The ongoing Oasis Live ’25 reunion tour will presumably make for a hell of a live album some day. In the meantime, Oasis have at least offered a taste of what that might sound like.
Yesterday (July 9), they shared the audio of their performance of “Slide Away,” from the tour-opening show in Cardiff, Wales on July 4. This is the first official audio from the tour to be released. The song came late in the set, between “Cast No Shadow” and “Whatever.”
Check out the setlist of the opening-night concert below, along with Oasis’ upcoming tour dates.
Oasis’ Oasis Live ’25 Tour Setlist
1. “Hello”
2. “Acquiesce”
3. “Morning Glory”
4. “Some Might Say”
5. “Bring It On Down”
6. “Cigarettes & Alcohol”
7. “Fade Away”
8. “Supersonic”
9. “Roll With It”
10. “Talk Tonight”
11. “Half The World Away”
12. “Little By Little”
13. “D’You Know What I Mean?”
14. “Stand By Me”
15. “Cast No Shadow”
16. “Slide Away”
17. “Whatever”
18. “Live Forever”
19. “Rock ‘N’ Roll Star”
20. “The Masterplan” (encore)
21. “Don’t Look Back In Anger” (encore)
22. “Wonderwall” (encore)
23. “Champagne Supernova” (encore)
Oasis’ 2025 Tour Dates: Oasis Live ’25
07/11 — Manchester, UK @ Heaton Park
07/12 — Manchester, UK @ Heaton Park
07/16 — Manchester, UK @ Heaton Park
07/19 — Manchester, UK @ Heaton Park
07/20 — Manchester, UK @ Heaton Park
07/25 — London, UK @ Wembley Stadium
07/26 — London, UK @ Wembley Stadium
07/30 — London, UK @ Wembley Stadium
08/02 — London, UK @ Wembley Stadium
08/03 — London, UK @ Wembley Stadium
08/08 — Edinburgh, UK @ Scottish Gas Murrayfield Stadium
08/09 — Edinburgh, UK @ Scottish Gas Murrayfield Stadium
08/12 — Edinburgh, UK @ Scottish Gas Murrayfield Stadium
08/16 — Dublin, IE @ Croke Park
08/17 — Dublin, IE @ Croke Park
08/24 — Toronto, ON @ Rogers Stadium
08/25 — Toronto, ON @ Rogers Stadium
08/28 — Chicago, IL @ Soldier Field
08/31 — East Rutherford, NJ @ MetLife Stadium
09/01 — East Rutherford, NJ @ MetLife Stadium
09/06 — Los Angeles, CA @ Rose Bowl Stadium
09/07 — Los Angeles, CA @ Rose Bowl Stadium
09/12 — Mexico City, MX @ Estadio GNP Seguros
09/13 — Mexico City, MX @ Estadio GNP Seguros
09/27 — London, UK @ Wembley Stadium
09/28 — London, UK @ Wembley Stadium
10/31 — Melbourne, Australia @ Marvel Stadium
11/01 — Melbourne, Australia @ Marvel Stadium
11/04 — Melbourne, Australia @ Marvel Stadium
11/07 — Sydney, Australia @ Accor Stadium
11/08 — Sydney, Australia @ Accor Stadium
11/15 — Buenos Aires, Argentina @ Estadio River Plate
11/16 — Buenos Aires, Argentina @ Estadio River Plate
11/19 — Santiago, Chile @ Estadio Nacional
11/22 — São Paulo, Brazil @ Estadio MorumBIS
11/23 — São Paulo, Brazil @ Estadio MorumBIS
Beatles legend Paul McCartney performed for a few nights at New York’s Bowery Ballroom, ahead of the SNL50 anniversary special. He hasn’t properly toured North America since 2022, though. That’ll change later this year: Today (July 10), McCartney has announced a run of Got Back tour dates in the US and Canada.
It opens in late September in Palm Desert and runs until late November, hitting Las Vegas, Minneapolis, Atlanta, Buffalo, Montreal, Chicago, and more cities along the way.
A pre-sale starts July 15 at 10 a.m. local time, and registrations for that are open now. The general on-sale then begins on July 18 at 10 a.m. local time. More information is available on the tour website.
Find the full list of tour dates below.
Paul McCartney’s 2025 Tour Dates: Got Back 2025
09/29 — Palm Desert, CA @ Acrisure Arena
10/04 — Las Vegas, NV @ Allegiant Stadium
10/07 — Albuquerque, NM @ Isleta Amphitheater
10/11 — Denver, CO @ Coors Field
10/14 — Des Moines, IA @ Casey’s Center
10/17 — Minneapolis, MN @ U.S. Bank Stadium
10/22 — Tulsa, OK @ BOK Center
10/29 — New Orleans, LA @ Smoothie King Center
11/02 — Atlanta, GA @ State Farm Arena
11/03 — Atlanta, GA @ State Farm Arena
11/06 — Nashville, TN @ The Pinnacle
11/08 — Columbus, OH @ Nationwide Arena
11/11 — Pittsburgh, PA @ PPG Paints Arena
11/14 — Buffalo, NY @ KeyBank Center
11/17 — Montreal, QC @ Bell Centre
11/18 — Montreal, QC @ Bell Centre
11/21 — Hamilton, ON @ TD Coliseum
11/24 — Chicago, IL @ United Center
11/25 — Chicago, IL @ United Center
Benny Blanco is still in his 30s, but he’s an industry veteran who has worked with just about everybody in pop at this point. That list includes Billie Eilish, and Blanco actually collaborated with her, and Finneas, at the very start of their journey, as he explained on a new episode of Therapuss
The conversation got to Selena Gomez’s old show Wizards Of Waverly Place, and Blanco noted he knew the theme song because it inspired Eilish’s “Bad Guy.” Shane then asked if he had worked with Eilish before and he responded, “I worked with her when she was legit like 14 years old or something.”
When asked if the song was ever released, Blanco explained:
“No, no, no. We have the same lawyer, or we did have the same lawyer, and he was like, ‘There’s this kid Finneas who’s really good and he works with his little sister, and we rep them and we think they could be something.’ They have just signed to Interscope after that and then I was like, ‘Oh, I really like this song,’ and they hadn’t ever played a concert of anything and they were like ‘Oh, come over.’ Or I invited them over to work at my house before anything.
And then literally a week or so later, we went to their first concert ever at… I think it was at The Echo or something. And there was a hundred kids there and half of them were from the label, and then I went to her second show. I think her second show was at the El Rey, and I went to that. I went to her first eight shows and just saw it all happen from the beginning, and they don’t need my help at all.”
Ravyn Lenae has a portion of the end of this year blocked off, as she’ll be touring along Reneé Rapp. Until then, she’s warming up her vocal cords, and she just did so for BBC Radio 1 with a Live Lounge session. Artists routinely perform covers in that space and for her turn in the studio, she opted to sing a rendition of Sabrina Carpenter’s hit “Please Please Please” (here’s the video).
Lenae kept things minimal, opting for intimate instrumentation, letting the performance focus primarily on her vocals.
This comes after Dolly Parton added to the song’s legacy by hopping on a remix with Carpenter earlier this year. Parton said of the collab, “Of course, she can talk a little bad now and then. I told her, I said, now, I don’t cuss. I don’t make fun of Jesus. I don’t talk bad about God, and I don’t say dirty words, on camera, but known to if I get mad enough.”
Watch the performance here and check out Lenae’s upcoming tour dates supporting Rapp below.
Ravyn Lenae’s 2025 Tour Dates: Reneé Rapp’s Bite Me Tour
09/23 — Morrison, CO @ Red Rocks Amphitheatre
09/25 — Rosemont, IL @ Allstate Arena
10/22 — Austin, TX @ Moody Amphitheater at Waterloo Park
10/23 — Irving, TX @ The Pavilion at Toyota Music Factory
10/26 — Atlanta, GA @ State Farm Arena
10/27 — Tampa, FL @ Yuengling Center
10/29 — Charlotte, NC @ Spectrum Center
A few weeks ago, Kevin Abstract and Dominic Fike released their joint single “Geezer” as a preface to a longer project called Blush. At the time, they teased that Geezer would also end up being the name of their group, which they made official today with the release of their second single, “Doggy.”
While Abstract had initially called the song “Doggystyle” in a teaser tweet about its release, it seems that they’ve toned down the imagery of the title. This could end up being a wise choice, as the upbeat toe-tapper certainly comes across less raunchy than the original title suggests.
As for Blush, the album wound up being the follow-up to Kevin’s 2023 album Blanket, albeit casting the Texas musician as more of a curator than the sole focus. The title also refers to the collective of artists featured on the project, which includes fellow former Brockhampton member Ameer Vann, rappers Danny Brown and Jpegmafia, Fike, and a crew of up-and-coming Houston artists.
Despite Blush being less than two weeks old, Abstract has already begun soliciting producers and collaborators for a sequel album on Twitter; you can find more info about that here.
Just days ahead of a headlining performance at the Essence Festival of Culture, New Orleans rap legend Master P announced that the set would be his last. After over three decades of setting the standard for independent rap hustle with his label No Limit Records and classic songs like “Ghetto D” and “Make ‘Em Say Ugh,” the man born Percy Miller will hang up his mic to accept a position coaching the basketball team for his hometown college, the University of New Orleans.
With Master P moving on from music, it’s a great time to reconsider his substantial musical legacy — and, perhaps, to speculate a bit on his future, which has ties to all the things he did outside of music. You know how J. Cole played pro in Africa and Canada? As we’ll discover throughout this retrospective, as with so many things, he was just following in footsteps laid down by Master P.
It’s a fitting career pivot for the veteran music impresario, who already had at least a pair of side quests into the sports world. In 1999, he was invited to play in the Charlotte Hornets’ training camp; although he didn’t make the roster, the opportunity turned into a second NBA stint with the Toronto Raptors the following season. He also diversified No Limit to include sports management, representing the New Orleans Saints’ Ricky Williams in his 1999 contract negotiation.
While other rap impresarios such as Jay-Z and Dr. Dre seem to get more press these days, it’s fairly safe to say that hip-hop just wouldn’t look or sound the same without Master P. Certainly, No Limit Records was one of rap’s first completely independent record labels, and its unprecedented success set the bar for endeavors from peers like fellow New Orleanians Cash Money Records and successors such as Tech N9ne’s Strange Music and Los Angeles-based Top Dawg Entertainment.
No Limit was spun off from No Limit Record Shop in Richmond, California, where P first sold tapes from himself and his small cadre of initial signees, which included Big Ed, Dangerous Dame, and Kane & Abel. The direct market success of No Limit led to its deal with Priority and relocation to New Orleans, where P signed many of the artists that eventually became one of the most iconic rosters in Southern rap: Mystikal, Mia X, Mac, Mercedes, Silkk The Shocker, C-Murder Fiend, and even eventually Snoop Doog, fresh from his falling out with Death Row.
Aside from putting New Orleans on the map as one of hip-hop’s most productive hubs, No Limit pioneered the borderline insane level of output we’ve come to expect from today’s rappers. Every time the label released an album, its jewel case booklet featured ads for at least four more listed as “coming soon.” Any discography printed online is almost certainly incomplete, as even the most ardent fans probably couldn’t tell you if every one of those projects dropped as planned.
Then there are the covers. There have already been extensive histories written about Houston’s Pen & Pixel Graphics Inc., the design company that photoshopped bling, flames, military tanks, strippers, and brown bears onto the covers of albums, generating some of the most ludicrous and legendary album covers in hip-hop history. This isn’t scientific, but there’s a nonzero chance that some portion of No Limit’s awe-inspiring sales numbers in the late ’90s and early 2000s were at least partly inspired by the covers alone.
The success of the label allowed No Limit to spin off into a diverse portfolio of industries, including low-budget films (a tradition that continues to this day with labels like Buffalo, New York’s Griselda picking up the torch), television production (hello, 50 Cent and G-Unit), book publishing, fast food (Rap Snacks!), real estate, and even a travel agency. There should be little doubt that P’s broad-ranging, omnivorous appetite for business laid a blueprint for so many rappers-turned-moguls to follow — and a map of pitfalls to avoid in the process.
At Essence Fest, P seemed reluctant to reflect on those days, choosing instead to highlight his ongoing and future endeavors, as well as partners like former Pretty Ricky member Spectacular Smith and Smith’s online business school, Spectacular Academy. The two also apparently have a joint interest in tech. He passed the mic to entrepreneur Jack Hutton, who gave away pieces from his designer eyewear collection to attendees. And he took care to direct attention to Syrita Steib, founder of Operation Restoration, a non-profit geared toward reintegration for incarcerated women, offering education, housing, and employment resources.
And as for P’s future employment: while I’m sure his experiences playing pro and semi-pro basketball and coaching AAU will serve him well at U of New Orleans, it’s his killer instinct that will probably end up determining his success there. During a weekend celebrity basketball game presented by The Battle of Jollof in which P coached Team Jambalaya, he demonstrated some real hoop psychopathy, instructing his team to press full-court from opening tip-off. Again, this was in an exhibition game featuring teams named after diaspora rice dishes, stocked mostly with actors and influencers. Kobe Bryant was definitely looking down grinning from ear to ear.
So if the next few years sees a rash of rappers suddenly jumping into coaching or commissioning their own basketball leagues, you can thank Master P. He may not get the credit for being the pioneer that he is, but just remember: if a rapper anywhere does practically anything other than rap, Master P probably did it first.
Alison Brie and Dave Franco have been married for years at this point, and here and there, their acting careers overlap and they work on projects together. The latest puts an extreme twist on relationship, as Together is a supernatural horror film exploring themes of co-dependency.
The film is a major one for Michael Shanks, as he wrote it and it’s also his directorial debut. It hasn’t been stress-free for him, as the project hit a bit of a rocky stretch recently: It’s facing a lawsuit over claims it plagiarized another movie, Better Half, which also explores the idea of a couple being stuck together through uncertain means. But, the two movies have one major difference, as while Better Half is relatively lighthearted in tone, Together appears to be anything but.
Ahead of the movie’s release, keep reading for everything you need to know before it’s screening in theaters.
Plot
The logline reads:
“Years into their relationship, Tim and Millie (Dave Franco and Alison Brie) find themselves at a crossroads as they move to the country, abandoning all that is familiar in their lives except each other. With tensions already flaring, a nightmarish encounter with a mysterious, unnatural force threatens to corrupt their lives, their love, and their flesh.”
Brie also told The Wrap, “The movie is about a co-dependent couple who have been together for over a decade. They are in a little bit of a rut, and they move to the countryside, sort of away from their friends and community, and some weird things happen to them.” Dave Franco added, “This sounds like a relationship drama, and it is, but it’s also a full-on horror movie. The set pieces are like nothing you’ve seen in a horror movie. It’s very leaning into body horror.”
Cast
Brie and Franco are firmly the focus of the film, but aside from them, it also features Damon Herriman, Mia Morrissey, Jack Kenny, Sunny S. Walia, and Karl Richmond.
“This was great timing, I think, to do this project. We have acted in some things together, and by this point, Dave has directed me in a couple of movies, we wrote a film together. Our shorthand has gotten shorter and shorter to where it’s like a mind-meld, eye-contact thing. We’ve been together over a decade, so has this couple in the movie. We’re very selective about projects that we will act in together. We read scripts quite often, where we would act together, and it’s all about which one makes the most sense, and this one did.”
This week’s Sound Check With Jeremy Hecht is also a Sound Check with Tech — as in Tech N9ne, the Midwestern indie stalwart whose tongue-twisting rhymes have upheld the standard for lyrical excellence for the past 25 years. The Kansas City native takes on the challenge of choosing between carefully selected songs to display his taste, and once again, Jeremy has the unenviable task of guessing Tech’s desert-island fave, all while our production team tries to throw him off the scent.
Songs he had to choose from included entries from Outkast and The Doors, Too Short and Metallica, The Beatles and Slipknot, and of course, his onetime mentee Kendrick Lamar, who our team pitted against fellow Componite The DOC. The choices highlighted Tech’s diverse influences and the mind-boggling versatility of his own music.
Here’s how it works: Jeremy plays two songs for the guest artist, who has to choose one and explain their choice, giving Jeremy a chance to learn their musical taste. Jeremy then has to guess the artist’s life anthem, the song they’d take to a desert island, which the guest wrote down earlier on a piece of paper. Our production team has also given him a decoy song, and Jeremy has to guess which is correct based on what he’s learned in the previous rounds.
Watch Tech9 take on the Sound Check challenge above. New episodes of Sound Check drop every Wednesday at noon ET/9 a.m. PT on Uproxx’s YouTube.
They don’t make bourbon like they used to, but what if they did?
It’s a simple question, one posed by a group of American whiskey luminaries, now dubbed the “Distiller’s Council,” back in 1996, and now, in 2025, we finally have the answer. Colonel E.H. Taylor, Jr. Distiller’s Council is the newest bourbon from Buffalo Trace, but what makes it so unique is that it draws its inspiration from the past. Utilizing production practices that date back to the late 19th century, when Colonel E.H. Taylor, Jr. (the man) was running the show at what was then known as the O.F.C. Distillery. This bourbon features a recreation of his original grain recipe as well as Taylor’s fermentation and sour mashing process.
The visionaries in that 1996 group include well-known names in contemporary bourbon circles, such as Mark Brown, Elmer T. Lee, and Buffalo Trace’s current Master Distiller, Harlen Wheatley, among others. The group tasked itself with speaking to longtime distillery employees and other masters of their craft to try to hone in on what made old-school bourbon so special. Now, in 2025, we finally get to taste the fruits of their labor: A meticulously made hyper-premium bourbon, crafted in the Bottled-in-Bond mold that E.H. Taylor was integral in pioneering.
The resultant liquid is housed in a vintage-style Grecian glass decanter modeled after the Old Taylor bottle of yesteryear, one that was popularized through advertisements in the era’s foremost publications. This release, currently intended to be a one-off, marks the 14th entry into the Colonel Taylor portfolio and stands alone as the priciest expression to date. With an MSRP of $1,500, reflecting both the time it took to craft this whiskey and the high-quality packaging it comes in, one might give pause and ask, is the juice worth the squeeze?
While not as iconic as the Distiller’s Council itself, I was fortunate to be part of an exclusive group that was afforded a sneak preview of this whiskey at New Orleans’ famed Sazerac House in June. Keep reading for my full review to find out whether this whiskey, made in the traditional way, offers promise for the future, or if it’s a relic best left in the past.
Whether it’s the use of copper fermentation tanks, steam-heated barrel warehouses, or his advocacy leading to the passage of the landmark Bottled-in-Bond Act of 1897, Colonel Edmund Haynes Taylor, Jr.’s legacy is cemented in bourbon history. To honor the techniques that he helped revolutionize, Buffalo Trace created this bottled-in-bond bourbon using the same grain varietals as its famed mash bill #1, albeit with a revival of his grain recipe and his fermentation process, setting it apart from the rest of the E.H. Taylor bourbon lineup. Once it reached its peak maturity, this non-age-stated bourbon was bottled in a decanter modeled after Old Taylor’s original 1950s decanter, which itself was styled after ancient Grecian vases.
Tasting Notes:
Nose: The aroma profile begins with an outpouring of cedar and tobacco leaves. Once that earthy top note blows off, a robust base of honeycomb and underripe apples begins billowing out of the glass to greet the senses. Finally, notes of peppercorn, green tree bark, black tea, and herbal tea accent the air along with closing notes of sponge cake and maple candy.
Palate: On the palate, this whiskey follows the lead of its nosing notes as cedar, freshly baked biscuits, and tobacco leaves grace the tongue before swiftly receding to reveal green grapes and maple candy with some of those herbaceous and eucalyptus qualities cropping up at mid palate. It’s a grain-forward melange of flavors that weaves corn husk, nutmeg, and sponge cake notes with black tea and a rich butterscotch note, reminiscent of vintage bourbons.
Finish: The short-to-medium finish on this bourbon prominently features nutmeg, hazelnuts, and maple candy before tapering off with a touch of nougat, barrel char, and honey.
Bottom Line:
It may seem odd to say, but this whiskey very much tastes like a precursor to dusty bourbon. If you’ve ever tasted bourbon from the 70s and 80s, it tends to have a “dusty” quality and a rich butterscotch note that makes it almost immediately distinct from contemporary bourbon. Colonel E.H. Taylor, Jr. Distiller’s Council offers a similar experience, and though it’s more muted than standout expressions from that era, one can easily imagine it continuing to evolve to rival them.
Without wading too heavily into the debate over whether a whiskey “opens up” once exposed to oxygen, what’s striking about this whiskey is that you can actually taste the potential that it will improve over time and grow increasingly similar to “dusty bourbon” as it rests in an open bottle. While the overall experience is more grain-forward than the rest of the Colonel E.H. Taylor bourbon lineup, its subtle layers of supporting flavors are a success, as they offer insight into how bourbon was made and thus tasted during Taylor’s heyday.
The price is the price, and whether it’s right for you will be determined by the size of your bank account and your affinity for vintage-style bourbon. For $1,500, you could scour the secondary market for bourbon from yesteryear that will meet or exceed the quality found in this offering. However, suppose you want a glimpse into the future of bourbon production at Buffalo Trace. In that case, this modern-day example of the way whiskey used to be made is both eye-opening and exceedingly enjoyable.
Jay Som (aka Melina Duterte) has popped up here and there in recent years. She and Palehound’s Ellen Kempner teamed up for a 2021 album as Bachelor, she had a 2022 song with Troye Sivan, and she was part of the I Saw The TV Glow soundtrack, and she was a touring band member for Boygenius. As far as a proper Jay Som album, though, we haven’t had one of those since 2019’s Anak Ko.
Now, she’s making her return, as today (July 9), she announced Belong, her first album in six years. She’s not along, either, as the project features contributions from Hayley Williams of Paramore, Jim Adkins of Jimmy Eat World, and Lexi Vega of Mini Trees. Out now are two new songs, “Float” featuring Adkins and “A Million Reasons Why.”
Adkins says of “Float”:
“This song is about desperately trying to hold on to past versions of yourself for self preservation. The fear of the unknown is so overwhelming that sometimes the best solution is to sit with it instead of fighting or running from it. Melina is an absolute professional in all aspects of music creation. I am honored she had space in her vision for me to contribute. And it was a lot of fun to work on. Great song!”
Listen to “Float” and “A Million Reasons Why” above. Below, find the Belong cover art and tracklist, along with Jay Som’s upcoming tour dates.
Jay Som’s Belong Album Cover Artwork
Polyvinyl
Jay Som’s Belong Tracklist
01. “Cards On The Table”
02. “Float” Feat. Jim Adkins
03. “What You Need”
04. “Appointments”
05. “Drop A”
06. “Past Lives” Feat. Hayley Williams
07. “D.H.”
08. “Casino Stars”
09. “Meander/Sprouting Wings”
10. “A Million Reasons Why”
11. “Want It All”
Jay Som’s 2025 Tour Dates
07/25 — Philadelphia, PA @ FDR Park %#
07/26 — Columbus, OH @ KEMBA Live! #
07/27 — Milwaukee, WI @ Riverside Theater #
07/29 — Detroit, MI @ Masonic Temple Theatre #
07/30 — Lewiston, NY @ Artpark Mainstage Theater #
08/02 — Shelburne, VT @ The Green at Shelburne Museum #
08/08 — Troutdale, OR — Edgefield Amphitheater #
08/09 — Boise, ID — Morrison Center #
08/10 — Carnation, WA — Remlinger Farms #
08/12 — Vancouver, BC — Queen Elizabeth Theatre #
08/13 — Vancouver, BC — Queen Elizabeth Theatre #
08/16 — Berkeley, CA — The Greek Theatre #
10/31-11/01 — Amsterdam, NE @ London Calling @ Paradiso
11/03 — Berlin, DE @ Kantine am Berghain
11/06 — Brussels, BE @ Botanique, Rotonde
11/05 — Paris, France @ Pitchfork Paris @ Le Trabendo
11/08 — London, UK @ Pitchfork London
11/23 — Los Angeles, CA @ El Rey
12/02 — Austin, TX @ The Parish
12/03 — Dallas, TX @ Club Dada
12/05 — Atlanta, GA @ Aisle 5
12/08 — Washington, DC @ Atlantis
12/09 — Philadelphia, PA @ Foundry
12/11 — New York, NY @ Warsaw
12/12 — Pittsburgh, PA @ Spirit Hall
12/13 — Chicago, IL @ Lincoln Hall
12/14 — Minneapolis, MN @ Fine Line
% with Hop Along
# with Lucy Dacus
Belong is out 10/10 via Polyvinyl. Find more information here.
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