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Noah Kahan Launches His Stadium-Sized ‘The Great Divide Tour’ In Orlando. Here’s What He Played.

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Noah Kahan has hit the road in a big way. The folk-pop sensation launched his Great Divide Tour on Thursday, June 11, at the Kia Center in Orlando, treating fans to a setlist packed with hits, from “Hurt Somebody” to selections from his latest album. The trek marks a major step up in scale for Kahan. The 23-date tour is playing stadiums and ballparks across North America, from a two-night hometown stand at Boston’s Fenway Park to Chicago’s Wrigley Field, Toronto’s Rogers Stadium, and the Rose Bowl in Los Angeles.

The tour shares its name with the source material. It takes its title from Kahan’s fourth album, ‘The Great Divide,’ which topped the Billboard album chart while managing the best first-week sales for a rock release in more than a decade. Gigi Perez, known for her single “Sailor Song,” opened the Orlando show.

The opening night leaned heavily on the new record, with several songs getting their live debut, including “Downfall,” “Dashboard,” and “Orbiter.” Kahan rewarded longtime fans too, closing the main set with “New Perspective” before an encore that ended on the one-two of “Homesick” and his breakthrough smash “Stick Season.” There was even a little post-show signal that things might shift night to night. After the opener, Kahan took to Instagram to tell fans, “I hear you Orlando. See you tonight,” suggesting the setlist could get tweaks as the run rolls on.

After North America, the tour heads overseas through the fall, with arena dates across Australia, New Zealand, the UK, Ireland, and mainland Europe stretching into December.

Noah Kahan Great Divide Tour Setlist (Orlando, June 11):

American Cars

Doors

All My Love

Deny Deny Deny

Everywhere, Everything

Haircut

Downfall

She Calls Me Back

Dashboard

Dial Drunk

We Go Way Back

Porch Light

Orbiter

Paid Time Off

The View Between Villages

Northern Attitude

The Great Divide

Orange Juice

New Perspective

Encore:

End of August

Homesick

Stick Season

5 Surprising Facts About Olivia Rodrigo’s ‘You Seem Pretty Sad for a Girl So in Love’

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Olivia Rodrigo’s third studio album landed today, June 12, 2026, and it’s already drawing some of the best reviews of her career. Out via Geffen and produced once again by Dan Nigro, ‘You Seem Pretty Sad for a Girl So in Love’ marks a real stylistic shift for the pop star. Here are five things about it that might catch you off guard.

It’s her first album with a guest feature, and it’s a Cure legend

After three records flying solo, Rodrigo finally opened the door to a collaborator, and she went straight for an icon. Robert Smith of The Cure appears on “What’s Wrong with Me,” playing vocals, bass, guitar, and piano. The two debuted it together during a surprise set at Primavera Sound with only a few hours’ notice.

It’s secretly a concept album in two halves

The tracklist splits into two distinct acts. Tracks 1 through 7 fall under the heading “Girl So in Love,” capturing the euphoric rush of infatuation, while tracks 8 through 13 sit under “You Seem Pretty Sad,” charting the heartbreak that follows. The full title only makes sense once you see both sides.

London shaped the whole thing

Rodrigo has said the album drew heavily from her time in London and called it her “most experimental” yet. Critics agree she moved well away from the pop-rock of ‘Sour’ and ‘Guts,’ with reviewers pointing to late-80s college rock, new wave, and even Devo and The Human League as touchstones.

One song references Sex and the City

Among the album’s sad love songs is a track said to nod to the on-and-off relationship of Sex and the City characters Miranda Hobbes and Steve Brady, a very specific reference point for a record full of romantic push and pull.

Critics are calling it her best work

The reviews have been glowing. The album holds an 88 on Metacritic for “universal acclaim,” with five-star ratings from DIY, The Independent, and The Irish Times. Pitchfork called it her most sophisticated release yet, and Rolling Stone dubbed it her “most complete, musically adventurous album yet.”

Pop Art Pioneer And One Of Britain’s Most Beloved Painters David Hockney Dies At 88

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David Hockney, the Bradford-born painter who became one of the most influential and beloved British artists of the past century, has died at his home in London at the age of 88. He passed away on June 11, 2026.

Few artists shaped the popular image of modern art quite like Hockney. A central figure in the British Pop art movement of the 1960s, he announced his arrival at the Royal College of Art alongside Peter Blake before moving to Los Angeles in 1964, where the California sun and swimming pools gave him his most enduring subject. Works like ‘A Bigger Splash’ and ‘Portrait of an Artist (Pool with Two Figures)’ came to define an era, the latter selling at Christie’s in 2018 for $90 million, then a record for any living artist at auction.

His range was staggering. Across six decades, Hockney moved fluidly between painting, drawing, printmaking, photography, opera set design, and emerging technology, never losing his appetite for the next tool. He built Cubist-inspired photo collages he called “joiners,” sketched on fax machines and Quantel Paintboxes, and in his later years embraced the iPad as a serious instrument, drawing hundreds of landscapes and portraits and even designing a stained glass window for Westminster Abbey to celebrate Queen Elizabeth II’s reign.

He returned often to his native Yorkshire, painting its countryside en plein air on monumental multi-canvas works like ‘Bigger Trees Near Warter,’ which he donated to the Tate. His blockbuster exhibitions drew enormous crowds, and his 2017 retrospective became the most-visited show in Tate Britain’s history.

Hockney came out as gay at 23, years before homosexuality was decriminalised in Britain, and explored gay love openly in his work from early on. He drew repeatedly from the people closest to him, including longtime partner and business associate Gregory Evans, Peter Schlesinger, and friends like Celia Birtwell and Ossie Clark.

Known for his vivid palette, his sharp wit, and his lifelong refusal to stop experimenting, Hockney leaves behind a body of work housed in major collections around the world and a foundation safeguarding more than 8,000 of his pieces. He was, as a 2012 poll of British artists declared, the most influential artist his country had produced in a generation.

30 Things The First Trillionaire Elon Musk Could Buy And Still Have Billions To Spare

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Elon Musk officially became the world’s first trillionaire today, June 12, 2026, after SpaceX priced its blockbuster IPO at $135 a share and the stock soared on its Nasdaq debut. The IPO valued the company at roughly $1.77 trillion, pushing Musk’s net worth to about $1.1 trillion. Before the offering, he was already worth an estimated $813 billion, more than twice as much as the planet’s second-richest person.

To put $1.1 trillion in perspective: if Musk spent a million dollars a day, every day, it would take him roughly 3,000 years to run out, and he’d still be earning more in interest than he could burn. He could buy a $20 coffee for every human on Earth and not notice. He could lose $100 billion down the back of the couch and remain the richest person alive. It’s a number so large it stops feeling like money and starts feeling like a physics problem. Which is exactly why the question of what someone does with it actually matters.

He could:

  1. Eradicate malaria worldwide, around $30 billion over a decade.
  1. Wipe out all U.S. medical debt in collections, roughly $10 billion to clear over $200 billion in face value.
  1. Fully fund a year of the UN World Food Programme, about $20 billion.
  1. Provide clean water access to everyone on Earth who lacks it, estimated near $150 billion.
  1. End homelessness in the United States, with estimates around $20 billion a year.
  1. Fund global childhood vaccination gaps for a decade, roughly $50 billion.
  1. Build 1 million affordable homes in the US, around $200 billion.
  1. Cancel the student loan debt of 10 million Americans, near $300 billion.
  1. Endow 50 major US universities with $1 billion each, $50 billion.
  1. Fund cancer research at $10 billion a year for 20 years, $200 billion.
  1. Reforest hundreds of millions of acres globally, tens of billions.
  1. Give every US public school teacher a $10,000 raise for 10 years, roughly $80 billion.
  1. Eliminate hunger across the US for a decade, around $250 billion.
  1. Fully fund Alzheimer’s research at scale for 20 years, around $100 billion.
  1. Provide a year of emergency relief for every major active humanitarian crisis, tens of billions.
  1. Build out rural broadband across the entire US, about $100 billion.
  1. Fund clean cookstoves for the developing world to cut indoor air pollution deaths, tens of billions.
  1. Vaccinate and treat for neglected tropical diseases globally, around $30 billion.
  1. Endow free school meals for every US child for a decade, roughly $150 billion.
  1. Fund maternal and newborn health programs worldwide, tens of billions.
  1. Build new hospitals across underserved regions of Africa and South Asia, around $100 billion.
  1. Fund fusion energy research at $5 billion a year for 20 years, $100 billion.
  1. Restore and protect critical ocean and coral ecosystems, tens of billions.
  1. Provide microloans and small-business grants to millions in the developing world, tens of billions.
  1. Fund a global mental health treatment initiative, around $50 billion.
  1. Pay for a year of childcare for every US family that needs it, roughly $100 billion.
  1. Build large-scale carbon removal infrastructure, $100 billion-plus.
  1. Eliminate cervical malaria-tier preventable diseases through targeted programs, tens of billions.
  1. Fund disaster-resilient infrastructure for vulnerable coastal cities, $100 billion-plus.
  1. Seed a permanent foundation, the Gates model, to give for generations. For perspective, Gates’ fortune would be $464 billion larger today had he not given so much away.

Add the headline items together and you’re still nowhere near $1.1 trillion. The milestone is historic. The more interesting question is how much of it he’s willing to let shrink to do some good.

Margaret Kerry, the Model Who Brought Tinker Bell to Life, Dies at 97

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Margaret Kerry, the actress and dancer who served as the live-action inspiration for Walt Disney’s beloved Tinker Bell and who charmed generations of fans with stories of her pixie-dusted career, has died at the age of 97. She passed away on June 11, 2026, in Wilmington, North Carolina, of lung cancer.

Born Peggy Lynch in Springfield, Illinois on May 11, 1929, she was adopted at the age of three and moved to Los Angeles, where her performing life began almost immediately. Her very first role came at age six, as a fairy in Max Reinhardt’s 1935 film A Midsummer Night’s Dream, a fitting beginning for someone who would one day embody the most famous fairy of all. As a child she danced and acted in three of the Our Gang comedy shorts under her birth name.

Her path through early Hollywood was a colorful one. She served as a camera double for Elizabeth Taylor in MGM’s National Velvet, and caught the eye of entertainer Eddie Cantor, who cast her as his teenage daughter in If You Knew Susie. It was Cantor who decided she needed a more memorable, theatrical name, and so Peggy Lynch became Margaret Kerry. A bright student as well as a working actress, she graduated high school with honors and later earned her degree cum laude from Los Angeles City College.

The role that would define her legacy came when she answered an audition call during the planning of Disney’s animated Peter Pan. Supervised by famed animator Marc Davis, the audition asked her to pantomime the movements that would guide the animation of Tinker Bell. Because the character was to be silent, her physicality had to carry everything, and Davis wanted a dancer who could give the fairy life. Kerry won the part and spent six months on a nearly empty soundstage acting out the role, working with oversized props including a giant keyhole and enormous scissors for the scene in which Tinker Bell is trapped in a jewelry box. She also provided the reference movements and voice for the red-haired mermaid in the Neverland lagoon.

Tinker Bell was far from her only contribution to animation. A gifted voice artist with a reported twenty-one dialects and forty-eight character voices, Kerry voiced characters including Paddlefoot and Spinner across 52 episodes of the pioneering children’s series Clutch Cargo, and lent her talents to The New Three Stooges and Space Angel. On screen she played Sharon in The Ruggles, the first network sitcom, and appeared in The Andy Griffith Show and The Lone Ranger.

Later in life she found a second calling in Christian radio, producing and hosting What’s Up Weekly on Los Angeles station KKLA-FM from the early 1990s into the 2000s, where she also led a community outreach program connecting with more than 200 nonprofit agencies. She remained a warm and constant presence in the animation and Disney fan communities, serving on the board of ASIFA-Hollywood and delighting fans at conventions across the country well into her nineties. In 2016 she published her memoir, Tinker Bell Talks: Tales of a Pixie Dusted Life, and later wrote candidly about living with prosopagnosia, or face blindness.

Her life held one more fairy-tale chapter. In 2019, at the age of 90, she reconnected with a former boyfriend, WWII veteran Robert Boeke, after seven decades apart. The two married on Valentine’s Day in 2020. Boeke died on May 24, 2026, at the age of 100, less than three weeks before Kerry’s own passing.

Honored over the years by the City of Los Angeles, the Disneyana Fan Club, and the Walt Disney Family Museum, where her original Tinker Bell ballet slippers went on display in 2023, Margaret Kerry leaves behind a legacy stitched into one of the most enduring images in animation history. Every time Tinker Bell flutters across the screen trailing pixie dust, a little of her lives on.

Stranger Cole, Jamaican Ska and Reggae Pioneer, Dies at 83

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Stranger Cole, the Jamaican singer whose recording career stretched across more than six decades, from the birth of ska to the present day, and who long claimed to have made the very first reggae record, has died at the age of 83. He passed away on June 11, 2026, at Kingston’s University Hospital of the West Indies, in the same city where his story began.

Born Wilburn Theodore Cole in Kingston on June 26, 1942, he came by his memorable nickname early. His family took to calling him “Stranger” because, as they saw it, he didn’t resemble anyone else among them. The name stuck, and it would follow him through a lifetime of music.

Cole first made his mark not as a performer but as a writer, penning “In and out the Window,” a hit for Eric “Monty” Morris. That success opened the door to his own recording debut in 1962, and he wasted no time, scoring immediately with singles like “Rough and Tough” and “When You Call My Name,” a duet with Patsy Todd, for the legendary producer Arthur “Duke” Reid. More hits followed through the mid-1960s, and he worked with a who’s who of Jamaican production talent along the way, including Clement “Coxsone” Dodd, Prince Buster, Bunny Lee, Lee “Scratch” Perry, and Sonia Pottinger.

Duets became something of a signature for him, reportedly born of his shyness about singing alone. He recorded with Ken Boothe, Gladstone Anderson, Hortense Ellis, and most enduringly with Patsy Todd, with whom he cut a long string of sides as “Stranger & Patsy.”

His place in music history rests in large part on one song. Cole was credited with creating the first reggae record with his 1968 hit “Bangarang,” recorded at Duke Reid’s studio with engineer Bunny “Striker” Lee, saxophonist Lester Sterling, and keyboardist Lloyd Charmers. It remained a point of pride he defended for the rest of his life.

In 1971 Cole emigrated to the United Kingdom, where he toured tirelessly, before moving again in 1973 to Canada, settling in Toronto. There he lived a quietly remarkable second life, working as a machinist in the Tonka Toy factory and later opening a record store, the first Caribbean shop in the city’s Kensington Market, helping to seed a Caribbean-Canadian cultural community that endures today. He released his debut album, “Forward” in the Land of Sunshine, in 1976, following it with a steady run of records, many on his own label.

He never truly stepped away from music. In 2006 he released Morning Train, a collaboration with Jah Shaka and his first album in two decades, and in 2009 he appeared in the documentary Rocksteady: The Roots of Reggae, reuniting with fellow legends of the era to record a new album of the same name. He was still performing in his eighties, taking the stage with The Steadytones as recently as 2024.

His musical legacy carried into the next generation. His sons followed him into the business, with Squiddly drumming for the likes of Ziggy Marley and Mutabaruka, and Marcus, known as KxritoXisen, producing music for his father.

From the first stirrings of ska to the global spread of reggae, Stranger Cole was there for all of it, a foundational voice who helped shape the sound of Jamaica and carried it to the world.

Three Free Tools Sitting on Your Phone Right Now That EVERY Artist Should Be Using

The artists getting found in 2026 aren’t necessarily more talented than you. They don’t have better songs, better hair, or some cosmic stroke of luck the rest of us missed. They built their infrastructure before their last release instead of scrambling during it.

The most powerful discovery tools in music right now are free, and most of them are already sitting on your phone. Not pay-to-play. Not gatekept. Free. The only catch is that almost nobody uses them the way they were designed to be used. So let’s fix that today.

Spotify for Artists, and the Tab You’re Ignoring

Most of us open Spotify for Artists after a release, look at the stream count, feel something, and close it. That’s the least valuable thing it does. The numbers are the scoreboard, not the playbook.

The real gold lives a couple of taps deeper. Your Audience tab tells you exactly which cities your listeners are concentrated in, their age and gender breakdown, and which other artists they stream alongside you. That is targeting data brands pay advertisers serious money to approximate, and you’re getting it for nothing. Those top three cities? That’s your next tour routing, right there.

Then there’s Discovery Mode, which is widely misunderstood, so here’s exactly how it works. When you enable it, you accept roughly 30% lower royalties on selected songs in exchange for increased algorithmic promotion. Specifically, if a listener hears your song through Radio or Autoplay because of Discovery Mode, Spotify keeps 30% of that stream’s royalty and you receive the remaining 70%, while any stream from their own playlist, library, or your profile still earns the full royalty. It’s a trade, not a trick. The smart move is selective. It can make sense for catalog tracks that have plateaued or new releases where early momentum is critical, but applying it to your highest-earning songs will cut your overall revenue, so use it on a track or two, not the whole catalog.

TikTok Search Insights, Because TikTok Is a Search Engine Now

Most artists post a clip, write a caption, sprinkle on ten hashtags, and wait. Here’s the shift many have missed: TikTok stopped being only a feed algorithm and quietly became one of the biggest search engines on earth, especially for music discovery. People type “sad night drive music,” “undiscovered artists like Frank Ocean,” and “new indie R&B” into that search bar millions of times a day.

TikTok’s Creator Search Insights shows you the exact words and phrases real users are typing in your category right now, complete with which ones have high search volume and low competition. That’s not guesswork, that’s a map. Find three phrases with strong volume and thin competition, then build your next few posts around those exact phrases written naturally into the caption as sentences, not buried as hashtags. You show up at the precise moment someone’s intent is highest. That’s the whole game.

Chartmetric’s Free Tier, the Industry’s Best-Kept Secret

You may never have heard of this one, which is a shame, because it’s one of the most powerful free tools in the business. Chartmetric is a data aggregator that pulls an artist’s streaming numbers, playlist adds, social growth, audience demographics, and press coverage into one place. It’s what A&R departments, managers, and playlist curators use to size up artists, and it has a free tier you can sign up for today.

Here’s why it matters for getting heard. Forget the mega-playlists with two million followers that you’ll never crack. Use Chartmetric to find three artists who sound like you and sit two or three years ahead of where you are, then look at which playlists are actually adding them. Filter to the ten-thousand-to-hundred-thousand-follower range, the working playlists run by real humans who still read their emails. Export that list. You’ve just built a pitching shortlist grounded in evidence instead of hope.

This Is Infrastructure, Not Hacks

None of this is a growth hack or a shortcut. This is infrastructure, the quiet plumbing underneath every artist who seems to get discovered “out of nowhere.” They built the stack first. They knew their cities, their search phrases, and their realistic playlist targets before they ever hit upload.

You can start this afternoon, for free, with the apps already in your pocket. Open the Audience tab. Pull three search phrases. Build one pitching list. That’s it. Discovery doesn’t happen by accident, but it isn’t reserved for the lucky or the well-funded either. It goes to the prepared, and being prepared is something you get to choose.

Why Ireland Produces So Many World-Class Artists

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This August, the world’s biggest celebration of Irish music comes home to a city that knows exactly what it’s holding. Fleadh Cheoil na hÉireann 2026 takes place in Belfast from Sunday, August 2 to Sunday, August 9, the first time the host city is the island of Ireland’s only UNESCO City of Music. Established in 1951, the Fleadh runs every August with qualifying performers from all over the globe descending on a single Irish town to showcase the very best of traditional music in all-Ireland competitions. That it lands in Belfast this year feels less like a coincidence and more like an overdue homecoming.

All of which raises a question worth chewing on. How does one small island keep producing such a staggering, wildly disproportionate share of the world’s great musicians? From U2 to Van Morrison, Sinéad O’Connor to The Cranberries, Hozier to Snow Patrol, the hits keep coming. Here’s what’s actually behind it.

Music Is Woven Into Daily Life

The first thing to understand is that in Ireland, music isn’t something that happens only on a stage. It happens in the corner of the pub, at the kitchen table, at the wedding and the wake. Traditional music is a living, participatory thing passed hand to hand across generations, and the Fleadh itself is built around exactly that ethos. When qualifying takes you from a local session all the way to an all-Ireland final, music stops being a spectator sport and becomes a craft that ordinary people pursue seriously from childhood. That depth of grassroots participation creates an enormous talent pool long before anyone signs a record deal.

Turning Struggle Into Song

There’s also something deeper at work, rooted in history. Ireland’s story is one marked by hardship, emigration, conflict, and loss, and Irish music has always been the vessel for processing all of it. The Troubles, the Famine, mass emigration, the ache of leaving home, these run like a thread through the country’s songbook. Irish artists have a long tradition of taking pain and turning it into something beautiful and universal, whether it’s the political fury of “Zombie,” the spiritual yearning of Van Morrison, or the quiet heartbreak of a Damien Rice ballad. That instinct to convert struggle into song gives the music an emotional honesty that travels far beyond the island’s shores. It’s hard to fake, and audiences everywhere feel it.

A Culture That Prizes Storytelling

Ireland’s reputation as a land of writers, poets, and talkers is no accident, and it feeds directly into the music. This is the country of Yeats, Joyce, Beckett, and Heaney, where a way with words is practically a national inheritance. That literary tradition shows up in the lyricism of Irish songwriters, who tend to treat words with unusual care. The line between Irish poetry and Irish songwriting has always been blurry, and the music is richer for it.

Real Infrastructure That Backs Talent

Inspiration alone doesn’t build careers. Ireland, and Belfast in particular, has invested in the unglamorous infrastructure that lets raw talent develop into something sustainable. The shining example is the Oh Yeah Music Centre, a converted bonded whiskey warehouse in Belfast’s Cathedral Quarter that has done more for the city’s musicians than any glossy concert hall. It opened its doors in 2007, growing out of a 2005 conversation between Belfast music industry figures and Snow Patrol, whose frontman Gary Lightbody championed the idea of a nexus to unite the city’s scene.

What makes Oh Yeah matter is what it actually provides. The centre offers affordable rehearsal and recording space, a live venue, a songwriting room, mentoring, and youth programmes, all built on a mission to “Open Doors To Music.” It runs the annual Sound of Belfast festival and the Northern Ireland Music Prize, and houses the only permanent popular music exhibition in Northern Ireland, free to visit. Over the years its stage has hosted everyone from Elbow and The Undertones to Lisa Hannigan, Foy Vance, and Duke Special, and its compilation albums like ‘The Oh Yeah Sessions’ have given homegrown bands a leg up exactly when they needed it. It’s a venue, a hub, a safe space, and a launchpad all at once, and it sits neatly at the centre of Belfast’s identity as a UNESCO City of Music. When a place builds something like that, the talent doesn’t just appear. It’s nurtured.

The Sum of Its Parts

So why does Ireland produce so many world-class artists? Because all of these forces compound. A culture where music is participatory and everyday. A history that taught people to turn pain into beauty. A literary heritage that prizes words. And real institutions that catch talent and help it grow. Put those together on one small island and you get a musical output that punches a thousand times above its weight, generation after generation.

There’s no better place to witness all of this in action than at the Fleadh itself. Fleadh Cheoil na hÉireann (fleadhcheoil.ie) takes place in Belfast, August 2–9, 2026. For more information visit fleadhcheoil.ie, visitbelfast.com, and discovernorthernireland.com.

Video: Joni Mitchell Performs “Coyote” For Bob Dylan And Roger McGuinn At Gordon Lightfoot’s Home In 1975

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This is one of those moments you can hardly believe was caught on film. In 1975, during the Rolling Thunder Revue, Joni Mitchell sat down at Gordon Lightfoot’s home and performed “Coyote” for a room that included Bob Dylan and Roger McGuinn. The footage comes from Martin Scorsese’s Netflix documentary ‘Rolling Thunder Revue: A Bob Dylan Story,’ and it’s pure magic. Mitchell delivers the song with the singular phrasing and unmistakable chord work that set her apart from everyone in her era, and the look on every face in the room says it all, a circle of legends watching one of the greatest songwriters of her generation at the height of her powers. It’s an intimate, electric glimpse of a “Hejira” classic taking shape among friends.

Bay Area Punks Spiritual Cramp Bring Their Paranoid Energy To A Six-Song KEXP Session

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Spiritual Cramp are one of the most exciting punk bands going, and this KEXP session makes the case in six tight songs. Recorded in the KEXP studio, the Bay Area crew tears through “Automatic,” “You’ve Got My Number,” “Dog In A Cage,” “Young Offenders,” “Slick Rick,” and “Jerk It Out” with the kind of charisma and high-energy poise that’s made their live shows a must-see. Frontman Michael Bingham leads a six-piece lineup that pulls from hardcore, indie, post-punk, and garage rock, with more than a few Clash-style “London Calling” vibes in the mix. Their 2025 record ‘Rude’ was an album-of-the-year contender for plenty of listeners, and this performance shows exactly why, confident, charismatic, and proof that rock and roll is alive and well.