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Eve is revisiting the making of the music video for “Let Me Blow Ya Mind” in a new episode of VEVO Footnotes. The episode features commentary from the rapper and Gwen Stefani about the collaboration.

“Let Me Blow Ya Mind” originally appeared on Eve’s second studio album, 2001’s Scorpion. Released via Ruff Ryders Entertainment and Interscope Records, the platinum-selling record is celebrating a milestone with a Complex exclusive 25th Anniversary Limited Edition Signed Insert Red & Black Splatter 2LP version.

During the VEVO episode, Eve describes the record as a statement intended to be “fun and cocky and celebratory.” “I was in the music business and here to stay,” she says. She made the song with Dr. Dre and Scott Storch. “It’s one song that I wrote fully. I write my own stuff, but usually I get lazy after I write verses,” Eve said in an interview with Glamour. “I don’t want to write the chords, and Dre was like, ‘You’re not leaving the studio until this song is done.’ I hated him that day, but I’m so happy he made me stay.”

In the clip, Eve shares the origins of Stefani’s feature, saying, “I had always been a fan of No Doubt and just had this gut feeling that Gwen and I would sound great on the track, vibe-wise.” But she was advised against the pairing: “I got told that that was never going to work, that people would be like, ‘Why are these two chicks together?’”

Eve held her ground. Per Stefani, “we appreciated each other’s worlds and coming together, we knew we were going to create something new and have this fresh energy.”

The video also explores the cameos from Dr. Dre, Jadakiss, and Styles P.

“Let Me Blow Ya Mind” won the first-ever Grammy for Best Rap/Sung Collaboration in 2002.

Shop Eve’s music on limited edition vinyl and CDs here.

The double-bass player Tom Van Dyck has shared with us his letter today to the board of the Boston Symphony Orchestra. The situation they have created, he warns, may well be irreparable:

Dear Barbara Hostetter and Board of Trustees of the BSO,

I write to you regarding the current crisis of leadership taking place at our beloved Boston Symphony. While we are deeply distressed by the lack of respect and firing of Andris, I believe this is a symptom of a much more serious concern about the way this organization is being led and guided. The breakdown in trust that has resulted from this action is in all likelihood irreparable.

When I started at the BSO in 2013, I joined a workplace where stewardship of the organization, both on and off stage, was a shared value so essential I took it to be part of the DNA of the BSO. Leaders not only communicated this commitment but demonstrated it on a daily basis through artistic and organizational decisions. In the past five years, this tradition has been replaced with what appears to be both personal and professional ambition. These ambitions run counter to the selfless values of service to a cause and organization that is greater than a few individuals. This is a deeply unsettling trend that threatens not only to permanently harm the BSO, but to set a precedent of prioritizing personal agenda over the actual shared institutional values of the stakeholders onstage and in the audience.

Not only does the manner of Andris’ dismissal run counter to this stewardship, the decision, the lack of communication, and the poor judgement involved signal to musicians that they are not to be consulted. That if visions do not align, the board would prefer to act by unilateral action than to work together through collaboration and compromise. Most importantly, as we can see from the current fallout, the Board either showed poor judgement in the most supreme of artistic matters, or else had the worst possible read of the orchestra, proof of profound dysfunction. In either case, what choice do we have but to conclude the Board has been derelict in their duties? This conclusion is only reinforced by the description of the situation in the recent New York Times story, calling it “the biggest crisis since its founding in 1881.”

Concerning what comes next, it appears that an intentional artistic vacuum has been created. This points to the desire of current leadership to take over not only the enormous administrative responsibilities of running an orchestra of this stature and scope, but to take over artistic decision-making as well.

And a pre-cautionary tale: Is a decentralized model of artistic partners or shared leadership what is being contemplated? There is no organizational precedent that positively bears this model out, with the exception of the Vienna Philharmonic, which is musician-led. Even if a new Music Director is appointed, how does replacing one of the world’s pre-eminent Maestros, with what will most assuredly be a second or third tier conductor after this treatment of Andris, suddenly boost the sales losses you claim for the past decades?

The board have the responsibility to maintain the artistic standards of the Boston Symphony. These standards can only decline under either of these scenarios.

It has been communicated by the current executive leadership that if they are not filling the hall, they are “not doing their job”. They have been here for 3 years. If this is one of the main metrics they use for their own performance review, one must ask why we are continuing to have to paper the hall so extensively – for the likes of Williams, Salonen, or Mandy Gonzalez?

This falls squarely on marketing and the C-suite, not on Andris Nelsons, as has been claimed. And Andris is not responsible for $90,000,000 in deferred maintenance.

Is it a coincidence that the audit and rebuild of our plagued marketing and sales have been put off until Nelsons was terminated? Has the Maestro been set up as the fall-guy for management’s failings? Deficits have only mounted in the last five years, as the board knows, among tepid, uninspired, and uninformed marketing efforts for all of our core offerings.

We are ardent believers in the evolution of this art form and our organization’s place in it. If we were involved in a clear and convincing vision of a future that we could be excited about on and off stage, I believe you would find support and enthusiasm amongst the players. We have no clue what that vision is beyond platitudes, and yet the claim is that you had our buy-in.

As I have seen in my 13 seasons here, administrations come and go, but to those of us who dedicate our working lives to the craft, and to an organization we deeply care about, these developments have grave consequences. While I am not ungrateful for your efforts, I confess that I have lost all confidence in the Board’s governance.

Sincerely,

Tom Van Dyck

Double Bass

The post Boston musician to the Board: Our values have been erased appeared first on Slippedisc.

Samba ’68, released on Verve in 1968, introduced Brazilian singer, songwriter, and multi-instrumentalist Marcos Valle to a wider international audience. Verve Records will soon pay tribute to the record’s incredibly legacy by reissuing it on vinyl as part of the Verve Vault series.

Already established in Brazil through songs such as “Samba de Verão” (“Summer Samba”), Valle worked with producers Bob Morgan and Ray Gilbert on Samba ’68. The album pairs Brazilian rhythmic forms with contemporary American studio orchestration. Sessions include vocals by Anamaria Valle and arrangements by Eumir Deodato, whose writing places Valle’s guitar and voice within settings for strings, brass, and rhythm section typical of Verve’s late-1960s productions.

The repertoire here features English-language versions of compositions co-written by Valle — including “So Nice (Summer Samba),” “Chup Chup, I Got Away,” and “Safely In Your Arms“ alongside additional material that reflects his economical writing and feather-light rhythmic approach. The album documents a meeting point between Brazilian popular music and international pop-jazz studio practice at the end of the 1960s.

The Verve Vault Series presents all-analog 180-gram vinyl reissues of essential albums from the Verve, Impulse!, Mercury, and associated catalogs. Mastered by Ryan K. Smith from the original analog tapes and pressed at Optimal, each release combines exceptional audio fidelity with meticulous attention to detail — from mastering to jacket reproduction. The series highlights both iconic titles and overlooked gems from the 1950s through the 1970s.

Shop the Verve Vault series now.

 

NEEDTOBREATHE has announced the first leg of their headline The Long Surrender Tour. The 25-date run kicks off August 12 at the Saint Louis Music Park in Maryland Heights, MO, and will head to amphitheaters nationwide. The shows wrap up September 20 at the Bon Secours Wellness Arena in Greenville, SC.

The band will be accompanied by longtime friends and collaborators, husband-and-wife indie-folk duo, Drew & Ellie Holcomb. Additional tour dates will be announced in the coming months.

NEEDTOBREATHE’s Insiders Fanclub will have access to presale on Monday, March 16th at 12:00 PM ET, artist presale begins Tuesday, March 17 at 10:00 AM local time, local presales begin on Wednesday, March 18th at 10:00 AM local time, and Spotify presale begins Thursday, March 19 at 10:00 AM local time. All presales will close at 11:59 PM local time on Thursday, March 19 and tickets will be available to the public on March 20th at 10:00 AM local time.

NEEDTOBREATHE will release a new album, titled The Long Surrender, on March 27 via MCA. The Grammy-nominated band’s 10th studio album was produced by David Cobb and recorded last year at his studio in Savannah, GA.

“In the beginning, I didn’t even think I was writing for a record—I was just writing in a therapeutic way, trying to get my head around what I wanted my life to look like going forward,” lead singer Bear Rinehart shared in a press release. “There’s always been a guardedness as far as how personal I get in the songs, or how overtly I express certain things, but this time I was writing everything down as I was going through it. It felt like the songs were coming from a different place, and where we ended up almost feels like a whole new band.”

Listen to NNEDTOBREATHE’s title track from The Long Surrender here.

Creative Industries Minister Ian Murray has written to NME about the need to for the industry and Live Nation to “step up to help the next generation of talent” by paying into the arena and stadium ticket levy, or else the government will be forced to intervene and make it mandatory by law.

• READ MORE: The ticket levy that could save grassroots venues and artists: what happens next?

Last week saw the Featured Artist Coalition (FAC) launch the new UKAT fund, in partnership with Music Managers Forum (MMF) and the Musicians’ Union (MU). The first phase offers proceeds of £125,000, collected from LIVE Trust donations as part of a voluntary “levy” ticket contributions from the likes of Sam Fender, Harry Styles, Radiohead, Lily Allen, Enter Shikari, Olivia Dean, Wolf Alice, Biffy Clyro, Ed Sheeran, Take That, The Cure, Kojey Radical, Foo Fighters and more.

The LIVE Trust has distributed £500,000 so far, with £5million to be to be given out throughout the year to artists, venue, promoters and more to get the UK’s grassroots scene stable and thriving once again.

This comes after the recent news that 30 grassroots venues were lost forever between July 2024 and July 2025, and last year alone saw more than half of those remaining making no profit and over 6,000 jobs lost, pressure has been mounting to help fund touring for artists to help prevent the existential threat to the future of the UK’s talent pipeline.

In support of the much-discussed £1 stadium gig levy, the Creative Industries Minister Ian Murray went to see Alex James’ ‘Britpop Classical’ tour with LIVE Trust founding trustee and music journalism icon Steve Lamacq at London Royal Albert Hall. That venue became the first UK arena to voluntary start paying into the scheme last year, and after the gig, Murray wrote to NME about how the levy needs much more widespread support for UK grassroots music to fulfil its full potential.

“The grassroots industry is the beating heart of our communities, and the closure of festivals and venues means fewer opportunities for emerging artists and for fans to experience the joy of live music up close,” Murray told NME. “This cannot continue, and that is why the government has given strong backing to a new £1 voluntary ticket contribution on stadium and area shows, with money reinvested in the grassroots sector.”

He continued: “A country with a musical reputation like ours, which can produce global superstars like Olivia Dean, Adele, Ed Sheeran, and Dua Lipa, should also have a thriving grassroots scene and venues within striking distance from all of our doorsteps. As part of our new strategy to support the industry, we are backing artists and live music from the ground up – not just celebrating success at the top, but investing in the pipeline that makes it possible.”

The last decade has seen the UK suffer from the “complete collapse of touring“, with 175 towns and cities declared “gig deserts”, and 35million people without live music in their area or community.

In 1994, the average length of a tour of grassroots venues around the UK was 22 shows with 28 locations on the primary and secondary circuit. After decades of decline – growing more steep in recent years – the average length of a UK tour is now around 11 shows with only 12 locations on the primary and secondary circuit.

Murray pointed to the importance of smaller venues as “the bedrock of our music industry”, as well as hubs for future talent across the UK, highlighting that without them the future of stadium gigs would be in peril.

“Stadium gigs are more popular than ever before, with fans clamouring to see the likes of Oasis and Coldplay put on mesmerising, large-scale live shows,” said the MP. “But the music industry must recognise that these moments would not have been possible without the venues that forged those artists into the live acts they are today.”

While working towards huge change via their Creative Industries Sector Plan and investing £30million in a new Music Growth Package – as well as reducing barriers to growth through their U-turn business rates relief for venues, and reforming the licensing system and the incoming ban on secondary ticketing and touts – Murray pointed out that “the government will only ever be the supporting act” and that the industry should be doing more to pay back into the ecosystem.

“We strongly support the industry’s own efforts to take the lead, and in particular the Live Trust’s introduction of a voluntary ticket contribution on stadium and arena shows, with £1 from every ticket sale going towards the grassroots,” he said.

So far, the government has been waiting for the industry to proactively and voluntarily make the levy work before they step in and legislate to make it law and mandatory. Last year, it was expected that 50 per cent of stadium and arena gigs would be paying into the levy by the end of 2025. This was not met, and a new deadline has been set for June 30, 2026. Music Venue Trust CEO Mark Davyd previously put the blame largely at the foot of market leader Live Nation, with Murray agreeing that they should take the leap to be more involved or risk government intervention.

“It is clear that there is more to do,” Murray argued. “At present, only 30 per cent of tickets for 2026 shows are currently supporting the voluntary ticket contribution. More major venues, tour operators, agents and artists need to step up. In particular, while several major promoters have thrown their unequivocal support behind the Trust, a small number have not.

“Live Nation, given its hugely influential position in the market, could make a major positive impact if it changes its stance. I urge them to reconsider and step up to help the next generation of talent. The government has consistently said that we are prepared to explore legislative options to ensure the sustainability of our world-leading live music industry, and I would reiterate this message to those promoters who can make a real difference.”

Murray added: “Failure to do so risks undermining our status as a music superpower. Filling arenas in the future depends on supporting artists, promoters, festivals and venues today. The Live Trust is a brilliant example of industry leadership and creativity, and the government fully supports it to ensure it delivers the results that  all music lovers and the industry itself deserve.”

Speaking at the launch of their annual report earlier this year, MVT’s CEO Mark Davyd praised those who’d been so proactive in supporting the levy.

“These companies are delivering,” he said of the likes of SJM, Kilimanjaro and AEG. “Live Nation, you know, and the whole industry knows, you are not. If the voluntary levy fails, it will not be the fault of the companies who have already embraced it, or Music Venue Trust, or the government, or any will to do it on behalf of individuals, artists, managers, agents, audiences or anyone else.

“It will be a direct consequence of the overwhelmingly dominant force in the arena and stadium market deciding not to deliver a voluntary levy. That’s your choice, Live Nation, and everyone in the industry hopes you make the right one.”

The grassroots sector subsidised live music by £76.6million in 2025, while recent larger shows at arena and stadium level saw UK live music contribute a record-breaking £8billion to the economy.

Live Nation, who played a part in Harry Styles contributing £1 for each ticket to his upcoming Wembley Stadium residency to the LIVE Trust, responded to the criticism by telling NME that they “support artists’ choices on charitable donations, and has worked with numerous artists who have contributed to the voluntary levy – from Coldplay to Biffy Clyro – and will continue to do so.”

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Davyd also told NME that a fully-funded system with all major parties contributing to the levy and LIVE Trust could see not only see the UK to a full and thriving tour circuit for fans, artists and gig spaces – but more venues opening and opportunities for artists in the years ahead.

“The ambition should be that within five to 10 years of the levy having been adopted and invested wisely, we should be seeing a healthy touring circuit and maybe we’ll get back up to the 30+ cities that used to get just about every tour, and then the 60 or 70 that would regularly feature on the national touring circuit.

“We’re missing a good two-thirds of the population with a music offer, and that’s not good for anybody.”

Davyd added: “My personal view is that it would be a terrible shame if we ended up with a statutory levy. If the music industry can’t work out how to do this voluntarily, then we accept that we can work with the government to get there.

“By 2027, the number of venues should be starting to go back up again. By the end of this decade, we should able able to say very proudly, ‘We turned this around, more venues are opening than are closing, more communities are getting access to live music, more artists are getting more support, and more promoters can take more risks’.

“There’s a five-year window coming up in which we turn this around.”

Visit here for more information or to apply to the UKAT fund, and here for more on the LIVE Trust.

Meanwhile in the US, Live Nation’s antitrust trial is set to resume after over 30 US states rejected a settlement offer. The Department of Justice is accusing Ticketmaster and parent company Live Nation of abusing their power in the live events market to create an illegal monopoly.

The post Government urges industry and Live Nation to “step up to help the next generation of talent” and pay into ticket levy appeared first on NME.

“With our music, I particularly like to be on the extremes of things,” says MEMORIALS‘ Matthew Simms. “So if it’s supposed to be pretty in your face, I like to be fairly in your face. And then at the same time, if it’s kind of warm and gentle, I like that to be as warm and gentle as possible. I’m interested in those juxtapositions and making those, that’s how we want it to come across.”

Simms (who was in It Hugs Back and Wire) and former Electrelane frontperson Verity Susman first started working together to score a couple documentaries (2021’s Women Against the Bomb and 2022’s Tramps) but they soon found themselves writing songs and wanting to play live. MEMORIALS were born. They released their debut album, Memorial Waterslides, in 2024, and this month follow that with All Clouds Bring Not Rain, which expands their sonic universe further, incorporating baroque psych, folk, krautrock, prog, post-punk and more.

We talked to Susman and Simms on this week’s episode of BV Interviews about the new album, the band’s origins, the wide array of unusual and occasionally temperamental instruments used on the album, translating their often complex studio arrangements to their duo live setup, touring with Stereolab, their upcoming spring tour, composing the score for a new French Kate Bush documentary, the value of playing loud, Simms’ production work with Lande Hekt and Chastity Belt, what came of the pandemic Electrelane “reunion,” five records they think everyone should own and more.

Listen and subscribe here, below or wherever you get your podcasts.

All Clouds Bring Not Rain is out March 27 and MEMORIALS will be on tour with Holy Fuck on the West Coast, and East Coast dates include Tubby’s Kingston on May 21 and a NYC show on May 23 (details TBA). All dates are listed below.

MEMORIALS – 2026 Tour Dates
April 08 – Le Hasard Ludique, Paris, France
April 09 – Le Tangram, Évreux, France
April 10 – Variations Festival, Nantes, France, w/ Einstürzende Neubauten
April 11 – Calm, Limoges, France
April 12 – La Petite Populaire, La Réole, France
April 14 – Le Consortium, Dijon, France
April 15 – Le Grand Mix, Tourcoing, France, w/ Bibi Club
April 22 – The Croft, Bristol, UK
April 23 – Little Bully, Oxford, UK
April 24 – Prince Albert, Brighton, UK
April 26 – Heartbreakers, Southampton, UK
April 29 – The Lexington, London, UK
April 30 – Hyde Park Book Club, Leeds, UK
May 01 – The Castle Hotel, Manchester, UK
May 02 – NeoAncients Festival, St Laurence Church, Stroud, UK
May 07 – Wicket Hall, Canada – Victoria, BC
May 08 – The Pearl, Canada – Vancouver, BC
May 09 – Tractor Travern – Seattle, WA
May 10 – Mississippi Studios – Portland, OR
May 12 – Great American Music Hall – San Francisco, CA
May 13 – The Roxy Theatre – West Hollywood, CA
May 14 – Casbah – San Diego, CA
May 15 – Swan Dive – Las Vegas, NV
May 16 – Pappy & Harriets – Pioneertown, CA
May 17 – Club Congress – Tucson, AZ
May 19 – 13th Floor – Austin, TX
May 20 – The Pie Shop – Washington, D.C.
May 21 – Kingston, NY – Tubby’s
May 22 – Allston, MA – O’Brien’s
May 23 – New York, NY @ TBA
May 31 – Nachtasyl, Hamburg, Germany
June 01 – Kantine am Berghain, Berlin, Germany
June 02 – Noch Besser Leben, Leipzig, Germany
June 03 – Kohi, Karlsruhe, Germany
June 04 – Club Manufaktur, Schorndorf, Germany
June 05 – Bellevue Di Monaco, München, Germany
June 06 – Rotown, Rotterdam, Netherlands

Anna Calvi has shared a reflective new collab track with Matt Berninger, ‘Is This All There Is?’ – check it out below.

• READ MORE: Anna Calvi on ‘Peaky Blinders’ inspired EP: “I’ve been living inside Tommy Shelby’s head”

On Friday (March 20), Calvi is set to release her EP ‘Is This All There Is?’, featuring collaborations with Berninger, Laurie Anderson, Iggy Pop and Perfume Genius – you can visit here to pre-order.

Having already shared a taster of the record with the visceral new song ‘God’s Lonely Man’, she has now shared the EP’s title track. Originally written for Joanna Hogg’s The Souvenir Part II – but previously unreleased, Calvi asked The National frontman to work on a new version with her.

“This song is about the bravery it takes to hope,” she said of the track. “It’s the willingness to ask questions, even when knowing you’ll never get a definitive answer.”

As for what it was like to work with Berninger, Calvi added: “The tone of Matt’s voice has such an epic, almost ancient quality to it, which felt perfect for a song asking such a big existential question. We’re both searching for answers together, and yet somehow always apart, which I find beautiful.

“He brings an intimacy to the song that I couldn’t have imagined.”

 

Elsewhere on the EP, Calvi reimagines Kraftwerk’s classic hit ‘Computer Love’ with Anderson, and revisits her previous cover of Bonnie ‘Prince’ Billy’s ‘I See A Darkness’, featuring Perfume Genius, which dropped last year.

“The opportunity to be in the same space as people you love is so inspiring,” Calvi said previously. “To see how different people approach the same thing – it sharpens you. It’s thrilling.

“They share a kind of subversive honesty. They’re not trying to please anyone. They express exactly who they are.”

In another recent collaborative project, Calvi appeared on the huge charity ‘Help(2)’ album alongside Arctic Monkeys, Beck, Portishead‘s Beth Gibbons, Big Thief, Wolf Alice‘s Ellie Rowsell and more.

Produced and stewarded by James Ford, (Arctic Monkeys, Gorillaz, Florence + The Machine, Blur, Pet Shop Boys), ‘Help(2)’ was recorded through “a close collaboration with Abbey Road Studios” mostly during one week in November 2025.

Before that, Calvi brought her signature sound to the score of the fifth and sixth seasons of Peaky Blinders.

As for Berninger, spoke to NME last summer during his press tour for new solo album, ‘Get Sunk’, opening up about beating writer’s block and depression, and what’s next for The National.

“Yes. It’s been four years since the dark months where it felt like there was no flame and I didn’t want to do it anymore,” he said at the time. “I didn’t want to listen to music anymore, much less fucking make any. That was scary. Then it came back. I’ve been writing a lot these past four years. The National have generated a huge batch of possible new things. There isn’t any rush for that, but I’ve been in a real juicy and creative couple of years.

“I’m glad I had that break and that ‘Get Sunk’ took five years because I was able to go back and change so much and make it better.”

The post Anna Calvi shares epic Matt Berninger collab ‘Is This All There Is?’: “We’re both searching for answers” appeared first on NME.

Foo Fighters‘ new album Your Favorite Toy arrives next month, and they begin their tour supporting it with a couple of festival dates in May. They’ve now announced a new show just a few days after the album’s release, happening at Bridgeport, CT’s Total Mortgage Arena on April 28. It’s with Frankie & The Witch Fingers, and tickets go on sale Friday, March 20 at 10 AM local, with various presales starting Tuesday, March 17 at 10 AM local.

Foo Fighters’ North American stadium dates are with Queens of the Stone Age, Mannequin Pussy, and Gouge Away each joining them varying by date, and they also have shows in Europe with Royel Otis, Otoboke Beaver, Inhaler, Die Spitz, IDLES, and Fat Dog, as well as a tour of Australia and New Zealand in the fall and winter. See all dates below.

Pick up Your Favorite Toy on vinyl in the BV shop.

FOO FIGHTERS: 2026-2027 TOUR DATES
04/28/26 Total Mortgage Arena Bridgeport, CT, US *
05/08/26 Welcome to Rockville Daytona Beach, FL, US
05/23/26 BottleRock Napa Valley Napa, CA, US
06/10/26 Unity Arena Oslo, No #+
06/12/26 Strawberry Arena Stockholm, SE #+
06/15/26 PGE Narodowy Warsaw, PL #+
06/17/26 Allianz Arena Munich, DEE ~+
06/19/26 Paris La Défense Arena Paris, FR ~+
06/19/26-06/21/26 Pinkpop Festival Landgraaf, NL
06/25/26 Anfield Stadium Liverpool, UK ~+
06/27/26 Anfield Stadium Liverpool, UK #!
07/01/26 Olympiastadion Berlin, DE =@
07/03/26 Ernst-Happel-Stadion Vienna, AT =@
07/05/26 I-Days Milano Ippodromo Snai La Maura Milan, IT =@
07/08/26 Mad Cool Madrid, ES
07/10/26 NOS Alive Lisbon, PT
08/04/26 Rogers Stadium Toronto, ON, CA %^
08/06/26 Ford Field Detroit, MI, US %^
08/08/26 Soldier Field Stadium Chicago, IL, US %^
08/10/26 Huntington Bank Field Cleveland, OH, US %^
08/13/26 Lincoln Financial Field Philadelphia, PA, US %^
08/15/26 Nissan Stadium Nashville, TN, US %^
08/17/26 Nationals Park Washington, DC, US %^
08/22/26 Hollywood Bowl Los Angeles, CA, US &
09/04/26 Rock in Rio Rio de Janeiro, BR
09/12/26 Fargodome Fargo, ND, US ^
09/15/26 Mosaic Stadium Regina, SK, CA %^
09/17/26 Commonwealth Stadium Edmonton, AB, CA %^
09/20/26 BC Place Vancouver, BC, CA %
09/24/26 Bourbon & Beyond Louisville, KY, US
09/26/26 Allegiant Stadium Las Vegas, NV, US %
11/05/26 Suncorp Stadium Brisbane, QLD, AUS ☼¶
11/07/26 QLD Country Bank Stadium Townsville, QLD, AUS ☼æ
11/10/26 Accor Stadium Sydney, NSW, AUS §
11/12/26 McDonald Jones Stadium Newcastle, NSW, AUS
11/14/26 Marvel Stadium Melbourne, VIC, AUS §†
11/17/26 Coopers Stadium Adelaide, SA, AUS ¥
01/19/27 One New Zealand Stadium Christchurch, NZ £
01/22/27 Western Springs Stadium Auckland, NZ ©
01/25/27 HBF Park Perth, WA, AUS ■

* with Frankie and the Witch Fingers
# with Royel Otis
+ with Otoboke Beaver
~ with Inhaler
! with Die Spitz
= with IDLES
@ with Fat Dog
% with Queens of the Stone Age
^ with Mannequin Pussy
& with Gustavo Dudamel, LA Phil and YOLA
with Gouge Away
☼ with Full Flower Moon Band
¶ with Mini Skirt
æ with Downgirl
§ with The Belair Lip Bombs
with TEENS
with The Buoys and C.O.F.F.I.N.
† with Frenzee
¥ with Kurralta Park and Spooky Eyes
£ with Dartz and Seek Help!
© with Dick Move and Ringlets
■ with Southern River Band, Las Quokka