PJ Harvey has confirmed she's at work on a new album and a new book, teasing her upcoming projects with a message posted on New Year's Eve. In the post, the Dorset singer-songwriter looked back on her 2025, recalling the end of the tour for “I Inside the Old Year Dying“, which wrapped up between Australia and Japan in March (here's our report from the Belfast show). A two-year experience that Harvey describes as central and deeply fulfilling, above all for the chance to “bring the music to life in a shared dimension”.
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Looking ahead, the British musician explained that she has been devoting herself to writing new songs and new poetry. A process she describes as demanding and unpredictable, but one to which she feels totally bound: a creative practice that keeps testing her while, at the same time, proving itself necessary.
Harvey's latest published book is “Orlam” (2022), a narrative poem set in rural Dorset, written largely in dialect and centred on themes such as childhood, sexuality and one's relationship with the land.
On the musical side, her most recent work remains “I Inside the Old Year Dying” (2023), her first album of new material in seven years, and the ideal follow-up to “The Hope Six Demolition Project” from 2016.
Alongside her year-end message, Harvey also shared a playlist of tracks she describes as “inspiring and invigorating”, featuring music by Robbie Basho, Nils Frahm, Laura Cannell and Jed Kurzel.
During 2025, the artist also took part in the charity project “Los Angeles Rising”, a compilation dedicated to the victims of the California wildfires, and joined a collective appeal to the British government calling for a cap on secondary ticketing prices. In the open letter, musicians and industry organisations demanded concrete action against a market described as “extortionate and damaging”, accused of favouring touts and preventing fans from gaining fair access to concerts, theatre shows and sporting events.
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This article is an English translation of the original Italian text by Claudio Fabretti, published on OndaRock.it. It was translated with the help of artificial intelligence, under the editorial responsibility of OndaRock's editor-in-chief, Claudio Fabretti.