Month: August 2025

Earlier this week, Joey Badass announced the dates for his upcoming Dark Aura tour, along with a single of the same name. The song is Joey’s first non-diss track of 2025; the Brooklyn rapper spent much of the first part of the year embroiled in a back-and-forth with Long Beach native Ray Vaughn, who took up Joey’s New Year challenge on behalf of Joey’s true target, Kendrick Lamar. It seems Badass is back on his own business, though, as the Dark Aura announcement came just a couple of months after revealing he’s got a second child on the way with partner Serayah. He also announced his next album, Lonely At The Top, in a performance at Jimmy Kimmel Live!

Joey hits the road — accompanied by frequent collaborators Ab-Soul and Rapsody — starting in October. Tickets go on sale on Friday, pre-sale has already started today at 10 AM local time. See dates below. Find more info here.

Joey Badass Dark Aura Tour Dates

10/16 — Boston, MA @ Roadrunner *^
10/17 — Montreal, QC @ MTELUS *^
10/20 — Toronto, ON @ REBEL *^
10/21 — Cleveland, OH @ House of Blues Cleveland *^
10/22 — Detroit, MI @ The Fillmore *^
10/23 — Chicago, IL @ Riviera Theatre *^
10/25 — Milwaukee, WI @ The Rave *^
10/26 — Minneapolis, MN @ The Fillmore Minneapolis *^
10/29 — Denver, CO @ The Mission Ballroom *^
10/30 — Salt Lake City, UT @ Rockwell at The Complex *^
11/01— Seattle, WA @ Showbox SoDo *^
11/02 — Portland, OR @ Roseland Theater *^
11/04 — San Francisco, CA @ The Warfield *^
11/06 — Los Angeles, CA @ Hollywood Palladium *^
11/07 — Las Vegas, NV @ House of Blues Las Vegas *^
11/08 — Anaheim, CA @ House of Blues Anaheim *^
11/09 —Phoenix, AZ @ The Van Buren *^
11/11 — Austin, TX @ Emo’s Austin *^
11/12 — Dallas, TX @ The Bomb Factory *^
11/13 — Houston, TX @ White Oak Music Hall *^
11/15 — Atlanta, GA @ The Masquerade *^
11/16 — Nashville, TN @ Marathon Music Works *^
11/18 — Washington, DC @ Echostage *^
11/19 — New York, NY @ Brooklyn Paramount *^
11/21 — Philadelphia, PA @ The Fillmore Philadelphia *^

* = w/ Ab-soul
^ = w/ Rapsody

Lonely At The Top is out on 8/29 via Columbia Records.

It has been way over a year since The Vince Staples Show came along and rewrote the book on rapper-led comedy series. We knew the show was a success, between being renewed for a second season by Netflix three months after its premiere, and those comparisons to Atlanta, another groundbreaking show created by a rapper.

But what we didn’t know was exactly when that second season would arrive. Thanks to the nature of the streaming model, anything resembling a set production-to-air schedule has gone the way of the dodo, and Vince himself has never been one of those “constant progress report” sorts of entertainers. When he does have something, though, he lets us know… and he officially has something: a release date for season 2 of The Vince Staples Show.

There wasn’t much to his announcement, just a screenshot and the release date — November 6th — but judging from the still, it certainly looks like the show will continue to present Vince’s off-kilter humor. Also, he’s got a beard now, which is cool. He also reposted Netflix’s announcement, which bears a synopsis: “In the wake of a tragic death, Vince embarks on a wild journey in search of inner peace. However, his path is littered with reminders of his haunted past.”

The Netflix post has a few more screenshots, with Vince driving his mom somewhere with a distressed look on both their faces, and Vince at a creepy, Ivy League-ish dinner party. Hopefully, the extra time away will result in more episodes than season one’s five-part run; we’ll find out in November.

Most of the artists I have interviewed in my life claim some level of discomfort with self-promotion. The reason for this is obvious: Talking about yourself in most contexts is looked upon as generally obnoxious behavior. The self-obsessed dude who spends the night at the party gassing himself up will be mocked as a narcissist in the morning-after text thread. Nevertheless, I never completely believe artists when they express regret over marketing themselves. They are, after all, talking to me, a person in the media. It’s like complaining about the ozone layer to a car salesman.

But when Greg Freeman, a 27-year-old singer-songwriter from Vermont set to release his second album Burnover this week, frets about the downsides of publicity, I believe him.

“It feels like a privilege to have a bigger platform. But at the same time, I’m not a particularly interesting person,” he tells me during a phone call earlier this month. “It can feel silly self-mythologizing and talking about your childhood or background.”

I believe him not because I think he’s not an interesting person. I concur because of how I discovered his music. In 2022, Freeman put out his debut, I Looked Out. The project began right before COVID, and the songs were written and recorded during the isolation of lockdown. As an obscure artist living amid a world-wide health crisis in a far-flung New England hippie college town — Burlington, home of Phish — he had zero professional ambitions for the album. And yet the music he made was big, anthemic, rangy, and wild, an echo of the gigs he wasn’t allowed to play for the time being. Singing in a strained, impassioned tenor, Freeman evoked Jason Molina at his most rocking, while his backing band put a loose-limbed indie-rock spin on his alt-country-leaning tunes.

It was a really good record, though quality, as ever, did not guarantee an audience. But once I Looked Out entered the world, it slowly but surely entered the bloodstream of underground rock blogs and social media accounts. I didn’t hear the album until 2023, but I was so thrilled by it that I put it on my year-end list, calendar logistics be damned. Plenty of others also embraced Freeman around the same time.

“I only realized that people from outside of town were listening to it maybe four months after it came out,” he says, “when people were hitting me to play shows in different places. It felt really pure, I guess.”

Now comes Burnover, which builds on the ramshackle, “live in the studio” feel of I Looked Out with a slightly more refined sensibility. Drawing inspiration from a variety of sources — the history of New England, Nancy Rexroth’s photography book IOWA, the 1978 Bob Dylan record Street-Legal — he’s once again written songs that dwell on American mythology and personal discovery in the form of twangy rock songs that threaten to fall apart at any minute. Even in an increasingly crowded field of Molina-inspired troubadours, Freeman stands out as one of the more exciting practitioners of the form.

Not that he would want me to make a hard sell.

“I would never want my music kind of shoved down someone’s throat,” he says. “With that first record, I did it the way that I wanted to do it, which was just put something out, and whoever likes it can listen to it. And I think it paid off.”

Was knowing that more people would be paying attention change your approach to the new album?

Materially, it was kind of the same. I did record it in a studio, which was a change, but there was no more money spent on it. It was a lot of friends playing on it, and Burlington people. A lot of the same people from the last record. The next one probably will be different, just because of the amount of resources I have now compared to in 2022, when I was working on this new record.

I really like the first song on the record “Point And Shoot.” Apparently, that was inspired by the Alec Baldwin Rust case?

That’s where I got the imagery or idea, but that was only in my mind because right after that happened, he was hanging out in Vermont, so it was a local news story. But more than that, I was really inspired by a few photography books that I was looking at a lot around that time. I had been trying to figure out how to translate that inspiration into music. And when I read about the Alec Baldwin thing, I was like, “Oh, there’s a metaphor.” An actor shooting the person behind the camera and trying to recreate a historical event from the past, the Wild West or something, and then getting too close to the actual violence that you’re trying to recreate.

New England looms large on this record. You’re not from there originally, but you draw inspiration from the region.

I’m not for New England superiority or anything. It was just finding inspiration in the landscape, the cows and stuff. That’s just the reality of living here. Also there’s some historical references on the album that come from seeing names on street signs all over town, like Ethan Allen and Joseph Smith. I used to drive past his birthplace on the way to work all the time.

How did you get into music?

I started playing guitar when I was maybe 12, and I’ve been writing songs ever since. I didn’t have too many people to play with, honestly. I went to open mics and jam sessions when I was a kid, and I was really into blues music, so I’d go to blues jams. That’s where I learned how to finger pick.

It’s unusual for a 12-year-old kid to be playing the blues in the early 2010s.

It was the really old stuff, like Robert Johnson and Charley Patton and Son House. Then I got more into electric stuff, BB King and Magic Sam and Freddie King. I was into classic rock before then and then got into the older stuff that Cream was covering. But really old blues music was my first obsession. That’s how I learned to play guitar. It’s kind of silly because I was just a middle schooler in the DC suburbs.

So, you were this little kid writing blues songs?

Not really. I quickly realized that it was silly to be a 12-year-old writing blues songs.

Or it could have been incredible to be a 12-year-old writing blues songs.

I was pretty self-aware. I was like, “I don’t want to be this bourgeois cringe little white boy.”

You’ve been compared to Jason Molina a lot, particularly because of your vocal similarities. Is he a conscious influence?

He was a huge influence, definitely on the last record. I just made that record for fun. I wasn’t thinking about the way people would interpret it or compare it to this or that. It’s just allowing the influences to come through, I guess.

A lot of songwriters from your generation have connected with Molina’s work, even though he died a little before your time. Why do you think that is?

Well, one, I have the same thing about a lot of songwriters or musicians who sing in my register. There’s a lot of them — Neil Young, Skip James, Dylan. I have always gravitated towards the people that have a higher register voice. It’s like you can see some of yourself in those people.

Songwriting-wise, there’s a mystical quality to it. It makes you feel like you’ve discovered some kind of secret, like he’s talking just to you or something.

Along with the voice, your records have a very “live-sounding” vibe to them. There’s an element of spontaneity or chaos lurking in the mix.

The new record and the last one were like that. It was more of a necessity than intentionality. Just having people in the studio for one day and trying to get the song down. I made both records in Burlington, and we were all between working at our jobs. We didn’t have to be the most well-rehearsed, “get it in one take” kind of band. We just went in and tried to get it.

You’ve talked about the 1978 Dylan album Street-Legal as a reference point for “Curtain,” which I love — your song and Street-Legal.

It’s very free flowing, and the songs are all quite long, with big arrangements but pretty loose. Lyrically, it’s pretty adventurous, as far as Bob albums go. It’s a very emotional album, and a personal one. I wasn’t really trying to recreate the sound or anything. Maybe just the feeling I got from listening to it worked its way in.

The lyrics on that album are very dense, almost impenetrable.

Totally. My favorite is “Where Are You Tonight.” That’s maybe my favorite song ever. There’s an extremely out-of-tune lead guitar on it, which is awesome. But lyrically, it’s like you can visualize the story, you understand it, what he’s talking about emotionally more than you do when you actually think about the story that he is telling you. It’s so abstract and mystical. He just communicates something that’s so much greater than sum of its parts.

Don’t forget the parenthetical part of the title, “(Journey Through Dark Heat).” I have no idea what that means in a literal sense, but at the same time I also completely understand what he’s saying.

[Laughs.] Yeah, totally.

Burnover is out 8/22 via Transgressive/Canvasback Records. Find more information here.

The Replacements’ third album, 1984’s Let It Be, is an ’80s indie rock classic. Now, over 40 years later, the project is getting a comprehensive and massive deluxe edition reissue.

Aside from the newly remastered original album, the 4LP and 3CD sets comes with unreleased studio and live recordings, sourced from the Let It Be Sessions. Out now is a previously unheard alternate version of “Androgynous,” with has a different vocal take and the full piano intro. Also included is Goodnight! Go Home!, an unreleased 28-song performance recorded in Chicago in 1984. The recording is sourced from an audience tape and has been newly remastered.

Listen to “Androgynous” above. Check out the tracklists for the different versions of Let It Be (Deluxe Edition) below.

Let It Be (Deluxe Edition) Packaging

Let It Be (Deluxe Edition) — 3CD Track Listing

Disc One: 2025 Remaster

“I Will Dare”
“Favorite Thing”
“We’re Comin’ Out”
“Tommy Gets His Tonsils Out”
“Androgynous”
“Black Diamond”
“Unsatisfied”
“Seen Your Video”
“Gary’s Got A Boner”
“Sixteen Blue”
“Answering Machine”

Disc Two: Rarities

“Gary’s Got A Boner” – Alternate Version *
“Favorite Thing” – Alternate Version *
“Perfectly Lethal”
“Temptation Eyes”
“Who’s Gonna Take Us Alive” *
“Heartbeat, It’s A Lovebeat”
“Answering Machine” – Home Demo #1
“Answering Machine” – Home Demo #2 *
“Street Girl” – Takes 1 And 2 *
“Sixteen Blue” – Alternate Version
“Unsatisfied” – Full Length Version *
“Androgynous” – Alternate Version *
“20th Century Boy”
“Hey Good Lookin’” – Live

Disc Three: Goodnight! Go Home!: Live at Cubby Bear, Chicago, IL, (March, 1984)

“Can’t Hardly Wait” *
“Left In The Dark” *
“Unsatisfied” *
“I Will Dare” *
“Favorite Thing” *
“Kids Don’t Follow” *
“Run It” *
“Color Me Impressed” *
“Hayday” *
“Nowhere Is My Home” *
“Love You Till Friday” *
“Help Me Rhonda/G.T.O.” *
“Takin’ A Ride” *
“Tommy Gets His Tonsils Out” *
“Gary’s Got A Boner” *
“Johnny’s Gonna Die” *
“Can’t Get Enough” *
“I’m In Trouble” *
“Don’t Ask Why” *
“Take Me Down To The Hospital” *
“Shiftless When Idle” *
“Mr. Whirly” *
“Hitchin’ A Ride” *
“Black Diamond” *
“20th Century Boy” *
“Go” *
“Gimme Noise” *
“White And Lazy” *

Let It Be (Deluxe Edition) — 4LP Track Listing

LP One: 2025 Remaster

Side One

“I Will Dare”
“Favorite Thing”
“We’re Comin’ Out”
“Tommy Gets His Tonsils Out”
“Androgynous”
“Black Diamond”

Side Two

“Unsatisfied”
“Seen Your Video”
“Gary’s Got A Boner”
“Sixteen Blue”
“Answering Machine”

LP Two: Rarities

Side One

“Gary’s Got A Boner” – Alternate Version *
“Favorite Thing” – Alternate Version *
“Perfectly Lethal”
“Temptation Eyes”
“Who’s Gonna Take Us Alive” *
“Heartbeat, It’s A Lovebeat”
“Answering Machine” – Home Demo #1
“Answering Machine” – Home Demo #2 *

Side Two

“Street Girl” – Takes 1 And 2 *
“Sixteen Blue” – Alternate Version
“Unsatisfied” – Full Length Version *
“Androgynous” – Alternate Version *
“20th Century Boy”
“Hey Good Lookin’” – Live

LP Three: Goodnight! Go Home!: Live at Cubby Bear, Chicago, IL, (March, 1984)

Side One

“Can’t Hardly Wait” *
“Left In The Dark” *
“Unsatisfied” *
“I Will Dare” *
“Favorite Thing” *
“Kids Don’t Follow” *

Side Two

“Run It” *
“Color Me Impressed” *
“Hayday” *
“Nowhere Is My Home” *
“Love You Till Friday” *
“Help Me Rhonda/G.T.O.” *
“Takin’ A Ride” *

LP Four: Goodnight! Go Home!: Live at Cubby Bear, Chicago, IL, (March, 1984)

Side One

“Tommy Gets His Tonsils Out” *
“Gary’s Got A Boner” *
“Johnny’s Gonna Die” *
“Can’t Get Enough” *
“I’m In Trouble” *
“Don’t Ask Why” *
“Take Me Down To The Hospital” *

Side Two

“Shiftless When Idle” *
“Mr. Whirly” *
“Hitchin’ A Ride” *
“Black Diamond” *
“20th Century Boy” *
“Go” *
“Gimme Noise” *
“White And Lazy” *

Live At City Gardens 1984 — 10-Inch Track Listing

Side A

“I Will Dare” *
“Hayday” *
“20th Century Boy” *

Side B

“You’re Getting Married” *
“God Damn Job” *
“Color Me Impressed” *

* previously unreleased

Let It Be (Deluxe Edition) is out 10/24 via Rhino. Find more information here.

At the top of 2025, FKA Twigs released her latest album, Eusexua. She apparently has more to say on that front. A month ago, she released a new single, “Perfectly,” her first new music since the album. Now, there’s a whole new project on the way.

On stage at Lowlands Festival in the Netherlands, Twigs announced a new album, saying, “New music — I am full and abundant and ready to give birth. Her name is Afterglow. And my labor shall commence next month.”

Per a representative, the project isn’t a deluxe edition of Eusexua, but a new album in its own right. The full title of the album is Eusexua Afterglow.

Twigs hinted at a new era when initially announcing “Perfectly,” writing on social media, “and so the offerings begin again… if EUSEXUA was the tip of the tongue, PERFECTLY is the oesophagus… i wonder what lays in the belly of the beast.” She also previously mentioned “DELUXUA,” suggesting that a deluxe edition of the album was on the way. That was presumably in reference to Eusexua Afterglow, which, again, isn’t a deluxe edition, but a new standalone album.

Eusexua Afterglow doesn’t currently have an announced release date or a confirmed tracklist.

Tyler, The Creator (the guy from Marty Supreme, yes) is still soaking in the Don’t Tap The Glass era since the album’s release a little less than a month ago. He has spent much of the post-album period pumping out eye-grabbing videos and today (August 19), he has another one, for “Darling, I.”

For the colorful visual, Tyler gets some key assists via appearances from Nia Long, Ayo Edebiri, Willow, Teezo Touchdown, Lionel Boyce, and Lauren London, among others.

Tyler recently said of his mindset behind the new album, “Chromakopia was so… I’m not saying it’s the most mature, deep sh*t. But whether it’s me talking about my relationship with my hair and how that’s affected me, or me almost being a father last year, or the relationship that I have with my father now, just so many things that I decided to dive deep into. After the weight of that got off, I just wanted to be silly again. I just want to be fun and say outrageous sh*t and say sh*t that… inside jokes that me and my friends laugh at, and just talk big fly sh*t. That was the goal. That was the main 100-percent goal.”

Watch the “Darling, I” video above.

Don’t Tap The Glass is out now via Columbia Records. Find more information here.

Wednesday took a year off from releasing a new album following 2023’s Rat Saw God, but they’re returning here in 2025. They recently announced Bleeds and we’ve heard some advance tastes of it so far. Ahead of the project’s September release, the band has unveiled another new single, “Bitter Everyday.”

The group’s Karly Hartzman says of the song:

“‘Bitter Everyday’ is a song formed around my desperate desire to tell the story about how in 2019 this lady came up on our porch at like 3 in the morning when Jake and our friend Andrew were out there drinking and playing guitar. She asked them if she could sing them a song she had written, she had an incredible voice. They recorded a voice note of it and showed it to me the next morning when I woke up. I knew which lady it was, she was a houseless person who walked around the downtown area a lot. Weeks later, I was walking home from work and I saw a photo of her on a telephone pole. It was an old mug shot of her, and she was done up in juggalo makeup. The description on the paper said she was wanted for murder. The chorus is an homage to Iris DeMent’s song ‘Easy’s Gettin’ Harder Everyday.’”

Hartzman also previously said of the album, “Bleeds is the spiritual successor to Rat Saw God, and I think the quintessential ‘Wednesday Creek Rock’ album. This is what Wednesday songs are supposed to sound like. We’ve devoted a lot of our lives to figuring this out — and I feel like we did.”

Watch the “Bitter Everyday” video above. Wednesday also announced new tour dates, so find those below.

Wednesday’s 2025 Tour Dates

09/27/2025 — Austin, TX @ LEVITATION Festival
10/09/2025 — Santa Fe, NM @ Tumble Root *
10/10-12/2025 — Las Vegas, NV @ Best Friends Forever Festival 
10/11/2025 — Phoenix, AZ @ Crescent Ballroom *
10/14/2025 — Solana Beach, CA @ Belly Up Tavern *
10/17/2025 — Los Angeles, CA @ The Fonda Theatre *
10/18/2025 — Oakland, CA @ The Fox Theater *
10/20/2025 — Salt Lake City, UT @ Soundwell *
10/22/2025 — Ft. Collins, CO @ Aggie Theatre *
10/23/2025 — Denver, CO @ Gothic Theatre *
11/10/2025 — Philadelphia, PA @ Union Transfer ^
11/11/2025 — Brooklyn, NY @ Brooklyn Steel ^
11/12/2025 — Brooklyn, NY @ Brooklyn Steel ^
11/13/2025 — Montreal, QC @ Club Soda ^
11/15/2025 — Toronto, ON @ Concert Hall ^
11/16/2025 — Detroit, MI @ Majestic Theatre ^
11/17/2025 — Chicago, IL @ The Riviera Theater ^
11/19/2025 — Cleveland, OH @ Globe Iron ^
11/20/2025 — Pittsburgh, PA @ Roxian Theatre ^
11/21/2025 — Washington, DC @ 9:30 Club ^
02/04/2026 — Copenhagen, DK @ Pumpehuset #
02/05/2026 — Oslo, NO @ Parkteatret #
02/06/2026 — Stockholm, SE @ Debase r#
02/08/2026 — Hamburg, DE @ Molotow Musikclub #
02/09/2026 — Berlin, DE @ Lido #
02/10/2026 — Munich, DE @ Strom #
02/11/2026 — Milan, IT @ Circolo Arci Bellezza #
02/14/2026 — Bilbao, ES @ Bilborock #
02/15/2026 — Madrid, ES @ Copernico #
02/16/2026 — Barcelona, ES @ La Nau Locales de Ensayo (La Nau) #
02/19/2026 — Brussels, BE @ Botanique Orangerie #
02/20/2026 — Paris, FR @ Le Trabendo #
02/21/2026 — Amsterdam, NL @ Paradiso Noord #
02/23/2026 — Bristol, UK @ The Fleece #
02/24/2026 — Leeds, UK @ The Leeds Irish Centre #
02/25/2026 — London, UK @ Electric Ballroom #

* with Friendship
^ with Daffo
# with Bleary Eyed

Bleeds is out 9/19 via Dead Oceans. Find more information here.

JID continued his ascent up the hip-hop ladder earlier this month with the release of his latest album, God Does Like Ugly. Fans will soon get to hear the new tracks live, too, as today (August 19), he announce God Does Like World Tours.

Young Nudy will be the special guest for all the US dates, while Mick Jenkins will be in tow for the European shows and Jordan Ward will support for the Australia and New Zealand performances.

For the North American dates, the artist pre-sale starts August 20, followed by the public on-sale on August 22. More information can be found on JID’s website.

Check out the tour dates below.

JID’s 2025 Tour Dates: God Does Like World Tours

10/15/2025 — Virginia Beach, VA @ The Dome
10/17/2025 — Cincinnati, OH @ The Andrew J Brady Music Center
10/18/2025 — Chicago, IL @ Byline Bank Aragon Ballroom
10/19/2025 — Minneapolis, MN @ The Armory
10/22/2025 — Toronto, ON @ REBEL*
10/24/2025 — Montreal, QC @ MTELUS*
10/26/2025 — Detroit, MI @ The Fillmore
10/28/2025 — St Louis, MO @ The Pageant
10/29/2025 — Indianapolis, IN @ Egyptian Room at Old National Centre
11/01/2025 — Madison, WI @ The Sylvee
11/02/2025 — Waukee, IA @ Vibrant Music Hall
11/06/2025 — Salt Lake City, UT @ The Union Event Center
11/08/2025 — Seattle, WA @ WAMU Theater
11/10/2025 — Vancouver, BC @ PNE Forum*
11/12/2025 — Sacramento, CA @ Channel 24
11/15/2025 — San Francisco, CA @ The Masonic
11/16/2025 — San Diego, CA @ Gallagher Square at Petco Park
11/18/2025 — Inglewood, CA @ YouTube Theater
11/20/2025 — Phoenix, AZ @ Arizona Financial Theatre
11/23/2025 — Irving, TX @ The Pavilion at Toyota Music Factory
11/24/2025 — Austin, TX @ Stubb’s Waller Creek Amphitheater
11/25/2025 — Houston, TX @ 713 Music Hall
11/26/2025 — San Antonio, TX @ Boeing Center at Tech Port
11/30/2025 — Charlotte, NC @ The Fillmore
12/01/2025 — Raleigh, NC @ The Ritz
12/03/2025 — Miami, FL @ The Fillmore
12/04/2025 — Orlando, FL @ Hard Rock Live
12/06/2025 — Nashville, TN @ The Marathon Music Works
12/08/2025 — Washington, DC @ Echostage
12/09/2025 — Philadelphia, PA @ The Fillmore
12/12/2025 — Boston, MA @ MGM Music Hall At Fenway
12/14/2025 — Wallingford, CT @ Toyota Oakdale Theatre
12/15/2025 — Brooklyn, NY @ Brooklyn Paramount
12/16/2025 — Brooklyn, NY @ Brooklyn Paramount
03/02/2026 — Helsinki, Finland @ House of Culture
03/03/2026 — Copenhagen, Denmark @ The Gray Hall
03/04/2026 — Stockholm, Sweden @ Fryhuset Arenan
03/05/2026 — Oslo, Norway @ Sentrum Scene
03/08/2026 — Hamburg, Germany @ Grosse Freiheit 36
03/10/2026 — Berlin, Germany @ Tempodrom
03/11/2026 — Warsaw, Poland @ Progresja
03/13/2026 — Vienna, Austria @ Gasometer
03/14/2026 — Prague, Czech Republic @ SaSaZu
03/16/2026 — Munich, Germany @ Muffathalle
03/17/2026 — Milan, Italy @ Fabrique
03/18/2026 — Zurich, Switzerland @ X-Tra
03/19/2026 — Cologne, Germany @ Palladium
03/20/2026 — Brussels, Belgium @ Ancienne Belgique
03/22/2026 — Frankfurt, Germany @ Zoom
03/23/2026 — Tilburg, Netherlands @ 013 Poppodium
03/24/2026 — Utrecht, Netherlands @ TivoliVredenburg
03/25/2026 — Paris, France @ Salle Pleyel
03/28/2026 — Lisbon, Portugal @ Lisboa Ao Vivo
03/29/2026 — Madrid, Spain @ La Riviera
03/30/2026 — Barcelona, Spain @ Razzmatazz
04/02/2026 — London, UK @ O2 Academy Brixton
04/03/2026 — Bristol, UK @ Prospect Building
04/06/2026 — Manchester, UK @ Aviva Studios
04/07/2026 — Dublin, Ireland @ 3Olympia Theatre
05/13/2026 — Auckland, New Zealand @ Shed 10
05/15/2026 — Brisbane, Australia @ Riverstage
05/16/2026 — Melbourne, Australia @ Margaret Court Arena
05/20/2026 — Sydney, Australia @ Hordern Pavilion
05/23/2026 — Perth, Australia @ Metro City

* no Young Nudy

Coldplay is a long-running band with a good handful of songs that have racked up over a billion streams on Spotify. Despite that, their biggest brush with notoriety over the past month has been when the now-former CEO of data operations startup Astronomer was caught having an affair with one of his employees, when they were shown together on screens at Coldplay’s Boston concert.

For those planning on having an affair in public, shy away from doing it at a Coldplay concert, because the band doesn’t plan to stop highlighting its audience.

Kicking off a run of UK shows in Hull yesterday (August 18), Chris Martin said (as NME notes), “We are so happy to be here. Many of you have written signs. So, I’ll take some time to try and read some signs. Then we’ll see what happens. First of all [that sign reads:] ‘three times in three months’… You were at that Boston gig! Well, OK, thank you for coming again after that debacle.”

He added, “We’ve been doing this a long time, and it is only recently that it became a… yeah. Life throws you lemons and you’ve got to make lemonade. So, we are going to keep doing it because we are going to meet some of you.”

Last week, Florence + The Machine shared a teaser video. In it, Florence Welch vigorously digs a hole in the ground, and when she’s done, she looks into it and starts screaming her head off as she stares down the barrel of the camera.

The video was clearly meant to ramp fans up for something, and now we know what: Today (August 19), the group announced a new album. It’s called, appropriately, Everybody Scream. There’s no advance single yet, but the group did share the album cover, featuring an open-legged Welch looking at the camera. The project is set to come out this Halloween, October 31.

There’s no tracklist yet, but the product pages from the band’s online store note it will have 12 tracks.

Welch perhaps foreshadowed the project in a 2022 interview with British Vogue, Welch said, “I feel like as a female artist, you spend a lot of time screaming into the void for people to take you seriously, in a way that male artists just don’t have to do. [I was] so tired of trying to prove myself to people who are never going to get it.”

Check out the Everybody Scream cover art below.

Florence + The Machine’s Everybody Scream Album Cover Artwork

Everybody Scream is out 10/31 via Polydor. Find more information here.