Fresh off the release of their new single, “Arsenal,” Slipknot will embark on a North American run of dates they’re calling the (Sic)est Stadium Tour next summer. The title is a nod to “(sic),” the first full song on their 1999 breakthrough self-titled album.
The tour, which will feature new staging and set lists, kicks off in Washington, D.C. on July 16 and will wrap up in Phoenix on Aug. 18. Bring Me the Horizon are set to open all of the dates with various additional support coming from Lamb of God, Motionless in White, Lorna Shore, Loathe, Acid Bath, Polyphia, Kublai Khan TX, and Vended.
Tickets go on sale Friday. Presales begin at 10 a.m. local time on Tuesday. Full details are on the band’s website.
Earlier this month, the band released “Arsenal,” which found frontman Corey Taylor screaming, “I got a lot to fuckin’ say/And if you didn’t listen, you didn’t hear me anyway.” It leads to the chant, “Let’s go, let’s go, let’s go,” which may as well be their clarion call for the tour. The song marked their first recording since the departures of turntablist Sid Wilson, who parted ways with the group in August, and keyboardist-sampler Craig Jones, who left in 2023.
The band last released a new album, The End, So Far, in 2022. They didn’t announce plans to release any new music at the time of the release of “Arsenal.” But earlier this year, the band’s Clown teased that more music may be on the way in an interview with Rolling Stone, noting that he was in the middle of a writing session with Slipknot.
Slipknot North American tour dates:
July 16 – Washington, D.C. @ Nationals Park *
July 18 – New York City @ Citi Field *
July 21 – Montreal @ Parc Jean-Drapeau **
July 23 – Toronto @ Rogers Stadium ***
July 25 – Chicago @ Soldier Field ****
July 28 – Hershey, Pennsylvania @ Hershey Park Stadium *****
July 31 – Boston @ Fenway Park *****
Aug. 3 – Nashville @ First Bank Stadium ***
Aug. 6 – Houston @ Daikin Park ******
Aug. 9 – Commerce City, CO @ Dick’s Sporting Goods Park *******
Aug. 13 – Los Angeles @ SoFi Stadium *******
Aug. 15 – San Francisco @ Golden Gate Park ********
Aug. 18 – Phoenix @ Chase Field *********
* with Bring Me he Horizon and Acid Bath
** with Bring Me the Horizon, Kublai Khan TX, and Vended
*** with Bring Me the Horizon and Kublai Khan TX
**** with Bring Me the Horizon and Lamb of God
***** with Bring Me the Horizon and Lorna Shore
****** with Bring Me the Horizon and Polyphia
******* with Bring Me the Horizon and Loathe
******** with Bring Me the Horizon, Motionless in White, and Loathe
********* with Bring Me the Horizon and Motionless in White
Elliott Smith in 2003.
Why Is Everyone So Mad at Supreme’s Elliott Smith Collaboration?
Earlier this week, Supreme announced an Elliott Smith capsule collection, including a selection of jackets and T-shirts featuring artwork from across the late musician’s career, from his self-titled 1995 album to his seminal 1997 album Either/Or to 1998’s XO and 2000’s Figure 8.
The internet seems to be in a huff over this, relying on a view of Supreme and streetwear frozen in 2008 that was, even then, embarrassingly myopic. The line of thinking goes that Supreme, the brand that was founded in New York in 1994 by designer James Jebbia and that has been a staple in skate and streetwear culture ever since, is an inauthentic purveyor of the ethos represented by Smith and his music. One might cite the brand’s roughly $500 million investment from the Carlyle Group in 2017 or its association with high fashion as disqualifying characteristics. More than anything, there seems to be a sense that taking shots at a nearly 40-year-old streetwear institution is a way to prove one’s unsullied dedication to a sense of anti-consumerism. The anger is misplaced.
In a culture awash in goofy collaborations and corporate cash grabs, Supreme might be one of the few brands still operating from an actual set of beliefs. Its Elliott Smith capsule (which was made with permission from Smith’s estate) is in a long line of collaborations that Supreme has done with musicians. Its first artist collaborator was Rammellzee, the experimental rapper and visual artist whose relationship with the brand dates to 1994, the year Supreme opened. By 2005, Raekwon was posing with a Tickle Me Elmo for the first of Supreme’s commissioned portrait T-shirts. Across its music collaborations, portrait tees, and tributes, the list includes everyone from Michael Jackson to the Velvet Underground, Nirvana, Butthole Surfers, My Bloody Valentine, Daniel Johnston, Aphex Twin, and SALEM.
There have been collections with record labels like Stax, Wackies, Rap-A-Lot, Ruff Ryders, Jah Life, and Duck Down, the last of which put Black Moon and Smif-N-Wessun’s album artwork on clothes. There are shirts and shoes with Peter Saville’s artwork for Joy Division and New Order. The Smith collaboration is so patently in the wheelhouse of what the brand has done for decades that bringing it up now as some sort of “gotcha!” feels more like a product of social media’s tilt towards rage-bait than any defense of an artist.
Elliott Smith, who died in 2003 at 34, has long been a part of skate culture. He was friends with Mike Mills, the skateboarder and filmmaker who designed graphics for Stereo and one of Supreme’s early logos. Mills worked on unused cover art for Figure 8 and later enlisted Smith to record music for his film Thumbsucker. And Smith’s music has been celebrated in the world of skateboarding for many years now. Mark Baines skated to “Happiness” in Blueprint’s Waiting for the World in 2000. Nate Broussard used “A Distorted Reality Is Now a Necessity to Be Free” in Static III in 2007. Dylan Rieder skated to “Coast to Coast” in Alien Workshop’s Mind Field in 2009, and Mark Suciu used “Junk Bond Trader” in Cross Continental in 2012.
Arguing that he would have hated the collaboration, aside from being infantilizing, completely ignores the actual culture around Elliott Smith when he was alive, instead opting for some abstract representation of a person who actually existed in the real world — a particularly Gen Z problem, to be frank.
With these collaborations, estates and relevant parties are always compensated. And that actually matters in an era where an artist can remain a staple for young people for generations, long after they’ve died, while reaping diminishing returns thanks to the paltry payouts from streamers. Meaning, short of throwing him onstage as a hologram or doling out money-grabbing box sets, a tasteful collection with a brand with a real connection to his work is actually one of the better options that exists.
People who want to be mad at Supreme want to separate themselves from some sort of mainstream idea of cool. They want to believe that they have an authenticity that Supreme doesn’t. Sorry to say, the reverse is more likely true. Just last week, Business of Fashion published a report on the brand’s cultural durability. “Supreme isn’t cool anymore” is, in fact, a very uncool thing to say in 2026. And beyond that, the people inside the company are coming from an ethos that has remained steadfast in actually supporting youth culture.
To sit on the outside now and pretend that you’re such an authentic Elliott Smith fan that you’re upset by this is simply to expose how out of touch you are.