The Australian instrumental post-rock trio Dirty Three have announced their long-awaited return, with a new album, Love Changes Everything, set for release physically on June 14th and digitally on June 28th.

“What joy to kick off the tour for our new album “Love Changes Everything “ in Melbourne Australia for the Rising Festival. Recorded in 5 days. Mixed in a year. Nothing has changed. Older and meaner, sadder and totally dangerous. Dirty Three are thirty two years old. Come blow out the candles and help us stick a knife in the cake.” – Warren Ellis London 2024

14 JUN 2024 – HAMER HALL, MELBOURNE ARTS CENTRE, MELBOURNE

15 JUN 2024 – HAMER HALL, MELBOURNE ARTS CENTRE, MELBOURNE

18 JUN 2024 – CANBERRA THEATRE, CANBERRA

19 JUN 2024 – ANITAS THEATRE, THIRROUL

20 JUN 2024 – ENMORE THEATRE, SYDNEY

22 JUN 2024 – FREMANTLE PASSENGER TERMINAL, FREMANTLE

24 JUN 2024 – HINDLEY STREET MUSIC HALL, ADELAIDE

26 JUN 2024 – ODEON THEATRE, HOBART

28 JUN 2024 – THE TIVOLI, BRISBANE

29 JUN 2024 – THE GREEN ROOM, BYRON BAY

Here’s an excerpt from my review of Dirty Three’s performance at the Sydney State Theatre in 2014:

Ellis’ playing is often, rightfully so, the focus of the audience’s attention as he high-kicks accents within the songs, leaps onto a chair, hugs friends in the front row and throws his shoulders and greying hair back and bellows wordless howls into the lavish deco surrounds of the State Theatre. His violin is a pure extension of his personality… raw, unfettered and hopelessly romantic. He conjured up pain and loss, nihilism and wide-eyed optimism through dissonance, restraint and wild abandon. Without White and Turner by his side the effect would be distilled by two thirds. Their roles are equally as essential to the often overwhelming emotional impact the band creates.

Jim White was the effortless whirling dervish behind the kit, creating polyrhythmic travels through gypsy, jazz, avant-garde, Krautrock and post-rock worlds. The man just doesn’t stop playing – constantly adding tambourines, changing sticks, discarding parts of his kit and only really settling into anything resembling standard rock drumming in sections of ‘Indian Love Song’ and ‘Sue’s Last Ride’. Meanwhile, standing with shoulder to the seated audience, the near stationary Mick Turner is the calm at the centre of the storm, the musical anchor who fills the role of both rhythm guitarist and bassist. His droning chords hung in the staid theatre air, arpeggios were nonchalantly plucked. his majestically sombre playing sounding both ancient and mournful. Losing oneself in each of the player’s sound and styles is the key to full sensory immersion and the ultimate reward of a Dirty Three performance.