Third Man Records has announced a Christmas Fair in London, bringing together a selection of independent labels and record shops for a one-day event next month. The fair will take place upstairs at EartH in Dalston on Sunday December 14 from 11am to 5pm.

The line-up includes Rough Trade Records, 4AD, Matador, Speedy Underground, Heavenly and several others who will be offering vinyl rarities, test pressings and exclusive items. DJs will be playing throughout the day and entry is free for all visitors.

The Christmas Fair marks a rare chance for collectors to browse stalls from some of the UK’s most influential independent labels under one roof, just in time for the festive season.

Alanis Morissette will return to London next summer for a major outdoor headline show at Crystal Palace Park on Saturday 4 July 2026. The date forms part of a short run of six exclusive UK and Ireland shows, following what many critics hailed as her strongest UK performances to date, including a sold out O2 Arena and a widely acclaimed Glastonbury debut.

She will be joined by special guests Skunk Anansie, the genre-blending London group whose ferocious live energy and catalogue of hits, from Weak to Hedonism, have cemented their place as one of British rock’s most distinctive forces.

Tickets go on general sale at 9am on Friday 12 December via Ticketmaster.

Morissette’s Crystal Palace Park appearance arrives off the back of her global 2025 World Tour, which included a limited, fully sold-out UK and Ireland run. It continues a three-decade legacy that began with Jagged Little Pill in 1995 and expanded across nine further albums, countless global hits and a celebrated Broadway musical adaptation.

Her influence has remained consistent. The 2021 world tour marking 25 years of Jagged Little Pill was the year’s biggest female-fronted tour, and last summer’s Triple Moon Tour filled venues across North America, selling more than half a million tickets.

Post-punk five-piece Radiator have shared their debut EP Glass, arriving as a limited edition 12" vinyl release on Friday 21 November via No Distance Records. The four-track EP captures the band’s taut, high-wire energy, pairing wiry guitars and insistent rhythm sections with a sharp, cerebral streak that runs through both the lyrics and arrangements.

Drawing on the nervy drive of Joy Division, the serrated urgency of Fontaines D.C. and the propulsive bite of bands like Bloc Party and Editors, Glass finds Radiator refining a sound that is both immediate and heavy with tension. Across its sixteen minutes, the EP swings between tightly coiled punk pressure and stark, melodic clarity, hinting at a band already confident in their own corner of the post-punk landscape.

The release follows a run of sold-out shows across London and the south-east, including dates in Cambridge, Chelmsford and Camden, and builds on early support from BBC 6 Music’s Steve Lamacq. Glass also marks a new chapter for No Distance Records, the independent label that scored an Official Charts breakthrough in 2024 with its first vinyl release.

To launch the EP, Radiator will headline the Hope and Anchor in Islington on Thursday 4 December, ahead of a university tour in February that will take the band across the country in support of the record.

Maddie Ashman’s rise has been fuelled by the kind of attention that arrives when an artist hits on something genuinely new. Her work has been praised for its mix of technical precision and emotional directness, a combination that places her at the forefront of experimental pop without losing the intimacy that first drew listeners in.

The two tracks sit in striking contrast. ‘Jaded’ folds glitched-out, microtonal breakbeats around a deeply personal narrative, while ‘In Autumn My Heart Breaks’ stretches out into a seven-minute, slow-burning piece built on choral arrangements and classical guitar. Together, they sketch out the breadth of Maddie’s musical world: restless, technically adventurous and quietly devastating.

Known for exploring microtonal music in uncanny yet accessible ways, Maddie explains that ‘Jaded’ hinges on a subtle, disorienting harmonic shift. “In this song I play with descending intonation, through a 4 chord repeating pattern,” she says. “The chords shift microtonally lower but seamlessly, so ‘something is going on, but I can’t put my finger on it’. To me it feels almost like the reality you trust and know has become blurry and unstable, like you’re holding on desperately but continuing to fall.”

‘In Autumn My Heart Breaks’ reaches back to her childhood singing in choirs, using pure intonation and layered voices to explore tension and release. “I wanted to write a song that gets higher and lower at the same time: in the first section the notes and pitches are getting higher and higher but the way it’s being tuned is getting lower and lower. I do the opposite later on in the song. It was a lot of maths, but I’m fascinated by how it feels to listen to and sing.”

The release follows her October breakout ‘I hate goodbyes’ and a European support run with King Gizzard & The Lizard Wizard on their EU Rave Tour, where she also joined the band on stage as a cellist. Away from the stage, Maddie has built a huge online audience this year through experimental home-recorded performances, amassing over 30 million views and more than 300,000 followers, with admirers including John Mayer, Sudan Archives, Bonobo, Jacob Collier, Caroline Polachek, Ólafur Arnalds and Sampha.

Wednesday’s Child have announced their new EP All Dressed Up, arriving 6 February 2026, and shared its lead single ‘KNEES’ today. The London five-piece, long considered by us as one of the city’s best kept secrets, have announced their new EP All Dressed Up, arriving 6th February 2026. Known for live shows where theatrical rock meets sharp, poetic edges, the band recorded their latest EP between RAK and Ten87 Studios and will launch it with a headline show at The Lexington. Their previous EP Seven Sisters, which we praised for its immersive concept and fierce sense of identity, cemented them as one of the most distinctive new voices in the city.

The first single, ‘KNEES’, lands today and offers the first glimpse into a record that turns emotional turbulence into something bold and deliberate. Across its five tracks, All Dressed Up digs into psychological strain and personal reckoning, balancing raw confrontation with the quieter process of healing old and new wounds.

The EP follows a run of sold-out shows in London, Manchester, and Bristol, and continues to cement Wednesday’s Child as one of the more fearless voices within the UK’s art-rock underground.

Follow the band on instagram here.

Dutch punks Real Farmer have shared their new single ‘Missing Link’ through Strap Originals. The track is the first glimpse of the band’s next album Two Wrongs Don’t Make A Right, which is planned for release in spring 2026. ‘Missing Link’ arrives after the group’s EP RF II landed earlier this year and marks the beginning of their biggest run of UK shows so far. The band took the stage in Coventry on 13 November for the first of three support slots with Babyshambles, with Norwich and Brixton still to come.

The new single pushes their sound forward. The trademark punch of the drums and the scrappy punk energy are still present, but there is a looser swagger to the guitars and a shift in the vocal dynamic, with Jeroen’s lead delivery sharing more space with bassist Marrit’s hypnotic backing lines. It feels like a band leaning confidently into new ideas.

The video for Missing Link was filmed in Margate with director and photographer Roger Sargent, best known for his work with The Libertines. After wrapping the shoot, Real Farmer played a show at Dalby cafe, the venue that once went viral after Peter Doherty ordered an enormous fry up.

‘Missing Link’ was produced by Niek Van Den Driesschen and recorded at Far Out Sound Studios in Rotterdam. The track was mastered by Melbourne based Mikey Young, whose credits include Amyl and the Sniffers, Preoccupations and The Chats.

It caps off a landmark year for Real Farmer. They have appeared at festivals including Primavera Sound, The Great Escape, Eurosonic and The Libertines’ Gunnersbury Park event, while also completing their first UK headline tour and a busy schedule across Europe.

Today Potato return with a music video for their latest single “Gill’s Fanfare’. The name Potato might suggest something plain, but the band are anything but. If anything, the comparison works in their favour. Like the humble potato, they can take any shape they like: curly fries, creamy mash, Cajun chips, whatever mood they’re in. Their sound has that same versatility, shifting into whatever form the moment calls for, which is probably why the name ends up fitting perfectly. Their latest single is a dreamy, emotive piece that leans into a quiet kind of intimacy.

The band have been building momentum since their debut EP Stew landed last year via Mookin Records. Since then they have become a familiar sight across Windmill Brixton, The Shacklewell Arms, Sebright Arms and every other venue that reliably smells of sweat, lager and ambition. They have already shared bills with Personal Trainer, The Wave Pictures and Pushpin, and they are now deep into work on their debut album with Mike Collins and Joseph Futak, whose credits include Seazoo, Johanna Warren, Tapir and lilo.

Their music darts between folk, post rock, post punk, jazz and contemporary classical, stitching it all together with a melodic instinct that feels entirely their own. There are flashes of Bill Callahan and Glen Campbell in the warmth, bits of King Crimson in the odd angles, and a glimmer of Philip Glass in the patterns that loop beneath it all.

Their shows swing between chaos and tenderness and have earned them a loyal crowd and a steady stream of praise. BBC Introducing’s Abbie McArthy called them a band who completely blew her away, and we couldn’t agree more.

Listen to the ‘Gill’s Fanfare’ below:

End Of The Road Festival will mark its 20th edition with a headline trio that feels both celebratory and characteristically left of centre. Taking place from 3 to 6 September 2026 at Larmer Tree Gardens, the festival has confirmed Pulp, CMAT and Mac DeMarco as next year’s main attractions, with the traditional Thursday headliner kept under wraps until the festival opens.

For the first time in the festival’s history, Pulp will take to the End Of The Road stage. The Sheffield icons return in the wake of their 2025 album More, the band’s first new release in 24 years. Jarvis Cocker has long been part of the festival’s story as both fan and performer, and the group’s appearance looks set to deliver some of the weekend’s loudest singalongs. This will be Pulp’s only UK festival performance of 2026.

Mac DeMarco also returns to Larmer Tree Gardens, almost ten years after his last headline set and the infamous crowd surf that carried him from the Woods Stage to the Big Top. A fixture in the festival’s own history, his 2026 slot arrives with a calmer outlook and a new album titled Guitar, a record that strips away his usual quirks in favour of something more reflective. His set will mix early fan favourites with newer material. This performance will be his only UK festival date of the year.

CMAT completes the headline trio. Her rise has been rapid, fuelled by a Mercury nomination and a widely praised third album titled Euro-Country. End Of The Road audiences will remember her 2024 appearance, a flamboyant afternoon set that cemented her as a future headliner. Her promotion to the top line signals both her growing influence and the festival’s commitment to backing artists on the way up.

Beyond the main stages, End Of The Road continues to offer one of the UK’s most distinctive festival environments. The woods host installations and oddball micro-venues, the programme stretches into comedy, literature and cinema, and the atmosphere remains intentionally offbeat. It is a festival built for people who prefer their weekends bright, strange and full of small surprises.

Get your tickets here.

Following the release of their debut EP, Irish shoegaze outfit DREAM BOY are gearing up to share their next single, ‘Purple,’ arriving on November 14 via Apollo Distribution. Known for their immersive soundscapes and striking visual identity, the band continue to carve their place among acts like Slowdive, My Bloody Valentine, Just Mustard, and NewDad.

‘Purple’ channels the frustration of trying to please someone who refuses to see you, unravelling into a raw expression of anger and disillusionment. Its verses seethe with tension while the chorus lands with blunt clarity: “You make me sick.” The track confronts misogyny within the music industry, exploring the emotional weight of being sexualised or dismissed as a woman trying to be taken seriously.

As the song closes, it delivers a sobering reminder of inequality in Irish radio, quoting: “In 2023 there were 2 Irish women in the top 100 songs played in this country. Only one of them was alive.”

Frontwoman Allie Ryan describes the writing process as instinctive and cathartic:

“Purple was one of those tracks that made sense from the get go. Sean sent me over a guitar  idea and I sent him back a voice note the same day and the song has changed very little since.  I think people resonate with the anger in the song without realising there's so much more to  the story of the song.” 

“We had a lot of fun exploring that in the recording, from including radio statistics at the end  of the track to recording the music video and just smashing loads of delf- the whole process  was very cathartic. I hope people hear this song and begin to question how they might be  contributing to the problem, but more importantly I hope it makes other women feel heard  and understood.” 

DREAM BOY’s debut EP earned praise from Hot Press, Far Out, Nialler9, RTÉ, and IMRO, with radio support from 2FM, Radio X, and Dublin City FM. The band have played alongside Twen, Wombo, Cat Ryan, and Alien Chicks, and recently performed at Ireland Music Week 2025 following a standout slot at All Together Now.

Upcoming shows include supporting Mirrors at Cyprus Avenue, Cork (19 November) and Whelan’s Upstairs, Dublin (22 November).

It feels surreal watching Man/Woman/Chainsaw sign to Fiction. We picked them for our 2023 Hype List when they were still finding their feet on the London circuit, so seeing them join a label that counts The Cure among its alumni feels like a full circle moment.

Their first release for Fiction ‘Only Girl’ is a sharp step forward and easily their most immediate song yet. There’s a brighter hook, a cleaner glide to the melody and a pop streak that suits them more than we expected. Recorded at RAK Studios with Seth Evans and Margo Broom, it shows just how much the band have grown in the past couple of years.

Vera leads the track and describes it as “our playful love song”. Built around a violin line that lifts the whole thing off the ground, it started as a grungy guitar jam before turning into something far more joyful. That looseness is still in there, just sharper and more confident.

The single follows a sold out Scala show, two sold out UK tours this year, sessions for both KEXP and Steve Lamacq at BBC 6 Music and a standout run at SXSW. Rolling Stone called them “a young band in the process of inventing something ecstatically new,” which feels accurate. What still cuts through all the noise is the fact they began as a tight group of friends at sixteen who somehow managed to keep that scrappy energy intact while everything around them scaled up.

The band have also announced a free entry show at Omeara in December, plus new headline dates in February, alongside a Eurosonic appearance in January. Their debut album arrives in 2026, which already feels overdue.

All Points East and Outbreak Fest have announced that Deftones will headline their joint 2026 event at London’s Victoria Park on Sunday 23 August. The multi-platinum GRAMMY-winning Sacramento band will be joined by a genre-spanning lineup including IDLES, Amyl & The Sniffers, EsDeeKid, JPEGMAFIA, ¥ØU$UK€ ¥UK1MAT$U, Basement, Wisp, Deafheaven and Show Me The Body. Tickets go on general sale Friday 14 November at allpointseastfestival.com.

Following the success of 2025’s inaugural Outbreak Fest London, this year’s edition strengthens the partnership between the two forward-thinking festivals. Deftones’ headline performance arrives after a standout year that saw the band release their tenth studio album private music and sell out arenas worldwide. The lineup reflects Outbreak Fest’s commitment to boundary-pushing sounds, from UK post-punk titans IDLES and Australian punks Amyl & The Sniffers to rising stars like viral rap sensation EsDeeKid and electronic visionary ¥ØU$UK€ ¥UK1MAT$U.

With artists like Basement, Wisp, Deafheaven and Show Me The Body also set to perform, All Points East presents Outbreak Fest 2026 promises a day of fearless, genre-defying energy. More acts will be announced soon.

All Points East 2026 will also feature Tyler, The Creator’s two-day headline slot on 28 and 29 August, with additional lineup announcements expected in the coming weeks.

LIDO Festival has announced the first wave of artists for its 2026 edition, unveiling a headline performance from CMAT alongside appearances from Father John Misty, Sharon Van Etten & The Attachment Theory, Beverly Glenn-Copeland and Elizabeth Copeland, Getdown Services, Katy J Pearson, Junior Brother, Jacqui McShee’s Pentangle and Zakia (DJ). The festival returns to Victoria Park on Friday 12 June 2026, with tickets on sale from Thursday 13 November at 10am via lidofestival.co.uk.

Following a sold-out debut this summer, LIDO Festival has quickly become one of London’s most distinctive additions to the live calendar. Combining artist-led curation with an ambitious sustainability program, the event is entirely programmed by its headliners, who are invited to bring their collaborators, favourite new acts and artistic vision to every aspect of the day – from the lineup to the stage design.

Irish pop phenomenon CMAT tops the bill with her Very Sexy CMAT Band, closing a landmark year that saw her Mercury-nominated third album EURO-COUNTRY and major festival appearances at Glastonbury, Green Man, Primavera and All Points East. She’ll be joined by Father John Misty, whose forthcoming album Mahashmashana continues his reputation for darkly poetic storytelling, and Sharon Van Etten, debuting her new collaborative project The Attachment Theory, described by Van Etten as “an exhilarating new dimension of sound and songwriting.”

Elsewhere, the lineup features revered singer, composer and activist Beverly Glenn-Copeland performing alongside Elizabeth Copeland, Bristol duo Getdown Services fresh from their breakout year, and Heavenly’s Katy J Pearson with material from her latest album Someday, Now. Acclaimed Irish songwriter Junior Brother, folk legends Jacqui McShee’s Pentangle and multidisciplinary DJ and broadcaster Zakia round out the bill.

Beyond the music, LIDO continues its mission to set new environmental standards for live events. Its debut in 2025 was powered by a landmark green energy initiative in partnership with Grid Faeries and Ecotricity, combining solar-charged batteries, hydrogen power and zero-landfill practices. Recognised as one of IQ Magazine’s 2025 Green Guardians, LIDO’s second edition will further build on its sustainable ethos while expanding its community programming and artist-curated events throughout the week.

The full lineup and festival programme will be announced in the coming months.

Ryoji Ikeda’s DATA-COSM [n°1] might be the most physically and psychologically affecting exhibition I’ve ever encountered. It’s the closest I’ve come to feeling like I’d been chemically altered without actually ingesting anything. By the time the 17-minute piece ended, we spilled into the streets of Charing Cross, still caught in its afterglow, dazed, elated, and a little pale.

The set-up is deceptively simple. Visitors are invited to lie on soft floor pillows, beneath a vast LED screen that fills the ceiling above. Once the lights dim, you’re plunged into Ikeda’s world: a torrent of data that begins at the microscopic level and gradually zooms outward until it feels as though you’re witnessing the entire universe unfold in real time. The visuals pulse, fragment and reform with mathematical precision, accompanied by Ikeda’s signature sound design, a blend of sub-bass hums, piercing frequencies, and rhythmic bursts that seem to vibrate through your bones.

It’s overwhelming, but deliberately so. At moments, the experience recalls the climactic “stargate” sequence of 2001: A Space Odyssey, as if Kubrick had access to an infinite data stream and a supercomputer for a brain. DATA-COSM [n°1] functions as both a microscope and a telescope, collapsing the scales of the universe into a single, dizzying moment of perception. You’re no longer sure whether you’re peering into the circuitry of an atom or the structure of a galaxy.

Commissioned by 180 Studios and The Vinyl Factory, DATA-COSM [n°1] continues Ikeda’s long-running exploration of the relationship between sound, light and mathematical form, following on from works such as data-verse and test pattern. His practice, refined over decades, lies somewhere between art, science and pure sensory research. What’s astonishing is not just the technical execution, though the computer graphics and spatial sound design are immaculate, but the way the piece seems to rewire your perception of scale, of self, even of what “data” can mean when experienced through the body rather than the mind.

What’s most surprising about DATA-COSM [n°1] is how grounding it feels, despite its sensory intensity. For anyone caught in the static of overwork or everyday noise, Ikeda’s piece functions almost like a transcendental reset. It strips away the clutter of routine and scale, reminding you how small and fleeting the pressures of daily life really are. In the face of such vastness, with particles colliding, galaxies forming and data flowing endlessly, the things that usually feel urgent suddenly seem insignificant. It’s strangely calming, even liberating, to be reminded of your place within something so incomprehensibly large.

When the lights come back and the sound falls away, it takes a moment to remember where you are (maybe even who you are). You sit up slowly, eyes adjusting, unsure whether seventeen minutes or several lifetimes have passed. The experience is best shared, best felt in person, and perhaps not ideal for anyone sensitive to intense light, sound or motion sickness. For everyone else, It’s proof that even in the most technical expressions of art, there’s still room for something deeply human.

Grab your tickets here.

Rough Trade Records have announced a powerful new stand-alone single from Lankum, an otherworldly reimagining of The Specials’ 1981 classic ‘Ghost Town’. Originally created for Oona Doherty’s Specky Clark dance show at Sadler’s Wells earlier this year, the track transforms the ska anthem into something slow-burning, eerie, and immense.

The accompanying video, directed by Leonn Ward and shot on location in County Wicklow with cinematography by Robbie Ryan, spans eight minutes and captures the song’s atmosphere of tension and resilience. You can watch it here.

‘Ghost Town’ will be released on a 12” vinyl in January 2026, featuring an elaborate etching on the B-side. Alongside the single, Rough Trade have also confirmed that Lankum have extended their contract with the label for multiple future releases.

Speaking about the project, the band explained how Doherty’s concept encouraged them to experiment far beyond their comfort zone, blending synthesisers and drum machines with their traditional instrumentation. “It’s an honour to be releasing a version of this iconic tune,” they said. “It feels eerily relevant to be referencing yet again themes of urban decay, economic hardship and working-class frustration.”

Montreal trio Hush make a spellbinding entrance with their debut single, ‘The Mirrors Were Right’, out now via Simone Records. The track offers a first glimpse into the group’s forthcoming full-length debut, a lush and widescreen journey through shimmering dream-pop, existential reflection, and cinematic psychedelia.

Equal parts hypnotic pop mantra and emotional confession, ‘The Mirrors Were Right’ unveils Hush’s distinctive sound, an immersive blend of shimmering guitars, warped analog drums, kosmische synths, and ethereal harmonies. Lead vocalist Paige Barlow delivers her lines like whispered incantations, drifting between lucidity and reverie as she sings, “The sky is our mirror, made of sweet dreams… which myth are you living?” The lyrics, Barlow explains, draw from moments of dissociation contrasted with fleeting clarity, when self-perception, like a mirror, can both distort and reveal.

Joined by multi-instrumentalists Miles Dupire-Gagnon and Gabriel Lambert, Barlow and company craft a soundscape that feels suspended between waking and dreaming. Co-produced with René Wilson, the single captures a rare balance of precision and haze, combining crystalline pop sensibilities with surreal radiance.

Hush’s influences range from Broadcast and Cocteau Twins to The Velvet Underground, Melody’s Echo Chamber, Ariel Pink, and Steve Lacy, yet their voice is unmistakably their own. Their music exists in the liminal space between nostalgia and discovery, conjuring a world of mirrored emotions and shifting light, where perception becomes its own melody.

‘The Mirrors Were Right’ is available now on all streaming platforms via Simone Records. Hush’s debut album is set to arrive in 2026.

Photography By: Miriam Waldner & AABID YOUSSEF

Los Angeles six-piece The Sophs return today with their new single and video ‘I’M YOUR FIEND’, arriving just ahead of their first ever North American headline tour, which begins on October 28 in San Francisco. The track follows their recent stand-alone singles ‘SWEAT’, ‘DEATH IN THE FAMILY’ and a cover of Mac DeMarco’s ‘For The First Time’. A full UK tour for April 2026 has also been announced, including a date at the 100 Club in London.

Frontman Ethan Ramon describes ‘I’M YOUR FIEND’ as “The Sophs at our most manic. It’s frenetic declarations of love and lust under a blanket of static so thick it feels like your DIRECTV satellite just got hit by lightning in the middle of your favourite show.”

The Sophs’ mix of chaos, melody and disarming honesty caught the attention of Rough Trade founders Geoff Travis and Jeannette Lee when they received a demo from Ramon. “It’s rare that a demo that arrives in the post sets your heart racing and sends you off on a quest to track down its sender. But that’s what happened when we listened to the music sent to us by Ethan Ramon,” they explain.

The band features Ethan Ramon, Sam Yuh (keyboards), Austin Parker Jones (electric guitar), Seth Smades (acoustic guitar), Devin Russ (drums) and Cole Bobbitt (bass). Their North American tour includes stops in Seattle, Chicago, Toronto, Boston and New York before returning to Europe in spring for a run of UK and EU shows. The Sophs will also appear at Primavera Sound, Treefort Music Festival and Bandland Festival in 2026.

Felipe Giannella Perez’s project Okay Okay returns with Hang Out, a shimmering end-of-summer single that feels lifted straight from the golden days of the 2000s. Dripping in surfer town vibrations, the song is nostalgic yet modern, blending seaside garage rock and dreamlike beach, letting warmth rush over its listeners with classic clean indie vocals.

From the first strum, there’s a gritty Nirvana-esq undercurrent to the guitar work - raw but restrained, never overpowering but working to tie together the track. It's that post-grunge shimmer, updated with a crisp, indie clarity. The lyricism floats just above the mix: clean, stylised, and wonderfully calm. Think Dolores O’Riordan’s haunting smoothness filtered through the lo-fi bedroom melancholy of Alex G.  There’s a whimsy in the way the vocals dance in the abstract, complimenting the sting of the guitar twangs throughout, they wouldn’t be out of place written on the back of bar napkin or scrawled on a chalk board - if you listen to the song… you’ll get it.

Sonically, the track leans into a crisp, but borderline psychedelic overtone, held confidentially throughout by the steady drumbeat maintaining composure.  All of this coexists while the lyrics sing of a melancholy love affair and feelings of an internal hunger satiated by the company of someone looking to use you.  It’s this contrast that gives Hang Out its endearing charm. Okay Okay doesn’t overwhelm you, they invite you into a haze and trust you to understand the feelings they invoke yourself.  It is, in my opinion, an attitude that more musicians should try to master. To not hold the listeners hand, but to let them float down stream.

If you’re nostalgic for the feeling of an endless weekend, Hang Out will have you listening on repeat. Okay Okay have accomplished the perfect balance of obviously having raw talent that’s been practiced and honed, whilst still feeling like they wrote this song in one go without a worry in the world.

If you fancy holding onto the last bit of autumn sun before winter finally rears it’s head, tune in to Hang Out on October the 15th.

Photography By: Nicole Osrin

Third Man Books has announced a limited, signed edition of Yoshimi Battles the Pink Robots: The Original Story by The Flaming Lips, a full-length graphic novel written and illustrated by the band’s frontman, Wayne Coyne. The 420-page, full-colour hardcover will come housed in a custom-designed slipcase and will be signed by Coyne himself.

Fans who pre-order the book before November 6, 2025 will receive a personalised copy, while orders placed afterward will still include Coyne’s signature but without personalisation. An exclusive animated announcement video has been released to accompany the news, available to watch now via Third Man Books.

The graphic novel expands on the world behind The Flaming Lips’ acclaimed 2002 album Yoshimi Battles the Pink Robots, which earned the band their first GRAMMY and included hits like “Do You Realize??,” “Fight Test,” and the title track. Coyne describes the project as a way to finally tell the full story behind the album’s surreal characters and imagery.

“There were, I think, about eight or nine of original paintings that are associated with the original release of Yoshimi Battles The Pink Robots back in 2002,” says Wayne Coyne. “There's the cover painting, obviously. But we released a lot of singles back then and I did a painting for just about every single, so there was quite a few of them. So, for the extended story of Yoshimi Battles The Pink Robots, I kind of made it a rule that I should incorporate all these paintings in there. So if you'd seen these paintings and thought, oh, there must be a story here, I included every one of those. It was kind of a reverse engineering, where I had the painting and then figured out some element of the story. So, these 20 or so images that maybe you've seen before, now they're part of this bigger, giant story.””

The limited signed edition of Yoshimi Battles the Pink Robots: The Original Story by The Flaming Lips is available to pre-order now via thirdmanbooks.com, with release expected by the holiday season.

Photo Credit: Courtesy of The Flaming Lips

East London’s All Points East festival has announced its first major headliner for 2026: Tyler, The Creator. The Grammy-winning artist will perform two consecutive nights in Victoria Park, marking his first headline appearance at the festival. The shows will take place on Friday 28th and Saturday 29th of August 2026, each with its own stacked supporting lineup.

Friday’s lineup sees Tyler joined by Rex Orange County, Turnstile, Mariah The Scientist, Clipse, Sexyy Red, Yebba, Ravyn Lenae, fakemink, Vince Staples, Jean Dawson, Rochelle Jordan, Lovespells, AG Club, La Reezy, and Mustard & Friends, who will appear across both days as part of a two-day takeover.

On Saturday, the energy continues with performances from Daniel Caesar, Baby Keem, Dijon, Ghostface Killah, Syd, Faye Webster, Danny Brown, Jim Legxacy, Samara Cyn, Khamari, MIKE, Quadeca, Partyof2, and once again Mustard & Friends.

Tickets go on general sale Wednesday 15 October at 10am via allpointseastfestival.com, with presales beginning earlier that week.

Tyler’s inclusion signals a major moment for the long-running festival. The Los Angeles-born artist has become one of contemporary music’s most visionary figures, known for his genre-shifting albums, bold aesthetics, and restless creativity. Since first emerging as part of the Odd Future collective, Tyler has expanded into fashion, television, and festival curation, running his own Camp Flog Gnaw event for over a decade. Later this year, he’ll also make his acting debut in Josh Safdie’s upcoming A24 film Marty Supreme.

All Points East has built a reputation as one of London’s most forward-thinking music events, hosting performances that blend established icons with next-generation talent. The 2025 edition featured Cleo Sol, SAULT, Chronixx, Chase & Status, RAYE, Barry Can’t Swim, and The Maccabees, and organisers promise more big names to come for 2026.

Two-day, single-day and group tickets, along with payment plans, will be available for fans aged 16 and over.

For more information, visit www.allpointseastfestival.com.