6/06/2026

The Human League, Soft Cell and Alison Moyet at the Hollywood Bowl: New Wave Grows Up

The Human League, Soft Cell and Alison Moyet at the Hollywood Bowl: New Wave Grows Up

Hollywood Bowl, Los Angeles — June 4, 2026

REVIEW by Alexander Laurence

For many of the fans arriving at the Hollywood Bowl on Thursday night, the Generations Tour wasn't simply a nostalgia trip. It was a reunion with music that has remained part of their lives for more than four decades. Since there was no Cruel World this year, this was the next best thing.

Featuring The Human League, Soft Cell, and Alison Moyet, the tour brought together three artists who helped define the electronic pop explosion of the early 1980s. All three recently appeared at Cruel World Festival, a reminder that synth-pop and new wave have enjoyed a remarkable resurgence in recent years, influencing newer acts such as Ladytron and The Faint while attracting younger listeners discovering the music for the first time.

The audience itself reflected that legacy. The crowd skewed older, largely made up of people in their 50s and 60s, along with a noticeable LGBTQ presence that has long been part of the fan base for these artists. Looking around the Bowl, it was easy to see people reconnecting with a soundtrack that helped shape their youth while introducing it to friends and family.

Alison Moyet opened the evening with a characteristically understated performance. Her voice remains rich and expressive, but the crowd response felt somewhat muted. Perhaps the relatively early 7:30 p.m. start time contributed to the subdued atmosphere. The audience seemed content to settle into the evening rather than fully engage.

Soft Cell quickly raised the temperature. Marc Almond remains one of pop's most distinctive and charismatic frontmen, and songs like "Memorabilia" injected the night with much-needed energy. For a few moments, the Hollywood Bowl no longer felt like an outdoor amphitheater in Los Angeles but like a downtown club from another era.

During "Memorabilia," I found myself transported back to the legendary Danceteria nightclub of the early 1980s. It felt less like watching a heritage act and more like stepping into a living piece of electronic music history. The sensation was so vivid that I half expected to be dancing on ecstasy in 1982 New York.

That year holds particular significance for me. I graduated from high school in 1982, the same year "Tainted Love" and "Don't You Want Me" dominated radio and MTV. Yet my relationship with these artists has never been entirely tied to those hits. In fact, I didn't see either Soft Cell or The Human League live until around 2000.

My own tastes gravitated toward some of their less celebrated work. I've always preferred Soft Cell's third album, Last Night in Sodom, and much of Marc Almond's adventurous solo catalog. That's why one moment during the set stood out. When Almond encouraged the audience to sing along to "Say Hello, Wave Goodbye," one of the most beautiful songs in the Soft Cell catalog, the response was surprisingly weak. It suggested that many attendees may still view Soft Cell primarily through the lens of "Tainted Love."

The same phenomenon exists with The Human League. While "Don't You Want Me" inevitably generated the night's biggest singalong, Dare remains one of the finest albums of its era, a record whose influence extends far beyond its biggest hit. The band's polished performance served as a reminder that their legacy rests not only on a handful of radio staples but on a body of work that helped redefine pop music.

What struck me most throughout the evening was that this wasn't really about nostalgia. These artists feel relevant again. Their fingerprints can be heard all over contemporary electronic music, indie rock, and synth-pop. The crowd may have been older, but the music didn't feel old.

Perhaps that's why tours like this continue to resonate. We're seeing a generation of listeners who came of age with new wave reclaiming these artists as an important part of their identity. Some were there the first time around. Others discovered the music later. Either way, they are finding community in songs that continue to speak across generations.

At the Hollywood Bowl, The Human League, Soft Cell, and Alison Moyet weren't simply revisiting the past. They were reminding us why this music never really went away.


6/05/2026

Ibeyi share new single "Offerings"

IBEYI SHARE NEW SINGLE “OFFERINGS”


FORTHCOMING ALBUM OFFERING OUT JUNE 26TH

Lisa-Kaindé Diaz and Naomi Diaz by Lisandra Alvarez 


“Offerings”

LISTEN: https://ibeyimusic.ffm.to/offerings.OPR

WATCH: https://ibeyimusic.ffm.to/offerings.OPR/youtube


Offering

PRE-SAVE: https://ibeyimusic.ffm.to/offeringalbum.OPR


(June 5, 2026) - French-Cuban twin duo Ibeyi share their new single “Offerings,” the title track from their upcoming album Offering, due June 26th. “Offerings” is a love song about letting go after being hurt and finally choosing to save yourself first. 


The album’s first single “Aset” introduced many of the themes that continue throughout the album. Drawing from the story of the goddess Isis—also known as Aset—the track explored devotion, sacrifice, imbalance, and the emotional aftermath of giving deeply without certainty of what is returned. Together, “Aset” and “Offerings” frame the album’s emotional arc: from seeking answers to releasing expectations. During the making of the album, the goddess Yemayá appeared to Lisa-Kaindé in a vision while she was asking for direction, telling her: “Only offerings now.”


Created independently, Offering finds Naomi Diaz and Lisa-Kaindé Diaz expanding their creative process, collaborating with a new range of producers and musicians while stepping back from their traditional roles on percussion and piano. The result is a fluid, genre-agnostic body of work that moves between heavy bass and percussive depth, and moments of quiet intimacy and vocal minimalism.


Though the sisters have spent recent years living apart, a series of parallel life experiences brought them back into alignment—personally and artistically. That dual perspective shapes the album’s core: for Naomi, Offering reflects a step into adulthood and self-assurance; for Lisa-Kaindé, it represents an embrace of the unknown and a trust in what follows.


The album also marks a visual and geographic return. All accompanying visuals were shot on location in Havana in collaboration with local artists, musicians, and their community—offering an intimate portrait of the Cuba that has long informed their identity and sound.


More than a decade into their career, Ibeyi are no longer seeking definition. Offering instead captures a moment of transition—one rooted not in certainty, but in surrender.


Listen to “Offerings,” pre-save Offering, and stay tuned for more from Ibeyi coming soon.


Offering cover art by Lisandra Alvarez 


Ibeyi

Offering

June 26, 2026


1. Olokun

2. Aset

3. Focus

4. Moshpit

5. Baba

6. The Process

7. Offerings

8. La tendresse d’un mot feat. Sofiane Pamart

9. I Know You Loved Me

10. Good Life

11. Hurry Hurry

12. Lucky





Connect with Ibeyi: 

Instagram | YouTube | TikTok

THOMAS BANGALTER RELEASES NEW ALBUM 'MIRAGE - BALLET FOR 16 DANCERS'

THOMAS BANGALTER RELEASES NEW ALBUM

MIRAGE - BALLET FOR 16 DANCERS

STREAM / PURCHASE THE ALBUM NOW


WATCH THE ALBUM TRAILER HERE


Released June 5, 2026 

Vinyl, CD, Digital and Revox Tape (limited edition)

A vast and atmospheric piece of electronic minimalism, Mirage encompasses the changing states of the eponymous ballet – a ritual for 16 dancers conceived by choreographer Damien Jalet and contemporary artist Kōhei Nawa. Delivering a statement that feels both radical and accessible, attuned to the elements, Thomas Bangalter takes a sculptural approach to sound and music in the lineage of Iannis Xenakis. The cofounder of Daft Punk continues to carve a personal path grounded by experimentation as a mode of performance and the pleasure of collaboration.


Created for the Ballet du Grand Théâtre de Genève, where the piece had its world premiere in the spring of 2025, Mirage is the fourth collaboration between Damien Jalet and Kōhei Nawa. The piece is elegiac and mysterious, seemingly setting up a ritual for immemorial times where bodies go through various states and materials, alternately deities emerging from the bowels of the earth, fleeting forms fading into the mist, and otherworldly entities caught up in shimmering rain. The choreographer and visual artist workshopped the visual material in the big studio where Nawa conducts his research in Kyoto. Over the months, Thomas Bangalter observed this lab work remotely to build up its sonic counterpart. Composed almost independently from the choreography, the piece dovetails with the visual and atmospheric qualities of the scenography, highlighting its salient features while never feeling redundant. In the process, it becomes a recorded work that stands on its own


Thomas Bangalter’s Mirage unfolds in 8 movements shifting back and forth between sound design and music. The long march at the start – a metronomic rhythm throbbing with sub-bass and drones – segues into more melodious ripples, a sudden polyrhythmic flare-up, scintillations conjuring soft Japanese percussions, the melancholy of a breath that might be a whale or an organ song. Each variation of this soundtrack to a desolate world, a pre-history or post-Apocalypse world, exudes a raw and delicate beauty. Tapping into the elements or their memory, Mirage is a visceral and poignant work resulting from a deeply experimental process. 


To draw – literally – the volumes and outlines of the piece, Bangalter built on thousands of hours over the last 20 years polishing his compositional skill on a graphics tablet. Following an approach both technology-driven and radically human, the composer searched, experimented and recorded material in the same breath, relying on the spontaneous movement of his hands. What we hear or think we hear throughout Mirage doesn’t result from programming work or sound banks but instead originates from drawn points and shapes between the horizontal and vertical axes of a synth oscillator. On the canvas, Bangalter draws the minute details of the elements – crackling fire, a river, glittering specks – as well as the images that immediately evoke Japan in his mind’s eye. Highly expressive rumbles and chimes materialize as he varies the parameters through the recording. In a process evocative of musique concrète, the composer carved the sound material, editing dozens of hours of recordings. Made from splices, juxtapositions and layerings, Mirage is like an acoustics-free electroacoustic work continuing the lineage of Iannis Xenakis (1922-2001), both as a pioneer of graphic composition tools and an artist inspired by organic shapes and natural dynamics. As it turns out, the French-Greek composer is among those that shaped the story of the Erato label, a fertile home for contemporary artists and ballet music. 


The minimalism of Mirage is not based on serialism or repetition. Considering time as a change of state from an atmospheric or spatial rather than a linear and compartmentalized standpoint, Bangalter addresses the ritualistic and solemn dimension of music. His visual art approach to matter and its sensory aspect lies in a deep appreciation of art as a mystical experience.


Building a new bridge between music and sound design and erasing the mark of technology for a very organic outcome, Mirage is also testament to the direction Thomas Bangalter has taken lately. After the virtual high of billions of views accumulated through songs he has produced and co-written, the ex-Daft Punk pursues a desire to work in the more ephemeral yet more tangible reality of the performing arts and contemporary art installations. Driven by a keen interest in collaborative experiences, research, and uncharted boundaries. 



Vincent Théval 

Translated by Jean-Charles Ladurelle 


STREAM / PURCHASE MIRAGE - BALLET FOR 16 DANCERS

https://w.lnk.to/mirage 

Program

Thomas Bangalter

Mirage - Ballet for 16 Dancers (1-8)


Commissioned by the Ballet of the Grand Théâtre de Genève

Concept & Choreography: Damien Jalet

Concept & Set Design: Kohei Nawa

The premiere took place on May 6, 2025 at the Grand Théâtre de Genève


The Ballet continues to tour currently in Europe



Artist

Composed & Performed by Thomas Bangalter

Recorded & Produced by Thomas Bangalter



Thomas Bangalter is a French artist, musician and composer. Cofounder and member of the duo Daft Punk (1993-2021), he has been working for thirty five years on the relationship between humans and technology and has had a global impact on electronic music. Living and working in Paris, he focuses today on contemporary composition and explores the intersection between electronic structures, orchestral immersive music and abstract sound sculptures. Through various experiments, ballet and contemporary dance scores, film scores and art installations, he has notably collaborated with JR, Damien Jalet, Hofesh Shechter, Angelin Preljocaj, Quentin Dupieux, and Gaspar Noé.


Patrick Wolf "The Laughing Dove" | US Tour Begins Tonight!

ACCLAIMED ARTIST PATRICK WOLF 

HAS RELEASED “THE LAUGHING DOVE” TODAY TO COINCIDE WITH 

HIS TOUR OF THE BEAST TOUR WHICH KICKS OFF TONIGHT IN 

WASHINGTON DC


LISTEN HERE, WATCH THE VIDEO HERE

 

WOLF SURPRISED FANS WITH HARPSICHORD BANGER 

“THE BEAST” LAST WEEK – LISTEN HERE

WATCH THE VIDEO DIRECTED BY GROUNDBREAKING QUEER FILMMAKER, ARTIST, ACTIVIST, AND DRAG PERFORMER JOSEPH WILSON HERE

 

WOLF DOCUMENTARY NARRATED AND PRODUCED BY TILDA SWINTON SET TO PREMIERE AT SHEFFIELD DOC FEST JUNE 11 

 




Photo Credit: Emma Jones


 

"Britains foremost pop pioneer" - NME

 

"The goth-folk pioneer. A true one off" - The Guardian

 

"One of Britains most appealing singer songwriters" - New York Times

 

"There's nothing not awesome about him" - Rolling Stone

 

"Britains most innovative, creative and radical popstar" - The Observer


“My feeling is that we certainly come from the same planet: kith and kin. His music sounds like the great unexpressed soundtrack of a great film I want to see – and try to catch every night before I go to sleep…” - Tilda Swinton 

 

“Fantastic, Amazing, I listen to him, I meditate" - Lady Gaga

 

NEW YORK, NY (June 5, 2026)Acclaimed UK singer/songwriter/multi-instrumentalist Patrick Wolf kicks off his return to US for leg one of his Tour Of The Beast tour (see tour dates below - leg two to be announced soon) tonight in Washington DC and to celebrate, he has released a second new song today.  “The Laughing Dove” is a hymn of solace, calling the listener to step away from the suffering of the world and nurture their own peace. It features Wolf on his self-invented Kantalyre instrument, The Pitch Pipe, Upright Piano and Vocals – listen HERE, watch the video he created himself HERE. Tickets for the tour are on sale now HERE.  

 

This is the second of two new songs that Wolf wrote, produced, engineered, and recorded in his home studio in Ramsgate, UK.  He released the harpsichord banger of a single “The Beast” on May 26listen HERE.  Watch the video directed by groundbreaking queer filmmaker, artist, activist, and drag performer Joseph Wilson HERE.  The Beast,” the A-side of the two tracks, is an anthem of empowerment for the ostracized and people pushed out to the margins of life and society and features Wolf on Vocals, Harpsichord, Pianotron, Dulcitone, 5 String Viola, Upright Piano, Drum Programming, Modular Synths, Radiator + Percussion.

 

After the success of his ten-week tour in support of his seventh album, his first album in 13 years, Crying The Neck late last year, driving himself across the country, where he not only discovered his fanbase had been waiting all that time, but a brand new one had grown in his absence, both songs mark a new chapter in Wolf’s career and bridge between album releases.  They also celebrate his return to the United States.  

 

Crying the Neck was an end of summer folkloric odyssey set in the landscape at the end of the east of England where Wolf lives and works. The Times described the album as “..the best thing he’s done, a bracing art-pop song cycle about death and decay shot through with Wolf’s shape-changing baritone and English and Celtic folklore…”  and Spin called it “A cleansing, literary, and intricate album, Crying the Neck not only feels like a rebirth for one of this century’s most unique artists, but perhaps the melancholy statement we need to meet these difficult times." 

 

The tour will see Wolf playing in intimate standing room only venues, solo,  where an astounding collision of genres and musical storytelling features live electronics driving the rhythm alongside his multi-instrumentation, playing Appalachian mountain dulcimer, 5 string viola, piano, lyre, folk and electronic guitar and of course all just the backing to his inimitable multi-octave voice and deep narrative baritone. Much of the wardrobe he is bringing is designed and created by Wolf himself and based on the characters of his songs.  

 

“Meeting what my audience had become in my 13 years away from the United States gave me an electric shock of inspiration,” said Wolf.  “As I listened to them tell me that my music gave them a sense of being less alone in this bewildering world.   So, I slowly began adding in more songs from my catalogue into to my setlist that held this message and by the end of that tour, I knew I needed to come back sooner than I had expected and what kind of energy and vision to bring with me.  Over winter, I finished writing two new songs that stand alone forming the backbone of the Tour Of The Beast setlist and will serve as a bridge to the next album. I received so much love and empowerment from my 2025 North American tour that I cannot wait to return and give my all. The Tour Of The Beast is a tour for the outcast, the pariah, the one with the scarlet letter they are only just learning to wear with pride.”  

 

Patrick Wolf has achieved massive success and critical acclaim from journalists around the world since he released his first EP at the age of 19.  He’s a visionary singer, songwriter and multi-instrumentalist whose songs inhabit a world between the mythic and the deeply personal. Emerging with his debut album Lycanthropy (2003), Wolf quickly established himself as an artist of rare originality, blending folk, electronic, and classical influences into a sound entirely his own. Albums such as Wind in the Wires (2005) and The Magic Position (2007) showcased his gift for marrying emotional candor with sweeping, often orchestral arrangements. Renowned for his striking stage presence and ever-evolving aesthetic, Wolf has built a career on constant reinvention and remains one of the most distinctive voices of his generation. His most recent album, Crying The Neck, was released to much critical acclaim in June 2025. Wolf has toured with Patti Smith's band, collaborated with Florence Welch and Marianne Faithful, among others.  His rapid, stellar ascent led to a sudden retreat from the industry where a decade of personal trial ended with a renaissance and reconnection with his work and vocation, documented in an upcoming feature film biopic Wolf which will debut at Sheffield Doc Fest June 11 and slated for release at the end of this year executive produced and narrated by Tilda Swinton


 

All June tour dates are listed below.  The second leg of the tour will be announced soon.

 

Tour Of The Beast Tour:

June 5 in Washington, DC at DC9

June 7 in Raleigh, NC at The Pour House Music Hall & Record Shop

June 10 in Nashville, TN at 3rd & Lindsley

June 11 in Atlanta, GA at Smith’s Olde Bar

June 13 in Miami, FL at Churchills Pub

June 18 in New Orleans, LA   at Gasa Gasa

June 20 in Houston, TX at The Secret Group

June 21 in Denton, TX at Rubber Gloves

June 23 in Austin, TX at Long Center For The Performing Arts

June 26 in Tucson, AZ at Hotel Congress

June 28 in Phoenix, AZ at Valley Bar

June 30 in Los Angeles, CA at Lodge Room

 

Patrick Wolf:

Website | Instagram | YouTube | TikTok | Spotify | Patreon

The Human League, Soft Cell and Alison Moyet at the Hollywood Bowl: New Wave Grows Up

The Human League, Soft Cell and Alison Moyet at the Hollywood Bowl: New Wave Grows Up Hollywood Bowl, Los Angeles — June 4, 2026 REVIEW by...