With Between Us, Arkells step into a new chapter that feels both expansive and personal. The Canadian five-piece’s latest album, released via Universal Music Canada and Virgin Music Group, brings together the anthemic energy that has long defined the band with a more reflective and intimate undercurrent. Recorded in Los Angeles with Grammy Award-winning producer John Congleton, the record captures Arkells at a moment of momentum, confidence and reinvention, while still holding tight to the communal spirit that has made them one of Canada’s most enduring bands. Featuring collaborations with Portugal. The Man, GROUPLOVE and Poolside, and led by the hopeful, open-hearted single Next Summer, Between Us is an album rooted in connection, curiosity and the shifting spaces between people.
That sense of connection runs through every part of the project, from the album’s Hamilton-shot artwork to the way these songs were built for the stage. Fresh off their European and UK run, and following another major hometown moment at the 2026 JUNO Awards, Arkells are still approaching this phase of their career with the hunger of a new band and the perspective of one that has already built an extraordinary legacy. When we caught up with frontman Max Kerman, he spoke about the challenges of keeping the creative process fresh, what smaller venues still give the band that big stages cannot, the realities of navigating today’s music industry, and why Arkells remain committed to making music that feels lived-in, immediate and shared.
Between Us feels like a title that suggests connection, reflection, and intimacy. What does the album title mean to you, and why did it feel like the right name for this chapter?
I like that it means all of it. The phrase can imply a secret being kept. A connection between two people, or a group. But it reflects the space between us, which can radiate in intimate and beautiful ways.
Next Summer carries that mix of longing, hope, and optimism so naturally. What was the emotional starting point for that song, and why did it feel like the right introduction to this new era?
I like the concept of meeting someone new and thinking: I didn’t know this person a year ago, and now my life looks and feels different. And then the thought: what will next year look like? How life can change when a new person enters the fold. Felt like a theme I could build upon.
You recorded the album in Los Angeles with John Congleton, who has worked with such a wide range of artists. What did he bring to the process, and how did he help shape the sound of Between Us?
The last few records were made throughout COVID, and difficult to make because the world was a difficult place. But after talking to the guys about how we’d make the next album, it was clear we wanted to prepare the way we made the first few albums: jam the hell out of the material, feel really confident going into the studio, and work with an indie rock producer who was less interested in shaping the arrangements, lyrics and melodies, and more concerned about simply capturing the band at this moment in time. John did all of that and more. He works quickly, has excellent creative instincts, and never loses momentum. Historically, it’s easy to lose momentum in the studio, but John never stops pushing forward.
This record features collaborations with Portugal. The Man, GROUPLOVE, and Poolside. What made those artists the right fit for this album, and how did each collaboration add something different to the project?
We’d recorded the album, and it was almost mixed, when I thought it might be nice to have some other voices. It’s a thrill to hear another familiar voice on a piece of music we’ve written and produced. Each collaboration added an extra boost to the song.
Arkells have always balanced massive sing-along energy with emotional depth. How do you think Between Us builds on that signature while also pushing the band into new territory?
I hope so. There’s a communal quality to our music, and it never ceases to amaze me when people sing back our music. We played the entire new record last weekend, and people were already singing back the new stuff. I’m hopeful!
There is a warmth and openness that runs through Arkells’ music, even when the songs touch on uncertainty or longing. What kinds of conversations or emotions were you most interested in exploring on this record?
When it comes to songs about personal relationships. I’m not that interested in slinging mud in our music. I never feel particularly hard done by–I’ve lived a very lucky life. So I think most of our songs start at that place. That said, I have many thoughts about the broader world, how we build resilient communities, and who’s in charge of shaping what the world looks like. If I’m critical, it’s directed at greedy men who can’t help themselves.
The album artwork, shot by Pelle Cass on Hamilton’s Jackson Square rooftop, feels rooted in identity and home. Why was it important for this visual chapter to reflect where Arkells come from?
We thought it was a nice nod to the city that’s been nothing but amazing to us. These public spaces–like the rooftop–have so much potential, and people of all kinds just need to congregate there. We wanted the photo to remind people of the amazing kinetic energy of what a busy public space looks like.
You recently wrapped your European and UK run. How did the tour feel from your perspective, and what was it like bringing this new era of Arkells to those audiences live?
It’s very hard to play new songs in general. Your muscle memory is still being shaped. When you look out at the crowd, the songs aren’t deep in their bones yet, compared to the older material. So, it’s also a bit of a mental hurdle. We booked these small clubs so the transmission between band and crowd was direct. It felt amazing to play every night and start building up the live versions. You learn something new every time you play in front of a crowd.
Looking back on those shows, was there one city or venue that really stood out to you as a favourite, and what made it so memorable?
The London show was incredible. The Manchester show was in this amazing venue called The Deaf Institute. It was the first day of spring in Manchester, so the city felt alive. Sunny and 15.
The Manchester and London dates sold out quickly. Did the response from UK and European fans surprise you at all, or did it confirm something you already sensed about the connection people have with the band overseas?
We’re hoping so! And plan to come back soon to play more markets!
Arkells have played everything from intimate rooms to huge festival stages. After this latest run, what do smaller, up-close shows give you that bigger stages cannot?
I realised something last summer, as we were bouncing around from small clubs to big festival stages and everything in between: the band’s enjoyment of the show has no correlation to the size of the crowd. If anything, the show, musically speaking, is more satisfying in a small club.
You have achieved so much already, from radio success to becoming nine-time JUNO Award Winners – 6 of which for Group of the Year, but there is still a real sense of drive in the band. What keeps that hunger and energy alive?
We have a very lucky job, and we never want to take it for granted. But over the years, I’ve seen bands with dignified careers slowly dishonour the privilege. You can always tell a band that’s a bit over it, and doesn’t really want to be there, other than the fact that they don’t know what else to do with themselves. We want to go into ever tour with the passion of a 21-year-old. With a new song, there’s always another mountain to climb.
Performing at the 2026 JUNO Awards in Hamilton must have felt especially meaningful. What does it mean to celebrate a moment like this in the city that shaped you?
Hamilton, like every town, deserves good things! The city felt alive the entire weekend. Creatively, performing on TV is a much different challenge than putting on a concert. You’re not thinking about the audience in the crowd, but the viewer at home. The whole medium is different. It was fun to dream up ideas: What if Hannah (from Grouplove) and I are pedalling on a stationary bicycle in front of a moving screen for part of it? Can we do this? And the producers made it happen!
Arkells have always evolved without losing that sense of welcome and connection that fans love. At this point in your journey, where do you feel the band is creatively?
We’re not easily pleased with ourselves. And we like to work. Right now, the focus is on: how do we plant the seeds of the new album, so in 3-5 years, they feel ingrained in our catalogue, like the rest of our music. To do this, you gotta give each tune a chance. That’s why we’re hitting the road!
When people sit with Between Us from start to finish, what do you hope they take away from it emotionally?
I don’t know if I ever think in those terms. People are free to take whatever they want from the songs. Some people have DM’d me about a song, wondering if I’m OK. And I’m thinking: that song is a love song!
After so many years together, how do you keep the recording process feeling fresh while still staying true to what makes Arkells unmistakably Arkells?
It’ll remain sounding like us because we’re playing the instruments and singing the songs. So I’m not worried about that. What I am worried about is the process becoming stale. Of it feeling like a rinse and repeat. And that’s the trick: where can you go where you haven’t before? That comes with working with great new producers and finding nuggets of inspiration in new places.
The music industry has changed so dramatically in recent years, from the way people discover music to the pressure artists face to constantly be visible. What do you see as some of the biggest challenges for bands today, and how have Arkells learned to navigate them?
Ah, the plight of the millennial musician. The industry has gone through so many changes since we first started. Back in 2008, a marketing win would be having your own ringtone. Today, there’s more onus on the artist to generate marketing ideas, and many friends of mine find this a chore. And there are days that I do, too. But ultimately, on social media, we’re just trying to tell the story of our band and our songs, so people buy a ticket to the thing that’s precious: our live show. If we can spend time with you in your headphones, and then connect with you in person, then all is ok!
