RAYE has shared her bombastic new single “Where Is My Husband?” and announced news of a global tour for 2026.

The London-born songwriter revealed the This Tour May Contain New Music dates on her Instagram, which begins in Europe at the Polish city of Łódź on Jan. 22 and travels through mainland Europe over the following weeks. 

The U.K. and Ireland leg begins on Feb. 17 at Manchester’s Co-op Live, before dates in Glasgow, Birmingham, London and Dublin. The run includes two shows at London’s 20,000-capacity O2 Arena on Feb. 26 and 27. The tour will be supported by her two sisters ABOSLUTELY, and AMMA, both of whom are performers in their own right.

The run then transfers to North America from March 31 and kicks off in Sacramento, Calif. at the Channel 24 venue. She’ll then hit major cities and venues such as New York’s Radio City Music Hall and conclude at Los Angeles’ Greek Theatre on May 12. See the full dates below.

The tour poster also confirmed that “the album is coming” and pre-orders for her sophomore album are now available on her website. The LP is yet to have a title, artwork or release date. “The album is not done yet okay, but let’s just trust the process,” she added in her Instagram caption. Her debut LP My 21st Century Blues was released in 2023.

Tickets for the shows go on sale on Sep. 25 at 10 a.m. local time from RAYE’s website. Fans in the U.K., France and Germany can access a pre-sale on Sep. 23 at 10 a.m. when they pre-order a copy of her forthcoming album.

“Where Is My Husband?” has been performed live by RAYE during her live run at festivals including Glastonbury back in June. Speaking to British Vogue in a new cover story, she reflected on the new LP and its contents: “My first album was very devastating in parts,” she said in the feature. “In the second album, I feel this need for hope for myself and wanting that to translate to others.”

On Oct. 2, she will recognised at the Ivors Academy Honours event in London for her campaigning for a fairer and more equitable landscape for songwriters like herself. Beyond her own work, RAYE has written for a number of artists such as Charli xcx, Beyoncé, Jennifer Lopez and more.

RAYE’s This Tour May Contain New Music 2026 tour dates

  • Jan. 22: Lodz, Poland @ Atlas Arena
  • Jan. 24: Berlin, Germany @ Uber Arena
  • Jan. 25: Prague, Czech Republic @ O2 Arena
  • Jan. 27: Amsterdam, Netherlands @ Ziggo Dome
  • Jan. 30: Bologna, Italy @ Unipol Arena
  • Feb. 1: Antwerp, Belgium @ AFAS Dome
  • Feb. 3: Copenhagen, Denmark @ Royal Arena
  • Feb. 5: Oslo, Norway @ Unity Arena
  • Feb. 7: Stockholm, Sweden @ Avicii Arena
  • Feb. 10: Cologne, Germany @ Lanxess Arena
  • Feb. 11: Zurich, Switzerland @ Hallenstadion
  • Feb. 13: Barcelona, Spain @ Palau Saint Jordi
  • Feb. 15: Paris, France @ Accor Arena
  • Feb. 17: Manchester, UK @ Co-op Live
  • Feb. 20: Glasgow, UK @ OVO Hydro
  • Feb. 23: Birmingham, UK @ bp pulse LIVE
  • Feb. 26: London, UK @ The O2
  • Feb. 27: London, UK @ The O2
  • March 4: Dublin, Ireland @ 3Arena
  • March 31: Sacramento, Calif. @ Channel 24
  • Apr. 2: Vancouver, BC @ Doug Mitchell Thunderbird Sports Center
  • Apr. 3: Seattle, Wash. @ WAMU Theater @ Lumen Field
  • Apr. 6: Denver, Co. @ Fillmore Auditorium
  • Apr. 8: Minneapolis, Minn. @ State Theatre
  • Apr. 10: Chicago, Ill. @ Auditorium Theatre
  • Apr. 12: Montreal, QC @ Place Bell
  • Apr. 13: Toronto, ON @ Coca Cola Coliseum
  • Apr. 15: New York, N.Y. @ Radio City Music Hall
  • Apr. 19: Philadelphia, Pa. @ The Met Presented by Highmark
  • Apr. 20: Boston, Mass. @ MGM Music Hall at Fenway
  • Apr. 26: Washington, D.C., USA @ The Anthem
  • Apr. 28: Atlanta, Ga. @ Coca Cola Roxy
  • Apr. 29: Nashville, Tenn. @ Ryman Auditorium
  • May 1: Houston, Texas @ 713 Music Hall
  • May 3: Dallas, Texas @ South Side Ballroom


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Occasionally the musical universe conjures astonishing success stories that we might never have thought to ask for and had no right to expect. Depending on who you’re talking to, Kneecap, a fiery, sharp and dexterous rap trio from West Belfast who have seen a wild ascent over the past year, might fall into that bracket.

It’s a sentiment clearly shared among the thousands that descended upon London’s OVO Wembley Arena on Thursday night (Sept. 18), an audience that skewed across multiple generations. Since they released their debut project 3CAG in 2018 (their first full-length record, Fine Art, followed last year), it’s been argued that the appeal of Kneecap has been centered as much – if not more – around the collective giddiness they inspire as much as the music itself.

Whichever it is, the concourse felt bulging at the seams with an unending sea of football shirts in varying green hues, keffiyehs draped across shoulders, and Irish accents of every lilt. Everything from Abbey Road-aping poster prints and Kneecap-branded crew socks to sweat bands and tricolour balaclavas could be found at the merch stand. Such was the size of the crowd near the bar, that arena staff were left to direct punters through the jubilant mob with the focus and movements of a team of aircraft marshals.

The build-up to this headline show had been dizzying. Less than a year ago, Kneecap were playing London venues that were merely a fifth of the size compared to OVO Wembley’s 12,500 capacity, but nearly 12 months on and they are one of the most hotly debated acts of 2025, continually garnering headlines (and new fans) the world over.

Over the summer, rapper Mo Chara attended two court hearings over what his bandmate Móglaí Bap has called a “trumped up” terrorism-related offence for allegedly displaying a Hezbollah flag – a proscribed terror group by U.K. law – in resurfaced footage from a past concert, a charge he denies. Mo Chara is on unconditional bail and will return to the Westminster Magistrates’ Court next week (Sept. 26); the proximity of the upcoming hearing means the band had to cancel their planned U.S. tour this fall.

Kneecap’s vocal and longstanding opposition to Israel’s treatment of Palestinians in Gaza first brought them global attention back in the spring, after they ended their Coachella set by describing Israel’s military action as a US-funded genocide. In following months, the former X Factor judge Sharon Osbourne called for their US work visas to be revoked, while a number of their U.K. and European summer festival sets were pulled, including TRNSMT in Glasgow.  

Yet they have marched on. Kneecap’s live show continues to be a medium for their message; prior to their set at OVO Wembley, they welcomed Massive Attack members Robert Del Naja and Grant Marshall to the stage, who aired a moving anti-war video. Palestine flags were waved across the crowd and draped across seats as a giant one was displayed on screen. Fontaines D.C.’s “I Love You,” a song written about disillusionment and political violence, blared over the speakers in the moments afterwards.

That ineffable charge continued to feel palpable as the lights went down and a thunderous roar went up. “What a year we’ve had,” said Mo Chara a few songs in, making scarce reference to recent events and instead directing his energy towards speaking about the Palestine cause in vivid and passionate language. 

Behind the decks, a mischievous, trigger-happy DJ Próvaí occasionally came in a beat too early, adding an air of levity to the occasion. Kneecap zipped through tracks at high speed: 21 songs in barely an hour. It was a smartly relentless approach that encouraged fans to rearrange themselves into a series of moshpits, egged on by Mo Chara. The frenzied energy carried a show that didn’t have much visual excitement beyond a screen showing animated illustrations, or amorphous blobs of colour during “Rhino Ket.”

In between the roaring maximalism of tracks like “I’m Flush” and “Parful”, there was space for an emotional exchange with longtime collaborator Jelani Blackman, who joined Kneecap for “Harrow Road.” For the rest of the night, Mo Chara and Móglaí Bap played the role of solicitous emcees, introducing songs, thanking the crowd for their support and encouraging security to hand out more water to those along the barrier.

Most touching of all was watching the group – known to many as little more than a rowdy, subversive force of nature – pause to highlight and take in the significance of how, as a predominantly Irish language act, they managed to fill out such a vast room. “This means the absolute world to us,” they said repeatedly, standing tall and proud.

Miley Cyrus is back with more of Something Beautiful.

As promised in a social post earlier in the week, the veteran pop singer has dropped the deluxe edition, featuring the original album’s 13 songs, plus two new tracks featuring rock icons.

The first of those is a number Cyrus has been teasing for several weeks, “Secrets,” a sweeping ballad featuring former Fleetwood Mac bandmates drummer Mick Fleetwood and guitarist/singer Lindsey Buckingham.

The now 15-track expanded LP closes with a collaboration featuring David Byrne, called “Lockdown.”

It’s not the first time Cyrus and Byrne have made music together. The “Wrecking Ball” singer swung onto the stage with the Talking Heads legend in 2022 for her NBC New Year’s Eve special, when they performed hit a duet on David Bowie’s “Let’s Dance” as well as Byrne’s “Everybody’s Coming To My House.”

Cyrus’ ninth studio album, Something Beautiful arrived in May and includes collaborations with members of the bands Alvvays, Model/Actriz, the War on Drugs, as well as Danielle Haim, Flea, model Naomi Campbell and Brittany Howard. The album was accompanied by a musical film written and co-directed by Cyrus that premiered at this year’s Tribeca Festival and then played in theaters for one-night-only in June before moving to streaming on Hulu.

Something Beautiful peaked at No. 4 on the Billboard 200, and is one of Cyrus’ 15 top 10 appearances on the albums chart, a tally that includes five leaders. She has led the Billboard Hot 100 on two occasions, with 2013’s “Wrecking Ball” (for three weeks) and 2023’s “Flowers” (for eight weeks).

Ed Sheeran extends his perfect record in Australia as Play blasts to No. 1 on the ARIA Chart.

All of Sheeran’s albums have reached the summit, including Play which opens at the top of the national leaderboard, published Friday, September 19th.

Play follows Autumn Variations (from 2023), + (plus from 2012), X (multiply from 2014), ÷ (divide from 2017), No. 6 Collaborations Project (2019), = (equals from 2019) and (subtract from 2023), all of which led the all-genres ARIA Chart.

According to the charts compiler, Sheeran has accumulated 46 total weeks at No. 1, including an impressive 27 week with divide.

Adding in special edition albums and his recent greatest hits collection, ARIA reports, Sheeran has collected upwards of 1,200 weeks on the ARIA Top 50 Albums Chart.

Play is also the best-seller on wax, as it takes out top spot on the ARIA Vinyl Chart.

Australians have adopted Sheeran like one of their own. His Mathematics Tour in 2023 smashed several records, and his Divide tour in 2018, also with Frontier Touring, shifted more than 1 million tickets, a feat that wiped Dire Straits’ record for a single trek (950,000) that had stood for since the 1980s.

Sheeran returns to these parts in the first quarter of 2026 for his Loop Tour, which will stop by stadiums in in Auckland, Wellington, Christchurch, Perth, Sydney, Brisbane, Melbourne, and Adelaide. Frontier Touring and MG Live, both part of the Mushroom Group, are producing the jaunt.

Also new to the latest ARIA Chart is Twenty One Pilots’ Breach, the US rock band’s eighth studio album. It’s new at No. 2. 21P has impacted the ARIA Top 10 on four occasions, with Blurryface (No. 7 in 2015), Trench (No. 1 for one week in 2018), Scaled And Icy (No. 3 in 2021) and Clancy (No. 1 for one week in 2024).

Meanwhile, former Little Mix singer Jade bows as No. 11 with That’s Showbiz Baby!, her debut solo LP. All seven of the British girl group’s albums impacted the ARIA top 10, with Get Weird (from 2015) and Glory Days (2016) peaking at No. 2.

The top new domestic release belongs to Parcels, as LOVED debuts at No. 24.

On the ARIA Singles Chart, KPop Demon Hunters hit “Golden” retains top spot for the eighth consecutive week, and leads an unchanged top 3, with Olivia Dean’s “Man I Need” and Alex Warren’s “Ordinary” respectively completing the podium.

Finally, U.S. singer and songwriter Sombr scores his third ARIA top 10, as “12 To 12” improves 13-6. That comes on the heels of “Undressed” (No. 2) and “Back To Friends” (No. 3), all of which appear on his debut, I Barely Know Her, which is currently unmoved on the albums tally at No. 5. Sombr will embark on his first headline tour of Australia this December, for a trek produced by Frontier Touring.

Jon Stewart has given the Trump administration a hosing-down, doing so in the driest possible manner.

Stewart and his late-night pals and rivals, including Jimmy Fallon and the outgoing Stephen Colbert, are surely feeling pressure following ABC’s controversial decision this week to “indefinitely” suspend Jimmy Kimmel Live, following comments made during his monologue about Charlie Kirk, the assassinated conservative pundit.

President Donald Trump celebrated that news with a post on Truth Social, and Federal Communications Commission chair Brendan Carr issued his own warning that the authority would revoke the licenses of any network affiliates choosing to air Kimmel’s remarks, which he referred to as “news distortion” and “the sickest conduct possible.”

Once there was an imaginary line that mustn’t be crossed. Now talk-show hosts can see it.

If he was sweating, Stewart wasn’t showing it, as he took hosting duties, a change from his typical schedule, and dissected the situation on The Daily Show — in his own inimitable style.

“We have another fun hilarious, administration-compliant show,” he said at the top of his opening gambit, whilst donning a Republican-approving red tie and wearing a face that was dripping in satire.

Stewart spent a chunk of his opener playing a line-toeing sycophant, referring to Trump as the “great leader,” “sun god” and even “your lordship.”

The Daily Show‘s veteran host is, of course, a master of the double entendre and he can snark with the very best of them.

Though measured, Thursday night’s edition was classic Daily Show. The team let video do the talking, as clips played of conservative talking heads throwing their voices behind the Constitutional right to free speech, but contradicting themselves when they don’t like that speech. Add to that Fox News’ interpretation of the Jan. 6 Capital attack as a “sightseeing” excursion, and Pete Hegseth making light on on-air about the 2023 hammer attack on Paul Pelosi, husband of then House Speaker Nancy Pelosi.

“Our great administration has laid out very clear rules on free speech,” remarked Stewart. “Now, some naysayers may argue that this administration’s speech concerns are merely a cynical ploy, a thin gruel of a ruse, a smokescreen to obscure an unprecedented consolidation of power and unitary intimidation, principle-less and coldly antithetical to any experiment in a constitutional republic governance. Some people would say that.” And then, the punchline: “Not me though, I think that it’s great.”

Earlier this month, The Daily Show collected three wins at the Emmy Awards, tied the Comedy Central show’s record for wins in a single year.

Twenty One Pilots kicked off their The Clancy Tour: Breach world tour at Cincinnati’s TQL Stadium on Thursday night (Sept. 18), treating their Skeleton Clique die-hards to a two-plus hour blow-out run through their catalog, including the live debut of five songs from their just-released eighth studio album, Breach.

Though the LP is barely a week old, you’d never know it from the cord-straining howls that greeted such instant favorites as “The Contract”, “Garbage,” “City Walls” and a song that is sure to be a forever staple from now on, the thunderous “Drum Show.” As you’d expect from the title, that one was a thoroughly thumping showcase for drummer Josh Dun, who made his vocal debut during the song’s sweet breakdown as the crowd screamed in delight.

Touching on fan favorites and some deep cuts for those who know, the rare concert at Cincinnati’s MLS soccer stadium was heavy on the lore-soaked Blurryface saga, which kicked off with 2015’s Blurryface album, and continued on subsequent LPs Trench (2018), Clancy (2024) and Breach, which dropped last Friday, Sept. 12.

Singer Tyler Joseph joked near the end that he hated his longtime rival major league soccer club FC Cincinnati, which matches up with his beloved Columbus Crew every year for a fierce “Hell Is Real” series of intra-state grudge matches. But when the concert went over curfew and he said city leaders gave him the go-ahead to play the duo’s heart-bursting traditional finale “Trees” after 11 p.m., well, he made an exception for his now “second-favorite” Ohio town.

As usual, the Clique came dressed to play, with a huge portion of the 21,000 in attendance dressed in their 21P finest. From throats and hands coated in the black paint that Joseph has been sporting throughout the decade-long Blurryface project, to homemade costumes riffing on the characters from the knotty tale, including furry Neds in honor of the alien-like creature form the “Chlorine” video, the show was as much in the stands as on stage.

The fan-service set list reached back to the duo’s 2011 sophomore album, Regional at Best, for another encore standard, the emotional “Guns For Hands,” and included some absolute chest-throbbing bangers such as “Lane Boy,” “Jumpsuit” and the explosive “Heavydirtysoul,” during which two 50-foot sound towers in the middle of the stadium floor blasted massive columns of pyro into the humid night sky.

Having just wrapped the world outing in support of Clancy in May in London, the five-month lay-off was seemingly enough for Joseph and Dun to recharge their batteries for the ambitious Breach outing, which moves on to two shows in Toronto on Saturday (Sept. 20) and Sunday (Sept. 21).

From there it will make its way across the Midwest, East Coast and South to Florida, Alabama and Georgia next month. With indie pop opening act Dayglow in tow, 21P will continue their march across the country through Arkansas and Texas before winding down this initial run with a series of shows in Chula Vista and Los Angeles, California, concluding with the second of two gigs at BMO Stadium in L.A. on Oct. 26.

Check out the Breach tour setlist, as played at the Thursday night TQL Stadium kickoff, below.


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Cardi B is bringing the drama. More than seven years after releasing Invasion of Privacy The Bronx native’s highly anticipated sophomore album, Am I the Drama?, arrived on Friday (Sept. 19).

The project boasts 23 tracks in total, including previously released singles like “WAP, “Up,” “Outside” and “Imaginary Playerz.”

Cardi brought a star-studded cast of collaborators along for the ride, as the project features Summer Walker (“Dead,” “Shower Tears”), Selena Gomez( “Pick It Up”), Kehlani (“Safe”), Lizzo (“What’s Goin On”), Cash Cobain (“Better Than You”), Lourdiz (“On My Back”), Janet Jackson (“Principal”), Tyla (“Nice Guy”) and Megan Thee Stallion (“WAP”).

Cardi’s rollout has involved a bit of everything, including turning photos from her courthouse trips and civil lawsuit victory into alternate album covers and staying true to her NYC roots with subway skits promoting the album.

It’s been an enduring journey for Cardi B in the seven years between Invasion and Drama, but she’s proud of the growth she’s seen from herself during that time period.

“Since then, I’ve experienced a lot. The good and bad of fame, the hate, jealousy, drama, balancing my career with my personal life and growing up and maturing,” she told Billboard. “I’ve learned to control my emotions and understand how life works and how to play chess better.”

Cardi’s also carrying baby No. 4 with her, as she revealed her pregnancy during an interview with CBS Mornings‘ Gayle King on Wednesday (Sept. 17). It’s her first child with boyfriend and NFL star Stefon Diggs.

“Yes, I am [pregnant]. I’m having a baby with my boyfriend, Stefon Diggs,” Cardi told Gayle King on CBS Mornings. “I’m excited. I’m happy. I feel like I’m in a good space. I feel very strong. I feel very powerful that I’m doing all this work. But I’m doing all this work while I’m creating a baby, and me and my man, we’re very supportive of each other.”

After giving birth, she’ll be hitting the road in 2026 for the Little Miss Drama Tour, Cardi’s first solo headlining arena trek.

Stream Am I the Drama? below.

Though she may have made her mainstream crossover only in the past year, Lola Young has spent the best part of a decade dedicated to discomfort and artistic provocation. In her fiendishly addictive songs, brave candour, ruthless impulses, confrontation and the female perspective are knotted together. She’s a pop extrovert with no real filter or ‘off’ switch. She stares down and struts into uncomfortable places. And, as she previously told Billboard UK: “I choose to give realness and truth. I’ve got a bit of a belly out, I f–cking swear a bunch and I have fun.”

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Young made her opening gambit in 2019 with the soulful “Woman,” which was accompanied by a video that saw her dance nude in a statement of self-possession. A storming mixtape in the form of 2023’s My Mind Wanders and Sometimes Leaves Completely followed, but it was her 2024 debut full-length project, This Wasn’t Meant for You Anyway, that drove its way into the heads and hearts of pop fans across the globe.

Its breakout single “Messy,” hit the top of the Official U.K. Singles Chart and No. 14 on the Billboard Hot 100 at the start of 2025. A scuffed, vivid anthem honed around owning one’s imperfections, its swell from downcast introspection to bile-spitting theatricality made for a career-elevating statement. The song felt telling of the 24-year-old Londoner’s shrewdness as a writer that romance is not life-or-death in her world, but that losing a sense of self might be – a theme that unravels even further on her new LP, I’m Only F–king Myself.

In the run-up to the album, the buzz around Young’s name has only got louder and louder. She shone at the VMAs earlier this month, has performed at Glastonbury and Coachella, and topped the nominations for the 2025 Ivor Novello awards, which recognize the best in British and Irish songwriting. She’s moving forward with genuine purpose and intent. As Young boldly strides into a new era, here’s every track from I’m Only F–king Myself ranked.

Brett James, the acclaimed songwriter who won a Grammy Award for his work on Carrie Underwood’s “Jesus, Take The Wheel,” has died in a plane crash. He was 57.

According to WLOS, James was on board a small plane that went down in Macon County near Franklin, North Carolina, around 3 p.m. EST on Thursday, Sept. 18.

None of the three passengers on board survived, authorities say. The FAA reports that the aircraft was registered to Brett Cornelius of Brentwood, Tennessee; the artist’s full name is Brett James Cornelius.

This story is breaking.

Meta says there’s no basis for Eminem’s music publisher to claim that “Lose Yourself” and other iconic tracks were made available to billions of users without permission, urging a federal judge to dismiss the lawsuit that seeks an “eye-popping” $110 million in damages.  

Eight Mile Style, a publishing company that owns 243 Eminem compositions, filed suit in May against the juggernaut owner of Facebook, Instagram and WhatsApp. Eight Mile alleged that all three Meta platforms were hosting unlicensed versions of its songs in their music libraries, which allow users to easily add their favorite tracks to the photos and videos they post.

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The publisher is seeking the maximum statutory damages of $150,000 per case of infringement, which, multiplied by 243 songs and three platforms, adds up to a whopping $109.4 million. But Meta said in a Thursday (Sept. 18) motion to dismiss the lawsuit that while Eight Mile’s complaint “is long on rhetoric, it is remarkably short on specifics.”

“Fanciful estimates are not a substitute for well-pleaded facts,” wrote Meta’s lawyers from the firm Mayer Brown. “Belying their extravagant claims, Eight Mile never identifies a single example of an allegedly infringing post or story across any of the three Meta services at issue.”

Meta says that Eight Mile’s failure to identify specific instances of alleged infringement should make the case dead on arrival, since the social media giant can’t be expected to adequately defend itself against such generalized claims.  

Thursday’s motion also claims that, beyond these defects in meeting the pleading standards, Eight Mile’s lawsuit simply gets the facts wrong. Meta says it did, in fact, have permission to use Eminem’s songs, per a broader licensing agreement signed in 2020 with Audiam, a digital rights collection agency that supposedly negotiated the deal on behalf of Eight Mile.

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“Far from showing ‘actual knowledge’ of infringement, these allegations instead show that the Audiam licenses covered the compositions — or, at minimum, the parties’ good-faith understanding that the licenses did,” write the Meta attorneys.

Lawyers for Eight Mile Style did not immediately return requests for comment on the motion on Thursday. Eminem does not have any ownership interest in the publishing company and is not involved in the litigation.

Meta’s motion to dismiss argues that Eight Mile Style is “notoriously litigious,” and indeed, the publisher is no stranger to copyright litigation. The company spent years suing Spotify for allegedly failing to obtain proper licenses for its songs, but a federal judge threw out the case in a sharply critical ruling last year. Eight Mile Style is now appealing that decision.


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