mclusky with Pile at Underground ArtsFriday, April 10, 2026 Doors: 8:00 PM | Show: 9:00 PM 21+ About Underground Arts Visit undergroundarts.org for venue details including how to get here, parking, FAQ, UA Merch, Private Events, & everything else - Food, Concessions + Drink Menus | Venue FAQ | Contact Info - About mclusky Website | Facebook | Instagram | Spotify | Apple Music It’s important to state that “the world is still here and so are we” is the fourth Mclusky album (no qualification being needed). They had an asterisk next to the name for a bit - out of respect for past band members and the precious memorial glue of teenage musical crushes - but fuck that, in for a penny, in for a pound. Lyrically it touches on subjects as rich and as varied as work-it-out-yourself and impenetrable-inside-joke-for-the-band, but one thing is clear, all of the songs have different words. All hilarious joking aside, the best songs are about things without being precisely about them. Mclusky endorse this sentiment. They positively insist on it. Formed in Cardiff, Wales in the late ‘90s, Mclusky quickly became one of the most beloved underground punk bands of their era, known for their biting lyrics, angular riffs, and chaotic live shows. The band released three critically-acclaimed albums – “Mclusky Do Dallas” (2002), “The Difference Between Me And You Is That I’m Not On Fire” (2004) and “My Pain And Sadness Is More Sad And Painful Than Yours” (2000) – before disbanding in 2005. Since reforming in 2019, they’ve continued to bring their ferocious energy to stages, with their fourth album, “the world is still here and so are we”, set for a Spring 2025 release via Ipecac Recordings. Mclusky is Damien Sayell (bass, vocals), Jack Egglestone (drums, vocals, percussion), and Andrew Falkous (guitar, vocals). About Pile Website | Facebook | Instagram | YouTube | Spotify "A Million Sweaty Punks Can't Be Wrong" about Pile, says SPIN magazine. From their earliest days as the solo project of frontman Rick Maguire, Pile have followed an unusual path through an era in which rock bands have generally receded from the cultural spotlight. Starting out in 2007, in the then thriving Boston DIY scene, the band rapidly became heroes and standard-bearers for their hometown’s music community, garnering a cultish-adoration that has only intensified as that cult has grown, expanding by word of mouth across the country and throughout the globe.