Instagram Story Save

«You know you’re in trouble when people stop listening to sad music. Because the moment they stop listening to sad music, they don’t want to know anymore... They’re turning themselves off»

📹 ANIMA Interview with Zane Lowe

In 1997, Radiohead performed at Glastonbury amidst heavy rain and thunderstorms, but that didn’t stop them from delivering one of the most unforgettable sets — “Exit Music” sounded truly mystical and heartfelt, becoming the symbol of that night.

It was The Smile’s first concert in Belgrade: the crowd sang along, filmed, and praised Thom Yorke’s and the band’s energy, while new songs from the album Wall of Eyes came to life on stage.
(Live at Hangar, Beograd, 2024)
📹by @artmst

Flea and the Honora Band and Thom Yorke played Traffic Lights & Got to Give It Up at KOKO in London on May 26th, 2026

🎥: @roustghoti

Ed O’Brien’s been quietly stepping out of Radiohead’s shadow in 2026.

His new solo record Blue Morpho (out May 22) wasn’t made in a “studio hype” era – it came out of lockdown isolation, depression, and basically rebuilding his relationship with music from scratch. He even described it as a kind of “dark night of the soul,” where the guitar became therapy more than career.

Interesting bit: it’s his first album released under his real name – not EOB – and he’s been unusually open about how long he felt like “the quiet one” next to Yorke and Greenwood.

Meanwhile, Radiohead aren’t exactly resting either. According to Ed, they’re planning a very specific return model: 20 shows a year, one continent at a time – no more, no less. A slow burn comeback instead of the usual world tour chaos.

Right now it feels like he’s doing two things at once:
unlearning the past… and rewriting it.

Ed O’Brien’s been quietly stepping out of Radiohead’s shadow in 2026.

His new solo record Blue Morpho (out May 22) wasn’t made in a “studio hype” era – it came out of lockdown isolation, depression, and basically rebuilding his relationship with music from scratch. He even described it as a kind of “dark night of the soul,” where the guitar became therapy more than career.

Interesting bit: it’s his first album released under his real name – not EOB – and he’s been unusually open about how long he felt like “the quiet one” next to Yorke and Greenwood.

Meanwhile, Radiohead aren’t exactly resting either. According to Ed, they’re planning a very specific return model: 20 shows a year, one continent at a time – no more, no less. A slow burn comeback instead of the usual world tour chaos.

Right now it feels like he’s doing two things at once:
unlearning the past… and rewriting it.

Ed O’Brien’s been quietly stepping out of Radiohead’s shadow in 2026.

His new solo record Blue Morpho (out May 22) wasn’t made in a “studio hype” era – it came out of lockdown isolation, depression, and basically rebuilding his relationship with music from scratch. He even described it as a kind of “dark night of the soul,” where the guitar became therapy more than career.

Interesting bit: it’s his first album released under his real name – not EOB – and he’s been unusually open about how long he felt like “the quiet one” next to Yorke and Greenwood.

Meanwhile, Radiohead aren’t exactly resting either. According to Ed, they’re planning a very specific return model: 20 shows a year, one continent at a time – no more, no less. A slow burn comeback instead of the usual world tour chaos.

Right now it feels like he’s doing two things at once:
unlearning the past… and rewriting it.

Ed O’Brien’s been quietly stepping out of Radiohead’s shadow in 2026.

His new solo record Blue Morpho (out May 22) wasn’t made in a “studio hype” era – it came out of lockdown isolation, depression, and basically rebuilding his relationship with music from scratch. He even described it as a kind of “dark night of the soul,” where the guitar became therapy more than career.

Interesting bit: it’s his first album released under his real name – not EOB – and he’s been unusually open about how long he felt like “the quiet one” next to Yorke and Greenwood.

Meanwhile, Radiohead aren’t exactly resting either. According to Ed, they’re planning a very specific return model: 20 shows a year, one continent at a time – no more, no less. A slow burn comeback instead of the usual world tour chaos.

Right now it feels like he’s doing two things at once:
unlearning the past… and rewriting it.

Ed O’Brien’s been quietly stepping out of Radiohead’s shadow in 2026.

His new solo record Blue Morpho (out May 22) wasn’t made in a “studio hype” era – it came out of lockdown isolation, depression, and basically rebuilding his relationship with music from scratch. He even described it as a kind of “dark night of the soul,” where the guitar became therapy more than career.

Interesting bit: it’s his first album released under his real name – not EOB – and he’s been unusually open about how long he felt like “the quiet one” next to Yorke and Greenwood.

Meanwhile, Radiohead aren’t exactly resting either. According to Ed, they’re planning a very specific return model: 20 shows a year, one continent at a time – no more, no less. A slow burn comeback instead of the usual world tour chaos.

Right now it feels like he’s doing two things at once:
unlearning the past… and rewriting it.

Happy birthday to Phil 🎉

A quiet backbone of Radiohead – a musician whose playing balances chaos and structure across OK Computer, Kid A, In Rainbows and other key records.
He rarely takes the spotlight, but these albums would sound fundamentally different without him.

His solo albums (Familial, Weatherhouse, Strange Dance) reveal a more intimate version of his world – stripped down, personal, and melodic.

59 years of one of the band’s most subtly precise musicians.

At The Ivors, Thom spoke about music as a space for risk rather than outcome.
“When artists are allowed to fail and experiment, that’s when the important things appear.”
A reminder that feels increasingly rare in today’s industry: without the possibility of failure, nothing truly new gets made.

@ivorsacademy

Thom Yorke getting a songwriting award still feels slightly unreal – not because he doesn’t deserve it, but because Radiohead have always resisted being neatly defined in the first place.

For years they’ve been framed in big terms: influential, groundbreaking, era-defining.
But the actual experience of Radiohead has always been quieter and more internal than that.

It’s in the static of “Climbing Up the Walls,”
the near-collapse of Thom’s voice in “How to Disappear Completely,”
or that suspended, almost non-linear feeling inside “Pyramid Song.”

Radiohead were never just about innovation.
They were about very specific emotional states that don’t translate cleanly into words.

That’s why Kid A keeps coming back – not as a concept, but as a feeling of disorientation that still feels current.

Even at their peak, there was always fragility in the music, like it could dissolve at any moment.

In 2026, “Idioteque” still doesn’t feel like a song from 2000.
It feels like something the world is still catching up to.

And Thom Yorke still seems slightly uncomfortable inside the “legendary songwriter” framing, as if it belongs to someone else.

Maybe that’s why this award feels less like a coronation – and more like a delayed acknowledgment of something that was always there:

Radiohead never just defined their era.
They kept slipping out of it. 🖤

🎥: sean.donegan_
📸: The Ivors/Dave Benett Agency

Thom Yorke getting a songwriting award still feels slightly unreal – not because he doesn’t deserve it, but because Radiohead have always resisted being neatly defined in the first place.

For years they’ve been framed in big terms: influential, groundbreaking, era-defining.
But the actual experience of Radiohead has always been quieter and more internal than that.

It’s in the static of “Climbing Up the Walls,”
the near-collapse of Thom’s voice in “How to Disappear Completely,”
or that suspended, almost non-linear feeling inside “Pyramid Song.”

Radiohead were never just about innovation.
They were about very specific emotional states that don’t translate cleanly into words.

That’s why Kid A keeps coming back – not as a concept, but as a feeling of disorientation that still feels current.

Even at their peak, there was always fragility in the music, like it could dissolve at any moment.

In 2026, “Idioteque” still doesn’t feel like a song from 2000.
It feels like something the world is still catching up to.

And Thom Yorke still seems slightly uncomfortable inside the “legendary songwriter” framing, as if it belongs to someone else.

Maybe that’s why this award feels less like a coronation – and more like a delayed acknowledgment of something that was always there:

Radiohead never just defined their era.
They kept slipping out of it. 🖤

🎥: sean.donegan_
📸: The Ivors/Dave Benett Agency

As France hosts a new joint exhibition by Thom Yorke and Stanley Donwood, Yorke’s latest interview with Plaster Magazine feels less like a conversation about art – and more like a reflection on discomfort, doubt, and the fear of creative stagnation.

For over three decades, Yorke and Donwood have built one of the most recognizable visual worlds in modern music: from OK Computer and Kid A to gallery installations and large-scale exhibition work.

Yorke admits he never truly felt like a “rock star” and has always distrusted comfort in creativity. The moment things start feeling too safe or too familiar, he says, it’s probably time to tear everything apart and begin again.

Maybe that’s why his work still feels slightly ahead of its time.
@plastermagazine
@iona.wolff
@tin.man.art

As France hosts a new joint exhibition by Thom Yorke and Stanley Donwood, Yorke’s latest interview with Plaster Magazine feels less like a conversation about art – and more like a reflection on discomfort, doubt, and the fear of creative stagnation.

For over three decades, Yorke and Donwood have built one of the most recognizable visual worlds in modern music: from OK Computer and Kid A to gallery installations and large-scale exhibition work.

Yorke admits he never truly felt like a “rock star” and has always distrusted comfort in creativity. The moment things start feeling too safe or too familiar, he says, it’s probably time to tear everything apart and begin again.

Maybe that’s why his work still feels slightly ahead of its time.
@plastermagazine
@iona.wolff
@tin.man.art

As France hosts a new joint exhibition by Thom Yorke and Stanley Donwood, Yorke’s latest interview with Plaster Magazine feels less like a conversation about art – and more like a reflection on discomfort, doubt, and the fear of creative stagnation.

For over three decades, Yorke and Donwood have built one of the most recognizable visual worlds in modern music: from OK Computer and Kid A to gallery installations and large-scale exhibition work.

Yorke admits he never truly felt like a “rock star” and has always distrusted comfort in creativity. The moment things start feeling too safe or too familiar, he says, it’s probably time to tear everything apart and begin again.

Maybe that’s why his work still feels slightly ahead of its time.
@plastermagazine
@iona.wolff
@tin.man.art

As France hosts a new joint exhibition by Thom Yorke and Stanley Donwood, Yorke’s latest interview with Plaster Magazine feels less like a conversation about art – and more like a reflection on discomfort, doubt, and the fear of creative stagnation.

For over three decades, Yorke and Donwood have built one of the most recognizable visual worlds in modern music: from OK Computer and Kid A to gallery installations and large-scale exhibition work.

Yorke admits he never truly felt like a “rock star” and has always distrusted comfort in creativity. The moment things start feeling too safe or too familiar, he says, it’s probably time to tear everything apart and begin again.

Maybe that’s why his work still feels slightly ahead of its time.
@plastermagazine
@iona.wolff
@tin.man.art

As France hosts a new joint exhibition by Thom Yorke and Stanley Donwood, Yorke’s latest interview with Plaster Magazine feels less like a conversation about art – and more like a reflection on discomfort, doubt, and the fear of creative stagnation.

For over three decades, Yorke and Donwood have built one of the most recognizable visual worlds in modern music: from OK Computer and Kid A to gallery installations and large-scale exhibition work.

Yorke admits he never truly felt like a “rock star” and has always distrusted comfort in creativity. The moment things start feeling too safe or too familiar, he says, it’s probably time to tear everything apart and begin again.

Maybe that’s why his work still feels slightly ahead of its time.
@plastermagazine
@iona.wolff
@tin.man.art

As France hosts a new joint exhibition by Thom Yorke and Stanley Donwood, Yorke’s latest interview with Plaster Magazine feels less like a conversation about art – and more like a reflection on discomfort, doubt, and the fear of creative stagnation.

For over three decades, Yorke and Donwood have built one of the most recognizable visual worlds in modern music: from OK Computer and Kid A to gallery installations and large-scale exhibition work.

Yorke admits he never truly felt like a “rock star” and has always distrusted comfort in creativity. The moment things start feeling too safe or too familiar, he says, it’s probably time to tear everything apart and begin again.

Maybe that’s why his work still feels slightly ahead of its time.
@plastermagazine
@iona.wolff
@tin.man.art

😭

All i need / Everything in its tight place & Let Down - Sydney Opera House

A newly released concert recording from Thom Yorke has surfaced online, capturing his intimate performance at the Sydney Opera House. The recording highlights a stripped down and atmospheric set, where Yorke blends solo material with reimagined versions of songs associated with his broader body of work. Listeners have already begun praising the clarity of the sound and the emotional weight carried through the performance.

The Sydney Opera House setting adds a distinct sense of space and depth to the recording, amplifying the haunting minimalism that defines Yorke’s live shows. Fans and critics alike are calling it one of the most compelling live releases in recent memory, offering a rare glimpse into the raw and unfiltered presence of one of modern music’s most elusive performers.

All i need / Everything in its tight place & Let Down - Sydney Opera House

A newly released concert recording from Thom Yorke has surfaced online, capturing his intimate performance at the Sydney Opera House. The recording highlights a stripped down and atmospheric set, where Yorke blends solo material with reimagined versions of songs associated with his broader body of work. Listeners have already begun praising the clarity of the sound and the emotional weight carried through the performance.

The Sydney Opera House setting adds a distinct sense of space and depth to the recording, amplifying the haunting minimalism that defines Yorke’s live shows. Fans and critics alike are calling it one of the most compelling live releases in recent memory, offering a rare glimpse into the raw and unfiltered presence of one of modern music’s most elusive performers.

All i need / Everything in its tight place & Let Down - Sydney Opera House

A newly released concert recording from Thom Yorke has surfaced online, capturing his intimate performance at the Sydney Opera House. The recording highlights a stripped down and atmospheric set, where Yorke blends solo material with reimagined versions of songs associated with his broader body of work. Listeners have already begun praising the clarity of the sound and the emotional weight carried through the performance.

The Sydney Opera House setting adds a distinct sense of space and depth to the recording, amplifying the haunting minimalism that defines Yorke’s live shows. Fans and critics alike are calling it one of the most compelling live releases in recent memory, offering a rare glimpse into the raw and unfiltered presence of one of modern music’s most elusive performers.

A newly released concert recording from Thom Yorke has surfaced online, capturing his intimate performance at the Sydney Opera House. The recording highlights a stripped down and atmospheric set, where Yorke blends solo material with reimagined versions of songs associated with his broader body of work. Listeners have already begun praising the clarity of the sound and the emotional weight carried through the performance.

The Sydney Opera House setting adds a distinct sense of space and depth to the recording, amplifying the haunting minimalism that defines Yorke’s live shows. Fans and critics alike are calling it one of the most compelling live releases in recent memory, offering a rare glimpse into the raw and unfiltered presence of one of modern music’s most elusive performers.

full on YT Sydney Opera House

A newly released concert recording from Thom Yorke has surfaced online, capturing his intimate performance at the Sydney Opera House. The recording highlights a stripped down and atmospheric set, where Yorke blends solo material with reimagined versions of songs associated with his broader body of work. Listeners have already begun praising the clarity of the sound and the emotional weight carried through the performance.

The Sydney Opera House setting adds a distinct sense of space and depth to the recording, amplifying the haunting minimalism that defines Yorke’s live shows. Fans and critics alike are calling it one of the most compelling live releases in recent memory, offering a rare glimpse into the raw and unfiltered presence of one of modern music’s most elusive performers.

full on YT Sydney Opera House

A newly released concert recording from Thom Yorke has surfaced online, capturing his intimate performance at the Sydney Opera House. The recording highlights a stripped down and atmospheric set, where Yorke blends solo material with reimagined versions of songs associated with his broader body of work. Listeners have already begun praising the clarity of the sound and the emotional weight carried through the performance.

The Sydney Opera House setting adds a distinct sense of space and depth to the recording, amplifying the haunting minimalism that defines Yorke’s live shows. Fans and critics alike are calling it one of the most compelling live releases in recent memory, offering a rare glimpse into the raw and unfiltered presence of one of modern music’s most elusive performers.

full on YT Sydney Opera House