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Right Ways to Wear a Men’s Brown Leather Jacket This Season

Brown leather is more than just a clothing item. It is “that” piece that quietly upgrades everything around it.

Most guys have only one men’s brown leather jacket in their collection and wear it the same way every time. Same jeans. Old boots. Done. No problem with that because it always works; there is a whole range of ways to wear it that most don’t even bother with. Different cuts and the right styling techniques can give you completely new results. 

This guide covers all the must-try jacket outfits so there is no question left unanswered.

1. The No-Effort Distressed Jacket

There’s something cool about a distressed jacket that just makes sense. With its worn-in, lived-in appeal, it looks like it’s already been to so many interesting places before. 

This is how you make it work:

  • Faded black graphic tee
  • Dark indigo slim jeans 
  • Off-white high-top canvas sneakers
  • Distressed brown leather jacket
  • Black leather watch (optional)

The outfit here is simple but still elevated for the outerwear.

2. The Unapologetic Fringe Jacket

A fringe jacket is quite intimidating, which is why not every man can pull it off. But the ones who commit to it fully always turn heads. Let your western outerwear take all the limelight by keeping the rest of the ensemble simple.

Simple yet creative pieces:

  • White crew-neck tee
  • Black straight jeans
  • Dark brown leather Chelsea 
  • Fringe brown leather jacket

As plain and basic as it looks, it’s still better for layering.

3. The All-Time Favorite Leather Bomber

When most guys step into the leather jacket world, the bomber becomes one of the first picks. It makes the outfit stand out. However, the mistake most men make is always reaching for the same combination. 

This time, try:

  • Cream ribbed knit turtleneck 
  • Chocolate brown bomber
  • Dark olive cargo trousers 
  • Black leather lace-up boots 

NYC Jackets’ collection of bombers exudes the same vibe you already know, but with a version of it that looks like you actually never thought about.

4. The Outstanding Shirt Jacket 

For any man who owns a leather shirt jacket, they don’t have to think much about their outfit of the day because this clothing item takes care of every look.

Layer brown leather shirt jacket over:

  • Slim fit olive green turtleneck
  • Charcoal slim chinos 
  • Tan suede desert boots 
  • Silver watch

In simple terms, this men’s brown leather jacket works best for days when you want to look put together but still feel relaxed doing it. 

5. The Biker With An Attitude 

The brown biker jacket does more than you expect. The angled or asymmetric zip, the bold shoulders, and the wide lapels give off exactly the kind of confidence you want. 

All you have to do is:

  • Dark grey slim jeans
  • Black crew-neck tee
  • Black lace-up boots 
  • Black belt
  • Brown biker leather jacket

This leather jacket outfit is simple and easy to pull off and is sharp and clean from top to bottom.

6. The Polished Leather Blazer 

One of the most underrated styles in the whole brown leather conversation is the brown leather blazer. It gives you just the right mix of a laid-back and refined mood, which makes it pretty useful to have.

So, gather together:

  • White Oxford shirt 
  • Dark navy tailored trousers 
  • Brown leather loafers 
  • Brown leather blazer

This outfit is good for a dinner right after work, saving you a trip home to change again.

Where to Go From Here

A men’s brown leather jacket is a treasure item. It gets better the more you wear it. The leather softens, conforms to your body, and becomes the kind of layer that looks customized. 

So just pick the style and cut from the list that reflects your style and mood. Because one good jacket, when styled correctly, is worth more than five average ones worn the same way every single time.

Kings of Leon Announce New Album, Release New Single ‘My Whole World’

Kings of Leon have announced their 10th studio album, O My Beloved. The follow-up to 2024’s Can We Please Have Fun is due for release on November 6. Check out the lead single ‘My Whole World’ below.

“We have already surpassed anything we ever imagined we could do, and we’ve built something that is so special,” lead singer Caleb Followill shared in a press release. “I thought, wouldn’t it be beautiful to make an album that is looking back on all of the things that we’ve done and appreciating how we got here. In the songs, there’s our families, stories from our childhood, things that maybe didn’t seem that significant at the time, but the way they find their way into these songs kind of lets me realize how impactful they really were in my life.”

O My Beloved Cover Artwork: 

Kings of Leon O My Beloved

O My Beloved Tracklist: 

1. Intro
2. My Whole World
3. Cold Blue Dawn
4. The Hand
5. Rose
6. Make It Count
7. KOYSAR
8. Feel The Love
9. Blue Jeans and Diamonds
10. Warm Company
11. Forever Endeavor
12. Pretty Thing
14. Get You Down

Sophia Stel Announces Debut Album, Shares New Single ‘I Do’

Sophia Stel has announced her debut album, which bears the presumably tongue-in-cheek title the greatest album of all time. It’s out October 16 via A24 Music. The new single ‘I Do’ follows ‘Now I’ve Got A Lot You Know’ and ‘Molly In the Club’, and it’s pretty great. Stel co-directed the accompanying video with Aaron Lum and Scarlet Ross. Check it out below.

“The album is about believing in yourself and believing in love and is dedicated to my brothers Luke and Royce,” Stel said in a press release.

the greatest album of all time Cover Artwork:

TheGreatestAlbumofAllTime

the greatest album of all time Tracklist:

1. On My Dick
2. Molly In the Club
3. Like A Kite
4. Bitches Talk Shit
5. Better Believe It
6. I’ll Walk
7. 15 Hours Away
8. I Do
9. Wedding Song
10. Now I’ve Got A Lot You Know
11. Power
13. Burn

Earle Meets World Season 2: Cast, Rumours & Release Date

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Gen Z it girl Alix Earle got the Netflix treatment. In the vein of Keeping Up with the Kardashians, the social media star launched her own reality series that promises to take viewers behind the scenes of her life.

So far, so good. With 1.8 million views this week, Earle Meets World is among the most-watched titles on the streaming platform and a Top 10 show in eight countries. Could this mean that more episodes are on the way? Here’s what we know so far.

Earle Meets World Season 2 Release Date

At the time of writing, there’s no news about a potential Earle Meets World season 2.

That said, the show hasn’t been out for long, so a renewal might be just around the corner. Netflix sometimes waits to assess viewership before making a decision either way.

If all goes well, new episodes could arrive sometime in 2027.

Earle Meets World Cast

  • Alix Earle
  • Ashtin Earle
  • TJ Earle
  • Ashley Earle
  • Alisa Maniaci
  • Izabel Earle
  • Penelope Earle
  • Thomas James Earle II

What Is Earle Meets World About?

Alix Earle is a social media influencer. She stood out with candid TikTok Get Ready with Me videos and built a following of millions.

From there, she turned her online popularity into a career. While you might know her from Dancing with the Stars, her personal life also made headlines. That’s mainly thanks to her relationship with NFL player Braxton Berrios and her friendship/feud with Alex Cooper, the host of the popular Call Her Daddy podcast.

Her family is a major part of Alix’s public persona, so there’s no wonder they joined her for Earle Meets World. The reality series centres on Earle and her entourage as they navigate the pressures of fame, love, family, and everything in between. Viewers can tune in to see how she deals with hardship and the scrutiny that comes with being in the public eye.

Major plot points of the first season include Earle processing her breakup with Berrios and trying to figure out what she wants to do next. Her family’s history becomes a major storyline, you see Earle navigate bad news, and the influencer’s love life becomes complicated. Finally, Earle briefly addresses her falling-out with Cooper.

A potential Earle Meets World season 2 would likely continue in the same vein, following Earle and her loved ones as ups and downs come their way. Based on her social media following, interest is clearly high.

Are There Other Shows Like Earle Meets World?

If you enjoyed Earle Meets World, check out some of the other non-fiction content streaming on Netflix. Like Selling Sunset, Death of the Pastor’s Wife, Kylie, Victoria Beckham, Being Gordon Ramsay, or At Home With The Furys.

How Sweepstakes Casinos Came to Be

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Log into almost any US-facing sweepstakes casino today, and the pitch sounds almost too simple: Buy virtual coins for fun, receive a second set of coins for free, and if the free coins win, cash them out.

No state gambling license. No physical casino floor. No traditional casino deposit process.

It can look like a modern invention built for the app-store generation. It is not.

The model is a legal workaround with roots in an entirely different era of American consumer law. It was first repurposed for strip-mall computer cafés and later adapted for websites and smartphones.

A promotional loophole, repurposed

US sweepstakes law has traditionally rested on one central idea: A company can run a prize giveaway connected to a product, as long as no one is required to pay to enter.

That is why cereal boxes have included mail-in contests for decades, and why fast-food chains can hand out lottery-style game pieces with a purchase.

As long as a free method of entry exists alongside a paid option, courts have generally treated the activity as marketing or promotion rather than gambling.

Today’s top sweepstakes casinos are direct descendants of that logic. The difference is that the promotion is no longer tied to soda bottle caps, cereal boxes, internet access, or phone cards. It is tied to online slots, roulette, blackjack, and other casino-style games.

The entire industry hinges on the “no purchase necessary” exemption found in long-standing sweepstakes and promotional-contest laws—applied in a setting legislators did not originally anticipate.

Strip malls before smartphones

The first large-scale version of this idea did not appear on mobile phones. It appeared in strip malls.

Throughout the 2000s and early 2010s, so-called internet sweepstakes cafés spread across the United States. These businesses offered rows of computers where customers could buy internet time, phone cards, or other products.

With those purchases, customers received sweepstakes entries. The prizes were then revealed through slot-machine-like spins or casino-style games on a computer screen.

Operators argued that they were selling a legitimate product—such as internet access—and that the casino-like games were merely an incidental promotional display.

The model grew into a multibillion-dollar cottage industry, despite frequent police raids and regulatory challenges.

States pushed back

States responded unevenly:

  • Florida banned internet sweepstakes cafés outright in 2013 after a corruption scandal involving a veterans’ charity led to the resignation of the state’s lieutenant governor.
  • North Carolina attempted a similar ban, but part of its law was struck down on First Amendment grounds because it targeted the “entertaining display” of results rather than the underlying transaction.
  • Operators then adapted their systems so that prizes were technically revealed before the game animation appeared. This became known as pre-reveal.

That created the cat-and-mouse pattern that still defines the sector today: regulators write rules, operators adjust the mechanics, and lawmakers try again.

From strip malls to Chumba

The version most players recognise today can largely be traced to one Australian company: VGW.

Founded in Perth in 2010 by Laurence Escalante, VGW later launched Chumba Casino in 2012. Its system combined a casino-style gaming platform with a sweepstakes structure.

Instead of sitting at a computer in a strip mall, players used a website. Instead of using one kind of virtual currency, they used two:

  • Gold Coins: Used for entertainment only and cannot be redeemed for cash.
  • Sweeps Coins: Available through free methods such as daily bonuses or mail-in requests, and potentially redeemable for cash prizes after play-through and verification requirements are met.

The underlying legal concept was similar to the internet café model. The distribution method was what changed.

Chumba’s dual-currency structure became the template that much of the industry copied. Operators generally frame paid Gold Coins as entertainment-only purchases, while Sweeps Coins are the promotional currency that may lead to redeemable prizes.

This distinction is intended to avoid classifying the transaction as a direct real-money wager under many state gambling laws.

Why players keep coming back

Sweepstakes casinos manage to fly under the radar in states that have banned regular online gambling. They’re the best choice for players with no other online options. However, they attract a broader audience because of free-play options. Players keep coming back.

Wider availability

The most obvious appeal is location.

Only a small number of US states license traditional real-money online casinos. Someone in a state such as Texas or Georgia generally cannot legally access regulated online slots for real money.

Sweepstakes casinos aim to offer a casino-like alternative in states where ordinary online casino gambling is unavailable, provided sweepstakes promotions are permitted there. Although laws are constantly changing and some now ban sweepstakes, most still allow them.

Low barrier to entry

There is also less psychological friction:

  • Signing up is free.
  • Free virtual coins are often available at registration or through daily bonuses.
  • Free-play modes look and feel like ordinary mobile games.
  • Small coin packages can feel more like in-app purchases than casino deposits.

A player does not necessarily make one clear, deliberate decision to deposit money into a gambling account. Spending can happen gradually through repeated purchases of virtual currency.

It still feels like gambling

That framing matters.

A 2025 American Gaming Association survey of 2,250 players found that:

  • 90% of sweepstakes casino players considered what they were doing to be gambling.
  • 68% said that winning real money was their main reason for playing.

In other words, players are not necessarily attracted because they see the activity as harmless social gaming. They are attracted because it functions much like a casino, is easier to access than a licensed one, and may feel less intimidating at the start.

An unsettled future

The legal position is not stable.

A growing number of states—including California, Connecticut, and Montana—have moved to restrict or ban parts of the sweepstakes-casino model. Elsewhere, state attorneys general, lawmakers, and regulators are scrutinizing whether these platforms are genuinely promotional sweepstakes or simply unlicensed gambling under another name.

The result is a fragmented and fast-changing legal landscape.

Whether sweepstakes casinos continue expanding or become limited to a smaller number of states will likely depend less on player demand and more on how state legislatures and attorneys general interpret an old promotional-law loophole in a new online-gambling context.

How Fetish Culture Became More Mainstream

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There was a time when fetish culture lived mostly behind closed doors, whispered about in private clubs, or tucked away in specialist shops.

Now? Latex appears on red carpets. Musicians dressed as dominatrixes turn up in music videos. Chokers, harnesses, leather, and PVC outfits are worn by people who have probably never once had to explain a safeword. Kink has moved from the shadows into fashion, entertainment, dating apps, social media, and everyday conversation.

So how did fetish culture become more mainstream? Well, it didn’t happen overnight… that’s for sure. Here’s how the world of kink went from underground curiosity to something even your grandparents are (worryingly) aware of.

When Fetish Culture Was Still Underground

Before fetish culture became easy to find online, it was far more hidden, local, and word-of-mouth. To find anything BDSM-related, you usually had to know someone, find the right bar, buy the right magazine, visit the right shop, or quietly work your way into a scene that was not exactly advertising itself on the high street.

Much of modern BDSM culture grew out of smaller leather, gay, queer, fetish, and underground club communities. Leather bars, private parties, motorcycle clubs, specialist publications, and discreet social networks all helped people find each other before the internet made everything searchable. These spaces had their own rules, signals, etiquette, dress codes, hierarchies, and expectations.

Some of that might sound a little extreme in this day and age, but when your sexuality could cost you your reputation, job, relationship, or even legal safety, discretion was survival. The UK’s Operation Spanner case in the late 1980s, which involved police action around consensual same-sex sadomasochistic activity, is a good example of why BDSM communities had reason to stay careful and semi-private.

That underground structure created strong communities, but it also made fetish culture difficult to enter. If you had, say, a fantasy about being tied up, you might spend years thinking you were strange simply because you had no easy way to meet anyone else who felt the same. Today, that same person can find terminology, forums, events, professional Mistresses, safety guides, and entire communities in one evening.

And Then Came The Internet

If fetish culture had a proper coming-out moment, the internet probably deserves most of the credit. Suddenly, people could search for BDSM, foot worship, femdom, bondage, and every other wonderfully specific little interest without having to say the words out loud to another human being.

That mattered because anonymity gave people room to be curious. Forums, chat rooms, blogs, educational sites, fetish directories, and later platforms like FetLife helped people realise they were not alone. What once felt like a private oddity became a shared interest with language, etiquette, communities, events, roles, and endless variations.

In short, the internet gave people the means and motivation needed to explore their kinks safely.

How Latex, Leather & Harnesses Took Over Fashion

Fashion has always loved stealing from the dangerous-looking corners of culture, and fetish wear has been one of its favourite victims.

Leather, latex, corsets, chokers, thigh-high boots, collars, harnesses, gloves, PVC, bondage straps, and sharply structured silhouettes all existed in fetish spaces long before they appeared on runways and red carpets. But high fashion realised very quickly that fetish imagery has power. It looks provocative. It looks controlled. It suggests danger, sex, confidence, discipline, and rebellion before anyone has even opened their mouth.

Designers such as Vivienne Westwood, Jean Paul Gaultier, Alexander McQueen, Mugler, and many others helped pull elements of fetish styling into mainstream fashion. Corsetry became glamorous rather than purely restrictive… harnesses became styling pieces… even latex moved from specialist fetish wardrobes to music videos and celebrity shoots. Chokers, once strongly associated with punk, goth, BDSM, and alternative fashion, became something people wore to brunch.

Film, TV & the Fifty Shades Effect

We cannot talk about mainstream kink without mentioning Fifty Shades of Grey. Yes, half the BDSM community had opinions… very strong opinions spoken through gritted teeth. Still, whether people loved it, hated it, or read it in secret on holiday, Fifty Shades changed the conversation. It put dominance, submission, restraint, spanking, contracts, red rooms, and sexual power exchange into book clubs, cinemas, daytime television debates, and ordinary relationships where kink had never been discussed before.

Was it a perfect representation of BDSM? No. Did it make millions of people curious? Absolutely. But Fifty Shades was only one part of a much bigger media shift. TV shows, films, music videos, podcasts, documentaries, and online articles began treating kink like something real adults might explore. Certain fetishes and examples of power exchange started appearing in storylines without always being framed as monstrous or deviant.

Social Media Made Kink More Visible

Instead of having to search for a specific BDSM forum, people began seeing kink-adjacent content in their feeds. This included the likes of latex outfits, pole performers, rope artists, dominatrix education, boudoir photography, and plenty of meme pages joking about praise kink and degradation.  Not all of that content is serious BDSM, obviously, but watered-down visibility is still visibility at the end of the day. It makes fetish terminology more familiar, and gives people language for desires they may not have understood before.

The creator economy also played a huge role. Platforms like OnlyFans, clip sites, premium socials, and independent adult content gave fetish creators a way to build audiences around very specific interests. Suddenly, niche kinks were searchable, marketable, and in some cases extremely profitable. When you see thousands of others openly discussing foot worship, latex, chastity, femdom, pet play, impact play, or financial domination, it becomes harder to convince yourself that your fantasy is some lonely little secret no one else understands.

Why Fetishes Are No Longer Treated the Same Way

One of the biggest changes behind the scenes has been psychological and cultural rather than visual. For a long time, fetish interests were treated very differently by medical and social institutions. Anything outside conventional sexuality was often labelled as abnormal, deviant, unhealthy, or something that needed to be corrected. That attitude made people ashamed of desires that, in many cases, were harmless when explored between consenting adults.

Modern thinking is a lot more nuanced. There’s now a clearer distinction between having an unusual sexual interest and having a disorder. A fetish, kink, or paraphilia is not automatically treated as a problem simply because it’s unusual. The more important questions are whether everyone involved is consenting, whether the behaviour causes distress or harm, and whether boundaries are being respected. It also supports the wider sex-positive movement, where adults are encouraged to understand their desires honestly rather than burying them under shame.

Fetish Events Became Bigger, Bolder & More Public

Large-scale fetish events, club nights, pride-adjacent leather gatherings, BDSM markets, rope workshops, latex balls, and alternative nightlife events gave kink a physical presence. No longer were these just secret gatherings hidden in basements. Many became organised, ticketed, visible events with dress codes, performers, DJs, vendors, workshops, photographers, security, and proper rules around consent.

Events like Torture Garden helped make fetish nightlife feel theatrical, stylish, and social rather than purely sexual. In other countries, huge gatherings such as Folsom Street Fair showed that kink communities could take up public space openly, loudly, and with a frankly impressive amount of leather in direct sunlight. After some time, people began to understand that fetish culture was not just one thing. It could be nightlife. Fashion. Community. Education. Performance. Art. Sexual exploration. Political visibility. A place to meet people. A place to learn. A place to be stared at for the right reasons.

Dating Apps & Modern Dating Made Kink Easier to Discuss

There was once a time when telling someone you were into BDSM meant waiting until precisely the right moment, choosing your words carefully, and hoping they didn’t look at you like you were some freak. Now, plenty of people put kink references directly into dating profiles on platforms like Feeld. “Switch.” “Sub leaning.” “Domme.” “Open-minded.” “Praise kink.” “Into rope.” These little clues have made it much easier for people to find partners who are at least willing to talk about desire more openly.

Modern relationships have also become more comfortable with negotiation. People talk about boundaries, turn-ons, communication styles, emotional needs, sexual compatibility, open relationships, non-monogamy, and power exchange more than previous generations often did.  Once people have the language, the next step becomes easier. And once the next step feels easier, suddenly fetish culture becomes a lot more normalised.

How Professional Dominatrixes Helped

As fetish culture became more visible, experienced Mistresses started appearing in documentaries, interviews, podcasts, blogs, social media posts and educational spaces, explaining what domination actually involves. They helped put proper language around things like submission, humiliation, restraint, worship, discipline, safewords, boundaries and aftercare. For many people, a Pro Domme is the first real-world example they see of BDSM being practised with confidence, structure, rules and consent

Professional mistress websites like Bed Domination also helped normalise fetish exploration. Instead of someone having to find a hidden club or know the right person, they could browse services, read about different kinks, learn what a session might involve and see that BDSM could be explored privately with someone experienced. That accessibility made fetish culture feel far less intimidating to newcomers.

So while fashion, media and the internet all helped fetish culture become more visible, professional mistresses helped make it understandable. They showed that BDSM can be skilled, negotiated, erotic, theatrical, educational and, when done properly, far more controlled than outsiders usually imagine.

Fetish Culture is Here to Stay

Fetish culture became more mainstream because the routes into kink changed. People found each other online, fashion borrowed the look, media pushed BDSM into everyday conversation, public events became more visible, and modern attitudes towards sex became less painfully narrow. What was once hidden behind private clubs, specialist shops, and quiet word-of-mouth networks slowly became easier to see, discuss, understand, and explore.

Kink was always there. The difference is that now, far more people know where to find it.

The Gentlemen Season 3: Cast, Rumours & Release Date

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British aristocracy and organised crime mix well in The Gentlemen, the Guy Ritchie Netflix spin-off of his film of the same name. After a two-year break, the series is back with season 2. We’re happy to report it hasn’t lost any of its spark.

With 6.7 million views this week, The Gentlemen is currently one of the most-watched titles on Netflix, and the #1 show in 24 countries. Does that mean more episodes are just around the corner? Here’s what we know so far.

The Gentlemen Season 3 Release Date

If you’re in desperate need of good news, you’re in luck. Netflix has already renewed the series, so The Gentlemen season 3 is on the way.

“The ambition of The Gentlemen has accelerated, the world has expanded, and the consequences carry weight. A third season felt inevitable, and I’m looking forward to pushing the boundaries of it further,” creator and director Guy Ritchie told Tudum.

There’s no official premiere date yet, but new episodes could arrive in late 2027 or sometime in 2028.

The Gentlemen Cast

  • Theo James as Edward “Eddie” Horniman
  • Kaya Scodelario as Susan “Susie” Glass
  • Daniel Ings as Lord Frederick “Freddy” Horniman
  • Joely Richardson as Sabrina Horniman
  • Vinnie Jones as Geoffrey Seacombe
  • Giancarlo Esposito as Stanley Johnston
  • Ray Winstone as Robert “Bobby” Glass
  • Michele Morrone as Francesco “Cico” Maldini

What Could Happen in The Gentlemen Season 3?

The Gentlemen follows Eddie, an Englishman who inherits his family’s sprawling estate. He discovers that the property is part of a lucrative cannabis empire run by crime boss Bobby.

While Eddie initially wants nothing to do with the operation, getting the gangsters off his land proves more complicated than expected. Before long, he’s drawn deeper into the underworld, working alongside Bobby’s daughter, Susie.

In season 2, Eddie and Susie expand the empire beyond Britain to Italy. Unfortunately, their success means new enemies and increasingly complicated alliances. The fresh episodes have action, humour, romance, tragedy, and family drama. By the time the finale rolls around, it’s obvious that Eddie is no longer the reluctant aristocrat he was at the beginning of the story.

The Gentlemen season 3 will likely continue to see him grow his business at a high personal cost. “Has he gone mad or is he moving towards a place where he could be this ruthless leader who is capable of extraordinary things?” lead writer Matthew Read wondered about Eddie when asked what’s next.

We can’t wait to find out.

Are There Other Shows Like The Gentlemen?

Enjoying The Gentlemen? Shows with similar vibes include Black Doves, Bloodhounds, Lupin, Dept. Q, Peaky Blinders, and Berlin.

Julien Baker’s New Album: Everything We Know So Far

Julien Baker has been teasing her fourth solo album, the follow-up to 2021’s Little Oblivions. Here’s everything we know so far.

What is the title of the album?

For now, we can only refer to the album as LP4. Though no details have yet been announced, Baker launched a brand new Instagram account in early September. She only three other accounts there, including regular collaborators Matthew Gilliam and Calvin Lauber.

Have there been any musical teasers yet?

No. Baker has posted a couple of videos of herself in a practice, though they cut off before any music is heard.

Has Julien Baker performed any new songs live?

Yes. On September 9, the singer-songwriter played a pop-up show at Nashville’s Blue Room, where she debuted three new songs.

Will there be more shows?

Just a day after her sold-out show at Nashville’s The Blue Room, Baker announced a series of residencies this fall, playing three-night runs in Salt Lake City, Cambridge, Carrboro, Athens, Lawrence, and Seattle. The trek will kick off on October 15 and wrap up November 21. Matt Gilman and Calvin Lauber will be joining her.

What’s kept her busy since releasing Little Oblivions?

In 2022, Baker released B-Sides, a three-song EP drawn from that album’s sessions. The following year, she reunited with her boygenius bandmates Phoebe Bridgers and Lucy Dacus, releasing The Record in March 2023, and The Rest EP in October. The supergroup toured extensively and won three Grammys for the record. Baker then went on a 2024 solo tour, where she debuted some new material. Last year, Baker joined forces with Torres (Mackenzie Scott) for the alt-country record Send a Prayer My Way. Also in 2025, she produced the Ophelias’ Spring Grove. More recently, she’s guested on a number of projects, including Bridgers’ Lost Weekend and Turnstile’s Never Enough: Versions.

This post will be updated…

Words by Sasha Ryabchik – The Unspoken

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By Maria Bregman, a London-based art critic, writer, and curator. She has curated solo exhibitions for Zurab Tsereteli, president of a leading national academy of arts, and her criticism has been published in outlets such as ArtCulture.UK, Creativity’s UK, and international editions of ELLE, Cosmopolitan and Esquire. A member of several professional writers’ and journalists’ unions, her own literary work has been recognised with multiple international awards.


The works of Sasha Ryabchik are situated in the uncertain space between spoken and unspoken words. Here, language cannot stay within the boundaries of illustration anymore. Words are seen in the form of phrases that emerge as hints of a confession not completed, of a response delayed and of an incomplete idea. Words are painted, repeated, scratched out and partially hidden. They turn into something just as physical as the paint strokes themselves. Sasha Ryabchik’s artworks are the expression of a situation in which the emotion surpasses the language necessary to embrace it.

The tension between the two aspects is particularly evident in the artwork titled No Words Needed. The phrase is written in black over a light background of white, mint, blue and soft pink colors. At first glance, it seems peaceful or soothing in its suggestion. But beneath the phrase, there is a thick cluster of black loops, gathered with an intensity that appears almost violent. It can be viewed as a flower, a wild scribble or an emotional bundle gone out of control. Language is unnecessary here, but the paint tells us otherwise. There is an urgent necessity of communication here.

Sasha Ryabchik, No Words Needed. Courtesy of the artist.

In the case of Just Live a Little, the psychological struggle finds expression in particularly clear terms. To the left we see the words “REGRETS”, “SADNESS”, “FEAR”, “CONFUSION”, “UNCERTAINTY” and “SHAME” that are thoroughly crossed out in black letters. On the right panel, the less severe phrase “Just live a little” is floating on the background that consists of pink, red, gold and white tones. The difference is obvious, but Ryabchik does not provide an easy juxtaposition of suffering and healing. Instead, the erased words are still clearly visible under the black strokes which seem to be aimed at erasing them.

Therefore, the invitation to “just live a little” sounds tender and vulnerable. It does not solve the more negative vocabulary that is seen on the opposite panel; it exists side by side with it. The use of paint is consistent with this interpretation because scraped layers, transparency and sudden explosions of colours demonstrate that the emotions can be painted but not erased.

Sasha Ryabchik, Just Live a Little (diptych). Courtesy of the artist.

In other cases, repetition becomes a means of longing. Thus, in Thinking of You, the words are repeatedly written one after another in front of the layered dark background with interruptions of white and vivid pink elements.

Sasha Ryabchik, Thinking of You. Courtesy of the artist.

“You make me feel like…” is another variation on this theme and comes from a similar emotional place, even though its function is different. In this case, an incomplete phrase is set against the background of a deep navy blue and thus does not give a name to that particular feeling. The painting then shifts to white strokes, splashes of cyan, red, yellow, and transparent paint in place of words. There is no need for solving the phrase; on the contrary, it generates a space where a few emotions could coexist.

Sasha Ryabchik, You make me feel like… Courtesy of the artist.

In the purely abstract paintings by Ryabchik, there is the same kind of tension, but without words. This is how a painting with a black shape and a red handprint works. Here, the hand is used to deliver the first message of presence – a touch, a warning or even a protest. At the same time, it is partly swallowed by the darkness around it, and so it stays somewhere between self-expression and concealment.

Sasha Ryabchik, untitled. Courtesy of the artist.

The accomplishment of Ryabchik lies in the fact that she makes words act like paint and paint act like words. Her sentences do not describe her paintings; rather, they are dissolved within them, where color, pressure, repetition and erasure have equal value. The image that lingers with us is a residue of the work: an unfinished sentence, a crossed-out word that can still be read, a gesture left unsaid.

20 New Songs Out Today to Listen To: Soul Glo, Deerhoof, and More

There’s so much music coming out all the time that it’s hard to keep track. On those days when the influx of new tracks is particularly overwhelming, we sift through the noise to bring you a curated list of the most interesting new releases (the best of which will be added to our Best New Songs playlist). Below, check out our track roundup for Wednesday, September 9, 2026.


Soul Glo – ‘February Theory’

Soul Glo have announced a new LP, NA I’M GON GRAB ALLAT, which arrives on January 15 on Epitaph. The Diaspora Problems follow-up features TV on the Radio’s Tunde Adebimpe, Oxbow’s Eugene Robinson, Commitment’s Tati Salazar, MIKE and Bbymutha, and Mannequin Pussy’s Colins “Bear” Regisford. Regisford and his bandmates also star in the video for the ferocious lead single ‘February Theory’. Frontman Pierce Jordan dedicates the album to “everyone who has known the joy and pain of loving a man. All different types of love: platonic, romantic, familial, self.”

Deerhoof – ‘Sun Like It Hot’

Deerhoof have a new album on the way. Following last year’s Noble and Godlike in Ruin, Divine Schism will be self-released on October 2. It will be available digitally on Bandcamp, and the physical release will be tour-only. The blistering 12-minute opening track ‘Sun Like It Hot’ leads the LP, whose description reads: “A child looks for a mother to communicate with, but can’t quite tune in. So many distractions in the vastness of space. The child is desperate for a mother’s love. The mother thinks the child has hidden itself deliberately as a show of independence. The mother doesn’t realize that she is needed. The child has been too childish. It has been behaving so badly as to make itself go extinct faster than it needed to. A mother outliving a child is sad, but that’s how it goes. Mom wins after all…living long enough to see the tragedy of many children.”

The War on Drugs – ‘Who’s That’

‘Who’s That’ is pretty much exactly what you’d expect from the return of the War on Drugs, and that’s a good thing. Wide-eyed and soaring, the band’s first new music in four years “was written in 10 minutes somewhere between first coffee and school drop off,” according to bandleader Adam Granduciel. “It’s a song about trying to love yourself despite things we can’t always control, like the anxiety, depression and self doubt that may stand in the way of living the life we truly desire.”

This Is Lorelei – ‘The Kid With the Crown’

We’ll have more to say about the great new This Is Lorelei album very soon, but ahead of its release on Friday, Nate Amos has dropped one more intoxicating single, ‘The Kid With the Crown’. The track “is the opposite of ‘Oh No Now My’,” he explained, referring to The Singer in My Band‘s previous single, “in that it was plucked and preserved at an early age. The album needed an untied shoelace and this is what I came up with.”

The Avalanches – ‘Far Away’ [feat. John Glacier & Khadija Al Hanafi]

After unveiling the tracklist of their new album No Bad Memories, the Avalanches have shared an intimate dance track, ‘Far Away’, which features UK rapper John Glacier and Tunisian footwork producer Khadija Khadija Al Hanafi. It follows ‘Can’t Get Over Losing You’ featuring Portraits of Tracy, ‘Blue Shadows’ featuring Karen O, ‘Every Single Weekend’ with Jamie xx, and ‘Together’ with Nikki Nair, Jessy Lanza and Prentiss.

Jess Williamson – ‘High Heels and Blue Jeans’

Jess Williamson has unveiled ‘High Heels and Blue Jeans’, a pensive yet affirming cut from her forthcoming album, A Mile South of Heaven. “Being on tour has its own special way of amplifying whatever else is going on in your life, and this song was inspired by times on the road over the years when things felt hard,” Williamson explained. “There are moments in life, for us women especially, when the only way through is to put your makeup on, get dressed up, and carry on. I’ve had nights on tour where I was going through something in my personal life and fighting back tears trying to do my eyeliner before a show. I feel a big responsibility to the audience to give them the best show I can, and an even deeper gratitude that they showed up in the first place. So no matter what I’m carrying, it’s on with the show. I wanted the chorus to feel like a celebration because that’s exactly what being onstage is for me. Whatever else is happening in my life, I never lose sight of what a privilege it is to get to do this job.”

Lucy Dacus – ‘No Thank You, I Love You, Goodbye’

Lucy Dacus is reissuing her debut album, No Burden, to celebrate its 10th anniversary. To mark the announcement, the singer-songwriter has unveiled the previously unreleased fan-favourite ‘No Thank You, I Love You, Goodbye’.

Chastity Belt – ‘I Could Say Less’ and ‘Pavement’

Chastity Belt are back with two new songs, ‘I Could Say Less’ and ‘Pavement’. Both are quite melancholic, but build out in different ways. According to a press release, “The A-side sparked while the band crafted demos in Washington, grappling with wanting to be perceived while feeling flattened by misunderstanding. ‘Pavement’ came to life on tour in Australia, inspired by feelings of disappointment during an otherwise exciting time.”

Max Richter – ‘Now We Can Sing’

Max Richter has announced a new album, While the Flood Rages, which is set for release on October 16 via Decca Records. The record draws from a collaborative score with Wayne McGregor titled MaddAddam, which was co-commissioned by the National Ballet of Canada and the Royal Opera House. The impeccably serene title track is out today.

Liars – ‘Ice Pick, Kalamazoo’

Liars have announced a new album titled A Ban on Plastic Bag Bans, which drops on March 5 on Mute. The ominous, disorienting single ‘Ice Pick, Kalamazoo’ leads the LP, which takes its name from an actual Michigan law. In a press release, frontman Angus Andrew said the record has “more to do with the perception of things than modern pollution — how these things that can be a constant in your life become sort of ingrained and invisible.”

Niis – ‘Earthquakes’

Los Angeles band Niis have signed to Rise Records, which will release their new EP, Play Niis, on October 23. The bouncy lead single ‘Earthquakes’ arrives today with a video directed by Jake Woodbridge. “It’s a song about growing through pain and heartbreak,” vocalist Mimi Doe explained. “Coming to terms with lost love and the profound scars it can leave on your heart. In a way, it’s a love letter to heartbreak itself. Working with Rise has been a dream. They truly are a label who have cultivated such an amazing environment for us to thrive and experiment.”

Sadurn – ‘can’t stop’

Sadurn have unveiled ‘can’t stop’, a hushed, affecting preview of their forthcoming album Underworld. “I made ‘can’t stop’ on GarageBand – it was supposed to be a demo that we recreated to be more nice and official, but the feel just wasn’t the same, so we kept the original,” songwriter G DeGroot recalled. “I’m proud of that. It has some reversed pedal steel on it, and there’s this one vocal sample at the end from a time some friends were singing in a tunnel in the woods – the same tunnel is featured on the cover of the album, which feels significant in this secret little way. The song speaks to the feeling of being stuck on a past relationship, revisiting things over and over and looking for glimmers of hope that it could be real again. This is a big theme in the album – being stuck on the past – although each song has its own subtle emotional valence to that experience.”

Jess Kerber – ‘Changing’

Nashville artist Jess Kerber has announced a new album, The World Is Dark, but I Want It to Be Funny, arriving November 6 through Felte. The gorgeously poignant lead single ‘Changing’ is out today. “Everything is always cycling through, big and small, and in these songs I am realizing how much energy even little things require,” Kerber said of the song.

Soft Cell – ‘The Rainbow Room’

Soft Cell deliver an ode to early 80s New York on their latest single, ‘The Rainbow Room’, from the forthcoming Danceteria. “And I did celebrate my birthday – my 21st or 22nd – at The Rainbow Room in the Rockefeller Center…” frontman Marc Almond told John Earls at Classic Pop. “The story of that view is true, too, I really did think: ‘Imagine falling down there’ at the time. It was important to mention the Twin Towers, to acknowledge that this song about the future had a poignancy to it, knowing how dark that future would become.”

BODEGA – ‘Literary World’

New York outfit BODEGA have previewed their upcoming LP All Inside Aquarium with a dreamy, anthemic new single, ‘Literary World’. “Regardless of neoliberal propaganda, I believe in the dignity of the artist,” vocalist Ben Hozie reflected. “I also believe it is the duty of an artist to emerge new ways of thinking and being, which extends far beyond ideological didacticism. This isn’t an argument for apolitical art —> The modern artist should work alongside the rising global political consciousness (brought about by new tech and the revelation of extreme injustice) not only through practical action (such as sharing information or raising money with their audience) but through empathetic honest works that imagine alternative modalities.”

Gurriers – ‘Pins’

Dublin’s Gurriers continue to tease their forthcoming album, Nobody’s Coming To Save You, with the swaggering ‘Pins’. The LP lands September 25 via their new label home, Play It Again Sam.

June McDoom – ‘Get Out of My Life’

June McDoom has shared an enchanting new single, ‘Get Out Of My Life’, from her upcoming debut full-length, Follow the Light. The track comes paired with a music video directed by Bella Newman.

Hour – ‘Pearls’

Hour have unveiled ‘Pearls’, the second offering from their forthcoming record Ghost Bridge, arriving October 9 via Dear Life Records. It’s accompanied by a music video by William H. Travis filmed at the first full band rehearsal for the album. “Anyone who has tried to schedule anything can appreciate the precarity of getting thirteen musicians plus two photographers to be in the same place at the same time,” bandleader Cormier-O’Leary commented. “I’m proud to say we managed to get nearly everyone–shout out to our flute player Adelyn who was on tour in Europe with Skullcrusher when this filmed. We missed her a lot.”

Sylvie – ‘Rina’

Sylvie – the project of Los Angeles artist Ben Schwab – has announced their new album and first for Ghostly International, New Season, out November 6. The breezy new single ‘Rina’ was originally written by Ben’s father, John Schwab of Mad Anthony, and features vocals by collaborator Alex Amen. “‘Rina’ is an all-time favorite,” Schwab explained. “It was tough to record because I wanted to honor the original my dad wrote while bringing something new to it. Rina reminds me of the beauty and strength found in people the world overlooks. Alex understood that and gave the song exactly the touch it needed.” Amen added: “I’ve loved this song since the first time I heard it off the Mad Anthony tapes. As a song, the writing is about as good as it gets… the chords, the melody, the lyrics. It’s just perfect all around. It’s one of those rediscovered songs that makes you wonder how many other timeless things have been written and recorded and are just collecting dust in some warehouse or closet on some forgotten tape. I’m really excited to have been able to sing on this new version of Rina and hope the song finds a new life and can reach new ears.”