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Blackpink’s Jisoo 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

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.

I saw Jack Johnson in the crowd at Outside Lands on Saturday night. It was just before Aussie rockers Royel Otis jumped into their bombastic, viral hit, “Oysters In My Pocket,” a total highlight moment of the festival. The familiar San Francisco fog was sitting atop the cypress tree canopies the way it always does in the early evening at Twin Peaks stage, and here was Jack Johnson, flashing me a smile as he walked through the crowd.

The encounter might’ve otherwise just been the happenstance of seeing a famous musician hanging out in a place where a lot of other excellent famous musicians were doing their thing. But it took me back to year one of Outside Lands in 2008, when Johnson headlined the Lands End main stage at the Golden Gate Park polo field, closing out the first of the festival’s now-seventeen years in San Francisco. I was struck by the circularity of it all and how it spoke to a sense of continuity in the community, production, and execution at Outside Lands that the more I marinated on it, the more it was ever-present at this year’s edition.

Closing out the Twin Peaks stage on Saturday night after Royel Otis was Vampire Weekend. It was the band’s third time playing the festival, not including earlier in the day when they opened things up on the same stage. Vampire Weekend brought their day/night concerts concept to a festival for the first time after a few attempts at it on tour in 2024, and frontman Ezra Koenig was beaming. “It’s so nice to be back on this stage,” he said. “How was your last seven hours?”

As a whole, Vampire Weekend was easily the most thorough of any performer this year. How could they not be? When the NYC staples opened the evening set with “Mansard Roof” — after an abnormally gigantic crowd for a 12:45 p.m. set heard a completely different setlist — I couldn’t help but think about how there are concepts that music festival curators have yet to explore fully. It was a genius stroke to get people into the grounds early, and here was Outside Lands’ promoter, Another Planet Entertainment (APE), leading the way. They did something similar in taking a leap and loading up on country stars on the lineup in 2024, correctly betting on the upward swing of the music industry’s current country wave. The same goes for booking SZA to headline in 2022, Lizzo and Tame Impala in 2021, Kendrick Lamar in 2015, and so on.

Over and over again, Outside Lands finds itself in the right place at the right time. Sure, it did turn out to be a stroke of luck that when Tyler The Creator cancelled as a headliner last year, he was fortuitously replaced by Sabrina Carpenter, and then headlined this year, two weeks after dropping a new album. But for the most part, after a while, it stops being about luck and becomes about knowing exactly how to pull the right strings on a given year to ensure that one of the best festivals in the country just keeps getting better. And it’s more than just the music. From headliners and food to alternative stages, experiential touches, and more. Here’s what stood out from another memorable weekend in Golden Gate Park.

The Music

APE’s Head of Concerts and Festivals, Allen Scott, told us before the weekend that he was expecting 70,000 people a day at Golden Gate Park. Well, a healthy half of that number was at Doechii’s Lands End set on Friday night, and the dynamic LA rapper was dazzling. Her set was filled with metal and rap tropes, callbacks to pop music mementos, enamoring choreography, and a nerdy-but-cool boombox stage design that seemed to connect with everyone in one way or another. This was easily a weekend winner.

Mind you, this was yet another year of “The lineup isn’t that great” narratives leading the way in Bay Area social circles. Yawn. This was yet again a prescient lineup from a festival that keeps its finger on the pulse.

Destroy Boys played Lands End Stage early Friday, and the Sacramento punks had the kind of palpable angst, inclusive message, and hard-headed rock and roll that we desperately need dominating alt-rock radio. It was an effective bridge into a set from Philadelphia’s Mannequin Pussy. Of the countless artists who used their platform at the festival to voice activist stances against the current administration’s positions on immigration, Palestinian freedom (or lack thereof), and generally hateful policy agenda, none rang more emphatically than the words of singer Missy Dabice.

“I believe that we all come to places like this because you, too, have this deep simmering pit of rage and anger inside of you” Dabice said, after marching towards the crowd on a catwalk built for Doja Cat’s headlining set later in the evening. “And if you don’t find a way to channel that rage into something else, that rage is gonna eat at you like a poison.” The band’s performance used those words as a guiding light, delivering an impassioned set filled with bangers from their fantastic latest album, I Got Heaven.

Speaking of Doja Cat, she was nothing short of a superstar in her ’80s hair-metal wig and skin-tight zebra print two-piece get-up. Doja never broke stride, channeling equal parts Lil Kim, Cardi B, Gangsta Boo, and Tina Turner. Trouble is, the energy from the crowd didn’t quite match her greatness. It’s a shame, because this was hip-hop as pop music in a chiseled state, but it didn’t come close to drawing the size of a crowd that Doechii did.

Vampire Weekend would’ve pitched a no-hitter had the band not decided to end the evening set by taking audience requests for cover songs. They would’ve been better off continuing to pluck from their five-album catalog, which was firing on all cylinders. But we’ll chalk it up as a minor blemish on an overall unforgettable time.

Argentinian trap pop duo Ca7riel & Paco Amoroso were the revelation of the festivities. The whimsy and charisma of their viral NPR Tiny Desk Concert exploded onto the Sutro Stage, and it is evident that revelers at the front of the crowd had pretty much bought a ticket specifically to see them. Meanwhile, Jorja Smith was the finest pure vocalist at the festival. The divine modern R&B singer from the UK has a cool, poised, methodical delivery that’s schooled in the trade. But her Sunday 6:40 p.m. Twin Peaks stage time slot is notoriously tricky, asking an artist to command the pulse of the festival when it’s winding down after three days. Smith’s evocative lyrics hit hardest as it got darker, especially on the sublime “On My Mind,” a blissful moment where the crowd synced up harmoniously with the star.

Fcukers probably drew the weekend’s largest crowd on the intimate Panhandle stage. The pulse of the people was intense, much like it was at the band’s festival night show on Thursday at San Francisco’s Popscene at the Rickshaw Stop — a club party about to celebrate 30 years of going strong, that’s broken acts from Billie Eilish to Sam Smith. The sweaty, hazy set was the tightest 40 minutes I’d seen in a while, and Fcukers has “next big thing” written all over them.

Thundercat also played an official night show on Friday evening at the Independent, turning the venue into a lively jazz club for nearly two hours. It showcased both the wizardry of Thundercat, keyboardist Dennis Hamm, and drummer Justin Brown, as well as a versatile venue that has served as the heartbeat of live indie music in the city for over 20 years.

Building On The Past

The curatorial continuity was strong throughout the weekend. Traditionally, a Bay Area rapper of the moment graces a secondary stage. But this year, Vallejo’s LaRussell poured his heart and soul out on Lands End. The consummate rap showman’s gratitude was on full display. “I had more people in my car than I had at a show,” he reminisced. “To be here today is a real testament of will and perseverance. You gotta show up for yourself. Can I get a ‘YEEEE’?!”

Legacy acts were few, but Ludacris was the festival’s great equalizer, playing every hit and notable featured verse imaginable (even Justin Bieber’s “Baby”) to resounding crowd approval on the main stage. NOLA bounce royalty Big Freedia, an Outside Lands mainstay if there ever was one, opened day three on Lands End backed by the SF Gay Men’s Chorus. It was a spiritual oeuvre, and felt very much like being in a vibrant gospel church; a truly inclusive Sunday service.

Jamie xx came back to the same Sutro Stage he played on in 2018. After seeing him in Brooklyn last weekend at the Under the K Bridge venue, it was illuminating to see him execute completely different mixes of his tracks for this show. He seemed to lean more into ’90s R&B dance grooves and versions truer to the album mixes of In Waves, instead of the techno and jazz from the NYC gig, cementing his DJ sets as ones you really shouldn’t miss because you never know what tricks he has up his sleeve.

Finally, there was Anderson .Paak & The Free Nationals closing out the Twin Peaks Stage. .Paak acted like he owned the place (in the best way possible) and brought out Cordae for “RNP,” then stepped back and welcomed out E-40 to coarse through “Tell Me When To Go” and his verse on Big Sean’s “I Don’t F*ck With You,” an ultimate sign of respect for the Bay. Then, with purple light-pigmented fog hovering above and lasers shooting out from the stage towards the crowd, he played his 2016 collaboration track with Kaytranada, “Glowed Up.” Given that on this same stage last year Kaytra played the song during his closing set, this touch of curatorial continuity wasn’t lost on me; It felt like the festival was telling a greater story rooted in its history. At the same time, on the main stage where Hozier played, there were surely people thinking about when the Irish crooner first played the festival in 2019. Ultimately, no matter where you were and how packed a set was you were watching, there was a gigantic crowd adding to their unique memories somewhere else at Golden Gate Park, too. There was something here for everyone.

Food & Drink

While some festivals have seemed to be getting too big for their britches, Outside Lands just hums. The food and drinks slate here is equally as impressive as the music. Food curator Tanya Kollar, who has worked at the festival in some capacity since year two, leads an effort that’s an accurate reflection of the world-class food scene in San Francisco.

From Michelin-starred spots like Angler and Sorrel, to buzzy pop-ups like Oaxacan-fusion sensei Provecho and Peruvian-Eritrean wildness from Michoz, to food from alumni and current members of the inimitable nonprofit La Cocina, it’s an eclectic and downright delicious slate of 99 all-local vendors. Check out our round-up tomorrow of the best food and drink at the fest for more details on what we ate and drank.

The Bay Area has one of the most incredible craft beer landscapes in the country, and Beer Lands captures it all so well. The footprint of Beer Lands shifted over into a more central spot near the head of the Polo Field, making it more integrated with the festival. Back for a seventeenth time, Wine Lands was once again bustling as an open-air corral of Napa and Sonoma County wineries. I popped in for half an hour, dropped less than $20, and got tastes from a few different winemakers before taking my buzz over to see Jorja Smith.

Experiential Elements And Then Some

Last year, I wrote about how Outside Lands is about so much more than the music on the main stages. And in this regard especially, Outside Lands showed a commitment to continuous improvement. Stages like the EDM-focused SOMA and the queer-centered Dolores’ continue to carve out their lanes in the sweeping grounds. The former, with yet another new layout in Marx Meadow that felt like a massive outdoor Boiler Room set with LED-triangles through the field, looked like the structural backbone of the stuffy tents that once stood here instead. Dolores’ is such a crucial and awesome space that hosts DJ sets, ubiquitous drag queens, and a large swath of LGBTQ+ programming curated by local collectives that have legit influence and are held in high regard.

New for this year, the Duboce Triangle stage felt like a hideaway in plain sight in idyllic McLaren Pass, with both an open mic slot and some of the festival’s earlier-slotted artists returning to play a second, more personal set. I sat down on an antique couch (why not?) in the quirkily decorated stage in the woods. I sank into the experience of seeing XL Recordings’ signee Nourished By Time playing avant-R&B for a second time that day, connecting more deeply with his tunes. At the same time, he and other artists who played the stage were certainly forging deeper connections with the festival community and the ins and outs of Golden Gate Park, too.

There was so much more that I engaged with inside of this glorious representation of San Francisco in the park; big things and little things alike within an unpredictable, yet enjoyable weather system. There was graffiti art from iconic SF artist Apexer everywhere, including on the framing of stages. I browsed through the booths of nonprofits trying to bring awareness to their efforts at The Mission. I danced through electrocumbia cuts at Casa Bacardi and then to local DJ and promoter DJ Sep spinning dancehall in Grass Lands, a grove dedicated to legal cannabis sales and consumption. I passed by a bartering art cart with vintage wares to sell and swap from Grand Artique at the foot of the Flower Lands activation, while watching another couple get married at the now two-year-old on-site chapel.

Refillable water stations were everywhere, and Clean Vibes once again led Outside Lands’ unsurpassed sustainability efforts, with volunteers seemingly tending to every trash bin to ensure the best-in-class waste diversion rate at the festival remains about 90 percent. Heck, I even hugged a nerd (like the candy) and it was a lovely moment (sorry, not sorry). But many attendees were lamenting the absence of the West Coast Craft marketplace of local vendors. Instead, there were new activations like a Pacsun booth and a design-your-own-hoodie house from Gap. The latter makes sense, given Gap is headquartered in San Francisco, and it was a collaboration with nonprofit workforce youth development program Holy Stitch. But should these new sponsorships have to come at the expense of local craft makers who’ve been a fixture here for years?

Community

By day three, there was nowhere else I wanted to be. I usually arrive later on Sunday, exhausted from the previous two days. But I woke up like it was Christmas morning and hopped on a public e-bike just after noon. Because when the weekend was over, it’d all be gone until next year.

I love San Francisco, and despite all the criticism the city has faced as a supposed hellhole, Outside Lands is a vessel that calls attention to all that is great about this place. The demographics of Outside Lands are all over the map, with 50 percent of attendees coming from the Bay, 25 percent from other parts of California, and the other 25 percent from out of state. Fittingly, I met a family of four who came from North Carolina because their daughters wanted to see Gracie Abrams. I swooned over food choices with a couple from Phoenix in the VIP section. Folks from LA were everywhere. This festival has become a real community, where people take care of each other and are thrilled with each other’s presence, year in and year out.

Oftentimes, San Francisco gets characterized as a tech industry hub above all else. It’s a reductive description of one of the most effervescent American cities. Outside Lands did a masterful job of shining a light on that vibrance. I never felt much of a heavy-handed tech presence on-site, until maybe on my way home Sunday night, but it was sort of beautiful. The Lyft/Bay Wheels bike station just outside the exit was more well-stocked with e-bikes than I’ve seen in years past. It’s for sure the smoothest way to get out of the festival and head home or to an afterparty quickly; hills and inclines are no match for these machines. I hopped on one of the abundant bikes that were ready to go, along with countless other people forming a cavalcade of sorts. And as we rode through the glowing fog of Golden Gate Park, hundreds of bike lights flickered alongside each other while we made our way back into the heart of the city.

It’s the ice cream flavor no one knew we needed from the aptly named Oddfellows, because who else would but odd fellows would partner with a maternity-product company like Frida to create a sweet treat that’s supposed to taste like…milk from a human teat.

That’s right, new Mom magnet brand Frida and hipstery ice cream makers Oddfellows (they did a collab with LCD Soundsystem, we’re not just being cheeky) have produced a Breast Milk-flavored dessert and since we do not discriminate when it comes to new and titillating entries into the snack world, we’re cautiously game to sample the goods.

Social media-driven society loves a gimmick so Oddfellows x Frida Breast Milk Ice Cream is sure to stir conversation on all platforms, and perhaps, even controversy.

While we’re not here to judge consumers or brands, we will certainly tell you whether or not any trending product is worth your precious time, attuned taste buds and hard-earned coin. So put your bibs on, and let’s taste Oddfellows’ Breast Milk ice cream.

Thoughts & Tasting Notes:

Price: $12.99

The initial impression when you reveal the orange-y artificial coloring of the base after removing the peel off top is a slight turn-off, looking like a pint of custardized egg yolk (the hi-res photos don’t do the color justice). The Breast Milk ice cream flavor itself is pretty reminiscent of any sweet cream flavored ice cream or fior di latte flavored Gelato — there is a creamy sweetness that also has an egginess to it — so in a sense, it looks the way it tastes.

If for some reason you thought this ice cream would contain actual human breast milk — we’re sorry to disappoint you (or on second thought, we’re happy to) but no real humans were milked to make this sweet treat.

Bottom Line: Despite the obvious marketability and virality of Frida and Oddfellows calling this “Breast Milk” ice cream and utilizing Colostrum from cows as an ingredient, it’s not difficult to jump to the conclusion that we’re just getting some version of what is simply sweet milk ice cream that has some eggy-ness and bright orange/yellow coloring in it.

If this goes crazy, we may be seeing the “Breast Milk” flavor in other products and that may just signify the adventurous and exploratory appetite of eaters in 2025.

Sudan Archives continues the rollout for her upcoming album The BPM with a Y2K-influenced video for its new single, “Ms. Pac Man.” The Midwestern genre bender promised more straight-up rapping on her next album when she announced it, and “Ms. Pac Man” delivers. Sudan turns the titular game’s primary mechanic into a triple entendre, both “eatin’ b*tches up” and demanding a partner to “put it in my mouth,” paying homage to all the real eaters out there. Between this video and Tyler’s for “Sugar On My Tongue,” it’s a big day for y’all.

Other fun lyrical references to the 1982 arcade game include “they say fame is like a maze and some bonus points,” “feel like I just died, came back to life, got a billion points,” and “pop a power pellet, get ghost on some instigators.” It certainly seems like she knows what she’s doing, rap-wise.

In the press release, she explains how the game inspired the song, saying, “‘Ms. Pac Man’ is pure profanity and irreverence. My cousin Taylor was like, all you write about is love, sometimes I want to be toxic – I want to hear stupid shit. Eric, her husband, was playing this beat, and Taylor was like ‘put it in my mouth’ and I was like, ‘Oh God, that’s so funny – and my bank account’!”

You can watch the video for “Ms. Pac Man” above.

The BPM is due on 10/17 via Stones Throw Records. You can find more info here.

Militarie Gun’s debut album, 2023’s Life Under The Gun, was a hit, landing near the top of many year-end lists. Now, they’re running it back: Today (August 12), the group announced God Save The Gun, a new LP set to launch on October 17. They’ve also shared a new single, “BADIDEA.”

The band’s Ian Shelton says of the song and its video, “I wanted to make a video that was a celebration of vices, a new iteration of yourself looking back at a moment you made a mistake while never truly reflecting. This was the most technically challenging video we’ve ever done and it only fits a song spelling out the words ‘bad idea.’”

The album also includes “Thought You Were Waving,” the single the group released last year.

Shelton also said of the album:

“I’m well aware that being this vulnerable turns my personal trauma into a marketing hook for this album. But I’m fine with it, if not provoking it. Over the past couple years, as I spoke about addiction from the perspective of someone affected by it, I became the one struggling with it. There’s a farcical logic to entering a situation, fully knowing the consequences, and doing it anyway – but that’s where my head was when I started leaning on drinking.”

Watch the “BADIDEA” video above. Below, find the God Save The Gun cover art and tracklist, along with Militarie Gun’s upcoming tour dates.

Militarie Gun’s God Save The Gun Album Cover Artwork

Militarie Gun’s God Save The Gun Tracklist

1. “Pt II”
2. “BADIDEA”
3. “Fill Me With Paint”
4. “Throw Me Away”
5. “God Owes Me Money”
6. “Daydream”
7. “Maybe I’ll Burn My Life Down”
8. “Kick”
9. “Laugh At Me”
10. “Wake Up And Smile”
11. “I Won’t Murder Your Friend”
12. “Isaac’s Song”
13. “Thought You Were Waving”
14. “God Save The Gun”

Militarie Gun’s 2025 Tour Dates

09/07 — Garden Grove, CA @ Garden Amp +
09/19 — Chicago, IL @ Riot Fest ^
09/20 — Chicago, IL @ Riot Fest Late Night Show at Metro #
09/24 — Oxnard, CA @ The Elks Lodge ^
09/25 — Bakersfield, CA @ Temblor Brewing ^
09/26 — San Luis Obispo, CA @ Humdinger ^
09/27 — Oakland, CA @ New Paris ^
09/28 — Sacramento, CA @ Cafe Colonial ^
09/30 — Tacoma, WA @ Real Art Tacoma ^
10/01 — Bellingham, WA @ Make.Shift ^
10/02 — Portland, OR @ High Limit Room ^
10/03 — Boise, ID @ Shrine Basement ^
10/04 — Salt Lake City, UT @ Soundwell *
10/05 — Fort Collins, CO @ Aggie Theater ^

+ with Gorilla Biscuits, Cosmic Joke, Start Today, and more
# with Alkaline Trio
^ with Death Lens and Milly
* with Fleshwater and Angel Dust

God Save The Gun is out 10/17 via Loma Vista Recordings. Find more information here.

Tyler, The Creator has been known for putting out some imaginative visuals for his songs and albums, but rarely has one been so unabashedly horny as the video for “Sugar On My Tongue.”

Taking inspiration from rave culture, BDSM, and the bathroom from The Substance, it’s a wild ride that really leans into the yearning of a fresh crush, the dance aspirations of Tyler’s Don’t Tap The Glass album, and his weirder surrealistic impulses.

Tyler dons a latex gimp suit and dances out of his pants by the end (don’t worry, there’s a mosaic over any naughty bits), and then chucks out a comedically erotic (or erotically comedic) idea that … kinda works, considering the song’s lyrics. I’m not gonna spoil it for you.

Tyler recently told Zane Lowe he “just wanted to be silly again” after unpacking some heavy subjects on his last album, Chromakopia, and the video for “Sugar On My Tongue” certainly fits the criteria.

Don’t Tap The Glass became Tyler’s fourth release to debut at No. 1 on the Billboard 200, so it seems like his fans are more than happy to go along with him.
You can watch the “Sugar On My Tongue” video above.

Don’t Tap The Glass is out now via Columbia Records. Get it here.

Kaytranada announced his new album, Ain’t No Damn Way!, yesterday, and today, fans woke up to its first single. “Space Invader” is a punchy, throwback dance jam owing much of its sonic imprint to the freestyle bops of the 1980s (think Kendrick Lamar’s “Squabble Up” sample of Debbie Deb’s “When I Hear Music”). An insistent synth pushes listeners to move, while skittering drums help them keep the beat. Kaytra said his aim with Ain’t No Damn Way! is to make listeners dance (just like Tyler The Creator with his new album, Don’t Tap The Glass), so it looks like “mission accomplished.”

Ahead of the announcement, Kaytranada revealed the dates for his upcoming tour with Justice, with whom he previously worked on a remix of their Kevin Park collaboration “Neverender.” He’s also fresh off collaborations with R&B stars like FLO and Mariah Carey, so his swing back into dance music comes at an interesting time.

You can listen to “Space Invader” above and see his tour dates below.

Kaytranada and Justice 2025 Tour Dates

10/16 – Vancouver, BC @ Rogers Arena
10/17 – Seattle, WA @ Climate Pledge Arena
10/19 – Portland, OR @ Moda Center
10/22 – Oakland, CA @ Oakland Arena
10/28 – San Diego, CA @ Viejas Arena
10/30 – Phoenix, AZ @ PHX Arena
11/1 – Denver, CO @ Ball Arena
11/5 – Chicago, IL @ United Center
11/8 – Brooklyn, NY @ Barclays Center
11/12 – Atlanta, GA @ State Farm Arena
11/15 – Tampa, FL @ Amalie Arena
11/16 – Miami, FL @ Kaseya Center

Ain’t No Damn Way! is due on 8/15 via RCA Records.

Last month, Melina Duterte announced Belong, her first Jay Som album in six years. She shared a pair of new songs at the time, and now he have another one, “Cards On The Table.”

Jay Som says of the song:

“‘Cards On The Table’ is my favorite song on Belong! It’s about the shifting nature of friendships and how devastating conflict can be in platonic relationships when you feel misunderstood by each other. I think it’s a universal experience to navigate that type of dynamic. It feels like a never-ending cycle of people walking in and out of your life, but it ultimately leads to self-discovery and growth.”

The tune features background vocals from Lexi Vega of Mini Trees. The album also includes contributions from Hayley Williams of Paramore and Jim Adkins of Jimmy Eat World.

Watch the “Cards On The Table” video above and find Jay Som’s upcoming tour dates below.

Jay Som’s 2025 Tour Dates

08/12 — Vancouver, BC — Queen Elizabeth Theatre #
08/13 — Vancouver, BC — Queen Elizabeth Theatre #
08/16 — Berkeley, CA — The Greek Theatre #
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

% with Hop Along
# with Lucy Dacus

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