Silversun Pickups

SILVERSUN PICKUPS ANNOUNCE DATES OPENING FOR WEEZER ALONGSIDE THE SHINS ON THE 32-DATE NORTH AMERICAN “THE GATHERING” TOUR

SHOWS IN CITIES INCLUDING LOS ANGELES, CHICAGO, BOSTON, BROOKLYN, SEATTLE AND MORE GO ON SALE HERE ON APRIL 3 AT 10AM LOCAL TIME

READ FLOOD MAGAZINE COVER STORY WITH BRIAN AUBERT AND BUTCH VIG HERE

SEVENTH STUDIO ALBUM, TENTERHOOKS, PRODUCED BY BUTCH VIG, OUT NOW

SECOND LEG OF 2026 TENTERHOOKS TOUR DATES IN CITIES INCLUDING OKLAHOMA CITY, BIRMINGHAM, NOLA, EL PASO & MORE KICKS OFF ON APRIL 25TH

Today, Silversun Pickups, the multiplatinum, GRAMMY-nominated Los Angeles quartet announce shows opening for Weezer alongside The Shins on the 32-date North American “The Gathering” tour. Tickets for these dates will go on sale here on April 2^nd at 10am Local Time and a Silversun Pickups presale will be available on April 1^st at 11am Local with password “SSPU”. The band will kick off leg 2 of their 2026 Tenterhooks Tour In Cities Including Oklahoma City, NOLA, Baltimore, Providence, Kansas City, San Antonio, Tucson & more kicks off on April 25^th. Tickets for these dates are on sale now here.

Silversun Pickups and Butch Vig, who produced the band’s latest, Tenterhooks, are currently on Flood Magazine’s digital cover. Read it here.

Silversun Pickups recently released their seventh studio album, Tenterhooks via their label, New Machine Recordings. For the album, the band —Brian Aubert [vocals, guitar], Nikki Monninger [bass, vocals], Christopher Guanlao [drums], and Joe Lester [keys]—reunited with producer Butch Vig to create an emotionally charged and unapologetic collection of ten tracks appropriate for the times, yet as timeless as anything they’ve done. “We wanted to make a tight record that could fit on one vinyl with five songs on each side,” says Aubert. “To me, it’s an impatient, apprehensive, and more aggressive album. We started recording when the world was changing again. You invariably wonder, ‘What are we headed towards?’ Even if you’re not necessarily writing about it, it bleeds into how you’re feeling and approaching life. We stripped things down and went louder and rawer.” Tenterhooks is available on all formats including CD, LP (including signed, limited-edition color variants: “Thorns and All” [orange and wood half-half LP] variant, a “Hot Wired” [blue and gold splatter with blue core LP] variant, a “Witness Mark” [blue marble with orange core LP] variant, as well as a VEEPS exclusive [orange marble LP] variant), and digitally here.

Silversun Pickups had finished touring in 2024 and enjoyed a rare break. During the downtime, Aubert saved voice memos, riffs, and other ideas as they came to him. Before he knew it, he found himself back in the studio with his bandmates and longtime producer Butch Vig [Nirvana, The Smashing Pumpkins, Garbage]. After two records together, they had perfected a real-time exchange of ideas. The musicians grabbed their instruments and jammed live as the producer listened and recorded. The album took shape seamlessly, but life intervened. Butch had commitments on the road with Garbage, taking him away from the studio. Aubert meanwhile went through one of the worst nightmares imaginable for any artist: he lost hearing in one ear. During a seven-day stay in the hospital, he even received a blood transfusion. “I had a hole in my ear drum,” he recalls. “They couldn’t figure out why I was losing blood, so they gave me the transfusion. We found out there was a rupture in my stomach lining due to the ibuprofen I was taking for the pain. That’s why I had been losing blood. One day, I was finally hearing again.” Eventually, the band regrouped with Vig and concluded the sessions. The title referenced the phrase, “On Tenterhooks.” “There was something in the air,” he observes. “It seemed as if everyone was on Tenterhooks waiting for whatever was next. The music has the same feeling.”

The opener “New Wave” alternates between heavenly and hard-hitting. A massive palm-muted riff carries the harmony on the chorus. Its sublime chug dissolves in the wake of an evocative solo soaked in reverb.

“Au Revoir Reservoir” revolves around a snappy groove, ethereal keys, off-kilter horns, and a lush vocal from Monninger.

Then, there’s “Long Gone.” Frantically strummed acoustic chords rush ahead at the pace of a late-night escape. Strings echo in the distance, and Aubert assures, “I’ll be long gone before we break it.”

The finale “Hot-Wired” offers a fitting bookend. Feedback cackles and buzzes, increasing the voltage with kinetic synths.

Tenterhooks represents both a full circle moment and a natural step forward for Aubert and band. Silversun Pickups cut their teeth on the East Side of Los Angeles, honing an inimitable style by playing nonstop. Their full-length debut, Carnavas [2006], went Gold and spawned the Platinum staple “Lazy Eye.” On its heels, they logged two back-to-back Top 10 entries on the Billboard 200 with Swoon [2009]—featuring the Gold-certified “Panic Switch”—and Neck of the Woods [2012]. “We’ve been a band for 25 years,” Aubert says. “I never would’ve imagined we would’ve been able to do this for so long. Somehow, we’re here. I’m thrilled we’re a band that people still find. When you listen to us, I hope you feel like after all of these years we still give a shit.” In the end, Silversun Pickups sound as urgent and undeniable as ever on Tenterhooks.

Tenterhooks Tracklisting
1. New Wave
2. The Wreckage
3. Au Revoir Reservoir
4. Wakey Wakey
5. Witness Mark
6. Thorns and All
7. Long Gone
8. Running Out of Sounds
9. Interrobang
10. Hot Wired

Silversun Pickups Tenterhooks Tour Dates (The Gathering Dates in Bold)

April 25, 2026 – Oklahoma City, OK  – Tower Theatre
April 27, 2026 – New Orleans, LA  – Joy Theatre
April 28, 2026 – Birmingham, AL  – Iron City
April 30, 2026 – Charleston, SC – Charleston Music Hall
May 1, 2026 – Greensboro, NC – The Pyrle
May 2, 2026 – Norfolk, VA – The NorVa
May 4, 2026 – Baltimore, MD – Nevermore Music Hall
May 5, 2026 – Harrisburg, PA  – XL Live
May 7, 2026 – Asbury Park, NJ – The Stone Pony SOLD OUT
May 8, 2026 – Norwalk, CT – District Music Hall
May 9, 2026 – Providence, RI – The Strand Ballroom
May 11, 2026 – Portland, ME – State Theatre
May 12, 2026 – Buffalo, NY – Town Ballroom
May 13, 2026 – Grand Rapids, MI – Elevation
May 15, 2026 – Kansas City, MO – Warehouse on Broadway SOLD OUT
May 17, 2026 – San Antonio, TX – The Aztec Theatre
May 18, 2026 – El Paso, TX  – Lowbrow Palace – Outdoor
May 19, 2026 – Tucson, AZ – Rialto Theatre
July 17, 2026 – Honolulu, HI – The Republik
July 21, 2026 – Perth, WA – Australia – Astor Theatre
July 22, 2026 – Adelaide, SA – Australia – The Gov
July 24, 2026 – Brisbane, QLD – Australia – Tivoli
July 25, 2026 – Hobart, TAS – Australia – Odeon Theatre
July 28, 2026 – Melbourne, VIC  – Forum
July 29, 2026 – Sydney, NSW – Australia – Enmore Theatre
July 31, 2026 – Auckland – New Zealand – Power Station
September 5, 2026 – Eugene, OR – McDonald Theatre (rescheduled date)
September 7, 2026 – San Luis Obispo, CA – Fremont Theater (rescheduled date)
September 8, 2026 – Sacramento, CA – Golden 1 Center *
September 9, 2026 – San Francisco, CA – Chase Center *
September 11, 2026 – Portland, OR – Moda Center *
September 12, 2026 – Vancouver, BC – CAN – Rogers Arena *
September 13, 2026 – Seattle, WA – Climate Pledge Arena *
September 15, 2026 – West Valley City, UT – Maverik Center *
September 16, 2026 – Denver, CO – Ball Arena *
September 20, 2026 – Saint Paul, MN – Grand Casino Arena *
September 22, 2026 – Chicago, IL – United Center *
September 23, 2026 – Detroit, MI – Little Caesars Arena *
September 25, 2026 – Toronto, ON – CAN – Scotiabank Arena *
September 26, 2026 – Laval, QC – CAN – Place Bell *
September 27, 2026 – Boston, MA – TD Garden *
September 29, 2026 – Philadelphia, PA – Xfinity Mobile Arena *
September 30, 2026 – Brooklyn, NY – Barclays Center *
October 2, 2026 – Washington, DC – Capital One Arena *
October 3, 2026 – Charlotte, NC – Spectrum Center *
October 4, 2026 – Raleigh, NC – Lenovo Center *
October 6, 2026 – Columbus, OH – Nationwide Arena *
October 7, 2026 – Milwaukee, WI – Fiserv Forum *
October 9, 2026 – Nashville, TN – Bridgestone Arena *
October 10, 2026 – Atlanta, GA – State Farm Arena *
October 11, 2026 – Orlando, FL – Kia Center *
October 13, 2026 – Sunrise, FL – Amerant Bank Arena *
October 14, 2026 – Tampa, FL – Benchmark International Arena *
October 16, 2026 – Houston, TX – Toyota Center *
October 17, 2026 – Dallas, TX – American Airlines Center *
October 18, 2026 – Austin, TX – Moody Center *
October 20, 2026 – Phoenix, AZ – Mortgage Matchup Center *
October 21, 2026 – San Diego, CA – Viejas Arena *
October 23, 2026 – Las Vegas, NV – T-Mobile Arena *
October 24, 2026 – Los Angeles, CA – Crypto.com Arena *
*with Weezer and The Shins

For more information about Silversun Pickups, please contact Mary Moyer (mary@qprime.com) and Emilio Herce (emilio@qprime.com) Q Prime.

BIO

A sense of urgency drives Silversun Pickups. The GRAMMY® Award-nominated Los Angeles quartet create and perform with eloquence and intensity all at once. They throw caution to the wind, but they do so with panache. Guitars may restlessly roar and rumble, only to be reined in by the spell of a saccharine melody or a honeyed hook. This push-and-pull has catapulted the group—Brian Aubert [vocals, guitar], Nikki Monninger [bass, vocals], Christopher Guanlao [drums], and Joe Lester [keys]—out of a crowded and competitive local scene and into the wide open space of some of the world’s biggest stages buoyed by Top 10 albums, Platinum success, and tastemaker acclaim. As such, they’ve thrived as one of this century’s most consistent and quietly impactful rock bands.

Now, Silversun Pickups meet the moment with their seventh full-length LP, Tenterhooks [New Machine Recordings]. It’s an anxious, emotionally charged, and unapologetic collection of ten tracks appropriate for the times, yet as timeless as anything they’ve done.

“We wanted to make a tight record that could fit on one vinyl with five songs on each side,” says Aubert. “To me, it’s an impatient, apprehensive, and more aggressive album. We started recording when the world was changing again. You invariably wonder, ‘What are we headed towards?’ Even if you’re not necessarily writing about it, it bleeds into how you’re feeling and approaching life. We stripped things down and went louder and rawer.”

Silversun Pickups had finished touring in 2024 and enjoyed a rare break. During the downtime, Aubert saved voice memos, riffs, and other ideas as they came to him. Before he knew it, he found himself back in the studio with his bandmates and longtime producer Butch Vig [Nirvana, The Smashing Pumpkins, Garbage]. After two records together, they had perfected a real-time exchange of ideas. The musicians grabbed their instruments and jammed live as the producer listened and recorded. The album took shape seamlessly, but life intervened. Butch had commitments on the road with Garbage, taking him away from the studio. However, Aubert went through one of the worst nightmares imaginable for any artist: he lost hearing in one ear. During a seven-day stay in the hospital, he even received a blood transfusion.

“I had a hole in my ear drum,” he recalls. “They couldn’t figure out why I was losing blood, so they gave me the transfusion. We found out there was a rupture in my stomach lining due to the ibuprofen I was taking for the pain. That’s why I had been losing blood. One day, I was finally hearing again.”

Eventually, the band regrouped with Vig and concluded the sessions. The title referenced the phrase, “On Tenterhooks.”

“There was something in the air,” he observes. “It seemed as if everyone was on Tenterhooks waiting for whatever was next. The music has the same feeling.”

The first single “The Wreckage” evokes this energy. Harmonics encircle a loose bassline as it winds around the punchy beat. Aubert’s reminder, “Well you get what you give, nothing more,” slips into the undertow of grainy distorted riffing. The track spirals out through phaser-drenched six-string transmissions and a sparse piano outro.

“I saw it as a ‘bass song’ in the vein of The Cure or Jane’s Addiction,” he recalls. “I wanted Nikki to have a signature bassline. I played it for her, she played along, and I began singing. The big guitars and the piano give it space to breathe. The lyric, ‘You get what you give’, is so true. You meet people and you live in a world that reflects what you put in.”

“Au Revoir Reservoir” revolves around a snappy groove, ethereal keys, off-kilter horns, and a lush vocal from Monninger. She exhales a plea, “Help me outside.” As the rhythm tosses and turns, Aubert’s spacey tremolo-picked lead screeches.

“There was already a lot of aggression and loudness, so we thought it would be cool to paint with some other paints,” he says. “I’m glad ‘Au Revoir Reservoir’ is on the record. It opens everything up a little more. It’s a different color.”

Then, there’s “Long Gone.” Frantically strummed acoustic chords rush ahead at the pace of a late-night escape. Strings echo in the distance, and Aubert assures, “I’ll be long gone before we break it.”

“I wanted to do an acoustic song, but not a ‘slow song’,” he reveals. “It had to be really kicking, and I was thinking of Johnny Marr or a Western-style Ennio Morricone vibe. The sentiment is, ‘Don’t worry. This isn’t going to end badly because I’ll be gone before that’. I’m not necessarily speaking about an event. I’m speaking about an inherent emotion, and it feels very melancholic and beautiful.”

The opener “New Wave” alternates between heavenly and hard-hitting. A massive palm-muted riff carries the harmony on the chorus. Its sublime chug dissolves in the wake of an evocative solo soaked in reverb.

“It was the first song we recorded, and it set the template,” he notes. “I used to be in love with huge guitar swells, and I’ve fallen back in love with them—just in my older brain. ‘New Wave’ is a reference to feeling like, ‘This thing is going to hit me’. You’re either going to get in the ocean or lay in the sand. It’s not even up to you. You’re not sure when it’s going to happen, but it’s going to happen. How do you prepare for it?”

The finale “Hot-Wired” offers a fitting bookend. Feedback cackles and buzzes, increasing the voltage with kinetic synths. Brian’s final statement, “Pull hot wires accelerate. Go full throttle disintegrate,” burns out in glorious fashion akin a shooting star. “It’s the closing credits moment,” he adds. “It ends quick like it started. We’re done, but we’re not going out sad. We’re still talking about things, but there’s optimism.”

Tenterhooks represents both a full circle moment and a natural step forward for Aubert and Co. Around the turn of the century, Silversun Pickups made their bones on the East Side of Los Angeles with countless gigs, honing an inimitable style by playing nonstop. Their full-length debut, Carnavas [2006], went Gold and spawned the Platinum staple “Lazy Eye.” On its heels, they logged two back-to-back Top 10 entries on the Billboard 200 with Swoon [2009]—featuring the Gold-certified “Panic Switch”—and Neck of the Woods [2012]. Coursing through culture, they have landed dozens of film and television placements, ranging from the cult classic Jennifer’s Body to NETFLIX’s The Lincoln Lawyer. They’ve held their own on tours with the likes of Foo Fighters and Muse, sold out successive headline jaunts, and performed on late-night television shows such as Jimmy Kimmel LIVE! Moreover, they have incited widespread critical applause. Pitchfork hailed 2022’s Physical Thrills as “their most varied and carefree songs in over a decade,” and Consequence marveled at how, “the new LP sees the veteran quartet finding new avenues to push the envelope within their well-established sound.”

In the end, Silversun Pickups sound as urgent and undeniable as ever on Tenterhooks.

“We’ve been a band for 25 years,” he leaves off. “I never would’ve imagined we would’ve been able to do this for so long. Somehow, we’re here. I’m thrilled we’re a band that people still find. When you listen to us, I hope you feel like after all of these years we still give a shit.”

BOILER

A sense of urgency drives Silversun Pickups. The GRAMMY® Award-nominated Los Angeles quartet create and perform with eloquence and intensity all at once. Guitars may restlessly roar and rumble, only to be reined in by the spell of a saccharine melody or a honeyed hook. This push-and-pull has catapulted the group—Brian Aubert [vocals, guitar], Nikki Monninger [bass, vocals], Christopher Guanlao [drums], and Joe Lester [keys]—out of a crowded and competitive local scene and into the wide open space of some of the world’s biggest stages. They’ve thrived as one of this century’s most consistent and quietly impactful rock bands. Their full-length debut, Carnavas [2006], went Gold and spawned the Platinum staple “Lazy Eye.” On its heels, they logged two back-to-back Top 10 entries on the Billboard 200 with Swoon [2009]—featuring the Gold-certified “Panic Switch”—and Neck of the Woods [2012]. Coursing through culture, they have landed dozens of film and television placements, ranging from the cult classic Jennifer’s Body to NETFLIX’s The Lincoln Lawyer. They’ve held their own on tours with the likes of Foo Fighters and Muse, sold out successive headline jaunts, and performed on late-night television shows such as Jimmy Kimmel LIVE! Beyond praise from NPR, Consequence, and more, Pitchfork hailed 2022’s Physical Thrills as “their most varied and carefree songs in over a decade.” Now, Silversun Pickups meet the moment with their seventh full-length LP, Tenterhooks [New Machine Recordings]. It’s an anxious, emotionally charged, and unapologetic collection of ten tracks appropriate for the times, yet as timeless as anything they’ve done.