Ah, springtime. For the average person, that means sunshine, flora in bloom, perhaps a figurative fresh start in the new year. But for music festival fans, it signals another season starter: Coachella.

An estimated 125,000 people will flock to the Empire Polo Fields in Indio, California for the first weekend (April 12-14) of the 23rd Coachella Valley Music and Arts Festival. While the first weekend is already sold out, tickets are still available for the second weekend (April 19-21).

Coachella's headliners have been busy: Both Lana Del Rey (headlining Friday) and Doja Cat (slated to close out Sunday) just wrapped extensive tours at the end of 2023 and, while Saturday closer Tyler, the Creator's only other 2024 festival date is at Lollapalooza, he did stage a large-scale appearance in 2023 at the Camp Flog Gnaw Carnival in Los Angeles. Still, it stands to reason that there are scores of fans who missed out on those tour stops, and Coachella would be an ideal chance to catch them in a particularly special setting. 

There's also the potential to see a slew of surprise guests (a long-standing Chella tradition) and much-hyped reunions. Coachella 2024 attendees will likely flock to see a reunited No Doubt and Sublime, the latter with a Nowell back at the helm (Bradley’s son, Jakob).

Then there’s the economic logic behind opting to see those bigger acts at a festival: for a price not much more than what you’d pay for an arena ticket, you get the bonus of catching dozens of other incredible artists while you’re at it. The diversity and quality of music throughout even the lower tiers of the Coachella lineup is staggering, so overall the price for a pass is quite the steal. Read on for the inside scoop on 10 of this year’s most exciting undercard performances.

Read More: Music Festivals 2024 Guide: Lineups & Dates For Lollapalooza, Coachella, Bonnaroo & Much More

Cimafunk

Cuban artist Cimafunk has been relatively quiet since releasing a third studio album, El Alimento, in 2021. But the success of that record — which garnered his first GRAMMY nomination for Best Latin Rock or Alternative album at the 2023 GRAMMY Awards — appears to have propelled him to new career heights. He will be the first Cuban-born artist to perform at the festival, kicking off a string of worldwide shows that begin with his appearance at Coachella on April 12 and 19. 

Read more: At Getting Funky In Havana, Young Musicians Feel The Power Of Cross-Cultural Connection

Cimafunk’s sole release since his last album was the December 2023 single “Te tango en salsa,” which expands upon his self-designated brand of Afro Cuban Funk with accents of disco and grooves filled with New Orleans-style horns. Though the track hasn’t been publicly connected to any upcoming EP or album, one might presume that his impending run of concerts is a precursor to a complete body of new music. Perhaps Coachella will function as a testing ground, and considering the inclusion on El Ailmento of prominent artists George Clinton, CeeLo Green and Lupe Fiasco, who knows what other surprises might be in store at the desert festival known for delighting audiences with plenty of guest features.

L’Imperatrice

Through the years following their inception in 2012, French pop band L’Imperatrice have played primarily in Europe and surrounding regions, so it’s no small feat that they’re poised to make their second appearance at Coachella in two years. They first played the fest in 2022, a makeup show for Coachella's 2020 COVID-19 cancellation. 

Their slots on April 12 and 19, stops on their just-launched Double Trouble Tour, follow the 2018 release of debut full-length Matahari and performances at prominent festivals like Austin City Limits and Outside Lands. Self-produced sophomore album Pulsar arrives on June 7, and its infectiously groovy and sensual debut single “Me Da Iqual” promises a Coachella set sure to incite emotional release among the masses — ideally during one of the fest’s famed golden hours to match the music’s euphoric vibes. 

Skepta

Regarded as one of the most influential rappers in the UK grime scene, Skepta is set to commence his latest return to stateside stages with appearances at Coachella on both Fridays, which marks his second time at the festival after lauded dual appearances in 2017. 

Following a semi-secret DJ set at Austin’s South by Southwest festival in March, these shows will preview a run of summer dates in the UK and Europe and the release of upcoming sixth solo album Knife and Fork. 

With that record’s release date still in question but imminent, it’s a good bet that he’ll introduce new material to build upon the January drop of lead single "Gas Me Up (Diligent)," which adopts a flow and melodic structure more akin to popular American rap. To that end, Skepta’s previous collaborations with U.S. rappers like Drake, Ye and members of ASAP Mob could lead to a loaded lineup of guests during his Coachella set. It has the potential to be a huge moment, though his reputation for high-energy and rowdy gigs are reasons enough to prioritize his performance. 

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Mandy, Indiana

English-French noise rock upstarts Mandy, Indiana make music that isn’t necessarily easy to digest. Minimalist and chaotic compositions, primarily from their widely celebrated 2023 debut album I’ve Seen a Way, resonate as tunes tailor-made for technically minded music nerds. Still, danceable moments emerge among the sonic helter-skelter, which combines experimental elements of industrial, classic house music and samples aplenty (think Death Grips with more palatable melodies and exclusively French lyrics). 

So far, the dynamic four-piece hasn’t played much on this side of the pond — their debut shows at Coachella arrive on the heels of a handful of U.S. appearances in 2023 that included the SXSW Music Festival. Which means Mandy, Indiana’s sets on April 13 and 20 will mark relatively rare (and therefore must-see) chances to embrace their overtly wonderful weirdness in the desert among the more prominent pop-leaning artists on the roster.

The Last Dinner Party

If you’re not yet keen on British indie rock band the Last Dinner Party, it’s time to get with the program. With only one album under their belt, Prelude to Ecstasy (released Feb. 2) — which echoes various influences ranging from Siouxsie and the Banshees to Kate Bush and ABBA —the quintet has already earned multiple awards and accolades, including topping the UK Album Chart. To boot, they opened for the Rolling Stones in London’s Hyde Park two years prior to putting out their record.

The band’s performances are reportedly jaw-dropping, further evidenced by the complete sell-out of their current U.S. tour. That jaunt wraps with their April 20 appearance at Coachella (they also play during the first weekend on April 13), so, unless you want to pay ridiculous resale prices for one of their club shows, this is a prime chance to see them live with the added benefit of catching many more amazing acts while you’re there.

Young Fathers

Young Fathers are often categorized under the umbrella of hip-hop, but it would be wrong to pigeonhole them that way. True, one can pinpoint elements of a spitting, old-school style — especially on debut album Dead (winner of the prestigious Mercury Prize in 2014.. However, their sound spans the landscape of many genres, often weaving in threads of electronic, industrial, and trip-hop. It should be telling that they’ve collaborated multiple times with Massive Attack.

The music clearly resonates with a substantial audience. They’ve reached prime positions on the UK Album charts, their fourth and latest album Heavy Heavy (released Feb. 3, 2023) won them their third Scottish Album of the Year Award, and this year marks their second invitation to Coachella (catch them on Sundays: April 13 and 20). With a full year gone since putting out new songs, there’s no telling if they’ll serve up anything fresh. Regardless, fans of heavy-hitting experimental music, assuredly energizing at any time of day or night, should prioritize seeing their set.

Oneohtrix Point Never

It’s a wonder that Oneohtrix Point Never has never played Coachellal until now given his string of consistent releases since emerging in the early 2000s (with never more than three years between albums) and Coachella’s penchant for historically championing experimental electronic artists. Following the Feb. 29 release of his latest EP “Oneohtrix Point Never - Ambients,” he debuts in the desert on April 13, with his second weekend encore on April 20. 

The Massachusetts-bred beatmaker’s music swings from sparse to compositionally complex. It's not geared toward a typical EDM dance party, but always cinematic and hypnotizing, creating a space where listeners can truly lose themselves in the sonics. Given his style, it’s safe to assume he’ll occupy an evening time slot, so if you’re the type who prefers something a little more raw to the mainstream big-timers topping the bill, Oneohtrix Point Never might be just the ticket.

Mdou Moctar

If there’s one artist on this year’s Coachella lineup that will truly thrive in a desert setting, it’s Mdou Moctar. The Niger-based musician plays rock music steeped in the style of Tuareg, guitar-based blues-rock fusion that originates in the Sahara region. However, Moctar’s music decidedly transcends the traditional sound, often reverberating as sublimely psychedelic.

His performances in Indio on April 14 and 21 precede the release of his sixth album Funeral For Justice (arriving May 3). Based on the two singles made available from that record so far (title track “Funeral for Justice” and “Imouhar”), the people of Coachella are in for a true desert trip.

Atarashii Gakko!

When Japanese “girl group” Atarashii Gakko! make their Coachella debut on April 14 and 21, anticipate the unexpected. The four singers’ have a stated goal of “redefining what it means to be a girl group.” They’re technically categorized as J-Pop, but among the many catchy choruses, their music also incorporates shades of speed metal, trap beats and alt-rap à la Rage Against the Machine, all of which you can hear on their latest album ICHIJIKIKOKU.

What you can certainly expect is an outrageously high-energy show chock-full of nonstop, self-designed choreography performed in colorful sailor-fuku uniforms (essentially sailor suits worn by Japanese students in the ‘70s and ‘80s … think Sailor Moon but intentionally less provocative). If you need an adrenaline boost on the final day of the fest, look no further than Atarashii Gakko!.

Olivia Dean

Dear America, it’s time to give a proper welcome to an artist destined for stardom:  Olivia Dean. With only a handful of U.S. shows in the bank, the 25-year-old British neo-soul singer’s debut at Coachella on April 14 — arguably her biggest U.S. gig yet — will serve as the most well-deserved of receptions. 

Sure, her nominations for the 2023 Mercury Prize (for debut album Messy) and 2024 Brit Awards (Best Pop Act, British Artist of the Year and Best New Artist) should merit attention enough for those who don’t know her. But even a few moments of listening to key album tracks “Dive” and “The Hardest Part” (don’t sleep on the alternate version featuring Leon Bridges) are the real deal-sealers. The richness of Dean’s recorded vocals are absolutely arresting, evocative of and equal to top-tier divas who preceded her. It’s thrilling just thinking about the impact she’ll make at Coachella — do yourself a favor if you have the chance and go witness it firsthand. 

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Ever since it first began in 2012, KCON has been a delightful surprise for attendees. Turn right on the convention floor, you might receive a goodie bag filled with high-quality skin care products. Turn left, and you could stumble into the first-ever performance of a K-pop group in the U.S. All this happens before the main concert even begins at night.

Returning to the L.A. Convention Center and Crypto.com arena from July 26-28, this year’s hybrid South Korean pop culture festival-convention event will host over 20 artists. 

The line-up ranges from popular acts around like ENHYPEN and NCT 127 to '90s K-pop legends g.o.d and hip-hop icon Tiger JK (aka Drunken Tiger), plus burgeoning acts, including the newly formed seven-member girl group, IZNA, from the TV competition show I-LAND 2. KCON L.A. 2024 offers an array of musical exploration for anyone enraptured by the South Korean music scene. 

Read more: 11 Rookie K-Pop Acts To Know In 2024: NCT Wish, RIIZE, Kiss Of Life & More

After days of meet-and-greets, showcase performances, and a special KCON Stage, each night of this year's KCON will culminate in a full-blown concert that will air in South Korea as part of the M Countdown music show.

Whether you’re a fan of soloists like Taemin, Zico or Bibi, girl groups like Kep1er and NMIXX, or boy bands like Zerobaseone and TWS, this KCON is undoubtedly for you. There are also surprises for anyone intrigued by changing entertainment technology, like Apoki, a virtual singer designed as a bunny from outer space. 

While you may not (yet!) be a fan of all these artists, familiarize yourself with all that they have to offer with this playlist featuring some of their most popular and newest songs ahead of this year’s KCON L.A. 

On July 20,  K-pop boy group ATEEZ stepped foot onto one of their largest stages yet for their first U.S. stadium show. The scene at Los Angeles’ open-air BMO Stadium was a far cry from the group's L.A. performance in 2019 — their first tour stop ever — at the petite Globe Theater, a former movie palace with a tenth of BMO’s capacity.

Even then, as a five-month-old rookie group, fans (called ATINYs) saw a remarkable promise in Hongjoong, Seonghwa, Yunho, Yeosang, San, Mingi, Wooyoung, and Jongho. In the years since, ATEEZ has developed a growing presence in the States, even being the subject of a first-of-its-kind GRAMMY Museum pop-up. If the BMO Stadium performance was any indication, ATEEZ have officially hit their stride.

Read more: Inside The GRAMMY Museum's ATEEZ & Xikers Pop-Up: 5 Things We Learned

The nearly sold-out July 20 show felt like a level up, and not just because of the size of the venue. "As we performed, I really felt like ATEEZ has grown so much," singer Yunho said near the end of the night. He’s not wrong: they’re undoubtedly more confident than ever. Perhaps that’s because the octet made history earlier this year as the first K-pop boy group to perform at Coachella. Regardless, ATEEZ's growth in both production and showmanship was palpable. 

If you missed ATEEZ’s two nights in L.A., don’t worry: K-pop’s resident pirate kings (more on that title later) have more up their billowy sleeves. In the spirit of their never-ending grind, the Towards the Light: Will to Power tour has nine more North American stops, including New York’s Citi Field. Read on to find out why you won’t want to miss these fast-rising K-pop idols.

The Members Are As Good Apart As Together

ATEEZ’s motto is "eight makes one team" for good reason. Individually, their talents and tastes are prismatic, yet complement each other perfectly — a fact that comes into startling clarity midway through the show, when the group breaks off into units and solos.

Equal parts erotic and controlled, trap banger "IT’S You" gives Yeosang, San, and Wooyoung room to deploy their enigmatic charms as a trio; ATEEZ’s purveyor of belted high notes, Jongho, dips into his deeper register on solo ballad "Everything"; diametric duo Hongjoong and Seonghwa spit fire about the rapport that arises from their differences on red-hot cypher "MATZ": "M-A-T-Z like allergy, we don’t really fit together / Yeah, yeah, but on stage, reacting to that synergy."

Then there’s the wistful "Youth" from dance class pals Yunho and Mingi. The two go way back — something they reminded audiences of by acting out a fictionalized version of a real phone call they shared the day before auditioning for KQ Entertainment. "Imagine us taking the stage together someday," Yunho said. "Sounds amazing, right?"  

Read more: ATEEZ Are Here To Win The Hearts Of K-Pop Fans

ATEEZ Know How To Turn Up The Drama

ATEEZ's lore runs deep. In their conceptual universe, what began as a swashbuckling tale of pirates in search of treasure evolved into an anarchic manifesto about toppling the world order. Recently, in a Wild West turn, they’ve been masquerading as cowboys dedicated to the daily hustle.

Every ATEEZ performance has a story; on this tour, the theme is light. But, as always in ATEEZ’s oeuvre, that light can’t exist without a darkness seeking to quash it. The way they convey this narrative — acting, stage decoration, extras — is a masterclass in drama, fit for the theater as much as a stadium. 

Watch: Global Spin: Watch Ateez Represent South Korea With Kinetic Performance Of "The Real"

They’re In Their Element Onstage

The success of ATEEZ’s storytelling is bolstered by the group’s unearthly stage presence. In that regard, Seonghwa led the pack, moving like a man possessed. Whether crawling on his knees, rolling his eyes back, or slinging a sword to symphonic backing, the lithe dancer never let the air-tight facade slip — except, of course, when it came time to offer a couple of warm words to fans.

Like Seonghwa, the rest are also shockingly versatile. San effortlessly switches between agile body rolls and thigh caresses in the dangerously sensual "Cyberpunk," then vigorously glides his arms through air at the climax of "Say My Name," a gesture that has only grown in power and potency over time.

ATINYs Do Their Best To Match ATEEZ’s Energy

"There [are] more than 20,000 singers in here," Hongjoong said as the lead-in to the soaring "Dance Like Butterfly Wings." "Can you show me your singing?" 

Sing they did: All night, the crowd brought an energy as fierce and passionate as ATEEZ, especially when barking at charismatic rapper Mingi, much to his apparent enjoyment.

But the single noisiest moment came during "Guerilla." At a certain point, Yunho shouted a  ferocious "Make some noise!" as a cue and ATINYs know it’s time to warm up their vocal chords; while Jongho belts some of his highest notes yet, fans roared "Break the wall!" at the top of their lungs, loud enough to rise above the stadium enclosure.

Fan chants and cheers are a mainstay of K-pop shows in South Korea, but due to differences in concert etiquette and language barriers, most don’t make their way overseas. ATEEZ and their fans broke that wall, and built a bridge in its place.

It’s A Full Circle Moment In Their Career

That ATEEZ chose to drop anchor in Los Angeles for their first U.S. stadium show feels especially momentous. The band has history in Southern California, having trained at L.A.-based dance studios Movement Lifestyle and Millenium Dance Center prior to their debut. ("Our second hometown!" San said during the show.)

"Even though it was six years ago, it feels like just yesterday," Hongjoong said in his encore speech. "It’s absolutely an honor to be right here, now, in such a big venue." 

That’s a short time to come as far as they have, without slowing pace. "But, you know, it doesn’t stop," Hongjoong continued. "We will keep going to the next step and the next step, with you. Let’s keep making moments to shine even brighter, together." And if these three hours are any indication, ATEEZ has a light that won’t soon be dimmed.

K-pop juggernauts BTS are still on hiatus due to military enlistments, except for Jin, who was discharged last month. Yet, all members remain booked and busy in their solo endeavors.

Documentaries, travel shows, special singles — you name it, they carefully prepared it before starting their duties. And after new records from j-hope (HOPE on the Street) and RM (Right Place, Wrong Person) this year, the next in line is Jimin, who dropped MUSE today.

The album comes almost a year and a half after his debut EP, FACE, which placed Jimin as the first South Korean soloist to top Billboard's Hot 100 chart. In it, the Busan-born star proved his versatility and prowess standing on his own, captivating audiences old and new with his sensitive charisma.

In MUSE, Jimin introduces a new facet of his musical identity: bolder and more confident, but still a big softie at heart. To celebrate the beginning of a new era — and to ease the wait until his discharge next year — here are five key takeaways from Jimin's latest release, MUSE.

It's Another Jimin-Led Production

FACE was a proper introduction to Jimin's artistic vision, with him contributing to every aspect of the project and co-writing all of its tracks, minus the instrumental "Interlude: Dive."

Now, he takes it up a notch for MUSE, showcasing his growth by co-writing six out of seven tracks, and co-producing two of them: "Rebirth" and "Interlude: Showtime." Once again, Jimin had a hand on all of the album's components, including its concept and visuals, and bore down another layer of his ever-evolving skills.

If FACE introduced us to a vulnerable and sometimes desperate Jimin, MUSE charges forward with main pop boy energy, tender but commanding, sweet but sassy. It works both as a gift to fans and a tool to get to know Jimin even deeper.

He’s Still In Search Of His Muse

"We never met, but she's all I see at night/ Never met but she's always on my mind/ Wanna give her the world/ And so much more/ Who is my heart waiting for?" Jimin sings in MUSE's track, "Who." As the lyrics suggest, MUSE's main theme is Jimin's journey to find the source of his inspiration — his muse.

The album's seven tracks are all interconnected by love and longing, with Jimin searching for the one but getting lost in the way, and back at it once more. Through this perspective, he continues his path of self-discovery. After looking at his own FACE in the mirror, who else does he see? Who else instigates him enough to make art?

A Stellar Team Backs Up The Effort

To write and produce MUSE, Jimin enlisted longtime collaborators Pdogg, Ghstloop, Evan, and Supreme Boi. They have also been working with BTS for years, and know just what Jimin wants and needs in his songs.

But to make this album even more special, Jimin also collaborated with a fresh crop of professionals. Lead single "Who" was co-written and co-produced by Jon Bellion, Pete Nappi, and Tenroc, while Ayo the Producer and Kofo co-signed the fan-dedicated "Closer Than This." OneRepublic's Ryan Tedder helped pen "Be Mine," and Tommy Brown has writing credits on "Rebirth" and "Smeraldo Garden Marching Band (feat. Loco)."

Aside from Korean rapper Loco, MUSE also features American actress and singer Sofia Carson on the smooth duet "Slow Dance." Together, these names assembled a cohesive, yet diverse LP, brimming with influences from several decades, genres, and countries at once.

The Smeraldo Flower Makes A Comeback

Back in 2017, when BTS was in their LOVE YOURSELF era, they also introduced to their lore a fictional blue flower named Smeraldo. Symbolizing "a truth that cannot be told," its legend was better explored in the track "The Truth Untold (Feat. Steve Aoki)," and offered important clues to understanding that era's messages.

However, as years passed, the Smeraldo flower was largely forgotten from BTS's new works — until MUSE. Here, Jimin brings back the blue flower as one of the albums' visual concepts, and as the main motif behind pre-release "Smeraldo Garden Marching Band (feat. Loco)."

According to a press statement, the track's lyrics "express the longing to confess and find love on behalf of those unable to articulate their feelings," hence the use of Smeraldo. As for its curious title — loosely inspired by The Beatles' 1967 album Sgt. Pepper's Lonely Hearts Club Band — it came first as a casual nickname between Jimin, Pdogg, Ghstloop, and Evan while they worked together on FACE, and eventually became real.

It’s Packed With Nostalgia

If you miss Justin Timberlake's Justified sounds and other early-2000s gems, MUSE is here to take you on a nostalgic trip. Inspired by pop, R&B and hip hop from that era, Jimin gave his latest album a vintage, cozy veneer.

These references are predominantly visible on "Who" and its delightful guitar strums, but "Slow Dance (feat. Sofia Carson)," for example, sounds like an updated version of Usher and Alicia Key's "My Boo," and "Be Mine" could be the 2020's lovechild of Santana's "Maria Maria" and Sean Paul's "I'm Still In Love With You."

Another strain of references can be seen in "Smeraldo Garden Marching Band (feat. Loco)," which extends The Beatles' inspiration to experimental samples and marching band percussion, and creates a quirky piece that strays away from any current trends. "Interlude: Showtime" drinks from the same source, featuring a circus brass and drum line that introduces us to the singularity of "Smeraldo Garden."

While infused with nostalgia, MUSE still appeals to today's tastes, and offers a seamless, polished listen. It stands as a testament to Jimin's artistic growth, and while he might not have found his muse yet — he is certainly a source of inspiration for many.

Remember the atmospheric river of 2024? Glass Animals' Dave Bayley thought he'd drown in it. He'd holed up in a cheap Airbnb to write his band's latest album, I Love You So F—ing Much — and soon realized why it was so cheap.

"When I got there, I realized why. It was one of those stilt houses, hanging off the edge of a cliff," Bayley tells GRAMMY.com. "There was s— flying down and trees coming out of the ground, flying down the mountain. I was like, I'm dead. This is it. This is the end."

Late at night, observing the bedlam of the natural world, Bayley didn't feel planted on terra firma at all; he felt as if he was floating in space. Which turned out to be the impetus for the English indie-psych-poppers' latest statement — space being a metaphor for disconnection and unmooring. (The album arrived July 19 via Republic; Bayley remains the sole producer.)

"I think I had a lot of imposter syndrome, and felt very disconnected from reality as well," Bayley says of the Covid era — which unfortunately dovetailed with the breakout success of their last album, Dreamland. But by some strange alchemy, Glass Animals spun that feeling into emotional warmth.

As you absorb songs like "Creatures in Heaven," "A Tear in Space (Airlock)" and "Lost in the Ocean," read on for an interview with Bailey about how this celestial, lonesome, yet oddly swaddling and comforting album came to be.

This interview has been edited for clarity.

How would you describe the four-year gap between Dreamland and I Love You So F—ing Much?

Like lifetimes, honestly. And at the same time, it sort of feels like yesterday as well.

It's very, very confusing — because we finished Dreamland, and then Covid hit. We were about to release it, and then we postponed, and postponed, and realized the pandemic is not going away. We promised people the album; we needed to release it to, like, survive. So, we released it thinking it would probably tank. And it did something absolutely amazing, unexpected.

Most people, when something like that happens, get to be out and experience it, and see it happening in the real world — playing live shows, and they feel part of it, and it's part of them. Whereas I was trapped in my bedroom in my underpants watching it all happen through social media and email updates.

You needed to make it to survive? Say more about that.

I mean, that was our livelihood. Somehow, this has become a profession — I have to pinch myself when I say that, it's the best thing ever.

But you can't just not release music. You have to keep writing and releasing music to maintain it as a profession. We were four years out from the record before that, at that point.

Odd question: if a music career was inaccessible to you, what would be your professional destiny, as it were?

I was trying to be a doctor before all of this happened. I was four years deep into medical school, actually. Then, a series of strange and terrible things happened in my life that made me like, I want to take a break from med school.

I was using music as a therapy, almost, to get over some of the things that had happened. I was making music to feel better, really, and connected somehow. Someone, somewhere, maybe, put it on SoundCloud.

**What was the thematic seed of I Love You So F—ing Much?**

I guess that sense of detachment was a big thing — because it not only went for the duration of the pandemic, but even after the pandemic, we were touring. And because there was no insurance for people touring against Covid, we still had to isolate and bubble within ourselves. It was going to extend us another year and a half, just being in this metal tube.

It was like, the biggest shows we ever had — they were amazing. We'd walk on stage, and for an hour and a half, be slammed in the face with emotion and energy. And then we'd walk offstage back to the bus, and we couldn't interact and be part of what was happening afterwards.

It just made us all feel even more surreal — it felt like a dream.

Talk about the sound you wanted to capture.

This one, I wanted to sound a specific way; I knew the equipment to get. I got about six synths and 20 pedals that fit the sound — a couple of guitars and a drum kit that fit the sound — and I just went for it. You could turn anywhere, and the sound would fit into the context of the record.

**If you think of Glass Animals' discography as stops on a journey via train, which stop is I Love You So F—ing Much?**

We've reached this retro-futuristic stuff, and I think it's definitely a progression from the last album.

I definitely set my own kind of '90s, '80s production — and now there's a bit of a vaporwave thing going on, but it was still pretty analog and nostalgic. It seems to be almost like the train went backwards.

Then, on the songwriting side, I was trying to really make sure the core of the sounds had [integrity]; they could basically be played with guitar and voice alone. I wanted the chords to tell the story of the song as well; we'd kind of done that in the past, but I'd never really focused on it like I did this time.

I wanted the chords to keep evolving through each section of the song — just twist the atmosphere of the song in each section.

Give me a line on I Love You So F—ing Much that you feel sums up what we're talking about.

"Show Pony" is the first song; everyone creates this idea of love, and what love should be, based on what they've seen and experienced growing up. Seeing their family, seeing their friends — you're walking down the street, and you see a couple arguing, and you form these [impressions of] love.

"Show Pony" is kind of the blueprint; it gives context for the rest of it. And then, the line that comes right after it: "What the hell is happening? What is this?" I like that as the real beginning of the record, after the table of contents — the first song.

Where do you think Glass Animals will go from here?

It's a good question, because I don't really think I'm there yet. I have a few ideas — but to be honest with you, I never end up going with any of the first ideas that I have.

Before this iteration of the album, I wrote a whole other space album that just felt really cold and hollow and empty — like a vacuum. It wasn't cool; it didn't have enough emotion, and it didn't feel soulful enough. I just binned it, and sacked off; it's in the trash.

It wasn't until I stumbled on this concept of juxtaposing these kinds of small, intimate moments with the size of space, that I put two and two together — and worked out how I could do a space album without it being f—ing s—.