$69.50 - GA floor & reserved bowl
Akron, Ohio (February 10, 2026) – Today, GRAMMY award-winning rock duo The Black Keys announce their PEACHES ‘N KREAM WORLD TOUR ‘26, kicking off on April 24th with stops in major cities including New York, Chicago, Nashville, London, Paris, Milan and more. All supporting acts for the tour come from the stable of Dan Auerbach’s own Easy Eye Sound record label, with artists varying per city. Artist pre-sale starts Thursday, February 12th at 10am local. General on-sale starts Friday, February 13th at 10am local. Tickets available here.
Last week, The Black Keys returned with their new single “You Got To Lose” from their upcoming album Peaches! set for release on May 1st via Easy Eye Sound/Warner Records. Pre-order/save Peaches! here.
The Black Keys are hitting the road again after their hugely successful No Rain, No Flowers tour last year, which saw the band sell over 250,000 tickets across North American & Europe, including sell out shows at iconic venues such as Red Rocks Amphitheatre, Los Angeles’ Greek Theatre, Zitadelle Spandau in Berlin and London’s Alexandra Palace Park.
Citi is the official card of the PEACHES ‘N KREAM WORLD TOUR. Citi cardmembers will have access to presale tickets beginning Wednesday, February 11 at 10am local time until Thursday, February 12 at 10pm local through the Citi Entertainment program. For complete presale details visit www.citientertainment.com.
Peaches!, the band’s fourteenth studio album, is a visceral and raw 10-song collection described by singer Dan Auerbach as the band’s “most natural record” since their 2002 debut, The Big Come Up. The project was born in the wake of Auerbach’s late father’s diagnosis of esophageal cancer, as he was staying in Dan’s Nashville home, in rapid decline. Patrick Carney, Dan’s Black Keys bandmate and oldest, closest friend, knew without asking “that it would be good for Dan to have something to do.” That something, of course, was to head into the studio and crank up the amps.
“We weren’t making a record. We were just jamming, like this is for us,” Dan Auerbach says. “Really primal, in a moment when all the nerves were raw, just kinda screaming. We were going through a lot, trying to lift our spirits. I think my dad getting sick made me not give a fuck and just wanna scream for a bit.”
In similar DIY spirit to their debut, the album was recorded with all musicians playing in the same room with very few overdubs, and is the first album mixed entirely by the band themselves since 2006’s Magic Potion.
“Everything was all cut live in one with no separation, including vocals,” adds Patrick Carney. “It was a nightmare to mix but we got it sounding raw and filthy.”
“Shitty is pretty,” Dan adds.
The songs on Peaches! reflect Dan and Patrick’s obsessive record-collecting habit, which in recent years has escalated into an ongoing series of Record Hang DJ-set dance parties. These hangs fueled a deeper period of musical archaeology for both of them. “I’d look for 45s specifically to play at the record hangs,” Dan says, “but sometimes I’d find a song and think, ‘This might be fun for Pat and me to play live.’”
Peaches! cover art is illustrated with an image by the iconic Memphis-born photographer William Eggleston, a hero of the band’s who also provided the cover shot for their 2021 album, Delta Kream. This album also sees Patrick’s brother, Michael Carney, designing and art-directing the package as he did similarly with early Black Keys albums, notably winning a GRAMMY award for the Brothers cover. Peaches! will be available on vinyl, CD, cassette and digitally — pre-order/save here.
Around the turn of the century in Akron, OH, two childhood friends regularly huddled around a rudimentary tape recorder and wrote songs. After more than two decades, five GRAMMY® awards, worldwide sales of 10 million-plus, streams in the billions, and countless sold-out shows, The Black Keys—Dan Auerbach [vocals, guitar] and Patrick Carney [drums]—still operate the same way. To this day, the duo write, record, and produce music together, jamming like no one’s watching, disregarding the rules, and following their own creative impulses without compromise. Since their inception, they have consistently captivated audiences with seismic live performances and a fluid and fiery body of work. Following influential favorites such as Thickfreakness [2003] and Magic Potion [2006], they made waves with 2008’s gold-certified Attack & Release. In its wake, Brothers [2010] reached double-platinum status, received a GRAMMY® for “Best Alternative Music Album,” and spawned the staple “Tighten Up”—which notched a GRAMMY® for “Best Rock Performance by a Duo or Group with Vocal.” 2011 saw the guys unveil El Camino. It went double-platinum and scored three GRAMMYs®, including “Best Rock Album” as well as “Best Rock Performance” and “Best Rock Song” for “Lonely Boy.” In 2014, the gold-selling Turn Blue bowed at #1 on the Billboard 200. Maintaining this momentum, 2022’s Dropout Boogie marked their sixth Top 10 debut on the Billboard 200. Plus, they sold out iconic venues such as Madison Square Garden and shined as an outlier who could collaborate with either Noel Gallagher, Billy F. Gibbons, and Beck or Juicy J. In 2025, the duo’s bond as bandmates and friends underscored their thirteenth full-length LP, No Rain, No Flowers [Easy Eye Sound/Warner Records], which earned Dan his fifth “Producer of Year” GRAMMY nomination.
When Jeremie Albino was a teenager, he started busking around Toronto, setting up along the boardwalk or on a street corner downtown, wherever he thought he might find some passersby. “Usually nobody was listening,” he says, “but occasionally one or two people would tell me it sounded great. They had places to be and things to do, but they would stop and listen for a little while. That kind of interaction felt very special to me, and that’s when I realized I really do love performing. That’s when I realized I could hold a listener’s interest and give something back to them.”
That experience set Albino on his path, and it showed him how much joy can be found in the simple act of connecting with a listener, whether it’s an entire crowd or just one person in that crowd. Since then, he has refined a vital and idiosyncratic mix of styles and sounds that are rooted in tradition but grasping toward the future: His songs are grounded in the gritty storytelling of classic country music, propelled by the rhythms of old-school R&B, played with the wild abandon of early rock ’n’ roll, and sung with the deep feeling of southern soul. Thanks to his sweaty, livewire concerts, he has been steadily growing his audience from a few passersby to packed houses around Canada and the U.S. Our Time In The Sun, his soulful fourth solo album, sounds like the culmination of what he started out on the street corners of Toronto.
The title track showcases his remarkable range—emotionally, vocally, and stylistically. Anchored in a Stax rhythm section and punctuated with dramatic horns, it’s a dusty country-soul number about good love curdling into bad, but there’s none of the romantic recrimination that infects so many breakup songs. Rather, in his performance as much as in his lyrics, Albino conveys a warm generosity toward somebody who tried just as hard as he did to make it work. He’s the rare singer who’s always in the moment, taking nothing about the song or the melody or the lyrics for granted. And he brings the listener right into the moment with him. “I try to put my heart into everything,” he says. “There’s really no other way for me to do it. If I’m not putting everything into the song, then why would I even bother to sing it?”
As much as he loves performing and winning over listeners, Albino by his own admission has never felt that same connection to songwriting, but he made a breakthrough on Our Time in the Sun. Working with producer Dan Auerbach, he emerges as a sharp, observant songwriter who is quick with a clever turn of phrase and open to the emotional nuance of the stories he’s telling on “I Don’t Mind Waiting” and the raw “Struggling With The Bottle.” “I used to struggle with writing. Okay, I used to hate it. Whenever I needed to write new songs, I would just sit there for months toiling away.” When he signed with Auerbach’s Easy Eye Sound label, however, they spent hours and hours bouncing ideas off one another, their sessions becoming a masterclass on how to write a good, solid song.
“Something clicked right away,” says Albino, “and we ended up writing 4 or 5 songs a day. Before that, it would take me half a year to write 4 or 5 songs.” Auerbach brought in some of Nashville’s finest songwriters to share their wisdom, including Pat McLaughlin, Joe Allen, and Bobby Wood. “He told me, if you’re going to build a house, you need to call some carpenters. You need to bring in the experts who do it every day for a living. It’s the same way with songs. Some of those guys have been doing this since before I was born.”
Perhaps the most important lesson, he says, was to let the song come naturally rather than try to force it. It knows what it needs and will carry you in the right direction. “Rolling Down The 405” came to life during a break, when Albino and McLaughlin were messing around while Auerbach took a phone call. “The song came together so fast. I just started chugging on the guitar and singing lyrics off the top of my head… ‘Jimmy left me high and dry, rolling down the 401.’ It was originally the 401 because that’s one of the main highways around here. But 405 just sounded better.” Even Albino isn’t exactly sure, but he’s content to let them be whatever the listener needs them to be. He has a keen understanding of how to position a song between the specific and the universal, so that it will mean something slightly different to everybody who hears it. “The song grows from what you put into it.”
When they finally scheduled recording sessions for Our Time In The Sun, “Rolling Down The 405” was the first song they tracked with a band that included some of Nashville’s finest session players. “We played the demo for the guys in the room, and everybody just understood what it needed to be.” Together, they all crafted a breezy road song with the momentum of a classic rock song and the emotional resonance of classic soul—like a JJ Cale recording. “That was the most fun I’ve had making a record, and it set the tone for the rest of the sessions.”
They were often surprised by the directions these new songs would take. “Dinner Bell” opens with a swampy, funky breakdown like Tony Joe White, with Albino grunting and barking along to the rhythm track, then shifts into a kind of bayou psychedelia, punctuated by Auerbach’s anarchic guitarwork. (The song contains one of his wildest solos committed to tape.) “Dan has a great record collection, and when we were working, he would pull out stuff for inspiration. He put on this old gospel-funk record, and the rhythm of it was so infectious. We started writing this tune about working like a dog your whole life and feeling ground down and wondering what life is all about. It’s me telling a story, but it’s also me telling my story in the music I’ve grown up listening to and the music I’m just now discovering.”
Albino took that excitement back home to Canada with him, and for once he’s looking forward to writing some more songs. “I feel like I grew so much just being in a room with those guys, and I’m jazzed because it shows in the songs. And I feel like I learned so much about myself and what I’m capable of. This record is the most myself I think I’ve ever sounded. I’m more comfortable in my own skin now than ever before.”
