Milly have announced a series of summer US tour dates – tickets on sale now.

2022 tour dates:

SUN 12 JUN – Phoenix, AZ @ Rebel Lounge

TUE JUN 14 – Austin, TX @ Come and Take It Live 

WED JUN 15 – Houston, TX @ The Secret Group

THU JUN 16 – Dallas, TX @ Dada Dallas

FRI JUN 17 – Memphis, TN @ Carolina Watershed

SAT JUN 18 – Indianapolis, IN @ Hi-Fi

SUN 19 JUN – Cleveland Heights, OH @ Grog Shop

TUE 21 JUN – Chicago, IL @ Sleeping Village

WED 22 JUN – St Louis, MI @ The Sinkhole

THU 23 JUN – Kansas City, MO @ Farewell

SAT 25 JUN – Colorado Springs, CO @ Black Sheep

SUN 26 JUN – Denver, CO @ Lost Lake 

Milly make songs that simmer and spark. The Los Angeles-based band, led by songwriter Brendan Dyer, finds power in the slow burn: their music carries the tension of a lake’s surface moments before a storm hits, or a cracking pane of glass moments before it shatters. Their debut album, Eternal Ring, is kinetic, physical, and often a little bit volatile — a mixture of emo music and 90s-indebted indie that tastes as if it’s been fermenting for years, feeding on itself until it becomes something new entirely. A profound first full-length statement from Dyer and his closest collaborator, bass player Yarden Erez, it’s a record that takes the anxiety of modern-day America and filters it through a prismatic, powerfully individualistic lens, resulting in something intense, bracing, and deeply modern. Using 2021’s Wish Goes On EP as a blueprint, this is Milly with the fat trimmed and the frayed edges cut off. “I feel like Wish Goes On was like, a nice teaser,” Dyer says. “Everything that we’re doing now was there but I feel like we just let it marinate a little longer or something — it feels a lot more focused now.” 

To understand Eternal Ring, you have to go back to Dyer’s childhood. Learning guitar and drums from his uncle, a musician, from the age of ten, Dyer was one of the only young people in his rural Connecticut town interested in anything other than sports and other stereotypical markers of American life. Naturally, Dyer began to gravitate towards emo — the closest thing many teens have to outsider art — as an art form he could identify with, bands like Hawthorne Heights subconsciously laying the groundwork for the music he would make as an adult. “It probably only lasted a year or two that I was interested in that sort of thing, but now I feel like it’s become a thing in my life where it’s like, full circle,” he says. “When we were writing this album, and touring before writing this album, I was reconnecting with a lot of the music that I was listening to in my youth and realizing that there was a reason why I liked this music so much.”