Doors 7.30pm - 23.00

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RESCHEDULED SHOW from 29th April 2020 & 27th September 2021

Statement from band below:

We're really disappointed to have to push back our tour dates and not get to see you all next month however it's very clearly the right thing to do and we are happy to be able to announce the rescheduled dates and to have something really fun to look forward to!

They’re no longer based in the capital these days – guitarist Rachel Aggs (Trash Kit, Sacred
Paws) has relocated to Glasgow, joining drummer Andrew Milk (Current Affairs), while bassist
Billy Easter (Wet Dog) is now a semi-permanent resident of Los Angeles – but Shopping will
always be a London band. It’s little surprise, then, that the threesome returned to the city to
write their formidable fourth album, All Or Nothing (out Feb 7th

, via Fat Cat).

The DIY ‘supergroup’ formed in 2012, respected players on a young, queer, East London scene
that counted basement venue Power Lunches (RIP) as its hub. Their sound – kinetic, minimalist
dance-punk inspired by the likes of ESG, Gang of Four, Slits and Au Pairs – has won them
glowing press from all quarters (NME, Pitchfork, NPR), impressive co-signs (Sleater-Kinney’s
Corin Tucker is a fan) and a loyal, cross-continent following accrued over three, acclaimed
albums: self-released debut Consumer Complaints [2013], a short-run, DIY-distributed release
that sold out in a matter of months and was subsequently reissued by FatCat; Why Choose
[2015, FatCat], which saw the band touring the States for the first time; and The Official Body
[2018, FatCat] – produced by indie pop legend Edwyn Collins – which bagged the threesome a
main stage slot at San Francisco Pride 2018 and a coveted publishing deal with Sub Pop.
It was there on the US West coast – in a Seattle basement, to be exact – that the storming lead
single for All Or Nothing was written. ‘Initiative’, like the album as a whole, thrums with
purpose, marking a confident new phase for the band. They may be miles apart, but distance
has only sharpened their focus. The members of Shopping still write together, face-to-face,
taking a collaborative approach to lyrics and vocals. And after seven years as a band, they’ve
finessed their creative process. “I think we have this down to a fine art now,” jokes Easter. “We
used to spend longer working on songs that we eventually ended up hating. Now we’re more
cutthroat about it; if it’s not working, we’re like ‘next!’” Aggs concurs. “I think songwriting is
starting to feel less like magic and more like this tangible process that just works as long as we
put all of our energy into it.”
All Or Nothing was written across an intense 10-day period back in February, with sessions
spent in London and Glasgow. The songs that emerged are some of Shopping’s boldest yet:
confident, elastic, streamlined grooves that crackle with energy and intention. Uniting these ten
new songs is an expression of tenacity: commitment, leaps of faith and tests of courage. “A lot
has happened in our personal lives since we last recorded,” explains Aggs. “We knew this album
was going to reflect that exciting and scary feeling that comes with change, heartbreak and
personal evolution.”
When it came to recording, Shopping teamed up with Davey Warsop, a Birmingham-born
US-based producer who’d approached the trio at a gig in L.A.

In the past, the band have been “ extremely faithful to the demo versions of each song, keeping
things very stripped down,” admits Aggs. All Or Nothing sees them shifting their priorities. “In
the spirit of the album title, we figured we would take a leap into the kind of pop production
we’ve always dreamed about,” says Easter.
Talking Heads, YYYs, Bronski Beat and LCD Soundsystem are among the artists to feature on the
production inspo playlist the band created for Warsop, who oversaw recording in April, and
Shamir producer Nick Sylvester, who mixed the record, in Los Angeles. After that, NYC based
engineer Sarah Register handled mastering.
Along with cleaner, new production values, All Or Nothing sees Shopping experiment further
with the sonic additions that coloured The Official Body. Jubilantly ‘80s synths and electronic
percussion add new textures to their signature minimalist dynamic, flourishes that show up on
the accelerating zooms of ‘Follow Me’ and the frenetic, propulsive robotics of ‘For Your
Pleasure’. “We introduced both of these sounds on the last album and just decided to be more
liberal with them this time,” explains Easter. Aggs – feted for her dexterous, Highlife-inspired
fret work – went so far as to down guitars for a number of tracks (‘For Your Pleasure’, ‘Follow
Me’, ‘Lies’). “It's been so fun developing quite a specific guitar style within Shopping, but I think
we were all getting a little sick of it to be honest! It felt very stale to just have every song be the
same formula so I’m glad we did away with the guitar for a few songs.”
Four albums in, Shopping are as committed and focused as ever, regardless of any distance. As
critics have noted, the trio’s vision – groove-centered; deeply queer; political by default – place
them in a radical lineage of dance, a continuum connecting disco and post-punk to Chicago
house and EDM. That spirit of liberation through rhythm is very much present on All Or
Nothing, says Aggs. “We found ourselves singing about being true to yourself, in an often binary
and belligerent digital age, and reclaiming agency when it feels like our personal freedom and
privacy is constantly eroding.” In an era dominated by spin and surveillance, All Or Nothing
invites us to remember what really moves us, in dance and in life.

Over 18's

Sneaky Pete's

73 Cowgate
United Kingdom

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