Johnny Marr Announces Fifth Solo Album ‘The Age Of Everything’ Is Out October 2

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Johnny Marr announces fifth solo album ‘The Age Of Everything’ out October 2 via BMG, with lead single ‘Spin’ and a Wembley Arena headline date

Johnny Marr announced his fifth solo album, The Age Of Everything, on June 16, 2026, sharing its lead single “Spin” on the same day. Due October 2 via BMG, the 10-track record was written in London, developed while Marr was touring North America, and recorded in Manchester. The announcement arrives alongside the biggest headline shows of his solo career, including a sold-out homecoming performance at Manchester’s Castlefield Bowl on July 9 and a headline date at OVO Arena Wembley in London on October 24.

The album’s title came early in the writing process and did not leave. “It seemed to sum up the way I think a lot of people are feeling,” Marr explains. “It’s all encompassing, but it’s not necessarily a negative statement. There’s a sense of overwhelm in the culture brought about by technology, but looking at it with a different light, there could also be a sense of possibility.

That framing, cultural overwhelm reframed as potential, is consistent with where Marr has always placed himself in the tradition he comes from. The Smiths built their best work on the tension between feeling trapped and feeling like escape was possible. The Age Of Everything finds the 62-year-old guitarist applying that same lens to a different kind of entrapment.

A Record Built Across Three Continents

The making of The Age Of Everything followed the pattern of a working musician who never fully stops. Written in London, expanded while on the road in North America, and taken back to Manchester to be recorded, the album’s geography mirrors the life Marr has led since leaving The Smiths behind in 1987 and building a solo catalog that spans Electronic, The The, Modest Mouse, and the New Order and Pet Shop Boys adjacencies he has touched along the way.

He has described the process of making this record as “the most cathartic songwriting of his career,” a significant claim from someone who contributed to “There Is a Light That Never Goes Out,” “Bigmouth Strikes Again,” and “How Soon Is Now?”

The 10-track listing confirms that The Age Of Everything is not a sprawling concept record but a tightly organized collection. Spin opens it. “Ophelia,” sitting at track five, will likely draw comparison to the most melodically ambitious moments in Marr’s solo catalog. “Fire With Fire” at track nine and the closing “All In A Life” suggest a record that builds toward something rather than simply accumulating. Producer Mo Hausler, who worked with Marr on his fourth album Fever Dreams Pts 1-4, returns for this record.

The Tour and What OVO Wembley Means

The supporting live run is the most ambitious of Marr’s solo career to date. Before the October UK headline dates, he will play Down The Rabbit Hole in Ewijk on July 4, Stylus in Leeds on July 6, O2 Academy Liverpool on July 7, the sold-out Castlefield Bowl in Manchester on July 9, Iveagh Gardens in Dublin on July 10, and a run of Italian festival dates mid-July before closing the summer at OFF Festival in Poland on August 9 and Parken Festivalen in Norway on August 21. The OVO Arena Wembley date on October 24 closes the campaign and represents the largest solo headline date of Marr’s career.

Marr also appeared as a confirmed guest performer at Gorillaz’ first-ever stadium show at Tottenham Hotspur Stadium on June 20, a slot that fits with his role as a collaborator who has never fully left the center of British music, even in his solo years. Tickets for all remaining headline dates are on sale now. The Age Of Everything arrives October 2.

Full Tracklist: Spin / Beyond The Rain / It’s Time / How Come / Ophelia / That Feeling / In And Out Of Love / Just Once More / Fire With Fire / All In A Life

Author
ezracalloway

Ezra Calloway

Ezra Calloway grew up in Austin in a household where the radio was always on and the argument about what counted as real rock music never fully ended. He covers rock, alternative, and indie for Latetown Magazine, drawn to the artists who are doing something genuinely strange with the format rather than playing it safe. He spent four years writing for an Austin-based music publication before going independent, picking up bylines across several US digital outlets along the way. He has a particular obsession with guitar-driven records that most streaming algorithms will never surface and considers that a personal mission to fix.

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