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British pop-soul star Lola Young has had a breakout year here in the States, beginning with Tyler The Creator’s Chromakopia co-sign “Like Him.” Since then, her single “Messy” has made a splash, as has her cover of Arctic Monkeys’ “Wanna Be Yours” and follow-up single “One Thing.” Now, she’s cashing in all that goodwill with the announcement of her new album, I’m Only F*cking Myself, due September 19th via Island Records. Its cover, which you can see below, bears a photo of Young embracing a blow-up doll with her face on it. The announcement comes just weeks after the reveal of her upcoming North American tour dates, which you can also see below.

I’m Only F*cking Myself is due on 9/19 via Island Records. You can find more info here.

Lola Young North American Tour Dates

11/01 – Toronto, ON @ HISTORY
11/04 – Boston, MA @ Roadrunner
11/05 – New York, NY @ Terminal 5
11/08 – Philadelphia, PA @ The Met Philadelphia
11/09 – Washington, DC @ The Anthem
11/11 – Nashville, TN @ The Pinnacle
11/12 – Atlanta, GA @ Tabernacle
11/19 – Austin, TX @ Stubb’s Waller Creek Amphitheater
11/21 – Dallas, TX @ The Bomb Factory
11/24 – Chicago, IL @ The Salt Shed
11/25 – St. Paul, MN @ Palace Theatre
11/28 – Denver, CO @ The Fillmore Auditorium
11/29 – Salt Lake City, UT @ The Union Event Center
12/01 – Vancouver, BC @ Doug Mitchell Thunderbird Sports Centre
12/02 – Seattle, WA @ WAMU Theater at Lumen Field
12/04 – San Francisco, CA @ Bill Graham Civic Auditorium
12/06 – Los Angeles, CA @ Hollywood Palladium

Wednesday’s recent single and tour dates seemed to be building up to an album announce, and indeed, that’s what was happening: Today (June 18), the group announced Bleeds and shared a new song, “Wound Up Here (By Holdin On).”

The group’s Karly Hartzman says of the song:

“This song is inspired by a story my friend told me, from when he had to pull a body out of a creek in West Virginia. Someone had drowned but they took a few days to resurface because of the current. ‘I wound up here by holdin on’ is a line from my friend Evan Gray’s poetry book: Thickets Swamped In A Fence-Coated Briars. He gave me and Jake a copy of it to read on tour once and that line stuck out to me as pure genius so I stole it and wrote the rest of the song in my own words around it.”

She also said of the album, “Bleeds is the spiritual successor to Rat Saw God, and I think the quintessential ‘Wednesday Creek Rock’ album. This is what Wednesday songs are supposed to sound like. We’ve devoted a lot of our lives to figuring this out — and I feel like we did.”

Listen to “Wound Up Here (By Holdin On)” above. Below, find the Bleeds cover art and tracklist, as well as Wednesday’s upcoming tour dates.

Wednesday’s Bleeds Album Cover Artwork

Wednesday’s Bleeds Tracklist

1. “Reality TV Argument Bleeds”
2. “Townies”
3. “Wound Up Here (By Holdin On)”
4. “Elderberry Wine”
5. “Phish Pepsi”
6. “Candy Breath”
7. “The Way Love Goes”
8. “Pick Up That Knife”
9. “Wasp”
10. “Bitter Everyday”
11. “Carolina Murder Suicide”
12. “Gary’s II”

Wednesday’s 2025 Tour Dates

07/26-7/27 — Portland, OR @ Project Pabst
09/27 — Austin, TX @ LEVITATION Festival
10/09 — Santa Fe, NM @ Tumble Root *
10/10-12 — Las Vegas, NV @ Best Friends Forever Festival 
10/11 — Phoenix, AZ @ Crescent Ballroom *
10/14 — Solana Beach, CA @ Belly Up Tavern *
10/17 — Los Angeles, CA @ The Fonda Theatre *
10/18 — Oakland, CA @ The Fox Theater *
10/20 — Salt Lake City, UT @ Soundwell *
10/22 — Ft. Collins, CO @ Aggie Theatre *
10/23 — Denver, CO @ Gothic Theatre *
11/10 — Philadelphia, PA @ Union Transfer ^
11/11 — Brooklyn, NY @ Brooklyn Steel ^
11/12 — Brooklyn, NY @ Brooklyn Steel ^
11/13 — Montreal, QC @ Club Soda ^
11/15 — Toronto, ON @ Concert Hall ^
11/16 — Detroit, MI @ Majestic Theatre ^
11/17 — Chicago, IL @ The Riviera Theater ^
11/19 — Cleveland, OH @ Globe Iron ^
11/20 — Pittsburgh, PA @ Roxian Theatre ^
11/21 — Washington, DC @ 9:30 Club ^

* with Friendship
^ with Daffo

Bleeds is out 9/19 via Dead Oceans. Find more information here.

Golden Globe winner Jeremy Allen White of The Bear was, indeed, “Born To Run” in the first trailer for the Bruce Springsteen biopic, Deliver Me From Nowhere. The trailer gives viewers the first glimpse of the movie’s throughline via Jeremy Strong’s take on music producer Jon Laundau, who explains in voiceover that Springsteen’s entire career has been about repairing his faulty foundation as a child.

“Bruce is a repairman,” he says. “What he’s doing with this album is repairing the hole in his floor. He’s repairing himself. And once he’s done that, he’s going to repair the entire world.”

Lofty goals, to be sure, but The Boss’ most iconic hit, “Born To Run,” makes an appearance in the trailer (all due respect to “Born In The USA“), so it’s not like he didn’t at least make one hell of an impact on global pop culture. White does an admirable job embodying Springsteen as he records “Nebraska” in a hotel room, buys his first new car, and of course, performs on stage.

Certainly, Jeremy has Bruce’s approval; in a Sirius XM interview earlier this year, The Boss gave J.A.W. his stamp of approval, citing his good singing voice. “He sings well,” he said. “He sings very well. And Jeremy Strong and Odessa Young, there’s just a tremendous cast of people. They cast the film beautifully, so it’s very exciting.”

Watch the Deliver Me From Nowhere trailer above.

In March, Haim released “Relationships,” the first single from their new album I Quit finally out this week. Upon first listen, it sounded like a song that had already been soundtracking check-ins at Ace Hotel locations for a decade. It was sleek yet soulful, bouncy but impactful, feathery light with a melancholy undertow, and impossible to keep out of the part of your brain that houses earworms. It was, in short, a quintessential Haim track.

That is, unless you were paying close attention to the lyrics. Over an old-school hip-hop drum loop and soft-rock keyboards, Danielle Haim relates in a slippery R&B croon a series of complaints about a failed romantic union. “You really fucked with my confidence,” she sings. It’s a small but significant needle-scratch moment — not because of the F-bomb, which is hardly uncharacteristic for this amiably outspoken sister trio. What’s striking is the admission of non-self-assurance. Haim, if nothing else, has never been lacking in personal conviction. From the fearless amalgam of Hot 100 aesthetics and classic-rock formalism on their 2013 debut Days Are Gone to the doubling-down on their most Shania Twain-like aspects on 2017’s Something To Tell You to the raw pop deconstructions of 2020’s Women In Music Pt. III, Haim normally strikes a posture of absolute artistic resolve.

Depending on your point of view, this might be a good thing (you always feel like you’re in good, capable hands with this band) or a bad thing (see the previous joke about the Ace Hotel). Personally, I lean toward the former about 70 percent of the time, and the latter the remaining 30 percent. I can marvel at how ingeniously their records are put together and also chafe against how, well, perfect everything is. For detractors, their indestructible sheen can make Haim feel more like a brand than a band, with songs that exude vibes rather than excavate genuine feeling. Women In Music Pt. III, deliberately or not, felt like a remedy to that criticism, roughing up their polished edges while playing up the sadness behind their unflappably sunny demeanor. Whereas Tango In The Night was a north star for the earlier records, Women In Music Pt. III was more in a Tusk vein, all handmade soundscapes and overt anxiety.

Now comes I Quit, which pushes even further in the direction of messiness, both musical and emotional. Dave Fridmann, the iconic indie producer and studio engineer best known for his work with Flaming Lips and Mercury Rev, mixed every song on the album, an expansion of his limited role on the previous two Haim records. Fans of The Soft Bulletin and other Fridmann productions will recognize the heavy, blown-out drum sounds and the wiry aftertaste left by the guitars, which are slightly less pronounced here but still palatable. (Even “Relationships,” which includes a drum break seemingly inspired by “Billie Jean.”)

But I Quit sounds fried in other ways. The opening track “Gone” is stripped-down, almost like a demo, until a surprising sample from George Michael’s “Freedom 90” floats in along with a skronky guitar solo that sounds borrowed from an early Ween record. Reactions to the song have been mixed — Is the sample too obvious? Does the guitar solo work? — but what’s undeniable is that Haim is actively subverting and flat-out screwing around with their otherwise reliable pop melodies. The same is true of “All Over Me,” a stomping folk-rocker affected with a slight warble that sounds like a blockbuster ’80s album playing on a dying Walkman, or “Everybody’s Trying To Figure Me Out,” a moody minor-key number co-written with Bon Iver’s Justin Vernon that evokes, of all bands, Modest Mouse. It’s a fascinating development for a group that helped to move indie rock toward the pop mainstream in the early 2010s. Now, in the middle of a new decade, Haim sure sounds a lot like a pre-Days Are Gone indie-rock band.

If you know anything about I Quit other than what I have just told you, you are certainly aware that it has been described as a “breakup album.” The breakup in question involves Danielle Haim (the group’s de-facto leader and most dominant musical force) and Ariel Rechtshaid (the co-producer of their first three albums). Which, I suppose, makes I Quit Haim’s Rumours, though the conversation in this case is one-sided. The recurring theme of the album is best summed up with a line from the penultimate track, a piano ballad in the mode of Tumbleweed Connection called “Blood On The Street”: “And I can count on one hand / All the times that you really made me feel free.”

Here, again, I’m put in an awkward position. As a music critic, I am inclined by my profession to play armchair psychiatrist and make a self-evident connection between the relatively shambolic nature of the music on I Quit with the repeated lyrical claims about feeling stifled in a failed relationship. Listening to this album feels like visiting a newly single friend’s apartment, where they have rearranged all the pictures on the wall and placed the furniture around the room in a less symmetrical fashion as a silent rebellion against an overly controlling ex. The angst in the words translates to the bumpiness in the grooves. Though, it should be noted, I don’t know any of these people and I could be wrong about that.

What can I say without reservation is that this is the least careful Haim album yet, in ways that I like and in ways that I don’t. Bad news first: I Quit, at 15 songs, is at least three tracks too long. Most of those come in the middle of the record, where things get a little too mid-tempo and same-y. (Thinking specifically of decent but forgettable songs like “Love You Right” and “The Farm.”) Things pick up after that when Haim (with assistance from longtime collaborator and co-producer Rostam Batmanglij) lean into their natural eclecticism, with tangents into Ray Of Light-style dance pop (“Million Years”) and funky ’70s southern soul (“Try To Feel My Pain”).

And then there’s the battiest number on the album, which pulls an even more shocking and unlikely sample than “Freedom 90.” It’s called “Now It’s Time,” and it’s the last song on I Quit, perhaps because Haim felt like they had to run off after dropping a track that interpolates heavily from “Numb,” the oddball “hit” from U2’s 1993 album Zooropa. The industrial rock track with the stuttering beat was a major curveball from the Irish stadium-rock band 30 years ago, who were in the midst of their own chaotic period. But it’s even weirder coming from Haim, who typically have more fashionable tastes when it comes to music curation.

Given that Lil Wayne recently collaborated with Bono, maybe some sort of “unforgettable fire” has been sparked in pop culture this year. Or maybe sampling from Zooropa is what freedom truly sounds like. Either way, I welcome this newly liberated, and refreshingly unstable, era of Haim.

Towards the end of 2024, Fred Again.. unveiled a pair of new songs, “Light Dark Light” and “Little Mystery.” We haven’t heard from him since this year, although he was spotted in the studio with Sekou and Justin Bieber a few months ago. Those aren’t the only folks he’s been working with lately, it turns out: Yesterday (June 17), Fred shared “Victory Lap,” a new song with Skepta and PlaqueBoyMax. The tune also samples a Doechii verse from her and Rico Nasty’s song “Swamp B*tches.”

The trio released the track after premiering it on Twitch and after an impromptu pop-up rave in Brooklyn, which was livestreamed on Fred’s Twitch channel.

This comes almost exactly a year after Fred’s first stadium show, at the LA Memorial Coliseum. He also embarked on the Places We’ve Never Been Tour last year, in support of his latest project, Ten Days.

Listen to “Victory Lap” above and find both Fred and Skepta’s upcoming tour dates below.

Fred Again…’s 2025 Tour Dates

07/18 — Singapore, SG @ Pasir Panjang Power
07/21 — Bangkok, TH @ UOB Live
07/23 — Seoul, KR @ KINTEX Hall 10
07/25 — Niigata, JP @ Fuji Rocks Festival

Skepta’s 2025 Tour Dates

08/09 — London, UK @ Big Smoke Festival @ Crystal Palace Bowl
08/10 — London, UK @ Big Smoke Festival @ Crystal Palace Bowl

BTS had a bit of a reunion at a recent J-Hope solo concert, when Jin and Jung Kook took the stage while Jimin, V, RM, and Suga watched from the audience. The band members will soon all be finished with their mandatory South Korean military service, so fans are naturally wondering when the full-blown BTS reunion is happening. Well, if reports are to be believed, an approximate window has been locked in.

Per The Korea Herald (as Variety notes), a Hybe (the parent company of BTS’ label Big Hit Music) official said, “BTS’ comeback date is set for March next year.”

Another source also reportedly said, “While the exact date is unknown, I think it will be mid-March. I heard BTS is returning in the same month as their brother group Tomorrow X Together. It could be BTS first, then TXT — or the other way around.” Hybe CEO Lee Jae-sang also previously said, “We’re preparing alongside top-tier producers, but the artists also need time to reflect and prepare.”

BTS’ next album will be their first in a while, since 2020’s Be and Map Of The Soul: 7 – The Journey . Their latest single was more recent, with the release of “Take Two” in 2023.

BTS had a bit of a reunion at a recent J-Hope solo concert, when Jin and Jung Kook took the stage while Jimin, V, RM, and Suga watched from the audience. The band members will soon all be finished with their mandatory South Korean military service, so fans are naturally wondering when the full-blown BTS reunion is happening. Well, if reports are to be believed, an approximate window has been locked in.

Per The Korea Herald (as Variety notes), a Hybe (the parent company of BTS’ label Big Hit Music) official said, “BTS’ comeback date is set for March next year.”

Another source also reportedly said, “While the exact date is unknown, I think it will be mid-March. I heard BTS is returning in the same month as their brother group Tomorrow X Together. It could be BTS first, then TXT — or the other way around.” Hybe CEO Lee Jae-sang also previously said, “We’re preparing alongside top-tier producers, but the artists also need time to reflect and prepare.”

BTS’ next album will be their first in a while, since 2020’s Be and Map Of The Soul: 7 – The Journey . Their latest single was more recent, with the release of “Take Two” in 2023.

BTS had a bit of a reunion at a recent J-Hope solo concert, when Jin and Jung Kook took the stage while Jimin, V, RM, and Suga watched from the audience. The band members will soon all be finished with their mandatory South Korean military service, so fans are naturally wondering when the full-blown BTS reunion is happening. Well, if reports are to be believed, an approximate window has been locked in.

Per The Korea Herald (as Variety notes), a Hybe (the parent company of BTS’ label Big Hit Music) official said, “BTS’ comeback date is set for March next year.”

Another source also reportedly said, “While the exact date is unknown, I think it will be mid-March. I heard BTS is returning in the same month as their brother group Tomorrow X Together. It could be BTS first, then TXT — or the other way around.” Hybe CEO Lee Jae-sang also previously said, “We’re preparing alongside top-tier producers, but the artists also need time to reflect and prepare.”

BTS’ next album will be their first in a while, since 2020’s Be and Map Of The Soul: 7 – The Journey . Their latest single was more recent, with the release of “Take Two” in 2023.

BTS had a bit of a reunion at a recent J-Hope solo concert, when Jin and Jung Kook took the stage while Jimin, V, RM, and Suga watched from the audience. The band members will soon all be finished with their mandatory South Korean military service, so fans are naturally wondering when the full-blown BTS reunion is happening. Well, if reports are to be believed, an approximate window has been locked in.

Per The Korea Herald (as Variety notes), a Hybe (the parent company of BTS’ label Big Hit Music) official said, “BTS’ comeback date is set for March next year.”

Another source also reportedly said, “While the exact date is unknown, I think it will be mid-March. I heard BTS is returning in the same month as their brother group Tomorrow X Together. It could be BTS first, then TXT — or the other way around.” Hybe CEO Lee Jae-sang also previously said, “We’re preparing alongside top-tier producers, but the artists also need time to reflect and prepare.”

BTS’ next album will be their first in a while, since 2020’s Be and Map Of The Soul: 7 – The Journey . Their latest single was more recent, with the release of “Take Two” in 2023.

BTS had a bit of a reunion at a recent J-Hope solo concert, when Jin and Jung Kook took the stage while Jimin, V, RM, and Suga watched from the audience. The band members will soon all be finished with their mandatory South Korean military service, so fans are naturally wondering when the full-blown BTS reunion is happening. Well, if reports are to be believed, an approximate window has been locked in.

Per The Korea Herald (as Variety notes), a Hybe (the parent company of BTS’ label Big Hit Music) official said, “BTS’ comeback date is set for March next year.”

Another source also reportedly said, “While the exact date is unknown, I think it will be mid-March. I heard BTS is returning in the same month as their brother group Tomorrow X Together. It could be BTS first, then TXT — or the other way around.” Hybe CEO Lee Jae-sang also previously said, “We’re preparing alongside top-tier producers, but the artists also need time to reflect and prepare.”

BTS’ next album will be their first in a while, since 2020’s Be and Map Of The Soul: 7 – The Journey . Their latest single was more recent, with the release of “Take Two” in 2023.