Beabadoobee has never been afraid of reinvention, but her newly announced fourth album Pylon — out 18 September via Dirty Hit and Interscope, feels like the moment she rips up her own rulebook and starts again with sharper teeth, louder guitars and a far more confrontational emotional core.
The follow‑up to her UK No.1 This Is How Tomorrow Moves, Pylon takes its name from the looming electricity towers that shadow motorways across the world. For Beatrice Laus, those stark metal structures became a strange kind of comfort while touring, reminders of home, of the people she missed, and of the invisible lines that keep us tethered even when we feel completely disconnected. It’s a fitting metaphor for a record built on tension: between intimacy and noise, between self‑doubt and self‑possession, between who you were at 20 and who you’re becoming at 25.
If Beatopia was dreamy and This Is How Tomorrow Moves was widescreen, Pylon is something else entirely, serrated, wired, and emotionally unfiltered. Laus leans hard into the rock DNA she’s always loved, pulling threads from classic grunge, Midwest emo and ‘90s alt‑radio and twisting them into something rawer and more volatile than anything she’s released before.
The album’s lead single Sun Has Set, out now, sets the tone immediately. It’s a song that began as a diary entry, the kind of thing you write down because you can’t say it out loud, and it burns with the heat of unspoken resentment finally given a voice. “It’s like, I hate you. You’re gonna stay here and listen to how much I hate you,” she says. It’s tunnel‑vision honesty delivered with a clenched jaw and a wall of distortion.
The track arrives with a first‑person video directed by longtime collaborator Jake Erland, amplifying the song’s claustrophobic intensity.
One of the most striking things about Pylon is the calibre, and diversity of its contributors. Laus went straight to the source of her influences, and the result is a record threaded with voices from across the alternative landscape:
Hayley Williams appears on Nothing To Prove, an anthemic reclamation of power aimed at fair‑weather friends.
Brendan Yates of Turnstile lends his unmistakable force to Powerlines.
Evan Stephens Hall (Pinegrove), Chino Moreno (Deftones) and Shane Moran (Title Fight) all leave fingerprints across the tracklist.
And on Write Me A Letter, production comes courtesy of Matty Healy and George Daniel of The 1975 — longtime friends and collaborators.
It’s a testament to the respect Laus has earned in just a few short years: a young artist whose songwriting has already carved out a space big enough for her heroes to step into.
PYLON LP | TRACK LIST
Pylon
Sun Has Set
Estranged
Switchblade
Write Me A Letter
It’s Alright
In Motion
Memories
Nothing To Prove
Radio
Powerlines
Spark
Despite That
Satellite
To mark the release, Beabadoobee will take Pylon on the road for ger first ever headline arena run. The Powerlines tour spans North America, the UK and Europe, including landmark stops at Madison Square Garden, the KIA Forum and London’s O2 Arena.
UK dates:
November
Sat 14 – Glasgow, OVO Hydro
Mon 16 – Cardiff, Utilita Arena
Tue 17 – Manchester, AO Arena
Wed 18 – London, O2 Arena
Support comes from Wisp (US/Canada/UK) and Violet Grohl (Europe).
Fans who pre‑order the album via her webstore gain access to an exclusive ticket pre‑sale from Tuesday 30 June, 10am local time, with general sale following on Thursday 2 July, 10am. Full details at beabadoobee.com/live.
Born in the Philippines and raised in London, Beabadoobee has become one of British alternative music’s defining voices. Three Top 10 albums, a BRIT and BBC Sound Of nod, an NME Radar Award, more than 10 billion streams, and a social following north of 12 million — all before turning 27.
Her last album, This Is How Tomorrow Moves, hit No.1 in 2024. Earlier this year she teamed up with Grammy‑nominated The Marías for the standalone single All I Did Was Dream Of You, a collaboration born from long‑standing mutual admiration.
With Pylon, she’s not just levelling up — she’s burning the old blueprint and building something louder, braver and more brutally honest in its place.
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