Webster Hall

If Remi Wolf ’s first two albums, 2021’s Juno and 2024’s Big Ideas , were in technicolor, her third LP Mud (out October 9 via Island Records) is more neutral, earthy and grounded. It’s still colorful, as Wolf tends to be, but the newly 30-year-old singer has been on a journey of rooting herself more firmly in the ground. “I feel like I've crossed into a new phase of life because of this album,” she says, sitting in the same basement studio at Electric Lady where most of the album was recorded. “I literally felt like I was covered in shit. And now, at the end of the album process, I feel so clean and clear. It has been a very cleansing record to make for me.” The rawness is delivered in the sound: stripped away of synths and programmed drums, Mud is Remi Wolf at her most lyrically and sonically vulnerable. The songs evoke the feeling of singing around a campfire with just your friends and a couple guitars because that’s how it felt for Wolf to make it. But to find the clearing in the forest, she needed to make a whole new trail first. By the end of 2024, Wolf had been touring for about four years straight. Between opening stints on Halsey , Paramore and Olivia Rodrigo ’s arena tours, she started headlining bigger rooms on her own in between. She started thinking about her next album as soon as she wrapped up the first leg of her Big Ideas tour that October, moving with the same urgency and transience she had grown accustomed to over the last several years of her life. But as the touring wound down, Wolf's life had begun to spiral out of control. “This is a breakup record and a Saturn return record,” she explains. “When I started writing the album, I was so emotionally all over the place and in a really unbalanced, bad relationship at the time. I was drinking, I was going through ups and downs on the road, and just got bogged down by a lot of feelings and exhaustion from my twenties.” By March of 2025, her relationship of two and half years had abruptly ended, with her ex claiming he wasn’t that “into” her. Wolf was left to pick up the pieces, coming to terms with the changes she needed to make to live a healthier life. She set off for Big Bear with a trusted crew of songwriters and producers; her frequent collaborators Jared Solomon and Jack DeMeo were joined this time around by Wolf’s sister-in-law Gigi Grombacher , who is also a singer and her new friend Jamie McLaughlin , whom she met during a couple weeks of sessions in Nashville the fall before. Big Bear set the tone for Wolf’s Mud writing process and gave birth to the record’s identity, led by a cozy, familial feeling to their time at the Airbnb they shared together. “I would make dinner for everybody every night and we’d have a family meal,” she recalls. “I’d be making lasagna in the kitchen and we’d be writing at the same time, passing the mic over the counter. The experience changed how she wrote, allowing all the “emo as fuck” feelings to be poured into her music. “I felt this permission to be honest and be my raw self,” she explains “Because of that, the writing process didn’t change but the writing changed. We became a family band.” While in Big Bear, Wolf cathartically channeled her heartbreak into “I Won’t Cry,” a big, honest power ballad. “I was really fresh out of the absolute wreckage of the relationship,” she says. “I was in a very vulnerable state of feeling deeply unwanted.” The gut punch of a song was the one she recorded while laying sheets of lasagna, belting out the pleading chorus with her friends’ support. “It was the first song I’ve ever written where I felt like if somebody else wrote this song, I’d be like ‘I wish I wrote that song,’” she says. “That song is about this toxic lack of self love and deep sadness, but also simultaneously being at peace that it’s over.” After Big Bear, Wolf and the same squad from the house took three different trips to New York to record the album at Electric Lady. They would all stay at a nearby hotel down the street — their “glampground” — and walk to and from the studio together, exchanging “good nights” and “I love yous” in the elevator. In the basement studio, Wolf began to unlock the sonic palette of Mud before it ever got a name. She wanted live instrumentation, often playing drums herself on a song, and a “muddy” feeling to the production. There’s very little synth on the album, a huge difference from her past releases. “It’s the most minimalist I’ve ever been,” she says. Both “Covered In Mud” and “Bottle” became “lighthouses” for the album. The smooth but lively tracks are as catchy and energetic as Wolf has always been, but you can feel the real down-in-the-dirt sound she was aiming for. The songs hone in on storytelling and deep details above pared down production; on “Mud,” Wolf was playing the drums in Electric Lady while freestyling the lyrics into the microphone. She wrote over 100 songs for the album, picking apart demos and getting in the weeds of the album’s engineering more than ever before. It’s the first record, she says, where she fought for songs, sometimes starting demos over multiple times to get them right. Songs like lead single “Twiggy” and “Burn Me Blue” would go through multiple iterations until she started to crack the sonic code. In January of this year, Wolf and her “family band” took one final trip, this time to Joshua Tree. She was about to turn 30 and nearly six months sober. She wrote one of the final songs for the album, the gorgeous, simple “Moon So High,” on the trip. As it was nearing completion, she realized it should be a duet and DM’d her internet friend John Mayer to hop on it. Towards the end of making Mud , she started to feel an emotion she’s always struggled accessing: gratitude. She felt clearer than ever and like she was finally in the right place at the right time with the right people making the right album.

Alone Together is an album about praxis. Putting belief into action. The opening line, “radical love compels me to fight”, reflects lived experience, the act of standing up for one another and for what you believe in, regardless of the outcome. Working alongside producers Klas Åhlund and Kenneth Blume III, Show Me The Body has recontextualized their core language into something with more focus, urgency, and clarity than ever before. Alone Together is not about atmosphere but about direct communication, a call to galvanise ourselves and the people around us. Stand with us baby. Thank you for being here. Even if you feel alone Don’t trip on it Cause we can stand alone together. Bones of Show Me The Body's fourth full-length album formed first in their Corpus studio, in the basement of the building that also serves as the New York City collective's headquarters and the home in which frontman Julian Cashwan Pratt lives with his young family. Writing the album in the wake of the birth of his daughter, who arrived just two years before the release of the hardcore trailblazers' most harrowing and most joyous output to date. Alone Together brings the band's ethos of resilience in the darkest moments into startling focus. Alone Together is about praxis. Pratt and the band’s cofounder, Harlan Steed, brought in composer Gio Escobar and his cohort of musicians from Standing on the Corner. "We would send Gio certain riffs from the record," Pratt explained, "and he would recontextualise those riffs in the language of lonely New York City jazz, in the vernacular that Standing on the Corner has, that we love and appreciate." That's the first thing you hear on Alone Together 's opening track, "Alone Interlude": one of Pratt's crushing riffs transmuted into horn section bombast, with Pratt chanting "welcome, welcome, welcome.” Klas Åhlund, one of the album's producers, came over from Sweden to visit Pratt and Steed in Queens and gave a blunt assessment of the band's demos. "He caught me at me becoming an adult, so I didn't tell him to fuck off." And so, Pratt said, the band sat with Åhlund's one critical piece of advice: "There's certain parts of our music that are distinctly Show Me The Body . And he was like, 'those parts only your band could do? You should just do that all the time. All the parts that sound like everybody else, you should just do less.'" With this ringing in their minds, they soon decamped to the California studio of Kenneth Blume III, where the band and their new odd-couple producers took that core sound to unheard-of heights. On a track like "No God," the union of Åhlund, Blume and Show Me The Body render those signature sounds with purity: Pratt's overdriven banjo for a verse, before the arrival of buckshot snares, and the sheer overwhelm of Harlan Steed on bass. By the climax, Pratt's ragged half-rap of "I will wait for no god to make it real" has conflagrated, coming into a full-body shriek: "I need to make it real!" That clarity reignites when the band take confident steps forward into new territory, like the bright punk of "Good Time," which still feels fundamentally comprised of Show Me The Body DNA. In the title track, which closes the album, you will hear the origins of the Just Blaze-ish horns from "Alone Interlude" The blood-boiling riff, and the call to action that is Alone Together 's essence: "Blessed are those who stand alone." Alone Together is one part rollicking punk dirge, and one part riotous celebration - a work wrapped in the dichotomous themes of huge love and huge loss. You'll hear that come together as "Alone Interlude" transitions into track 2, "Eat for Peace": overwhelming drums storm in, churning bass, a sneering banjo, and the hoarse chant of that opening line, the mantra which underpins the record, "radical love compels me to fight". That's life, and that's Show Me The Body. Time to wake up. "Remain in love with those around you, and with yourself, when it seems like the most ridiculous option." On previous releases, the band wrote about and against the city of New York, but on Alone Together , the city hovers in the background, “more like a ghost,” Pratt says. Replacing much of that cantankerous energy are dispatches from pits of despair, like the near-whisper over warped and warbled riffs on the existential "Do What's Right": "sometimes I wanna hurt myself / I think it would make me happy." Those depths are then punctuated with bursts of bewildering joy, brought to being by new life and old friends. In the wake of making Alone Together, Pratt lost a close friend. Whose voice and legacy now weaves throughout Alone Together, opening the record directly alongside Pratt’s ("Are you alone?" "It's easy to feel alone”), and in his absence, the album takes on new meaning. Songs like “See You Again” had already been inspired by the death of a mentor, Mike Down of the bands Amenity and Forced Down. "Obviously, everything is tragic. That's never gonna go away," Pratt said. Then he remembered their most recent tour, where once again his dear comrade helped bring their defiant, uncontrollable live show across the world. "He would grab the mic on stage, and he would sing, and afterwards he would give it back to me, and we would often hug each other and kiss each other. It was so important to remember how ready he was to fight for those he loved. He would drop a motherfucker quick, and he would kiss a motherfucker quick. Same energy, all the time." On Alone Together , Show Me The Body follows that same impulse— whether in adoration or confrontation, the music coheres into radical, violent love.

Rebecca Black is an artist who blazes her own path. An undisputed icon of underground music, fashion, and queer art scenes, her creativity is an expansive, unstoppable force. Amid collabs with Slayyyter, MØ, bbno$, and more, Black released her first project “Rebecca Black Was Here” in 2021 which led to performances at the GLAAD Awards and Tamron Hall. Nearly a decade since her iconic cameo in Katy Perry’s video for “Last Friday Night,” Black continues to make pop-culture appearances in videos for Blu de Tiger, Amy Allen, and more. During NYFW, Billboard proclaimed her one of the "ultimate cool girls," alongside King Princess and Hayley Williams—a testament to her new era as a young adult artist. At 13, Black skyrocketed from musical theater kid to viral sensation with her 2011 hit Friday, which amassed over 150 million views and became the year’s fastest-growing video. With a RIAA Gold certification, a YouTube No. 1, and a Teen Choice Award under her belt, Black marked the 10th anniversary of Friday with an internet-breaking remix featuring hyperpop royalty Dorian Electra, Big Freedia, and 3OH!3, signaling her evolution to an electronic-infused pop polymath. In 2022 and 2023, Black celebrated her debut album: "Let Her Burn” and embarked on her sold-out debut headline tours in North America and Europe, followed by a packed DJ set at Coachella and appearances at Pride festivals in Los Angeles, Chicago, and several other cities. Seamlessly bridging the underground and the mainstream with her new sound, Rebecca Black proves she’s one of the most forward-thinking, electrifying pop artists of our time. Beyond the music, the singer, songwriter, and creator advocates for anti-bullying, mental health initiatives, and the LGBTQ+ community, making a difference for her audience through partnerships with the AdCouncil, GLAAD, and Best Buddies. One year after coming out, Rebecca Black proudly received the honor of joining Variety’s Power of Pride 2021 list. Rebecca Black launches into 2025 headfirst with her new project SALVATION: proceeding hedonistic, confident bangers that cascade through electronic sounds; drifting from synth-driven confessionals and also pulling back into four-on-the-floor techno mayhem. The bold, playful yet personal lyrics offer a twist on the pop-dance genre and will be sure to cause outbreaks on dancefloors. Rebecca Black will bring SALVATION on tour across North America, the UK and Europe – kicking off with a sold-out show on March 4th in Seattle and wrapping back in the US on April 5th in St. Paul, Minneapolis. After the tour, Black is set to bring SALVATION to summer festivals in 2025, promising high-energy, euphoric performances. The announcement followed her recent internet-erupting DJ sets such as a Boiler Room debut showcasing her spellbinding energy and hypnotic stage presence, as well as a recordbreaking set on the streets of San Francisco amassing over 20,000 attendees. Over the course of her trailblazing career, Rebecca Black has earned critical acclaim for her unrelenting presence in pop culture. A one-woman force who’s in control of her own image, Black achieves her big-budget pop sound through a DIY lens. Working independently with fellow creatives as collaborators, Black complements her slick, futuristic hits with expressive visuals that amplify her music by portraying the deeper messages of her songwriting.

Habibi's House is a party highlighting and celebrating global sounds. Arab, African, Brazilian, Caribbean, Indian, and Latin influences meet genres like Amapiano, Afrobeats, House, Baile Funk, Bass, Dancehall, Hip-Hop, Jersey, Reggaeton, DnB, and more. Nothing is off limits. TABLE RESERVATIONS: VIP@WEBSTERHALL.COM. MUST HAVE VALID PHYSICAL ID FOR ENTRY DJ Habibeats is a powerhouse in the global dance music scene, hailing from SF / based in LA and shaking up dance floors worldwide. Best known for his explosive event, *Habibi's House*, which has become a viral sensation and sells out venues wherever it lands. He has garnered over 1.5 million followers across TikTok and Instagram for his live mixing con- tent, music sample series, original remixes, and more. As a producer, Habibeats delivers a one-of-a-kind sound, fusing percussion-heavy genres like Amapiano, Baile Funk, and Jersey Club with the rich cultural influences of the Middle East, Africa, Brazil, and Latin America. His music is a high-energy celebration of global rhythms. His latest release "El Youm El Helw Dah" has been his fastest growing track, with close to a million streams and over 10K creates since release. Having shared the stage with artists like Asake, Central Cee, Francis Mercier, Majid Jordan, Indo Warehouse, Nooriyah, Saliah, Waka Flocka Flame, Ty Dolla Sign, and Wax Motif, Habibeats is no stranger to the spotlight. His groundbreaking work has earned him recognition from GQ, Complex, XXL Magazine, WorldStar Hip Hop, Def Jam Records, Young Money Records, BET, and more. From the U.S. to Europe, Habibeats has been selling out massive venues and expanding his global takeover, with his influence now reaching markets in the Middle East, Australia, Asia, and beyond.

Rebecca Black is an artist who blazes her own path. An undisputed icon of underground music, fashion, and queer art scenes, her creativity is an expansive, unstoppable force. Amid collabs with Slayyyter, MØ, bbno$, and more, Black released her first project “Rebecca Black Was Here” in 2021 which led to performances at the GLAAD Awards and Tamron Hall. Nearly a decade since her iconic cameo in Katy Perry’s video for “Last Friday Night,” Black continues to make pop-culture appearances in videos for Blu de Tiger, Amy Allen, and more. During NYFW, Billboard proclaimed her one of the "ultimate cool girls," alongside King Princess and Hayley Williams—a testament to her new era as a young adult artist. At 13, Black skyrocketed from musical theater kid to viral sensation with her 2011 hit Friday, which amassed over 150 million views and became the year’s fastest-growing video. With a RIAA Gold certification, a YouTube No. 1, and a Teen Choice Award under her belt, Black marked the 10th anniversary of Friday with an internet-breaking remix featuring hyperpop royalty Dorian Electra, Big Freedia, and 3OH!3, signaling her evolution to an electronic-infused pop polymath. In 2022 and 2023, Black celebrated her debut album: "Let Her Burn” and embarked on her sold-out debut headline tours in North America and Europe, followed by a packed DJ set at Coachella and appearances at Pride festivals in Los Angeles, Chicago, and several other cities. Seamlessly bridging the underground and the mainstream with her new sound, Rebecca Black proves she’s one of the most forward-thinking, electrifying pop artists of our time. Beyond the music, the singer, songwriter, and creator advocates for anti-bullying, mental health initiatives, and the LGBTQ+ community, making a difference for her audience through partnerships with the AdCouncil, GLAAD, and Best Buddies. One year after coming out, Rebecca Black proudly received the honor of joining Variety’s Power of Pride 2021 list. Rebecca Black launches into 2025 headfirst with her new project SALVATION: proceeding hedonistic, confident bangers that cascade through electronic sounds; drifting from synth-driven confessionals and also pulling back into four-on-the-floor techno mayhem. The bold, playful yet personal lyrics offer a twist on the pop-dance genre and will be sure to cause outbreaks on dancefloors. Rebecca Black will bring SALVATION on tour across North America, the UK and Europe – kicking off with a sold-out show on March 4th in Seattle and wrapping back in the US on April 5th in St. Paul, Minneapolis. After the tour, Black is set to bring SALVATION to summer festivals in 2025, promising high-energy, euphoric performances. The announcement followed her recent internet-erupting DJ sets such as a Boiler Room debut showcasing her spellbinding energy and hypnotic stage presence, as well as a recordbreaking set on the streets of San Francisco amassing over 20,000 attendees. Over the course of her trailblazing career, Rebecca Black has earned critical acclaim for her unrelenting presence in pop culture. A one-woman force who’s in control of her own image, Black achieves her big-budget pop sound through a DIY lens. Working independently with fellow creatives as collaborators, Black complements her slick, futuristic hits with expressive visuals that amplify her music by portraying the deeper messages of her songwriting.

Kristian Matsson has never remained in one place for very long. Having spent much of the last decade touring around the world as The Tallest Man on Earth, Matsson has captivated audiences using, as The New York Times describes, “every inch of his long guitar cord to roam the stage: darting around, crouching, stretching, hip-twitching, perching briefly and jittering away…Mr. Matsson is a guitar-slinger rooted in folk, and his songs are troubadour ballads at heart.” Then came 2020, when Matsson left New York City and returned to his farm in Sweden. There, during that quiet, dreary time of isolation, he drowned out his thoughts by manically growing vegetables in his garden. When he tried writing again, during those many months of collective forced solitude, “I just found myself commenting on the darkness,” Matsson says. “I lost my imagination.” Playing live, music and inspiration returned near the end of 2021, and his produce became less of a priority. “When I’m in motion, I can focus on my instinct, have my daydreams again. When I was finally able to tour again, I started writing like a madman.” He eventually had twenty songs he wanted to record in ten days. Now, Matsson returns as The Tallest Man on Earth with Henry St., his sixth studio album following 2012’s There’s No Leaving Now, full of “vivid imagery, clever turns-of-phrase, and devastating, world-weary observations” (Under The Radar) and 2015’s Dark Bird Is A Home, his “most personal record… surreal and dreamlike” (Pitchfork). Henry St. notably marks the first time he recorded an album in a band setting. “My entire career I’ve been a DIY person––mostly fueled by the feeling that I didn’t know what I was doing, so I’d just do everything myself.” But now, longing for the energy that’s only released when creating together with others, Matsson invited his friends to come and play. Nick Sanborn (of Sylvan Esso) produced Henry St., which includes contributions from Ryan Gustafson (of The Dead Tongues) on guitar, lap steel and ukulele, TJ Maiani on drums, CJ Camerieri (of Bon Iver) on trumpet and French horn, Phil Cook on piano and organ, Rob Moose (of Bon Iver, yMusic) on strings and Adam Schatz on saxophone. “They opened everything up, and understood what the songs that I’d written needed: sounds that I couldn’t ever have thought of or created myself. We recorded so many of the songs live in the studio, playing, having fun and being really open with each other.” An overarching theme of Henry St., he says, is “how to be a person in this world.” The title track is about the deception that, “as individuals, we’re told that we should strive for success. But when we have it, it doesn’t solve anything. The song is about stepping away and thinking: why am I actually doing this?” While writing the song back in Sweden, he knew it would be the centerpiece of the album. “It’s the low point and the turnaround: the other songs are a reminder that I will always be a stubborn optimist, even at the darkest of times.” He was about to record the track as a solo piece, until Phil Cook came in on his first day in the studio. “I had Phil basically hanging over my shoulders at the piano while we were playing, and then he recorded it. He improvised that beautiful outro. When he did, our jaws dropped––I was in tears.” “Looking for Love” is one of those songs about Matsson’s stubborn optimism, and a shining example of Sanborn’s influence on the album. “The first day in the studio, Nick created this hissing noise while I was feedbacking electric guitar. We had so much fun jamming like that. Then Nick put down some piano to overdub my guitar, and we knew we had the song.” The tone for their collaboration was set. “Nick is so emotionally intelligent, and we share an almost childlike joy in things that can happen with music. He makes the songs come truly alive by keeping the performances and the humanity in––the kind of stuff that just happens during the session.” The song “Every Little Heart,” he says, came from a feeling of fearlessness, a confidence in making music after two years of relative silence. “But of course I still have little demons inside of me. I wrote some key changes in the song that came natural to me, but I worried they might sound unnatural to others. When TJ Maiani heard it, he straightaway went into this drumbeat that shocked me a little at first, but came completely natural to him. It fit the song perfectly.” Matsson’s longing for social interchange, after months spent with only his crops, led to the collaboration that delivered the warm, unique and sprawling sound of Henry St. “It’s the most playful, most me album yet, because it covers so many of the different noises in my head. When you overthink things, you get further away from your original ideas. And God knows I overthink things when I’m by myself.” The time in isolation also brought him some newfound peace of mind. “Having been away from it taught me that making music and performing is what I’m doing for the rest of my life, and I’m so grateful for it. It has given me new confidence and playfulness. This is what I do. It’s unconditional.”