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Primavera 2026: The Cure, My Bloody Valentine, The xx
Music

The Cure Are 13 Songs Into A New Album

by jummy84 October 16, 2025
written by jummy84

It took the Cure 16 years to release a studio album after 2008’s 4:13 Dream, but it seems that Robert Smith and company are working much more quickly in its wake.

In an updated band biography posted on the Cure’s web site, it is revealed that the musicians spent time this March at Wales’ Rockfield Studios to record “13 more songs” for the follow-up to 2024’s Songs of a Lost World. No further details were included beyond the fact that Smith also spent time this summer “to help re-edit and re-mix” the concert film The Show of a Lost World, which was originally streamed on YouTube in November 2024.

“Our songs always had a fear of mortality,” he said in an online interview last year. “I don’t feel my age at all but I’m aware of it, and when you get older, that fear becomes more real. Death becomes more everyday. When you are younger you romanticize death, but then it happens to your family and friends. I am a different person to the last record and I wanted to put that across. It can be trite. People could say, ‘Oh, we’re all going to die — surprise me!’ But I try to find some emotional connection to that idea.”

In June, the Cure rounded up Four Tet, Orbital, Paul Oakenfold, Mogwai and Deftones frontman Chino Moreno for the remix collection Mixes of a Lost World, and that same month, Smith made a surprise appearance at the U.K.’s Glastonbury Festival with Olivia Rodrigo.

The Cure have only played three times since wrapping an extensive 2023 tour but are planning an extensive European summer tour next year, beginning the first week of June with a headlining performance at Barcelona’s Primavera Sound festival.

October 16, 2025 0 comments
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Charlie Puth Drops 'Changes,' Announces New Album 'Whatever's Clever'
Music

Charlie Puth Drops ‘Changes,’ Announces New Album ‘Whatever’s Clever’

by jummy84 October 16, 2025
written by jummy84

Charlie Puth dances with claymation instruments and appears to hint at fatherhood in the new music video for “Changes,” the first offering from the singer-songwriter’s next album, Whatever’s Clever!

“Changes” is a pure hit of super polished Eighties pop delight, filled with prickly guitar lines, glossy keys, gated snares, and a booming choir to help bring home the final chorus: “There’s been some changes in our life/I can feel the distance, space and time/Made everything different, day and night/Everything has changed but I don’t know why.” 

The accompanying video, directed by Charlotte Rutherford, fittingly harkens back to videos of the same era, as Puth embarks on a goofy adventure through a pre-digital world filled with charming claymation figurines and old-school stop motion effects. Puth’s wife, Brooke Sansone, also makes a cameo in the clip, and at one point, the couple touches Sansone’s belly, ostensibly hinting at a very big change on the way: The couple’s first child. 

Whatever’s Clever! is set to arrive on March 6, 2026, via Atlantic Records. Puth co-produced the album with BloodPop, best known for his work with Lady Gaga, Justin Bieber, Beyoncé, and more. 

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Whatever’s Clever! will be Puth’s fourth album and first since 2022’s Charlie. While “Changes” will definitely appear on the record, a full track list hasn’t been revealed yet, so it’s unclear if the album will also feature some of Puth’s other singles from the past few years, including “That’s Not How This Works,” “Lipstick,” and “Hero.” (Last year, Puth also dropped a one-off holiday song, “December 25th,” which he said he wrote “on a whim” while working on Whatever’s Clever!)

Last month, Puth debuted “Changes,” and a few other songs, at a four-night residency at New York’s Blue Note Jazz Club (with one show featuring a cameo from one of Puth’s songwriting heroes, Kenneth “Babyface” Edmonds). Puth will kick off a similar solid-out run at the Blue Note in Los Angeles tonight, Oct. 16, with shows scheduled through Oct. 19.

October 16, 2025 0 comments
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feeo: Goodness Album Review | Pitchfork
Music

feeo: Goodness Album Review | Pitchfork

by jummy84 October 16, 2025
written by jummy84

Even on her debut EP, at just 22 years old, feeo sounded like the weariest of old souls. She sang of a choking fear, of bombs falling like tears, of staying up to hear her lover leave because she couldn’t bear the thought of waking up to “haunted sheets.” Over toe-scuffing downtempo beats and wistfully unfurled synths, she asked questions—“Are we in love or is it just the drugs, babe?”; “Being lost is a bit like being free, isn’t it?”—in a tone that suggested she harbored few illusions about the answers.

It wasn’t just the wise-beyond-her-years lyrics that were so striking. It was feeo’s effortless balance of plaintiveness and composure, vulnerability and control. Her guarded, whisper-soft musings had a way of unexpectedly blossoming into R&B-schooled runs that proved that, for all her seeming reticence, this woman could really sing. Her tempos may have followed the halting pulse of a doubtful heart, but her voice telegraphed a quiet, determined confidence.

In the four years since, the artist born Theodora Laird has released a handful of EPs and singles, as well as collaborations with Caius Williams and Loraine James, fleshing out the bruised contours of her emotional world while burrowing deeper into the strangeness of her production. Composed of muted synths, thin tendrils of guitar, and atmospheric electronic processing, her sound atomized, turning granular and shimmery. A thin layer of dust seemed to cover everything, like a house that’s been locked up for years. Sometimes, her backing tracks were made of little more than tiny samples of her wordless voice, like a chorus of forlorn bumblebees.

On her debut album, Goodness, feeo returns with an even more experimental approach, befitting her new home on London’s adventurous AD 93 label. Her songs have gotten still quieter and more minimalist, even as her lyrical and conceptual horizons have ballooned outward. And while her voice remains as stunning as ever, some of the surface-level prettiness of her previous work has burned off, leaving a whiff of charred metal and plastic.

October 16, 2025 0 comments
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Rolling Stone Tips Lady Gaga’s Mayhem As 2026 Grammys Album Of The Year Front-Runner | Glamsham.com
Lifestyle

Rolling Stone Tips Lady Gaga’s Mayhem As 2026 Grammys Album Of The Year Front-Runner | Glamsham.com

by jummy84 October 16, 2025
written by jummy84

Lady Gaga is once again in the Grammy spotlight, and this time, she might just take it all. Rolling Stone has predicted that Gaga’s Mayhem could be the album to beat at the 2026 Grammys. Critics are calling it her most confident and layered work in years, and the momentum around it feels massive. After a decade filled with acting projects, fashion triumphs, and creative reinventions, Gaga has returned to music with the same bold energy that defined her early career, only sharper and more seasoned.

Gaga’s history with the Grammys has always been remarkable. She earned three consecutive Album of the Year nominations starting with The Fame in 2010, followed by The Fame Monster in 2011 and Born This Way in 2012. Each project pushed pop boundaries and redefined what a mainstream artist could do. Now, after more than a decade, she’s back with experience, artistry, and a sound that merges the raw energy of her debut with the maturity of a global icon.

“Lady Gaga always feels like a strong contender for this category,” says John Stein, Head of North America Editorial at Spotify. “But this time, she has both the story and the music on her side.” His comment reflects a wider industry sentiment: Mayhem isn’t just a pop record,nit’s a cultural moment. The album blends experimental production with emotional songwriting, giving fans both spectacle and soul.

Also Read: Lady Gaga’s Cameo in The Devil Wears Prada 2 Revealed – and It’s Going to Be Epic!

Still, Gaga faces serious competition. Bad Bunny’s next project is expected to dominate global charts, Kendrick Lamar is rumored to be dropping a politically charged record, and Tyler, the Creator is known for his unpredictable yet artistic albums. The 2026 Grammys might turn into one of the fiercest Album of the Year races in recent memory. But as of now, all eyes are on Gaga and Mayhem, the comeback everyone’s been waiting for.

October 16, 2025 0 comments
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Amber Mark: Pretty Idea Album Review
Music

Amber Mark: Pretty Idea Album Review

by jummy84 October 15, 2025
written by jummy84

The album is loosely structured as a wayward path to self-acceptance. Mark begins with poise, vowing on “By the End of the Night” to rebound on the dancefloor. She’s quickly swooning, swathing a new paramour in her perfume on the buoyant “ooo” and going “weak in the knees” on the sprung “Sweet Serotonin.” “Too Much” features a nifty interpolation of Usher’s “My Boo” as she second-guesses her enthusiasm. “Is it too much if I’m thinking about you daily?” she sings coyly, more to herself than her crush. By the album’s end, she’s removed enough from the doomed relationship to consider her own role in its demise. “Your touch when I’m coming home/It’s a pretty idea, a pretty idea,” she croons on the title track. “Who’s the one that did you wrong?/Maybe I did, maybe I did.”

Mark doesn’t really tell stories in her songs; she lives the turmoil, her lithe vocals tracing the flutters of the heart. Survival anthem “Problems” showcases her range, her voice variously a coo, a wail, and a feathery prayer as she tries to will away stress. Folk ballad “Cherry Reds” clings to a warm memory like an heirloom: “Smoking Cherry Reds/In the trees,” Mark trills in her smooth upper register, stretching the last word into four wounded syllables. She’s just as pained on “Let Me Love You,” where her background vocals become increasingly distressed. The sticky hook—“Why won’t you let me love you?”—is an exclamation by the song’s end.

The open spaces and pained harmonies of quiet storm are the go-to style for R&B singers working through such dark nights of the soul, but that’s one tradition Pretty Idea breaks from. The core producers—Mark, One Direction songwriters Julian Bunetta and John Ryan, and duo Two Fresh—supply a dense, full-band sound. The arrangements are shimmery and lush, every little crevice filled with (at minimum) keys, synths, rhythm guitar, and background vocals. It’s as if they’ve spackled all the negative space that defined Three Dimensions Deep. When the drums drop out on “Sweet Serotonin” and “Too Much,” finger snaps reminiscent of the days when T-Pain and The-Dream ran urban radio subtly keep the meter. And on duet “Different Places,” which channels the warped funk of For All We Know, guitar melodies swell and recede as Mark and John Ryan trade woes. “You and I/Have we fallen out of love yet?/Doing all these circles/Round around the subject,” Mark sings. These songs are retro, but they’re not stagnant.

That’s a hard balance to strike. The past goes for cheap, in spirit if not actual cost (chill, JNCO). What if all the best things have already happened? What if all the sweet serotonin your brain struggles to produce because you’re too pumped full of dread and cortisol could be solved by Alien:Earth or Supreme Clientele 2 or Toy Story 5? Pretty Idea is an album about boys, of course. But I admire its regular relationship to the past. Mark presents R&B’s archives not as sacred texts or exotic loot but as context, precedent, pearls from grandma’s attic that can look nice if you style them just so. This customization is what pushes her music past pastiche. Mark’s boys are all hers.

All products featured on Pitchfork are independently selected by our editors. However, when you buy something through our retail links, we may earn an affiliate commission.

October 15, 2025 0 comments
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PinkPantheress: Fancy Some More? Album Review
Music

PinkPantheress: Fancy Some More? Album Review

by jummy84 October 15, 2025
written by jummy84

Fancy Some More?’s remixes are split into two discs, one featuring vocalists and the other producers. (The release also includes a third disc, featuring the original tape.) Scanning the guest list is, I imagine, what it’s like to flick through Pink’s iPod. On the vocalist side, you have K-pop stars (SEVENTEEN and Yves from LOONA) alt-pop it girls (Oklou, Rachel Chinouriri, Ravyn Lenae, Bladee), and centrist stars with underground clout (Zara Larsson, JADE, Kylie Minogue, JT, Sugababes). The producer disc mostly features artists who bore clear influence on Fancy That (Basement Jaxx, Groove Armada, Joe Goddard) alongside upstart locals (Nia Archives, Leod, Kilimanjaro) and also Kaytranada, seemingly kept on retainer by the major labels for any remixing needs. The project is rounded out by a coterie of Brazilians—Anitta, DJ Caio Prince, Adame DJ, and Mochakk—which, with any luck, signals the sound of future PinkPantheress music.

The vast majority of these remixes totally bang, and many of them serve the function of wish fulfillment. Have you (like me) ever wanted “Illegal” to feel even faster and more disorienting? Nia Archives, London’s premiere young junglist, makes the whole song feel like a 90-degree drop on a rollercoaster. Have you been scouring SoundCloud for a mashup of “Stateside” with its spiritual forebear, Kylie Minogue’s “Slow”? Here’s la grand dame herself whispering “Are you ready for me?” and eliciting goosebumps when she sings “Never met an Aussie girl, you say.” The sky seems to crack wide open when the Sugababes drop into “Nice to Know You” and provide a hi-fi rendition of the hook Pink sampled on the original version of the track.

The most effective remixes flip the original songs on their head: Basement Jaxx turn “Tonight,” one of the least dance-forward tracks on Fancy That, into a throbbing, shimmery big-room banger, its five-minute runtime practically begging for a 12” version. Meanwhile, Caio Prince and Adame traverse baile funk, Miami bass, and fight-ready big beat on their flip of the previously lightweight “Stars.” Oklou drags the Basement Jaxx sample on “Girl Like Me” as far out of its original context as she can take it, making the liberated refrain of “Let it all go” sound less like dancefloor hedonism and more like a desperate attempt to get over a lingering heartbreak.

With the exception of Kaytranada’s “Girl Like Me”—which sounds roughly the same as every other Kaytranada remix in recent memory—it feels like all these tracks were made with a level of care uncommon for a major label remix album, which so often feel easy cash grabs or attempts to prolong an album cycle that’s running out of steam. Fancy Some More? feels like a rowdy, well-earned celebration and reaffirms the main ideas PinkPantheress has gestured toward for much of the year: Heavy reference doesn’t inherently go hand-in-hand with a lack of ingenuity. Successive generations of dance producers don’t have to be at war with each other. Pop music, done right, can feel like the key to a world that’s smarter, more free, and way more fun.

October 15, 2025 0 comments
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Peaches Announces Tour and First Album in 10 Years, Shares New Song: Listen
Music

Peaches Announces Tour and First Album in 10 Years, Shares New Song: Listen

by jummy84 October 14, 2025
written by jummy84

Peaches is back with a new song, along with the announcement of a tour and her first album in a decade. The follow-up to her 2015 album Rub is called No Lube So Rude, and it comes out on an unspecified date next year. “Not in Your Mouth None of Your Business,” recorded with producer the Squirt Deluxe, is out right now, and you can listen to it below.

The North American tour kicks off in February, 2026, with support from Model/Actriz and Cortisa Star. A dollar from each ticket sale will go to Trans Justice Funding Project, via Plus1.

Peaches says of the new music, “When the world is friction, lube isn’t a luxury. It’s a necessity. It’s how you turn that friction into pleasure, into power, into pride. I want people to understand that they can still have a voice no matter who they are or what the world says about them. Now more than ever, there are so many forces that just want you to give up and be quiet. If this album can help you resist that, then that’s what it’s for.” The video description adds that it is “a chant
for trans and queer autonomy.”

Revisit Jessica Hopper’s 2015 interview “The Pleasure of Peaches.”

Peaches:

02-20 Miami, FL – ZeyZey *
02-21 Orlando, FL – Beacham Theater *
02-24 Atlanta, GA – Buckhead Theatre *
02-25 Norfolk, VA – NorVa *
02-27 Washington, DC – 9:30 Club
02-28 New York, NY – Knockdown Center *
03-01 Philadelphia, PA – Union Transfer *
03-03 Montreal, Quebec – Rialto Theatre *
03-04 Toronto, Ontario – Danforth Music Hall *
03-06 Detroit, MI – Lincoln Factory ~
03-07 Chicago, IL – The Vic Theatre ~
03-08 Minneapolis, MN – Varsity Theater ~
03-10 Denver, CO – Summit ~
03-11 Salt Lake City, UT – The Grand at the Complex ~
03-13 Vancouver, British Columbia – Commodore Ballroom
03-14 Seattle, WA – The Showbox
03-15 Portland, OR – Crystal Ballroom
03-17 Eugene, OR – WOW Hall
03-19 San Francisco, CA – Midway SF
03-20 Los Angeles, CA – The Bellwether
03-21 Los Angeles, CA – The Bellwether
03-23 San Diego, CA – The Sound
03-24 Phoenix, AZ – Walter Studios
03-25 Tucson, AZ – La Rosa
03-27 Austin, TX – Central Machine Works
03-28 Dallas, TX – The Studio at the Factory
03-29 New Orleans, LA – Republic NOLA

* with Model/Actriz
~ with Cortisa Star

October 14, 2025 0 comments
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Barry Can't Swim's 'Loner' Is a Classic Touring Album » PopMatters
Music

Barry Can’t Swim’s ‘Loner’ Is a Classic Touring Album » PopMatters

by jummy84 October 14, 2025
written by jummy84

For all the excitement of a new artist, the music industry can be pretty unforgiving. For every artist burning brightly after a long and successful career, there lie the dying embers of thousands. That’s arguably especially true of electronic artists. The rewards are there: high-profile festival sets, big-name collaborations, and major awards. However, one false step can just as easily consign them to regional student nights for years to come. For British electronic artist Barry Can’t Swim, the stakes could not be higher. 

After the initial buzz of his early EPs, Barry Can’t Swim (aka Joshua Spence Mainnie) served notice of his talent on his debut, When Will We Land? It saw him shortlisted for the prestigious Mercury Prize and garnered critical acclaim across the music press. His ascent must have been dizzying. From appearing low on festival bills just four short years ago, he has suddenly been elevated to headliner at renowned British festivals such as Forwards and All Points East. A rare feat for someone with just one record and a handful of EPs under his belt. That was even before the world heard what he was cooking up on his new album Loner.

Loner is a snapshot of what happens when an artist suddenly gets shot into the stratosphere. It sees Mainnie take stock of where he finds himself and ask himself what kind of artist he wants to be. The answer is to distance himself from any sense of expectation and make something authentic. Something representative of him as a person and as an artist. With the general chaos of touring and gigging, it would be forgivable to release something, anything, to keep up the momentum. Thankfully, Loner is something different. It reaches the highest heights without compromising its artistic integrity. 

“The Person You’d Like to Be” features his friend and poet Seamus. It’s a disconcerting and powerful opening with Seamus’ Scottish burr framed by blaring, car alarm synths. Initially, it feels wonderfully abstract, but over time, seemingly throwaway lines take on almost devastating significance. Lines such as the revealing “Can you sit down with me for a moment, please? / Can you hold my hand / I am frightened” reveal an emotional depth that few electronic artists manage to achieve.

The track encapsulates the record’s overarching theme of separating the artist from the person, with both coexisting and apart, yet often coming into conflict. “Different” is the first certified banger. Opening with quick-fire breakbeats, it soon launches into orbit with a whirling, climbing bass line like a rocket tearing away from the launch pad. However, the genius comes with the dynamic shift as it idles into more ambient territory before firing up again. 

“Kimpton” perfectly encapsulates why his rise has been so rapid—the piano breaks, the perfectly chosen vocal samples, the warm, evocative synths. There is something beautifully familiar yet fresh about it. Featuring his friend, O’Flynn, it could just as easily come from Bonobo‘s incredible Fragments album. “All My Friends” plays like an update from Moby‘s ubiquitous Play. Coming from a similar place, he mines soulful, vocal samples and blends them with smooth electronics that make it sound both hopeful and mournful at the same time. It builds to an almost transcendent drop, designed to overcome misty-eyed festivalgoers everywhere.

Barry Can’t Swim follows it with probably the finest one-two combination you’ll hear on an electronic album this year. The pumping acid techno of “About to Begin” should be the dance soundtrack for Gen Z. It flies out of the traps with eagle-eyed precision as he channels a host of 1990s rave influences. “Still Riding” is the kind of anthem that a host of his peers would kill for. It’s a confident and bold statement as he marries a Kali Uchis vocal sample with dextrous and fluid synths before somehow finding the perfect moment to carry the listener home on a blissful wave. It would be difficult for any artist to maintain that kind of quality, which makes the subsequent slight dip all the more understandable. 

“Cars Pass by Like Childhood Sweethearts” is probably the safest song. All the signature elements are in place—the glistening piano, the neo-soul, and female vocal samples—but it doesn’t quite connect in the same way. The same could be said of a lot of the rest of Loner. “Machine Noise For a Quiet Daydream” sees the return of Seamus, who again spins his ambiguous poetry over 1990s-influenced house.

However, it plays like an inferior retread of the opening track, struggling to match its emotional depth. The shuffling “Like It’s Part of the Dance” is much more effective. Percussive claps give way to soulful vocals before rolling synths take it to its euphoric conclusion. The build, the drop, and the undeniable sense of fun have already made it a live favorite.

“Childhood” feels a little formulaic in comparison. The surging horn swells are a welcome addition, but the whole thing follows a well-trodden path. It’s too smooth, and it’s begging to be taken in a more unexpected direction. It’s one of the tracks that needs someone to come in and rough up the edges and force open the cracks.

The same could be said of “Marriage”, which seems a little lost, as if it could end up anywhere but ultimately arrives at the most apparent point, despite the addition of big drums and swelling strings. Thankfully, “Wandering Mt. Moon” concludes the record on a sublime note, thanks to the gliding strings. Taking its inspiration from Bollywood soundtracks, it’s the kind of tune that could soundtrack bold, expansive camera shots of nature. 

Loner feels like a classic touring album. There are moments of genius where all his influences meld together perfectly, but then there are moments that feel a little rushed; a sure sign that a record has been crafted on the road. Next, perhaps he should consider some of the remixes of songs from this album. Have faith in taking things in an unexpected direction or scuffing up the edges. For now, Loner will see him continue his rapid ascent and, in turn, cement his status as one of the most exciting new talents in dance music. 

October 14, 2025 0 comments
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Flock of Dimes: The Life You Save Album Review
Music

Flock of Dimes: The Life You Save Album Review

by jummy84 October 14, 2025
written by jummy84

Listening to The Life You Save feels safe, not in the sense of risk-aversion, but in the way Wasner creates a tender space in which to dismantle what had seemed so sure, to see without judgment all the ways you might have been kidding yourself all along. Her soft yet rich voice is innately consoling, empathetic. Often the simplicity of these songs make them feel like incantations, her sentiments strengthening over the course of a track, as with “Afraid,” about how life robs our innocence; or like deeply humane sermons, such as “Keep Me in the Dark,” about the various futile ways we can try to resist love, which succumbs to a beautiful flowing stream of a chorus. As “The Enemy” countenances the “violence upon violence” of conflicting perceptions imposing upon one another, the vocal reverb and expectant, repeating acoustic figures suggest genuine anticipation for what might lie beyond those assumptions; one of the record’s rare squalling guitar solos desecrates them joyfully.

When Wasner considers how potentially unproductive it may sometimes have been to help others, it’s never in the trite self-serving sense of selfishness masquerading as boundaries or putting your own oxygen mask on first. There is a moonlit peace to “Instead of Calling,” even as she frets about abandoning her role in triage. The calm, repeating chorus of “Not Yet Free” suggests sitting with pain rather than trying to work past it. She saves her harshest words for her former coping mechanisms, but still beds the revelations in gently. “I can go on but I’m not proud of it,” she sings on the lovely firefly glimmer of “Close to Home,” shrugging off her former delusions. “It’s pride that will not let me break,” she sings on “Pride,” where a frazzled guitar part imperceptibly softens to pedal steel, an affecting shift in emotional weather. For anyone who has struggled to let themselves off the hook, who always holds tight amid a state of collapse, she offers a glimpse of what it might be like to relinquish the tension.

October 14, 2025 0 comments
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Taylor Swift Earns 15th No. 1 Album With The Life of a Showgirl
Music

Taylor Swift Earns 15th No. 1 Album With The Life of a Showgirl

by jummy84 October 13, 2025
written by jummy84

As expected, Taylor Swift’s new album The Life of a Showgirl has broken records on its way to the No. 1 spot on the Billboard charts. Swift’s 15th LP debuted with 4.002 million equivalent album units (including pure album sales and streaming activity), with pure album sales totaling 3,479,500, 1.3 million of which were vinyl sales, Billboard reports via Luminate. The figures best the modern-era record for an overall sales week set by Adele’s 25, with 3.482 million units, in 2015.

“I have 4 million thank you’s I want to send to the fans, and 4 million reasons to feel even more proud of this album than I already was,” Swift wrote on Instagram celebrating the news. “Thank you for going out to celebrate this project in the movie theaters, investing in vinyl, streaming, watching the video, buying CDs, reading the poems I wrote inside the packaging, and immersing yourselves in The Life of a Showgirl. I’ll cherish this feeling forever.”

Swift’s eye-watering numbers have broken her out of a tie with Drake and Jay-Z for the most No. 1 albums among soloists, and she is now the only act with the second-most No. 1s since the Billboard 200 began publishing on a weekly basis in 1956 (the Beatles still currently hold the record with 19 No. 1s). Additionally, the top 12 songs on the Billboard Hot 100 this week are occupied by the entirety of The Life of a Showgirl, with “The Fate of Ophelia” claiming the top spot. Swift previously filled the top 10 with Midnights in 2022 and The Tortured Poets Department in 2024.

Swift announced The Life of a Showgirl in August. It features Sabrina Carpenter on the title track, and she worked on the album with Max Martin and Shellback, the Swedish production duo who were behind the boards on 2012’s Red, 2014’s 1989, and 2017’s Reputation. Swift launched the album alongside a limited-time cinema event that topped the box office and, earlier today, announced even more supplementary material: Taylor Swift | The Eras Tour | The End of an Era, a six-episode docuseries capturing Swift on the Eras Tour, and The Eras Tour | The Final Show, a concert film featuring the tour’s final show at Vancouver’s BC Place, both premiere on Disney+ in December.

5 Takeaways From Taylor Swift’s New Album The Life of a Showgirl

October 13, 2025 0 comments
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