Adrian Belew, Tony Levin, Steve Vai and Danny Carey have expanded their upcoming BEAT tour, adding 21 new dates to the ’80s King Crimson-focused trek.
The new string of dates begins on Nov. 18 in Thousand Oaks, California, and concludes on Dec. 18 in Highland, California. The expansion brings the trek up to 65 dates in total, with several shows already sold out.
Tickets for the new shows go on sale to the general public on Friday. You can see the full list of dates below.
Details on the Upcoming BEAT Tour
The highly anticipated BEAT tour will focus on three King Crimson albums: 1981’s Discipline, 1982’s Beat and 1984’s Three of a Perfect Pair. The first of those albums marked Belew’s debut with the band, and the guitarist expressed his enthusiasm for that era in a statement.
“The 1981 through 1984 King Crimson created a music all its own,” Belew said. “Timeless. Beautiful. Complex. Fierce. For the fans who lived through it then, and the ones who never got to witness it, our aim is to bring it to life again. A monumental task but we’re going for it! There are not enough exclamation points to express my excitement!”
50. Hatfield and the North – ‘Hatfield and the North’ (1974)
It’s the textbook definition of the Canterbury Scene, a playful strain of prog that flowered around that British town in the ’70s. All the hallmarks are here: brisk jazz-rock rhythms, gently cascading melodies, organ leads, a childlike — or perhaps childish — sense of humor (sample song titles: “Going Up to People and Tinkling,” “Lobster in Cleavage Probe,” two tunes with nods to “Poo”). The fusion-y moments are uniformly charming, but the centerpiece here is Dave Stewart’s atmospheric “Son of ‘There’s No Place Like Homerton,’” featuring the vocal talents of backing singers “The Northettes.”
49. The Most Serene Republic – ‘Population’ (2007)
From day one, the Most Serene Republic were saddled with comparisons to their famous label mates Broken Social Scene, another Canadian indie-rock act with intricate production and jigsaw puzzle arrangements. But they escaped from that band’s enormous shadow on their second LP, which amplified the magic and angst of their winding songs. There are plenty of nerdy time signatures, orchestral flourishes and jazzy interludes (“A Mix of Sun and Cloud”). But the best songs, like “The Men Who Live Upstairs” and “Sherry and Her Butterfly Net,” prioritize hooks and chaos alike.
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