The biggest news this month is the appearance of a new limited company, Futile Endeavours, listing all five Radiohead members as officers.

Radiohead has a long history of preceding activity with the formation of a legal entity. The most recent example was RHEUK25 LLP, registered in March 2025 and later revealed to be connected to the band’s tour.

This new company is Limited, rather than an LLP. LLPs are typically used for touring activity, while Limited companies are more commonly associated with projects or broader enterprises.

Whatever its purpose, it’s a healthy sign that the band remains active, though there is currently no news about further tour dates.

Radiohead in Hollywood Authentic

Photographer Greg Williams spent time with the band during the Bologna leg of the 2025 tour, capturing a series of relaxed behind-the-scenes photographs.

It’s a rare glimpse of the band together on their first outing in seven years.

https://hollywoodauthentic.com/radiohead/

Radiohead Respond to ICE Use of “Let Down”

The lights appear to be on at the Radiohead office.

After the ICE social media account posted a video using Let Down as backing music, the band issued a rare public statement demanding it be removed:

“We demand that the amateurs in control of the ICE social media account take it down. It ain’t funny. This song means a lot to us and other people, and you don’t get to appropriate it without a fight.

Also, go fuck yourselves.

— Radiohead”

For many fans, the immediate reaction was that the statement sounded unmistakably like Thom.

OK Computer Inducted into the Grammy Hall of Fame

OK Computer has been inducted into the 2026 Grammy Hall of Fame, nearly three decades after its release.

This one is a little belated, but as a landmark album by any measure it seems appropriate to include. Perhaps this is the far end of the ripple caused by TikTok users adopting Let Down as their own, propelling it back onto the Billboard charts 28 years after its original release.

“It’s a privilege to recognize these influential recordings as the 2026 Grammy Hall Of Fame inductees,” said Harvey Mason Jr., CEO of The Recording Academy. “Each selection reflects the creativity, craft, and cultural impact that recorded music can carry across decades. We’re honored to help preserve these works and celebrate the artists and communities behind them, so their legacies continue to inspire generations to come.”

15 Years of The King of Limbs

The King of Limbs has officially turned 15 years old.

DJ Shadow Shares Unreleased “The Gloaming” Remix

DJ Shadow recently posted a previously unreleased remix of The Gloaming, originally created during the Hail to the Thief era.

He wrote:

“And now, for something completely different… Continuing with the list of my all-time favorite remixes I did for other artists, the number 2 slot belongs to Radiohead’s The Gloaming (DJ Shadow Remix).

When Hail to the Thief came out, they asked several artists to pick a track for a possible remix album, and I chose The Gloaming. I didn’t want to do the expected thing, so I took the song in an electro/techno direction while amplifying the underlying political subtext.

When word came back that the remix album concept had been scrapped, I pressed the track on a limited-edition picture disc. The mix was never officially released, but you can check it out here.”

Listen here:
https://soundcloud.com/djshadow/the-gloaming-dj-shadow-remix

Band Members

Jonny Greenwood Interview in The Times

The Times has published a new interview with Jonny Greenwood discussing his latest composition for the Hallé orchestra, his Oscar nomination, and the possibility of another Radiohead album.

This is the first major interview with Jonny following the 2025 tour.

“I’m surprised we all enjoyed the tour so much,” Greenwood says in the piece, reflecting on the band’s return to touring.

You can read the archived version of the interview here:
https://archive.is/yypIf

Consider supporting The Times, which has been one of the few outlets consistently providing direct reporting on the band in recent years.

Jonny Greenwood and PTA Call for Phantom Thread Score Removal

The controversial new Melania documentary appears to have used part of Jonny Greenwood’s score from Paul Thomas Anderson’s Phantom Thread without prior consultation.

Greenwood and Anderson issued a joint statement calling for the music’s removal and citing breach of contract.

Colin Greenwood and Warren Ellis Jam “Creep” During Soundcheck

Colin Greenwood posted a short video of himself and Warren Ellis playing Creep together during soundcheck.

https://www.instagram.com/p/DUaaKBiiGb4/

Thom Spotted at a Random University

One redditor claims to have unexpectedly encountered Thom Yorke on campus:

“I had a biology workshop which ended at around 2pm and as I leave the building I see two men sitting on a bench chatting. When I focused more I realized that one of them was literally Thom Yorke talking with one of my lecturers.

I kept walking but stared in disbelief, then he looked at me, smirked, and gave me a little wave. Probably the most random thing that has ever happened to me.”

https://www.reddit.com/r/radiohead/s/kUoW68sJgu

Community

Print Orders for All These Weird Creatures

All These Weird Creatures, the independently produced Radiohead fanzine, has now been soft-launched on the Etcetera forum.

The first 50 copies have sold out, but a second print run is now available. If you would like to request a copy, please use the order form below:

https://docs.google.com/forms/d/e/1FAIpQLSfs7JedX5N2Ol6t4MrtJnDTEq_dgWDqxBwn_uo3t0lJLAbo6Q/viewform

Best of Reddit

Kid A 3D Pop-Up

A fan shared a detailed Kid A-inspired pop-up artwork created by their girlfriend.

https://www.reddit.com/r/radiohead/s/myBkxEJalb

It was assembled in Sydney and printed in a small, limited run of 100.

This first batch is being released at cost. Consider it an early-supporter arrangement. Later copies, if they appear, will be priced accordingly.

Contributors have been notified about their copies.

Previews of the cover (photograph by Redditor Laura Kemeklyte) and selected contents are included below. Some features will surface online in the coming weeks via Etcetera Forum and Reddit.

Below you will find a link. It is up to you to use it. 

~ THE ORDER FORM ~

You will receive order confirmation within two days of payment. Please email mail2thethief@gmail. com if you do not receive this, or for any enquiries.

Please be warned that my creepy fictional assistant, The Thief, runs this email account and may occasionally need prompting.

I would like to get this out to as many people as possible, so please spread the word. The aim is to produce it quarterly, and you are encouraged to write in with contribution ideas - check out the contents page for an idea of what's covered.

-elly

That was November 2024, on the Sydney Opera House forecourt. Just over a year later, Thom Yorke Live at Sydney Opera House premiered at the Playhouse Theatre. Many of us in the room had been at the shows themselves, and the film captured those nights exactly as we remembered them.

There are few stages in the world like this one. For the performer, the view is extraordinary. Beyond the audience, the white tiled sails rise into the night, and past them the harbour opens into a vast dark expanse, city lights scattered across the water, the Harbour Bridge glowing in the distance with Luna Park lit beneath its arch. The audience sits across the Opera House steps, turning one of the most recognisable landmarks in the world into part of the performance.

Thom walks onstage without ceremony. He pauses, takes in the scene, and begins. The opening sequence is a gentle acoustic performance of Let Down, with Thom alone and accompanied only by his guitar. It is soft, warm, and immediately arresting. A seabird drifts across the frame in slow motion. For a song already so deeply embedded in people’s lives, this version captures something genuinely special.

From there, the set draws from across Thom’s entire career. Solo electronic material sits alongside intimate acoustic performances, reimagined Radiohead classics and deep cuts rendered with unexpected vulnerability.

Although more than 30 songs were played across the two nights, the film, with Thom himself selecting the final sequence, feels carefully shaped, with the flow and intent of a single performance. The camera moves between Thom, the crowd, and the harbour beyond, from aerial views to shots from behind the stage that reveal the scale of what he is singing into, expansive yet intimate.

There are unforgettable details throughout. Visually, the film feels like cinema. Drone shots show us Sydney Harbour, catching the stage lights, the water, and the sails. Birds circle the stage during Dawn Chorus, as if they’d been summoned. Thom’s hair moves in the wind like it’s caught in the music during Rabbit in Your Headlights. When Mark Pritchard joins him for Back in the Game, the two share a quiet, knowing chemistry.

The sound engineering is pristine, allowing Thom’s voice, with all its effects, reverb, and delay, to sit clearly in the mix. In Black Swan, he plays the bass live while singing, giving the song a lighter, more fluid groove than its loop-driven live versions. Hearing Damage lands with real force, the stage visuals rippling across the screens and composited into the surrounding sky. The closing Everything In Its Right Place stands out as one of the most accomplished live versions ever captured, sounding closer to its studio incarnation than it ever has before.

The camera repeatedly returns to the audience, documenting couples and friends leaning into each other, singing along, and dancing as rain moves through the crowd. By the end, Thom offers a terse thank you and disappears.

Watching this film felt extraordinary. This is a culmination of Thom’s life’s work, presented in a magical setting with a crowd deep in the moment, distilled to 85 minutes. It is rare to sit with a document of what you already know were the best shows of your life and find nothing diminished. I spent the entire runtime in awe. Even now, I am still not over it.

An interview with director Dave May, of Tall Story Films, appears below:

Dave May on Filming Thom

What was it like working on this?

“This one was just so special to me as someone who grew up with Thom’s music. This is one of those projects that you have to pinch yourself to be involved in.”

“When I was quite young my sister had The Eraser on CD and she was my gateway into cool music. That album was so formative. It’s kind of funny that I got into Thom’s solo stuff before I got into Radiohead. I’ve always felt a really strong connection to Thom’s solo work.”

“To get the chance to capture that music, and to portray the way that it makes me feel and the way it’s making other people feel, that’s pretty special.”

What did you notice after spending time with the performances?

“I was amazed at Thom’s ability to keep those setlists in his head each night. The different songs, the different instruments that are required, and the different kinds of performance that each one necessitates.”

“It was amazing getting to see someone who’s spent so many years perfecting their craft get up there and completely own the stage.”

The Opera House never feels touristy. How did you manage that?

“Even though we had these great drone shots, it was important that we didn’t overdo it. I’ve worked around the Opera House for years now and I never get sick of walking up to it. I’ve always felt a little bit impressed by it, so in the way that we shoot it we try to bring that in. It’s such a cool place to shoot.”

How did you approach filming this solo show?

“When we film a live music concert, the big question is how many cameras, but the more important question is where do you put the cameras. Because it was this one man show, it wasn’t just about coverage. It became about where to put cameras that evoke a certain mood and show an aspect of the production in an interesting way. I decided to use anamorphic lenses. They have some limitations, but they also have a lot of character and a more filmic quality. I think that helped bring a level of high end production that reflects the music Thom makes, so cinematic and beautiful.”

The lighting, crowd and drone shots really bring out the magic of the open air setting. How did you think about the visual language?

“These aren’t thrashy rock shows where everyone is jumping around in a big mosh pit. A lot of people go to listen, to reflect, and to think about the times in their lives that the music impacted them. It wasn’t just about seeing what was happening on stage. It was about creating a tone or a vibe that suited the different songs.”

What role did the rain play?

“When it rains, I do feel like people relax. You’re more connected to the people around you because you’re all in this together. We sort of leaned into the rain. It was so great to have these shots of people dancing in it, enjoying themselves. It was also cool that it got really heavy during Back in the Game and Everything in Its Right Place, which are such emotive big songs. It really made the edit fun.”

Thom’s role in shaping the film, including selecting songs across the two nights, was mentioned at the premiere. What stood out to you?

“The selection of tracks gives a fantastic cross section of what those shows were. It gives a sense of the ebb and flow. You’ve got acoustic tracks that feel stripped back, piano based tracks that are some of the most moving stuff we’ve ever shot, and high energy electronic beat driven pieces. When I look at those tracks together, you can really see the journey Thom wanted to take people on.”

Any personal favourites?

“I think it’s amazing that we got to make an 85 minute concert film of Thom Yorke. It feels really generous that that much of the show is being put out in the world, so I’m over the moon. Dawn Chorus is one of my favourite pieces of music ever, so when I saw it was going to be included I was just like, great, everything else is a bonus. It’s such a beautiful piece of music, and I hope the way that part of the video has been cut together helps convey that. I think a lot of people in the crowd were feeling connected to that song.”

What do you think audiences will connect with most?

“At the premiere screening it was fun knowing what was coming next in the setlist and realising that other people didn’t. It was so cool to see those big reactions for songs people know, like Everything in Its Right Place or All I Need. At the same time, there’s stuff people might be surprised by. For me, Rabbit in Your Headlights, an UNKLE track. I was a huge fan and hadn’t thought about that song in a while. To see Thom pull that out, and the version he did, is really beautiful. That track in the edit really stands out for me. Cymbal Rush, which closes the film, is also really powerful. He’s giving it everything in that performance. Honestly, I love them all. There are so many cool tracks.”

Australians can catch the film in cinemas from March 6th.

SET LIST

Let Down

Packt

Truth Ray

Jigsaw Falling Into Place

Rabbit In Your Headlights

Atoms For Peace

Bloom

Not The News

Hearing Damage

Black Swan

Dawn Chorus

Default

Back In The Game

Everything In Its Right Place

All I Need

Cymbal Rush

Below photos taken outside the Opera House, on premiere night:

Something about this cruise ship looked a little familiar...

This is an excerpt from ALL THESE WEIRD CREATURES Issue 01, a 48p Radiohead fanzine. Should you wish to request a copy, send an email to The Thief at mail2thethief@gmail.com

Originally launched in 2005, Dead Air Space has long been a rare, band-controlled channel of communication with fans. After a long absence, it has returned with short photo roundups from each tour stop. Visit radiohead.com/deadairspace for Alex Lake’s photography, including behind-the-scenes moments and some extremely endearing pre-show band hugs. It is genuinely lovely to see the band broadcasting again.

Industry article by TPI Magazine

On January 13th, the band linked to an extensive technical write-up of the tour, including a full acknowledgement of the crew. After spending much of 2025 hunting for even the smallest scraps of information, we were suddenly given everything, down to the catering. Radiohead rarely open the curtain this far, and seeing every detail laid out is striking. The article also explains the decision to tour in the round, with a clear aim of fostering connection in large arenas. Tour Manager Ade Bullock summed it up simply: “I’ve never seen them happier. The shows are amazing. There are no bad seats. They walk to and from the stage and it adds to the build-up of the show. There is something about this band that makes everyone go the extra mile, as they treat us all well and we’re all fans.”

Youtube: Inside Radiohead’s Arena Production: Sound, Light & Kinetics 

Mothergrid, a German publication has released an in-depth video speaking with those responsible for the tour’s sound, in-the-round stage, moving screens, and rigging. It is a deeply technical look at the entire production and well worth watching if you want to understand how it all comes together - it’s a lot! Production Manager John F Lafferty notes that planning began in late 2024 and early 2025, which would have been shortly after Thom’s solo tour wrapped.

A Travelling Fanbook

Travelling with fans throughout the tour was a Radiohead Moleskine and a set of In Rainbows coloured pens. Fans at shows added their name and where they were from, with at least 900 people signing it across Europe. This included one very confused British musician who, upon being handed the book on the third night in Madrid, responded with a distinctly on-brand, “Oh Jesus.” The mysterious country of “Um” remains unexplained. Perhaps it is Yorke’s home planet. His tolerance of this strange fan project was appreciated. Later in the tour, people were not told he had signed it until after they added their own names. Their expressions were priceless. It lives on as a memento of the amazing time we all had together at these shows. 

Flea & Thom Hit ‘Traffic Lights’

Released 14 January 2026, Flea’s second single from Honora features Thom guesting vocals over Flea’s bass and trumpet to a loose, percussive groove. It’s accompanied by a stop-motion sketch animation of the pair jazzing their way through a chaotic daily commute. Flea said of the track, “Something about it reminded me of Atoms for Peace, so I sent it to Thom. Just knowing him, I thought it would be a rhythm and a sensibility that he would relate to. And I was right, he did. With a gorgeous melody and the words, you know, about living in the ‘upside down’ and how do you make sense of things when we’re getting all this fake shit and real shit? Everyone has their ways of dealing with the world. But he’s just the warmest, free-flowing, jamming motherfucker.”

A Bad Seed Grows a Greenwood

Nick Cave brought his tour back home to Australia, with Colin once again filling in on bass and retaining the enthusiasm he showed on stage for Radiohead. Last year, when Nick was asked through his website, “How do you feel about loaning Colin Greenwood to Radiohead for their gigs?”, he replied, “Proud.”

Jonny’s Awards Season Continues

Jonny’s film score for One Battle After Another was recognised across the industry with nominations at the Golden Globes, BAFTAs, and Oscars. This marks his third Oscar nomination.

EOB Becomes Ed O’Brien

Ed appears to have quietly rearranged his presence on streaming platforms, with the ‘EOB’ moniker apparently retired. His 2020 album Earth can now be found under his full name. We eagerly await whatever this activity signifies.