Alexander Laurence's Blog, page 8
September 24, 2025
OASIS RELEASE “MORNING GLORY (UNPLUGGED)”
OASIS RELEASE
“MORNING GLORY (UNPLUGGED)”
Listen Here
Watch The Visualiser Here
DELUXE 30TH ANNIVERSARY EDITION
OF (WHAT’S THE STORY) MORNING GLORY?
OUT OCTOBER 3RD
Featuring Five Brand New Unplugged Versions
Pre-order on Digital, Limited Edition 2CD and 3LP Formats HERE
SOLD-OUT GLOBAL OASIS LIVE ‘25 TOUR CONTINUES THIS WEEKEND IN THE UK
Credit: Michael Spencer Jones
September 25th, 2025 - Today Oasis has released “Morning Glory (Unplugged),” from the forthcoming (What’s The Story) Morning Glory? (30th Anniversary Deluxe Edition). This special release features new unplugged versions of five classic tracks; “Morning Glory,” “Cast No Shadow,” “Wonderwall,” “Champagne Supernova” and the previously released “Acquiesce.” Released on October 3rd via Big Brother Recordings (What’s The Story) Morning Glory? (30th Anniversary Deluxe Edition) is available for pre-order here.
The new unplugged versions were produced and mixed by Noel Gallagher and Callum Marinho from the original master recordings at Noel’s studio, Lone Star Sound, in London. The powerful new interpretation of “Morning Glory” is revealed today – listen here and watch the visualiser here.
(What’s The Story) Morning Glory? stands out as one of the all-time era-defining great rock albums. Oasis’ second album released in 1995 on Creation Records followed just 14 months after their classic debut Definitely Maybe and includes universally loved anthems “Wonderwall,” “Don’t Look Back In Anger,” “Champagne Supernova” plus fan favorites “She’s Electric” and “Roll With It.” The album propelled the band to worldwide success and has now sold more than 22 million copies globally, including 6 million in the US, and is the UK’s 3rd biggest selling studio album of all time. The album was also announced by National Album Day as the Official Most Streamed Album of the ‘90s, with Definitely Maybe as the second.
The deluxe album is described by MOJO as “Indestructible,” with Record Collector adding “This was the moment Oasis truly became the band of the people," and Uncut concurring that this is “Britpop’s landmark.”
The release of “Morning Glory (Unplugged)” arrives shortly after Oasis stormed through the North America leg of the Live ‘25 Tour, cementing Oasis-mania firmly on US shores with Rolling Stone proclaiming, “Oasis finally conquer America” and The Sunday Times describing this as the “biggest rock comeback in history.” The UK leg concludes with Oasis’ sixth and seventh sold-out nights at London’s iconic Wembley Stadium. From there, the tour continues globally in South Korea, Japan, Australia, Argentina, Chile and Brazil.
“Morning Glory (Unplugged)” is out now– listen here and watch the visualiser here.
“Acquiesce (Unplugged)” is out now– listen here and watch the visualiser here.
(What’s The Story) Morning Glory? (30th Anniversary Deluxe Edition) is available for pre-order and pre-save here with limited edition 2CD and exclusive 3LP formats
Tracklist:
1. Hello
2. Roll With It
3. Wonderwall
4. Don’t Look Back In Anger
5. Hey Now!
6. [Untitled]
7. Some Might Say
8. Cast No Shadow
9. She’s Electric
10. Morning Glory
11. [Untitled]
12. Champagne Supernova
Additional Tracks:
1. Cast No Shadow (Unplugged)
2. Morning Glory (Unplugged)
3. Wonderwall (Unplugged)
4. Acquiesce (Unplugged)
5. Champagne Supernova (Unplugged)
(What’s The Story) Morning Glory? - 30th Anniversary Deluxe Editions Including Exclusive Coloured Vinyl:
OASIS LIVE ‘25 TOUR DATES
Saturday, September 27 – Wembley Stadium, London, UK (SOLD OUT)
Sunday, September 28 – Wembley Stadium, London, UK (SOLD OUT)
Tuesday, October 21 – Goyang Stadium, Seoul, South Korea (SOLD OUT)
Saturday, October 25 – Tokyo Dome, Tokyo, Japan (SOLD OUT)
Sunday, October 26 – Tokyo Dome, Tokyo, Japan (SOLD OUT)
Friday, October 31 – Marvel Stadium, Melbourne, Australia (SOLD OUT)
Saturday, November 1 – Marvel Stadium, Melbourne, Australia (SOLD OUT)
Tuesday, November 4 – Marvel Stadium, Melbourne, Australia (SOLD OUT)
Saturday, November 7 – Accor Stadium, Sydney, Australia (SOLD OUT)
Sunday, November 8 – Accor Stadium, Sydney, Australia (SOLD OUT)
Saturday, November 15 – Estadio River Plate, Buenos Aires, Argentina (SOLD OUT)
Sunday, November 16 – Estadio River Plate, Buenos Aires, Argentina (SOLD OUT)
Wednesday, November 19 – Estadio Nacional, Santiago, Chile (SOLD OUT)
Saturday, November 22 – Estadio MorumBIS, São Paulo, Brazil (SOLD OUT)
Sunday, November 23 – Estadio MorumBIS, São Paulo, Brazil (SOLD OUT)
Follow Oasis:
Annabelle Chairlegs (Prod. By Ty Segall) Shares Single + Video, Announces TODO Signing | "Ice Cream On The Beach" Out Today via TODO
Produced by Ty Segall
Announces TODO Signing
"Ice Cream On The Beach" Out Today via TODO
Photo Credit: Pooneh GhanaLISTEN & SHARE: Annabelle Chairlegs - "Ice Cream On The Beach"Stream | YouTube
Annabelle Chairlegs, the moniker of Austin-based singer songwriter Lindsey Mackin, today has shared her new single "Ice Cream On The Beach" via TODO. Produced and recorded by Ty Segall, the track features enchanting, infectious synth melodies, bolstered by hazily sublime vocal stylings and a breezy rhythm section. It's accompanied by a warm, summery Pooneh Ghana-directed video. "'Ice Cream on the Beach' is always a great idea, until it’s not. A love song."
Today's announcement arrives alongside the news that Mackin has signed to TODO, the label that is home to acts like Jamie Lidell, Porcelain, Surfbort, Native Sun, and Graceinspace. Her debut for the label, it's her first new release since 2022's Danke Schoen/Sunglasses, and finds her exploring grittier, more mechanical textures, while maintaining her knack for blissful hooks and melodies.
"Ice Cream On The Beach" is out today via TODO.
Annabelle Chairlegs - "Ice Cream On The Beach"
Annabelle Chairlegs Bio:
Annabelle Chairlegs began as Lindsey Mackin’s alter ego in a college rock band and has since grown into her most personal project. After moving to Austin in 2013, Mackin began writing and recording songs that quickly found their way onto the city’s biggest stages. With self released albums including Watermelon Summer (2017) and Gotta Be in Love (2020), and a 2020 Austin Music Award for Best Music Video ("Outside"), Annabelle Chairlegs has carved out a reputation for audacious songwriting and a magnetic live presence.
With roots in the industrial heartland of New Jersey. Mackin's music fuses gritty, dark, mechanical textures with a playful and whimsical spirit. The band has shared bills with The Zombies, Lucy Dacus and The Brian Jonestown Massacre, while lighting up festivals including Austin City Limits, SXSW, Levitation, and Austin Psych Fest.
Website | Instagram | YouTube
DESCENDENTS CELEBRATE 40 YEARS OF I DON’T WANT TO GROW UP WITH DEFINITIVE REISSUE NOVEMBER 21
Org Music continues its acclaimed reissue campaign with the band’s second album, featuring multiple formats, exclusive color variants, and a special “Punk Note” edition with artwork by John Yates inspired by Blue Note jazz classics.
Pre-Order Here"...featured the most singable tunes the band had ever written. 'Good Good Things', 'In Love This Way', and 'Can't Go Back' were positively sunny by Descendents standards; the Beach Boys-gone-punk vibe was an obvious precursor to Weezer."- Jenny Eliscu
"When the four want to be straight up and perfectly poppy, they can and do with smashing success, with surprisingly mature, emotional lyrics and playing that doesn't rely on all-speed all the time."-All Music
(Punk Note Artwork)
Los Angeles, CA — Org Music is proud to announce the reissue of I Don’t Want To Grow Up, the landmark second album from legendary punk pioneers Descendents, arriving November 21, 2025. The reissue will be available across formats—LP, CD, and cassette—alongside a special Punk Note LP edition featuring alternate packaging.
This release marks the second installment in Org Music’s ongoing reissue campaign with Descendents, who recently reclaimed ownership of their master recordings. Following the acclaimed reissue of Milo Goes To College, this new edition brings fresh attention to one of the band’s most beloved albums—arriving just in time for its 40th anniversary.
Originally released in 1985 on New Alliance Records, the label founded by Minutemen’s D. Boon and Mike Watt, I Don’t Want To Grow Up was recorded after vocalist Milo Aukerman returned from college. It also marked the first of two albums to feature guitarist Ray Cooper. With brighter melodies and sharper hooks than its predecessor, the record helped the band avoid the dreaded sophomore slump while cementing their status as one of punk’s most influential voices.
Among the many formats, fans will find a standout: a limited Punk Note edition designed by John Yates (Stealworks). Inspired by the iconic Blue Note jazz label artwork of Reid Miles and Francis Wolff, these reimagined covers bring a bold, visual reinterpretation of punk history. The Punk Note series began with Org Music’s celebrated Bad Brains reissues, and continues here with deluxe case-wrapped jackets and new liner notes by BrooklynVegan senior editor Andrew Sacher.
The reissue will be available in the following variants:
Widely Available Formats:
Black LP
“Banana Peel” LP
Punk Note Edition (Black Vinyl)
CD
Cassette (Yellow)
Limited / Exclusive Variants:
Punk Note Edition (Transparent Yellow LP) — Org Music Exclusive
“Oxblood Docs” LP — Descendents Exclusive
Ocean LP — BrooklynVegan
Pink LP — Zia Records Exclusive
Green Bay LP — 1-2-3-4-GO! Records
Bubble Gum LP — Going Underground Records & Seasick Records Exclusive
Black LP with Exclusive Obi Strip — Celebrated Summer Records
Purple Swirl Cassette — Tapehead City Exclusive
With I Don’t Want To Grow Up, Descendents sharpened their signature mix of melody and urgency, laying down a blueprint that countless punk bands would follow. Forty years later, the album still feels raw, relatable, and essential—now reintroduced in a definitive reissue that honors its enduring legacy.
More reissues are on deck. The campaign will continue with Enjoy!, ALL, Bonus Fat, and beyond—each release overseen by the band themselves, ensuring the music is presented exactly as they intend.
This effort isn’t just a trip down memory lane—it’s about preserving the work, honoring the intent behind it, and opening the door for a new generation to discover one of punk’s most influential catalogs.
Pre-orders and variant details available at:
Follow Descendents:
[Webstore] | [Instagram] | [Facebook]
Follow Org Music:
[Website] | [Instagram] | [Facebook]
"Banana Peel" LP
Punk Note Edition (Transparent Yellow LP)
Photo: Naomi Petersen
Oruã Shares "Casual" Single, Playing Lollapalooza Brazil 2026 | 'Slacker' LP Out 10/24 via K
Oruã Shares "Casual" Single + Video via MAGNET
Read SPILL and Psychedelic Baby Features
Playing Lollapalooza Brazil 2026
Slacker LP Out 10/24 via K
Photo Credit: Beeau GomezPRE-SAVE/PRE-ORDER: Oruã - Slacker LP
Pre-order
LISTEN & SHARE: Oruã - "Casual"
Stream | YouTube
LISTEN & SHARE: Oruã - "México Suite"
Stream | YouTube
LISTEN & SHARE: Oruã - "Deus-Dara"
Stream | YouTube
"'Casual' was a track we made on the road during our 2023 US tour," Lê Almeida explains. "We were traveling together for a long time. The lyrics simply reflect on everyday emotions and the eternal morning grumpiness. The single's cover art was created by Ana Zumpano, our longtime friend and collaborator, and now our drummer. 'Casual' addresses our indie rock essence with distorted guitars and lost dreams in melodies"
Last week, Oruã released a split LP with Seattle band Reverse Death. Orua's side features demos from their upcoming LP, Slacker, check it out HERE.
Oruã, composed of Almeida (guitar/vocals), João Casaes (synths), Bigu Medine (bass), and Ana Zumpano (drums) was formed during one of the most turbulent periods in recent Brazilian history–a period that saw a coup d’état, political imprisonment, and the rise of the extreme right. The band was idealized by Almeida, a cultural agitator in Rio de Janeiro’s independent scene, most known through his label Transfusão Noise Records. The band came together during improvisonal jam sessions they had at Escritório, an underground creative and community space they all frequented in Brazil.
Featuring former members of Built To Spill, the quartet creates an exciting, unique style of guitar music–they combine elements of 90s lo-fi indie rock, krautrock, noise, afrobeat, and Brazilian music, ranging from Luiz Gonzaga’s primal Pernambuco sound to classic Brazilian psych rock. Slacker follows their 2024 LP PASSE, which earned acclaim from SPIN, Bandcamp Daily, and more.
In 2019, Oruã was discovered by indie rock legend Doug Martsch of Built to Spill, which led to him inviting Lê and João to become temporary members of the 90’s indie rock band. Later they recorded, co-produced, and co-mixed Built to Spill’s most recent album, When the Wind Forgets Your Name, released in 2022 on Sub Pop Records.
"Casual" by Oruã is out today. Slacker is out October 24th via K Records.
Oruā - "Casual"
TOUR DATES
3/20-3/22 - Sau Paolo, BR - Lollapalooza Brazil
Slacker TRACKLIST01. Deus-Dará
02. México Suite
03. De se Envolver
04. Cachoeira
05. Slave of the Golden Teeth
06. Casual
07. Inaiê
08. Marejar
09. Soft
10. Banguela
Oruã Bio:
Oruã, a child of downtown Rio de Janeiro, Brazil, was born at night and attends parties at dawn. A poor man’s jazz. Working-class’ krautrock.
Formed during one of the most turbulent periods in recent Brazilian history (which has seen a coup d’état, political imprisonment, and the rise of the extreme right), Oruã was idealized by Lê Almeida, a cultural agitator in Rio de Janeiro’s independent scene, through his label Transfusão Noise Records. Based around the meeting point that became the Escritório, a space of collective creation which fosters an artistic community and a music scene that dialogues with the Brazilian underground from a unique place, Oruã emerged in improvisation sessions that mixed repetitive bass lines, electric phrases and indie guitar solos, doses of feedback and wall of noise to afrobeat and Brazilian references that ranged from Luiz Gonzaga’s primal Pernambuco sound to Brazilian guitar references.
Oruã is lead by critically-acclaimed guitarist and producer Lê Almeida and is joined by long-time collaborators João Casaes (synths), Bigu Medine (bass) and Ana Zumpano (drums). Together they blend lo-fi indipendent rock, krautrock, noise, afrobeat, and Brazilian references that range from Luiz Gonzaga’s primal Pernambuco sound to classic Brazilian psych rock. In 2019 their sound was discovered by indie rock legend Doug Martsch of Built to Spill, which led to him inviting Lê and João to become temporary members of the 90’s indie rock band. Later they recorded, co-produced, and co- mixed Built to Spill’s most recent album, When the Wind Forgets Your Name, released in 2022 on Sub Pop Records.
After touring extensively with Built to Spill and showcasing their high-energy shows in the US and Europe throughout the years, Oruã returned to the US in 2024 in support of the album PASSE on their own Transfusão Noise Records. Their sound continues to mix the electric pulses of deconstructed guitars over a mesmerizing groove, taking both audience and band into a collective trance.
At the end of the PASSE U.S. tour Oruã returned to Seattle and recorded their new album Slacker [KLP307] with Jim Roth, who also plays guitar, synth and percussion on the recordings. Oruã tours extensively in Europe during July, 2025, crossing over 10 countries, taking the collective trance of Oruã to many different cultures, exporting the best that Brazil has to offer: art! After the release of Slacker [KLP307] October 24, 2025 Oruã will then tour all over North America.
Oruã LINKSInstagram | Facebook | Website | Youtube | Bandcamp | Spotify | Apple Music | Soundcloud | Deezer | Tidal
Bedroom Pop Mastermind STROIK Shares New Song and Video; Album Out Oct 24
THE GENIUS OF BEDROOM POP MASTERMIND STROIK
CELEBRATED WITH POSTHUMOUS NEW SINGLE,
“WASH AND REPEAT” – LISTEN
OFFICIAL MUSIC VIDEO FILMED IN NYC LAUNDROMAT
PREMIERES TODAY – WATCH
EFFERVESCENT TRACK HERALDS LONG OVERDUE NEW COLLECTION
FROM TRAGICALLY LOST MUSICAL VOICE
65TH AND YORK ARRIVES VIA UNFILTERED RECORDS AND CAVEMAN ARTS SOCIETY ON FRIDAY, OCTOBER 24
PRE-ORDERS/PRE-SAVES AVAILABLE NOW
Download Hi-Res Artwork
The lost legacy of late pop mastermind Stroik is celebrated with today’s premiere of the effervescent new single, “Wash and Repeat,” available everywhere now. Produced and mixed by Stroik and his longtime friend and musical collaborator Bruce Driscoll (Freedom Fry, Blondfire, Ivy, Camera2) with additional production by Andy Chase (of the iconic indie pop band Ivy), the posthumous track is accompanied by a buoyant official music video streaming now at YouTube. “Wash and Repeat” heralds the long overdue arrival of Stroik’s landmark debut album, 65th and York, arriving at last via Unfiltered Records and Caveman Arts Society on Friday, October 24. Pre-orders/pre-saves are available now.
“When Drew passed away in 2022, this song and video risked being lost to time on a hard drive,” says Bruce Driscoll. “Andy and I couldn’t let that happen. Drew was a layered, insanely talented guy who sometimes had his dark moments, but this track is nothing but joy to me. We recorded it in the winter of 2010 on minimal gear in my tiny studio apartment on the Upper East Side of New York. He needed a video for the release, so with only the equipment I had at the time we went down the street to my laundromat with my friend Leah and filmed it. People were coming in to wash their clothes while we shot and were totally unfazed, which only added to its charm. Drew could be shy, but I think the result reflects the music perfectly – it feels like something you’d stumble across on MTV in the 1990s. This has always been one of my favorite songs of his, and I’m grateful people will finally get to experience it.”
LISTEN TO “WASH AND REPEAT”
WATCH “WASH AND REPEAT” OFFICIAL MUSIC VIDEO
PRE-ORDER/PRE-SAVE 65TH AND YORK
A never-before-heard collection of strange and beautiful songs created by a truly unique – yet sadly lost – musical voice, 65th and York was first unveiled this summer by the tender first single, “Desert Time,” co-produced and co-written by Unfiltered Records founder Andy Chase and available everywhere alongside an official lyric video streaming now on YouTube. “Desert Time” was met by immediate spins on Los Angeles, CA’s KCSN (88.5FM) by legendary DJ Nic Harcourt as well as online attention from such outlets as Zillions Magazine, which raved, “With its gentle fusion of indie pop, dream pop, and lo-fi bedroom vibes, ‘Desert Time’ is a whisper from another time that's at once intimate and panoramic. It's a bittersweet welcome from a voice not heard with enough frequency in life, but one that carries a new resonance now.”
In addition, Stroik’s all-too-brief life and career will be explored in the upcoming short film, Drew Stroik: Unknown Pop Wizard, set to arrive next year. A semi-finalist at Brooklyn, NY’s Dumbo Film Festival, the documentary is preceded by an exclusive trailer streaming now at YouTube.
LISTEN TO “DESERT TIME”
WATCH “DESERT TIME” OFFICIAL LYRIC VIDEO
WATCH DREW STROIK: UNKNOWN POP WIZARD (2026) TRAILER
Margo Price Releases New Video For "Love Me Like You Used To Do," Featuring Tyler Childers
Historic Anti-Fascist Performance of "Don't Let The Bastards Get You Down" on Jimmy Kimmel Live! Precedes Farm Aid Set Featuring Senator Amy Klobuchar, Billy Strings, Jesse Welles & More:
"Her songs are about resilience, her songs are about dignity, her songs are about coming back from the hardest of times. And she is so good, that last week she was a featured artist on Jimmy Kimmel's show. And Farm Aid, we want Margo back on Jimmy Kimmel's show." – Senator Amy Klobuchar
Out now on Loma Vista Recordings, Margo Price's Hard Headed Woman is one of "the year's defining country albums" (Rolling Stone), and across the record she "rocks the 'outlaw country' label as hard as anyone in the game" (Pitchfork). Among the tracklist's many highlights is "Love Me Like You Used To Do," a heartbreaking ballad and waltzing duet featuring Price's friend Tyler Childers on co-lead vocals, written by Steven Knudson. In a new video released today, Price and Childers bring listeners into their recording process at Nashville's Sound Emporium, where they cut the song together, following Price and her band's album sessions at the historic RCA Studio A. "['Love Me Like You Used To Do'] is an exceptional example of a collaboration where the partner truly elevates the song," says Country Central. "Both Price and Childers have phenomenal voices, and when they come together in harmony on the bridge, they create a listening experience like no other."
Listen to Hard Headed Woman , and watch the video for "Love Me Like You Used To Do" here: https://fm.margoprice.net/lovemevid
In the past week, Margo Price delivered the final performance on Jimmy Kimmel Live!before the show was pulled off the air until tonight. In a prescient and uncanny choice of song, she ripped through a rendition of Hard Headed Woman's "Don't Let The Bastards Get You Down," an anthem for free speech and self-expression that was partly inspired by the words of encouragement that Kris Kristofferson whispered to Sinéad O'Connor more than 30 years ago, while she was facing the repercussions of her own historic television appearance.
In honor of Sinéad O'Connor, Margo Price began her Kimmel performance by tearing up a piece of paper representing all the bastards out there trying to drag the world down, but ended the song with a prophetic message decrying fascism, changing the final lyrics of "Don't Let The Bastards Get You Down" from "keep all the haters underground" to "keep all them fascists underground," as reported by The Hollywood Reporter. In the aftermath, Rolling Stone noted the irony of the song, Billboard pointed out the extra meaningful nature of its message, and Bluegrass Situation revisited Price's best late-night performances.
"['Don't Let The Bastards Get You Down'] is pertinent now more than ever. This is about free speech, and view points, and people being able to express those viewpoints. We're losing that right, and that's the very thing this country was built on," said Margo Price, on CNN's Inside Politics with Dana Bash. "My first-ever performance on television was on the Colbert show. These shows are a real platform for music discovery...and it's disappearing, the places where you can be discovered. I am grateful that Jimmy let me come on there and sing a song that maybe is a little controversial, with the language inside of it, but I was writing about the very thing that's happening today, so it's kind of eerie."
Following her appearance on Jimmy Kimmel Live!, Margo Price traveled to Minnesota for the 40th Anniversary of Farm Aid, where she serves as the first female artist elected to the Board of Directors. Her set was introduced by Minnesota Senator Amy Klobuchar, who declared:
"For our next artist, Margo Price, this is personal. She is a Midwest farmer's daughter, she grew up in Illinois, they lost their family farm in the 80s, and she took that experience and she put it to music. Her songs are about resilience, her songs are about dignity, her songs are about coming back from the hardest of times. And she is so good, that last week she was a featured artist on Jimmy Kimmel's show. And Farm Aid, we want Margo back on Jimmy Kimmel's show."
After opening her Farm Aid set with "Don't Let The Bastards Get You Down," Price covered Woody Guthrie's "Deportee," and welcomed Billy Strings and Jesse Welles to the stage for a version of Bob Dylan's "Maggie's Farm." This week, Margo Price returns to the road to play the GRAMMY Museum, Ohana Festival and more, ahead of a headline tour of two dozen dates across North America this October and November, with tickets available at margoprice.net/tour.
Photo Credit: ABC/Randy Holmes
Margo Price Tour Dates
9/26 - Los Angeles, CA - GRAMMY Museum
9/27 - Dana Point, CA - Ohana Music Festival
10/2 - San Francisco, CA - The Masonic (A Tribute to Emmylou Harris)
10/3 - San Francisco, CA - Hardly Strictly Bluegrass
10/5 - Ocean City, MD - Country Calling Festival
10/11 - Livingston, KY - Moonshiners Ball
10/23 - St. Louis, MO - Delmar Hall*
10/24 - Kansas City, MO - Knuckleheads*
10/25 - Bloomington, IL - The Castle Theatre*
10/28 - Madison, WI - Majestic Theatre*
10/29 - Fargo, ND - Sanctuary Events Center^
10/31 - Bozeman, MT - The ELM^
11/1 - Jackson Hole, WY - Jackson Hole Center for the Arts - Center Theater^
11/2 - Missoula, MT - The Wilma^
11/4 - Vancouver, BC - Hollywood Theatre #
11/5 - Seattle, WA - Neptune Theatre #
11/7 - Portland, OR - Wonder Ballroom #
11/8 - Boise, ID - Treefort Music Hall #
11/9 - Crystal Bay, NV - Crystal Bay Club Casino - Crown Room #
11/11 - South Salt Lake City, UT - The Commonwealth Room!
11/12 - Aspen, CO - Belly Up Aspen!
11/14 - Dallas, TX - Longhorn Ballroom!
11/15 - Austin, TX - Emo's!
11/16 - Helotes, TX - John T. Floore's Country Store!
11/18 - Atlanta, GA - Variety Playhouse^
11/20 - Nashville, TN - Ryman Auditorium %
11/21 - Louisville, KY - Headliners Music Hall %
11/22 - Detroit, MI - Saint Andrew’s Hall %
3/20-3/25 - Miami, FL - Outlaw Country Cruise
*w/ Eliza Thorn
^w/ Logan Ledger
#w/ Dillon Warnek
!w/ Leon Majcen
% w/ Rattlesnake Milk
Follow Margo Price
Sparks @ Vogue Theatre (Vancouver) Tuesday Sept 23rd 2025
All photos taken in Vancouver by BEV DAVIES
September 23, 2025
The Saints '73-'78 Announce Limited Edition Vinyl EP / North American Debut Tour Begins November 5th
Photo: Katelyn Slyer The Saints ’73-’78 will make their North American debut this November, carrying on from where the original band left off in 1978, performing songs from their three incendiary albums (I’m) Stranded (1977), Eternally Yours (1978), and Prehistoric Sounds (1978), and will be the first time the material from the original band and their three albums, plus respective EPs and singles, will have ever been performed in North America. In October 2024, The Saints ’73-’78 played a 3-night stand at Brisbane’s Princess Theatre. All three shows were recorded by long time Ed Kuepper-affiliate, Derek Bovill, with 4 songs from night two mixed by Brisbane engineer, Branko Cosic. Live Nights in Venice… Vol. 1 features two songs each from The Saints first two albums; 1977’s (I'm) Stranded and 1978’s Eternally Yours, sounding as vital and in-your-face as ever. For these recordings though, the band expanded to a full eight-piece line-up featuring original guitarist / songwriter Kuepper, original Saints drummer Ivor Hay, bassist Peter Oxley, guitarist Mick Harvey, singer Mark Arm and a 3-piece brass section comprising Eamon Dilworth (trumpet), Julian Wilson (tenor sax) and Mark Spencer (baritone sax). This same lineup will feature on the North American, UK and European tours. “This wasn’t a tribute to the Saints … it was something else. It was eight guys on stage reaching for magic, devoted to the moment and delivering one of the greatest final furlongs I’ve seen in four decades of watching live music.” – Sean Sennett "…..this was no tribute band…..no hackneyed cabaret act. This was a band on fire!" - Backseat Mafia “The towering impressions left by the night's proceedings? That Kuepper is a motherfucker of a guitar-player, his sound just as molten and unrelenting as back in the day”. – UNCUT 
Last year saw the release of a 4-LP box set of 1977’s ground breaking debut (I’m) Stranded, which features the original album remastered for vinyl for the first time in over 40 years, the previously unreleased 1976 mix of the album, a 5-song live performance from April 1977 at Sydney’s Paddington Town Hall, a full live show from the London’s Hope and Anchor in November 1977, plus all recordings from the 1977 Top 40-charting This Perfect Day and 1-2-3-4 EP sessions. History:In their original guise, The Saints existed from 1973-1978. Self-releasing the legendary (I’m) Stranded single in September 1976, and in the process pre-dating releases - and the yet-to be-named ‘punk’ scene - from the Sex Pistols, the Damned, the Buzzocks and the Clash. Following the release of their debut album, also titled (I’m) Stranded, in February 1977, The Saints would move first to Sydney and then in May, to the UK, playing their first show at the London Roundhouse with the Ramones. Over the next twelve months, the band would release their only UK-charting record; the exquisite 7” This Perfect Day, record and release the 1-2-3-4 EP and record two further albums, the critically acclaimed Eternally Yours, and Prehistoric Sounds (both 1978), before calling it quits. Following their demise, guitarist Ed Kuepper, having provided the bulk of the material and the sonic pallet that was The Saints, resisted the urge to perform under the banner of The Saints, instead returned to Australia to begin his new group, the equalling as incendiary Laughing Clowns, who would prove a significant influence on the post-punk scene and in particular (yet again) on Nick Cave and The Birthday Party. Eventually, Kuepper would turn to his own name as a recording artist, producing over 15 solo albums and earning himself numerous ARIA awards at home, as well as Hall of Fame entries for both his solo work and with The Saints. He would also record movie soundtracks, revert to his rock mode via albums with The Aints and The Aints!, enjoy a spell as guitarist with Nick Cave & The Bad Seeds, co-create the experimental jazz outfit Asteroid Ekosystem and recently released the album After the Flood, a collaboration with the brilliant Jim White, drummer for Dirty Three, The Hard Quartet and The Double. Ed recently completed a solo tour of Australia, and Jim in North America (with The Hard Quartet).
Saints singer and lyricist Chris Bailey would carry on with the name The Saints over the next 40 years, moving more into the folk and r’n’b of his youth and finding some chart success in Australia during the mid-eighties. ‘The Boss’ Bruce Springsteen even covering the Bailey-penned track (Just Like) Fire Would for his 2014 live album, High Hopes.
Drummer Ivor Hay, whose contribution to those first three albums was so unique and identifiable, would dip in and out of the post-Kuepper lineups of The Saints, performing on those mid-eighties hits, and also forming his own post-punk outfit, Wildlife Documentaries, before dropping out of music altogether for the domestic sector and, among other things, wrote the first Instruction Manual for the Fairlight CMI!
On 9/11/2001, Saints founding members Bailey, Kuepper and Hay reformed for their induction into the Australian Music Hall of Fame playing the song (I’m) Stranded for the first time in over 30 years, but other things on that day overshadowed their achievement. Moving on to 2007, and The Saints would then reunite for real performing at the State Government-backed Pig City concert, headlining to 7000 euphoric Saints fans, which lead to the release of a live album of the same name. Then in 2009, at the behest of Mr. Cave and Mick Harvey, The Saints reformed again, this time for the Australian leg of the All Tomorrow’s Parties Festivals, playing shows in Melbourne, Mt. Buller, Hobart, Brisbane, and on an island in Sydney Harbour. These would be the last shows the original three would perform together. In 2023, with the announcement of The Saints (I’m) Stranded box set and following the 2022 death of Chris Bailey, the decision was made to assemble a band who could most represent the songs performed on those first three incendiary albums. In Mudhoney’s Mark Arm, they found a singer, different in tone to Bailey, but someone who could deliver with intensity and a real passion for the material. As one of the rare few to have seen the band perform on home soil in 1977, Mick Harvey (ex-Bad Seeds) was a natural choice to help replicate the extras parts played on the albums, be it guitar or keyboard. Bassist Peter Oxley of Sydney’s legendary Sunnyboys has been a long-time foil of Kuepper's across various solo and band entities and remains a firm disciple of 1977-78-era Saints bassist, Algy Ward.
'(I'm) Stranded' box set available on vinyl and CD through In The Red Records More praise for The Saints: "The Saints came down from Brisbane (to Melbourne) with a sound that they had worked out entirely on their own, which really sat before the punk thing happened in Britain. They got there first. There was one prevailing emotion that came from those live shows and that was complete contempt, about everything, and that was really unbelievably exciting. They had it all down. We were just flailing around." - Nick Cave “Of all the places for one of the best bands to come from, it’s Brisbane, Australia. And they were doing it way before anybody else. They were playing live in like, ‘73. They were just an amazing band. Sort of like the Australian version of the Ramones but they didn’t look the part. I remember at the time thinking, those guys need to go to the barber. But that’s how shallow a lot of people were about bands at the time and they didn’t get the recognition they deserved. And I feel it was because of the way they looked. Never was a more punky record made but for some reason, well, for the reasons I’ve just said, they were criminally overlooked. I’d love to have seen them live, but never did.” - Jim Reid (The Jesus & Mary Chain) (I’m) Stranded is one of the hottest walking, incendiary, original rock albums ever recorded. This record is still as relevant to me now as it was back then." - Henry Rollins "Rock music in the 70s was changed by three bands - the Sex Pistols, the Ramones and the Saints." - Sir Bob Geldof
“
A strong case could be made that thanks to this record -- and its follow up Eternally Yours - that nobody did it as well as the Saints. I'm Stranded isn't only essential punk history, it's one of the best rock & roll albums period.” AllMusic "If there is any punk rock better/hotter, it’s a short list." The Big Takeover “(I’m) Stranded remains the place to start when approaching the work of this important band. And this new box set represents the best way to embark upon that endeavor.” Goldmine “It’s a refreshing blast of freon in today’s image-conscious, careerist era. The Saints recorded one of the best punk albums of all time a mere six months after the genre’s supposed origin. It’s about time the world knows it.” Spectrum Culture “Magnificent.” SPIN “... 10 tracks of fast and angry rock music that - unlike the Ramones and their copyists - used tension and release to heighten the effect of the mid-tempo Story Of Love and the shredding feedback jam Nights In Venice. An essential document this, from one of the era’s fiercest and greatest groups” - Jon Savage (MOJO) All off it still sounds nearly as rowdy, feral and cheerfully full of itself as it must have at the time: between Bailey’s eloquent swagger and Kuepper’s furious gravity lay a total confidence in how utterly astonishing The Saints were.'’ - Andrew Mueller (Uncut) For the Australian tour, The Saints ’73-’78 fleshed themselves out to an eight-piece lineup, which included a 3-piece brass section bringing to life all those previously unheard Prehistoric Sounds tracks, the classic Know Your Product and more. The same lineup will tour the UK and the USA. 
Live Shows:October 31 - Auckland, NZ - PowerstationNovember 1 - Wellington, NZ - MeowNui North America:November 4 - Los Angeles, CA - 2220 Arts & Archives ***November 5 - Los Angeles, CA - Teragram Ballroom
November 6 & 7 - San Francisco, CA - Great American Music Hall
November 8 - Portland, OR - Revolution Hall
November 9 - Seattle, WA - Neptune Theatre
November 11 - Chicago, IL - Cabaret Metro
November 13 - Toronto, ON - Phoenix Concert TheatreNovember 14 - Brooklyn, NY - Music Hall of WilliamsburgNovember 15 - Philadelphia, PA - Union TransferNovember 16 - Washington, D.C. - Union StageNovember 17 - Ridgewood, NY - TV Eye *** UK:November 21 - Bristol - TrinityNovember 22 - Leeds - Project HouseNovember 23 - Glasgow - GarageNovember 24 - Manchester - Academy 2November 26 - London - Electric Ballroom Europe:November 28 - Stockholm - Debasser StrandNovember 29 - Malmo - Plan B.November 30 - Berlin - Astra *** Ed Kuepper & Jim White + Mick Harvey Tickets Live reviews of The Saints ’73-‘78:X-PressBackseat MafiaThe Big Takeover Interviews:WFMUKEXPThe Sharp NotesKreative KontrolThe GuardianThe MusicXPressThe Hustle
Photos Watch The Saints on YouTube
Trousdale just got "The Ick"
TROUSDALE JUST GOT “THE ICK”
SECRET BONUS TRACK OFF OF THE GROWING PAINS
VINYL RELEASED DIGITALLY TODAY
— STREAM / WATCH THE OFFICIAL VIDEO
CURRENTLY ON TOUR WITH LAKE STREET DIVE + MAKING
GRAND OLE OPRY DEBUT IN OCTOBER — SEE ALL
TOUR DATES HERE
Press photo by Tessa Carroll
"And just when you thought you were emotionally stable again, they hit us with 'The Ick' in the encore and had the whole room laughing, healing, and pointing fingers at their exes."
— ATX Concerts
"The encore was effective. They closed with 'The Ick,' a song about the moment someone gives you the creeps out of nowhere. Judging by the cheers, everyone could relate." — First 3 Only
"A very fast turnaround for an encore, the trio broke into 'The Ick,' a secret song that can only be heard on the Growing Pains vinyl. Despite being unreleased, fans throughout the venue sang the catchy and humorous lyrics back to the group with pure bliss." — Slipfast Mag
Today, Trousdale, the Los Angeles heavenly harmonic trio, release the long-anticipated single “The Ick.” A secret, unlisted track on the vinyl for their latest album Growing Pains, the song caught on like a wildfire even before officially being released. The all too familiar feeling of liking a person until they do that one thing you just can’t get over, “The Ick” has become an anthemically relatable moment in Trousdale’s live shows — Stream / Watch the official video directed by Giovanna Trujillo of Sworn Friends Studio.
The band shared, “‘The Ick’ is, without question, the most important song of our generation. Written with Dan Fernandez in Nashville, it’s a groundbreaking piece that captures the exact moment when infatuation turns to revulsion. You know the feeling: one second they’re charming, the next they’re wearing flip-flops or talking in a baby voice, and suddenly you’re rethinking every life choice that led you here. The ick isn’t just a feeling—it’s a deep, existential betrayal. It’s realizing they’re not the flawless masterpiece you invented in your head, but rather a person who says ‘boys will be boys’ unironically. There’s no recovering from it, so we figured we might as well write a song about it. Call it a public service.”
Back in April, Trousdale released their sophomore album Growing Pains via Independent Co. For the trio made up of Quinn D’Andrea, Georgia Greene, and Lauren Jones, the ache of growing through change resonates deeply. In the time since, the band has gone on to make their daytime TV debut on The Kelly Clarkson Show, toured alongside Maren Morris, and sold out date after date across their extensive headline tour of North America and the UK/EU.
Currently underway, Trousdale is supporting Lake Street Dive on a run of shows across the south. On October 8, they will have the esteemed privilege of making their Grand Ole Opry debut in Nashville’s historic venue. And later this fall, Trousdale will embark on their first ever tour in Australia. See all dates here and below.
UPCOMING TOUR DATES
NORTH AMERICA
September 23 - Pensacola, FL - Saenger Theater^
September 24 - New Orleans, LA - Orpheum Theater^
September 26 - St. Petersburg, FL - Jannus Live^
September 27 - St. Augustine, FL - The St. Augustine Amphitheatre^
September 28 - Orlando, FL - House of Blues Orlando^
September 30 - Wilmington, NC - Live Oak Bank Pavilion^
October 1 - Asheville, NC - Asheville Yards Amphitheater^
October 2 - Columbia, SC - The Senate
October 3 - Atlanta, GA - Historic Fourth Ward Skatepark^
October 8 - Nashville, TN - Grand Ole Opry (Debut)
AUSTRALIA
November 6 - Brisbane, Australia - Crowbar
November 7 - Melbourne, Australia - The Espy
November 8 - Sydney, Australia - Oxford Arts Factory
November 10 - Auckland, Auckland - The Tuning Fork
^supporting Lake Street Dive
All tour info here
Ólöf Arnalds Announces 'Spíra' LP due out 12/5 via Bella Union | Shares Single, “Tár í morgunsárið” (“Tears at Dawn”)
Ólöf Arnalds
Announces New Album 'Spíra'
due out December 5 via Bella Union
Shares Single: “ Tár í morgunsárið ”
Photo Credit: Anna Maggy
Today, acclaimed Icelandic singer Ólöf Arnalds announces her new album Spíra due out 5th December via Bella Union and available to preorder here. To accompany the announcement Ólöf has shared first single “Tár í morgunsárið” (“Tears at Dawn”), a beautiful and haunting track on which she ponders the gaping hole in her stomach when she renounced Catholicism as a teenager. Even those among us who were never believers might feel this void in His–or, as Ólöf suggests in the lyrics–Her absence; in a world of commodities stripped of meaning and true spirituality. Listen to the track HERE.
Anyone who has paid attention to Icelandic music this century knows how Ólöf Arnalds can mesmerise a room with nothing but a small guitar and her distinctive soprano voice. Across five albums in nearly twenty years, her gently plucked guitar, charango, violin and koto have provided the bedrock for vivid narrations straddling the mundane and mythological, sketching out rich emotional territories often concerned with love–equal parts familial, platonic and romantic. The music evokes Joanna Newsom, Nico’s early solo albums and Vashti Bunyan but the deceptively simple arrangements and tightly braided melodies are, ultimately and unmistakably, very much her own.
Although a classically trained singer and violinist, Ólöf has been an active practitioner of popular music for thirty years. When she joined múm in 2003, commanding attention on stage with a horned Stroh violin, she first became a fixture on the international scene. But the watershed moment was the 2007 release of her debut solo album Við og við (Now and Again, wider international release in 2009), produced by Sigur Rós’ Kjartan Sveinsson. It seemed to appear fully formed out of the ether, and became a local classic overnight, winning accolades such as ‘Best Alternative Album’ at the Iceland Music Awards, named ‘Record of the Year’ by Iceland’s principal daily newspaper and recognised as one of the decade’s 100 best albums by eMusic.
Ólöf’s consecutive albums featured guests such as Ragnar Kjartansson and Björk (who famously described Ólöf as “somewhere between a child and an old woman”) and were met with gushing praise from the press and audiences alike but by 2015 she found herself drifting towards other projects: founding the grassroots cultural space Mengi in Reykjavík, working as a copywriter, raising her son and step-daughter, and collaborating with her long-time friend (and now husband!) Skúli Sverrisson, for example on a piece written especially for Ólöf and the Icelandic Symphony Orchestra.
With her new album, Spíra (Sprout), Ólöf has found her joy in writing songs rekindled. In many ways it harkens back to her debut: it is exclusively in Icelandic, the arrangements are markedly stripped back compared to her last two records, and it is mostly recorded in single takes in the control room of Sundlaugin, much like Við og við.
Spíra is produced by Skúli Sverrisson, who also contributes bass and guitar. His mind-melting resumé includes musical direction for Laurie Anderson, recordings with Blonde Redhead and work with artists such as David Sylvian, Jon Hassell, Ryuichi Sakamoto, Bill Frisell and Arto Lindsay. Davíð Þór Jónsson contributes piano and guitar to the record–much as he did during Ólöf’s busiest touring schedule nearly fifteen years ago when the two of them toured the world for months on end.
The trio – bound by a long history and immense trust – conjures towering images from sparse instrumentation and often understated lyrics. Many of the songs deal in one way or another with the challenges of creativity itself and the joy it can bring. Take “Úfinn sjór” (“Rough Waters”), an ode to the long winter darkness of Iceland. For Ólöf, it doesn’t harbour doom and gloom like it does for so many, but becomes a place for solitary expression by candlelight where her head is finally clear and “the heart thaws / in a stream of words / in all the colours of the spectrum / like before.”
“Stein fyrir stein” (“Stone by stone”) is a song written for her uncle who stepped up to help take care of her and her sisters when her father passed away at 54. It considers the healing power of nature and the wisdom gained from interacting with the natural world. “Whether scaling a mountain or growing a tree, the important thing is to keep going, not looking back,” says Ólöf when asked about the song. “My uncle showed tremendous strength when my father died. The same goes for your relationships. They must be cultivated, but it can only be done one step at a time, stone by stone, and you must keep your eyes on the peak.”
But looking ahead doesn’t mean forgetting the past. It means accepting it and letting it shape your route forward. On “Vorkoma” (“The Coming of Spring”)–a song dedicated to Ólöf’s long-time friend, the author Guðrún Eva Mínervudóttir–she sings: It’s so nice to bathe / and cry / stop pretending / you don’t have memories.” It is about the will to live, new inspiration, colourful emotions and the comfort of friendship, especially through adversity. It is one of many songs on the album which is rich in floral imagery, an apt metaphor, of course, for blooming after a period of hibernation.
Familial love–also one of the main themes of Við og við–resurfaces throughout the album, addressing both its struggles and joys. Take the daughter-mother fable “Von um mildi” (“Hoping for Grace”), where our narrator comes to understand that true forgiveness is not a single event but an ongoing state one must be willing to enter. “Will I find peace,” she asks, “if I forgive completely?”
Some daughters are also mothers, and Ólöf’s relationship with her teenage son is the topic of the album’s title track “Spíra” (“Sprout”). Ólöf is divorced from his father and the song focuses on the moments her son passes between the two homes. There is great anticipation throughout the week but also a slight hesitancy on both parts when the moment finally arrives. Minutes of slight awkwardness soon melt away when they both ease into their familiar ways and the slow waltz sprouts airy pizzicato wings.
Love has the power to elevate us–sometimes suddenly–but also gradually, patiently, out of the depths and into the heavens. By the end of the record, Ólöf has defeated her demons, given her thanks and paid her dues; she is reborn as a living, creative being with purpose. She is, in a word, “Lifandi” (“Alive”) and very much in love. “What a wonderful stroke of luck that you should want me,” she sings as deep chords are struck powerfully on the piano, leaving the listener feeling much the same: What wonderful luck to have encountered this music!
Spíra album artwork and tracklist:
1. Heimurinn núna
2. Von um mildi
3. Stein fyrir stein
4. Spíra
5. Vorkoma
6. Tár í morgunsárið
7. Úfinn sjór
8. Afl þitt og hús
9. Lifandi
