With “Hurt People Hurt” earning some of the strongest acclaim of Raymond Watts’ career, PIG are preparing to bring their volatile blend of industrial chaos, glam decadence, electronic aggression, and emotional destruction to North America this fall.

Existential industrial glam icon Raymond Watts is once again unleashing PIG onto North American stages with the newly announced “Hurt People Tour,” a sprawling 44-date run supporting the newly released album Hurt People Hurt via Metropolis Records. Following the recent announcement of appearances at Cold Waves XIV in Chicago, Los Angeles, and Austin, the tour now expands into a full-scale assault stretching from Lawrence, Kansas on August 27th through Detroit, Michigan on October 18th.

The newly announced itinerary currently features 40 confirmed dates, with additional performances still expected to be added. For longtime followers of Watts’ unpredictable and constantly evolving career, the tour represents another chapter in one of industrial music’s most enduring and creatively fearless legacies.

“Hurt People Hurt” has rapidly emerged as one of the most celebrated PIG releases in years, drawing praise for its collision of theatrical excess, emotional volatility, crushing electronics, and razor-sharp songwriting. Critics across the underground and alternative music press have highlighted the album’s ability to remain brutally danceable while simultaneously exploring darker emotional terrain.

Much of the material was co-written alongside longtime collaborator Jim Davies, known for his work with Pitchshifter and The Prodigy. Together, Watts and Davies continue refining a sound that refuses to sit comfortably inside any single genre boundary. Industrial, glam, electronic rock, darkwave, punk energy, and cinematic atmosphere all collide across the album like competing forces fighting for control.

That unstable energy can be heard throughout the album’s early singles. “Tosca’s Kiss” channels Watts’ longtime fascination with opera into a dramatic industrial spectacle loaded with theatrical tension and seductive darkness, while “Sex & Suicide” dives headfirst into obsession, pain, lust, grief, and emotional self-destruction with the kind of unapologetic intensity that has always separated PIG from safer contemporary acts.

The upcoming North American run arrives shortly after two sold out performances in Tokyo this June, further proving the global cult following Watts has built throughout decades of relentless experimentation and reinvention. UK dates are also expected later this December.

Few artists within industrial music possess a résumé as expansive as Raymond Watts. Beyond fourteen albums released under the PIG name, Watts has contributed to projects involving Einstürzende Neubauten, Foetus, Psychic TV, Schaft, and Schwein, while also serving as a founding member of KMFDM during some of the electronic rock pioneers’ most influential years. His work has extended far beyond traditional music spaces as well, including compositions for film, television, advertising, and major fashion productions connected to Alexander McQueen and the Metropolitan Museum of Art.

What continues to make PIG compelling after all these years is Watts’ refusal to become nostalgic or creatively stagnant. “Hurt People Hurt” does not sound like an artist attempting to recreate the past. It sounds like someone still actively pushing industrial music toward uglier, smarter, sexier, and more emotionally dangerous territory.

This fall, North America gets dragged directly into that chaos.

Final tickets, tour dates, streaming links, and additional announcements surrounding the “Hurt People Tour” are expected to continue rolling out in the coming weeks as PIG prepares to bring one of industrial music’s most theatrical and volatile live experiences back across North America.

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