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Yes music fans, today emo rockers TAKING BACK SUNDAY release 'Call Come Running', their follow up video to 'Can't Look Back' where we get to follow frontman Adam Lazarra as he drives off, bruised and bloodied. Check out the beautifully shot slow-mo fest below!

Tix are still available for their show at our place via

More info:

TAKING BACK SUNDAY have debuted their music video for “Call Come Running” via PAPER MAGAZINE. Featured on the band’s seventh studio album TIDAL WAVE which debuted at #8 on the iTunes chart, the video, directed by Djay Brawner, is a loose sequel to the previous video for “You Can’t Look Back” which found vocalist Adam Lazzara suffering from an unidentified bloody affliction. Fans will be excited to see several special cameos in the new video, including Lazzara’s father.

Proving to be "the most personal video yet for frontman Adam Lazzara," Paper Magazine reports, "A story of renewal and rebirth, that ends with a shot of Lazzara reemerging from a body of water to meet his (again, actual) family, it mirrors the album's foray into themes of growing, adulthood and building families -- a far cry from much of the rest of the band's 18 years-worth of material."

The band is gearing up for a UK and European tour with Frank lero and the Patience kicking off February 11 in Belfast. Shortly after, the band will be making their way down under to Australia and New Zealand, with Acceptance opening during the Australia dates [March 15 - 23]. On March 26, the band will be making a stop in Hawaii at The Republik.

In May, Taking Back Sunday will be tackling the U.S. festival circuit at Rocklahoma, Rock On the Range, Carolina Rebellion, and the Bud Light River City Rockfest in San Antonio, TX. Taking Back Sunday is Adam Lazzara (vocals), John Nolan (guitars, vocals), Eddie Reyes (guitars), Shaun Cooper (bass), and Mark O’Connell (drums). TIDAL WAVE was released via Hopeless Records in 2016 and was produced by Mike Sapone (O'Brother, Mansions) in Charlotte, NC and mixed by Claudius Mittendorpher (Weezer, Drowners, Ra Ra Riot).

Bear's Den Support!!

We're pleased to say that the excellent BANFI will be here to support Bear's Den in March!! Their spiky pop tunes will be go down well on our main stage :) :)

Tickets are available at


Happy 15th Birthday to The Illusion Of Safety!!

Many happy returns to Thrice's excellent album 'The Illusion Of Safety' which was born back in 2002!!! We're so so pumped to be welcoming the guys to our place following their recent reunion, make sure you get tix to come and see them here in April \m/


The One Hundred!

The One Hundred just premiered their new single on the BBC Radio 1 Rock Show last night and we can now announce they'll be headlining the Basement with support from the awesome Massmatiks!!

Tix are available from Weds over at


The almighty Dillinger Escape Plan are here on Saturday as part of their final European show, and they've given a wicked interview:

“You must have chaos within you to give birth to a dancing star. I say to you: you still have chaos within you. Alas! The time is coming, when man will give birth to no more stars. Alas! The time of the most contemptible of men is coming, who can no longer feel contempt for himself. Behold! I show you the last man.”

-Friedrich Nietzsche, 1883

Assuming that historians haven’t been lying to us about the philosophers’ capacity for time travel, Friedrich Nietzsche lacked familiarity with neither the band known as the Dillinger Escape Plan, nor the movement known as punk rock, nor the awe-inspiring whirligig known as the electric guitar–although I’d reason to guess he would have been a huge fan of all three.

Nevertheless, these 123-year-old remarks, originally published in the nihilist’s seminal novel Thus Spoke Zarathustra, provide invaluable insight into the genius of these last men–perhaps last axemen is more appropriate–manifested over the past twenty-nine odd years. The East Coast-based band are set to retire next year upon the conclusion of their world tour behind Dissociation, their sixth and final album, and once they leave the stage for good, the rock world will have lost their kings of calculated chaos.

But save your tears: Every night for the past several months, the current lineup–which comprises guitarist and co-founder Ben Weinman, vocalist Greg Puciato, bassist Liam Wilson, drummer Billy Rymer, and rhythm guitarist Kevin Antreassian–have been birthing star after skull-bashing star, with more caustic supernovas gestating all the while.

The most recent of these dancing (thrashing) stars, of course, come from October’s Dissociation: a riotous, stampeding victory lap which runs all of the band’s associated styles (blistering, über-technical math rock, punishing hardcore, glitched-out electronica) through a supercollider amenable to diehards and newcomers alike. Appropriately for a final LP, the record also marks the completion of Dillinger’s unfinished business; several cuts date back years, including the six-minute closer which lent the album its title, conceived in 2001, when Puciato joined the band in co-founding frontman Dimitri Minakakis’ stead; others, like the almost exclusively electronic “Fugue”, provided Weinman a canvas by which to display his longstanding love for all things digital. “I guess I just felt like if this is the last album, maybe I should revisit some of those things from my hard drive and start working on them again, seeing where my head’s at now,” he told me over the phone.

Weinman and company’s fatalism makes sense, but what sparked it? Looking closer at Nietzsche’s remarks for a moment (and thank you for entertaining my liberal artsiness), we find the answer in his constant mention of time: the universe’s limit upon the artist’s earthly existence, and by extension, his creative existence as well. If you’ve ever seen the band play live (less a show than a crucible for violent, surreal escapisim, all acrobatic stunts and punkish gymnastics) you know that the band have done a remarkable job fighting the biological clock. Excepting 33-year-old Antreassian, all of the Dillinger Escape Plan are in their late thirties and early forties, not the ideal age range for their usual stunts. At this point in their lives, many men have difficulty ascending staircases, much less siderails–and most doctors would probably advise against clambering up to the second story of a venue before diving back down to the stage to scream their hearts out (but not before taking a bite out of a fan’s burger). “I look over at Ben, and Greg, and Liam,” Antreassian remarks, “and I’m like ‘Damn, I’ve got to step it up. How are they still doing it’?” (Puciato, it should be noted, was recovering from a brutal cold when we spoke–not that he takes sick days. Now that’s commitment.)

To put it plainly and crassly, the decision sprang from the Plan’s almighty devotion for the art of fucking shit up. They could half-ass it, but when you’ve written the book on aural insanity, you can’t go out on that note.

“We need to close the book; We need to take control of this and make a controlled dramatic ending to this story,” explained Weinman. “That’s the only way to do it right, So I talked to the guys–and I first talked to Greg about it and like most people, he was kind of confused, like ‘Why would we do that right now? Everything is going so well.’ And I said, that’s exactly why we should do it now–because there needs to be tension. And everything in Dillinger just always been chaotic, and seemingly random.”

He paused, and then added, as if acknowledging the band’s latent paradox, “It’s [Dillinger’s chaotic sound] always been intentional; Almost every note we’ve ever made has been on purpose. So I just felt that it’s very important for us to intentionally close the book in a way that every great piece of art does.”

As I spoke with the rest of the band, that reverence to technique a running theme; understandably so, considering the lengths they had to go through in their initial auditions. Certainly, they don’t call these guys math rock for nothing: every last riff in each entry catalogue–the winding metalcore of Calculating Infinity opener “Sugar Coated Sour”, to the raunchy stomp of Ire Works’ “Milk Lizard”, the stabbing opening salvos of One of Us Is The Killer's “Prancer”–requires the muscle memory of an Olympic athlete, a recall made all the more difficult by the requisite madness of their live show.

Channeling chaos is one thing. “Creating” it is another task altogether, like assembling one of "Westworld"'s uncanny "Hosts"; in order to convince the audience that the finely-tuned is in fact an expression of the ephemeral and random, the band must agonize over every last twist in their musical DNA, effectively creating something alive. It’s an exhausting task, especially when the chief architects have become so intertwined, personally and creatively. Therein lay another contributing factor to the band’s demise, Puciato explained.

“It's one of the most amazing parts about being in a band with other people, instead of just doing solo stuff,” he explained. “You end up in a place that you might not necessarily have gone to; through that compromise that you end up coming up with something that is more interesting, maybe. Our butting of heads has never been musical or artistic. It's more just personality–It really all comes down to tendencies having to go through life having to become more and more codependent on each other and all the gag reflexes that come with being completely dependent on another person in every way. Your band, your emotions, your financial situation, you end up projecting all these different relationships onto each other that might normally be taken in by an enormous support structure in a regular person's life. We don't have those things, we're in this isolated thing together.”

Indeed, the last men are in this together, at least for a little while longer. Once the curtain inevitably falls, each member will be free to pursue their passions: music, producing, and in Wilson’s case, fatherhood. (When it came time for the bassist to break the news to his young daughter about the trek, he told her that he told her, “Daddy’s heading off on a bass vacation.”) Puciato’s plotting a new EP with his other primary project, the Black Queen; he’s also been “stockpiling” new material for Killer Be Killed, his supergroup with ex-Sepultura frontman Max Cavalera, Mastodon bassist/vocalist Troy Sanders, and Converge drummer Ben Killer. Ample protein consumption is in the works as well. “I'm gonna make a lot of omelets,” vowed Puciato, “and then I'm going to eat those omelets.”

As for Weinman, (whose band Giraffe Tongue Orchestra released their debut album Broken Lines this autumn), he’s looking to link up with artists from all across the musical spectrum (Kendrick Lamar being his dream partner). Alas, the guitarist’s got no news regarding his mysterious collaborations with Wyclef Jean, sessions first reported in 2012 and which he later told me included a famous rapper, as well. “I did something with him [Wyclef] and Waka Flocka. It's one of those things where I just did and I was just making stuff, giving it to him and walking away. I never really looked back. I'm sure I'm on something, I just don't even know.”

As one dancing star–and in Dillinger’s case, a damn supernova–fades, another ignites. 2016 may go down in the history books as the beginning of the end of these math-rock pioneers, but between the continued activity of its extended family (erstwhile member Mike Patton included) and the countless inspired acolytes who will carry the torch long after they storm the stage for the final time, the legacy of the Dillinger Escape Plan will never fade. Chaos is eternal, and so are its most invaluable emissaries.

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Grandaddy Share New Track 'Evermore'.

The glorious Grandaddy resumed activities in the studio last year with the promise of a new record, and now they've uploaded their new single 'Evermore' to the airwaves!! Their new album, 'Last Place' arrives on 3rd March, and they'll be taking to our stage on 29th March to play us their new stuff, as well as some vintage tracks too.

Check out 'Evermore' below!!

Tickets for their show are available here.


The ace Bear's Den have made it to Spotify's Winter Playlist with their wintery delight called 'Berlin' !! Check it out:

They're here in March, still some tix available at


Super Furry Animals throwback pics!!

The awesome Super Furry Animals will be here on Friday to celebrate 20 years of Fuzzy Logic / Radiator with us, and they've been treating us to some ace throwback pictures. Check out these images of the band recording at Rockfield coach house studio in 1995, and in NYC in Sept 1996 - 20 years ago!! 

There's still some tix left for their show here on Friday if you fancy joining us:





A new exciting role has become available in our Ticketing Team, working with DHP Family’s in-house ticketing platform – alt. tickets 

In 2016 so far alt. tickets sold over 270,000 tickets, for shows around the country not only for DHP Family but as an independent ticket agent in its own right. It has been on a significant growth plan since 2009 and that is set to continue. alt. tickets gained S.T.A.R. status in October 2014 and is dedicated to an exemplary customer experience.

alt. is a key component of the DHP Ticketing Team, which is the support function for the concerts, festivals and other events that DHP Family deliver.


Job Purpose

You will be responsible for the day-today running of alt., including show set ups and close-offs, customer services, stock control and despatch. Suggesting improvements to alt. to ensure our customer’s receive the best service possible will be key.

Key Responsibilities

  • Building shows on the online alt. tickets system

  • Stock control and despatching tickets

  • Customer services (email and telephone)

  • Managing guest lists

  • Compiling and sending customer lists and final figures

  • Assisting the Ticketing Team with their reporting function

  • Working onsite at our DHP Festivals

  • Providing support to the Ticketing Team as the business sees fit


Personal Characteristics and Relevant Experience

  • Evidence of experience with Microsoft XL and other Microsoft applications

  • Experience in database management and maintenance

  • Confidence in using social media

  • Fastidious attention to detail

  • Flexible in working pattern

  • Excellent communication skills

  • Evidence of Time Management skills and commitment to meet crucial deadlines

  • Excited to be involved in process improvement

  • Confidence and ability to work and communicate across multi-functional teams

  • Resilience to work in what can be a high-pressured environment

You will be required to use SharePoint and training will be given.  Industry experience is preferred but not necessary.

Hours and Place of Work

The role is based at the DHP Family’s Head Office situated in the Lace Market area of Nottingham City Centre, on a 35 hour week basis. There are peak periods which might require flexible working times e.g. weekend working to deliver the needs of the business.  

We strive to ensure that employee flexibility works both ways which relies on mutual trust.

DHP Family is a committed Equal Opportunities employer promoting equality of opportunity. This means that everyone who either applies to or works for the Organization is treated equally, and we welcome applications from candidates no matter their gender, age, ethnic origin, nationality, marital status, disability, sexual orientation or religious beliefs.

Please apply to This email address is being protected from spambots. You need JavaScript enabled to view it.  


Please note that due to the number of applications we receive DHP Family may not be able to reply to every application.  

The Saw Doctors - RESCHEDULED

Hi all,

Please note our gig with The Saw Doctors has been rescheduled to April 25th next year due to band illness - Get well soon Davy!!

Here's a statement from the band:

Unfortunately due to the illness of singer Davy Carton who underwent a minor throat operation last week, The Saw Doctors will not be able to play their fifteen date UK Tour which was due to start in Cardiff next Monday and continue through till the Glasgow concert on December 17.   

The Saw Doctors have rescheduled thirteen of  the UK Tour dates to April 2017 including the two  sold out London shows at Shepherd's Bush Empire which will now be take place on Friday April 21 and Saturday April 22 and the sold out Manchester Apollo concert which will now take place on Saturday April 29.  

The Saw Doctors will now play their two rescheduled Glasgow shows on Friday June 2 and Saturday June 3.  

"The Saw Doctors regret that they will not be able to play for all our loyal and faithful UK fans this Winter. Davy Carton needs some more time to recuperate and rehab his badly damaged vocal cords" says Leo Moran of The Saw Doctors  

"We are looking forward to getting back on the road next  Spring to play all the rescheduled UK Shows in April and in  early June"   

Tickets purchased for all the UK shows by The Saw Doctors in November and December will be valid for the respective rescheduled gigs in April and in early June 2017.  

A full refund is available from the point of purchase if the  2017 rescheduled dates do not suit ticket holders.