A month ago, Hayley Williams released a pack of 17 singles that, officially, weren’t an album, but just a bunch of singles that were released really close together. Now, though, Williams has gone ahead and made than an official album, formally releasing Ego Death At A Bachelorette Party today (August 28).
The album includes a new song, “Parachute.” Furthermore, Williams’ announcement post on Instagram indicates that two more tracks are set to be added to the project, bringing the total to 20.
This comes after Paramore announced in December 2023 that they had fulfilled their contract with Atlantic Records and after 20 years were an independent band. Williams’ new solo album is released via her new venture, Post Atlantic, distributed by Secretly Distribution.
Listen to “Parachute” above and find the Ego Death At A Bachelorette Party cover art and tracklist below.
Hayley Williams’ Ego Death At A Bachelorette Party Album Cover Artwork
Post Atlantic
Hayley Williams’ Ego Death At A Bachelorette Party Tracklist
1. “Ice In My OJ”
2. “Glum”
3. “Kill Me”
4. “Whim”
5. “Mirtazapine”
6. “Disappearing Man”
7. “Love Me Different”
8. “Brotherly Hate”
9. “Negative Self Talk”
10. “Ego Death At A Bachelorette Party”
11. “Hard”
12. “Discovery Channel”
13. “True Believer”
14. “Zissou”
15. “Dream Girl In Shibuya”
16. “Blood Bros”
17. “I Won’t Quit On You”
18. “Parachute”
Ego Death At A Bachelorette Party is out now via Post Atlantic. Find more information here.
It seems like this year’s festival season just ended, but the folks at Lollapalooza are already getting their 2026 plans in order. Specifically, today (August 28), they announced the lineups for their South American festivals in Chile, Argentina, and Brazil.
The lineups for the three separate events are mostly the same and feature Sabrina Carpenter; Tyler, The Creator; Chappell Roan; Deftones; Skrillex; Lorde; Doechii; Turnstile; Lewis Capaldi; Paulo Londra; and Los Bunkers.
Elsewhere on the posters are Addison Rae, Interpol, Djo, Lola Young, d4vd, The Dare, Royel Otis, 2hollis, Kygo, Peggy Gou, Cypress Hill, Kygo, Marina, Men I Trust, DJ Diesel (Shaquille O’Neal), Tom Morello, Katseye, Danny Ocean, TV Girl, Horsegiirl, Viagra Boys, Brutalismis 3000, Riize, The Warning, Bad Nerves, Young Cister, Bunt, School Of Rock, and many others.
Lollapalooza Argentina goes down from March 13 to 15, as does Lollapalooza Chile. They’ll be followed by Lollapalooza Brasil from March 20 to 22. Information about tickets is available on the individual festival websites; Here Argentina, Chile, and Brazil. Current ticket availability and purchase options vary between the festivals.
Meanwhile, one of the headliners, Carpenter, is set to perform at the 2025 MTV VMAs. Just-announced additions to that lineup include Jelly Roll, Doja Cat, Post Malone, Tate McRae, and Conan Gray.
Back in early 2024, Ariana Grande said of touring in support of Eternal Sunshine, “I would love to do shows. I love being on stage, I miss being on stage, I miss my fans so much, that’s the honest-to-God truth. […] It would obviously be shorter. If it were anything, it would be a littler something, but I definitely do have the itch.”
She reiterated that a few months later, but earlier this year, she indicated that a tour wasn’t at the front of her mind and that she was prioritizing her acting career.
So, there’s no tour this year… but there will be one in 2026: Today (August 28), Grande announcedThe Eternal Sunshine Tour. Indeed, as Grande indicated, it’s not a huge tour, hitting ten North American cities and London for multi-night stops between next June and August.
For the North American shows, there’s a ticket pre-sale starting September 9 at 10 a.m. local time, followed by the general on-sale on September 10 at 10 a.m. local time. More information is available on Grande’s website.
Find the full list of dates below.
Ariana Grande’s 2026 Tour Dates: The Eternal Sunshine Tour
06/06/2026 — Oakland, CA @ Oakland Arena
06/09/2026 — Oakland, CA @ Oakland Arena
06/13/2026 — Los Angeles, CA @ Crypto.com Arena
06/14/2026 — Los Angeles, CA @ Crypto.com Arena
06/17/2026 — Inglewood, CA @ Kia Forum
06/19/2026 — Inglewood, CA @ Kia Forum
06/24/2026 — Austin, TX @ Moody Center
06/26/2026 — Austin, TX @ Moody Center
06/30/2026 — Sunrise, FL @ Amerant Bank Arena
07/02/2026 — Sunrise, FL @ Amerant Bank Arena
07/06/2026 — Atlanta, GA @ State Farm Arena
07/08/2026 — Atlanta, GA @ State Farm Arena
07/12/2026 — Brooklyn, NY @ Barclays Center
07/13/2026 — Brooklyn, NY @ Barclays Center
07/16/2026 — Brooklyn, NY @ Barclays Center
07/18/2026 — Brooklyn, NY @ Barclays Center
07/22/2026 — Boston, MA @ TD Garden
07/24/2026 — Boston, MA @ TD Garden
07/28/2026 — Montreal, Quebec @ Bell Centre
07/30/2026 — Montreal, Quebec @ Bell Centre
08/03/2026 — Chicago, IL @ United Center
08/05/2026 — Chicago, IL @ United Center
08/15/2026 — London, UK @ O2 Arena
08/16/2026 — London, UK @ O2 Arena
08/19/2026 — London, UK @ O2 Arena
08/20/2026 — London, UK @ O2 Arena
08/23/2026 — London, UK @ O2 Arena
So, here’s the thing you should know: Earl didn’t announce the new album until a week before its release, which he did via a listening party where he was billed to perform. Unfortunately, as the video notes, he didn’t really feel like doing even that much, so instead, he put in way more work to find a body double who could perform for him — sort of like when MF DOOM would send his own “Doombots” (a concept from the Marvel Comics) to perform in his place.
A couple of hiccups in the process did little to dissuade Earl from this course of action; besides the obvious fact that DOOM always wore a mask and could therefore slip a double into shows without much notice (until he started double booking, that is), Earl’s choice of body double was also fairly obviously not Earl. It was an Asian guy named Gary. This actually made the whole joke much funnier. BTW, producer Flying Lotus and comedian Hannibal Buress did something similar a couple of years ago.
Doubling down on the hilarity, the “Crisco” video follows Gary and Earl’s adventures as the newly hired double studies for the role, learning Earl’s mannerisms, joining him in the studio, and taking notes at a show. Everyone involved seems to have had a great time — even the people who were pranked at the listening party.
You can Earl Sweatshirt’s “Crisco” video above.
Live, Laugh, Love is out now via Tan Cressida and Warner Records. You can find more info here.
Every month, Uproxx cultural critic Steven Hyden makes an unranked list of his favorite music-related items released during this period — songs, albums, books, films, you name it.
1. Tyler Childers — Snipe Hunter
Some albums welcome you with laidback ease, like a morning cup of coffee. Other records take that cup of coffee and toss the hot brew directly into your lap. The latest Tyler Childers LP, Snipe Hunter, is an example of the latter. The first song is a bracing class-conscious rocker called “Eatin’ Big Time,” in which the 34-year-old Kentucky native makes a sly reference to government assistance (EBT) while his band (named, coincidentally, The Food Stamps) slams hard into a chunky, organ-spiked groove. “Have you ever got to hold and blow a thousand fucking dollars?” Childers hollers, and you can sense his wide, gleeful grin beaming through the chaos.
2. Greg Freeman — Burnover
In 2022, this talented 27-year-old put out his debut, I Looked Out. The project began right before COVID, and the songs were written and recorded during the isolation of lockdown. As an obscure artist living amid a world-wide health crisis in a far-flung New England hippie college town — Burlington, home of Phish — he had zero professional ambitions for the album. And yet the music he made was big, anthemic, rangy, and wild, an echo of the gigs he wasn’t allowed to play for the time being. Singing in a strained, impassioned tenor, Freeman evoked Jason Molina at his most rocking, while his backing band put a loose-limbed indie-rock spin on his alt-country-leaning tunes. Now comes Burnover, which builds on the ramshackle, “live in the studio” feel of I Looked Out with a slightly more refined sensibility. Drawing inspiration from a variety of sources — the history of New England, Nancy Rexroth’s photography book IOWA, the 1978 Bob Dylan record Street-Legal — he’s once again written songs that dwell on American mythology and personal discovery in the form of twangy rock songs that threaten to fall apart at any minute.
3. Billy Strings at The Target Center in Minneapolis, August 9
I finally had the chance to see this jam-grass phenom in person this month, and he didn’t disappoint. I also came away impressed by his band, particularly Billy Failing on banjo and Jarrod Walker on mandolin. It’s extremely difficult to write about this kind of music without leaning on “chops,” “virtuosic,” and other adjectives that make it sound like you’re writing for Musician magazine in 1988. (Let the specificity of this reference indicate my love for reading back issues of Musician magazine from 1988.) But watching these guys shred for two-and-a-half hours is enjoyable in ways that are both musical and athletic. On extended workouts like “All Fall Down” and “Turmoil And Tinfoil,” they place their fluid instrumental lines in the overall mix with the grace and precision of the ’90s Chicago Bulls running the triangle offense. On the other hand, Billy Strings is just an exceptional down-home picker, which explained the sizable contingent of cowboy boots mixed with all the tie-dyed shirts. Jam bands often have insular audiences composed largely of fans who like other jam bands. But Billy Strings exists as much in the country lane as the jam one, an especially fortuitous skill given the dual explosions of both genres this decade. Along with Sturgill Simpson (who, like Strings, performed as an opener at the recent “Dead 60” concerts in San Francisco), he’s been able to triangulate a huge audience from the overlap of jam and country’s Venn diagram.
4. Water From Your Eyes — It’s A Beautiful Place
Half of this band, the singer-songwriter Nate Amos, wowed many critics in 2024 (including me) with his solo project This Is Lorelei, a canny indie-folk project that straightened the experimental impulses of his other outfit into appealing pop-rock shapes. (As I wrote in my year-end list column, “Water From Your Eyes is The Pod, and This Is Lorelei is White Pepper.) Water From Your Eyes actually has some White Pepper vibes on It’s A Beautiful Place, though the clearer hooks and bandmate Rachel Brown’s alluring croon haven’t completely obscured the baseline weirdness, thankfully. (On Indiecast, I called them a more tasteful 100 Gecs, which I meant as a compliment to both acts.)
5. Cass McCombs — Live Interior Oak
This Northern California native has been so consistently great for so long that another new great album (actually closer to double-album length) is easy to take for granted. McCombs belongs in that class of first-rate middle-aged singer-songwriters (along with Dan Bejar and Bill Callahan) that simply refuse to start sucking as they get older. He’s actually a little more obscure than those other guys, given his enigmatic, close-to-the-vest sensibility. But on Live Interior Oak, he opens up his music in ways that recall the sprawl of 2013’s Big Wheel And Others, one of his finest records. The new one is just about in that class, particularly when he lets loose his guitar on captivating tracks like “Lola Montez Danced The Spider Dance.”
6. Nourished By Time — The Passionate Ones
I loved the prior release that Marcus Brown released as Nourished By Time, the 2024 EP Catching Chickens, which played like the lost soundtrack to a 1980s Michael Mann crime thriller as filtered through a lo-fi VHS lens. Brown further expands on his mix of R&B, pop, and gritty rock on his new full-length The Passionate Ones, which balances politically minded lyrics about modern economic dystopia with atmospheric soundscapes that evoke rain-soaked streets set against a post-apocalyptic horizon.
7. Charley Crockett, Dollar A Day
Country music’s most prolific stylist. Crockett puts out albums at a Robert Pollard pace, and they tend to stick to the same traditionalist lane. On Dollar A Day, he sings about being a no-good gambler and how it’s mighty long road from El Paso to Denver and being an “All Around Cowboy.” This act might come across as tired or annoying if Crockett’s whiskey-coated croon wasn’t a genuine throwback or his songs weren’t so exquisitely played and produced. If you’re going to bang on about the glory of old country records, it helps to sound as good as those records.
8. Ryan Davis And The Roadhouse Band, Cambridge, UK, 8/24/25
I recently (sort of) joked on the app formerly known as Twitter that Ryan Davis And The Roadhouse Band should pivot to being a jam band. Several people immediately pointed out that Davis’ songs are already really long, and jamming them out might push them past the brink. Solid point, but I was trying to illustrate how good Davis’ backing band is, which is driven home by this recent live tape from Davis’ current tour. As good as the recent New Threats From The Soul is, their musicianship and playful experimentation really shines here.
Boldy James might be one of the most underrated pens in the rap game, but in Detroit, his name holds undeniable weight. He’s spent decades translating the grit and soul of Motor City into razor-sharp bars that blend with his steady, icy calm flow. And though he’s never chased trends, his sound has become one all the same, with heavyweights like Jay-Z, Nas, and Eminem cosigning some of his greatest hits. It’s only fitting then that, for Rémy Martin and UPROXX’s Detroit stop in the Sound of My City summer series, we tapped the city’s Golden Child to toast The 313 right.
Boldy recently sat down with UPROXX spirits expert Frank Dobbins to reflect on turning spelling tests into freestyles and why his rap is more about legacy than limelight. Over a smooth glass of Rémy Martin V.S.O.P, plus a smoky, custom-made cocktail aptly renamed The Bold Fashioned, the pair unpacked what it means to make street music with purpose.
Because what do you do once you’ve “scribbled your way out of the hood”? You break generational curses for the next class of homegrown MCs, that’s what.
From the Motown music that soundtracked his childhood to the life-changing accident that left him unable to write – forcing him to punch in lines and freestyle an entire album — the artist shared it all as we mixed smoky, sweet, and bitter notes with the V.S.O.P in his glass while his mom ran things behind the camera. Because for Boldy, hip-hop has always been a family affair.
Long before landing his first feature film credit, Bad Bunny was already performing. Not just onstage, where his undeniable charisma often feels larger than the stadiums he routinely sells out, but in music videos that played like short-form films and fashion editorials that doubled as character studies; in the melodrama of a WWE wrestling ring and the breakneck whirlwind of a legacy late-night sketch series. He was stretching muscles and toying with personas that should’ve hinted he’d one day end up on the big screen – though that first glimpse coming via a knife-flinging contest with an Academy Award-winner in a high-speed action thriller probably wasn’t on anyone’s Bingo card.
Admittedly, the first time I saw Bad Bunny – born Benito Antonio Martínez Ocasio – in theaters as he sauntered into Bullet Train, bloodied and brooding in a white tux, I seesawed between shock and skepticism. Here was one of the biggest music stars on the planet, fresh off redefining reggaetón for a new gen of music fans who preferred their lyrics bilingual and their Latin pop stars unapologetically authentic, tussling with Brad Pitt in a Japanese bar car. Was it a joke? A bit of stunt casting? A pop star cameo designed to boost box office numbers? The longer the camera lingered, the more stylishly violent the action became, a strange realization occurred: Bad Bunny is acting. Like, actually acting. With rage, with restraint, and with a little bit of camp. His howling assassin was a bright spot of the film, a teaser for his abilities on-screen and a continuation, not the beginning, of his expanding artistic pursuits.
From streaming hits on Netflix to Queer biopics and Darren Aronofsky-directed crime thrillers, Bad Bunny has been building something unusual for a pop star, especially one of his caliber: a real acting career, filled with risks that just might pay off.
Wigs, Wrestling, and Wild Visuals: Bad Bunny’s Road to the Big Screen
Getty Image
To be fair, Bad Bunny has never played it safe. From the beginning, he’s treated pop stardom like an evolving performance piece. He tore through Latin trap and reggaetón with genre-breaking albums like X 100pre and YHLQMDLG while redefining masculinity in the mainstream, using his style, his art, and his albums to push back on Machismo culture, almost effortlessly. That same trailblazing energy ran through his music videos, too, mini-films that felt less like promos and more like an artist playing in a sandbox of his own making.
In “Yo Perreo Sola,” he interrogated gender and power; in “Safaera,” he threw narrative out the window in favor of wild, visual world-building. He made a 23-minute piece of powerful protest art with “El Apagón,” blended comedy with magical realism in “Tití Me Preguntó,” channeled ’80s telenovela aesthetics in “La Difícil,” and animated himself to become Homer Simpson’s life coach in “Te Deseo Lo Mejor.” There’s a reason Bad Bunny became the first non-English-language performer to win MTV’s VMA artist of the year title – his videos offer a kind of masterclass in experimental short-form storytelling. They’re also proof that his graduation to bigger film and TV projects has always been inevitable.
But Bad Bunny didn’t just dip a toe into the acting game; he jumped in the deep end, wearing prosthetics and green face paint and ridiculous wigs, all while a live audience watched transfixed. On Saturday Night Live, first as a musical guest in 2021 and later as host in 2023, the singer proved he could do more than just read cue cards. He committed – playing weird, over-the-top caricatures and leaning into self-deprecating humor with surprising ease. As a villainous telenovela star with a horse-length ponytail, he hammed it up alongside Mick Jagger and SNL castmembers Marcello Hernandez, Mikey Day, Bowen Yang, and Punkie Johnson. He played an apologetic MC in an 8 Mile spoof, an overprotective aunt meeting her nephew’s white girlfriend for the first time, a childish king, a nun, an ogre… all while showing a natural feel for timing and a willingness to look ridiculous to earn a laugh.
Then came WWE, where he took another unexpected detour – into the ring. What started as a novelty guest appearance in 2021 turned into an on-the-ropes run, eventually leading to a high-profile WrestleMania moment. He trained for months, sold the hits, and won over wrestling purists with real physical commitment and theatricality. (No easy feat.) That same year, he made a short but memorable appearance in Narcos: Mexico as Arturo “Kitty” Páez, a flashy, wannabe gangster in the upper ranks of a drug cartel. He didn’t have a ton of screen time, but he didn’t need it. Critics (and fans) clocked the role as his first real dramatic turn, and an undeniable sign he had serious acting potential.
How Bad Bunny’s Movie Career is Rewriting Hollywood’s Playbook
Netflix
Bad Bunny’s first real film test came with Bullet Train (2022), where he played The Wolf, a vengeful assassin with a tragic backstory. With just a handful of lines, raw physicality, and a killer glare, he made enough of an impression that fans began clamoring for a spinoff movie focused solely on his character’s criminal come-up. He followed that with a quieter, more intimate role in Cassandro (2023), playing the love interest of Gael García Bernal’s flamboyant lucha libre icon. The role challenged him to build on-screen chemistry with Bernal as his character struggled to define their relationship and his own sexuality. It was a subtle, tender performance – understated and emotionally grounded – that proved he could dial it down and still command our attention on-screen.
Which brings us to Happy Gilmore 2, where Bad Bunny surprised just about everyone with a sharp, hilarious turn that saw him stealing scenes from comedy legends like Adam Sandler, Christopher McDonald, and Ben Stiller. There’s an absurd level of confidence on display as his eager-to-please, by-the-book caddy slathers up NFL stars and delivers verbal Spanish beatdowns on the green. In a film meant to honor Sandler’s long career of building beloved characters, Bad Bunny became the sequel’s most memorable – and meme-able – star. But, an even bigger test is coming. Aronofsky’s Caught Stealing promises a gritty crime thriller complete with tonal whiplash and larger-than-life characters clawing for more screentime. With names like Austin Butler, Zoe Kravitz, Matt Smith, and Regina King, Bad Bunny will be tasked with holding his own against experienced heavyweights in an auteur-driven experiment that will likely demand more from him as an actor than ever before. Noir tones, physical danger, moral ambiguity: this might just be where Bad Bunny steps into full-on leading man territory.
That kind of pressure to pioneer a different pop-star crossover career seems to sit just fine with him, though. He isn’t following the industry playbook; he’s throwing it out, refusing to go the way of the Latin phenoms that came before. There’s no squeezing into typecasting. In many ways, Hollywood is coming to him, not the other way around. His ascendance signals a new era where global stars arrive fully formed, on their own terms, backed by audiences too big to ignore. His cinematic universe doesn’t just cement him as a multifaceted creative powerhouse; it proves he’s willing to blur boundaries to redefine our modern definition of what a music artist is. Excuse us while we grab our popcorn.
More than anything else, Offset’s new album Kiari is a display of the Atlanta rapper’s versatility. While there are plenty of swaggering, club friendly tracks like “Bodies” and “Professional,” he also gets vulnerable on ballads like “Never Let Go.”
His latest video from the album is for “Back In That Mode” with YFN Lucci, which does what it suggests in its title. The first voice heard on the track is that of a woman portraying ‘Set’s therapist, who asks him, “How would you describe those days compared to now?” This puts him, as he says, “back in that mode.” The video illustrates this by recreating what the song suggests would be a typical day in the trap life, with Offset and his friends playing card, drinking, and smoking as a dice game unfolds nearby.
Meanwhile, Lucci was, of course, unavailable to appear (similarly to Young Thug, the terms of his probation probably made his participation in the shoot more difficult than it was worth), so the video mostly revolves around the continued activities of Offset’s crew. Eventually, though, the room clears out — although one of the dice players has to return to retrieve the bones.
Watch Offset’s “Back In That Mode” video featuring YFN Lucci above.
Kiari is due on 8/22 via Motown Records. You can find more info here.
There are two movies called The Smashing Machine. The first is the 2002 documentary about Mark Kerr, former wrestler and mixed martial arts (MMA) fighter. Dwayne Johnson saw the film and as somebody with a well-known wrestling background, the movie stuck with him. After seeing 2019’s Uncut Gems, Johnson got in touch with co-director Benny Safdie to discuss making a movie about Kerr.
Eventually, they made it happen, and that’s the second movie called The Smashing Machine, which is out soon. The upcoming film sees Johnson reunite with his Jungle Cruise co-star Emily Blunt.
Ahead of the the movie’s release, keep reading for everything you need to know before it comes to theaters.
Plot
The movie tells the story of Mark Kerr. The original documentary focuses on his MMA career and the ups and downs of his personal life, and the new film covers those topics, too.
“This guy appeared to be so strong and yet was dealing with so much physical and mental stuff. How do you empathize with somebody who looks like they’re invincible? That was the goal for me.”
Johnson added, “What a walking contradiction in the most beautiful way Mark was and still is. Soft-spoken, sweet, kind — yet at one time the most lethal man on the planet.”
Cast
The film stars Dwayne Johnson, Emily Blunt, Ryan Bader, Bas Rutten, and Oleksandr Usyk.
Johnson said to Vanity Fair of working with his extensive prosthetics:
“I just sat in front of that mirror for three to four hours and watched it all change. There were about 13 or 14 different prosthetics. Subtle, yet I think very impactful. By the time I got to set, I was Mark Kerr and I felt it, from how he walked to how he talked and how he looked at life.”
He added of partnering with Blunt, “If Emily and I weren’t best friends, I don’t know that we could’ve gone to the places we went to. That closeness created the trust, which then allowed for the vulnerability, which then allowed for [us to] go anywhere.”
Halsey’s career got off to a hot start with the 2015 debut album Badlands, which peaked at No. 2 on the Billboard 200 and established Halsey as a rising pop star to watch. That was ten years ago and now Halsey is celebrating with the Back To Badlands tour, which runs from this October to February 2026.
Tickets go on sale starting with an artist pre-sale starting September 2. The general on-sale kicks off on September 5 at 10 a.m. local time. More information can be found on the tour website.
Halsey is also releasing a “Decade Edition Anthology” reissue of Badlands tomorrow (August 29). The expanded edition features “five newly unearthed Badlands Orchestral Versions, demos, rarities, remixes, and the full Deluxe Album available all together for the first time.”
Check out the Badlands Decade Edition Anthology cover art and tracklist below, along with the full list of Halsey’s tour dates.
Halsey’s Badlands Decade Edition Anthology Album Cover Artwork
Halsey’s 2025 & 2026 Tour Dates: Back To Badlands The Tour
10/14/2025 — Los Angeles, CA @ Hollywood Forever
10/22/2025 — Mexico City, MX @ Pabellon Oeste
10/24/2025 — Dallas, TX @ South Side Ballroom
10/26/2025 — Atlanta, GA @ Coca-Cola Roxy
10/29/2025 — Philadelphia, PA @ The Fillmore Philadelphia
11/02/2025 — Boston, MA @ MGM Music Hall At Fenway
11/04/2025 — Washington, DC @ The Anthem
11/06/2025 — Minneapolis, MN @ Armory
11/08/2025 — Chicago, IL @ Byline Bank Aragon Ballroom
11/12/2025 — Denver, CO @ Fillmore Auditorium
01/09/2026 — Toronto, ON @ History
01/13/2026 — New York, NY @ Hammerstein Ballroom
01/17/2026 — Detroit, MI @ The Fillmore Detroit
01/22/2026 — Amsterdam, NL @ AFAS Live
01/23/2026 — Berlin, DE @ Velodrome
01/24/2026 — Dusseldorf, DE @ Mitsubishi Electric Halle
01/26/2026 — Paris, FR @ L’Olympia
01/29/2026 — Manchester, UK @ The Hall, Aviva Studios
02/03/2026 — London, UK @ O2 Academy Brixton
02/13/2026 — Sydney, AU @ The Hordern Pavilion
02/17/2026 — Brisbane, AU @ Riverstage
02/19/2026 — Melbourne, AU @ Festival Hall
Badlands Decade Edition Anthology is out 8/29 via UMG. Find more information here.
This website uses cookies to improve your experience. We'll assume you're ok with this, but you can opt-out if you wish. Cookie settingsACCEPT
Privacy & Cookies Policy
Privacy Overview
This website uses cookies to improve your experience while you navigate through the website. Out of these cookies, the cookies that are categorized as necessary are stored on your browser as they are essential for the working of basic functionalities of the website. We also use third-party cookies that help us analyze and understand how you use this website. These cookies will be stored in your browser only with your consent. You also have the option to opt-out of these cookies. But opting out of some of these cookies may have an effect on your browsing experience.
Necessary cookies are absolutely essential for the website to function properly. This category only includes cookies that ensures basic functionalities and security features of the website. These cookies do not store any personal information.
Any cookies that may not be particularly necessary for the website to function and is used specifically to collect user personal data via analytics, ads, other embedded contents are termed as non-necessary cookies. It is mandatory to procure user consent prior to running these cookies on your website.
