Beabadoobee recruits Hayley Williams and Turnstile's Brendan Yates for Pylon

Beabadoobee’s next chapter is louder, heavier, and packed with A-list cameos. On Wednesday (June 24), the singer-songwriter announced her fourth LP, Pylon, due Sept. 18 via Dirty Hit and Interscope Records, and released its spiky lead single “Sun Has Set.” The record is already doing the thing executives love: turning a single-era rollout into a broader platform, with a guest list that reads like an alt-rock power panel, including Hayley Williams and Brendan Yates.

Pylon’s collaboration engine kicks off with two very specific guest contributions. Hayley Williams sings on “Nothing To Prove,” while Brendan Yates of Turnstile provides a verse to “Powerlines.” That matters because it signals Beabadoobee is intentionally cross-pollinating audiences who sit in adjacent worlds, not just stacking credibility. And unlike some big-guest rollouts where the feature names do the heavy lifting, here the sound is described as “distortion-soaked” and “heavier,” aligning the sonic direction with the collaborators’ reputations for punchy intensity.

The full collaborator roster goes bigger: Evan Stephens Hall (Pinegrove), Chino Moreno (Deftones), and Shane Moran (Title Fight) are also credited, along with production contributions from Dirty Hit labelmates Matty Healy and George Daniel (The 1975). Even the album title is doing brand work. “Pylon” is named after the steel electricity towers that support overhead high-voltage power lines, and a press release says the pylons remind Laus of her connection to friends and family at home while she was staring down extreme disconnection and isolation on tour over the past few years. That’s not just metaphor. It is narrative packaging for a tour cycle, and tours are where that narrative gets monetized through attention, ticket demand, and repeat streaming.

“Sun Has Set” arrives alongside a video directed by Laus’ partner and longtime visual collaborator Jake Erland. Musically, the single is described as “a blistering mix of jagged guitars and biting vocals,” and Laus frames it in sharply personal terms about finally saying what she couldn’t say before. She says, “A lot of the songs on this record are things I wish I could have said to someone. This song has this petty tunnel vision - it’s like, ‘I hate you’,” and then adds, “You’re gonna stay here and listen to how much I hate you. Because I never got to say that.” Whether you’re tracking creative development or commercial risk, that kind of clarity helps: it creates a consistent emotional through-line across the single, the video, and the tour messaging.

There’s also the strategic pivot hidden in plain sight. Alongside Pylon, Beabadoobee announced The Powerlines Tour, which includes her first-ever arena shows. For any artist, “first arena” is a governance moment, not just a booking milestone. It usually means the audience has proven it can show up beyond clubs and theaters, and it also means the business sides of touring become more complex, from production scale to ticketing logistics. This trek hits North America, the U.K. and Europe later this year, starting at the Mohegan Sun Arena in Uncasville, Connecticut on Oct. 1. It then stops at New York City’s Madison Square Garden on Oct. 5 and London’s O2 Arena on Nov. 18, among other major venues.

Operational details are already set up for execution. A fan presale will take place on June 30 at 10am local, and general ticket on-sale begins on July 2 at 10am local. The dates list is substantial and geographically dense, spanning multiple markets and time zones: Oct. 2 in Philadelphia at Liacouras Center, Oct. 3 in Boston at TD Garden, Oct. 7 in Toronto at Scotiabank Arena, Oct. 8 in Laval, Quebec at Place Bell, and then continuing through to late November and December. The tour carries on with major stops including Glasgow (OVO Hydro) on Nov. 14, Cardiff (Utilita Arena) on Nov. 16, Manchester (AO Arena) on Nov. 17, and London’s O2 Arena on Nov. 18. It continues Nov. 23 in Copenhagen, Nov. 24 in Stockholm, Nov. 27 in Oslo, Nov. 30 in Paris at Zenith, and then into December with Amsterdam (AFAS Live), Brussels (Forest National), Berlin (Tempodrom), Dusseldorf (Mitsubishi Electric Halle), and more.

For decision-makers watching how music companies grow next-era artists into arena brands, the context is the real signal. Laus’ last full-length effort, This Is How Tomorrow Moves, arrived in 2024. It featured production from Rick Rubin, topped the Official U.K. Albums Chart, and hit No. 34 on the Billboard 200, a career-high for the 26-year-old. Earlier this year, she teamed up with The Marías on the collaborative single “All I Did Was Dream of You.” She also featured on the Help(2) compilation alongside Arctic Monkeys, Olivia Rodrigo, and more, contributing a cover of Elliott Smith’s “Say Yes.” In other words, Pylon is not an isolated bet. It builds on measurable chart performance, prior high-visibility collaborations, and now an arena rollout designed to translate that momentum into scale.

The second-order lesson for peers is straightforward: when you combine a distortion-forward sonic pivot, a feature stack that spans established alternative rock ecosystems, and a documented move into arenas, you are not just launching an album. You are upgrading the entire distribution surface area for an artist’s brand. Pylon is due Sept. 18, “Sun Has Set” leads the charge, and The Powerlines Tour starts Oct. 1. The stakes for anyone in the room making deals, planning releases, or scaling touring operations are whether the next cycle can keep the audience engaged long enough to justify the bigger rooms.