LOS ANGELES, CA- Nearly a decade has passed since OK Go’s last full-length release, but their return with And the Adjacent Possible feels less like a comeback and more like the next chapter in a creative continuum that’s never really gone dim. As ever, the band has arrived with a big idea, wrapped in even bigger visuals. The freshly released music video for their single “Love” is a stunning, mind-bending masterstroke—equal parts technical marvel and heartfelt celebration.
I had the rare chance to catch an early screening of the “Love” video in a theater, and walking out afterward, I was stunned. Truly stunned. Shot in a decaying yet cinematic Budapest train station, the single-take video plays out like an intricate ballet of robotics and reflection. With 29 robots, more than 60 mirrors, and the band’s signature synchronicity, it’s a kaleidoscopic performance of such scale and coordination that it almost defies logic—yet it lands with the emotional weight of something deeply human. It’s OK Go at their best: conceptually ambitious, visually unmatched, and emotionally sincere.
What’s more remarkable is how the song itself rises to meet the scale of the video. “Love” is tender, spacious, and soaring, a track that frontman Damian Kulash describes as a kind of emotional awakening spurred by fatherhood. “Suddenly, a huge new ballroom opened up off of the little apartment I’ve inhabited so long,” he says of discovering new dimensions of love. That quote alone might’ve felt abstract had the song not communicated exactly that—a sense of overwhelming wonder wrapped in melody.
If “Love” is the album’s emotional centerpiece, it’s by no means its only triumph. I’ve spent the past few days immersed in And the Adjacent Possible, and it’s easily one of the band’s most sonically adventurous works yet. Kulash, Tim Nordwind, Andy Ross, and Dan Konopka weave through textures that evoke everyone from Phil Spector to Nile Rodgers, and producer Dave Fridmann (The Flaming Lips, Spoon) ties the album together with a warm, immersive mix that somehow grounds all the genre-hopping.
Tracks like “This Is How It Ends” show off the band’s more introspective side. Its vintage feel—perhaps the result of horn arrangements, dissonant notes, or just some intangible emotional hue—adds a depth that lingers. Meanwhile, “Better Than This” stands out with its blend of nostalgic brass and crisp pop-rock energy. Both songs, like much of the album, are technically sophisticated yet emotionally intuitive.
That tension between the analytical and the emotional is something OK Go has always toyed with, and here, it’s in full bloom. The record’s title, And the Adjacent Possible, borrows from a theory about innovation—that new ideas emerge from the edge of what currently exists. That’s as fitting a metaphor as any for this band, who’ve made a career out of peeking behind creative doors and stepping into whatever surreal, beautiful rooms they find.
Of course, the visual storytelling is part of the package. Beyond the “Love” video, they’ve already made waves with the video for “A Stone Only Rolls Downhill,” a mosaic of 64 synchronized phone videos compressed into one stunning take. That video alone required over a thousand takes. The artistry doesn’t stop there—the album’s first vinyl pressing comes with a literal pop-up sculpture designed by a team of visual artists and engineers. It’s not just music—it’s an experience.
But start with “Love.” Watch the video. Even if you’ve never been an OK Go fan, it might just hook you into the whole kaleidoscope. And if you already love them, well, this might be their most quintessential release yet—big-hearted, brilliantly executed, and deeply human.
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OK Go – 2025 Tour Dates
4/23 – South Bend, IN – Morris Performing Arts Center
4/24 – Milwaukee, WI – Turner Hall Ballroom – SOLD OUT
4/25 – Chicago, IL – Riviera Theatre
4/26 – Detroit, MI – The Majestic Theatre – SOLD OUT
4/27 – Cleveland, OH – Agora Theater & Ballroom
5/14 – Del Mar, CA – The Sound
5/16 – Los Angeles, CA – The Bellwether – SOLD OUT
5/17 – Los Angeles, CA – The Bellwether
5/18 – San Francisco, CA – The Fillmore – SOLD OUT
5/19 – San Francisco, CA – The Regency Ballroom
5/28 – Brooklyn, NY – Brooklyn Steel
5/30 – Boston, MA – Royale – SOLD OUT
5/31 – Philadelphia, PA – Union Transfer – SOLD OUT
6/1 – Washington, DC – 9L30 Club – SOLD OUT
6/19 – Portland, OR – McMenamins Crystal Ballroom – SOLD OUT
6/20 – Seattle, WA – Neptune Theatre – SOLD OUT
6/21 – Vancouver, BC – Commodore Ballroom – SOLD OUT
6/22 – Vancouver, BC – Commodore Ballroom
7/25 – Niigata, JP – Fuji Rock Festival
9/14 – Salt Lake City, UT – Red Butte Garden
