night, Tick Tick Boom. He strides up the middle and implores everyone to get down low, then all jump up at once as he runs back to the stage. It's pure chaos, just like the band is. Their latest album title says it best: The Hives Forever Forever The Hives. Reviewed by Giselle Au-Nhien Nguyen JAZZ Pat Jaffe's LUNSEN ★★★★ The JazzLab, July 18 Pat Jaffe's new band is named after an enchanting forest that he discovered while on a student exchange in Uppsala, Sweden. Lunsen (the forest) captivated Jaffe with its combination of tranquil beauty and untamed wildness, and LUNSEN (the band) aims to capture and reflect that dichotomy. Friday's concert at JazzLab was only the quintet's second outing, and – while all the players were all reading charts and still getting to grips with the music – it was clear that Jaffe had picked the perfect colleagues to bring his vision to life. The Melbourne composer-pianist also introduced each tune with the story of its genesis, setting the scene for the musical tales that were about to unfold. Jaffe has a wonderfully effusive, enthusiastic presence, and his stories were often hilarious – but also touchingly honest and sincere. Likewise, the music contained both irrepressible energy and heart-melting beauty. Glass and Glue began as a delicate duet between Jaffe and bassist Claire Abougelis, before adding subtle horns and spacious cymbals as Jaffe's rippling piano built into a rousing cascade. Wide Pants moved seamlessly between flowing lyricism and majestic propulsion, Jaffe beaming with delight and bouncing on his piano stool as his emphatic chords urged the band forward. Grandma's Song was gorgeously tender and restrained, while Greg's Benedict – inspired by South African jazz and underpinned by Marissa Di Marzio's exuberant drumming – conjured an air of joyful celebration. Now Music featured expressive solos from Thien Pham (on trumpet) and Zac O'Connell (alto sax), and a recurring melodic motif that the audience was invited to hum as the musicians drifted into silence. The night's final number, Eldorado, was a soulful jazz waltz that swept the band and the audience along in an evocative stream of nostalgia, memory and sheer pleasure. With LUNSEN, Jaffe has turned one of his favourite places in nature into a musical space for discovery, trust, passion and vulnerability. It's a space I'd gladly revisit any time. Reviewed by Jessica Nicholas MUSIC Axis Mundi ★★★★ Elision Ensemble, Melbourne Recital Centre, July 18 Served by some extraordinarily skilled musicians, Elision Ensemble's contemporary music encounter offered some ear-opening experiences as emerging and established composers rubbed shoulders in thought-provoking juxtaposition. American bassoonist Ben Roidl-Ward scaled the heights and depths of Liza Lim's Axis Mundi with breathtaking dexterity, while Richard Haynes revelled in the huge technical and expressive demands of John Rodgers' Ciacco for solo bass clarinet. Both scores embraced a kaleidoscopic spectrum of sounds, including guttural elements spiked with multiphonics and microtonal inflections of pitch. Mexican composer Julio Estrada's yuunohui'nahui'ehecatl featured a titanic trombone cadenza in which Benjamin Marks punctuated his playing with sounds of breathing and vocalisation. This writing, reminiscent of the performance art of 20th century Italian composer Luciano Berio, later included Marks and trumpeter Tristram Williams facing each other, so that the trumpet's bell could be placed into the trombone's in quasi-erotic fashion. By contrast, Charlie Sdraulig's Air began with barely audible susurrations, perhaps evoking the distant memory of a seaside scene. Yuin woman, Brenda Gifford from Wreck Bay in New South Wales, adopted jazz-like elements in Wanggadhi to recount the Dreamtime story of the seven sisters who eventually become the Pleiades constellation. Roidl-Ward's dazzling technique shone again in Victor Arul's Barrelled Space, a relatively lengthy and complex ensemble piece that began life as a solo bassoon work. Loading Bryn Harrison's Double Labyrinth after Richard Dunn, a tribute to the late Australian artist, was a masterclass in harnessing techniques and structure to satisfying musical purposes and a timely reminder that fascinating effects and academic constructs are not an end in themselves. Effectively using a gentle busyness to portray the navigation of labyrinthine pathways, the coalescing of quiet and cohesive textures signalled emergence from a puzzling journey. While contemporary music may be a puzzling journey for some, Elision remains one of its most convincing advocates. THEATRE Rumbleskin ★★ Ames May Nunn, fortyfivedownstairs, until July 27 Three queer vignettes in Rumbleskin twist into some strange terrain. The show explores a collective imaginary that seems to have been colonised by the American Western, and the play vacillates between an action quest with cowboys and rodeos into body horror, psychological suspense, teen melodrama, and even earnest folk-style musical theatre, without much rhyme or reason to guide the way. Unfortunately, this dreamlike melange of disparate elements interferes with consistent world-building, leading to confusing and somewhat threadbare exposition – a problem when you've got multiple narrative strands on the go at the same time. A mysterious affliction known as Rumbleskin stalks the land. It's unclear whether this is a supernatural curse, an infectious disease, or perhaps an ancient reminder of the power to be found in the skins we wear. Whatever the case, it brings a smudge of gothic to tales of a trucker rescuing a teen runaway, a young rodeo champion meeting his match, and a god-fearing town whose way of life is upended by a stranger and a preacher's daughter. None of these stories is particularly compelling or complete, nor does the choice of the American Western feel entirely organic, especially when international publishing can't get enough of outback Oz Gothic right now. I wonder if the fact of our cultural familiarity with US film and television alone is enough to justify it, although it must be said that camp and exaggerated gender performance have always been part of the genre and the queering of the Western has a long tradition that stretches back to well before Ang Lee made Brokeback Mountain. It's just that Rumbleskin doesn't make the most of that cultural intersection, dramatically. All the panto-like caricature can sometimes be funny – cue ridiculous Southern drawls – but the performers lean too hard on low comedy to pave over a thin script, in a way that undercuts emotional investment in the characters and their fates. Loading That said, the comedy is more reliable the larger the lampoons get, and you're glad of the occasional laugh to alleviate the cringe of some downright embarrassing moments, including strained chorus numbers where the ensemble bursts unexpectedly into song. Ames May Nunn's central conceit of an affliction involving skins remains tantalisingly underdeveloped. It needs more elaboration and definition if it's to corral the onstage world into something more thematically cogent and turn this thigh-slapping vision of a queered Wild West into more than a fragmentary oddity. Reviewed by Cameron Woodhead
