September 29, 2026 - Celebrity News

Slipknot Announces the 2027 “(sic)est Stadium Tour,” Opening at Wembley and Playing 13 North American Stadiums

Celebrity News Staff 2 on September 29, 2026

Slipknot announced the “(sic)est Stadium Tour” on September 28, 2026: 19 dates across Europe, North America and South America in summer 2027. The Live Nation-produced tour opens July 3 at London’s Wembley Stadium. The North American leg starts July 16 at Nationals Park in Washington, D.C., and the general on-sale begins Friday, October 2.

Key Takeaways

The North American leg runs from July 16 to August 18, 2027, with stops at Citi Field, Soldier Field, Fenway Park and SoFi Stadium.
Bring Me the Horizon is the direct support act on every North American date, with a rotating lineup of special guests.
Slipknot’s artist presale opens Tuesday, September 29, at 10 a.m. local time, followed by a Knotfest presale at noon.
A five-show South American leg starts September 4 at The Town in São Paulo and ends September 16 in Bogotá.
The tour follows “Arsenal,” Slipknot’s first new song in more than three years and its first release on the band’s own (sic)est Records label.
The shows feature a new set, new staging and a setlist that spans the band’s career.

Slipknot Moves Up to Stadiums for 2027

The “(sic)est Stadium Tour” is Slipknot’s biggest run of headline dates to date. Nearly every North American stop is a major-league ballpark or an NFL-scale stadium. After Wembley, the band plays Nationals Park on July 16, Citi Field in Queens on July 18, Parc Jean-Drapeau in Montréal on July 21 and Rogers Stadium in Toronto on July 23.

The run continues at Soldier Field in Chicago on July 25, Hersheypark Stadium on July 28 and Fenway Park in Boston on July 31. August dates include FirstBank Stadium in Nashville on August 3, Daikin Park in Houston on August 6 and Dick’s Sporting Goods Park in Commerce City, Colorado, on August 9. The leg ends on the West Coast and in the Southwest, at SoFi Stadium in Inglewood on August 13, Golden Gate Park in San Francisco on August 15 and Chase Field in Phoenix on August 18.

The South American leg starts September 4 in São Paulo. It continues to Estadio Huracán in Buenos Aires on September 8, Estadio Nacional in Santiago on September 12, Estadio Nacional in Lima on September 14 and Vive Claro in Bogotá on September 16.

Bring Me the Horizon and a Rotating Lineup Join the North American Leg

Slipknot built the North American lineup around a single constant. Bring Me the Horizon, the British band that has grown into a stadium-level headliner of its own, plays directly before Slipknot on every North American date. Guest acts rotate by city and include Lamb of God, Motionless in White, Lorna Shore, Polyphia, Acid Bath, Kublai Khan TX, Loathe and Vended.

The lineup covers several generations of heavy music. Lamb of God and Acid Bath represent the scenes Slipknot came up alongside, while Lorna Shore, Polyphia and Loathe represent younger audiences. The mix is designed to fill large stadiums with more than one generation of fans.

Slipknot Turned the Announcement Into a Live Event

Slipknot built up to the announcement with a worldwide teaser campaign that included city-specific posters, a countdown website and “09/28” imagery hinting at the reveal date. On announcement night, the band staged launch events at Wembley Stadium and SoFi Stadium from 5 to 9 p.m. local time. Fans could buy tickets at the box office before any presale began.

Each launch site had a pop-up shop with limited merchandise, and the first 500 buyers received a free poster with exclusive art. At sunset, fans gathered around a 30-foot flaming version of Slipknot’s tribal S symbol. Sales were capped at eight tickets per person, with all tickets delivered digitally.

After the launch events, the regular sale schedule begins. Slipknot’s artist presale opens Tuesday, September 29, at 10 a.m. local time, and the Knotfest presale starts at noon the same day. More presales run through the week before the general on-sale on Friday, October 2, at 10 a.m. local time. VIP packages include early entry, private Slipknot-themed lounges and band-signed items.

“Arsenal” Opens a New Chapter for Slipknot

The tour comes during a period of major change for Slipknot. “Arsenal,” released earlier this month with a music video directed by founding member M. Shawn “Clown” Crahan, is the band’s first new music since 2023’s standalone single “Bone Church.” It is also the first Slipknot recording since the departures of longtime members Sid Wilson and Craig Jones, and the first with drummer Eloy Casagrande, who replaced Jay Weinberg.

“Arsenal” is also a business milestone. It is the band’s first release on its own label, (sic)est Records, after the end of Slipknot’s roughly 25-year record deal with Roadrunner. Last fall, the band sold its archival catalog, including publishing and recording masters royalties, to HarbourView Equity Partners. That deal did not cover future releases.

Corey Taylor described the new song on BBC Radio 1’s “New Music Show With Jack Saunders.” “It pummels,” he said. “It is absolutely a pummeling experience.” The band is currently working on the follow-up to its 2022 album, “The End, So Far.”

Many legacy rock acts are following a similar path, pairing new material with large-scale touring. Examples include veteran rock bands pairing new studio albums with major world tours. For Slipknot, the stadium run arrives as it begins releasing music independently.

The Tour Tests Demand for Heavy Music at Stadium Scale

The “(sic)est Stadium Tour” is a significant test for heavy music in the live market. Stadium tours are mostly the domain of pop stars and classic rock acts. Metal bands that fill venues of this size are rare, and Slipknot is booking them across two continents in a single summer.

Slipknot’s track record supports the move. The band has won a Grammy, received 11 nominations, and earned platinum and gold certifications worldwide. “The End, So Far” debuted at No. 2 on the Billboard 200 and at No. 1 on Billboard’s Top Album Sales chart. Its predecessor, 2019’s “We Are Not Your Kind,” was the band’s third consecutive No. 1 on the Billboard 200.

The tour will also be Slipknot’s first major run since its last live performance, at the Inkcarceration festival in Ohio in July 2025. Ticket demand over the coming week will show how many fans have been waiting for the band’s return.

FAQs

When does Slipknot’s “(sic)est Stadium Tour” start?

The tour opens July 3, 2027, at Wembley Stadium in London, the only European date. The North American leg begins July 16 at Nationals Park in Washington, D.C.

When do Slipknot 2027 tour tickets go on sale?

Slipknot’s artist presale begins Tuesday, September 29, 2026, at 10 a.m. local time, followed by a Knotfest presale at noon. The general on-sale starts Friday, October 2, at 10 a.m. local time.

Who is opening for Slipknot on the 2027 stadium tour?

Bring Me the Horizon is the direct support act on every North American date. Rotating guests include Lamb of God, Motionless in White, Lorna Shore, Polyphia, Acid Bath, Kublai Khan TX, Loathe and Vended.

Which U.S. stadiums will Slipknot play in 2027?

U.S. stops include Nationals Park, Citi Field, Soldier Field, Hersheypark Stadium, Fenway Park, FirstBank Stadium, Daikin Park, Dick’s Sporting Goods Park, SoFi Stadium, Golden Gate Park and Chase Field. The leg also includes Canadian dates in Montréal and Toronto.

What is Slipknot’s new song “Arsenal”?

“Arsenal” is Slipknot’s first new song in more than three years and its first release on the band’s own (sic)est Records label. Its music video was directed by founding member M. Shawn “Clown” Crahan.

Tyran Lee Ingram on the Long Road from Utah Stages to Larger Rooms

Celebrity News Staff on September 29, 2026

By: Sujan Pariyar

Tyran Lee Ingram speaks with the calm certainty of someone who decided early what his life would be about. In 2018, while living in Utah, he began singing in earnest and recognized almost immediately that music entertainment would be his path. Since then he has submitted applications to festivals and theatrical productions, and kept a clear list of the rooms he still intends to enter.

In conversation, he is measured rather than promotional. He talks about paychecks and housing the same way he talks about purpose: as practical matters that support the work rather than define it. He mentions local Indiana stages and national platforms in the same breath, and he is frank about the distance still to travel. The following interview, conducted recently, captures an artist in the middle of the climb, still applying, still rehearsing, and still measuring progress one stage at a time.

Interview

Q: You mark 2018 in Utah as the beginning. What happened that year?

Tyran Lee Ingram: I started singing seriously, and the knowledge arrived without much drama. I understood that this would be my career. The first stage I pictured was the Smart Home Arena. It felt large enough to matter and close enough to reach. That image stayed with me.

Q: You have applications pending right now. What are you pursuing?

Tyran Lee Ingram: I applied to the Norman Music Festival because it offers a paycheck. I also applied for a role in the production Savior of the World, which is unpaid but carries its own meaning. Both are steps. I have also entered contests that could place me at the Hard Rock Cafe in Hollywood and at the iHeartRadio Jingle Ball in Los Angeles. Larger stages, larger compensation. That is the direction.

Q: You talk about eventual housing in the Hollywood Hills and the possibility of working within artists’ businesses. How do those practical goals fit with the artistic ones?

Tyran Lee Ingram: Many established artists build companies that create opportunities for others. Employment of that kind would let me rent closer to the work and, over time, move into a home. Helping people has never been primarily about the money for me. It is about the chance to perform in places that feel significant. Tour managers who add an artist to their roster handle the logistics (bookings, flights, hotels) so the performer can focus. That support is still ahead of me, but I keep it in view.

Q: Visibility matters to you. Which platforms do you have in mind?

Tyran Lee Ingram: I would like the interviews that still shape public conversation (iHeart, Extra, Entertainment Tonight, People, Rolling Stone). Those require a certain level of achievement. Norman could be an early measure. Closer to home, I hope for coverage from stations like WSBT and WNDU, and a performance at the Morris Performing Arts Center in South Bend would feel like both arrival and return.

Q: You mention Indiana often. What does the state represent for you?

Tyran Lee Ingram: When I watch something like Little People, Big World or a film like Hoosiers, I am reminded that Indiana produces talent. The state is part of my story. Still, the responsibility rests with me. I want the work to expand into film, television interviews, and a succession of steady paychecks earned without unnecessary drama.

Q: You have thought about legacy in unusually concrete terms.

Tyran Lee Ingram: Yes. I have considered resting eventually at Arlington or in a Hollywood cemetery. Those places suggest different versions of a life fully lived. For now the focus is nearer: the applications, the rehearsals, the next room that might open. The stages keep getting larger in the imagination, but the daily work remains the same. Show up, prepare, and keep the voice ready.