!! Music !!

Photo by The Squirt Deluxe

In 2015, Peaches did something unexpected. On her album Rub, she peeled back the latex and weaponized wit, revealing something rawer.

Songs like “Free Drink Ticket” cracked open the armour of the Peaches persona and let vulnerability bleed through—confronting grief, rage, betrayal, and survival with a clarity that was disarming. For an artist known for confrontation, it was a different kind of provocation: radical vulnerability.

Her new album, No Lube So Rude, arrives as an inter-generational rallying call. The vulnerability remains,  but here it is shrouded in armor, lubed up and ready to fuck shit up.

With its lean, searingly sloganeering lead single, “Not In Your Mouth None of Your Business,” Peaches lays bare what we, her community, should be feeling right now: that enough is e-fucking-nough. She re-purposes protest as an act that takes form not only in the streets or on the dance floor, but in the simple act of existence—in an era when, for many, physical safety and bodily autonomy have become luxuries.

Peaches wants us to get our shit together—and she’s here to lead the charge. Adeptly balancing the “poetic and the profane”, the album also confronts the creeping self-doubt and futility of waking each day into an increasingly unhinged world, marked by the very real rise of fascistic forces on a global scale. Veering between themes of rage, and lust for revolution, the album is front loaded with defiant, and yes, horny anthems for a world in ruins, but finds itself in a much more tender place as the album comes to a close.

Songs like the spiky, unsettling “Grip,” which careens between her trademark electronics, heavy metal riffs, and industrial flourishes, embody that mass confusion and destabilizing feelings that come with living in a constant state of anxiety. It’s followed by the track “You’re Alright,” an offering of care amidst the emotional and psychic unrest, and a reminder of the magnitude of community in times that can ultimately be so isolating.

Peaches doesn’t stop. She mutates. With her work, Peaches has consistently predated and forecasted trends in contemporary social dialogue and popular music, using it to flip our social perceptions on their… backs. This album weaponizes vulnerability into protest. It’s menopause as flex, and newness, rather than loss. Aging as revolt. Joy as revolution. It asks what happens when Women refuse expiration. When elders are punk. When the dance floor becomes both a mourning space and a battleground for love.

Between 2015 and now, Peaches has been anything but dormant. She’s been as restless and creatively expansive as ever. Swapping roles as rock star, performance and visual artist, and activist advocate for human rights.

In 2019, she debuted Whose Jizz Is This? in Hamburg—a solo exhibition of sculpture, film, and photography that re-imagined silicone sex aids as an autonomous society. That same year, she took the lead role in Die sieben Todsünden in Stuttgart, fusing opera with modern electronics. She mounted the sprawling, nearly 40-performer live spectacular There’s Only One Peach with the Hole in the Middle at Kampnagel and continued touring her re-imagined rock opera Peaches Christ Superstar.

It’s clear making records is just one of many mediums Peaches uses to her good, gooey word.

In May 2025, Peaches performed Cut Piece in Berlin—the 1964 performance by Yoko Ono in which audience members cut away the artist’s clothing. She first performed it at the Meltdown Festival in London, 2013; Cut Piece is regarded as a monumentally influential work of vulnerability as confrontation—a masterclass in projection, power, and restraint. The piece acts as a mirror to the viewer’s hidden intentions and personal or cultural biases. In this way, it is entirely aligned with Peaches’ approach to performance and her career trajectory dating back to her debut in the suitably futuristic-sounding year 2000.

Photo by The Squirt Deluxe

These acts of letting pain and power coalesce feels like an era of renewed intention from the artist. Allowing seventeen years of her life—including family illness and very private grief—to unfold onscreen in Marie Losier’s portrait, Peaches Goes Bananas, navigating her mother’s stroke while watching the world fracture, feeling the friction and turning it into fuel.

All this considered, No Lube So Rude is still a sticky, pervy, Peaches Party, with extra added stomping on the dancefloor. In her world, we’re one gooey unit trying to slip towards a future full of fucking, not fascism.

As she embarks on a world tour in support of the new album, we talk to Peaches about the new album; how she balances reinvention while remaining true to her profoundly one-of-a-kind Peachiness; how even a cultural icon such as herself finds artistic incentive in this increasingly undefinable era of cultural change; and why your parents are probably cooler than you.

Oh, and about that lube—Peaches shares some exciting news about her very own personal petroleum, available at her upcoming shows! What can’t she do?

Read the full OMG Q&A with Peaches after the jump!

JUMP IN AND READ MORE