The Teaches of Peaches is gospel for—well, for anyone interested in bodily autonomy who’s smart enough to listen. Her all-time classic “Fuck the Pain Away” is as funny and crude as it is sincere, like the rest of the brash electro-punk’s catalog. As the title suggests, No Lube So Rude, Peaches’ first album in a decade follows suit. 

The Boss is making ripped-from-the-headlines protest songs, spelling out exactly what he means to say, and diverting his tour to shout them out loud. “Streets of Minneapolis” names names: Renée Good and Alex Pretti and the—primarily unelected—government officials responsible for their murders, and Springsteen released it just four days after Pretti was killed by ICE agents. “We will be rocking your town in celebration and in defense of America—American democracy, American freedom, our American Constitution and our sacred American dream,” Springsteen wrote in a statement, “all of which are under attack by our wannabe king and his rogue government in Washington, DC.” 

FKA Twigs’s 2025 project EUSEXUA is more of a world than an album—have you seen the video for the titular single?—but the Best Dance/Electronic Album award was the closest thing the Grammys could offer it. Expect cuts from EUSEXUA and its follow-up, EUSEXUA Afterglow, at what’s sure to be a transcendent Moda Center show. 

It still feels radical to put lap steel in songs that could be called some version of punk—even more when they verge into noisy, shoegaze territory. But Wednesday songwriter Karly Hartzman’s vivid storytelling about dark episodes of smalltown life is what caused NPR to call the North Carolina band’s latest record, Bleeds (2025), “a contender for finest rock album of the year.” MJ Lenderman’s solo work gets close to a similarly progressive, genre-fluid sound; he’s Wednesday’s guitarist but no longer tours with the group. Lenderman is, however, playing with Waxahatchee (another band to add to your Americana meets punk meets shoegaze playlist) at the Roseland May 2, but that show’s sold out. 

Florence Welch hasn’t let up since her fittingly titled debut, Lungs, from 2008. Everybody Scream, the sixth LP from Welch and her machine, provides plenty of the heartrending folklore and arena-ready choruses we’ve come to expect, but the chamber versions of a few songs she added to a bonus release might offer some intimate fodder for the live show. Philly punks Mannequin Pussy open—be sure to scream for them, too. 

The name Yungblud tells of the English mega rock star’s early days dabbling in pop punk and rap rock. Make no mistake, though, a cover of Kiss’s “I Was Made For Lovin’ You” is one of his biggest songs. These days, the dude seems to exclusively wear leather pants and his eyeliner runs for the Prince of Darkness—Yungblud is rumored to be playing Ozzy in a forthcoming biopic and won a Grammy this year for his cover of the Black Sabbath song “Changes.” 

Morby’s next album, due in May, is comically packed with famous friends, including Justin Vernon, Aaron Dessner, and Lucinda Williams. News of Little Wide Open came with an essay by Rachel Kushner titled “Field Guide to the North American Troubadour,” which is exactly what the “Beautiful Strangers” and “Harlem River” singer is. Sylvan Esso’s Amelia Meath sings with Morby on the album’s first single, “Javelin,” a soft, sweet strummer of a highway tale about passing cow towns in the Bible Belt. 

If the blues ain’t broke…. Peaches!, the Black Keys’—this might make you feel old—fourteenth studio album, is out May 1, which gives you plenty of time to get familiar before this early season Edgefield show. The lead single is a cover of “Bad to the Bone” boogie-bluesman George Thorogood’s “You Got to Lose” that rides the same tumbleweed of garage-fuzz the Ohio duo locked onto with its earth shaking debut, The Big Come Up, in 2002.