THE VERVE‘s management is investigating a poster advertising campaign for a special-edition Peugeot 306 called The Verve. The advertisement, which appeared on bus stop hoardings around London three weeks ago, features psychedelic writing resembling that on The Verve’s 1994 ‘No Come Down (B-sides And Outtakes)’ LP. The Verve’s representatives were not approached about the advert and the band are not endorsing the product. A Verve spokesman told NME the group’s management were “looking into” the matter but refused to comment further.
A spokesman for Peugeot maintained that any resemblance to a Verve LP cover was a “happy coincidence”. He said: “We’re not looking to seek anything from the band, or them from us. It’s nothing to do with the band, it was a name we came up with to reflect the lively character of the car. “I think the writing on the advert’s more psychedelic than to do with The Verve. With (people in) my age group, it would appear more to do with Jimi Hendrix.”
Meanwhile, The Verve could release new material before the end of this year, it has been revealed, as the band have postponed a spring North American tour until summer to go back in the studio. The band were due to play a series of high-profile gigs in America later this month, but band manager Jazz Summers said Richard Ashcroft had decided to postpone them because he wanted “to get some new music out and some rest”. The Verve’s current album, ‘Urban Hymns’, has sold more than 500,000 copies in the US, achieving gold status. With the US release of ‘Lucky Man’ later this month, the album is expected to go platinum, with sales topping one million.
Whereas the venues booked for their spring tour were all roughly 3,000 capacity, it is predicted that a Verve summer tour will visit venues with capacities of between 8,000 and 10,000, putting them on an equal footing with Oasis as a US live draw. The band have also revealed that all money earned from the use of ‘Bitter Sweet Symphony’ in Nike’s recent US advert will be donated to the Big Issue in the UK. Although most of the royalties generated by the track go to Allen Klein, former Rolling Stones manager, the band are still paid performance royalties and a fee for allowing the track to be used.