Metal, Hardcore, Indie, Rock
The band Phil Campbell and the Bastard Sons, which includes former Motörhead guitarist Phil Campbell and his sons Todd, Dane, and Tyla, has canceled their previously scheduled March–May performances in Australia and Europe, as per Blabbermouth.
PCATBS regret to announce that due to medical advice Phil has just received, we have been forced to make the decision to cancel all Australian and EU shows from March to May.
We sincerely apologise for the inconvenience this is likely to cause our fans, but Phil’s health will always be our number one priority.
06.03.26 AU – BRISBANE, THE TRIFFID
07.03.26 AU – SYDNEY, MANNING BAR
08.03.26 AU – MELBOURNE, MAX WATTS
10.03.26 AU – ADELAIDE, LION ARTS FACTORY
11.03.26 AU – PERTH, MAGNET HOUSE
18.04.26 DE – Remchingen / No Playback Festival
02.05.26 NO – Kopervik / Karmøygeddon Metal Festival
09.05.26 SI – Tolmin / Open Air
16.05.26 DE – Oberscheidweiler/ Resäcker Open Air
Phil Campbell’s All Starr Band was first founded by Campbell as a side project during the final years of Motörhead. At Wacken Open Air 2016, the band decided to take things a step further and unveiled their new name, Phil Campbell And The Bastard Sons. A few months later, an EP with the same name was published. With the help of a great deal of goodwill, a few Motörhead covers, and a few brand-new songs that blazed with swagger and passion, Phil Campbell And The Bastard Sons, led by one of the most renowned guitarists in the genre, and completed by his sons Todd, Tyla, and Dane, made their touring debut in 2017.
The Bastard Sons made an immediate impression after securing a prominent support slot for Guns N’ Roses’ 2017 summer stadium run. This modest rock and roll business had grown into a very significant entity by the time the band’s debut album, “The Age Of Absurdity,” was released in January 2018. The album received overwhelmingly positive reviews and won “Best Debut Album” at the 2018 Metal Hammer Germany awards. The second album, which guitarist Todd Campbell recorded and engineered under lockdown two years later, was just what people needed. With Top 40 national chart entries in four countries, “We’re The Bastards” was bigger, better, and even more raucously inspiring than its predecessor.
