Month: November 2025

Summer Walker‘s mischievous Finally Over It rollout continues. After revealing the “guest list” of artists who will feature on the album — from Brent Faiyaz to Sailorr — Summer followed up just a few hours later with the tracklist revealing the song titles. Now we know which “guest” belongs to what song, and the excitement for Walker’s third album couldn’t be higher.

The tracklist is broken into two parts, For Better and For Worse, mirroring the wedding theme that has appeared throughout the album’s rollout. The cover art has Summer posing in a wedding dress alongside a much older white man, referencing a similar photo taken of actress/model Anna Nicole Smith at her wedding to businessman J. Howard Marshall in 1994.

The pic is a cheeky nod to the album’s theme; that modern relationships and the pursuit of romantic love just isn’t worth it — marry for money. Walker has had her fair share of romantic turmoil, but something tells me she’s actually still holding out hope — after all, life is long, and anything can happen. You can find the tracklist for Finally Over It below.

Finally Over It Tracklist

Disc 1 (For Better)

01. “Scars”
02. “Robbed You” Feat. Mariah The Scientist
03. “No”
04. “Go Girl” Feat. Latto
05. “Baby” Feat. Chris Brown
06. “1-800 Heartbreak” Feat. Anderson .Paak
07. “Heart Of A Woman”
08. “Situationship”
09. “Give Me A Reason” Feat. Bryson Tiller

Disc 2 (For Worse)

01. “FMT”
02. “How Sway” Feat. Sailorr
03. “Baller” Feat. Sexyy Red, GloRilla & Monaleo
04. “Don’t Make Me Do It/Tempted”
05. “Get Yo Boy” Feat. 21 Savage
06. “Number One” Feat. Brent Faiyaz
07. “Stitch Me Up”
08. “Allegedly ” Feat. Teddy Swims
09. “Finally Over It”

Finally Over It is out on 11/14 via LVRN and Interscope. You can find more info here.

There’s a term I like that’s common in the jam band world and (to my knowledge) nowhere else: “Couch tour.” It means you follow a band’s live shows, one by one, via livestreams or field recordings. Right now, I’m doing a couch tour with Radiohead’s run of dates in Europe. Four of them took place last week in Madrid, and the remaining itinerary of 16 shows resumes this Friday in Italy.

It’s great. Radiohead, if you haven’t heard, is a good band with good songs. My never-ending disappointment over not being absurdly rich flares up whenever I think about not attending one of these concerts, their first since 2018. But then I remember jet lag and my general distaste for leaving the house for any reason whatsoever and suddenly, the couch tour seems like a pretty decent deal.

(To the people who are shooting videos and posting them on YouTube: Thank you for making this possible. To the people standing behind those people at the shows: I’m sorry.)

Before I discuss the tour, let’s state the obvious: This is a weird era for Radiohead. By “era,” I mean “the last nine years,” though it might actually be longer than that. Consider that all the members are now in their mid to late 50s, with spouses and kids and (I’m guessing) nice houses and cars and wine cellars. And also realize that if Radiohead put out a new album tomorrow, it would be treated like an event. These things do not normally go together. There are plenty of respected middle-aged bands — Wilco, Spoon, Yo La Tengo — but their latest work does not start arguments on social media. Radiohead, however, does. Or at least they did, back when they still put out “latest work.”

For much of their “weird” era, I have assumed that Radiohead is no longer a functioning band. I have thought this because they (mostly) no longer function as a band. Their most recent record, A Moon Shaped Pool, came out in 2016. The Rolling Stones have released new music more recently than that, and those guys are in their 80s. But this slowing of creativity goes back longer than the mid-2010s. In the first 10 years of their recording career, 1993 to 2003, they put out six albums. In the 22 years since, more than double the time span, they have released half as many records. Outside of Radiohead, the five members have made around two dozen records on their own or — in the case of Thom Yorke and Jonny Greenwood — as a duo as part of a whole other band. These guys still have things to say. They just aren’t using Radiohead to say them.

But unlike R.E.M. — who made a point 14 years ago to state definitively that they were breaking up and have since stayed broken up — the guys in Radiohead have been content to keep their band on sleep mode. They aren’t really a thing anymore in practice, but they still are technically. The most candid anybody has been about the current state of the group is Ed O’Brien, who admitted in a recent interview that the members no longer speak and that he even wanted to quit after their last tour. “It wasn’t great on the last round,” he told The Sunday Times. “I enjoyed the gigs but hated the rest. We felt disconnected, fucking spent.” It was only after coming out of a “deep depression” that he felt renewed by his love for his lifelong friends, O’Brien added, along with remembering that “we do have some stellar songs.”

They do indeed. But that might not have mattered if Radiohead wasn’t still (I hate this word but it’s nevertheless applicable) relevant. In 2025, this has manifested in positive and negative ways. “Let Down” — the fifth track from their third album, 1997’s OK Computer — re-entered the Billboard charts this year after catching fire on TikTok, like old songs do, despite never being released as a single or previously achieving any wider acclaim outside the province of Radiohead nerds. (A redundant term, I know.) And then there’s the matter of Jonny’s defiance of the Palestinian-led Boycott, Divestment, Sanctions (BDS) movement, which has objected to his ongoing collaborations with Israeli musicians and his performances in the region. It’s an issue I am not going to discuss any further, for risk of derailing a column about experiencing a concert tour in my living room, but it’s fair to say the BDS controversy, coupled with the TikTok thing, have made Radiohead the rare ’90s alt-rock outfit that zoomers have passionate opinions about, one way or the other.

Put all this together and it simultaneously makes sense and no sense at all that Radiohead is on the road. There is no album to promote. They are no longer sharing dressing rooms. It’s impossible to gauge if they will play more shows after this. It’s like a reunion tour without the reunion part. And yet, in spite of everything, they remain remarkably good at being Radiohead in public. And people still really want to see and hear them, from the couch and elsewhere. Because they are, ultimately, still one of the world’s greatest (functioning or not) rock bands. A lot has changed since the last Radiohead album, but that, thankfully, hasn’t.

About that couch tour: Some in the media have dubbed this Radiohead’s “Eras tour” because — in lieu of having new songs to play — they are performing numbers from throughout the catalog. It is funny how “playing a greatest show” has been retconned into yet another Taylor Swift innovation, but part of the fun of following the tour is Radiohead revisiting all their records (save for Pablo Honey, at least for now) and seeing what still works.

So far, there appears to be an obvious pivot point, and that is their sixth record, Hail To The Thief. The music from that album, and the ones that come after, have translated the best. Whereas the songs from before, particularly the ’90s material, have sometimes sounded a little creaky. Not that I blame them for that. Radiohead, like all of us, is older now. Video of Thom Yorke dad-dancing to “Idioteque” went viral last week, and while our guy has never been Prince or Michael Jackson, it was striking how much he looked, well, like me up there. Seeing Radiohead now is like catching up with high school friends you haven’t seen outside of Facebook or Instagram since you had your own kids.

When they play something off The Bends or even OK Computer, you can feel the tempos lag a bit, like they do for all bands where the musicians are transitioning from “middle” to “old” age. Which is why the idea of Radiohead dusting off “Planet Telex” or “(Nice Dream)” is somewhat better in theory than practice. It made me think of the excellent live record they put out this year, Hail To The Thief (Live Recordings 2003-09), which captures this band at the absolute height of their powers, when being in Radiohead was their full-time job. No slack tempos on that record, I can tell you. (Yorke’s voice, on the other hand, is remarkably well preserved.)

My mind also flashes on one of the most memorable quotes from that Sunday Times article, from the normally reticent Colin Greenwood, who says at one point, poignantly and honestly, “This music has very little to do with us anymore.” I imagine that’s especially true of the (still magnificent!) music they made in their 20s. So, it stands to reason that the music from the 21st century, while not exactly “recent,” comes off better. Their first show back, for instance, kicked into a different gear with the fifth number, the Motorik rocker “Ful Stop” from A Moon Shaped Pool, which segued beautifully into two Hail To The Thief tracks, “The Gloaming” and “Myxomatosis.” Later, a suite of songs from In Rainbows delivered another high, with the always stunning “Videotape” leading into the always stunning “Weird Fishes/Arpeggi,” with a pit stop at “Everything In Its Right Place” before launching into a slinky “15 Step.”

As the shows have progressed, they have settled more or less into setlists heavy on post-2003 material, with occasional crowd-pleasers from before distributed throughout. The showstoppers are what you would expect — “Pyramid Song,” I apologize for ever saying any other Radiohead song is better than you — though it’s fun to remember the ones you forgot were also outstanding. (Talking about you, “Separator”). Watching the videos, it’s hard to discern how much these guys are truly vibing on one another or whether they’re simply operating on muscle memory. (The curious decision to open the concert from behind video screens that eventually rise above the band after about a half hour, Pink Floyd-style, makes them literally difficult to see at all.) But either way, they remain an incredibly potent and skilled live band, no matter their rustiness or wear on the tires.

Is that enough? Some of the press coverage (including this column, I suppose) have fretted about this being Radiohead’s “legacy band” phase, where they finally resort to subsisting on their history rather than grasping for new sounds, horizons, and challenges. I don’t think it’s a coincidence that the material that’s worked the best so far happens to resemble the groovier, riff-heavy style of The Smile, the prolific Thom-and-Jonny band that’s made Radiohead feel like the side project this decade. Is a version of Radiohead that’s not trying to be innovative still Radiohead? Is it just a brand kept alive to sell tickets at this point? If not, what is the point of them still existing?

These are all relevant questions. But they’re not the ones I am most interested in at the moment. That one is simply: Can this tour please come to America?

2020 was a huge year for BTS. They released two albums — Map Of The Soul: 7 – The Journey and Be — and had three No. 1 singles — “Dynamite,” “Savage Love (Laxed – Siren Beat) (BTS Remix),” and “Life Goes On.” Aside from a few more No. 1 singles in 2021, though, it’s been mostly quiet since then as the band members have been busy fulfilling their military service requirements in South Korea.

Their comeback is getting closer and closer, though. The guys have met their obligations to their country and had a bit of a reunion at a J-Hope concert this past summer. Rumors then surfaced that the group was set to return in March 2026.

New music is indeed in progress now: In a tweet shared yesterday (November 11), RM wrote (translated from Korean), “Above all, the music is really coming out great!! Everyone is working hard. Look forward to it. 2026 Bulletproof Army Fighting.”

Back in July, the band also said in a statement, “We’ll be releasing a new BTS album in the spring of next year. Starting in July, all seven of us will begin working closely together on new music. Since it will be a group album, it will reflect each member’s thoughts and ideas. We’re approaching the album with the same mindset we had when we first started.” They added, “We’re also planning a world tour alongside the new album. We’ll be visiting fans all around the world, so we hope you’re as excited as we are.”

Before she was known for hits like “Espresso” and “Manchild,” Sabrina Carpenter first gained prominence starring on the Disney Channel series Girl Meets World. However, after all her success in music, she’s making her return to the screen soon, with one of her upcoming projects announced today via The Hollywood Reporter.

Carpenter is teaming up with a Wicked producer to produce — and star(!) — in a musical based on Lewis Carroll’s Alice In Wonderland for Universal Pictures. According to the Hollywood Reporter, the film is a “passion project” for Carpenter, who is said to have brought the idea to the studio herself, complete with “specific ideas and a lookbook.”

Lorene Scafaria, best-known for writing and directing the Jennifer Lopez-starring crime movie Hustlers, and Marc Platt, producer of both the stage and screen adaptations of Wicked, were both brought on by the studio, along with Leslie Morgenstein and Elysa Koplovitz Dutton of Alloy Entertainment, which produced Gossip Girl and Pretty Little Liars.

It sounds like Carpenter is going to be fairly busy with film projects for the time being; she’s also billed for inclusion in Seth Rogen’s upcoming The Muppet Show revival. But she’s still got a few musical obligations coming up; she’s nominated for six awards at the upcoming 68th Annual Grammy Awards, including Album Of The Year and Best Pop Vocal Album.

With federal Supplemental Nutrition Assistance Program funds tied up in a political tug-of-war between opposing factions of the legislative branch, US residents are picking up the slack to help feed their neighbors.

Among them: superstars like SZA, who is teaming up with a fixture of her adopted home, Los Angeles, to help feed local SNAP recipients. On Monday, November 10, the “Kill Bill” singer announced she’s partnering with local Italian chain Jon & Vinny’s to offer 1,400 free meals to residents who aren’t receiving their SNAP benefits. “Yall know how much I love Jon and Vinny’s,” she wrote. “But it ain’t no fun if the Homies can’t have none!!”

The restaurant chain itself, meanwhile, explained, “Last week @sza reached out to us with an idea and now, with her help, it’s a reality. Over the next 7 days we are partnering with her NOT Charity to provide 1400 free meals (100 dinners for 2 per day) for Los Angeles community members who receive SNAP. Each meal will be available as takeout from our Slauson location from 3pm-5pm on 11/11-11/17.”

If you are a Los Angeles-based SNAP recipient, you can email [email protected] to sign up for a meal (up to 4 allowed per family), and their team will assign you a pickup time.

It’s been a rough year for LA overall, but the community continues to come through, offering free and discounted lodging for wildfire victims, and now, food for those being used as pawns by crooked politicians.

Red Bull Spiral Freestyle is rapidly becoming one of pop culture’s lightning rods, generating viral buzz as performers use the platform to start beef and prove their rap chops via its unique, one-take format.

The latest artists to take spin on the Spiral are West Coast gangsta rappers YG, Mozzy, and Jay Rock. Besides being united by their shared affinity for the color red, all three have collaborated with each other at some point in the past decade or so, with YG and Mozzy joining forces on Kommunity Service in 2021, and Mozzy appearing on Jay Rock’s last album, Redemption, in 2018. And as for Jay and YG, they last linked up on “I Just Wanna Party,” from YG’s debut album, My Krazy Life.

The time apart hasn’t dulled the trio’s chemistry at all, as all three deliver some of their strongest verses in years in the cipher. YG opens up, decked out in his now-signature black suit, with Mozzy taking his own cues from his Compton compatriot’s semiformal attire. Eastside Johnny, however, clearly had to be talked into matching with his lyrical peers (I think he’s wearing the jacket from Mozzy’s suit). But good on him for showing some team spirit.

Watch YG Mozzy and Jay Rock’s Red Bull Spiral freestyle above.

At this point, there are only a few dates left on the Oasis Live ’25 tour, in Argentina, Chile, and Brazil. Naturally, fans are starting to mourn the end of the tour, but Liam Gallagher is putting a stop to that.

On X today (November 11), a fan asked Liam, “how do you feel about the tour being almost over william? all i know is you guys should def be so proud of yourselves for accomplishing a sold out & flawlessssss WORLD tour after not playing as a band for over a decade like cmooonnnnn nobody does it like you guys.” He responded simply, “It’s only starting.”

This isn’t the first indication that there’s more to come with the reunion tour. During a September concert, Liam told fans, “See you next year.” Not long after that, he told a fan online, “it’s not even HALF TIME yet it’s a tour of 2 half’s.”

So, the band has yet to announce 2026 shows, but the clues that some are forthcoming are starting to pile up.

Find the band’s upcoming tour dates below.

Oasis’ 2025 Tour Dates: Oasis Live ’25

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

In October, the music world lost one of its most inspiring, revolutionary artists: Neo-soul pioneer D’Angelo. And while his passing left a hole in the tapestry of pop culture no name, face, or voice could ever fill, his prolific creative drive meant that there could be plenty of music left for him to share.

D’Angelo’s longtime friend and collaborator Questlove seemingly confirmed that his unreleased music could be coming soon this past weekend as he attended the Rock And Roll Hall Of Fame induction ceremony. While on the red carpet, Quest was asked about the possibility of the release, telling entertainment reporter Courtney Tezeno, “You’ll see soon. It’s always the sound of yesterday, but for the future. This record is no different.”

It’s no surprise that D’Angelo was constantly working on new music, even though his pace of actually releasing music was notoriously deliberate — four years between his first two albums, Brown Sugar and Voodoo, and another 14 until Black Messiah. Since he worked so heavily with Questlove on most of it, it’s also no surprise that The Roots drummer would have more insight into the readiness of that music than anyone else.

“I don’t think I’d have a moment like this if it wasn’t for his introduction to the world,” he said. “My heart and soul go out to his family and his spirit in heaven.”

Initially, Afterglow was intended to be a mere deluxe edition of Eusexua. Instead, the endeavor had evolved into its own project, now dubbed Eusexua Afterglow. It drops this week, but before that, FKA Twigs shared a new song, “Predictable Girl,” and a video for it.

The video, presented in an ultra-widescreen aspect ratio, sees Twigs riding a bike through a nighttime city and having some The Matrix-like slo-mo action moments.

Twigs initially announced the new album on stage at Lowlands Festival in the Netherlands, saying, “New music — I am full and abundant and ready to give birth. Her name is Afterglow. And my labor shall commence next month.” When announcing “Perfectly” previously, she also said, “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.”

Watch the “Predictable Girl” video above and find the Eusexua Afterglow cover art and tracklist below.

FKA Twigs’ Eusexua Afterglow Album Cover Artwork

FKA Twigs’ Eusexua Afterglow Tracklist

1. “Love Crimes”
2. “Slushy”
3. “Wild And Alone” Feat. PinkPantheress
4. “Hard”
5. “Cheap Hotel”
6. “Touch A Girl”
7. “Predictable Girl”
8. “Sushi”
9. “Piece Of Mine”
10. “Lost All My Friends”
11. “Stereo Boy”

Eusexua Afterglow is out 11/14 via Young Recordings/Atlantic. Find more information here.

The nominations for the 2026 Grammy Awards were revealed last week, and it turns out that the first Wicked movie did pretty well. It’s in the running for Best Compilation Soundtrack For Visual Media and Best Score Soundtrack For Visual Media (Film & TV), while Ariana Grande and Cynthia Erivo’s “Defying Gravity” is up for Best Pop Duo/Group Performance. Erivo’s “Be Okay,” from her 2025 album I Forgive You, is also nominated in the Best Arrangement, Instrumental Or A Cappella category.

Throughout their efforts promoting Wicked and the upcoming Wicked: For Good, Grande and Erivo have made headlines for their public appearances, which are often overflowing with emotion. It’s not a big surprise, then, that when the two learned about their new Grammy nods, feelings were had.

While in Paris on the Wicked: For Good press tour last week, the pair were told about their nominations. In a video of the moment, the two are overjoyed, with Grande wiping tears from Erivo’s eyes at one point.

Check out the nominees in the aforementioned categories below and find the full list of 2026 Grammy nominations here.

Best Pop Duo/Group Performance

Cynthia Erivo and Ariana Grande — “Defying Gravity”
HUNTR/X: EJAE, Audrey Nuna and REI AMI — “Golden [From ‘KPop Demon Hunters’]”
KATSEYE — “Gabriela”
Rosé and Bruno Mars — “APT.”
SZA Featuring Kendrick Lamar — “30 For 30”

Best Arrangement, Instrumental Or A Cappella

Cynthia Erivo — “Be Okay” (Cynthia Erivo)
Remy Le Boeuf — “A Child Is Born” (Nordkraft Big Band & Remy Le Boeuf)
Andy Clausen, Addison Maye-Saxon, Riley Mulherkar & Chloe Rowlands — “Fight On” (The Westerlies)
Bryan Carter, Charlie Rosen & Matthew Whitaker — “Super Mario Praise Break” (The 8-Bit Big Band)

Best Compilation Soundtrack For Visual Media

Timothée Chalamet — A Complete Unknown
Various Artists — F1® The Album
Various Artists — KPop Demon Hunters
Various Artists — Sinners
Various Artists — Wicked

Best Score Soundtrack For Visual Media (Film & TV)

John Powell — How To Train Your Dragon
Theodore Shapiro — Severance: Season 2
Ludwig Göransson — Sinners
John Powell & Stephen Schwartz — Wicked
Kris Bowers — The Wild Robot