Electro-pop heavyweight Lights drops the intoxicating new deluxe album A6EXTENDED featuring the new single “COME GET YOUR GIRL”.  A supercharged deluxe treatment of her 2025 album, A6EXTENDED features eight brand new songs that take listeners to a new dimension of the A6 world. 

Released Wednesday, to coincide with the announcement of the UK/EU leg of the “COME GET YOUR GIRL” Tour, Lights dropped the much-anticipated single of the same name, to the delight of her fans. “COME GET YOUR GIRL” is about realizing how deeply you care for someone—in this case, when it feels like it’s almost too late. The new single is sure to be a live anthem, driven by its massive singalong chorus. The music video is filled to the brim with throwback imagery, spanning her career.  Lights wanted to look back and reflect on past versions of herself and show how each one walked, so the next could run. “Every version hands something forward, because every version of yourself matters in becoming who you are,” she explains. 

The new expanded album also contains the singles, “LEARNING TO LET GO” and the synth-driven stand-out, “EDUCATION”. Both tracks were released alongside accompanying music videos that lean into this era. A6EXTENDED, builds upon Lights’ sixth studio album A6 released in 2025 alongside a stunning full visual album. The music is her most deeply personal yet – entirely written and produced by Lights. 

Making this album, Lights pulled from the full, beautiful, range of experiences that make life what it is. “Past lessons, grief and loss, personal growth in a world that wants you to stay the same, the bliss of sensuality, and the recklessness of love,” she expands. “It’s everything you’d write down in a small A6-sized journal because saying it out loud is often somehow harder.”

Lights recently announced the ‘COME GET YOUR GIRL’ 2026 tour with support from Soft Cult, set to kick off on February 13 in Edmonton. The tour hits the USA, Canada, UK, GER, & NED and includes 23 dates across North America with six Canadian dates including Edmonton, Calgary, London, Ottawa, Quebec and Montreal. Full ‘COME GET YOUR GIRL’ 2026 tour dates below. 

A6EXTENDED – Tracklist: 

1. INTRO
2. DAMAGE
3. ALIVE AGAIN
4. SURFACE TENSION
5. YOU’RE KILLING ME
6. WHITE PAPER PALM TREES
7. GHOST GIRL ON FIRST
8. TAKE IT EASY
9. DRINKS ON THE COAST
10. CLINGY
11. THE OTHER SIDE OF THE DOOR
12. PIRANHA
13. DAY TWO
14. EDUCATION
15. COME GET YOUR GIRL
16. LOVE IS A GAME
17. THE CITY IS FALLING
18. THIS TIME TMRW
19. LEARNING TO LET GO
20. FINAL ROUND
21. ANGELINA 

*NEW TRACKS indicated in BOLD

‘COME GET YOUR GIRL’ 2026 TOUR DATES  

February 24 – Salt Lake City, UT – Metro Music Hall

February 25 – Denver, CO – Summit                    

February 27 – Austin, TX – Empire Garage

February 28 – Houston, TX – White Oak (Downstairs)

March 1 – Dallas, TX – Trees                     

March 3 – Madison, WI – Majestic Theatre

March 4 – Minneapolis, MN – Amsterdam Bar & Hall                    

March 6 – Chicago, IL – Concord Music Hall

March 7 – Detroit, MI – St. Andrews Hall

March 8 – Pittsburgh, PA – Thunderbird Café & Music Hall                  

March 10 – Boston, MA – Paradise Rock Club

March 11 – Washington, DC – 9:30 Club              

March 13 – New York, NY–- Irving Plaza

March 14 – Buffalo, NY – Town Ballroom

March 17 – London, ON – London Music Hall

March 18 – Ottawa, ON – The Bronson

March 19 – Quebec City, QC – Grizzly Fuzz

March 20 – Montreal, QC – Le Studio TD

May 10 – Cardiff, UK – Cardiff Globe

May 11 – Manchester, UK – Academy 3

May 12 – Glasgow, UK – King Tuts

May 14 – Birmingham, UK – O2 Academy 2

May 15 – London, UK – The Garage

May 17 – Cologne, DE – Garagen

May 18 – Amsterdam, NL – Bitterzoet

May 20 – Berlin, DE – Kantine am Berghain

May 21 – Hamburg, DE – Hebebühne

Experimental duo Allegories return with “The Next Life,” a bleak, immersive shoegaze-inflected indie rock single that stares directly into existential despair without flinching. Teetering on the edge of an anthem but refusing release, the track explores nihilism, deferred hope, and the hollow promise that meaning will arrive somewhere beyond the present moment.

“There’s no way around it,” Adam Bentley, one half of the duo, explains. “This is the most pessimistic reflection on life and existence I’ve ever put forward.”

Originally written on ukulele, “The Next Life” underwent multiple transformations before reaching its final form. What began as a skeletal folk sketch was first recontextualized through electronic instrumentation, then reshaped again using the organic, analog tools most associated with a rock band. Layers of guitar, bass, and drums form the foundation, while swirling electronic textures bind everything together to create a dense, emotional atmosphere that feels simultaneously expansive and suffocating.

Sonically, the track gestures toward transcendence, brushing against the possibility of uplift before deliberately collapsing inward. “Just as it feels ready to lift its skinny fists to the heavens and brush against hope, I instead dig deeper into a nihilistic, defeated worldview,” Bentley says. In the next life, we’re told, our prayers will be answered. Our dreams are achieved. The world is at last in harmony.”

The result is a song that weaponizes contrast: anthemic momentum undercut by existential resignation. “The Next Life” doesn’t offer comfort or resolution; it interrogates the idea that relief is always postponed, always elsewhere. “Because really,” Bentley asks, “what is the next life?”

Garrett Anthony Rice continues the slow-burn reveal of his forthcoming double album Equinox with the release of his latest single, “The Prisoner,” a tightly wound piece of narrative songwriting that plays with tension, confession, and illusion. Arriving as another carefully placed fragment of the larger project, the track stands confidently on its own while deepening the emotional and conceptual framework of the album.

Built on restraint, “The Prisoner” unfolds with deliberate patience. Its verses move in controlled, measured breaths, creating the feeling of someone speaking under pressure, circling a story rather than confronting it head-on. The atmosphere is claustrophobic and monochrome, with Rice holding back melody and release, letting silence and space do as much storytelling as the words themselves. There is a subtle musical nod to the unease of classic rock suspense, recalling the creeping dread of The Rolling Stones’ “Gimme Shelter,” while remaining firmly grounded in Rice’s own stark, modern sensibility.

When the chorus finally opens, it feels like a confession breaking through restraint, the moment where melody and arrangement briefly expand before snapping back into control. It is a familiar emotional move for fans of great rock storytellers, but Rice executes it with quiet confidence and precision. The tension peaks in the closing lines, where the narrative dissolves with the admission, “I must confess I made this up,” reframing everything that came before it. The line lands with sly disorientation, echoing the tradition of late-song revelations that collapse the boundary between fiction and truth.

Rather than leaning on nostalgia, “The Prisoner” treats influence as something to be absorbed and reshaped. Rice is less interested in revival than in conversation, using the lineage of classic rock storytelling as raw material for something more introspective and psychologically complex. The result is a track that feels both familiar and quietly subversive, grounded in craft, intention, and emotional depth.

As part of Equinox, an 18-song double album that follows Rice’s 2023 debut under the alias (i) CONSULT, “The Prisoner” signals an artist fully committed to ambition and detail. Recorded across Ireland and the UK with producer Chris Potter, whose past collaborations include The Rolling Stones, Paul McCartney, U2, and Richard Ashcroft, the album has already drawn significant praise from industry figures who have heard early versions. If “The Prisoner” is any indication, Equinox is shaping up to be a project defined not by immediacy or trend, but by patience, narrative complexity, and emotional resonance.

With this release, Rice continues to position himself as a storyteller deeply invested in tension, nuance, and the spaces between certainty and doubt. “The Prisoner” doesn’t offer easy answers or tidy resolutions. Instead, it lingers, unsettles, and invites repeat listens, marking another compelling step toward the arrival of Equinox.

TubeFreeks return with “Flower,” a gripping new single co-written with Sevendust guitarist Clint Lowery that blends muscular hard rock with modern melodic tension. The Frederick, Maryland band lean into thick guitars, dynamic rhythms, and a vocal performance that balances grit with emotional clarity. The result is a track that feels heavy without being rigid, melodic without softening its edge.

“Flower” moves with urgency, anchored by restless drums and tightly locked guitar work that gives the verses a simmering momentum. When the chorus hits, the song opens up, trading tension for release in a way that feels deliberate and earned. Frontman Paul van Valkenburgh delivers a performance that is both raw and precise, bringing emotional weight without sacrificing power.

The collaboration with Lowery adds a familiar sense of structure and polish while allowing TubeFreeks to remain firmly themselves. The songwriting never drifts into nostalgia, instead channeling the spirit of post-grunge through a modern production lens that keeps the track grounded in the present.

Paired with a striking music video directed by filmmaker Tom Flynn, “Flower” expands its emotional range even further. Saturated gold tones and natural landscapes frame a visual narrative built around longing, distance, and pursuit, echoing the song’s lyrical themes.

With major tour dates on the horizon and a growing national presence, TubeFreeks continue to sharpen their identity. “Flower” stands as one of their strongest releases yet, capturing both their intensity and their evolving artistic depth.

Saul Damelyn’s “Museum of Love” arrives as a quietly arresting debut single on British indie label Damelyn Records. From the first notes, the song sets a reflective tone, pairing lyrical sophistication with melodic nuance. The accompanying lyric video, created by painter and animator Vanessa Brassey, elevates the music into a fully immersive visual journey.

Set within a conceptual Museum of Love, the video unfolds as a wandering exploration of memory and connection. Figures drift through galleries, their movement mirroring the song’s thematic exploration of emotional landscapes. Each room presents a new layer of feeling—desire, devotion, curiosity, quiet reflection—turning the museum into both a literal and metaphorical space. Phoebe White’s ethereal presence appears intermittently, enhancing the dreamlike sensibility and suggesting the presence of memories that are felt more than seen.

Brassey’s approach to animation is tactile and painterly, resisting the slickness of digital media to create warmth and texture. Her grounding in philosophy and fine art informs the project’s depth, ensuring the visual storytelling mirrors the song’s introspective qualities. Moments in the video often linger, allowing viewers to reflect alongside the characters as they navigate spaces that are as much psychological as physical.

Musically, the track is structured as a conversational duet between Damelyn and White, with production by Paul A. Harvey and Tom Robinson. The song conveys a dialogue between two people navigating the remnants of a shared past, balancing lyrical intelligence with melodic appeal. “Museum of Love” is reflective without being heavy-handed and memorable without feeling poppy or insubstantial.

The song’s influences are wide-ranging yet subtly integrated. English new wave lyricism reminiscent of Elvis Costello and The Kinks sits alongside hints of Americana storytelling in the tradition of Lucinda Williams and Richard Thompson. The result is a sound that feels lived-in, timeless, and emotionally immediate, providing a rich canvas for Brassey’s animated lyric video.

As the lead single from the forthcoming album Kings, Queens and Dream Machines, “Museum of Love” positions Saul Damelyn as a songwriter capable of transforming personal introspection into work that resonates broadly. The lyric video extends that artistry, offering a visual world that rewards close observation and repeated engagement.

Ultimately, “Museum of Love” is a debut that bridges music and visual art, creating an experience that is both intimate and expansive. It demonstrates a rare capacity for emotional clarity in songwriting, and its video invites audiences to step into a space where memory, longing, and human connection are rendered with nuance, warmth, and cinematic grace.