Vancouver

Thinking back on the last two years of his life full of album releases, filming schedules and tour dates, Finn Wolfhard requires squint-inducing concentration to keep it all straight.

“Jesus, a lot has happened,” he says, looking surprised. That’s an understatement.

In that time, the 23-year-old not only finished filming the Netflix hit show “Stranger Things,” which catapulted him to global stardom, and promoted the final season upon its premiere. He also released his feature film directorial debut (“Hell of a Summer,” co-directed with Billy Bryk, which hit theaters in April 2025). Then, he starred in another movie (A24’s creature feature “The Legend of Ochi”), directed a posthumous George Harrison stop-motion music video, wrote, recorded and put out his first solo album (“Happy Birthday”), and embarked on a 22-date tour before recording a new album.

On a video call from his family home in Vancouver, Canada, where he lives with his parents and older brother, he’s chatting about the release of that record, the eclectic, guitar-driven “Fire From the Hip,” which dropped Friday.

“I think it’s a nice day?” he offers when I ask what’s happening in Vancouver. “I don’t know. I’ve been in my basement studio all day, so I don’t … I think it’s nice.”

He’s been down in the basement doing press calls like this, he explains, undoubtedly a familiar routine after so many years in the limelight. He wears a baseball cap and an oversize brown sweater, tugging on the sleeves while he ponders.

Even if Wolfhard is exhausted by the press marathon, he doesn’t show it. He’s excited for the chance to be known on his own terms. He never fails to express gratitude for the projects that afforded him recognition and opportunity, but he’s ready to “take control of the narrative.”

“I spent my whole childhood standing on marks that other people told me to stand on and saying lines that other people told me to say,” he says. “Why wouldn’t I want to make my own stuff?”

Being in control also means being the face of the operation. Before “Happy Birthday” and “Fire From the Hip,” Wolfhard released a total of two records and an EP, plus a whole bunch of singles, with his previous bands, Calpurnia and the Aubreys. Being in a band was a natural fit for Wolfhard, who thrives in an ensemble where he can “hide behind the band name.”

Touring last year was his first time seeing his own name on the marquee.

“It’s just straight up me, and if I suck, I suck,” he laughs. “It’s not like I can be like, ‘Oh, man, we’re having disagreements in the band.’ It’s like, no, that’s you. So there was a little more pressure early on.”

Finn Wolfhard released “Fire From the Hip” on Friday.

(Victoria Stevens)

Stepping into the spotlight required Wolfhard, who admits he shies away from conflict, to own both the pressure and the power of being the one audiences came to hear.

When he got sick and had to cancel a show in Portland, Ore., he remembers feeling crushingly sad “letting down” his fans and bandmates — who, of course, assured him it was outside of his control and urged him not to be so hard on himself.

Wolfhard introduced many of the songs that ended up becoming “Fire From the Hip” to his bandmates while they were still on tour, and he says playing them live “cultivated the spirit” of the eventual recordings. Despite his collaborative ethos, there was a moment during the process where he had to learn how to put his foot down in real time.

“I remember suggesting something and people being like, ‘Ah, I don’t know if I want to do that.’ And I was like, ‘No, you don’t get to do that to me. It’s my record,’” he remembers. “It was very innocent — I don’t think there was much ego on either side. But I think I maybe set up too collaborative of an experience that day.”

“I think I sometimes make it feel like a democracy, which it is in a lot of ways,” he adds. “But also, in the end, it is up to me.”

That thought is echoed in the album’s cover art, an image of two miniature Finn Wolfhards facing off, donning colonial garb and brandishing weapons. It’s meant to represent dueling impulses inside of him, he explains.

Wolfhard, a true-blue music nerd, has been described online as an archetypical example of the “child of a Gen X cool dad,” in the same vein as Olivia Rodrigo. (His dad, a former screenwriter turned lawyer and Indigenous rights researcher, does sound cool, but it was his mom who first introduced him to the Beatles. His parents apparently met over a Stone Roses record.)

That sensibility is evident in his musical influences — “I wanted everything [on drums] to sound like the first two Wilco records,” he says — and in his approach to recording. “Happy Birthday” was recorded almost entirely on four-track cassette tapes, while “Fire From the Hip” uses 24-track reel-to-reel.

The album runs the gamut from its cheeky, surf-rock opener “I’ll Let You Finish” (yes, that is a reference to Kanye West’s infamous speech at the 2009 VMAs) to more ’90s alt-inspired tunes to a surprising dose of straightforward country-folk.

Lyrically, Wolfhard divides his songs into two categories: the “very personal” and the story songs written around books he was reading (“Knockemstiff” by Donald Ray Pollock) or quotes that made him laugh. The personal themes he explores are exactly what you would expect from an early-20s rocker raised in the public eye — namely, relationship expectations and existential fears about the future.

On the nostalgic piano ballad “Good Morning,” he imagines what it might be like to settle down somewhere “with a dog and a wife.”

“I haven’t lived that part of my life yet,” he says now. “So I can really easily get lost in thinking about what that looks like.”

When it comes to sharing his music, especially the more vulnerable tracks, Wolfhard knows his “Stranger Things” fame is the elephant in the room. Anything he sings can and might be used against him in the court of public opinion.

“I could either kind of say nothing and be totally private, because it is scary knowing that everything I say, at least one person will take it a certain way that I wouldn’t want them to. But I just don’t have the control,” he says.

“So if I don’t have the control, then there’s nothing really that I can do, other than try to be as truthful and passionate and well-meaning as I possibly can, you know?”

The double-edged sword of fandom hasn’t stopped Wolfhard or his musically-inclined “Stranger Things” co-stars from pursuing this path. Fellow Hawkins alums Joe Keery (who releases music under the moniker Djo) and Maya Hawke are indie darlings in their own right, and Wolfhard has previously referred to Keery as a mentor. None of them face the unique challenge of relatability in quite the same way, however.

“I’m aware that my specific problems are maybe not as relatable because of how specific of a life I have,” he said. “The only thing I can hope for is that some other person out there listens to it and relates to the same things that I do.”

Sometimes an air of wistfulness accompanies these admissions. When asked about how he feels about Los Angeles, he tells me that it’s complicated: “I think if I wasn’t a young actor, it would be a very different situation.” His favorite parts of the city are its repertory cinemas and lush neighborhoods like Mount Washington, where his godfather resides, because they look the most like Vancouver.

That said, he’s not through with Hollywood. He’ll be back in L.A. for an Oct. 13 show at the Fonda Theatre, and acting and directing are still on the agenda. He would like his next film project — other than the Matt Johnson and Bong Joon Ho projects he’s already committed to, of course — to be something more “personal.”

For now, though, the focus is music. Wolfhard launches a new tour this month, and he’s most looking forward to “doing dumb s—” with his friends.

He tells a quick story to illustrate: When he and the band last toured in Glasgow, Scotland, he was trying to leave the venue without being noticed. (“I have a hard time dealing with fan interaction,” he says.)

“We kind of made it into this joke thing, knowing it wouldn’t work, where me and Rand, my guitarist, were like, ‘let’s switch clothes.’ Rand pretended to be me and I pretended to be Rand,” he says. Miraculously, it worked up until the “very last second” before they stepped on the bus.

“I couldn’t help myself,” he says: He instinctively made eye contact with someone in the crowd. “They did a double take, like, ‘Wait, what?’”

It sounds like a scene straight out of “A Hard Day’s Night” — or maybe inspiration for his next film.

“I’m pretty in my head about things and want them to be a certain way,” he says. “The thing that I have to remind myself all the time is that, like, dude, you’re with your friends, you’re playing music — it’s the best.”

MIAMI GARDENS, Fla. — World Cup tickets are expensive. Flights to North America are expensive. Hotel rooms in many places are expensive.

Then there’s the price of beer.

There are some fun — and yes, sometimes pricey — food and drink offerings at the venues playing host to the World Cup. A $75 caviar-topped tray of tater tots and a $40 empanada weighing in at 5 pounds for the daring or for sharing in Miami. Ribeye tacos for $8 in Guadalajara, Mexico. Something called a Twinkie cheeseburger that has nothing to do with dessert for $22 in Los Angeles.

Prices, in many cases, aren’t all that different from what U.S. fans would experience on NFL Sundays or college football Saturdays. But some international fans aren’t used to such pricing and are calling foul, especially over beer prices that can top $20.

“It’s unfair. It’s not right. It’s wrong,” said Thomas Schüller, an engineer from Germany in Toronto to watch his national team play over the weekend, as he held a beer that cost him 24.25 Canadian dollars (about $17). “It’s three times the cost of what I pay in my country.”

But is that stopping him?

“Well, no,” Schüller acknowledged.

Beer prices become a mild pint of discord

There is clearly some sticker shock among international visitors to this World Cup, especially when it comes to the concession prices. In Europe, it’s not uncommon for beers to be perhaps around 4 or 5 euros (about $5-6).

There’s also no shortage of intrigue on the menu at the concession stands at stadiums across the U.S., Canada and Mexico.

“Never seen anything like it,” said Janine Arbetter, a fan from Austria, as she waited for a hot dog, chips and soda combo in Miami last week. The pre-tip price: $19.35, which included a discount for using Visa. “It’s a lot of food for a little snack.”

Some Argentina fans happily showed off their $34 lobster rolls from a match in Kansas City on social media, but in Toronto, the brisket sandwich with chips and a bottle of soda for nearly 40 Canadian dollars ($28) had some online commenters lamenting it as “robbery.”

“It’s OK, more or less, for the World Cup,” German fan Daniel Feldmann said of the food prices while watching a match in Vancouver last week.

Concession offerings vary from stadium to stadium

FIFA, the sport’s governing body and the tournament organizer, has very specific rules on just about everything related to the World Cup — and there are guidelines that concessionaires have to follow as well. But prices can vary by market, as do the food and drink offerings. And that means the experience in one city might look, or taste, nothing like what’s offered in another.

The “Fancy AF Tots” for $75 at Miami Stadium aren’t really tots at all — it’s three deep-fried hash brown patties, with caviar, creme fraiche and chives. (For those who just want the caviar, it’ll be $70.) Southern California’s Twinkie cheeseburger is in fact a burger topped with a Texas Twinkie — a bacon-wrapped jalapeño stuffed with brisket and cream cheese.

But there’s also a slew of choices specific to a local market; for example, Vancouver offers short rib poutine along with a maple bacon smokie (smoked sausage topped with bacon onion jam that features Canadian maple syrup).

And in Miami, the signature offerings include pan con lechon (a Cuban-style sandwich with pork, infused with citrus mojo sauce and served on a toasted full Cuban loaf) and Empanada Mundial (the five-pound, handmade, chicken-and-cheese-stuffed dish named after the World Cup).

Both Vancouver and Miami have Sodexo Live as a food and beverage provider, and the typical game-day menus in both stadiums were revised a bit to accommodate a soccer crowd.

“We want it to feel like Miami when you’re here,” said Zach Williams, Sodexo Live’s vice president of operations at Miami Stadium. “Everything we do around the Miami Stadium, we want to make sure everybody understands that when they come here, they’re getting a Miami experience.”

Atlanta Stadium keeps prices low

In Mexico City, a beer could cost a day’s pay — literally. The daily minimum wage in Mexico City is just 315.04 pesos (roughly $18). Some beers at Mexico City Stadium were selling for between 299 and 310 pesos — about twice as much as fans would ordinarily pay in the same stadium when the World Cup isn’t in town.

But in Atlanta, where Falcons owner and stadium operator Arthur Blank promised the low concession prices he’s championed for many years would hold for the World Cup, pizza slices were $3, 32-ounce sodas were $4, a cheeseburger was $5, chicken tenders with fries were $6 and beers could be had for as little as $8.

Jonathan Arango, a 33-year-old from Greenville, S.C., was at a match in Atlanta with his wife, daughter and father.

“In total for what we got — three orders of tacos, a slice of pizza, two waters and a Coke — we spent like $50,” Arango said. “Compared to what we’ve paid at other events … it’s nice after you paid a lot for a ticket.”

And Schüller pointed out that even though the tournament does come around every four years, it still feels like a once-in-a-lifetime experience.

“The entire football world is having fun,” Schüller said, “so cheers to that.”

Reynolds writes for the Associated Press.

VANCOUVER, Canada — When the first men’s World Cup game played in Canada kicked off last week, Anthony Totera sat in the stands and wept.

“It was a dream come true,” said Totera, who has spent most of his 57 years on earth promoting Canadian soccer. “I can’t describe the emotions. It was something surreal.”

If the 1994 World Cup, the first held in the U.S., forever altered the direction of American soccer, this summer’s tournament, which Canada is sharing with the U.S. and Mexico, has the potential to do the same for that country.

“This is going to be something monumental,” Totera said. “We’re going to get to another level, another point, where we’re going to say this was when it all turned.”

With an opening draw against Bosnia and Herzegovina last week in Toronto and Thursday’s 6-0 blowout victory over Qatar in Vancouver, this tournament is already the most successful on the field for Canada, which had lost all six previous World Cup games it had played. Now it’s poised to advance to the knockout rounds for the first time ever.

Jonathan David’s three goals were more than Canada had scored in its previous World Cup seven games combined. And former LAFC goalkeeper Maxime Crepeau, who lost his chance to play in the last World Cup when he broke his leg in the MLS Cup final, had no trouble making them stand up, recording Canada’s first-ever World Cup clean sheet.

The hosts outshoot Qatar 32-2 and had 97 touches in the box in one of the most dominant performances in recent World Cup history.

“I really think that we’re a soccer country,” LAFC midfielder Stephen Eustaquio said. “It’s a very special group.”

But the win was a costly one since Canada, which entered the tournament missing three starters to injury, lost another early in the second half when midfielder Ismael Kone was carted off on a stretcher with an apparent broken leg after Qatar’s Assim Madibo clipped him from behind.

And while that success on the field — costly or not — is significant, Steve Reed, the former Canadian Soccer Assn. president who was instrumental in bringing the World Cup to Canada, said the real goal wasn’t to win games as much as it was to win over the public.

“Each time we have hosted major tournaments, we have seen a significant increase in participation and general public interest,” said Reed, who was part of the group that organized the 2015 women’s World Cup in Canada. That tournament produced nearly a half-billion dollars in economic activity, double the original projections. It also boosted investment of soccer infrastructure, including the construction or upgrading of 21 “FIFA-quality” pitches, and surged youth participation numbers. The quarterfinal game between the host country and England drew a record TV audience of 20.8 million Canadians.

“I would say that we have proved that we excel at hosting major events. This will just be reinforced in 2026,” Reed said.

“In terms of expectations,” he continued, “one would be the continued growth of the game, particularly on the men’s side. We have always been great at the grassroots level. But we need to be better at the top end of the game, creating more professional opportunities for players in our domestic leagues and creating a pipeline to bigger clubs in major leagues.”

Canada fans celebrate after a 6-0 win over Qatar at the World Cup on Thursday.

(Kaleb Tatum / Associated Press)

That’s exactly the kind of legacy the 1994 World Cup created in the U.S., where it gave birth to Major League Soccer, a deep lower-tier professional infrastructure and an academy system that has sent players to major teams all over the world. Canada has also benefited from that, with MLS placing teams in Vancouver, Montreal and Toronto. Nine players from the league — including three from LAFC — are on Canada’s World Cup team.

In the last decade, Canada has begun building its own youth development system. It also launched the Canadian Premier League, an eight-team professional league that has already sent 15 players to the national team. Those initiatives had a good foundation to build on since soccer is Canada’s most popular sport in terms of registration and participation and ranks behind only hockey as a spectator sport.

Still, when Victor Montagliani, a former Canadian Soccer Assn. president, first publicly floated the idea of bidding to host the men’s World Cup in 2013, he was lampooned.

“People absolutely laughed at him, all across this country,” said Totera, who is now the grassroots ambassador for the Premier League. “But his closest friends and people that knew him knew he didn’t lie when he said, ‘I want to bring the World Cup to Canada.’ And he brought it.”

Canada had to pair with the U.S. and Mexico to make that happen, with the so-called United Bid beating back a proposal from Morocco thanks in part to some steady diplomacy from Reed, who took over as president when Montagliani was chosen to lead CONCACAF, the governing body that oversees soccer in North America, Central America and the Caribbean.

Canada’s reward was 13 World Cup games — seven in Vancouver and six in Toronto. Mexico gets the same number, while 78 of the record 104 matches will be played in the U.S.

That same year, 2018, Reed and Canada Soccer put the final piece of its World Cup preparations in place when it hired John Herdman to rebuild its men’s team.

In seven years with the country’s women, Herdman had taken a team that finished last in the 2011 World Cup to the quarterfinals of the next tournament, sandwiched between two bronze-medal performances in the Olympic Games. His impact on the men’s team was equally as stunning.

When Herdman took over, it had been 32 years since Canada played in its only World Cup. The country not only returned in its first cycle under the new coach, but it won the CONCACAF qualifying tournament to earn its place in the 2022 tournament.

“Being a Canadian football supporter, the roller-coaster ride has been downward for most of the years,” said Totera, who pulled on his first Canada soccer shirt the year he entered first grade. “But for the last few years, it’s been on on the upswing.”

Herdman found success in part by making the recruitment of dual nationals a priority, starting four of them — including Alphonso Davies, who immigrated to Canada from a refugee camp in Ghana — in Qatar.

Nearly a quarter of Canada’s population was born somewhere else and Herdman leaned into that diversity.

Jesse Marsch, the U.S.-born coach who took over the national team in 2024, followed Herdman’s lead, recruiting six dual nationals to his World Cup team. As a result the 26 players on Canada’s roster, or their parents, come from more than 17 countries — from Iran, Croatia, Jamaica and Barbados to Haiti, Lebanon, Nigeria and the Philippines.

“We’re a melting pot. We embrace it,” said Totera, whose family moved to Canada from Italy. “I look at that team, our team, and they’re from all parts of the world. Not one from one section of the world or the other section. No, all over.

“Amazing.”

Now, with a win and draw in two games, that diverse Canadian team is almost certain to advance out of a World Cup group stage for the first time — just as the U.S. did when it first hosted a men’s World Cup in 1994.

“After ‘94, after the World Cup was there, they took off to bigger and better things,” Totera said. “I believe once we get into the knockout route, we won’t look back.

“We’re on the cusp of something really special in this country right now. And we need to grab it and run with it.”

The 2026 World Cup, the largest ever, will be played in three countries and 16 stadiums, organized by geography, not national borders.

Seven of the 11 U.S. venues — all but Kansas City, Philadelphia, Santa Clara and Miami — plus Vancouver normally have artificial-turf fields.

So for the World Cup, which FIFA mandates must be played on grass, those surfaces underwent multi-million-dollar transformations, with state-of-the-art fields — each with its own root system and irrigation methods — rolled out across the plastic turf.

Additionally, stadiums that have corporate names not affiliated with FIFA sponsors — SoFi Stadium, Mercedes-Benz Stadium, etc. — will use generic names such as Los Angeles Stadium and Atlanta Stadium during the tournament.

Mathias Laborda scored in the 82nd minute for the Vancouver Whitecaps on Saturday night, sealing a 1-1 tie with the Galaxy at Dignity Health Sports Park in Carson.

The Whitecaps (8-1-1), who were only the second MLS team in the post-shootout era (since 2000) to win eight of their first nine games to begin a season, had their club regular-season record four-game win streak snapped.

Sebastian Berhalter played a free kick from the left side to the back post and Laborda headed home the finish from point-blank range to cap the scoring.

The Whitecaps had 58% possession and outshot the Galaxy 19-7, including a 5-2 edge in on target shots.

Joseph Paintsil opened the scoring in the 46th minute. Lucas Sanabria, in the opening seconds of the second half, stole a misplayed ball from Whitecaps goalkeeper Yohei Takaoka and fed Paintsil for a finish from the right side of the area.

JT Marcinkowski had four saves for the Galaxy (3-4-4).

Takaoka finished with one save.