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ok so i was half asleep last night and one of those songs with a ticking clock sound kept playing on repeat in my head why whats the obsession? i get that its supposed to feel dramatic or like time is running out but like... does it have to be so literal? cant they just write better lyrics instead of dropping sound effects in the track? its not even subtle anymore. back in the day you might get a faint tick-tock in some concept album about time travel or whatever but now its everywhere. doesnt matter the genre pop songs, indie tracks, even some edm drops have ticking in the background and im just over here like... can we move on? its 2026. weve got AI making entire songs now (not that im endorsing that) and we still cant escape ticking clocks. tbh its almost as bad as songs about summer honestly. at least those make sense seasonally but ticking clocks? what are we trying to prove here. that were all running out of time? well no kidding anyway rant over if anyone knows a good analog watch repair place lemme know cause mine stopped again and its honestly less annoying than these songs.

Kelsey Lu‘s first album in seven years, So Help Me God, is out this Friday, and ahead of its release, they’ve given us a final early taste with the majestic, orchestrated “Cutting Off the Head of a Ghost.” They originally wrote it with Patrick Wimberly for the animated series Arcane, and it features a children’s choir. Watch the video below.

Lu also announced a fall tour, with North American shows in September and October followed by a European run in November. See all dates below.

The NYC show is at Pioneer Works on October 3. Tickets to that and all dates go on sale Friday, June 12 at 10 AM local, with various presales starting Wednesday, June 10 at 10 AM local.


KELSEY LU: 2026 TOUR DATES
Sep 30 26 – Philadelphia, PA – The Foundry
Oct 3 26 – Brooklyn, NY – Pioneer Works
Oct 4 26 – Boston, MA – Brighton Music Hall
Oct 6 26 – Washington, DC – Union Stage
Oct 8 26 – Chicago, IL – Outset
Oct 10 26 – Vancouver, BC – Chan Centre for the Performing Arts
Oct 12 26 – Seattle, WA – Neumos
Oct 13 26 – Portland, OR – Wonder Ballroom
Oct 15 26 – San Francisco, CA – Great American Music Hall
Oct 16 26 – Los Angeles, CA – El Rey Theatre
Nov 3 26 – Paris, FR – Foundation Cartier
Nov 4 26 – Paris, FR – Foundation Cartier
Nov 6 26 – Amsterdam, NL – Tolhuistuin
Nov 7 26 – Utrecht, NL – Le Guess Who
Nov 9 26 – Manchester, UK – New Century Locker
Nov 10 26 – London, UK – KOKO
Nov 11 26 – Brussels, BE – Botanique (Museum)
Nov 13 26 – Cologne, DE – CBE
Nov 15 26 – Hamburg, DE – Bahnof Pauli
Nov 16 26 – Berlin, DE – Saalchen
Nov 17 26 – Warsaw, PL – Oczki
Nov 18 26 – Prague, CZ – Meet Factory
Nov 20 26 – Bern, CH – Full Of Lava

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Charli XCX has announced the Music, Fashion, Film Tour which happens this fall across a few major US cities and Toronto. Underscores will be along for the ride and all dates are listed below.

There are two Brooklyn shows at Barclays Center on September 14 & 15 and tickets for all dates go on sale Friday, June 12 at 10 AM local time.

For this tour, Charli is introducing ‘Angel Tickets’ — “a limited number of $20 tickets, which will be made available in August. Once the purchase window for these tickets opens in August, tickets must be purchased in pairs, with a maximum of two per order. Seats will be assigned together, with locations revealed on the day of show at venue box office pickup. Ticket locations may include limited view, lower and upper levels, as well as GA Floor.”

Charli’s album Music, Fashion, Film will be out July 24 and you can preorder the vinyl in the BV shop.

Underscores’ summer tour hits NYC on Saturday at Terminal 5 (which was moved from Webster Hall). She has canceled her fall headline dates to join Charli’s tour.



Charli XCX – 2026 Tour Dates
Sep 11, 2026 – Philadelphia, PA – Xfinity Mobile Arena
Sep 14, 2026 – Brooklyn, NY – Barclays Center
Sep 15, 2026 – Brooklyn, NY – Barclays Center
Sep 21, 2026 – Toronto, ON
Sep 24, 2026 – Boston, MA – TD Garden
Sep 28, 2026 – Washington, DC – Capitol One Arena
Oct 02, 2026 – Austin – ACL Fest
Oct 06, 2026 – Atlanta, GA – State Farm Arena
Oct 09, 2026 – Austin – ACL Fest
Oct 14, 2026 – San Diego, CA – Vejas Arena
Oct 17, 2026 – Los Angeles, CA – KIA Forum
Oct 18, 2026 – Los Angeles, CA – KIA Forum
Oct 21, 2026 – Glendale, AZ – Desert Diamond Arena
Oct 23, 2026 – Las Vegas, NV – MGM Grand Garden Arena

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like i get it, being busy can feel productive but why is “i only slept 4 hours” treated like a flex sometimes tbh im so guilty of this too, like last week i was bragging about pulling an all-nighter for a project and my friend was like “thats awful, go to bed” and i was offended lol but she was right?? being exhausted isnt cute or impressive, its just bad for you. i think its tied to this weird hustle culture thing where we feel like we gotta prove we’re working hard by being miserable. anyway im trying to stop doing that and just... sleep. anyone else relate to this or am i overthinking again

Not long after singer-songwriter Momo Boyd released her sweeping heartbreak single ‘American Love Song’ in March of last year, something shifted in her. “That gave me the confidence and the knowledge that I could actually do this,” she tells NME over Zoom from her home in New Jersey, voluminous brown curls resting on her shoulders as she sports a cosy navy sweatshirt and large burgundy-framed glasses.

• READ MORE: Infinity Song: “We’ve grown up dreaming really big. And now we can make it happen”

The Michigan native isn’t talking about simply making and performing music; she’s been doing that with her siblings in the soft rock band Infinity Song for over a decade, busking on the streets of New York and singing in her dad’s choirs long before that. She’s referring to something slightly more daunting here: writing and releasing her own music as a solo artist. “I consider myself to be a completely different artist than the version of me that’s in the group,” she says. “This version of me is insanely more emotional, and a bit more personal.”

Since appearing on NME’s The Cover two years ago, Infinity Song have continued to ascend, propelled by their buoyant harmonies – a jam-packed world tour, one electric Glastonbury debut and their self-titled third album due out in a matter of weeks. “It’s been a lot of learning, a lot of getting our reps in and getting comfortable with the demands of where we are and where we’re trying to be,” Boyd reflects.

After finding their soft rock rhythm on second album ‘Metamorphosis Complete’ in 2024, Boyd took a leap of faith with her debut solo single, her dewy vocals and cascading guitars on ‘American Love Song’ leading to three million Spotify streams to date and reams of social media comments comparing her wounded Americana sound to Lana Del Rey.


With that vote of confidence from her fans, Boyd dropped her debut EP ‘Miss Michigan’ earlier this spring, which sees the 27-year-old artist examine her selfhood through the lens of past relationships. “It’s extremely parallel to my real life,” she says of the EP with a blushful laugh. “Every single song [was written] because I have lived it.”

As the brains behind Infinity Song’s viral ‘Hater’s Anthem’, which pokes fun at the comical nature of our superiority complexes, it’s no surprise Boyd found herself back in self-reflective territory. Whether she’s conducting a relationship post-mortem on the baroque-country ‘Cold Hands’, downplaying her feelings on the pillowy soft rock breather ‘Second Best’, or leading a girly-pop cheer anthem for her inner people pleaser on ‘She’s A Sweetheart’, Boyd’s sharp self-awareness fuels her lyricism.

The musical range on display won’t be a surprise to those who discovered Boyd through another huge moment this year, after she featured on Baby Keem’s ‘Good Flirts’ from his new album ‘Ca$ino”. Her breezy refrain revealed a playful streak, trading prickly bars with fellow featured artist Kendrick Lamar, as she asserts: “Ain’t comin’ home on a Friday night / I’m all good, my hips still whine”. The opportunity arose when Boyd invited Lamar’s longtime collaborator Dave Free to an Infinity Song show in Los Angeles, after which he requested a demo from her. “I believe in us so much that I feel like anything is possible when you come to an Infinity Song show,” she says.

For Boyd, that moment was a glimpse into all the places she could go musically. While she grew up on gospel, Motown and jazz, she’s proven that her velvety alto can just as easily slink into the wandering rhythms of R&B, country-pop, folk, or a blend of all of the above. “It showed me my range,” she says of the recent feature, “that if I’m pushed, I can do more than what I’m used to.” She does exactly that by signing off ‘Miss Michigan’ with the R&B U-turn of ‘Oops’, channelling her inner diva as she proclaims that she “never meant to break your heart” in sync with a sassy beat.

“I believe in us so much that I feel like anything is possible when you come to an Infinity Song show”

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While the boost in Boyd’s profile of late has brought new listeners, it’s also coincided with an influx of “industry plant” allegations. Boyd knows this is par for the course, especially for female musicians. “I didn’t take it seriously for a second, because I know how hard I’ve worked to be where I am,” she says, breaking out into laughter at the thought. “When you see something that’s so wrong, you don’t even really get offended by it.”

In reality, the graft behind Infinity Song’s success story goes back decades. Growing up homeschooled with her bandmates, brothers Abraham and Israel and sister Angel, and their five other siblings, the Boyd family spent their childhoods singing around the kitchen table and busking with the encouragement of their choir director father, John Boyd. After moving to New York in 2006, their gospel harmonies echoed around Central Park for years before their much-practised talents landed them a meeting with Jay-Z and his label Roc Nation in 2016, where they sang like their lives depended on it to land a record deal.

‘Miss Michigan’, then, is a timely callback to Boyd’s roots and her early childhood in Detroit. “There’s a purity that can be traced back to that time, a youthfulness and innocence, and the beginning of my life as a big dreamer,” she says. It also encapsulates her many different sides. “I’ve always been a bit of a stubborn person, my siblings will tell you,” she grins. “But there is another side of me that is more shy and unsure, and at times insecure. Depending on the situation, that side can come out and run the show. This project is me navigating and trying to find the balance of what that looks like.”

It’s easier to back yourself when the industry is right there with you. One of Boyd’s most vocal cheerleaders is none other than alt-R&B superstar SZA. The pair finally met in person earlier this year at Justin Bieber’s intimate LA showcase ahead of his Coachella headline performances. “I didn’t know if she was going to recognise me, but as soon as she saw me, she was like, ‘Come here, give me a hug!’” Boyd says, beaming at the memory. “She was like, ‘I’m so proud of you. This is your moment. I hope all your dreams can come true. Use this moment to build everything that you dream of.’ I did nearly cry, because I admire her so much, and to get those types of words from somebody who I’ve looked up to for years, what more can a girl ask for?”


Momo Boyd credit: Xavier Marshall

Boyd is heeding the Grammy-winner’s advice as she prepares to work “double shifts” when Infinity Song head out on tour this month, where she’s scheduled to perform solo gigs in between concert dates, including as opening support for Bleachers. “It’s going to stretch me and challenge me, but I welcome it. I think, honestly, it’s going to be a dream come true,” she says. Not one to rest on her laurels, Boyd insists that Infinity Song too are raring for the next era, bringing a “certainty” to the new record that follows the “self-exploration” of their last. “It’s still a soft rock album, but it is much more evolved,” she asserts. “It feels like we’ve arrived.”

With the spotlight shining bright on Boyd this year, she doesn’t appear the slightest bit dazed. She chooses instead to channel all the extra attention back into her artistry. “It’s really fun, but it can be here today, gone tomorrow,” she says pragmatically. “There’s nothing to really keep the people invested and interested. It all comes back to the music.”

Momo Boyd’s ‘Miss Michigan’ is out now via Roc Nation. Infinity Song’s self-titled new album is out on June 12, also via Roc Nation.

The post Momo Boyd: “I consider myself to be a completely different artist than the version that’s in Infinity Song” appeared first on NME.

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like seriously, i swear the things shrink every generation. i lost one of mine last week and spent an hour tearing apart my apartment only to find it stuck to the bottom of my sock (dont ask). its not even like they sound better for being tiny, they just get more annoying to handle. and dont get me started on the 'tap to control' nonsense — half the time im accidentally pausing my music when i try to adjust them. bigger isnt always better but maybe we could stop at 'still fits in my hand without vanishing into another dimension'? anyone else think this is getting ridiculous or am i just cursed with butterfingers?

like objectively they were worse in every way — battery died in a day, screens were tiny, you could barely text — but theres something about that little *snap* when you close em that just hits different. every time i see someone pull out a razr or some other ancient brick i get weirdly nostalgic even though i know id hate actually using one again its prob just rose-tinted glasses but idk man, modern phones are so sleek and functional and yet they feel so... soulless? like theyre missing some dumb charm. maybe its because flip phones were the last era before we all became glued to screens 24/7 now its like the phone owns you instead of the other way around. or maybe im just old and cranky.

like seriously, im sitting here listening to this mix and out of nowhere theres a fucking seagull or some owl hoots and i cant tell if its supposed to be atmospheric or just weird. is it because nature is chill or because someone thought ‘yeah this drop needs more seagulls’? and dont get me wrong, i get it for like ambient tracks or stuff thats supposed to feel outdoorsy but when its dropped in the middle of a banger it just feels out of place. unless its a jungle themed track or something, which tbh would be kinda cool. anyway im probably overthinking this but now im tempted to make a playlist of just tracks with random animal noises to see if it actually works or if its just distracting. anyone else notice this or am i just hearing things?

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Are you Team Android or Team iPhone?

What keeps you loyal to your platform of choice?

Or do you switch back and forth depending on the device?

like seriously, every other folk or country song is about a train. is it just cause they rhyme with pain and rain or is there something deeper going on? i get that they used to be a big part of life but its 2026... unless youre a railfan (no offense if you are) trains arent exactly the centerpiece of modern existence im not saying theyre bad songs, some of em are classics, but its weird how the imagery sticks around so much. maybe its nostalgia for simpler times or something. idk, now im just picturing someone sitting on a porch writing about the 5:15 to nowhere...