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Whitney is now a month away from the release of their latest album, Small Talk. Before that, they’ll launch a massive tour that runs into 2026. Before even that, today (October 8), they have a new song to share: The characteristically tender and bright “Damage.”

The group’s Julien Ehrlich says of the song:

“We were searching for the sentiment of ‘Damage’ for a while. In hindsight, I think we were trying to avoid writing a breakup song, and in the process ignoring what the song was calling for. I remember once we finally got the first chorus ironed out we were able to see that it was ok to write another song about heartbreak as long as we completed it in a way that felt unique and undeniably ‘Whitney’.”

Listen to “Damage” above. Below, find the Small Talk cover art and tracklist, as well as the band’s upcoming tour dates.

Whitney’s Small Talk Album Cover Artwork

Whitney’s Small Talk Tracklist

1. “Silent Exchange”
2. “Won’t You Speak Your Mind”
3. “The Thread”
4. “Damage”
5. “Dandelions”
6. “Islands (Really Something)”
7. “In The Saddle”
8. “Evangeline” Feat. Madison Cunningham
9. “Back To The Wind”
10. “Small Talk”
11. “Darling”

Whitney’s 2025 & 2026 Tour Dates

10/16/2025 — Brisbane @ Crowbar
10/17/2025 — Melbourne @ Corner Hotel
10/18/2025 — Sydney @ SXSW, Tumbalong Park
11/02/2025 — Chicago, IL @ The Empty Bottle
11/02/2025 — Chicago, IL @ The Empty Bottle (Early Show)
02/06/2026 — Paris @ Gaite Lyrique
02/07/2026 — Lyon @ Epicerie Moderne
02/08/2026 — Milan @ Magnolia (main room)
02/10/2026 — Geneva @ Antigel Festival 2026
02/11/2026 — Munich @ Hansa 39
02/12/2026 — Berlin @ Lido
02/14/2026 — Copenhagen @ DR Studie 2
02/15/2026 — Hamburg @ Knust
02/17/2026 — Brussels @ AB Ballroom
02/18/2026 — Utrecht @ Tivoli Vredenburg (Pandora Hall)
02/19/2026 — Cologne @ Gebäude 9
02/21/2026 — Dublin 1 @ The Academy Dublin
02/22/2026 — Manchester @ Band on the Wall
02/24/2026 — Glasgow @ The Art School
02/26/2026 — Bristol @ Electric Bristol
02/27/2026 — London @ Hackney Church
02/28/2026 — London @ Hackney Church
03/07/2026 — Seattle, WA @ The Showbox
03/08/2026 — Portland, OR @ Revolution Hall
03/11/2026 — Felton, CA @ Felton Music Hall
03/12/2026 — San Francisco, CA @ The Fillmore
03/13/2026 — Los Angeles, CA @ Lodge Room
03/14/2026 — Los Angeles, CA @ Lodge Room
04/07/2026 — Kingston, NY @ Assembly
04/08/2026 — Brooklyn, NY @ Music Hall of Williamsburg
04/09/2026 — Brooklyn, NY @ Music Hall of Williamsburg
04/10/2026 — Cambridge, MA @ The Sinclair
04/11/2026 — Cambridge, MA @ The Sinclair
04/12/2026 — Portland, ME @ The State Theatre
04/14/2026 — Ardmore, PA @ Ardmore Music Hall
04/15/2026 — Washington DC @ 9:30 Club
04/16/2026 — Pittsburgh, PA @ Thunderbird Cafe
04/17/2026 — Toronto, ON @ The Concert Hall
04/18/2026 — Montreal, QC @ Théâtre Beanfield

Small Talk is out 11/7 via AWAL. Find more information here.

For the past month and a half, Sony Pictures Animation’s Netflix film Kpop Demon Hunters has been an absolute juggernaut, dominating both the streamer’s native chart and, thanks to its banger of a soundtrack, the Billboard charts. Songs like “Golden”, “Your Idol”, “Soda Pop”, and “How It’s Done,” landed in the top ten of the Hot 100, making the voices of the titular band, Huntr/x, household names. EJAE, Audrey Nuna, and Rei Ami had all been bouncing around the industry for years, but now, thanks to KDH, they are bona fide superstars.

The trio made their real-life debut to perform Huntr/x’s signature song “Golden” on The Tonight Show (for real this time, after appearing in a Bad Bunny-led sketch on SNL this past weekend), bringing all their characters’ high-fashion aesthetics and ultra-high notes to the physical world. While a screen behind them alternated between the lyrics and scenes from the movie, EJAE belted, “I’m done hidin’, now I’m shinin’ like I’m born to be / We dreamin’ hard, we came so far, now I’ll believe,” the context behind the performance lending it some extra poignancy.

Prior to providing KDH protagonist Rumi her singing voice, EJAE had been a trainee in South Korea, but was told she was “too old” after ten years waiting for her debut. Instead, she became a songwriter for other Korean pop acts, like Aespa and Red Velvet. Now, at 33, she’s reached heights that no other K-pop act has, and all thanks to an animated movie some people mistakenly wrote off as being too goofy. Likewise, Audrey Nuna, who had some minor hits like “Comic Sans” with Jack Harlow, and Rei Ami, who had been a productive underground artist, are experiencing unprecedented heights in their careers.

Whether they’ll continue as a trio remains to be seen, but with the runaway success of the first film (and its various unresolved plotlines), talks of a sequel are undoubtedly underway, so at the very least, a reunion isn’t too far off. The group also sat on the couch for an interview, which you can watch below.

Watch EJAE, Audrey Nuna, and Rei Ami perform “Golden” from Kpop Demon Hunters on The Tonight Show above.

Jay Som (Melina Duterte) fans are about to eat, as this week, she’s releasing Belong, her first new album since 2019. Hayley Williams fans are being fed early, as Jay Som has shared the new Williams collaboration “Past Lives.”

Duterte says of the collab:

“It’s a dream come true to have Hayley sing on my first feature on an album before the recording of ‘Float,’ I still can’t believe it happened. She’s one of the kindest artists out there and she graciously accepts and uplifts the people around her. We’re all so lucky to witness her talent and live on the same timeline as her.”

Duterte also recently spoke about doubt she felt while making the album, saying, “For the longest time I remember thinking, ‘Should I just give up Jay Som and become a full-time producer?’ I did have those moments where I was like, ‘I have no business singing… What is going on? What’s the end game here?’ Just classic imposter syndrome. Like, ‘Am I too old?’”

Listen to “Past Lives” above. Below, find the Belong cover art and tracklist, as well as Jay Som’s upcoming tour dates.

Jay Som’s Belong Album Cover Artwork

Jay Som’s Belong Tracklist

1. “Cards On The Table”
2. “Float” Feat. Jim Adkins
3. “What You Need”
4. “Appointments”
5. “Drop A”
6. “Past Lives” Feat. Hayley Williams
7. “D.H.”
8. “Casino Stars”
9. “Meander/Sprouting Wings”
10. “A Million Reasons Why”
11. “Want It All”

Jay Som’s 2025 Tour Dates

10/31-11/01 — Amsterdam, NE @ London Calling @ Paradiso
11/03 — Berlin, DE @ Kantine am Berghain
11/06 — Brussels, BE @ Botanique, Rotonde
11/05 — Paris, France @ Pitchfork Paris @ Le Trabendo
11/08 — London, UK @ Pitchfork London
11/23 — Los Angeles, CA @ El Rey
12/02 — Austin, TX @ The Parish
12/03 — Dallas, TX @ Club Dada
12/05 — Atlanta, GA @ Aisle 5
12/08 — Washington, DC @ Atlantis
12/09 — Philadelphia, PA @ Foundry
12/11 — New York, NY @ Warsaw
12/12 — Pittsburgh, PA @ Spirit Hall
12/13 — Chicago, IL @ Lincoln Hall
12/14 — Minneapolis, MN @ Fine Line

Belong is out 10/10 via Polyvinyl. Find more information here.

Dolly Parton is facing a bump in the road at the moment, as the 79-year-old music icon is having some health troubles. Her sister Freida went as far as to take to Facebook to ask for some prayers, but the situation apparently isn’t as serious as that outreach made it seem.

In an initial post shared yesterday (October 7) afternoon, Freida wrote:

“Last night, I was up all night praying for my sister, Dolly. Many of you know she hasn’t been feeling her best lately. I truly believe in the power of prayer, and I have been lead to ask all of the world that loves her to be prayer warriors and pray with me. She’s strong, she’s loved, and with all the prayers being lifted for her, I know in my heart she’s going to be just fine. Godspeed, my sissy Dolly. We all love you! [heart emoji].”

The post was filled with comments from concerned supporters, so later in the day, Freida made another post, clarifying:

“I want to clear something up. I didn’t mean to scare anyone or make it sound so serious when asking for prayers for Dolly. She’s been a little under the weather, and I simply asked for prayers because I believe so strongly in the power of prayer. It was nothing more than a little sister asking for prayers for her big sister. Thank you all for lifting her up. Your love truly makes a difference.”

Notably, this comes days after Dolly postponed some upcoming concerts due to “health challenges.” At the time, Dolly wrote in a statement:

“I want the fans and public to hear directly from me that, unfortunately, I will need to postpone my upcoming Las Vegas concerts. As many of you know, I have been dealing with some health challenges, and my doctors tell me that I must have a few procedures. As I joked with them, it must be time for my 100,000-mile check-up, although it’s not the usual trip to see my plastic surgeon! In all seriousness, given this, I am not going to be able to rehearse and put together the show that I want you to see, and the show that you deserve to see. You pay good money to see me perform, and I want to be at my best for you. While I’ll still be able to work on all of my projects from here in Nashville, I just need a little time to get show ready, as they say. And don’t worry about me quittin’ the business because God hasn’t said anything about stopping yet. But, I believe He is telling me to slow down right now so l can be ready for more big adventures with all of you. I love you and thank you for understanding.”

Earlier this year, Dolly dealt with the death of Carl Dean, her husband of nearly 60 years.

Alex Farrar was doing sound for local shows in Asheville, North Carolina when the pandemic shutdown gave him a surprising new career path.

“Everyone was at home and they were creating a lot,” the 33-year-old tells me during a recent phone call. “I just got bizarrely busy recording during the pandemic. A lot of people were just trying to make records, and I took a chance on it being a full-time thing and I’ve just been doing that ever since.”

If the name “Alex Farrar” sounds familiar, there’s a good chance you’ve been studying the liner notes of some of the best and most popular indie records of recent years. In 2025 alone, Farrar has produced or mixed Wednesday’s Bleeds, Hotline TNT’s Raspberry Moon, and Fust’s Big Ugly, all albums I expect to appear on my year-end list. In 2024, he manned the boards for MJ Lenderman’s Manning Fireworks after previously producing that album’s beloved 2022 predecessor, Boat Songs. All told, Farrar has contributed to acclaimed releases by Snail Mail, Indigo De Souza, Wild Pink, Hurray For The Riff Raff, and Plains, among others.

If you know those records, you can probably pinpoint some common sonic touchstones — Farrar’s specialty is country-ish rock with muscular guitar tones that can pivot in the direction of ’90s-style alternative. That sound has become foundational for indie acts this decade, and I was curious to talk to one of the behind-the-scenes architects. So, Farrar guided me through some of his highest-profile collaborations.

Snail Mail

I did a bunch of records working for Brad Cook and that was one of them.

You engineered and mixed her 2021 album Valentine, along with other Cook-produced LPs from around the same time, including Hurray For The Riff Raff’s Life On Earth and Plains’ self-titled debut. Those are really your first “breakout” indie-rock records. Can you break down the difference between producing a record and mixing one?

As a producer, I look at it as the artist comes and they’re like, “I want to make this record, and these are my goals.” And then you determine all the things that need to happen to make this their favorite record, and how I’m going to facilitate all these things happening. And sometimes that’s like, “All right, we need to figure out how the song is going to sound.” Or it’s like, “You have a clear vision, and I need to just make sure it’s easy for you to get out there and do your thing.”

With mixing, it can kind of be similar. There’s some records I’ve mixed where the artist recorded stuff at home and they’re like, “I love the song and the vibe, but I’m not really sure that these are the right sounds. So, go nuts and add stuff.” And then sometimes you get something that’s just incredibly captured and you need to just give it that extra 10 percent.

Did it feel at the time that working with Snail Mail was a turning point for your career, in terms of getting noticed by the press and other bands?

I don’t know. I guess I’m not sure about that part of it. I will say I played a bunch of guitar on that record, and the vibe and the sessions were just awesome. I had a very easy time getting into the music, and the working relationship with Lindsey [Jordan] and Brad. It just seemed so natural.

Hotline TNT

You mixed the last two Hotline TNT records, Cartwheel (2023) and Raspberry Moon (2025). How involved were you in shaping the sound of those records?

Cartwheel is a more heavy-headed example. When Will [Anderson] and I started talking, he sent the tracks over and it was like drum machines and DI guitars. And that’s awesome. But I think we were both interested in making it as huge-sounding as possible. The before and after, I guess, was pretty stark.

My core formative music taste is heavy music. I wanted to play guitar after seeing Green Day music videos as a kid. And from there I was just obsessed with Metallica, Pantera, any kind of shredder metal stuff I could get my hands on. And I think that naturally finds its way into what I’m working on, even if it’s a delicate singer-songwriter thing.

Was it similar with Raspberry Moon?

Yeah, it was similar. The interesting thing with that record is they tracked as a live band for the first time. But Will is always looking to push things as far as they can go. So very similarly, it was like, “All right, let’s see if we just put the gas all the way down and really fry it as hard as we can.”

What does that mean, mixing-wise?

It’s a lot of technical stuff like distorting things or compressing them. But I just mean the impact. When you hit play, does it sound like it’s really trying to fight its way out of the speaker, or is it something you can casually listen to? With Will’s music, you want to hit play and be like, “Whoa, this is a force coming at me.” So it was about figuring out how to process all the sounds to where they add up to be this really, really grand thing.

Wild Pink

I feel like there’s something similar going on with the most recent Wild Pink album, 2024’s Dulling The Horns, which sounds bigger and louder than their other records.

John [Ross] hit me up and he was like, “I am in the middle of mixing this. I’m not sure about about the mixes, and I’m just curious if you would want to try a song.” I listened back through their record, and I was like, “I’m just going to do what I want to hear.” And, similarly, the thing I did was very big guitar music, because what he sent me, it sounded a little constrained. I just was craving to hear it more wide, big, intense.

That “big, wide, intense” vibe is instantly apparent.

I definitely was chasing that sound, but I think it was more like, “Man, these songs want to be big. And have an intensity that his vocal and his writing needs to all add up and feel like this one big powerhouse.”

Fust

This band is lesser known than some of their others, but I really like the records you’ve made with them, particularly Big Ugly.

I knew a lot of those guys from when we went to college together, and we were good buds. Aaron [Dowdy, the band’s singer-songwriter] and I were always friends, but we ran in different circles. He’s such an interesting mind. I feel like we push each other in very different ways. Aaron’s got this sort of fine-tooth song radar. He’s always listening for these very little nuances, whether it’s his lyrics or arrangement things. And sonically, I feel like I am pushing things in a way that maybe weren’t on his radar before.

It’s probably the most straight-up country-sounding music you’ve worked on.

The aesthetic presentation definitely has that. But his lyrics are what makes the band to me. His writing is just so good. I could just read the lyrics and be content. I love the records, obviously, but I feel like what makes Fust so special is Aaron’s writing.

Wednesday

Karly [Hartzman] and Zandy [Chelmis] both worked at this music venue called The Mothlight, and I did sound there. And I knew Jake [Lenderman] from his solo project, which was already active way back then, and I did sound for him a few times. Right when the pandemic happened, they had plans to go to Philadelphia to record Twin Plagues, but then they had to shift their plans. The owner of The Mothlight was like, “Hey, there’s this studio, Drop Of Sun, you should do your record there.”

We really got close through that process. If the band had gone to Philly and made that Twin Plagues record, who knows? But we hunkered down in the summer of 2020 and made that record in probably, I don’t know, a week and a half. And we’ve been super close buds ever since. Very shortly after that, I worked with Jake on Boat Songs, and we just all continued to work together since.

It occurs to me that Wednesday, sonically, is this natural meeting point of the southern rock thing you’re known for, and the “heavy” music influences of your youth.

Totally, yeah. My heavy music inclination, and obsession with guitar sounds, they definitely like that about working together. They like that I’m trying out seven distortion pedals and super down to layer the guitars and make it really big and hectic sounding.

You mixed Twin Plagues, and then you were credited as producer on Rat Saw God and Bleeds. How did that relationship evolve?

It has just been a natural thing. With Twin Plagues, we didn’t really know each other super well. But quickly we were like, “Oh yeah, we have super complementary tastes and interests.” Every time we work together, we get closer and try new stuff. Karly’s writing continues to just evolve and get so much better, and she’s very interested in writing different sort of kinds of songs. So “Elderberry Wine,” for example, is pretty outside of the Wednesday wheelhouse, until now.

MJ Lenderman

He’s such a talented musician. He just hops around. I’ll typically set up drum kits, a couple of different guitar rigs, a bass set up, and a bunch of keyboards. And he just jumps from one instrument to another and layers stuff. He has guests in, too, but he builds tracks out largely by himself.

The transition, sonically, from Boat Songs to Manning Fireworks is significant.

With Manning Fireworks, the idea was to make it a bit more natural-sounding, as opposed to Boat Songs, which is a little more lo-fi and kind of grungy. And that production didn’t quite match where his writing was headed. So, walking into Manning Fireworks, we wanted to try to make it a little more timeless.

You mentioned how Lenderman tracks a lot by himself. But Manning Fireworks also has spacier, jammier songs like “You Don’t Know The Shape I’m In” and “Bark At The Moon.”

Those are two of the more collaborative songs on the record, with Jake and I and other musicians. “You Don’t Know The Shape I’m In,” for example, I actually played drums on that and he played guitar and then this guy, Landon George, played stand-up bass and we tracked that as a trio. And then “Bark At The Moon”, that whole outro section, it was comprised of two or three tracks of Jake plus one or two other people playing drones. It was a little bit more spontaneous that way. It wasn’t as part by part.

Whereas a song like “She’s Leaving You,” that seems pretty composed.

I think that’s right. Yeah, that was definitely a “part by part” one.

When you’re working on a record, do you have a mood board of music that you’re trying to emulate, just from a “feel” standpoint? Like, “We want it to sound like this”?

Not really. Honestly. I think that can get in the way a lot of the time. I just think that the song asserts itself the more you work on it and the more you get to know it. I try to just follow intuition rather than drawing directions from other artists. I mean, obviously, we’re all a composite of things that we like. But I’m not listening to Neil Young in between takes or something.

The Wednesday and MJ Lenderman albums are some of the most acclaimed and beloved indie releases of the decade. Are artists reaching out to you like, “We want to do something that sounds like that, or has that quality”? I would assume that’s become common for you.

Well, I don’t know. That’s not typically how the creative conversation starts. I’ve definitely met a lot of people. After making those records, I’m really lucky to have a lot of awesome conversations with new artists. I think it’s amazing that those records have broken through. But a funny part of living in Asheville is it’s a small place. I’m not a super “plugged in on the internet” kind of person, either. I remember somebody sending me a message like, “Yo, really digging Boat Songs out here in Colorado.” I’m like, “Oh, whoa, shit, Colorado, that’s awesome.” My sense of the reach of these records is kind of not great, but it’s amazing when somebody does hit me up and they’re from a completely different scene or place and they’re really digging it. I’m just so happy to hear that music is speaking to them.

Historically speaking, musicians use their platforms to make statements about political and social issues, so it stands to reason that a massive music festival could represent the ideal place to do it. This raised the question of whether that might be a theme during the first weekend (October 3 to 5) of the 23rd edition of the Austin City Limits Music Festival, which drew 75,000 people per day to the Texas capital’s sprawling Zilker Park.

The resounding answer: not really.

Save for a comment by Ray Benson of Asleep At The Wheel (who have opened nearly every ACL Fest since its inception in 2002) and a statement at the end of Hozier’s headlining set, where the Irishman pontificated for several minutes on the importance of unity and compassion in the face of myriad affronts, the remainder of the roster’s 100-plus artists didn’t delve into current issues. It was a little unexpected given many recent high-profile cases, but perhaps also unsurprising since a music festival is just as powerful as a safe space where people can celebrate what should be considered another sort of baseline human right: the freedom to embrace unpoliticized joy and pure, old-fashioned fun.

Exuberance abounded consistently throughout the three days. Friday’s highlights kicked off with French-Korean artist Spill Tab, whose performance ranged from uber-chill (“Hold Me,” “Assis”) to explicitly energetic (“Pistolwhip,” “Crème Brûlée!”). Animal Collective’s Panda Bear continued in that vein, kicking off his set with the floaty 2015 number “Selfish Gene” before launching into more of the upbeat, guitar-driven selections from this year’s Sinister Grift. King Princess offered up a healthy helping of tunes off her new album Girl Violence, equal parts sultry-smooth (“Jaime”) and raucous (“I Feel Pretty” was bookended by ripping guitar solos). Finneas and Ashe, performing as The Favors, then delighted with their first-ever festival set (and just their third show to date), while Empire Of The Sun worked one of the day’s largest crowds into a dancing delirium, climaxing with mega-hit “Walking On A Dream.”

Saturday’s lineup featured another slew of bangers. Riize, the festival’s first K-pop band, absolutely astounded with their flawless choreography and kinetic cuts from the full-length debut Odyssey, proving that ACL might benefit significantly from booking a K-pop headliner in the future. Early on, one of Austin’s biggest recent success stories, the powerhouse trio Next Of Kin, shifted effortlessly between southern-tinged, show-stopping stompers like “It’s a Shame” and heartfelt ballads (“Jekyl And Hyde” and “Homemaker”), all of which featured the three singers delivering hypnotizing harmonies and trading lines with lightning-quick sass. Keep an eye on their meteoric rise in the ranks of downhome hotshots – they might just be the Destiny’s Child of queer country.

Though Japanese Breakfast thrilled with her inclusion of premier ATX drag queen Louisanna Purchase to bang the gong on set opener “Paprika” and Magdalena Bay to collaborate on a cover of MGMT’s “Time To Pretend,” Sabrina Carpenter won the accolade for best cameo, bringing out Shania Twain to duet on “That Don’t Impress Me Much.” Though many might’ve been disappointed they didn’t get Taylor Swift — it was heavily rumored she might show up to perform the title track to her just-released twelfth album, The Life Of A Showgirl — it was a momentous occasion that solidified Carpenter’s role as a superstar torchbearer. Interestingly, however, The Strokes garnered an equally large audience across the field, proving that indie rock nostalgia is just as viable in today’s music industry (see also: Modest Mouse, whose classics-dominated set saw a surprising number of teenage fans losing their sh*t at the barricade).

The day’s true headliner, however, was Florida rapper Doechii, who easily drew the largest crowd of the session. Even without a band, backup dancers, and dazzling production like she brought for her dazzler at Lollapalooza — instead opting for a simple swamp-themed setup with only her DJ for support — she retained command for the entirety of the hour-long set. The rapid-fire run of heavy hitters from her 2024 debut album Alligator Bites Never Heal, deep cuts (“GTFO,” “Crazy”), and even a ferocious freestyle over Beyoncé’s “America Has A Problem,” saw her running, thrashing, and twerking non-stop to fill up the empty space. The display revealed Doechii as a chief ambassador for retaining the old-school rap spirit while leading the pack in cutting-edge technique, solidifying her path to a rightful place among contemporary rap’s greats.

Honestly, she should’ve been elevated to Sunday night headliner when Doja Cat dropped out. The Killers are not a like-for-like choice, and their fest finale felt slightly contrived. To that end, two Willie Nelson covers — “Whiskey River” featuring local artist Guy Forsyth on harmonica to kick things off, plus a take on “Always On My Mind” — somewhat reeked of desperation to win over an Austin-centric audience who didn’t get what they originally paid for. Even so, the Las Vegas band’s audience was enormous, and they visibly exhilarated with a hits-laden set that resulted in the largest sing-along of the weekend during the “I’ve got soul but I’m not a soldier” refrain of “All These Things That I’ve Done.”

And there were plenty of other artists who helped the festival go out with a bang: The Dare, despite being slotted in the afternoon heat instead of a more appropriate nighttime setting to complement his dance club vibes, swept his fans into a frenzy of fun for his first live show in Austin. Wet Leg satisfied the rock itch with their massive main stage maelstrom. T-Pain staged a western-themed, hits-heavy sunset shebang for the ages. Phantogram harnessed the ultimate potential of darkness to conjure a superior industrial rock-electro dance party.

It all goes to show that the festival didn’t require a litany of comments critiquing our current political climate — even if those that were offered were truly heartfelt — to proliferate widespread compassion and safety. Healing was achieved through the immortal jubilation derived from sharing live music, with more to come during ACL Fest’s second weekend.

Djo

Doechii

The Favors

King Princess

Magdalena Bay

MJ Lenderman

Modest Mouse

Olivia Dean

Role Model

The Strokes

Running and drumming overlap in more ways than one. Practice, rhythm, and tempo all play crucial roles in both; the former creates blisters on your feet, while the latter makes blisters on your hands. All this common ground isn’t lost on Travis Barker, Blink-182 drummer and pop-punk’s figurehead in demand. He initially got into running because he wanted to be around for his children for as long as possible. Now it’s a daily practice that has blossomed into a beloved hobby, and as of last year, the opportunity to host 5Ks in various cities. Run Travis Run encourages participants to join Barker himself for a 3.1-mile run while benefiting Community Organized Relief Effort (CORE), a humanitarian nonprofit focused on storm relief and preparation for climate-based disasters, such as hurricanes and wildfires.

As both a drummer and runner myself, I called Barker to discuss why he enjoys running, how he got the idea to start the Run Travis Run events, how he maintains his cardio routine while on tour, the commonalities that drumming and running share, and more.

This conversation has been edited for length and clarity.

Tell me how you first got into running. What was the catalyst?

I just got into running when I found out I was going to be a father for the first time, and I had this overwhelming desire to be better and to be healthier, and that was the spark that led to eating right, to stop drinking, stop smoking, and it led to a better lifestyle. It helped me balance out some of the bad stuff I was doing at the time and helped me sober up. I felt like I was getting closer and closer to being the person I wanted to be, which was a good, healthy father for my son who was about to be born, and I wanted to be a father that could play sports with him, or run with him, or skateboard with him, and, ultimately, live a long life with him. I just left the house, laced up some bands, and ran to the freeway and back. I didn’t really know what I was doing, and I didn’t really need to know what I was doing. God gave me running. I could just go run. So that started being my regimen: run to the freeway and back every day. I wanted to be in shape, and this was the first and easiest way I knew how.

When you’re on tour, what does your routine usually look like? Do you take a treadmill around with you, or do you try to find a park somewhere?

My favorite is running outside. Sometimes, it just depends. If I’m at a venue and there’s nowhere that I can run, I have a treadmill that I think goes up to, like, 7.6 miles per hour. So I’ll go on that and get my mileage in for the day. I walk for three miles every morning, regardless of what’s happening. I’ll wake up early and just knock that out and prepare for the day ahead. It’s kind of my routine, and then I’ll hit a workout. It’s kind of iffy if I can do circuit training or resistance training on show days because I feel like my arms are just at capacity.

As far as the Run Travis Run events go, how did you get the idea to start those?

My goal every day is to run three miles before showtime. So I was doing it. I had the idea, ‘Well, why don’t I do it with people who also love to run and touch base with that community of people?’ Then I figured out a way to partner with CORE and give back. It was a no-brainer for me, and we threw our first one last year. Originally, I was going to the Boys and Girls Club and donating in every city we went to, but CORE figured out what every city needs. Instead of me blindly doing it with my eyes closed and trying to give back, CORE really helped figure out things for those in need, like storm relief.

Also being a drummer, I feel like there’s some things that intersect with running, like the rhythm and the tempo and whatnot. Where do they coincide for you?

If I can find the flow state where I’m not thinking, then that’s the best show or the best run. For me, especially on tour, playing is one thing, and it’s very intense, and running is my escape, but it also helps me. I have to run. I have to jump rope in order to be able to play the way I want to play, and whatever comes to my head that I want to try and do for how long, I pretty much can do because I train every day and I work out every day. Some people look at it like it’s grueling, it’s painful. It’s all the things that I practice to be good at. I know it might be the hardest part of my day, but I’d rather initiate it. I’d rather start my day like that and run toward those things then have those things creep up on me. Running has been that for me. I love challenging myself, and I love the hard workouts. I love being sore. I love the blisters that come with playing drums and the bloody hands. I love the blisters that come with running. They go hand in hand, and I feel like they both train me to be a better person, drummer, and runner.

There are times when I get up for a run at 5 and I come back and it’s 7:30 and come and wake my wife up: ‘I ran a half-marathon.’ She’s like, ‘Oh my gosh. Who does that?’ And I was like, ‘Me! I do that!’ It does take a certain person that’s disciplined. 250-mile, you know, ultra-marathons, I can’t even imagine, but I do understand it at a smaller, less intense level, why people do it. I do love it, and it does make me feel better.

What would you tell somebody who wants to get into running but maybe feels a little daunted by it?

That’s sort of why my run club exists: to get people that may have been discouraged or don’t want to exercise or are afraid of exercising. You could come walk three miles, come jog three miles. Come do whatever you want for three miles. I felt the same way for forever. I’m not really an athlete or a jock or whatever. But I can still love running. Like we spoke about earlier, it’s the one thing no one needs to teach you. You don’t need any fancy gear. I didn’t have running shoes up until a year and a half ago. It was more about figuring it out. I’m probably still learning how to run correctly, like no one’s ever shown me how to run. But that’s the beautiful thing about it. It’s very DIY, and it has become something that’s meditative and therapeutic for me. There’s nothing else that gives me that runner’s high.

I know you’re on tour and super busy, so I don’t want to take up too much more of your time, but I do want to know: What is your favorite thing about running?

My favorite thing about running? Well, I love everywhere running takes me, whether I’m in New York and I’m running on trails, or in the middle of nowhere, or if I’m in South Carolina and I’m staying close to a beach, and I get to go run on the beach. I love everywhere running has taken me. I love all the people that it’s brought into my world or my life. I ran in New York at my 5K that we threw out there, the Run Travis Run, and I had a New Yorker that was on my ass in the best way, who was just hyping me up. And it was one of my best PR times. I didn’t know him. We just met, and we were there pushing each other. I love that part of it, and then I just love all the landscapes and everywhere that running has taken me that I normally wouldn’t see if I wasn’t a runner.

Sudan Archives is dropping her new album, The BPM, in ten days, following the release of singles “Ms. Pac Man” and “Come And Find You.”

Today, the rapper/violinist announced the dates for her 2026 North American tour. Kicking off on January 16 in Tuscon, Arizona, the tour is routed through all the usual big cities, with a few stops included for denizens of spots like Asheville, North Carolina; Madison, Wisconsin; and Salt Lake City in Utah. The tour wraps up in Los Angeles, California in February.

Tickets for the tour go on sale Friday, October 10th, while artist presale is Wednesday, and local presale is Thursday. You can see the tour dates below and find more info here.

Sudan Archives North American Tour Dates 2026

01/16 – Tucson, AZ @ La Rosa
01/17 – Phoenix, AZ @ Crescent Ballroom
01/20 – Dallas, TX @ Trees
01/21 – Austin, TX @ Radio/East
01/23 – Atlanta, GA @ Masquerade Hell
01/24 – Asheville, NC @ Orange Peel
01/25 – Washington, DC @ 9:30 Club
01/27 – Philadelphia, PA @ Union Transfer
01/29 – New York City, NY @ Webster Hall
01/30 – Boston, MA @ Royale
01/31 – Montreal, QC @ Le Studio TD
02/01 – Toronto, ON @ The Great Hall
02/03 – Nashville, TN @ The Basement East
02/05 – Chicago, IL@ Thalia Hall
02/06 – Madison, WI @ Majestic Theatre
02/07 – Minneapolis, MN @ Fine Line
02/10 – Denver, CO @ Gothic
02/11 – Salt Lake City, UT @ Complex in the Grand
02/13 – Portland, OR@- Revolution Hall
02/14 – Seattle, WA @ Neptune
02/15 – Vancouver, BC @ The Pearl
02/18 – San Francisco, CA @ Regency Ballroom
02/19 – San Diego, CA @ Music Box
02/20 – Los Angeles, CA @ The Fonda Theatre

In support of his recent albums Swag and Swag II, Justin Bieber has shared a handful of videos. They’ve all been pretty low-key, mostly just sharing slices of his life. The same is true of the new visual for “Bad Honey.”

The video sees Bieber hanging out in a club, rocking cozy-looking hoodies and sipping on drinks as he sings the song and enjoys the environment.

Meanwhile, it was revealed last month that Bieber will be headlining Coachella in 2026, alongside Sabrina Carpenter and Karol G, with a lineup also featuring The xx, Disclosure, Turnstile, Ethel Cain, Dijon, Teddy Swims, The Strokes, Addison Rae, Sombr, Alex G, Young Thug, FKA Twigs, Wet Leg, Clipse, Wednesday, PinkPantheress, and others.

Ed Sheeran also recently revealed that his song “Camera” was meant to be a collaboration with Bieber at one point.

Watch the “Bad Honey” video above and find the Swag II cover art and tracklist below.

Justin Bieber’s Swag II Album Cover Artwork

Justin Bieber’s Swag II Tracklist

1. “Speed Demon”
2. “Better Man”
3. “Love Song”
4. “I Do”
5. “I Think You’re Special” with Tems
6. “Mother In You”
7. “Witchya”
8. “Eye Candy”
9. “Don’t Wanna” with Bakar
10. “Bad Honey”
11. “Need It”
12. “Oh Man”
13. “Poppin’ My Shit” with Hurricane Chris
14. “All The Way”
15. “Petting Zoo”
16. “Moving Fast”
17. “Safe Space” with Lil B
18. “Lyin’”
19. “Dotted Line”
20. “Open Up Your Heart” with Eddie Benjamin
21. “When It’s Over”
22. “Everything Hallelujah”
23. “Story Of God

Swag II is out now via Def Jam/ILH. Find more information here.

When Fcukers released the single “Play Me” this summer, it was teased that fans should “expect much more from the Fcukers very soon.” Well, today (October 7) brings more, as the duo have released “I Like It Like That.”

Like the single that preceded it, this one was produced by Kenneth Blume (also known as Kenny Beats). The song will be celebrated with a free release party at Madrid’s Clamores.

Furthermore, it was also revealed that the duo is supporting Tame Impala on a forthcoming run of shows, including stops at major venues like New York’s Barclay’s Center and Los Angeles’ Kia Forum.

Listen to “I Like It Like That” above and find all of their upcoming dates below.

Fcukers’ 2025 Tour Dates

10/09/2025 — Madrid, ES @ Clamores #
10/14/2025 — Boston, MA @ Roadrunner ^
10/15/2025 — Boston, MA @ Roadrunner ^
10/17/2025 — Washington, DC @ The Anthem ^
10/18/2025 — Miami, FL @ III Points
10/27/2025 — Brooklyn, NY @ Barclay’s Center *
10/28/2025 — Brooklyn, NY @ Barclay’s Center *
10/31/2025 — Brooklyn, NY @ Barclay’s Center *
11/01/2025 — Brooklyn, NY @ Barclay’s Center *
11/03/2025 — Chicago, IL @ United Center *
11/06/2025 — Austin, TX @ Moody Center *
11/09/2025 — San Diego, CA @ Pechanga *
11/11/2025 — Los Angeles, CA @ Kia Forum *
11/12/2025 — Los Angeles, CA @ Kia Forum *
11/14/2025 — Oakland, CA @ Oakland Arena *
11/15/2025 — Oakland, CA @ Oakland Arena *
11/17/2025 — Los Angeles, CA @ Kia Forum *
11/20/2025 — Amsterdam, Netherlands @ Tolhuistuin *
11/22/2025 — Berlin, Germany @ SchwuZ *
11/25/2025 — Manchester, UK @ Gorilla *
11/26/2025 — London, UK @ Colour Factory *
11/27/2025 — London, UK @ Colour Factory *
11/28/2025 — London, UK @ Colour Factory *
12/01/2025 — Paris, France @ Trabendo *
12/05/2025 — Los Angeles, CA @ Don Quixote *
12/12/2025 — New York, NY @ Brooklyn Steel *
12/29/2025 — Gisborne, New Zealand @ Rhythm & Vines
12/30/2025 — Glenworth Valley, Australia @ Lost Paradise
12/31/2025 — Hesse, Australia @ Beyond The Valley
01/01/2026 — Brisbane, Australia @ Wild Lands Festival
01/03/2026 — Perth, Australia @ Wild Lands Festival

# DJ set
* supporting Tame Impala
^ supporting Disclosure