This past weekend, Oasis wrapped up the UK stretch of their hot Oasis Live ’25 reunion tour. Aside from the shows themselves, the band also had Oasis Live ’25 Fan Stores available, full of exclusive tour merch. Well, the North American run of the tour kicks off in Toronto this upcoming weekend, and Oasis are bringing the Fan Stores across the pond, too.
So far, the shops are confirmed for four North American cities. Here’s the schedule:
Los Angeles: Wednesday, August 20 at 6250 Hollywood Blvd. Opens daily at 10:00 a.m. PT
Toronto: Thursday, August 21 at 468 Queen St. Opens daily at 11:00 a.m. ET
New York: Saturday, August 23 at 107 Grand Street. Opens daily at 10:00 a.m. ET
Chicago: Tuesday, August 26 at 1421 N Milwaukee Ave. Opens daily at 10:00 a.m. CT
The online store is also live here and it offers a look at what will be available at the Fan Stores. There are a bunch of shirts commemorating both the current tour and looks and moments from the band’s previous eras. There’s other, non-wearable memorabilia, too, like poster prints, tote bags, mugs, stickers, keychains… if you can print a logo on it, there’s a decent chance there’s an Oasis-branded version of it available in the Oasis Live ’25 shop.
In the video for his The Last Wun single “Won’t Stop,” we see Gunna in intensive training for some kind of athletic endeavor. As it turns out, that wasn’t just so he could show off his improving physique. Today, Gunna announced his first-ever Wunna Run 5k, which is set for September 3 in New York’s Prospect Park. Via Gunna’s Great Giveaway nonprofit and NYCRUNS, participants will be able to donate to causes of their choosing. The marathon also provides a platform for Gunna to launch his partnership in the Flerish Hydration drink line and supplements brand Cymbiotika.
Gunna’s Great Giveaway is “an Atlanta-based nonprofit dedicated to uplifting communities through service, resource giveaways, and innovative programs like the Guaranteed Income Program to support underserved families,” according to the NYCRUNS profile, and the course will consist of ” just under one full loop around the park with a final sprint up Center Drive.”
The run club isn’t Gunna’s only display of his commitment to fitness. In June, he also held a youth empowerment camp in Frisco, Texas. Since his release, he’s made it a point to put his money where his mouth is, giving back and pushing forward with his dedication to wellness and having a positive impact on local communities.
You can find more info about the Wunna Run 5K — including free registration, start times, and meetup locations — here.
Director Osgood Perkins and distributor Neon have a good thing going. In 2024, they teamed up for Longlegs, and earlier this year, they released the Stephen King adaptation The Monkey. Now they have a third horror flick on the way: Keeper.
It’s a take on the “haunted cabin” sort of story. However, Perkins has proven that he won’t just blandly stick to established tropes, but take the trappings of the situation to a different level. It certainly helps that he has the talented Tatiana Maslany and Rossif Sutherland starring to help realize his vision.
Ahead of the film’s release, keep reading for everything you need to know before it hits theaters.
Plot
An official synopsis reads, “During an anniversary getaway at a remote cabin, a wife (Tatiana Maslany) is left alone after her husband (Rossif Sutherland) departs, only to confront a sinister presence that exposes the cabin’s chilling past.”
“Keeper is a relationship horror movie about two people on a weekend to this cabin. She’s a city girl; she’s not used to this kind of thing. They’ve never had this particular intimacy before: To be in the quiet woods, at his place. They both have doubts. Neither one is safe in the relationship, as we all feel, or can feel, in our romantic relationships. They both wonder about the other person. There’s that disconnect that we all suffer in our relationships. And it’s coming to this place and wondering what lives there beyond their own insecurities — their own good sides, bad sides, positive traits, negative traits, where they’re confident, where they’re afraid. But also, what lives there in the horror movie sense? What is in this place that’s going to threaten both of them equally?”
Cast
Tatiana Maslany and Rossif Sutherland lead the movie.
Maslany discussed with Inverse what it was like working with Perkins, saying, “He never made me feel self-conscious about anything. Any choice, no matter what direction it was in — whether it was completely counter to what made sense, or was not what was written, or was just a little bit outside of the box — he was always encouraging that and fueling that, as opposed to trying to keep me in something… an idea of this character, an idea of what acting is, or an idea of what the scene needed.”
In 2015, Carly Rae Jepsen kept the momentum established by hits like “Call Me Maybe” and “Good Time” going with a new album, Emotion featuring the hit single “I Really Like You.” As that project turns ten years old, Jepsen is celebrating with an anniversary edition.
Available in digital deluxe, ATMOS, and vinyl variants, the project features six bonus tracks: Two remixes, and the previously unreleased “More,” “Guardian Angel,” “Back Of My Heart,” and “Lost In Devotion.” Vinyl pressings include 1LP blue swirl vinyl, 1LP zoetrope vinyl, and a 2LP magenta swirl vinyl.
Last night (August 19), Jepsen celebrated the album with a sold-out performance at The Troubadour in Los Angeles.
Listen to “More” above and find the full Emotion (10th Anniversary Edition) tracklist below.
Carly Rae Jepsen’s Emotion (10th Anniversary Edition) Tracklist
1. “Run Away With Me”
2. “Emotion”
3. “I Really Like You”
4. “Gimmie Love”
5. “All That”
6. “Boy Problems”
7. “Making The Most Of The Night”
8. “Your Type”
9. “Let’s Get Lost”
10. “La Hallucinations”
11. “Warm Blood”
12. “When I Needed You”
13. “Black Heart”
14. “I Didn’t Just Come Here To Dance”
15. “Favourite Colour”
16. “Never Get To Hold You”
17. “Love Again”
18. “Cut To The Feeling”
19. “More”*
20. “Guardian Angel”*
21. “Back Of My Heart”*
22. “Lost In Devotion”*
23. “Run Away With Me (Kyle Shearer Remix)”*
24. “Run Away With Me (Rostam Remix)”*
Emotion (10th Anniversary Edition) is out 10/17 via Interscope/UMe. Find more information here.
A new Florence + The Machine era is upon us. Florence Welch formally announced the upcoming album Everybody Scream yesterday (August 19), and now we have our first new song, the title track. It arrives with a lush and dramatic video.
A press release notes of the inspirations behind the album, “After needing lifesaving surgery on the Dance Fever Tour, Florence’s recovery took her down the path of spiritual mysticism, witchcraft and folk horror as she felt the limits of her body and explored what it means to be ‘healed.’The album treads through womanhood, partnership, aging and dying; exposing the murky in the mundane.”
The release also notes Welch worked on the album with a group that included Aaron Dessner, Mitski, and Mark Bowen of Idles, the latter of whom appears in the “Everybody Scream” video.
Meanwhile, Welch said in 2022 on a perhaps-related note, “I feel like as a female artist, you spend a lot of time screaming into the void for people to take you seriously, in a way that male artists just don’t have to do. [I was] so tired of trying to prove myself to people who are never going to get it.”
Watch the “Everybody Scream” video above.
Everybody Scream is out 10/31 via Polydor. Find more information here.
Once again, Sound Check and Jeremy Hecht expand the show’s musical palette, adding King Princess to the mix. The “1950” singer has diverse tastes, so of course, we put those tastes to the test in the latest episode. She even jokes at the outset, “It’d be easier if it was my ultimate favorite TV show that I could binge over and over, because that’s more of a journey. A song — three minutes!” For what it’s worth, her ultimate show? The Real Housewives. The two also share a chuckle over Jeremy being the “last uncanceled straight man,” which… fair.
Here’s how it works: Jeremy plays two songs for the guest artist, who has to choose one and explain their choice, giving Jeremy a chance to learn their musical taste. Jeremy then has to guess the artist’s life anthem, the song they’d take to a desert island, which the guest wrote down earlier on a piece of paper. Our production team has also given him a decoy song, and Jeremy has to guess which is correct based on what he’s learned in the previous rounds.
This time around, we make King Princess choose between classics from rock legends Led Zeppelin and T. Rex, rap pioneers Foxy Brown and Lil Kim, pop stars Charli XCX and Harry Styles, and icons Cher and David Bowie. King Princess has a new album and tour coming soon, so make sure you check out our post here.
Watch King Princess take on the Sound Check challenge above. New episodes of Sound Check drop every Wednesday at noon ET/9 a.m. PT on Uproxx’s YouTube.
Earlier this week, Joey Badass announced the dates for his upcoming Dark Aura tour, along with a single of the same name. The song is Joey’s first non-diss track of 2025; the Brooklyn rapper spent much of the first part of the year embroiled in a back-and-forth with Long Beach native Ray Vaughn, who took up Joey’s New Year challenge on behalf of Joey’s true target, Kendrick Lamar. It seems Badass is back on his own business, though, as the Dark Aura announcement came just a couple of months after revealing he’s got a second child on the way with partner Serayah. He also announced his next album, Lonely At The Top, in a performance at Jimmy Kimmel Live!
Joey hits the road — accompanied by frequent collaborators Ab-Soul and Rapsody — starting in October. Tickets go on sale on Friday, pre-sale has already started today at 10 AM local time. See dates below. Find more info here.
Joey Badass Dark Aura Tour Dates
10/16 — Boston, MA @ Roadrunner *^
10/17 — Montreal, QC @ MTELUS *^
10/20 — Toronto, ON @ REBEL *^
10/21 — Cleveland, OH @ House of Blues Cleveland *^
10/22 — Detroit, MI @ The Fillmore *^
10/23 — Chicago, IL @ Riviera Theatre *^
10/25 — Milwaukee, WI @ The Rave *^
10/26 — Minneapolis, MN @ The Fillmore Minneapolis *^
10/29 — Denver, CO @ The Mission Ballroom *^
10/30 — Salt Lake City, UT @ Rockwell at The Complex *^
11/01— Seattle, WA @ Showbox SoDo *^
11/02 — Portland, OR @ Roseland Theater *^
11/04 — San Francisco, CA @ The Warfield *^
11/06 — Los Angeles, CA @ Hollywood Palladium *^
11/07 — Las Vegas, NV @ House of Blues Las Vegas *^
11/08 — Anaheim, CA @ House of Blues Anaheim *^
11/09 —Phoenix, AZ @ The Van Buren *^
11/11 — Austin, TX @ Emo’s Austin *^
11/12 — Dallas, TX @ The Bomb Factory *^
11/13 — Houston, TX @ White Oak Music Hall *^
11/15 — Atlanta, GA @ The Masquerade *^
11/16 — Nashville, TN @ Marathon Music Works *^
11/18 — Washington, DC @ Echostage *^
11/19 — New York, NY @ Brooklyn Paramount *^
11/21 — Philadelphia, PA @ The Fillmore Philadelphia *^
* = w/ Ab-soul
^ = w/ Rapsody
Lonely At The Top is out on 8/29 via Columbia Records.
It has been way over a year since The Vince Staples Show came along and rewrote the book on rapper-led comedy series. We knew the show was a success, between being renewed for a second season by Netflix three months after its premiere, and those comparisons to Atlanta, another groundbreaking show created by a rapper.
But what we didn’t know was exactly when that second season would arrive. Thanks to the nature of the streaming model, anything resembling a set production-to-air schedule has gone the way of the dodo, and Vince himself has never been one of those “constant progress report” sorts of entertainers. When he does have something, though, he lets us know… and he officially has something: a release date for season 2 of The Vince Staples Show.
There wasn’t much to his announcement, just a screenshot and the release date — November 6th — but judging from the still, it certainly looks like the show will continue to present Vince’s off-kilter humor. Also, he’s got a beard now, which is cool. He also reposted Netflix’s announcement, which bears a synopsis: “In the wake of a tragic death, Vince embarks on a wild journey in search of inner peace. However, his path is littered with reminders of his haunted past.”
The Netflix post has a few more screenshots, with Vince driving his mom somewhere with a distressed look on both their faces, and Vince at a creepy, Ivy League-ish dinner party. Hopefully, the extra time away will result in more episodes than season one’s five-part run; we’ll find out in November.
Most of the artists I have interviewed in my life claim some level of discomfort with self-promotion. The reason for this is obvious: Talking about yourself in most contexts is looked upon as generally obnoxious behavior. The self-obsessed dude who spends the night at the party gassing himself up will be mocked as a narcissist in the morning-after text thread. Nevertheless, I never completely believe artists when they express regret over marketing themselves. They are, after all, talking to me, a person in the media. It’s like complaining about the ozone layer to a car salesman.
But when Greg Freeman, a 27-year-old singer-songwriter from Vermont set to release his second album Burnover this week, frets about the downsides of publicity, I believe him.
“It feels like a privilege to have a bigger platform. But at the same time, I’m not a particularly interesting person,” he tells me during a phone call earlier this month. “It can feel silly self-mythologizing and talking about your childhood or background.”
I believe him not because I think he’s not an interesting person. I concur because of how I discovered his music. In 2022, Freeman 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.
It was a really good record, though quality, as ever, did not guarantee an audience. But once I Looked Out entered the world, it slowly but surely entered the bloodstream of underground rock blogs and social media accounts. I didn’t hear the album until 2023, but I was so thrilled by it that I put it on my year-end list, calendar logistics be damned. Plenty of others also embraced Freeman around the same time.
“I only realized that people from outside of town were listening to it maybe four months after it came out,” he says, “when people were hitting me to play shows in different places. It felt really pure, I guess.”
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. Even in an increasingly crowded field of Molina-inspired troubadours, Freeman stands out as one of the more exciting practitioners of the form.
Not that he would want me to make a hard sell.
“I would never want my music kind of shoved down someone’s throat,” he says. “With that first record, I did it the way that I wanted to do it, which was just put something out, and whoever likes it can listen to it. And I think it paid off.”
Was knowing that more people would be paying attention change your approach to the new album?
Materially, it was kind of the same. I did record it in a studio, which was a change, but there was no more money spent on it. It was a lot of friends playing on it, and Burlington people. A lot of the same people from the last record. The next one probably will be different, just because of the amount of resources I have now compared to in 2022, when I was working on this new record.
I really like the first song on the record “Point And Shoot.” Apparently, that was inspired by the Alec Baldwin Rust case?
That’s where I got the imagery or idea, but that was only in my mind because right after that happened, he was hanging out in Vermont, so it was a local news story. But more than that, I was really inspired by a few photography books that I was looking at a lot around that time. I had been trying to figure out how to translate that inspiration into music. And when I read about the Alec Baldwin thing, I was like, “Oh, there’s a metaphor.” An actor shooting the person behind the camera and trying to recreate a historical event from the past, the Wild West or something, and then getting too close to the actual violence that you’re trying to recreate.
New England looms large on this record. You’re not from there originally, but you draw inspiration from the region.
I’m not for New England superiority or anything. It was just finding inspiration in the landscape, the cows and stuff. That’s just the reality of living here. Also there’s some historical references on the album that come from seeing names on street signs all over town, like Ethan Allen and Joseph Smith. I used to drive past his birthplace on the way to work all the time.
How did you get into music?
I started playing guitar when I was maybe 12, and I’ve been writing songs ever since. I didn’t have too many people to play with, honestly. I went to open mics and jam sessions when I was a kid, and I was really into blues music, so I’d go to blues jams. That’s where I learned how to finger pick.
It’s unusual for a 12-year-old kid to be playing the blues in the early 2010s.
It was the really old stuff, like Robert Johnson and Charley Patton and Son House. Then I got more into electric stuff, BB King and Magic Sam and Freddie King. I was into classic rock before then and then got into the older stuff that Cream was covering. But really old blues music was my first obsession. That’s how I learned to play guitar. It’s kind of silly because I was just a middle schooler in the DC suburbs.
So, you were this little kid writing blues songs?
Not really. I quickly realized that it was silly to be a 12-year-old writing blues songs.
Or it could have been incredible to be a 12-year-old writing blues songs.
I was pretty self-aware. I was like, “I don’t want to be this bourgeois cringe little white boy.”
You’ve been compared to Jason Molina a lot, particularly because of your vocal similarities. Is he a conscious influence?
He was a huge influence, definitely on the last record. I just made that record for fun. I wasn’t thinking about the way people would interpret it or compare it to this or that. It’s just allowing the influences to come through, I guess.
A lot of songwriters from your generation have connected with Molina’s work, even though he died a little before your time. Why do you think that is?
Well, one, I have the same thing about a lot of songwriters or musicians who sing in my register. There’s a lot of them — Neil Young, Skip James, Dylan. I have always gravitated towards the people that have a higher register voice. It’s like you can see some of yourself in those people.
Songwriting-wise, there’s a mystical quality to it. It makes you feel like you’ve discovered some kind of secret, like he’s talking just to you or something.
Along with the voice, your records have a very “live-sounding” vibe to them. There’s an element of spontaneity or chaos lurking in the mix.
The new record and the last one were like that. It was more of a necessity than intentionality. Just having people in the studio for one day and trying to get the song down. I made both records in Burlington, and we were all between working at our jobs. We didn’t have to be the most well-rehearsed, “get it in one take” kind of band. We just went in and tried to get it.
You’ve talked about the 1978 Dylan album Street-Legal as a reference point for “Curtain,” which I love — your song and Street-Legal.
It’s very free flowing, and the songs are all quite long, with big arrangements but pretty loose. Lyrically, it’s pretty adventurous, as far as Bob albums go. It’s a very emotional album, and a personal one. I wasn’t really trying to recreate the sound or anything. Maybe just the feeling I got from listening to it worked its way in.
The lyrics on that album are very dense, almost impenetrable.
Totally. My favorite is “Where Are You Tonight.” That’s maybe my favorite song ever. There’s an extremely out-of-tune lead guitar on it, which is awesome. But lyrically, it’s like you can visualize the story, you understand it, what he’s talking about emotionally more than you do when you actually think about the story that he is telling you. It’s so abstract and mystical. He just communicates something that’s so much greater than sum of its parts.
Don’t forget the parenthetical part of the title, “(Journey Through Dark Heat).” I have no idea what that means in a literal sense, but at the same time I also completely understand what he’s saying.
[Laughs.] Yeah, totally.
Burnover is out 8/22 via Transgressive/Canvasback Records. Find more information here.
The Replacements’ third album, 1984’s Let It Be, is an ’80s indie rock classic. Now, over 40 years later, the project is getting a comprehensive and massive deluxe edition reissue.
Aside from the newly remastered original album, the 4LP and 3CD sets comes with unreleased studio and live recordings, sourced from the Let It Be Sessions. Out now is a previously unheard alternate version of “Androgynous,” with has a different vocal take and the full piano intro. Also included is Goodnight! Go Home!, an unreleased 28-song performance recorded in Chicago in 1984. The recording is sourced from an audience tape and has been newly remastered.
Listen to “Androgynous” above. Check out the tracklists for the different versions of Let It Be (Deluxe Edition) below.
Let It Be (Deluxe Edition) Packaging
Rhino
Let It Be (Deluxe Edition) — 3CD Track Listing
Disc One: 2025 Remaster
“I Will Dare”
“Favorite Thing”
“We’re Comin’ Out”
“Tommy Gets His Tonsils Out”
“Androgynous”
“Black Diamond”
“Unsatisfied”
“Seen Your Video”
“Gary’s Got A Boner”
“Sixteen Blue”
“Answering Machine”
Disc Two: Rarities
“Gary’s Got A Boner” – Alternate Version *
“Favorite Thing” – Alternate Version *
“Perfectly Lethal”
“Temptation Eyes”
“Who’s Gonna Take Us Alive” *
“Heartbeat, It’s A Lovebeat”
“Answering Machine” – Home Demo #1
“Answering Machine” – Home Demo #2 *
“Street Girl” – Takes 1 And 2 *
“Sixteen Blue” – Alternate Version
“Unsatisfied” – Full Length Version *
“Androgynous” – Alternate Version *
“20th Century Boy”
“Hey Good Lookin’” – Live
Disc Three: Goodnight! Go Home!: Live at Cubby Bear, Chicago, IL, (March, 1984)
“Can’t Hardly Wait” *
“Left In The Dark” *
“Unsatisfied” *
“I Will Dare” *
“Favorite Thing” *
“Kids Don’t Follow” *
“Run It” *
“Color Me Impressed” *
“Hayday” *
“Nowhere Is My Home” *
“Love You Till Friday” *
“Help Me Rhonda/G.T.O.” *
“Takin’ A Ride” *
“Tommy Gets His Tonsils Out” *
“Gary’s Got A Boner” *
“Johnny’s Gonna Die” *
“Can’t Get Enough” *
“I’m In Trouble” *
“Don’t Ask Why” *
“Take Me Down To The Hospital” *
“Shiftless When Idle” *
“Mr. Whirly” *
“Hitchin’ A Ride” *
“Black Diamond” *
“20th Century Boy” *
“Go” *
“Gimme Noise” *
“White And Lazy” *
Let It Be (Deluxe Edition) — 4LP Track Listing
LP One: 2025 Remaster
Side One
“I Will Dare”
“Favorite Thing”
“We’re Comin’ Out”
“Tommy Gets His Tonsils Out”
“Androgynous”
“Black Diamond”
Side Two
“Unsatisfied”
“Seen Your Video”
“Gary’s Got A Boner”
“Sixteen Blue”
“Answering Machine”
LP Two: Rarities
Side One
“Gary’s Got A Boner” – Alternate Version *
“Favorite Thing” – Alternate Version *
“Perfectly Lethal”
“Temptation Eyes”
“Who’s Gonna Take Us Alive” *
“Heartbeat, It’s A Lovebeat”
“Answering Machine” – Home Demo #1
“Answering Machine” – Home Demo #2 *
Side Two
“Street Girl” – Takes 1 And 2 *
“Sixteen Blue” – Alternate Version
“Unsatisfied” – Full Length Version *
“Androgynous” – Alternate Version *
“20th Century Boy”
“Hey Good Lookin’” – Live
LP Three: Goodnight! Go Home!: Live at Cubby Bear, Chicago, IL, (March, 1984)
Side One
“Can’t Hardly Wait” *
“Left In The Dark” *
“Unsatisfied” *
“I Will Dare” *
“Favorite Thing” *
“Kids Don’t Follow” *
Side Two
“Run It” *
“Color Me Impressed” *
“Hayday” *
“Nowhere Is My Home” *
“Love You Till Friday” *
“Help Me Rhonda/G.T.O.” *
“Takin’ A Ride” *
LP Four: Goodnight! Go Home!: Live at Cubby Bear, Chicago, IL, (March, 1984)
Side One
“Tommy Gets His Tonsils Out” *
“Gary’s Got A Boner” *
“Johnny’s Gonna Die” *
“Can’t Get Enough” *
“I’m In Trouble” *
“Don’t Ask Why” *
“Take Me Down To The Hospital” *
Side Two
“Shiftless When Idle” *
“Mr. Whirly” *
“Hitchin’ A Ride” *
“Black Diamond” *
“20th Century Boy” *
“Go” *
“Gimme Noise” *
“White And Lazy” *
Let It Be (Deluxe Edition) is out 10/24 via Rhino. Find more information here.
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