Pochette de l'album « Pylon » de beabadoobee — Dirty Hit / Interscope
Known for her bedroom-pop beginnings, British-Filipino artist beabadoobee is about to release the most direct record of her career. Her fourth album, Pylon, arrives on 18 September 2026 via Dirty Hit and Interscope, and it leans hard into a rougher, guitar-driven rock rooted in the 1990s. Fourteen tracks, a striking roster of guests and a first-ever arena tour to follow: Beatrice Laus is stepping up a level.
A turn toward ’90s rock
Written on the road during the long tour behind 2024’s This Is How Tomorrow Moves, Pylon is noticeably more electric than anything beabadoobee has put out before. She draws on grunge, Midwest emo and the alt-rock that filled ’90s radio for a sound that is at once more intense and more direct. Where her earlier albums prized softness and intimacy, this one turns up the amps and lets the distortion take over.
Lead single “Sun Has Set,” released in June, already set the tone: noisy, shoegaze-tinged pop wrapped in a very ’90s video directed by Jake Erland. “Memories,” out in late August, confirmed the rawer direction. The album’s title nods to the electricity pylons that criss-cross landscapes everywhere: for the artist, those towers came to symbolise a fragile connection to the people back home while she felt deeply isolated on tour.
This fourth album caps an unusual rise. Discovered online as a teenager, beabadoobee has gone in just a few years from viral bedroom act to established artist able to fill large rooms and hold a loyal audience. Pylon reads like a confirmation: the work of a musician who no longer needs to prove she can write melodies, and who now chooses to dig into a coarser sound, even at the risk of unsettling some listeners.
A guest list built for rock
The most immediate hook of Pylon may be its features, which play like a family reunion of contemporary alternative rock. Hayley Williams of Paramore appears on “Nothing to Prove.” Brendan Yates, frontman of hardcore band Turnstile, lends his voice to “Powerlines.” Also on board are Deftones’ Chino Moreno, Pinegrove’s Evan Stephens Hall and Title Fight’s Shane Moran. Matty Healy and George Daniel of The 1975 worked on “Write Me A Letter.”
That cast is no accident. By inviting voices from hardcore, alternative metal and emo, beabadoobee stakes a claim to a rock scene she had never embraced so openly. It echoes the path of other artists of her generation who, after breaking through on streaming platforms, are circling back to a fuller, more organic band sound — think of the electric return of Bloc Party or the denser second album from Paris Paloma.
There is also a broader story here about how a whole cohort of young musicians is reshaping guitar music. Rather than chasing radio-ready pop, beabadoobee and her peers are reconnecting with the textures of the ’90s — feedback, loud-quiet dynamics, songs built to be played by a band in a room. On Pylon, that instinct is front and centre, and the album feels less like a calculated move than a natural homecoming for someone who grew up on those records.
A first arena tour
The shift in scale goes beyond the record. On 1 October beabadoobee launches her first arena-level run, the “Powerlines Tour,” with dates across North America, the UK and Europe. For an artist who not so long ago was releasing songs recorded in her bedroom, crossing into big venues is a symbolic milestone.
It remains to be seen how this rougher set will come alive on stage, and whether audiences will follow the pivot toward rock. One thing is clear: with Pylon, beabadoobee is not looking to reassure — she is looking to move forward. The album is out on 18 September, and it could well redefine her place in the international alt-rock landscape.
