Weyes Blood announces new album ‘And In The Darkness, Hearts Aglow’, shares first single

Weyes Blood has announced details of her new album ‘And In The Darkness, Hearts Aglow’ and shared its first single, ‘It’s Not Just Me, It’s Everybody’.

  • READ MORE: Weyes Blood on ‘Titanic Rising’, her vital climate change wake-up call: “It’s not music that’s going to save us – it’s activism”

The California artist, real name Natalie Mering, will release the follow-up to ‘Titanic Rising’ on November 18 via Sub Pop.

‘Titanic Rising’ was the first album of three in a special trilogy, which placed emphasis on the doom to come. ‘And In The Darkness, Hearts Aglow’, meanwhile, is described as “a search for an escape hatch to liberate us from algorithms and ideological chaos”.


“We’re in a fully functional shit show,” Mering says. “My heart is a glow stick that’s been cracked, lighting up my chest in an explosion of earnestness.”

The new album’s first single, ‘It’s Not Just Me, It’s Everybody’ is about interconnectivity and “the fraying of society around us”.

Watch the lyric video, which is in English and Spanish, below.

In addition to the news of the album, Weyes Blood has also announced the ‘In Holy Flux Tour’, which will begin in 2023 in support of ‘And In The Darkness, Hearts Aglow’.

The UK and European dates will begin on January 28 in Berlin and finish on February 14 in Brighton. Tickets for these shows go on sale Friday, September 16th at 10am and can be found here. See full dates below.


In Holy Flux Tour 2023

28 – Festsaal Kreuzberg, Berlin
30 – Berns, Stockholm
31 – Rockefeller, Oslo

01 – VEGA, Copenhagen
03 – Kulturkirche, Cologne
04 – Le Trianon, Paris
05 – Botanique – Orangerie, Brussels
06 – Paradiso, Amsterdam
08 – Roundhouse, London
09 – SWX, Bristol
10 – QMU, Glasgow
12 – Vicar Street, Dublin
13 – O2 Ritz, Manchester
14 – CHALK, Brighton

‘Titanic Rising’ was released in April 2019 through Sub Pop and is Weyes Blood’s fourth studio album. NME gave the record four stars upon its release, describing it as “a beautiful album, informed as much her bold experimental music as by her golden age pop forebears”.

“Although this fourth record opens and closes with dense and gothic string arrangements, the 10 songs contained within are mostly light, evocative and – above all – accessible,” the review read.