Jay Aston‘s GENE LOVES JEZEBEL announce first U.S. sho tour in over 10 years

GENE LOVES JEZEBEL will be touring the USA in September (as Jay Aston‘s Gene Loves Jezebel), together with a date in Vancouver, Canada. This will be the band‘s first North American tour for over ten years and comprises 19 dates across the country. Joining Jay, Pete and James will be Joel Patterson on drums.

Check them out here:

Tue, Sept 4 –  Austin TX @ Elysium
Thu, Sept 6 – Atlanta GA @ Masquerade
Fri, Sept 7 – Winston Salem NC @ Ramkat
Sat, Sept 8 –  Philadelphia PA @ KungFu Necktie
Sun, Sept 9 – New York NY @ The Cutting Room
Mon, Sept 10 – Providence RI @ Fete Lounge
Wed, Sept 12 – Pittsburgh PA – Crafthouse
Thu, Sept 13 – Chicago IL @ Bottom Lounge
Fri, Sept 14 – Kansas City MO @ Riot Room
Sat, Sept 15 – Denver CO @ The Venue
Sun, Sept 16 – Salt Lake City UT @ Rye
Tue, Sept 18 – Vancouver BC @ Rickshaw Theatre
Wed, Sept 19 – Seattle WA @ El Corazon
Fri, Sept 21 – Portland OR @ Star Theatre
Sat, Sept 22 – San Francisco CA @ DNA Lounge
Sun, Sept 23 – Los Angeles CA @ The Echo – Part Time Punks:
Wed, Sept 26 – Santa Ana CA @ The Observatory
Fri, Sept 28 – Las Vegas NV – TBA
Sat, Sept 29 – Mesa AZ @ Club Red – TBA

Released last year to critical exlaim, their first new album in 14 years, “Dance Underwater” is a true return to form. The album is varied, dynamic and has all the hallmarks of a truly great Gene Loves Jezebel album that will please the fans and appeal well beyond. Check it out here:

For a band to stay relevant across decades is unusual — but to do so with much of the same lineup for most of that time is exceptional.  Such is the case with Gene Loves Jezebel, which indicates that these musicians come together not only out of an appreciation for the memorable music they create, but also because they truly like and respect each other.  Jay Aston (vocals), James Stevenson (guitars), Pete Rizzo (bass) and Chris Bell (drums) — with Peter Walsh producing — have created extraordinary GLJ songs for 30 years now.  With their new album, they honour that legacy by expanding it.

It is unsurprising this GLJ lineup has proven as relevant and creatively vibrant as ever.  These are the same members that helped the band achieve many of its biggest successes.  This is not to say that any previous incarnations were unsuccessful but with this particular lineup, the GLJ sound crystallized into its most recognizable and enduring form.

GLJ members have always been far more interested in moving forward artistically, rather than dwelling on past achievements, but this reunion seems an appropriate occasion to acknowledge how each has made an integral imprint on the signature GLJ sound.  Without any of them, GLJ might not have evolved into a such special entity with passionate fans worldwide.

Jay Aston founded GLJ in London in 1981 and quickly gained a fervent following.  Promise, the band‘s trailblazing debut, appeared in 1983.  Though he shared vocals with his brother Michael, Jay was the primary songwriter.  Jay‘s songs, spotlighting his uninhibited and highly distinctive singing style, made GLJ instantly memorable and identifiable.  Immigrant followed in 1985, marking Pete Rizzo‘s first recordings with the band; his inventive and complex bass lines instantly became an essential part of the GLJ sound.  The band matured even further on Discover (1986), when James Stevenson joined and demonstrated his talent for delivering guitar work that is both melodic and powerful.  (Discover was also the first GLJ album that Peter Walsh was involved in, starting a symbiotic relationship that continues with their new album.)  Then, on The House of Dolls (1987), Chris Bell joined the band full-time, his drumming providing a flawless foundation.  Michael was largely absent from recording that album, resulting in the four-piece lineup of Jay, Pete, James and Chris that is still going strong to this day.

It is noteworthy that while GLJ grew increasingly successful with each release, House of Dolls led to a big jump in their U.K. and U.S. popular chart success, as well as substantial MTV exposure, a trend that continued when this same lineup released Kiss of Life (1990) and the single “Jealous” reached the top spot on the U.S. alternative rock chart.  The band had clearly hit its stride, and the artistic achievements continued unabated with the following studio albums:  Heavenly Bodies in 1992 (which the band itself considers its finest studio recording — until this new album, that is!), VII in 1999, and The Thornfield Sessions in 2003.

There is a particular ineffable magic in these musicians reuniting as GLJ.  Their experience and knowledge add a layer of depth to the music they create together.  They refuse to relegate their band to some nostalgia/novelty circuit; you will never find them merely creating a House of Dolls 2.0.  Instead, their new release is intense and energetic, reflecting the euphoria found in rekindling a fulfilling long time dynamic partnership. Gene Loves Jezebel is set to embark on its next decade of musical excellence.

Social Media:
Twitter: geneluvsjezebel

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