Earl is deeply sorry to move these shows and knows how much time, travel, and money fans put into being there. Tickets will be honored for the rescheduled dates, which will be announced as soon as they are confirmed. Refunds will be available at point of purchase for anyone unable to attend the new dates.

Thank you for giving him the space to recover properly. He is looking forward to seeing everyone as soon as he’s healed. 

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Earl Sweatshirt

For over a decade, the rapper Earl Sweatshirt has galvanized fans with his virtuosic storytelling, generous vulnerability, and lyrical gift. A wunderkind that emerged at just 16 from the raw and incendiary Odd Future collective, Earl quickly set himself apart with his dense introspection, off-kilter cadences, and a brooding intellect that belied his youth. Across a number of albums and widespread critical acclaim, Earl has cemented himself as a definitive poet chronicling growth, self-discovery, and the resonant moods of a generation. His live shows embody the intimacy of a cipher with the volume of a stadium, creating a space where fans don’t just listen, they testify.

In 2024, Earl celebrated 10 years since the release of his debut album Doris, a cerebral and emotionally layered record that marked the arrival of a singular voice in hip-hop. With the seminal I Don’t Like Shit, I Don’t Go Outside (2015), he turned inward to reclaim himself. Earl’s 2018 album Some Rap Songs saw him explode traditional form and embrace sonic imperfection, layering thick samples, short verses, and abstract poetics into a textured collage of grief and transformation. Sick! (2022) captured the tumult of the pandemic era with quiet urgency and collaborative contributions from artists and producers like Zelooperz, Nak-el Smith, Armand Hammer, Black Noi$e, and The Alchemist. The 2023 collaborative project with The Alchemist, Voir Dire is a cryptic, soulful self-excavation—marked by murky loops, fragmented memories, and Earl’s signature elliptical lyricism.

His new album, Live Laugh Love, is as thoughtful and surrealist, and embarks on a contemplation of the chaos of existence. A work that began before it began, LLL was initially named in satire and social commentary. What started as a tongue-in-cheek critique of the irony in the phrase developed into a genuine examination of the nostalgia of joy and the simplicity of genuine connection. LLL charts Earl’s path to growth, one that demands a constant wrestling with the past and aspires to return to such moments.“I named it before I wrote it,” he says. “And then everything started clicking.”

With LLL, Earl deepens a long-standing fascination with language, structure, and synchronicity. “Constrictions breed creativity,” he says. “There are rules to reality. It reminds me of Ifá—how spirits operate within that system. I need rules. I need assignments.” For Earl, those rules often begin with a word, a phrase, or a symbol. They give shape to his intuition. Take “Tourmaline”, the title of a track where Earl sing-raps about spiritual protection, love, and his responsibility as a father with hazy, cinematic flair over a looped melancholic melody. It was a word that simply came to him before he knew its spiritual significance. “I had to see why. When I looked it up, it made perfect sense. Tourmaline is a receptive stone. It is celebrated by its ability to inspire enlightenment and balance.”

Across the record on “Gamma (need the Love)”, lyrics reference the late Dave Trugoy (Plug 2) of De La Soul, whose passing Earl says frames the album in its timing and his intentions as an artist—to be self aware and comfortable in his cis black masculinity, but also to be creative, funny, and to strive for greatness. A prophetic line about Roy Ayers follows with uncanny foresight. Tarot imagery—like the Eight of Cups—entered his writing before he consciously understood its spiritual meaning, only to find later that the card’s symbolism carried his intended message: the importance of walking away from what’s no longer serving you, moving on, and being grounded in the mundane. “That’s what growth is,” he reflects. heady about things, but you still have to change diapers.”

“You can get woo-woo and This is the tension Earl thrives in: the poetic and the practical, the sacred and the routine, the heavy and the hilarious. LLL reflects on the alchemy of those layers as an album steeped in allegory but rooted in an artist’s everyday life (the track “INFATUATION” , a love letter to food, chronicles the very real challenge of obtaining sustenance while on tour). This careful balancing act manifests as deceptively effortless, off-the-dome delivery. And yet, his true process is one of endurance and consistency: “If I'm not putting in military hours, sleeping at the studio, waking up at 6:45 and rapping, then making beats all day, and then rapping again at night, and then doing that for four days, then I feel like I'm really behind,” he admits. Earl’s intensity isn’t about ego. It’s about legacy and contribution. “Music is the thing I’m the most leave it cleaner than you found it about,” he explains. He’s critical of the complacency that can come with success: the yes-men, the perks, the comfort. “If you’re not hard on yourself as an established artist, it atrophies you. If you're not resilient about the play of this shit—the core essence—your art becomes what it is: widely accepted but not challenging.”

Standout track “CRISCO” embodies the balance he’s constantly navigating. It starts out with the energy of a Saturday night before landing in a moment of sobering Sunday morning vulnerability. “It’s the most human verse I’ve written,” he says, reflecting on lines like, “I got the failure beaten out of me. It wasn’t even an option.” This honesty cuts through the album’s dream logic, giving listeners not just a window into Earl’s mind but also into the context that surrounds his life lessons.

The end result of Earl’s latest work is a prophetic, spiritually guided, and celebratory exploration of narrative as a means of surviving life’s confusions, constraints, and change. As the music came, so did signs that Earl was channeling something beyond himself. LLL reflects both a profound inner shift and is also a generous snapshot and meditative processing of where Earl is now: a father, an artist in his 30s, and a person who has spent half of his life making art in public. LLL boldly confirms Earl’s evolution without fanfare—it is steady, palpable growth that marks the joy in embracing the journey, however imperfect.

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MIKE

Over the years, MIKE has built a rock-solid catalog that spans across nine solo albums and various collaborative works. Having grown up splitting time between London and his current home of New York, his music represents the kinship of those two cities and has reflected the multidimensional truth of his life at the time of each release, like the work of our best. He lost his mother in 2019 and his album from that year, tears of joy, felt like it came from someone weathering a storm. 2021’s self-produced Disco! still dealt with the weight of that loss, but showed him climbing out of a funk, energized by his ever-growing significance to the underground scene, which only became stronger as he continued to let listeners in. In terms of career, it’s been a steady climb uphill for MIKE since then. In 2022, he released Beware of the Monkey, an album that saw him begin to widen his emotional scope to gratitude, celebration, and jubilation while 2023’s Burning Desire showcased him finally beating his chest about being on the top of his food chain.

Part of his success, beyond readily peeling back his layers, can also be attributed to how he’s been committed to paying it forward since stepping into public consciousness. Being a MIKE fan is obviously about the effectiveness of his music, but also who he introduces us to through that music. Through his 10K label and collective, he’s platformed artists in his orbit from different parts of the globe (Niontay from the Orlando area, Sideshow from the DC area, Jadasea from London); Under his producer name (dj blackpower) he’s released electronic side projects and made beats for keiyaA and Liv.e, two of the scene’s leading women who make their own experimental takes on soul and R&B; he can list his idols Earl Sweatshirt and The Alchemist as friends and collaborators now; And he’s continued to release music that displays his dedication to craft while establishing himself a king in his world — someone who can be trusted to share the wealth because he’s a genuine fan of what’s happening. In early 2024, MIKE dropped Pinball with New York producer Tony Seltzer, a stalwart in the underground rap scene whose chaotic, early Millennium computer game-sounding production makes it difficult for his collaborators to not lighten up. 

MIKE was no different, despite his track record of being a somber scribe. On that project he took his audience on a detour. There, he wasn’t the reflective guy that people came to know and love over the years. Instead, he was shooting his shot at beautiful women, tooting his own horn, and delighting over the different strains of California herbs he has access to. This came as a surprise to some critics and fans of his work, but for the most part, only to people who viewed him through a strict binary. MIKE has shown through his collaborative work that he’s way more expansive in his thinking than just being some arbitrary mascot for so-called high brow or intellectually-stimulating rap music. He doesn’t shy away from the type of music he’s known to make, but never positions it as better than anything else. He’s simply doing what we should want all of our favorite artists to do: have fun.

On his newest album, Showbiz!, he sets out to do just that — all while trying to strike the perfect balance between everything he’s done in his career thus far. “With this one, I came to accept what a lot of people have been saying, which is that a lot of my albums have been like diary entries of what my life looks like,” he says of the project. “I feel like with this one, the title Showbiz! was chosen because these past couple of years have been the beginning of me touring so much. I've really been on the road and navigating life as a performance artist. But also realizing I’m an artist who needs to make music at home. So it’s me figuring out how all of those worlds blend into each other. What's the outcome of these different lanes?” On the project’s lead single, “Pieces of a Dream,” he shares that he’s very much still having his bouts with grief, rapping, “Nah, I ain’t sober yet / All this smoke finna break my lungs…when the strife from the pain won’t budge / your old vice couldn’t change no luck.” Then, later in the album, he boasts over looping flute-play, “My mind full of fuck shit, eyes on the hundreds / I gotta put it on my life if I want it / I been putting up with strife since a youngin’.” MIKE’s always had variety, but on Showbiz!, he teeters more actively between moments of introspection, intoxicating self-confidence, and motivational conversations in his head, both thematically and sonically. There’s a seesaw effect, a clear sign that over the past few years of non-stop touring and ascending in his career, the rapper has felt a constant back-and-forth that he’s still trying to get a solid handle of.  “When I show up with my homies, show up at the show, show up to my family, show up to my friends, it is all the same person but everything is definitely categorized in a certain way which, for myself, my goal is to bring all of those things into something more cohesive,” he says of the dilemma. “So then it's easier to operate everywhere. When I listen to the project, it feels like a lot of it is about reflecting on that.”

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Harrison (Surf Gang)

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Anysia Kym

Anysia Kym is a Bronx-born, Brooklyn-based music producer, drummer, and songwriter. She has established a distinctive sound within NYC’s alternative hip hop scene, incorporating the SP-404, SP-555, drum set, and electric guitar in her recorded music and performance.