DEBBY FRIDAY ANNOUNCES NEW LP, SHARES NEW DANCE POP SINGLE

DEBBY FRIDAY ANNOUNCES NEW ALBUM, THE STARRR OF THE QUEEN OF LIFE,  AVAILABLE AUGUST 1ST, 2025 VIA ROYAL MOUNTAIN RECORDS (CANADA) AND SUB POP (WORLDWIDE)

WATCH / SHARE “ALL I WANNA DO IS PARTY” HERE
BUY / STREAM “ALL I WANNA DO IS PARTY” HERE

PRE-ORDER THE STARRR OF THE QUEEN OF LIFE HERE

Photo Credit : Kirk Lisaj // DOWNLOAD HIGH-RES

Debby Friday is announcing The Starrr Of The Queen Of Life, her kaleidoscopic new album out Friday, August 1, 2025, worldwide from Sub Pop and in Canada from Royal Mountain Records. 

In ancient Babylonia, stargazers looked up at the cloudless night sky and saw a blazing ball of light. Burning brilliantly, the celestial body appeared to be a luminous sign from the great beyond. They were looking at what we now call Vega, the fifth-brightest star visible from Earth. Debby Friday was learning about these heavenly bodies in between nonstop touring across Europe, following the otherworldly success of her thunderous debut album GOOD LUCK, which dominated dance floors and took home the auspiciously astrological Polaris Music Prize upon its release in 2023. She learned about Vega and the way its placement in a birth chart lends the gifts of creativity, acclaim and bravery—as long as its recipient is humble enough to receive them. 

On The Starrr Of The Queen Of Life, Debby Friday defines success on her own terms. “I want to be a starrr, I can't hide that desire,” she says. “But what I don't want is to live someone else’s dream or to follow a pre-set path.” For the Nigerian-Canadian polymath, to be a starrr is to live at the extremes: public versus private, hubris versus humility, flying versus falling.

Part of being a starrr means embracing the apocalyptic hedonism of an all-night rave — like on the album’s epic pre-release single, “1/17”, and today’s new offering, the explosive dance pop anthem “All I Wanna Do Is Party”.

Co-directed with frequent collaborator Kevan Funk, Debby Friday stars alongside a troupe of dancers in the official “All I Wanna Do Is Party” video. Of the video, she has this to say, “The video is really about discipline and craft. It’s about the transformations that happen when you devote yourself to a process over time. The starrr is a metaphor for all these thoughts I have around fame, success, failure, love, power, god, death, life, everything. My starrr is in me, and your starrr is in you, and it’s just a matter of surrendering to it.”

WATCH / SHARE “ALL I WANNA DO IS PARTY” HERE
BUY / STREAM “ALL I WANNA DO IS PARTY” HERE

MORE ABOUT DEBBY FRIDAY
Winning the Polaris Prize for GOOD LUCK only made Debby Friday want to grind harder. But life on the razor’s edge can only be sustainable for so long: During a nonstop tour schedule in support of the album, she fell violently ill. The diagnosis? Stress-induced shingles. That experience forced Friday to turn her focus inward. The next year saw a change in management, in her routine, and priorities. 

To help bring her vision of radical honesty on the dance floor to life, Friday recruited Australian producer Darcy Baylis (Wicca Phase Springs Eternal). Returning to their de facto home base in London in between touring, the pair traded ideas in the studio from morning until midnight. Layered with meaning, The Starrr Of The Queen Of Life is brimming with coded, if-you-know-you-know references—weaving love letters and innuendos from the names of it-girl perfumes, French cognac, and Hellenistic prophetesses who speak in tongues. With additional production credits from Graham Walsh (METZ, Holy F*ck), Tayhana (Rosalia, N.A.A.F.I.) and Detroit ghettotech prodigies HiTech, it reads like a manifestation of Friday’s pursuit of an experimental pop sound that still feels distinctively hers. 

“This album is about the idea of reaching towards something,” she says. “It’s about seeing the signs and following that impulse, always with the potential of either flying into the sun or falling back to earth.” On The Starrr Of The Queen Of Life, Debby Friday takes flight, fastening her wings, following the sound of her own voice. Read the full bio at www.killbeatmusic.com

The Starrr Of The Queen Of Life is available to preorder from Sub Pop and Royal Mountain. LP preorders from megamart.subpop.com in the US, MegaMart 2 in the UK and EU, Royal Mountain in Canada and your local record store will receive the following limited color vinyl versions: the Sub Pop Loser editions on Graphite (US) and Bio Light Blue (EU/UK), and Royal Mountain’s edition on White (Canada) (All vinyl colors whilst stock lasts!). 

Debby Friday has scheduled two performances for the Spring and Summer of 2025: Thursday, May 15th in Brighton, UK at The Great Escape Festival and Sunday, August 3 in Montreal at Osheaga Festival—additional live dates to be announced soon. 

TOUR DATES
May 15 - Brighton, UK - The Great Escape Festival
Aug. 03 - Montreal, QC - Osheaga Festival

PRE-ORDER THE STARRR OF THE QUEEN OF LIFE HERE

WHAT PEOPLE ARE SAYING ABOUT DEBBY FRIDAY:

"The Toronto-based vocalist and producer Debby Friday won the Polaris Music Prize for her sharp 2023 debut album, Good Luck. She returns with the euphoric electro-pop single ‘1/17,’ a dance-floor confessional that shows off yet another side of her multifaceted talent. “I swear you’re a sign,” Friday sings in an airy atmosphere punctured by percolating synths. The track builds layer atop gauzy layer until it explodes in a burst of club-ready catharsis." - The New York Times

"The song brings back some of that old PC Music feeling. It’s a euphoric, unapologetically cheesy trance-pop confection. As synth-bloops whirl all around her, Friday chants, “Poetry and nude selfies, love the way that you know me.” It feels like it’s heading toward a climactic beat-drop…the drums do eventually arrive, and that moment is awesome. Friday co-directed the bare-bones ‘1/17’ video with Kevan Funk, and it makes a great case for her as a performer." STEREOGUM

“Last time we heard a single from Debby Friday, the Toronto artist was commanding girls to the dance floor on a minimal club track co-produced by Detroit rascals HiTech. She’s in a totally different headspace on the hyperpop ballad ‘1/​17,’ singing about love and sensuality over bubbling synths which eventually give way to a euphoric trance finale.” THE FACE

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THE STARRR OF THE QUEEN OF LIFE TRACKLISTING:
1. 1/17
2. All I Wanna Do Is Party
3. In The Club feat. HiTech
4. Lipsync
5. Alberta
6. Higher
7. ppp (Interlude)
8.  Arcadia
9. Leave.
10. Bet On Me
11. Darker The Better

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JOLIE LAIDE’S NEW LP, CREATURES, OUT TODAY - ADD MORE FESTIVAL DATES

JOLIE LAIDE’S NEW ALBUM, CREATURES, OUT TODAY VIA VICTORY POOL RECORDS

WATCH / SHARE “CHEYENNE” (CHAD VANGAALEN ANIMATED MUSIC VIDEO) HERE

BUY / STREAM CREATURES HERE

CANADIAN SUMMER FESTIVAL & CLUB DATES THIS JULY

“Jolie Laide…is a kind of travelogue that traces the line between freedom and empty aimlessness: a child’s oceanside liberty that becomes an adult’s existential terror.” - Pitchfork

“It is self-evidently brutal…But it is beautiful, too, the unadorned music – just her and an acoustic guitar – luminous and clarion…” - The Guardian

Photo Credit : Heather Saitz // DOWNLOAD HIGH-RES

Today, Jolie Laide releases their new album Creatures via Victory Pool Records. Comprised of revered American indie singer-songwriter Nina Nastasia (who has amassed a stunning and critically acclaimed discography of unique, darkly melodic albums), and Jeff MacLeod, Clinton St. John, and Morgan Greenwood (also of the band Florida BC), Jolie Laide planted its roots some two decades ago through a mutual connection. The lion's share of Nastasia's solo albums were masterfully recorded by the late, great Steve Albini, and in the mid-00s, MacLeod and St. John's old band The Cape May had just finished recording their album Glass Mountain Roads with the veteran engineer. Nina was next in line for the studio. A night of commiserating in the studio led to Albini’s suggestion that The Cape May become Nastasia’s touring band for her upcoming North American and European tours and this pairing turned into a fruitful collaboration and a longstanding friendship.

Announcing itself via a series of earthy thumps on a floor tom, Creatures opens wide with Nastasia's unmistakable voice, at once disarmingly sweet and laser-sharp. Jolie Laide is an intriguing way to hear the singer, who developed a tight, focused approach over the course of her active solo career. Here, she embraces sounds that would have been out of place on one of her own albums; on opener “Cheyenne”, Nastasia's voice swims in a swirl of delay trails, enveloped by a storm of overdubbed toms, and Clinton St. John's instantly evocative voice provides the perfect foil. 

A desert dirge, a spaghetti western backdrop, “Cheyenne” is a song in two distinct parts with two unique voices. Nastasia's disarmingly sweet and laser-sharp voice swims in a swirl of delay trails, enveloped by a storm of chaotic percussion. In the first half, she laments about troubled relationships with metaphors around ending up in a body of water or on a sinking boat, fighting constantly to keep from drowning. Eventually the struggle becomes so familiar, almost comfortable, that the idea of swimming to dry land seems just too difficult. ‘It’s better to hate what we have here and go down with the ship.’

The song intensifies with an instrumental break before St. John’s voice continues the conversation: ‘The road to Cheyenne never ends.’ The drifter arrives, the shadow of a hatchet stretches long across the desert floor.  A thirsty rambling presence with a clouded memory—a wasteland survivor. ‘There’s a hoarse voice that I wield, of the plan I say no more…’ There is no rescue ship. We stopped calling out for it.

WATCH / SHARE “CHEYENNE” (CHAD VANGAALEN ANIMATED MUSIC VIDEO) HERE

MORE ABOUT JOLIE LAIDE & CREATURES

This sonic sea change of Jolie Laide may have something to do with one of the key elements that initially birthed this band. In early 2020, Kennan Gudjonsson, Nastasia's partner and longtime musical collaborator took his own life. This tragic and dislocating event took place right before the world found itself similarly unmoored as the COVID-19 pandemic. Looking for solace, Nastasia and MacLeod leaned on their deep friendship and shared songwriting obsession, throwing themselves into the remote recording sessions that became their self-titled 2023 debut. Nastasia found liberation in her new “band” environs: no longer the sole focal point, and working with a new set of parameters for how her music could sound and exist in the world, Jolie Laide provided something of a revelation. 

WATCH / SHARE “NO SHAPE I KNOW” HERE

Reflecting on the impressive scope of Creatures, MacLeod says, “the album plays like a mix tape”, citing its deep range (folk to spaghetti westerns to post-punk to sludge to electronic pop) of sonic approaches. Fittingly, as their name translates to ugly/pretty, the band’s stories find grace and beauty in the imperfect. Powerfully poetic, often anthemic, narratives soar over Greenwood and MacLeod’s layered multi-instrumental wizardry. Making good on that description, “Something For The Thrill” takes a mid-album left-turn, delivering a veritable rock song, complete with thick, hairy guitars, heavy drumbeat and brash, pissed-off sounding vocals. But within the menace, there is that sweet melodic aspect cutting the hard edge, and the song is once again a testament to these singers’ inspired pairing, with the duet being the through line of Creatures. Despite how different some of these songs feel to each other, and indeed to Jolie Laide's 2023 debut, the instantly recognizable voices of Nina Nastasia and Clinton St. John tie everything together.

The astute observer might notice a strong uptick in the electronic realm on Creature, most clearly in the album’s brilliant one-two of cautionary dystopian nightmares, with “No Shape I Know” and “Small Things”, boasting the album’s most wearily hopeful, soaring choruses. Indeed, the album is replete with warm synths and uniquely textured drum machine patterns, and largely attributed to producer and multi-instrumentalist Morgan Greenwood who was invited wholesale into the fold for some of their first shows in 2023. Greenwood (ex- Baths, Azeda Booth), who cut his teeth on Boards of Canada and Aphex Twin, was warmly encouraged to liberally apply his sensibilities to the record – as was producer/engineer Colin Stewart, who oversaw the production at his studio, the fabled Hive Creative Labs. “The majority of this record was written in the studio,” MacLeod says, “and Colin took on the traditional producer role, becoming essentially a fifth member, providing direction and ideas.”

WATCH / SHARE “HOLLY” HERE

Another album highlight, “Wharwolf” is a tour de force of ideas and shifting moods; beginning with intricately programmed drum sequences and a plaintive, bleak vocal from St. John, it crashes into an epic wall of guitars and propulsive drumming, before uncannily sliding into a glistening calm after the storm, Nastasia's reverb-drenched voice floating amidst sparse webs of guitar. The whole thing unquestionably hangs together, but it's a hell of a ride. MacLeod says that “the song was originally demoed in a fairly traditional manner,” but after the band opted for a more unique approach, “we completely dropped it to the studs and rebuilt it, spending days in the studio  tinkering,” and it paid dividends.

Elsewhere, “Murder Ballad”, while confronting the notion that ghosts might actually exist even if god doesn’t, skews closer to Florida BC territory. Fronted by St. John and continuing the long line of bands he and MacLeod have helmed (including The Cape May and Pale Air Singers), Florida BC has spent the last number of years carving their own niche, one that radiates a similarly unmistakable feeling as Nastasia's. But here, MacLeod's gently brushed, loping drums and St. John's signature emotive drawl are buffered by Nastasia's equally world-weary vocals, and one could be forgiven for asking “what took so long?” 

Looking back on the trajectory from Jolie Laide's self-titled debut to the brand new Creatures, it's anyone's guess where this group will go next. For fans of Nina Nastasia or the Florida BC band family, there's plenty of both of those things, but there's also a whole new, unified thing; with Creatures they're presenting it in widescreen. 

BUY / STREAM CREATURES HERE

JOLIE LAIDE PERFORMANCE DATES
July 10 -13 - Winnipeg Folk Festival
July 15 - Montreal, QC - Casa del Popolo w/Marlaena Moroe
July 16 - Toronto, ON - Baby G w/Marlaena Moore
July 17 - Ottawa Blues Festival
July 18 - 20 - Hillside Festival
July 24 - 27 - Calgary Folk Fest
July 30 - Sherwood Park, AB - Festival Place
Aug 02 - 04 - Canmore Folk Fest

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CREATURES TRACKLIST
01 Cheyenne
02 Holly
03 Murder Ballad
04 Wharwolf
05 Dalton
06 Something For The Thrill
07 No Shape I Know
08 Small Things
09 Old Collapser
10 Saw The Wave

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PUP SHARE NEW SINGLE / VIDEO, “OLIVE GARDEN”, ANNOUNCE CANADIAN TOUR DATES, NEW LP OUT FRIDAY

PUP WILL HONOR THE BELOVED CHAIN RESTAURANT FOR ONE
NIGHT ONLY ON MAY 1ST ALBUM RELEASE PARTY - DETAILS BELOW

WATCH / SHARE “OLIVE GARDEN” HERE
BUY / STREAM “OLIVE GARDEN” HERE

NEW ALBUM, WHO WILL LOOK AFTER THE DOGS?, OUT MAY 2 VIA LITTLE DIPPER / RISE RECORDS

PRE-SAVE WHO WILL LOOK AFTER THE DOGS? HERE

MORE CANADIAN TOUR DATES ADDED WITH SNOTTY NOSE REZ KIDS - FULL WORLD WIDE TOUR LISTED BELOW

MEGA-CITY MADNESS, A SIX NIGHT TOUR THROUGHOUT SIX DIFFERENT TORONTO VENUES, FEATURING A NEW GUEST EVERY NIGHT - BEGINNING JULY 13

"Who Will Look After the Dogs? feels fully realized, acting as a tight group hug celebrating what it means to be in a band, growing alongside each other. " CBC Music

“The Toronto band Pup has long made frenetic punk-pop with neat verse-chorus-bridge structures underlying Stefan Babcock’s raucously overwrought and fully self-aware lead vocals.” - New York Times

"PUP’s fourth album, ‘The Unraveling of PUPTheBand,’ finds the quartet completely removing any of the limits left on their music, pushing things as far as possible" - The New Yorker

“Hearts on their sleeves, the group captures the rage and frustration of human fallibility with crashing drums and infectious irreverence" - NPR Music

"all the catchy, fast-paced melodies, big singalongs, and ooh-oohs and whoa-oas that you could want in a PUP record" Exclaim!

"The new songs are boisterous, catchy, and meta while also earnestly wading through the nuances of depression in a manner often reserved for “confessional” indie rock…an instant mood-booster." - Pitchfork

“transmuting life’s frustrations into unhinged visceral joy” - Stereogum (Album of the Week)

“‘The Unraveling of PUPTHEBAND’...reinforces the message that it’s okay to be yourself, no matter who you are." - Vulture 

"PUP’s winning recipe is 49% snark, 51% heart" - Bandcamp (Album of the Day)

Photo Credit Vanessa Heins // DOWNLOAD HIGH-RES

Toronto punk heroes PUP— comprised of Stefan Babcock, Nestor Chumak, Zack Mykula, and Steve Sladkowski— will release their highly anticipated forthcoming album Who Will Look After The Dogs? this Friday, May 2 via Little Dipper / Rise Records. Today, they share one final album teaser with “Olive Garden”, a caustic track written from the perspective of Babcock’s past youthful naivete that started as an acoustic demo and turned into one of the heaviest songs on the record. The band is also sharing a video as goofy as the song, created by the band's own Nestor. 

"This is a very stupid, but also wonderful song. The band gets all the credit for turning it into something really special,” says Babcock. “Zack (who plays drums) heard my cute little acoustic guitar demo and decided we should try and make it as heavy as possible. Which is objectively, a very annoying thing to suggest. But you know what, I’m glad I kept my stupid mouth shut, because it works. There’s a real magic in the way these sweet vocal melodies are bludgeoned by a wall of disgusting, grinding, detuned guitars. The whole song is kinda upsetting and uncomfortable but also, catchy and fun. And I don’t care what anyone says, ‘Olive Garden’ rhymes with ‘Grandma in a coffin’ –  listen to this crap and tell me I’m wrong."

WATCH / SHARE “OLIVE GARDEN” HERE
BUY / STREAM “OLIVE GARDEN” HERE

FUN FACT: the nearest Olive Garden to Toronto is on the U.S. side of Niagara Falls. In fact, there are only nine locations in all of Canada, and we’re only somewhat confident that they are still up and running. On May 1, PUP will make that 10! That’s right, PUP are bringing Olive Garden back to Toronto, baby. Before album release this Friday, lucky Torontonians will be treated to a very special and very committed-to-the-bit album launch party. The event will feature an album playback, short live set from PUP, Olive Garden-inspired music, decor, and food from Matty Matheson’s beloved Rizzo's House of Parm, and more surprises to come. You will be utterly transported to your favorite Italian chain restaurant with unlimited breadsticks. Because when you’re here, you’re family! RSVP here.

Reminder to call your dogsitter, because PUP will bring Who Will Look After The Dogs? on the road all year, touring the UK/EU, Australia and of course North America. The North American run will be a co-headline tour with long-time friend and collaborator Jeff Rosenstock. See below to find a show near you, and get your tickets at puptheband.com.

 And about those tickets…the bands say: “We are offering low-income tickets for this tour! There will be a limited amount of tickets for every show available for $20 at the venue box office*. We know times are shit and hope this helps some people down to the ol' gig who wouldn't otherwise be able to! And we must admit, we completely stole this idea from Los Campesinos! who have been doing it for a while and encouraging other bands to offer this as well, so thank you Los Campesinos! for the inspiration.”

* Minneapolis, San Antonio, Austin and SLC venues do not have a box office. Please see band socials for alternate pickup locations.

WATCH / SHARE “GET DUMBER” FT. JEFF ROSENSTOCK HERE
BUY / STREAM “GET DUMBER” FT. JEFF ROSENSTOCK HERE

Who Will Look After The Dogs?, PUP’s pummeling and cathartic fifth LP, is their most immediate, no-frills, and hard-hitting full-length yet. It was made in Los Angeles with producer John Congleton over the course of three weeks, and it’s the culmination of PUP’s past decade of constant touring and their palpable, livewire chemistry. The album evokes the lightning-in-a-bottle intensity of their self-titled debut (except they are much better at their instruments now), and finds our self-deprecating frontman Stefan Babcock at his most reflective, vulnerable and prolific. Over 12 tracks, Babcock excavates his life's relationships—romantic, with his bandmates, and most ruthlessly, his relationship to himself. There’s plenty of growth, but also plenty of unpredictable mayhem in the arrangements and an acerbic bite in the writing. And while PUP historically are at one another’s throats during the album process, this time they scrapped their tedious perfectionism and rediscovered the joy of making loud music together. 

“Within days of announcing our last album, coincidentally titled The Unraveling of PUPTHEBAND, my life unexpectedly imploded. I wrote the lyrics for 'Hallways' while all that was going on. It was a weird fucking week," says Babcock. "The title of our new record, Who Will Look After The Dogs?, is what I wrote at the top of the page, the very first thing written for this album. I think it’s devastating, but in a ‘holy shit this is overdramatic’ kinda way. At least in context of the line that comes before it. That’s what makes it funny to us. That overblown stuff we all say in our dark moments can be hilarious once you've cooled off a bit. I don’t know if anyone else thinks it’s funny, but sometimes you gotta laugh at yourself. It's the only way out of the abyss. Trust me.”

WATCH / SHARE “HALLWAYS” HERE
BUY / STREAM “HALLWAYS” HERE

MORE ON PUP & WHO WILL LOOK AFTER THE DOGS?
Over the past decade, PUP have thrived on volatility. It's not really a joke when the Toronto punks release songs like “If This Tour Doesn’t Kill You, I Will” or put out albums called The Unraveling of PUPTHEBAND. Though its four members are all best friends, creative dysfunction and interpersonal friction make their snarling and self-deprecating songs thrilling. To their shock and occasional dismay, it’s why their four albums are critically acclaimed and the crowds at their galvanizing live shows have only grown. It hasn’t gone off the rails yet but it definitely could. The possibility it could all blow up at any second is the band’s magic.

Following the release of 2022’s The Unraveling of PUPTHEBAND, their most adventurous and maximalist full-length, the band’s lives changed significantly. Guitarist Steve Sladkowski got married, bassist Nestor Chumak settled into being a dad, and drummer Zack Mykula moved to a new place in Toronto that allowed him to expand his home studio. As the others were making big decisions and getting their acts together, Babcock felt isolated. He had just ended a decade-long relationship and cut himself off from his bandmates. "We don't get along when we're making records, so I tend to retreat,” says Babcock. “In the past, I'd find comfort in another person, but this time I was at it alone. Being bored and lonely I just started writing music nonstop.” Where the older records took Babcock two to three years to get through 12 tracks, he wrote over 30 songs for Who Will Look After The Dogs? in a year.

While writing, Babcock had time to reflect and maybe even grow up. “So many early songs were about how I'm a complete fuck up,” he says. “While that remains true, I stopped hating myself as much as I did when I was younger and the people around me accepted me for who I am.” Where PUP’s previous LPs served as a window into six months of Babcock’s life, the songs here take a holistic view of his romantic partnerships, his friendships, and how he treated himself from his youth to now. In a way, writing this album served as a mirror to his emotional growth. It was hard, occasionally sucked, but was ultimately worth it. 

Babcock began to view these songs as a chronology: the first few songs were written from the perspective of his past youthful naïveté, the middle third from frequent bouts of self-loathing, and the final few cuts from the acceptance that comes with finally getting your shit together. “There's a lot of sadness in the back half of the record, but there's a lot more hope here too,” says Babcock. “I'm just coming to peace with who I am.” 

WATCH / SHARE “PARANOID” HERE
BUY / STREAM “PARANOID” HERE

When Babcock brought what he wrote to the rest of the band, they all agreed to let the songs develop as organically as possible. “We realized it should be four people in a room playing,” says Chumak. “The most important thing was trying to do the most with just us.” Historically, the band’s jam sessions are contentious affairs but here, everything fell into place for once in the most quintessential PUP way. “We straddle the line between it falling off the rails and then being totally in the pocket,” says Sladkowski. “But our four disparate personalities are what make it interesting.” 

They decamped to Los Angeles to work with producer John Congleton (St. Vincent, Death Cab For Cutie, Mannequin Pussy). In the studio, he helped the band work through their nagging tendency to overthink things. When they’d like how a take sounded, he’d remind them that they didn’t have to try it again. He’d tell them when songs felt overwritten and to trust each other in the moment. “If we can't solve an arrangement or songwriting problem in the room between the four of us in a few minutes, then it's not really worth solving because we’d just get into a hole and lose perspective,” says Mykula. “Thanks to John, getting out of our heads made it fun.”

They recorded the entire album in three weeks—less than half the time it took to make The Unraveling of PUPTHEBAND. “When I first started writing the lyrics for this record, everything felt really heavy,” says Babcock. “By the time we recorded it, even those dark songs felt light and fun. We didn't even really fight while making this record. It all just felt fucking awesome.”  

Compared to the rest of their catalog, Who Will Look After The Dogs? evokes the early days of PUP – except they are much better at their instruments now, as they’re well out of their reckless twenties and have played nearly a thousand shows since then. “Because we were less precious with everything this time, it felt like we were capturing the feeling of being in a band for the first time when you finally hear everything clicking,” says Babcock. There’s even a newfound optimism and hope here. Even when things seem irrevocably fraught and you slip back into stupid old habits, being around your closest friends can get you through. Or, at the very least, they can tell you to get over yourself. 

“With the band, I have such an intense, personal connection with those three guys that I don't have with anybody else in my life,” says Babcock. “Sometimes you have to really go through the shit to have that big high of creating something with your best friends that you could never do alone.” 

PRE-SAVE WHO WILL LOOK AFTER THE DOGS? HERE

TOUR DATES
05/07/25 - Birmingham, UK @ XOYO Birmingham*&
05/08/25 - Leeds, UK @ Project House*&
05/10/25 - Manchester, UK @ O2 Ritz*&
05/11/25 - Glasgow, UK @ SWG3 (TV Studio)*&
05/12/25 - Newcastle, UK @ Newcastle University*&
05/13/25 - Bristol, UK @ Marble Factory*&
05/15/25 - Southampton, UK @ Engine Rooms*&
05/16/25 - London, UK @ O2 Forum Kentish Town*&
05/18/25 - Amsterdam, NL @ Melkweg*
05/20/25 - Cologne, DE @ Club Volta*
05/21/25 - Hamburg, DE @ Logo*
05/22/25 - Berlin, DE @ Hole44*
05/23/25 - Munich, DE @ Strom*
05/25/25 - Paris, FR @ Bellevilloise*
05/27/25 - Madrid, ES @ Sala Mon
05/28/25 - Barcelona, ES @ Upload
05/29/25 - València, ES @ Loco Club
05/30/25 - San Sebastian, ES @ Dabadaba
07/13/25 - Toronto, ON - House Show
07/14/25 - Toronto, ON - Sneaky Dees’s w/ Bad Waitress
07/15/25 - Toronto, ON - Lee’s Palace w/ Solids
07/17/25 - Toronto, ON - The Concert Hall w/ Jeff Rosenstock (solo)
07/18/25 - Toronto, ON - Danforth Music Hall w/ Cadence Weapon
07/19/25 - Toronto, ON - History w/ NOBRO
8/5/25 - Auckland, NZ @ Tuning Fork
8/6/25 - Wellington, NZ @ San Fran
8/8/25 - Brisbane, QLD @ Princess Theatre
8/9/25 - Sydney, NSW @ Metro Theatre
8/10/25 - Melbourne, VIC @ Northcote Theatre
8/12/25 - Adelaide, SA @ Hindley St. Music Hall
8/14/25 - Perth, WA @ Magnet House
9/3/25 - Minneapolis, MN @ Palace Theatre +^
9/4/25 - Madison, WI @ The Sylvee +^
9/5/25 - Chicago, IL @ The Salt Shed +^
9/6/25 - Detroit, MI @ Russell Industrial Center +^
9/8/25 - Pittsburgh, PA @ Stage AE +^
9/9/25 - Columbus, OH @ KEMBA Live! +^
9/10/25 - Cleveland, OH @ Agora Theatre +^
9/12/25 - Washington, DC @ The Anthem +^ 
9/13/25 - Brooklyn, NY @ Brooklyn Paramount +^
9/15/25 - Boston, MA @ Roadrunner +^
9/17/25 - Philadelphia, PA @ The Fillmore Philadelphia +^
9/19/25 - Raleigh, NC @ The Ritz +^
9/20/25 - Charlotte, NC @ The Fillmore Charlotte +^
9/22/25 - Atlanta, GA @ The Eastern +^
9/24/25 - Houston, TX @ White Oak Music Hall +^
9/25/25 - Dallas, TX @ House of Blues Dallas +^
9/26/25 - San Antonio, TX @ Paper Tiger +^
9/27/25 - Austin, TX @ Radio East +^
9/30/25 - Phoenix, AZ @ The Van Buren +^
10/1/25 - San Diego, CA @ The Sound +^
10/2/25 - Los Angeles, CA @ Hollywood Palladium +^
10/4/25 - Oakland, CA @ Fox Theater +^
10/6/25 - Portland, OR @ McMenamins Crystal Ballroom +^
10/7/25 - Seattle, WA @ Showbox SoDo +^
10/9/25 - Salt Lake City, UT @ Rockwell at The Complex +^
10/11/25 - Denver, CO @ Mission Ballroom +^
11/24/25 - Vancouver BC @ The Pearl #
11/25/25 - Vancouver BC @ The Commodore #
11/28/25 - Edmonton AB @ Midway Music Hall #
11/29/25 - Calgary AB @ MacEwan Hall #
12/01/25 - Saskatoon SK @ Coors Event Centre #
12/02/25 - Winnipeg MB @ Burton Cummings Theatre #
12/05/25 - Montreal QC @ MTELUS #
12/06/25 - Ottawa ON @ The Bronson #
12/09/25 - Waterloo ON @ Maxwell's Concerts & Events #
12/11/25 - London ON @ London Music Hall #
12/12/25 - Oshawa ON @ BOND ST Event Centre #
12/13/25 - Hamilton ON @ Bridgeworks #

* support from Illuminati Hotties
& support from Goo 
^ support from Ekko Astral
# support from Snotty Nose Rez Kids
+ denotes co-headline dates with Jeff Rosenstock

DOWNLOAD HIGH-RES

WHO WILL LOOK AFTER THE DOGS? TRACKLIST
01 No Hope 
02 Olive Garden 
03 Concrete 
04 Get Dumber 
05 Hunger For Death 
06 Needed To Hear It 
07 Paranoid 
08 Falling Outta Love 
09 Hallways 
10 Cruel 
11 Best Revenge 
12 Shut Up

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