Following a sold-out show at New York City’s Madison Square Garden last night and a series of pop-up shows, Phoebe Bridgers has announced an official tour. The North American trek kicks off on September 15 with special guest Alex G before Bridgers heads over to Europe for a run of dates with former Black Country, New Road vocalist Isaac Wood (!). Check out the full itinerary below.
Tickets for The Lost Tour go on sale first through the Phoebe Bridgers Pass Presale via Fan3, starting at 10:00 am local time on June 10 and closing at 9am local on June 12 across all tour markets. Bridgers partnered with PLUS1 so that €1/£1 from every ticket sold on the European tour leg is directed to local organisations throughout the EU/UK working to support those impacted by sexual assault and violence.
Phoebe Bridgers 2026 Tour Dates:
Sep 15 Indianapolis, IN – Gainbridge Fieldhouse*
Sep 17 St. Paul, MN – Grand Casino Arena*
Sep 19 Chicago, IL – United Center*
Sep 22 Columbus, OH – Nationwide Arena*
Sep 25 Brooklyn, NY – Barclays Center*
Sep 26 Brooklyn, NY – Barclays Center*
Sep 28 Philadelphia, PA – Xfinity Mobile Arena*
Sep 29 Washington, DC – Capital One Arena*
Oct 01 Toronto, ON -Scotiabank Arena*
Oct 03 Detroit, MI – Little Caesars Arena*
Oct 06 Boston, MA – TD Garden*
Oct 09 Charlotte, NC – Spectrum Center*
Oct 10 Nashville, TN – Bridgestone Arena*
Oct 13 Atlanta, GA – State Farm Arena*
Oct 16 Austin, TX – Moody Center*
Oct 17 Fort Worth, TX – Dickies Arena*
Oct 19 Denver, CO – Ball Arena*
Oct 21 Salt Lake City, UT – Delta Center*
Oct 23 Seattle, WA – Climate Pledge Arena*
Oct 24 Vancouver, BC – Rogers Arena*
Oct 27 San Francisco, CA – Chase Center*
Oct 30 Inglewood, CA – Intuit Dome*
Oct 31 Inglewood, CA – Intuit Dome*
Nov 23 Dublin, Ireland – 3Arena #
Nov 26 Manchester, England – Co-op Live #
Nov 27 Glasgow, Scotland – OVO Hydro #
Nov 28 Birmingham, England – bp pulse LIVE #
Dec 1 London, England – The O2 #
Dec 4 Paris, France – Adidas Arena #
Dec 5 Brussels, Belgium – Forest National #
Dec 7 Amsterdam, Netherlands – Ziggo Dome #
Dec 8 Düsseldorf, Germany – Mitsubishi Electric Halle #
Dec 9 Berlin, Germany – Velodrom #
Dec 11 Copenhagen, Denmark – Royal Arena #
Dec 12 Stockholm, Sweden – Avicii Arena #
Geese have stopped playing and masses of people are breaking apart, scattering in different directions. A torrential downpour has beset the first day of Barcelona’s Primavera Sound 2026, but groups of devoted fans are still gleefully singing the band’s choruses: a “Like a sailor” here, a “Doctor! Doctor!” there. Nobody knows it yet, but Geese have, in effect, become the day’s headlining act, as every set that was supposed to follow over at the main stages will be cancelled, including Alex G, Doja Cat, and Bad Gyal. Massive Attack, who cancelled in 2022 due to illness, were pushed back two hours before adverse weather made the show impossible, forcing the already-frustrated crowd to swarm back out. Smaller sets also faced technical issues, but for the most part, the rest of the performances went ahead as planned.
This wasn’t like the time thunderstorms courted Mitski‘s performance in 2022, if only because the rain was persistent and accompanied by strong gusts of wind. In the half a decade that I’ve been covering the festival, I’ve never seen a more chaotic scene that lasted this long: people being shepherded away from the main stages, loads of others being denied entry, and no information on the giant screens that still displayed ads while attendees were desperate for updates. (This morning, the festival announced refunds for day ticket holders.) Like everyone else at the Parc del Fòrum, my day did not go as planned. After Geese, I was supposed to see oklou’s full set at the Cupra stage, but, wrongly assuming there was no chance it was going to move forward (“I hope that the festival can offer better working conditions in the future,” she later posted on her Instagram story), headed over to the indoor venue where I comfortably watched three mesmerizing performances, including Panda Bear’s tight, head-spinning show.
By the time I got out of the Auditori Rockdelux, the maelstrom had mostly quieted down. Disappointed faces couldn’t help but move their bodies while others seemed to have reached the stage of acceptance during blissed-out late-night sets from Fcukers, Overmono, and ¥ØU$UK€ ¥UK1MAT$U. Here are five highlights from the first day of Primavera Sound 2026.
Cameron Winter’s Tumble of Light
Cameron Winter. Credit: Sharon Lopez
The queue for Cameron Winter was not a line but an ouroboros. The Geese frontman was scheduled to play at at 5pm, making his set a top priority for anyone willing to camp out at the site early; although I was planning to stay up another twelve hours, I managed to make my way into the 3,000-capacity auditorium. (I’ve never seen a line at the press entrance, but it was considerable even an hour and a half before the performance.) When the doors opened, it seemed like thousands of people wanted to verify the same thing: Cameron Winter is actually real. It’s a silly thought everyone has when they see one of their favorite artists for the first time, especially at an impressionable age. It shouldn’t have crossed my mind when he waved at the crowd – I’ve interviewed the guy – but all the hype, memes, and controversies make it easy to forget where the music’s coming from. They all soon faded away. There was Cameron Winter, ramming the piano bench into the floor before sitting down and making a show of his humanity.
The show time also ensured that most people would stand in awe of his performance before the chance to get inebriated, at least not within the festival grounds. You could only chalk up the sense of rapture his songs invoked to the emotion reverberating through the hall, where every tiny move or variation in sound had its own resonance. His humour especially cut through, inducing audible chuckles with lines like “I don’t like what happened to Jesus/ But I sure do like Saturday morning” from the unreleased ‘Emperor XIII In Shades’, or even with musical gestures, like plunking a single note over and over. (Not to mention sending kisses – I cringe at writing the word “smooches,” but it is more accurate – when someone yelled out “Te amo!”)
If you’ve seen anything about the solo shows Winter has been playing over the past year, you’ll know attendees are treated to just his voice and piano. That alone is an incredibly dynamic combination, considering how he plays around with tempo, intensity, and silence. But there was another element at play that felt like its own character, which was light: the way it was shooting out at him during ‘Drinking Age’, you might mishear the line as “Everything is light” instead of “lying.” The unreleased songs stood out to me as stormy and ambitious, and when he sang “The devil will work even in the rain that is pouring” on ‘If You Turn Back Now’, he might have known something was up.
Geese: “Barcelona! Underwater!”
Geese. Credit: Christian Bertrand
Cameron Winter and Geese clocked out early on Thursday, finishing up before 9pm. When their set began, there was only a light drizzle at the Parc del Fòrum, and most fans had come prepared with ponchos. But the weather seemed to get more torrential the more rambunctious Geese sounded, slowing down the second half of their set only for the crowd to sing along to ‘Au Pays du Cocaine’. Winter’s voice was starting to give out, but he powered through, probably more intoxicated than before and flipping out at the scene. While he allowed himself some slogginess, the rest of the band remained locked in, throwing it down like any other day. When I saw someone crowd surfing, I thought of the line “I was a sailor, and now I’m a boat” and laughed to myself; Geese’s discography makes way for plenty of nautical jokes. Winter grabbed the chance on ‘Cowboy Nudes’, pausing as if to acknowledge the cruel irony of changing the lyric from New York City to a place that’s not supposed to be experiencing these conditions in the summer: “Barcelona! Underwater!” Though they cut their set short a few minutes, they still ended with ‘Trinidad’, which didn’t make the situation seem any less menacing. It was a true blast.
From Total Chaos to caroline’s ‘total euphoria’
caroline. Credit: Sergio Albert
For many people, caroline‘s set at the Auditori was a kind of saving grace. I don’t know how full it was at the start of the show, but when I got in halfway through, there were no seats left, and people were sitting and standing around the edges of the venue. But given that security guards were yelling “This is not the exit!” as I got in, I have to assume not everyone there was familiar with the London octet’s ambient symphonies. In previous years, Black Country, New Road and black midi – two bands associated with caroline – have drawn big crowds at Primavera, and seeing the same amount of people who sat in for Cameron Winter listening to them felt gratifying; they deserve the exposure, even under these circumstances. The group’s individual members were moving not unlike swathes of people were outside: toward and away from each other, aware of everyone even when they weren’t making eye contact. For a moment, we were even transported to a London house, as caroline brought to life the memory of simultaneously recording two songs: one in the kitchen, another in the living room. I would have loved to catch their full set, but they seemed to stretch time even in that limited window, and the closing performance of ‘total euphoria’ was on another level.
With Father John Misty, Hope Dies Last
Father John Misty. Credit: Clara Orozco
“The optimist swears hope dies last,” begins ‘Screamland’, one of the best songs of 2024, before Johsh Tillman sings, “Honey, take me down to the water’s edge/ Mama said that we could get my hip brace wet.” Adverse weather persisted, but Father John Misty’s showmanship was unmarred; if Cameron Winter’s show is slightly ruffled in its reverence, Tillman and his band retain every bit of elegance they can. Not a fake or ironic kind, his performance made clear, but a poised gravity that matches the hefty questions his music poses, which loom much larger than some rain and wind at a festival. Braving towards the Cupra stage as they played ‘Chateau Lobby #4 (in C for Two Virgins)’, I managed to catch melodious yet haunting renditions of ‘Mental Health’, ‘I Love You, Honeybear’, ‘Mahashmashana’, and yes, ‘Screamland’, which collectively seemed to explain why ‘Pure Comedy’ – once the climax of his show – has been left out of the setlist. Its brand of satire seems to have no place in the present, shoved away by the perpetual mingling of hope, despair, and romance. We could count on it a little longer.
If You Still Wanna Party, Come Over to Fcukers’ Show
Fcukers. Credit: Christian Bertrand
If you were still at the festival after midnight, you’d have been soaking wet long enough that the rain no longer mattered. I was part of the crowd leaving after the second time Massive Attack was cancelled, by which point the options were two: leave with your head down or decide that the party’s only just starting. There was plenty of music to support the latter. Not long after Father John Misty’s philosophical musings, 2hollis blazed out of Cupra with a mesmeric and energized set, which you could follow directly with Fcukers on the Schwarzkopf stage, cranking out nearly every song from their debut album Ö and the preceding Baggy$$ EP. Not only was their music bolstered by their live band energy – smoothed over and slightly dampened on record – but by an added emphasis on tweaky, fun visuals, which, more so than previous years, was a marker of every electronic set I caught. (None surpassed Panda Bear’s set, though, which melted the boundaries between image and sound.) As they made clear before launching into ‘If you wanna party, come over to my house’, Fcukers were not surprised but simply glad so many people still wanted to shake it up. All things considered, they made it feel effortless.
Jacob Elordi has come a long way since appearing in Pirates of the Caribbean: Dead Men Tell No Tales as an extra almost a decade ago.
The Australian actor went from teen heartthrob to bona fide movie star in record time, mainly thanks to well-chosen roles that showcase both his charisma and acting chops. Now, he’s rumoured to be in the mix to play the next James Bond, which would likely catapult him to new levels of fame.
Given his growing popularity, his net worth has been on an upward swing as well. Here’s what we know about the actor’s earnings.
That’s even more impressive when you consider that he became a celebrity literally overnight thanks to Netflix movie The Kissing Booth back in 2018. In an interview with GQ, he explained that he woke up one day to 4 million Instagram followers.
“I had to go through and delete my high school pictures because that was the Instagram that I used for my life,” Elordi said. In the same interview, he opened up about how he often used to sleep in his car before booking Euphoria because he had less than $1000 in his account.
Those days, however, are long gone. Portraying Nate Jacobs in the HBO hit, which also starred Zendaya, brought him worldwide acclaim. Ditto for the two Kissing Booth sequels.
In 2023, Elordi played Elvis Presley in Priscilla and Felix in Saltburn, both roles that generated buzz. His most critically acclaimed performance yet, though, came last year with Guillermo del Toro’s Frankenstein, where he played The Creature. His interpretation earned him a nomination for the Academy Award for Best Supporting Actor.
This year, Elordi starred opposite Margot Robbie in Wuthering Heights. He will also appear in The Dog Stars, a post-apocalyptic film directed by Ridley Scott.
Besides acting, Elordi makes bank thanks to brand collaborations. He previously worked with Hugo Boss, TAG Heuer, Chanel, Bottega Veneta, Cartier, and Calvin Klein.
Jacob Elordi Salary
Information about salaries is generally kept under wraps. Still, there are rumours about how much Jacob Elordi earned from different roles.
Elordi’s highest-grossing movie yet is gothic romance Wuthering Heights, which made $242 million worldwide, per Wikipedia. While the movie was divisive, the mixed reviews didn’t stop fans from turning up at the cinema.
It will be interesting to see what kind of roles he goes for next.
Within the hierarchy of niche perfumery, there exists a tier that operates entirely outside the conventional framework of luxury fragrance. These are not simply expensive alternatives to designer houses; they are, by any measure, a different category entirely. The perfumers who occupy this space – Alessandro Gualtieri, David Benedek, Carlos Benaim – work with a freedom that commercial constraints do not permit, and the results reflect it.
To understand this distinction is to understand why, for a discerning collector, the acquisition of such fragrances represents something genuinely different from the purchase of a recognised luxury brand. It is the difference between couture and ready-to-wear – technically the same product category, but experientially and philosophically distinct.
Orto Parisi: Perfumery as Provocation
Alessandro Gualtieri – the perfumer behind Nasomatto, and subsequently the founder of Orto Parisi – occupies a position in contemporary perfumery that is genuinely singular. His work is confrontational in the most considered sense: fragrances that challenge the conventions of comfort and wearability in pursuit of something more arresting.
Boccanera, one of the house’s most discussed releases, is a meditation on darkness – incense, leather, tar, and an animalic undercurrent that requires a specific kind of confidence to wear. It is not a fragrance designed to please universally, and Gualtieri makes no apology for that. The collection is built on the premise that fragrance should provoke a response, not simply accompany an occasion.
Megamare, by contrast, demonstrates the range of which the house is capable. Ostensibly an aquatic, it achieves something more complex: a fragrance that captures the particular atmosphere of the sea at depth rather than at the shore – mineral, saline, with an almost geological weight. For those who find most aquatics superficial, it functions as a correction.
Terroni – earthy, warm, and deeply rooted in the Italian countryside that Gualtieri cites as an influence – completes a trio that maps different registers of the natural world. Each fragrance is an argument for a more demanding relationship between wearer and scent.
BDK Parfums: The Contemporary Parisian Counter-Point
Where Orto Parisi operates at the extreme of provocation, bdk niche perfumes occupies a more approachable position – though approachable should not be mistaken for unchallenging. David Benedek’s Paris-based house has built its reputation on a particular kind of sophistication: fragrances that achieve elegance through restraint rather than through absence.
Gris Charnel, the house’s signature, is often described as a skin scent – a fragrance that performs its complexity quietly, revealing itself gradually over several hours rather than announcing itself in the opening. This is, for the serious wearer, a considerable merit. Fragrances designed to be discovered rather than declared have a longevity of interest that their more immediately arresting counterparts often lack.
The collection’s range – from the tobacco-rose of Tabac Rose to the refined aquatic of Tokio Bloom – demonstrates a house that understands its audience as genuinely varied in their requirements. There is no single BDK aesthetic; rather, a consistent standard of quality applied to different moods and occasions.
The Collector’s Perspective
For the serious collector, the question of provenance has become increasingly significant. The expansion of interest in niche perfumery has produced, as a corollary, a secondary market where authenticity cannot be assumed. Fragrance at this level is not a transaction to be undertaken casually. The verification of origin, the assurance of correct storage conditions, and the guarantee of genuine product are not supplementary considerations – they are fundamental to the value of the purchase.
Marc Gebauer Lifestyle LP sources and verifies certified original product across the full spectrum of niche perfumery, with 12-month warranty coverage and full provenance transparency. For the collector who applies the same rigour to fragrance as to any other luxury acquisition, this is simply the appropriate standard.
On Wearing at This Level
A final observation on the art of wearing these fragrances. The temptation, when working with a collection of this depth, is to over-apply – to compensate for a fragrance’s complexity by ensuring its projection. The opposite approach is generally more effective. The best niche fragrances reward proximity; they are designed to be encountered rather than broadcast. A considered application, skin-close, allows the wearer to present the fragrance as an invitation rather than a declaration. That, ultimately, is the appropriate register for perfumery at its apex.
The National Gallery has extended its opening hours for the summertime season, encouraging visitors to enjoy its collection beyond the traditional museum day. Running from 3 July to 31 August, the National Gallery Summertime programme will keep the Gallery open until 7pm daily, with Friday evenings extended until 9pm. Alongside access to the permanent collection, visitors will be able to enjoy late-night exhibitions, dining, shopping and social spaces, offering a more relaxed way to engage with one of London’s most visited cultural institutions.
The initiative responds to growing demand for more flexible opening hours, particularly among commuters and those unable to visit during the day. As part of the programme, the Gallery will host a series of evening creative workshops, such as beginner friendly life drawing and experimental drawing sessions in the Roden Centre for Creative Learning. Visitors will have additional time to explore exhibitions such as Zurbarán, while cafés, bars, restaurants and retail spaces remain open later into the evening. As National Gallery Director Sir Gabriele Finaldi notes, the goal is to give visitors the freedom to spend longer with a favourite painting or simply unwind among great works of art on a summer evening.
When I stand in front of one of Mariana Cordoba’s paintings, I begin to picture the body that made it. I sense the artist there, her weight shifting, her pulse, the crowd of thoughts moving through her, and then I watch all of that fall away until nothing remains but a hand and the paint it carries. The work holds that disappearance inside it. I can read the movement directly off the surface, a gesture that might be anger, might be sorrow, might be a flash of pure exhilaration. Mariana never tells me which. She lets me decide.
Followed across time, Mariana’s paintings start to behave like a record of a life. Her colours and marks seem to shift with whatever she is living through, some passages sharpened and cooled into hard blues, others softening into yellows that feel like a season turning. Winter loosens into summer on the canvas, though I suspect the weather she is describing is not the sky outside but something further in, closer to the heart. This is the power of abstraction. It refuses to fix a single meaning, so I am free to find my own, and so is everyone who stands beside me. The painting becomes a mirror as much as a window, and no two of us will see the same thing.
And yet, for all their force, these are not paintings that spill over. The edge of the canvas does the disciplining Mariana will not do herself. Its shape gives her emotion a beginning and an end. What first looks like chaos turns out to be controlled, held in check by the rectangle, by the rhythm of where she chooses to stop, by the empty spaces she leaves deliberately bare. Those negative spaces are as eloquent as the dense ones. They are the breath between her marks, the silence that lets the noise mean something. Mariana works on unprimed linen, refusing the smooth barrier a primer would give, so the rawness shows. Nothing is sealed off, nothing pretends to have been planned. Her emotion meets the material directly, and it keeps the evidence.
If I leave with one hope, it is to see Mariana let go even further, to watch the feeling outgrow its frame entirely. I would like to see her colour crawl past the edge, leak down onto the wall, drip across the floor and reach the ceiling. I would like to see the controlled chaos finally tip into chaos and the whole room become the painting. The discipline is already there, hard-won and plainly visible in every restrained edge and bare patch of linen. What remains is the thrilling possibility of the explosion. Mariana is an artist this attuned to her own interior weather, and I would like to see her given permission to let it flood the space around her. That is the work I most want to stand inside, and the reason her practice feels to me less finished than gathering force.
I believe London, where Mariana studied her MA in Painting at the Royal College of Art and where I came across her work for the first time, is the richer for holding that force. She brings the city something it cannot manufacture for itself: a painter who treats abstraction as confession and carries a Colombian-American inheritance into the heart of British painting. To my mind she widens what the UK art scene can hold, and I believe its conversation will be more honest, more international, and more alive for having her voice inside it.
孙晓岚 Sun Xiaolan · Solo Exhibition Curated by Ziyan Xu
D Contemporary, London · 3–8 June 2026
Whiteshepherd Gallery, in collaboration with D Contemporary, presents the London solo debut of Hangzhou painter Sun Xiaolan — twenty oil paintings of water, light and memory, curated by Ziyan Xu, in partnership with Turbulence Creative, JustArt Newspaper Club and ourculture.
London, May 2026
Whiteshepherd Gallery and D Contemporary are pleased to announce After the Mist: What the Water Remembers (岚散之后，水还记得), a solo exhibition by Hangzhou-based artist Sun Xiaolan, curated by Ziyan Xu. The exhibition opens on 3 June 2026 and runs through 8 June, with a Private View on 3 June from 3:00 to 5:00 PM. It is open to the public from 3 to 5 June (11:00 AM – 5:00 PM daily) and available by appointment from 6 to 8 June.
The Exhibition
After the Mist: What the Water Remembers is Sun Xiaolan’s first solo exhibition in London and her second major European presentation, following her acclaimed show Parler au vent, Parler à la montagne at Galerie Francis Barlier, Paris, in February 2026, attended by the President of the Société des Artistes Français. Gaoliang, Corresponding Member of the Institut de France, described her work as “a cup of the finest tea, drawing one into its depth.”
Twenty oil paintings on canvas and panel, spanning 2023 to 2026, gather here as a single long looking. The shimmer of West Lake at dawn; a market at Tianmuli alive with the warmth of ordinary life; a honey-coloured pond glowing in its own silence; two wild ducks drifting across still water, slowing the whole world down. Works range from the monumental Spring Water Rising (春水生, 140×140 cm) to intimate twenty-by-twenty centimetre panel paintings — every work an act of sustained attention, a return to a familiar place rendered with the patience of someone who has learned to wait for light.
Sun Xiaolan lives and works in Hangzhou. Her paintings live in the condition of flow. Rooted in the contemplative tradition of Chinese landscape philosophy and working in the language of contemporary European oil painting, she makes of paint itself a container for feeling. In her work, light is the shape of time; water is the mirror of memory. Her surfaces are organised around diffusion and overflow — light spreading across water, reflections exceeding their origins, edges dissolving into air at the moment of touch. Luce Irigaray observed that Western thought has long privileged form and boundary, while fluidity, overflow, and multiplicity — those things that exceed any outline — constitute a deeper and more elusive mode of being. Sun Xiaolan’s paintings give this fluidity visible form: the more intently you look, the more the surface opens, like water widening at every edge, always in the act of becoming.
The title turns on the character at the heart of the artist’s own name — 岚 (lán), mountain mist, that breath of vapour that rises at dawn and is gone by morning. After the mist lifts, the water still holds what passed through it: the quality of the light, the weight of a cloud’s reflection, the particular stillness of a moment before the world woke up. Gaston Bachelard, writing in Water and Dreams (1942), proposed that water is the element of material imagination: the substance through which we dream, feel, and remember before language arrives to name what we are experiencing. Sun Xiaolan’s paint dwells in exactly this way — carrying feeling quietly before speech, preserving time the way a lake holds light: openly, already, before any word arrives. This is an exhibition about an interior landscape — the luminous surface inside each of us that catches light, holds colour, and quietly remembers.
Curatorial Framework
The exhibition is curated by Ziyan Xu, whose practice focuses on Gender Identity, Migration & Diaspora, and Feminist Body Politics. Xu situates Sun Xiaolan’s paintings within a contemporary feminist philosophical framework, drawing on Luce Irigaray’s theory of fluid mechanics — the idea that Western thought has long privileged form and boundary over fluidity and multiplicity — and Gaston Bachelard’s phenomenology of water as the element of material imagination: the substance through which we feel and remember before language arrives. These frameworks are not imposed upon the work; they are drawn out by it.
About Whiteshepherd Gallery
Whiteshepherd is a London-based nomadic gallery and curatorial platform working with emerging artists whose practices navigate diaspora, displacement, and cross-cultural identity. Founded in a South Kensington townhouse and now active across multiple London venues, the gallery’s mobility is not incidental — it reflects a curatorial position that art made at the edges of culture cannot be contained within a single room.
Whiteshepherd works with artists from the earliest stages of their careers: building first exhibition concepts, developing sustainable commercial frameworks, and creating the conditions for their work to be seen across cultural contexts. In close collaboration with XIMA Gallery — which operates three spaces in China — Whiteshepherd brings artists into dialogue with Chinese audiences through exhibitions, residencies, and art fairs.
The gallery does not seek to build a bridge between East and West — a bridge implies a symmetry that does not exist. It seeks instead to create the conditions for effective friction: moments where different aesthetic frameworks, viewing habits, and critical languages meet without being prematurely resolved.
About D Contemporary
D Contemporary serves as a dynamic platform that champions top emerging and mid-career artists, both UK-based and international. We support artistic practices across a wide range of media — from painting and sculpture to digital works and installation art — while fostering critical dialogue and cross-cultural exchange. Our annual calendar includes a curated series of solo and group exhibitions, artist talks, and collaborations with cultural institutions and independent curators. Championing London’s and the international contemporary art scene, D Contemporary also works with world embassies on cultural diplomacy, supporting artists from markets with limited exposure to world art capitals. Currently located at 1 Birdcage Walk, Westminster, while its Mayfair home undergoes renovation.
Additional Event · 4 June 2026, 2:30 PM
On 4 June the exhibition space hosts AI Agents, Art & Taste: Future Art-Tech Production in Practice — a free public afternoon featuring an Art & Tech talk by Roxanne Jingxuan Zhao (Turbulence Creative) and an AI Food Art Tasting Experience by Deep Food x Joseph Wan. RSVP: https://shorturl.at/CUHgG
After delivering a surprise performance at Times Square last night, Madonna has released a new single, ‘Love Sensation’. Taken from her forthcoming album Confessions II, it follows previous entries ‘I Feel So Free’ and ‘Bring Your Love’ with Sabrina Carpenter. Give it a listen below.
Confessions II, the sequel to Madonna’s 2005 album Confessions on a Dance Floor, is set to arrive on July 3.
In this segment, we showcase the most notable albums out each week. Here are the albums out on June 5, 2026:
Death Cab for Cutie, I Built a Tower
Death Cab for Cutie are back in top form on I Built a Tower, their 11th LP. As mournful as it is revivifying, the follow-up to 2022’s Asphalt Meadows was previewed by the singles ‘Stone Over Water’, ‘Riptide’, and ‘Punching the Flowers’. “There’s this need to find a place in ourselves to put loss and grief,” Ben Gibbard explained. “A place that can hold it so we can move on with our lives. But there are these moments where the trauma breaks out of that shell we created for it.” Bassist Nick Harmer added: “The whole experience of this record got us back to the earliest versions of this band: If the musicians in the room like what we’re working on, that’s enough. We reconnected with the confidence that comes with that.”
“As the world burns, I have decided to release this album,” Vince Staples said in a press release for Cry Baby. “Thanks for listening.” Anchoring in live instrumentation, it’s propulsive and polemical nearly all the way through. Ahead of its arrival, the rapper shared the singles ‘Cotton’, ‘Black Marmalade’, and ‘White Flag’. Following a series of records in partnership with Def Jam and Blacksmith, it marks his first LP for Loma Vista.
Just in time for his headlining set at Primavera Sound (which I will be reporting), Skrillex has surprise-released a new album. SOMA spans 13 tracks, including the previously released cuts ‘Duro’, ‘Smoke’, and ‘Thistle’, the record features collaborations with Tracey, Blawan, RHR, Young Miko, Anita B Queen, and more. It follows his 2025 album F*ck U Skrillex You Think Ur Andy Warhol But Ur Not!!<3 as well as the EPs Kora and Hit Me Where It Hurts X. In addition to his performance on the festival’s main stage, Skrillex will present a curated lineup at Primavera Sound’s Cupra Pulse stage on Saturday, which can be livestreamed.
Modest Mouse have returned with their first independent release in almost 30 years. An Eraser and a Maze, which is both vibrant and viscerally emotive, follows 2021’s The Golden Casket. The group’s eighth studio album initially took shape as an EP for Isaac Brock’s Ugly Casanova side project. “For this one, I turned off my filter and just let it all happen,” he said in press materials. “Even though every goddamn musician says that when they put out a record. I mean, go ahead and listen to the three-minute mark of any interview between a musician and Terry Gross …”
Multi-instrumentalist and composer Zoh Amba makes their debut as a singer-songwriter with Eyes Full, out today via Matador. Featuring Jim White on drums and Kevin Hyland on guitar, with Amba on vocals and mostly acoustic guitar, the searing LP was tracked at Asheville’s Drop of Sun studios. “In my heart, with the writing, it feels like just one soul – it’s not like I split my heart in half, split my brain in half,” Amba said in our Artist Spotlight interview. “So it’s all the same thing. Everything I was trying to do with the saxophone music is everything I’m trying to do in this.”
Widowspeak decamped to the Greek island of Hydra to record Roses, but unlike other artists who have recently made records there, they weren’t suffering from the heat. Molly Hamilton and Robert Earl Thomas, along with longtime touring members Willy Muse, John Andrews, and Noah Bond, spent time at the Old Carpet Factory last January, a time when the island is remarkably quiet but no less beautiful. Widowspeak’s music opens itself up to daydreaming no matter the time of year, and Roses – languid, entrancing, blissful – is no exception. It’s another album out today whose sound was shaped in part at Drop of Sun, with the studio’s Alex Farrar on mixing duties; mastering was handled by Greg Obis at Chicago Mastering.
At the start of the year, Let’s Eat Grandma’s Jenny Hollingworth released her debut solo album as Jenny on Holiday, and her bandmate Rosa Walton contributed to it. Now, Rosa Walton has come through with her solo debut, Tell Me It’s a Dream, which was co-produced by LEG collaborator David Wrench. Guitarist John Victor, bassist Kam Khan, and drummer Elena Costa play on the record, while Hollingworth sings on ‘Prettier Things’. “The idea of doing a solo project was never about stepping away or doing something on my own for the sake of it,” Walton reflected. “It started as writing to process things and stay grounded, and it grew into something shaped by the people around me and the joy of making music together.”
Azniv Korkejian started writing her gorgeous new album as Bedouine, Neon Skin Summer, after visiting her family in Saudi Arabia. “For my 20s and much of my 30s, I couldn’t sit still. I was so curious about my own independence that it just didn’t occur to me for the longest time to mourn the past. But after that trip to Saudi Arabia, I came home and was so devastated. I couldn’t place the feeling immediately, but as I started writing, I realized I was processing that I wasn’t ready to stop being somebody’s kid.” She added, “I felt so frustrated about the places that I’m from becoming war torn or difficult to return to. My family has been split apart time and time again, immigrating between Armenia, Syria, and Saudi Arabia. I wanted to document and honor my family’s stories.”
Of Montreal, Aethermead; horsegiirL, NATURE IS HEALING; SLIFT, Fantasia; Lee “Scratch” Perry, Spatial, No Problem; Deer Tick, Coin-O-Matic; Laura Misch, Lithic; Tara Clerkin Trio, Somewhere Good; Niall Horan, Dinner Party; Bella White, A Sign In the Weather.
Taylor Swift has released a new song, ‘I Knew It, I Knew You’, for Toy Story 5. She co-wrote and co-produced the track with Jack Antonoff, whose Bleachers bandmates play on the track. Check it out below.
“I’ve always dreamed of getting to write for these characters who I’ve adored since I was a 5 year old kid watching the first Toy Story movie,” Swift wrote earlier this week. “I fell instantly in love with Toy Story 5 when I was lucky enough to see it in its early stages, and I wrote this song as soon as I got home from the screening. Sometimes you just know, right?”
Upon releasing the song, she said: “Writing this song felt like a musical departure and coming home at the same time. Creating something for Jessie was a new challenge and also felt like second nature all at once. And being a @toystory kid from the age of 5 til now… is an adventure I plan to be on, to infinity and beyond.”
The film’s director, Andrew Stanton, had this to say: “It’s incredible just how meaningful it’s been having Taylor write and perform this song. Her connection to Jessie and the immediate way she understood what the character was going through was undeniable. The song is so deeply connected to Toy Story. So much so that on first listen, it instantly felt like it had always belonged there, like a long-lost family member. It was kismet.”
Death Cab for Cutie are back in top form on 
“As the world burns, I have decided to release this album,” Vince Staples said in a press release for Cry Baby. “Thanks for listening.” Anchoring in live instrumentation, it’s propulsive and polemical nearly all the way through. Ahead of its arrival, the rapper shared the singles 
Just in time for his headlining set at Primavera Sound (which I will be reporting), Skrillex has surprise-released a new album. 
Modest Mouse have returned with their first independent release in almost 30 years. 
Multi-instrumentalist and composer Zoh Amba makes their debut as a singer-songwriter with 
Widowspeak decamped to the Greek island of Hydra to record 
At the start of the year, Let’s Eat Grandma’s Jenny Hollingworth released her debut solo album as Jenny on Holiday, and her bandmate Rosa Walton contributed to it. Now, Rosa Walton has come through with her solo debut, 
Azniv Korkejian started writing her gorgeous new album as Bedouine, Neon Skin Summer, after visiting her family in Saudi Arabia. “For my 20s and much of my 30s, I couldn’t sit still. I was so curious about my own independence that it just didn’t occur to me for the longest time to mourn the past. But after that trip to Saudi Arabia, I came home and was so devastated. I couldn’t place the feeling immediately, but as I started writing, I realized I was processing that I wasn’t ready to stop being somebody’s kid.” She added, “I felt so frustrated about the places that I’m from becoming war torn or difficult to return to. My family has been split apart time and time again, immigrating between Armenia, Syria, and Saudi Arabia. I wanted to document and honor my family’s stories.”
