Pixies: North American Tour 2025

With Spoon and Fazerdaze
Spend an hour or two in the company of Charles Thompson IV, and the conversation will soon fall to zombies, bog people, Druidism, medieval theme restaurants, shopping malls, the Masons, surf rock and the practice of slaughtering lambs in Monmouthshire. Along the way, he might take in Shirley Collins, the distinctive dry drum sound of 1970s’ Fleetwood Mac, and the sestina, a poetic form attributed to the 12th century Provencal troubadour Arnaut Daniel.
Out of such disparate wonders are Pixies’ albums made. “Fragments that are related,” as Thompson (better known as Black Francis) puts it. “And juxtaposed with other fragments in other songs. And in a collection of songs in a so-called LP, you end up making a kind of movie.”
Since their earliest days in late 80s’ Massachusetts, and on past their 2004 reformation, Pixies have worked this way proclaiming their love for both Hüsker Dü and Peter, Paul and Mary, relishing both loud and quiet, singing somewhat kaleidoscopically of reincarnation, scuba diving, Luis Buñuel, necromancy, Samson and Delilah and the 1986 comedy drama Crimes of the Heart. From the start their music has been imagistic, contradictory, electrifying. They stand as one of the most influential, revered and deeply adored bands of all time.