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The 1975 are currently continuing the North American leg of their At Their Very Best tour, in support of the band’s recent album, Being Funny In A Foreign Language. Between onstage antics from lead singer Matty Healy sparking online conversation, many fans are suddenly even more intrigued to attend one of the tour dates. For those who might not be as well-versed in The 1975’s complete discography, here’s a glimpse of what to expect in the setlist.

Last night, for The 1975’s concert at Madison Square Garden, they seemed to stick relatively to the same songs — as it ties into the staging and production of the show. In total, they played a grand total of 26 songs in a two-hour time span. During the first half, the songs consisted of their new music. The second half is made up of their past hits. Last night, The 1975 swapped “Be My Mistake” from past shows for “Consumption” instead — otherwise known as Healy’s meat scene.

Other changes across the tour so far include The 1975 swapping songs like “Medicine” and “A Change Of Heart” for cities they’re playing two nights in — which has been Boston so far.

Continue scrolling to view The 1975’s most recent tour setlist.

1. “The 1975 (Being Funny In A Foreign Language)”
2. “Looking For Somebody (To Love)”
3. “Happiness”
4. “Part Of The Band”
5. “Oh Caroline”
6. “I’m In Love With You”
7. “All I Need To Hear”
8. “Roadkill”
9. “Fallingforyou”
10. “I Like America & America Likes Me”
11. “About You”
12. “When We Are Together”
13. “Consumption”
14. “If You’re Too Shy (Let Me Know)”
15. “TOOTIMETOOTIMETOOTIME”
16. “Me & You Together Song”
17. “It’s Not Living (If It’s Not With You)”
18. “Paris”
19. “An Encounter”
20. “Robbers”
21. “Somebody Else”
22. “I Always Wanna Die (Sometimes)”
23. “Love It If We Made It”
24. “The Sound”
25. “Sex”
26. “Give Yourself A Try”

Nas and Hit-Boy struck gold in 2020 with their joint album King’s Disease, pairing Hit-Boy’s versatile contemporary production sensibilities with Nas’ classic lyricism. It turned out to be a winning formula, so much so that they returned to the creative well again in 2021 — twice — with King’s Disease II and Magic. Now, they are hoping that the third time will remain the charm (even if it’s technically the fourth), prepping the release of King’s Disease III nearly a year after its initial announcement.

Although the album drops later this week (on Friday, November 11), so far, they’ve revealed few details about the album’s tracklist or collaborators. They did, however, share what appears to be a cover photo of the three gold bars stamped with the album’s abbreviated title (KD3), as well as a preview of the album’s creation with a 30-second trailer featuring footage from the studio with a clip of Bach’s “Toccata and Fugue in D minor, BWV 565” — you know, the Dracula pipe organ song.

In the meantime, Nas popped up in LeBron James’ “Father Time” commercials for Nike, acknowledging his longevity in the rap business, while Hit-Boy contributed to songs from Beyoncéand Cordae, as well as releasing his own solo track, “Fire Proof.” This post will be updated as more information becomes available.

After making serious waves following the release of his fourth studio album, Made In Lagos, Wizkid is back with more music to get you back on the dancefloor.

The upcoming album — More Love, Less Ego — is set to drop on Friday, November 11. The project will feature artists such as Arya Starr, Skepta, Sheneesa, Don Toliver, and more. Wizkid released the tracklist for his latest project on Instagram Monday evening, letting fans know the release is coming soon.

This past September, the singer released his first single off the 13-track album, “Bad To Me.”

The “Essence” singer has been quite busy ahead of his forthcoming album, from headlining festivals at Rolling Loud Toronto and the Lost In Riddim Afrobeats Music Festival with Burna Boy, to performing at Apple Music Live and headlining at Madison Square Garden later this month.

Check out the tracklist for the upcoming project below.

1. “Money And Love”
2. “Balance”
3. “Bad To Me”
4. “Sugar” Feat. Ayra Starr
5. “Everyday”
6. “Slip And Slide” Feat. SkilliBeng and Shenseea
7. “Deep”
8. “Flower Pads”
9. “Wow” Feat. Skepta and Naira Marley
10. “Pressure”
11. “Plenty Loving”
12. “Special” Feat. Don Toliver
13. “Frames (Who’s Gonna Know)”

More Love, Less Ego is out 11/11 via StarboyEntertainment/Sony Music International/RCA Records. Pre-save it here.

Roddy Ricch is finally ready to drop his long-anticipated third album, Feed Tha Streets 3, which will be the third installment of his Feed Tha Streets series.

After taking a brief hiatus following the release of his sophomore project, Live Life Fast, the Compton rapper has been cooking up tons of new music for his fans to enjoy this year. This past summer, Ricch released a three-track EP titled The Big 3, which features the single “Real Talk,” produced by J. Holt and his long-time collaborator, DJ Mustard.

Later in the month, he would go on to release a few singles, such as “Stop Breathing” and “Aston Martin Truck,” the latter with an accompanying video.

“The Box” rapper revealed that his third album, Feed Tha Streets 3, is set to release later this month, right on time for Thanksgiving. Ricch unveiled the cover art for the upcoming project back in October, calling it “a gift” to his fans.

“FEED THA STREETS 3 11/18,” he wrote. “MY GIFT TO YOU.”

The album’s tracklist and features haven’t been revealed yet, but are expected to come soon.

Feed Tha Streets 3 is out 11/18 via Atlantic. Pre-save it here.

Roddy Ricch is a Warner Music artist. Uproxx is an independent subsidiary of Warner Music Group.

It’s been over three years since True Detective has graced our screens with a new chilling tale of small-town murders and such, but luckily, fans won’t have to wait much longer for the next installment.

Production just began in Iceland for the upcoming season, which will be the fourth in the anthology. This season will take place in Alaska, where detectives struggle to find eight men who went missing while on an expedition. Hopefully, no strange dogs will show up and create another The Thing situation.

Here is the official logline:

When the long winter night falls in Ennis, Alaska, the eight men who operate the Tsalal Arctic Research Station vanish without a trace. To solve the case, detectives Liz Danvers (Jodie Foster) and Evangeline Navarro (Kali Reis) must confront their pasts and the dark truths lying underneath the Arctic ice.

It was previously announced that the iconic thriller actress Jodie Foster would star in the upcoming season, and now the rest of the cast has been set, featuring Kali Reis, John Hawkes, Christopher Eccleston, Fiona Shaw, Finn Bennett, Anna Lambe, Aka Niviâna, Isabella Star Lablanc, and Joel D. Montgrand.

Hawkes will play Hank Prior, a police detective who is known to hold grudges, while Shaw will play a mysterious survivalist named Rose Aguineau. Eccleston will portray police chief Ted Corsaro, who has a complex history with detective Danvers. Bennett will star as Peter Prior, Danvers’ apprentice while Lambe will portray Kayla Malee, a young nurse.

Issa López serves as writer, director, executive producer, and showrunner, while the original season one stars Matthew McConaughey and Woody Harrelson will serve as executive producers. Also producing is Cary Joji Fukunaga, who has stayed quiet over the past few months, despite numerous disturbing allegations regarding on-set behavior.

Production on the season has just begun, so it will probably be some time until we see Foster’s intimidating stare. The good news is that all previous seasons of True Detective are now streaming on HBO Max to hold you over!

(Via What To Watch and Variety)

November is off to an excellent start when it comes to new music. Before the holiday craze, feasts, and fatigue fully sets in for all of us, there are a bunch of pop artists whose songs both you and your family will just love. From a TV actress making her return to music, an electronic club-ready repeat for New Year’s Eve (depending on where you are), a recent Sub Pop signee, and more, so much great songs are out in the world.

Continue scrolling to view Uproxx’s best new pop tunes from this week.

Selena Gomez — “My Mind & Me”

The title track from Selena Gomez’s recent documentary on Apple TV+, “My Mind & Me” serves as a powerful addition that shines a light on her struggles with mental health. By the time even the first piano notes, it becomes clear this isn’t going to be a happy one. Still, Gomez manages to draw some positivity from the situations, purely for the fact of knowing the track might help a listener out there.

Tiësto — “10:35” Feat. Tate McRae

Tate McRae’s new collaboration with Tiësto, “10:35,” forms a combo that just feels complete. Between McRae’s attention-grabbing voice and Tiësto providing the electronic backdrop, the song shines intensely… almost as much as both artists do in the music video. As I noted above, if you’re looking for a new powerhouse pop song to put on your NYE playlist, this one is definitely it.

Fletcher — “Suckerpunch”

“Suckerpunch” is the lead single from Fletcher’s upcoming deluxe edition of her album, Girl Of My Dreams. And it is exactly that. The beat change between the first verse and chorus immediately snaps you out of the false and short-lived sense of calmness. “Guess I didn’t know love could hit me this hard,” she notes for the final lyric. The only semi-downside is that the song’s short runtime feels abrupt — but only because something so good already had even more potential.

Olivia O’Brien — “Never Be The One”

After releasing a collab with Fletcher earlier this year, Olivia O’Brien returned this week with a new solo track, “Never Be The One.” Sprinkled with autobiographical details of a complicated relationship, from her “putting Tame Impala on” to “smoking cigars at Lulu,” she sets the scene of a will-they-won’t-they situation… that ultimately comes down to the message in the song’s title.

Suki Waterhouse — “Neon Signs”

The opening track from Suki Waterhouse’s new EP, “Neon Signs” sets the tone immediately: she did not come to play around. Waterhouse has already been on an impeccable roll this year, with her debut album, I Can’t Let Go, being a strong AOTY contender. Here, she builds upon that momentum even more by leaning into her ’90s alternative influences in Aimee Mann and Ani DiFranco.

Samia — “Mad At Me” Feat. Papa Mbye

Ahead of Samia’s sophomore album, Honey, arriving in 2023, she has teased it with “Mad At Me.” A collaboration with Papa Mbye, Samia struggles emotionally over someone else being upset with her. “I don’t want to know anymore,” she concludes on the bridge. However, it’s the contrasting upbeat instrumental that commands the listeners’ attention in this latest single.

Piwa — “Feel Free”

Piwa’s “Feel Free” appears on her new EP, Dead Ends. With relaxing harmonies over a beat that perfectly complements Piwa’s vocals, I found myself rewinding this one several times. There’s a reason it feels like a perfect closer to the record, as it details finding peace and “feeling free” after being hurt.

Joji — “Die For You”

A standout from Joji’s Smithereens, “Die For You” is haunting and hypnotic, between the darkly romantic lyricism, his slowed-down vocal style, and an instrumental that would fit on the “beats to relax/study to” video. There’s a reason this one has already amassed over eleven million streams.

Abby Cates — “Lawrence”

“Time keeps falling through my fingers,” Cates notes on “Lawrence” — her first new release this year. It marked my first time hearing one of her songs, and I was incredibly impressed. It blends elements of pop with airy, alternative-influenced songwriting, similarly present for fans of Ethel Cain and the genre. This is easily approaching one of my favorite singles from this year.

Ghost Orchard — “Cursive”

Ghost Orchard’s “Cursive” is another bedroom pop-esque entry on this list. A solo project from Sam Hall, this one is for the instrumental lovers who need some chill vibes throughout their workday or whatever activity requires some calming music.

Some artists covered here are Warner Music artists. Uproxx is an independent subsidiary of Warner Music Group.

It’s hard to wrap one’s head around just what the filmmakers involved in Black Panther: Wakanda Forever had to navigate through. First, there’s the emotional toll of losing Chadwick Boseman, whose death reportedly came as a shock to everyone involved. That alone, in a normal situation, would end any direct sequels. But Black Panther, a real symbol to so many people in the real world, our world, is not a normal situation. Like Black Panther, Chadwick Boseman was also an icon and any talk of just recasting the part is preposterous. (And, as director Ryan Coogler said, was never on the table, at least for him.) So Black Panther, in some form, must continue. Well, that sets up a whole other logistical problem.

Putting the emotional toll aside for a second, how do you make a sequel to one of the most successful movies of all time without the lead actor who plays the title character. I’ve seen a lot of bad sequels that did not have this particular, overwhelming obstacle. Try to put yourself in that situation for a minute. I’ll wait … okay, seriously, where do you even begin? It would be much easier to throw your hands up and say, well, this can’t be done and walk away from the whole thing. This is why I keep calling Black Panther: Wakanda Forever a miracle. Honestly, after all everyone went through, it’s a miracle if they made a movie that’s even remotely watchable. Let alone good. Let alone great. It feels like a Doctor Strange-type situation of going through each and every scenario until the found the one that wouldn’t end in failure. Well, they did it. They found the one true path.

The film hasn’t even started yet when we get to our first swelling of sadness when the traditional Marvel intro is switched out for one that only feature clips of Chadwick Boseman. It’s our first signal that, no, Wakanda Forever isn’t going to shy away from what happened and will also serve as an almost three-hour tribute to Boseman. It’s a year after the death of T’Challa (not to get too into spoilers, but all of this is handled pre-credits, off-screen, with a situation that mimics real life; it really feels like the only way to do something like this) and T’Challa’s family, Wakanda as a whole – and, let’s face it, us, really – are still mourning the loss of someone they and we admired. And the mantle of Black Panther is no longer a possibility because, in the prior film, Killmonger (Michael B. Jordan) destroyed the path to that identity.

So now there’s no Black Panther, and, in theory, there can’t be another Black Panther (after Killmonger destroyed that possibility in the first film), and the world now knows about Wakanda’s supply of Vibranium and the rest of the world seems to want their cut and will go to any means to make sure that happens. The United States doesn’t attack Wakanda directly, as other countries do, but the U.S. government has built a Vibranium detector in an effort to find the rare metal other places in the world, namely the bottom of the ocean. Enter: Namor.

Namor (Tenoch Huerta) rules the underwater civilization of Talokan, a place that also has a large supply of Vibranium, and Namor isn’t too happy about people snooping around looking for it. In fact, he blames Wakanda for telling the rest of the world about Vibranium and, in exchange for not waging war on Wakanda, he wants the U.S. scientist who made the Vibranium detector brought to him and killed. Shuri (Letitia Wright) and Okoye (Danai Gurira) contact their old pal Everett Ross (Martin Freeman) for information about this scientist, who turns out to be a student at MIT named Riri Williams (Dominique Thorne) who didn’t know that her invention would be used by the government. Now Shuri and Okoye must protect Riri.

Namor is one of the best villains in MCU history. A big reason is because “villain” is the wrong word for him. He’s certainly the antagonist of the movie, but he makes quite a few valid points. He’s just trying to protect his people. In the comics, Namor (also known there as Sub-Mariner) can come off as quite the blowhard, but here he’s presented as a rich character that jumps off the screen. There’s a moment in Black Panther: Wakanda Forever where it seems like Shuri has struck a sort of peace with Namor, only then for Namor to feel, quite reasonably, betrayed. It’s a movie where we can certainly see Namor’s point of view, which makes him compelling beyond the typical villain who wants to open up another sky portal, or whatever.

It’s a weird thing, because we’ve said goodbye to beloved characters before. Obviously, Tony Stark got quite the emotional sendoff. But we knew we’d see Robert Downey Jr. again in Dolittle. (Or, well, not see in that case.) But it’s kind of weird to even label a movie like Black Panther: Wakanda Forever as “the most emotional MCU movie,” or whatever. Which, by nature, draws comparisons to other emotional MCU beats. But this is real life. The people who made this movie lost their friend. The people who love these movies lost their hero. It transcends any emotional beats comparisons. You can see it and feel it in every second of this film. Chadwick Boseman does not appear in this movie, but he’s felt in every single scene. It feels like a way to say goodbye. And, in that, it very much succeeds … while also being a rip-roaring Black Panther movie. Again, this movie is a miracle.

‘Black Panther: Wakanda Forever’ You can contact Mike Ryan directly on Twitter.

Rihanna’s Savage X Fenty Show Vol. 4 is set to premiere on Amazon Prime Video on Wednesday, and according to a preview given to Billboard, there are plenty of surprises in store. In addition to a previously revealed tidbit that screen and stage legend Sheryl Lee Ralph and recently disgraced character actor Johnny Depp will appear in the show, Billboard teases the addition of actress Taraji P. Henson and details some of the musical performances in the show, which include Anitta, Burna Boy, Don Toliver, Maxell, and more.

Billboard also reveals that Toliver debuts a new song in the show, interpolating The S.O.S. Band’s 1980 debut single “Take Your Time (Do It Right).” He also performs Way Bigger” from his 2021 sophomore album Life Of A Don. The new song is Toliver’s first solo release of 2022, after he made appearances with Justin Bieber on “Honest,” Nav on Demons Protected By Angels, Kid Cudi on Entergalactic, and Trippie Redd on “Ain’t Safe” earlier this year.

In addition to the stars mentioned above, the Savage X Fenty Show will include even more stars from the music and entertainment world, including TikTok star Bella Poarch, veteran actress/model Cara Delevigne, precocious producer Marsai Martin, and Shang-Chi himself, Simu Liu.

Through the aid of an awkward teaser that leans into the uncomfortableness of its subject matter, Peacock has announced a new docuseries focused on the highly controversial Casey Anthony trial told from the perspective of Anthony herself. While she appears in the teaser, Anthony does not speak. Instead, an off-camera voice asks “Why talk to me now when you’re not getting creative control?” before cutting to black.

After being infamously accused of murdering her daughter, Anthony was acquitted and has remained relatively silent about the controversial decision. She did, however, give an interview in 2017 where she admits she sleeps “pretty good at night” and doesn’t “give a sh*t what anyone thinks about me.” In Casey Anthony: Where The Truth Lies, she appears to be taking a more somber approach.

The new docuseries will share Anthony’s side of the story as well as “feature Casey’s personal archives, behind the scenes footage and the defense’s evidence for a never-before-seen look into both sides of a story that ignited a media firestorm.”

Here’s the official synopsis:

Considered one of the first “trials of the century” that polarized conversation in living rooms across America, the Casey Anthony case is one that still leaves more questions than answers. There have been several movies and documentaries made to fill in the gaps, and yet, the woman at the center of it all remains the biggest mystery. Throughout the exclusive three-part documentary series, Casey Anthony finally tells her side of the story and addresses the public that has made so many assumptions for the past 13 years.

Casey Anthony: Where The Truth Lies starts streaming November 29 on Peacock.

Before making his official pivot to full-time musicianship, Joji built a career on going viral. The Japanese-Australian artist’s internet ties run deep, tracing through years of provocative uploads as a button-pushing YouTuber with an affinity for shock value before he retired from the platform in 2017. But when he went viral this past June, it was under much different circumstances. Returning with his first single in two years, the heartbreaking piano ballad “Glimpse Of Us,” Joji sparked an outpouring of TikTok posts — now more than a million uploads — from people who, just like him, have never gotten over anything, ever.

“Said I’m fine and said I moved on / I’m only here passing time in her arms / Hoping I’ll find a glimpse of us,” Joji sings, revealing that the placeholder relationship he’s in now doesn’t hold a candle to the one that got away. The comments beneath his post announcing the single’s release are littered with similar replies: “Joji what have you done to me?” “Who hurt you man?” “Remember, first love has a special place, but you still need to move on.” That last one is not a concept that Joji has come around to just yet — and his newly released third studio album Smithereens is tangible proof.

“Glimpse Of Us” opens the 9-track record — which splits itself into two parts with five songs on the first half and four on the latter — as a tone and pace-setting introduction to the unsettled mind of a lovelorn musician. Echoing the thematic threads from Joji’s first two studio albums Ballads 1 and Nectar, in the vein of James Blake, Smithereens revolves around the idea of love that repeatedly slips through the singer’s fingers. But he doesn’t have nearly as much to say about it on this record. With a run-time clocking in at just under 25 minutes and no collaborations, the album attempts to move Joji’s story along by lingering on the internal reverberations of heartbreak.

“Who the hell am I to think that you’re my angel from above?” Joji asks on the acoustic guitar-driven “Dissolve,” which brings the first section of the album to a close. “It’s not right,” he adds. The song captures the singer’s adoption of cynicism in the face of seeing everyone else get their happy ending while not completely understanding what it is that’s functioning as a roadblock heaping him from his own. He ruminates on relationships doomed from the beginning (“Before The Day Is Over”) and those that have run their course (“Feeling Like The End”), but he doesn’t seem to have a deep-rooted interest in fighting for anything more.

Heartbreak has left Joji cynical and acquiescent. On “Die For You,” the runner-up standout on Smithereens behind “Glimpse Of Us,” he doubles down on the endurance of his love, noting that no amount of time or distance between his past will diminish the permanence of his emotions. “I heard that you’re happy without me / And I hope it’s true,” he offers with non-manipulative sincerity. “It kills me a little, that’s okay / ‘Cause I’d die for you.” It’s another recurring motif that can have a tendency of feeling inherently repetitive, especially given its appearance throughout each of Joji’s albums. But the hope is that once he’s gotten this out of his system, maybe a door will open for his future releases to usher in a sense of healing.

On the second half of the record — produced mostly by Joji with every song title blaring like an alarm in all-caps — the singer commits to spending some time on topics that aren’t related to his sad boy R&B yearnings, though even those reflections are drenched in cynicism. On “Yukon (Interlude),” he laments about the time passing by as he moves through life, using an unexpected mid-song tempo shift to replicate a search for boundless freedom from a racing mind beholden to external expectations. “I can’t be young forever,” he considers, adding in the outro: “Empty choir, operated from above / My voice will be their voice until I’m free / My hands will be their hands until I’m free.”

For the first 22-minutes of Smithereens, Joji reinforces the tone of voice he’s established across his releases as a musician with authentic goals beyond making people laugh online. But the trope that he’s landed on, the identity of a sad boy R&B musician, runs the risk of feeling easily overdone, particularly when there aren’t any major breakthroughs or developments in the narrative to set apart one downward spiral from another. The record’s shimmering production is a welcome distraction from the amount of time spent circling the drain on the same thematic elements.

On the album’s final track, another layered piano ballad titled “1AM Freestyle” that comes in at just under two minutes, Joji still hasn’t moved on — something he communicated at the top of the record, as well — but, he at least expresses a longing to detach himself from the past. “And I’m tired of this madness,” he admits. “Tired of being stranded / I don’t wanna be alone.” It’s his lasting sense of self-awareness that saves Smithereens from the fate of being repetitive filler in his discography.

Joji isn’t releasing album after album about the same isolating burden he carries from falling in love because he thinks that’s all there is to his story as an artist. He recognizes it as an obstacle preventing him from moving forward, like his freedom is glowing in the distance and he’s close enough to see it but just out of its reach. When “1AM Freestyle” concludes with a note of exhaustion, the album loops back around to “Glimpse Of Us,” setting the cycle in motion once again and recalling the wise notion a fan dropped in the comments: “Remember, first love has a special place, but you still need to move on.”

Smithereens is out now via 88Rising. Get it here.

Joji is a Warner Music artist. Uproxx is an independent subsidiary of Warner Music Group.