After a whirlwind 18 months that’s seen them sell out headline tours, storm festival stages and earn praise from every corner of the music press, Manchester five‑piece The Guest List have announced their long‑awaited debut album Something Real, landing August 28th.

More than three decades into a career defined by fearlessness, reinvention and emotional precision, Tori Amos has released her 18th studio album, In Times of Dragons — a sweeping, allegorical work that blends political urgency with the mythic storytelling that has long made her one of modern music’s most singular voices.

Pigeon have never been a band to colour inside the lines. The Margate‑rooted psychedelic five‑piece — a collision of cosmic groove, West African vocal tradition and free‑flowing improvisation — release their long‑awaited debut album OUTTANATIONAL today via Memphis Industries, alongside a brand‑new single, the punk‑funk‑charged “Future Country”.

With a string of award nominations and a reputation as one of the UK’s most reliable purveyors of high‑octane rhythm and blues, The Milk Men are gearing up for a huge 2026. They recently announced the release of their brand‑new single ‘Waiting For Some Rock’n’Roll’, available across all major platforms.

After three decades of carving out their own lane in progressive, story‑driven rock, Little King hit the road this March for their Lente Viviente Tour — a run that took them across New Mexico, Texas, Arizona, and even over the border for a surprise pop‑up show in Mexico. Now, the Phoenix‑based trio are giving fans a deeper look at the chaos, camaraderie and creativity that fuelled the journey.

Southern California’s electronic provocateurs NORMANS have announced their debut album Faust Demonica, arriving 5th June 2026 on Solid Brass, and if their early output hinted at confrontation, this record makes it explicit. The trio of Matthew Reid, Michael Perry Rudes, and Kyle Souza have spent the past three years forging a sound that sits somewhere between post‑punk, industrial discipline and noise‑driven physicality. With Faust Demonica, they push that tension into its most deliberate and refined form yet.

Two of Britain’s most enduring and influential bands, Manic Street Preachers and Suede, are joining forces for a major co‑headline arena tour this autumn, marking one of the biggest alternative‑rock pairings the UK has seen in years. The run kicks off at Glasgow’s OVO Hydro on 28 October before rolling through Leeds, Manchester’s new Co‑op Live, a two‑night stand in Cardiff, London’s O2, Birmingham, Nottingham and Bournemouth.

Shambala Festival has dropped a major new wave of programming for 2026 — its first edition since becoming the UK’s first employee‑owned festival — and it’s a monster. More than 80 new artists join the bill, alongside heavyweight speakers, political fire‑starters and a UK‑exclusive residency from the world‑leading science laboratory CERN.

Swedish Earth Music artist Gaeya has announced her new EP Growth, arriving June 19th 2026 to coincide with the Midsummer celebrations, a moment of light, renewal and ritual that aligns perfectly with the record’s themes. To mark the announcement, she has released her powerful new single ‘Higher Ground’, a soaring, elemental track that blends ethereal synths, tribal percussion and Gaeya’s unmistakably expansive vocals.

Torquay’s Burn It Down Festival has dropped a massive third wave of artists for 2026, and with it, the day splits, confirming what many already suspected: this year is going to be the festival’s most explosive edition yet.

Glasgow’s Dead Pony are charging into a new era — louder, bolder, and more unapologetically themselves than ever. The band have announced their new EP Eat My Dust! will land on 15th May 2026 via ADA, marking their first major release since their acclaimed 2024 debut album Ignore This, which earned them a Scottish Album of the Year nomination and a run of independent chart success.

Bath’s indie‑americana favourites Young Martyrs are stepping confidently into a new chapter with their latest single, ‘Sugar On My Tongue’, out May 8th. It’s the second taste of their forthcoming third album Might Just Be Enough, due this summer — and it’s a track that shows a band sharpening their emotional and sonic edges in all the right ways.

Few bands in modern music have carved out a universe as unmistakably their own as They Might Be Giants. For over four decades, John Flansburgh and John Linnell have treated pop not as a genre but as a playground — a place where accordion riffs, horn blasts, surreal humour, and razor‑sharp songwriting can coexist without ever cancelling each other out. Their new album, The World Is to Dig, arrives as a reminder that the duo’s creative engine is still running at full tilt.

It’s a proper gorgeous spring evening, so my date and I take the scenic route to the venue via Plymouth Hoe. There, sprawled on the grass around the lighthouse and the world’s weirdest Beatles monument, are several dozen knots of healthy, sun-kissed young people, tossing frisbees, skulling cans, grilling sausages, perfuming the balmy April air with vapes and merry laughter.

Two decades into their career, The Veils continue to operate in a space entirely their own — a place where intensity, vulnerability and cinematic drama collide. Their new single “Aurora” arrives as another reminder that Finn Andrews and company remain one of the most emotionally fearless bands working today.

Editors have never been a band to sit still, and their new single Call It In arrives as proof that evolution remains their defining instinct. It’s their first new music since 2022’s EBM, emerging from sessions squeezed between Tom Smith’s debut solo album and the band’s ongoing live commitments, a reminder that even two decades in, they’re still finding new corners of their sound to explore.

Ten years into their career, DMA’S are hitting the reset button — loudly, proudly, and with the kind of swagger that only comes from a band who know exactly who they are. The Australian trio have announced that their new self‑titled album DMA’S will land on August 7, marking a defining moment in their evolution and a bold statement of intent.

The setting is the beautiful Westonbirt Arboretum in Gloucestershire which is celebrating 25 years of live music. Taking to the stage on 28th July is Richard Ashcroft with a new album Lovin’ You out now. I’m sure we can expect many of the hits, like Bitter Sweet Symphony and The Drugs Don’t Work.

Some artists ease their way into the spotlight. Late Transmissions starring Eve Quartermain arrive with a cinematic flourish, a raised eyebrow, and a full orchestra in tow. Their new single I’m Done With London — released ahead of their debut album The Heart Wants What It Wants — is a gloriously theatrical kiss‑off to the capital, delivered with the kind of widescreen drama that feels ripped from a lost Bond theme.

Martin Carr has never been an artist who sits still. From shaping the widescreen indie of The Boo Radleys to the glitch‑friendly experiments of Bravecaptain, he’s always been a restless creator. Now, the Cardiff‑based songwriter, guitarist, filmmaker, and all‑around sonic architect is stepping into a new era with What Future — a solo album that refuses to behave like anything else in his catalogue.