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Tame Impala Announces 2026 U.K. And Europe 'Deadbeat' Tour
Music

Tame Impala Announces 2026 U.K. And Europe ‘Deadbeat’ Tour

by jummy84
written by jummy84

Tame Impala takes another bite from Deadbeat, by unleashing “Dracula”.

Kevin Parker’s psychedelic rock project channels the Prince of Darkness on this funky, electro-pop nugget, the third, wide release from their forthcoming fifth studio album after the epic “End of Summer” and “Loser.”

Another cut, understood to be “Ethereal Connection,” was gifted to the world as an untitled b-side for the 12-inch of “End of Summer”, which was sold on the Aussie artist’s website with a limited number of copies.

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Parker actually gave us a dose of “Dracula” earlier this month, using a snippet as the soundbed for a social post revealing the Deadbeat tracklist.

Deadbeat is slated for a global release Oct. 17th, Tame Impala’s first through the Sony Music machine, by way of a new deal with Columbia Records, ending a career-long relationship with Modular Recordings and Universal Music.

Parker will assemble his touring band for a raft of newly-announced pan-European and U.K. concerts next year, starting April 4 at Super Bock Arena in Porto, Portugal and wrapping up May 13 at 3Arena in Dublin, Ireland. The Deadbeat Tour starts in North America, opening with a show Oct. 27, 2025 at Brooklyn’s Barclays Center.

As previously reported, Deadbeat is inspired by the “bush doof” culture of Parker’s native Western Australia rave scene.

A message on the pre-order page for the Deadbeat vinyl reckons “Parker sculpts a collection of wickedly potent club-psych explorations as a vehicle for some of his most direct, brain-wormy songwriting to date, recasting Tame Impala as a kind of future primitive rave act in the process.”

Deadbeat will arrive more than half a decade after The Slow Rush, from February 2020, a record that went to No. 1 on Australia’s ARIA Chart, and earned career peak positions on the Billboard 200 and Official U.K. Albums Chart UK, both at No. 3. Its predecessor, 2015’s Currents, topped the Australian chart and crashed the top 5 in the U.S. (at No. 4) and in the U.K. (No. 3), where Parker and his Tame Impala bandmates collected the Brit Award for best international group.

Stream “Dracula” below.

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Bobby Farrelly's Terminally Tame Teen Comedy
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Bobby Farrelly’s Terminally Tame Teen Comedy

by jummy84
written by jummy84

Both an obvious product of ’90s nostalgia and the definitive cure for it, Bobby Farrelly‘s terminally innocuous “Driver’s Ed” can be described as a youth comedy, but whose youth? Though technically it is set in the current day, because smartphones exist and someone mentions Ritalin, the sensibilities of both director and screenplay (by Thomas Moffett) are so trapped in the past that the whole movie feels like a defrosted caveman sporting a pair of earbuds — which is essentially the plot of 1992’s “Encino Man,” apropos of nothing much except that after “Driver’s Ed,” all your comparisons will for a time gesture toward pre-millennial pop-cultural artifacts. 

It’s hard to remember that era being quite so unfunny, though, nor quite so tame, which is especially disappointing given that Farrelly, working with his brother Peter on films like “There’s Something About Mary” and “Dumb and Dumber” was responsible for some of its best and most iconically risqué gags. Nothing in “Driver’s Ed” even aspires to “Mary”‘s semen-hair-gel moment, and the closest we get to the “frank or beans” sequence is some frat dude at a party who randomly punches guys in the groin, causing them unhilariously to double over in pain. The rest of “Driver’s Ed” — aside from some effortful F-bombing and the occasional reference to boners — is just as wholesome as apple pie used to be before “American Pie” (1999) defiled that simile forever. 

Speaking of wholesome, here comes Jeremy (Sam Nivola), the film’s clean-cut, starry-eyed, curly headed lead, an 18-year-old high school senior determined to make a success of a long-distance relationship with his recently graduated girlfriend Samantha. Movie-mad Jeremy (whose conversation is peppered with namechecks of only the most canonically revered of Hollywood films) is so convinced he and Sam will stay together until he can graduate and join her at college, that when she drunk-dials him and expresses some doubt, he goes into a tailspin. The next day, during driver’s ed class, left momentarily in the instruction car by the substitute teacher played by Kumail Nanjiani in two broken-arm casts for wackiness, Jeremy decides on a whim to steal the vehicle and drive the three hours to see Sam in person. 

However, in the car with him are three classmates: prim, rule-obeying valedictorian Aparna (Mohana Krishan); apathetic, drug-dealing stoner Yoshi (Aidan Laprete); and perky yet cynical Evie (Sophie Telegadis), whose feathered, flippy, pastel-barette bob gives extreme mid-’90s Drew Barrymore/Reese Witherspoon and does not give it back. You do not need to be a hair historian to know that no young person has worn her hair like this, outside of “come as your mom when she was your age” costume parties, in about 30 years. 

Anyway, despite the group not being particularly close, and despite all three others expressing their disapproval of Jeremy’s plan in no uncertain terms, they all suddenly decide to join him because that way we get to have a movie. Once on the road, they have a bunch of bizarre yet oddly flat encounters — with a three-legged cat, a robber, a cop, a refrigerated truck full of vintage furs and a hot lesbian with an open-top car and a large St. Bernard — before arriving at Sam’s college having learned some inevitable lessons about life, love and friendship. Meanwhile, the usually reliable Molly Shannon delivers an inexplicably manic performance of exasperated adult ineptitude as the school principal trying, with a lot of faffing about but very little urgency, to track the kids down.

To be strictly fair, “Driver’s Ed” doesn’t only reference the 1990s high school comedy. It also has an only too obvious yen for the 1980s, and specifically for “The Breakfast Club,” which is cribbed from here in a brief makeover scene and the cloyingly extended finale when the kids all marvel at just how much they’ve bonded. But while John Hughes’ soon-to-be-Criterion-approved classic has its implausibilities, it never attempts any setpiece as frankly ludicrous as the one in “Driver’s Ed” where three 2025 teenagers stand dumbly to one side while a fourth attempts to “hide” their beloved iPhones on a tiny ledge on a bridge over a river, with utterly predictable results.

Not that this is the fault of an appealing young cast gamely doing their best to inject energy and personality into inert, exposition-heavy, joke-light dialogue that could not sound less like the way modern teenagers talk if every second word was “rad.” “Everybody changes all the time,” Shannon’s principal scoffs at the doggedly faithful Jeremy at one point. It’s a shame that “Driver’s Ed” seems to believe that, in the decades since the high school comedy first came of age, teenagers haven’t changed so much as a hair on their heads.

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Tame Impala's "Loser" Is Our Song of the Week: Review
Music

Tame Impala’s “Loser” Is Our Song of the Week: Review

by jummy84
written by jummy84

Each week, our Songs of the Week column highlights the best new tracks from the last seven days. This week, we dig into Tame Impala’s latest single “Loser,” the second offering from their upcoming album Deadbeat.

10 years ago, Kevin Parker released a Tame Impala song called “‘Cause I’m a Man” for the band’s beloved third album, Currents. A lot like “Feels Like We Only Go Backwards” and “New Person, Same Old Mistakes,” “‘Cause I’m a Man” took aim at habitual fuck-ups and the excuses that men make when they can’t escape their own destructive patterns, blaming biology with a clever shrug and letting the song’s majestic chorus do most of the talking.

This theme of Parker lamenting his inherent flaws resurfaces with even sharper self-awareness on Tame Impala’s latest single, “Loser,” the new offering from the band’s upcoming fifth album, Deadbeat, out October 17th. “Loser,” with its modest trot and front-and-center vocals from Parker, feels intrinsically linked to “‘Cause I’m a Man;” but where the songs merge with regards to tempo, lyrical content, and production, Parker makes “Loser” a lot spikier than his usual psych pop bliss.

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“I got the message, I learned my lesson,” Parker croons in his shimmering head voice, channeling both dejection and wistful yearning. He recalls Beck’s eternal dirtbag anthem of the same name in the chorus, offering a similarly dramatic suggestion regarding his pathetic streak: “I’m a loser, babe/ Do you want to tear my heart out?” It’s all deeply in line with the type of psych-tinged slacker rock that Parker is going for, complete with a sharp electric guitar line and enough space in between the drum beat to let his self-loathing breathe.

It’s a far cry even from prior single “End of Summer,” which provided a brief trip to the Tame Impala Acid House Factory and brought a repetitive buoyancy found mostly in the band’s extended odysseys like “Let It Happen.” But “Loser” is a lot less concerned with tripping out and much more focused on the id; the raw impulses and self-destructive tendencies that Parker usually wraps in layers of dreamy production are presented here with minimal cushioning, save for the touch of atmosphere on his vocals and the kaleidoscopic synths that warm up around the bridge.

But self-deprecation aside, “Loser” is great because it grooves. The song’s bounce and plucky keyboard touches are almost like a ’90s hip-hop cut; Parker’s descending pre-chorus, layered with harmonies, is sweet like syrup. It’s this tension between Parker’s harsh self-assessment and the song’s catchiness that makes “Loser” such an intriguing preview of Deadbeat. Even when he’s calling himself pathetic, he can’t help but make bangers.

— Paolo Ragusa
Live Music Editor

Hatchie — “Lose It Again”

Hatchie’s back! With “Lose It Again,” the Australian dream pop star continues her use of psychedelic instrumentation and indestructible hooks for a powerful final product. “You are the star I’m chasing,” she sings, with romance swirling all around her; the song’s chorus is so open and cathartic that it sounds like something Hatchie has been waiting to say for ages. Following from the majestic peaks of her 2022 album Giving the World Away, “Lose It Again” once again serves as a pain reliever, soothing the listener with lush tones while livening them with another pure-hearted refrain. Gorgeous is an understatement. — P. Ragusa

Horse Jumper of Love — “Blue Factory Flame”

Run for Cover’s tribute compilation celebrating the work of Jason Molina — the creative mind behind Songs: Ohio and Magnolia Electric Co. — I Will Swim to You, drops today and includes previously released covers from folks like MJ Lenderman, Trace Mountains, Friendship, Lutalo, and more. Just prior to the release of the full project, the label shared Horse Jumper of Love’s take on the Didn’t It Rain cut “Blue Factory Flame.” In the hands of the slowcore experimentalists, the sparse and dejected tone of the original becomes thorny and jagged. There are tempo changes, wailing guitar lines soaked in reverb, and raw, strained lead vocals. It’s (blue) fire. — Jonah Krueger

SG Lewis — “Baby Blue” featuring Oliver Sim

Along with the release of his great new album Anemonia, SG Lewis has offered the standout cut “Baby Blue,” which features The xx’s Oliver Sim for a rather effervescent vocal performance. SG Lewis makes music for golden hour, like you can hear the warmth and light of the sun harmoniously meeting the revelry of night in real time. “Baby Blue” is exactly the kind of open-hearted, transcendent dance music he’s become known for, and just like his best collaborations — like “Heat” and “Hurting” — it’s endlessly replayable. — P. Ragusa

Shallowater — “Ativan”

Shallowater, one of our artists to watch in 2025, return today with their sophomore effort, the excellent (and excellently titled) God’s Gonna Give You a Million Dollars. The record is primarily made up of extended slowcore epics with a tinge of twang, and one of the most enthralling is the penultimate track “Ativan.” Extending almost to nine minutes in length, the tune boasts beautiful performances, an ever-compelling structure, and a grand payoff that rewards those patient enough to stick around for it. Come to think of it, those descriptions really could apply to just about the entire album. — J. Krueger

Softcult — “16/25”

After several years of standout EPs, Canadian rock duo Softcult (one of our 2025 artists to watch) have finally announced their debut album, When a Flower Doesn’t Grow, out in early 2026. They’ve shared the rollicking, furious “16/25,” an anthemic slice of shoegaze taking aim at predatory older men who groom younger women. “She doesn’t know how to love you,” they sing over pummeling drums, a line rendered less abstract each time they repeat it. “She’s 16, you’re 25.” Though cloaked in the warm haze of down-tuned guitars, that final lyric leaps out. She’s 16, you’re 25. Gross! — P. Ragusa

Sword II — “Even If It’s Just a Dream”

“Even If It’s Just a Dream,” the first single from Sword II’s recently announced new album Electric Hour, finds the Atlanta outfit embracing their dreamiest, most melodic tendencies. Over top acoustic chords and jangly electric lines, as well as synth arpeggios that wouldn’t sound all that out of place on a Beach House tune, the track is a shockingly warm and cozy affair — especially when juxtaposed with the angsty imagery of the music video. — J. Krueger

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Tame Impala Announce U.S. Tour
Music

Tame Impala Announce U.S. Tour

by jummy84
written by jummy84

Kevin Parker has plotted an imminent Tame Impala tour of the United States, kicking off at Brooklyn’s Barclays Center on October 31 before dates in Chicago, Illinois; Austin, Texas; and a Californian run with stops in Inglewood, Oakland, and San Diego. Check out the itinerary below.

The news follows the announcement yesterday of Deadbeat, Tame Impala’s follow-up to The Slow Rush. That’s out October 17. The singles “End of the Summer”and “Loser” have been the first taste of the LP.

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Tame Impala: Deadbeat Tour

Tame Impala:

10-31 Brooklyn, NY – Barclays Center
11-01 Brooklyn, NY – Barclays Center
11-03 Chicago, IL – United Center
11-06 Austin, TX – Moody Center
11-09 San Diego, CA – Pechanga Arena
11-11 Inglewood, CA – Kia Forum
11-12 Inglewood, CA – Kia Forum
11-14 Oakland, CA – Oakland Arena

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Tame Impala Preps Fifth Album ‘Deadbeat,’ Shares ‘Loser’ Single
Music

Tame Impala Preps Fifth Album ‘Deadbeat,’ Shares ‘Loser’ Single

by jummy84
written by jummy84

Kevin Parker is taking the Deadbeat route.

The celebrated psychedelic pop artist and production wizard is lining up his fifth Tame Impala album, Deadbeat, for a global release Oct. 17th — his first through the Sony Music machine.

Deadbeat is inspired by the “bush doof” culture of his native, Western Australia rave scene, and recasts his ongoing art project as “a kind of future primitive rave act in the process,” reads a statement.

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The second taste from Deadbeat is “Loser,” a track that’s accompanied with a music video directed by Kristofski and starring Stranger Things‘ Joe Keery (aka Djo). It’s the followup to lengthy electronic banger “End of Summer,” which arrived, fully formed, in July of this year.

“Loser” is a departure from those parties in paddock, instead taking us on a magic carpet ride to a funky ‘70s houseparty. And no, it’s not a cover of Beck’s self-deprecating classic from 1994.

Parker “largely galvanized” the new album between his hometown of Fremantle and his studio, Wave House in Injidup, WA in the first half of this year.

Essentially a one-man band (though Parker takes a full unit on the road), Tame Impala has collected ARIA Awards, APRA Awards, a Brit Award, and earlier this year, a Grammy, by way of a collaboration with Justice.

Deadbeat arrives more than half a decade after The Slow Rush, from February 2020, a record that went to No. 1 on Australia’s ARIA Chart, and earned career peak positions on the Billboard 200 and Official U.K. Albums Chart UK, both at No. 3. Its predecessor, 2015’s Currents, topped the Australian chart and crashed the top 5 in the U.S. (at No. 4) and in the U.K. (No. 3), where Parker collected the Brit Award for best international group.

The forthcoming album “sounds like the work of an artist with a leveled-up mastery, crafted with a newfound embrace of spontaneity for the renowned perfectionist,” reads a statement. “How that manifests is a distinct minimalism and crunch, with timbres and textures that add an ineffably new dimension to the sound, as well as a richer, more playful vocal range than ever.”

The new collection is the first through Columbia Records, following a years-long relationship with Modular Recordings and Universal Music.

Although Tame Impala is not currently on tour, Parker will enjoy the southern summer when he takes the stage as a a special guest DJ for Justice’s Australian arena tour in December 2025.

Deadbeat is available for pre-order here, and exclusive vinyl color-variants can be ordered here. 

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Tame Impala announce new album 'Deadbeat'
Music

Tame Impala announce new album ‘Deadbeat’

by jummy84
written by jummy84

Tame Impala has announced the release date for a forthcoming album, titled ‘Deadbeat’.

The psychedelic music project of instrumentalist Kevin Parker returned in July with the seven-minute, house-inspired track ‘End Of Summer’, which the artist had previously debuted during a DJ set in Barcelona. Shortly before, he had shared a series of photographs on social media – revealing that he had “been busy” in the studio working on new music.

Now, the Tame Impala Instagram account has shared an image with the caption “LP5 – October 17”. The official website confirmed the title of the album as ‘Deadbeat’, as suggested in the post, and the image shared as its cover.

 

The description on the album’s pre-order store describe the fifth LP as “a collection of wickedly potent club-psych explorations as a vehicle for some of his most direct, brain-wormy songwriting to date, recasting Tame Impala as a kind of future primitive rave act in the process.”

It continues: “’Deadbeat’ sounds like the work of an artist with a levelled up mastery and bristles with a revitalized energy for experimentation. 12 songs crafted with a newfound embrace of spontaneity for the renowned perfectionist. How that manifests is a distinct minimalism and crunch to many of the tracks, with a clutch of crucial details, timbres and textures that add an ineffably new dimension to the sound, as well as a richer, more playful vocal range than ever.”

 

The announcement comes just after Tame Impala shared the video for new single ‘Loser’, which features Stranger Things star and Djo singer Joe Keery. The collaboration was teased through a series of posters spotted in New York and Chicago last week alongside a photograph of a younger Kevin Parker.

‘Deadbeat’ will be Tame Impala’s first full album since 2020’s ‘The Slow Rush’. In the time since, the producer and musician contributed to the Barbie soundtrack album, as well as collaborating with Dua Lipa, Thundercat, Diana Ross, Gorillaz and Justice.

In February, Parker won his first Grammy for ‘Neverender’ – one of his collaborations with Justice. Parker also reflected on the creation of his 2015 album ‘Currents’ recently, to mark its 10th anniversary.

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Tame Impala Announce New Album Deadbeat
Music

Tame Impala Announce New Album Deadbeat

by jummy84
written by jummy84

After dropping two songs this summer, Tame Impala have announced a new album – their first in five years. The follow-up to 2020’s The Slow Rush is titled Deadbeat and arrives October 17 via Columbia. Check out the cover artwork for the album below.

Kevin Parker ushered in Tame Impala’s return in July with “End of the Summer,” which arrived with a trippy split-screen music video. Then, yesterday, he also rolled out the new song “Loser.” Tame Impala tapped Joe Keery—the Stranger Things and Pavements actor who records his own music as Djo—to star in that music video where, for a brief few seconds, he swaps places with Parker to tell the tale of a dejected burnout.

Deadbeat, according to a press release, “is deeply inspired by bush doof culture and the Western Australia rave scene.” Parker worked on the album in his Fremantle hometown and at his studio in Injidup, Western Australia. The 12-song project will include both “End of the Summer” and “Loser.”

Although The Slow Rush came out five years ago, Parker has been plenty busy since then. He won his first-ever Grammy Award, the Best Dance/Electronic Recording trophy, for the Justice collaboration “Neverender.” Then there’s all the film contributions, with Tame Impala recording “Journey to the Real World” for the Barbie movie, “Wings of Time” for Dungeons & Dragons: Honor Among Thieves, a remix of “Edge of Reality” for Elvis, and the Diana Ross collaboration “Turn Up the Sunshine” for Minions: The Rise of Gru.

Of course, Parker has lent his skills to a number of other songs over the past couple years, too. The Tame Impala mastermind recorded “No More Lies” with Thundercat, “One Night/All Night” with Justice, “New Gold” with Gorillaz, and “Call My Phone Thinking I’m Doing Nothing Better” with the Streets. That doesn’t even include all the remixes artists like 070 Shake, the Crowded House, and Justice have asked him to do, or him helming the production board for Dua Lipa’s Radical Optimism.

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Tame Impala Deadbeat
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