Wet Leg did a home version of the Tiny Desk Concert series a few years ago, but now NPR has gotten the band into the office for a proper Tiny Desk performance, which was shared today (July 9).
It’s one fans are going to want to pay attention to. Aside from playing “CPR” and “Davina McCall,” Wet Leg also played “Mangetout,” an unreleased song they’ve played live before. They also debuted “11:21,” another unreleased track, but this one, they hadn’t performed before.
Meanwhile, a press release previously noted the group’s upcoming album “contains love songs of every stripe: stressed-out, gooey-eyed, gratuitously horny, blissed out, obsessive and mysterious.” The project is also said to be “defined by its sheer exuberance and Teasdale ended up finding the process empowering.”
Watch the video above and for more live Wet Leg, check out the band’s upcoming tour dates below.
Wet Leg’s 2025 Tour Dates: The North American Moistourizer 2025 Tour
09/01 — Seattle, WA @ Paramount Theatre
09/03 — Vancouver, BC @ Malkin Bowl
09/05 — Portland, OR @ Revolution Hall
09/09 — Minneapolis, MN @ First Avenue
09/10 — Chicago, IL @ Salt Shed
09/12 — Toronto, ON @ HISTORY
09/13 — Montreal, QC @ MTELUS
09/14 — Boston, MA @ Roadrunner
09/15 — Philadelphia, PA @ Franklin Music Hall
09/17 — New York, NY @ Summerstage in Central Park
09/19 — Washington, DC @ 9:30 Club
09/21 — Atlanta, GA @ Shaky Knees
09/30 — Oakland, CA @ Fox Theater
10/03 — Phoenix, AZ @ Arizona Financial Theatre
10/07 — Oklahoma City, OK @ The Criterion
10/14 — El Paso, TX @ Lowbrow Palace
10/17 — Los Angeles, CA @ The Greek Theatre
Moisturizer is out 7/11 via Domino. Find more information here.
Chicago phenom Ric Wilson creates the kind of music that makes the walls sweat – a kinetic blend of funk, disco, and hip-hop that gets crowds to their feet and fans itching to catch him performing live. But even as the hype behind his music career builds, he stays smooth, cool, bold, and balanced – just like the glass of Rémy Martin V.S.O.P he’s sipping on during his intimate, no-holds-barred interview with Uproxx.
As an extension of Rémy Martin’s V.S.O.P This Is My City campaign, the brand has teamed up with Uproxx to launch their new summer event series: Sound Of My City. In the first installment, Wilson sat down with host and spirits expert Frank Dobbins to capture the flavor of his city by diving into its inimitable influence on culture, and by crafting a Rémy Martin V.S.O.P cocktail that mirror’s the vibe of the rapper’s signature sound. As Wilson samples his custom creation, Ric’s Dancing Juice – a polished, vibrant mix of cognac, elderflower, brown sugar, and mint – he reflects on the flavor notes of Chicago itself: raw, rich, bitter, and sweet.
Ahead of a pop-up performance set against the city skyline for Wilson’s hometown fans, the artist opened up about his Chi-town influences and how disco – a genre his city helped to grow – inspires not only his sound, but the sound of hip-hop today. Between sips, Wilson shared his favorite Chicago rappers (legends and newcomers alike made the cut), his dream collab, and the festival he wants to headline.
Watch the full video to learn more about how Chicago influenced Wilson’s come-up and stay tuned for footage from his exclusive concert performance, courtesy of Rémy Martin.
The set is available on either eight CDs or 14 vinyl records and includes remastered versions of 1994’s Definitely Maybe, 1995’s (What’s The Story) Morning Glory?, 1997’s Be Here Now, 2000’s Standing On The Shoulder Of Giants, 2002’s Heathen Chemistry, 2005’s Don’t Believe The Truth, and 2008’s Dig Out Your Soul, as well as the 1998 B-sides collection The Masterplan.
Check out the full tracklist below.
Oasis’ Complete Studio Album Collection Vinyl Tracklist
Definitely Maybe
A1. “Rock ‘n’ Roll Star (Remastered)”
A2. “Shakermaker (Remastered)”
A3. “Live Forever (Remastered)”
B1. “Up in the Sky (Remastered)”
B2. “Columbia (Remastered)”
B3. “Sad Song (Remastered)”
C1. “Supersonic (Remastered)”
C2. “Bring It On Down (Remastered)”
C3. “Cigarettes & Alcohol (Remastered)”
D1. “Digsy’s Dinner (Remastered)”
D2. “Slide Away (Remastered)”
D3. “Married with Children (Remastered)”
(What’s The Story) Morning Glory?
A1. “Hello (Remastered)”
A2. “Roll with It (Remastered)”
A3. “Wonderwall (Remastered)”
B1. “Don’t Look Back in Anger (Remastered)”
B2. “Hey Now! (Remastered)”
B3. “[Untitled] (Remastered)”
B4. “Bonehead’s Bank Holiday (Remastered)”
C1. “Some Might Say (Remastered)”
C2. “Cast No Shadow (Remastered)”
C3. “She’s Electric (Remastered)”
D1. “Morning Glory (Remastered)”
D2. “[Untitled] (Remastered)”
D3. “Champagne Supernova (Remastered)”
Be Here Now
A1. “D’You Know What I Mean? (Remastered)”
A2. “My Big Mouth (Remastered)”
A3. “Magic Pie (Remastered)”
B1. “Stand by Me (Remastered)”
B2. “I Hope, I Think, I Know (Remastered)”
B3. “The Girl in the Dirty Shirt (Remastered)”
C1. “Fade In-Out (Remastered)”
C2. “Don’t Go Away (Remastered)”
C3. “Be Here Now (Remastered)”
D1. “All Around the World (Remastered)”
D2. “It’s Gettin’ Better (Man!!) (Remastered)”
D3. “All Around the World (Reprise) (Remastered)”
The Masterplan
A1. “Acquiesce (Remastered)”
A2. “Underneath the Sky (Remastered)”
A3. “Talk Tonight (Remastered)”
A4. “Going Nowhere (Remastered)”
B1. “Fade Away (Remastered)”
B2. “The Swamp Song (Remastered)”
B3. “I Am the Walrus – Live Glasgow Cathouse June ’94 (Remastered)”
C1. “Listen Up (Remastered)”
C2. “Rockin’ Chair (Remastered)”
C3. “Half the World Away (Remastered)”
D1. “(It’s Good) to Be Free (Remastered)”
D2. “Stay Young (Remastered)”
D3. “Headshrinker (Remastered)”
D4. “The Masterplan (Remastered)”
Standing On The Shoulder Of Giants
A1. “Fuckin’ in the Bushes”
A2. “Go Let It Out”
A3. “Who Feels Love?”
A4. “Put Yer Money Where Yer Mouth Is”
A5. “Little James”
B1. “Gas Panic!”
B2. “Where Did It All Go Wrong?”
B3. “Sunday Morning Call”
B4. “I Can See a Liar”
B5. “Roll It Over”
Heathen Chemistry
A1. “The Hindu Times”
A2. “Force of Nature”
A3. “Hung in a Bad Place”
B1. “Stop Crying Your Heart Out”
B2. “Songbird”
B3. “Little by Little”
C1. “A Quick Peep”
C2. “(Probably) All in My Mind”
C3. “She Is Love”
D1. “Born on a Different Cloud”
D2. “Better Man”
Don’t Believe The Truth
A1. “Turn Up the Sun”
A2. “Mucky Fingers”
A3. “Lyla”
A4. “Love Like a Bomb”
A5. “The Importance of Being Idle”
B1. “The Meaning of Soul”
B2. “Guess God Thinks I’m Abel”
B3. “Part of the Queue”
B4. “Keep the Dream Alive”
B5. “A Bell Will Ring”
B6. “Let There Be Love”
Dig Out Your Soul
A1. “Bag It Up”
A2. “The Turning”
B1. “Waiting for the Rapture”
B2. “The Shock of the Lightning”
B3. “I’m Outta Time”
C1. “(Get Off Your) High Horse Lady”
C2. “Falling Down”
C3. “To Be Where There’s Life”
D1. “Ain’t Got Nothin’”
D2. “The Nature of Reality”
D3. “Soldier On”
Complete Studio Album Collection is out 8/22 via Big Brother Recordings. Find more information here.
There isn’t a single group more transformative to hip-hop than the Wu-Tang Clan. They redefined what hip hop could be, forever changing and morphing rap music into their image, inspiring multiple generations of artists and even reaching beyond music. Simply put, we struggle to imagine what hip hop — with all its disparate sub-genres and larger than life personalities — would look, sound, and be like without the impact of the Wu-Tang. So when it was first announced that this year’s tour would be the group’s farewell, it hit every hip hop fan in the heart.
Who better to speak to that than legendary hip hop journalist Elliott Wilson, who has been covering hip hop for more than 30 years and met RZA before he was a household name? We chopped it up with Elliott about the early days of the group, what they brought to the game, what the end of Wu-Tang means for rap music, and why getting to NYC and catching them on this farewell tour is absolutely vital this summer.
Can you speak to the cultural importance of Wu-Tang? What’s their biggest contribution to the culture?
Well, I think they just came in as an independent force and from an area of New York City that was not connected to hip-hop, Staten Island. It was such an anomaly. A crew of rappers who were all very skilled, and came out of nowhere, unified, and brought this energy to the game. I heard about them independently when they first put ‘Protect Ya Neck’ out. I met their manager, Mike McDonald, and it was clear that they had built an underground movement. It was unique to have all these super talented rappers with an uncompromising sound in one group.
And then, they’re not only going to do a record deal for themselves as a group, but each individual member is going to sign their own record deal. Method Man signed his deal with Def Jam, Ol’ Dirty Bastard signed his deal with Elektra, Raekwon signed to Loud, which also put the group album out. The idea that there was this all-star crew of talent coming out of this forgotten area of New York City and the unification of how they carried themselves. It felt new and I think it brought a lot of excitement to the game because it was something different we hadn’t seen before.
Take us into the moment when you first heard ‘Protect Ya Neck.’ What were your early impressions?
Raw and uncompromising. The mission was so focused. RZA had convinced them all that this is a posse cut, everybody gets their little six to eight bars on it. The presentation and the connection I felt from jump was that those dudes were mad charismatic. I remember meeting RZA and GZA, they had previous experience in the business but when they put music out, it wasn’t reflective of their actual image. So when they got Wu-tang Clan together, they were very much adamant about being uncompromising — it showed them as they really live and move around.
The main thing though is they put that single out and then the album came out and there was a little bit of pushback. It was such a different sound at the time, but really it’s when the record ‘C.R.E.A.M.’ took off, that was the awakening that brought Wu-Tang to the mainstream.
There was no denying them after that, it catapulted them from the local New York scene to mainstream nationwide. And eventually worldwide.
Wu-Tang is used as shorthand to describe the New York sound the same way that G-Funk is used to describe the West Coast. Being that they came out of Staten Island, did it still feel distinctively New York at the time, or did they move the conversation to revolve around them?
At the time, when we thought of New York hip-hop, we thought of the boom bap sound. Heavy drums and it’s on the one in the two. But I think RZA didn’t mind it being a little off-kilter or a little more muddy. You know what I mean? Think there was some criticism over that. I remember when the debut album came out, some people didn’t really connect with the production the same way and felt it wasn’t as traditional as the boom bap New York sound.
So I think I look at RZA’s sound as a spin on that traditional New York hip-hop. The way he put loops and samples was unconventional compared to someone like DJ Premier or Pete Rock. RZA’s approach was so different it took people a minute to really grasp it.
It was a very New York sound, but I think RZA’s approach was distinctively different. Until ‘C.R.E.A.M.’ took off, and then Wu-Tang really became a movement.
Do you remember the first time you saw Wu-Tang? How did people talk about the group?
It was the New Year’s Eve show in New York in ’93. It was always chaos because people thought, “Well, who’s exactly in Wu-Tang?” There was a mystique around it.
People kind of knew Method Man and certain key members, but outside of that, people didn’t fully grasp who the members were.
How has the live experience of seeing Wu-Tang evolved throughout the years?
They’ve admitted that one of the biggest mistakes they made was when Wu-Tang Forever came out in ’97, they went on this huge tour with Rage Against the Machine. They didn’t like it because it was designed to take them more mainstream. They were hitting audiences that were rock fans, and they wanted to be in the hip-hop scene and didn’t want the grueling tour schedule that came with rock at the time. So they eventually quit the tour and I think they got replaced by The Roots. I don’t think they took the live show seriously.
Now, they’re going on their final tour, and I feel like they take that seriously and see value in that, and see the importance of touring and want to reach their audience. At first, I don’t know how connected they were to it.
Now, they get it. They understand the value of tour. Their live shows have gotten better. This new tour, RZA’s adamant that all the members are going to show up. It’s more unified now and they’re going to define their legacy properly.
As a person who has lived and breathed hip-hop for their entire career, can you take us into what was different about hip-hop before and after Wu-Tang? Without Wu-Tang, do we have people like MF Doom? And without MF Doom, where would the underground even be?
Yeah, I think that’s probably it. This sort of uncompromising underground culture. Even though ‘C.R.E.A.M.’ took off, I don’t think they felt it was a radio single. It was raw and authentic. Wu-Tang brought a culture. It goes beyond the music itself. That symbol to this day means something to people.
The unique thing about them was they were not only giving you great music, but also the branding, the organic marketing, everything about them was ahead of its time. When you wear a Wu-Tang shirt it doesn’t just feel like some promo t-shirt, it feels like you’re a part of something, you’re a part of a movement, you’re part of a culture.
They’re all brilliant writers. So the culture of that, the words, I think what stood out from the jump, why people felt like that logo means something.
I remember I was at The Source and we were going to do a Wu-Tang Clan cover, and unfortunately, the publisher tried to say, “All the members have to agree to the photo.” They would come up to the office, and Raekwon wouldn’t like this photo, Method Man would like the photo, so we couldn’t make a final decision. Ultimately, we just put the Wu-Tang logo on the cover and it was a huge seller. We didn’t even need an image of them to sell it. It speaks to me that they brought not just music to the game, but they brought a whole identity and culture, which really was unique at that time. That underground, uncompromising tendency it continues to inspire the generations that have come after.
A lot of hip-hop groups say they’re retiring, and let’s face it, no one really retires anymore, but Wu-Tang actually might. So why should people see Wu-Tang before it’s too late?
The deals have been done, they’re secure — you’re getting all the members this time. Think about how tough it is to get every member on the same page. If you’re a fan of one individual in the group, you’re going to get your moment with your hero. I think when they say they’re retiring, they’re really saying that “we can’t guarantee that this will ever happen this exact way ever again.”
You’ll always get some form of the Wu-Tang, but this is the one to catch because you’re going to get everybody committed, probably for the first time fully committed! This is the last time RZA will be able to guarantee that he can deliver every member at their full potential. You’re going to get your Method Man moment, you’re going to get your Ghostface Killah moment, you’re going to get a Raekwon moment. Every night.
What do you think Wu-Tang’s end means for hip hop on the whole?
They still represent the standard of excellence. Every artist wants to be successful, but at the end of the day, if you’re going to make a true impact, you’re going to have to empower others and Wu-Tang represents brotherhood, it represents empowerment, it represents impact. And I think that that’s something people continue to be as inspired by. It’s almost like a sports mentality. You want to play with your guys, and you want to win the championship, but it takes a team to do that.
Wu-Tang is the ultimate team for hip hop. One person can’t do it alone; you have to find people unified in what your mission is, set your goals, and achieve it. Wu-Tang is an embodiment of that, and that’s why their impact moves beyond hip hop. That measure of brotherhood and teamwork and dedication and unification, that’s what we all aspire to achieve, to win, to unify, to create, to reach a certain goal. I think that Wu-Tang embodies that.
The Uproxx Music Travel Hot List series is sponsored by Priceline, where you can go to book your next music travel adventure.
Nobody knows travel like a DJs and musicians. Planes, trains, cars… yachts! There isn’t a mode of transportation that these artists don’t love to both ride and perform in. That’s why when we thought about who to reach out to for expert travel advice for this year’s Music Travel Hot List, DJs and artists like techno master Paul Kalkbrenner, tech-house and R&B DJ Myles O’Neal, genre blender BL Suede, vibe king Le Chev, Piano House maestra LP Giobbi, and the multidisciplinary artist and musician East Forest just made sense.
These are the people who live for the road, the mad ones if you will, shuttling from club to club, party to party, country to country, constantly on the move, which just adds an extra weight to their advice. Some of the following advice is geared toward people just dipping their toes into travel, but some artists offered a few gems that are sure to resonate with everyone who loves a life on the road.
Leave the phone home. Try it for a night. Because in the end, everywhere where you go, all your other friends will have taken the photos and you can ask them for the pictures. I understand, especially if you grew up with a phone, how it feels to put it down. But if you have a phone in your pocket with the internet, how independent, how off the radar can you really be? The digital detox is very essential, especially in the club. Live in the moment — nobody on the phone, nobody texting with somebody who is not at the party, nobody taking photos. Everybody just raving.
BL Suede: Don’t Let Socks And Underwear Take Up Space, And Leave The Work At Home
BL Suede
Don’t worry too much about socks and underwear. Socks can take up a lot of room and you can always buy a pack of socks somewhere. Pack a few pairs but you don’t need one for every day. Just bring maybe a couple and then get some more out there. That really helps on keeping your bag tight and packed.
And another thing, leave the work at home!
When you’re starting off, and you’re hungry, you might tell yourself “Oh, I’m going to bring my studio stuff. I’m going to bring my mic. I’m going to record on the road.” You are not going to record on the road. It’s never going to happen. As much as you intend to work in your downtime, It’s not going to happen. You don’t need your audio interface. You don’t need your midi keyboard. Just keep it simple because if you end up traveling with all this stuff, you’ll end up losing it.
Get out there and ask locals what is going on. If you follow the internet’s advice, you’re going to have basically the same experience as everyone else, so ask the locals “what’s up, where are the sandwiches, where do I go out?” And you’re going to have a way more unique local experience, and more memorable one.
Also, learn a little of the language, even just to say “please, thank you,” and “can I have another drink?” It’s going to go farther than saying, “I only speak English.” If you learn just a little bit, then you’re showing some courtesy, and you’ll probably earn a bit more favor.
Recognize that moving at a constant fast pace—especially when you’re covering lots of ground—isn’t always natural, and it’s OK if it feels challenging. Travel can be inspiring, but it can also be draining. Put your mental and physical well-being first. Prioritize rest, nourishment, and moments of stillness. The journey is so much more meaningful when you’re not running on empty.
Never check a bag. If you check a bag and then that bag’s not there when you land, it could ruin your whole trip. Always carry on everything, travel with the basics, and you’ll realize you have everything you really need. I’ve done two-week tours with just a carry-on — it forces you to be intentional. Stick to neutral pieces you can mix and match, and keep your essentials dialed in. Less stuff, less stress.
Pick an airline and hotel brand to consistently travel and stay with to start earning points and status. Especially on long international flights, you’ll get opportunities to upgrade your seat for more room or even lay-downs. Building points and status through brand loyalty really does pay off!
While the event is technically called the Essence Festival of Culture, one of its biggest draws is the nightly concert featuring some of the biggest names in Black music. But at the 2025 Essence Fest in New Orleans, those names and the music they represent could be seen, heard, and felt throughout the weekend, all over the city — whether that was in the convention hall or just walking the streets of the Big Easy.
If you had to pick an unofficial anthem for the weekend, it’d have to be the 2024 hit from South Carolina native 803Fresh, “Boots On The Ground.” It seemed that every ten minutes, a line dance would break out, with festival attendees answering the chorus question “where them fans at?” with a demonstration that said, “everywhere.” Propelled by a viral TikTok trend and embraced by the populace at large, “Boots On The Ground” joined Cupid’s 2020 single “Flex” as the line dance jingles du jour, becoming part of the long continuum of line dancing songs near and dear to Black culture.
Each night’s concert brought a different perspective to the multiple facets of contemporary Black music, from the sort of thing your mom/auntie/grandma might have played on Saturday morning right before a cleaning frenzy to the hits that soundtrack the average Friday night out.
Speaking of Friday night, the highlight of the weekend was undoubtedly GloRilla’s Friday night set. She even acknowledged the coincidence of her booking, the sweltering heat in New Orleans, and the opening lines of her latest runaway hit, “TGIF”: “It’s 7 pm Friday / It’s 95 degrees.” One of the great things about Glo is that she knows where her talent lies; she lets the dancers dance, and focuses on delivering the absolute heck out of her lyrics.
Also, don’t be surprised if you see Von Dutch make a comeback sometime in the next couple of months. Glo and her dancers were decked out head-to-toe in the once iconic brand favored by millennials in the early 2000s. Yes, even the trucker hats, which we once donned ironically — the younger generation, it seems, has taken a liking to the admittedly tacky accessory, though I’m not sure if they’re making fun of us or just trying to recapture some of the nonchalant optimism of that era.
Even if you couldn’t get into the official concert at the Superdome, there were still plenty of opportunities to catch some of the hottest contemporary artists in Black music at the convention center itself. At AT&T’s stage, Leon Thomas drew a crowd looking to see a performance of his unapologetic smash, “Mutt,” and were treated to a full set of tracks from the album of the same name. To me, this was even more exciting than watching from stadium seating; Leon was literally close enough for some fans in the front row to touch.
Saturday night’s show was utterly captivated by the magnetic presence of Erykah Badu, whose wit played up an unexpected appearance from Anthony Anderson, the difference in camera angles on the stadium screens between Badu and her ASL interpreter, and just how much performance time had been set aside for her in a show that ran increasingly late as it continued. “I got 26 dollars worth of music to get through,” she joked as she launched into a remixed rendition of “Didn’t Cha Know” for her finale.
By now, you may have encountered reports of the lateness of the concerts in general. Now, I’ve never attended this particular festival before, but I have been led to believe that this is unusual, even for Essence Festival. In general, I’m used to concerts running late — especially where Lauryn Hill is involved, no shade intended — and look… we all know “CP Time” is a thing. But whatever the behind-the-scenes reasons for the delays were, there should still be a certain expectation of decorum if you’re already asking folks to wait until 10:30 pm to see Nas, and damn near midnight for Master P, the local icon who was celebrating his final performance before hanging up his mic for a coaching position at the University of New Orleans.
But those are minor quibbles, at least for me. While most folks probably don’t get to go to quite as many concerts as a music writer, I’d argue that the entire point of Essence Festival is not the music, but the opportunity to immerse oneself in the Culture. That’s why it’s called the Essence Festival of Culture, not the Essence Music Festival. In Los Angeles, there are arguably fewer opportunities to take in the breadth of unfiltered Blackness minus the self-conscious code-switching that life here sort of requires.
I don’t think there was a single time in my life I was called “baby” by more people I did not know than this past weekend. That New Orleans vocal tick was accompanied by the unmistakable accent that made every phrase sound more musical. The joy that accompanied every outbreak of line dancing was palpable — and lasted long after the fans were folded back into purses. Every salesperson at one of the Black-owned businesses with a booth in the convention hall gave a hard sell, but peppered with the sorts of compliments we only give each other (I’m not giving you the codes, either, keep it moving).
Another thing that felt minor, but that impressed itself on me once I got back home; not a single customer service person in Louisiana was nice to me. I know that feels like something that would actually be annoying — and in, the moment, it was — but think about it. They don’t have to be nice. That expectation of acceptability, the performance around it, felt unnecessary in a place where seemingly everybody is related, everyone comes from the same place, and everyone shares that same acknowledgement that having to work on 4th of July weekend is some ol’ bullshit. Get your lil’ pralines and get on, tourist. Having worked in the service industry and dealt with my fair share of Karens on a holiday, I appreciate that.
In New Orleans, just for a weekend, Essence attendees get to glimpse a version of the world centered around us, around our music, our language, our customs, and the parts of our history that don’t give us PTSD. It’s worth the trip or that experience alone. For the next few weeks, I’ll be hearing those fans flapping and toes tapping, and looking forward to the new one.
Indigo De Souza’s new album Precipice will be out in a few weeks now, towards the end of this month. We’ve already heard “Heartthrob,” and now, today (July 8), De Souza has shared another new one, “Be Like The Water.”
De Souza says of the song:
“Be like the water is about being brave and protecting your energy. It’s about listening to your inner self and respecting your gut instinct. My favorite lyric in the song is ‘you can leave if you want to, and you don’t have to say why.’ Whether it’s leaving the room, leaving the conversation, or leaving a toxic relationship, you have the power to make a change and life is too precious to waste your spirit.”
Watch the “Be Like Water” video above and find De Souza’s upcoming tour dates below.
Indigo De Souza’s 2025 Tour Dates
07/11 — Cincinnati, OH @ Woodward Theater #
07/12 — Lexington, KY @ The Burl (Indoors) #
07/14 — Columbia, MO @ Blue Note #
07/15 — Des Moines, IA @ Wooly’s #
07/16 — Milwaukee, WI @ Turner Hall #
07/18 — Indianapolis, IN @ Everwise Amphitheater *
07/19 — Chicago, IL @ Fairgrounds at The Salt Shed *
07/20 — Chicago, IL @ Fairgrounds at The Salt Shed *
08/30 — Seattle, WA @ Bumbershoot Festival
10/18 — Columbus, OH @ Athenaeum Theatre ^
10/19 — Chicago, IL @ Thalia Hall ^
10/20 — Chicago, IL @ Thalia Hall ^
10/22 — Philadelphia, PA @ Union Transfer ^
10/23 — Washington DC @ 9:30 Club ^
10/25 — Norwalk, CT @ District Music Hall ^
10/26 — Boston, MA @ The Royale ^
10/27 — New York, NY @ Webster Hall ^
10/30 — Charlottesville, VA @ The Jefferson ^
11/02 — Asheville, NC @ Orange Peel ^
11/05 — Paris, FR @ Pitchfork Festival
11/08 — London, UK @ Pitchfork Festival
# with Primer
* supporting Lord Huron
^ with Mothé
Precipice is out 7/25 via Loma Vista Recordings. Find more information here.
La Dispute are currently readying a new album, No One Was Driving The Car. Today (July 8), they just dropped off a healthy chunk of it, sharing five new songs, which collectively are billed as the third act of the album.
The release comes with a video for “Sibling Fistfight At Mom’s Fiftieth/The Un-Sound,” which was shot, edited, and directed by the band’s Jordan Dreyer.
In a lengthy statement, Dreyer explains the narrative inspirations behind this batch of songs:
“the next act encompasses in more focused detail the narrator’s look backwards down the path, beginning at their shared home in the present day, where the dissociation introduced in act one as almost entirely a self-inclosed thing trickles outward and troubles the comfort outlined in the last section of the song preceding it. he examines his own life through imagined self-portraits, in various sequences of time (fractions of days first, then weeks, months, years), and through multiple specific events. from there, four critically influential events from his earlier life are detailed in four songs:
first, a story from his early teenage years, where he and his brother–up north hunting with their father in the area where he and his own brother (the boys’ uncle, who has long lived far away elsewhere), and their father (who died when they were young)–stumble upon what they believe to be an abandoned paramilitary compound. in the middle of the field beside it they come to a hole dug in the ground full of deer carcasses. the narrator becomes fixated on the bodies below, unable to break his gaze from them, while the brother continues on toward the compound, a metaphor both for their diverging paths and for the obsessions/explanations that motivated them to take which ones they did.
the second song happens a few years later, at their mother’s fiftieth birthday party, where several siblings–drunk and airing internal grievances–fight on the basement staircase while their mother contemplates what role her own actions as a parent played in their arrival at that moment and in the conflicted history that led up to it. in the second half of the song, the siblings are gathered at the parents’ house again, years after the fight, for a quarterly group birthday celebration for several of their own children.
the third song occurs years on from there, with a pitch made to the partner of the narrator–working through undergrad at the time–from purveyors of a multi-level marketing company central to the history of grand rapids, and in some ways inextricably entwined with the christian reformed church mentioned earlier on the record (somewhat importantly, the rapture is invoked at the very end of the song, in a section discussing extraordinary wealth).
the final song centers around the friend whose funeral appeared earlier in act two, and is presented as reflections of their shared experiences together in youth, chiefly a snowy night drifting in a car together across an empty church parking lot, and the crash that occurred when the car spun on ice to slide sidelong into a curb and embankment. the end of the song harkens back heavily to the second section of act two (the song ‘Environmental Catastrophe Film’) and represents a full-circle consideration of the control dictated to him via exposure to calvinist teachings in childhood.”
Watch the “Sibling Fistfight At Mom’s Fiftieth/The Un-Sound” video above.
No One Was Driving The Car via 9/5 via Epitaph. Find more information here.
Danny L Harle is busy. He was a primary producer and co-writer on Dua Lipa and Caroline Polachek’s most recent albums, and in general, he’s usually bringing his special sauce to somebody else’s project. Now, though, he’s getting back in the solo realm with “Starlight,” his first new music since his 2021 debut album Harlecore. It’s also his first song for his new label, XL Recordings.
For the track, he teams up with another previous collaborator, PinkPantheress. Harle says of the song:
“Starlight reaches for a kind of euphoric melancholy — a guiding light in all of my music. It’s shaped by my love of the melancholic songwriting traditions of Europe from composers like Monteverdi and John Dowland, all the way to 90s Eurodance and the uplifting trance of the 2000s — artists like Gigi D’Agostino and Alice Deejay. Pinkpantheress is the dream collaborator for this song, her love for ornamental melodies and hypnotic lyricism fit perfectly into my sound world.”
PinkPantheress, by the way, recently generated some attention by sharing a photo of herself after winning an under-25 chess tournament, saying, “i don’t mention the chess lineage that runs in my family enough girl.” As she reminded in a recent Reddit AMA, her aunt is chess grandmaster Susan Lalic.
Listen to “Starlight” above.
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