Polished and low maintenance.
Right after supporting her friend Jonathan Anderson’s womenswear debut at Dior in Paris, Greta Lee bolted to London Wednesday to attend a press event for her new movie, “Tron: Ares.” The always sartorially on-point actor wore a dress by Diotima, a New York-based brand headed by Rachel Scott, …
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Nine Inch Nails will reprise their dazzling Peel It Back tour in U.S. arenas next year, beginning Feb. 5 in New Orleans and concluding March 16 in Sacramento, Ca.
The opening act will again be electronic musician Boys Noize, who also performed during portions of Nine Inch Nails’ sets at the recent shows. The two acts will stage a one-off performance at the 2026 edition of the Coachella festival, billed as Nine Inch Noize.
Tickets for the new shows go on sale Oct. 8. Nine Inch Nails will presumably continue to feature material from their soundtrack to the upcoming film Tron: Ares, which just debuted at No. 5 on the Billboard 200 and No. 1 on the Top Dance Albums chart.
Peel It Back was met with near universal acclaim for its next-level lighting and production, with the Dallas Observer hailing it as “a visual masterpiece” and The Times describing it as “a revelation — a thrilling onslaught that combined angst, sincerity and a nightmarish otherworldliness.” The tour has sold more than 450,000 tickets, according to promoter Live Nation.
Reznor and bandmate Atticus Ross Ross are also hosting the first Future Ruins festival, which will be held Nov. 8 at the Los Angeles Equestrian Center and feature performances by acclaimed film and TV music colleagues such as John Carpenter (Halloween, They Live, The Thing), Kyle Dixon and Michael Stein (Stranger Things, Lost in the Night), Devo’s Mark Mothersbaugh (The Life Aquatic, The Royal Tenenbaums, Rushmore) and Questlove presenting the score works of Curtis Mayfield.
Here are Nine Inch Nails’ tour dates:
Thu Feb 05 — New Orleans, LA — Smoothie King Center
Sat Feb 07 — Jacksonville, FL — VyStar Veterans Memorial Arena
Tue Feb 10 — Charlotte, NC — Spectrum Center
Wed Feb 11 — Washington, DC — Capital One Arena
Fri Feb 13 — Boston, MA — TD Garden
Sat Feb 14 — Newark, NJ — Prudential Center
Mon Feb 16 — Montreal, QC — Bell Centre
Wed Feb 18 — Hamilton, ON — TD Coliseum
Fri Feb 20 — Columbus, OH — Schottenstein Center
Sun Feb 22 — Grand Rapids, MI — Van Andel Arena
Mon Feb 23 — Milwaukee, WI — Fiserv Forum
Wed Feb 25 — St. Louis, MO — Enterprise Center
Fri Feb 27 — Tulsa, OK — BOK Center
Sun Mar 01 — Austin, TX — Moody Center
Tue Mar 03 — Dallas, TX — American Airlines Center
Fri Mar 06 — Glendale, AZ — Desert Diamond Arena
Sat Mar 07 — Las Vegas, NV — MGM Grand Garden Arena
Mon Mar 09 — San Diego, CA — Pechanga Arena
Tue Mar 10 — Anaheim, CA — Honda Center
Fri Mar 13 — Salt Lake City, UT — Delta Center
Sun Mar 15 — San Francisco, CA — Chase Center
Mon Mar 16 — Sacramento, CA — Golden 1 Center
Nine Inch Nails are extending the Peel It Back Tour into 2026. A new run of North American dates with Boys Noize kicks off in February in New Orleans and wraps more than 20 shows later in California the following month. Check out the itinerary below.
Nine Inch Nails are fresh off their last stretch of tour dates, as well as the release of their Tron: Ares OST, ahead of the film’s release on October 10. Just before their latest stint on the road, the band swapped drummers with Foo Fighters, switching out Ilan Rubin for Josh Freese.
Read “The 33 Best Industrial Albums of All Time.”
Nine Inch Nails:
02-05 New Orleans, LA – Smoothie King Center
02-07 Jacksonville, FL – VyStar Veterans Memorial Arena
02-10 Charlotte, NC – Spectrum Center
02-11 Washington, DC – Capital One Arena
02-13 Boston, MA – TD Garden
02-14 Newark, NJ – Prudential Center
02-16 Montreal, Quebec – Bell Centre
02-18 Hamilton, Ontario – TD Coliseum
02-20 Columbus, OH – Schottenstein Center
02-22 Grand Rapids, MI – Van Andel Arena
02-23 Milwaukee, WI – Fiserv Forum
02-25 St. Louis, MO – Enterprise Center
02-27 Tulsa, OK – BOK Center
03-01 Austin, TX – Moody Center
03-03 Dallas, TX – American Airlines Center
03-06 Glendale, AZ – Desert Diamond Arena
03-07 Las Vegas, NV – MGM Grand Garden Arena
03-09 San Diego, CA – Pechanga Arena
03-10 Anaheim, CA – Honda Center
03-13 Salt Lake City, UT – Delta Center
03-15 San Francisco, CA – Chase Center
03-16 Sacramento, CA – Golden 1 Center
Ever since Selena Gomez released photos from her dreamy Santa Barbara wedding to Benny Blanco, we’ve been wanting a closeup of her nails.
Of course, we did get a peek at them throughout her first batch of wedding photos (captured by Petra Collins, no less), but the images’ soft, dreamy aesthetic made picking out her exact nail shade and details a bit tricky. One could just make out her nails’ pointed almond shape, but were they a soft pink or ivory? Silk nails or more of a chrome finish? We’d just have to wait for a sharper look or for Gomez’s longtime nail artist Tom Bachik to weigh in personally.
Ultimately, the first clear closeup ended up coming from from Gomez’s husband, who posted a shot of their brand-new wedding bands among a series of personal photos from the big day. From the image, it’s clear to see Gomez opted for a bridal take on the toasted nail trend.
Instagram/@itsbennyblanco
Bachik has yet to share the exact technique or shade he used for Gomez’s bridal manicure, though he has reposted her wedding pics on Instagram Stories. At first glance, her manicure appears to feature a soft, blushy nude with a subtle iridescent sheen. As for the shape, she opted for mid-length almond tips for a bit of a wedding-day boost.
Toasted nails are more of a finish rather than a specific color, as Bachik previously explained to Glamour after revealing Gomez’s original “toasted mani” on Instagram back in September. At the time, he used two coats of Essie’s “Liquid Sunrise” to create the original look on her shorter natural nails.
As our feeds are flooded with dazzling Fashion Month footage — including NYFW trends, celebrity front rows, and fall street style — there’s plenty of inspiration to go around. For the last several days, London Fashion Week has been offering seriously good collections for the spring/summer 2026 season, but our eyes have been on the cobblestone streets. Outside of shows for the likes of Simone Rocha, Erdem, Emilia Wickstead, and Harris Reed, attendees strutted in their own runway-worthy outfits.
Yard Act have revealed that they are currently in the studio working on their third album with producer Justin Meldal-Johnsen.
The Leeds band released their second record ‘Where’s My Utopia?’ in March 2024 and have been touring steadily in the time since, but now they have confirmed that they are working in Nave Studio in their hometown on their next LP.
Posting on Instagram this week, they wrote: “Hello from @nave_studios, where we’re making the greatest third album any band has ever recorded, with our new pal @justinmeldaljohnsen.”
They also made reference to BBC Radio 6 Music’s ‘T-Shirt Day’ celebration of vintage artist tees, showing off their respective Kurt Vile, Bad Brains, Napalm Death, Nuha Ruby Ra and Bill Nelson t-shirts. “YALP3 will be the sweet spot between Napalm Death and Bill Nelson,” they quipped.
Yard Act co-produced ‘Where’s My Utopia?’ with Remi Kabaka Jr, who is best known as the drummer and producer for Gorillaz, but as they have revealed, this time around they are working alongside Meldal-Johnsen.
The American musician and producer served as the musical director for Beck from 1996 until 2016 and played as a touring bassist, guitarist and keyboardist for Nine Inch Nails in 2008 and 2009. He has also worked as a musical director for St. Vincent since 2021 and in 2023, he resumed touring with Beck.
As a producer, he has worked on a number of high profile projects, including M83’s ‘Hurry Up, We’re Dreaming’ (2011), Wolf Alice’s ‘Visions Of A Life’ (2017), Deafheaven’s ‘Infinite Granite’ (2021) and St. Vincent’s ‘All Born Screaming’ (2024).
Before the end of the year, Yard Act will serve as the opening act on The Hives’ UK and European tour, which kicks off in Oslo on October 17 and includes shows in Cardiff, Glasgow, Manchester and London at the end of November. See the full list of dates here and find any remaining tickets here.
In a four-star review of ‘Where’s My Utopia?’, NME wrote: “In between samples from their comedy pals – standups Nish Kumar and Rose Matafeo – and references to all sorts of uniquely British phenomena: from ‘Fizzy Fish’ to Calpol and, er, Milton Keynes. Where’s My Utopia?’ marks an outlandish yet assertive second chapter for Yard Act, going toe-to-toe with the peculiar world that we find ourselves in.”
Since quitting gel nails a couple of years ago after developing an allergy (sob), I’ve made it my side quest in my job as a beauty editor to find the best gel nail alternatives, the very best nail polishes that don’t smudge or chip two minutes later, and nail-boosting products to ensure I can still enjoy well-manicured hands.
Since bidding farewell to gels, however, I’ve noticed that my nails are more prone to breakage and chipping. Without a plush protective layer of gel or BIAB on my nails, they’re not as robust as they once were. So, I’ve been looking for a good nail strengthener that can harden my nails and help them grow longer. And since I spotted Dior’s Base Vernis (£30) on just about every celebrity manicurist’s social feed of late, I decided to try it for myself. Since then, I’ve never looked back. Scroll on to discover why it’s deserving of a place in your manicure collection, too.
Dior Base Vernis Review
The Formula
Working as both a base coat and a nail strengthener, this is a great polish to wear alone or underneath your nail polish. Among the strengthening ingredients are apricot kernel oil and sweet almond oil, which help to hydrate the nails, while polymers help to harden weak nails.
The formula itself is sheer, so it’s less like a nail perfector with a tint, and more a sheer base coat with a tiny amount of peach. It’s a very viscous consistency, so it applies smoothly and evenly to the nails, and thanks to the large brush, you can cover a lot of surface area in one or two swipes. Plus, it also dries really quickly, which is great if, like me, you’re impatient and prone to smudging your nails. It has a noticeably glassy finish to it, too.
For the most part, I’ve been wearing Base Vernis on its own over the past couple of months, and not only do my nails feel stronger, but they look healthier too. The whites of my nails are brighter, and I’ve experienced far less breakage than I normally would. I also tested it as a base coat, but personally, I found it didn’t provide enough grip on the polish on top—it almost makes my nails too smooth. That being said, polish glides on so easily and has a mirror-like shine when I do use it.
Before
Here are my nails from a couple of months ago. While they might not look too bad here (thank you, Chanel Ballerina nail polish and Essie Gel Couture Top Coat for disguising them!), I was struggling to grow them. Underneath the polish I’m wearing, they were weak, bendy and prone to breakage and splitting. I just couldn’t get them to grow longer.
After
My Verdict
Having now tested the Dior Base Vernis for a couple of months, I can honestly say my nails are going from strength to strength. They’re in the best condition they’ve been in for years, and I’ve been able to grow them much longer and can now file them into a soft oval or almond shape. In the above picture, I’m just wearing two coats of Base Vernis, and although it doesn’t offer the nail coverage so to speak, I’m really impressed with how healthy my nails look—I can’t believe that these are basically my bare nails now. Yes, £30 is a lot to spend on a nail strengthener, but if you want something that really works, it’s worth the investment in my eyes.
Shop Dior Base Vernis
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Think of Dior’s Nail Glow as a liquid blush tint for your nails. It delivers a sheer pink wash of colour that instantly perfects your nail plates, making them look healthy and glossy.
Dior’s Top Coat is one of the quickest-drying top coats that I’ve ever tried (no waiting around for ages here). It applies as a thin, shiny veil that lends a glossy finishing layer to your polish, helping it to stay chip-free for longer.
It’s worth buying for the chic pot alone, but this apricot-scented cream inside is worth its weight in gold. Massage into nails and cuticles to keep dryness and hangnails at bay while nourishing your nails.
If you want more lightweight hydration, this nail serum-cuticle-oil hybrid has a built-in brush that you can quickly swipe onto nails and around cuticles, and it sinks in immediately. So handy to keep in your bag or on your desk.
I’ve not tried this myself, but I have it on good authority from nail techs that this is one of the best nail polish removers ever.
But that’s also the problem: Since when has Nine Inch Nails gone unnoticed anywhere? The pleasure of the people playing this music is obvious and infectious, but it’s hard to shake the idea that despite their effectiveness, the hardest-charging songs here feel incomplete, that the film score’s mandate not to draw too much attention to itself hampers the songs’ ability to fully bloom on their own terms. Not since Lil Nas X flipped “34 Ghosts IV” into “Old Town Road” has a Nine Inch Nails song felt so in need of a remix.
Reznor and Ross’ best scores tend not to make the kind of bold statements they do so well with Nine Inch Nails, though. They operate more like a perfume whose scent is unmistakable in any kind of room. It’s a little standoffish, a little distant, with heartbreak heavily implied. It’s music that sounds like it’s made peace with desperation, in other words, and they do it superbly here. “100% Expendable” is built from a bank of lightly detuned synths that tremble faintly the longer their chords are held. The tone—harsh, brassy, like trumpets with bayonets—feels like a direct callback to Wendy Carlos’ A Clockwork Orange score, the latter’s menace replaced by the damp resignation of Radiohead’s “Exit Music (For a Film).” They pick the theme up again in “Building Better Worlds,” sculpting a cyber-hymn that crumbles into pixels as it’s being built. This is an album where something as minor as the live-wire buzz that runs behind “Daemonize” is trusted with carrying great emotional weight and succeeds.
It’s precisely this kind of care that elevates “Who Wants to Live Forever?”, the best of the album’s four vocal songs and among the most affecting and approachable Reznor has ever written. On its face, it’s a straightforward piece of Oscar bait that the rubber-pants-era Reznor wouldn’t have been caught dead performing. The tender, quivering duet he shares with Spanish singer Judeline is wrapped around a melody that pushes his voice to a height it can’t quite hit. “I don’t want to be here anymore,” he sings, and the piano blooms and sighs behind him, its tone shifting between light and dark with every chord change. In the foreground, pink pops of sound dot across the track, their slow drift like digital cherry blossoms falling on a vintage ad-board. Is it hammy? Yeah, it’s a little hammy; you might think of “Defying Gravity” when you hear it. But it’s an incredibly effective piece of musical theater, too, and it’s made more complex when the same melody goes sour in the ruins of “Building Better Worlds,” the very next song. Not even the misty-eyed beauty of yearning lasts.
Tron: Ares, the Nine Inch Nails album, is being released nearly a month before Tron: Ares, the blockbuster film, so we don’t know yet precisely what kind of story Reznor and Ross are trying to tell through this music. This is probably for the best: It’s difficult to think of the possibility of “Who Wants to Live Forever?” being sung from the perspective of an AI longing to return to its digital planet and not have it ruin the song a little bit. Then again, it seems churlish to expect Trent Reznor to still be hacking away at the cutting edge of darkness four decades into his career. Over time, affect becomes aesthetics, pain becomes another color in the palette. Maybe. Maybe something can come from the heart without breaking it. Maybe you don’t have to hurt yourself to see if you still feel.
For Icelandophiles who semi-learned the words to Sigur Rós and Sin Fang records back in the day, the wait for Múm’s return has been long enough. History of Silence, Múm’s first album in 12 years, nestles into the fibers of their longtime sound: whispered lyrics, gauzy strings, melodica, and percussive ambiance. Although their seventh studio album and follow-up to 2013’s Smilewound’s gets its name from dead air, Múm are lively and present throughout, be it the shimmering sounds of “Kill the Light” or the vividness of “Mild at Heart.” Recorded, deconstructed, reassembled, and refined over two years, History of Silence is a humble comeback that savors every second.
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Kitba: Hold the Edges [Ruination]
Kitba makes bedroom-pop music that harks back to a time before “bedroom-pop” was really a thing. On Hold the Edges, the Brooklyn-based harpist and singer-songwriter, otherwise known as Rebecca El-Saleh, composes hall-of-mirrors synth ballads with the sumptuous textures and sing-songy quality of Frou Frou, their vocals, often Auto-Tuned, a nervy mix of the shellshocked and declarative. The mazy single “Soften,” one of many breakup songs on the LP, is about “being angry long after you feel you should be, wondering when your hardened heart will soften,” they said in press materials. “It’s twisting inside and chaos, vibratingly bright and tense.”