Jarvis Cocker announced as special guest at Chilly Gonzales concert at the Royal Albert Hall

Chilly Gonzales and Jarvis Cocker

Jarvis Cocker has been announced as a special guest at Chilly Gonzales‘ forthcoming concert at the Royal Albert Hall.

The Pulp frontman will join the Canadian musician at the London show on October 28. Comedian and actor Peter Serafinowicz will also be appearing at the concert as Elvis. You can purchase tickets here.

Gonzales will be performing tracks from his recent album ‘GONZO’ which was released last month.

Cocker and Gonzales previously teamed up on the latter’s 2020 Christmas album ‘A Very Chilly Christmas’ and their 2017 collaboration album ‘Room 29’ which centred around “a song-cycle concerning the goings-on in Room 29 of the Château Marmont hotel in Hollywood.”

The basic instrumentation on that album was piano and voice with the Kaiser Quartett contributing strings to several tracks.

Elsewhere, Pulp recently debuted yet another new song on their ongoing US tour titled ‘Farmer’s Market’. This follows other new tracks including ‘Spike Island’, ‘My Sex’, and ‘You’ve Got To Have Love’.

Intrigue about new material from Pulp has been swirling in recent months. For instance, the frontman was recently spotted in Walthamstow by a fan, and reportedly told them that the band were heading “back in the studio”.

That took place just days after Pulp performed at Flow Festival 2024 and used their set to debut a new song titled ‘A Sunset’, which was co-written by Richard Hawley.

Before then, the vocalist spoke to NME and suggested the song could be officially released at some point, as well as confirmed Pulp’s touring plans for 2025. The band will perform their first dates of the year in January at Japan’s Rockin’ On Sonic festival alongside Manic Street Preachers, Primal Scream, The Lemon Twigs and Wednesday, among others.

Pulp’s last full-length release was 2001’s ‘We Love Life‘. In a three-star review of the LPNME described the record as “a grandiose, symphonic affair buoyed by succinct orchestration and white-light choral interludes”. It added: “At times, the music really sparkles as it soars above Cocker’s bleakly-intoned spoken-word meditations.”

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