Ninajirachi announces North American tour for 2026: autumn concert series follows the success of the album I Love My Computer
Australian electronic musician, producer and DJ Ninajirachi has announced a new North American tour titled I Love My Computer and It Loves Me, which will take place during autumn 2026. It is a headline tour that directly follows her breakthrough on the international electronic scene and the reception of her debut album I Love My Computer, released in 2025. According to the published schedule, the tour begins on September 17 in Vancouver, at the Commodore Ballroom, and then continues in several important concert centers in the United States of America, including Denver, Columbus, Boston, Philadelphia, Brooklyn and Los Angeles.
The announcement comes at a moment when Ninajirachi, the stage name of Australian musician Nina Wilson, is strengthening her status as one of the most notable new authors in the field of electronic and pop music. Her aesthetic relies on the energy of club music, hyperpop sensibility, nostalgic references to digital culture and the sounds of early internet generations, but also on a highly personal relationship with technology as a creative tool. The title of the tour clearly continues the motif of the album: the computer is not merely a technical means of production, but a symbol of the space in which the identity, musical language and emotional world of her songs are created.
The tour begins in Vancouver and ends in Los Angeles
The tour schedule currently includes seven announced dates. The first concert is scheduled for September 17, 2026, in Vancouver, in the Canadian province of British Columbia, followed by a performance on September 19 in Denver, at the Ogden Theatre. The tour then continues on September 22 in Columbus, at Newport Music Hall, and at the end of the month, on September 30, Ninajirachi comes to Boston, where a concert at the Royale has been announced. At the beginning of October, performances in Philadelphia and Brooklyn follow: on October 2, a concert is planned at Franklin Music Hall, and on October 3 at Brooklyn Steel, one of the better-known venues for contemporary alternative and electronic music in New York. The final currently announced date is November 12, 2026, in Los Angeles, at The Fonda.
For audiences planning trips because of the concerts, especially in cities such as Vancouver, Brooklyn and Los Angeles, a practical part of the concert experience will also be the timely organization of arrival, transportation and overnight stays. In that context, it is useful to check in advance accommodation offers near concert halls, especially because the performances are held in cities where hotel and private capacities fill up quickly during major cultural and musical events. Although for now this is not a large stadium tour, the choice of venues shows that these are performances intended for an audience that follows the contemporary club, electronic and internet-shaped pop scene.
The project Mgna Crrrta has been announced as the support act on the tour. This positions the program as an evening aimed at an audience that does not come only because of one performing name, but because of a broader sonic and aesthetic environment in which experimental electronics, digital pop, club culture and new forms of concert presentation overlap. For Ninajirachi, this tour is an important continuation of performances through which she has gradually moved from the Australian scene toward the international space, and North America has particular weight in that process because of the size of the market, the importance of concert routes and the influence of music media there.
I Love My Computer as the foundation of a new career phase
The album I Love My Computer has become a key point in Ninajirachi’s career so far. The release was published through NLV Records, a label connected with the Australian electronic scene, and it was presented as a work that combines the intensity of dance music, melodic pop directness and lyrics built around digital growing up. In the label’s official materials, the album is described as a project that moves between reality and imagination, with an emphasized role of the computer as an instrument, creative partner and personal space. That idea is important for understanding the whole project: for Ninajirachi, technology is not a cold background, but an emotional and artistic center.
Motifs of internet culture, adolescent memories, sonic oversaturation, euphoria and exhaustion run through the songs on the album. Instead of simple nostalgia, the author uses the aesthetic of the digital early 21st century as material for a contemporary club expression. Critics have recognized in her work traces of EDM, trance, glitch production, hyperpop and electronic pop architecture that does not avoid big choruses and strong transitions, but processes them through a personal authorial perspective. That is precisely why the announced tour functions not only as a concert promotion of the album, but also as a transfer of a specific digital world into the physical space of a club and hall.
The title of the tour I Love My Computer and It Loves Me further strengthens that relationship between the performer and technology. In it one can read both self-irony and a sincere dedication to a device that in contemporary music is simultaneously a studio, archive, instrument, stage and means of communication with the audience. At a time when many discussions about music revolve around algorithms, platforms, artificial intelligence and changes in the way of listening, Ninajirachi treats the topic of the computer not only as a contemporary problem, but as an intimate space of creation.
From the Australian scene to international visibility
Ninajirachi comes from New South Wales, and in the Australian music space she gradually built recognition through authorial production, DJ performances and releases that attracted the attention of audiences inclined toward marginal and hybrid forms of pop and electronics. Before the debut album, she released several shorter works, including EPs and mixtape materials, which created the foundation for a broader breakthrough in 2025. Her rise is not the result of a single single, but of years of shaping a sound that is accessible enough for festival audiences, but also specific enough for listeners who follow production details and internet microscene activity.
In 2025, her work also received institutional confirmation. At the ARIA Awards, the most important Australian recording industry awards, Ninajirachi won three honors: Best Solo Artist, Michael Gudinski Breakthrough Artist and Best Independent Release for the album I Love My Computer. Such a result is especially important because it shows that a project arising from electronic and internet aesthetics can take a central place in the broader musical field. In the same year, the album also won the SoundMerch Australian Music Prize, an award that emphasizes the creative and artistic value of Australian albums.
Additional confirmation also came with the NSW Breakthrough Artist of the Year award, presented by the Government of New South Wales as part of the NSW Music Prize. According to the announcement by state institutions, that category is intended for performers from New South Wales who achieved a breakthrough year, and Ninajirachi was singled out as the winner in that competition. This means her international growth is not viewed only as the result of market success, but also as part of a broader picture of Australian music policy, which increasingly recognizes the importance of exporting contemporary music and supporting local authors.
Why the North American tour is important
The North American concert market has a special role in the careers of performers who want to move from national scenes into a global context. The cities included in this tour were not chosen by chance: Vancouver, Denver, Boston, Philadelphia, Brooklyn and Los Angeles have strong infrastructure for alternative, club and electronic music, and the halls listed in the schedule are mostly spaces that connect concert energy with a more intimate format than large arenas. For a performer whose music combines festival explosiveness and personal digital poetics, such a format can be more effective than overly large spaces because it enables a more direct relationship with the audience.
Brooklyn Steel and The Fonda are especially significant as concert points with strong symbolic capital. Brooklyn has for years been an important center of the independent and electronic scene, while Los Angeles functions as one of the key American music markets, connected with the industry, media, festivals and creative communities. The performance at The Fonda, placed at the end of the currently announced schedule, can be read as the final emphasis of the tour and an opportunity for additional positioning of the performer before audiences on the American West Coast. For visitors traveling to the final concert, timely checking of accommodation near The Fonda venue may be important because of high demand in Los Angeles throughout the year.
The very fact that the tour has been announced as a headline series of performances speaks of a change in the level of expectations. A headline tour implies that the performer is no longer only support for bigger names or a festival addition, but the central reason for the audience’s arrival. In the case of Ninajirachi, this is especially interesting because her music developed from a space often tied to the internet, home production, digital communities and niche genre circles. Entering halls with a clear authorial concept shows how these sounds are increasingly moving toward main concert routes.
A sound that connects club euphoria and digital melancholy
Ninajirachi’s musical identity is difficult to reduce to one genre label. In her work, elements of EDM, trance, electro house, hyperpop, glitch aesthetics and pop structures can be heard, but the final result is not a mere compilation of influences. What makes her music recognizable is the way she connects the high energy of dance production with themes of vulnerability, digital loneliness, growing up with a screen and the need to create one’s own space in an overly loud information environment. In that sense, the album I Love My Computer is not only a collection of club songs, but also an authorial story about a life shaped by a computer.
Such an approach fits well with the moment in which electronic music is again returning to the sounds of the 2000s and 2010s, but reinterpreting them from the perspective of a generation that grew up with YouTube, home production programs, online forums, social networks and constant availability of music. Ninajirachi does not portray that world as simply happy or simply alienated. In her songs there are simultaneously euphoria and fatigue, humor and anxiety, childish playfulness and sophisticated production control. It is precisely this layering that gives the tour an additional dimension: the concerts are not only a space for dancing, but also the performance of one generational digital biography.
For audiences in cities such as Boston, Philadelphia and Brooklyn, the performances could be an opportunity to encounter the performer at a moment when her international career still has a sense of growth and immediacy. Such concerts often have a special dynamic because the audience does not come only to listen to familiar songs, but also to witness the shaping of a performer’s reputation in real time. If interest continues to spread, this North American tour could later be seen as one of the important transitional points in Ninajirachi’s career.
Announced tour dates
- September 17, 2026 – Vancouver, British Columbia, Commodore Ballroom
- September 19, 2026 – Denver, Colorado, Ogden Theatre
- September 22, 2026 – Columbus, Ohio, Newport Music Hall
- September 30, 2026 – Boston, Massachusetts, Royale
- October 2, 2026 – Philadelphia, Pennsylvania, Franklin Music Hall
- October 3, 2026 – Brooklyn, New York, Brooklyn Steel
- November 12, 2026 – Los Angeles, California, The Fonda
The announced schedule currently shows a concentrated but strategically important series of concerts. The tour does not cover a large number of cities, but each of the announced performances is placed in a market that has a developed audience for electronic, alternative and festival music. For visitors who will travel from other cities, especially to concerts in Vancouver, Brooklyn and Los Angeles, it is useful to check in advance accommodation for concert visitors, because prices and availability can change quickly around popular dates and weekends.
Broader context: electronic music between the independent scene and the mainstream
The announcement of Ninajirachi’s tour fits into a broader trend in which electronic music, especially that shaped by internet aesthetics, is moving ever closer to the mainstream without completely renouncing its experimental roots. In recent years, audiences have shown great interest in performers who combine pop sensibility, club production, the visual identity of social networks and authorial control over sound. Ninajirachi stands out in that environment because her work does not feel like a later adaptation to a trend, but like an organic continuation of a long-term relationship with the computer, software and digital culture.
The success of the album I Love My Computer, the Australian awards and now the new North American tour show how careers are increasingly developing through a combination of local scene, online recognition and international concert opportunities. For Ninajirachi, 2026 is therefore an important test of reach: awards and critical recognition have confirmed the album, but the tour will show how that material transfers to the stage before audiences far from her original Australian context. If she manages to maintain intensity, personality and production distinctiveness in the concert format, I Love My Computer and It Loves Me could strengthen her place among the most interesting new names on the global electronic scene.
Sources:
- Pitchfork – announcement of Ninajirachi’s North American tour, date schedule and basic tour information (link)
- NLV Records – official page of the album I Love My Computer and release description (link)
- ARIA – official announcement of the ARIA Awards 2025 winners and the awards won by Ninajirachi (link)
- SoundMerch Australian Music Prize – official announcement of the victory of the album I Love My Computer at the Australian Music Prize (link)
- Government of New South Wales – announcement of the winners of the first NSW Music Prize and the NSW Breakthrough Artist of the Year award for Ninajirachi (link)
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