Following the announcement of their new album, Serfs Up!, Fat White Family are set to hit the road around the U.K. in May
The dates will follow a couple of very special intimate shows at The Lexington in London on January 30th and 31st which both sold out in under a minute.
Having released their second album, Songs For Our Mothers in January 2016, core-members Lias and Nathan Saoudi relocated to Sheffield and set about writing the album. Joined by co-conspirator Saul Adamczewski and recorded at their own Champzone studios in the Attercliffe area of the city, Serfs Up! was finished in late autumn 2018 with the help of long-time collaborator, Liam D. May and features a guest appearance from Baxter Dury on ‘Tastes Good With The Money’.
In a press release from the band, ‘Serfs Up!’ is described as “a lush and masterful work, lascivious and personal. Tropical, sympathetic and monumental, it invites the listener in rather than repel them through wilful abrasion. Fat White Family have broken previous default patterns of behaviour. As such, their third album heralds a new day dawning.”
Fat Whites UK Tour
30.01.19 – The Lexington – LONDON – SOLD OUT 31.01.19 – The Lexington – LONDON – SOLD OUT 01.05.19 – The 1865 – SOUTHAMPTON 02.05.19 – Concorde 2 – BRIGHTON 03.05.19 – Academy – BRISTOL 04.05.19 – The Ritz – MANCHESTER 07.05.19 – SWG3 TV – GLASGOW 08.05.19 – Button Factory – DUBLIN 09.05.19 – Leadmill – SHEFFIELD 10.05.19 – Rock City – NOTTINGHAM 12.05.19 – Gold Sounds Festival – LEEDS 14.05.19 – Waterfront – NORWICH 15.05.19 – Kentish Town Forum – LONDON
The band said: “I suppose it was almost exactly two years ago that myself and what was left of this band exiled ourselves to Sheffield in search of yet another renaissance, with only our unshakable dedication to the struggle and a copy of The Commodores ‘Nightshift’ to pull us through,” in a post on social media.
“Most Londoners never have and never will fully understand the true horrors of a northern winter, what that much grey sky can do to the human heart. We baptised ourselves again and again in her bitter drizzle, feeding on the monotony of it all as if it were the nectar of the elect. And by the side of a rotten canal in a room half the size of a public toilet, armed with a limited equipment budget, our wits and time, we once again set upon revealing the true face of God, measuring out his/her/their glorious countenance in rhyme, meter, groove and melody.”