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Julia Jacklin Announces New Album ‘The Gem’, Shares New Single

Julia Jacklin has announced a new album, The Gem, her first for 4AD. The follow-up to 2022’s PRE PLEASURE is set to arrive on September 25. It’s led by the sprightly and confident ‘Get Away From Me (I Think I’ll Love You Soon)’, which you can check out below.

“I want to love and be loved, but I also want to be free,” Julia Jacklin said in a press release. “The tension between those two things has been the central question of my life. The Gem felt like a metaphor for the whole process, because a lot of it did feel like digging. I felt like I was doing it almost in the dark, just trusting I was going to find something.”

The new album is named after a small bar in Melbourne, Australia, where Jacklin moved from Sydney in 2017. She worked on it with Rat Shack studios owner Robert Muinos, guitarist Jacob Diamond, bassist Mimi Gilbert, and drummer Jess Elwood, recording in a makeshift studio in one of the hotel rooms above the pub.

The Gem Cover Artwork:

Julia Jacklin - The Gem Album Artwork _1

The Gem Tracklist:

1. Brand New
2. God Sometimes
3. If I Had the Hand of God
4. The Hardest Thing
5. Angel Vision
6. Real Life
7. Get Away From Me (I Think I’ll Love You Soon)
8. You Turned on the Tap
9. Walk on Me
10. I Wish [feat. The Maes]

Alice and Steve Season 2: Cast, Rumours & Release Date

Alice and Steve isn’t your average rom-com. In fact, the premise is enough to turn away viewers looking to swoon while rooting for the central couple. That’s part of the show’s appeal.

The dark comedy-drama explores what happens when your best friend starts dating your daughter. The situation is awkward and cringe, but also impossible to look away from. However, is it meaty enough to sustain a follow-up? Here’s what we know so far.

Alice and Steve Season 2 Release Date

At the time of writing, there’s no official news available about a potential Alice and Steve season 2. The show recently premiered on Disney+ in the UK, with all six episodes available at once. In other words, it’s early days. A renewal could be announced somewhere down the line.

The finale ends with a cliffhanger. While that cliffhanger could act as an ambiguous ending, the show’s creator, Sophie Goodhart, is open to the idea of making a second installment.

“I don’t love when shows keep you hanging too much about what the feelings are, so I wanted to do a complete season, but knew I could do a season 2 – but I’m not sure that there’d be more than that,” Goodhart said.

Ultimately, it depends on how many people tune in. If all goes well, new episodes could arrive in 2027 or 2028.

Alice and Steve Cast

  • Nicola Walker as Alice
  • Jemaine Clement as Steve
  • Yali Topol Margalith as Izzy
  • Joel Fry as Daniel
  • Tyrese Eaton-Dyce as Dom
  • Marcia Warren as Val
  • Eilidh Fisher as Rome

What Is Alice and Steve About?

Alice and Steve centres on Alice, a woman in her 50s whose life is thrown into chaos when her best friend, Steve, begins to date her 26-year-old daughter, Izzy.

That said, the show is less interested in the romance itself and more interested in the fallout. As you might imagine, Alice sees Steve’s relationship with Izzy as a profound betrayal. Not only is Steve her friend, but he has known Izzy since she was a child. As Alice tries to break the couple apart, her actions become increasingly desperate.

By the end of the first season, things escalate to an unhinged level of absurdity, with everyone unsure of where they stand. Without giving away major spoilers, the two friends manage to talk it through, but their future is uncertain.

Alice and Steve season 2 would likely pick up from there and explore whether the friendship might be salvaged. For now, all we can do is wait and see.

Are There Other Shows Like Alice and Steve?

If you like Alice and Steve, shows with similar vibes include Catastrophe, Platonic, Breeders, and Fleabag.

Alternatively, check out some of the other titles trending on Disney+. Like Criminal Minds: Evolution, Not Suitable for Work, Rivals, and The Testaments.

Criminal Minds: Evolution Season 20: Cast, Rumours & Release Date

When it comes to enduring series, Criminal Minds certainly fits the bill.

The drama originally ran for 15 seasons, from 2005 to 2020. Instead of fading into obscurity, however, it was quickly revived in 2022. Subtitled Evolution, it continues to draw in viewers. Even better, it shows no signs of slowing down.

Season 19, which premiered in May, is enjoying quite the hype at the moment, in part because of a notable guest star. Connor Storrie from the hit show Heated Rivalry has a recurring role as a narcissist who can be quite charming when required.

While his appearance will likely bring in new fans, is that enough to guarantee that Criminal Minds: Evolution will continue? Here’s what we know so far.

Criminal Minds: Evolution Season 20 Release Date

Luckily, fans of the long-running drama have no reason to worry. Criminal Minds: Evolution season 20 is definitely happening. The show has been renewed ahead of the season 19 premiere.

Moreover, filming is already underway, so we can expect the show to stick to a traditional release schedule. That means the new season will likely arrive in May or June 2027.

Criminal Minds: Evolution Cast

  • Joe Mantegna as David Rossi
  • Cook as Jennifer “JJ” Jareau
  • Kirsten Vangsness as Penelope Garcia
  • Aisha Tyler as Dr. Tara Lewis
  • RJ Hatanaka as Tyler Green
  • Zach Gilford as Elias Voit
  • Adam Rodriguez as Luke Alvez
  • Paget Brewster as Emily Prentiss

What Could Happen in Criminal Minds: Evolution Season 20?

Criminal Minds: Evolution revolves around the FBI’s Behavioral Analysis Unit (BAU). It features a team of skilled profiles who investigate serial killers and other violent offenders.

Unlike the original show’s mostly self-contained cases, the sequel features season-long story arcs. In other words, episodes connect multiple investigations and delve deeper into the personal lives of the team members.

Central to the revival has been the ongoing threat posed by Elias Voit, also known as Sicarius. Besides being guilty of his own share of crimes, Voit establishes a network of serial killers. He is currently in custody, but the network lives on, and the BAU is dealing with the fallout. As for Connor Storrie, he appears in four season 19 episodes as a man with a connection to Voit.

Criminal Minds: Evolution season 20 will likely continue in the same vein, combining standalone cases with twists related to Voit’s dark legacy. For now, you can catch season 19 weekly until late July. In the UK, new episodes are available on Disney+.

Are There Other Shows Like Criminal Minds: Evolution?

If you enjoy Criminal Minds: Evolution, you might also like Mindhunter, Bones, Castle, Hannibal, Law & Order: SVU, or Dexter.

Alternatively, check out some of the other shows trending on Disney+. The list includes Not Suitable for Work, RivalsThe Testaments, and Scrubs.

Beyond the Cliffs: How Everyday Traditions, Local Sport, and Community Life Reveal the Real Ireland in 2026

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Ireland has a way of throwing people off. Visitors show up with cliffs and castles in their heads – and fair enough, those things are real – but that version of the country sits on top of a quieter one that most outsiders never quite reach. The version where a GAA pitch on a Sunday morning has that particular smell of cut grass and anticipation. Where a trad session starts in the corner of a pub with no announcement and no fanfare, just someone taking out an instrument. Where news travels fast because everyone already knows everyone. That Ireland hasn’t gone anywhere in 2026. If anything, people are holding onto it a bit more deliberately than before.

The GAA: Not Just a Sport, Practically a Religion

Ask almost any Irish person about their GAA club and you’ll notice a particular shift in their voice. It’s not the way someone talks about a hobby. It’s closer to how they’d talk about a neighbourhood, or a family. That’s because for many people in Ireland, the two things genuinely overlap.

The Gaelic Athletic Association runs hurling, Gaelic football, camogie, and handball at every level – from primary school pitches to Croke Park in Dublin – and it does so on entirely amateur principles. Nobody gets paid. At the highest levels of county championship, players still hold day jobs; they train in the evenings, travel to away fixtures on weekends, and represent their communities with the same intensity you’d expect from professional athletes. For those who want to follow the county championship more closely – or simply enjoy the match day atmosphere with added skin in the game – using a 1xbet promo code when registering can give new users a head start without any extra spend. It’s a small thing, but on the Saturday before a county final, it can make watching feel even more electric.

County colours run deeper than most outsiders expect. Kerry in gold and green. Kilkenny in black and amber. Tipperary in blue and gold. These combinations don’t just appear on jerseys – they’re on car flags, painted walls, and shop window displays throughout the summer months. When a county is doing well in the All-Ireland Championship, that energy is hard to ignore. It spills out of every conversation in the local shop and dominates every radio programme for miles around.

Hurling: The Game That Defies Easy Description

Of all the Gaelic games, hurling tends to produce the strongest reactions in people seeing it for the first time. It is one of the oldest field sports in Europe, with origins tracing back centuries in Irish history and mythology. Players use a wooden stick called a hurley to strike a small leather ball, the sliotar, which can travel at speeds of over 150 kilometres per hour. The ball goes airborne, players leap, and the whole thing happens on a pitch that’s significantly larger than a standard football field. It’s chaotic and beautiful in equal measure.

What makes hurling particularly special in 2026 isn’t the spectacle, though – it’s the intimacy. Local club games draw crowds that would seem disproportionate for the size of the venue. A parish final in a rural county might bring out three thousand people to a ground that holds fifteen hundred. They stand along the sideline. They argue with the referee. They sing. The experience is completely unlike anything a stadium offers, and it stays with you.

Trad Sessions: Where the Real Craic Lives

If the GAA represents the sporting soul of Ireland, then the traditional music session might be its emotional one. Not the tourist-facing kind – the ones with laminated menus and bodhráns played on cue – but the real sessions, the ones that happen because musicians want to play together and a pub happens to have a corner for them.

These gatherings operate without rehearsal or setlist. A fiddle player starts a reel; others pick it up; a tin whistle joins mid-phrase; and within a minute, something is happening that nobody planned. This is how Irish traditional music has been transmitted for centuries – not through notation or formal teaching, but through presence. By sitting close enough to hear the fingering. By playing the same tune badly until you play it well.

In 2026, the session scene across Ireland is as active as it’s been in decades. County Clare is often cited as the “Home of Trad,” and the villages of Ennistymon, Doolin, and Feakle remain the epicentre of the music that Ireland is famous for. But it’s not just the west. In Dublin, venues like Devitts on Camden Street host live traditional music seven nights a week – a commitment that says something meaningful about the demand. These sessions remain a vital part of Irish cultural life – informal, welcoming, and intergenerational – where musicians of all ages gather to share tunes late into the evening.

What First-Timers Get Wrong

Walking into a trad session without knowing the unwritten rules can lead to a few awkward moments. Here’s what actually matters:

  • Don’t clap between tunes. In a proper session, sets of three or four tunes run together without pause. Wait for the end of a set.
  • Don’t make requests. Sessions are instrumental and self-directed. The musicians play what they want to play.
  • Give the musicians space. The corner or table where they’re sitting is theirs. Don’t lean in with a phone.
  • Do order a drink. The pub is hosting this for a reason.
  • Arriving early is always the better option. The good spots disappear fast once word gets out.

None of this is unfriendly – quite the opposite. It’s a code that exists because the music itself is being respected. And once you understand that, the whole experience opens up.

The Smaller Traditions That Actually Hold Things Together

There’s a tendency when writing about Irish culture to reach for the big symbols – the cliffs, the castles, the craic. But the daily traditions that actually sustain community life in Ireland are considerably quieter. They’re the coffee morning held in the GAA clubhouse every Saturday. The agricultural show where someone’s grandmother enters her soda bread and genuinely hopes to beat her neighbour. The Tidy Towns competition, where volunteers spend months painting kerbs and planting flower beds because they care what their village looks like to other people.

The following table gives a sense of how some of these regular community fixtures are distributed throughout the year in rural and semi-rural Ireland:

Time of Year Community Event What It Involves
Spring (Feb–Apr) Comhaltas music classes resume Children and adults return to weekly group sessions
Late Spring (May) Tidy Towns judging season begins Villages clean up, plant, and paint for national competition
Summer (Jun–Aug) All-Ireland Championship GAA fixtures dominate weekends; county finals draw huge crowds
August Fleadh Cheoil na hÉireann National traditional music festival, different host city each year
Autumn (Sep–Oct) Agricultural shows and ploughing championships Rural communities gather around farming heritage
Winter (Nov–Jan) Indoor music sessions, parish fundraisers Community life retreats indoors but stays active

These events don’t exist separately from each other. They’re nodes in the same network – the same volunteers who run the Tidy Towns committee also organise the Christmas fundraiser. The young lad playing hurling on Saturday is the same one learning fiddle on Tuesday. That overlap is not accidental; it’s the structure of how small communities sustain themselves.

Rural Ireland in 2026: Holding On and Moving Forward

There’s been no shortage of concern over the years about whether rural Ireland can hold its own against urbanisation and emigration. Towns that once had five pubs now have one. Post offices have closed. Schools have merged. And yet the picture in 2026 is more complex than simple decline. Some communities are genuinely thriving, precisely because people decided to stay and make things work rather than leave and wait for someone else to sort it out.

The rise of remote working since 2020 has had a measurable effect. People who might previously have relocated to Dublin for work are now living in Roscommon or Leitrim and contributing to local life in ways that were uncommon ten years ago. They’re joining GAA clubs. They’re becoming regulars at trad sessions. They’re entering kids in the local summer camp and arguing about planning decisions at county council meetings. It sounds mundane, but it adds up.

Several factors are shaping rural Irish community life in particular directions right now:

  1. Remote working: Changed where people live, which changed which communities have population.
  2. GAA investment: The association has significantly expanded youth development, bringing more children into club structures at earlier ages.
  3. Irish language revival: Gaeltacht areas and Irish-medium schools are seeing renewed interest, particularly among younger parents.
  4. Festival tourism: Events like the Fleadh and local food festivals draw visitors who spend money locally rather than funnelling through large hotel chains.
  5. Community broadband: Better connectivity in rural areas has made it easier to both work from and stay connected within smaller towns and villages.

None of this means every challenge has been resolved. Housing in particular remains a serious pressure point in many counties. But the narrative of inevitable rural decline deserves more scrutiny than it usually gets.

The Pub: Still the Centre of Everything

It would be impossible to write about Irish community life without addressing the pub – and not because of alcohol, exactly, but because of function. The Irish pub, at its best, is a community notice board, a debate chamber, a concert venue, and a place to sit alone with a book without anyone asking you to leave. It’s one of the few spaces in Irish life that manages to be simultaneously social and solitary.

In 2026, that function is being renegotiated in interesting ways. Non-alcoholic options have improved dramatically – craft sodas, zero-percent beers, proper coffee. Some pubs host book clubs on quiet Tuesday nights. Others have become informal co-working spaces in the early afternoon. And the trad session, as discussed above, pulls in a crowd that spans generations and backgrounds in a way that very few other Irish institutions still manage.

For anyone planning to spend time in Ireland and actually engage with daily life rather than just pass through it – attend a GAA match, find a real session, enter the pub quiz. None of it requires money or insider knowledge. Just showing up is usually enough. And if the county happens to be playing that weekend, using a 1xbet promo code beforehand won’t hurt the experience one bit.

Why It Still Matters

There’s something worth noting about what Ireland has managed to preserve. Not every country that went through rapid modernisation in the late twentieth century came out the other side with this many functioning community structures still intact. The GAA, the session, the parish event calendar – these things could easily have faded into nostalgia. In many places, traditions like these have. Ireland is not immune to that pressure, but it has pushed back harder than most.

That resistance isn’t purely cultural sentiment. It’s practical. Communities that have strong local institutions – sports clubs, music groups, volunteer networks – tend to cope better with economic shocks, isolation, and demographic change. Ireland’s traditions serve a social function that goes well beyond identity. In 2026, that function looks more valuable than ever.

Zegna Spring 2027 Has A Very Specific Summer in Mind

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Ever heard of villeggiatura? Italian for a picturesque vacation so long and leisurely it starts requiring generational wealth and a pause button on real life. Born among Renaissance Venetian aristocrats escaping the city heat, it later became a tradition centred on slowing down, staying put and surrendering to local rhythms. In other words, the Zegna man doesn’t go on holiday. He relocates. This season, preferably to California. New York may be the brand’s largest market, but after a month overloaded with Cruise shows and luxury fashion summer migrations, Zegna looked towards its second-largest one instead. “We let Hermès take the hills,” Gildo Zegna told Vogue. Malibu got the Italians.

Zegna Summer 2027
@zegna via Instagram

To be exact, Malibu Pier got them. Out past the pier, surfers were already circling the waves with the patience of people who had nowhere else to be, and the kind of ease that makes for a perfect background. While pelicans hovered lazily, as if also considering the cocktail selection, nearly 500 guests arrived to their Aperol Spritz-colored seats under matching parasols. Among them were Rami Malek, Roman Coppola, Andy Garcia, Easy Otabor, Scottie Pippen, and a handful of key clients, who later moved to Chateau Marmont for a buy-now, order-now version of Alessandro Sartori’s runway. The pier’s wooden boards, tired as they were, started to look oddly alive under the scene.

Zegna Summer 2027
@zegna via Instagram

The clothes, on the other hand, carried an easy-going elegance, as the brand likes to describe. “The silhouettes always fluid, with lines that gently touch the body,” said the collection’s notes. Lines, however, weren’t always that gentle with fabrics. Stripes were everywhere, discreet, obnoxious, consistent. Elsewhere, think knit shirts, slouchy cardigans, silk suits, safari jackets, detachable collars, and bermuda shorts, a go-to in menswear this season (though slightly longer than Zegna’s version). Sartori leaned on Tessitura Ubertino’s restored 1950s-60s jacquard looms, where silk, paper and cotton blends produced the collection’s textured stripes, while a new woven-leather process saw suede and napa cut into strips, spun into yarn and reworked into fabric over more than a year. You can take the man out of the city, but not the city out of the man.

Hermès Goes West with Leather, Silk, and a Californian Sunset

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Hermès just took a flight Westside and landed somewhere between the hills of Bel Air, carrying on the second chapter of its Fall/Winter 2026 collection. Craftsmanship and movement were again positioned as the guiding references, this time filtered through Nadège Vanhée’s focus on dance and performance. As the brand put it in its show caption: “Craft and choreography converge through gestures perfected over time, revealing a form of beauty. A common language emerges, uniting dancer, artisan, and woman,” I’d probably pay Los Angeles a visit too, if I wanted French control to learn how to behave in motion.

Hermes Fall 2026/2027
@hermes via Instagram

Where can someone witness an alarming amount of the hardest to find and highest-priced Birkins and Kellys in Bel Air? Everywhere, technically. But a beige sculptural installation, washed in Californian golden hour light, drifting closer to Hermès orange, built around columns, pathways, and a sign reading “Silhouettes On The Horizon,” might just be the place to be. “It has the hint of old Europe mixed with the new world, it’s a place where you reinvent yourself, where you can explore everything,” Vanhée told Vogue. That exploring began with guests including Miley Cyrus, Keke Palmer, Julia-Louis Dreyfus, and Kerry Washington, hopping on a golf cart, moving through a sharp incline, and entering a butter-yellow drenched space.

Hermes Fall 2026/2027
@hermes via Instagram

Which, in hindsight, makes sense: the show opened with a trio in the same shade, described as “jaune fauve” in the press release and, later on, as “morning” in most people’s minds. “Rouge tango” moved closer to sunset, like a red scratch along the horizon on a summer day, while “vert impérial” signaled the end of that day, pushed further by its darker tones. Those colors appeared across satin dresses with ballet-influenced construction details, velvet ones leaning into 1930s and old-world references, sparkling knit showgirl onesies, and studded biker jackets in heavily worked leather. New bags came in east-west proportions, with totes in triangular silhouettes and relaxed shoulder shapes. And don’t forget, the Hermès girl, after all, is still a horse girl. Equestrian codes simply extend into everyday dressing, even a summer night out.

Three Orchestras on One Stage

The Balkans have always been a place where history speaks louder than diplomatic formulas. This is a region of nations with strong memories, distinct identities, and characters that resist being reduced to simple narratives. It is no coincidence that, over the centuries, the Balkans have so often been seen as a space of tensions, dividing lines, and conflict.

And that is precisely why a gesture made through culture carries particular weight today.

At a time when the world once again appears confused, fragmented by confrontation and increasingly unable to sustain a calm conversation, musicians from three Balkan countries are pointing towards another possible path. Not through political slogans. Not through declarations. But through the language that begins where words so often fail.

Initiated by conductor Nayden Todorov, three state orchestras — the Sofia Philharmonic from Bulgaria, the Philharmonic of the Republic of North Macedonia, and the Thessaloniki State Symphony Orchestra from Greece — came together last year on one stage in Sofia under the sign of one simple, yet difficult word: Together. The project later continued in Thessaloniki. Now, on 20 June, this cultural line between the three countries will reach its third stop: Skopje.

Perhaps it is no coincidence that such an initiative comes precisely from Nayden Todorov. During his time as Bulgaria’s Minister of Culture, in a period of exceptional public and political turbulence, he had the opportunity to witness at close range the destructive force of division — not as an abstract concept, but as a reality that weakens institutions, societies, and human bonds. At the same time, as one of the prominent cultural leaders in the region, he understands the opposite force just as clearly: the power of unity around meaning, around culture, and around a future that cannot be built by isolated voices.

Under his baton, nearly 240 musicians will perform one of the most powerful and instantly recognisable works of the twentieth century: Carl Orff’s Carmina Burana.

The choice is not accidental. At the centre of this work stands the image of the Wheel of Fortune — forever turning, unpredictable, merciless in its rises and falls. Yet this concert carries another message as well: fate is not only something that happens to us. Sometimes it is also a direction that people choose for themselves.

If the Balkans have too often been a place from which divisions begin, today the same region can also offer a different story — one of coexistence, respect for difference, and a shared gaze towards the future.

On 20 June in Skopje, three orchestras, three countries, and hundreds of musicians will not simply perform Carmina Burana. They will stand behind an idea: that culture does not erase history, but it can offer it a more dignified horizon.

Heritage, culture and identity: the art of TP4STYLE

How do we celebrate our heritage and culture? How do we remain true to the values of our ancestors, while creating a life of our own in a different country? This is something everyone who migrates to another country or is born to parents who moved from another country struggles with. This celebration is at the heart of Temitope Ogunseitan’s art, known as TP4STYLE.

He presented three works at a recent exhibition at W3 gallery in London. His work ‘Dudu’ celebrates the strength of black womanhood and honours his West African heritage. Surrounded by fruits, she symbolises nourishment and the vitality of life, as well as the cultural heritage that passes down through generations, often from mothers to their sons and daughters. 

While in this work, the fruits are freshly cut and harvested, I’m reminded of the Dutch vanitas paintings that use fruit to remind us that life is fleeting. After all, fruit only remains fresh for a short time before it rots. While they took a different approach to the digital painting of TP4STYLE, both remind us that we should seize the day and live the life we want, as it will pass all too quickly, and if we waste it on things that don’t make us happy, then we will only regret it once it’s too late. 

Returning to the work in the show, I was particularly drawn to the muscular man with a rose for his head, titled ‘Okunrin’, meaning man in Yoruba. For me, this work addresses the question being asked worldwide about what it means to be a man or a woman today. It’s said that we’re living through a crisis of masculinity where men aren’t sure of their place in a world that’s slowly edging towards equality. 

Yet there’s also a toxic pushback from the ‘manosphere’ promoting an outdated view of masculine dominance that has no place in the world today, and presents a significant threat to women worldwide. In this work, I see recognition that masculinity also comes from being tender and caring, and from using those muscles to help and protect others. 

The use of flowers as a motif also resonated with me. They have long been associated with femininity; while most plants have both male and female reproductive organs, they are gendered only by societal norms. Men present women with flowers in romantic overtures, but it’s seldom the other way around, nor when men are meeting other men. Masculinity can be about smelling the roses and embracing the beauty of the natural world. 

The floral motif carries over to the woman in the striking yellow suit with a flower over her ear and another on her lapel. The title of the work, ‘Orisa’, references the West African deities and, in this case, the deity Osun, associated with fertility. She is a giver of life and sits neatly between the other two works. While Osun is female, many orisa sit outside Western gender norms and in them I see a call to embrace all people, however they choose to present themselves. 

We can see clear links between these three works and the artist’s wider practice, where he works with photography, sustainable fashion, textile design, and illustration. Throughout this practice, his work centres on embracing and celebrating different identities, combining his West African heritage with his experience living in the UK, to build his unique interdisciplinary style.

More information about the artist may be found on his Instagram and website.

The Cure’s New Album: Everything We Know So Far

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The Cure have been teasing their next album – and the one after it. Here’s everything we know about the Songs of a Lost World follow-up so far.

When did the Cure start teasing a new album?

In 2025, frontman Robert Smith mentioned that the band had completed a new album. He discussed it further in a recent interview with BBC 6 Music, saying, “We did the initial recording of Songs of a Lost World in 2019. We did record three albums’ worth of songs. So the second one’s done. So that’s about to be delivered to Universal. The third one is really, really upbeat. It’s really poppy.” He added, “What we’ve been putting out in the last couple of years, it’s really rockin’, it’s bangin’. But the next one, if anything, it’s more dismal than Songs of a Lost World. I mean, ‘dismal,’ that’s a horrible word to use! But it’s quite dark emotionally. It’s related to Songs Of A Lost World, but it’s a different perspective on things.”

What does Robert Smith mean by “poppy”?

Smith offered a point of comparison by mentioning Olivia Rodrigo, who enlisted him for the duet ‘what’s wrong with me’. “It doesn’t compare melodically to the stuff that Olivia does,” he clarified. “It’s more my idea of Cure pop. It’s probably 20 BPM slower than anything she does.”

When will the new album(s) be released?

There haven’t been any clues as to when the band might put out the new albums, but Smith’s statements suggest they will be released separately. Songs of a Lost World, their first LP in 16 years, came out in 2024.

This post will be updated…

Album Review: Kelsey Lu, ‘So Help Me God’

Though Kelsey Lu has kept busy since 2019’s Blood, returning to their musical identity feels like a process of homecoming. After scoring award-winning films, working across galleries, and collaborating with musicians ranging from Beverly Glenn-Copeland to Jamie xx, Lu discovered that going back to songwriting meant having to sit with uncertainty, slowness, and a lack of resolution. “While many things can serve as beautiful guides,” they recently said, “I believe that, at our core, we are made from beauty and love. Being able to return to that source feels deeply important, especially now.” Those qualities spill out of So Help Me God with painstaking precision, but even as a classically trained cellist (and therefore perfectionist), Lu is forced to resist giving them any kind of linear structure, instead gliding from “burning desire” to “volcanic gaseous tremblings” with a distinctly emotional logic. Jack Antonoff, Yves Rothman, Kim Gordon, Sampha, and more contributed to the record, but Lu never lets you forget where it’s all coming from. 


1. Reaper

Ever since Church, Kelsey Lu has made a habit of opening their records with a lengthy track that puts their hybridist ambitions on full display. The billowing haze of ‘Reaper’ is no exception; the eight-minute song is most impressive in finding an equilibrium among not only Lu’s musical instincts but those of their esteemed collaborators. As soft instrumentation builds the song up, there are echoes of Clairo’s Sling in Antonoff’s production, and if ‘A&W’ is any indication, you’d have to guess that the (admittedly way more muted) drum machine was his idea. But those flourishes wonderfully sway alongside Rothman’s own drum programming and synths, while Kamasi Washington’s saxophone essentially duets with Lu’s ethereal voice; Kim Gordon’s contribution is almost imperceptible, but still a big flex. The vocal production alone is ingenious, oscillating in temperature as the word “you” takes on different shapes throughout the song’s final stretch. 

2. Portrait of a Lady on Fire

You could sum up Celine Sciamma’s film of the same name with the two words that open the song: “burning desire.” Lu wonders aloud if the yearning is reciprocated, but Lu’s cello taps into the unspoken depths of it while Spencer Zahn’s bow bass fills out the low end. Their voice grows from a languorous simmer to nerve-fried intensity, exploring every crevice of the phrase “only for you.”

3. What Can I Do

Lu inhabits the spectral realm of want a little longer, piling up atmospheric synths while grounding them, through beautifully mixed acoustic guitars, in something pastoral and domestic. “When we are alone/ I feel I can call this home,” Lu sings, “But I wouldn’t ever tell you so/ I’d hope you’d just read between the lines.” On ‘What Can I Do’, that subtext couldn’t be closer to the foreground. 

4. Running to Pain

The first time Lu lets go of their cello on So Help Me God turns out to be its biggest release, as much of a perfect pop song in the context of the album as it was in isolation. Antonoff’s melodic touch couldn’t be more prominent, though more beguiling is the way it matches the aching fluidity of Lu’s vocals, embracing the pain they mourned on the opener. A lover may take it all away, but the tears on your face stream down as strange proof of bodily autonomy. 

5. Comfort

The track alternates between lilting verses and a radiant chorus that seems to fly too close to the sun; or, as Lu eventually puts it, “in the cradle of fire” that’s mirrored by Sam Stewart’s electric guitar. Though they sing of “too many voices in my head,” they’re not filtered or layered as theatrically as other songs; instead, they’re subsumed by the swirl of instrumentation, including strings, percussion, and brass parts from Casey MQ.

6. American Sonnet

As Lu’s piano grieves, trembles, and squeaks over delicate piano, you could imagine this as a brief instrumental interlude dividing the album in half. Instead, it becomes a centerpiece, unraveling a poem by Wanda Coleman (who gets half the credit) into a spine-tingling performance: writhing, nature-bound, and unmistakably Björkish. The eerie details in the background gradually gain mass, giving way to a drum beat that comes courtesy of – who else? – Jack Antonoff. 

7. 852

There’s a stark contrast between the poetic abstraction of ‘American Sonnet’ and the directness of ‘852’, which sits on the other side – emotionally, at least – of ‘What Can I Do’. The narrator’s selfless, all-consuming devotion overshadowed any hint of uncertainty about the relationship, leaving a dark void they can only crumble towards. “I love to hang on to the pain,” Lu reminds us, stretching the final word to its very extreme as a hushed groove echoes in the distance over Zahn’s rippling piano. 

8. Only the Lonely

Lu projects some of the blame outward on ‘Only the Lonely’, declaring, “I disagree with the way that you loved me/ I must’ve known that you wasn’t a homie.” Ari Baptiste’s frenetic programming distracts from the core of the song, though, making it feel slightly undercooked. 

9. Better Than That

A late-album highlight, ‘Better Than That’ reinstates the stately balladry of ‘American Sonnet’ before veering in a much lighter but no less sublime direction. Over a finger-snapping beat, Lu’s vocal feels unburdened, following their inner voice as it becomes almost interchangeable with that of Sampha, a kinship that can be traced back to their cover of Joni Mitchell’s ‘River’. “What’s better than rest?” Lu asks. It feels like the perfect time for it. 

10. Cutting Off the Head of the Ghost

Yet So Help Me God doesn’t lay its head to rest without drunkenly soaring one more time; or bringing Antonoff back into the fold, for that matter. His electric guitar adds heft to the song, as does [checks notes] an Italian children’s choir. The titular line makes for a punchy chorus that might be the most defiant moment in Lu’s discography. “This is the place where all the lives are planted in my eyes,” that Wanda Coleman begins; here, for a moment at least, that place is New York. But life drips through So Help Me God wherever you take it, and through its eyes every home blurs, like a choir, into one.