Categoría: Billboard

The gripping story of 1960s/early 70s musical supernova Sylvester Stewart, better known as Sly Stone, will unfold in the upcoming musical doc Sly Lives! (aka The Burden of Black Genius). The first, heady trailer for the eagerly anticipated film directed by Roots drummer Questlove dropped on Thursday night (Jan. 23) and it promises to unpack the unbelievable highs, and shocking lows of the once-in-a-generation talent behind Sly and the Family Stone. Explore See latest videos, charts and news See latest videos, charts and news The first look at the film that will begin streaming on Hulu on Feb. 13 hints at the too-much-too-soon supernova ride taken by Stone and his then-pioneering multi-racial band, who burst onto the scene in 1968 with their first hit, “Dance to the Music,” before becoming household names thanks to 1969 No. 1 hit “Everyday People.” The group that preached unity and brotherhood went on to score a number of other indelible Billboard Hot 100 top 10s, including “Hot Fun in the Summertime,” “Dance to the Music,” and No. 1 smashes “Family Affair” and “Thank You (Falettinme Be Mice Elf Again).” The two-minute trailer opens with Quest asking OutKast’s André 3000 if he believes in the concept of musical genius over footage of Stone in his musical heyday, owning the stage with his hyperkinetic moves, peacocking costumes, oversized shades and voluminous afro. A larger-than-life figure whose message of peace and unity was custom-built for the late 1960s age of Aquarius, Stone broke all the rules and inspired generations of Black (and white) musicians to come, as attested to by the film’s A-list line-up of talking heads. Proof of that legacy comes with D’Angelo, Chaka Khan, George Clinton, Terry Lewis and Living Colour’s Vernon Reid attesting to the Family Stone’s massive popularity at the time over footage of the group rocking the stage. “Sly created this unique space,” says Q-Tip, with P-Funk icon Clinton noting that at that time a group with a “mixed” line-up of men and women, white and Black, was a new thing. “They sounded like nothing else sounds,” says producer Jimmy Jam of the group’s uplifting, life-affirming mix of soul, pop, R&B, funk and gospel on records such as “I Want to Take You Higher” and “If Want Me to Stay” at a time when the country was riven by division over the Vietnam War. The film mixes in archival footage of the enigmatic singer and new interviews with Nile Rodgers, P-Funk singer Ruth Copeland and music industry icon Clive Davis, as well as Family Stone members Larry Graham Jr., Jerry Martini and Greg Errico. In addition to introducing a new generation to Stone’s music, it also seeks to understand the pressure put on Black geniuses by society’s expectations, and how that spotlight can sometimes lead, as in Stone’s case, to destructive results. Or as Stone says, “at the time… it was almost too much all at once.” The preview makes it clear that Quest will delve into the “anxiety, the pressure, the drug use,” the latter a nod to Stone’s long struggle with mental health issues and substance use, which led to cancelled concerts, arrests and the bitter dissolution of the band whose public calling card was unity. “If you’ve been on this heightened, explosive life… your body has taken in so much energy and you’ve given out so much energy and you stop… where’s that energy go?,” wonders André 3000 about the rocket ride to the top and nearly as rapid descent into chaos experienced by Stone. A description of the film that premiered at the 2025 Sundance Film Festival on Thursday night promises that it, “examines the life and legacy of Sly & The Family Stone, the groundbreaking band led by the charismatic and enigmatic Sly Stone… [capturing] the band’s rise, reign and subsequent fadeout while shedding light on the unseen burden that comes with success for Black artists in America.” It is the follow-up to Quest’s Oscar-winning 2021 Summer of Soul doc about the 1969 Harlem Cultural Festival (aka “Black Woodstock”). Watch the Sly Lives! trailer below. Source link

Teddy Swims has just unveiled the second instalment of his debut album, I’ve Tried Everything But Therapy (Part 2), released today (Jan. 24). The 13-track album showcases standout collaborations, including “Are You Even Real” featuring GIVĒON and “Black & White” with Muni Long, along with”She Got It,” which unites Coco Jones and GloRilla. The release arrives as Swims continues to ride the wave of his monumental success with “Lose Control,” the Billboard Hot 100 chart-topping hit that saw his breakthrough. In March 2024, “Lose Control” climbed to the No. 1 spot after a record-breaking 32 weeks, marking the longest ascent to the summit by a solo male artist in the chart’s 65-year history. Explore Explore See latest videos, charts and news See latest videos, charts and news The track spent an impressive 48 non-consecutive weeks in the Hot 100’s top 10 and was crowned Billboard’s No. 1 song of 2024. Swims’ debut studio album, I’ve Tried Everything But Therapy (Part 1), released in September 2023, furthered his global presence. The album charted in multiple countries, achieving top 10 positions in Norway, the Netherlands, Sweden, and Australia, among others, and earned Gold certifications in the U.S., U.K., and several other regions. In a recent interview with People, Swims revealed how his personal life has influenced the album, particularly his single “Bad Dreams.” He shared that the track was inspired by his partner, Raiche Wright, and her ability to help him navigate restless nights. “I wake up sometimes every 30 minutes, and she’s been so wonderful and such a holistic person about, ‘Here, take some magnesium or take some of this and that,’” he said. “It has just really helped me… regulating my little nervous system.” The release comes during a milestone moment for the singer, who recently announced that he and Raiche are expecting their first child together. Stream I’ve Tried Everything But Therapy (Part 2) below. Source link

Gracie Abrams is back on top. Her sophomore album, The Secret Of Us, has reclaimed the No. 1 spot—leaping from No. 6—on the ARIA Albums Chart for the week of Jan. 20, fueled by the release of its deluxe edition on vinyl. Explore Explore See latest videos, charts and news See latest videos, charts and news The record previously hit No. 1 in July 2024 and has continued to be a favourite with fans since its release. Abrams’ first album, Good Riddance, peaked at No. 30 in 2023, making her latest success a milestone in her career. Sydneysiders Dear Seattle celebrated their highest-ever chart debut as their third album, TOY, entered at No. 4. This marks the band’s first time in the top 10, surpassing their prior records: Don’t Let Go peaked at No. 45 in 2019, and Someday climbed to No. 31 in 2022. Meanwhile, Robbie Williams made a strong debut at No. 5 with the soundtrack to Better Man, his biopic. The album features 13 tracks, including re-recordings and fresh cuts, contributing to Williams’ 15th top 10 solo album in Australia. Williams has previously claimed five No. 1 albums in the country, with Greatest Hits (2004), Intensive Care (2005), Rudebox (2006), Reality Killed the Video Star (2009), and The Christmas Present (2019). The biopic has also sparked renewed interest in Williams’ extensive catalog, with fans revisiting his biggest hits. Mac Miller also returned to the ARIA chart with Balloonerism, debuting at No. 12. The posthumous release features collaborations with SZA and his alter ego Delusional Thomas, showcasing tracks recorded in 2014. It’s Miller’s third top 10 album in Australia, following Swimming (No. 7, 2018) and Circles (No. 3, 2020). Meanwhile, Luke Combs’ upcoming Australian tour, which kicks off in Brisbane on Jan. 24, has also propelled his albums back up the ARIA chart. His 2017 debut album, This One’s For You, rises from No. 11 to No. 8 (it previously peaked at No. 7 in 2019 and again in 2022), whileFathers & Sons leaps from No. 77 to No. 20, continuing its impressive run after peaking at No. 3 last year. On the ARIA Singles Chart, Rosé and Bruno Mars’ “APT.” extended its reign at No. 1 for an 11th non-consecutive week, becoming the longest-running chart-topper since Miley Cyrus’ “Flowers” in 2023. Abrams also continues to dominate the singles chart, with her track “That’s So True” holding steady in No. 2. For all the latest chart updates, visit the ARIA Charts. Source link

As fate would have it, Bruno Mars and Sexyy Red came together for their “Fat, Juicy and Wet” strip club anthem, which dropped Friday (Jan. 24) accompanied by a star-studded music video featuring Lady Gaga and Rosé. Bruno’s big collab with Sexyy Red arrives on the heels of his three-week Billboard Hot 100 No. 1 “Die With a Smile” alongside Lady Gaga. “I’m headed to the studio right now to make a strip club anthem so I can celebrate and properly act up this weekend. Someone please help me get in touch with Sexyy Red!!” he wrote on Instagram earlier this week while cherishing his chart victory. The 15-time Grammy winner eventually “found her,” Bruno posted along with a snippet of their single. “Fat, Juicy and Wet” is Bruno’s third single, following “Die With a Smile” and “APT.” with Rosé. The latter collab reached No. 5 on the Hot 100 and has spent 12 weeks atop the Billboard Global Excl. US chart. Meanwhile, Sexyy, one of hip-hop’s breakout stars, continues her winning streak with this high-profile collaboration. She’s experienced critical success with her two latest collabs, “Whatchu Know About Me” with GloRilla from her debut album Glorious and “Sticky” with Tyler, the Creator, GloRilla and Lil Wayne. “Whatchu Know About Me” hit No. 1 on Rhythmic Airplay (three weeks), R&B/Hip-Hop Airplay, Rap Airplay (five weeks) and TikTok Billboard Top 50, while “Sticky” earned Sexyy her first top 10 on the Hot 100 and spent two weeks atop Hot R&B/Hip-Hop Songs. In 2024, she tied Drake as the only artist with four No. 1 hits on Apple Music in the same year and racked up accolades, including “Best Breakthrough Hip-Hop Artist” at the BET Hip-Hop Awards. Listen to “Fat, Juicy and Wet” below. Source link

Travis Scott’s highly-anticipated “4×4” single is here. La Flame unleashed his latest track on Friday (Jan. 24) after a series of teasers on WWE’s Raw and a debut live performance atop Atlanta’s Mercedes-Benz Stadium. Explore Explore See latest videos, charts and news See latest videos, charts and news Scott is feeling philanthropic and he’ll be giving back to those devastated by the Los Angeles County wildfires with his new single. 100 percent of the proceeds from the CD bundle and LAFD merchandise collection sales will benefit Direct Relief’s California Wildfire Response Fund. Purchases can be made on the Houston native’s website. It’s possible that fans may have heard “4×4” in recent weeks as the track served as the official theme song for Raw while La Flame popped out for an appearance at Raw‘s Netflix debut in Los Angeles on Jan. 6. Scott also performed about 90 seconds of the Tay Keith-produced track atop a frigid Mercedes-Benz Stadium earlier this week, which served as the College Football Playoff National Championship’s halftime show on Monday (Jan. 20). While Trav was pulling for Notre Dame, the Fighting Irish’s comeback fell short as they ended up losing to Ohio State by the score of 34-23. The Buckeyes captured their first national championship since 2014. La Flame didn’t waste any time hopping on a flight across the pond to France for Paris Fashion Week where he’s been seen turning up at night clubs and hanging with fellow superstars like Pharrell. During a DJ set at a Paris club, he even previewed another new track for the lucky fans in attendance. For now, stream “4×4” below. Source link

Central Cee dropped his long-awaited debut album Can’t Rush Greatness on Friday (Jan. 24) via CC4L and Columbia Records. The 17-track LP features previously released singles “BAND4BAND” with Lil Baby, “Gen Z Luv” and “GBP,” featuring 21 Savage. “BAND4BAND” hit No. 1 on the U.K. Hip-Hop and R&B Singles chart and reached No. 3 on the U.K. Singles chart. In the U.S., the collab reached No. 2 on Rhythmic Airplay, No. 6 on Hot R&B/Hip-Hop Songs and No. 18 on the Billboard Hot 100. Can’t Rush Greatness includes more collabs with Young Miko (“Gata”), Dave (“CRG”), Lil Durk (“Truth in the Lies”) and Skepta (“Ten”). Cench and Dave’s track arrives two years after their joint four-track EP Split Decision, which featured the summer hit “Sprinter,” which became the longest running No. 1 rap song in the U.K. with its 10-week reign. “Sprinter” also reached the top 10 of the Billboard Global 200. The U.K. MC’s (real name Oakley Neil Caesar-Su) first full-length album also arrives three years since his last solo mixtape 23, which included the PinkPantheress-sampling hit “Obsessed With You,” which topped the U.K. Hip-Hop and R&B Singles chart (six weeks) and U.K. Independent Singles chart. “With the mixtapes, I was living in [the same] house I grew up in,” Cench said in his Dazed cover story last fall. “Now we’ve elevated, we’re actually musicians. There were times it was hard to say man’s a musician. I was just a guy that [went into the] studio [sometimes]. Now, I’m an artist.” Listen to Can’t Rush Greatness below. Source link

Brad Pitt had dreams of portraying Jeff Buckley on the silver screen, the late musician’s mother has revealed. Buckley, who passed away in 1997 at the age of 30, was the focus of many artistic endeavors in the wake of his death, though his story has not yet been made into a dramatized film. However, according to Buckley’s mother, Mary Guibert, Pitt had grand ideas for her son’s iconic tale. On Friday (Jan. 24), a new documentary called It’s Never Over, Jeff Buckley will premiere at Sundance. However, as Variety reports, its origins can be traced back to some plans that Pitt first floated in 2000. According to Guibert, Pitt initiated a friendship with her, ultimately requesting permission to turn Buckley’s story into a biopic. Though she was receptive to the notion at first, it soon left her feeling skeptical. Explore Explore See latest videos, charts and news See latest videos, charts and news “We’re going to dye your hair, put brown contact lenses on those baby blues, and you’re going to open your mouth and Jeff’s voice is going to come out?” Guibert says she asked Pitt. Despite the initial bump in the road, Pitt wasn’t the only film-minded individual to desire seeing Buckley’s story on the big screen. Director Amy Berg – who received an Oscar nomination for the 2006 documentary Deliver Us from Evil – later sought to move from nonfiction features to a narrative project, with Buckley as her first focus. Guibert, however, was reticent to “being in a someone’s-learning-on-the-job situation”. More ideas soon swelled, and when Berg was granted given access to Buckley’s archive, she decided instead to turn the late musician’s story into a documentary. With Pitt joining as executive producer and helping to digitize and preserve Buckley’s belongings, the final product now arrives on Jan. 24 as It’s Never Over, Jeff Buckley. “Once I started listening to his voicemail messages and his DAP player and demos and reading his journals, I just couldn’t imagine it being anything but a documentary,” explained Berg. “And I just didn’t know how you could kind of replicate Jeff in that scripted sense.” In 2021, however, Guibert was announced as the co-producer of Everybody Here Wants You, a planned biopic which would see Reeve Carney portraying Buckley. “This will be the only official dramatisation of Jeff’s story which I can promise his fans will be true to him and to his legacy,” Guibert said at the time. No updates have been provided since. Born to Guibert and late folk musician Tim Buckley, Jeff began his career as a session musician before gaining a following throughout venues in Manhattan’s East Village. After signing to Columbia in 1994, he released his debut album, Grace, which initially received mixed reviews and reached No. 149 on the Billboard 200. Retrospective evaluations have since seen the album considered one of the greatest records of the ’90s, and among the best of all time. Buckley would pass away in 1997, drowning in Memphis during a spontaneous swim. Though he never completed a second record, Guibert would later compile his demo recordings as 1998’s Sketches for My Sweetheart the Drunk, which would reach No. 64 on the Billboard 200, and receive a Grammy nomination for Best Male Rock Vocal Performance for the single “Everybody Here Wants You”. Source link

Rock band Tremonti notches its first top 10 on Billboard’s Top Album Sales chart as The End Will Show Us How debuts at No. 10 on the chart dated Jan. 25. The project also bows at No. 14 on Top Hard Rock Albums and No. 34 on Independent Albums. Fronted by Mark Tremonti, the band has logged six charting efforts on Top Album Sales, stretching back to 2012’s All I Was. Explore Explore See latest videos, charts and news See latest videos, charts and news Also in the top 10 of the latest Top Album Sales chart, Taylor Swift’s reissued Lover: Live From Paris reenters at No. 1, Heidi Montag’s 2010 album Superficial debuts at No. 4 following an outpouring of fan support following the loss of her home in the Pacific Palisades fire, and Ringo Starr logs his first top 10 on the Top Album Sales chart with the No. 7 arrival of his new country set Look Up. Billboard’s Top Album Sales chart ranks the top-selling albums of the week based only on traditional album sales. The chart’s history dates back to May 25, 1991, the first week Billboard began tabulating charts with electronically monitored piece count information from SoundScan, now Luminate. Pure album sales were the sole measurement utilized by the Billboard 200 albums chart through the list dated Dec. 6, 2014, after which that chart switched to a methodology that blends album sales with track equivalent album (TEA) units and streaming equivalent album (SEA) units. Tremonti’s The End Will Show Us How sold nearly 7,000 copies in its first week, landing the band its best sales week since 2018. The album was led by the radio single “Just Too Much,” which climbs 31-26 on the Mainstream Rock Airplay chart (dated Jan. 25), making it the highest-charting hit ever on the chart for the band. The group has logged seven entries on the radio tally in total. At No. 1 on Top Album Sales, Taylor Swift’s reissued Lover: Live From Paris reenters atop the list with 202,500 copies sold – largely from vinyl purchases. It’s the 15th No. 1 for Swift on the chart – the most in the chart’s 33-year history. The Wicked film soundtrack is a non-mover at No. 2 with 12,000 (down 23%) and Chappell Roan’s chart-topping The Rise and Fall of a Midwest Princess moves 5-3 with 11,000 (up 28%). Heidi Montag’s 2010 album Superficial surges onto the chart at No. 4 with 11,000 copies sold (up from a negligible sum the previous week). After Montag and husband Spencer Pratt lost their home in the Pacific Palisades wildfire in Los Angeles, the pair took to social media to encourage fans to purchase the album and stream its songs to help the family rebuild and generate income. The couple are best known for the appearances on reality TV programs, most famously on MTV’s The Hills. Stray Kids’ former leader HOP falls 3-5 with 10,000 sold (down 24%) and Sabrina Carpenter’s Short n’ Sweet slides 4-6 with 9,000 (down 5%). Ringo Starr lands his first top 10 on the Top Album Sales chart with the No. 7 debut of Look Up, selling 8,000 copies. It also grants The Beatles’ drummer with his second top 40-charting effort (and highest yet) on Top Country Albums. Rounding out the rest of the latest top 10 are Bad Bunny’s Debí Tirar Más Fotos, falling 6-8 in its second week with nearly 8,000 (down 3%) and Billie Eilish’s Hit Me Hard and Soft, slipping 7-9 with nearly 7,000 (down 5%). Source link

As documented from BTS‘ industry-shifting trilogy albums to the multidimensional universes created by the likes of ATEEZ and aespa, storytelling has become a crucial point to help power K-pop acts to top the charts and connect closely with their ever-growing global fanbases. With 20 years in the industry, Jaden Jeong remains so committed to his musical lores that he refuses to abandon them — even years after its original group has effectively dissolved. Explore Explore See latest videos, charts and news See latest videos, charts and news The founder and CEO of Korean-pop label and creative house Modhaus, Jeong’s work touched generations of K-pop fans with various involvement in superstar acts ranging from Lee Hyori and Wonder Girls to INFINITE, NCT, and OnlyOneOf, but most famously found his name associated alongside his work with girl group LOONA. Jeong acted as creative director for the 12-member outfit since its start in 2016, overseeing music and a larger narrative where the outfit introduced each girl through her own solo album. Despite drawing in fans like Grimes, Kim Petras and multiple queens from the RuPaul’s Drag Race franchise, he parted ways with LOONA’s label BlockBerry Creative in 2019 over a vague difference in creative direction. His exit not only marked a shift in LOONA’s sound (from forward-thinking synth and hyper-pop confections) but also abandoned the larger musical lore the 12 were developing (which included officially teased songs, a ballad project, international expansion, and more). But on Jan. 17, 2025, LOONA members HeeJin, HaSeul, Kim Lip, JinSoul, and Choerry — who recently reformed as ARTMS under Modhaus — dropped their “X1” teaser trailer featuring what fans thought sounded awfully similar to a sound previously teased from LOONA in 2019, the presumably lost track titled “BURN.” Speaking openly about the behind-the-scenes dealings from the past as well as his future creative directions for the first time with Billboard, Jeong says that he and ARTMS will continue LOONA’s legacy through future music releases and touring beginning with the upcoming digital release of ARTMS’ “BURN.” All 12 of LOONA’s members have successfully returned to the K-pop scene either as soloists (like members Chuu and Yves) or in a new group (as HyunJin, YeoJin, ViVi, Go Won and HyeJu did for two years as Loossemble), Jeong says he watches over all of their creative moves and is cognizant to be sensitive about the amount work that everyone has put into the group. While shooting new content for ARTMS’ upcoming music as well as a new album for Modhaus’ experimental 24-member girl group tripleS, Jeong says he’s under the weather but still speaks a fiery passion about his past, current and future work that speaks to detail-oriented-yet-grandiose creative vision. Why are you and ARTMS releasing “BURN” now when LOONA could not? How did you come to this decision? I am well aware that many fans were looking forward to “BURN,” and for me as well, as it was the very last project I worked on right before leaving BlockBerry Creative. So, when Modhaus signed ARTMS, we wanted to release this song, it was just that we knew the timing would be important. We didn’t release “BURN” as the first song because if we released “BURN” with the reveal of ARTMS, it could have made it look like LOONA Version 2 and weakened ARTMS’ identity. So, we wanted to start ARTMS’ own story and work to where the story can lead up to its release. Before we look forward to ARTMS, I’d like to reflect on how we got here. I remember learning your name for being closely associated with LOONA, but you left for somewhat vague reasons. The LOONA members left the label as well. Is there more you can share today? So, this overall situation is quite tricky to express with words…I feel like my departure, or the reason for it, can sound like a criticism against someone, some organization, or a situation; that’s why I’ve avoided answering. But after all this time, if I were to give a little more insight into this…as you know, the members have left after going through a legal proceeding. You can say my whole situation is similar to what the members went through. That gives some insight because you’ve explained your system with tripleS and the necessary amount of albums to sell for a unit to release more. It paints a picture of the financial realities facing K-pop acts. LOONA had 12 members, so I’ve heard theories wondering if it was difficult to financially justify the large-scale project you envisioned. Answering about the financial side might sound like I’m criticizing one party over another, so I will only answer from my own side of things…so, like any other team, you start off the group through investments. Then you go through steps where you’re able to recoup [the investments] and make a profit. In the case of LOONA, I actually marketed it as a very expensive project, a group that would require a lot of money to be invested. However, in actuality, there was very compact spending and budgeting. In mentioning that, you can say, for example, that three billion Korean won [about $2.1 million] is a lot of money, while some can say that is a tight budget — it can change according to perspective. But when I’ve worked on groups, it’s not as if I was only working as the producer, but I had to calculate budget and expenses. There were many members for LOONA and we marketed it as an expensive project despite the consolidated spending, so we believe there could have been some illusions or misconceptions. However, especially considering the 12 members, there was a good turnaround, even financially. So, what was “BURN” going to be with LOONA and what will it be ARTMS? For the sake of comparison, tripleS is a group where fans’ decisions and interactions are very involved in creating the journey and next project. However, we planned out LOONA from the start. We had

Bowling for Soup guitarist Chris Burney has announced his departure from the pop-punk band he co-founded more than 30 years ago. News of Burney’s departure was revealed on Bowling for Soup’s social media accounts on Wednesday (Jan. 22), with the group noting they would not be recruiting a replacement to fill Burney’s shoes, but instead continuing as a three-piece. “It is with a heavy heart we announce that Chris Burney has made the decision to retire from his stage-right post in the band he co-founded in 1994,” the group wrote in a statement shared on social media. “Some recent medical developments, 30 years of rocking balls and touring non-stop have made it difficult to continue. We are bummed to not have Chris by our sides, but absolutely support his decision. Explore Explore See latest videos, charts and news See latest videos, charts and news “The future of Bowling For Soup remains bright,” they added. “The three of us will carry on, with Chris’ blessing, and continue to build the legacy of this band we all love so much. We will not be replacing Chris or touring with a touring guitarist. You cannot replace a legend. We were brothers when we started this journey… and brothers we remain.” Bowling for Soup were founded in Wichita Falls, TX in 1994 by Burney, lead vocalist and guitarist Jaret Reddick, drummer Lance Morrill, and bassist Erik Chandler. Morrill would exit the group in 1994 (though would later return for occasional tours) and Chandler would later depart in 2018. The band began releasing records in 1994, but wouldn’t receive commercial recognition until 2002’s Drunk Enough to Dance, which featured “Girl All the Bad Guys Want” and gave the band their first appearance on the Billboard Hot 100, reaching No. 64. However, their largest success would arrive in 2004 when they released A Hangover You Don’t Deserve. The record peaked at No. 37 on the Billboard 200, bolstered by the popularity of “1985” – a cover of SR-71‘s original which had been released only two months earlier. The track would later peak at No. 23 on the Hot 10, and chart in the top ten of both the Adult Pop Airplay and Pop Airplay charts. Bowling for Soup last released an album by way of 2022’s Pop Drunk Snot Bread, and spent the latter half of 2024 touring in support of A Hangover You Don’t Deserve’s 20th anniversary. The group will bring that tour to the U.K. in February, albeit as a trio. Source link