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Steven and Ian begin by touching on the recent Jimmy Kimmel news, and whether the indie-rock podcast space is also in danger from federal interference. They then pivot to a quick Sportscast about the early dominance of Steven and Ian’s favorite teams, the Packers and the Eagles.

After that, they usher in the first-ever Feudcast to cover the hilarious almost-fight between two bro-country dudes, Zach Bryan and Gavin Adcock. Then they discuss the newly announced lineup for Coachella 2026, and do a “yay or nay” on music festivals. Finally, they talk about Bleeds, the great new album from Wednesday.

In Recommendation Corner, Ian talks about the latest from electronic artist James K and Steven goes with pop-rock singer-songwriter Brian Dunne.

New episodes of Indiecast drop every Friday. Listen to Episode 257 here and subscribe wherever you get your podcasts. You can submit questions for Steve and Ian at [email protected], and make sure to follow us on Instagram and X (formerly Twitter) for all the latest news. We also recently launched a visualizer for our favorite Indiecast moments. Check those out here.

We are 25 percent deep into the 21st century, and it’s really starting to feel like it. Back when we were only 23 or even 24 percent deep, it still seemed like we were living in the shadow of previous eras — the 2010s, the aughts, the 20th century, and so on. But in 2025, the future finally has landed, and it has landed hard. AI, ICE, NVIDIA, the IDEF — the world now is made up of foreboding dominant consonants and creepy occasional vowels, much like “dystopia” itself.

But let’s set that aside for now. Let’s instead talk about something fun, like indie rock. In this clarifying moment, what can we proclaim about this semi-popular music genre?

Wednesday is a defining band of 2020s indie.

I can support this claim by arguing that Wednesday is a figurehead for a significant indie-rock subgenre. But I can prove it by pointing out that Wednesday is also foundational for an additional indie subgenre. And then I can end the conversation by stressing how Wednesday bridges their seemingly incompatible worlds in novel and influential ways. Here goes: Wednesday’s 2021 breakthrough, their third record Twin Plagues, established them as leading proponents of the current wave of shoegaze bands. But it also put them in the vanguard of rising indie country-rock acts. The former happened mostly because of the music, which was loud and blown-out and confrontational and scream-y; the latter stemmed from singer-songwriter Karly Hartzman’s funny-macabre lyrical dispatches from what I call “the Gummo South,” which in concert with the ravaged music conveyed the country’s crumbling underbelly via a series of half-remembered amoral anecdotes with ambiguous meanings and elliptical punchlines.

The fifth Wednesday record, 2023’s Rat Saw God, subsequently confirmed two things: 1) Their melding of shoegaze’s sonics and country storytelling was now a genre onto itself; 2) It was now considered by critics and a growing audience of indie fans to be very important. But then something fascinating occurred. The following year, Wednesday’s guitarist MJ Lenderman put out his fourth record, Manning Fireworks. On his own, Lenderman’s downplayed the fuzz-rock Siamese Dream aspects of Wednesday and played up the alt-country twang, while also offering up more streamlined and accessible versions of Hartzman’s self-styled southern-gothic yarns. This was typified by the first singles from their respective albums: Rat Saw God was introduced with “Bull Believer,” an eight-minute noise-rock dirge that devolves into screaming for half the run time; Lenderman meanwhile ushered Manning Fireworks into the world with “She’s Leaving You,” a sly rocker about a philandering middle-aged man that immediately sounded as impervious to relisten fatigue as Full Moon Fever. Ultimately, Lenderman scored an even bigger critical and commercial hit.

All this leads to Bleeds, the new Wednesday album out this week. If you’ve read about Bleeds, you’re aware that the end of Hartzman and Lenderman’s romantic relationship informs some of the songs (most obviously the brief but poignant “The Way Love Goes”). And you’ve also surely been informed that Lenderman played on the record but will not perform on the support tour, given his own marathon road schedule in the wake of Manning Fireworks. But what hasn’t been discussed is the subtextual drive of Bleeds, which (to my ears) is a pronounced push to make Wednesday as approachable as Lenderman’s music. While their more abrasive aspects haven’t been completely excised, they do feel tamped down a bit. (The screamiest song, “Wasp,” is the shortest one on the record, working out its angst in just 87 seconds, a fraction of the bile dumped by “Bull Believer.”)

Elsewhere, Bleeds boasts some of the catchiest pop tunes of Hartzman’s career, particularly “Candy Breath,” a shining slab of bubble-grunge reminiscent of Hole’s turn toward proud plasticity on Celebrity Skin. Even better is “Townies,” a deceptively amiable jangler about a woman reliving the sexual humiliations of her youth that bifurcates country breeziness on the verses and rock sludge on the cathartic chorus.

And then there’s “Elderberry Wine,” Bleeds‘ first single and one of Hartzman’s finest songs. When it first dropped in May, it immediately seemed to me like an answer record (deliberate or not) to “Right Back To It,” the breakout from Waxahatchee’s 2024 LP Tigers Blood. Both are “traditional” sounding love songs that aspire to (and I think achieve) a certain timelessness. They also both feature backing vocals from Lenderman. (Though, tellingly, he’s buried deeper in the mix on the Wednesday track.) But despite their similarities, they end up at different destinations. In “Right Back To It,” Katie Crutchfield sings about the grace of finding a person who is willing to put up with all your worst traits. But in “Elderberry Wine,” Hartzman suggests that this might not be enough, given the human impulse to constantly devalue that which is most precious. Your worst traits might, in fact, make love impossible. Or, as she puts it, “even the best champagne tastes like elderberry wine.”

It’s a wryly acidic observation that fits with the perverse humanism of Hartzman’s overall worldview. In her songs, she’s constantly drawn to exceptionally grotesque needles placed amid the banal haystacks of everyday existence. In the bombastic alt-rock number “Wound Up Here (By Holdin’ On),” she notices the “dirty jersey up in a trophy case” during a vigil for a drowned high school student. During the frisky psychedelic honky-tonk of “Phish Pepsi,” she observes a middle-school party where drunk and stoned teens are traumatized by binging on Human Centipede and a three-hour jam-band bootleg. For “Bitter Everyday,” she mixes power chords with weird scenes from inside the gold mine, my favorite being the one about a “street Juggalo” who sings “a sweet song on the porch.”

From a lyrical perspective, Bleeds is as chaotic as the music is (relatively) orderly. Whereas the narratives on Rat Saw Good often seemed linear and coherent, nearly every lyric on Bleeds feels like a story onto itself. And Hartzman stacks them together like she’s emptying several notebooks filled with observations from life on the road as well as the North Carolina countryside. Sometimes, this approach risks lapsing into unwitting self-parody. (The line from “Pick Up That Knife” about throwing up in the pit at a Death Grips show could have come from a Wednesday lyric generator.)

As for her delivery, Hartzman’s voice remains Wednesday’s most “love it or hate it” element. Detractors will surely listen to the droning mini-epic “Carolina Murder Suicide” and blanch at her unsteady pitch and idiosyncratic phrasing. But for those of us who are fans, that voice remains a singular insurance policy against Wednesday ever becoming too poppy or mainstream. Even at its most palatable, Bleeds remains a defiant statement of artistic and regional specificity that could not come from any other band. And what a band, truly, Wednesday has become.

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

In the unofficial video Young Thug released last week for his song “Man I Miss My Dogs,” Thug announced the release date for his long-awaited comeback album, Uy Scuti. However, after Cardi B’s promotional shenanigans over the past few days alerted him to their shared release date, he did what any Southern gentleman (with a Billboard ranking hanging in the balance) would do: he vacated the date, pushing his own album back a week to accommodate Cardi and her also long-awaited (longer-awaited?) album, Am I The Drama?.

“Yall know I wasn’t dropping Friday,” he wrote on Twitter (which I’m never calling “X,” FOH). “It’s a ladies day do yo shit @iamcardib.”

Cardi acknowledged his consideration, encouraging him on his own impending release. “And you better step next week,” she replied in a quote post. “You got this, You know this !!”

It probably doesn’t hurt that both artists’ albums will be released under the Atlantic Records imprint, facilitating the last-minute change and prompting their easy cooperation. After all, if both albums do well, it benefits both artists, as well as all the others on the label’s roster hoping to get their own budgets cleared. Gotta keep those coffers full, am I right?

Uy Scuti is now due on 9/26 via Atlantic Records.

Long before Grammy nominations and stadium tours, Cordae was just a high school kid dropping mixtapes and dreaming big. Now, he’s sipping on a glass of Rémy Martin V.S.O.P, talking legacy, name-dropping collaborations with the likes of J. Cole and Lil Wayne. He’s also giving us the ultimate “made it” moment: FaceTiming Snoop Dogg to settle a lifelong debate over who inspired his unique name.

In the latest episode of UPROXX’s Sound of My City, the DMV-bred artist sat down with Uproxx spirits expert and host Frank Dobbins III to toast his East Coast roots and reflect on his years-long grind to the top – and absolutely nothing was off limits. As the pair sipped on what Cordae dubbed as “buttery” Rémy Martin V.S.O.P cocktails, the rapper went deep on music, family, and how his city is “turning over a new leaf with a new generation.” Raised in a household where music practically thrummed through the floorboards, the modern rap prodigy (whose new album, The Crossroads, just dropped) spent his early days spitting alongside his uncle’s homemade beats, learning piano from his mom, and soaking up life lessons from his grandmother, a prominent voice in the Black Panther Party. Today, fatherhood and a growing spiritual practice sharpen his focus, increasing his productivity and his hustle, leaving him with a backlog of songs just waiting to be released.

But despite all the success, Cordae stays humble. He credits his best industry crew – friends like H.E.R. and Anderson .Paak – for keeping him grounded and authentic. He blends his guiding motto – to make music that would impress his teenage self – with Wayne’s advice to “treat every song like it’s someone’s first time hearing you.” And he keeps his sound rooted in respect, for the craft, the lineage, and the community that helped shape him.

Watch the full video above and stay tuned here for more from our stop in D.C. with Cordae and Rémy Martin’s ‘Sound Of My City’ summer series.

Saturday Night Live has been on a break since its milestone 50th season wrapped up in May. Now, it’s about time for the show to come back, and now we know it’s set to return in October: The first slate of hosts and musical guests for the 51st season was announced today (September 18).

On October 4, Bad Bunny is hosting and Doja Cat will join as the musical guest. On October 11, SNL alum Amy Poehler will return to host an episode featuring musical guest Role Model. Finally, on October 11, Sabrina Carpenter will pull double duty as both host and musical guest.

Bad Bunny has become an SNL mainstay this decade. He’s hosted twice and been a musical guest three times, including the 2023 episode when he did both. Doja, meanwhile, will be making her Saturday Night Live debut on the episode.

Poehler is of course familiar with the SNL stage. Aside from being a beloved cast member for nearly a decade, she has returned to host the show a handful of times. Role Model will be making his first appearance on the show.

Carpenter previously appeared as a musical guest in 2024, but this will be her first time hosting. She got a sketch in during that episode and popped up during Quinta Brunson’s monologue later that season.

We’re in the endgame, now. The release of Cardi B’s album Am I The Drama? is just a few hours away, and she continues to share more information about it. Earlier this week, she shared the features, announced her tour for the album, and dropped the tracklist; most recently, she gave fans a teaser of the music video for “Safe” featuring Kehlani, and announced it would accompany the album’s release at midnight ET.

From the short clip she shared on her social channels, the song will be a piano-driven, emotive ballad in the same vein as her prior collab with Kehlani, “Ring,” from her debut album, Invasion Of Privacy. It also appears the video’s male lead is social media star Don Benjamin, who makes one heck of a f*ckboy face before the smash cut to the title card. Expect a drama-filled (heh) narrative inspired by Cardi’s worst experiences with men.

Little Miss Drama Tour Dates

02/11 — Palm Desert, CA @ Acrisure Arena
02/13 — Las Vegas, NV @ T-Mobile Arena
02/15 — Los Angeles, CA @ Kia Forum
02/19 — Portland, OR @ Moda Center
02/21 — Vancouver, BC @ Rogers Arena
02/22 — Seattle, WA @ Climate Pledge Arena
02/25 — Sacramento, CA @ Golden 1 Center
02/27 — San Francisco, CA @ Chase Center
03/01 — Phoenix, AZ @ PHX Arena
03/04 — Houston, TX @ Toyota Center
03/06 — Austin, TX @ Moody Center
03/07 — Dallas, TX @ American Airlines Center
03/09 — Denver, CO @ Ball Arena
03/12 — Minneapolis, MN @ Target Center
03/14 — Indianapolis, IN @ Gainbridge Fieldhouse
03/15 — Detroit, MI @ Little Caesars Arena
03/17 — Kansas City, MO @ T-Mobile Center
03/19 — Cincinnati, OH @ Heritage Bank Center
03/21 — Chicago, IL @ United Center
03/25 — New York, NY @ Madison Square Garden
03/28 — Newark, NJ @ Prudential Center
03/30 — Toronto, ON @ Scotiabank Arena
04/02 — Boston, MA @ TD Garden
04/03 — Hartford, CT @ PeoplesBank Arena
04/04 — Baltimore, MD @ CFG Bank Arena
04/07 — Philadelphia, PA @ Xfinity Mobile Arena
04/08 — Washington, DC @ Capital One Arena
04/11 — Raleigh, NC @ Lenovo Center
04/12 — Charlotte, NC @ Spectrum Center
04/14 — Sunrise, FL @ Amerant Bank Arena
04/17 — Atlanta, GA @ State Farm Arena

Am I The Drama? is due on 9/19 via Atlantic Records. You can find more info here.

Samia is just a few months removed from releasing her latest album, Bloodless, in April. Samia is in the middle of a tour at the moment and now she’ll have a new song to perform live: Today (September 18), she shared the single “Cinder Block.”

The song was recorded a few months after the Bloodless sessions wrapped and it sees her interpolating Leonard Cohen’s “Suzzane” and “Hallelujah.”

In a statement, Samia says of the song:

“This one’s sort of an extension of Bloodless — took most of it from poems and wanted it to feel like treading water. Was listening to a lot of Leonard Cohen and the Theory of Forms reference in Suzanne felt pertinent — then it just became a recurring bit in the song to quote him. Jack Sparrow’s compass only points to what the person holding it wants the most.”

Listen to “Cinder Block” above and find Samia’s upcoming tour dates below.

Samia’s 2025 Tour Dates

09/19 — Los Angeles, CA @ Fonda
09/20 — San Francisco, CA @ Fillmore
09/22 — Portland, OR @ Wonder Ballroom
09/23 — Vancouver, BC @ Hollywood
09/24 — Seattle, WA @ Neptune
09/26 — Salt Lake City, UT @ Soundwell
09/27 — Denver, CO @ Ogden
09/29 — Omaha, NE @ Waiting Room
09/30 — St. Louis, MO @ Delmar Hall
10/01 — Nashville, TN @ Brooklyn Bowl
10/26 — Glasgow, UK @ G2
10/27 — Manchester, UK @ Yes (Pink Room)
10/28 — London, UK @ KOKO
11/14-16 — Mexico City, MX @ Corona Capital
04/12 — Indio, CA @ Coachella
04/19 — Indio, CA @ Coachella

+ with Hank Heaven
^ with Renny Conti
* with Sarah Julia

From the Coachella desert to the Manhattan skyline, UPROXX has been creating can’t-miss nights of music, culture, and signature Sparkling Ice cocktails with our Sparkling Sessions 2.0 tour. We’ve tapped chart-toppers like Jessie Murph to host chill day parties at the iconic Von Dutch Ranch and have been serenaded by the smooth soul of R&B icon Lucky Daye on a New York City rooftop. Now, as festival season is winding down, we’re keeping the same unforgettable energy we’ve been curating all summer long in the live music capital of the world, Austin!

Our Texas touchdown is about to be Anything But Subtle as we roll into Austin Garden with headliner Adrian Nunez, who’s been redefining country music with his breakout track, “Low Country Road.” The genre-blurring powerhouse will be joined by some special guest performers and DJs who will keep the vibes high as fans sip on custom Sparkling Ice-infused cocktails and snack on Mexican street food. This isn’t just a concert — it’s a full-on experience with exclusive merch drops and interactive experiences, turning the moment into the kind of memory that sticks with you long past last call.

Spots are limited, so RSVP now before it’s too late.

Today marks the 10th anniversary of the release of Mac Miller‘s third studio album, GO:OD AM, and the late rapper’s estate is celebrating with a new short film, GO:OD AM (Time Flies, Try To Catch It). Directed by Mac’s frequent collaborator Sam Balaban, the film captures the creation of the pivotal album through archival footage and interviews with collaborators like Mac’s manager Christian Clancy, engineer Josh Berg, hype man Quentin Cuff, and visual artist Ian Wolfson (aka Rex Arrow).

GO:OD AM was Mac’s first release under Warner Music, debuting at No. 4 on the US Billboard 200. Supported by two singles, “100 Grandkids” and “Weekend,” the album featured guest appearances from a diverse array of artists including Ab-Soul, Chief Keef, Lil B, Little Dragon, and Miguel. It’s largely credited with the beginning of a musical evolution that took Mac Miller from his slacker rap beginnings to the soulful funk scientist he eventually became before his death in 2019.

Even after his passing, Mac’s archives have been a never-ending fountain of new content; his posthumous 2024 album Balloonerism spawned an animated film, while the MacLib collaboration album between Mac and LA producer Madlib is said to still be in the works.

You can watch GO:OD AM (Time Flies, Try To Catch It) above.

Labrinth hasn’t performed live since 2024 (per setlist.fm), but he’s set to return as part of the Coachella 2026 lineup that was announced earlier this week. He’ll have some new songs for the occasion, too, as today (September 18), he announced Prelude, a new EP.

A couple days ago, Labrinth also teased a new song called “Pull Me In” by sharing a 15-second snippet on social media.

The tracklist has not yet been revealed, but a press release notes the project will have eight tracks. It also describes Labrinth as being “at the precipice of a new sonic rising” and the EP as “equal parts foreboding, inquisitive, candid, enticing, celebratory, and reflective.”

Labrinth previously described his mindset when creating a new project, saying, “I just ask myself, ‘Are you telling the truth?’ I think writer’s block to me comes from narrow thinking. When you feel obligated to write a certain type of record, writer’s block can come easily. But when you leave the road as open as possible, you’re going to go, ‘I’m tired today, let me write a song that fits the way I’m feeling right now.’ And you find yourself back on this excited loop of having another idea, and it just spirals.”

Prelude is out 9/19 via Columbia Records. Find more information here.