Day and Night, Carly Rae Jepsen’s new album, is scheduled for release on September 18, 2026 via Interscope Records. Its structure is literal and makes the project easier to navigate: 24 tracks are divided into two 12-song halves, DAY and NIGHT. The label itself presents it as a double album, and the CD and vinyl editions preserve that separation physically. Interscope’s official store lists all 24 songs and the release date.
For anyone deciding where to start, the best strategy before the full release is not to guess which unreleased songs will be the “best.” As of September 15, the released singles already let listeners sample both sides of the concept: “On Wires” and “After All” belong to DAY; “Don’t Leave Me on the Dance Floor” and “Motivation” introduce NIGHT. Those reference points make it possible to choose one half first and then follow the official sequence.
How the DAY/NIGHT double album is organized
The split does not work like a main edition plus bonus material. Both parts are the same size and together form the complete project: 12 tracks on DAY and 12 on NIGHT. On CD, they appear as disc 1 and disc 2; on the double vinyl, DAY occupies the first LP and NIGHT the second. That organization makes clear that the day-versus-night opposition is part of the album’s structure, not merely a visual theme.
| # | DAY | NIGHT |
|---|---|---|
| 1 | After All | Never Let a Good Thing Die |
| 2 | Habits of Creatures | Amalfi Coast |
| 3 | Versailles | Patience Power Passion |
| 4 | On Wires | Don’t Leave Me on the Dance Floor |
| 5 | Blue Skies | Motivation |
| 6 | Burning Heart | You Don’t Know How It Feels |
| 7 | Wild Child | Near or Far |
| 8 | Good Fine Alright | Diver |
| 9 | Something Tragic | Hold Me to the Light |
| 10 | Soft | That’s Just Me |
| 11 | Lonely Side of the Bed | No Labels, I Love You |
| 12 | Just a Little Walk on the Moon | Super Sage |
What separates DAY from NIGHT according to the official concept
Official materials describe DAY as the more bright, raw and organically warm side. In the announcement for “On Wires,” Universal Music Canada calls this half a suite of bright, raw songs with organic warmth. Universal Music Japan adds that the direction combines organic sounds with 1970s-inspired psychedelic pop. The “On Wires” release outlines the language of DAY, while the official Japanese page contrasts the album’s two halves.
NIGHT points toward a different kind of energy. The official description emphasizes forward-thinking dance music with a maximalist edge; Universal Music Japan summarizes the night side as more experimental, polished dance-pop built around synthesizers. “Don’t Leave Me on the Dance Floor” was released as the first sample of this half, and “Motivation” reinforced that direction with a house-inspired backdrop. The “Don’t Leave Me on the Dance Floor” release defines the entry point to NIGHT, and the “Motivation” announcement broadens that description.
That does not mean all 12 songs on each side will sound alike. The campaign itself describes a journey that moves through symphonic pop, dreamy psychedelia and high-octane disco. DAY and NIGHT work better as two mood poles than as rigid genre boxes.
Where to start: three routes without ranking all 24 tracks
1. If you want to understand the concept quickly
Listen to “On Wires” and then “Don’t Leave Me on the Dance Floor.” The first was introduced as the lead single and belongs to DAY; the second was the first released song from NIGHT. The contrast between them offers the most direct sample of the album’s architecture without requiring a long listen.
2. If you prefer the organic, brighter side
Start with “After All” and “On Wires.” Both are DAY tracks and share songwriting credits with Carly Rae Jepsen, Kyle Shearer and Nate Cyphert; Shearer also produced them. “After All” was presented as a celebration of love, while “On Wires” captures the impatient desire of an early-stage relationship. The official “After All” release provides its credits and context.
If that pair works for you, the most coherent route on September 18 is to return to track 1 of DAY and play all 12 songs in the official order. That gives the unreleased tracks the context in which they were sequenced rather than imposing an artificial editorial selection.
3. If you want the dance floor first
Start with “Don’t Leave Me on the Dance Floor” and “Motivation.” The former was written with producers CJ Baran and Arthur Besnainou and turns fear of abandonment into club-ready pop; the latter was written by Jepsen with Cole M.G.N., who co-produced it with Kyle Shearer, over a house-inspired backdrop. They are two confirmed examples of the album’s night-time vocabulary.
Prefer that axis? Once the album is released, the best continuation is to begin NIGHT at “Never Let a Good Thing Die” and follow it through “Super Sage.” The sequence matters more than a supposed shortlist of highlights because the remaining tracks had not been released in full as of September 15.
What the credits already reveal — and what they do not
The singles show Jepsen switching collaborators across the two halves. Kyle Shearer and Nate Cyphert appear on both released DAY singles. On NIGHT, “Don’t Leave Me on the Dance Floor” brings in CJ Baran and Arthur Besnainou, while “Motivation” involves Cole M.G.N. and Kyle Shearer. That suggests different creative teams within a shared concept, but it is not enough evidence to assign a sonic signature to each of the other 20 tracks.
It is therefore useful to separate what is confirmed from what would be premature: the titles, sequence, DAY/NIGHT split, four released singles and their published credits are verifiable; track-by-track judgments and internal comparisons make sense only after the full album is available.
A practical first-listen order for September 18
- Run the contrast test: “On Wires” → “Don’t Leave Me on the Dance Floor.”
- Pick the pole that fits the moment: DAY for the more organic, sunlit side; NIGHT for the more dance-oriented, synth-driven side.
- Play your chosen half from start to finish, keeping the official 12-track sequence.
- Then cross over to the other side and play that half in order as well.
This route lowers the barrier to entering a long album without flattening its structure. Instead of choosing the “best” songs before hearing them, it uses the released material as gateways and lets the rest of the record arrive in the sequence that was planned.
In short
Day and Night is designed as two equal halves of the same cycle. DAY contains the more organic, bright and left-field-pop pole; NIGHT moves the energy toward synthesizers and more expansive dance music. To start without facing 24 tracks at once, compare one single from each side, choose the half that best fits your mood and then follow the full sequence. It is a listening route based on the official concept and credits—not a premature ranking of unreleased songs.
