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The only feature on Sasami’s album from earlier this year, Blood On The Silver Screen, was Clairo on “In Love With A Memory.” The album arrived back in March, but now, Sasami has offered an addendum via a new version of “Just Be Friends” featuring Soccer Mommy.

In a statement, Sasami explains she wanted the song to have more of a country flair this time, saying:

“When I was working on Blood On The Silver Screen, I found myself returning to country often. I listened to Dolly, Johnny, Patsy, Merle and even a lot of the modern country that I had previously dismissed. Country songs have to be some of the most effective and cutting examples of peak pop songwriting — wit, drama, humor, sadness, and the most human of all — horniness. My song ‘Just Be Friends,’ was definitely inspired by modern country, but I knew if I wanted it to be truly authentic I would need to enlist an actual southern princess. This new version featuring Soccer Mommy, pedal steel and all, delivers on the country magic that I had always wished could be in that song. That’s the best part about collaboration, all hat all cattle.”

Soccer Mommy adds, “Sasami is such an amazing artist — and person — and I’m so glad she asked me to be on this remix.”

Listen to “Just Be Friends (Soccer Mommy Version)” above and find Sasami’s upcoming tour dates below.

Sasami’s 2025 Tour Dates

10/25 — Nashville, TN @ Marathon Music Works ^
10/26 — Atlanta, GA @ Buckhead Theatre ^
10/28 — Richmond, VA @ The National ^
10/29 — Brooklyn, NY @ Brooklyn Paramount ^
10/31 — Washington, DC @ 9:30 Club ^
11/01 — Philadelphia, PA @ Union Transfer ^
11/02 — Boston, MA @ House of Blues ^
11/04 — Toronto, ON @ HISTORY ^
11/05 — Detroit, MI @ Royal Oak Music Theatre ^
11/07 — Chicago, IL @ The Salt Shed ^
11/08 — Minneapolis, MN @ Uptown Theater ^

^ supporting King Princess

Blood On The Silver Screen is out now via Domino. Find more information here.

About two-thirds into last Saturday’s sold-out Geese concert in St. Paul, one member of the Brooklyn indie band’s intensely locked-in audience exclaimed, “Cameron fucking Winter!” It was during a break between songs, so everybody heard it. Some laughed, but at least one person protested. With perfect timing, they shouted, “There’s other people, too!”

The exchange echoed a familiar refrain — one that I’ve made myself — amid the ecstatic response to Getting Killed, the third Geese LP that already feels like a lock for “album of the year” status in 2025, at least among indie listeners. The album’s reception had been primed for months in advance by lead singer Cameron Winter’s solo record Heavy Metal, which arrived last December with little fanfare before gradually (and then quickly) becoming a word-of-mouth sensation. Before then, Geese was adrift in terms of critical and popular esteem, despite putting out one of the more exhilarating rock records in recent memory with 2023’s 3D Country, But after Heavy Metal, they were suddenly a hot property, though in the minds of some in attendance they were, apparently, The Cameron Winter Band. (Or, I guess, The Cameron Fucking Winter Band.)

But they’re not that. Geese is… Geese, a real unit in the classic “I thought they didn’t make ’em like this anymore” sense. They are also the band right now. That’s clear from the combustive alchemy achieved on Getting Killed, but it’s doubly apparent if you’re lucky enough to catch one of their remarkable live gigs this fall.

Picking up on the interaction in the audience, Winter stepped to the microphone. “I don’t know if I’ve ever introduced the band before,” he said. He then turned to his right and motioned to Geese’s guitar player, Emily Green, who on Getting Killed manages to split the difference between the nuanced textures of Jonny Greenwood and the “brown” audaciousness of Jimmy Page. After a few hype man-type words on Emily’s behalf, the audience erupted into a hero’s cheer: “Emily! Emily! Emily!”

Such was the mood on this particular stop of the hottest indie tour of the year. There might be bands that make more money or play bigger venues or garner better (or at least equally good) reviews in 2025. But in terms of juice — that intangible but indisputable feeling that you are witnessing a show you’ll still be talking about in 10 or 20 or even more years — then it’s hard to think of any act in the indie space that can touch Geese at the moment.

This can, for instance, be quantified by the sorts of ticket prices that brokers (i.e. scalpers) are asking for on the secondary market. Nearly $1,200 per general admission ticket in Detroit. Between $900 and about $1,150 in Los Angeles. In Madison, the $250 ticket price must have seemed like a steal. In each case, it’s obvious that the rapid scaling up of Geese’s popularity has swiftly exceeded the venues they were booked into this season. And this has just as obviously created a sense of urgency that’s compelled some fans to consider sacrificing part of their monthly rental money to see this band right as they enter the peak of their powers. If you love Geese, seeing them now, in 2025, on the Getting Killed tour, is a top priority.

I wish I could somehow counteract all that hype and, in the spirit of fiscal responsibility, lower the temperature. But I’m afraid I can’t. I caught them in 2024 open for King Gizzard & The Lizard Wizard, but that was in an arena and a relatively short set. Seeing Geese headline a club packed with eager acolytes, meanwhile, was an entirely different ballgame. It has to be one of my very favorite live experiences of the past several years. If I hadn’t seen Oasis play an epic reunion concert at Wembley Stadium this summer, Geese would, hands down, be my top rock show of the year. But even with that Oasis gig, a concert I had looked forward to for literally years, Geese is awfully, awfully close. It’s one thing to see an old favorite make an unlikely comeback. It’s another to witness a group of extremely talented musicians in their early 20s who are creating a legacy in real time.

Now, to be clear, I recommend not going into debt just to buy a ticket to a rock concert. But seeing Geese last weekend in a club reminded me why I still care about seeing rock bands in clubs. Sometimes it’s fun and sometimes you wish you had stayed home. But when it works — and I mean really works — it can be just about the most exciting thing you can imagine.

The key here, again, is that Geese is a band. The kind of band where you can zero in on any member and be captivated. Where each person contributes something vital musically while looking cool as hell in the process. Along with her attributes as a player, that mix of subtle flourishes and hot-dog riffs, Emily Green also has a natural charisma that’s shared by bassist Dominic DiGesu and especially drummer Max Bassin, Geese’s instrumental MVP. On stage, more than on record, that rhythm section gives the music a level of propulsion that’s more akin to the ’90s Red Hot Chili Peppers or even prime-era Zeppelin than a normal 2020s era indie outfit. (“100 Horses” live really does sound like 100 horses stampeding.) Nobody lumps them in with post-hardcore bands like Turnstile or Militarie Gun, but Geese in a live setting really does inspire multiple mosh pits. (The most furious was during “Trinidad,” the chaotic opening track from Getting Killed.) It’s a far cry from the singer-songwriter indie-folk that has dominated this space since the late 2010s, and a necessary antidote to that somewhat stagnant sound.

Speaking of singer-songwriters: I can no longer refrain from talking about Winter, who in spite of everything I just typed is unquestionably the star of the show. So much so that you already sense him downplaying his ample magnetism on stage. In St. Paul, he strode out in a hat and sunglasses, like he was trying to hide in plain sight. But as the 75-minute show progressed, he eventually shed the disguise as well as some of the polarizing vocal affectations from Getting Killed. In person, on songs like “Half Real,” the beauty of his voice is frankly stunning; Even after listening to the record countless times, I was taken aback by the IRL experience of that gnarled tenor filling the room. He really is the best young lead singer I can remember from at least the past decade, both in terms of vocals and presence. He’s so good that I wish he only did that, instead of also playing guitar. His skill set calls out — nay, demands — for him being a stand-alone frontman. (Geese this tour is already joined by touring keyboardist Sam Revaz. Might a touring guitarist also be in the cards?)

Of course, I wouldn’t want to mess with the magic of what’s happening with Geese on stage this tour. If this is what works, this is what works. As the show progressed, I kept waiting for a bum note or slack pacing. Something that might screw up the spell they were casting. But everything just… fell exactly where it needed to be. They capably handled the intricacies of “Husbands” and “Au Pays du Cocaine,” and then they pivoted to setting the room on fire with “Getting Killed” and “2122.” The vibe was loose and relaxed, but they were clearly very well-rehearsed and tight as a clenched fist. And while they appear ready to be stars, they weren’t pandering for it. Instead, they manifested greatness, in a way that’s hard to describe but impossible to miss when you see it.

By show’s end, after Winter introduced the rest of his band, the camaraderie on stage extended to the people in the audience. What had happened was undeniable. We were all in this together now. This was a special occasion, and we knew it.

Musician Jared Choeft suffers from a subtype of Obsessive Compulsive Disorder known as “Just Right OCD.” The condition manifests as an intense need for his actions to be carried out in a manner that feels precise, correct, “just right.” This desire leads to repetitive behaviours other people would judge as unnecessary. When trying to complete a task, even one that might appear inconsequential, Choeft is compelled to repeat the process, again and again, until a sense of balance or satisfaction is achieved. If he stopped short, the anxiety would be blinding.
Choeft finds his OCD keenly affects the parts of his life that he cares about the most, including, of course, his music.

Based in Fargo, North Dakota, Choeft records and performs a folky, whimsical style of classical music alongside his wife, Amanda — Jared often behind the piano and Amanda on the flute. When working on his compositions, Choeft can agonize over decisions such as how a melody or harmony should develop. But his OCD reveals itself in more innocuous ways too. As part of his process, Choeft uses musical notation software that turns his pieces into sheet music. He finds himself continually logging the same information into the computer. Choeft will repeat rituals such as dragging text or dynamic markings back and forth, moving the cursor along an arbitrary path, falling into cycles of undoing and redoing actions on screen until they feel… just right. A task that should take a second or two can stretch to minutes.

“I would use the word ‘hell’ to describe it,” Choeft tells me. “It’s just so painful.”

Everyone recognizes the three letters, and yet, OCD remains a highly misunderstood and misinterpreted condition. It’s most closely associated with cleanliness and attentiveness, with glove-wearing chief germaphobe Melvin Udall from As Good as It Gets providing the prototypical idea of how a person with OCD behaves. OCD does present as traits such as excessive hand washing and lock checking, but this association has fostered stereotypes and misconceptions that it is simply the impulse to be organized or tidy. This often leads to trivialization. It’s common to hear people describing themselves as a “little bit OCD” because they like things a certain way. What they miss is the anxiety experienced by true sufferers.

Lesser known symptoms include morbid obsessions and intrusive thoughts, sometimes of a violent nature. This naturally leads to the fear of psychosis or losing one’s mind. OCD can be painful, paralyzing, repulsive, and debilitating. The symptoms can feel unspeakable and, therefore, isolating. OCD doesn’t just implore, it torments.
But the antidote to medical myths is conversation and knowledge, so by speaking openly about their own experiences with OCD, pop stars have been contributing to the busting of misinformation and improvement of the collective understanding. Ariana Grande, PinkPantheress, and Luke Combs are among the artists to open up about how their OCD affects how they perform, how they write, how they move through the world. “When it hits, man, it can be all consuming,” Combs said in an interview. “If you have a flare up of it, right, you could think about it 45 seconds of every minute for weeks.”

To describe his OCD, Combs uses the term “Pure O” to signal that his symptoms play out internally, without a physical compulsion. (It should be noted that some organizations, including the American Psychiatric Association and OCD UK, do not endorse the expression.) The highly popular English singer-songwriter George Ezra has also spoken about his experiences with the same condition. “Whilst everything’s going on in your head, you’re vacant to the world around you and you’re not really there,” he told the How Do You Cope podcast.

Ezra always knew there was something in his brain constantly tugging at him, forcing him down corridors of his mind that he did not want to go. Yet he made it all the way to adulthood without being able to put a name to the demon. Ezra already had a number one album on his list of achievements when, while recording his second LP, it finally hit him that he had a recognizable condition and that condition was OCD. “I heard about it and instantly there wasn’t a doubt in my mind,” Ezra recalled. “I said, ‘That’s it. That’s what’s going on. That’s what I’m experiencing.’ In hindsight, this is something that I had my whole life.” Since diagnosis, he has been inspired to depict his OCD through songwriting.

This moment of realization is similar to Choeft’s experience. He was finally diagnosed with OCD around age 27, but had been experiencing symptoms since childhood. As it happens, this mirrors my own story. I was in my mid-twenties when the notion came over me to look up OCD online. Immediately, I recognised in this condition what I’d been suffering from since childhood. I’ve since undergone therapy and counselling, but nothing was as important as first discovering that I wasn’t alone — that the demon in my mind wasn’t unique to me. This sometimes decades-long lag in people experiencing OCD and recognizing they have OCD is attributable, I believe, to the poor information circling about the condition — sufferer’s themselves often don’t know what they have. And so the pushing of misconceptions is not without collateral damage.

One fallacy unique to artists: that having OCD is like a superpower that increases their attentiveness to their craft (“superpower” is a common trope applied to different mental disorders). Of course, many people are particular about the work, but OCD is almost always an impediment, rarely an advantage.

“I think a common [misconception] I get is people will tell me, ‘Yeah, I have OCD too. I just get really zoned in on something I’m doing and nothing can pull me away from it,’ or something like that,” describes Christine Goodwyne, the singer and lead songwriter of the band Pool Kids. “If you have OCD, when you’re doing compulsions, sure they bring you temporary relief or whatever, but overall it’s this feeling of dread and doom. If you are being OCD about being perfect, it’s not like you’re enjoying it, you know what I mean? It’s a burden and it’s a very negative, bad experience.”

Goodwyne cites her compulsion to record everything she’s working on as an example of a symptom. She also finds herself constantly making notes, not to be fastidious, but because of a fear of forgetting something that might someday be useful, even if these ideas soon become lost in a sea of unusable material. “It can hold you back because you feel like you’re drowning,” she says.

For Pool Kids, 2025 has brought new success and attention. The Tallahassee band’s third album, Easier Said Than Done, was received with acclaim. It was during the promotion of the project that Goodwyne began to speak about her OCD more than ever before — how it affects her as a person and creative. She’s open about how OCD is weaved into the album’s themes. On “Bad Bruise,” she sings, “Can’t help but try to touch it like a bad bruise,” sharply comparing her compulsions with the impulse to touch a physical bruise. “You can’t help but resist and give in to it,” she tells me, “even though you know it’s bad for you and it hurts.” There’s also the song “Leona Street,” inspired by Goodwyne’s realization that she was being, “OCD about trying to fix my OCD, where I was scanning every thought that I had and trying to figure out how to perfectly handle every thought. And I was doing all these rituals that I thought were going to help me, I don’t know, fix my mental health, but I ended up making it worse because I realized I was just giving into a different type of compulsion.”

“Which is Worse” delves into the role memory plays in grief, with Goodwyne drawing interesting parallels between hoarding as people understand it, and the idea of memory hoarding. “I think people don’t see or don’t realize the connection of hoarding with OCD,” she says. “Memory hoarding is a thing. When dealing with grief, I have gone through phases where I try to obsessively write out every memory I had with the person because I have this fear of forgetting. But then it gets to the point where it’s compulsive and you have pages and pages where you’re trying to record every thought and every memory you ever had with someone. So yeah, ‘Which is Worse’ is saying, ‘Is it worse to forget about someone and not have to deal with the pain of remembering their memories, or is it worse to have to be obsessively keeping track of the memories?’”

For some artists, having music as an outlet has proved soothing. Ariana Grande has asserted that the creative process has helped her find relief from intrusive thoughts and compulsions. Others, though, are uncomfortable with the trope that art is automatically remedial. While Goodwyne has used her songwriting to depict, probe, and make sense of her OCD, she rejects the idea that songwriting is somehow therapeutic.

“Everyone’s always like, ‘So how is it like therapy to you?’ And I’m like, ‘What if it’s not?’ Because I always say I don’t feel like I get a practical effect out of songwriting. It doesn’t do something, or help anything, about my mental health. I’m a musician and I just like to create and write songs. And that’s why I do that. It’s really not therapy to me. And it’s crazy how everyone seems to assume that and then it seems like every other artist agrees and says it is. And I’m wondering if they’re just going along with it. I’m like, ‘Are they all lying? There’s no way I’m the only person who doesn’t find this therapeutic?’ I don’t find songwriting therapeutic. It’s just something I enjoy doing.”

Choeft also became interested in expressing his OCD experience through music when he had a hard time finding work that specifically tackled the subject. “It felt like something that really needed to be expressed,” he says. “There’s been many pieces over the years that have about kinds of mental health issues. I really admire the way that other artists have expressed some of those struggles through music. And I wanted to do some of that with OCD in particular.”

Formulating the project, Choeft wondered if an instrumental or song with lyrics would be the best form. He settled on theme and variations, a common structure in classical music where an idea, called the theme, is revealed at the start of the piece, then repeated with different flourishes. He titled the piece “Grumpy Brain,” the name his wife Amanda gave her husband’s OCD.

Performed on piano and flute, the composition begins relatively serenely before more and more shades of discomfort and chaos are layered on, pulling the listener into a place of unease. “I started with I guess the tamer sort of emotions associated with OCD and I progressed towards some of the more really extreme dark emotions that come from OCD as the piece goes on,” says Choeft. With “Grumpy Brain,” he doesn’t just tell people about OCD, he tries to show them.

“It felt like a wonderful outlet, not just composing it, but then also recording it and performing it, because it felt like a way to share [the challenges of OCD] with a broader audience and connect with other people who are going through similar challenges,” says Choeft. “That just felt like a huge, you know, relief is the wrong word, but it felt really important to do that.”

Fans are (jokingly) accusing Megan Thee Stallion of witchcraft after a 2011 tweet of hers resurfaced, revealing her athletic marital ambitions before she ever cracked the Billboard Hot 100. The post, from November 14, 2011, reads: “I’m marrying an athelete for sure…maybe a football player..but most likely a basketball player.” Typo aside, it certainly appears to have turned out to be fairly accurate, as Meg and NBA star Klay Thompson have been gushing about each other all over social media in recent months.

The couple first appeared to have sparked a relationship this summer, when eagle-eyed fans noticed the 6’5″ All-Star shooting guard lurking by the pool in Meg’s vacation photos. They later confirmed the relationship, with Klay joining Meg on the red carpet at her Pete & Thomas Foundation Gala in New York. Klay began making regular cameos in Thee Stallion’s workout videos on TikTok, and she’s been a fixture courtside at the Dallas Mavericks’ preseason games (where Klay turned back the clock, putting up vintage performances of the variety that once won him and fellow “Splash Brother” Steph Curry four Larry O’Brien trophies).

Fans have run with the witchy-themed memes, based in large part on Meg’s own big belief in “manifestation”; the Houston rapper previously talked about manifesting her Beyoncé collaboration years before it happened (and gave them a No. 1 Billboard hit), and has regularly shared her wishlist of future collaborators, including Taylor Swift and Ariana Grande.

On September 27, 2025, country crooner Zach Bryan attracted 112,408 fans to Michigan Stadium — the largest ticketed concert in US history. The concert was the culmination of a seven-year climb that saw Bryan go from uploading music to YouTube between his duties as a member of the United States Navy to Billboard Hot 100 No. 1 hits, Grammy Award wins, and over 30 million albums and singles sold.

In just the past 90 days, Bryan’s digital footprint has hit impressive milestones, including over 2 billion total YouTube views, 31.6 million weekly YouTube views (up 12% in that timeframe), and 26 million monthly listeners on Spotify (up 14% in that timeframe). Meanwhile, interest in the “I Remember Everything” singer steadily grows; over the same three-month span, views of his Wikipedia article grew over 41%, reaching over 189,500 views.

With country’s popularity on the rise, Zach Bryan has become a lightning rod for much of that attention with a relatable, but aspirational story, and songs that exemplify the core of the genre’s appeal. The proof is in the results; fans turned his 2023 single “I Remember Everything” with Kacey Musgraves into a history-making hit, driving it to the top of the Hot 100, Hot Country Songs, and Hot Rock & Alternative Songs charts simultaneously. The song also won the Grammy Award for Best Country Duo/Group Performance.

Since then, his star has continued to rise, with a headlining performance at this year’s Stagecoach Festival in April, and of course, his groundbreaking concert at Michigan Stadium, which broke the previous record set by George Strait the year before. Zach Bryan represents a new kind of country artist — one built for the feed but grounded in feeling.

Those in the Lexington, Kentucky area, or country fans looking for an excuse to visit next summer, are in for a treat: The lineup for the 2026 edition of the Railbird Festival was just announced and there’s some alluring talent heading to the city’s The Infield At Red Mile next June 6 and 7.

The first day is led by The Lumineers and will also feature Caamp, Mt. Joy, Sam Barber, Stephen Wilson Jr., Watchhouse, The Wallflowers, Robert Earl Keen, Waylon Wyatt, Mountain Grass Unit, Hazlett, Ken Pomeroy, Laci Kaye Booth, Sons Of Habit, John R. Miller, and Colton Bowlin.

Sunday features Tyler Childers and additionally includes Zach Top, Ella Langley, Muscadine Bloodline, Houndmouth, Shane Smith & The Saints, Shakey Graves, Margo Price, Evan Honer, Willow Avalon, Braxton Keith, The Creekers, Kashus Culpepper, Carter Faith, Nicholas Jamerson & The Morning Jays, and Tyce Delk.

Tickets go on sale on October 22 at noon ET. The lowest-price 2-day GA tickets will be available at the start, and then prices will increase at 1 p.m. ET. Those interested can find more information and sign up for reminders on the festival website, where there is more about ticket options and accommodations.

Check out the full lineup poster below.

2026 Railbird Festival Lineup Poster

Sombr only just turned 20 years old this summer, but over the past year, he’s become one of music’s biggest rising stars. Not everybody is all in on Sombr, though, and one person’s experience has started some online discourse.

TikToker @meganator__ shared an eight-minute video summarizing their time at Sombr’s October 13 concert, dubbing it “one of the worst experiences of my life” and “the closest I’ve ever been to a middle school dance since I was in middle school at a dance.”

Sombr later responded with his perspective in his own video, saying:

“I thought I was chronically online, but it’s just come to my attention that there’s a TikTok drama going around because a 25-year-old attended my concert and was basically complaining that there were too many tweens there. I was making too many brainrot jokes and she just thought it was a cringe concert. And also, she was body-shaming me and it kind of started a massive body-shaming hate train directed towards me on a lot of videos of me on the internet right now, which is I totally respect people having opinions, but I’m a 20-year-old artist, freshly 20, and if you’re 25 years old and you’re going to come to my concert and not expect people younger than you to be there when I, the artist, am five years younger than you, it’s just a skill issue. I mean…

Also, like the jokes thing, like, you had to have known about my online presence before coming to my concert. I mean, anyone who knows me knows I’ve never uttered a serious word in my life. And also, I make jokes for five minutes of the concert and the rest is music. Like, live a little, enjoy life. Every age, sex, sexuality, gender, race… everyone is welcome at my concert, and I mean everyone. You guys need to find problematic people to hate on because I am just existing.

Also, I’m just going to give a quick tutorial. [literally touches grass] Also, I just remembered that I had a fever and bronchitis at the show she went to, but the show goes on. I will not cancel unless I’m on my deathbed.”

Check out Sombr’s video here and find his upcoming tour dates below.

Sombr’s 2025 & 2026 Tour Dates: The Late Nights & Young Romance Tour

10/21/2025 — Salt Lake City, UT @ The Complex
10/24/2025 — Seattle, WA @ Shadowbox SoDo
10/25/2025 — Portland, OR @ Roseland Theater
10/27/2025 — San Francisco, CA @ Fillmore
10/28/2025 — Los Angeles, CA @ El Rey Theatre
10/29/2025 — Los Angeles, CA @ El Rey Theatre
10/31/2025 — Phoenix, AZ @ The Van Buren
11/01/2025 — Pomona, CA @ Fox Theater Pomona
11/02/2025 — Los Angeles, CA @ The Fonda Theatre
11/05/2025 — New York, NY @ Brooklyn Steel
11/06/2025 — New York, NY @ Brooklyn Steel
12/02/2025 — Auckland, NZ @ Auckland Town Hall
12/04/2025 — Melbourne, VIC @ Festival Hall Melbourne
12/06/2025 — Ballarat, VIC @ Spilt Milk Festival
12/07/2025 — Perth, WA @ Spilt Milk Festival
12/09/2025 — Sydney, NSW @ Hordern Pavilion
12/11/2025 — Brisbane, QLD @ Fortitude Music Hall
12/13/2025 — Canberra, ACT @ Spilt Milk Festival
12/14/2025 — Gold Coast, QLD @ Spilt Milk Festival
02/10/2026 — Stockholm, Sweden @ Annexet
02/11/2026 — Copenhagen, Denmark @ KB Hallen
02/13/2026 — Hamburg, Germany @ Inselpark Arena
02/15/2026 — Warsaw, Poland @ Stodola
02/16/2026 — Prague, Czech Republic @ Forum Karlin
02/18/2026 — Vienna, Austria @ Gasometer
02/19/2026 — Munich, Germany @ Tonhalle
02/20/2026 — Zurich, Switzerland @ Halle 622
02/22/2026 — Milan, Italy @ Alcatraz
02/24/2026 — Madrid, Spain @ Riviera
02/25/2026 — Barcelona, Spain @ Razzmatazz
02/27/2026 — Paris, France @ Salle Pleyel
03/02/2026 — Amsterdam, Netherlands @ AFAS Live
03/04/2026 — Berlin, Germany @ Columbiahalle
03/05/2026 — Cologne, Germany @ Palladium
03/06/2026 — Brussels, Belgium @ AB
03/08/2026 — London, UK @ O2 Academy Brixton
03/12/2026 — Manchester, UK @ Academy
03/13/2026 — Birmingham, UK @ O2 Academy
03/15/2026 — Glasgow, UK @ O2 Academy
03/16/2026 — Dublin, Ireland @ 3Arena

I Barely Know Her is out now via Warner Records. Find more information here.

Artists’ props backfiring on them during concerts is always an attention-grabbing occurrence, but one artist has begun making hers a hallmark of her tour. During Doechii’s Live From The Swamp tour, the Florida native has introduced K-pop-style lightsticks, pop artist covers, and more. But the standout is undoubtedly a playground-style slide she descends as she performs “Denial Is A River.” She went down perfectly on night one, but since then, she’s had trouble, getting stuck halfway down during her Toronto stop.

The mishaps didn’t stop there. During her stop in New York on Monday night (October 20), things went the other way; instead of getting stuck, she descended too quickly, tumbling down on her stomach. Fortunately, she recovered as she touched down, continuing the song without missing a beat.

If this happens again, it’s a pattern, but you know what? Somehow, I wouldn’t be too surprised to learn that each “fumbled” descent was planned to a tee. After all, as much as Doechii prides herself on her creativity and execution, she also has an impish sense of humor and a keen understanding of how to hold fans’ attention. This would certainly qualify; videos of both have been shared and reshared all over social media for the past few days, and despite some folks using them to nitpick the burgeoning star’s show, most users have found it endearing, humanizing, and above all, hilarious.

The folks at A24 know how to make a movie, so it stands to reason that they’d do a pretty bang-up job at filming musical performances, too. They’re giving it a shot now, alongside their off-Broadway venue Cherry Lane Theatre: Today (October 21), they’ve announced a new filmed concert series titled Sound Check (not to be confused with Uproxx’s own Sound Check video series).

The first installment is out now and it features Tame Impala, fresh off the release of his album Deadbeat. In addition to the first live performance of “My Old Ways,” the set also includes “Dracula” and “Loser.” It is directed by A24 director Sean Durkin (known for The Iron Claw and Martha Marcy May Marlene).

Watch the performance above and find the Deadbeat cover art and tracklist below, along with Tame Impala’s upcoming tour dates.

Tame Impala’s Deadbeat Album Cover Artwork

Tame Impala’s Deadbeat Tracklist

1. “My Old Ways”
2. “No Reply”
3. “Dracula”
4. “Loser”
5. “Oblivion”
6. “Not My World”
7. “Piece Of Heaven”
8. “Obsolete”
9. “Ethereal Connection”
10. “See You On Monday (You’re Lost)”
11. “Afterthought”
12. “End Of Summer”

Tame Impala’s 2025 Tour Dates: Deadbeat

10/27/2025 — Brooklyn, NY @ Barclays Center
10/28/2025 — Brooklyn, NY @ Barclays Center
10/31/2025 — Brooklyn, NY @ Barclays Center
11/01/2025 — Brooklyn, NY @ Barclays Center
11/03/2025 — Chicago, IL @ United Center
11/06/2025 — Austin, TX @ Moody Center
11/09/2025 — San Diego, CA @ Pechanga Arena San Diego
11/11/2025 — Los Angeles, CA @ Kia Forum
11/12/2025 — Los Angeles, CA @ Kia Forum
11/14/2025 — Oakland, CA @ Oakland Arena
11/15/2025 — Oakland, CA @ Oakland Arena
11/17/2025 — Los Angeles, CA @ Kia Forum
04/04/2026 — Porto, Portugal @ Super Bock Arena – Pavilhão Rosa Mota
04/05/2026 — Lisbon, Portugal @ MEO Arena
04/07/2026 — Madrid, Spain @ Movistar Arena
04/08/2026 — Barcelona, Spain @ Palau Sant Jordi
04/10/2026 — Lyon, France @ LDLC Arena
04/12/2026 — Turin, Italy @ Inalpi Arena
04/13/2026 — Bologna, Italy @ Unipol Arena
04/14/2026 — Zurich, Switzerland @ Hallenstadion
04/16/2026 — Munich, Germany @ Olympiahalle
04/18/2026 — Gliwice, Poland @ PreZero Arena
04/20/2026 — Prague, Czechia @ O2 Arena
04/23/2026 — Hamburg, Germany @ Barclays Arena
04/25/2026 — Copenhagen, Denmark @ Royal Arena
04/26/2026 — Stockholm, Sweden @ Avicii Arena
04/27/2026 — Oslo, Norway @ Unity Arena
04/29/2026 — Berlin, Germany @ Uber Arena
04/30/2026 — Frankfurt, Germany @ Festhalle
05/01/2026 — Dusseldorf, Germany @ PSD Bank Dome
05/03/2026 — Paris, France @ Accor Arena
05/04/2026 — Amsterdam, Netherlands @ Ziggo Dome
05/05/2026 — Antwerp, Belgium @ AFAS Dome
05/07/2026 — London, UK @ The O2
05/08/2026 — Manchester, UK @ Co-op Live Arena
05/09/2026 — Birmingham, UK @ Utilita Arena Birmingham
05/11/2026 — Glasgow, UK @ OVO Hydro
05/13/2026 — Dublin, Ireland @ 3Arena

Deadbeat is out now via Columbia Records. Find more information here.

Rolling Loud is headed back down unda in 2026. The traveling festival will follow up its successful 2019 run at Sydney Olympic Park with two new dates at two new venues: March 7th at Sydney’s Centennial Park and March 8th at Melbourne’s Flemington Racecourse. The first announced performer is Gunna, who will be in the midst of a world tour after finishing up in South Africa and before heading to Europe.

In a press release for the announcement, Rolling Loud Co-Founders/Co-CEOs Matt Zingler and Tariq Cherif said, “We’re thrilled to finally bring Rolling Loud back to Australia. The energy from Sydney in 2019 was unforgettable, and this time we’re expanding that experience with shows in both Sydney and Melbourne. Australia has always shown real love for Rolling Loud, and we can’t wait to deliver something special for the fans Down Under.”

The original lineup for Rolling Loud Australia in 2019 was headlined by Future, with performances from Gunna, Playboi Carti, Rae Sremmurd, Smokepurpp, Tyga, and YG. Lil Uzi Vert and Ski Mask The Slump God were both billed, but dropped out at the last minute. The festival reportedly sold 20,000 tickets for its first event in kangaroo country.

Rolling Loud’s return to Australia will come after the festival’s inaugural run in India this November. You can, as always, find more information at rollingloud.com