09Please note this event is 21 and over.
$49.50 – General Admission (Advance)
$50.00 – General Admission (Door)
*plus applicable service fees
*Please note that this show may sell out during the exclusive Outside Lands ticket holder presale.
Belle & Sebastian
The best pop groups want to change the world. They want to leave an imprint that no one forgets, to do more than check out as a minor statistic in the Guinness Book of Hit Singles. They want to change the world of pop, and to engage with the politics of pop. Belle & Sebastian have re-invented the pop festival; they signed to a tiny independent label but still beat Steps to a BRIT, before sweeping into the Top 40, then the Top 20. They’ve brought their lost sixties heroine, Evie Sands, over to play a show in Glasgow. They’ve sold out a concert at the Hollywood Bowl. And, in 2014, they cut an album – their ninth – called Girls in Peacetime Want to Dance, that blends electro-glide, baroque balladry, and giant-sized Europop hooks. They deserve several accolades, each of which are rare for any band in 2017 – Belle & Sebastian are unique, unpredictable, and fiercely loved.
Part of their appeal is that Belle and Sebastian have always given the impression of being completely unaware that they are even famous. Emerging in the late nineties, they appeared to be both press and camera-shy, but also entirely self-contained; they seemed to have a secret, something built around books and films, and yet were happy to share the love, stopping just short of writing individual songs for their fans. And their fans, naturally, became obsessive, formed their own bands, started their own loosely affiliated clubs, radio shows and websites. A secret gang – who wouldn’t want to be a part of it?
Belle & Sebastian have stood as something different right from the beginning. Let’s have a quick poke around the previous eighteen years. Debut album Tigermilk (1996) was the product of a Stow College music business class that drummer Richard Colburn was taking; just 1,000 vinyl copies were pressed. In spite of huge major label interest (immortalised on the track Seymour Stein on their third album, The Boy With The Arab Strap) they initially signed to the tiny Jeepster label, then later to Rough Trade and now have their first worldwide deal with Matador Records. The key to their appeal was a sense of community. Their self-curated Bowlie festival would evolve into All Tomorrow’s Parties; they became central to a nascent message board culture, and a US loop of labels and fanzines (even writing a song about one, Chickfactor) that adored their music, their stance, and their imagery.