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Bryan Ferry  

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Bryan Ferry (born 26 September 1945) is a singer-songwriter from Washington, Tyne and Wear, England who is perhaps best recognized as the frontman of the 1970s experimental rock act Roxy Music. Through his stint with Roxy Music and his solo career Ferry helped define the glam/art rock movement.

Ferry was born into a working class family and was a son of a coal miner/ farm laborer. Despite Ferry’s family background he pursued a completely opposite career path. He studied fine art at the University of Newcastle and went on to become a pottery teacher at Holland Park School in London. During the late 60s Ferry became involved with several bands including his school band The City Blues and the Beatles influenced group The Banshees.

By 1968 Ferry devoted the entirety of his attention to music and in 1970 he formed Roxy Music with former Banshees members Graham Simpson and John Porter. The band eventually evolved into a lineup consisting of oboist/saxophonist Andy Mackay and keyboardist/sound effects specialist Brian Eno.The band completed it’s final stage of formation after the addition of Paul Thompson and Phil Manzanera and in 1972 they released their first hit “Virginia Plain”.

Roxy Music followed up “Virginia Plain” with a succession of other hit songs and albums. Brian Eno was heavily involved in the production and writing process of Roxy Music; however, after his departure in 1973 Bryan Ferry took full reign of the band. Also by 1973 Ferry started his own solo career in sequence to his work with Roxy Music. Ferry released music profusely throughout the 70s. In 1973 he released his solo album “These Foolish Things” as well as two studio albums “For Your Pleasure” and “Stranded” with Roxy Music. Ferry followed those releases with another solo album “Another Time, Another Place” and an additional Roxy Music album “Country Life”. The following year Ferry put out the album “Siren” with Roxy Music before taking a brief break from the band.

During Roxy Music’s period of inactivity, Ferry released 3 studio albums including: 1976’s “Let’s Stick Together”, 1977’s “In Your Mind” and 1978’s “The Bride Stripped Bare”. He returned to Roxy Music in 1979 and put out three more albums with the group: 1979’s “Manifesto” 1980’s “Flesh + Blood” and 1982’s “Avalon”.

“Avalon” was the last album released by Roxy Music and following the band’s break up Ferry delved back into his solo career, releasing his highest praised album yet “Boys and Girls”. “Boys and Girls” featured a killer lineup of guest musicians ranging from Pink Floyd’s David Gilmour, Dire Straits’ Mark Knopfler to Chic’s Nile Rodgers. The album was a critical and commercial success, proving to be Ferry’s first album to reach No.1 on the UK charts. Ferry continued the trend of recruiting high profile guitarists (his next album “Bete Noire” featured Johnny Marr of the Smiths).

Ferry released a compilation of cover songs in 1993 entitled “Taxi” and in 1994 released an album of originals entitled “Mamouna”. Ferry’s next release “As Time Goes By” did not come out until 5 years later. The album was a collection of standards and was proceeded by a short promotional tour.

Ferry reconnected with Roxy Music after the release of “As Time Goes By” and embarked on a European and US tour with the band. This touring stint ended the group’s 10+ year hiatus.

Ferry returned to his solo career in 2002 with the release of his album “Frantic”. “Dylanesque” (a collection of Bob Dylan covers) followed in 2007 and featured past collaborators of Ferry such as Brian Eno and Robin Trower.

Through the label Astralwerks he issued his 13th studio album “Olympia” and in 2012 he put out “Jazz Age”, which was a compilation of previously released material spanning Ferry’s career and delivered in 1920s era jazz style.

On his 15th studio album “Avonmore” Ferry stayed true to the classic smooth pop sound he is so recognized for. The album reached No. 19 on the UK charts and included guest spots from Johnny Marr and Nile Rodgers.

Live reviews

There was a great amount of anticipation for this concert and San Francisco fashionistas came out in their artsy glory.

Ferry's voice was beautiful, on tune and beat and the band was extremely tight, sharing subtle smiles and eye contact for transitional moments in songs.

The set list was a masterpiece, starting out with upbeat well known songs such as Avonmore from Ferry's recent album, then moving into Driving Me Wild before slinking into Slave To Love and Don't Stop The Dance. Ladytron and Oh Yeah were a lovely transition into a cover of Dylan's Don't Think Twice and Jerome Kern's Smoke Gets In your Eyes.

I found the middle section of the concert to be moody and thoughtful starting with a haunting violin on Bete Noir that led into Zamba followed by a magnificent clarinet performance on Tara that took us into Take A Chance. The audience rose to its feet as this song finished. Then Ferry led the audience through a few more sultry songs such as Re-make Re-model, In Every Dream Home A Heartache and If there Is Something. When the band broke into More Than This, the mood elevated followed by Avalon and then broke into a party with Love Is The Drug and Virginia Plain. This reviewer was impressed with the attentiveness of the audience when Ferry, at the end of the song gave the audience a chance to call out the name of the song exactly on cue. Ferry smiled as he moved into a brilliant performance of Let's Stick Together with all instruments playing in magnificent balance, both tonally and in beat. This was followed up by a very beautiful cover of Lennon's Jealous Guy. You could hear a pin drop during this song. Finally the band moved to Do The Strand which had everyone standing and cheering.

All in all a fabulous performance that has me wishing I had seen Ferry on his previous trip through the Bay Area 4 years earlier. Kudos to a true master musician, now one of the elder statesmen of rock and roll.

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One can only hope that the Bryan Ferry who formed Roxy Music in 1971 and yearned for the age of Humphrey Bogart and long lost Hollywood glamour would look at what he would later become in 2014 and be proud. Since his band has been on an uncertain hiatus Ferry has taken to performing with his own orchestra as well as a Rock band. That in and of itself would probably bring a smile to his twenty six year old self, but soon after that he’d realize just how amazingly well his orchestra brings his unmistakeable back catalogue to life, with grace and aplomb to spare, and he’d become the only man in the world who actively wants to be pushing 70 when coming up to his twenty seventh birthday. After four decades making music in a kaleidoscope of styles and forms the Bryan Ferry Orchestra and his band fit every single one of them like they were born to play it. Waltzing through lesser known cuts from Ferry’s solo work then bringing the house down Roxy Music classics like Do The Strand and More Than This. Ferry himself is as perfect a showman as you can possibly get, his velveteen purr of a voice in perfect condition and happy to perform as every incarnation of himself, from the soul-man, the proto-punk all the way to the last crooner standing at the party to end all parties. Every one of them feels like the truth because they are all extensions of him, and not many artists these days can perform and make it feel like the truth, much less actually have it be the truth. It’s a sight and a sound unlike anything else around, and if any fan of rock’s rich history, underground or overground get the chance to see it live, then they’ll remember it for the rest of their life.

I think of the Mountain Winery as the place where old rockstars to go to die. And while, at 71, Bryan Ferry certainly qualifies as one of rock's senior statesmen, I think he's got a lot of life in him yet. The venue was inappropriate for an innovator like Ferry who can still pull out the stops on songs as delightful as "Virginia Plain" or "Remake Remodel" --which sound just as brilliant as the day back in the early 70s when they arrived.

Perhaps because he wasn't touring to support a particular album, the setlist was heavy on Roxy Music material as opposed to his solo material but, ever since he started recording his own songs as a solo artist, it's always been hard to draw the line between the band and his solo career so this didn't bother me. We were treated to songs from his entire career, not just "Slave to Love" and "Love is the Drug" but lesser known songs such as "Stronger Through The Years," and the usual transcendent covers including John Lennon's "Jealous Guy", Neil Young's "Like a Hurricane," and Bob Dylan's "Simple Twist of Fate". Aside from a lackluster, tossed away version of "More Than. This" from Roxy's beloved "Avalon", I enjoyed every minute and it was worth the long drive from San Francisco. Hope he plays somewhere more appropriate next time.

There are some artists who you struggle to summate into a sentence or two due to their impressive career and influence on the music industry, I would consider Bryan Ferry to be one of these musicians. Originally a member of the popular Roxy Music, he went on to have a popular solo career and has so far accumulated album sales of over 30 million worldwide.

Now almost 70 years old, he continues to tour globally as there is still a huge demand to see the classic performer live. It is evident Bryan continues to think about the principles of the live experience as each tour includes different tracks and new arrangements. The vast array of instrumentalists joining him onstage gives a new dimension to classic tracks such as 'Slave To Love'. The latest tour features a large amount of music from his days with Roxy Music and reimagined with his new backing band, 'Love Is the Drug' and 'Stronger Through The Years' sound as great as ever. There is still preference for 'Virginia Plain' and Bryan saves this for a penultimate performance before an epic finale of 'Editions of You'.

Great show, but not enough solo material.

The setlist, as shown below, reflects that this was more a walk down Roxy music Lane than Bryan Ferry Solo. which is fine with me, but he has such a iconic history or solo music I wonder why he did not expand the list further. I will go see him again, hopefully next time I go see him play he will perform more songs than the limited number of as shown below.

Driving Me Wild,

Slave to Love

Ladytron (Roxy Music song)

Oh Yeah (Roxy Music song)

Don't Think Twice, It's All Right (Bob Dylan cover)

Smoke Gets in Your Eyes (Jerome Kern cover)

Stronger Through the Years (Roxy Music song)

Tara (Roxy Music song)

Take a Chance with Me (Roxy Music song)

If There Is Something (Roxy Music song)

More Than This (Roxy Music song)

Avalon (Roxy Music song)

Love Is the Drug (Roxy Music song)

Virginia Plain (Roxy Music song)

Let's Stick Together (Wilbert Harrison cover)

Jealous Guy (John Lennon cover)

As always Bryan was his wonderfull self. The songs were great: what a opener! Waste land, windswept....and of course the classics.

I was really looking forward to the extra input from the Metropole Orchestra.... but the sound was terrible. It seemed as the orchestra was playing in another room. You could hear them but the balance wasn't right. I was seated in the front rows, the best- most expensive- seats.

I guess that the Lotto Arena in Antwerp is not suited for that kind of venues. Little bit disappointed.

It remains a great idea and the songs of Bryan can rise to another level with a orchestra behind him, but not in a concrete bunker.

Bryan Ferry hasn't lost a fan! After more than 20 shows over more than 35 years he still remains my hero. He never lets me down.

Untill next time!

Greetings, Dirk Van de Veire

Bryan Ferry was OK, adding 2 of my favorites to his setlist. Was it because of my tweet? I'd like to think so.

Does anybody know why the roadies throw away the setlists, instead of giving them to the fans? Tearing them up in our faces and saying, it's only paper, that just isn't ok.

If a concert was only light in different wavelengths and moving air, that wouldn't be worth 75 euro's. It's the emotion and the meories.

Also, this concert was organised by Greenhouse Talent, and they use apparently low schooled security staff. They don't know how to pad you down, some of them were actually rude (there were also real friendly ones), and something we call "autipas" was unknown to almost all of them.

The security staff ruined my evening. I wish I hadn't gone.

I flew from Tel Aviv to see Bryan ferry in Glasgow.

Bryan was on the stage with additional 10 artists from his backing band.

At first it seemed he will sing only songs from his new (unknown by most of the crowd) album…

But the second part of the show was the most amazing one, with lots of known songs,and supporting crowd who rose from their chairs, to go and stand by the stage, and sing along with Bryan all the songs.

Moreover, the girl on the saxophone and the wonderful back vocal singer were amazing.

The show is a must to Bryan ferry lovers! Well worth the flight…

Great performance artist. Never disappoints his singing, his song selections.

This time with better sounds and arrangements to classic songs kept them fresh.

The only bad thing about the concert is the venue, Humphrey's by the Bay should make this a concert venue already and arrange the seating (angled) so that everybody has a clear view of the stage. If you are shorter that 6 feet, be ready to not be able to even see the top of the head of performers.

Back to Ferry, great mix of Roxy Music and his solo career.

Can miss his rendition of Jealous Guy.

Bryan Ferry showed it again in Amsterdam: he stil got it! He knows how to entertain a crowd and fully enjoys himself while doing that! His voice was kind of soft at the start of the concert but grew during the night. A lot of greatest hits from the Roxy Music period as well as from his solo work made it a great evening and a show to remember. Paradiso in Amsterdam is not that big but he still managed to play there with 9 musicians and rock his socks and our socks off!

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‘A Lot of Mutual Respect’: Roxy Music’s Ferry and Manzanera Divulge Details of September Arena Tour

The North American jaunt will celebrate the 50th anniversary of the band's self-titled debut album

By Bryan Reesman

Bryan Reesman

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With the exception of its Rock and Roll Hall of Fame induction performance in 2019, British art-rockers Roxy Music haven’t played in America since 2003. But the iconic band’s 13-date arena tour will not only return it to U.S. shores on Sept. 7 — it will also celebrate the 50th anniversary of Roxy Music’s eponymous debut, which took the music world by storm in 1972, with its eclectic mashup of musical styles and the band’s flamboyant costumes.

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Given that the group released eight studio albums between 1972 and 1982 — genre-bending adventures that spanned from rambunctious rock and ethereal elegance to quirky cacophony and smooth balladry — it’s certainly challenging for the core membership of singer-principal composer Bryan Ferry, guitarist Phil Manzanera and sax-oboe player Andy Mackay to pick what to play. Beyond fan favorites like “More Than This,” “In Every Dream Home a Heartache” and their popular cover of John Lennon’s “Jealous Guy,” one can hope that lesser-played tracks like the rollicking “Whirlwind,” the medieval-sounding “Triptych” and the ballad “Chance Meeting” (with its eerie guitar ambiance) might sneak their way into the shows.

“I’m still looking at the ideas for the set,” Ferry tells  Billboard . “I’ve got lots of songs that you feel you have to do. It would be lovely to do a show of the more obscure or deeper cuts, as you say, but I think the audience would feel disappointed if they didn’t hear the familiar ones as well.” (Both Ferry and Manzanera concur with this writer that, among other things, “Manifesto” is an underrated track.)

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“We’ve got a list of like 30 songs we’ve whittled it down to,” says Manzanera. “We’re going to try them all and see what sounds good and then pop on different ones. Maybe substitutes at different venues. What I realized, and I think we all realize it, is that we need to play some of the [other] stuff because it’ll never get heard live otherwise.”

Ferry hopes that all three phases of the band will be represented. There are the more raucous first two albums ( Roxy Music  and  For Your Pleasure ) with influential keyboardist Brian Eno; the equally eclectic but slightly smoother triumvirate of  Stranded ,  Country Life  and  Siren  with keyboardist-electric violinist Eddie Jobson; and, after the group’s late-’70s hiatus, the final trio ( Manifesto ,  Flesh and Blood  and the dreamy  Avalon ) with the core members of Ferry, Manzanera and Mackay. That last three albums featured various guests and session musicians such as pianist Richard Tee, bassists Alan Spenner and Neil Jason, drummer Simon Phillips and singer Melissa Manchester. Drummer Paul Thompson played on the band’s first six albums as well as for its 2001 reunion tour (and will join the upcoming one), while Andy Newmark performed on much of the final two studio releases.

Although Roxy Music and both Ferry and Manzanera solo have toured with larger bands (as will be the case this time), they want to be careful not to overdo anything, such as extending any songs too much. Latter albums, especially like  Avalon , were carefully sculpted to fit with Ferry’s vocal stylings and his bandmates coalescing around them. Manzanera says he has been reviewing the multitrack recordings and studying his own parts to be as faithful to the originals as possible.

When Duran Duran paid homage to the group while inducting it into the Rock and Roll Hall of Fame, bassist John Taylor declared that without Roxy, there would be no Duran. As singer Simon Le Bon noted about the honorees’ TV debut during the ceremony, “The sound was a shock to the system — a psychedelic Sinatra crooning pop-art poetry over driving drums, over saxophones and oboes. Heavily treated electric guitars and the most out-there synthesizer parts you’d ever heard.”

The music world had been unprepared for Roxy Music’s arrival. “We used to call ourselves ‘inspired amateurs’ when we started,” recalls Manzanera. “People looked down on us to a certain extent because we hadn’t paid our dues. [David Bowie’s  The Rise and Fall of Ziggy Stardust and the Spiders From Mars ] and Roxy Music’s first album were released on the same day in June 1972. For Bowie, it was his fifth album, and we appeared out of nowhere, fully formed.” He wonders what the glam pioneer must have thought of the young upstarts. When they met him, “He was so nice and sweet, but it was quite a shock.”

Over the course of its recording career, Roxy Music maintained its quirky vibe but gradually evolved into a more polished entity, and not in a blatant pop way. It just kept exploring new vistas and avoided sticking to a formula. In America, this translated into such chart achievements as logging 11 albums on the Billboard 200, with three of them reaching the top 40.

Photography and graphic design were also very important to the band, from the gorgeous models gracing its album covers to the gatefold vinyl of 1973’s  For Your Pleasure  with the band dressed in outrageous garb.

“It used to be so interesting in the old days where you waited for the film in your camera to be developed, to see if you had anything,” reminisces Ferry. “I remember when we did the first Roxy cover and the shoot, and we had to wait a couple of days for the film to be processed, then looking at it on a projector and thinking we’ve got something. I miss that excitement of when we would paste things together when we were doing the album covers and everything was done physically. There was a tactile thing about it, which I liked.”

Technological changes have not only eliminated that element, but also a sense of mystery. “I used to like how things were a bit private as well,” he says. “Everything is shared now. People film everything, and if you do a show, people are looking at it through their phones. That’s kind of weird. I like it when there’s a sense of occasion, and you’re there for the evening and it’s a special moment.”

Although Roxy’s catalog spans a broad range of styles,  Avalon remains the band’s most enigmatic album — very atmospheric, not very riff-based, ethereal and romantic. “It is an unusual record,” concurs Manzanera, “and I don’t think I really appreciated it at the time because I was wanting to rock at that moment. My antidote was [1982 solo album  Primitive Guitars ]. Ironically, it was reviewed in the same edition of  Rolling Stone  magazine, one after the other. I couldn’t believe it. I was slightly embarrassed. I found it at Sydney Airport when we were on tour, and I didn’t show it to the others. Then we didn’t work together for 18 years in terms of live. We seem to be able to come back together and play these songs live, and it unifies us because they’re fun to play.”

“[There are] a lot of love songs in there,” Ferry observes about Roxy’s output and his solo work. “Some of those songs are quite sad. A lot of the music I’ve liked by other people over the years, growing up, the sounds that drew me in, are the more melancholy things. I tend to like dark, sad songs. It’s very nice when you look through the repertoire and see the one or two songs that stand out as being different, like ‘Manifesto,’ ‘Do the Strand’ and ‘Editions of You,’ which take you into a different place. I wish there were a few more of them, but it’s nice to have that contrast in the material. Hopefully, the [shows] will represent that — light and shade.”

While the band hasn’t released an album in 40 years, its oeuvre has consistently resonated with subsequent generations. Wolf Alice, 10,000 Maniacs and the Charlie Hunter Quartet featuring Norah Jones are among the many acts who have covered “More Than This.” Ferry even sang the tune when he portrayed a nightclub singer in the 1929 Weimar Republic for the German TV series  Babylon Berlin  in 2017.

Following its 2001 reunion, Roxy Music toured America again in 2003, as well as overseas in 2005 and 2010. It also did international tours in 2005-06 and 2010-11. In between, Ferry, Manzanera and Mackay have been prolific solo artists. Ferry has a busy career — 16 studio albums, the recent EP  Love Letters  and regular tours since 2001. The singer’s love for Bob Dylan manifested in some of his early solo efforts and culminated in the 2007 covers album  Dylanesque . Manzanera has done a lot of production work, including on Pink Floyd’s  The Endless River ,   and he and Mackay have recorded a few albums together. A second collaboration between Manzanera and Tim Finn,  The Ghost of Santiago , will arrive July 29. Many fans may not know that the title track to Manzanera’s 1978 solo album,  K-Scope , was sampled for the Jay-Z/Kanye West song “No Church in the Wild” from their 2011 collaboration  Watch the Throne . Manzanera’s riff was slowed down for that tune, and he approved of the final result.

Despite Manzanera telling  Rolling Stone  in 2014 that Roxy would likely never tour again, the core trio clearly found themselves drawn back to each other. “It’s almost like a dysfunctional family,” muses Manzanera. “You get together and have an enjoyable time. Then real life comes in, and you have wives and girlfriends and family. You’re off busy doing other things. Suddenly, it’s 10 years of working for David [Gilmour], and then you have a cup of tea with Bryan. ‘Oh, that would be nice to actually work together. Did we have an argument 20 years ago? I cannot remember why.’ So we’re back to square one . . . there is just no escape,” he finishes with a laugh.

“I guess there must be a lot of mutual respect,” offers Ferry, laughing as well. “They’re both characters and have strong musical personalities, and I guess they put up with me as well for quite a few years. I don’t see a great deal of them now, but it’s always very nice when I do. I think a sense of humor always binds people together, and from those early days, it was a lot of fun. It was a lot of hard work, touring and always rushing to complete albums. Sometimes you didn’t feel you had got the album quite there. You had really strong deadlines in those days because you’re on tour next week. But [I have] very good memories, very positive memories of working together.”

“Music can bring you together,” adds Manzanera. “It is a kind of therapy for your brain and foot, and when you’re playing, it’s like meditating. If I’m onstage and I’m playing now with the other guys, I’m concentrating and drifting off. I want to learn how to play it so I don’t have to think too much. I’m just playing and enjoying that moment.”

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Roxy Music Announce First Tour In 11 Years

HISTORIC 50TH ANNIVERSARY ARENA TOUR STARTS SEPTEMBER 7 WITH VERY SPECIAL GUEST ST. VINCENT*

Tickets on sale starting monday, april 4 at 10am local on ticketmaster.com, artist pre-sale starts tuesday, march 29 at 10am local until friday, april 15pm local, with special vip packages available, special anniversary editions of roxy music’s albumsto be reissued throughout the year. pre-order/pre-save here.

NORTH AMERICAN TOUR DATES

Wed Sep 7 – Scotiabank Arena – Toronto,ON Fri Sep 9 – Capital One Arena – Washington, DC Mon Sep 12 – Madison Square Garden – New York City, NY Thu Sep 15 – Wells Fargo Center – Philadelphia, PA Sat Sep 17 – TD Garden – Boston, MA* Mon Sep 19 – United Center – Chicago, IL Wed Sep 21 – Moody Center – Austin, TX Fri Sep 23 – American Airlines Center – Dallas, TX Mon Sep 26 – Chase Center – San Francisco, CA Wed Sep 28 – The Forum – Los Angeles, CA

U.K TOUR DATES

Mon Oct 10 – OVO Hydro – Glasgow, UK Wed Oct 12 – AO Arena – Manchester, UK Fri Oct 14 – The O2 – London, UK

Roxy Music, one of the most influential and exhilarating music acts in history, will tour for the first time in more than a decade to mark the 50th year since their groundbreaking debut album.

Bryan Ferry , Andy Mackay , Phil Manzanera, and Paul Thompson , together on stage for the first time since their sold-out and critically acclaimed 2011 For Your Pleasure tour, will perform 13 arena shows across North America and the UK, beginning September 7 in Toronto at the Scotiabank Arena.

The tour will make stops across the U.S. including such landmark venues as New York’s Madison Square Garden and The Forum  in Los Angeles before culminating with a performance at the O2 Arena  in London. Tickets for the Live Nation produced North American shows will go on sale Monday, April 4 (10am local time) at ticketmaster.com. Artist presale starts Tuesday, March 29 (10 am local time) until Friday, April 1  (5pm local time). Roxy Music  will offer several VIP packages for each show that include premium tickets, access to the pre-show VIP lounge, limited edition merchandise, and more. Package contents vary based on offer selected. Fans can visit www.VIPNation.com for more information.

Since their formation in 1972, Rock and Roll Hall of Fame  inductees, Roxy Music have left an indelible mark on the worlds of music, fashion and art, merging the three with a singular and astonishing vision that brought them immediate, global success. Today they are regarded as one of the most influential bands of all time, whose work has inspired generations of musicians. Intense, emotive, and clever, with iconic graphics, Roxy Music’s eight studio albums birthed the art-rock movement, blurring the lines between genres and infusing a new kind of glamour into rock music for the first time.

Very special guest St. Vincent will be appearing on all North American shows (*except Boston). Since making her recorded debut as St. Vincent in 2007, Annie Clark has consistently been regarded as one of the most innovative and fascinating presences in modern music, continually reinventing her unique sounds and personae—and winning two GRAMMY Awards in the process. Most recently, St. Vincentchanneled the hungover glamour and gritty sepia-toned soundtrack of 1970s downtown NYC into the triumphant Daddy’s Home , released in May 2021 to universal acclaim. Outside of recording and performing, St. Vincenthas designed her own Ernie Ball Signature guitar, and co-written and starred as a fictionalized version of herself in the upcoming film The Nowhere Inn.

2022 marks a year of celebration for Roxy Music . Throughout the year, each of their eight studio albums, all heralded as modern classics, will be reissued as special anniversary editions with a new half-speed cut, revised artwork and a deluxe gloss laminated finish. The first 2 LPs, “ Roxy Music ” and “ For Your Pleasure ”, will be released on April 1, 2022 , with the remaining albums arriving in paired drops throughout the year. All albums will be available on pre-order HERE.

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Roxy Music Announce First Tour in 11 Years

By Jazz Monroe

Roxy Music are heading out on tour for the first time in 11 years, celebrating the 50th anniversary of their debut album . The current lineup of Bryan Ferry , Andy Mackay, Phil Manzanera, and Paul Thompson will play across the United States, Canada, and the United Kingdom in September and October, supported on most of the North American dates by St. Vincent . (Support for shows in Boston and the United Kingdom has not yet been announced.) Check out the dates below. 

Roxy Music recently announced an anniversary-themed vinyl reissue campaign for all eight of their albums.

Read Pitchfork’s Sunday Review of For Your Pleasure and the rundown of “ The 200 Best Songs of the 1970s .” In 2013, Bryan Ferry spoke to Pitchfork about the soundtrack to his life for a “ 5-10-15-20 ” feature.

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Roxy Music:

09-07 Toronto, Onatrio - Scotiabank Arena ^ 09-09 Washington, D.C. - Capital One Arena ^ 09-12 New York City, NY - Madison Square Garden ^ 09-15 Philadelphia, PA - Wells Fargo Center ^ 09-17 Boston, MA - TD Garden 09-19 Chicago, IL - United Center ^ 09-21 Austin, TX - Moody Center ^ 09-23 Dallas, TX - American Airlines Center ^ 09-26 San Francisco, CA - Chase Center ^ 09-28 Los Angeles, CA - The Forum ^ 10-10 Glasgow, Scotland - OVO Hydro 10-12 Manchester, England - AO Arena 10-14 London, England - The O2

^ with St. Vincent

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50 years ago, Roxy Music invented rock’s future. Now they’re taking a well-deserved bow

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Phil Manzanera, the 71-year-old guitarist for art-rock pioneers Roxy Music, is leaning into a computer camera backdropped by a nondescript hotel room. The band has assembled in Toronto, where they’re rehearsing for their first U.S. tour in two decades, and Manzanera is relearning their repertoire after a long spell away from it. “I haven’t really played those songs for 10 years,” he says with a trace of concern. “And so it’s all like coming back fresh.”

Roxy Music has come together for the first time since a run of shows across the U.K. and Australia in 2011. (The band will perform at the Kia Forum on Sept. 28.) They are venturing back to the States in celebration of being a band for 50 years, with large breaths and pauses and solo adventures peppered throughout.

“We were never going to be the Beatles, like a bunch of brothers,” Manzanera says. “Luckily we’ve come together as this unit, which you could call a band, but it is not as straightforward as that. Now it’s about the joy of rediscovering those songs and playing them live. If we don’t play them, who’s going to?”

Roxy’s permanence in music culture — they were inducted into the Rock & Roll of Fame in 2019 — belies the decades in which the band’s cachet, mainly among musical adventurers and high-cheekboned jet-setters, far outstripped its popularity.

In the fall of 1970, Bryan Ferry had lost a job teaching ceramics at an all-girls school near London, in part due to his holding frequent record-listening sessions during school hours. Having floundered a bit after finishing art school a couple years prior, Ferry put an ad in the paper, looking for bandmates to collaborate with him and an old art-school classmate, bassist Graham Simpson. Saxophonist Andy Mackay replied to the ad, bringing along his university pal Brian Eno, who could work a synthesizer and owned a tape machine. The original iteration of the group was rounded out by guitarist Roger Bunn and drummer Dexter Lloyd. In search of a name that signified “faded glamour,” Ferry chose Roxy Music.

By 1972, Manzanera had come on as the group’s guitarist, Paul Thompson had replaced Lloyd as the drummer, and Roxy Music was off and running, releasing five albums between 1972 and 1975 alone, all of them critically acclaimed while finding modest commercial success. (In the U.S., their highest-charting hit was the taut and funky “ Love Is the Drug ,” which reached No. 30 on the Billboard Hot 100.) Their albums gained praise for their inventiveness, the band being credited with pioneering a new wave of art rock, wherein the visuals and onstage stylings were just as meticulously thought out as the lush production and incisive lyrical wit of the songs.

Ferry, now 76, acts as the band’s emotional conductor, of sorts. His voice is malleable — sometimes a distinctive and melodic drone, something one might hear in a smoky jazz lounge, sometimes soaring to beautiful highs. But his writing is what most commonly stands out. Ferry is one of the great architects of the love song, a lyricist who approaches the concept of love from all angles: the inception of romance, the tentative and uncertain bridges between affection and even greater affection, longing and heartbreak and bracing for the inevitability of loss. For all of the artistic flair surrounding Roxy Music, at the core, under the care of Ferry, they were a band in constant pursuit of considerations of love.

But there was also artistic flair. Their album covers were striking and sometimes controversial (the cover art for 1974’s “Country Life,” featuring two scantily clad models, was censored in the U.S. upon its release,) and the music itself was undeniable. By 1982’s “Avalon , ” the band’s consistent members were Ferry, Mackay, Thompson and Manzanera (those four are now on tour; Eno is not participating.) They took a hiatus after 1982, despite “Avalon” being the group’s most commercially successful record.

There has been a renewed interest and excitement in Roxy Music in their time away. “Avalon’s” swelling “More Than This” was memorably karaoke’d by Bill Murray in the Sofia Coppola film “Lost in Translation.” The sinister “ In Every Dream Home a Heartache ,” from 1973’s “For Your Pleasure,” gained renewed interest after being featured in a pivotal scene in the show “Mindhunter . ” The group’s consistent presence in the cultural atmosphere has a lot to do with the fact that they were, very much, ahead of their time, in terms of vision and influence. But it is also attributed to the fact that, despite not releasing an album in 40 years, their songs still sound fresh. Manzanera’s logic on this is simple.

“We always recorded on analog tape, and actually played together in a studio,” he says. “That sound seems to have quite a long life span. You listen to all the great songs that are still so popular from the ’70s, and they were beautifully constructed; they sound as if they could have been recorded yesterday.”

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Not only their influence on music, but also on performance, on how bands present themselves and use the stage as a canvas, it has all endured. That influence spans decades, from peers like David Bowie in their early ’70s heydays to new wave founders like Devo, Talking Heads and Blondie. By the time they had stepped away, acts from the Cars to Pulp to TV on the Radio were charging through a new rock landscape with the style, affect and sound once pioneered by Roxy Music.

Both Manzanera and Ferry, with whom I spoke in early August from his home in London, are not explicitly focused on the band’s legacy, saying that it isn’t something they think about until someone mentions it to them. But there is the reality of time, and what time affords a band of people who have created over a long enough stretch of it. There are also, very literally, monuments to this kind of introspection, even if it is unnamed by the band members.

This year, Ferry has released a book of his lyrics , spanning both Roxy and all of his solo albums. It is a massive but joyful book to traverse, as Ferry’s lyricism comes across on the page like reading small, delightful short stories. Stories of love, or the anguish of love. Songs that unravel intimacy, sometimes finding the unraveling unsatisfying, but knowing it must be tended to. There’s an ever-present longing in the songs, but also a space where one is bracing for the impact of giving themselves over. “Preparing oneself for the worst,” Ferry says, shrugging and smiling. Forward-facing as ever, Ferry does admit that organizing the book itself, and sitting with the wide range of lyrics he’d penned over the years, did provide him with small regrets and sentimentalities.

“As you get older, life becomes more complicated and writing time becomes, I guess, precious and limited. Some of the songs, when I was compiling the lyric book, I thought, oh, I wish I’d had another week to spend on that. Or I wish I’d edited that out. But maybe it’s just as well that there was an immediacy about them. Being up against the wall time-wise can be a good thing for artists. For writers.”

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Whether they feel like tangible attempts at solidifying and firmly upholding legacy, both the book and the tour gaze fondly upon the past greatnesses of the group and its most central figure. The Roxy tour setlist is a tight 20 tracks that spans just about two hours of performance. Anchored by their cover of John Lennon’s “ Jealous Guy ,” the majority of tunes bounce through Roxy’s sprint of stunning ’70s albums.

“It was all such a rush of time,” Ferry says about that era. “We found this derelict house in Notting Hill and it was quite picturesque, freezing cold, just trying to get this program of work assembled. When we went into the studio, we did that really fast and then it all started to accelerate. That’s when it started getting really hard and I learned to write very quickly, but it was really exciting because I suddenly felt, wow, we have an audience.”

That audience extended to the States, and across generations. Roxy Music became notorious for their romanticism, the flourish in their performances, the eccentricities of future superstar producer Eno pushed up against the brilliantly calculated charisma of Ferry. Their performances, even now, unlock an elsewhere, a place to escape to that seems, to the eye of a spectator, to be fabulous. The only party you’d ever want to be at.

The band is also still as sharply dressed as ever. (Ferry, crediting an adoration of jazz artists, shrugs and smiles slyly when I ask about his tour wardrobe plans. “I might make a bit of an effort.”) The tour set opens with Ferry at the piano, dashing through a rendition of 1972’s “Re-Make/Re-Model,” the opening song on their debut album, which winds along tightly until it comes apart at the seams, the sounds of the band tumbling atop each other to achieve a type of harmony.

Of this freshness, and ability to sonically map onto each other still, after 50 on-and-off years, Manzanera says: “I think it’s a lot to do with the fact that we call ourselves inspired amateurs and our sound was made up of a combination of a bunch of people and their inadequacies. But all together, they complimented each other and created something unique.”

This is, undoubtedly, a celebration of nostalgia, of a body of work that will — it seems — remain as is, with no new recordings on the horizon. Ferry shoots down the prospect of the new Roxy album that was rumored when the group last reunited to do the European shows, saying that the record didn’t feel right, and had to remain on the shelves.

But also, though neither Ferry nor Manzanera explicitly stated it, this projects to be the final time Roxy Music tours in such a robust capacity. The band members are still active in various other projects, as they have always been. Thompson has drummed with a series of other bands over the years, including Concrete Blonde and Angelic Upstarts. Ferry has filled his time in a continued pursuit of his solo career, performing both original songs and covers with his own orchestra (“I live in the studio,” he says.) Mackay and Manzanera are both occupied not only with solo careers, but also as in-demand supporting musicians.

This tour feels celebratory in nature, not just for the audiences of people who get to watch them, but also for the band members themselves. Fifty years as performers permanently woven into each other’s lives is a test of sometimes joyful endurance. When asked if there was any celebration in this run, in an existence that has sprawled this long, Ferry and Manzanera offered up two different approaches.

Manzanera, ever-excited and seemingly nervous, locks in on the stage performance. “There’s always jeopardy in live performance. And I mean, that’s what makes it vital. So we’re still, always, doing our best to hone our craftsmanship.”

Ferry takes a more simple approach. He grins and shrugs slightly before offering:

“Time flies when you’re having fun.”

Hanif Abdurraqib is a writer from Columbus, Ohio. His latest book is “ A Little Devil in America .”

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The Most Seductive and Poetic of Roxy Music, According to Bryan Ferry

The opening line of Roxy Music’s “ Do the Strand ” — saxophone blasting, synthesizer twisting — flies off the hinges with:

“There’s a new sensation, a fabulous creation.”

Yes, the lyrics insist that it’s a danceable solution to teenage revolution. But I also happen to think it’s a perfect description of Bryan Ferry himself, the wildly debonair bard who served as the band’s front man and chief songwriter throughout their five decades together. Starting with their 1972 eponymous debut, Roxy’s whole ethos, held over from their art-school rearing, was that there weren’t any limitations to what was coming out of the studio — the complex arrangements, the absorbent influences. Sure, compose an ode to an inflatable doll. Why not throw in that oboe solo ? More of this melancholic outro , please. Ferry’s evolution with Roxy’s discography almost doubles as that of a painter, uninhibited by his canvas, working his way through as many movements as he fancied. A quick game of album roulette will reveal the Pop-art triumph of For Your Pleasure, the lushly baroque sounds of Siren , the weary romanticism of Avalon.

Maybe this is a roundabout way of saying that Roxy Music was redecorating hotel rooms while their contemporaries were trashing them.

Roxy fans across the western hemisphere will be partying like the cover of Manifesto this autumn , as Ferry, saxophonist Andy Mackay, guitarist Phil Manzanera, and drummer Paul Thompson are set to reunite for an arena tour in celebration of their 50th anniversary. Ferry is a hard guy to pin down — he doesn’t do interviews a lot (not that he has to) and is surprisingly modest for being the patron saint of lounge lizards. But this is an historic moment for the band, and so the perfect time to reminisce. I’ve never been quite as excited to say: Ferry is our newest Superlatives subject.

“Mother of Pearl” always comes up as a favorite for me, because it’s very wordy and I feel that it has very interesting lyrics. It’s emotional, and yet it jumps around from one structure to another, which I like. It was on the third album, Stranded, and I felt I was on a bit of a roll with my writing at that point. Yeah, it’s the only song I didn’t write on the keyboard. I took a bass guitar away with me for a couple of weeks to do some writing. I had a small keyboard and a cassette, and I recorded it. I wrote the song out in Greece, and my friend Simon Puxley was with me, who was Roxy’s press agent in the early days. He wrote the sleeve notes on the first Roxy album. “Mother of Pearl” is a song I very rarely play live because it’s such a long song. It’s one of those songs where I felt I got it right for myself.

It took some great playing on the actual record as well. Great drumming from Paul Thompson. John Gustafson, the bass player, was outstanding. Yeah, I think it worked very well. It’s one of the highlights of Roxy. The album before it was For Your Pleasure ; that’s probably my favorite album, overall. But after For Your Pleasure , I did my first solo album, which was full of covers. It was like being on holiday away from my own writing. When I came back to writing a few weeks later with “Mother of Pearl,” it was nice to write something new again. It worked.

Most seductive song

I suppose “Avalon” has a seductive mood that people like. It’s one of our slow and atmospheric songs. It was beautifully mixed by Bob Clearmountain. We did that at the Power Station Studio in New York. Yeah, it captured a mood; captured a moment. I started writing the song when I was in Ireland. Then we did some work on it in Nassau at Compass Point Studios, I remember. So it has a kind of island mood about it. But there’s a sophistication to it, which, being in New York, must have played some part.

Most poetic song

“More Than This.” It uses very few words, but it seems to get them in the right order. It’s introspective. It’s great when that type of emotion strikes a chord with people. Some of the other songs that I’ve done with the band and on my solo records have been a bit more obscure, but “More Than This” really appealed to people. The combination of when you get the tune and the lyrics that work together, it’s a great thing. It touches people. That’s what you want to do with music — to make contact and to get an emotional response. We made a music video for “More Than This.” That was never my favorite thing, making videos. Being in the studio and making records was exciting for me and still is.

Quickest song you wrote

It would be “Virginia Plain.” I had a rough sketch for it when we did the first Roxy album, and when we finished it, we were really surprised at how successful the album was in the U.K. and in Europe as a whole. But the record company came to us and said, “There isn’t really a single on the album. The album’s doing great, but can you quickly give us a single?” So I wrote up this song, this sketch of a song, and turned it into the finished “Virginia Plain” really quickly. There was a lot of pressure to do that. When the American edition of the album came out a short while later, “Virginia Plain” was added to it. So it was done quickly, but it was done with a lot of energy and a lot of fire, if you like. It ended up becoming quite popular over here.

Song you covered that may sound better than the original

I can’t be precious enough to say that any of my covers is “better” in that sense, but the one I’m most proud of is “A Hard Rain’s A-Gonna Fall.” It was my first cover. The first single from my first album, These Foolish Things . I remember it was a very spontaneous way it was made. The whole album was made really quickly. I just felt like doing an album of other people’s songs for a change! I thought, I must choose a Bob Dylan song . Because he writes such great lyrics and really strong songs. I chose that one, and I worked it out on the piano — just pounding those keys. It was very different from his version. You don’t try to beat what the original version is. You just try to do something a bit different and take the song into a slightly different place. These Foolish Things had some people from Roxy in it. Paul Thompson played drums on the record. A friend of mine, John Porter, played on Roxy’s second album. He helped me produce the record and played bass and guitar. Oh, Eddie Jobson did a great string arrangement. I remember I had really good background vocalists who worked with Dr. John. Yeah, the whole record was done with such good energy. So that’s memorable for me.

I’ve never heard back from Bob Dylan . I don’t know how he feels about the covers. He might like some of them, I don’t know. They’re all such great songs and such great lyrics. As a singer, you always want to sing great words. Such beautiful imagery and so on. Essentially, I’ve enjoyed doing covers of other people’s stuff over the years as a way of getting away from my own writing — extending the repertoire in different ways. I’ve found it quite interesting for me to do that.

How you define Roxy Music’s manifesto

It’s trying out different things — experimenting and exploring sounds and textures. Trying out combinations of instruments and so on. With writing in particular, trying to go to different places and creating a body of work that’s interesting to perform. So when we do the anniversary tour, we will hopefully be representing different aspects of the band and periods from all the albums. But at its core, it’s experimenting with musical styles. We didn’t want to be a one-trick pony.

Album that was most collagelike to create

Definitely the first album, Roxy Music, which juxtaposes so many ideas and styles. That made the record interesting. It was the first record any of us had made in the band. We were so excited just to do it! Putting those songs together, it was a joy for us. I think those songs on the album point in different directions that Roxy could have gone. We followed some of those paths on subsequent records. There are a lot of American influences. “Re-Make/Re-Model” is very hard-driving and was influenced by the Velvet Underground, one of my favorite bands. Whereas something like “Ladytron,” it starts off with this almost country-rock sound. It was kind of an atmospheric, lunar-landscape soundtrack. Then it goes to a wild guitar solo at the end. It seems to jump from one thing to another. Very strange sounds. [ Laughs .] So out of that comes a country-rock section of the record. Same with “If There Is Something.” Each part of that song seems to go in a different direction, but it all makes sense when we finally put it all together. “2HB” is a song that was inspired by Casablanca with Humphrey Bogart. It’s a great movie, and it was my tribute to Hollywood.

Most atmospheric album

Avalon . That whole record had a very nice mood to it. It has a very complete mood that people seem to like.

Album that exudes the most glamour

The most glamorous album is probably — and I don’t know why I say this, but — For Your Pleasure . It’s a dark, focused, and steady record. It has something about it that says glamour to me, but it’s very hard to say what appeals to me. Visually, glamour is so many things. I went to art school when I was a teenager. It’s strange how you develop an aesthetic that you like. It’s trial and error of finding things that you find appealing. I like a lot of old Hollywood movies, film noir in particular. I like movies that are in black-and-white. I find them very glamorous, all of the great musicals, films with Cary Grant or Humphrey Bogart. People in suits — that’s a look that works for me. I guess it was because I’d seen all these great movies growing up. Those were all in my mind while making For Your Pleasure.

Most endearing Brian Eno memory

It’s the first time I met him, really. He came to the place we were rehearsing and working, when I was putting together the band. He came along to record what we were doing there. There were only three of us in Roxy at that point. We didn’t have a tape recorder, so Andy Mackay said, “I know this guy, Brian Eno, who’s got a tape recorder.” So he came to my place where we were rehearsing. He brought this huge tape recorder called a Ferrograph. It was a reel-to-reel thing. We got on immediately. Just the sight of him. I still remember him coming through the door, carrying this huge recorder. He recorded us and then officially joined the band that night.

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