The Last Mixed Tape

Fontaines D.C. have spent five albums trying to find somewhere else to go. From Dublin, to Ireland, to romance, fantasy and now something much harder to define, escape has been one of the central tensions running through their music.

With “Marianne”, their first new music since 2024's Romance, Fontaines D.C. offer our first glimpse into their forthcoming fifth album, Dopamine Chamber.

In this episode, Stephen explores what “Marianne” tells us about Fontaines' evolving sound and their fascination with escapism, while examining the song's Ripley-inspired music video and the controversy surrounding its original AI Artist credits.

Dopamine Chamber is released October 16th, 2026 via XL Recordings.

Six years after Punisher gave the isolation of 2020 an apocalyptic soundtrack, Phoebe Bridgers returns with Lost Weekend an album about what it feels like to live through a world that increasingly feels impossible to change.
The Trump era. Late-stage capitalism. Internet alienation. Institutional indifference. Grief. Love. Fame. Lost Weekend brings these enormous forces down to the scale of an individual life, asking what happens when catastrophe stops being an event and becomes the environment we live inside.
But this isn’t a protest album.
Through dissociation, distorted voices, memories of her father, intimate relationships and moments of unexpected warmth, Bridgers explores what remains when the larger systems around us feel beyond our control.
If Punisher asked what happens when the world feels like it’s ending, Lost Weekend asks what happens when you have to keep living through it.
How do we remain human after it?
The Last Mixed Tape is a music and culture video essay exploring the ideas, stories and politics behind the music that shapes our lives.

Was David Bowie a fascist?
In 1976, David Bowie became the Thin White Duke: an elegant, unsettling persona born during a period of cocaine addiction, paranoia and psychological collapse.
Bowie praised Hitler, spoke approvingly of fascism and was photographed appearing to give a Nazi salute. But was the Duke an expression of genuine political belief or a dangerous piece of performance art that began to escape its creator?
We trace the Duke through Bowie’s controversial interviews, the post-war artistic fascination with fascist imagery, Situationism and punk, and finally Station to Station the album where Bowie and his creation seem to wrestle for control.
The Last Mixed Tape explores music, culture, politics and the stories hiding underneath the songs.

“This is not a rebel song.”
For more than forty years, Bono has introduced Sunday Bloody Sunday with those six words.
But why?
In this episode of The Last Mixed Tape, Stephen White explores the history, controversy and enduring legacy of one of the most important songs in Irish music.
Beginning with the events of Bloody Sunday in Derry in 1972, we trace the writing of the song during the recording of War, its first performance in Belfast, the legendary Red Rocks concert, and the debate that has followed it ever since.
Rather than asking who the song supports, this episode asks a different question:
What happens when a piece of art leaves its creators and begins a life of its own?
Along the way, we explore:
• The real events behind Bloody Sunday
• Bono’s reflections from Surrender
• The Edge’s writing of one of rock’s defining guitar riffs
• The Belfast performance that tested the song
• Red Rocks and the white flag
• Why Bono tore up Irish tricolours on stage
• How music shapes politics and how politics reshapes music
If you enjoy long-form conversations about music, culture and history, follow The Last Mixed Tape for new episodes every week.

Brat became one of the defining cultural moments of the decade.
Rather than trying to recreate that success, Music, Fashion, Film asks a far more difficult question: what happens after the breakthrough?
In this episode of The Last Mixed Tape, Stephen White explores Charli XCX’s latest album through the lens of artistic identity, modern fame and the growing expectation that musicians must become far more than musicians.
From the satirical mockumentary The Moment to the Vincent Cassel-starring video for Camera, and the closing words of David Cronenberg, Music, Fashion, Film becomes less a traditional album than a meditation on creativity, performance and what happens when an artist no longer owns the meaning of their own work.
Is this Charli XCX’s most challenging record yet?
Or is it something even more ambitious a reflection on what it means to continue making art once the world has already decided who you are?