POLIÇA are heading back to London following their appearance at British Summer Time in Hyde Park with Kendrick Lamar and Florence and the Machine.
The band’s performance at Roundhouse on 19 October 2016 is part of an extensive tour of the UK and Ireland to cap off a busy year of live shows that also included BBC 6 Music Festival and Latitude.
Earlier this year singer Channy Leaneagh, drummers Drew Christopherson and Ben Ivascu, bassist Chris Beirden, and producer Ryan Olson released their third album ‘United Crushers’.
Written in Minneapolis during POLIÇA’s first extended break after two years of touring, the city looms large over the follow-up to 2013’s ‘Shulamith’.
“If you look up when you drive around this city, you’ll frequently see the tag ‘United Crushers’ spray painted on the sides of bridges, watertowers, or abandoned buildings,'” says Leaneagh of her hometown. “The tag looks down at the city and reminds me of where we really are and what is really happening here. United States of Dreams Be Crushed.”
That sentiment continues on ‘Summer Please’ “a plea to summer and, likewise, the future,” she adds.
“All winter around here we wait for the first warm day to let the kids out to play. Yet, the beautiful blue sun-soaked sky brings anxiety with it, because the gunshots and killings increase with the heat and nice weather.
“The future is like that too, isn’t it? You ask a kid what they want to be when they grow up while simultaneously terrified by what evils might be out there waiting for them. Is it safe to let our kids play outside while gunshots fly? Are their dreams going to make it out alive?”
The plight of children was at the forefront of Leaneagh’s mind -she was pregnant with her second at the time.
“When you’re pregnant, you’re at your most vulnerable and protective,” explains Leaneagh, whose pregnancy also directly influenced ‘Someway’.
“A woman gains amazing powers and new kinds of freedoms when she’s pregnant and becomes a mother,” she says. “I think pregnancy is mystical and I’m grateful to be able to do it. But with any great gift there are great sacrifices, and in the beginning stages of the giving over of my body to the cause of birth, I was worried about what it would do to my relationships; my daughter, my man, my work, myself. I needed a song to vent about it.”
But the darkness of the lyrics is contrasted by the music’s sense of celebration and defiance.
“When you sing old folk songs about sad things, it does something to your heart that actually uplifts it,” says Leaneagh. “I believe that about these songs, too.”