All The Feelings Tour: Metric, Broken Social Scene & Stars

Longtime friends and acclaimed bands Metric, Broken Social Scene, and Stars are bringing their collective talents to stages across North America and Europe this year as part of their huge co-headline ‘All the Feelings Tour’.

They have now announced a headline 3Olympia Theatre, Dublin show for Wednesday 9th September 2026.

Tickets priced from €46.20 including booking fee & €2 restoration levy go on sale at 10am on Friday 20th March with Ticketmaster Ireland
Three Ireland presale on sale 10am on Wednesday 18th with #Three+

Alongside the tour announcement, the bands have released a new video highlighting their long-standing friendship, a connection that dates back to childhood and has carried through each of their individual careers. Watch HERE.

ABOUT METRIC

Metric is Emily Haines (vocals, keys), Jimmy Shaw (producer, guitar, keys), Joshua Winstead (bass guitar, keys) and Joules Scott Key(drums). They have spent over 20 years together in creative partnership and are releasing their 10th studio album in 2026 maintaining the original lineup. “The band has become Canadian indie-rock icons,” says Pitchfork.  “Metric [has] their own increasingly rare success story.” The band resisted major label offers in favor of starting their own label and retaining control of their own material and career, and for the last two decades have found themselves on an unusual trajectory of increasing success while continuing to push their own artistic boundaries past conventional expectations.

Emily Haines and Jimmy Shaw are also early members of Broken Social Scene. While Metric has always been their first priority, they have both written and performed songs on all of the collective’s albums from 2002-2017 including such tracks as “Almost Crimes,” “Swimmers,” “Sweetest Kill,” “Sentimental X’s” and “Protest Song.” Emily’s most notable contribution to the group is the breakout hit “Anthems For a Seventeen Year-Old Girl,” from the award winning album You Forgot It In People. Haines has also collaborated with numerous other artists, most famously striking up a strong creative connection with the late Lou Reed, who performed “Wanderlust” on Metric’s album Synthetica and joined Metric on stage at their sold out headlining show at Radio City Music Hall in 2013 to perform “Wanderlust” and the Velvet Underground’s “Pale Blue Eyes.” Haines worked with Lou Reed on various additional live events overseen by the late producer Hal Willner as well as performing “Ballrooms of Mars” on Willner’s final tribute album, Angelheaded Hipster: The Songs Of Marc Bolan and T. Rex alongside U2, Nick Cave, Joan Jett, and others. Haines has released three solo studio albums, including the acclaimed Knives Don’t Have Your Back. Jimmy Shaw has also released a solo album and works as a sought after, JUNO award-winning producer.

Metric have a long history of creating music for film, starting in 2004 with their appearance in Olivier Assayas’ Clean, acting and performing their song “Dead Disco.” In his Scott Pilgrim series, graphic novelist Bryan Lee O’Malley based his fictional band Clash at the Demon Head on his experience of live Metric performances, and director Edgar Wright used their song “Black Sheep” in his 2010 film adaptation Scott Pilgrim vs The World. Also in 2010, Metric contributed the theme song “Eclipse (All Yours)” to The Twilight Saga: Eclipse soundtrack which they co-wrote with Howard Shore. In 2012, they won a CSA (Canadian Screen Award) for their score of David Cronenberg’s Cosmopolis, also with Howard Shore. Metric songs have been featured in numerous feature films and television shows including Grey’s Anatomy, The L Word, Zombieland, Nikki Glaser’s HBO Special Good Clean Filth,the hit animated film Nimona, and popular Netflix shows Wayward and I Love LA in 2025.

Both Emily Haines and Jimmy Shaw grew up surrounded by art. Haines was born in New Delhi where her father, poet Paul Haines, was writing the lyrics for Carla Bley’s monumental Escalator Over the Hill and her activist/teacher mother Jo ran a household steeped in experimental art and discourse stemming from their years in the Greenwich Village scene in the early 1960s. Born in the UK and raised in Toronto, Jimmy Shaw spent the first half of his life immersed in classical music and was accepted at the age of fifteen to the Curtis Institute in Boston and later graduated from the Juilliard Music School in New York. Metric has been nominated for numerous Polaris Music Prize and JUNO Awards, including five wins. Metric has appeared on The Tonight Show, The Late Show with Stephen Colbert, Jimmy Kimmel Live! and Later…With Jools Holland and have toured extensively, playing headline shows and festivals around the world.

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ABOUT BROKEN SOCIAL SCENE

Remember the Humans was shaped by reunion and loss in equal measure. When Drew and Newfeld reconnected after nearly 20 years apart, one hangout became what they call “a hurricane of fun.” During the recording, both lost their mothers – a shared grief that drew them closer. As Newfeld recalls, “our moms would have wanted us to do this, and get it right after 20 years of not working together.”

As ever, Broken Social Scene operates less as a band than as a community and songs evolve by ceding control to whoever can best carry them forward in the moment. Drew may be the designated driver, but collaborators on Remember the Humans, including Hannah Georgas, Lisa Lobsinger, and Feist, step into the foreground throughout the record, shaping songs with a sense of collective authorship that has always defined the group’s ethos.

The songs work because no one fully commands them. But this is where Newfeld matters most. As BSS’s Charles Spearin puts it, “his production suits the chaos of our songwriting so well…he’s got a childlike energy that is really contagious, when you get a piece of music that he loves, Oh my God, he’s bouncing like a little boy.”

The same unruly energy that keeps a band young can also trap it in its own past. Yet on Remember the Humans, Broken Social Scene have evolved with a deep sense of intention. It is the sound of a band deepening rather than reinventing, exploring the emotional implications of forms they’ve spent twenty years shaping. “There’s a different kind of honesty in this record,” says Spearin, “we’ve had success, we’ve lost friends, we’ve lost parents, we’re at this ‘what happens next?’ stage in life.” Remember the Humans is adult music in the best sense: contradictory, wounded, expansive – hopeful in a way that feels earned rather than declared. And it is also, in its refusal of control and its embrace of the ungovernable, a testament to something increasingly rare: art that is not optimized, not streamlined, not strategic.

BSS’s own evolution mirrors something happening outside it. After years of oversaturation and noise, the culture itself seems to have looped back to a craving for the raw, the communal, and the unguarded. The conditions that made You Forgot It in People feel necessary in 2002 have, in altered form, returned in 2026. According to Drew, “in 2026, you’re going to see a lot of resurgence of people going back to the roots of who they are, because things in their lifetime have gotten quite lost. I think we’ve let each other down, and I think it’s art that always tries to prevail, and tries to get us back on track.”

In a culture defined by abstraction and distance, Broken Social Scene have made a record that insists on the analog fact of human presence. It asks, gently, but insistently, that we remember each other, that we remember the human.

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ABOUT STARS

STARS have spent their 20+ year career being a musical confidant to the inner-most secrets of their fans lives. They tell the tales we keep in the darkest, and most hopeful parts of our souls. They have persevered as a band, friends, musical and social curators; always putting art first, as well as the pursuit of transparency and truth. Stars have stayed true over the release of nine albums, countless tours, and every imaginable obstacle.

Stars albums have always served as thermochromic barometers of their makers’ emotional well-being, be it the romantic upheaval of 2003’s Heart and 2004’s Set Yourself On Fire, the newsticker-triggered discontent of 2007’s In Our Bedroom After the War, the downcast elegies of 2010’s The Five Ghosts (a requiem for singer Torquil Campbell’s father, who passed away during the album’s creation), or the rejuvenation of 2012’s The North (recorded while inter-band couple Amy Millan and Evan Cranley were in the throes of new parenthood). Stars continued with their 2014 dance-club inspired offering, No One Is Lost and the 2017 pristinely produced by Grammy-award winner, Peter Katis for There Is No Love In Fluorescent Light. Stars released From Capelton Hill in 2022 which cuts to the band’s founding principles: brimming with gothic, dazzling ‘80s and ‘90s Britpop arrangements, but rendered with intimacy and warmth rather than with cold, digital remove. In 2024, Stars celebrated the 20th Anniversary of Set Yourself On Fire, with a digital/vinyl reissue and North American tour. Set Yourself on Fire (Live) vinyl is now available for the first time publically, after being exclusively offered on the band’s Patreon page. The vinyl, compiled from live recordings on the record’s anniversary tour in 2024/2025, is available here and as a digital album via bandcamp here.

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