Indigo De Souza is fresh off the release of her latest album, Precipice, in July. But, she has some more business to attend to. She expanded her tour, adding new shows with support from Mothé, and to mark the occasion today (September 24), they have shared a new collaboration, “Serious.”
“Serious is a reflection on overthinking — and trying not to! Reminders to myself, and from people I love, to loosen the tight grip I’m often holding internally. Life is a heavy experience, so it’s important to make time for letting loose! This song is about that moment when you decide you don’t care who’s watching, you’re just going to dance with your whole heart. It’s about trusting joy. I absolutely loved singing this song with my friend Mothé. They have such a beautiful voice and they are so fun to write with. I am grateful to have made this song with them, and really excited to hopefully sing it a few times on the tour we have coming up!”
Listen to “Serious” above and De Souza’s upcoming tour dates below.
Indigo De Souza’s 2025 & 2026 Tour Dates
10/18/2025 — Columbus, OH @ Athenaeum Theatre ^
10/19/2025 — Chicago, IL @ Thalia Hall ^
10/22/2025 — Philadelphia, PA @ Union Transfer ^
10/23/2025 — Washington DC @ 9:30 Club ^
10/25/2025 — Norwalk, CT @ District Music Hall ^
10/26/2025 — Boston, MA @ The Royale ^
10/27/2025 — New York, NY @ Webster Hall ^
10/30/2025 — Charlottesville, VA @ The Jefferson ^
11/02/2025 — Asheville, NC @ Orange Peel ^
11/05/2025 — Paris, FR @ Pitchfork Festival
11/08/2025 — London, UK @ Pitchfork Festival
03/03/2026 — Phoenix, AZ @ Crescent Ballroom
03/04/2026 — San Diego, CA @ Music Box
03/05/2026 — Los Angeles, CA @ The Fonda
03/06/2026 — San Francisco, CA @ The Fillmore
03/07/2026 — Sacramento, CA @ Harlows
03/09/2026 — Portland, OR @ Revolution
03/10/2026 — Seattle, WA @ Showbox Market
03/11/2026 — Vancouver, BC @ Hollywood
03/13/2026 — Boise, ID @ The Shrine
03/14/2026 — Salt Lake City, UT @ Soundwell
03/16/2026 — Denver, CO @ Gothic Theatre
^ with mothé
Precipice is out now via Loma Vista Recordings. Find more information here.
Camila Cabello’s “First Man” has become a solid father/daughter dance song pick for weddings, since it sees her singing about the relationship between dads and their little girls. One fan who got married recently chose “First Man” for their big moment, but the day before, she happened to run into Cabello, who decided to turn up at the wedding and sing the song herself.
In a video shared by a relative of the couple, Cabello explained the situation to the gathered friends and family, saying:
“We were at our hotel yesterday, and I run into Kelli and her family, and she was like, ‘Guess what? I’m doing my father/daughter dance to your song ‘First Man.” I got to meet Kelli, I got to meet her family, I got to meet her amazing dad Mike. ‘First Man’ is a really special song to me; It’s a song that I wrote about my dad and about, you know, the moment that I get married — which, I have not been married yet. […]
We kind of planned this and it was kind of a little last-minute thing that we put together, and I’m really honored to be a part of this moment for you, Kelli, and I’m happy to be a part of specifically this father/daughter dance moment, because I’m such a daddy’s girl. And I feel like your dad, if you’re lucky, is your first love, is your first hero, and he’s a man that kind of sets the stage for the next man in your life. And I could tell from speaking to you guys yesterday that your dad loves the hell out of you.”
Shaboozey is on top of the world following a 2024 that saw his smash single “A Bar Song (Tipsy)” become one of the most successful singles in Billboard Hot 100 chart history. He’s been bringing the song to the stage lately, too, as he just kicked off the Great American Roadshow tour, starting in Indianapolis on September 22.
The setlist (via setlist.fm) pulled almost entirely from Shaboozey’s hit 2024 album Where I’ve Been, Isn’t Where I’m Going. The only songs performed that weren’t from that album were the Kevin Powers collaboration “Move On” (performed with Powers himself), a cover of Hank Williams Jr’s “Family Traditions,” and “Tall Boy” from Shaboozey’s 2022 album Cowboys Live Forever, Outlaws Never Die.
Check out the setlist below, along with Shaboozey’s upcoming tour dates.
Shaboozey’s The Great American Roadshow Setlist
1. “Last Of My Kind”
2. “Anabelle”
3. “Blink Twice”
4. “Tall Boy”
5. “Drink Don’t Need No Mix”
6. “Vegas”
7. “Highway”
8. “Move On” (with Kevin Powers)
9. “Family Traditions” (Hank Williams Jr cover)
10. “Amen”
11. “Finally Over”
12. “Fire And Gasoline”
13. “East Of The Massanutten”
14. “Horses & Hellcats”
15. “Good News”
16. “Let It Burn”
17. “A Bar Song (Tipsy)”
Shaboozey’s 2025 Tour Dates: The Great American Roadshow
09/25 — Philadelphia, PA @ The Fillmore Philadelphia
09/27 — Virginia Beach, VA @ The Dome
09/29 — Nashville, TN @ The Pinnacle*
10/01 — Birmingham, AL @ Avondale Brewing Company
10/02 — New Orleans, LA @ The Fillmore New Orleans
10/05 — Houston, TX @ 713 Music Hall
10/09 — Fort Worth, TX @ Billy Bob’s Texas
10/12 — St Petersburg, FL @ Jannus Live
10/14 — Fort Lauderdale, FL @ War Memorial Auditorium
10/16 — Orlando, FL @ House of Blues Orlando
Music critics like to do this thing where they point to an album or a song and declare, “This music captures how it feels to live in America right now.” And, often, I make fun of this. And you probably do, too. It just sounds so foolish and pompous. Because it’s almost never literally true. Art that aspires to capture “how it feels to live in America right now,” 99 percent of the time, is terrible. If it happens, it’s only by accident, which paradoxically undermines the allegedly “definitive” nature of the enterprise. Either way, most arguments about a particular piece of music capturing the national mood are rooted in faulty premises. Worse, it’s pretentious “music critic stuff,” ripe for derision.
Having said that: I have a song that captures what it feels like to live in America right now.
It’s called “Trinidad,” and it’s the first track on the new Geese album, Getting Killed. You might already know it — Getting Killed is among the year’s most anticipated indie-rock records, and “Trinidad” was the second single, released about two months before the arrival of the LP this week. Though it’s hardly an obvious choice for a single. It is, rather, a confounding sonic blob, a bad acid trip that sounds like a late-’90s Phish improv plucked from the middle of “You Enjoy Myself.” In the chorus — if it can be called a chorus — singer Cameron Winter screams, “There’s a bomb in my car!” And the music makes you believe him. The swirl of sounds, the bleeps and bloops and thunder and crashes, replicate the slow-motion sensation of spinning out in a cataclysmic car wreck. That feeling where your body hasn’t quite yet been annihilated but is keenly aware that total devastation is coming. A familiar premonition these days, to be sure.
“My son is in bed / my daughters are dead,” Winter intones. “My wife’s in the shed / My husband’s burning lead.” The details are so extreme and terrifying that it morphs into comedy as dark as a shark’s eyes. This can’t possibly be happening, you think when “Trinidad” is on. Though you were already thinking that, because — here it comes — that’s what it feels like to live in America right now. “Trinidad,” like our unreal reality, is ridiculous and horrific, numbly stoned and violently kneejerk, and on the verge of certain collapse even as it spins destructively forward.
After listening to Getting Killed for the past few months, I have no doubt that it is the greatest album of 2025. But I am even more confident that is the most 2025 album of 2025, the record that, by far, best captures how scary and chaotic things seem right now, in this age of smart robots and dumb authoritarians and passionately litigated talk-show controversies and memory-holed sex-trafficking conspiracies. Getting Killed nailed that “tragicomic horror show” vibe from the moment the video for “Taxes” dropped, when Geese depicted themselves playing for an audience of unhinged freaks who rip each other apart as the music hits an exhilarating peak.
That was back in July. At the start of fall, we are currently in full-on self-immolation mode. Threats, invective, limbs, bullets — they’re all choking the air like vultures. And now, finally, the appropriate soundtrack for the madness has arrived.
II. “ALL PEOPLE IN TIMES OF WAR MUST GO DOWN TO THE CIRCUS”
Getting Killed was made in Los Angeles at the start of the year. Outside, various American plagues lurked. They city was burning down. The former president was about to inaugurated as the new president. But from a career perspective, Geese were no longer, it seemed, a second or third-tier indie outfit, due to the growing buzz for Winter’s recent solo albumHeavy Metal.
Geese’s previous two albums hadn’t exactly (pardon the expression) set the world on fire. The first of these, 2021’s Projector, had garnered some initial hype, though personally I couldn’t hear much to be excited about. In retrospect, my personal biases worked against Geese. They had been pegged by supporters as the latest “cool NYC indie-rock band,” an archetype that has long triggered my skepticism (even though I like a lot of bands in that lineage). Also, I had already pledged my critical support to a different band of waterfowl, the jam-band Goose, who I cast in my mind as the upstart to Geese’s Big NYC rock homefield media advantage.
Silly, I know. But I nevertheless found Projector to be a rather run-of-the-mill indie-rock record. And it turned out that Winter himself ultimately agreed. As he recently told Rolling Stone, “We just did a fucking facsimile of a copy of a goddamn rip-off.”
What I didn’t know at the time was that Projector wasn’t actually their first album. Their actual first album came out in 2018, when the band members were still in high school. It’s called A Beautiful Memory, and it’s since been scrubbed from streaming platforms (though you can still find it on YouTube). I get why these guys wanted to bury music they made when they were 15 or 16, but A Beautiful Memory is actually… pretty great? At the risk of perpetrating gross hyperbole, I think it might be the most accomplished music made by high-school sophomores since Alex Chilton sang “The Letter” nearly 50 years ago.
It’s also, admittedly, a blatantly derivative classic-rock pastiche, with nods to the all the typical blacklight poster favorites: Zeppelin, Pink Floyd, The Doors, The Rolling Stones. For an outfit obsessed with being a true original — a potentially Quixotian pursuit for a rock band in 2025 — I can see it being an embarrassment, no matter how expert the execution. (Honestly, it’s the album that Greta Van Fleet will spend the next 30 years trying and failing to make.) But A Beautiful Memory does add some important context to the arrival of Getting Killed, which marks the point where Geese’s teenaged classic-rock scholarship comes full circle.
You can hear traces of Physical Graffiti and Sticky Fingers in the remarkably limber title track, where a bluesy riff bangs against the chants of a sampled Ukrainian choir and a hopped-up, arena-rock backbeat. The bombast also echoes through the rubbery funk of “100 Horses” and the delectably manic “Bow Down,” which spotlight the fluid and frenetic drumming of Max Bassin, the band’s secret weapon. On these tracks and elsewhere, Geese applies a funhouse mirror to guitar-based traditions and transforms them into exciting and exotic new shapes. Despite still being a very young band — they’re all still in their early 20s — they have fully internalized the rock syllabus and therefore can now move beyond it. Their talent is immense. It’s thrilling, honestly, to ponder how far they’ve already come, and imagine where they might go.
III. “AND TELL ‘EM GET RID OF THE BAD TIMES / AND GET RID OF THE GOOD TIMES, TOO”
A Beautiful Memory peaks with the penultimate track, a Gen Z spin on The Doors’ “The End” called “I Will Never Die.” Over several alternately suffocating and riveting minutes, Winter relates a story about a miserable old man tormented every day by “the same three little shits” who come to his house and beat him mercilessly. Finally, the man decides to shoot one of the kids and then himself, an early portent of the apocalyptic vibes emanating from their latest record (and, you know, everywhere else).
If I had heard A Beautiful Memory back then, I would have been an instant fan. As it is, I didn’t come on board with Geese until 2023’s 3D Country, which stands as the most purely fun rock record of the decade thus far. As of now, I think, I still prefer it slightly over Getting Killed, just for the sheer exuberance on display, even though the new album is a deeper and more emotional work. (3D Country is Boogie Nights, and Getting Killed is Magnolia.) In terms of laugh-out-loud unpredictability, nothing on Getting Killed can quite top 3D Country‘s third number, “Cowboy Nudes,” when the song explodes at the 1:10-mark into a delirious percussion breakdown, like something Roy Thomas Baker would have dreamt up had the produced Santana in the mid-’70s.
The most decisive artistic development on 3D Country was Winter’s ascent to “generational talent” status as a rock singer. Admittedly, this is a low bar, especially for male vocalists, who in the modern era usually sing like they’re trying extra hard to not be singled out for criticism or mockery. Winter, meanwhile, constantly risks failure as a singer. And, depending on your point of view, he succumbs to it. I am sure that anyone who reads this and ends up hating Getting Killed will do so because they can’t stand his voice. But for me, Winter’s fearless phrasing and operatic emoting (coupled with his natural charisma) makes him the first truly great rock frontman in I don’t know how long.
On Getting Killed, he constantly puts himself on the tightrope, caterwauling like a man trying to simultaneously channel Leonard Cohen, Nina Simone, Captain Beefheart, and Julian Casablancas. And he actually pulls it off on “Half Real,” one of two songs (along with the hilariously titled “Au Pays du Cocaine”) that can be loosely classified as ballads. As was the case on the funereal-paced Heavy Metal, Winter starts “Half Real” in a pained warble that conveys a feeling pitched somewhere between a spiritual crisis and an epiphany, before gradually lifting his voice to an ecstatic purr that sounds like a woolly mammoth having a tantric orgasm (complimentary).
Again: I don’t expect everyone to appreciate the sound of a woolly mammoth have a tantric orgasm. But you must admit it’s not something you’ve heard before. And when did you last think that about a young, hotshot indie-rock band?
IV. “YOU WERE THERE THE DAY THE MUSIC DIED / AND I’LL BE THERE THE DAY IT DIES AGAIN”
I want to reiterate the last word of the previous sentence: band. Geese is a band. Along with Winter and Bassin, guitarist Emily Green and bassist Dominic DiGesu are critical components of the overall whole, their instruments melting into one another even as the music zigs and zags at unexpected pivot points. The pleasure of listening to Getting Killed derives from the harmonious tension of their ensemble playing, whether it’s centered on the lethargic groove of “Husbands,” the slippery dynamics of “Islands Of Men,” or the beatific jangle of “Cobra.”
And then there’s the closing number, the “You Can’t Always Get What You Want” of Getting Killed. On “Long Island City Here I Come,” Winter rides a barreling wave of barely contained noise, with Bassin, Green, and DiGesu plugging away furiously as the singer searches for a way out of our modern-day hyperreal nightmare. The quest proves inconclusive. What he finds instead is a religious vision: “And Joan of Arc she warned / ‘The lord has a lot of friends, and in the end / He’ll probably forget he’s ever met you before.’”
The band part bears emphasizing, as Geese is still best known for the (brilliant) solo record put out at the end of 2024 by their lead singer. Heavy Metal, indeed, is a mesmerizing listen, and the confidence gained from that “difficult” album’s rapturous reception has clearly carried over to the fearlessness of Getting Killed. But I also think Cameron Winter broke out ahead of Geese because, as a music culture generally, we are no longer geared toward glorifying groups. And I don’t just mean rock groups. Think back to the 1990s and recall how groups once also dominated pop, R&B, hip-hop, and country. Groups still exist, obviously, but they don’t capture the zeitgeist anymore. And that’s our fault as much as theirs. As we, the listeners, have retreated from communal spaces to tech-aided isolation, so have our musicians. Solo artists are simply more “relatable” now, as conduits that reflect our own limited IRL social circles and suspicion of outsiders. After all, how many of us ever stand in a pack of three or four people out in public anymore?
Geese, therefore, is the rarest of beasts: A great, young American band. Not a side project for yet another popular singer-songwriter with undeniable parasocial appeal, but a working unit where the members become something greater than their individual selves. Maybe it’s still possible to have faith something bigger, whether it’s a group of musicians or a nation, after all.
Getting Killed is out 9/26 via Partisan Records. Find more information here.
Cardi B fans waited more than six years for her new album, Am I The Drama?, but commuters in her native New York will be getting to hear her voice all the time now. Cardi’s teamed up with the Metropolitan Transportation Authority to record a series of PSAs that will be played at subway stations across the city. The MTA posted an Instagram Reel following Cardi during the recording of the PSAs, which make clever use of the boisterous Bronxite’s over-the-top personality and instantly recognizable wit.
In one, she employs one of the Big Apple’s signature catchphrases, cracking, “We’re walking here! Steps are for stepping, not sitting. Move it, Bucko!” In another, she reminds riders, “These trains don’t move without you, so make sure you pay that fare and keep it real.”
It’s a fun and funny collaboration between two of New York’s staples, and another example of Cardi’s innovative album promo, which included her busking during a subway ride and selling albums from a station pitch. Meanwhile, Los Angeles’ Metro recently teamed up with the estate of one of its hometown hip-hop heroes, Nipsey Hussle, to transform Nip’s neighborhood station in his honor and putting his face on limited edition Tap cards.
Keeping up with new music can be exhausting, even impossible. From the weekly album releases to standalone singles dropping on a daily basis, the amount of music is so vast it’s easy for something to slip through the cracks. Even following along with the Uproxx recommendations on a daily basis can be a lot to ask, so every Monday we’re offering up this rundown of the best new music this week.
This week saw Cardi B complete modern music’s most-awaited comeback and Nine Inch Nails take a new step. Yeah, it was a great week for new music. Check out the highlights below.
It took seven years, but at long last, Cardi B’s second album, Am I The Drama?, is here. Cardi sprinkles collaborations throughout the project and the one she highlighted on release day was the Kehlani link-up “Safe,” which sees the two pining for a man offering security.
Wednesday — “Townies”
Wednesday have been one of the hottest indie groups of the past few years and they continued to build on the rapidly growing legacy last week with Bleeds, a new album. When dropping the album, they shared a video for “Townies,” which sees Karly Hartzman exploring the relationship between budding sexuality and the rumor mill.
Nine Inch Nails — “I Know You Can Feel It”
Trent Reznor and Atticus Ross have made a bunch of film scores at this point. Their band, Nine Inch Nails, though, has technically just done one: Tron: Ares. It’s a score, so a lot of tracks are more textural than structural, but songs like “I Know You Can Feel It” stand on their own as legitimate NIN songs.
Lola Young — “Post Sex Clarity”
Young has quickly emerged as one of the most powerful and exciting contemporary vocalists, a claim she further stakes on her new album, I’m Only F**king Myself. The project is out now and it features songs like the soaring “Post Sex Clarity.”
Raye — “Where Is My Husband!”
Where the heck is the good man Raye has been waiting for? That’s what Raye asks on her catchy, horn-inflected new single, which is the first taste of a currently unannounced second album that’s in progress.
Ashnikko — “Smoochie Girl”
Ashnikko has so far been all over the map rolling out her new album, Smoochies. On “Smoochie Girl,” she’s busting out straight-up pop that’s catchy as hell.
Toro y Moi — “Walking In The Rain (Unerthed)”
Instead of dropping a deluxe album for Hole Erth, Toro y Moi came back with Unerthed: Hole Erth Unplugged. It’s not quite just an acoustic project as the title might suggest, but rather, it gives every song from the album a stylistic shift.
Samia — “Cinder Block”
Samia unveiled Bloodless earlier this year, but that’s not stopping her from continuing to drop new music this year. Last week, she revealed “Cinder Block,” which interpolates a pair of Leonard Cohen songs: “Suzzane” and “Hallelujah.”
Destroy Lonely — “Screwed Up”
Destroy Lonely is keeping his fans fed as he just dropped Broken Hearts 3, his eighth project since 2019. Highlights from the album include the party-ready “Screwed Up.”
Thundercat — “Children Of The Baked Potato” Feat. Remi Wolf
The Baked Potato is a quirky and iconic LA venue, known for its jazz shows and literally serving baked potatoes. Thundercat tapped Remi Wolf to help him play tribute to the spot on a new song last week, “Children Of The Baked Potato.”
Doja Cat is just days away from releasing her fifth studio album, Vie. After sharing the tracklist and lead single “Jealous Type,” she’s now revealed the cover art — although apparently, it hasn’t been as well-received as the other aspects of her rollout.
Doja revealed the cover, which features a photo of the rapper/pop star suspended from a parachute stuck in a tree while wearing a wedding dress, on social media with a caption explaining the philosophy for the album. “Falling in love is putting trust in the hands of yourself and others,” she wrote. “The yellow parachute represents curiosity, happiness, and adventure. Flying you towards new experiences and scenes, taking a leap of faith, and holding no bounds. The tree represents life and wisdom. Giving you a sense of safety within its branches, but the pain from the fall teaches you that those scratches can be healed. You don’t have to hit the ground. Love grows upward, but more importantly down. It’s the roots that keep you steady. This is the cover of my album.”
Unfortunately for Doja, the cover deviated from the 1980s motif that has defined much of the rollout so far, prompting some fans to leave some not-so-nice comments about the cover. As one wrote, “I don’t get this roll out. Is it all 80’s inspired or was that just the lead song?” Another jabbed, “Artistically, this era is all over the place.”
Doja herself addressed the criticisms on Twitter, “You can’t make me feel bad for a cover that has visceral meaning. The greatest armor is love and integrity. I forgive your harsh criticism, but for me, I won yet again for following my heart. If I was you, I wouldn’t.”
You can’t make me feel bad for a cover that has visceral meaning. The greatest armor is love and integrity. I forgive your harsh criticism but for me I won yet again for following my heart. If I was you I wouldn’t.
Daniel Caesar is a month removed from the impending release of his fourth studio album, Son Of Spergy, and took the opportunity to share its latest single, “Moon” featuring Bon Iver.
“Moon” is a wistful ballad about the angst he felt growing up under the strict parenting of the album’s namesake. “Hit dogs will holler, I’ll howl at the moon / I’m not who I wanna be at the moment / Maybe soon,” he croons. “Someday I will leave your home / Be a man, I’ll make my own
And I’ll set this wood on fire, you can’t stop mе / There I will rest my bonеs.”
The album, which Caesar has been working on since 2024, also features the single “Have A Baby (With Me),” and collaborators 656yf4t, Blood Orange, Sampha, Yebba, and his Caesar’s own father, Norwill Simmonds. Caesar has also been working with Blood Orange and Rex Orange County, in addition to working with Tyler, The Creator on Chromakopia.
You can listen to “Moon” featuring Bon Iver above. See below for the Son Of Spergy tracklist.
01. “Rain Down” Feat. Sampha
02. “Have A Baby” (With Me)
03. “Call On Me”
04. “Baby Blue” Feat. Norwill Simmonds
05. “Root Of All Evil”
06. “Who Knows”
07. “Moon” Feat. Bon Iver
08. “Touching God” Feat. Yebba & Blood Orange
09. “Sign Of The Times”
10. “Emily’s Song”
11. “No More Loving (On Women I Don’t Love)” Feat. 656yf4t
12. “Sins Of The Father” Feat. Bon Iver
Son Of Spergy is due on 10/24 via Republic Records. You can find more info here.
Earlier this month, Jade took a big post-Little Mix step by dropping her debut solo album, That’s Showbiz Baby!. She previously announced a tour in support of the project that kicks off in October. Before it even launches, though, Jade has added a bunch of new dates for 2026.
The previously announced shows were all in the UK, but next year, Jade will head to North America, too.
Tickets for the North American shows go on sale starting with an artist pre-sale on September 25 at 10 a.m. local time, and fans must sign up for that by September 24 at 10 a.m. ET. The general on-sale is then on September 26 at 10 a.m. local time. More information is available on Jade’s website.
Check out the tour dates below.
Jade’s 2025 & 2026 Tour Dates: That’s Showbiz Baby! The Tour
10/07/2025 — Dublin, Ireland @ 3Olympia Theatre
10/08/2025 — Dublin, Ireland @ 3Olympia Theatre
10/09/2025 — Belfast, UK @ Ulster Hall
10/11/2025 — Brighton, UK @ Dome
10/12/2025 — Manchester, UK @ O2 Victoria Warehouse
10/13/2025 — Glasgow, UK @ O2 Academy
10/15/2025 — Leeds, UK @ O2 Academy
10/16/2025 — Birmingham, UK @ O2 Academy 1
10/18/2025 — Newcastle, UK @ O2 City Hall
10/19/2025 — London, UK @ Roundhouse
10/21/2025 — Bournemouth, UK @ O2 Academy
10/22/2025 — London, UK @ Roundhouse
10/23/2025 — Newcastle, UK @ NX Newcastle
02/02/2026 — Los Angeles, CA @ The Wiltern
02/03/2026 — San Francisco, CA @ The Fillmore
02/05/2026 — Portland, OR @ Crystal Ballroom
02/06/2026 — Seattle, WA @ Paramount Theatre
02/07/2026 — Vancouver, BC @ Vogue Theatre
02/10/2026 — Denver, CO @ Fillmore Auditorium
02/12/2026 — Chicago, IL @ House of Blues Chicago
02/15/2026 — Silver Spring, MD @ The Fillmore Silver Spring
02/16/2026 — Philadelphia, PA @ The Fillmore Philadelphia
02/18/2026 — Boston, MA @ Citizens House of Blues Boston
02/19/2026 — Brooklyn, NY @ Brooklyn Paramount
02/21/2026 — Montreal, QC @ MTELUS
02/23/2026 — Toronto, ON @ HISTORY
03/04/2026 — Brussels, BEL @ La Madeleine
03/07/2026 — Cologne, DE @ E-Werk
03/08/2026 — Amsterdam, NL @ Paradiso
03/11/2026 — Paris, FR @ Salle Pleyel
03/12/2026 — Zurich, CH @ X-TRA
03/14/2026 — Milan, IT @ Fabrique
03/16/2026 — Berlin, DE @ Columbiahalle
03/18/2026 — Hamburg, DE @ Große Freiheit 36
Jade’s That’s Showbiz Baby! Album Cover Artwork
Sony Music UK/RCA Records
Jade’s That’s Showbiz Baby! Tracklist
1. “Angel Of My Dreams”
2. “It Girl”
3. “FUFN (F*ck You For Now)”
4. “Plastic Box”
5. “Midnight Cowboy”
6. “Fantasy”
7. “Unconditional”
8. “Self Saboteur”
9. “Lip Service”
10. “Headache”
11. “Natural At Disaster”
12. “Glitch”
13. “Before You Break My Heart”
14. “Silent Disco”
That’s Showbiz Baby! is out now via Sony Music UK/RCA Records. Find more information here.
Fans have been waiting a good, long while for ASAP Rocky’s new album, but in the meantime, his acting career has been flourishing. He stars in two movies this year alongside screen veterans: Highest 2 Lowest, Spike Lee’s Kurosawa remake also starring Denzel Washington, and If I Had Legs I’d Kick You with Platonic star Rose Byrne.
In a new interview with Elle magazine, Rocky calls working on the latter movie “an anxiety attack,” but fortunately for him, he has the perfect therapist: Jay-Z.
“That whole f*cking film is an anxiety attack,” he jokes, before admitting that he puts “therapists in the same box as psychic readings.” He explains, “I look at it like, Yo, if you don’t share the same experiences, what’s the point of me telling a stranger my business for an hour straight, for them to just say, ‘Okay, well, how did that make you feel?’”
He does, however, make one exception: “I think Jay-Z is a Black therapist,” he said. “A lot of people come to him with their problems.”
Elsewhere in the interview, Rocky talks about friction within the ASAP Mob, his relationship with Rihanna, and of course, that long-delayed album, Don’t Be Dumb. He says of the latter, “I don’t want to primarily blame it on my case, but life was lifeing. We don’t plan on having children, but when it happens, you gotta adjust and move with it. I gotta be present for my family, because that’s first.”
The couple is also well aware of their shared reputation for putting off their long-awaited releases. “She’s like, ‘Yo, I ain’t gonna lie,’” he says. “‘Your fans might want to kick your ass as much as my fans wanna kick my ass. What saves me is that I’m pregnant most of the time.’”
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Necessary cookies are absolutely essential for the website to function properly. This category only includes cookies that ensures basic functionalities and security features of the website. These cookies do not store any personal information.
Any cookies that may not be particularly necessary for the website to function and is used specifically to collect user personal data via analytics, ads, other embedded contents are termed as non-necessary cookies. It is mandatory to procure user consent prior to running these cookies on your website.
