pixies 2023 tour kim deal

Pixies announce new tour dates and Kim Deal’s replacement

Are the Pixies gearing up for a new album? Probably so: in a press release today, the rockers revealed they’re planning a world tour, have replaced departed bassist and co-founder Kim Deal, and will be premiering new songs during their fall stint.

This first leg of overseas dates “will give them an opportunity to do something they haven”t been able to do in two decades: premiere brand new Pixies songs, the first collection of new material since 1991’s ‘Trompe le Monde.'”

Band leader Black Francis wrote, “Along with everyone”s favorites, we”ll be playing songs that we haven”t played in ages or never played live before. Songs like ‘Brick is Red,” ‘Havalina,” ‘Tony”s Theme.” and ‘Sad Punk.” We”ve probably rehearsed some 80 songs, so we”ll be able to change up the set at the last minute if we feel like it. We”re all really looking forward to this tour.”

On Friday, it was announced that Deal had departed the band , after a handful of years touring upon reuniting. She has been replaced with Kim Shattuck, formerly of The Muffs and The Pandoras.

Also on Friday, the Pixies premiered a new song and video, “Bagboy.”

Here are The Pixies’ tour dates:

9/29 – Paris, FR @ Olympia 10/02 – Brussels, BE @ Ancienne Belgique 10/03 – Brussels, BE @ Ancienne Belgique 10/05 – Amsterdam, NL @ Paradiso 10/08 – Berlin, DE @ Huxleys 10/10 – Prague, CZ @ Lucerna Music Hall 11/01 – Vienna, AT @ Gasometer 11/02 – Geneva, CH @ Thonex 11/04 – Milan, IT @ Alcatraz 11/07 – Madrid, ES @ La Riviera 11/09 – Lisbon, PT @ Coliseum 11/13 – Copenhagen, DK @ Falkoner 11/14 – Oslo, NO @ Sentrum Scene 11/15 – Stockholm, SE @ Munchen Brewery 11/18 – Dublin, IR @ Olympia 11/19 – Dublin, IR @ Olympia 11/21 – Manchester, UK @ Apollo 11/22 – Glasgow, UK @ Barrowland 11/24 – London, UK @ Hammersmith Apollo

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The Breeders' Kim Deal Says It’s 'a Big Deal' Olivia Rodrigo Tapped Her '90s Alt-Rock Band for the Guts Tour (Exclusive)

The iconic '90s group will play four nights of the pop-rock superstar's tour as it comes to New York City's Madison Square Garden on April 5, 6, 8 and 9

Tim Mosenfelder/FilmMagic; Lionel Hahn/Getty

Olivia Rodrigo once said that she thinks of her life before hearing “Cannonball” by The Breeders and after.

Flash forward to 2024 when the pop-rock star, 21, is out on her first-ever arena tour in support of her sophomore album GUTS — and now the ‘90s alt-rock group fronted by Kim Deal is joining her for four sold-out shows at New York City’s Madison Square Garden on April 5, 6, 8 and 9.  

One can imagine that it’s exciting for the three-time Grammy winner to be playing alongside one of her favorite bands — but as for Deal herself, she’s simply in disbelief that it’s happening at all. 

“We’re just from Dayton, Ohio!” jokes Deal, 62, of herself and her bandmates. “We’re really excited. It’s a big deal.” 

The Breeders frontwoman explains that it was sometime last fall that the band’s management team revealed that the “vampire” singer wanted them to join her at MSG. “I was just like, ‘ What ?’ It was odd!” she recalls. 

“Then she began doing more stuff for this album, and you find out she knows Annie Clark [of St. Vincent ] and she listens to all sorts of different music from Billy Joel to Sheryl Crow and it's like, ‘Oh, she's just really into music,’” Deal continued. “Knowing that, it made more sense. She just really liked us!” 

While notes of the Last Splash band’s alternative sound is all over GUTS , Deal is also known for being a source of inspiration to young women in rock. After all, she launched the group (also featuring her twin sister Kelley, Josephine Wiggs and Jim Macpherson) as a creative outlet when she felt underused as the bassist in her former band The Pixies. 

Still — despite being an indie music legend who was hand-picked to open for Nirvana in 1992 — the rocker admits the scale of Rodrigo’s live show and MSG has been a bit intimidating as she and the band rehearsed for the upcoming shows. 

“I have played Madison Square Garden before. It was in 1992 [with The Pixies] and we opened for U2 on the Zoo TV Tour,” the singer/guitarist reflects. “I don’t remember it. I remember the shows that weren't good — those burn into my mind — and it must've been a good show since I can't remember.” 

Kevin Westenberg

While The Breeders joined Foo Fighters out on the road last year where they largely played outdoor amphitheaters, MSG’s capacity of nearly 20,000 and the “get him back!” singer’s production feel “huge” to her. “I told my friend, ‘I just don't know how to get that big,’” Deal says. “He goes, ‘Act like you're yelling at a cop!’ Like, I don't think so. No. He goes, ‘I know! You're Mel Gibson in Braveheart , just stand there and yell, ‘Freedom!’’ and then you'll be that big.”

While Deal says that she also became somewhat concerned about how the younger contingent of Rodrigo’s audience might react to their “loud guitars,” she admits that she thinks it’s “thrilling” they’ll be playing for their most junior crowd to date. 

“There are very young girls there, so we’re excited about [that],” she says, mentioning that she thinks it’s pretty special how Rodrigo is imparting her taste and the cult-loved indie band onto a “new generation.” 

“When you tell your friend, ‘You should listen to this band,’ I think she's just like that,” Deal says of the pop-rock superstar. “‘You girls and guys need to hear this! This is a good band, and I'm going to have them play for you, so you can see what a good band is.’” 

“Maybe that's what she's doing,” the “Divine Hammer” singer adds. “She didn't have to have us!”

Christopher Polk/Billboard via Getty

Deal also notes that she has loved to see how the Sour artist has been distributing contraceptives at her shows , advocating for abortion access and donating proceeds of her ticket sales to her non-profit Fund For Good . “The announcement about her giving out condoms? Yes. I loved it. Plan B? I loved it. I was like, ‘Oh, f--- yes, you go girl!’” she explains.

It’s been fulfilling to see in part because “she doesn’t have to do that,” but also because Deal remembers how the alt-rock and riot grrrl scenes that have inspired Rodrigo were using their platforms similarly in the ‘90s. “When we were playing [ Lollapalooza in ‘94], there were get out the vote booths, Right to Choose booths … gay rights. There has been a lot of activism for voting and for women's rights and women's health and reproductive rights for decades within [the scene].” 

Never miss a story — sign up for  PEOPLE's free daily newsletter  to stay up-to-date on the best of what PEOPLE has to offer, from celebrity news to compelling human interest stories. Deal describes The Breeder’s appearance on The GUTS Tour — which revels in Rodrigo’s feminine take on teenage rebellion and emotion — as especially exciting, since the group came out of a music landscape when women in rock were really beginning to carve out their own lane. 

“I do remember there was a loneliness back in the day when I was out with The Pixies and I was the only girl on tour,” Deal recalls, sharing that there were times where “oppressive, menacing” encounters out on the road made her feel unwelcome. 

Jason Squires/FilmMagic

Bands like Sonic Youth , Bikini Kill, post-punk outfit L-Seven, alt-rockers Throwing Muses, the British group Th' Faith Healers and Dutch band Bettie Serveert, as well as hip-hop stars like Queen Latifah and Salt-N-Pepa , were sources of inspiration for Deal and The Breeders. 

“I can be told so many times that there just weren’t a lot of women back in the day. And that's not true. There were tons of women back in the day,” she says.

Deal also reminisces about the riot grrrl movement and scene leaders like Kathleen Hanna who were advocating for women to feel seen in and outside of music. “She was out there up in the Northwest saying things like, ‘Make room for us in the front!’” the musician says of the Bikini Kill frontwoman, now 55. 

“It was really a good way of looking at things that nobody was looking at before. And they were cool bands, cool people saying, ‘Give us some room. This is ridiculous,’” she adds, recalling queues of people waiting to crowd surf and stage dive, and countless Doc Martens being thrown on stage and hitting concert-goers in the head. 

While Deal might be rather humble when she’s been called an inspiration herself, it all but makes sense the alt-rock icon is taking the stage with Gen Z’s own riot grrrl-inspired rockstar. Even months ago, Rodrigo expressed how much wisdom she hopes to absorb from the Pod group when they cross paths at MSG. 

“It really is exciting that I think it's just Olivia,” The Breeders vocalist reiterates of how the hitmaker tapped The Breeders for The GUTS Tour bill. “I think everybody will be cool about it, obviously, because we're the act that she chose.”

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Live Review: Pixies @ The Anthem — 6/10/23

Only a handful of bands can truly command the stage like the Pixies do.

Frontman Black Francis and his bandmates were all business in an extraordinary 31-song set recently at The Anthem, where as usual they arrived with no planned setlist and played through selections from their eight studio albums.

That degree of musical agility requires a certain level of authority, wherein the band know their stuff so well that they can simply knock it out at will. And the Pixies most certainly nailed it at The Anthem on June 10, drawing heavily from two ends of their career — seven songs from their most recent album Doggerel (2022) and eight songs from their seminal record Doolittle (1989).

The Pixies played quite a few of the new album tunes in the front end of the concert. The audience was charmed by pleasing, vibrant songs like “Who’s More Sorry Now,” which incorporates some signature Pixies surf rock, and “The Lord Has Come Back Today,” a sunny ode to sharing a new day.

In these songs and others, Black Francis and fellow guitarist Joey Santiago entertained with some hypnotic interplay, Francis filling in the spaces quite nicely between his longtime bandmate’s prominent chords. The resulting melodies have a very lush ’60s feel to them.

Watch the Pixies perform “The Lord Has Come Back Today” live for Band on the Wall via YouTube:

The Pixies began their career in earnest with the release of debut record Surfer Rosa in 1988, and the band consisted then of Francis, Joey, drummer David Lovering, and bassist Kim Deal. Since 2016, Pixies have officially welcomed Paz Lenchantin on bass as Deal’s replacement. I digress, however. Those early songs really resonate, and the Pixies thrilled toward the end of their set at The Anthem with “Where Is My Mind?” From Surfer Rosa.

But as mentioned earlier, it was the sophomore record Doolittle that really put them on the map, and the album today continues to have legs. The Pixies performed *two* versions of “Wave of Mutilation” from the album, by way of example — a standard live rendition early in the show and a UK surf version much later. Talk about giving the people what they want surely, but given that the Pixies come in every night with no setlist, what a remarkable feat of on-the-ground coordination!

The Pixies played Doolittle faves “Debaser” in the middle of the pack and “Here Comes Your Man” in the last leg of the show. The instantly recognizable hit elicited a wave of excitement from the audience as Paz launched it with its distinct bassline. David was loose and groovy on the drums, and his congenial presence really grounded the band throughout the show. The really brilliant surf rhythms took hold of the audience’s soul and Francis’s sweetly agreeable lyrics owned our hearts.

Watch the official music video for “Here Comes Your Man” by Pixies on YouTube:

This remarkable tour was launched in May, and so the Pixies had been on the road for more than a month by the time they arrived at The Anthem. More remarkably, however, the Pixies played the very small room at The Anthem four days earlier, and so the band’s appearance at The Anthem marked their second DC show in less than a week. And The Atlantis setlist was so different, leaning heavily into their 1987 EP, Come On Pilgrim, for instance. Both shows featured a pair of great covers, though — a cover of “Head On” by fellow noise band Jesus and Mary Chain and “Winterlong” by Neil Young, the latter closing out each show.

Francis and his bandmates played to sold-out venues for 450 people and then to 6,000 over their two trips to Washington, DC, and both times slid comfortably into their places. No matter the size of the stage, the Pixies were sure to take command.

Here are some photos of the Pixies performing at The Anthem on June 10, 2023. All pictures by Mickey McCarter.

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• Fri. Jun 14th, 2024

The Pixies are Touring!

By Nikkie Marie

Since the Summer of ’86, The Pixies have been leading the American alt-rock wave that went global overseas with original members David Lovering holding down the drums, Black Francis on leading vocals and rhythm guitar, lead guitarist Joey Santiago, and long time member bassist Paz Lenchantin!

The original lineup with Kim Deal (The Breeders) on bass blew America and Europe out of the water with incredible dark, honest inspiration that leads the band’s current lineup today.

The Pixies influenced countless acts such as Nirvana, The Smashing Pumpkins, Weezer, and Radiohead; just to name a few. Since their reunion in 2004, they’ve sold out numerous world tours and have continued to chart with their records.

This summer we will have the pleasure of seeing The Pixies take the stage with supporting act Modest Mouse, who formed in 1993 and gained massive fame with their 2004 hit “Float On”.

The tour starts May 4th in Oakland, CA and ends in San Diego, CA on September 16th with festival dates happening May 5th at the Beach Life Festival in Redondo Beach, CA. Modest Mouse joins the tour on August 20th in Ashbury Park!

This is the first time we will be seeing Modest Mouse take the stage since the passing of co-founder and drummer Jeremiah Green.

Both acts are loved by multiple generations, and have done it all. Don’t forget to catch your chance to see decades of music wrapped in one epic night.

PHOTO CREDIT: Live shot of The Pixies by Stephy Hayward (Muzio) for ZRockR Magazine in 2019 – All Rights Reserved

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Inside Out 2 – Emotions At Work in a Fantastic Sequel!

Summerfling memoirs: rocking harder than ever in la music scene, crashing wayward, colossal street jam, and noize complaint – three sets of rock at vamp’d, lords of acid bring the rave to the teragram ballroom: a night of industrial mayhem and mic-swinging madness.

Kim Deal: The Breeders frontwoman on their fifth album, Pixies and touring with Nirvana

As The Breeders release their fifth album, frontwoman and estranged Pixies bassist Kim Deal talks Kevin EG Perry through her rock’n’roll life

1. Joining Pixies (because they made her laugh)

In January 1986, a week after moving to Boston from Dayton, Ohio, Kim spotted an ad in the Boston Phoenix placed by future Pixies bandmates Charles Thompson (AKA Black Francis) and Joey Santiago. “Most of those adverts were guys going, ‘Looking for blonde singer aged 19-22. Hair must be between shoulder length and mid-back,’ or, ‘Looking for drummer with a PROFESSIONAL ATTITUDE’,” she explains. “So, ‘Looking for someone into Peter, Paul and Mary and Hüsker Dü. No chops’ caught my eye. I thought it was funny.”

2. Her ironic pseudonym

On the first two Pixies releases, ‘Come On Pilgrim’ and ‘Surfer Rosa’, Kim was credited as Mrs John Murphy, taking her then husband’s name as an arch feminist joke. “Somebody said that when I worked in a doctor’s office,” she explains. “‘My name is not Ethel. My name is Mrs Howard Rosenstein.’ Holy s**t! I need to show her respect by calling her by somebody else’s name!”

3. Writing the best Pixies song (at least according to Kurt) 

‘Surfer Rosa’ only featured one song with lyrics by Kim – ‘Gigantic’, a voyeuristic ode to a well-endowed man – but it made such an impression on Kurt Cobain that in 1992 he said, “I wish Kim was allowed to write more songs for the Pixies, because ‘Gigantic’ is the best Pixies song and Kim wrote it.” Kim reacts modestly, “Well, it’s better than somebody saying, ‘Oh God, you suck.’”

4. Forming The Breeders

Kim formed The Breeders with Throwing Muses guitarist Tanya Donelly, and their debut 1990 album ‘Pod’ was hugely influential – not least on Nirvana. “I think they got Steve Albini to record ‘In Utero’ because they really liked ‘Pod’,” says Kim. “I remember Dave Grohl saying he really liked the drum sound, but I always felt bad for Dave because the drum sound for ‘Pod’ sounds huge because there’s so much empty space for the drums to ring out. Poor Dave had all these guitars and bass playing all the way through.”

5. Touring with Nirvana

In 1992, following the success of ‘Nevermind’, Nirvana invited The Breeders to join their tour. It was eye-opening for Kim’s twin sister Kelley, who had joined on guitar, and new drummer Jim Macpherson. “The first show with Nirvana was one of Macpherson’s first shows out of Dayton, Ohio ever,” laughs Kim. “He asked Dave Grohl, ‘What are those big black boxes?’ Dave is like, ‘You idiot, they’re monitors. You listen to the band through them!’ I think that’s why Nirvana enjoyed touring with us so much: to see it through other people’s eyes.”

6. Recording ‘Cannonball’ the moment Pixies split 

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Black Francis unilaterally disbanded Pixies in 1993, but Kim had the perfect riposte. “I was in the studio literally recording ‘Cannonball’ when Kelley came down the hallway and said, ‘Pixies broke up’. I said, ‘OK, get out of my way,’” remembers Kim. The song was NME’s Single of the Year and 25 years on remains an indie rock staple. “I don’t think anyone thought it would get played on the radio,” says Kim. “I wasn’t thinking, ‘This is it! This is my ticket!’”

7. Becoming an indie icon

The success of second Breeders album ‘Last Splash’ helped seal Kim’s image as the embodiment of rock-star cool. During the ’90s she was the subject of tribute songs from the Dandy Warhols (‘Cool As Kim Deal’) and Japanese rockers The Pillows (‘Kim Deal’). “I loved it but was kind of horrified at the same time,” says Kim. “I’ve never heard the Dandy Warhols one. Are they actually saying I’m cool or are they being facetious? I’ve listened to The Pillows because I can’t understand what they’re saying. They’re probably singing about their cat called Kim Deal.”

8. Getting the band back together

In 2013, Kim reunited with Kelley, Jim and bassist Josephine Wiggs to play shows marking the 20th anniversary of ‘Last Splash’. At the end of the year, they were offered more gigs. “That’s when my OCD kicked in: ‘Wait, that’s not the 20th anniversary anymore,’” says Kim. “Our friends told us we should release another album. We kept adding stuff to our setlist and that started the recording of the album.”

9. Teaming up with the generation she inspired

The result is ‘All Nerve’ – a strange and visceral rock album which features, among many other things, a Courtney Barnett guest spot on ‘Howl At The Summit’. For Kim, it was a chance to collaborate with someone she’d first heard of as a fan. “She’d covered ‘Cannonball’,” explains Kim. “They did a pretty good version: shambolic and kind of casual.”

10. Never stopping

While it’s been 10 years since last Breeders album ‘Mountain Battles’, Kim says she hopes there’ll be another sooner and bristles against the suggestion she’s not prolific – pointing to her solo seven-inch series and busy touring schedule. “I want to defend myself. I do music constantly but sure, I’m ‘not prolific’,” she says, her voice dripping with sarcasm. “Let’s go with that.”

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Pixies Announce First Run of 2023 North American Tour Dates

The post Pixies Announce First Run of 2023 North American Tour Dates appeared first on Consequence .

Pixies  have announced the initial handful of dates for their upcoming 2023 North American headline tour.

Currently wrapping up their 2022 jaunt in New Zealand, the alt-rock stalwarts will hit the road starting on May 4th at the Fox Theatre in Oakland, California. They’ll primarily cover the southwest US throughout the month, making stops in cities such as Phoenix, Santa Fe, Denver, and two back-to-back nights in Las Vegas. They’ll wrap up the leg with a festival set at the Kilby Block Party in Salt Lake City.

Though the tour is in support of Pixies’ September album Doggerel ,  the band have a whole treasure trove of hits and deep cuts to add to their setlists — “setlists” being plural, because each night will see the band play a unique lineup of songs, deciding whatever “the next song” will be right before playing its first note.

Tickets for Pixies’ new tour dates go on sale this Friday, December 16th at 10:00 a.m. local time, and you can head over to Ticketmaster to grab yours. See their full list of upcoming shows below, with more to be announced soon.

Consequence ‘s correspondent in Japan caught Pixies’ show in Osaka just a couple of weeks ago; revisit our recap of the night here .  Doggerel  marked Pixies’ eighth studio album, following up 2019’s Beneath the Eyrie

Pixies 2023 Tour Dates: 05/04 – Oakland, CA @ Fox Theater 05/06 – Monterey, CA @ Golden State Theatre 05/08 – Phoenix, AZ @ The Van Buren 05/09 – Santa Fe, NM @ Lensic Performing Arts Center 05/10 – Denver, CO @ The Mission Ballroom 05/12 – Las Vegas, NV @ Encore Theatre at Wynn 05/13 – Las Vegas, NV @ Encore Theatre at Wynn 05/12-14 – Salt Lake City, UT @ Kilby Block Party (Festival Set)

Pixies Announce First Run of 2023 North American Tour Dates Abby Jones

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Black Francis on Pixies’ New LP, Making Peace With Kim Deal

• By Andy Greene

Andy Greene

Near the end of the Pixies ‘ upcoming album, Head Carrier , new bassist Paz Lenchantin steps up to the microphone and directly addresses Kim Deal , the woman she ultimately replaced in the band. “Remember when we were happy?” she sings on “All I Think About Now.” “That’s all I think about now/If you have any doubt/I want to thank you anyhow.” Those lyrics were penned by Charles “ Black Francis ” Thompson, who phoned up Rolling Stone to chat about Head Carrier (in stores September 30th), where his relationship with Kim stands at the moment, the group’s exclusion from the Rock and Roll Hall of Fame, upcoming touring plans and why he’s done making solo albums.

Tell me the backstory of this album. Last time around you started by releasing a series of EPs. You obviously took a different approach this time. When we made [2014’s] Indie Cindy , we were aware that it was going to be broken up into EPs. I think maybe even Kim [Deal], when she was still involved, it felt like there was just going to be an EP and I think that probably appealed to her given the amount of time we had booked and the kind of tour that was being proposed to us.

But I think that Joey [Santiago] and David [Lovering] felt like we needed an LP’s worth of material. We went to a studio, hung out for a couple of months, and had a pile of songs this high. The EP thing was something the manager came up with. At the end of the day, we just want to make music. We don’t get involved with the other things.

You’ve worked with producer Gil Norton on every album going back to Doolittle in 1989. Why did you switch to Tom Dalgety this time? We had a new bass player. This was feeling very much like our comeback record as opposed to Indie Cindy , which felt like a transitional moment even when we were making it. This time, we felt like we wanted to get out of our comfort zone. I think working with a different producer certainly ticked a lot of boxes in terms of getting out of our comfort zone.

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How long did the process take? The actual tracking was only about three weeks, but the whole thing was about three months. The tracking of the record would have been in spring, around March. But we spent some time rehearsing on our own in Toronto for about three weeks. We spent some time rehearsing with Tom for about two weeks in November. I guess we spent a week or two back in L.A. over a year ago just meeting in our rehearsal space and bashing out some new chord progressions.

Do you write differently for a Pixies album than you would for something solo? Uh … no. Although I’ve become aware, over time, that there’s kind of this notion that other people have about what sounds more like a Pixies song versus something from a Frank Black solo record. But I can’t set out on my journey on each song and say, “OK, I’m going to do this kind of song.” Just at some point I can kind of determine, at least based on other people’s comments, “OK, this is sort of not feeling so Pixies and maybe not worth pursuing.”

But we don’t want to get locked into that because that means you’ve got all these rules you’re clinging to. “Well, it’s not a Pixies song of it doesn’t blabbity-blah-blah.” We don’t want to get too locked into that because we might wanna make our own reggae record or something.

How has Paz joining the band changed the dynamic? A lot. We just really love her and get along great. She’s very excited to be in our midsts. We kinda, especially me, had to lose any kind of tired cynicism we might have about the whole thing. You don’t want to project that onto some new person that’s all excited to be in our band. We gotta be like, “Oh, yes! All right! Here we go!” It’s been nice to be like, “This is an exciting time and we’ve got something positive going on here.”

She’s the third woman in a row to play bass in the band. I imagine having a woman is just part of the DNA of the band. It provides a real balance. Yes. Exactly. I mean that was the plan from the very beginning. It wasn’t defined, but I had some flaky notion about why that should be and because there’s a female bassist in the Talking Heads. I don’t know exactly where it came from, but it was a good instinct. I don’t know. I didn’t analyze it at the time. It was just the thing we did, but in hindsight it meant that all this male energy was balanced out. If it was just my energy leading the charge it would have been kind of exhausting. Having a woman there just kind of smooths it out, and it just makes it more pleasant and a little more lighthearted and more romantic-sounding. There’s just so much that happens having that male/female dynamic.

See Pixies Play Three New 'Head Carrier' Rockers

Tell me about the song “All I Think About Now.” I know you’ve said it’s about Kim Deal. Paz sings that one, of course. She misinterpreted some demo that I had done very quickly with Joey because the quality of the recording was poor; it was just done on an iPhone at the apartment at the studio. I think she was out that night and Joey and I were really excited about it. I emailed it to her and she wrote this whole passage of music thinking she was coming up with the bass line for a song, but she misheard the music and when we went to do it, it was like, “Oh, no, this is not it at all. But this bass stuff works.” She said, “I think it’s good. Maybe it can just be another song.” I said, “Of course. And you will sing it.” She said, “Of course, but you will write the words.” I said, “OK, what should it be about?” She said, “I want you to write a song about Kim, kind of like a thank-you letter. That kind of tone.” That’s what I did. She sang it great and I’m very proud of our collaboration.

It’s not an apology, but more like looking back fondly at the good times, right? Sure. When you look back fondly in a poignant kind of way, you have a lot of ups and downs mixed together. I guess that’s what it’s about. It’s about regret. It’s about good memories. It’s about bad memories. It’s about if … if …

Are you still in contact with her at all? We’ve all got each other’s numbers.

I take that to mean you aren’t speaking with her. I mean, you know … It’s … you know … It’s kind of like she’s one step removed from being in the band. And even the people I’m in the band with, we don’t sit around and call each other all the time, like hardly ever. We get back for a tour or a recording session and I don’t speak with them until the next time we’re together. We don’t live in the same town and we’ve all got lives and wives and families and everything. The only person I occasionally talk to is Joey, and even that is just an out-of-the-blue conversation and it’s usually strange and not anything to do with anything.

I feel like a certain segment of your fan base has an intense emotional attachment to the older albums and little interest in anything new, regardless of how good it is. I mean if you’re that much of a fan of anything you’re going to be closed off to change. I’ve experienced that with other artists that I like. If certain changes are afoot, I sort of go, “Oh, I can’t listen to that anymore. It’s over for me.”

Does that frustrate you? Not really. There’s a lot of people in the world. I don’t take it personally. It’s sort of like everybody has to make their own decision about what they’re gonna play out of their stereo.

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Are you done making solo albums? It’s been a few years since you’ve done one. Feels like. Feel like it. I can’t really justify it. It takes a lot of energy, ultimately, to put out a record. Then people want you to go on tour to promote it. The Pixies are pretty successful in the touring realm. I can’t really say, “OK, kids, I’m going on tour again, bye. But this time I’m not going to make any money. I’m just doing it because I’m an artist.” It just doesn’t feel right. It kind of goes up against my more blue-collar outlook. And I paint. If I have extra creative energy, I try to direct it there. And that doesn’t interfere with my musical career.

The Pixies are touring Europe in November and December. Are you going to come to America at any point? I suppose so. I don’t know what the dates are yet. But I guess we’ve played a lot around the States in the last couple of years, so I guess we’re naturally avoiding it at the moment just because that’s what you do in showbiz.

Do you ever think about the Rock and Roll Hall of Fame? You guys have been eligible for a few years now but haven’t even appeared on the ballot. It’s so easy to get riled about that. I mean, look at the all the people who haven’t been nominated. I mean, I don’t quite have the Ozzy Osbourne take. I loved his response about why he wouldn’t go to the Rock and Roll Hall of Fame to accept an award. I believe his answer was, “Because it’s stupid.” But I’m not against it or anything. I guess I probably would go because it would be good for business and I wouldn’t want to let other people down that were going to get something out of it. But I don’t know. The whole battle-of-the-bands thing, you get a little of that playing festivals. It’s just in the air at festivals and that’s as far as I can go with those kinds of feelings.

Do you see this as the start of a new era of the band? The Pixies 3.0? I don’t see it any particular way. It just feels like we’re the Pixies. It just feels nice because Paz is very motivated to be there. If someone isn’t motivated to be there and is not enjoying it or just wants to be doing something else with their life, it gets difficult. I can imagine if Kim wanted to do other things with her life and here we are, the phone’s ringing again, another tour, another thing to do, it starts to feel like a drag. I get it. I don’t have a problem with it. I totally understand. 

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What happened to the Breeders?

With ‘Last Splash’ 30 years ago, they seemed like rock’s post-Nirvana future. Now touring again, the band better understands how they fell apart — and how to keep it together.

DAYTON, Ohio

I n a cluttered suburban basement this summer, Kim Deal cupped her hands over the mic to distort her lilting voice into something like the moan of a humpback whale, and suddenly it was 1993 again.

AhhOOOOOwah! AhhOOOOOwah!

A few taps on the snare rim and cymbal stand from her bandmate Jim Macpherson. Then Josephine Wiggs came in with the bass line, that inquisitive Morse-code riff that telegraphs within a heartbeat that you’ve tuned into the biggest hit of the Breeders’ all-too-fleeting heyday.

Spitting in a wishing well

Blown to hell, crash — I’m the last splash

“Cannonball” was no mainstream chart-topper, but its delectably off-kilter riff was everywhere in the mid-’90s, making it the 22nd greatest indie anthem (according to New Musical Express), the 83rd greatest song of its decade (says VH1), one of the 500 greatest hits of all time (Rolling Stone). The Deal sisters’ cooing vocals against their scowling guitars, those impenetrable lyrics, that lifeguard whistle beckoning us … where exactly? The song was in “South Park,” over the sports highlights, on MTV. If you were filming a pitch-black comedy about bank-robbing cheerleaders, as someone actually did back then , you would definitely cue up “Cannonball” to score the madcap heist scene.

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I'll be your whatever you want. The bong in this reggae song

For many critics and fans, though, the Breeders weren’t just supposed to be the sound of 1993. They were supposed to be the future — a femme-powered vanguard of grunge that could have, should have, led the way in the post-Nirvana vacuum. But “Last Splash,” the platinum-selling album that spawned “Cannonball,” somehow ended up being the Breeders’ last act in their prime.

“Sometimes I think, God, wow, we really should have probably done another Breeders record,” Deal said dryly. “Because it really was quite popular.” Popular enough that they are marking “Last Splash’s” 30th anniversary by playing it live in its entirety, in a tour that comes to the Fillmore in Silver Spring, Md., on Thursday.

Instead, the Breeders disappeared at their peak, for reasons that are easy to itemize — the drug abuse, the writer’s block, the fights, etc. — but hard to pin on one person. Like their greatest work, their mystifying collapse was a true collaboration.

W hat makes a band click? The Breeders were in their fourth year and third lineup before they conjured the magic that was “Last Splash.”

Kim Deal founded the band already something of a legend for her role as the bass player for the Pixies. Wiggs was there from the start, too, a bookish Brit with a master’s degree in philosophy and multi-instrumental chops. Macpherson, who joined after 1990s “Pod,” pounded his Gretsch kit like an Ohio schoolboy raised on Rush.

But it can be argued that the Breeders didn’t really become the Breeders until 1992, after co-founder Tanya Donelly defected to start the band Belly, and Deal managed to persuade twin sister Kelley to replace her as lead guitarist.

The hitch, of course, was that Kelley — at the time, working for a defense contractor in the Deals’ hometown of Dayton — didn’t play guitar.

“I was just like, ‘what the f---?’” recalled Wiggs.

Kim had previously tried, unsuccessfully, to lure Kelley into the Pixies. But her sister passed up the chance to join the Boston band whose galvanizing loud-quiet-loud sound went on to inspire Kurt Cobain and many others who would better monetize it.

Born 11 minutes apart, the sisters were always close, both of them gymnasts at Wayne High School, where Kim was also a cheerleader. And they were always musical, Kim playing guitar, and Kelley harmonizing in their folk-rock combo that would perform at the local Ground Round and Trolley Stop, using their grandfather’s potty chair as a speaker stand.

Siblings who sing together are said to have a special sound — a “blood harmony” that has raised goose bumps again and again over the years, in acts as varied as the Louvin Brothers of bluegrass, the Bee Gees of pop and the rock band Haim. And it was the blend of the twins’ clear, guileless voices on “Cannonball” as well as “Divine Hammer” that gave those songs their spark.

“The sister-throat thing is real,” observed Donelly. “And their voices together, it’s magic.”

The guitar part would have to follow. Donelly, the former teen prodigy of Throwing Muses, had brought serious playing chops to Breeders 1.0. Kelley Deal had to learn on the fly. Producer Mark Freegard recalled having to record her sliding line in “Cannonball” one chunk at a time and piece it together in the studio.

But she quickly developed a distinctive sound, driven by vibrato and creative melody — more guitar strategy than technique, but exactly what her frontwoman sister wanted for the band.

“It’s not ‘how loud can my guitar go right now’ and ‘let me pull out my blues scale in G’ or whatever,” Kim Deal told The Washington Post during the band’s rehearsal in Dayton.

“I’ve always tried not to do that,” Kelley said.

“And you counted how many times Neil Young hit that one note on ‘Down by the River,’” Kim added.

“Yeah,” said Kelley. “Thirty-eight times. And it’s just one note over and over, and it’s the f---ing best solo ever.”

In the Pixies, Kim Deal played second fiddle to founder and lead singer Charles Thompson, a.k.a. Black Francis. But the Breeders would reflect her vision. Of the two sisters, she had been the home-studio rat, collecting equipment every birthday and Christmas — the Yamaha PA, a Tascam 8-track, an Oberheim DX drum machine. From early on, she absorbed disparate influences through her boombox or the radio of her Volvo — Curtis Mayfield’s “The Makings of You,” Free’s “Lying in the Sunshine,” Billie Holiday’s “For All We Know.”

“There’s an aphorism that a junkie only gets high the first time and the rest of the time is just trying to relive that experience,” said Steve Albini, the era-defining alt-rock producer who engineered “Pod,” the Breeders’ 1990 debut. “And music is very much like that for Kim. The sensations that she has when she is animated by a piece of music enrich her so much that she will then go through whatever it takes to try to re-manifest that sensation.”

Launched with the imprimatur of an MTV “Buzz Bin” pick, lead single “Cannonball” helped “Last Splash” get classified as alternative rock. But the album defied definition by stretching into country (“Drivin’ on 9”), surf instrumentals (“Flipside”), no wave (“ROI”) and shoegaze. The latter was evoked in “No Aloha,” an echoing tragicomic ballad whose even-more-cryptic-than-usual lyrics ( No bye, no aloha/ gone with a rock promoter ) made fans ever more curious about Deal’s world. Was it about the Pixies? A boyfriend? Some industry sleaze? Deal still isn’t telling. She never explains her songs.

The album was packed with sonic experiments: The tape-splicing trick that warped the guitar riff on “New Year” into the sound of piano strings plucked from inside. The sewing machine pumped through a Marshall amp on “S.O.S.” Deal would sometimes listen to the daily session outtakes that Freegard sent home with her and return to the studio the next day asking if he could re-create the hiss of the cheap cassette tapes on the polished final version.

“If I listen to ‘Last Splash’ as a hi-fi experience, I’m kind of horrified,” said Freegard, who would go on to co-produce the album with Deal. “Kim was just like, ‘Mark, record it louder. I want it to distort.’ I think I put my head in my hands at the end going, ‘oh my God, this might be the end of my career.’ But in retrospect, it has this energy, this exuberance.”

T wo legends have always swirled around the Deal sisters. One is about Kelley and the drugs.

Outsiders were inclined to assume that life in the Breeders ruined Kim’s sister. That, removed from her button-down world as a technical analyst and thrust into the fast lane, an innocent Ohio gal careened into addiction. In fact, Kelley Deal was pushing the limits long before Lollapalooza. Their mom caught her sneaking cigarettes in high school and tried to punish her by forcing her to smoke an entire carton. (She shared a few of the Marlboro Reds with Kim.) In her work life at Wright-Patterson Air Force Base, she ended up going to meetings in the same outfit two days in a row.

“I’d done ecstasy the night before and was up all night long, and one eye was going this way and the other was going that,” she recalled. “I was having all the same addiction and drug issues that everybody was. Lawyers and stockbrokers and Realtors and salespeople.”

“There’s an aphorism that a junkie only gets high the first time and the rest of the time is just trying to relive that experience and music is very much like that for Kim.” — Steve Albini, alt-rock producer who engineered the Breeders’ 1990 debut.

A little more than a year after “Last Splash,” Kelley Deal was at home in Dayton when she accepted four grams of heroin in an airmail package in November 1994. It was a controlled bust. As part of her plea, she agreed to go to the Hazelden drug treatment center in Minnesota. Nobody tried to hide the incident. In fact, the band mentioned it in an issue of their homemade Breeders Digest zine that was mailed out to fans.

Then there is the myth surrounding Kim, echoed in countless feature stories, books and blog posts. That she was a creative adventurer stifled during her time in the Pixies by an overbearing Thompson, marginalized like George Harrison in the Beatles.

To Deal, the theory is not just false, it’s insulting. It was Thompson’s band. She had no aspirations to take it over, and she always was free to leave if she wished. She didn’t need the Breeders to find liberation, and by 1993, the Pixies had run their course anyway.

“People liked my voice, and yes, they wanted to hear it more, so that’s nice,” she says. “But I don’t know how ‘I like your voice’ turns into ‘you’re trapped.’”

S o what happened to the Breeders?

Over pizza at Marion’s — a Dayton institution, where black-and-white head shots of visiting dignitaries like Cloris Leachman and Dom DeLuise line the walls — the band breaks it down.

After rehab, Kelley Deal landed at a halfway house in St. Paul, Minn. Meanwhile, Macpherson — who learned to mix his first daiquiri at 9 — found his hard-won sobriety challenged in the beer line at a Lollapalooza show.

“I called my wife, and I was like, ‘you know, I think I’m just going to drink a beer,’” he recalled. “She’s like, ‘uh, okay.’”

Wiggs exited for reasons they still debate. Deal remembers her asking for time off to live in New York with her then-partner, Luscious Jackson drummer Kate Schellenbach. Wiggs, however, assumed the entire band was taking a break after an exhausting two years on the road. She also didn’t want to be inside what felt like chaos.

With Wiggs and her sister absent, Deal kept writing and playing in the basement. Macpherson would come over and play drums, and those songs became material for a new band, christened the Amps. After relocating to Ireland to record what would be their first and only album, Macpherson’s drinking got serious. He had two separate accidents that required him to get stitches in the same Irish ER. Eventually, he and Deal had a fight, and he walked out. They wouldn’t speak for 15 years.

“I was also abusing drugs and drinking, so I didn’t pick up what he was going through,” said Deal. “I had no insight or perspective at all. Things were hard, that’s all. And then I came back, and I went downstairs, and his drums were gone.”

The Amps album, “Pacer,” flopped, and Freegard tried to work with Deal on a new Breeders album. The band, at this point, included both Deal sisters but not Wiggs or Macpherson. Deal rolled up nearly $250,000 in studio bills and still couldn’t finish. And with the collapse of her Amps side project, her own drinking accelerated.

“She was at the mixing board with the bass in her hand going through incredibly repetitive takes of the same riff on and on and on,” recalled Robin Hurley, head of U.S. operations for record label 4AD. “And she’d be sitting there for hours on end. I’d go home, go to bed at the hotel, come back in the morning, and I’m sure things had changed but it almost looked like nothing had changed since I left.”

To term the end of the Breeders as an explosion or implosion would be wrong, the Deal sisters now say, just as it would be to try to blame anyone in particular.

“It was always just the lack of a return phone call or a nice conversation saying, ‘well, I think I’ll just skip this one,'” said Kelley Deal. “I think if there had been an implosion or something, that would probably have been healthier almost.”

T he inspiration for the Breeders reunion is easier to trace.

In 2004, the Pixies famously began touring again, as their old cult following began to hit the kind of critical mass that could nudge them past their old acrimony. “I just laugh all the way to the bank,” Thompson told The Post in 2004.

Deal joined the tour, which for nine years grossed tens of millions playing to the kinds of packed arenas they couldn’t have imagined in the 1980s. Eventually, though, she had enough. She won’t go into detail about it other than to say she felt uncomfortable with the Pixies’ decision to record new music.

In the meantime, she and her sister had toured under the Breeders name and put out two records, in 2002 and 2008, without Wiggs and Macpherson. Kelley Deal, who stopped drinking in 1995, relapsed with opioids but has been clean since 2010. She said she has never been happier.

“Because of being in recovery,” she said. “Without it, I would not be alive because of fentanyl. I would actually be a dead person.”

In 2012, with the 20th anniversary of “Last Splash” approaching, Kelley told her sister they should do something with the old lineup. Kim told her she would have to be the one to ask Macpherson if he would join. Without question, he said.

Kim texted Wiggs. She also agreed. The Breeders toured again and eventually, in 2018, released “All Nerve,” the first album of original songs featuring the four of them since “Last Splash.”

This time — understanding, as many bands before them, that there is a thirst for their greatest work — they’re turning back the clock.

On the tour that continues into the fall, they play all 14 of the album’s songs. And “Last Splash,” remixed from a tape unearthed in the archives at Warner Music Group, will be reissued on Sept. 22, with a bonus track, “Go Man Go,” that was cut from the roster at the last minute in 1993, as well as a version of “Divine Hammer” sung by Dinosaur Jr.’s J. Mascis. Olivia Rodrigo, the new pop superstar who was born a decade after “Last Splash,” announced Wednesday that the Breeders will open for her at Madison Square Garden in New York and the Forum in Los Angeles next year.

Dayton remains home for the sisters and for Macpherson, whose regular job these days is as a carpenter. They rehearse in the same basement as always, in a house Deal bought in 1990 with Pixies money, surrounded by the guitar pedals and the instruments — Kim’s Les Paul, Kelley’s Strat, Macpherson’s maple Gretsch kit — that they used on “Last Splash.”

During rehearsal breaks, Wiggs tapped away on a laptop for something else making a comeback: the Breeders Digest. Would anyone even know what a zine was anymore? Their last issue was released 28 years ago. But why not?

“How many bands get to do this?” said Macpherson. “Kim looked at me just recently, and she goes, ‘This just does not happen to every album, to every band. It’s something special.’”

An earlier version of this article misidentified Robin Hurley, the former head of U.S. operations for the record label 4AD, as Robert Hurley. The article has been corrected.

The Pixies Reveal Kim Deal Replacement, European Tour Dates

Just a few weeks after revealing the disappointing news that Kim Deal finally ended her contentious relationship with The Pixies , the band has announced her replacement: bassist Kim Shattuck . Best known for her work with The Muffs , Shattuck will be joined by the group’s remaining founding members–frontman Black Francis, drummer David Lovering and guitarist Joey Santiago–on a worldwide tour that starts this with a European leg this fall. According to a press release, the trek “will give them an opportunity to do something they haven’t been able to do in two decades: premiere brand new Pixies songs, the first collection of new material since 1991’s Trompe le Monde .”

“Along with everyone’s favorites, we’ll be playing songs that we haven’t played in ages or never played live before,” explained Black Francis. “Songs like ‘Brick is Red,’ ‘Havalina,’ ‘Tony’s Theme’ and ‘Sad Punk.’ We’ve probably rehearsed some 80 songs, so we’ll be able to change up the set at the last minute if we feel like it. We’re all really looking forward to this tour.”

Check out the full breakdown below, along with the official video for the first Pixies single in nearly a decade, “Bagboy”…

Pixies tour dates: 9/29 Paris, France – Olympia 10/2 Brussels, Belgium – Ancienne Belgique 10/5 Amsterdam, Holland – Paradiso 10/8 Berlin, Germany – Huxleys 10/10 Prague, Czech Republic – Lucerna Music Hall 11/1 Vienna, Austria – Gasometer 11/2 Geneva, Switzerland – Thonex 11/4 Milan, Italty – Alcatraz 11/7 Madrid, Spain – La Riviera 11/9 Lisbon, Portugal – Coliseum 11/13 Copenhagen, Denmark – Falkoner 11/14 Oslo, Norway – Sentrum Scene 11/15 Stockholm, Sweden – Munchen Brewery 11/18 Dublin, Ireland – Olympia 11/21 Manchester, England – Apollo 11/22 Glasgow, Scotland – Barrowland 11/24 London, England – Hammersmith Apollo

Further Reading

Including 30 international stops

Including a cemetery, 'Sleep No More' and a special in-the-round show

Dario Argento's favorite prog-rock band is back!

Dave Grohl joined The Breeders on stage at Stubb's playing a Pixies song by Kim Deal

Before returning for Austin City Limits Festival's second weekend, Dave Grohl joined The Breeders as part of their set at Stubb's Bar-B-Q Friday night.

Photos and videos posted by fans on social media showed Grohl joining the band in playing a cover of the Pixies song "Gigantic." Kim Deal, the longtime singer and bassist of the Pixies, formed the Breeders in 1989. She split time between both groups and solo projects until she left the Pixies for good in 2013.

Co-written by Deal and then Pixies guitarist and vocalist Black Francis, "Gigantic" was initially released in 1988. Watch the performance here:

The Breeders played with Foo Fighters on Tour in 2023 and with Nirvana in 1993

With years in the music industry between members of the Foo Fighters and The Breeders, the groups and their members have both crossed paths many times before.

Need a break? Play the USA TODAY Daily Crossword Puzzle.

The Breeders most recently played a handful of shows with the Foo Fighters during their 2023 tour. Those stops included Spokane, Washington; Salt Lake City, Utah; Stateline, Nevada; and Virginia Beach, Virginia.

The Breeders 2023 tour has them heading to the west coast before going onto New Zealand in 2024 with the Foo Fighters, then touring with Olivia Rodrigo.

The Breeders also opened for Nirvana more than 30 years ago when Dave Grohl was the group's drummer with concerts in Europe in 1992 and back in the U.S. in 1993.

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Geographic coordinates of Elektrostal, Moscow Oblast, Russia

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Coordinates of Elektrostal in decimal degrees

Coordinates of elektrostal in degrees and decimal minutes, utm coordinates of elektrostal, geographic coordinate systems.

WGS 84 coordinate reference system is the latest revision of the World Geodetic System, which is used in mapping and navigation, including GPS satellite navigation system (the Global Positioning System).

Geographic coordinates (latitude and longitude) define a position on the Earth’s surface. Coordinates are angular units. The canonical form of latitude and longitude representation uses degrees (°), minutes (′), and seconds (″). GPS systems widely use coordinates in degrees and decimal minutes, or in decimal degrees.

Latitude varies from −90° to 90°. The latitude of the Equator is 0°; the latitude of the South Pole is −90°; the latitude of the North Pole is 90°. Positive latitude values correspond to the geographic locations north of the Equator (abbrev. N). Negative latitude values correspond to the geographic locations south of the Equator (abbrev. S).

Longitude is counted from the prime meridian ( IERS Reference Meridian for WGS 84) and varies from −180° to 180°. Positive longitude values correspond to the geographic locations east of the prime meridian (abbrev. E). Negative longitude values correspond to the geographic locations west of the prime meridian (abbrev. W).

UTM or Universal Transverse Mercator coordinate system divides the Earth’s surface into 60 longitudinal zones. The coordinates of a location within each zone are defined as a planar coordinate pair related to the intersection of the equator and the zone’s central meridian, and measured in meters.

Elevation above sea level is a measure of a geographic location’s height. We are using the global digital elevation model GTOPO30 .

Elektrostal , Moscow Oblast, Russia

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Out of the Centre

Savvino-storozhevsky monastery and museum.

Zvenigorod's most famous sight is the Savvino-Storozhevsky Monastery, which was founded in 1398 by the monk Savva from the Troitse-Sergieva Lavra, at the invitation and with the support of Prince Yury Dmitrievich of Zvenigorod. Savva was later canonised as St Sabbas (Savva) of Storozhev. The monastery late flourished under the reign of Tsar Alexis, who chose the monastery as his family church and often went on pilgrimage there and made lots of donations to it. Most of the monastery’s buildings date from this time. The monastery is heavily fortified with thick walls and six towers, the most impressive of which is the Krasny Tower which also serves as the eastern entrance. The monastery was closed in 1918 and only reopened in 1995. In 1998 Patriarch Alexius II took part in a service to return the relics of St Sabbas to the monastery. Today the monastery has the status of a stauropegic monastery, which is second in status to a lavra. In addition to being a working monastery, it also holds the Zvenigorod Historical, Architectural and Art Museum.

Belfry and Neighbouring Churches

Located near the main entrance is the monastery's belfry which is perhaps the calling card of the monastery due to its uniqueness. It was built in the 1650s and the St Sergius of Radonezh’s Church was opened on the middle tier in the mid-17th century, although it was originally dedicated to the Trinity. The belfry's 35-tonne Great Bladgovestny Bell fell in 1941 and was only restored and returned in 2003. Attached to the belfry is a large refectory and the Transfiguration Church, both of which were built on the orders of Tsar Alexis in the 1650s.  

To the left of the belfry is another, smaller, refectory which is attached to the Trinity Gate-Church, which was also constructed in the 1650s on the orders of Tsar Alexis who made it his own family church. The church is elaborately decorated with colourful trims and underneath the archway is a beautiful 19th century fresco.

Nativity of Virgin Mary Cathedral

The Nativity of Virgin Mary Cathedral is the oldest building in the monastery and among the oldest buildings in the Moscow Region. It was built between 1404 and 1405 during the lifetime of St Sabbas and using the funds of Prince Yury of Zvenigorod. The white-stone cathedral is a standard four-pillar design with a single golden dome. After the death of St Sabbas he was interred in the cathedral and a new altar dedicated to him was added.

Under the reign of Tsar Alexis the cathedral was decorated with frescoes by Stepan Ryazanets, some of which remain today. Tsar Alexis also presented the cathedral with a five-tier iconostasis, the top row of icons have been preserved.

Tsaritsa's Chambers

The Nativity of Virgin Mary Cathedral is located between the Tsaritsa's Chambers of the left and the Palace of Tsar Alexis on the right. The Tsaritsa's Chambers were built in the mid-17th century for the wife of Tsar Alexey - Tsaritsa Maria Ilinichna Miloskavskaya. The design of the building is influenced by the ancient Russian architectural style. Is prettier than the Tsar's chambers opposite, being red in colour with elaborately decorated window frames and entrance.

At present the Tsaritsa's Chambers houses the Zvenigorod Historical, Architectural and Art Museum. Among its displays is an accurate recreation of the interior of a noble lady's chambers including furniture, decorations and a decorated tiled oven, and an exhibition on the history of Zvenigorod and the monastery.

Palace of Tsar Alexis

The Palace of Tsar Alexis was built in the 1650s and is now one of the best surviving examples of non-religious architecture of that era. It was built especially for Tsar Alexis who often visited the monastery on religious pilgrimages. Its most striking feature is its pretty row of nine chimney spouts which resemble towers.

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