PATRICK WATSON ANNOUNCES NEW ALBUM, UH OH, SHARES NEW SINGLE 

UH OH, A COLLECTION OF NEW SONGS AFTER LOSING HIS
VOICE AND NOT KNOWING IF HE’D EVER SING AGAIN,
OUT SEPTEMBER 26 ON SECRET CITY RECORDS

FEATURING ANACHNID, CHARLOTTE CARDIN, CHARLOTTE OLEENA, HOHNEN FORD, KLÔ PELGAG, LA FORCE, MARO, MARTHA WAINWRIGHT,
NOVEMBER ULTRA, AND SOLANN

WATCH / SHARE “PETER AND THE WOLF” HERE
BUY / STREAM “PETER AND THE WOLF” HERE

PRESAVE UH OH HERE
PRE-ORDER UH OH VINYL HERE

SUMMER PERFORMANCE DATES BEGIN JUNE 20

Photo Credit: Lawrence Fafard // DOWNLOAD HIGH-RES

Singer-songwriter, film composer, and pianist Patrick Watson has announced that he will release his new album Uh Oh on September 26, 2025 via Secret City Records alongside new single and video "Peter and the Wolf". The eleven new, original songs find Watson meditating on the idea of life being a series of “uh ohs”, a little phrase uttered in response to everything from childhood accidents to our most overwhelming anxieties. For Watson, it came to mind when faced with the biggest “uh oh” that a singer could endure: he lost his voice. Unsure if or when he would be able to sing again, his new album took a new shape. A collection of collaborations with friends and strangers; artists that he wanted to hear sing. Uh Oh represents a vision that Watson has chased for his entire life, the culmination of 20 years of musical exploration and lived experience that enabled him to translate the films in his mind to the sounds and words swirling in your ears.

Most of the songs on Uh Oh see Watson and his long-time bandmates, collaborator and multi-instrumentalist Mishka Stein, Olivier Fairfield, and co-vocalist Ariel Engle (La Force) joined by a guest singer. The featured vocalists range from the iconic voices he’s idolized for years – Martha Wainwright – to ones he discovered through Instagram scrolling like Solann and local Quebec favorite Klô Pelgag, and include international phenoms MARO, Hohnen Ford, November Ultra, JUNO Award winner Charlotte Cardin, Félix award winner Anachnid, and a friend he met when she worked the counter at this local coffee shop, Charlotte Oleena. “Every singer has these different magical powers on this record, and each song kind of represents that,” Watson says.

Watson – a Polaris Music Prize winner whose song “Je te laisserai des mots” recently became the first French language song to cross 1 billion streams on Spotify – reflects on the situation of making music after losing his voice by saying: “Obviously, I like singing for people, but I was really enjoying my Modular [synth] and diving into instrumental music”. A natural inclination for Watson who’s composed over 15 film scores to date. “But then I was like, ‘Oh, it’d be cool to write songs for all these different singers that I really want to hear sing – I’ll find my way out of this situation that way.’ Because my voice wasn’t supposed to come back. And when it did, I just thought having all these other singers featured was still a cooler idea for a record than me singing alone.”

Hearing how the songs on Uh Oh flow seamlessly into one another, one might never guess that it was recorded in multiple locations – Montreal, New Orleans, L.A., Mexico City, Paris – with a minimalist approach, using just two microphones, in mostly one or two takes. And one might perhaps not guess that Watson spent two months studying Cardi B’s “Up” to get the mix just right.

WATCH / SHARE “PETER AND THE WOLF” HERE
BUY / STREAM “PETER AND THE WOLF” HERE

Along with today’s announcement, Watson has shared “Peter and the Wolf”, a menacing, dream-like song inspired by the ghosts of New Orleans and the pitch black-ness of being in the forest in the dark. The pulse-pounding new video, directed by Patrick Watson and SAM WOY, was shot in the Quebec countryside.

“This is something I never could’ve written when I was younger,” says Watson. “When I originally wrote this track, I was with my partner Heather in the woods and she was talking about rewriting Peter and the Wolf. When you’re in the forest at night and it's cloudy and the dark hits the tree line, it just goes pitch black. So I wrote the music thinking about that – not really a wolf, but that pitch-blackness. And then I went to New Orleans with Heather O’Neill and in the middle of the night, I took a walk outside, and New Orleans is just filled with ghosts at night – it's a really magical place. I was all by myself and then this car came slowly down the street. It was this really classy car and there was this crazy low-end just purring from far away and kind of rolling towards me. In the low end it was shaking all the houses and all the windows, the way it moved was so graceful and slow, it was quite wonderful. There was just something about when I was staring at that car that reminded me of when I was staring into the forest at night. I was staring at the same ghost in a lot of ways—it felt like I was in a dream as it was coming towards me. And I thought, ‘I'm going to write this song as if the car is the wolf and I'm Peter.’

“The first half of the song is about that, and for the second half of the song, we went to this really far away middle-of-nowhere swamp where we all went through these crazy trailer places where it looked like they were going to kill us, but then we got to the end of the swamp, and it was this beautiful emerald green everywhere we looked and it was like this thing that you wanted to taste but you knew it would kill you in a way. While we were down there, we ran into a lot of French speaking people which was really fun since I'm from Quebec. I decided to make the swamp a mermaid because you want to get into it and swim in it but the moment you do that it will just swallow you like it swallows everything that flows into it, It's interesting because that place is basically all of America flowing down there through it so that's a very interesting sensation.”

WATCH / SHARE “GORDON IN THE WILLOWS” (LYRIC VIDEO) HERE
BUY / STREAM “GORDON IN THE WILLOWS” HERE

Watson has previously shared two songs from Uh Oh; “Silencio” with French artist November Ultra, and “Gordon in the Willows” with fellow Montrealer Charlotte Cardin. “Silencio” was the first preview of this new project, with Watson first revealing the loss of his voice, and among other impressions, finding the power of silence. It was recorded at Studio Rubin Alterio, an old artist’s loft in Paris. “Gordon in the Willows” was written and recorded by Watson and Cardin in a small lakeside village in Quebec, and around the song’s release last winter, they performed it during a surprise appearance on the top of Montreal’s Mont Royal.

WATCH / SHARE “SILENCIO” FT. NOVEMBER ULTRA HERE
BUY / STREAM “SILENCIO” FT. NOVEMBER ULTRA HERE

MORE ABOUT PATRICK WATSON
Patrick Watson has reached gold and platinum status in multiple countries, including five certified gold albums in Canada, and his shows sell out around the world. Over the course of his career, Patrick has retained the uncanny ability to coexist in mainstream pop-culture spaces and on the avant-garde fringes. Patrick’s songs have been featured in primetime crowd-pleasers like Grey’s Anatomy and This Is Us, as well as in multiple arthouse films from Denis Villeneuve (Polytechnique), Wim Wenders (Perfect Days), Philippe Falardeau (C’est pas moi, je le jure!) and more. He’s an artist who’s as comfortable performing impromptu pop-up shows on the train tracks in a Quebec mining town as he is leading the BBC Orchestra at London’s prestigious Barbican. He’s an in-demand composer with over 15 film scores under his belt. He was awarded the prestigious inaugural Impact Award at the 2024 Canadian Sync Awards. Watson’s viral single "Je te laisserai des mots" became the first French song to accumulate 1 billion streams on Spotify.

PRESAVE UH OH HERE
PRE-ORDER UH OH VINYL HERE

TOUR DATES
Jun 20 - Saint-Casimir, QC - Festival la Commission B
Jul 03 - Saguenay, QC - La Noce
Jul 25 - Calgary, AB - Calgary Folk Music Festival
Aug 28-31 - Wentworth-North, QC - Live at Lost River
Oct 28 - Toulouse, France - Bikini
Oct 29 - Bordeaux, France - Rocher de Palmer
Oct 31 - Nantes, France - Stereolux
Nov 01 - Rouen, France - Le 106
Nov 02 - Lausanne, Switzerland -Théâtre De Beaulieu
Nov 04 - Paris, France - Zenith La Villette
Nov 05 - Lyon, France - Transbordeur
Nov 07 - London, United Kingdom - Troxy
Nov 10 - Nijmegen, Netherlands - Concertgebouw de Vereeniging
Nov 11 - Bruxelles, Belgium - BOZAR
Nov 12 - Amsterdam, Netherlands - Carre Theatre

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UH OH TRACKLIST
1. Silencio - Patrick Watson & November Ultra
2. Peter and the Wolf - Patrick Watson
3. The Wandering - Patrick Watson & MARO
4. Choir in the Wires - Patrick Watson
5. Uh Oh - Patrick Watson & Charlotte Oleena
6. The Lonely Lights - Patrick Watson & La Force
7. Ami imaginaire - Patrick Watson & Klô Pelgag
8. Postcards - Patrick Watson & Hohnen Ford
9. House on Fire - Patrick Watson & Martha Wainwright
10. Gordon in the Willows - Patrick Watson & Charlotte Cardin
11. Ça va - Patrick Watson & Solann

PATRICK WATSON ONLINE
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VIVEK SHRAYA ANNOUNCES UPCOMING ALBUM, NEW MODELS, SHARES FIRST SINGLE

Photo Credit : Paul Mpagi Sepuya // DOWNLOAD HIGH-RES

‘When I’m overcome with feeling / I have to break free from words and just sing.’ An inveterate writer, Vivek Shraya knows that fewer words can carry more weight. These first lines of her new album, New Models, serve as both a thesis to the transcendent sonic experience to come, as well as an invitation to leave the burden of self-assuredness at the door. Don’t overthink—just listen. Just feel.

Set for release on October 9, 2025, New Models is “me grappling with the state of the world over the past four years and eventually realizing that language, particularly English, had become so contorted and weaponized that the only way I could grieve, rage, and find comfort was to let go of it,” says Shraya. “How do you express the horror and helplessness of witnessing progress being rapidly undone—in words—when all you want to do is scream or cry?

Today, Shraya is the album’s open track and thesis statement, “When I’m Overcome”, a song that began as wordless vocalizations sung through a vocoder which “pushed me in a whole new direction because of how it allowed my voice to expand, multiply and take up space—like a different kind of scream or cry,” says Shraya. “‘When I’m Overcome’ was the first song I built through these explorations and became a blueprint for the songwriting on the rest of the album.”

WATCH / SHARE “WHEN I’M OVERCOME” LYRIC VIDEO
BUY / STREAM “WHEN I’M OVERCOME” HERE

MORE ABOUT VIVEK SHRAYA AND NEW MODELS
The multi-hyphenate Shraya has dedicated much of her impressive artistic career to incisively articulating culturally loaded issues. Whether through her best-selling book I’m Afraid of Men (which Vanity Fair called “cultural rocket fuel”), her award-winning play-turned-CBC show, How To Fail As A Popstar, or her provocative visual art and installation work, Shraya has challenged the status quo by transcending her personal experiences into daring artworks. But it is music that first drew Shraya into the arts, and it’s on her 11th solo album, New Models, that Shraya redefines her musical trajectory with a bold display of boundary pushing done right.

This collection of hypnotically textured songs allows each listener to come to their own conclusions about the heavy subjects she conjures. Dread, disconnection, uncertainty—all are invoked through Shraya’s sparse, cutting lyrics, but it is her wordless vocal chanting that cuts the deepest. “How do you express—in words—the horror and helplessness of witnessing progress being rapidly undone,” Shraya explains, “when all you want to do is scream or cry?”

For New Models, Shraya joined forces with long-time producer-engineer James Bunton (Donovan Woods, Celeigh Cardinal, Leanne Betasamosake Simpson). Shraya and Bunton connected a decade ago, when Shraya realized the notion of the self-producing “solo genius” was profoundly flawed, and her and Bunton have grown to share a deep bond and a common language, with Bunton producing most of Shraya’s recent music, from Part-Time Woman, her album with Queer Songbook Orchestra (2017) to her previous full-length album Baby, You’re Projecting (2023, Mint Records) and the subsequent duet versions of songs from that album with Jann Arden and Donovan Woods.

For Shraya, the key to their partnership is that Bunton really challenges her: “the challenges and questions he poses are always different with each project, which keeps things fresh.” For this project, Bunton pushed Shraya to experiment considerably on her own before the two started actively collaborating. “I found this quite difficult and lonely,” Shraya admits, “but in the end, this resulted in a kind of exploration and play that I haven’t tapped into since my 20s. There was a two-week period where I spent every evening demoing from 6pm–11pm, and it was such a generative and joyful experience!” By the time Shraya and Bunton were sharing project files back and forth, building upon one another’s ideas, the distinctive sound of New Models was set. “An exciting part of the process was letting the songs themselves reveal to us where they were supposed to live production-wise,” says Bunton, “instead of letting any of our predeterminations get in the way.”

Overflowing with creative freedom, New Models presents each song as its own world in which listeners can get lost. “Apathy Crisis”, for instance, transforms into a maximalist, glitchy soundscape—à la SOPHIE—only to dissolve into an intimate voice and synth pairing for an intimate send-off: ‘how do you sleep at night? / ‘cause I can’t sleep at night.’ Haunting songs like “We’re in Pain” and “Groomer” burst with off-kilter percussion and bending synths. All the while, electronic vocal gymnastics make Shraya’s passionate voice feel infinite. The music sounds as searching as the themes it touches upon: “Am I Doing Enough?” carries, as Shraya puts it, the “ache of forever falling short,” and the stunning “Moral Panic” ends with Shraya repeating the mantra: ‘We can’t go there / There’s so much to feel.’

Vivek Shraya’s artistic practice has long been unrelentingly honest. She has never shied away from difficult feelings, whether harassment – her graphic novel with Ness Lee, Death Threat –  professional jealousy – as she explores on her podcast, I Won’t Envy –  or chronic pain – as in her new short film, Bodyrebuilding. What’s special about New Models is its insistence on moving through all the feelings possible. While no answers are uncovered, a deep desire for reconstruction and reconstitution glimmers. As Shraya intones, “everything works, until it doesn’t”—but just as crucially, “Everything hurts, until it doesn’t.” - Sam Boer

VIVEK SHRAYA TOUR DATES
June 6 - Toronto, ON - Hart House
June 28 - Toronto, ON - Pride Toronto
July 10 - Vancouver, BC - Indian Summer Festival
January 30 - Calgary, AB - Jack Singer Concert Hall w/ The Calgary Philharmonic Orchestra

PRE-SAVE NEW MODELS HERE

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NEW MODELS TRACKLIST
01 When I’m Overcome
02 Apathy Crisis
03 We’re In Pain
04 Groomer
05 Breaking Our Pattern
06 Moral Panic
07 Am I Doing Enough?
08 I Don’t Know Where I’m Going

VIVEK SHRAYA
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BROKEN SOCIAL SCENE’S “CAUSE = TIME” SEES EMOTIONAL COVER BY MIDDLE KIDS, OUT NOW 

LISTEN / SHARE “CAUSE = TIME” BY MIDDLE KIDS

TRIBUTE ALBUM OF COVERS
ANTHEMS: A Celebration of Broken Social Scene's You Forgot It In People 
OUT JUNE 6, 2025 VIA ARTS & CRAFTS

COVERS BY MAGGIE ROGERS & SYLVAN ESSO, TORO Y MOI, THE WEATHER STATION, HOVVDY, SERPENTWITHFEET, MDOU MOCTAR, AND MORE - PREORDER NOW

Album Artwork // DOWNLOAD HIGH-RES

Today, ANTHEMS: A Celebration Of Broken Social Scene's You Forgot It In People releases the latest installment from the tribute album out June 6th. From longtime Broken Social Scene fans, Australian alternative indie rock band Middle Kids bring a raw emotional edge to “Cause = Time,” leaning into its tension with driving guitars and an understated, heartfelt delivery. Middle Kids channel the original anthem’s spirit of spontaneity and community while letting it feel both reverent and uniquely theirs.

“Sometimes in this life it can feel like God is winking at you, and being asked to record this great song from this perfect album was one of those. Broken Social Scene has been a huge influence on our band and many of our friends. We see their work as a statement of art, love, spontaneity and community. When it came to recording we just wanted to let it unfold naturally, emotionally, easily,” Middle Kids reflected on the song. 

LISTEN / SHARE “CAUSE = TIME” BY MIDDLE KIDS

Over the last two plus decades, Broken Social Scene’s breakthrough album You Forgot It In People has cemented its place amongst indie rock's greatest -- through its collective energy pushing the genre far beyond its noisy ’90s slacker roots to a more tirelessly collaborative, sonically expansive, emotionally expressive vision. The album, out June 6th, reimagines You Forgot It In People with cover versions from today’s indie music icons, including Maggie Rogers and Sylvan Esso’s rendition of “Anthems For A Seventeen Year-Old Girl,” Toro y Moi’s take on “Stars And Sons,” “Almost Crimes” by Miya Folick and Hand Habits, covers from The Weather Station, serpentwithfeet, Mdou Moctar, Sessa, and more (full tracklisting below). 

The album is available for pre-order now on limited edition vinyl via Arts & Crafts. Bundle options include a You Forgot It In People graphic novel by Z2, and an exclusive You Forgot It In People songbook. A newly released documentary film, It’s All Gonna Break, revisiting Broken Social Scene’s early days, is screening throughout the USA in May and June– see cities and dates here.

LISTEN / SHARE “STARS AND SONS” BY TORO Y MOI
LISTEN / SHARE “ALMOST CRIMES” BY MIYA FOLICK AND HAND HABITS 

LISTEN TO MAGGIE ROGERS & SYLVAN ESSO’S COVER OF “ANTHEMS FOR A SEVENTEEN YEAR-OLD GIRL” HERE

PREORDER ANTHEMS HERE

ANTHEMS: A Celebration of Broken Social Scene's You Forgot It In People Tracklisting: 
1. Capture The Flag - Ouri 
2. KC Accidental - Hovvdy
3. Stars And Sons - Toro y Moi
4. Almost Crimes - Miya Folick & Hand Habits
5. Looks Just Like The Sun - The Weather Station
6. Pacific Theme - Mdou Moctar, Mikey Coltun 
7. Anthems For A Seventeen Year-Old Girl - Maggie Rogers & Sylvan Esso
8. Cause = Time - Middle Kids
9. Late Nineties Bedroom Rock For The Missionaries - Benny Sings
10. Shampoo Suicide - SPIRIT OF THE BEEHIVE
11. Lover's Spit - serpentwithfeet
12. Ainda Sou Seu Moleque - Sessa
13. Pitter Patter Goes My Heart - Babygirl

What press has said about Broken Social Scene’s You Forgot It in People…..

“a powerful and affecting album… they've made just exactly the kind of pop record that stands the test of time” - Pitchfork 

“BSS set the mold for some incalculable hybrid of post-rock-meets-stadium-rock-meets-folk-pop” - Stereogum 

“You Forgot It in People was a critical smash, paving the way for the great musical invasion from the north that’s still going strong today” - The New Yorker

ABOUT MIDDLE KIDS:
There is a question at the heart of Faith Crisis Pt 1, the third album from Sydney’s emotive indie trio Middle Kids. Over 13 propulsive, ecstatic and gorgeous tracks, songwriter and vocalist Hannah Joy attempts to tease out the question of belief; the breaking of it, and how it is rebuilt.

Co-produced by Tim Fitz and Jonathan Gilmore (The 1975, Beabadoobee), Joy and bandmates Fitz and Harry Day masterfully express the sensation of being overwhelmed, swept up and dragged down in songs that exalt and lift you higher.

Middle Kids' last album Today We're The Greatest won Best Rock Album at the 2021 ARIA Awards.  Released at the height of the pandemic, the album garnered the band several US TV show performances including Jimmy Kimmel Live, The Late Show with Stephen Colbert, and The Late, Late Show with James Cordon.

Middle Kids first gained attention in 2017 with their debut single, Edge Of Town and their debut album, Lost Friends, which won Triple J's Best Australian Album Award in 2018. The success of their albums has also earned the band an international touring profile which has included supporting shows with the likes of Bloc Party, Kings of Leon, War on Drugs and Cold War Kids and festivals such as The Governors Ball, Lollapalooza, Osheaga Festival and many more.

With Faith Crisis Pt 1, Middle Kids have established themselves as one of the most innovative and emotionally resonant acts in modern indie rock, continuing to expand their sound and touch the hearts of fans worldwide.

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