Entradas de Kasabian, Louis Dunford, y Razorlight London, Finsbury Park, 04 Jul 2026

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Finsbury Park

Haringey, N4 2LX, London, UK

Capacidad: 49,000

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Las puertas abren: 14:00

Precio: £65,00 – £125,00

Para fans de Indie y Alternativa, Rock, Electrónica, y Pop.

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Biografía de Kasabian

Hailing from Leicestershire, UK, Kasabian are one of the most recent bands to ascend to stadium playing levels of success this millennium. They’ve released five albums since forming in 1997, and are a quartet based around the creative duo of frontman Tom Meighan and Lead Guitarist Sergio Pizzorno.

They’re probably one of the most misunderstood, contrary bands in British rock right now, so of course they would also be one of the biggest. In 2014 alone they had a Pyramid Stage headliner slot at Glastonbury Festival , played a sold out show in their hometown of Leicester’s 60’000 capacity Victoria Park, released another number one album and capped it off with a sold out tour taking in five nights at Brixton Academy in London.

Yet that doesn’t mean that everyone, or indeed anyone, truly gets them. Many people peg them as heirs to Oasis’ lad rock crown but the band are far more interesting and uncompromising than that. They’ve always sounded more like a more techno-infused Stone Roses or a more guitar based Prodigy than any other bands who would never have even thought of taking up instruments if it wasn’t for “Definitely Maybe”.

For a band with such a populist touch (a Brit Award, millions of albums sold, headline slots at every major British festival there is) they have never lost their thrillingly weird side that has led to collaborations with everyone from Noel Fielding to Richard Ayoade, through to Gorillaz cohort Dan The Automator.

Truth is though, in lead guitarist, head songwriter and all around main man Sergio Pizzorno, they have a band leader who’s more adept at combining terrace anthem choruses with underground strangeness than any collaborator could possibly be. In Tom Meighan, they have one of the most charismatic, electric frontmen of their age. Their reign at the top will go on and on and on for a very good reason, there’s no one else around quite like them, in the U.K or anywhere else.

Biografía de Razorlight

Razorlight are a band hailing from London, England who formed in 2002. Since their debut, they have released three studio albums and are famous in the U.K for being one of the most successful bands of the mid-2000's post-punk revival.

For a period of time, Razorlight were one of the biggest bands in the United Kingdom. Far eclipsing everyone else who had come out of the same East London indie rock scene, even though that scene brought the world everyone from The Libertines to Bloc Party. From 2004 to around 2007, they were only second to Arctic Monkeys themselves in terms of albums sales, fan devotion, radio play and sheer popularity. However, the crucial thing to remember about Razorlight is that no amount of success, no matter how all-encompassing it was, was ever going to be enough for their frontman, one Mr. Johnny Borrell. Borrell formed the band in 2002, after ditching a solo career that he'd spent as an intense, young singer/songwriter supporting bands like the aforementioned Libertines in Whitechapel bars. Once he'd put together the first line-up of the band, and recruited NME scribe Roger Morton as the band's manager, the band made their live debut supporting The Von Bondies at Camden's Dingwalls and recorded demo versions of their songs “Rock 'n' Roll Lies”, “Rip It Up” and “In The City” shortly afterwards.

Borrell soon became something of an indie rock celebrity, thanks to his pin-up looks and habit of saying things in the press that were alternately bonkers, brilliant, disgustingly arrogant or a hybrid of all three. As I said before, no amount of success would satisfy the ambitious young rocker, so the sheer amount of critical acclaim and commercial success that they enjoyed straight out of the gate is arguably the best and worst thing to happen to Razorlight in their entire career. After the band signed with Mercury Records, their debut album “Up All Night” was released in June 2004, and was an immediate top three hit. In 2005, after their single “Somewhere Else” had crashed into the singles chart at number two, the band solidified their place as the next big thing by performing to an audience of 200'000 people at that summer's Live 8 festival in Hyde Park.

Their self-titled second album saw them ascend into the stratosphere. After its release in 2006, the band secured their first number one single in the form of “America”, Borrell's co-writing effort with their drummer Andy Burrows, and support slots with Queen + Paul Rodgers, The Rolling Stones and Oasis followed in short order. In October, they embarked on a sold out tour of arenas in the UK and the following year, they capped off their imperial phase by headlining the Reading and Leeds festivals, the biggest gigs of their career by far. Ever since then, the band have remained one of the most beloved acts of the 2000's as much for their singer's eccentricities a for their titanic back catalogue of hits and their consummate live show. For remaining relevant well past a lot of their peers, Razorlight come highly recommended.

Críticas en vivo

This is the second time I have since Kasabian in the last twelve months. A year ago I watched them in a smallish venue in Amsterdam (Paradiso) and managed to stand right at the front. That was a great gig. The Summer Solstice gig in Leicester was on a whole different level - it was awesome. The band absolutely killed it. The countdown on the back screen added to the anticipation, then as Shiva started up it intensified even more. As soon as Bumblebeee started the crowd went mad. We stood in front of the first barrier so pretty close to the stage but out of the moshpit. It was absolutely rammed in this area but all very good natured. Every song was full-on energy. Everyone was bouncing (some dancing but not much room to do it). The playlist was a brilliant mix of old and new tracks - everyone a killer (and there are other fantastic tracks which could have been included). The white backdrop to the stage ensured that you could easily see the group. The lighting and lasers added to the effect without overkill. The pink and white effect a total contrast to the (unfounded) view that they are just a lad's band. The crowd was a mix of young and old, male/female, and many family groups. At the end it was clear how much it meant to all of the band who constantly thanked the crowd. It was the best gig I have ever attended and I was still buzzing the following day. I highly recommend Kasabian gigs to anyone. It is difficult to pick out a highlight as the whole setlist was brilliantly put together.

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jacky-kelly

I caught Razorlight in person earlier this year and those guys rocked the roof off of the house. Somehow I actually hadn’t listened to much of their work before going, even though they were such a huge hit in the early 2000s.

Lucky me, I got to experience all of their work for the first time live in concert, and I can’t imagine ever wanting to listen to recorded studio performances after seeing how amazing they were in person! Razorlight had the entire crowd captivated from the second they stepped on the stage until the club finally kicked everybody out so we couldn’t beg for yet another encore anymore.

They’ve got the whole package: hypnotic rhythms, driving basslines, and memorable hooks. On top of their immense talent, their passion for music is readily apparent in everything about the way they look and act. I could see any of the four grocery shopping and instantly know that they are rock stars; that’s how incredibly charismatic they are.

Razorlight is kind of on hiatus with some plans for a new album, but they are playing in several festivals this year so make sure to go check them out if you have the opportunity to.

Anonymous

Miles Kane is a performer who embodies a passion for his music, a passion for the art of Rock and Roll, and a passion for live performance to fans.

I first saw Miles when he was supporting Beady Eye on their first tour of Different Gear Still Speeding. It was the Troxy in East London, and going into the gig I knew a bit from the Rascals, liked The Last Shadow Puppets and was reasonably optimistic he would put on a decent show.

He blew everyone there away. It was a unique reaction, I have never seen anything like it before or since. The usual greeting for a support act awaited him when he came on stage. Intrigue and apathy in equal measure. That lasted no more then two songs, and by the time Inhaler dropped (the only song that had Radio 1 airtime behind it) the crowd were raucous, bouncy and staring at each other in amazed disbelief that this gem had gone unearthed.

To finish with a Hey Bulldog cover was genius, and despite an impressive set from Beady Eye, I can guarantee that no one spoke about Liam Gallagher that night. I have seen Miles in various locations, indoor gigs in Brixton and the Troxy, as well as The Olympic Park and twice at Finsbury. He is not fazed by the occasion whether performing to 2000 or 50000, he brings energy, fashion sense, a fantastic voice and an innovative set list, most recently including an interlude with Sympathy For The Devil.

Each time I have seen him, whether as a headliner or support act, whether warming up a small crowd for Liam Gallagher and Andy Bell, or a sunny park full for Kasabian, Stone Roses or his old mates in Arctic Monkeys he brings a swagger, and when I leave I know I am not the only one still bouncing to Miles' set list.

If you are a fan of good old fashioned Rock and Roll, have the likes of Arctic Monkeys, Oasis or Kasabian on your iPod, or remember enjoying the tunes of The Last Shadow Puppets; or perhaps are wondering why music died in 1969 then Miles Kane is definitely a man you should get out and see.

Personal highlights are Come Closer, Give Up, First Of My Kind, Kingcrawler, Inhaler and Taking Over, and on youtube are collaborations with Arctic Monkeys on stage for 505, and with Paul Weller. If Weller is the Mod Father then Miles is his illegitimate Mod Son.

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