Remi Wolf Announces 2027 North American ‘Mud Tour’

imogenhartley
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Remi Wolf announces her 2027 North American ‘Mud Tour’ alongside her new album ‘Mud’, with stops at Radio City, Red Rocks and more

Remi Wolf is wrapping up one chapter and booking the next on the same day. On Friday (Oct. 9), the Los Angeles singer-songwriter released her third album ‘Mud’ through Island Records and announced The Mud Tour, a 2027 North American headline run that stretches from February to May and includes some of the biggest rooms of her career. For an artist who built her name on color and chaos, both the album and the tour mark a move toward something warmer and more grounded.

The timing is deliberate. Wolf is marking the release with hometown-adjacent shows at Los Angeles’ Fonda Theatre and New York’s Webster Hall this week, then heading to Australia in December for a run that includes every stop of the Spilt Milk Festival. The North American leg follows in the new year, a victory lap for a record she has described as a personal turning point.

A Tour Built on Bigger Rooms

The Mud Tour opens Feb. 23 at The Anthem in Washington, D.C., and runs through late May. The itinerary is studded with landmark venues: Radio City Music Hall in New York on Feb. 27, Massey Hall in Toronto on March 5, the legendary Red Rocks Amphitheatre in Colorado, and Vancouver’s PNE Forum on May 21, before the tour closes May 22 at Seattle’s WAMU Theater. Stops in Philadelphia, Boston, Detroit, Chicago, Minneapolis and beyond fill out the roughly 23-date run.

The support bills rotate by leg. Emma Ogier opens the February and March dates, Annabelle Dinda joins for May, and Leyla Ebrahimi supports the Australian headline shows. Playing a room like Radio City is a marker of how far Wolf has come since opening for Lorde and Still Woozy only a few years ago. The jump from clubs to theaters and amphitheaters is the clearest sign yet of her growing pull.

‘Mud’ and a New Phase

The tour shares its name and spirit with the album behind it. ‘Mud’ finds Wolf trading some of her maximalist, technicolor pop for a more naturalistic and spacious sound, and reaching for more vulnerable subject matter, including sobriety, toxic relationships and breaking cyclical habits. “I feel like I’ve crossed into a new phase of life because of this album,” she said, describing a process that left her feeling, by the end, clean and clear.

That clarity came from a change of setting. After years of nearly nonstop touring, early sessions in Nashville gave way to a retreat in Big Bear, where Wolf worked with longtime collaborator Jared Solomon and friends Jack DeMeo, Jamie McLaughlin and Gigi Grombacher.

Operating as a loose family band, sharing meals and passing microphones around the kitchen, they let the songs develop at their own pace. The album also features a guest turn from John Mayer on ‘Moon So High’, and was previewed by the singles ‘Twiggy’, ‘Bottle’ and ‘I Won’t Cry’, the last of which Wolf performed on Jimmy Kimmel Live! the night before release.

How to Get Tickets

Tickets roll out in stages. A Verizon presale begins Monday, Oct. 12 at 10 a.m. local time, with fans able to sign up for access through Laylo on Wolf’s official website. General on-sale follows Friday, Oct. 16 at 10 a.m. local time.

Few pop artists of her generation have balanced playfulness and craft as deftly as Wolf, and ‘Mud’ suggests she is learning to let the quieter moments breathe. The Mud Tour is where that evolution meets the stage. For fans who first found her through the funk-splattered rush of her early work, 2027 offers a chance to see what she sounds like with a little room to breathe.

Author
imogenhartley

Imogen Hartley

Imogen Hartley started writing about music because she was tired of reading reviews that described albums without actually saying anything. Based in Bristol, she covers emerging artists, pop culture, and the cultural politics of who gets called a serious musician and who gets dismissed. She spent several years contributing to music and culture outlets across the UK before joining Latetown Magazine, where she writes with the kind of directness that makes artists uncomfortable and readers come back.

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