Beck is releasing his album Ride Lonesome this week, and he was also supposed to hit the road in support of it, but now he's delayed the first few shows, including the tour opener in Vancouver.
Citing "production issues," Beck announced on social media that his show tomorrow at Vancouver's Queen Elizabeth Theatre will now be taking place in November. His dates in Seattle and Portland have suffered a similar fate.
Tickets for the Vancouver show will be honoured at the new date.
Beck is due to resume touring on September 22 in California. Next month's shows in Toronto are still doing ahead.
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Ed Sheeran has opted out of responsibility for the recent, controversial removal of Macklemore from his touring support as a result of the rapper's comments in support of Palestine in the ongoing genocide.
UPDATE (9/15, 4:06 p.m. ET): Fellow openers FINNEAS and Lukas Graham, as well as Sheeran's backing band, Beoga, have all also dropped off the tour in solidarity with the Palestinian people.
UPDATE (9/15, 3:16 p.m. ET): Irish singer-songwriter Aaron Rowe has announced that he's dropping out of the Loop Tour after his fellow opener Macklemore was ousted for his pro-Palestine comments.
"I don't take this decision lightly. Ed has been a friend to me and changed my life, I could never thank him enough for this. But as Irish people we know all too well about genocide, forced famine and violent occupation," Rowe wrote in a statement posted to Instagram.
"I cannot stand by and allow billionaires to use their position of power to silence the rightful voices who speak up against Israeli genocide and who highlight the savage murder of children," the singer-songwriter continued. "I would lose all respect for myself to carry on as normal."
He concluded, "I need to be true to myself and my ancestors who resisted colonization, and fought for a freedom that I enjoy today in Ireland," adding, "Free Palestine."
Tellingly, Sheeran has referred to Israel's US military-backed occupation of Gaza as a "conflict" in a new statement posted to Instagram, writing that he is "not complicit" and that he supports unnamed "causes" in his own way.
"Macklemore coming off tour was the promoter's decision, it was not mine," he wrote. "Macklemore's contract for the tour was with the promoter, not me. I would never let down the fans who made plans, nor would I abandon the touring crew and other support acts and musicians who rely on me for work and to make a living."
He explained, "Those who have been to one of my shows will know that they are about unity, joy, escapism, love, and a place for everyone to feel welcome. ... I have my personal views on this devastating conflict. Just because I choose not to speak publicly, it doesn't mean I don't have them, and it doesn't mean I don't care. Nor does it mean I don't support causes in my own, personal way."
Earlier this week, Macklemore released his own statement on the situation, saying in part, "Ed was in a fucked up position. He knew it. His typical apolitical stance was being challenged in a way it never had been before. He told me that the words 'Free Palestine' and the image of the Palestinian flag were hurtful to a lot of people he spoke with. I told him that if those words were more offensive than tens of thousands of Palestinian children being killed by Israel, then there was a fundamental disconnect between where those people stood and where I stood."
The comments on Sheeran's Instagram post have been turned off. See the statement below.
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Lambrini Girls have announced the follow-up to last year's excellent Who Let the Dogs Out. No Refunds is coming January 15 via City Slang.
The punk outfit's sophomore effort is said to be darker and more industrial than its predecessor, while still hanging onto some pop hooks. As per press notes, it toys with plenty of modern-day horrors: "genocide, fascism, the rise of AI and the descent into the grubby basement of the 'manosphere.'"
The album is led by the single "Bang Bang Bang," which you can find below, along with the album's tracklisting.
No Refunds:
1. Truth to Power
2. Cult of Celebrity
3. White Man's World
4. Spilt
5. Succulent Chinese Meal
6. Bang Bang Bang
7. Don't Talk to Me Until I've Had My Abortion
8. Gaza Beach
9. The Basement
10. Wake Up!
11. Is This AI?
Fresh off debuting a new song on US late-night TV, Angine de Poitrine have officially been added to the lineup of performers for this year's Polaris Music Prize Concert & Award Ceremony.
The microtonal math rock aliens have been short-listed for the titular award for their album Vol. II, as well as the SOCAN Polaris Song Prize for "Fabienk." They'll join a bill of previously announced performances from fellow nominees Aquakultre, Begonia, Bibi Club, Charlotte Cornfield, Beverly Glenn-Copeland & Elizabeth Copeland, Les Louanges and Tanya Tagaq, as well as an interpretation of Peaches's No Lube So Rude album from Long List nominees Slash Need.
Each act is slated to perform a seven-minute set at Toronto's historic Massey Hall on September 22. Tickets to attend are available here.
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Influential Canadian singer-songwriter Beverly Glenn-Copeland has announced a 40th anniversary reissue of his 1986 album, Keyboard Fantasies, which will arrive November 27 via Transgressive.
The anniversary celebrations were previewed earlier this summer with the track "Light of the Heavens," which will accompany the reissue as a 7-inch.
"At the time that l wrote Keyboard Fantasies, I knew I was in an elevated state because of the environment that surrounded me — the woods and lakes of Northern Ontario were my deepest inspiration," Glenn-Copeland shared in a release. "Also, I was so excited to write with computers and all of the new sounds and tools it afforded me. Today, we are happy to reflect on that period of time and the profound impact that the work has now taken on, some 40 years later. We are grateful to the listeners who have found this music, and all they have done to support mine and Elizabeth's work. Thank you for listening."
The announcement arrives shortly after Glenn-Copeland and his wife Elizabeth were shortlisted for the Polaris Music Prize for their collaborative record, Laughter in the Summer.
Glenn-Copeland and Elizabeth also have a handful of Canadian dates lined up in 2027, which you can find here.
Keyboard Fantasies(40th Anniversary Edition):
- Ever New
- Winter Astral
- Let Us Dance
- Slow Dance
- Old Melody
- Sunset Village
Pre-order Keyboard Fantasies(40th Anniversary Edition) here.
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Music in Motion Canada continues its recognition, celebration and advocacy of Canadian musical talent in 2026 with its fourth annual Music Awards ceremony.
After announcing semi-finalists in the last week of November, Music in Motion Canada will announce finalists by December 12. Registration opens today, and all participants will have access to adjudicated feedback from music industry experts, a certificate and a digital swag bag worth over $350.
Individuals who excel in originality, skill and distinction will be considered for awards and prizes, including branding, media marketing, consulting, promotion and distinction.
Bringing together artists, music professionals, educators, sponsors, media and music fans, Music in Motion Canada aims to uplift emerging Canadian music professionals, creating pathways to gain knowledge, mentorship, exposure and real-world opportunities.
"Our goal is to create more than an awards program," said Barb Keck, Founder of Music in Motion Canada. "We have created a platform that recognizes Canadian talent, creates opportunities for artists and contributes to a stronger and more inclusive Canadian music industry."
"Canadian music is incredibly diverse," Keck added. "There are talented artists working in every province and territory and across countless genres. Music in Motion Canada wants to help ensure those voices are heard, discovered and celebrated."
Visit Music in Motion Canada's website for more details and to register for the Music Awards.
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If anyone can be trusted to bring acclaimed manga artist and writer Tatsuki Fujimoto's beloved one-shot Look Back to a live action format, it's Japanese auteur Hirokazu Kore-eda. Making its North American premiere at the Toronto International Film Festival, Look Back fits perfectly into the Kore-eda canon of tender and bittersweet stories about friendship and humanity, and he breathes new life into this modern classic.
Talented fourth grader Fujino (Fuuri Nanase) is the star of her class, and her comics in the school's newspaper garner her praise and admiration from both her peers and her teacher, which she revels in. When reclusive student Kyomoto (Rokka Okada) begins submitting her own art to the paper, Fujino realizes she's met her competition, and neglects her friendships and her grades to become even better than her. When the two girls eventually meet at elementary school graduation and Kyomoto reveals that she's actually a fan of Fujino's, they decide to pursue being manga artists together.
Spanning across several years and seasons, Kore-eda offers a beautifully shot, thoughtful drama about pursuing your dreams, and each frame feels like a living, breathing piece of art. While remaining extremely faithful to the source material, the live action adaptation tacks on an extra 40 minutes to its original anime predecessor, and Kore-eda fills it with slice-of-life moments, allowing audiences to become immersed and emotionally invested in Fujino and Kyomoto's journey. While the film would have benefitted by a shorter runtime and a tighter edit, it's so beautiful to look at that you become lost in the sprawling emerald fields of the Japanese countryside.
Natsuki Deguchi, who plays the older Fujino, maintains the same loveable sass and charm of her younger counterpart, and Aju Makita portrays the older Kyomoto with a silent grace and resolve. Anchored by their drive to become artists, the girls' chemistry blooms naturally, and the film's third act narrative shift, although jarring, lands on its feet because of Deguchi's performance. The animated sequence at the end is also a beautiful touch.
Additionally, for all of Look Back's incredible sound design, it's the moments of silence that leave you breathless. Yuta Bandoh's swelling, gorgeous score expertly suspends you in midair before dropping you back into the scene headfirst, and the head rush you feel afterwards is incredible.
While Kore-eda's movies have always explored human connection and friendship, there's a special charm and tenderness to Look Back that will resonate with viewers, regardless of if they're artists or not. You just need to remember to look for it.
The 2026 Toronto International Film Festival runs from September 10 to 20 in Toronto. Find details and ticket information at the festival's website.
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Syd — from the Internet (not to be mistaken for Exclaim!'s Sydney Brasil, from the other internet) — has announced a North American tour supporting her latest solo album, Beard. The stint on the road will include a pair of Canadians tops in Vancouver and Toronto.
Syd will kick off the run on Canadian soil with a Vancouver performance at the Commodore Ballroom on November 7. From there, she'll make the rounds stateside, only returning to Canada about a month later to play Toronto's History on December 8 before the Beard tour wraps on December 16 in Los Angeles, CA.
Tickets go on general sale this Friday (September 18) at 10 a.m. local time, after various presales running from tomorrow (September 16) onward. Find the full itinerary below, as well as more upcoming Canadian shows via Concert Central.
Syd 2026 Tour Dates:
11/07 Vancouver, BC - Commodore Ballroom
11/08 Portland, OR - Roseland Theatre
11/10 Seattle, WA - Moore Theatre
11/12 Sacramento, CA - Ace of Spades
11/14–15 Los Angeles, CA - Camp Flog Gnaw
11/16 San Diego, CA - Observatory North Park
11/19 Houston, TX - House of Blues
11/20 Dallas, TX - House of Blues
11/22 Austin, TX - Emo's
11/24 Atlanta, GA - Tabernacle Presented by iTHINK Financial
11/28 Charlotte, NC - The Fillmore Charlotte
11/29 Raleigh, NC - The Ritz
12/01 Brooklyn, NY - Brooklyn Paramount
12/03 Washington, D.C. - Echostage
12/05 Philadelphia, PA - The Fillmore Philadelphia
12/06 Boston, MA - House of Blues
12/08 Toronto, ON - History
12/10 Chicago, IL - Ramova Theatre
12/12 Las Vegas, NV - House of Blues
12/13 Phoenix, AZ - The Van Buren
12/15 San Francisco, CA - The Castro
12/16 Los Angeles, CA - The Wiltern
At long last, Harry Styles is returning to Canadian soil in 2027. Supporting Kiss All the Time. Disco, Occasionally., the pop star has expanded his residency-style Together, Together Tour into next year — and into a dozen new markets, including Toronto.
Styles will hit the road again starting with back-to-back nights in Phoenix, AZ, on April 2 and 3. Tinashe will support those shows, with different special guests coming in each city. The following month, Styles returns to Canada for two nights at Toronto's Rogers Stadium (let's hope it's fixed by then!) on May 7 and 8 with Lainey Wilson.
UPDATE (09/15, 10:58 a.m. ET): Harry Styles has added two additional dates of the Together, Together tour in Toronto, happening on May 14 and 15. Like the original two days, Lainey Wilson will act as support. Presale for American Express cardholders is on now, while general onsale begins the same time as the first two dates — September 16 at 10 a.m. Find more information on Ticketmaster.
The next leg of the Together, Together Tour is currently scheduled to wrap up overseas next August, with Styles heading back to London, UK's Wembley Stadium — where he recently earned a Guinness World Record for Longest Residency during a single 12-show run at the iconic venue — with Tears for Fears.
Tickets for the North American dates go on general sale next Wednesday (September 16) at 10 a.m. local time. Presales will take place the day prior (September 15); sign up for access here before midnight on Sunday (September 13).
Find the full itinerary below, as well as more upcoming Canadian shows via Concert Central.
Harry Styles 2027 Tour Dates:
04/02 Phoenix, AZ - State Farm Stadium *
04/03 Phoenix, AZ - State Farm Stadium *
04/09 Dallas, TX - AT&T Stadium ^
04/10 Dallas, TX - AT&T Stadium ^
04/23 Los Angeles, CA - Rose Bowl Stadium +
04/24 Los Angeles, CA - Rose Bowl Stadium +
05/07 Toronto, ON - Rogers Stadium ~
05/08 Toronto, ON - Rogers Stadium ~
05/14 Toronto, ON - Rogers Stadium ~
05/15 Toronto, ON - Rogers Stadium ~
05/21 Atlanta, GA - Mercedes-Benz Stadium =
05/22 Atlanta, GA - Mercedes-Benz Stadium =
05/28 Chicago, IL - Soldier Field #
05/29 Chicago, IL - Soldier Field #
07/02 Berlin, Germany - Flughafen Tempelhof >
07/03 Berlin, Germany - Flughafen Tempelhof >
07/16 Paris, France - Plenitude Arena %
07/17 Paris, France - Plenitude Arena %
07/30 Madrid, Spain - Riyadh Air Metropolitano <
07/31 Madrid, Spain - Riyadh Air Metropolitano <
08/07 Rome, Italy - Circo Massimo &
08/08 Rome, Italy - Circo Massimo &
08/18 Dublin, Ireland - Croke Park $
08/20 Dublin, Ireland - Croke Park $
08/25 London, UK - Wembley Stadium Connected by EE @
08/27 London, UK - Wembley Stadium Connected by EE @
08/28 London, UK - Wembley Stadium Connected by EE @
* with Tinashe
^ with CA7RIEL & Paco Amoroso
+ with Kylie Minogue
~ with Lainey Wilson
= with Q Marsden
# with the Womack Sisters
> with Getdown Services
% with Caroline Polachek
< with Feist
& with LCD Soundsystem
$ with Baby Rose
@ with Tears for Fears
Just shy of her first full decade as a recording artist, beabadoobee has grafted her quirky alt-rock roots to the slicker, adult contemporary bedroom pop of her recent growth as a major commercial force.
This union on Pylon gives fans the best of everything we love about the songwriting of Beatrice Kristi Ilejay Laus: her warm, velvet blanket of a voice envelops every song, never obscured or overshadowed by lush, technicolour production and bold, creative, psychedelic-leaning arrangements. It's all the sunny-but-safe charm of "Beaches" tempered by the raw personality of her pre-pandemic EPs.
The 14 songs of her fourth full-length album are a synergistic union of sophisticated pop sensibilities and idiosyncratic alternative experimentation, the likes of which have seldom been heard in a mainstream artist since before the 26 year old was born. Tracks like the Hayley Williams-featuring "Nothing to Prove" and "Radio" would've been perfectly at home alongside acts like the Smashing Pumpkins and No Doubt in the '90s, when alt-rock topped the charts and was given seemingly bottomless recording and marketing budgets.
beabadoobee is perfectly positioned to be a major driving force in the largely female-led rock revolution that's been gaining momentum throughout the 2020s. The sublime pop chops that have helped her open for superstars like Sabrina Carpenter and Olivia Rodrigo continue to give her the mass appeal necessary to really kick down the doors of contemporary culture; Evan Stephens Hall (Pinegrove) co-write "Spark" is a great example of how naturally she can pull off a "what if Taylor Swift was an unabashed Elliot Smith fan" moment. That said, it's very telling that she's pushing the energized, midwest emo-tinged "Sun Has Set" and the gleefully unconventional "Switchblade" as lead singles.
The majority of Pylon is full of these elements of grit and invention, with glorious fraying barbs of fuzzed-out guitar shanking the cozy pop framework established on 2024's This Is How Tomorrow Moves. Even in the shiniest, most overtly pretty moments on the album (like the tender romanticism of "Write Me a Letter"), Laus invites the messy, incalculable chaos of humanity into these recordings. As a result, every song feels wild and alive, singular in its sonic fingerprint.
Whether it's a deliberate reaction to the threat of artificiality threatening to subsume artistry (a topic woefully never far from the creative process and music industry at large these days) or, more simply, the interior instincts of a major talent feeling the freedom to embrace her innate sense of self, Pylon is a powerful marker — a sign of how possible it is to make music that's as filled with unselfconscious pop catharsis as it is with ragged, irreplaceable soul.
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Alongside Joy Division, New Order are being inducted into the Rock and Roll Hall of Fame later this year, and have recently confirmed that they'll be returning to Chile for the first time in seven years to perform at Primavera Sound's Festival Fauna in Santiago come November.
However, the band's live lineup will sadly be incomplete for their venture to the South American country: they've announced that keyboardist/guitarist Gillian Gilbert and drummer Stephen Morris — who have been married since 1994 — will both be taking a step back from performing live.
UPDATE (9.15, 10:23 a.m. ET): Gilbert has now revealed that she's been diagnosed with cancer. In a recent interview with Rolling Stone, her husband said that he had "a bit of a health problem at the minute, which precludes leaving the country for any length of time." Morris added, "I really don't want to dwell on what this illness is, but it's pretty serious. It's not something that someone's going to come up with a cure for."
In an Instagram post today, Gilbert thanked everyone who had reached out following her husband's interview, but explained that she'd "like to gently clarify a misunderstanding from the interview, in the course of which comments were misinterpreted leading people to believe that Stephen is seriously ill."
"Thankfully, he is well. It is in fact me, who like many other people, is living with cancer," the keyboardist/guitarist continued. "We completely understand how the misunderstanding arose and simply wanted to ensure that the correct information was shared. We are enormously grateful for everyone's kindness and support and would appreciate some privacy as I continue with my treatment."
"Due to personal health reasons, Stephen and Gillian won't be touring for the foreseeable future and will not be joining for this show," New Order wrote in a social media post about their Festival Fauna appearance. "Bernard [Sumner], Phil [Cunningham] and Tom [Chapman] are really sorry that Stephen and Gillian can't join us this time, but unfortunately the circumstances make it impossible."
It has yet to be shared who will replace Gilbert and Morris (the former having been in the fold since 1980 and the latter having joined Joy Division in 1977 after responding to an ad in a local music shop) or the nature of their health issues. See New Order's post below.
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After wrapping up the first leg of their Canadian tour in support of Between Us last month, Arkells have announced new city takeovers in Saskatoon, Winnipeg and Ottawa this November.
The tour will begin with three dates in Saskatoon, running from November 5 to 7. A few days later, they'll head to Winnipeg from November 10 to 12, and Ottawa from November 25 to 27.
Presales begin tomorrow (September 16) at 10 a.m. local time, followed by general on-sale on September 18 at 10 a.m. local time. Check out the schedule below, and head over to Concert Central for more Canadian tour announcements.
Arkells 2026 Tour Dates:
11/05 Saskatoon, SK - Amigos
11/06 Saskatoon, SK - Capitol Music Club
11/07 Saskatoon, SK - Coors Event Centre
11/10 Winnipeg, MB - Side Stage
11/11 Winnipeg, MB - The Park Theatre
11/12 Winnipeg, MB - Burton Cummings Theatre
11/25 Ottawa, ON - The 27 Club
11/26 Ottawa, ON - The Bronson
11/27 Ottawa, ON - History Ottawa
Padraic McKinley's newest film is heavy — and I mean that literally. Gold, as it turns out, weighs a ton, but Murphy (Ethan Hawke) would probably say that grief, poverty, incarceration and being separated from his daughter weigh a whole lot more. Depression-era thriller The Weight piles as much as it can onto Murphy's back and sends him into the Oregon wilderness carrying enough bullion to make every river, mountain and bridge feel personally vindictive.
Samuel Murphy is a widower whose daughter Penny (Avy Berry) is at risk of becoming a permanent ward of the state before he finishes his sentence at a labour camp, which gives him a reason to accept when Warden Clancy (Russell Crowe) offers him an early way out. Clancy has gold that needs moving before Roosevelt's government can seize it. Murphy has revealed himself to be annoyingly good at basically everything, and now getting back to his daughter depends on leading a ragtag group of prisoners through the Pacific Northwest with several hundred pounds of somebody else's fortune.
Hawke makes sense in a movie like The Weight: his characterization of a down-on-his-luck man fits so comfortably in the film without feeling like he's trying particularly hard to convince us that he is one. Murphy can fix things, shoot things, navigate the wilderness and think his way out of problems that should probably kill him, and Hawke plays all of that competence with an exhaustion rather than macho posturing. His permanently slightly wounded face, quiet voice and easy charm make Murphy incredibly difficult not to root for, even when the movie is putting him through ridiculous physical punishment. That affection does a lot of work in a story where the emotional stakes are otherwise very straightforward.
McKinley gives that competence somewhere fun to go, because The Weight becomes much more entertaining once its Western adventure machinery really kicks in. The action sequences have a gratifying physicality to them, whether the men are fighting the landscape (or each other), crossing precarious structures, or tearing around in period cars that look barely equipped for regular transportation, let alone a chase. The movie understands that the gold itself must remain an inconvenience rather than becoming some abstract MacGuffin; it has to be lifted, dragged, protected, and hauled through terrain that already seems actively hostile, which gives the elaborate set pieces an enjoyably weighty quality.
The forests and mountains are enormous, so the cinematography gets plenty of mileage out of placing these small, filthy men against them, and the score gives Murphy's journey just enough Western grandeur without convincing us that there is anything especially glorious about what he is being asked to do. Crowe, meanwhile, is clearly enjoying himself as Clancy. If a movie requires a man in a nice coat to saunter around without getting his hands dirty, Crowe will always be your guy.
The Weight is much more interested in being a good adventure movie than a definitive statement about anything of the era, and it succeeds largely because it knows exactly what kind of movie it is. Any minor mention of politics gives the journey some texture and the relationships some weight, but the movie isn't about those things. The action delivers when it needs to, the landscape does an enormous amount of heavy lifting, and Hawke is charming enough to make watching one very tired man drag himself and several hundred pounds of gold across Oregon feel like a perfectly good way to spend two hours.
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Blues guy Kenny Wayne Shepherd is celebrating the 30th anniversary of his 1995 debut album Ledbetter Heights with a tour, and he's extended the dates into 2027.
Following a fall run in the US, Shepherd will take the holidays off and then resume touring in the early spring. In addition to more US shows, this includes one Canadian stop: Toronto's Massey Hall on March 27.
See the schedule below. Tickets go on sale this Friday (September 18) at 10 a.m. local time.
Shepherd recently re-recorded Ledbetter Heights, and he will perform the album in full. "This is the album that put me on the map. My goal has always been to make timeless music," he said in a statement. "Unfiltered and straight from the heart."
Kenny Wayne Shepherd 2026–2026 Tour Dates:
09/15 Eugene, OR - McDonald Theatre
09/16 Seattle, WA - Moore Theatre
09/17 Spokane, WA - First Interstate Center for the Arts
09/18 Billings, MT - Alberta Bair Theater
09/19 Deadwood, SD - Deadwood Jam
09/30 Virginia Beach, VA - Sandler Center for the Performing Arts
10/02 New Brunswick, NJ - State Theatre New Jersey
10/03 Wilmington, DE - Grand Opera House
10/04 York, PA - Appell Center for the Performing Arts
10/07 Durham, NC - Carolina Theatre
10/08 Knoxville, TN - Tennessee Theatre
10/09 Lexington, KY - Lexington Opera House
10/10 Bristol, TN - Paramount Bristol
10/11 Charlotte, NC - Knight Theater
10/14 Ann Arbor, MI - Michigan Theater
10/15 Des Plaines, IL - Des Plaines Theatre
10/16 New Buffalo, MI - Four Winds Casino
10/17 Prior Lake, MN - Mystic Lake
10/31 San Diego, CA - The Legendary Rhythm & Blues Cruise
11/07 San Diego, CA - The Legendary Rhythm & Blues Cruise
03/20 Clearwater, FL - Ruth Eckerd Hall
03/22 Greenville, SC - Peace Center
03/24 Buffalo, NY - Kleinhans Music Hall
03/25 Akron, OH - Goodyear Theater
03/27 Toronto, ON - Massey Hall
03/29 Ithaca, NY - State Theatre
03/31 Nashua, NH - Nashua Center for the Arts
04/01 Plymouth, MA - Plymouth Memorial Hall
04/02 Woonsocket, RI - Stadium Theatre
04/03 Torrington, CT - Warner Theatre
04/05 Patchogue, NY - Patchogue Theatre
04/07 Washington, DC - Warner Theatre
04/10 Miramar Beach, FL - Soundwave
04/11 Daytona Beach, FL - Peabody Auditorium
04/13 Fort Pierce, FL - Sunrise Theatre
Gearing up for next month's release of Autosmile (out October 16 via 4AD), Philadelphia, PA-based psych folk duo @ have added a slate of headlining 2027 North American tour dates to their itinerary — shared alongside new single "Bird."
In addition to upcoming shows supporting YHWH Nailgun and This Is Lorelei, @ will headline a trio of Canadian concerts of their own in January. The newly announced gigs kick off with a hometown show on January 16. Shortly thereafter, they'll cross the border into Canada to play Montreal's Casa del Popolo (January 18) and Toronto's Monarch Tavern (January 19).
After continuing to weave their way through the US, @ will return to Canadian soil the following month for a Vancouver appearance at Fox Cabaret (February 20) before completing the trek stateside on February 25 in Los Angeles, CA.
Tickets go on sale Friday (September 18) at 10 a.m. local time, while presales happen tomorrow (September 16) with the code AMITY; sign up here for access.
Check out the video for "Bird" and their full schedule of dates below, with the 2027 performances in bold. Visit Concert Central for more upcoming Canadian shows.
@ 2026–2027 Tour Dates:
09/18–20 Philadelphia, PA - Making Time
10/01 Seattle, WA - Chop Suey ^
10/02 Vancouver, BC - The Fox Cabaret ^
10/03 Portland, OR - Mississippi Studios ^
10/05 Berkeley, CA - Cornerstone ^
10/06 San Diego, CA - Soda Bar ^
10/09 Los Angeles, CA - Lodge Room ^
10/27 Chicago, IL - Thalia Hall *
10/28 Lakewood, OH - Mahall's *
10/30 Toronto, ON - The Concert Hall *
10/31 Montreal, QC - Bar Le Ritz P.D.B. *
11/02 Boston, MA - Royale *
11/04 Washington, DC - The Atlantis *
11/05 Philadelphia, PA - First Unitarian Church *
11/06 New York, NY - Webster Hall *
11/09 Paris, FR - Point FMR
11/11 Bristol, UK - Exchange
11/12 Leeds, UK - Lending Room
11/13 Glasgow, UK - 1990
11/14 Birmingham, UK - Hare & Hounds
11/15 Manchester, UK - YES Pink Room
11/16 Dublin, Ireland - Workman's Club
11/18 London, UK - St Matthias Church
11/21 Amsterdam, Netherlands - Cinetol
11/22 Leeuwarden, Netherlands - Explore The North Festival
11/23 Berlin, Germany - Kantine am Berghain
11/24 Brussels, Belgium - Botanique
01/16 Philadelphia, PA - First Unitarian Church Sanctuary
01/17 Somerville, MA - The Rockwell
01/18 Montreal, QC - Casa del Popolo
01/19 Toronto, ON - Monarch Tavern
01/21 Chicago, IL - Tomorrow Never Knows
01/22 Minneapolis, MN - 7th St Entry
01/23 Milwaukee, WI - Cactus Club
01/25 Pittsburgh, PA - The Warhol Theater
01/26 Baltimore, MD - Metro Gallery
01/27 New York, NY - Bowery Ballroom
02/19 Seattle, WA - Sunset Tavern
02/20 Vancouver, BC - Fox Cabaret
02/21 Portland, OR - Polaris Hall
02/23 San Francisco, CA - 4 Star Theater
02/25 Los Angeles, CA - Zebulon
^ with YHWH Nailgun
* with This Is Lorelei
As a film about a CIA agent reflecting on his life as he dies of cancer, Wild Horse Nine inevitably touches on some big themes: America's role in destabilizing democracies around the world, the suspicious circumstances surrounding JFK's assassination, the lingering pain of broken family bonds, and finding a sense of closure in one's final days on earth.
But mostly, it's an excuse for John Malkovich to be a snarky old guy and deliver lots of funny one-liners.
Set in 1973 just before Pinochet's coup in Chile, Malkovich plays Chris, an agent who visits Easter Island with his CIA buddy Lee (Sam Rockwell) because it's his last wish to see those big head statues before he dies — or at least it was his wish, before he suddenly starts talking about riding a gondola in Venice. Chris's declining mental faculties, as well as the loose-lipped recklessness that comes with being close to death, means that Lee is serving the dual purpose of giving his friend a nice send-off as well as trying to keep a lid on any national secrets that Chris might have documented in his memoirs.
In another director's hands, Wild Horse Nine might have been an espionage thriller, but this is Martin McDonagh we're talking about, so even when there are twists and double-crossings, they never take the film too far from where it started. Unlike most stories about uncovering CIA secrets, it's not about the plot.
Rather, Wild Horse Nine is in line with McDonagh's past films The Banshees of Inisherin and In Bruges: a witty, smartly observant dark comedy about a fraught friendship that, perhaps accidentally, ends up being an extremely compelling tourism brochure for the location it was filmed. Anyone else suddenly feel a strong urge to visit Easter Island?
The 2026 Toronto International Film Festival runs from September 10 to 20 in Toronto. Find details and ticket information at the festival's website.
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Microtonal math rock aliens Angine de Poitrine made their US TV debut last night on The Tonight Show Starring Jimmy Fallon, and they took the opportunity to premiere a new song called "Zugzegk."
The new song — which Fallon pronounced by what sounded like clearing his throat — pushes the complex microtonal skronk of Vol. 2 possibly even further, with guitarist/bassist Khn creating dense, complicated guitarmonies over top of Klek's start-stop rhythms, nicely employing the duo's signature trick of employing herky-jerky rhythms that eventually coalesce into a surging groove.
Check it out below. The recent Exclaim! cover stars are still on tour.
Every Arlo Parks song is a memory distilled into music. Whether bearing her soul amidst the bedroom pop grooves of 2021's celebrated Collapsed in Sunbeams or embracing the abandon of the dance floor on this year's Ambiguous Desire, her music captures the vulnerability of private moments and hidden yearnings.
It's therefore only fitting that, when ranking her five best songs for Exclaim!, Parks traces her tracks back to the memories of how they were created: the pandemic isolation that brought her back to her roots, the chilly studio that helped her unlock a pop-friendly melody, and the night of dancing she commemorated with a thumping groove.
As Parks continues her tour in support of Ambiguous Desire, here are her five favourite songs from her own catalogue.
5. "2SIDED"
Ambiguous Desire (2026)
Baird and I made this song in New York. It was freezing, nothing in the studio worked, and I was feeling a little lost. This song really is an example of how limitations and loosening your grip can bring out the catchiest tunes.
4. "Portra 400"
Collapsed in Sunbeams (2021)
This song will always have such a special place in my heart. I produced it sitting in my childhood bedroom during the pandemic, just me, a keyboard and a battered computer. That's very much how I started making music, so it felt like going back to my roots, somehow.
3. "Devotion"
My Soft Machine (2023)
"Devotion" is the sound of my heart ripping open. I put so much heart into it. I think it also did my inner child justice, because I grew up obsessed with '90s grunge, Midwest emo and Kim Deal. I love that it surprised people, but was also so true to me.
2. "Senses" (feat. Sampha)
Ambiguous Desire (2026)
Sampha is one of the musicians I look up to — his kind spirit, the texture of his voice and his emotional acuity. I felt so understood when I showed him this song, and the fact that our voices blended so organically together was the cherry on the cake.
1. "Heaven"
Ambiguous Desire (2026)
This song is my favourite track I've ever made. It came from such a raw, pure place — bottling the lightning of dancing under a bridge with my best friends and ripping up the sonic blueprint I had stuck to. I love this song because of the song itself, but also because of the moment it has immortalized.
Bodywash have their third album on the way. Laughing at Noise is out November 20 via Light Organ Records.
Compared with their last two efforts, Laughing at Noise takes a more stripped-back approach, according to press notes. It's led by the single "Lapsang," which Bodywash's Chris Stewad calls "an ode to Montreal's Little Italy neighbourhood and the years I spent there, waiting for the 55 bus."
Ahead of the album's release, the duo will play a handful of festivals in Toronto, Halifax and their hometown of Montreal. See the run of dates and listen to "Lapsang" below, where you will also find Laughing at Noise's tracklist.
Laughing at Noise:
1. Turn In
2. Widow's Peak
3. Lapsang
4. Come and Go
5. Like a Bell
6. Pinup
7. La Renommée
8. A Sticker That's Peeling
9. Bliss
10. Overpass
Bodywash 2026 Tour Dates:
09/19 Montreal, QC - Parc Vinet (SeptemberFest)
09/25 Toronto, ON - The Dance Cave (Second Summer Fest)
10/10 Halifax, NS - The Buffalo Club (NOWADAYS Festival)
Organizers behind Thunder Bay's Wake the Giant Music Festival have issued an apology after 2026 headliner Flo Rida used alcohol bottles as props during his Saturday (September 12) performance at the sober event.
"The Wake the Giant team would like to apologize and acknowledge the harm done by last night's Flo Rida performance," organizers wrote in a statement posted to social media yesterday (September 13). "The props used were not approved by organizers, and we clearly communicated to the artist's team that this was a sober event and that alcohol is not permitted on our stage."
"Our team shares in the hurt and disappointment that many people feel today, and we want to assure you that this performance does not align with the values of Wake the Giant or Northern Nishnawbe Education Council," they continued. "We take responsibility for booking the artist, and we will take the lessons learned from this experience to ensure our core values will be at the forefront in choosing artists in the future."
Local resident Esther Maud, who attended the event to show her support for the community — as well as for her son and his youth drum group, Charging Thunder, which opened the show — told the CBC that she was appreciative of the festival's efforts, but said Wake the Giant's apology left something to be desired, especially since the performance was "really heavy and very triggering for a lot of people."
Maud, who's going into her sixth year of sobriety from alcohol, left shortly after Flo Rida performed his third song, as more and more alcohol bottles kept appearing on stage during the alcohol- and drug-free event. "I just went in thinking and being excited that I get to see someone in person that I kind of grew up listening to," she explained. "So it didn't even dawn on me what he represents, and what he sings and puts into his music at all."
Read Wake the Giant's full statement, shared to Facebook, below. The fest will go on hiatus next year due to upgrades to the Thunder Bay waterfront.
The Wake the Giant team would like to apologize and acknowledge the harm done by last night's Flo Rida performance. The props used were not approved by organizers, and we clearly communicated to the artist's team that this was a sober event and that alcohol is not permitted on our stage.
Our team shares in the hurt and disappointment that many people feel today, and we want to assure you that this performance does not align with the values of Wake the Giant or Northern Nishnawbe Education Council. We take responsibility for booking the artist, and we will take the lessons learned from this experience to ensure our core values will be at the forefront in choosing artists in the future.
Wake the Giant is proud to be a sober event. The vision for the movement and the festival is to create awareness for a safe and inclusive environment for Indigenous students.
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The thing is, you never know what you're going to get at an Erykah Badu concert.
When I saw her live in Detroit a few years back, she was so late that the band started without her, performing three full songs (including "The Healer"!) with only backing vocals. Of course, she eventually made her way to the stage — descending from the heavens in a willowing dress like a bohemian angel, at least in my memory — and proceeded to hypnotize the entire arena with her goddess-like presence and otherworldly vocals. Any annoyance or ill will about her tardiness was almost immediately forgiven or forgotten.
Badu was, mercifully, only 15 minutes late for her stop at Toronto's RBC Amphitheatre on Sunday (September 13). The legendary (and legendarily weird) Texas soul and R&B singer was in fine form for the 90-minute set, which, understandably, leaned heavily on songs from her stellar new album with the Alchemist, Before the World Blows. Though it was exhilarating to hear Badu bring these songs to life on the stage, even the diehard fans were left wanting a few more familiar throwbacks.
A theatre kid at heart, Badu — glamorous but low-key in a pink head wrap and a baggy football jersey under an orange patterned dress — opened the show sitting in a bed, using a landline to make a phone call to the Alchemist — frumpy, unshaven, wearing a black hoodie and an ill-fitting Blue Jays cap. After a bit of awkward banter, the duo launched into "Echos," the sprawling, seven-and-a-half-minute opener on Before the World Blows.
The track is a perfect showcase of the chemistry between Badu and Alchemist: singing into the telephone over a loping, boom-bap beat, Badu delivering a riveting, laser-focused sermon, building toward a fiery crescendo like a 23rd-century priestess.
Following a brief address to the audience ("Who wants one more drink before the world blows?"), they kept rolling with new material, including the menacing, Griselda-esque "I Just Play a Part," and the dreamy, '90s-inflected "Crossfade." On the psychedelic "Witch Doctor," Badu pulled out several, well, witchy-looking percussion instruments, staring down the audience as if trying to conjure an ancient ghost.
The drama of the performance was elevated by the simple, but extraordinary, set design, which centred around a sort of cozy living room, furnished with several large white couches upon which Badu and her various band members could laze. Behind Badu, housed in see-through cages, was her marvellous five-piece band, including several percussionists. Perched above, rising 15 feet from the stage, was the Alchemist and four other DJs, backlit by a massive LED screen.
The audience, made up of several generations of music fans, were clearly mesmerized, especially when Badu let her voice soar. At 55 years old, she remains one of our most fascinating vocalists, her raspy, textured voice moving deftly between rhythmic spoken-word and the soulful belting that has long earned her comparisons to Billie Holiday.
At the same time, you could feel a creeping sense of eagerness among the audience — many of whom hadn't, like me, had the new record on repeat for a month — for something to sing along to. That made for a cathartic moment when, after a pretty meh mini-set from the Alchemist, including a few uninspiring moments on the mic, Badu finally turned back the clock with a trio of '90s neo-soul classics ("On & On," "Love of My Life" and "Sometimes"). The smartphones quickly shot up as the audience began singing along to every word.
The interlude didn't last long, however, as Badu and co. quickly shifted back to the new album to close out the set. That's not to say the final stretch wasn't gripping — Badu's performance of "I Know That Man" was glorious, cementing in real time the gospel-tinged track as a modern classic (even without the wicked Earl Sweatshirt verse that appears on the album).
Still, as the lights went on following "Black Box" — a jazzy track on which Badu unleashes some of her well-documented frustrations with smartphones and social media (one wishes her fixations were more interesting or politically relevant at this point, but alas) — you could feel an almost tangible disappointment among fans who had hoped to see her play a few more of the hits that helped define the sound of a generation, and that influenced the generations to come, from Drake to SZA and beyond. No "Bag Lady," no "Tyrone," no "Next Lifetime," no "Didn't Cha Know," no "Green Eyes."
The elephant in the room here is that this isn't an Erkyah Badu show, but a joint show with the Alchemist, a producer who necessarily limits what we're going to hear — he's unlikely to perform "The Healer," for example, a track produced by Madlib. Plus, although the Alchemist is undeniably brilliant and influential, he possesses infinitely less aura than Badu; as one friend noted, it was a relief that he was mostly kept off the mic. (The double-billing may also explain why the show wasn't fully sold out, even with the lawn closed and hip-hop legends De La Soul supporting.)
Of course, this is Erykah Badu we're talking about, and the reason we love her is precisely because she's going to do exactly what she wants to do and how she wants to do it. And she's not naive: near the end of the set, she noted that next year marks 30 years since her debut album, Baduizm, and hinted that an anniversary tour might be in the books.
Though it might not have been the set everyone wanted, it's difficult to complain when you're in the presence of true greatness.
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For some reason, people keep on choosin' "Choosin' Texas." The inexplicable success of Ella Langley's bland country hit continues, as it has just become the longest-reigning non-holiday song in the history of the Billboard Hot 100.
UPDATE (9/14, 1:26 p.m. ET): Langley is now threatening the very meaning of Christmas, as "Choosin' Texas" has officially tied the Billboard chart record belonging to Mariah Carey's beloved holiday standard "All I Want for Christmas Is You."
Both songs have now spent a whopping 22 non-consecutive weeks atop the Hot 100, with Carey's having broken the previous hot streak — belonging to Lil Nas X's "Old Town Road" and Shaboozey's "A Bar Song (Tipsy)," naturally — in December 2025.
"All I Want for Christmas Is You" usually makes its way back around every year, but with the holiday season still months away, it seems quite likely that "Choosin' Texas" might be even bigger than the Baby Jesus and Mariah Carey combined. We'll find out next week!
"Choosin' Texas" is at No. 1 on the US chart dated September 5, marking its 20th week atop the Hot 100. That sets the mark previously jointly held by Lil Nas X (with 2019's "Old Town Road") and Shaboozey (with 2024's "A Bar Song (Tipsy)"). Lil Nas X still holds the record for consecutive weeks.
"Choosin' Texas" still has a couple weeks to go before becoming the all-time Hot 100 champ: Mariah Carey's "All I Want for Christmas Is You" has topped the charts for 22 non-consecutive weeks. In recent years, "All I Want for Christmas Is You" has topped the chart again every holiday season, meaning it's likely to keep adding to its lead.
"Choosin' Texas" is also No. 1 here in Canada. It's had 17 weeks atop the charts — still well behind the 25 weeks Shaboozey had with "A Bar Song (Tipsy)" in 2024.
Exclaim!'s staff reviewed "Choosin' Texas" a few weeks ago, at which point it was already an enormous hit that only one of us had actually heard before.
Macklemore has been removed from his support slot on the rest of Ed Sheeran's stadium tour after multiple venues reportedly told the promoter that they would not allow the rapper to perform following his on-stage commentary on Palestine at previous dates.
UPDATE (9/14, 12:12 p.m. ET): Macklemore has now responded to the news, sharing a lengthy statement on Instagram. "Last Monday [September 7], in the middle of all the media attention surrounding P!nk and what I said at MetLife, Ed told me that Robert Kraft called him," he explained. "We were scheduled to play Gillette Stadium later this month, which is owned by the Kraft Group. Ed told me that Kraft said I would not be allowed to perform in his stadium. Ed also told me that Kraft had rallied some of the other stadium owners and collectively they gave him an ultimatum: if Macklemore stays on the tour, you will not be allowed to play in our venues."
"Ed was in a fucked up position," the rapper continued. "He knew it. His typical apolitical stance was being challenged in a way it never had been before. He told me that the words 'Free Palestine' and the image of the Palestinian flag were hurtful to a lot of people he spoke with. I told him that if those words were more offensive than tens of thousands of Palestinian children being killed by Israel, then there was a fundamental disconnect between where those people stood and where I stood."
Macklemore mused, "If I kept doing the shows, saying Free Palestine, with Ed implicitly supporting it, the crowd getting loud and showing undeniable support for Palestinian liberation, what artist might speak out next? The stage becomes resistance. Maybe that's why this time it became so important to silence me. And one of the most effective ways to enforce that silence has been to weaponize the accusation of antisemitism," he said, adding, "When criticizing Israel, opposing Zionism or saying 'Free Palestine' gets conflated with hatred of Jewish people, it doesn't protect Jewish people. It protects Israel from accountability."
"I didn't need 10 shows from Ed. I needed 2. Two chances to stand in front of 90,000 people and say the words that somehow became too dangerous to say," Macklemore concluded. But if those words cost me the stage, while turning the conversation back to Palestine, then it was the most successful tour I've ever been on."
Read his full statement below.
The US leg of Sheeran's Loop Tour is being put on by Messina Touring Group. In a statement to Rolling Stone, a spokesperson for the company said, "As the concert promoter for Ed Sheeran's US Loop Tour, we have been notified by venues on the upcoming US tour dates that they will not allow a concert to take place with Macklemore on the lineup, which would result in the cancellation of the tour and impact hundreds of thousands of fans. After discussions with stakeholders, Macklemore will not be performing on the remaining support dates."
Macklemore has long been an outspoken advocate for a free Palestine, having been one of the first mainstream celebrities to describe the circumstances in Gaza as genocide when he spoke at a pro-Palestinian protest in 2023. His song "Hind's Hall" — named after Hind Hijab, a six-year-old Palestinian girl who was killed alongside her family in January 2024, and the Columbia University student protests that followed — was the highest-charting song of his solo career, and he subsequently released a sequel with Palestinian artists.
Macklemore joined the Loop Tour earlier this month with back-to-back shows at MetLife Stadium on September 4 and 5. "A big part of the reason why I wanted to do this tour in the first place is so I could stand up in stadiums like this and say two words that are very near and dear to my heart: 'Free Palestine,'" he told the crowd the first night. "I said, 'Free Palestine!' I want those words to be loud and clear, so that people all the way in Gaza to the occupied West Bank know that we have not forgotten about them."
At the second MetLife show, the rapper clarified, "To all of my Jewish brothers and sisters: Criticism of Israel, criticism of apartheid, being against genocide in no way is a criticism of you."
Nonetheless, his comments generated a lot of backlash from pro-Israel groups — some of which were even amplified by pop singer P!nk. She later explained, "I have never asked for another artist to be silenced and I'm not asking now. I don't need anyone fired, and I don't need a refund. What I need is to be able to say, as a Jewish mom, 'That scared me, and it scared people I love,' without being told our fear is just propaganda, and without being told I'm somehow cool with genocide because I noticed?"
Macklemore was scheduled to perform at eight of the 10 remaining shows on the US leg of Sheeran's tour, which resumes this Friday (September 19) in Philadelphia, PA. He and his team have yet to comment on his removal from the concerts.
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As promised, Wavves has chopped Say Anything off the collab album Cherry Soda following the latter artist reportedly communicating with underage fans online. The new version of the album is out October 30 via I Surrender Records.
A new press release offers no mention of Say Anything whatsoever. Wavves main man Nathan Williams said in a statement about Cherry Soda, "I wanted to see what an early 2000s Wavves emo record would sound like. That was the idea. To make a mall emo record."
Wavves has released the single "Pinesol" today. It was inspired by true crime cold cases, rather than anything autobiographical.
Cherry Soda had originally been due out this week (September 18) as a collaboration with Say Anything's Max Bemis. After the allegations against Bemis came to light, Williams said, "I don't want to be associated with the guy." He also claimed that Bemis had little input into their collaboration, and that he had spent 11 months working on the album compared to Bemis's three days. On September 2, he vowed to go back into the studio and remake the album himself.
The new version of Cherry Soda is available to pre-order here.
My Chemical Romance performed their final North American date on their 2026 tour behind the 20th anniversary of The Black Parade over the weekend in San Antonio, and frontman Gerard Way announced during the show that the band plans on recording a new album.
"We should probably make more songs. [2019 single 'The Foundations of Decay'] was really awesome when we kept doing it," Way announced at the Alamodome. "And then you know, stuff happens, life happens. But just know that we always wanted to make another record, so we hope to. Because you guys, honestly, kept us alive for so long that you guys deserve another record."
The group's next album would mark their first since 2010's Danger Days: The True Lives of the Fabulous Killjoys — that's right: it's been 16 years since the group released a record. For what it's worth, this is not the first time the band have spoken about potential new material.
See Way's speech in fan-shot footage below.
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