Blue Mountain Village's Mountain Music Series launches this summer, with events running from June 26 to September 12. The series will feature celebrated musicians, including three-time JUNO winner Kirk Diamond and Canadian country music star Jason Blaine, with many more performances promising to be unique and unforgettable.
Each event for the music series has its own kind of charm, ranging from salsa lessons paired to live music, reggae performances, Gone Country Music Festival, and even musicians performing along a Guitar Trail hike. If you want a jam-packed excursion and are wondering what to do between sets, don't worry, we've got you covered.
Here are five unique experiences to check out while you're at Blue. Find more details, including ticket info, at the event's website.
Explore Blue Mountain Village
There's tons to do in Ontario's largest pedestrian village, with 50-plus restaurants, shops and year-round attractions. While you're there, check out boutiques selling anything from hiking gear to BeaverTails, or homemade fudge from the Olde Stanton Store. You can also pop into the many restaurants in the village and enjoy a wide range of dining options.
Explore Surrounding Nature
While the skiing and snowboarding season might be over, a whole other season of hiking and biking is underway. If you're the adventurous partier who wants to dance all night and wake up bright and early for an adventure, you can explore the natural caves on the escarpment, do some hiking, zip-lining, and of course, the iconic open-air gondola ride, which gives you a 360-degree view of Blue Mountain right underneath you.
Wellness in the Blue Mountains
In between all the music, you might be craving a little bit of relaxation. The Scandinave Spa offers relaxing thermal baths that will quickly put you to bed (trust me on this one), saunas, massages, spa packages and more. Try Iwa Spa in the village for a volcanic rock therapy experience, designed to deeply relax your body and leave you feeling fully restored. Take a well-deserved self-care day before getting back to the live music.
Ridge Runner Mountain Coaster
A famous attraction on TikTok, this mountain coaster is sure to give you a thrill. Go see some great music and then control the speed at which you go on the Ridge Runner.
See Live Music in the Village
Obviously, a music festival wouldn't be a music festival without enjoying some music at the edge of the mountain surrounded by friends and performances, whether that's dancing to some reggae music, taking line dancing classes during the Gone Country Music Festival, or singing along to Green Day hits when the cover band the Burnouts play RockFest.
Roberto Carlos Lange (Helado Negro) and Fabi Reyna (Reyna Tropical) have announced that they'll be joining forces as Helado Tropical for a self-titled album (out July 17 via Psychic Hotline), as well as a North American tour — including Canadian stops in Toronto and Montreal
The duo's stint on the road will begin on Canadian soil, supporting CA7RIEL & Paco Amoroso at Toronto's History on June 23 and Montreal's MTELUS on June 26, plus a pair of stateside gigs in Detroit and Boston. Then, in August, Helado Tropical will embark on a North American headlining trek, wrapping up on November 26 in Mexico City, Mexico.
Tickets for the shows with CA7RIEL & Paco Amoroso are on sale now, while those for the headline appearances become available Friday (June 12) at 10 a.m. local time. Check out the full schedule of dates below, plus Concert Central for more upcoming Canadian shows.
Helado Tropical 2026 Tour Dates:
06/23 Toronto, ON - History *
06/24 Detroit, MI - The Fillmore *
06/26 Montreal, QC - MTELUS *
06/27 Boston, MA - MGM Music Hall at Fenway *
08/12 San Diego, CA - Epstein Family Amphitheater
08/13 Los Angeles, CA - The Ford
08/15 San Francisco, CA - Yerba Buena Gardens Festival
08/18 Seattle, WA - Neptune Theatre
08/19 Portland, OR - Revolution Hall
08/22 Mill River, NC - Hazy Hideaway Festival
09/10 Chicago, IL - Plantasia
10/23 Washington, D.C. - Black Cat
10/25 Queens, NY - Knockdown Center
11/08 Phoenix, AZ - Crescent Ballroom
11/10 Denver, CO - Cervantes' Masterpiece Ballroom
11/12 Dallas, TX - The Echo Lounge & Music Hall
11/13 Austin, TX - Mohawk
11/14 McAllen, TX - The Gremlin
11/16 Houston, TX - Warehouse Live Midtown
11/18 Atlanta, GA - The Loft
11/20 Orlando, FL - The Plaza Live
11/21 Miami, FL - ZeyZey Miami
11/26 Mexico City, Mexico - Lunario
* with CA7RIEL & Paco Amoroso
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The Canadian Independent Music Association (CIMA) and MusicOntario have partnered to launch LIVE Music Toronto, a new collective that aims to represent and strengthen the city's independent live music sector.
The initiative will support independent venues, festivals, promoters and presenters across for-profit and non-profit sectors, while also providing a collective voice on local policy, resources and long-term sustainability of these spaces for both audiences and artists seeking to connect with live music.
LIVE Music Toronto will serve as an addition to the Canadian Live Music Association (CLMA), mirroring the models of Les SMAQ in Quebec, the Music Venue Trust in the UK and the National Independent Venue Association (NIVA) in the US.
The ticketing platform Tixr will also join the collective as a founding sponsor, which marks the "first formal association dedicated solely to the local independent live sector in Toronto."
"CIMA members know that a thriving local live scene sets up the entire music ecosystem for success," President and CEO of CIMA Andrew Cash shared in a release. "With the creation of the LIVE Music Toronto membership tier within CIMA not only are live sector independents in that city connecting to each other, there is now a bridge between them and the broader CIMA community of music companies, which include labels, managers, publishers and artists themselves."
Owner and operator of Toronto's Garrison and the Baby G, Shaun Bowring, added, "Toronto's independent live venues mobilized to generate significant support during the pandemic, including the City of Toronto's creation of a property tax exemption for music venues. It's fantastic to see the establishment of LIVE Music Toronto as a formal initiative with the support of CIMA and MusicOntario."
"As both an independent venue and promoter, we are often operating in a vacuum," programmer of DROM Taberna and its arm in•summer Camille Neirynck-Guerrero said. "Being a part of LIVE Music Toronto has already hugely expanded both our community and our access to resources and networking — just through connecting us with our neighbours right here in Toronto."
The criteria for LIVE Music Toronto require that its members are Canadian-owned, controlled and operated in Toronto. Additionally, members must work outside of a major institutional ecosystem, and cannot be owned or operated by the municipal, provincial or federal governments.
Independent venues or presenters interested in joining the collective can fill out this form here.
You can find more information on CIMA and MusicOntario's respective websites.
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Ahead of Festival of Friends' 50th anniversary edition (July 31–August 2), organizers have unveiled the lineup for a special, one-night event of "intimate story, song and conversation," taking place June 25 at Hamilton's Westdale Theatre.
The concert will boast performances by Hawksley Workman, Tom Wilson, Marc Jordan, Jim Witter, Harrison Kennedy, Suzie McNeil, the Redhill Valleys, Melissa Marchese, Tomi Swick, Jamie Oakes, Chris Chambers, Jon Harvey, Jacob Moon, Mike McCurlie, Alfie Smith, Bianca Bernardi and more. Music historian/radio personality Alan Cross will host.
Tickets are available here.
While the festival proper has not yet announced the lineup for its golden anniversary, General Manager Robert Rakoczy promises "some huge names, and a lot of special guests." Stay tuned for more info.
"It is an honour to be a caretaker of this incredible institution," Rakoczy added. "I think sometimes Hamilton can take for granted what a treasure this event is, and we're hoping to provide a gentle reminder with this night of music."
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Chicago's Slow Pulp haven't released an album since 2023's Yard, but they're making sure that we won't be too quick to forget them: they'll be heading out on a North American headlining tour this fall, which will bring them up to Canada for a lone show.
UPDATE (6/10, 12:13 p.m. ET: The band have now announced that their highly anticipated new album, Melodie, will arrive ahead of the tour on September 18 via ANTI-. Led by the new single "Better Man," the 11-track affair was produced by Elliot Kozel (Rosalía, Björk, SZA) and is now available for pre-order.
The outing begins in St. Louis, MO, on October 16, and they'll eventually make their way up to Canada for a show at Toronto's Danforth Music Hall a month later (November 16), where they'll be joined by Her New Knife. The rest of the tour will be completed stateside.
Tickets will go on sale this Friday at 10 a.m. local time. Check out the schedule below, and head over to Concert Central for more Canadian tour announcements.
Slow Pulp 2026 Tour Dates:
10/16 St. Louis, MO - Delmar Hall
10/17 Omaha, NE - Slowdown
10/19 Denver, CO - Ogden Theatre ^
10/21 Salt Lake City, UT - The Grand at the Complex ^
10/23 Portland, OR - Revolution Hall ^
10/24 Seattle, WA - The Showbox ^
10/27 San Francisco, CA - The Fillmore ^
10/29 Los Angeles, CA - The Wiltern ^!
10/30 San Diego, CA - Quartyard ^
10/31 Phoenix, AZ - Crescent Ballroom ^
11/03 Dallas, TX - The Echo Lounge & Music Hall ^
11/04 Austin, TX - Emo's ^
11/05 Houston, TX - White Oak Music Hall Downstairs ^
11/07 Atlanta, GA - Variety Playhouse ^
11/08 Carrboro, NC - Cat's Cradle ^
11/09 Washington, D.C. - 9:30 Club $
11/12 Philadelphia, PA - Union Transfer $
11/13 New York, NY - Brooklyn Paramount $
11/14 Boston, MA - Roadrunner $ *
11/16 Toronto, ON - Danforth Music Hall $
11/17 Detroit, MI - Saint Andrew's Hall $
11/19 Chicago, IL - The Salt Shed $ +
11/20 Minneapolis, MN - First Avenue $
11/21 Madison, WI - The Sylvee $ #
^ with Snuggle
$ with Her New Knife
! with Goon
* with Ivy
# with Graham Hunt
+ with Current Union TM
Burlington, ON's summer concert series Music in the Garden is returning to the Royal Botanical Gardens for its third edition, and organizers have revealed the lineup for the three shows taking place this July and August.
Presented by Noisemaker, Music in the Garden promises an open-air concert experience with some of Canada's most celebrated live performers. The series will kick off with a show from Dan Mangan and Joel Plaskett on July 2, and Sam Roberts will be joined by Talia Schlanger later that month on July 15.
Returning once more in August, Music in the Garden will welcome the Sheepdogs playing with Chloë Doucet on August 13.
"This series has always been about creating a space where people can slow down, take in incredible live music, and experience artists in a setting that feels close and connected," a representative from Noisemaker shared in a release.
Tickets are available to purchase now, and you can find the schedule below.
07/02 Dan Mangan and Joel Plaskett
07/15 Sam Roberts Band with Talia Schlanger
08/13 The Sheepdogs with Chloë Doucet
Phoebe Bridgers is far from the first artist to utilize Yondr pouches to enforce a phone-free concert environment, but you'd think she'd gone so far as to invent the technology herself with the way people are talking about it on the internet. The whole (blatantly obvious) "phones are bad" discourse that has permeated culture for decades is very old-man-yells-at-cloud, but Gen Z are now making a rebuttal into a skeleton key.
People online are throwing around the terms like "classist" and "ableist" to describe Bridgers's decision to implement a no-phones policy at her upcoming the Lost Tour in such a way that it seems evident that, much like therapy-speak, people have co-opted the language of critical theory to make their own petty grievances seem like greater social harm. And for what, might I ask? To attempt to convince their fave to change the policy so they can record the concert on their phone?
The gist of it: various Bridgers fans are complaining that having their phones taken away at a concert would prevent people with chronic illness and other disabilities from being able to adequately "monitor" their health. I'm not sure what they mean by that, exactly, although the first thing that comes to mind is unfortunately this AI health management app I've seen many chronically ill influencers doing undisclosed ads for on my FYP.
However, a less dystopian example of such a situation could be a diabetic needing to monitor glucose levels on their phone. For those who don't know anything about Yondr pouches, they use magnetic locks similar to those of electronic article surveillance tags. While users are typically directed to turn off their phones or put them on airplane mode, someone expecting an important notification could still hypothetically see a left-on phone light up through the pouch.
Like any decent organization, Yondr has also thought this through: the company typically grants medical exemptions at any of the shows it partners with artists to present, fitting the pouches assigned to eligible individuals with a velcro "lock" for easy access. This can be organized by contacting Yondr prior to the event and explaining the situation, although documentation of the medical issue might be necessary for approval.
What's conveniently being left out of the conversation are the very real accessibility issues facing disabled fans at almost any concert, from small local gigs to massive stadium affairs. For example, Toronto's Scotiabank Arena — where Bridgers will play two nights on this tour — has accessible seating in several sections of the venue (amounting to one percent of its total fixed seating), a barrier-free washroom and a sensory room, as well as (very limited) accessible parking and all arena gates being fully accessible to enter/exit through.
Those with any knowledge of the accessibility needs of a greater portion of the disabled population, however, know this is really just the tip of the iceberg in terms of making concerts inclusive for people with all types of disabilities. For example, strobe lighting, a production staple at a great many shows of all sizes, can trigger seizures for epileptics; some tours will at least warn attendees in advance and have signage posted in the venue indicating that they'll be used during the show, but these folks are often forced to avoid concerts altogether, even just due to a lack of information about the lighting effects.
Accessibility in live music is being advocated for by American organizations like L.E.A.D. DIY and Accessible Festivals, the former working to educate artists, venues, and fans about photosensitivity, while the latter offers online training/consulting for event organizers, as well as a ticket grant program that provides free access to events for disabled folks who can't pay their own way. Notably, however, Half Access — an Oregon-based nonprofit founded by Cassie Wilson that was working toward compiling a database of accessibility information for venues across the US and around the world, cited in a 2020 CBC Arts piece by Luke Ottenhof — unfortunately shut down in February 2024.
For activists (and everyone else), there's glaring a lack of resources in these high-cost-of-living times. Another element of accessibility that many people don't seem to consider an "access need" is affordability. Bridgers did something rather remarkable for her recent surprise pop-up shows in the US, which culminated in a gig at Madison Square Garden, with ticket costs ranging from $1–20 USD (available via a lottery system) and benefiting charity. This is something practically unheard of for an artist of her stature, and had people concerned she was going to become Deborah Vance in a timely Hacks Season 5 cosplay.
Tickets for the Lost Tour aren't as affordable, which is both understandable and sad. Presales began yesterday (June 9), and prices range from about $93 CAD to $538. It's not surprising — there's been plenty made out of the ridiculously high ticket prices that have become fairly standard in this day and age, due much in part to Ticketmaster's exorbitant fees and dynamic pricing system.
While people on Twitter and TikTok are decrying the premise of a phone-free concert as classist (I simply can't not think of Grimes posing for paparazzi photos with a copy of The Communist Manifesto after ending her relationship with Elon Musk), this is the actual classism: the fact that this is "the way things are" now, and so much of the population is automatically excluded from live music.
I'm a big Phoebe Bridgers fan, but I will not pay $500 to see her. I can't afford to. I won't rearrange my budget to cut back on things like rent and groceries to make it work. I know this is not the case for others, who will readily sell an organ on the black market if needed. I commend them on their dedication, but my lack of willingness — or ability — to do that doesn't make me any less of a fan, or any less deserving of getting to go to the show.
It's true that, in a time before mobile devices, concert bootlegs were a hugely important part of music history. Not only did they archive live performances that later became TSN Turning Points in artists' careers, but they also allowed fans who couldn't attend the tours to have this mediated experience of the concert. Of course, part of this culture is absolutely still alive today: some diehard Swifties tuned into TikTok after every night of the Eras Tour to find out what the surprise songs were, regardless of whether they were personally able to get tickets to any of the shows.
That said, while having become more accessible for fan communities to discuss, those recordings have contributed to legions of online hate. Not to discuss the Eras Tour again, but when English singer-songwriter Maisie Peters opened for Swift at Wembley Stadium in August of 2024, she was relentlessly bullied after videos of her singing some bum notes circulated; she even addressed it on "Mary Janes," the opening track of her new album Florescence. Let's not even get into how people's appearances — especially women's — are torn down on these platforms.
If you're paying hundreds of dollars for one night, the expectations for the experience are justifiably going to be higher. But if not being able to use your phone for a couple of hours would diminish it that much, maybe you should reconsider the investment? Bridgers hasn't given an explanation for her decision to approach this tour in this way, and she doesn't owe us one; there are plenty of logical reasons for an artist to think this might be worthwhile.
"You have this beautiful, sacred moment that happens in a theatre or a club or whatever, and then it's on the internet and it's fodder," Hayley Williams told me of the current concert climate when I spoke to her for Exclaim!'s December 2025 / January 2026 cover story. I haven't stopped thinking about it, or about this having become one of the many concessions of being a performing musician now.
Worse yet, when artists take steps to gain more control over it, fans are saying it's "classist" and "ableist"? Concerts in 2026 — especially for an artist of a certain stature — are just inherently classist, I fear! And as much as the internet has "democratized" access to recordings of said concerts, it remains but a symptom of the underlying issue, and has created new ones. We know social media has made us all "brainrotted," which is exactly the kind of language you'll hear any given 12-year-old use on a public bus now.
Yes, it's nice to be able to use a phone at a concert to capture a moment, or maybe even video call someone you love who you know wishes they could be there with you, or to record an unreleased song so you can memorize every line before it's even released. Most of us have done all of these things before, and are accustomed to even being able to, say, text someone between sets if we're at anxious while a show alone.
If you don't feel safe at a concert — and this is just one concert, mind you — without your phone, I understand that. But please consider how unsafe this wildly inaccessible world must feel for disabled people, too. Consider how it feels for anyone COVID-conscious, for example, amid the government and greater society's mass-gaslighting (and I do struggle with using that term here, but it feels like the most correct one) in an ongoing pandemic where disabled people have always been considered collateral.
And for the record, it's actually ableist to present what isn't particularly a disability issue — from which there are plenty of genuinely important ones to choose — as such to legitimize your own sense of entitlement. That "impossible view" Bridgers sings about in boygenius's "Me & My Dog"? It exists offline, IRL, you've just never had to take the trip to see it.
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After 18 years, organizers behind Victoria's beloved Rifflandia have announced that they're pulling the plug on the festival.
Rifflandia founders Nick Blasko and Casey Austin announced the news across their social media channels and on the event's website, explaining that they'd hoped at least to be able to put on one final iteration of the fest this September, but "the realities of producing the festival we love made that impossible."
"Despite the joy it brought and the millions of dollars it helped circulate through our local economy, the festival was never profitable," they wrote. "Every year, ticket prices covered only a portion of the true cost of producing the experience we believed Victoria deserved, and we continued because we loved what Riff represented and hoped the audience would one day grow enough to sustain it."
Rising costs and the loss of access to a venue that could support the festival were key contributing factors in its demise, the founders explained. In the letter Blasko and Austin shared on the Riff website, they added:
As a family, and as a company, we're feeling a lot of grief as we let the festival go. It's only natural as we are saying goodbye to something we love. We expect there will be some strong feelings out there while this news sinks in. For now, we'll let things sit. But, as those who know us can well attest, we're not a family that's the greatest at sitting still. We're positive that our team at Rifflandia will continue to reach for ways to connect locally through joy, art, and belonging. It's what we love to do, and we love our city.
Since it first launched in 2008, Rifflandia has hosted countless marquee-name performers and become an end-of-summer tradition for much of the local community. Blasko and Ausin are inviting folks to share photos, videos, stories and memories in a memory bank.
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The cast of Letterkenny are reuniting for another original live show early next year, which will take them across the US and Canada from February to March 2027.
According to a post shared on Instagram, the new show will include "never-seen-before sketches and material from nine of your favourite Letterkenny buds," Jared Kesso, Nathan Dales, Michelle Mylett, K. Trevor Wilson, Dylan Playfair, Andrew Herr, Tyler Johnston, Evan Stern and Mark Forward.
The tour will begin at the Great Canadian Casino in Toronto on February 4, and they'll play Orillia's Casino Rama a day later (February 5).
After several US dates, the cast will return to Canada for shows at Vancouver's Orpheum (March 2), Calgary's Grey Eagle Casino Event Centre (March 6), Edmonton's EXPO Centre (March 7) and Winnipeg's Canada Life Centre (March 10), before concluding the tour stateside.
Presales will begin on June 15 at 12 p.m. local time, followed by the general sale on June 19 at 10 a.m. local time. See the schedule below.
Letterkenny Live 2027 Tour Dates:
02/04 Toronto, ON - The Theatre at Great Canadian
02/05 Orillia, ON - Casino Rama
02/06 Detroit, MI - Fox Theatre
02/08 St. Louis, MO - The Fabulous Fox Theatre
02/09 Milwaukee, WI - Miller High Life Theatre
02/11 Philadelphia, PA - The Liacouras Center
02/12 Boston, MA - Agganis Arena
02/13 New York, NY - Infosys Theater at Madison Square Garden
02/15 Nashville, TN - Opry House
02/16 Atlanta, GA - Fox Theatre
02/18 Cedar Park, TX - H-E-B Center
02/19 Sugar Land, TX - Smart Financial Centre
02/21 Allen, TX - Credit Union of Texas Event Centre
02/23 Denver, CO - Bellco Theatre
02/25 Los Angeles, CA - YouTube Theater
02/26 Las Vegas, NV - PH Live at Planet Hollywood
03/02 Vancouver, BC - Orpheum
03/03 Portland, OR - Theater of the Clouds
03/04 Seattle, WA - WAMU Theater
03/06 Calgary, AB - Grey Eagle Casino Event Centre
03/07 Edmonton, AB - Edmonton EXPO Centre
03/10 Winnipeg, MB - Canada Life Centre
03/11 St. Paul, MN - Roy Wilkins Auditorium
03/12 Rosemont, IL - Rosemont Theatre
Mexican duo Rodrigo y Gabriela have announced their forthcoming new album OurHome (due September 18 on ATO Records) and an accompanying 2026 North American tour, which will bring them to Canada for a lone concert in Vancouver this November.
The stint on the road begins on October 3 in Austin, TX. Rodrigo y Gabriela will venture across the Canadian border for the North American leg of their tour's final date at Vancouver's Vogue Theatre on November 20 before heading overseas to continue the trek next spring.
Tickets go on general sale Friday (June 12) at 10 a.m., with various presales ongoing. Find the full itinerary and the video for the album's lead single, "Monster," below, as well as more upcoming Canadian shows via Concert Central.
Rodrigo y Gabriela 2026 Tour Dates:
10/03 Austin, TX - Austin City Limits
10/06–07 Ciudad de México, MX - Poliforum Siqueiros
10/10 Austin, TX - Austin City Limits
10/13 Atlanta, GA - The Eastern
10/14 Clearwater, FL - Bilheimer Capitol Theatre
10/16 Wilmington, NC - Greenfield Lake Amphitheater
10/17 Charlotte, NC - The Underground
10/18 Pelham, TN - The Caverns
10/20 Washington, D.C. - The Anthem
10/21 Red Bank, NJ - Count Basie Center for the Arts
10/22 Stroudsburg, PA - Sherman Theater
10/24 Lynn, MA - Lynn Auditorium
10/25 New Haven, CT - College Street Music Hall
10/26 Northampton, MA - Academy of Music Theatre
10/27 New York, NY - Bowery Ballroom
10/29 Detroit, MI - The Fillmore
10/30 Des Plaines, IL - Rivers Casino
11/01 Madison, WI - The Sylvee
11/03 St. Paul, MN - The Fitzgerald Theater
11/06 Boulder, CO - Boulder Theater
11/07 Santa Fe, NM - The Lensic
11/08 Tucson, AZ - Rialto Theatre
11/10 San Diego, CA - Humphreys Concerts by the Bay
11/11 Pioneertown, CA - Pappy & Harriet's
11/12 Ojai, CA - Libbey Bowl
11/14 San Jose, CA - San Jose Civic
11/15 San Francisco, CA - The Castro
11/17 Portland, OR - Crystal Ballroom
11/19 Seattle, WA - The Moore Theatre
11/20 Vancouver, BC - Vogue Theatre
The Guelph Jazz Festival is celebrating its 33rd edition this fall from September 11 to 13, and organizers have now unveiled the first wave of artists joining this year's lineup.
Leading this year's bill are featured ensemble the Secret Lives of Colour, which is led by Canadian clarinettist François Houle alongside Joëlle Léandre, Gerry Hemingway, Myra Melford and Gord Grdina, who will also play solo performances in addition to the ensemble.
Nicole Mitchell, SlowPitchSound, Toronto pianist Tania Gill, Rob Clutton, Nick Fraser, Brodie West and Plastic Waste Band will also play the festival during the main concert series at the Royal City Mission.
The festival is also offering a wide variety of public programming throughout the city that includes talks, film screenings, community events, the Guelph Jazz Community Parade and more.
Evening performance tickets can be purchased on a pay-what-you-can basis, which will be available in advance and also at the door. Saturday and Sunday's afternoon programming is free, and non-perishable food donations will be accepted at the Royal City Mission throughout the duration of the festival.
Check out the schedule and find more information on Guelph Jazz Fest's website.
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Marci — the solo project of TOPS' Marta Cikojevic — has revealed details on the follow-up to her self-titled 2022 debut.
Mask Lady and the Late Night Girl is out August 28 via Arbutus Records, and it plays with the dualities the musician has faced in her new home of Hollywood.
"Late Night Girl is out partying and having a good time — you know, the sun's never gonna rise, we're never gonna die," Cikojevic said in a press release. "And Masked Lady is the one keeping all of those feelings inside."
With today's announcement, Marci has shared the single "Butterfly Sticker," which is just as shimmery as the tracks on Marci. Listen to it, and see the tracklist for Mask Lady and Late Night Girl below.
Mask Lady and Late Night Girl:
1. Stars Are Fake
2. Chaotic Princess
3. 99 Dimensional
4. Edge of the Knife
5. Slow Moves
6. Butterfly Sticker
7. Pay Me Now
8. Lady with the Mask
9. Hot Sexy USA
10. Liquid Heartbeat
11. Cherry Sunday
12. Ooh I Know
Sylvan Esso are back in a big way. They've got an excellent new single, "Hot Slob," out today (which is apparently portending the duo's expansive new era of independence), as well as plans for a hefty North American tour, which includes a couple dates in Canada.
In addition to a previously announced festival slot at Winnipeg Folk, Amelia Meath and Nick Sanborn have now announced shows in Toronto and Vancouver. They'll first hit Toronto's History on October 19, ahead of breaking for the new year. Once back on the road (and after a bunch of US dates), they'll return to Canada for a gig at Vancouver's Vogue Theatre on February 20.
General on-sale begins at 10 a.m. local time this Friday, June 12, following presales starting at 10 a.m. local time tomorrow, June 11.
Hear "Hot Slob" below, where you can also find the band's 2026–2027 tour schedule.
Sylvan Esso 2026–2027 Tour Dates:
06/15–20 Los Angeles, CA - Sid the Cat Auditorium
07/11 Winnipeg, MB - Winnipeg Folk Festival
07/31 Burlington, VT - Burlington Waterfront Park
09/12 Abiquiu, NM - Blossoms & Bones
10/01 Atlanta, GA - The Eastern
10/02–03 Asheville, NC - The Orange Peel
10/05 Washington, D.C. - 9:30 Club
10/08–10 Durham, NC - Good Moon
10/12 Philadelphia, PA - Franklin Music Hall
10/14 Brooklyn, NY - Brooklyn Paramount
10/16 Portland, ME - State Theatre
10/17 Boston, MA - Citizens House of Blues
10/19 Toronto, ON - History
10/21 Milwaukee, WI - Riverside Theater
10/22 Chicago, IL - The Salt Shed Indoors
10/23–24 Minneapolis, MN - First Avenue
02/19 Seattle, WA - Paramount Theatre
02/20 Vancouver, BC - Vogue Theatre
02/22–23 Portland, OR - McMenamins Crystal Ballroom
02/25 Oakland, CA - Fox Theater
02/26 Los Angeles, CA - The Wiltern
03/01 Del Mar, CA - The Sound
03/02 Phoenix, AZ - The Van Buren
03/04 Salt Lake City, UT - Rockwell at the Complex
03/05 Denver, CO - Ogden Theatre
03/08 Austin, TX - ACL Live at The Moody Theater
03/09 Dallas, TX - House of Blues
03/11 New Orleans, LA - Tipitina's
03/12 Birmingham, AL - Iron City
The annual Le Festif! de Baie-Saint-Paul music festival is returning to Quebec from July 17 to 20. The festival will return with performances from many dozens of artists at stages and venues across the downtown core, with performers including Marie Davidson (pictured above) and the Halluci Nation.
While some shows will take place at the Place Desjardins, the festival will feel almost like a travelling circus taking over the city, with one notable show taking place in a party bus. The festival will also feature family activities, interviews, yoga, meditation and much more to keep attendees engaged all throughout the festival.
As always, the festival will also feature free shows. Here are five must-see artists performing at Le Festif! de Baie-Saint-Paul 2026. Find more details, including ticket info, at the event's website.
Lou-Adriane Cassidy
Even for someone who isn't fluent in French, this Lou-Adriane Cassidy's music is incredibly touching. Her hit single "Ça va ça va" is warm and combines poetic Québécois lyricism with soft psychedelia.
Marie Davidson
Montreal's own Marie Davidson has made herself a notable figure in Canada's electronic music scene. Her music blends techno, synth-pop and spoken word to make listeners want to "Work It" in a dark nightclub.
The Halluci Nation
Formerly known as A Tribe Called Red, this duo combine traditional Indigenous music with clubby EDM beats. Music for partying and resistence, they make songs to listen to while you gather your armour.
Les Hay Babies
Hailing from New Brunswick, this band's folk rock sound belongs to a genre of its own, channeling the distinctive character of pan-Acadian identity.
Otoboke Beaver
This Kyoto punk band includes Yoyoyoshie, the six-stringer Jack White called his "new favourite guitar player" back in 2024.
In what some are calling a "classic Jack move," Jack White has seemingly quietly announced his seventh studio album on his Third Man Records website — must be Tuesday!
UPDATE (6/10, 9:13 a.m. ET): White has now confirmed that his new album Frozen Charlotte is due July 10, news shared alongside the single "Dollar Bill."
According to a vinyl pre-order listing set to ship out on July 10, the follow-up to 2024's No Name is a 13-track affair called Frozen Charlotte. The singer-songwriter recorded it in Nashville, TN, with Patrick Keeler (drums), Dominic Davis (bass) and Bobby Emmett (keys), with the record being characterized as "an intense rock and roll punch with never far behind blues underpinnings."
Recent pair of singles "G.O.D. and the Broken Ribs" and "Derecho Demonico" are included in the tracklist, which can be found in full below. It seems as if the statue on the album artwork (which has a very Angine de Poitrine-esque background, I might add) was created by the musician as part of his first public visual art show, These Thoughts May Disappear, which debuted at Damien Hirst's Newport Street Gallery in London, UK, at the end of May.
Frozen Charlotte:
1. G.O.D. and the Broken Ribs
2. Derecho Demonico
3. There's Nobody There
4. Raising the Grain
5. You'll Never Fix Me
6. Nobody Knows
7. Dollar Bill
8. I Can't Believe What I'm Hearing
9. Thick as Thieves
10. All Alone Again
11. She's in a Frenzy
12. Making Contact
13. Neighbors Blues
Steven Spielberg has always been a filmmaker for the masses. With Jaws, he effectively invented the summer blockbuster as we know it: large-scale and exhilarating, with high stakes and lots of heart. It forms the DNA of some of his most beloved movies, from Jurassic Park and Indiana Jones.
At the same time, Spielberg hasn't shied away from history and politics (Munich, The Post, Schindler's List), nor has he ignored questions about space and technology (Close Encounters of the Third Kind, E.T. the Extra-Terrestrial, Minority Report). His latest, Disclosure Day, almost feels like a culmination of everything he's done so far, but its punctuation feels more elliptical than emphatic.
The film stars Emily Blunt and Josh O'Connor as meteorologist Margaret Fairchild and cybersecurity specialist-turned-whistleblower Daniel Kellner, respectively. The two find themselves in a race against time to expose the American government's cover-up of alien contact and activity. The corporation responsible for burying those secrets themselves, Wardex, nips at their heels. Their executive, led by Colin Firth's Noah Scanlon, believes this type of knowledge would rip humanity apart. On the opposite side of the conflict is Colman Domingo's Hugo Wakefield, a Wardex defector, who believes the truth belongs to everyone.
Between an all-star cast, another fantastic John Williams score (at once whimsical and foreboding), and a timely debate about the democracy of information and freedom of speech, thought and knowledge, Disclosure Day initially shapes up to be something truly original — a veritable tonic to the barrage of Hollywood reboots and rehashes that typically plague the summer.
David Koepp's script, however, proves too ambitious for its own good at times, insisting on spectacle alongside philosophy, but lacking a proper synergy between the two. It also juggles too many overarching ideas, relationship histories and, at times, breakneck tonal shifts that don't have adequate space to marinate. As such, questions often go unanswered, conflicts veer on the cartoonish side, and character dynamics either fall to the wayside or feel unearned.
The only pitch-perfect element is Blunt, who gives her best and most dexterous performance to date. She's the beating heart of the film, good enough to keep even the clunkiest parts from flat lining. O'Connor, too, is great to watch, especially since we seldom see him in blockbusters. He brings an earnestness to Daniel's "greater good" complex that simultaneously resonates and endears.
The film may stumble as it builds its way up through the first two acts, but in the last 40 or so minutes, it's Spielberg at his finest, creating truly exceptional cinema. Until this point, we pray for the disparate parts to come together and, the filmmaking god that he is, Spielberg delivers some of his most profound work in a heart-soaring conclusion. It's just a shame that it was too rocky a road to get there.
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Evanescence found themselves under the wire to complete their sixth studio album, Sanctuary. They booked their worldwide tour dates over a year in advance, and needed the LP completed and released in time for the trek, which will see them play Toronto and Montreal dates in June. It seemed like a lot of time then, but when February rolled around, the race to the finish line was on.
"The energy and urgency was big, but good," lead vocalist Amy Lee tells Exclaim! "So many talented people were there working on it and loving it and caring about it at the same time. That was really my whole focus this year up until a month ago."
With the record out now, Lee's priority is now building the stage show to bring the music to life.
"This is our new album tour; that's the whole point of the tour," she says. "I want to create this Sanctuary world. I don't want to give that away, but we'll be playing almost the whole new album plus lots of other songs, so we're just finding a way to make it all work together and be one big, giant, gorgeous thing."
Sanctuary's entire conception and realization are too storied to fully flesh out in our allotted interview time, and doing so would threaten the sense of mystique. From Lee's solo at-home writing sessions to band camps between tour dates, the songs came together slowly but intentionally, as Lee likes to take her time coming up with multiple ideas for any passage and finding what works.
"It's been a long, lovely, creative process with a lot of great collaboration," she says.
While the band was putting together three songs with producer Nick Raskulinecz, Lee took an unexpected side quest when composer Alex Seaver and Netflix asked her to lend some vocals to a minute-and-a-half long musical segment in the series Devil May Cry. It was immediately evident that the piece should be a full Evanescence song, and it became the band's 2025 single "Afterlife."
"We went in with Nick and made that song, and that turned out to be so great for us," says Lee. "Then fate brought us together with Zakk Cervini and Jordan Fish, and we hit this whole new chapter in the writing process that really was crucial."
Cervini, who had mixed "Afterlife," reached out to Lee some time after the project asking if she was interested in working more together. Lee was happy to arrange a meeting, bringing along guitarist Troy McLawhorn, and Cervini invited Jordan Fish, with whom Lee had previously collaborated on Bring Me the Horizon's 2020 track "One Day the Only Butterflies Left Will Be in Your Chest as You March to Your Death." The four found instant chemistry, laying down the bones for two songs in as many days.
"It kept being this fast magic of not having to waste a lot of time explaining what you want and trying to get someone to understand it and process it through a filter," Lee says. "We were just really getting each other, really loving each other's sounds and ideas, just a lot of great talent in the room."
Sanctuary largely follows the tried-and-true Evanescence blueprint, Lee's authoritative vocals taking centre stage, with a modern edge to the production that makes the band sound right at home in a scene spawned decades after their inception. Lee props up her collaborators, saying her vocal parts were intuitive because of what she had to work with.
"It's easy to write when somebody is coming up with such a beautiful landscape for you to sing on," she says. "The ideas just come pouring out because it's not rough; it already sounds really produced and good right away."
Lyrically, Lee's only prerogative is honesty. Sonically, the band's evolution comes naturally. As long as everyone in the writing room or recording studio likes something, it can find its way onto the record.
"There's always some goals, and I'm always reaching for being the most honest that I can be in creating something the most true to my heart," she says. "We create music that we like, and that's how it always starts."
This isn't to say Lee isn't serious about her music, but enjoyment is a key component in her creative process. After all, it's entertainment.
"It's music-making; it's not science," she says. "It should be free-flowing and fun, and you learn what your new sound is as you go. There are new elements every time."
One such new element to Evanescence's writing process is bassist and backing vocalist Emma Anzai, who joined the band in 2022. Lee says Anzai brings her own sound to the band, deepening the musical textures on new and older material alike.
"The way that she plays bass, the way she performs, the way she delivers and the way she creates are all awesome," says Lee. "You can hear that all over the record and in the vocals, too. I love having another vocalist in the band for different colours, shades and spirit in the vocal tracks."
Lee still considers herself a choir girl, and having another voice to use for harmonies and layers was a lot of fun for her. The slow-burn year of writing and recording culminated in the record's first single, "Who Will You Follow," the song that best represents Sanctuary as a whole.
"From the very first songs that we wrote for the album to the end, I think we learned," Lee says. "And I think that's probably why the first single is usually one of the last songs to come together. You know what the album is, you understand the spirit and the core and all of its branches for the most part."
Lee hasn't had time yet to be nervous about heading out on the road. Evanescence's 2026 World Tour will see the band conquer North America and Europe this summer and fall alongside Spiritbox, Poppy, Nova Twins and K.Flay on select dates.
"It's crazy and chaotic and I'm going a million miles an hour, but I'm inspired," Lee says. "As ideas come, I'm just throwing them at the amazing team we have working on all of this and creating a really special show like we've never done before."
Lee was excited to finally get Exclaim! cover alumni Spiritbox on some dates, especially in Canada.
"We've been trying to get them to go on tour with us for a while," she says. "I guess that's really part of booking the tour a year in advance: you want to get the people you want on the tour before they book up too."
The trio of Lee, Poppy and Spiritbox's Courtney LaPlante released the single "End of You" in 2025; the upcoming tour could give the three a chance to perform it live together.
"We should probably talk about it, but that's my hope," says Lee. "We've got to do something together, for sure."
Evanescence have toured consistently since the return of live music, and Lee says she and her bandmates are ready to have some new music to play. The shows will heavily feature material off of Sanctuary, but Lee also understands she has a duty to give the old-school fans the songs they grew up with, and loves that people still connect with the songs that put her band on the map.
"We're not going to skip 'Bring Me to Life' and 'Going Under' and stuff, that's going to happen," she says. "It's such a beautiful thing to have so much to choose from, but it's also hard to make the choices."
Canada was one of the first markets to embrace Evanescence, at a time when Lee says the band hardly had any fans outside their hometown of Little Rock, AR. Calling Toronto her "Canadian New York," the self-professed city girl says some of Evanescence's longest-time fans are Canadians who supported the band when they were just kids, before their first record came out.
"I actually got engaged in Toronto," says Lee. "We had our 19th anniversary two nights ago, so it worked out. Something's good. Something's forever about it."
Evanescence's connection to Canada deepened when Vancouver-born comedian Nathan Fielder featured "Bring Me to Life" in the 2025 second season of The Rehearsal. Fielder theorized that the song had given aircraft pilot Chesley "Sully" Sullenberger the confidence he needed to successfully pull off his "Miracle on the Hudson" emergency landing, saving 155 lives.
When she signed off on Fielder using the song, Lee hardly knew what she was approving, but thought she might as well say yes.
"It came out and I had tears in my eyes," she says. "It was so interesting and unique and amazing. It's another surreal look at how music can reach people. It's like the butterfly effect. It can affect little things. To be part of the fabric of our culture is a humbling thing. Huge fan of Nathan Fielder, and what can I say? I hope we get to do some more of that."
Electronic duo Boy Harsher are embarking on a tour of North America this fall.
The jaunt will start in Hudson, NY, at the Basilica on September 25. After a stop in Boston, the tour will cross the border to play Montreal's MTELUS on September 29 and Danforth Music Hall in Toronto on September 30.
After meandering across the US Midwest and West Coast, the Boy Harsher will return once more to Canada to play the Pearl in Vancouver on October 13. The rest of the tour will remain in the US, before terminating at New York City's Knockdown Centre on October 31.
Presale beings June 10 at 10 a.m. local time, with general on-sale happening Friday (June 12), also at 10 a.m. local. Fans can sign up for presale and get more information about the tour on the band's website. Check out the full run of dates below.
Boy Harsher 2026 Tour Dates:
09/25 Hudson, NY - Basilica
09/27 Boston, MA - Royale
09/29 Montreal, QC - MTELUS
09/30 Toronto, ON - Danforth Music Hall
10/01 Detroit, MI - Majestic
10/02 Chicago, IL - Metro
10/04 Minneapolis, MN - Varsity Theater
10/06 Denver, CO - Summit
10/09 Portland, OR - Revolution Hall
10/11 Seattle, WA - The Showbox
10/13 Vancouver, BC - The Pearl
10/15 Oakland, CA - Fox Theater
10/16 Los Angeles, CA - Hollywood Palladium
10/17 Del Mar, CA - The Sound
10/20 Las Vegas, NV - House of Blues
10/21 Phoenix, AZ - Van Buren
10/24 Fort Worth, TX - Sick New World
10/26 New Orleans, LA - Republic
10/27 Atlanta, GA - Variety Playhouse
10/28 Asheville, NC - The Orange Peel
10/30 Washington, D.C. - The Howard Theatre
10/31 Philadelphia, PA - Making Time
11/05 New York, NY - Knockdown Center
Woodstock, NY-hailing rock trio the Bobby Lees have released the final preview for their forthcoming album New Self (out June 12 via Epitaph); "Red Hot" is available to listen now.
Walking the line of baring their souls while also not taking themselves too seriously, the new single is a fire-starter that captures vocalist Sam Quartin's signature "don't-fuck-with-me" attitude.
"This song is about wanting more. More love. More connection. More attention. That insatiable desire," the band shared in a release. "Yet somehow, when we recorded this track — we were all hysterically laughing by the end of it. So, whatever that means."
The trio will be supporting the new album with a North American tour this fall, which includes a lone Canadian date at Toronto's Longboat Hall on October 20. Tickets are on sale now.
You can watch the music video for "Red Hot," and find the Bobby Lees' tour itinerary, below.
The Bobby Lees 2026 Tour Dates:
10/02 Oklahoma City, OK - Resonant Head
10/03 Tulsa, OK - Vanguard
10/08 New York, NY - Irving Plaza
10/10 Woodstock, NY - Bearsville Theater
10/20 Toronto, ON - Longboat Hall
10/21 Detroit, MI - Sanctuary Detroit (Crypt)
10/22 Chicago, IL - Lincoln Hall
10/23 Columbus, OH - Skullys Music Diner
12/08 Seattle, WA - Tractor Tavern
12/09 Portland, OR - Aladdin Theater
12/11 San Francisco, CA - The Independent
English producer and DJ Simon Green has announced a new album under his Bonobo moniker — Distance in Static arrives September 11 via Ninja Tune.
According to press materials, the record uses historic Iranian samples and guzheng records alongside Green's own instrumentation, and also features lyrics in English, Urdu and Japanese.
He's also joined by several collaborators — Arooj Aftab, Joy Crookes, Nilüfer Yanya, Ichiko Aoba, Nicole Miglis (Hundred Waters) and Aanya Martin all make appearances throughout the album.
Distance in Static is previewed today by the new single "Me and You," and you can check out the tracklist below.
Green will support the new record on tour throughout North America later this year, where he'll play two Canadian dates at Vancouver's PNE Forum (November 16), Toronto's History (November 26) and Montreal's MTELUS (November 27) this winter.
Presales will begin on Thursday (June 11) at 10 a.m. local time, with the general sale following a day later (June 12).
Distance in Static:
- Dawn
- Cycles
- Fire on the Water (feat. Arooj Aftab)
- Drift
- Talk to Me (feat. Nicole Miglis)jo5)
- Uncasually
- Always on Your Side (feat. Joy Crookes)
- Youth's Fountain (feat. Nilüfer Yanya)
- Shokoufeh
- Can't You See (feat. Aanya Martin)
- ID700
- Me and You
- Equinoctial (feat. Ichiko Aoba)
- Mercury (feat. Kanako Yamamoto)
Pre-order Distance in Static here.
Bonobo 2026 Tour Dates:
11/05 Austin, TX - Emo's
11/06 Houston, TX - White Oak Music Hall
11/07 Dallas, TX - The Echo Lounge & Music Hall
11/09 Phoenix, AZ - The Van Buren
11/11 Los Angeles, CA - The Wiltern
11/12 Los Angeles, CA - The Wiltern
11/14 Oakland, CA - Fox Theater
11/15 Portland, OR - Roseland Theater
11/16 Vancouver, BC - CA - PNE Forum
11/17 Seattle, WA - Showbox SoDo
11/19 Denver, CO - Mission Ballroom
11/20 Aspen, CO - Belly Up Aspen
11/24 Minneapolis, MN - First Avenue
11/ 25 Radius - Chicago, IL - US
11/26 Toronto, ON - History
11/27 Montreal, QC - MTELUS
11/28 Boston, MA - Citizens House of Blues
11/30 South Burlington, VT - Higher Ground Ballroom
12/03 Silver Spring, MD - The Fillmore Silver Spring
12/04 Philadelphia, PA - Union Transfer
12/05 Brooklyn, NY - Brooklyn Paramount
American rock band L7 are hitting the road for their final world tour this fall. Titled Last Hurrah Tour, which will bring them to cities across the US — as well as a single Canadian date — this fall.
UPDATE (6/9 12:59 p.m. ET): Days after opening for Amyl and the Sniffers at the RBC Amphitheatre, L7 have added a new date to their final world tour at Toronto's Danforth Music Hall on October 29.
Presales will begin tomorrow (June 10) at 10 a.m. local time, which will be followed by general sale this Friday (June 12). Check out the updated itinerary below.
After joining Amyl and the Sniffers on tour this summer (which includes two Canadian stops in Toronto and Laval in June), the headlining portion will officially begin in October in Phoenix, AZ.
After several US shows, the Last Hurrah Tour will eventually return to Canada for a show at Vancouver's Vogue Theatre on November 11. L7 will finish the rest of the tour in Los Angeles a few days later (November 14).
Vocalist Donita Sparks shared in a release, "When L7 decided to release a documentary in 2015, we thought maybe we would take one last victory lap around the sun by playing some shows. Instead, that lap turned into eleven more years of touring, sweat, new music, and reconnecting with the fans who made this all possible in the first place."
She continued, "Looking out into the crowd seeing longtime supporters rocking out next to a new generation of L7 fans has been the most powerful and humbling part of this chapter. We are deeply grateful and ready to give our audiences one last, loud, fun, and hopefully unforgettable night of rock & roll."
Presales begin tomorrow (May 8) at 10 a.m. local time, followed by a general sale on May 11 at 10 a.m. local time. Check out the schedule below, and head over to Concert Central for more Canadian tour announcements.
L7 2026 Tour Dates:
10/09 Phoenix, AZ - Walter Studio
10/12 Austin, TX - Emo's Austin
10/13 Dallas, TX - Echo Lounge & Music Hall
10/16 Nashville, TN - Cannery Hall
10/17 Atlanta, GA - The Masquerade - Heaven
10/19 Charlotte, NC - Neighborhood Theatre Main Room
10/21 Washington, D.C. - Howard Theater
10/22 Philadelphia, PA - Brooklyn Bowl Philadelphia
10/24 Maspeth, NY - Knockdown Center
10/26 Boston, MA - The Wilbur
10/27 Cleveland, OH - Globe Iron
10/29 Toronto, ON - Danforth Music Hall
10/31 Detroit, MI - Saint Andrew's Hall
11/01 Chicago, IL - The Vic Theatre
11/03 Minneapolis, MN @ Fine Line
11/04 Kansas City, MO - Warehouse on Broadway
11/06 Denver, CO - Summit Music Hall
11/07 Salt Lake City, UT - Urban Lounge
11/10 Seattle, WA - The Showbox
11/11 Vancouver, BC - Vogue Theatre
11/13 San Francisco, CA - The Regency Ballroom
11/14 Los Angeles, CA - The Wiltern
The UK singer-songwriter Sienna Spiro has yet to release her debut album (Visitor is out July 3 via Capitol Records), but she's been getting a lot of buzz. After selling out her first US headliner in seconds last year, she's announced the My House Tour — a global trek that will include an extensive North American leg this fall, featuring Canadian stops in Montreal, Toronto and Vancouver.
The North American leg commences with a festival appearance at Chicago's Lollapalooza on August 1. After a few more festival gigs through the summer, the proper headlining shows begin on October 13 in Nashville, TN. In the following weeks, Spiro will cross the border into Canada to take the stage at Montreal's L'Olympia on October 23 and Toronto's History on October 25.
After continuing on through the US, the artist returns to Canada the next month for back-to-back nights at Vancouver's Vogue Theatre on November 4 and 5. The North American dates then wrap up on November 10 in Los Angeles, CA. Tickets go on sale next Thursday (June 18) at 10 a.m. local time, with presales starting June 16. Find the full routing below, and check out Concert Central for more upcoming Canadian shows.
Sienna Spiro 2026 Tour Dates:
08/01 Chicago, IL - Lollapalooza
08/02 Newport, RI - Newport Jazz Festival
08/08 San Francisco, CA - Outside Lands
09/26 Forest Hills, NY - All Things Go Festival
09/27 Columbia, MD - All Things Go Festival
10/10 Austin, TX - Austin City Limits Festival
10/13 Nashville, TN - Ryman Auditorium
10/14 Atlanta, GA - Variety Playhouse
10/16 Washington, D.C. - Lincoln Theatre
10/17 Philadelphia, PA - The Fillmore
10/18 Boston, MA - House of Blues
10/21 Brooklyn, NY - Brooklyn Paramount
10/23 Montreal, QC - L'Olympia
10/25 Toronto, ON - History
10/27 Chicago, IL - Riviera Theatre
10/28 Minneapolis, MN - First Avenue
10/30 Englewood, CO - Gothic Theatre
10/31 Salt Lake City, UT - The Complex
11/02 Seattle, WA - The Showbox
11/04 Vancouver, BC - Vogue Theatre
11/05 Vancouver, BC - Vogue Theatre
11/07 Portland, OR - Crystal Ballroom
11/09 San Francisco, CA - The Castro
11/10 Los Angeles, CA - The Wiltern
Rouyn-Noranda's Festival de Musique Émergente (FME) will return to Quebec for 2026, and it has just announced the first wave of artists playing the festivities.
Running from September 3–6, the fest will host Lou-Adriane Cassidy, Koriass, Les Louanges, Bon Enfant, Aswell, N NAO, Grand Eugène, Malaimé Soleil, Hawa B, Jashim, Public Appeal, Kamilou, Birds of Prrrey and Aizysse Baga. Over 80 other artists have yet to be announced.
Passports for the festival are on sale starting today. Depending on what you fancy, you can get passes for just the outdoor events, or access to all shows. Prices rise after July 1.
More information can be found on FME's website.
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Unsurprisingly, Peaches wants more lube: the former Exclaim! contributor has announced additional North American tour dates for 2026 behind her new album, No Lube So Rude, including a handful of Canadian gigs in Calgary, Edmonton, Vancouver and Toronto.
Things kick off on September 1 at Calgary's MacEwan Hall, with the subsequent Alberta date at Edmonton's Midway Music Hall to follow swiftly on September 2. Peaches will perform at Vancouver's Commodore Ballroom (September 4) before heading across the border to traverse the US. She'll return to Canadian turf for the run's penultimate concert at the Concert Hall in Toronto (September 26) ahead of wrapping the stint on the road on September 27 in Nashville, TN.
Tickets go on sale to the general public Friday (June 12) at 10 a.m. local time, after various presales take place starting tomorrow (June 10); sign up here for access. Feast your eyes on the itinerary in its entirety below, and visit Concert Central for more information on upcoming Canadian shows.
Peaches 2026 Tour Dates:
09/01 Calgary, AB - MacEwan Hall
09/02 Edmonton, AB - Midway Music Hall
09/04 Vancouver, BC - Commodore Ballroom
09/05 Seattle, WA - Bumbershoot
09/06 Garden Grove, CA - Garden Amp
09/08 Oklahoma City, OK - Tower Theatre
09/09 Fayetteville, AR - Ozark Music Hall
09/10 Lawrence, KS - Liberty Hall
09/12 Chicago, IL - Robyn, The Sexistential Tour
09/13 Milwaukee, WI - The Rave II
09/14 St. Louis, MO - The Sovereign
09/15 Louisville, KY - Iroquois Amphitheatre
09/17 Nashville, TN - Cannery Hall
09/18 Pelham, TN - The Caverns
09/19 Cincinnati, OH - Bogart's
09/20 Cleveland, OH - Globe Iron
09/22 Baltimore, MD - Soundstage
09/23 Pittsburgh, PA - Spirit Hall
09/25 Boston, MA - Wilbur
09/26 Toronto, ON - The Concert Hall
09/27 Buffalo, NY - Electric City
Metalcore outfit Wage War released a new EP IT CALLS ME MY NAME in April, and now they've revealed that they'll be heading out on tour across North America this fall and winter.
Joined by fellow metallers We Came as Romans, Varials and Cane Hill on all dates, they'll play a lone Canadian show at Toronto's History on November 11 amidst several US stops.
Presales are currently underway, and general on-sale will begin this Friday (June 12) at 10 a.m. local time. See the schedule below, and head over to Concert Central for more Canadian tour announcements.
Wage War 2026 Tour Dates:
10/25 San Antonio, TX - The Aztec Theatre
10/26 Houston, TX - White Oak Music Hall
10/29 Las Vegas, NV - House of Blues
10/30 Tempe, AZ - Marquee Theatre
10/31 Riverside, CA - Riverside Municipal Auditorium
11/02 Albuquerque, NM - Revel Entertainment Center
11/03 Oklahoma City, OK - Diamond Ballroom
11/04 Kansas City, MO - Uptown Theater
11/06 Madison, WI - The Sylvee
11/07 St. Louis, MO - The Pageant
11/08 Columbus, OH - KEMBA Live!
11/10 Indianapolis, IN - Egyptian Room at Old National Centre
11/11 Cincinnati, OH - The Andrew J Brady Music Center
11/13 Wallingford, CT - The Dome at Toyota Oakdale Theatre
11/14 Sayreville, NJ - Starland Ballroom
11/16 Toronto, ON - History
11/17 Buffalo, NY - Buffalo RiverWorks
11/18 Huntington, NY - The Paramount
11/20 Silver Spring, MD - The Fillmore
11/21 Philadelphia, PA - Franklin Music Hall
11/22 Norfolk, VA - The NorVa
11/24 Nashville, TN - Marathon Music Works
11/25 Charlotte, NC - The Fillmore
11/27 Orlando, FL - Hard Rock Live