New York, NY (August 21, 2025) – Autoheart has had to announce a reschedule of the first leg of their upcoming North American tour for immediately after leg two. The new routing will run October 30 – December 11 [all dates below]. Tickets on-sale here. The band made the following statement regarding the rescheduling:
“We’ve got some tough news – due to logistical reasons totally beyond our control, some of the Heartlands Tour shows have had to move, a couple of venues have changed, and sadly a handful of dates couldn’t be rescheduled.
If you already have a ticket, and your date has been affected, you’ll hear directly from your venue or ticket seller. Refunds for cancelled shows will be automatic, and tickets for rescheduled dates will remain valid.
We’re so sorry for the disruption – thank you for sticking with us while we work this out. The tour is still happening, and we can’t wait to see you soon.”
The London indie-pop trio released their defiant and infectious new album Heartlands last week via their own O/R Records.
Heartlands is a journey into the world Autoheart has quietly built with their listeners – a sprawling, defiant, often dreamlike place imagined not just by the band, but by the community that grew around them.
It wasn’t meant to be a comeback album – but it does feel like a homecoming. A return to the band’s roots in live instrumentation: pianos, guitars, drums, and layered, choral vocals. A record you can play loud and take straight to the stage. Written partly on the road during their 2024 Love Me Love Me Love Me tour – their first live shows in over a decade – Heartlands was shaped by the energy of those nights and the rediscovery of what Autoheart had perhaps forgotten: this is what they were meant to do.
Jody Gadsden (vocals), Barney JC (guitars/bass) and Simon Neilson (piano/keys) began writing the record in transit – hotel rooms, soundchecks, long drives across unfamiliar landscapes. Then, almost as soon as the tour ended, they stepped into The Pool in south London – a cavernous, character-rich studio where artists like Florence + the Machine, Depeche Mode and LCD Soundsystem have previously recorded. The rest was completed at Urchin Studios, where they made much of 2021’s Hellbent. Self-produced and mixed by longtime collaborator Danton Supple (X&Y, Punch), the album feels both urgent and expansive – a full-band sound soaked in atmosphere, with a clarity that lets every vocal crack, piano chord and guitar hum breathe.
It’s also, notably, their most collaborative work to date. With the exception of “Lost” – a deeply personal track penned by Gadsden – nearly every song on Heartlands was co-written and shaped by the trio as a unit. The difference is audible. These are songs built to be played live. Songs that stretch and unfold. Songs that know they’re being heard.
Lyrically, the album is a kind of reckoning – a series of letters to younger selves, reflections on the invisible weight of growing up queer, and messages of solidarity for anyone still carrying that weight. Autoheart never fit easily into a scene. Too pop for indie, too indie for pop. Too gay when it wasn’t cool to be, and not quite gay enough – or the right kind of gay – to be embraced by the queer music world when it finally arrived.
Their first manager told them to hide their sexuality. They didn’t. Their second manager never showed them their streaming stats – and for years they assumed no one was really listening.
But someone was. And slowly, those voices made themselves heard. Emails and DMs turned into fan art, tattoos, cosplay, a Discord server – a quiet chorus growing louder, one message at a time. A fandom began to form – self-named the Heartheads – and in them, Autoheart saw something familiar: outsiders, weirdos, romantics, people who didn’t fit the mould. Some of the band’s songs – especially “Stalker’s Tango” – began to quietly explode, finding new life across anime edits, queer fan pages, and video platforms they hadn’t even posted to themselves. Suddenly, the band realised: people weren’t just listening. They were listening hard.
And so, in return, Heartlands became a kind of offering. A thank you. A creative exchange between band and fanbase.
Tour Dates:
10/10 – Manchester, UK @ Rebellion [sold out]
10/11 – London, UK @ Oslo Hackney [sold out]
10/12 – London, UK @ Dingwalls
10/30 – Dallas, TX @ The Echo Lounge & Music Hall
10/31 – Austin, TX @ Antone’s
11/01 – Houston, TX @ Bad Astronaut
11/04 – Kansas City, MO @ recordBar
11/05 – Omaha, NE @ Slowdown
11/06 – Denver, CO @ The Summit Music Hall
11/07 – Salt Lake City, UT @ Soundwell
11/08 – Boise, ID @ Shrine Ballroom
11/10 – Calgary, AB @ Dickens
11/11 – Edmonton, AB @ Starlite Ballroom
11/13 – Vancouver, BC @ The Pearl
11/14 – Seattle, WA @ Neptune Theater
11/15 – Portland, OR @ Hawthorne Theatre
11/17 – Berkeley, CA @ Cornerstone
11/19 – Ventura, CA @ Ventura Music Hall
11/20 – San Diego, CA @ House of Blues
11/21 – Santa Ana, CA @ The Observatory
11/22 – Phoenix, AZ @ Nile Theater
11/25 – Nashville, TN @ Exit/In
11/26 – Atlanta, GA @ The Loft at Center Stage
11/28 – Tampa, FL @ The Orpheum
11/30 – Richmond, VA @ Canal Club
12/01 – Brooklyn, NY @ Brooklyn Bowl
12/02 – Somerville, MA @ Arts at the Armory
12/03 – Philadelphia, PA @ World Café Live
12/04 – Washington, DC @ Union Stage
12/06 – Lansing, MI @ Grewal Hall
12/07 – Toronto, ON @ Adelaide Hall
12/08 – Lakewood, OH @ The Roxy
12/10 – Minneapolis, MN @ Fine Line Music Café
12/11 – Chicago, IL @ Concord Music Hall
Heartland track list:
- Indigo Chateau
- Denial
- Heaven Is My Destination
- Sad Divide
- Baby Bird
- Pearl
- Somewhere In The Singing Darkness
- Say That
- What Was I Thinking
- Lost
