Latest news with #I'llAlwaysLoveYou
Scoop
a day ago
- Entertainment
- Scoop
Ethel Cain Adds Australia, New Zealand Dates To Sold-Out Global Tour
Press Release – Frontier Touring Company Ethel Cain extends her sold-out Willoughby Tucker Forever tour through March, adding dates in Australia and New Zealand. This leg will see Cain headline Auckland Town Hall, Melbourne 's Palais Theatre, Sydney 's Hordern Pavilion, Brisbane 's Fortitude Music Hall and Fremantle Arts Centre. Presented by Frontier Touring and Penny Drop, presales begin Wednesday 13 August at 11:00am local time with tickets on sale to the public Monday 18 August at 11:00am local time. Tickets via See below for full tour routing and visit for more information. This news comes on the heels of her new album Willoughby Tucker, I'll Always Love You, which debuted to the highest praise from The New York Times, The Wall Street Journal, The Cut, The Face, Stereogum and more. Willoughby Tucker, I'll Always Love You serves as a prequel to Cain's globally adored 2022 debut album Preacher's Daughter and recounts the story of Ethel's first love, Willoughby Tucker, and their humid, laden romance. Cain produced and recorded the album over the past year in her studios in Daleville, AL, Coraopolis, PA and Tallahassee, FL. The writing of the songs themselves spans her entire career as Ethel Cain, with some dating from the earliest days of the project and its mythmaking. The North America and Europe leg sold out completely upon on sale in March, with 170,000 tickets sold in just a few weeks. Kicking off today, Tuesday 12 August, at Seattle's Paramount Theatre, Cain will headline her biggest tour to date with venues including New York's Radio City Music Hall, Los Angeles' Shrine Auditorium, Berkeley's Greek Theater, London's Eventim Apollo, Paris' L'Olympia and many more. Ethel Cain is the creation of Florida-born multidisciplinary artist Hayden Anhedönia. After years spent teaching herself to produce at home in the Florida panhandle and releasing various projects, Cain moved to Indiana and singlehandedly wrote, produced, recorded and mixed her acclaimed 2021 EP Inbred from the basement of the old church where she lived. Cain's debut album Preacher's Daughter, a multimedia work that took more than four years to assemble, was released in May 2022 to praise from The New York Times, NPR, Vogue, W Magazine, V Magazine and more, with many critics naming the album one of the best of the year. Cain has spent the years since playing sold out shows and packed festival sets around the world; walking in New York and Paris fashion weeks and collaborating with Givenchy, Miu Miu and Calvin Klein; and collaborating and sharing stages with Florence + the Machine, Mitski and more. FRONTIER MEMBER PRESALE via Runs 48 hours from: Wednesday 13 August (11am local time) or until presale allocation exhausted TICKETS ON SALE Begins: Monday 18 August (11am local time) Saturday 14 February Auckland Town Hall | Auckland, NZ Lic. All Ages Presented by Coup de Main Monday 16 February Palais Theatre | Melbourne, VIC Lic. All Ages Tuesday 17 February Palais Theatre | Melbourne, VIC Lic. All Ages Saturday 21 February Hordern Pavilion | Sydney, NSW Lic. All Ages Wednesday 25 February The Fortitude Music Hall | Brisbane, QLD 18+ Saturday 28 February Fremantle Arts Centre | Fremantle, WA 18+ Content Sourced from Original url
Hypebeast
3 days ago
- Entertainment
- Hypebeast
Ethel Cain Delivers Wistful Sophomore Album 'Willoughby Tucker, I'll Always Love You'
Ethel Cainhas returned with her sophomore album,Willoughby Tucker, I'll Always Love You, a wistful project that the artist herself describes as 'one long love song.' The 10-track recordserves as the prequel to Cain's debut album,Preacher's Daughter(2022), andtells the story of the singer's first love, Willoughby Tucker. Cain recorded and prodcued the record over the course of the last year, though the tracks' writings span across her entire career. 'Somehow it's harder to believe that this one is finally out than it was withPreacher's Daughter. What I initially mistook for hating this record was actually realizing that this record still resonates a lot deeper with me thanPreacher's Daughterdid by the time it came out. It still feels raw and too close to home. I realized I don't hate this record, I'm just still overwhelmed by how real it feels. This is the scariest record I think i've ever made.' She added that her favorite track on the album is 'Willoughby's Theme,' and that 'Perverts' exists because she made that track first with Matthew Tomasi. 'I wanted to try and sonically capture the nauseating, dizzying fear and rush of falling in love and realizing that no matter what happens inside it, you will be fundamentally changed by it in the end,' she explained. 'That still rings true to me now.' Listen to Cain's new album,Willoughby Tucker, I'll Always Love You, on Spotify and Apple Music now.
Yahoo
4 days ago
- Entertainment
- Yahoo
Ethel Cain Goes Quietly Into the Darkness
Folks have been talking about the dissolution of the album format for years now, as streaming culls out singles and embeds them in appropriately themed playlists. The experience of listening to an LP in order has become kind of a novelty for some – the cohesion of each song bleeding into the next has been scrapped, the intended story deferred. Ethel Cain (a.k.a. Hayden Anhedönia) doesn't make music for playlists — as evidenced, once more, by her sophomore LP, Willoughby Tucker, I'll Always Love You. Like a sweet-voiced Stephen King, Anhedönia pens epics that unfold against pastoral scenes of God's Country where people try and fail to lacquer over the innate horrors of living. In many ways, she's almost more performance artist than musician, composing her 2021 EP, Inbred, in the basement of an old Indiana church, and conjuring the Southern Gothic saga of the fictional Ethel Cain, a character Anhedönia created for 2022's Preacher's Daughter. That album — which mingled Lana Del Rey moodiness with dashes of the club — followed Cain as she fled an abusive father, only to end up murdered and cannibalized. More from Rolling Stone Ethel Cain 'Never Explored' Romantic Relationships Until 27: 'Love Was My Final Frontier' Ethel Cain Apologizes for Offensive Old Posts: 'Any Way You Feel About Me Is Valid' Lana Del Rey and Addison Rae Duet 'Diet Pepsi' in London Anhedönia says Willoughby is a prequel to Preacher's Daughter, telling the tale of Cain's first love. Like Anhedönia's previous releases, the record feels like a haunting — like you're trapped in a decaying house, listening to a ghost that will only rest when its story is finally told. (You can see, then, where we were going with the anti-playlist thing above). Yes, there's the single 'Fuck Me Eyes' — the liltingly bitter ode to the popular girl who the town paints a slut — but in essence, the record is more a wash of words and sweet sounds than a collection of singular songs. And what gorgeous words those are: 'pretty boy/Natural blood-stained blond,' ('Dust Bowl'), 'my honey's heart is blue and a second offbeat' ('Waco, Texas'), 'hold me, smell of mildew I wanna die in this room' ('Janie'). It's easy to get lost in the haze — to wander down the echoing corridors of lyrics and synths and strings. Still, Willoughby lacks the dynamism of its predecessor, the ecstatic neon highs and chilly basement lows. That makes sense, of course, in that this is the story of a first love, a small town, quieter horrors. Seen as a whole, though, that quietness can sometimes verge on monotony, songs running into the next with little to grab onto — like an evaporating phantom. Best of Rolling Stone Sly and the Family Stone: 20 Essential Songs The 50 Greatest Eminem Songs All 274 of Taylor Swift's Songs, Ranked Solve the daily Crossword
Wall Street Journal
6 days ago
- Entertainment
- Wall Street Journal
‘Willoughby Tucker, I'll Always Love You' Review: Ethel Cain's Next Chapter
Some songwriters report on their own lives, some grapple with geopolitical issues, and some find meaning in quotidian third-person storytelling. Twenty-seven-year-old Hayden Anhedönia, who makes music under the name Ethel Cain, builds worlds. She self-released her first EP six years ago, but the scope of her ambition came into focus with the release of her 2022 debut album, 'Preacher's Daughter.' One could draw a connection between certain songs on the record and an act as familiar and conventional as Taylor Swift—'American Teenager' was a tightly constructed upbeat number with radio-ready hooks, delivered in the singer's soaring, windswept voice. But 'Preacher's Daughter' was a Southern Gothic epic with long songs and interlocking stories about doomed love, shattered families and small-town violence. It was a work designed to be taken whole, an album you inhabit. 'Preacher's Daughter' was the kind of lore-filled cultural object seemingly assembled for an obsessive cult, and Ms. Anhedönia acquired one rather quickly. Her personal story—she was raised in a conservative Southern Baptist family in and around Tallahassee, Fla., and came out as trans and changed her name when she turned 20—strongly informs her music, connecting with fans who feel like outsiders themselves. But her finely rendered songwriting transcends biographical details, and one needn't know anything about her backstory to appreciate it. Her second song-based album, 'Willoughby Tucker, I'll Always Love You' (Daughters of Cain), out Friday, is an extension of its predecessor's storytelling universe that demonstrates Ms. Anhedönia's marked artistic growth. This progression is evident from the opening 'Janie,' a drumless ballad that begins with a bass-heavy drone before an ethereal guitar and wisps of synth fall behind the singer's ghostly voice. The sonics are richer and her melodic confidence is more assured compared to her earlier records, which deepens the song's simple story of a relationship that has withered away. Ms. Anhedönia is often compared to Lana Del Rey, particularly in her penchant for extended narratives and a David Lynch-like fondness for darkly surreal Americana. But unlike Ms. Del Rey, the younger artist produces her own music, writes songs on her own, and plays the majority of the instruments on her recordings. By controlling every aspect of her music including engineering and mixing, she finds just the right sonic backdrop for each narrative, and she intersperses songs and instrumentals. The second track, 'Willoughby's Theme,' which moves from quiet and spare piano to surges of electric guitar and drone, suggests she has a future scoring films, if she so desires.
The Guardian
25-07-2025
- Entertainment
- The Guardian
‘I've long struggled with my identity in pop': Ethel Cain on fandom, first loves, and being inspired by David Lynch
Something strange happened to Hayden Anhedönia in January. The 27-year-old artist known professionally as Ethel Cain was finishing off her upcoming album Willoughby Tucker, I'll Always Love You when she had to go to court. 'I got into some traffic trouble,' she says coyly in her soft southern lilt. The plan was to drive from the courthouse in her home city of Tallahassee, Florida, to Toronto to wrap the album with her longtime collaborator Matthew Tomasi. 'Listen,' she continues, leaning forward into her webcam – a glint behind the eyes, conspiratorial tone in the voice. 'I don't know what happened in that courthouse, but I walked out of there having been put on probation. I couldn't go to Canada. I couldn't go anywhere.' As a result, Tomasi flew down to Tallahassee. They holed up in Anhedönia's tiny home studio and didn't leave until it was done. When they weren't working, they watched Twin Peaks for the first time. 'Every day it was wake up, work, Twin Peaks, work, Twin Peaks, work …' They binged the whole thing in two weeks. Anhedönia even hunted down the synths that composer Angelo Badalamenti used on the soundtrack and sprinkled them on a few of her own tracks. One night they finished working, watched the final episode, and went to bed. She woke up to the news that David Lynch had passed away. 'I was really happy that I finished the show while he was still alive,' she says. The synths 'felt kind of like an homage. A way to keep David and Angelo and Laura [Palmer] alive in some small way.' Lynch's work stages epic battles between darkness and light, pitting the purity of the individual against the corruption of the world; small-town life versus primordial forces of evil. The same battle plays out on Willoughby Tucker, which tells the story of what Anhedönia describes as 'a deeply traumatised love story between two kids who are in love, but the world weighs on them'. It's also present in her debut album, 2022's Preacher's Daughter, a southern gothic tale of a teenage girl named Ethel Cain who flees the confines of her religious upbringing only to be murdered and cannibalised by her boyfriend. The grisly subject matter made for unlikely breakthrough material, but Preacher's Daughter ended up becoming one of 2022's most critically lauded pop breakouts. In the space of a few months, Anhedönia jumped from collaborating with niche SoundCloud rappers to being featured in Forbes' 30 Under 30 and fronting campaigns for Givenchy, Marc Jacobs and Miu Miu. When Preacher's Daughter was rereleased on vinyl this April, it broke into the Top 10 in the UK, Australia, the Netherlands and the US, where Anhedönia made history as the first publicly trans musician to reach the Top 10 of the Billboard albums chart. As far as ascents to fame go, Anhedönia's was a baptism of fire. She has attracted the kind of invasive, obsessive fandom typically reserved for A-list pop stars. Owing to her sharp cultural commentary and eviscerating political takes – in a viral post after Trump's election, she wrote 'If you voted for Trump, I hope that peace never finds you' – her social media accounts are routinely trawled for 'problematic' content, and her criticism of the US healthcare system has been discussed on Fox News. Speaking to the Guardian in July 2023, Anhedönia expressed a desire 'to have a much smaller fanbase'. 'I've long struggled with my identity in pop,' she reasons now. 'I love pop music, but my issue for a while was the way fandoms operate.' Having seen the violence and trauma of Preacher's Daughter spun into flippant memes, she had feared that any future release would be similarly received. 'I've since made my peace with that. At the end of the day, you make what you make and you put it out and people can do what they want with it.' A recent firestorm over screenshots of things posted when she was 19, however, shows how merciless the spotlight can be. A slew of comments, including the use of racial slurs and rape jokes, were dug up from a 'shameful' period during which she tried to be as 'inflammatory and controversial as possible', as she phrased it in a lengthy apology. 'That was my account and those were my words', she wrote, adding that she was now 'truly sorry from the bottom of my heart'. But she hit back at further online speculation that she was 'pedophile, a zoophile, or a porn-addicted incest fetishist'. She had been, she wrote, the target of a 'transphobic/otherwise targeted smear campaign' that had also led to her personal accounts being hacked and family doxed and harrassed. Anhedönia holds several positions that can be hard to reconcile. She's a trans woman who grew up in the conservative southern Baptist community in the Florida panhandle, and still has a deep love affair with the area. She looks like one of the ethereal sisters from The Virgin Suicides, and talks like a girl next door refilling your coffee at a roadside diner, peppering her musings on existentialism and Eraserhead with homely expressions of geez and whatnot. She has experienced sexual trauma and assault, while her music often leans – in her words – 'into sadomasochism' and 'the taboo'. Those nuances are often not acknowledged. 'A lot of people don't know how to interface with media that contains negativity or perversion or sexuality or immorality,' she says. 'It's not the first instinct to engage with these things critically – but when you see a bad character on screen, the movie shouldn't hold your hand and say: Hey, that's the bad guy. That's your job.' In January, Anhedönia released Perverts – an experimental departure from Preacher's Daughter, let alone standard pop fare. Billed as a standalone project, the hour-and-a-half sprawl of ambient, drone and slowcore compositions roots around themes of shame, guilt and pleasure. There are no hooks, no choruses and barely any lyrics. Rather, its unsettling blend of industrial murmurs and desolate spoken word reflects Anhedönia's experience of wandering 'the Great Dark' – her term for a brief but 'scary' winter when she was struggling to adjust to life after coming off tour. Some listeners found it a challenging listen; others considered its references to madness and masturbation alienating. But it successfully reasserted the wide spectrum of Anhedönia's music, which switches from soaring heartland pop-rock to sprawling abstract noise. 'Now that the other end of the Ethel Cain spectrum has been established, I feel like I have a full range,' Anhedönia says. Sign up to Inside Saturday The only way to get a look behind the scenes of the Saturday magazine. Sign up to get the inside story from our top writers as well as all the must-read articles and columns, delivered to your inbox every weekend. after newsletter promotion The second instalment of the Preacher's trilogy, Willoughby Tucker serves as the prequel to Preacher's Daughter, and has a similar structure – a pop-oriented first half full of youthful optimism, which plunges into slow burning instrumentals and thundering power ballads as the hammer of reality comes down. Beginning in the summer of 1986, it finds Ethel Cain as an insecure teenager 'trying to navigate her first love in a broken world and a broken town'. It wasn't the plan to go back in time. Anhedönia intended to move forward, on to more 'mature' things, but something kept nagging at her. 'That Ethel's entire story began with the love that she had for this boy … It felt like it needed telling. And come hell or high water, it was going to get told. It was practically seeping out of me.' Finishing the album was 'honestly really sad, especially knowing where Preacher's Daughter goes. Sometimes it's hard for me to listen to. I tell myself it's all fictional, but sometimes I'll catch a lyric and it'll resonate exactly with how I'm feeling. And I remember that it's coming from me.' Part of the difficulty in making Willoughby Tucker was the fact that Anhedönia had, at 27, recently entered into her first ever relationship. As she worked on this album, all her own 16-year-old anxieties came back. 'Love was always my final frontier,' she says. 'I never explored it. I never processed anything. I never progressed past the idea of love that I had as a teenager.' There were times when she was crying every day, begging for the album to be finished. She's glad of the process now. 'I see Ethel Cain as a piece of me that I separate from myself and discard, so that I can make good decisions in life,' she says. 'If Preacher's Daughter was my learning experience of what not to do with trauma and healing, Willoughby Tucker has been my experience of what not to do in love.' In the real world, bleak as it is, Anhedönia is determined to live well. Smiling between two long curtains of mousey brown hair, she reels off a list of reasons to get up in the morning: 'A great breakfast, a beautiful sunrise, paying for someone's groceries if they can't.' And then there is love – in her view the most 'high-risk, high-reward' feeling in the world. A few days before we speak, she 'hard launched' her new relationship, sharing a video of her new boyfriend lifting her up on a truck parked on a dirt road, and kissing her. 'Ethel Cain lived and died loving and praying to be loved back,' Anhedönia says. 'The entire Preacher's trilogy is centred around love. Love lost, love gained, love perverted, love stolen. Love is everything to us. It doesn't matter what you love or who you love, but that you love something – and that love is what propels you forward every day. For better or worse, I think that is a beautiful thing.' Willoughby Tucker, I'll Always Love You is released on 8 August.
