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Yeah Yeah Yeahs Announce Summer Tour Dates & Share Subdued ‘Blacktop’ Video

The band will make stops in North America, Europe and Asia starting in early May.

By Starr Bowenbank

Starr Bowenbank

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Yeah Yeah Yeahs

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In addition to the tour dates, the group dropped the video for “Blackdrop,” which hails from its fifth studio album, Cool It Down . The visual features lead singer Karen O in glittering eye makeup and glossy red lips, singing the track’s emotive lyrics in a fuzzy video reminiscent of the ’80s.

Watch the visual for “Blacktop” in the video above. See the dates for Yeah Yeah Yeahs summer tour below.

View this post on Instagram A post shared by YEAH YEAH YEAHS (@yeahyeahyeahs)

YEAH YEAH YEAHS 2023 TOUR DATES

• 5/3 – Washington, DC @ The Anthem
• 5/5 – Atlanta, GA @ Shaky Knees Music Festival
• 5/7 – Houston, TX @ 713 Music Hall +
• 5/9 – Irving, TX @ The Pavilion at Toyota Music Factory +
• 5/12 – Salt Lake City, UT @ Kilby Block Party
• 5/13 – Pasadena, CA @ Just Like Heaven
• 5/26 – Allston, MA @ Boston Calling Music Festival
• 6/1 – Chicago, IL @ Huntington Bank Pavilion at Northerly Island
• 6/3 – Minneapolis, MN @ Armory *
• 6/5 – Morrison, CO @ Red Rocks Amphitheatre *
• 6/7 – Redmond, WA @ Marymoor Live *
• 6/8 – Troutdale, OR @ McMenamins Edgefield *
• 6/10 – Berkeley, CA @ The Greek Theatre *
• 7/28-30 – Yuzawa, JP @ Fuji Rock Festival
• 8/25 – London, EN @ All Points East
• 8/26 – Paris, FR @ Rock en Seine
• 8/28 – Amsterdam, NL @ Paradiso
• 8/29 – Berlin, DE @ Columbiahalle + w/ The Faint * w/ Perfume Genius

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Yeah Yeah Yeahs Announce U.S. and European Tour Dates

By Allison Hussey

Yeah Yeah Yeahs will tour the United States this spring and Europe in the summer, with a string of festival and headline dates kicking off in Washington, D.C. Support in several cities will come from “ Spitting Off the Edge of the World ” collaborator Perfume Genius , with the Faint backing them up in Texas. To accompany the news, the band has shared a David Black –directed video for the Cool It Down track “Blacktop,” which you can find below along with the tour dates.

Yeah Yeah Yeahs were nominated twice at Sunday’s Grammys , with nods for Best Alternative Music Album and, for “Spitting Off the Edge of the World,” Best Alternative Music Performance . Wet Leg wound up winning in both categories.

Read about Yeah Yeah Yeahs in “ The 200 Most Important Artists of Pitchfork’s First 25 Years .”

All products featured on Pitchfork are independently selected by our editors. However, when you buy something through our retail links, we may earn an affiliate commission.

Yeah Yeah Yeahs:

05-03 Washington, D.C. - The Anthem 05-05 Atlanta, GA - Shaky Knees Music Festival 05-07 Houston, TX - 713 Music Hall + 05-09 Irving, TX - The Pavilion at Toyota Music Factory + 05-12 Salt Lake City, UT - Kilby Block Party 05-13 Pasadena, CA - Just Like Heaven 05-26 Allston, MA - Boston Calling Music Festival 06-01 Chicago, IL - Huntington Bank Pavilion at Northerly Island 06-03 Minneapolis, MN - Armory * 06-05 Morrison, CO - Red Rocks Amphitheatre * 06-07 Redmond, WA - Marymoor Live * 06-08 Troutdale, OR - McMenamins Edgefield * 06-10 Berkeley, CA - The Greek Theatre * 07-28-30 Yuzawa, Japan - Fuji Rock Festival 08-25 London, England - All Points East 08-26 Paris, France - Rock en Seine 08-28 Amsterdam, Netherlands - Paradiso 08-29 Berlin, Germany -Columbiahalle

+ with The Faint * with Perfume Genius

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By Matthew Strauss

By Nina Corcoran

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‘All is not lost!’ Yeah Yeah Yeahs return with riffs, risks and radical optimism

The darlings of 00s indie sleaze shook jaded audiences into life with their raucous rock’n’roll. Twenty years later, facing ecological catastrophe and middle age, can they do it again?

W hen the pandemic hit in 2020, Karen Lee Orzolek set about constructing what she thought of as a “portal” in a closet at the foot of her stairs. Orzolek, better known as Karen O, the spectacularly charismatic frontwoman of Yeah Yeah Yeahs , was experiencing the locked-down contraction of her world along with everyone else. Unlike everyone else, however, Orzolek is a rock star in the truest sense of the word – a woman used to selling out huge venues with a triple-Grammy-nominated band whose driving spirit these past 22 years comes from a swirl of notions that now seem almost antiquated: that rock music might set you free, that defiance can change the world, that transcendence through art is possible.

Remembering that odd year spent at home in Los Angeles, Orzolek, 43, thinks first of worms: “My son was really into worm-hunting in our backyard; I remember life shrinking down to going on worm hunts with him,” she says with a smile. Second, she thinks of the concerts she did in that closet, mini broadcasts over Instagram for which she would transform her tiny space into “a different world” each time. Balloons, streamers, whatever it took – the band’s gleeful DIY spirit prevails.

Those peak-pandemic months were the first time since she was a child that Orzolek experienced time as irrelevant: “Isn’t it so fascinating how these fraught times can bring so much revelation?” Now, nine years after the last Yeah Yeah Yeahs record, that sense of revelation thrums through their triumphant fifth album, Cool It Down. Finely calibrated between widescreen emotion and sonic precision, it sounds ready to sweep the jaded out of their stupor, and is the band’s best testament yet to their idealist spirit.

It is mid-May, and Orzolek has arrived early to the sun-drenched terrace of a Los Angeles hotel wearing a sky-blue jumpsuit that makes her look like a chic garage attendant. A stylish older woman leaps up from a neighbouring table to tell her it’s incredible: did she make it herself? Orzolek thanks her and tells her no, her best friend did. This is designer Christian Joy, whose outre costumes shaped the band’s iconography from the start. By phone, Joy recalls the first one she made for Orzolek: “It was this really ugly, shredded blue prom dress that said ‘Yeah Yeah Yeahs’ all over it and had all these plastic flowers hanging off it. It was ugly and she rocked it.”

In September 2020, Orzolek once again enlisted Joy. The band were turning 20 and Orzolek wanted to celebrate with a closet performance that would be some sort of transmission of love. For this, she needed an outfit that recalled the messy exuberance of their 2003 debut album, Fever to Tell. The concept, Joy says, went something like: “Crazy mom at a kids’ party who’d walked away with the whole table.” She sometimes wonders when Orzolek will “reach the point where she’s like: ‘OK, I can’t wear this stuff any more.’ I mean, we’re all in our 40s now …”

In the clip, Orzolek appears against a backdrop of shiny rainbow streamers , wearing a spangly headdress bristling with balloons and a dress made from a shower curtain studded with dollar-store party tat. Then, with drummer Brian Chase and guitarist Nick Zinner beamed in via video, she sings their most indelible love song, Maps. It seems a sweet irony that a band known for not giving a damn should have this raw-hearted distillation of longing be their most famous song. Yet both Maps and the carnival-like disinhibition of the live shows seem to come from the same source: a refusal of self-consciousness.

Zinner is next to arrive on the terrace: pale, clad in black, and wincing from the sun, he murmurs drily about being “a diva” as he seeks the shadiest corner of the table. His demeanour, that of a bewitched Tim Burton character, makes him an endearing foil to the labrador-like enthusiasm of Chase, who pulls up a chair with an: “All right! Los Angeles!” Chase, 44, is the lone NYC holdout; Orzolek moved to LA in 2004, and Zinner, having gone back and forth between the two cities, finally moved in 2020. People still assume, Orzolek says good-naturedly, that they all still live in New York.

As much coffee and kale is ordered, I sense the magnitude of these three people having known each other for so long. “When we started out in 2000 we were inspired by music that came out in 1980,” says Zinner in quiet wonderment. “You know, ESG or New Order … and I can’t wrap my head around the fact that the beginning of our band is the mid-point between those things.”

Both Chase and Orzolek are parents now, yet all three still seem like the awkward, occasionally awestruck art-school kids who came together in New York. When I suggest that silliness is at the band’s core, Orzolek agrees seriously, then gazes at the table to let a thought coalesce: “God, give me a second because this is huge …” Still thinking, she offers a throwaway line: “Don’t take the tongue out of the cheek!”

“Did you just come up with that?” says Chase, impressed. “That’s brilliant.”

She laughs this off. The creative ideal, for Orzolek, is “if you can forever be in the sandbox. For one thing, it’s disarming.” This was something she tried to figure out in the band’s earliest days. “I mean, New York’s a tough crowd. It’s a lot of somewhat jaded people who’ve seen it all.” It was a question, then, of: “How do I disarm this crowd of their own self-consciousness?” The answer was by summoning a welter of sexuality and absurdity and angst, ridding herself of self-awareness. “It sets me free! And the idea is if it sets me free, it sets everyone else free. And it sets Brian and Nick free! I mean, holy shit, the three of us when we’re up there: it really does feel like radical freedom.”

“Performing with this band,” Zinner says simply, with full eye contact, “is the greatest thing in the world.”

After the release of 2013’s Mosquito , however, it was by no means certain there would be another Yeah Yeah Yeahs record. The band had fulfilled their contract with Universal and thus freed from a cycle of writing, recording, touring. A couple of years later, Orzolek had a son, Django, with her husband, Barnaby Clay, a director. “I’m glad I was able to squeeze one out,” she says. “And then I was rubble for a couple of years after that.” The band remained in close touch but it wasn’t until late 2019 that they started talking about new music. In early 2020 came what they refer to as “the Black Dragon conversation”.

“Karen and I had dinner and were hanging out and drinking this sake called Black Dragon,” Zinner explains. It resulted, Orzolek says, in the worst hangover of her life. But that night was also the first time she expressed a readiness to start writing again.

“They’ve been extremely patient in waiting for me to come round,” she says of her bandmates. The Black Dragon conversation acknowledged the trauma of the Trump years, plus “the baggage and pressure of just 20 years of being a family”, ultimately leaving all three with one governing question: “How can we do this in the most joyful, pressure-free sort of way?”

Soon after Zinner sent Orzolek a folder of ideas, the pandemic arrived. Not long after that, wildfires began raging through LA and Orzolek was reminded of “this ticking clock” of ecological doom. Confused by hearing so much music that seemed merely escapist, she longed to hear her emotions reflected – not least the vertigo of parenthood, and “ushering a new life into a world that feels so uncertain”. The mood of the album’s first track, Spitting Off the Edge of the World, is one of defiance – in particular, “defiance of ruin. It was me wanting to convey to my child that all’s not lost.”

“There’s what I describe as a zoom-in, zoom-out quality to living right now,” says Chase. “The more I zoom out, the more I realise how problematic life is. Which sphere do I place myself in? Do I keep things in the immediate, or how much do I obligate myself to concern with the larger circumstances?”

“I’m just stumbling through that every day,” says Orzolek. “In order to write music you have to be great friends with mystery and uncertainty. When Nick and I initially go in to ‘jam’ or whatever, we have this affinity and trust with the mysterious process of how music arrives. You have to be so open and almost innocent. I know I’m good at it when it comes to making music in this band – that’s the safe haven for big feelings.”

The songs flowed out faster than ever before, with Orzolek seized by an urgency she hadn’t experienced since Fever to Tell . The result is a bombastic studio record, conveying a sense of cosmic awe with a punk sneer: when guest artist Perfume Genius sings on the euphoric opening track about the sun “melting houses of gold”, it’s both a spitting “fuck you” to capitalist greed and an arms-wide “I love you” to our planet. Cool It Down is also, Orzolek notes, “the most peaceful record between Nick and I – it just felt so simpatico”.

“Just to see these things emerge from Karen, seemingly instantly …” murmurs Zinner, “it was so cool.”

Yeah Yeah Yeahs’ very first show in 2000 was as the first of three openers for a little-known outfit called the White Stripes. “To play a show at the Mercury Lounge, to play a show in New York City – that was it!” says Orzolek. Beyond that, they had little or no ambition. “I don’t know if the Strokes did, or anyone did. Everyone was just doing it because they wanted to do it; it just happened to be the right place at the right time.”

The grimy, heedless glamour of that moment is now undergoing a resuscitation. There’s the forthcoming documentary adaptation of Lizzy Goodman’s oral history Meet Me in the Bathroom, which memorialises the rise of Yeah Yeah Yeahs and their cohort – the Strokes, LCD Soundsystem, TV on the Radio. We are also witnessing the so-called “indie sleaze” revival, whereby all the sweat, glitter and spilt beer of an early 2000s subculture is being reclaimed by a generation who weren’t born at the time: Orzolek and her iconic bowl cut feature prominently on the Instagram account indiesleaze . When the US songwriter Lucy Dacus (of Boygenius) first heard Yeah Yeah Yeahs in high school, Karen O “opened up a world of possibility,” she tells me. Dacus was seized by Orzolek’s “wild confidence … her showing up in a way that felt reserved for rock legends. She was like, ‘Actually I’m a rock legend.’”

There are, Orzolek will readily admit, two different Karens: the self-effacing one at this table, just a shy girl from New Jersey, and then the onstage force that is international rock goddess Karen O, howling and yelping into a mic.

“I really revelled in there being little to no precedent or legacy for me,” she says. “I felt like because there are so few [women] and they’re all fucking crazy mavericks – Janis Joplin, Grace Slick, Patti Smith, Debbie Harry – all they taught me was you make it up as you go along. So I felt incredibly liberated in that sense.”

It is one reason she felt fairly unscathed by the sexism of that time. “But yeah, the shots up the fucking skirt … That sucked.” It also annoyed her that people paid more attention to the spectacle than to the songwriting. “I was a hot mess, man,” she says. “The amount I wanted to please the crowd through self-destruction was escalating and escalating.” After she fell off a stage in Australia and injured herself in 2003, “I really had to reconfigure the way I performed. I had to understand that I didn’t need to destroy myself up there in order to reach some sort of transcendence.”

On the band’s forthcoming tour, they will be supported by Japanese Breakfast , whose songwriter Michelle Zauner is Korean-American, and youthful punk band the Linda Lindas, who identify as half-Asian, half-Latinx. Orzolek, who is half Polish-American and half-Korean, is gratified by the “Asian-American representation blossoming” in music. “I feel like I’ve been waiting all my life for that. It’s crazy, man, how things like that change all of a sudden.”

It is also life-affirming in a different way, she adds: “It feels like, ‘Man, we’re cool enough for these cool bands to open for us!’” The astonishment in her voice goes some way, I think, in explaining Yeah Yeah Yeahs’ enduring coolness – because what’s cooler than wonder? Here are three people still not taking a thing for granted, whether it’s worms or the vast mysteries of the creative process.

Now, ahead of their shows for Cool It Down, Orzolek is puzzling over how she might “arrive as who I am right now in this moment” – with vulnerability and courage. “There’s going to be a new performer up there,” she says. “I just haven’t met her yet.”

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Yeah Yeah Yeahs Announce 2023 U.S. and European Tour Dates

Alongside the release of their new “blacktop” music video..

The Yeah Yeah Yeahs are officially heading out on tour this spring and summer, with a string of shows booked in the U.S. and Europe in support of their 2022 album, Cool It Down .

The reunited band will kick off their travels in Washington, DC, on May 5, before traveling across the states and hitting several festivals, including Shaky Knees Music Festival and Boston Calling Music Festival. After concluding their U.S. leg at Berkeley, California’s Greek Theatre, the band will head to Yuzawa, Japan for Fuji Rock Festival on July 28, followed by stops in London, Paris, Amsterdam and Berlin. The Yeah Yeah Yeahs’ “Spitting Off the Edge of the World” collaborator Perfume Genius will open for the band at several shows.

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• Consequence

Yeah Yeah Yeahs Announce US Shows, Sign to Secretly Canadian in Advance of New Music

The band will release new music this fall

After a lengthy hiatus, Yeah Yeah Yeahs are gearing up for a return. To go along with their upcoming tour dates overseas, the band has announced a pair of headlining shows in New York and Los Angeles. What’s more, they’ve announced their signing to Secretly Canadian in advance of new music coming this fall.

In October, YYYs will headline shows at Forest Hills Stadium in Queens, NY and the Hollywood Bowl in Los Angeles. The Linda Lindas will provide support on both dates, while Japanese Breakfast will also appear at the Hollywood Bowl gig. Tickets go on sale Friday, May 6th at 10:00 a.m. local time via Ticketmaster .

YYYs previously announced shows in the UK and Australia (the latter alongside Wet Leg), as well as festival appearances at Primavera Sound in Barcelona and Osheaga in Montreal. Check out their complete tour schedule below.

Yeah Yeah Yeahs haven’t released a new album since 2013’s Mosquito , but frontwoman Karen O. is ready to kick off a brand new era. “New music! New Era! And New Home with Secretly Canadian ! Much to celebrate!” she says in a statement included with today’s announcement.

Yeah Yeah Yeahs 2022 Tour Dates: 06/05 – Manchester, UK @ Apollo % 06/07 – London, UK @ Academy Brixton @! 06/08 – London, UK @ Academy Brixton #! 06/11 – Barcelona, ES @ Primavera Sound 06/20 – Melbourne, AU @ Margaret Court Arena $ 06/24 – Sydney, AU @ Hordern Pavilion $ 07/29 – Montreal, QC @ Osheaga Music Festival 10/01 – New York, NY @ Forest Hills Stadium ^ 10/06 – Los Angeles, CA @ Hollywood Bowl *^

% = w/ English Teacher @ = w/ Dry Cleaning ! = w/ Anika # = w/ Porridge Radio $ = w/ Wet Leg ^ = w/ The Linda Lindas * = w/ Japanese Breakfast

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Yeah Yeah Yeahs announce first US shows in three years, tease new music

The band signed to secretly canadian and have new music coming this fall.

We were overdue for new music from the Yeah Yeah Yeahs. The band hasn’t released an LP since Mosquito back in 2013. But that’s soon about to change: Today, Yeah Yeah Yeahs announced it has been signed to Secretly Canadian, and is releasing new music this fall. To celebrate its return, the band is also playing its first US shows since 2019.

Those shows will be in New York City and Los Angeles. The NYC show is happening on October 1 with The Linda Lindas opening (there will also be another opener TBA), and the LA one is on October 6, with the perfect opening lineup of Japanese Breakfast and The Linda Lindas.

“It’s with true life affirming pleasure to announce our two headline shows in our two hometowns NYC and LA supported by two wildly gifted bands Japanese Breakfast and The Linda Lindas at the Hollywood Bowl, with The Linda Lindas supporting in Forest Hills and our other support TBA soon! Representin’ a few generations yo! Cannot wait to see you there! New music! New Era! And New Home with Secretly Canadian! Much to celebrate!” writes Karen O. in a press statement.

Tickets go on sale Friday, May 6 at 10 a.m. local time. There’s also a presale for American Express Card Members happening on Tuesday, May 3 at the same time.

Yeah Yeah Yeahs had previously announced an European and UK tour for the summer. The news of the label change and new music also comes two years after Karen O told Australian radio station Double J that she felt “ready to make some music.”

Yeah Yeah Yeahs - 2022 tour dates

June 5: O2 Apollo - Manchester, UK [Support: English Teacher]

June 7: O2 Academy Brixton - London, UK [Support: Dry Cleaning, Anika]

June 8: O2 Academy Brixton - London, UK [Support: Porridge Radio, Anika]

June 11: Primavera Sound 2022 - Barcelona, ES

Jul 20: Margaret Court Arena - Melbourne, Australia [Support: Wet Leg]

Jul 24: Hordern Pavilion - Sydney, Australia [Support: Wet Leg]

July 29: Osheaga Music and Arts Festival 2022 - Montreal, QC

October 1: Forest Hills Stadium - New York, NY [Special Guest TBA, The Linda Linda]

October 6: Hollywood Bowl - Los Angeles, CA [Japanese Breakfast, The Linda Lindas]

Yeah Yeah Yeahs

New album “cool it down” is out now.

Spitting Off the Edge of the World (TRY Remix)

Lovebomb (ADULT. Remix)

"Spitting Off the Edge of the World" - Lush Version

"Wolf" - Boy Harsher/Sextile Remixes

"Cool It Down" - Out Now

Watch 'Blacktop' Official Video

Watch 'Wolf' Official Music Video

'Wolf' - Boys Noize Remix

Watch 'Burning' Official Video

'Burning'

Watch 'Spitting Off the Edge of the World' Official Video

'Spitting Off the Edge of the World' ft Perfume Genius

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• New Additions

Yeah Yeah Yeahs Add 2023 Tour Dates: Ticket Presale Code & On-Sale Info

by Francesco Marano

Published september 13, 2023.

New York City rockers Yeah Yeah Yeahs have added 2023 tour dates.

Three newly planned concerts are set in the USA this November in Boston, Philadelphia, and Toronto. The opening act for the new dates will be SASAMI.

In addition, Yeah Yeah Yeahs have a couple of festival performances lined up in the USA and more concerts in Mexico.

Sorry, no future events are currently in our system. Contact us to report a problem

When do Yeah Yeah Yeahs 2023 tour tickets go on sale and what is the presale code?

For the new dates, the general public on-sale begins as early as September 15. Presales for Artist are currently underway. Live Nation, LN Mobile App., and local venues / radio presales will follow. Tickets for the previously announced shows are now on sale. Keep in mind, each date is different and details are subject to change.

The Artist presale password is COOLKIDZ23 . The Live Nation presale password is STUDIO , and the LN Mobile App code is COVERT . Click through the individual concert links for more information about the show you're interested in.

For the most up-to-date information, follow Yeah Yeah Yeahs on social media and sign up for the email newsletter , in addition to checking your local venue's social media and email subscription service.

Last year, the band released an album titled Cool It Down . For more, check out the Yeah Yeah Yeahs Zumic artist page .