NEWS
Robyn has revealed plans for a 2026 arena tour titled ‘Sexistential’, taking the Swedish pop star across the UK, Europe, North America and Australia next year.
The announcement follows confirmation of her upcoming album ‘Sexistential’, which marks her ninth studio release and her first full-length project since 2018’s ‘Honey’.
Shared today Friday February 6, the run represents Robyn’s first large scale tour since 2019 and includes the biggest headline shows of her career so far. Highlights include a major London date at The O2 and a three night homecoming at Stockholm’s Avicii Arena.
The tour opens in Ireland on June 24 before moving through the UK with stops in Glasgow and Manchester, then continuing across mainland Europe towards the end of the month. The North American leg begins in September with a show at The Anthem in Washington D.C., followed by dates in Brooklyn, Chicago and beyond.
A special standalone appearance at Italy’s C2C Festival is booked for October 30, before the tour concludes with a short run of Australian shows in November.
A wide ranging list of support acts has also been confirmed, featuring Erika de Casier, Smerz, Saya Gray, Romy, Nourished By Time, Peaches, Grace Ives, Lykke Li, horsegiirL and more.
Tickets will be available from Friday February 13 at 10am local time, with Australian sales starting at 9am. Visit here for UK tickets, here for Australian tickets, and here for the rest of the world.
JUNE
24 – 3Arena, Dublin, Ireland
26 – OVO Hydro, Glasgow, United Kingdom
27 – Co-op Live, Manchester, United Kingdom
30 – ING Arena, Brussels, Belgium
JULY
1 – Adidas Arena, Paris, France
3 – The O2, London, United Kingdom
8 – Uber Arena, Berlin, Germany
11 – Unity Arena, Oslo, Norway
14 – Royal Arena, Copenhagen, Denmark
16 – Avicii Arena, Stockholm, Sweden
17 – Avicii Arena, Stockholm, Sweden
18 – Avicii Arena, Stockholm, Sweden
SEPTEMBER
8 – The Anthem, Washington, DC, USA
10 – Barclays Center, Brooklyn, NY, USA
12 – United Center, Chicago, IL, USA
15 – Scotiabank Arena, Toronto, ON, Canada
19 – Palacio de los Deportes, Mexico City, MX, Mexico
23 – Kia Forum, Los Angeles, CA, USA
OCTOBER
30 – C2C Festival, Torino, Italy
NOVEMBER
21 – Qudos Bank Arena, Sydney, Australia
24 – Rod Laver Arena, Melbourne, Australia
Robyn’s ‘Sexistential’ album is set for release on March 27 via Young and is available to pre-order here. Fans have already heard several tracks from the record, beginning with comeback single ‘Dopamine’, followed by the title track and ‘Talk To Me’.
The title song was described by Robyn as “possibly the world’s first rap about having one-night stands while 10 weeks pregnant after IVF”. ‘Talk To Me’ was co-written with Max Martin in their first collaboration since 2010’s ‘Time Machine’, with the singer calling it “pure, unadulterated fun”.
Talk of new material began circulating last September when longtime collaborator Klas Åhlund appeared on the Nordmark Pod and revealed he had “just finished a new Robyn album”.
Momentum continued in November when Robyn performed her first full live show since 2019 at the Fonda Theater in Hollywood. She later played two nights at Brooklyn Paramount, where both ‘Sexistential’ and ‘Talk To Me’ received their live debuts.
Since releasing her 2018 album, Robyn has teamed up with Swedish duo Smile on the track ‘Call My Name’ and released a remix of Charli XCX’s ‘360’ featuring Yung Lean.
She started 2025 with a surprise appearance alongside David Byrne for a performance of ‘Dancing On My Own’ at Saturday Night Live’s 50th anniversary concert, before joining Gracie Abrams on stage during the latter’s set at Lollapalooza.
Back in 2019, ‘Dancing On My Own’ was named NME’s Best Song Of The Decade, and earlier this year Robyn was also announced as one of the support acts for Harry Styles’ upcoming stadium tour.
NEWS
There is no question that Clipse’s Let God Sort Em Out made a serious impact and continues to hold weight. The project showed that hip hop is not limited by age and proved that a long-awaited return can still land in a major way regardless of the time away.
If you need a reminder, the Virginia duo’s fourth studio album debuted comfortably within the top five of the Hot 200. It secured the number four position and moved an impressive 118,000 units in its first week.
On top of that, it picked up a win at this year’s Grammys, earning Best Rap Performance for “Chains & Whips.” The album also received four additional nominations, including Best Music Video, Rap Album, and Album of the Year.
It is hard to believe the project will officially hit its one year mark this summer on July 11. Even so, Pusha T is making it clear that both supporters and critics should not be overlooking it anytime soon.
While performing at Coachella yesterday, King Push told the crowd that LGSEO still sits at the top, regardless of genre.
He said, “‘Let God Sort Em Out’ is still the album of the motherfckin year. Whole new year, still album of the year,” per Kurrco. “Album of the motherfcking year until we drop again. We don't care who dropping. It don't matter.”
That is a strong statement for obvious reasons, especially considering the recent claims surrounding Push himself.
Over the same weekend, hip hop social media lit up after several alleged reference tracks connected to Quentin Miller and Push began circulating. Three tracks surfaced in total, but one that drew the most attention was an alleged record titled “Real Gon’ Come.” It is said to come from the DAYTONA era, around 2017 to 2018.
The situation gained traction because fans remember the past tension between Drake and Pusha T before Drake’s clash with Kendrick Lamar. During that feud, Pusha accused Drake of using ghostwriters on tracks like “Infrared,” which appears on DAYTONA. On that song, he raps, “The bigger question is how the Russians did it /
It was written like Nas, but it came from Quentin.”
Reactions have been mixed. Some people argue it is not a major issue since Miller’s alleged contributions were limited to hooks. Others point out that the songs were never officially released, so they see no real problem. Meanwhile, critics view it as clear hypocrisy on Pusha T’s part, a perspective that DJ Akademiks has also supported.
