Rock and Roll Hall of Fame prog rockers Rush are gearing up for their first tour in 11 years. The Canadian legends announced the dates for a 12-show North American swing they are calling the Fifty Something tour on Monday morning (Oct. 6), marking the first time singer/bassist Geddy Lee and guitarist/vocalist Alex Lifeson will hit the road since the group wrapped their R40 40th anniversary tour in August 1, 2015 at the Forum in Los Angeles

According to a release, the outing will be a celebration of Rush’s “music, legacy and the life of late drummer and lyricist Neil Peart”; the band’s time-keeper and primary lyricist died of the brain cancer glioblastoma on Jan. 7, 2020 at age 67.

Fittingly, the tour will kick off on June 7 with the first of two shows at the KIA Forum in L.A., followed by shows in Mexico City, Fort Worth, Chicago, New York and Toronto, wrapping up on Sept. 17 at the Rocket Arena in Cleveland. The “evening with” shows will feature the band playing two sets a night, with each show featuring a distinctive set of songs pulled from a setlist of 35 hits and fan favorites. They will be joined on the dates by German drummer/composer/producer Anika Nilles, 41, who has performed with Jeff Beck and released four solo albums.

“It’s been over 10 years since Alex and I have performed the music of RUSH alongside our fallen bandmate and friend Neil,” wrote Lee in a statement. “A lifetime’s worth of songs that we had put our cumulative hearts and souls into writing, recording and playing together onstage. And so, after all that has gone down since that last show, Alex and I have done some serious soul searching and come to the decision that we fucking miss it, and that it’s time for a celebration of 50-something years of RUSH music. So in 2026 my BFF Lerxst (aka Alex Lifeson) and I are going to hit the road once again to pay tribute to our past and to Neil by performing a vast selection of RUSH songs in a handful of cities. No small task, because as we all know Neil was irreplaceable.”

Lee added, “Yet life is full of surprises, and we’ve have been introduced to another remarkable person; an incredible drummer and musician who is adding another chapter to our story while continuing her own fascinating musical journey. Her name is Anika Nilles, and we could not be more excited to introduce her to our loyal and dedicated RUSH fanbase, whom, we know, will give her every chance to live up to that near impossible role. Before we hit the stage, we also hope to add another musician or two to expand our sound a wee bit and free up Alex and I, in order to show off some of our new fancy dance steps.”

The latter is a notable change from the band’s long-standing power trio lineup, which had Lee singing and playing both keyboards and bass.

Fans can get in on a RUSH artist pre-sale by signing up here by Thursday (Oct. 9) at 11:50 p.m. ET; artist pre-sales for the tour are being hosted by multiple sites, but anyone who signs up can join the pre-sale. No code is needed for artist pre-sales on Ticketmaster, with tickets tied to an individual’s account, though the artist pre-sale for SeatGeek for Cleveland will require a code. The Artist pre-sale begins on Oct. 13 at 12 p.m. local time in the U.S. and Canada and Oct. 16 at 12 p.m. local time in Mexico. The general on-sale beings on Oct. 17 at 12 p.m. local time for the U.S. and Canada and 11 a.m. local time for Mexico.

Lee added that he, Lifeson and the team’s crew have been hard at work rehearsing and designing the new show, with Peart’s widow, Carrie Nuttall-Peart and daughter, Olivia Peart, saying in a statement, “We are thrilled to support the Fifty Something tour, celebrating a band whose music has resonated and inspired fans for generations, and to honor Neil’s extraordinary legacy as both a drummer and lyricist. Neil’s musicianship was singular. Compositions of intricacy and power that expanded what rhythm itself could express. As both drummer and lyricist, he was irreplaceable. Inimitable in his artistry, and unmatched in the depth and imagination he brought to the lyrics that inspired and moved so many, he profoundly shaped how fans connected with him and the band, giving voice and meaning to their own lives. As the band enters this new chapter, it promises to be truly unforgettable. We are excited to see how their new vision unfolds, and to hear this legendary music played live once again.”

Lee and Lifeson sent a special message to Rush fans on Monday morning in a cheeky five-minute video in which they reminisced about all the time they’ve spent jamming in the basement and the few musical projects they’ve done together since Peart’s death, which have included performing at the South Park 25th anniversary celebration and the tributes to late Foo Fighters drummer Taylor Hawkins, both in 2022. Lee said those appearances were “bittersweet” for “obvious reasons.”

“We’re musicians and we’re players and out music is special,” Lifeson said of his realization of just how unique the band’s music is now that he’s had quite a bit of time away from it. “I realized how difficult it is to play, but how rich it is in its music and lyrics and everything it represented,” he said, nothing that the 35 songs will rotate in and out and that each night will feature a part of the show that a tribute to Peart and his memory and “everything that he was to us.”

Rush just released the 50-track super deluxe anthology RUSH 50, which runs from the first-ever reissue of their 1973 debut single through a live recording of the final song Lee, Lifeson and Peart played together during the R40 tour closer at the Forum.

Watch the announcement video and see the full list of 2026 Rush Fifty Something dates below.

2026 Fifty Something dates

  • June 7: Los Angeles, Calif. @ Kia Forum
  • June 9: Los Angeles, Calif. @ Kia Forum
  • June 18: Mexico City, MX @ Palacio de los Deportes
  • June 24: Fort Worth, Texas @ Dickies Arena
  • June 26: Fort Worth, Texas @ Dickies Arena
  • July 16: Chicago, Ill. @ United Center
  • July 18: Chicago, Ill. @ United Center
  • July 28: New York, N.Y. @ Madison Square Garden
  • July 30: New York, N.Y. @ Madison Square Garden
  • Aug. 7: Toronto, ON @ Scotiabank Arena
  • Aug. 9: Toronto, ON @ Scotiabank Arena
  • Sept. 17: Cleveland, Ohio @ Rocket Arena


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Four Nashville music industry veterans have joined forces with the launch of a multi-faceted company built around the belief of putting artists, unbridled creativity and faith-based perspectives at its core.

Executives Josh Bailey, Jeremy Holley, Rod Riley and Josh Thompson have teamed for the Franklin, Tenn.-based label By Design, which falls under a larger ecosystem which blends label, publishing and a nonprofit initiative under one roof. That ecosystem also includes By Design music publishing, as well as Archetype Music, a music rights holding company acquiring faith-based music rights, including masters and publishing. The artist-first ecosystem also includes Blueprint, a nonprofit aimed at helping creators build healthy, sustainable careers.

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The label’s initial artist roster reflects that mission, led by country artist Frankie Ballard, pop-folk artist Zoe Levert and singer-songwriter Alex Jude. Ballard, who notched three No. 1 hits on Billboard’s Country Airplay chart before stepping back to recalibrate his artistic mission, is preparing to release new music and embark on the next phase of his career. Levert, who reached the Top 12 on NBC’s The Voice, has since relocated to Nashville to continue refining her sound.

“For us, it’s finding artists that aren’t afraid to talk about their faith, but also have a real desire to create art that goes beyond maybe the traditional realms of genres or sub-genres,” Holley says. “I think all three of the artists that we’ve partnered with so far have that ability. They are creating music and art that doesn’t fit into a mold.”

All four execs’ careers include time in various label roles, converging with time at Word Entertainment. Bailey spent more than two decades at Word Entertainment and Capitol CMG, working in A&R and with artists including For King & Country and Anne Wilson. Following work at Word and Warner Music Group, Holley launched pop culture agency FlyteVu. Riley co-founded Fervent Records with his wife Susan and then sold the label to Word and led Word as CEO, before moving into rights acquisitions. Thompson worked in various label roles at Word before leading Futureshirts through a time of acquisitions, client/team growth, and expanded services.

That combined industry experience and perspective from Bailey, Holley, Riley, and Thompson informs By Design’s creator-first approach.

“Our priority is to find the right listeners for the right songs,” Bailey says. “So if that means radio, go to radio. If that means a really deep social strategy, go to socials.”

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The company emerges as faith-based music has surged in consumption over the past few years, spearheaded by music from artists such as Forrest Frank, Brandon Lake, Elevation Worship, Jon Reddick, Lauren Daigle and Josiah Queen.

“In the last four or five years with streaming taking over and how the business has changed, it’s opened the door for a lot more freedom for artists to create great art that lives in a lot of different spaces,” Thompson adds. “You see some of the breakout things that are coming from the Christian space, that they are making music that doesn’t sound anything like Christian music sounded before and they are having success with that. There’s less rules in what we’re doing.”

The company’s nonprofit arm Blueprint, aims to address artist well-being from the outset.

“I think that there’s a lot of places for artists to go when something goes wrong, and there are certainly amazing organizations that care for artists in Nashville and beyond,” Riley says. “But for us, it’s like, ‘What are we doing for the artist that’s 20 years old that we are signing?’ How are we educating them on what’s to come and how are we getting ahead of those things from the get-go? With Blueprint, there will essentially be a cohort of talent that gets into the program, and it will be around a six-to-12-month long program that is about learning who you are and why. And there will be partnerships with people like Porter’s Call or Onsite, where there may be bigger needs, but our goal is to just shepherd artists through that program and teach them.”

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Ahead, By Design’s leaders are focused on more ways of helping to shift the paradigm when it comes to business deals impacting artists, songwriters and other creators.

“This is about all those that are part of making great music, and we want to do what we can to help and nurture that,” Riley says. “We’ve signed a few writers and are in the middle of a few deals. There’s some other things down the road as we get into this, that we’ve already started dreaming on, of how do we throw a few grenades in how this whole thing works and do things a little bit differently, that maybe other labels and publishing companies aren’t doing.”


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Luke Combs has surpassed Garth Brooks as the highest-certified country artist in history by the Recording Industry Association of America (RIAA).

Combs has sold and streamed a combined 168 million units (units can be albums or singles), according to RIAA. Brooks stands at 162.5 million and had held the record for more than 20 years.

“When my team first told me about this, my initial reaction was, ‘Are you sure? There’s no way.’ It was only 8 years ago that I got my first [RIAA] plaque for ‘Hurricane’ going gold,” Combs said in a statement. “I knew then, without a doubt, I had the best fans in the world. The song had gone platinum before they could even give me the gold plaque. I’m super humbled by the fans’ belief in me and support of my music today and over the years. I know this does not happen without them. This achievement is more so theirs than it is mine. All I ever hoped and dreamed of from the beginning of this crazy ride was to make music that made people feel something and I can’t wait to continue making country music for the rest of my life.”

Combs already held the record for the most Diamond-certified singles for a country artist with four. Diamond-certified singles have sold/streamed 10 million units, and Combs’ four to surpass that tally are “Beautiful Crazy,” “When It Rains It Pours,” “Hurricane” and “She Got the Best of Me.”

The news comes as Combs’ current single, “Back in the Saddle,” climbs to No. 8 on Billboard’s Country Airplay chart. On Friday, Combs released The Prequel, a three-song set with “My Kinda Saturday Night,” “15 Minutes” and “Days Like These” via Sony Music Nashville.

It’s already been a stellar year for Combs, who is up for three awards at November’s CMA Awards, including entertainer of the year, and recently announced that he and wife Nicole are expecting their third child. After his extensive worldwide tour in 2024, Combs has concentrated on playing festivals this year and is the first country artist to headline both Bonnaroo and Lollapalooza. Later this month, he will headline the Austin City Limits Music Festival.

Drake is the RIAA’s highest-certified artist across all genres, with 298.5 units sold and streamed, followed by Taylor Swift at 242.5 million units. Combs now stands at ninth among all artists.

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After selling out just about everywhere, you can pick up the new Nintendo Switch 2 at Walmart.

Available to the public back in June, the Nintendo Switch 2 quickly sold out with infrequent restocks throughout the months. However, ahead of the holidays, retailers, like Walmart, have the game console ready for purchase with prices starting at $449.

However, if you’d like to with the Nintendo Switch 2 and Mario Kart World game (priced at $79) bundle, then it starts at $499 from the retailer.

Aside from Walmart, the new gaming console is also available on Target and Amazon, but stock is very, very limited. Scroll down and buy the Nintendo Switch 2:

How to pre-order and buy the new Nintendo Switch 2 video game console online

PREORDER

Nintendo Switch 2 + ‘Mario Kart World’

Release date: June 5


Armed with a vivid and brilliant 7.9-inch LCD display with HDR (High Dynamic Range) support, the Nintendo Switch 2 has a larger display and higher video resolution at 1080p Full HD with a smoother frame rates up to 120Hz compared to the Nintendo Switch 1. However, when docked to a 4K TV, the gaming console supports up to 4K Ultra HD resolutions.

Meanwhile, the console also has new magnetic Joy-Con 2 controllers are more secure with larger triggers and action buttons with mouse-like controls, while its built-in speakers feature crisper and more detailed audio for music and in-game sounds. There’s even noise-canceling settings with a new microphone system for easier and clearer voice chat with friends and family online. Learn more about the Nintendo Switch 2 here.

Starting at $449, the Nintendo Switch 2 gaming console to purchase at Walmart. The Nintendo Switch 2 with Mario Kart World bundle starts at $499. Learn more about Nintendo Switch 2, Mario Kart World and accessories here. In the meantime, watch the overview trailer below:

Want more? For more product recommendations, check out our roundups of the best Xbox dealsstudio headphones and Nintendo Switch accessories.

BLACKPINK‘s JISOO is getting ready to be back in your area. The K-pop superstar posted a tease of what Blinks think is her next single on Sunday (Oct. 5) in the form of an elegant poster in which she is depicted wearing a black leather dress, her long black hair cascading past her waist as a shadowy figure lurks in the background.

Across the bottom of the image is the phrase that appears to be the title of her upcoming single, “Eyes Closed,” which is accompanied by another tantalizing tease in the caption, “a duet is near.” At press time no release date or additional information on who JISOO may be dueting with on the track was available.

The new song would be JISOO’s first new solo material outside of the group since she dropped her debut solo EP, Amortage, in February on her own Blissoo/Warner Records imprint. The five-track collection featured the singles “Earthquake” and “Your Love,” as well as “Tears” and “Hugs & Kisses” and it reached No. 11 on the Billboard Top Album Sales chart, marking the singer’s first entry on that tally; “Earthquake” peaked at No. 47 on the Billboard Global 200.

She released a hypnotizing visual for the mid-tempo pop tune “Your Love” in August, in which she rocks a pink princess gown while meandering through a mystical, natural landscape at the lush Rainforest Wild ASIA adventure park in Singapore.

Jisoo gets a chance to flex her solo vocals on BLACKPINK’s current Deadline world tour, when she performs “Earthquake” and “Your Love” in the second act alongside LISA’s solo singles “New Woman” and “Rockstar.” After a pair of shows at Wembley stadium in London in mid-August, the group will move on to Rajamangala National Stadium in Kaohsiung, Taiwan on Oct. 18 and 19.


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Over the past few weeks, I’ve been looking at how music will be licensed by AI companies — why I think it’s inevitable, how it might happen and what it might look like. Conceptually, this is a fascinating subject, because dividing money fairly among rights holders may depend on having after-the-fact control of training data created by the initial license. But which rights holders get paid, and how much?

Right now, the popular way to look at this issue is to think about what’s fair: how conceptually important songs are compared to recordings, what kind of popularity can be used as a proxy for AI training — that kind of thing. I am sorry to say, although by now it should be obvious, that none of this will matter much. Music and technology companies tend to operate by litigating, lobbying and leveraging their influence. When certain interests align — labels and artists both want to make money, for example — the result can be fair. But the way the industry works is shaped more by money and legal leverage, which is why my newsletter is called “Follow the Money,” not “Follow Your Arrow.”

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The most relevant example is the revenue split between recordings and songs. Whatever different industry figures think about their relative worth, the reason that recordings generate more revenue is because labels sell and license them in a free market, while, in the U.S., the music publishing business is constrained by a rate court for mechanical royalties and antitrust consent decrees on the public performance side. This won’t apply in AI, just as it doesn’t apply for synch licenses, where the split between the two sides is 50-50.

In an ideal world, settling this would involve three-way negotiations between AI companies and recording and publishing rights holders. In this one, it’s more complicated. Often, rights holders that sue a technology company for infringement can reach a settlement — negotiation through litigation — that involves both compensation for past liability and a deal going forward. In this case, that could mean that the major labels, which sued Suno and Udio and are now said to be in settlement negotiations, reach a deal that gives them, and the recorded music business in general, an advantage over the publishing side of the business. It could also mean that executives on that side of the business will fight that much harder to get a deal that they see as fair. I’d bet on the latter, and I’d expect to see a split that’s either 50-50 or close to it.

There are also questions about what entities will represent the publishing side. In the U.S., most people react to this as a trick question: Publishers! In Europe, it’s far more complicated, because AI training involves the mechanical reproduction right, which is controlled by the international mechanical collecting society BIEM in most of Continental Europe — often exclusively. Some publishers would prefer to license this themselves, but it could be hard for them to do without undermining their case that AI companies need a mechanical license in the first place. This could also cause a rift between major publishers and indies, which is something both sides prefer to avoid when they get into contentious negotiations with outside industries.

In the age of streaming, the music industry has become accustomed to zero-sum negotiations, where a win for one set of rights holders often leads to less money for others. After all, no one can offer more than 100% of incoming revenue (except for Dean Martin, who according to legend once owed various entities more than 100% of his income). But that’s streaming logic, where piracy and a dysfunctional market have put something of a ceiling on price. Who’s to say whether music AI services will operate that way?

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In fact, I think there’s a good chance that AI licensing will compensate rights holders from a pool of money — half to labels and half to publishers, through various channels — and then offer the biggest artists more money for additional rights. Imagine that big AI companies make big deals based on settled lawsuits and mass negotiations. From a legal perspective, that would only give them the right to train their algorithms on copyrighted material — not use specific styles or “likeness rights.” What if a user wants an algorithm to create a song with a vocal in the style of Taylor Swift? (Or even write a breakup song in her style?) Those rights might not be included and the biggest stars might want to be paid for them.

A negotiation that seems to involve two parts of the music business would then involve a third, as well as another set of rights. Those “likeness rights” are not as well defined as copyright, but they could become a value-added product that gives some companies an advantage over others. Right now, only one thing is certain: creators and executives will want more than they end up with.

To be fair, Taylor Swift is a 35-year-old woman who is engaged to be married. Still, you have to imagine that if there was a family listening party for the singer’s just-released 12th studio album, The Life of a Showgirl, there must have some cheeks streaked red with embarrassment when track nine, “Wood,” popped up.

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If somehow you haven’t yet heard what is widely being perceived as one of the LP’s several sweaty homages to Swift’s fiancé, NFL tight end Travis Kelce, then you’re missing out on such lusty lines as: “Forgive me, it sounds cocky/ He ah-matized me and opened my eyes/ Redwood tree, it ain’t hard to see/ His love was the key that opened my thighs.”

Now we know exactly how Swift’s mother, Andrea, reacted to the news that “a hard rock is on the way.” In a chat with SiriusXM’s The Morning Mash Up on Monday morning (Oct. 6), Swift told co-host Nicole Ryan that her mother “thinks that that song is about superstitions, popular superstitions, which… it absolutely is,” the singer said of the track that opens with images of black cats, stepping on cracks and knocking on wood for good luck.

“Aw, Andrea, we love you, so sweet,” Ryan said.

“That’s the joy of the double entendre. That song, you could read that song for people and it just goes right over their head,” Swift said with a knowing laugh. “That song you, you see in that song what you wanna see in that song.”

Swift also delved into her increasing use of profanity and explicit lyrics in songs on the album that sold nearly three million copies on its first day of release, something she said is meant to amp up the drama in her songs.

“If it… to me improves the intensity of the moment or if, in terms of syllables or just consonance and vowels, if, if to me it pops off more, you know, there are certain lyrics that just bounce more,” Swift explained. “Or if it feels like it’s a part of the vernacular of how that character that I’m kind of cosplaying in that song would speak. Like, there are a lot of different reasons you choose to throw in a swear word or like a certain phrase or a sort of alliteration or whatever. But that’s what I love so much about songwriting is those, those decisions are fun and oftentimes hilarious to make.”

Listen to Swift describe her mom’s reaction to “Wood” below.


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Taylor Swift dominated the box office over the weekend with her special Taylor Swift: The Official Release Party of a Showgirl movie event, topping the U.S. chart with an estimated domestic haul of $33 million, according to The Hollywood Reporter.

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How big a weekend did Swift have? Her three-day-only event for the 89-minute movie that is essentially an extended trailer for her new The Life of a Showgirl LP easily soared well above the box office of two major Hollywood stars appearing in films with Oscar buzz. In total, adding in overseas ticket sales of $13 million, the Showgirl run earned a total of $46 million over the weekend while playing on more than 3,700 screens.

The movie that opened on screens on Friday to coincide with the the singer’s release of her 12th studio album is a mash-up of music videos — including the Swift-directed one for the single “The Fate of Ophelia” — behind-the-scenes footage, lyric videos and personal reflections from Swift on the creative process behind the music.

While Swift soared, Dwayne “The Rock” Johnson’s MMA drama, The Smashing Machine, tanked, bringing in just $6 million from more than 3,300 theaters, making for the worst wide opening of the wrestler-turned-actor’s career in a dramatic role that was being touted as possible Oscar bait. And, according to THR, Johnson can hardly blame Swifties for his passion project film’s poor open, as nearly 90% of Showgirl ticket buyers were female while the Smashing Machine audience tilted heavily male at 70%-plus.

In addition to smashing the Machine, Swift also easily soared over Paul Thomas Anderson’s acclaimed One Battle After Another, the Leonardo DiCaprio-starring drama that fell to second place in week two. Receipts were down 49% from week one to $11.1 million in North America, for a 10-day domestic total of $42.8 million, with a total of $101.7 million globally to date.

The Showgirls movie — announced just two weeks before opening with little promotion — follows on the heels of Swift’s last big screen triumph, the 2023 Taylor Swift: The Eras Tour concert film, which opened to a record $93.2 million domestically as it swiftly climbed to become the top-grossing concert film of all time with $261.6 million in global ticket sales.


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Lola Young has taken legal action against “Messy” collaborator Carter Lang following a dispute over songwriting credits.

The BBC reports that Young has filed an intellectual property court claim in London against Lang after he claimed songwriting credits on four of her songs, something which she “strongly” refutes. The songs in question have not been named at this time.

“It is with immense disappointment, especially given recent events, that we have had no choice but to respond to recent writing credit claims from Carter Lang on four Lola Young songs by issuing legal proceedings on her behalf,” a statement from Young’s lawyers reads. The case was filed on Wednesday (Oct. 1), one day after Young canceled all upcoming live performances following a stage collapse in New York.

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“Carter’s claims are strongly refuted and we will not allow Lola’s reputation and integrity to be called into question – particularly so long after the sessions took place and agreements were put in place,” the statement continued. “Lola has always been authentic in her songwriting process and acknowledges songwriting contributions where appropriate. This dispute has been ongoing for several months and we look forward to the truth being established.”

Billboard U.K. has approached Lang and Sony Music Publishing for further comment. He has not yet responded to the claim.

Carter Lang is a Grammy-winning songwriter and producer who has credits on SZA’s studio albums Ctrl (2017) and SOS (2023), and has also worked with Justin Bieber, Post Malone, Doja Cat, among others.

Lang has credits on three songs on her second album, 2024’s This Wasn’t Meant for You Anyway (“Good Books,” “Messy,” “Crush”), and a further four on her recent album I’m Only F-king Myself (“One Thing,” “Walk All Over You,” “Post Sex Clarity,” “Not Like That Anymore”).

Lang is credited as a producer on her U.K. chart-topping hit “Messy” alongside fellow producers Solomonophonic and Manuka Monsune. The track spent four weeks at No. 1 on the U.K.’s Official Singles Chart, and is the second-most streamed song of 2025 to date.

Twenty years before Taylor Swift‘s “The Fate of Ophelia” was recorded, a character named Napoleon Dynamite (Jon Heder) was leaning into his uniqueness with a magnificently awkward dance routine, as seen in a memorable scene from the 2004 coming-of-age comedy Napoleon Dynamite. His sweet moves were soundtracked by Jamiroquai’s “Canned Heat,” but anyone who hasn’t seen the movie — and who happens to stumble upon the fan-made “Ophelia” x Napoleon Dynamite mashup making the rounds — just might think the choreo was meant to be paired with Swift’s 2025 single instead. Because it’s actually perfect.

Swift fan @betterspiritsprintco on Instagram posted the funny edit on Friday (Oct. 3), the release day of the pop star’s twelfth studio album, The Life of a Showgirl, which is already setting records; as of press time on Sunday, the Instagram post has been liked by more than 63,000 Instagram accounts.

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The video’s caption: “how it feels to listen to the fate of ophelia.” The comments section unanimously agreed.

Featuring the aforementioned Napoleon Dynamite-dance moment, the edited clip shows the quirky protagonist getting his groove on to an audio clip of “The Fate of Ophelia,” Showgirl‘s opening track and first single (and the first song from the set to get an official music video, which dropped online on Sunday after premiering at movie theaters on Friday during the box office-topping The Release Party of a Showgirl).

Somehow, the timing of it all is just right. Napoleon hits his marks. Subtle reactions from the audience are spot-on.

Just wait until you get to the moves synced to Swift’s lyric “I swore my loyalty to me, myself, and I” — it only gets better from there.

Watch the fan edit of “The Fate of Ophelia” and Napoleon Dynamite dancing on Instagram here.