A rumor popped up earlier this year that Radiohead was gearing up to reunite for a tour. It remains to be seen how true that is, but the group just did give something to fans of their live performances: Today (August 13), they released Hail To The Thief Live Recordings 2003-2009. It’s out digitally now, with a physical release to follow on October 31.
“In the process of thinking of how to build arrangements for the Shakespeare Hamlet/Hail To The Thief theatre production, I asked to hear some archive live recordings of the songs. I was shocked by the kind of energy behind the way we played. I barely recognised us, and it helped me find a way forward. We decided to get these live recordings mixed and released (it would have been insane to keep them for ourselves). It has all been a very cathartic process. We very much hope you enjoy them.”
Watch the “There, There” video above and find the Hail To The Thief Live Recordings 2003-2009 cover art and tracklist below.
Radiohead’s Hail To The Thief Live Recordings 2003-2009 Album Cover Artwork
Radiohead
Radiohead’s Hail To The Thief Live Recordings 2003-2009 Tracklist
1. “2 + 2 = 5”
2. “Sit Down. Stand Up”
3. “Sail To The Moon”
4. “Go To Sleep”
5. “Where I End And You Begin”
6. “We Suck Young Blood”
7. “The Gloaming”
8. “There, There”
9. “I Will”
10. “Myxomatosis”
11. “Scatterbrain”
12. “A Wolf At The Door”
Hail To The Thief Live Recordings 2003-2009 is out now via XL Recordings. Find more information here.
Brooklyn-bred R&B star Yaya Bey is the latest musician to take the Sound Check challenge, choosing her favorite songs from matchups between soul singers Erykah Badu and Frank Ocean, fellow Brooklynites Mos Def and Jay-Z, and breakout rappers BigXthaPlug and Doechii.
Here’s how it works: Jeremy plays two songs for the guest artist, who has to choose one and explain their choice, giving Jeremy a chance to learn their musical taste. Jeremy then has to guess the artist’s life anthem, the song they’d take to a desert island, which the guest wrote down earlier on a piece of paper. Our production team has also given him a decoy song, and Jeremy has to guess which is correct based on what he’s learned in the previous rounds.
Of one of her choices, Yaya says, “Erykah is an influence on everybody, whether it’s a little bit or a lotta bit.” She also has to “keep it in the family,” picking between two of her father Grand Daddy I.U.’s Golden Era classics. As she explains, her choice is a sentimental one, given her closeness to the late Juice Crew rap pioneer.
Watch Yaya Bey take on the Sound Check challenge above. New episodes of Sound Check drop every Wednesday at noon ET/9 a.m. PT on Uproxx’s YouTube.
In addition to the aforementioned singles, features on the album will include such country mainstays as Darius Rucker, Luke Combs, and Thomas Rhett, along with rising stars of the genre such as Bailey Zimmerman, Jelly Roll, and Tucker Wetmore. Fellow country genre-bender Ink and Ella Langley offer some gender balance, and the whole collection clocks in at a tidy nine songs (with two interludes).
Although the album features country collabs galore, BigX hesitates to call it a country album, or himself a country artist. In an interview with Billboard, he clarified, “I wouldn’t say my version of country music is country music. It’s kind of mixing the two sounds. I’m rapping on a bunch of country-style beats, but it’s not just country. I’m not on there sounding like no cowboy; I’m rapping. I’m just doing it from a country standpoint. I’m not saying it was easy — it definitely was a challenge.”
See below for the full tracklist.
BigXthaPlug I Hope You’re Happy Tracklist
01. “I Hope You’re Happy” Feat. Darius Rucker
02. “Gone” (Interlude)
03. “Box Me Up” Feat. Jelly Roll
04. “All the Way” Feat. Bailey Zimmerman
05. “Hell at Night” Feat. Ella Langley
06. “Gift & A Curse” (Interlude)
07. “Pray Hard” Feat. Luke Combs
08. “Home” Feat. Shaboozey
09. “24/7” Feat. Ink
10. “About You” Feat. Tucker Wetmore
11. “Long Nights” Feat. Thomas Rhett
I Hope You’re Happy is out on 8/22 via 600 Entertainment/UnitedMasters. You can get more info here.
In a new interview with Apple Music’s Zane Lowe, Roan said:
“I think it’s a good ring on the ladder. Midwest Princess is her, but even though this next era, I don’t really know what it is, but ‘Subway’ is a very safe segue to it. But I just think that ‘The Giver,’ ‘Good Luck, Babe,’ ‘The Subway,’ they’re all kind of so different, so that’s why I’m just like, ‘I have no idea what the next era is.’ That’s the scary part of putting out new music and then people not liking it, because it’s not like the music you made before, and so it makes you scared to release stuff. Because you’re like, ‘Well, people aren’t ever going to like it as much as the first one’ and that’s the risk you take every single time.”
She also discussed her ideal songwriting routine, saying, “I’m waking up in the same bed, eating the same food in the morning time. Being in the same city, wearing the same [clothes], wearing my slippers. Just very basic. That’s just not a thing right now and it hasn’t been for a very long time. Because since I lived in Altadena and got displaced from the fires and have been living in Airbnbs for seven months, and I finally got a new place and I’ve only been there for 10 days. And then I came on this big tour. So it’s been a journey on, ‘How do I release music within the state of everything?’”
Tyler, The Creator has been a paragon of creativity in his career, going from rapping and producing to designing clothes and creating TV shows. But nearly 15 years after his debut, there’s one arena he’d had yet to step into: acting in films.
That changes this Christmas, as Tyler makes his film acting debut alongside Timothée Chalamet in Josh Safdie’s Marty Supreme, which is VERY loosely based on table tennis icon Marty Reisman. A24 dropped the trailer for the film today, giving us our first glimpse of the film’s cast and plot set to Alphaville’s “Forever Young,” as well as Tyler (billed here by his real name, Tyler Okonma) in his first major role.
The film is described as a sports adventure comedy-drama, following Chalamet’s Marty Mauser as he works to become a star table tennis player. Hijinks ensue, including some that seem wildly out-of-place for this kind of story, but hey, it’s a Safdie movie. You sort of have to expect things to go a little off the rails. Tyler appears to be one of Marty’s rival players, but there’s also a bit where they share some smiles. The film also stars Gwyneth Paltrow, Odessa A’zion, and Kevin O’Leary.
Tyler’s good buddy, ASAP Rocky, is also making his own forays into film this year, facing off with Denzel Washington in Highest 2 Lowest, out this Friday. You can watch the trailer for Marty Supreme above.
A dozen years ago this summer, I wrote one of the more impactful columns of my life. Not that it was necessarily impactful on the world — though it is something I still get asked about — but it certainly altered the course of my career. “Is Phish A Great Band?” was the headline. It’s funny how controversial that seemed in 2013, given the recent run of lengthy profilesin prestige publications about the band. Back then, “Is Phish A Great Band?” qualified as hackles-raising clickbait. But for me, it signaled a change of direction in my life as a writer and listener.
The column was about more than Phish, at least subtextually. It was also about my growing interest and engagement with the jam-band world. Before I wrote it, I had been dabbling in that space privately for years, naturally starting with the Grateful Dead before moving on to the vastly more polarizing Phish. My rationale, as I wrote at the time, started with the realization that my knee-jerk dislike of Phish was predicated more on tired “dopey hippie” clichés than any real knowledge of their music. How could I “hate” a band when I couldn’t name more than one or two of their songs? With the assistance of my friend Rob Mitchum, I started sampling their voluminous collection of live shows, and to my surprise, I discovered I liked them way more than I expected. Yes, they played long improvisations that I was initially unprepared to process. (It took me a while to develop the proper “jam ears” where I could begin to understand, and then enjoy, 30-minute instrumental passages.) But Phish also operated like a long-lost classic-rock band, playfully mixing up crunchy riffs reminiscent of FM warhorses like The Beatles and Zeppelin with excursions into funk, bluegrass, fusion jazz, and psychedelia. They were hardly a “normal” rock band, but they were a lot closer to what I liked than a lot of the indie-rock and pop acts I was struck writing about in the early 2010s.
My interest in this stuff was sparked by two forces, one cultural and one personal. This might be hard to appreciate now, but in 2013, it really did seem like recorded music might be in the midst of an extended and inexorable decline. Not that I thought that it would go extinct outright, exactly. But in that window of time between the proliferation of online piracy in the aughts and the rise and dominance of streaming that took hold in the late 2010s, you could envision a different paradigm potentially arising. “Live music endures — it can’t be mass-produced, diluted, or ‘shared’ in a digital realm,” I wrote. “If artists no longer have the means to make records, the concert stage will become their primary canvas.” And in that paradigm, I reasoned, it was very much worth taking Phish seriously, given how they “presented an alternative model in which memorable live experiences mean at least as much as iconic songs, and high-grossing tours measure an artist’s reach as well as chart-topping albums do.”
That was the broader cultural force pushing me to jam bands. Meanwhile, on a personal level, I was a music critic in my mid-30s, and I was feeling a little burned out — mostly by the churn of cyclical discourse and the media apparatus propagating it. This was amid poptimism’s hostile takeover of music writing, when on any given day you might see the critic for the New Yorker publicly challenging a thinkpiecer from Salon.com to a public duel over his allegedly offensive criticism of Taylor Swift, triggering a massive and tiresome social-media pile-on. I started to look over the fence at a lustrous green lawn populated by musicians and fans ignored by most music writers. This is slightly less true now, but back then jam bands were deemed unworthy of any even passing critical consideration, a sign of disrespect that was actually an accidental blessing. That world was below the media’s radar, but to my eyes, it was above the fray. I imagined it as a mini utopia where people simply “liked music for the music.” Sounds corny, I know, but it was preferable to being hammered by a theoretical agenda expressed in increasingly hectoring and annoying fashion. Liking Phish was about as far away from that caterwauling circus as you could get.
Now, clearly, I was wrong about a lot of that, though I wasn’t completely wrong. Recorded music is still very much a thing, obviously, but it’s also true that live music is more important than ever — “being good live,” as it were, has gone from being a driver of record sales to the cornerstone of most performers’ livelihoods. Ultimately, I think it’s fair to conclude that, in 2025, “memorable live experiences mean at least as much as iconic songs” and “high-grossing tours measure an artist’s reach as well as chart-topping albums do,” if not more so.
As for me, making the decision to interact deeply with jam-band culture transformed me in a number of ways, starting with my status as a kind of “jam guy” pundit. I hosted a popular Grateful Dead podcast for a few years and I occasionallywrite articles that annoy people on Reddit. (You can also see my blurb on the back cover of this excellent recent oral history of ’90s jam-band culture.) But more than that, listening to the Dead and Phish changed how I listen to all music, no matter the proximity to jamminess. In my spare time, I probably listen to bootleg recordings more than proper albums, by a wide range of artists. And I’m much more likely to factor in those listens into my overall assessments of those acts as I am their “official” releases. (I don’t think I would be co-hosting a podcast on Bob Dylan’s “Never Ending Tour” if hadn’t written that Phish column.)
But about the utopia thing… my experience with jam-band fans has been more mixed. The fact is that the happy-go-lucky “dopey hippie” image I had going in was the most pernicious cliché of all. Jam fans in reality are, hands down, the most opinionated listeners I have ever encountered. And their takes are typically unsparing and resolute. The idea that they are drug-addled pushovers happy to accept any guitar solo that comes their way could not be farther from the truth. They are, at times, too critical even for me, a guy paid to criticize things.
There is also, among a small but vocal online minority, an “eff you if you can’t take a joke”-type of trash-talking that can come off as weirdly aggressive and incredibly obnoxious, especially when coupled with knee-jerk “get off my lawn” dismissiveness of seemingly… everything. As the author of multiple books about specific bands and scenes, I have encountered all kinds of fan bases. The vast majority of amateur, self-styled experts are kind, smart and welcoming. But when it comes to the extreme one percent, the jam world has produced some of the coolest people I’ve ever met and pretty much all the most insufferable trolls.
But, again, that’s online. Every now and then, it helps to touch grass. And seeing the “jamgrass” superstar Billy Strings live this weekend was a truly refreshing “touch grass” experience.
As I wrote in 2024, “I am a recent convert to the church of Billy.” For years, I respected his undeniable talent as a guitar player; He’s so good that he can call himself “Billy Strings” without it seeming ridiculous. (If he were 10 percent less great, his name would be reverse engineered into a sarcastic putdown.) But I didn’t come around to being a full-fledged fan until last year’s Live Vol. 1, his first “official” live album after countless releases on the jam-band streaming platform Nugs.net, as well as the numerous bootlegs collected on Internet Archive. On that record, I wrote, his playing is “exploratory, mesmerizing, and frequently surprising. But above all, it’s the combination of physicality, energy, precision, and curiosity that dazzles.”
I finally had the chance to see Strings in person last Saturday at the Target Center in Minneapolis, and he didn’t disappoint. I also came away impressed by his band, particularly Billy Failing on banjo and Jarrod Walker on mandolin. It’s extremely difficult to write about this kind of music without leaning on “chops,” “virtuosic,” and other adjectives that make it sound like you’re writing for Musician magazine in 1988. (Let the specificity of this reference indicate my love for reading back issues of Musician magazine from 1988.) But watching these guys shred for two-and-a-half hours is enjoyable in ways that are both musical and athletic. On extended workouts like “All Fall Down” and “Turmoil And Tinfoil,” they place their fluid instrumental lines in the overall mix with the grace and precision of the ’90s Chicago Bulls running the triangle offense.
On the other hand, Billy Strings is just an exceptional down-home picker, which explained the sizable contingent of cowboy boots mixed with all the tie-dyed shirts. Jam bands often have insular audiences composed largely of fans who like other jam bands. But Billy Strings exists as much in the country lane as the jam one, an especially fortuitous skill given the dual explosions of both genres this decade. Along with Sturgill Simpson (who, like Strings, performed as an opener at the recent “Dead 60” concerts in San Francisco), he’s been able to triangulate a huge audience from the overlap of jam and country’s concentric circles. (The third point of the pyramid, I can safely say after Saturday, is “weed enthusiasts.” Touch grass, indeed.)
While the extended jam vehicles are the showstoppers, Strings also has a developed knack for writing relatively compact country-folk pop songs like “Be Your Man” and “I’m One Of Those.” Their crisp acoustic leads and understated but insistent choruses remind me of the disciplined and sturdy songwriting of Gordon Lightfoot, whose music is practically part of the atmosphere in regions just north and south of the US/Canada border this time of year. He’s also a gifted interpreter with Catholic tastes who’s capable of covering George Gershwin, Bob Dylan, J.J. Cale, and the experimental banjo player Danny Barnes in a single set.
But what really sets him apart from other jam-banders is his voice. A Michigander somehow gifted with authentic twang, Strings’ vocal ability comes through on record but really shines in person, given how rare it is to hear a genuinely great vocalist in a context like this. The highlight in that regard occurred in the second set, when Billy ceremoniously removed his guitar, stepped up to the mic sans band, and sang a knockout a cappella rendition of the old 18th century hymn “And Am I Born To Die.” A highlight of his shows going back to the late 2010s, this standard popularized in traditional music circles by Doc Watson silenced the otherwise dancing and partying hordes, as Strings’ stirring tenor soared into the Target Center’s mostly empty rafters.
In that moment, I was reminded of what I love about the jam-band community. The degree to which the audience was locked into that song — receiving it and absorbing it and feeling it — is rare for an arena show. There was a purity to it. They really were there for the music. It felt transportive, like Billy had briefly paused his roots-music psychedelia extravaganza to travel hundreds of years into the past, plunging us all into an American tapestry of generational loss, upheaval, and (possibly) redemption. It was, frankly, the sort of thing that Jerry Garcia used to do in buildings like this back in the 20th century. It not only moved me, it also wowed me in ways that not even Strings’ fleet-fingered playing could match. I felt nourished, like I was enjoying a great meal. In that moment, I was part of the grateful living.
We’re now about a month away from the long awaited new King Princess (aka Mikaela Straus) album, Girl Violence. The steady drip of pre-release singles continues, as today (August 13), she has shared “Girls.”
Straus says simply of the song, “Girls. Bring me to my knees,” the lyrics from the song’s chorus. A press release also notes the track “embodies the darker side of Girl Violence, where King Princess entertains chaos and self-destruction for the sake of quelling her hunger for companionship and pleasure,” and that it finds her “at the mercy of a toxic relationship.”
“Girl violence is very sneaky. It’s not physical, it’s deeply emotional, spiritual, and spooky. Women are both amazing and sinister — including myself — and it’s my curiosity to understand all the love, loss, and changes that come out of my love for women. Why are we so inclined to cause and receive chaos? If you’ve experienced even an iota of it, then you’ll have a story to tell. And these are mine.”
Listen to “Girls” above and find King Princess’ upcoming tour dates below.
King Princess’ 2025 Tour Dates
10/03 — Austin, TX @ Austin City Limits
10/10 — Austin, TX @ Austin City Limits
10/25 — Nashville, TN @ Marathon Music Works
10/26 — Atlanta, GA @ Buckhead Theatre
10/28 — Richmond, VA @ The National
10/29 — Brooklyn, NY @ Brooklyn Paramount
10/31 — Washington, DC @ 9:30 Club (late show)
11/01 — Philadelphia, PA @ Union Transfer
11/02 — Boston, MA @ House of Blues
11/04 — Toronto, ON @ HISTORY
11/05 — Royal Oak, MI @ Royal Oak Music Theatre
11/07 — Chicago, IL @ The Salt Shed
11/08 — Minneapolis, MN @ Uptown Theater
11/10 — St. Louis, MO @ The Pageant
11/11 — Kansas City, MO @ The Truman
11/13 — Denver, CO @ Ogden Theatre
11/14 — Salt Lake City, UT @ The Depot
11/16 — Seattle, WA @ Showbox SoDo
11/17 — Portland, OR @ Roseland Theater
11/19 — San Francisco, CA @ The Regency Ballroom
11/21 — Anaheim, CA @ House of Blues
11/22 — Los Angeles, CA @ The Wiltern
12/03 — Dublin, Ireland @ Vicar Street
12/05 — Glasgow, Scotland @ Queen Margaret Union
12/06 — Leeds, UK @ Beckett
12/07 — Manchester, UK @ New Century Hall
12/09 — London, UK @ Brixton Electric
12/13 — Brussels, BE @ La Madeleine
12/14 — Paris, FR @ Le Trianon
12/16 — Amsterdam, Netherlands @ Melkweg Max
12/17 — Berlin, Germany @ Astra Kulturhaus
Girl Violence is out 9/12 via section1. Find more information here.
Blackpink’sJisoo branched out earlier this year with the release of Amortage, her debut solo EP. The project still has some legs, as the K-pop favorite just released a new video for “Your Love.”
It’s a gorgeous clip, full of stunning nature imagery thanks to the filming location at Rainforest Wild ASIA, part of the Mandai Wildlife Reserve in Singapore.
Jisoo previously said of the project, “I’m excited about this new era and the continuation of my musical journey. I feel like I’m just getting started, and I’d like to thank the BLINKs for all of their love and support. This is just the beginning, and I’m thrilled to kick off this seismic moment with Warner Records.”
Check out Blackpink’s upcoming tour dates below.
Blackpink’s 2025 And 2026 Tour Dates: Deadline World Tour
08/15/2025 — London, UK @ Wembley Stadium
08/16/2025 — London, UK @ Wembley Stadium
10/18/2025 — Kaohsiung, Taiwan @ Kaohsiung National Stadium
10/19/2025 — Kaohsiung, Taiwan @ Kaohsiung National Stadium
10/24/2025 — Bangkok, Thailand @ Rajmangala National Stadium
10/25/2025 — Bangkok, Thailand @ Rajmangala National Stadium
10/26/2025 — Bangkok, Thailand @ Rajmangala National Stadium
11/01/2025 — Jakarta, Indonesia @ Gelora Bung Karno Stadium
11/02/2025 — Jakarta, Indonesia @ Gelora Bung Karno Stadium
11/22/2025 — Bocaue, Philippines @ Philippine Arena
11/23/2025 — Bocaue, Philippines @ Philippine Arena
11/29/2025 — Singapore @ National Stadium
11/30/2025 — Singapore @ National Stadium
01/16/2026 — Tokyo, Japan @ Tokyo Dome
01/17/2026 — Tokyo, Japan @ Tokyo Dome
01/18/2026 — Tokyo, Japan @ Tokyo Dome
01/24/2026 — Hong Kong @ Kai Tak Stadium
01/25/2026 — Hong Kong @ Kai Tak Stadium
Amortage is out now via Warner Records. Find more information here.
Olivia Rodrigo’s recently concluded Guts World Tour was a big one. Running from February 2024 to July 2025, it saw her perform for over 1.6 million fans across 100 headline shows in 64 cities, including 18 festivals. Rodrigo is now memorializing the experience in her new Guts World Tour Book.
Announcing the book on social media today, Rodrigo wrote, “GUTS has been such a special chapter for me & I can’t thank u enough for being part of it. i’ve put together a special book 2 commemorate all our GUTS tour memories and it’s available for preorder now! miss y’all already.”
The product page promises the book offers “an inside look at the GUTS world tour, including never-before-seen images, exclusive poster, commemorative tour trading card and more!” Other goodies a red ribbon bookmark, and a double-sided sticker sheet. The 136-page hardcover book measures 7.69 inches wide by 9.19 inches high by 0.75 inches thick, and comes in a slipcase that slightly increases those dimensions. Orders are set to ship on September 26.
A press release notes the book “offers a behind-the-scenes look at the tour and Rodrigo’s creative process with exclusive photos by Paula Busnovetsky, Miles Leavitt, Jesse DeFlorio, Rahul Bhatt, and Jess Gleeson,” and also features “a timeline tracing Rodrigo’s chart-topping album GUTS and the subsequent tour, a comprehensive itinerary, setlist, photos of special guests and fans, details on stage and video design, and a personal note from Olivia.”
More information and product shots can be found on Rodrigo’s website.
Sorry have been ramping up. Last year, the band shared “Waxwing,” which was their first new songs in two years, since their 2022 album Anywhere But Here. That song, it turns out, will be on a new album: Today (August 12), the group announced Cosplay, which is set for November 7.
They also shared “Echoes,” another new single. Sorry’s Asha Lorenz says of the song, “Meet me at the butterfly sanctuary. Echo.” A press release also notes the track was inspired by “inspired by a poem about the story of a boy shouting echo into a tunnel waiting for his reply” before blossoming into being “about losing yourself in love and ‘echo’ becoming a third person in the middle.”
In a 2022 interview with Uproxx, Lorenz also said of her songwriting process, “If I can’t make sense of what’s really going on or people’s thoughts and stuff, then I flip it into a song and I can kind of put it away because I can see it for something else.”
Watch the “Echoes” video above. Below, find the Cosplay cover art and tracklist, as well as Sorry’s upcoming tour dates.
Sorry’s Cosplay Album Cover Artwork
Domino
Sorry’s Cosplay Tracklist
1. “Echoes”
2. “Jetplane”
3. “Love Posture”
4. “Antelope”
5. “Candle”
6. “Today Might Be The Hit”
7. “Life In This Body”
8. “Waxwing”
9. “Magic”
10. “Into The Dark”
11. “JIVE”
Sorry’s 2025 Tour Dates
08/17 — Dublin, IRE @ Dublin Academy *
08/18 — Dublin, IRE @ Dublin Academy *
08/20 — Glasgow, UK @ Barrowlands *
08/21 — Manchester, UK @ Victoria Warehouse *
08/22 — Manchester, UK @ Victoria Warehouse *
08/24 — London, UK @ All Points East
08/31 — Salisbury, UK @ End of the Road Festival
12/03 — Washington, DC @ Songbyrd
12/04 — Philadelphia, PA @ Kung Fu Necktie
12/05 — New York, NY @ Bowery Ballroom
12/06 — Boston, MA @ Middle East Upstairs
12/08 — Montreal, QC PDB @ Bar Le Ritz
12/09 — Toronto, ON @ The Garrison
12/11 — Chicago, IL @ Lincoln Hall
12/12 — Minneapolis, MN @ 7th St Entry
12/16 — Seattle, WA @ Madame Lou’s
12/17 — Portland, OR @ MS Studios
12/19 — San Francisco, CA @ Rickshaw Stop
12/20 — Los Angeles, CA @ Lodge Room
* supporting The Maccabees
Cosplay is out 11/7 via Domino. Find more information here.
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