Taylor Swift is set to put out her Taylor Swift: The Eras Tour (Taylor’s Version) concert film for fans to watch on Disney+ very soon. This new version of her film that aired in theaters previously last fall will feature four new performances of added songs, including “Maroon” from Midnights, “Death By A Thousand Cuts” from Lover, and more special surprise song picks.
Because of this, fans are extremely excited to experience Swift’s concert — whether it’s for the first time or to relive the experience over and over.
Here’s what to know about when exactly it will be on the streaming platform.
What Time Will The Taylor Swift: The Eras Tour (Taylor’s Version) Movie Come Out On Disney+?
Taylor Swift: The Eras Tour (Taylor’s Version) will be available to watch on Disney+ starting at 9 p.m. ET/6 p.m. PT when it arrives on the site tomorrow, March 14. Fans will need an account to watch, and in perfect timing, Disney+ is offering a deal until 11:59 p.m. ET tomorrow night to sign up for $1.99 per month for the first three months. However, this deal includes ads.
If you want the non-interrupted version of the Eras Tour film, it is $13.99 per month — which is still cheaper than the cost of the movie tickets. More information about how to watch Swift’s movie can be found here.
Beyoncé obsessives have been frantically searching for any information they can find on the star’s new album Cowboy Carter. From fan theories about the title to demands for country radio to put her single “Texas Hold ‘Em” into rotation, the BeyHive has gone into overdrive to support the queen in recent weeks. All that searching has led many of them to a tracklist that appears to have come from her website which seems to confirm that Beyoncé really did cover Dolly Parton’s “Jolene” for the album.
Unfortunately for those fans, that tracklist is a phony. For reference, you can check it out below, and compare it to Beyoncé’s actual website:
So, does this mean Beyoncé’s album won’t have a “Jolene” cover as rumored? Well, it’s hard to say. According to Dolly herself, Beyoncé apparently did record a cover of her biggest hit, and if such a cover were to be released anywhere, Beyoncé’s upcoming country album would be as good a place as any. However, Dolly also acknowledged a reality of the recording industry: not every song recorded makes the album. Just look at Prince’s expansive vault of unreleased tracks.
Besides, Beyoncé’s whole thing with this current run of albums is reclaiming the history of Black influence on country music. Not to demean the illustrious Ms. Parton but well… she’s not exactly a Dahomey warrior, y’know? Anyway, we’ll find out at some point whether the rumor is true or not. Cowboy Carter is due on March 29 via Parkwood and Columbia.
The new and potentially final Venom movie just got bumped up. Now titled, Venom: The Last Dance, the trilogy capper starring and directed by Tom Hardy will arrive in theaters on October 25 instead of its previously announced release date on November 8.
The release date change is a bit of surprising news given production on the third Venom film was halted during the dual actors’ and writers’ strike. However, like Deadpool & Wolverine, it was one of the first projects to immediately jump back in front of the cameras once the SAG-AFTRA strike was resolved. According to Variety, Venom: The Last Dance resumed filming in November, mere weeks after the strike ended.
As for plot details, your guess is as good as ours. The routine Marvel secrecy is in place, but there have been uncorroborated reports that the final film would explore the multiverse and build off of Hardy’s mid-credits scene in Spider-Man: No Way Home. Although, that rumor started all the way back in late 2021, and comic book films can change right up until their release date.
Venom: The Last Dance will also be under intense scrutiny from Sony thanks to the recent flop of Madame Web. That film’s failure has already led Sony to start canceling projects in its dubious universe of Spider-Man films that don’t actually feature Spider-Man. That said, Venom has been the strongest performer in that endeavor, so hopefully, the studio will let Tom Hardy cook.
Venom: The Last Dance swings into theaters on October 25.
While presenting the award for Best Sound, the comedian said, “For years, movies didn’t have sound, and then they figured it out. Some people say that the silent era was the golden era of film. These people are difficult and insane.” Mulaney then went on a lengthy spiel about every dad’s favorite film, Field of Dreams, involving corn, hot dogs being stuck in throats, and the scene where “Timothy Busfield pushes little Gabby Hoffman off the bleachers and she falls down and she’s unconscious.”
It’s very good. Even Kevin Costner, who starred in Field of Dreams, thinks so.
“Not a bad summary,” Costner’s band, Kevin Costner & Modern West, wrote on X, along with the cry-laughing emoji. It’s nice to see that Costner still has a sense of humor when he’s not feuding with Yellowstone creator Taylor Sheridan or starring in expensive and long Westerns. Maybe the two-time Oscar winner (Best Picture and Best Director for Dances with Wolves) has enough juice to get Mulaney to host next year’s ceremony? It’s overdue.
Earlier this week, Beyoncé revealed the name of her upcoming country album, Cowboy Carter. While the title may reflect both the album’s country music leanings and Beyoncé’s married name (courtesy of Shawn “Jay-Z” Carter), fans who did a little digging unearthed another potential meaning behind the phrase.
This information comes by way of a TikTok creator’s deep dive, so take it with a grain of salt as stan social media is rife with conspiracy theories and “explanations” about our favorite artists that often come to nothing. But according to this creator, there could be a deep meaning associated with the phrase “Cowboy Carter.”
One of the earliest country music acts to rise to stardom was The Carter Family from Virginia. Their recordings, made from 1927 to 1956, were among the first to become commercially successful and also influenced country, bluegrass, folk, and more for decades to come.
The group’s patriarch, A.P. Carter, traveled around southwestern Virginia to find new songs after the success of their first recordings in 1930. He befriended a Black guitar player from Tennessee named Lesley “Esley” Riddle, who composed a number of the group’s songs, and his guitar technique was adopted by Maybelle Carter. That technique eventually became known as “the Carter scratch,” which is about how things work in America — if you know, you know.
Now, if this all sounds like a stretch, that’s probably because it is, but that also doesn’t mean it can’t be a little bit true. Ultimately, this fan theory is based in a belief that Beyoncé’s upcoming album will be an attempt on her part to reclaim the history of Black musicians’ influence on country music, the way Renaissance did for electronic dance music originally pioneered by Black, queer DJs in warehouse raves across urban America.
While Beyoncé might not have been thinking specifically about Esley Riddle when she named “Act II” Cowboy Carter, she certainly was thinking of a rich history that has been whitewashed by generations of effort on the part of radio DJs, record executives, and music historians who either ignored, overlooked, or erased Black artists’ contributions to a genre and American culture.
Cowboy Carter is out on March 29 via Parkwood and Columbia.
It looks like we may finally be getting SZA‘s long-awaited follow-up to her critically-acclaimed sophomore album, SOS. She began teasing Lana, a deluxe edition to SOS, which she says has since evolved into it’s own body of work, back in early 2023. Now, it looks like it might finally be arriving soon.
Yesterday, SZA took to social media to tease visuals and music from the upcoming project. In the clip, she is seen dancing in a tent in her undergarments. A new song plays in the background, containing the lyrics “F*ck around and die over community d*ck / Never fight over community d*ck.”
Fans are eager to hear the new project in its entirety. In the comments, a fan asked about the song “Diamond Boy,” a fan-favorite of which portions have already leaked online. SZA revealed that “Diamond Boy” will, in fact, appear on Lana, saying that the song is “on the deluxe I’m Bout to drop.”
So far, SZA has only shared “Saturn” from Lana. She began sharing potential cover artworks for the album late last year.
At the time of writing, she has not shared a release date for Lana, but fans can look forward to hearing her on a remix of Flo Milli’s “Never Lose Me” coming this Friday (March 15).
As a first glimpse from the project, Yeule’s cover of Broken Social Scene’s “Anthems For A Seventeen-Year-Old Girl” also dropped today. The track appears in the film’s trailer, as Yeule puts an electronic spin on it. The song relies on a gentle, static production — making it feel like a broken television. She then increases the pacing of the lyrics, making this version a truly interesting listen, but one that feels perfect for the film’s universe.
Fans will be able to watch I Saw The TV Glow in theaters starting on May 3, with the soundtrack’s release following close behind.
Check out Yeule’s “Anthems For A Seventeen-Year-Old Girl” cover above. Below, find the complete tracklist and cover art.
I Saw The TV Glow (Soundtrack) Album Cover Artwork
A24
I Saw The TV Glow (Soundtrack) Tracklist
1. Yeule — “Anthems For A Seventeen-Year-Old Girl”
2. Frances Quinlan — “Another Season”
3. Caroline Polachek — “Starburned And Unkissed”
4. Florist — “Riding Around In The Dark”
5. Bartees Strange — “Big Glow”
6. Maria BC — “Taper”
7. King Woman — “Psychic Wound”
8. Jay Som — “If I Could”
9. L’Rain — “Green”
10. The Weather Station — “Moonlight”
11. Drab Majesty — “Photograph”
12. Proper — “The 90s”
13. Sadurn — “How Can I Get Out?”
14. King Woman — “Bury”
15. Sloppy Jane — “Claw Machine” Feat. Phoebe Bridgers
I Saw The TV Glow (Soundtrack) is out 5/10. Find more information here.
Have you seen Kate Middleton? She is about 5’9,” very regal, and currently works as an amateur photographer. At least that’s what the Royals expect you to believe right now.
The Princess has been the subject of controversy over the last few weeks as millions of strangers try to track her whereabouts. The normally very public figure was admitted to the hospital for a planned surgery in January, though she hasn’t been “seen” since. While Kensington Palace rarely comments on this type of thing, it’s been getting a little out of hand.
America’s Favorite Brit John Oliver appeared on Watch What Happens Live where America’s Favorite Housewife Andy Cohen asked him about his take on what’s going on with Middleton. “I was out, I thought ‘Let’s all just ignore this, we’ve moved on’ until the photoshop thing. It feels like…[they’re] almost handling it badly in an impressive way at this point,” Oliver quipped, referring to the disastrous Photoshop blunder from this weekend.
Oliver then admitted that this could be much more complex than we think. “There is a no-zero chance she died 18 months ago. They might be Weekend At Bernies-ing this situation,” he continued. “Non-zero. I’m not saying it happened! I’m saying non-zero. Until proved otherwise, until I see her with a copy of the day’s newspaper,” he concluded.
The Princess is not expected to return to the public eye until after Easter, so surely the theories will keep flying over the next few weeks. But really, all we need is for Middleton to Tweet about Dune Part 2 and all of this would be settled.
Pavement superfans already have the band’s albums, but their singles releases may be a less common part of vinyl collections. Now, though, Pavement has announced Cautionary Tales: Jukebox Classiques, a collection of all of the 7-inch singles the group released from 1989 to 1999.
All in all, it features 18 records, all of which were reproduced with original artwork, and the collection comes with “a 24-page threaded saddle-sewn booklet and full discographical history,” per a press release.
How To Buy Pavement’s Cautionary Tales: Jukebox Classiques Vinyl Box Set
This release will actually be available exclusively through pre-orders. It’s available to pre-order now (via Matador, here), and the pre-order window is set to close on April 22. Pre-orders are expected to be delivered on July 12. The set is available digitally now.
7. Range Life
A1. “Range Life”
B1. “Raft”
B2. “Coolin’ By Sound”
8. Rattled By The Rush
A1. “Rattled By La Rush”
B1. “False Skorpion”
B2. “Easily Fooled”
9. Father To A Sister Of Thought
A1. “Father To A Sister of Thought”
B1. “Kriss Kraft”
B2. “Mussle Rock (Is A Horse In Transiton)”
10. Pacific Trim
A1. “Give It A Day”
A2. “Gangsters & Pranksters”
B1. “Saganaw”
B2. “I Love Perth”
11. Stereo
A1. “Stereo”
B1. “Birds In The Majic Industry (B side version)”
12. Shady Lane
A1. “Shady Lane (Krossfader)”
B1. “Unseen Power Of The Picket Fence”
13. Spit On A Stranger
A1. “Spit On A Stranger”
B1. “Harness Your Hopes (Live in Brixton)*”
14. Carrot Rope
A1. “Carrot Rope”
B1. “And Then”
15. Major Leagues
A1. “Major Leagues”
B1. “Your Time To Change”
B2. “Stub Your Toe”
C1. “Major Leagues (Demo)”
C2. “Decouvert De Soleil”
D1. “The Killing Moon”
D2. “The Classical”
16. Haunt You Down
A1. “Haunt You Down”
B1. “Jam Kids”
17. Black Out
A1. “Black Out (Alternate Version)”
B1. “Extradition (Alternate Version)”
One of my favorite singer-songwriters working today is Rosali Middleman, a 41-year-old Michigan native who records and performs as Rosali. I became a fan in 2021 upon the release of her tremendous third album, No Medium, a cathartic collection of stormy folk-rock tunes spotlighting Middleman’s remarkably tender yet tough vocals and the loose-limbed instrumental backing of the Omaha-based David Nance Group. It’s all raw vibes and electrified feels, like Sandy Denny jamming with Crazy Horse on a late night in the mid-1970s.
Rosali had come to my attention the previous year via a bootleg recording of a War On Drugs gig from December 2019, at which she performed a cover of The Pretenders’ “Birds Of Paradise” with the band for a hometown audience in Philadelphia. By then, she had been a fixture of the Philly music scene for more than a decade. When she moved to the city, she was interested in noise and experimental music. For several years, she performed in an improvisational outfit with her then-boyfriend. After that relationship ended, she drifted toward more structured and conventional sounds, drawing upon the music — Neil Young, British folk, the Grateful Dead — her musician-parents raised her on.
On March 22, Rosali will release her fourth record, Bite Down. Just as No Medium was one of my favorite records of 2021, Bite Down is one of the best things I’ve heard in the first quarter of 2024. It’s her first release for Merge Records, who signed Rosali after the critical success of No Medium. She says the pandemic lockdown, and her move away from the city to more secluded and peaceful environs in North Carolina, inform the album. Whereas No Medium contains bracing songs about addiction, romantic loss, and mortality, Bite Down approaches those themes with a flinty, indomitable fighting spirit.
“Being a human is a complex thing, and I think the older you get, you understand that the hardships you go through are there to teach you things,” she says during a Zoom call last month. “If you let them, you can experience growth in ways much quicker and profound than if you were to try to resist it and fear against them.”
Musically, Bite Down continues Rosali’s partnership with Nance and his band, now known as Mowed Sound. (They put out their own very good album in February.) Unlike most singer-songwriter records, Bite Down does not sound like a solo artist backed by a coterie of hired musicians, with all of the distance and staleness that implies. It sounds instead like a band record, created by a gang of likeminded individuals expressing something authentic and true together. It’s a real achievement.
This is your first album on Merge Records. Did knowing ahead of time that Bite Down would be your highest profile release to date affect you as you were making it?
I tried not to let it because you never know how anything’s going to go. I don’t ever want to make music or art with a commercial idea or any of that in mind. But I definitely felt pressure on myself because I felt like No Medium was an important record to me and to a lot of other people, and I wanted to make a record that was just as good as that.
I think you nailed it. You recently said about this new album, “I resolved to bite down on the proverbial bullet; sink my teeth into the flesh and bone of being in the world, devouring the obstacles in my path and gloriously savoring all that is on offer — good or bad.” What did you mean by that?
I think it’s partly related to post-pandemic life. That feeling of the bottom dropping out and now, what are we doing with our time? How do we care for our communities? All these big, big questions. And also feeling totally helpless and not sure what to do with myself, with my time, how to be of use, how to be of service. In the midst of that, I turned 40 and I moved cross country twice. I moved to Michigan for nine months to help family out before I moved to North Carolina. Like a lot of people, I fell into depression during that time. There’s that whole concept of you just got to lean in. And I was like, I need something that’s more severe than that. I’m biting down. It’s just accepting life.
A lot of singer-songwriter records sound like a songwriter backed by hired musicians. But the last two records you have made sound like they were made by a real band. You’re fully integrated into what Nance and the other players are doing. Can you talk about that dynamic? It seems important to you.
Definitely. With No Medium, we didn’t know each other that well when we made that record, I had met them a few times when I was living in Philly, and I was a big fan of their work. Then we went on a tour together with my other band, Long Hots, which is a garage-rock trio. We both had 7-inches coming out on Third Man, so we did a two-week tour. We were all in the same van, and they’re just the best people. We became super close in that short amount of time, almost like you would going to summer camp And that’s when Dave said, “We want to be your backing band for your next record.” So, I took him up on the dare and found myself in Omaha that fall.
The experience making that record was really fun. And then being able to tour with it a bunch, we became our own band. The energy that we all have together, now they just feel like family. They’re my best friends. I’ve spent the most time with them over the past couple of years than anybody else, really.
When we went to make this record, I went in with the songs less developed than I normally would because I wanted it to be a band record. Now we all had that language, that psychic stage telepathy, a deeper understanding of each other. I love the way they play. I love that they’re very flexible and fluid in the sounds. It’s not just this hard rock thing going on. They can be very sensitive and delicate as well, which has always been a big part of my music along with the harder side.
When I listen to Bite Down I imagine you and the band recording at midnight. That’s the vibe I get from the music. But apparently that wasn’t the case?
No, it was very business hours for the most part. We recorded these in [guitarist] Jim [Schroeder]’s basement in Omaha. He had housemates, three other people who lived there, so we were very conscious of not playing too late. The last record, we would stay up. There’s some vocal takes I did at 2 a.m. But this time, it was very, very tame and mature.
Neil Young & Crazy Horse often comes up as a reference for your records. Some of that comes from Nance, who is a big Neil fan. But I hear a lot of Neil in the music you have made on your own. The instrumental guitar album you made under the name Edsel Axle has a song called “Present Moment” that reminds me a lot of “Cortez The Killer.”
Definitely been a huge Neil fan for as long as I can remember. My parents are both musicians. They had a rock band growing up. So I was heavily influenced by Neil. I think his tone is… it’s one of those that hits you in your soul. Both his singing and songwriting have that capacity of just deep feeling in its tonality.
I’m from the Midwest also, and I think with Dave, that’s partly our synergy. There’s that heartland feeling to it that.
Definitely. I’m also from the Midwest, and I get the heartland rock vibe.
It’s something specific about being Midwesterners that we all understand. Even though Neil is Canadian, there’s something kind of Midwestern about Canada.
Before moving to North Carolina, you were part of the music scene in Philadelphia in the 2010s. That was when Philly was basically the capital of American indie rock. How did that inform you?
I moved in the beginning of 2008, right in January. Philly at the time, it was so affordable to live in, which is partly why I think it became the hotbed for a lot of musicians and artists. I was super into noise and experimental music, and West Philly had a lot of house shows where a lot of that was going on. You’d go to a noise show, and then you’d go to a folk show in a different part of town. It’d be the same people operating in these scenes. It had this “small town, big town” kind of vibe to it. I immediately started meeting people from Espers and Mary Lattimore and Jack Rose. They’re all close friends. Mary and I ended up living together for a few years.
It felt very positive. And it kind of happened immediately, just by going to a show. Somebody would be like, “Oh, you’re new. What are you up to? What you like?” And that opened a lot of doors creatively. Watching friends blow up, like Kurt Vile and The War On Drugs, was incredible to experience. It was just a very exciting time.
I think the first time I heard you was on a War On Drugs bootleg where you perform a cover of The Pretenders’ “Birds Of Paradise.”
I’m friends with Charlie Hall, the drummer. He played on my second record. He’s doing a lot of percussion. And Robbie Bennett, he played on No Medium. I was very close with him. Robbie’s wife, Kate, is a good friend. I know Adam and I would say we’re friends, but I was definitely closer with them. They were in more of my social circles. I remember being in Denmark in 2014, I got family over there, and then seeing Adam on the cover page of a music magazine. It was so cool to see them experience that growth. They’re all just very sweet, humble people.
The first time I heard you sing I thought, “That’s one of the best voices I’ve heard in a long time.” And I still think that. Maybe this is because of the “Birds Of Paradise” connection, but I hear some Chrissie Hynde in your style. The other comparison I would make is Sandy Denny. You sound like a tougher Sandy Denny to me. Do you consider either singer to be an influence?
Definitely Sandy Denny. Growing up, Fairport Convention was huge in our house. I was maybe 12 or something when I first connected to hearing her sing. At that point, I was definitely a singer. I’ve been in choir my whole life. I used to do state honors and competitive singing growing up. At that coming-of-age time of realizing the character of somebody’s voice, her voice was just so powerful. It’s similar to Neil’s guitar. It’s like when somebody has this rawness about them and it doesn’t seem affected in any kind of way, it is just their pure expression. That really struck me about the way she sings.
Chrissie Hynde, less so. I don’t know if I really sound like her. I have a toughness in my delivery sometimes, which I think has come out of my time in Philly. Growing up, I was a huge fan of ’90s R&B divas, like Mariah Carey and Whitney Houston. They were hugely important to me.
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