Digital culture is really changing course. The internet’s obsession with youth and novelty gives way to something more grounded: confidence, experience and a creative voice that doesn’t fade with age.
In an attention-addicted world of fast trends and fleeting fame, maturity can really seem invigoratingly scarce. Aging creators redefine influence by speaking truth and prioritizing substance over style.
Their narratives really refresh audiences with the understanding that real presence online isn’t because of photo edits or fans, it’s about knowing yourself, your values and how you decide to present them. Such confidence cannot be replicated or taught; it’s earned through time and experience.
In today’s attention culture, groundedness has become the most potent influence.
Redefining Influence Through Experience
The speed of internet culture bred a hunger for realness. Established creators really satisfy those pangs of hunger through substance and consistency. Influence derives not through gleeful self-aggrandizement but through enduring, relatable story-telling.
Rather than seeking viral trends, these content creators bring viewers into an experience-based world, not an experimental world. They post on purpose, not impulse. They get that people are really looking for connection, not grandstanding.
This shift heralds something significant: creativity no longer gets shelved by age. It gets turbocharged.
The Rise of Milf Models and Their Quiet Cultural Shift
In the adult-content space, milf OnlyFans models have really redefined visibility and self-expression. What was once a stereotype has become a statement of independence and control. These women aren’t just performers but entrepreneurs shaping digital intimacy on their own terms.
Their confidence attracts not just attention but respect. They appropriately challenge how age and sensuality are viewed, proving that allure doesn’t expire; it evolves. Their online communities are built on trust, humour and authenticity, creating spaces that feel human rather than transactional.
Through these creators, maturity becomes art, a form of expression defined by self-awareness rather than rebellion.
The Discovery Role of Fans Central
Meanwhile, discovery platforms like Fans Central have become very essential gateways for audiences exploring diverse profiles and creative identities. The platform doesn’t just curate; it connects. It offers visibility to creators across generations, reshaping how digital artistry is found and valued.
For many artists, this kind of exposure is transformative. It turns overlooked niches into vibrant communities, allowing mature voices to coexist with younger counterparts rather than compete against them.
Fans Central points out how algorithms might be utilized to amplify, not shut out and highlight those previously disregarded in digital culture.
Maturity as Style, Confidence and Craft
To be “mature” online is no longer an afterthought; it’s a statement. It’s the aesthetic of knowing what matters and filtering out the rest. Older creators use tone, composition and restraint as their creative language. Their presence is measured but magnetic.
They post for meaning, not metrics.
They speak with clarity, not clutter.
They build depth, not dependency.
This balance has become rare currency in digital spaces. In an era of constant noise, holding attention through calm confidence feels revolutionary. The mature creator doesn’t chase relevance; they embody it naturally through honesty and self-assurance.
The Emergence of the ‘Hot Moms’ Archetype
Hot mom imagery has become a talking point of popular culture throughout lifestyle and entertainment sites. These producers inject humor, intelligence and courage into previously youth-defined spaces.
They have no performative tone, just intelligence. They accept imperfection of identity and humor of armor. Whatever topic they cover, wellness, beauty or domestic life, they demonstrate that femininity and aging are not antonyms but complements.
What speaks most powerfully to everyone is emotional realism. They don’t pose perfection; they document the balance of progress. That vulnerability seems fresh, even revolutionary, in a world founded upon highlight reels.
Why Maturity Matters Now
As the digital ecosystem evolves, maturity has become its most authentic trend. People are tired of scrolling past sameness. They want voices that feel lived-in, not manufactured.
Mature content creators and artists bring something algorithms can’t measure: depth. They really build trust, not just engagement. Their stories remind audiences that creativity doesn’t fade; it transforms with time.
The rise of older creators isn’t nostalgia; it’s the internet’s evolution, a space where confidence replaces competition and experience finally earns the spotlight.
In a Nutshell
Maturity style does not negate youth but celebrates truth. Established content producers are behind the proof that truth never goes out of style; it only gets better. With their craft, self-assurance and narratives, they’ve rewritten digital relevance and creativity does well not because of time but because of time, informed by lessons, patience and insight.
In a world of too-quick internet, their presence is a timeout that counts, a reminder that substance will always win over speed. The new face of internet culture isn’t the beginning of something new. Still, the arrival of a fully grown, purposeful and plain-spoken internet really reminds all that experience is its own art form.
In this segment, we showcase the most notable albums out each week. Here are the albums out on October 24, 2025:
Lily Allen, West End Girl
Lily Allen’s first album in seven years, West End Girl, has arrived. It’s a bold, brutally honest dismantling of a picture-perfect marriage. In a statement, Allen said: “I’m nervous. The record is vulnerable in a way that my music perhaps hasn’t been before—certainly not over the course of a whole album. I’ve tried to document my life in a new city and the events that led me to where I am in my life now. At the same time, I’ve used shared experiences as the basis for songs which try to delve into why we humans behave as we do, so the record is a mixture of fact and fiction which I hope serves as a reminder of how stoic yet also how frail we humans can be. In that respect I think it’s very much an album about the complexities of relationships and how we all navigate them. It’s a story…”
Eliza McLamb reunited with illuminati hotties’ Sarah Tudzin to record her wry, incisive sophomore album, Good Story, at Asheville’s Drop of Sun Studios with guitarist Jacob Blizard, bassist Ryan Ficano, keyboardist Sarah Goldstone, and Death Cab For Cutie drummer Jason McGerr. “I was having a really hard time mentally and emotionally the year after Going Through It came out. I started having these questions and thoughts about narrativizing your life or presenting yourself as a person with a legible story – or even internally feeling that way,” McLamb explained in our Artist Spotlight interview. She found herself asking: “How helpful is it to have this narrative that you cling to so tightly? How helpful is it to constantly be constructing this version of yourself inside your own head?”
Tortoise keep subtly evolving their sound on first new album in nine years. Touch, the Chicago post-rock legends’ eighth album, is full of hypnotic grooves and textural experiments; Dan Bitney, John Herndon, Douglas McCombs, McEntire, and Jeff Parker wrote them all together but tracked them in the three cities where they now reside: Chicago, Los Angeles, and Portland. It was recorded and mixed by the band’s own John McEntire.
The Portuguese guitarist and composer reimagines a series of jazz standards in his exploratory ambient style on Traveling Light, the follow-up to last year’s exquisite Spectral Evolution. It features clarinetist José Bruno Parrinha, tenor saxophonist Rodrigo Amado (whose playing is wonderfully spotlit on ‘You Don’t Know What Love Is), flügelhorn player Yaw Tembe, and flautist Clara Saleiro each appear on one track. The rendition of ‘My Funny Valentine’, more than just wistful, is woozy and almost downcast, distilling its essence into something bigger than a recognizable melody. It’s well worth immersing yourself in.
As snarky as it is vibrant, RUDE is the latest LP from Bay Area band Spiritual Cramp, who broke through two years ago with their self-titled debut. Like Nasvhille punks Snooper, who recently released their sophomore album, it finds them working with legendary indie producer John Congleton, though these hook-filled songs have more in common with upcoming tourmates The Hives. “When you focus on yourself and the people around you, you can keep your side of the street clean,” vocalist Mike Bingham shared. “And when I see the opposite of that, I get kind of offended, which is what a lot of these songs are about.” Today’s focus track is the groovy Sharon Van Etten collaboration ‘You’ve Got My Number’.
Dundalk quintet Just Mustard revel in fuzzed-out, anthemic noise on their latest effort, WE WERE JUST HERE. “I was trying to put myself in places of physical joy to try and get that euphoric feeling,” frontwoman Katie Ball explained in press materials. Featuring the early singles ‘POLLYANNA’, ‘ENDLESS DEATHLESS’, and the title track, the follow-up to 2022’s Heart Under was produced by the band, mixed by David Wrench (Frank Ocean, FKA Twigs), and recorded at Dundalk’s Black Mountain studio.
Hannah Jadagu expands her palette on her second album, Describe, which explores the personal tension between craving connection and needing space. Following the release of her 2023 debut album Aperture, the singer-songwriter’s career steered her away from her blossoming relationship in New York. “I was feeling love and gratitude, but also guilt about being away for my job,” she shared. “Being a musician requires sacrificing time – and one thing about me, I’m a quality time girlie.” Jadagu added: “A lot of this album is me trying to figure out how to express ideas that aren’t always so concrete. It’s just a flow of things that I’m feeling and going through and expressing.”
Machine Girl expand the conceptual world of last year’s MG Ultra with Psycho Warrior (MG Ultra X). “I’d been reading analytical psychology and the writings of Joseph Campbell and Jung,” Matt Stephenson explained in a statement. “There’s a concept of the collective unconscious and these archetypes that we innately have. We adopt different personae in order to get through the day. In essence, you complete yourself by facing your shadow self. To do so, you must accept the less savoury aspects of who you are. There’s a lot of validity to these theories. Right now, we’re a very psychologically damaged culture and society. We’re being pushed over the edge with social media and technology. Any chance of resistance against these systems starts in the mind, so this was the genesis of Psycho Warrior (MG Ultra X).”
Montreal producer and multi-instrumentalist Ouri has unveiled a new album titled Daisy Cutter. She mixed, mastered, and engineered the record herself, enlisting contributions from Mobilegirl, Oli XL, Bby Eco, Charlotte Day Wilson, Bamo Yendé, Cecil Believe, Duncan Hood, Jonah Yano, Sea Oleena, and Cowboy Lansky. “All these trusting miles in the dark led me to these 13 songs,” Ouri explained. “Daisy Cutter is music but it’s also the leader of a militia, a part of me. Like a rotor, I started a practice that brought all this album to life and it’s gonna keep spinning even when I let go of the wheel.”
fanclubwallet – the project led by Hannah Judge – has dropped her sophomore album, Living While Dying, via Lauren Records. The follow-up to 2022’s You Have Got to Be Kidding Me was written during a period of profound isolation while Judge was living with Crohn’s disease at its worst; a surgery briefly eased her pain, and the contradictions of illness and normalcy, despair and recovery, form the record’s emotional backbone. Still, the band’s process was more collaborative than ever. “We were actually sonically talking to each other,” Judge remarked. “It felt so beautiful and easy.”
Meric Long, Kablooey; Carrier, Rhythm Immortal; The Lemonheads, Love Chant; Jim White, Inner Day; Miguel, Caos; Bruiser Wolf & Harry Fraud, Made by Dope; Demi Lovato, It’s Not That Deep; Alice Phoebe Lou, Oblivion; Sigrid, There’s Always More That I Could Say; Adeline Hotel, Watch the Sunflowers; E.R. Visit, my children will ignore you, my children will type amen; Natural Information Society, Perseverance Flow; Joe Westerlund, Curiosities From the Shift; Daniel Caesar, Son of Spergy; Jennifer Walton, Daughters; DAVE, The Boy Who Played the Harp; Brandi Carlile, Returning To Myself; Buddy Ross, K We’re Here; Major Stars, More Colors of Sound; Daniel Caesar, Son of Spergy; Julianna Riolino, Echo in the Dust; Low Girl, Is It Too Late to Freak Out; Erika Dohi, Myth of Tomorrow; Jessica Moss, Unfolding;
Eliza McLamb is a singer-songwriter who grew up in Chapel Hill, North Carolina. She was a student at George Washington University when the pandemic forced her to move back to her childhood home, which she then left to work on farms across the country. She homed in on her incisive, conversational songwriting on her first two EPs, Memos and Salt Circle, before releasing her Sarah Tudzin-produced debut LP, Going Through It, last year. It wasn’t until this summer that McLamb decided to leave her podcasting job co-hosting Binchtopia – though she maintains a Substack – to fully pursue music. She reunited with Tudzin to record her sophomore album, Good Story, which is out today, recording it with guitarist Jacob Blizard, bassist Ryan Ficano, keyboardist Sarah Goldstone, and Death Cab For Cutie drummer Jason McGerr at Asheville’s Drop of Sun Studios. Written after McLamb relocated from Los Angeles to New York, it’s as wry and introspective as her debut while leaning into feelings of absurdity and chaos; not just taking stock of the changes in her early 20s, but unpacking the self-narrativizing patterns behind them. “Writing it down and making it real/ Skipping the step where I remember to feel,” she sings on the title track, reconciling by holding the stories lightly and reminding herself the present is all she has: boring and difficult, sacred and eternal.
We caught up with Eliza McLamb for the latest edition of our Artist Spotlight series to talk about home as a shifting star, self-narrativization, recording Good Story, and more.
I read that a lot of the new songs came to you while on the subway or during walks. What changed about the way you wrote after moving to New York?
I had not spent that much time on public transportation before I came to New York, and I was in LA before then, which I felt very atomized in. There was something about being on the subway, in this sort of collective energy, but also without any cell service [laughs] that made it seem conducive to writing. Something about the motion as well – weirdly, a lot of those songs were written on the train. For my last record, a lot of it was sitting down to write the songs. I had an express goal going into it, and I would have moments where I would really think about it. With this one, it definitely came spontaneously. At least half of the songs were written on literally the 10-minute walk from my subway stop to my house, just feverishly writing. It’s been an interesting inspiration, where I’m getting woken up in the middle of the night and being like, “I gotta write this down.”
Is it literally just typing, or is it also voice memos sometimes?
Well, an interesting thing that I’ve been doing with this record that I never did before was writing lyrics first. Usually I would write everything at the same time; I would always write with an instrument in my hand. I would never just write lyrics. But, actually, most of these songs, I would say I wrote lyrics first, while I was out somewhere, and then would come home. I wouldn’t have a melody in my mind when I was writing it, but I would have a meter, like a poem or something, so I would get a sense of the rhythm of the song and how I wanted to build out the structure, and then I could tweak it. Which helped me, I think, because sometimes if you’re writing with an instrument in hand, it feels like you get stuck in a structure, and you might leave a line in there that you don’t love because it works with the structure that you had. But when you write without an instrument, you always have to change something, so it’s okay to change things.
It started with ‘California’, and I wrote that in the van on my phone. And that one, I barely had to change. I got back to the Airbnb, and I was like, “Can I borrow someone’s guitar and just put it to music?” And it ended up working out.
That predates ‘God Take Me Out of LA’, right? Was that ever considered for the record?
Yeah. I think with ‘California’, I knew I was leaving, and I was feeling really fond of it. ‘God Take Me Out of LA’ was, like, kicking and screaming – I only recorded it because we ended up having studio time, and we were already there. The song wasn’t even totally done, but I was about to leave LA, and I had just written the song two mornings ago, and I was like, “I’m really feeling this way.” And I thought, let’s just put it out as another single with ‘Lena Grove’, and just have it be this thing that stands alone as a point in time to mark how I felt. But I’m glad I get to have ‘California’ on the record in a more formal way, because my feelings about LA and California in general are more complicated than the song that I wrote when I felt like I really needed to get out of there.
All of the material that ended up on the record was post-moving, then? Were you writing during that transitional period?
Yeah. A lot of it I wrote that summer after I moved in May, and then I wrote a lot of it that summer, and then at the end of the summer I went upstate New York with Sarah [Tudzin], my producer, and Jacob [Blizard], who plays guitar on the record. I tried to flesh out some of the songs that I had started working on and then wrote everything else pretty quickly after I got back and before we recorded. At the time, I was kind of oscillating – if I had a record out and I was focusing on the music while I was touring, I was doing that, and if I wasn’t, then I was working at my podcast job. It was in this period where I realized I had this balance that I wasn’t actually a big fan of.
I was having a really hard time mentally and emotionally the year after Going Through It came out. I started having these questions and thoughts about narrativizing your life or presenting yourself as a person with a legible story – or even internally feeling that way. When I got to New York, I felt like I could sort of breathe again, and I felt really unstuck, in a way. In LA, I mean, physically, I was not moving very much, it was hard for me to be active, I was in the car all the time. New York is just sort of a generative place, because you’re constantly constantly around so many other kinds of people, exposed to so much energy, you’re in transit. When I was getting back into writing, everything flowed pretty easily. I know some people are really like, “I must sit down for an hour every single day and work,” and I really respect that kind of work, but as a person, I’m just so cyclical, and my cycles are long. I just have to respect that if I don’t write a song for a few months, it’s okay, and I will get back to a place where I’m writing a song every day.
Your lyric “home became a shifting star” got me thinking that sometimes you have agency over it, and sometimes you don’t. And maybe the more you grow, the more agency you have over it.
I definitely feel like I moved to New York as a way to reclaim some part of my life. Los Angeles, for me, was just an amazing container for a long time. I moved there when I was 19. I had a lot to settle from a pretty tumultuous childhood and dropping out of college and all of a sudden starting this business, and I needed that place where – and I know this is not true for everyone – not a lot of stuff happened. And that was great for me, because I was doing so much internal processing. It was a similar question, actually, to what sparked a lot of the themes of the record, which is: I have this life in LA. I like where I live, I have friends, I have a job. I’ve checked off all the boxes, but now what? Now what does this do for me?
I realized I still was not happy in LA. The reason, I think now, is because I was very disconnected from the world around me, and I was actually feeling so insular and thinking about myself way too much. My own story, or my own arc. I was like, “I kinda gotta get out of here. I have to be in a place that makes it easier for me to not think about myself.” That was a big impetus of the move, and that was also a similar question to what had me writing about these themes. How helpful is it, actually, to think about yourself all the time? And how helpful is it to have this narrative that you cling to so tightly? How helpful is it to constantly be constructing this version of yourself inside your own head?
Was it freeing when you started exploring these questions in songwriting, or did you start feeling self-conscious about getting into this pattern of writing about yourself?
Totally, yeah. Obviously it’s funny now doing press about the album, and they’re like, “So what’s the story?” And I’m like, “Well…” [laughs] For me, when I realize something has to change, my impulse is to go to the other end of the spectrum. If I realize, “Hey, I think this whole narrativizing everything about my life actually has some drawbacks,” I think probably the first thing I did was swing all the way to the absurd and just be like, “Nothing matters, and everything is chaos, and there’s no story to anything.” I think that’s where I started writing the record – ‘Good Story’ is full of all those sorts of contradictions. In one moment, I’m accepting that there’s no mystery to me, I’m everything you see, but then I’m like, “But then I’ll change it if you don’t like it” – there’s this tense confusion about it. I think throughout the process of writing the record, I kind of slid back to the middle.
‘Every Year’, for me, is sort of the thesis song of the record, that verse about “the story is a lifeboat” – when I was really struggling, when I needed to make sense of my life and the things that had happened to me and how I was gonna metabolize it, I really needed it. And I needed to tell myself that it was true and it happened. But then after that, I didn’t need to be stuck there. But that doesn’t mean I have to then throw away everything that was meaningful to me. I’m still an artist and a writer and a musician at the end of the day. If I didn’t like stories anymore, I’d quit my job and never take in art ever again, but that’s obviously not true. So I feel like I arrived at a place where stories are so valuable and I love them so dearly, and also, what are the limits of that? How can I, being cognizant of those limits and respecting those limits, make my interaction with those stories richer and more meaningful and less, you know, graspy – I talk about holding it lightly a lot. The story is something that I sort of hold lightly.
You talked about these contradictions in ‘Good Story’, and one thing I latched onto was that you sing “I don’t care care about sacred,” but in a post announcing the record you said you still love to “work the magic of storytelling.” Are there times when it does feel like the thing you’re grasping towards has that sacredness to it?
I mean, let me not show my living in LA for 3 years too much, but whatever you think is happening is what’s happening, you know? Let me stop generalizing, because it really is just my personal experience, but for me, if I’m saying to myself I’m having a horrible period of my life, I’m a failure, and every day it’s really hard to get up and do what I’m doing – everything about that’s gonna be true. [laughs] I think realizing that storytelling also can go in this profoundly creative, hopeful direction, where I’m like, what if I do embrace a little bit of that absurdity, of nothing really means anything? If I do need these physical things to latch onto in my world, this idea of truth, let me see if I can be a little fun and creative and optimistic. Let me see my life as this interesting creative project. Let me try to toe over some of the boundaries that I thought existed for me of, I couldn’t do this, I couldn’t be this type of person. Boundaries that existed because of other old stories that I had for myself. And in that way, that feels incredibly magical and sacred. Because the story, if you allow it to evolve, becomes something that actually frees you a little bit. I don’t know if that answers your question exactly, but that’s what it made me think of.
It ties into this idea of stories about stories, but there’s also stories in conversation with older stories. The more songs you have in your catalog, the more inevitable it becomes to begin framing things around what’s publicly out there. I don’t know how conscious you were of how some of these songs may relate to ones on your first record or your EPs.
I wasn’t conscious of the songs in relation to other songs until a few of them had come together, and I realized that I was sort of circling around similar ideas over and over again. I haven’t thought about it too much in conversation with the first record, only that I’m astounded at how old the first record seems to be now, even though I didn’t write it that long ago. But I also do think, I’m 24, and the record came out last year, so this is a time for a lot of people that involves a ton of personal growth. In my mind, the way it works in conversation is that the first record was very much me being like, “I need to tell my story. This is all the stuff that has been circulating around my brain from my childhood, and I need to put it down and make it real, so that I can…” And I didn’t know at the time that the end of that sentence was gonna be, “so that I can move on from it.” When I was writing that record, I was like, “I kind of feel like the most interesting thing that ever happened to me in my life is that I had a mentally ill mother, and that really shaped everything about the way that I grew up. And if I write this record about my childhood and that experience, well, then it’s over for me.” [laughs] I thought that the second record would take me much longer to write, and I would have no idea what to write about. Turns out that very train of thought ended up being what I was writing about.
The flow of Going Through It had a very clear trajectory in terms of the arc of the album. I’m curious if you were drawn to trying a looser approach in terms of the concept and sequencing of the record.
It’s not as clear as the first record, where it is that down-then-up motion. But it’s interesting, and I didn’t even think about this while I was ordering the tracklist, but I pretty much, in a loose way, wrote the songs in chronological order. Obviously, ‘California’ was the first song I wrote, but all the side A songs I wrote before the side B songs – except, weirdly for ‘Suffering’, that was one of the last ones I wrote. As I say, I’m holding it loosely. I was having trouble with the tracklist, and I was like, “Oh, wait, the whole thing is kind of about how this is a framework that has diminishing returns at a certain point.” It was hard to make the tracklist, too, because I think there’s a lot of different sounds on the record, and something was gonna sound a little bit out of place, no matter where we put it. But I was like, “I’m pushing through that discomfort, because that actually works structurally for the thing that I’m trying to do.”
When you were talking about leaning into the absurdity a little bit, I was thinking about the middle stretch of the record, from ‘Promise’ and ‘Mausoleum’, which strikes me as a kind of blurry representation of that metaphor in ‘Every Year’ of tying your story to the dock when you find land.
That’s the chunk of the record that I wonder how people are gonna respond to. ‘Mausoleum’ is that absurd chaos – that’s the real breaking down of the story. It’s almost a song about grieving – that you have to take down this grave, basically. And ‘Water Inside the Fence’ is also this totally chaotic thing. I hadn’t even really thought about the fact that they’re in that same little section with each other, but I do think ‘Water Inside the Fence’ and ‘Mausoleum’ are the two Dark Knight of the Souls on the record. When concrete things stop serving you, you have to get a little absurd and out there. To me, it made sense to have both of those things be in the middle of the record on either end of these cleaner, more legible songs.
You mentioned having the rhythm of a song in mind – obviously, part of what’s so disarming about ‘Mausoleum’ is the drums and the additional instrumentation feeling slightly out of time in this very intentional way. How was that tracked?
So, I sang and Jacob played the guitar part. ‘Mausoleum’ is one of those songs that I wrote fully on paper, basically, and the demo sounds so, frankly, bad and different. But we got into the studio, and Jacob and I figured out a better guitar part. Jacob and I sang and played it, but then I just told everyone to come into the live room. Actually, Jason [McGerr], who played drums on the record and is in Deathcab for Cutie – brilliant guy – had this idea. We all walked into the room, put on headphones, and around the chorus, you can actually hear everyone stepping into the room and closing the door and moving around. It was the first time that Jason and Ryan [Ficano] had heard the song. I told them to just jump in on the second verse, and just try to figure it out. I’m sort of conducting from the side; I’m on the piano, and you can hear me actually, right before the last chorus, count them in – 3, 4 – because they didn’t know the chorus was coming.
Weirdly, we tried it two more times after that, but I think we ended up using the first take. I think we could only get it that way because no one had heard the song before. That’s a magic moment. When you were asking me about sacred and magic and stuff – when we landed on that last chord, and then you can hear me actually sigh in the recording, I was like, “I can’t believe we did that.”
It’s almost like the opposite of the sigh at the end of ‘Suffering’, which is kind of sarcastic.
That’s really true. I actually didn’t even realize until now that there’s two sighs on the record. [laughs]
The production on the record also feels like it’s mirroring whether the song is more in the present or the past, looking back or feeling in the moment. Were you thinking about how to sonically represent time?
Yeah, that’s a really great observation. I will say that’s probably more Sarah’s wheelhouse than mine. I do think that present moment is, to use that word again, those more legible songs, and then when everything sort of blurs together – when it’s past, present, future, everything – then I feel like it can get a little fuzzier. ‘Better Song’, for instance, is a pretty reflective song, but then at the end explodes into this big thing that really brings you back into the raw feeling of the moment. I hadn’t thought about it specifically in those terms.
Do you have memories of recording that guitar solo at the end of ‘Better Song’?
We did “Everybody Gets a Guitar Solo” night. [laughs] It was at the very end of tracking, and we were kind of burnt out because we had maybe 11 days, and we recorded 17 songs. Most everyone had gone home, we started the week with a bunch of people, and then it was just me, Sarah, Jacob, and Lawson, our engineer. It was so late, and Sarah was like, “I think we should all try a guitar solo,” because it’s distorted and crazy. Maybe it’s some Frankenstein combination of all of our guitar solos, but I have all these videos just turning the lights red in the studio, and everyone went in there and ripped this distorted guitar solo.
That was actually a last-minute addition. I wanted to end it, almost like everything pulls out at “Well, I love you and I don’t regret it,” but I was having some realizations about the feeling I was having with that song. That is one of the tricks you can do with narrative: “I know you hate me and now you’ve said it/I love you and I don’t regret it,” and on this placid little note, wow, isn’t she the bigger person? This other person looks like they really did some bad stuff, and she realized that the relationship just wasn’t serving her anymore, and she just calmly stepped away. And then I was like, “That’s so not fucking true.” [laughs] There’s so much emotion in that situation for me. It was a situation where I sort of felt like I had to be “the bigger person,” but wasn’t in reality. I wanted something to represent the real truth of that situation. I was like, “I actually just need to go fucking crazy.” It almost feels like when you have a tough conversation with someone, and you’re really composed, and you’re good – and then you hang up the phone, and you’re just like, “Urgh!” That’s exactly what that was.
What was it like being back in Asheville, and specifically at Drop of Sun, to record the album?
I’m still working on being comfortable in the studio, actually. Being around the band has made it a lot easier, but also, anyone’s energy in the room can affect how comfortable I feel making a suggestion. It was really important to me that the environment felt really right, and part of that was every single person in the room I knew and loved deeply, pretty much. Except for some new faces who I now know and love deeply. But having Lawson, my friend of many years, be the engineer and have Sarah producing was amazing. We were mostly inside all the time, we did not get to see so much of Asheville. But it was really nice to be there, and to be around even just vegetation and forestry that I recognized. Actually, that was a really hard thing about being in LA – not being able to see a tree that I recognized. For the last record, we recorded at Bear Creek Studios in Washington, outside of Seattle, which was absolutely beautiful. But still, Pacific Northwest is not where I feel home. So, Asheville was really wonderful. I could definitely see myself recording another project there.
Speaking of home, I love the line in ‘Talisman’ about it being like a talisman you hold when it gets dark: “It’s as real as anything that has and hasn’t happened.”
There’s that line, and there’s “home became a shifting star” – I didn’t realize that that was actually a through line in the record. There’s a great quote by Catherine Lacey – God, I feel like I’ve brought up this quote in every interview I’ve done, but it always feels relevant, where she says, “I always finish writing a novel, and then I read it back and notice that I’ve revealed something.” Something huge about me has been so plainly clear, and has been revealed through the process of me writing this novel that I was not aware of at all during writing it. I always feel that way about records, and that was a moment where I was like, “Wow, I am talking about this idea of home as more of a concept and something that you can create and take with you and hold in non-tangible ways.”
Do you think the record reflects your relationship to home in a way that maybe wasn’t as clear when you were writing it?
Yeah, I think so. There’s this song I wrote when I was 18 called ‘Lena Grove’, and there’s a line, “How can you call it home if you can’t take it with you?” When I wrote that, I was traveling across the country, and I was literally just in the middle of nowhere and feeling actually homesick for a spot, a home. But also, as I’ve grown older, the thing that has really improved my life and brought me a lot of peace is cultivating this sense of belonging within myself that’s not rooted in anything, that doesn’t depend on me feeling a certain way or being in a certain place – almost like the Buddhist idea of eternal, present, meditative self.
I think that’s what allowed me to hold these stories lightly, is to be like, “If I let go of this, it’s not like I’m gonna disappear.” I have this other grounded sense of being here and of belonging, internally with myself. It’s intangible and hard to put into words, but that certainly was a huge part of feeling as though I could let these things go a little bit, feeling that groundedness – and that is, to me, a sense of home. Home to me is belonging, feeling like you are somewhere where you are safe and welcome. I had to make that space inside myself for myself in order for it to feel safe for me to let go of these other things that I was holding onto.
Something that felt like an expression of that meditative self to me was your piece ‘The easiest thing’. It’s been almost a month now since you posted it, so I’m curious how it’s sat with you in relation to what you’re saying about feeling grounded.
Yeah, I wrote that in a period where right after I made the announcement that I was leaving the podcast. I experienced this really crazy spiritual clarity; I really don’t know how to describe it any other way. I felt like a newborn baby for three weeks, in the best way possible. I was in an incredible environment for that, because I was at this farm. Things just started feeling really clear to me, and I felt that it became simpler for me to see what are the things I’m doing because it feels truly grounded and true and real to me, and what are the things that feel like they are covering up for other things. I wanted to write that piece also as a way to immortalize that spiritual clarity because I knew everything comes in phases. There would be a time when I didn’t feel that way anymore, and it would feel a little muddled again.
That piece reminds me, too, of ‘Girls I Know’, and what I was writing about in that song, which is that having actually just a normal, functional life is so hard and boring sometimes, you know? There are moments of this beautiful spiritual clarity, and you feel so grounded and you’re connected to everything, but mostly, it’s brushing your teeth at night, buying produce at the store, and remembering to do the dishes – it’s this series of, it can feel like, depressingly arduous tasks. I think there’s a challenge, when you have a brain that is used to chaos and maybe drugs or substances, having to find peace and joy and meaning in these mundane things, and needing then to imbue those things with the sacredness, which I think has always sort of been there.
So it’s a matter of recognizing that, and that has been really important for me to clear away the other stuff – to just feel more present. Because when you’re making up a story, you’re not present. One way to practice holding that story lightly for me has been to practice presence, and that is what that piece was about, too. There’s all these things I was doing when I wasn’t present. I’ve been vegan for the last you know, month and a half, and that’s something that requires me to be present in every single meal. Every single meal I have to think about it, because it’s not easy to eat that way and I’m still learning how, but I have to recommit to my principles and be present with a decision that I made every time. And that is actually very rewarding for me.
This interview has been edited and condensed for clarity and length.
Hayley Williams has released a new single, ‘Good Ol’ Days’. The playful, R&B-inflected track was co-written by Williams and Daniel James, the latter of whom also produced it alongside Brian Robert Jones. “Who knew the hard times were the good ol’ days?” she sings, nodding to the lead single from Paramore’s 2017 record After Laughter. It will appear on the physical edition of her new album Ego Death at a Bachelorette Party along with ‘Parachute’ and one more unannounced song. Give it a listen below.
Megan Thee Stallion has dropped a new single called ‘Lover Girl’. Following April’s ‘Whatever’, the track samples Total’s 1996 R&B hit ‘Kissin’ You’. Check it out below.
Megan Thee Stallion latest studio album was 2024’s Megan, which was followed by the deluxe expansion Act II.
The line between reality and virtual worlds keeps getting blurrier. Players now expect game environments that breathe, light that behaves naturally, and characters whose expressions feel genuine. Meeting these expectations used to require massive budgets and years of development. Not anymore.
Unreal Engine has fundamentally changed what’s possible in game development. According to Epic Games’ 2024 State of Unreal report, over 7.5 million developers worldwide now use the engine, creating everything from indie darlings to AAA blockbusters. Studios leveraging Unreal Engine development services are producing visuals that would have seemed impossible just a few years ago.
The Visual Powerhouse Behind Modern Games
Revolutionary Rendering Technology
Unreal Engine’s rendering capabilities set new standards for visual excellence. Nanite virtualized geometry technology eliminates painful compromises that developers once faced. Games can now feature film-quality assets with billions of polygons without crushing performance. Detailed environments rendered with microscopic detail become possible without traditional optimization headaches.
Lumen, the dynamic global illumination system, transforms how light works in game worlds. Instead of painstakingly baking lighting into static scenes, Lumen calculates realistic lighting in real-time. When a player opens a door in a dark room, light spills in naturally, bouncing off surfaces and creating authentic shadows.
Physically-Based Materials
The rendering pipeline handles materials with sophisticated accuracy. Surfaces interact with light realistically—metal reflects differently than fabric, wet surfaces glisten appropriately, and subsurface scattering makes skin look convincingly alive. These details create the visual coherence that makes virtual worlds believable..
Beyond Graphics: A Complete Development Ecosystem
Visual Scripting and Accessibility
Blueprint visual scripting democratizes game logic creation. Designers without deep programming knowledge can prototype gameplay systems and build complex mechanics through an intuitive node-based interface. This accessibility doesn’t sacrifice power—Blueprints can handle sophisticated systems while keeping logic visual and understandable.
Streamlined Workflow
The Marketplace ecosystem offers thousands of ready-made assets, plugins, and tools. Rather than building every system from scratch, developers can leverage community-created solutions. Cross-platform deployment becomes straightforward when developing with unreal engine, with platform-specific optimizations handled largely by the engine itself.
Real-time iteration speeds up the creative process. Changes appear instantly in the editor without waiting for lengthy compile times. This rapid feedback loop encourages experimentation that elevates final quality.
Technical Advantages That Shape the Future
The technical foundations of Unreal Engine position it uniquely for emerging technologies and evolving player expectations. These advantages compound over time as the engine continues advancing.
Here’s how Unreal Engine’s technical capabilities compare to traditional development approaches:
Feature
Traditional Engines
Unreal Engine
Impact on Development
Asset Detail
Requires aggressive optimization
Nanite handles billions of polygons
Artists create without technical constraints
Dynamic Lighting
Pre-baked, static scenes
Lumen real-time global illumination
Flexible environments, faster iteration
Visual Scripting
Limited or non-existent
Comprehensive Blueprint system
Designers work independently, faster prototyping
Platform Deployment
Manual porting per platform
Unified cross-platform support
Reduced development time and costs
Performance Optimization
Manual, time-intensive
Automated systems with profiling tools
More time for creative work
Performance and Flexibility
The C++ foundation provides performance and flexibility for teams that need it. When Blueprint performance hits limits, Unreal Engine developers can drop into C++ for optimal efficiency. This dual-layer approach offers accessibility for rapid development and power for demanding scenarios.
Source Code Access
The engine’s source code access provides ultimate flexibility. Unlike closed engines where developers hit hard limitations, Unreal Engine’s available source code means teams can modify, extend, or optimize any system to meet specific needs.
Industry Adoption and Ecosystem Strength
Talent and Community
The future of game design isn’t just about technology—it’s about industry adoption. Unreal Engine’s widespread use creates a self-reinforcing ecosystem. Job markets overflow with experienced developers, making hiring significantly easier than with proprietary engines. The knowledge base and community support are unmatched, with solutions readily available in documentation, forums, and tutorials.
Professional Services
Professional unreal engine development services have matured into a robust industry segment. Studios that need specific expertise can tap into specialized service providers who know the engine deeply. This support ecosystem enables projects of any scale to access expert knowledge when needed.
Emerging Technologies and Future Readiness
Next-Generation Features
Game design’s future includes technologies just beginning to mature. MetaHuman Creator democratizes character creation with photorealistic digital humans. What once required months of work now happens in hours. Path tracing delivers the next level of visual realism for high-end hardware, providing film-quality lighting and reflections in real-time.
Cloud and Collaboration
Unreal Engine’s infrastructure supports distributed teams working simultaneously on the same project, version control integration, and cloud-based asset management. These capabilities become increasingly critical as teams become more geographically distributed.
Practical Considerations for Adoption
Understanding why Unreal Engine represents the future matters, but practical adoption considerations determine whether studios can leverage its capabilities effectively.
The learning curve exists but has gentled considerably. While mastering every system takes time, getting started and being productive happens faster than ever. Blueprint visual scripting allows non-programmers to begin creating immediately, while comprehensive documentation and tutorials support learning at any level.
Hardware requirements deserve consideration, particularly for smaller studios or solo developers. Unreal Engine’s cutting-edge features demand reasonably powerful development machines. However, the engine scales well—projects can target mobile devices or lower-end hardware while development happens on more capable machines.
Project scope matching matters for success. Unreal Engine excels at 3D games with visual ambition, but might be overkill for simple 2D projects or text-based experiences. Studios should honestly assess whether the engine’s strengths align with their project’s needs.
The licensing model provides accessibility while maintaining fairness. Unreal Engine is free to download and use, with Epic taking a 5% royalty on gross revenue after the first million dollars. This structure removes upfront barriers while aligning Epic’s success with developer success.
Real-World Applications Across Game Genres
Unreal Engine’s versatility extends across virtually every game genre, each leveraging different aspects of the engine’s capabilities.
First-person and third-person action games benefit from precise controls, advanced animation systems, and stunning environmental detail. The engine’s heritage in shooters means these mechanics are particularly refined and well-supported.
Open-world games leverage streaming systems that load massive environments seamlessly, dynamic lighting that brings worlds to life across day-night cycles, and scalable performance that maintains framerate across diverse hardware.
Racing games utilize physically-based rendering for realistic vehicle materials, dynamic weather systems, and performance optimization that maintains smooth framerates at high speeds.
Role-playing games combine the engine’s storytelling tools, complex UI systems, and flexible combat mechanics to create deep, immersive experiences.
Horror games exploit atmospheric lighting, sound design integration, and performance capture for unsettling character performances.
Why Visual Excellence Matters
Graphics aren’t everything in game design, but they’re far from superficial. Visual presentation communicates mood, guides player attention, reinforces narrative themes, and creates the immediate emotional connection that draws players into experiences.
When environments look believable, players suspend disbelief more readily. When characters express emotion through subtle facial movements, storytelling becomes more powerful. When lighting creates atmosphere, tension and wonder emerge naturally from the environment itself.
Unreal Engine’s visual capabilities serve gameplay and narrative, not just screenshots and trailers. Dynamic lighting affects stealth gameplay. Detailed environments provide navigation cues. Character expressiveness strengthens emotional moments. Technical excellence enables creative ambition.
The Path Forward
The future of game design demands tools that can keep pace with rising player expectations while remaining accessible enough for diverse creators to realize their visions. Unreal Engine’s combination of visual excellence, technical sophistication, and practical usability positions it uniquely for this future.
Studios that invest in developing with Unreal Engine now build on a foundation that will remain relevant and powerful for years to come. The engine’s continuous evolution means today’s projects benefit from tomorrow’s improvements without fundamental overhauls.
The democratization of visual excellence changes who can create compelling games. Small teams can achieve visual quality that once required massive studios. Solo developers can realize ambitious artistic visions. This accessibility expands the range of voices and ideas in game development, ultimately enriching the medium for everyone.
As technology advances and player expectations evolve, engines that combine power with accessibility will define what’s possible. Unreal Engine doesn’t just respond to the future of game design—it actively shapes that future through capabilities that transform creative ambition into playable reality.
Helldivers 2 has just launched a new update for October. This latest patch brings much-needed changes in the game. It also answers issues faced by players after the Into the Unjust update in September. Specifically, version 4.1.0 focuses on balance, bug fixes, stability, and gameplay design improvements.
These changes make the game feel more polished and rewarding for players. It also lines up with the developer’s goal.
“This update focuses on what matters most right now: making HELLDIVERS 2 feel better to play,” reads a statement in the official announcement.
At the same time, the creators said that they have changed their way of patching. This move helps them target the root of the problems.
Weapon and Combat Improvements
According to Arrowhead Game Studios, the patch brings adjustments to the game’s arsenal. This tweak balances weapons, sidearms, throwables, and stratagems. It makes the weapons feel more effective and distinct. For instance, SMGs and pistols now deal higher damage at closer range. In the same way, melee weapons and throwables have been tuned for impact and uniqueness. Plus, the changes now stop players from climbing the resupply rack.
Enemy Adjustments and Balances
Based on the patch notes on Steam, enemy encounters no longer offer an unfair experience. Light and medium armor-piercing weapons are now more consistent against foes. The developers also wanted players to level the playing field by adjusting the traits of enemies. In detail, the affected characters are Illuminates, Terminids, and Automatons. As a result, the game now creates an experience that rewards players. But it does not fail to maintain challenging missions.
Quality-of-Life Fixes and Optimizations
Arrowhead Game Studios also fixed many technical issues. The update resolved rare crashes, weapon animation, and stratagem errors. All of these improve the overall stability of Helldivers 2.
There are also visual and sound optimizations to make gameplay smoother on different platforms. These include better shader performance, reduced stuttering, and refined particle effects. In the same way, the update introduces enhancements in various areas. AI behaviors, asset distribution, and the physics were improved to boost performance. Likewise, players can expect better responsiveness during fighting moments.
Availability and Looking Ahead
Version 4.1.0 of Helldivers 2 is now available to all players across supported platforms.
Meanwhile, Arrowhead Game Studios said that new features will be coming in the game soon. But for now, this latest patch is already a big step forward. With more changes ahead, Helldivers 2 continues to evolve into a satisfying third-person shooter title.
To see the full list of changes in the game, check out the official patch notes.
In recent years, social media has become one of the most influential forces shaping how we see ourselves. Platforms that began as creative outlets now play a major role in setting beauty standards and influencing how people feel about their bodies. From the rise of fitness influencers to the flood of “before and after” posts, the online space has created both inspiration and pressure in equal measure.
The tension between empowerment and expectation is at the heart of today’s body confidence culture. While many creators promote self-acceptance and the idea that health can look different for everyone, the constant visibility of others’ progress can make comparison almost unavoidable. Research suggests that frequent exposure to idealised body images can negatively affect self-esteem, especially among younger audiences who are still forming their sense of identity.
Against this backdrop, more people are starting to talk openly about weight, health, and how to manage both responsibly. Conversations have shifted from purely aesthetic goals toward long-term wellbeing and sustainable lifestyle changes. Medical approaches, such as clinically approvedweight loss treatments, are now entering mainstream discussion. These treatments are not seen as shortcuts, but rather as one option among many for people trying to regain control of their health with proper guidance and support.
The arrival ofWegovy in the UK has sparked debate about what responsible weight management looks like in the age of social media. For some, it represents progress—a medical advancement that helps individuals address obesity and related conditions more effectively. For others, it raises questions about how society measures success and whether medical intervention might unintentionally reinforce the very standards many are trying to challenge.
Ultimately, the discussion around body confidence and health is becoming more nuanced. True progress may lie in finding a middle ground—acknowledging that self-acceptance and self-improvement can coexist. It is possible to seek better health outcomes without falling into the trap of comparison or perfectionism.
As culture continues to evolve, so too will our collective understanding of what it means to be healthy. Online conversations, scientific progress, and responsible healthcare providers such asHappy Pharmacy can all play a role in supporting a more informed and balanced approach to wellbeing—one that values both mental and physical health in equal measure
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 Thursday, October 23, 2025.
Foo Fighters – ‘Asking for a Friend’
Foo Fighters have dropped ‘Asking for a Friend’, a searching track that leans into the band’s heavier tendencies. It comes alongside the announcement of an upcoming North American stadium tour with Queens of the Stone Age.
Ari Lennox – ‘Under the Moon’
Ari Lennox’s new album, Vacancy, the follow-up to 2022’s age/sex/location, comes out January 23 via Interscope. The opulent, dramatic lead single, ‘Under the Moon’, is out now.
Kacey Musgraves – ‘If the World Burns Down’
The soundtrack to the new Netflix series Nobody Wants This features songs by Selene Gomez, Teddy Swims, Cuco, Chris Stapleton, BENEE, Role Model, and Finneas. The most noteworthy contribution, to my ears, is Kacey Musgraves’ gently existential ballad ‘If The World Burns Down’.
Sampha – ‘Cumulus / Memory’ [feat. Romy]
Sampha’s last album, Lahai, came out almost two years ago, and to celebrate its anniversary, the singer-songwriter has unveiled a two-part single that began as an unfinished track from the album’s sessions.“‘Cumulus’ was the first song I wrote for Lahai and the last one to be finished,” Sampha said of the ambling, lived-in suite, which he co-wrote with the xx’s Romy, who also sings backing vocals. “Living with it for some time, I really feel like I wanted to share it with people.”
George Daniel & Oscar Farrell – ‘volc4’
George Daniel and Oscar Farrell have teamed up for a kinetic new track, ‘volc4’. It marks their second joint release following ‘volc3’ earlier this year, and it comes with a visual created by Samuel Bradley.
Pullman – ‘Weightless’
Post-rock supergroup Pullman – featuring Tortoise’s Ken “Bundy K.” Brown and Doug McCombs, Come’s Chris Brokaw, and Rex’s Curtis Harvey – have announced their fist album in 25 years. III is led by the single ‘Weightless’, a seven-minute swirl whose atmosphere is perfectly encapsulated by its title.
mui zyu – ‘Astral Plane’ (Shamir Cover)
Father/Daughter Records is celebrating its 15th anniversary with the F/D Fifteen series, which will see artists on the label covering songs by other artists in its catalog. The first instalment comes from mui zyu, who offers up a striking rendition of ‘Astral Plane’ from Shamir’s Revelations. “I immediately loved the imagery in the song and the kind of classic 1950s feel,” zyu said in a statement. “To me it could be about escaping from the material world (hell) to the astral plane (a kind of alternative heaven) with the playful bleakness of having to ‘work on the astral plane’. We tried to create these plane-y textures in the production to represent that space, and have moments in the music climbing up to, and falling down from, them to tell the story.
Shamir added: “I don’t even know where to begin…. I’m SO deeply honored. That song was actually my least favorite from Revelations, I don’t know what possessed me to make a reggae-ish song, but my mental health was in a bad place at that time so I was just doing anything. This cover made me appreciate my song for the first time like…. ever? Love it.”
Speed – ‘All My Angels’
Speed have released their three-song All My Angels, which features just one unreleased song: the pummeling title track. According to frontman Jem Siow, the song “wrestles through the immense hurt and confusion that comes with the loss of those deeply loved, especially in the instance of suicide.”
Home Front – ‘Eulogy’
Home Front have previewed their upcoming album Watch It Die with a larger-than-life song called ‘Eulogy’. According to the Edmonton duo, it’s “a reflection on what it means to lose the people we care about. In these turbulent times we recognize death comes for us all, but it’s the recognition of someone’s lasting impact that leaves its imprint on us. We all have scars, but wear ours proudly as we move forward into the haze.”
Hotel Lux – ‘Joy’
Hotel Lux have released ‘Joy’, a fittingly, if caustically, upbeat song from their forthcoming LP The Bitter Cup. “Joy was one of the first songs we wrote for the album, and was completed in one session in our old practice space,” the band shared. “The relentless nature of the tune seemed a natural fit to explore the heady and indulgent times of the past few years in South London, both celebrating and cursing the days and nights spent roving from Deptford to Peckham Rye.”
Jim White – ‘Two Ruffy’
Jim White’s new album Inner Day arrives tomorrow, but there’s a new single from it out now called ‘Two Ruffy’. “Named for a place down the road from his late father’s home,” according to a press release, the song “combines two pieces written in the wake, meditating on two states – an ambient weave of drums, piano and synth pulsing with life and loss, making no comment on which state is, or isn’t.”
Foo Fighters have released a new single called ‘Asking for a Friend’. It accompanies the announcement a 2026 tour of North American stadiums, which will take place in August and September of next year, with support from Queens of the Stone Age, Mannequin Pussy, and Gouge Away. Check out the band’s new track and list of tour dates below.
‘Asking for a Friend’ follows ‘Today’s Song’, which arrived in July. More recently, they shared a new EP, Are Playing Where??? Vol. I, capturing a number of surprise shows at small venues.
“Since our return to the stage in San Luis Obispo five weeks ago, we have been reminded of why we love and are forever devoted to doing this Foo Fighters thing,” Dave Grohl wrote, adding:
From reuniting as a band and staring at a list of 30 years worth of songs to brush off, to reimagining versions with the incredible blessing of the one and only Ilan Rubin behind the drums, to reconnecting with our amazing fans and blasting them with everything we’ve got (no matter the size of the venue) because we would not be here without them, we have the most solid core. And the sun is finally rising over the horizon.
What better way to share the view than with close friends?
In 1992 I first saw the legendary Kyuss perform at the Off Ramp in Seattle and met Mr. Josh Homme. The band were friends of a friend, and before long their album Blues For The Red Sun became the soundtrack to that summer. 33 years later and with many miles behind us, I have shared some of my life’s most rewarding musical moments with my dear friend, Josh. A lifelong bond that goes far beyond the sound we’ve made together. So it is with great happiness that we can share this next chapter together with his almighty Queens Of The Stone Age.
Take cover.
But none of this would be complete without new music to share from Pat, Nate, Chris, Rami, Ilan and I. “Asking For A Friend” is a song for those who have waited patiently in the cold, relying on hope and faith for their horizon to appear. Searching for ‘proof’ when hanging by a wish until the sun shines again.
One of many songs to come…
Foo Fighters 2025-2026 Tour Dates:
Nov 12 Monterrey, Mexico – Estadio Banorte !$
Nov 14 Mexico City, Mexico – Corona Capital
Aug 4 Toronto Ontario – Rogers Stadium !*
Aug 06 Detroit, MI – Ford Field !*
Aug 8 Chicago, IL – Soldier Field !*
Aug 10 Cleveland, OH – Huntington Bank Field !*
Aug 13 Philadelphia, PA – Lincoln Financial Field !*
Aug 15 Nashville, TN – Nissan Stadium !*
Aug 17 Washington, D.C. – Nationals Park !*
Sep 12 Fargo, ND – Fargodome *
Sep 15 Regina, Saskatchewan – Mosaic Stadium at Taylor Field !*
Sep 17 Edmonton, Alberta – Commonwealth Stadium !*
Sep 20 Vancouver, British Columbia – BC Place !@
Sep 26 Las Vegas, NV – Allegiant Stadium !@
! with Queens of the Stone Age
$ with Jehnny Beth
* with Mannequin Pussy
@ with Gouge Away