That Voicemail In Halsey’s ‘3AM’ Isn’t Her Dad — It’s John Mayer

Halsey‘s brand new album Manic dropped today (January 17), and if you haven’t heard it yet, you’re going to have to trust us when we tell you to stream it ASAP. Following the LP’s midnight release, the “Without You” singer kindly hopped on Twitter not only to celebrate with fans, but to answer their burning questions about her most raw and vulnerable album yet.

“3AM,” a track that provides fans with major ’90s rock nostalgia, is one of the most buzzed-about songs on the LP, and it’s not hard to understand why. In addition to its catchy lyrics and melody, the song features killer drums and a voicemail that gives off total dad vibes. But alas, the voicemail isn’t from her dad at all. It’s from the one and only John Mayer.

Halsey confirmed Mayer’s feature herself on Twitter. “It’s @Johnmayer!” she wrote in response to a fan that asked if the recording was of her father. “Haha. He predicted the success of without me before I had faith in myself #manicthealbum.” Now that’s friendship goals.

In the voicemail, which plays in the final 20 seconds of the track, Mayer praised Halsey for what he called her “best song” yet. “Your best song is the song that’s currently on the radio,” he said. “How many people can say that? That their best song was the one that’s currently about to be a massive hit. It’s already a hit. It’s just gonna get more massive. How many people can say it? Not very many. Congratulations!”

Mayer’s feature wasn’t the only secret the pop star revealed about “3AM.” She also shared that the drums on the song were done by Red Hot Chili Peppers‘ Chad Smith.

Evidently, Halsey’s Manic album is more star-studded than we had ever imagined. Going in, we knew we were getting features from Dominic Fike, BTS’s Suga, and the legendary Alanis Morissette. But Smith and Mayer? What a pleasant surprise.

The Healing Power Of Mac Miller’s Circles: A Track-By-Track Guide

Circles, Mac Miller‘s sixth studio album and first posthumous release, is the other necessary half to 2018’s Swimming. Conceptually, Miller viewed both together as Swimming in Circles, as his family revealed recently, and he was well into recording it when he died in September 2018. As such, he left the world with Swimming as his final graceful exploration of the slow, almost painful process of healing.

Circles, out today (January 17), carries that pain and looks from the water to the cloudy skies. There’s something to smile about, and though it might not be here yet, it’s just over the horizon. Rap takes a backseat here to more melodic explorations; through producer Jon Brion‘s diligent work, these dozen tracks find Miller mumbling, singing, chanting, and whispering to himself like there’s no audience, as if he’s singing into the mirror for the ultimate pep talk. As he sifts through his psyche to process a past relationship, he delivers some of his most intense, emotional, and gripping lyrics, often stripping back metaphors, similes, and punchlines to bring puffy-eyed catharsis.

Circles finds Miller taking responsibility for past choices and hints at having a better state of mind. This new sense of peace is best illustrated on “Surf,” where he declares, “I’m starting to see that all I have to do is get up and go,” a strong statement that lets you know that, in the end, all the mind needs is time.

Listen to Circles, and below, find a track-by-track guide that highlights how each song shows the album’s hard-fought trek from a dangerous sea to the safety of the shore.

  1. “Circles”

    Key lyrics: “Well this is what it looks like right before you fall / Stumbling around, you been guessing your direction, except you can’t see at all”

    How it resonates: The title track sets the mood and tone, continuing the drowning feeling from Swimming. Slow and lumbering, Mac tries to figure out where to go when he’s kicking his feet in the water in the middle of nowhere. This line begins the album in the now; Miller keeps returning to the startling line.

  2. “Complicated”

    Key lyrics: “Before I start to think about the future / First can I please get through today?”

    How it resonates: The stinging synths of singe your inner ears as Miller, cozying up to an easy-grooving set of drums, questions why things just can’t be simple for a moment: “Does it always gotta / Gotta be so complicated?”

  3. “Blue World”

    Key lyrics: “Reality is so hard to find / When the Devil’s trying to call your line / Shit, I always shine”

    How it resonates: Miller’s funkiest and eeriest Circles tune sounds like Dr. Manhattan and eight clones yelling into an echoing cave. With a slightly uptempo, yet endlessly energetic backdrop built around ethereal voices, Miller wags his finger at temptation and shouts out his resilience. It’s a high spot that brings some positivity.

  4. “Good News”

    Key lyrics: “I spent the whole day in my head / Do a little spring cleaning”

    How it resonates: This one sounds like Miller’s whispering with a hat over his face on a beach. He’s referenced being inside of his head before on Swimming‘s “Come Back to Earth, with “I just need a way out of my head / I’ll do anything for a way out.” This time, he’s content with staying, so he’s going to clean up while he’s there.

  5. “I Can See”

    Key lyrics: “I need somebody to save me before I drive myself crazy”

    How it resonates: “I Can See” is a vast, cosmic, mirage-like song about rising, falling, and figuring out what’s real and fake. Miller contemplates calling for help as he comes to the realization that life is really “just a dream.”

  6. “Everybody”

    Key lyrics: “Sometimes the going gets so good / But then again, it gets pretty rough”

    How it resonates: Smooth and easygoing, this cover of Arthur Lee’s 1972 soulful “Everybody’s Gotta Live” soundtracks Miller’s honest look at the facts of life (and finds him playing bass). The instrumental — grounded in snares and open-ended ride cymbals — builds with piano keys and a double-layering of his voice as he cycles over the fact that we all rise, fall, and look to have a good time.

  7. “Woods”

    Key lyrics: “Heartbreak will you leave you bankrupt / Too many days in a day, better wake up”

    How it resonates: The glowing keyboards synthesize a magical nighttime forest where Miller holds a butterfly and raps about a previous romantic relationship. He spent a lot of time putting it together and realizes that despite the effort, it takes even more energy to put it back together. You can lose all your money trying to fix a broken heart.

  8. “Hand Me Downs”

    Key lyrics: “Well just being honest, my conscious ain’t doing bad / Because I tried to minus the problems that I attract”

    How it resonates: Featuring Australian rapper Baro, “Hand Me Downs” is Miller’s most open look at coping. He explains that he’s been doing better since he’s realized the grander scope of his life. It’s more open and bare on the instrumental end, enabling Miller to lead with a pensive and thoughtful note to someone special, thanking them for their love.

  9. “That’s on Me”

    Key lyrics: “And I don’t know where I have been lately but I been alright / I said good morning this morning and I’ll say goodnight”

    How it resonates: The beautiful pianos and synths play up the melancholy nature of Miller’s message that a relationship is over, and it’s OK. He takes full responsibility on the chorus (“That’s on me, that’s on me, I know”) and later promises to cut the strings. And speaking of strings, Miller plays guitar on this track.

  10. “Hands”

    Key lyrics: “There’s no reason to be so down / I’d rather fly around like it’s no ground”

    How it resonates: With his chin to the sky, Miller is realizing that he’s going to be just fine. He wants to make sure that listeners know that they, too, can overcome what they’re going through. When he asks, “Why don’t you wake up from your bad dreams?,” it’s like a call to action.

  11. “Surf”

    Key lyrics: “Sometimes I get lonely, not when I’m alone / But it’s more when I’m standing in crowds that I feel lost on my own”

    How it resonates: “Surf” is the product of a wounded man and a guitar that eventually evolves into a diary entry with just a few backing drums. Miller wanders on, through a startling synth, singing about simply not knowing. “Before it’s all over, I promise we’ll figure it out,” he coos.

  12. “Once a Day”

    Key lyrics: “Don’t keep it all in your head / The only place that you know nobody ever can see”

    How it resonates: Miller’s soft closing song — one of three songs he has sole writing credit on (along with “Circles” and “That’s on Me”) is a powerful exit. He lets the listener know, over a smooth, echoing flurry of notes, not to make the same mistake that he has: not to stay inside your head, because you’ll get lost in the mess. Mac might’ve envisioned himself swimming in circles, but “Once a Day” offers a compelling and heartfelt ending — a final grace note of optimism.

6lack, Vince Staples, And More Highlight Massive Deluxe Revenge Of The Dreamers III

On January 16, 2019, the recording sessions for Revenge Of The Dreamers III wrapped in Atlanta. The J. Cole-led Dreamville Records invited hundreds of artists and producers to help craft the compilation LP that would go on to be dropped on July 5 of that year. Last night (January 16), Dreamville Records released the deluxe edition, Revenge of the Dreamers III: Director’s Cut. It adds twelve more tracks to bring the total to a whopping 30.

Revenge of the Dreamers III: Director’s Cut is all of Dreamville’s show – plus a few guests. It features new contributions from nearly everyone involved, save for Cole himself. Ari Lennox takes the listener through a sexy night in “Bussit” and 6LACK joins Dreamville rappers J.I.D and Lute to spit his own tongue-twisting verse. Elsewhere, Vince Staples, Smino, Buddy, and more pop up and bring their eclectic styles to an already wide-ranging project next to other Dreamville rappers like Bas and Cozz.

Revenge of the Dreamers III debuted at the top of the Billboard 200 in its first week and has since gone gold. “Middle Child,” its lead single by J. Cole, became J. Cole’s highest charting tune by climbing to No. 4 on the Billboard Hot 100. The LP is nominated for Best Rap Album at the 62nd Grammy Awards that will take place on January 26.

Stream Revenge of the Dreamers III: Director’s Cut up above. 

BTS Get Brutally Honest About Their Fears On Haunting New Single ‘Black Swan’

When talking about art — a song, a drawing, a choreography, a film — we are often so consumed by meaning. What does this mean? What is the artist trying to say? Why is this important? But art, as we know, is subjective. You can’t decipher a singular meaning from a piece of work any better than you can read the cavernous thoughts inside your own head. But you do know how something makes you feel. And when that feeling leaves, only emptiness remains. Art that doesn’t make you feel at all is an artist’s greatest sin.

Korean superstars BTS confront this head-on with “Black Swan,” the pensive first single from their upcoming studio album Map Of The Soul: 7In the seven years since their debut, the group’s relationship with their music has changed. And just as they’ve matured — from seven youths hellbent on disrupting the system into seven young men who know the value of self-love but still struggle to practice it — so has their music. Co-written by leader RM, “Black Swan” is BTS at their most raw and unflinching; narratively, it’s their darkest single since 2018’s “Fake Love,” but whereas that was an explosion of anger, “Black Swan” is something deeper and more painful: the loss of feeling. They’re now terrified that the thing that once made them feel everything — their music — will make them feel nothing.

“I been always afraid of if this can no longer resonate,” RM raps over a rolling trap beat, translated to English. “No longer make my heart vibrate / Then like this may be how I die my first death.” (It’s important to note that the accompanying video, an “art film” featuring a haunting performance from Slovenian troupe MN Dance Company and stripped-down vocals, begins with the quote from dancer Martha Graham: “A dancer dies twice — once when they stop dancing, and this first death is the more painful.”)

But dancer and vocalist Jimin’s verse is the most emotionally potent: “No song affects me anymore / Crying a silent cry.” It’s a moment of catharsis — the realization that you’re burnt out by the thing you love the most.

Still, where there is despair there is also hope. And while BTS come face-to-face with their deepest fear, they don’t let it completely paralyze them. “Slowly, I open my eyes I’m in my workroom, it’s my studio,” Suga raps. “The waves go darkly by in a throe / But I’ll never get dragged away again.” Jin then cries out, “Nothing can devour me / I shout out with ferocity.”

It’s a twisted dance, the one an artist inflicts on themself. But through these moments of doubt and exhaustion, BTS — and every artist — come to a realization: that art doesn’t make you feel, it is the feeling. Creation is the purest form of self-expression and self-preservation. And you can’t lose something you’ve had all along.

Map Of The Soul: 7 drops February 21. In the lead-up to the new release, BTS has launched “Connect, BTS,” a global public art project that celebrates the work of 22 artists across five cities: London, Berlin, Buenos Aires, Seoul, and New York. A statement on the website reads, “‘Connect, BTS’ reaches for a collective experience that might be only the beginning of new communication between art, music and people.” No doubt that “Black Swan” is also part of that intimate conversation.

For Rapper Mick Jenkins, Real Life Is The Circus

Mick Jenkins’ 1967 Ford Mustang doesn’t radiate colors off of its normally glossy exterior. It’s a deep, dark silver, and he compares it to matte black, into which other hues disappear like quicksand. He bought it on Craigslist for $5,000. The 28-year-old Chicago rapper, whose music submerges itself in the political and social subconscious, estimates that he’s put $22,000 into pimping his ride. Now, he cackles as he relives the reactions he gets when he arrives at events. “When I pull up, I don’t give a fuck what’s out there,” he tells MTV News over the phone. “It gets the same love as a Maserati. People go crazy because you don’t see shit like that.”

You’d think by this adoration that Jenkins’s music would center around his accomplishments, but that’s not quite the story. Since his 2012 debut project, The Mickstape, Jenkins’s raps have explored his viewpoint of society through an evolving mind and through the lens of his Christian faith. He can expound upon the importance of drinking water and then flip it into washing away your sins with it, with God’s help.

For Jenkins’s latest project, The Circus, though, his car is at the center of its grand spectacle.  While his previous project, Pieces of a Man, went inwards to squint at his id, The Circus casts himself aside (or rather, puts him inside his ride for a nighttime visit to a park) and instead focuses on the world at large, in all its frequent ugliness. “It’s about society,” he says. “We’re all performing for peanuts and being asked to do amazing things for people. We’re being robbed of certain humanities and our uniqueness is being exploited.”

The LP’s seven songs come together to paint a picture of society that Jenkins is complicit in: one that shows how we’re all acting out for the audience of smartphone cameras that record and chronicle our every move. The Circus treks through the feelings and experiences of processing that kind of surveillance. On opener “Same Ol,” Jenkins laughs at how nothing ever changes. “Game don’t switch, you know this, shit don’t stop,” he raps on the chorus, following it a line as certain as death and taxes. “Money gonna come, money gonna go, somebody catching it if it drops.”

“Carefree,” meanwhile, is a foreboding story about a police confrontation that finds Jenkins performing for an audience at the beach, “off the drugs” and “off the drinks” as he spits. The first verse sets a breezy mood underneath the stars. “Shawty never smoked kush like this, some fire-ass music playing, grinding on me / You know I had to push right back, reflex, respect,” he raps, recalling the good times.

After the chorus, Jenkins’s heart jumps into his throat when the police come to ruin the group’s fun. “Can’t even look me in my face,” he spits, disgusted at the officer. “So quick to shoot, no Devin Booker.” The song ends with Jenkins getting a ticket for his windows being too dark, which he based entirely in reality. “We really got rolled up on at the beach, crazy as hell, at 11:15 because the park closed at 11,” he says. This fear, this kind of confrontation, this spectacle put on display — they all dig into the layers of performances that we play.

On The Circus, Jenkins doesn’t have to play alone. The project’s lone feature comes courtesy of Earthgang, the eclectic rap duo signed to Dreamville Records that Jenkins has become close with. “They are so fire, and I’ve been working with them for a while,” he says about their collaboration, “The Light.” It’s the sole soul spot on the EP, which Jenkins says is part of “a ton of soulful stuff that I’ve been working on; it’s just not on here.” Earthgang’s presence is personal for him. “They showed me a lot of love before they knew who I really was,” he says. “We made a couple of records back then. I’m super excited to continue working with them.”

Wedged firmly in the center of the EP is “Flaunt,” on which Jenkins’s normally socially conscious music turns toward shit-talking. It’s him acting for the audience, chuckling as he shows off the fruits of his labor. Though he may sound like he doesn’t want to do it, Jenkins is flexing. “I love to humblebrag,” he says about the song. “I’ve got a couple of things that cost a couple of bucks.” In addition to his Mustang, his favorite material possessions he’s purchased in the last few years are his new Mamiya RB67 SLR camera and original artwork that he’s bought from artists that he’s “connected to.”

It doesn’t matter what he buys, though; he’s still in the center of The Circus, a project about the ways we put on for each other, told through songs involving putting on for listeners, for friends, and for Jenkins himself. There’s a lot to unpack, as its orange and maroon cover art reveals; on it, a cartoon version of Jenkins juggles on top of an elephant inside a ring of fire. For those who want the rest of the story — Jenkins calls The Circus “a direct prequel” to his next album — they’ll have to parse the artwork for details. “Whatever you need to know, it’s alluded to on the cover.” Before he can elaborate, he ends the call with a bow, signaling the end of the show. For now.

Bop Shop: Songs From Halsey, Grimes, Ari Lennox, And More

Mickey Mouse grabbed a microphone and hopped in the booth after sucking the helium out of a balloon. Theodore from Alvin and the Chipmunks had a midlife crisis and released his first rap song. That “eeh, ur!” sound from Roddy Ricch‘s hit song, “The Box,” figured out that it’s more than a fire ad-lib and wanted to pursue its own rap career. The seemingly endless jokes about Atlanta rapper 645AR’s voice have catapulted him to near-viral fame. His squeaky voice is unlike anything else.

His new song, “4 Da Trap,” is hilariously on-brand. Over a melancholy meltdown of 808s, 645AR reflects on days of scraping cents to get something to eat to now “having racks” whenever he wants. At least that’s what the lyrics claim. It’s nearly impossible to make out exactly what he’s saying, but it’s just as hard to not be absorbed by it. It might be leading some big conversations in rap right now, but “4 Da Trap” might be the tiniest song you’ll ever hear. —Trey Alston

Halsey Gets Shockingly Candid On Her New Album Manic: Listen

Halsey’s new album Manic is here, and no one is more relieved than the star herself. “The most torturing and beautiful wait of my life has come to an end,” she tweeted upon the project’s release on Friday (January 17).

The wait, thankfully, was worth it. Manic capitalizes on Halsey’s chameleonic approach to pop music, while delving deep into her relationships, her experience with bipolar disorder, and her constant toggle between confidence and self-doubt. Unlike her sophomore record, 2017’s Hopeless Fountain Kingdom, which was set in a Shakespearean dystopia, Manic functions as the inside of Halsey’s (oftentimes messy) mind. And what it a reveal it is.

Fans had already heard about half of Manic before its arrival — there were the previously released songs “Graveyard,” “Without Me,” “Clementine,” “You Should Be Sad,” “Finally // Beautiful Stranger,” and “Suga’s Interlude.” But the brand new tracks are where Halsey really bares her soul. She confesses that she’s “got no self-esteem” on “Still Learning,” fantasizes about revenge on “Killing Boys,” and cries out on the all-caps “I HATE EVERYBODY” — a lyric that she finishes with the thought, “Then why can’t I go home without somebody?”

But it’s closing track “929,” named after Halsey’s birthday, that may be the most shockingly candid of all. Over twinkling chords, she details the anxiety, isolation, heartbreak, nicotine withdrawal, and hair loss that come along with being one of the most famous pop stars on Earth. “I remember the names of every single kid I’ve met / But I forget half the people who I’ve gotten in bed,” she sings, later admitting that she’s “still looking for salvation.”

Manic also reunites Halsey with BTS member Suga, and features additional collaborations with Dominic Fike and Alanis Morissette. On “Alanis’ Interlude,” the two women twist John Mayer’s “Your Body Is a Wonderland” into something more playful and explicit: “Your pussy is a wonderland.”

Stream Manic in its entirety below.

Against All Odds, Louis Tomlinson Stands Tall On His Emotional New Song ‘Walls’

Louis Tomlinson is still somewhat of an enigma. He is, after all, the only former One Direction member who has yet to put out his own album. But that’s about to change — we’re just two weeks away from the release of Tomlinson’s debut LP, Walls, and on Friday (January 17), he gave us a taste of what’s to come by releasing the emotional title track.

On “Walls,” Tomlinson acknowledges the struggles he’s faced with introspective, heartbreaking observations, like, “Nothing wakes you up like waking up alone” and “Nothing makes you hurt like hurting who you love.” But just when you think it’s all doom and gloom for Tommo, he cracks the sadness open and lets a little light in by revealing that the hard times have made him a stronger man.

“These high walls, they came up short / Now I stand taller than them all,” he belts on the uplifting chorus. “These high walls, never broke my soul / And I, I watch them all come falling down for you.” Upping the emotional ante is the addition of a live orchestra, which only takes this ballad to beautiful heights.

Walls arrives on January 31 and includes the previously released singles “Kill My Mind,” “Don’t Let It Break Your Heart,” and “We Made It.” Each of those tracks has shown us a fresh side of the solo star, and his new album should help break down those, uh, walls even more. Until then, check out Tomlinson’s latest track above.

All Three Jonas Brothers End Up In Their Underwear In ‘What A Man Gotta Do’ Video

Ariana Grande may have struck gold by recreating beloved rom-coms in her “thank u, next” video, but now Jonas Brothers have come along to whip up their own nostalgic, cinematic concoction. After days of relentless teases, the bros dropped their new single, “What A Man Gotta Go,” alongside a video in which they recreate three iconic ’80s films. And because their real-life wives indisputably stole the show in the “Sucker” vid, the J-sisters are along for the ride as well.

The fun-loving clip stars Nick Jonas and Priyanka Chopra Jonas doing their best dancing-half-naked-in-the-living-room recreation from Risky Business. Then there’s Joe Jonas and Sophie Turner, who channel Danny and Sandy at the school dance from Grease — with Sophie taking on a surprising bonus role. To round it out, Kevin Jonas pulls off that iconic Say Anything scene, holding a boombox outside his wife Danielle’s bedroom window. All the while, the brothers groove along to their upbeat, love-crazy new track, singing, “What a man gotta do / To be totally locked up by you?”

Make sure you stick around for the bloopers, because — spoiler alert! — all three JoBros end up in their underwear by the end.

“What A Man Gotta Do” marks Jonas Brothers’ first release of the new decade, following a whirlwind 2019. Last year, the trio released their comeback album Happiness Begins, embarked on a huge tour, notched their first No. 1 single, won their first award at the VMAs, and capped off their year with a festive Christmas bop. It’s good to see them carry that wild momentum into 2020 — in nothing but their underwear, no less!

Check out Jonas Brothers’ new video above, and see it playing all day long on MTV Live and mtvU.

The 1975 Give Fans Two Reasons To Smile And One Reason To Frown

Who’s better than the 1975? Although their forthcoming album, Notes On A Conditional Form, has been pushed back a couple of months, the Matt Healy-led band delivered double the good news to make up for the bad announcement: not only did they released a new tune, “Me & You Together Song,” they’ve also announced a new tour. What a way to build anticipation, am I right?

So, let’s start with the bad news. Notes On A Conditional Form was supposed to come out on February 21. That date is now out of the window. The new date for the LP’s release is April 24.

Now, let’s get to the good stuff. The 1975 have also revealed North American tour dates. They head out on April 27 and perform their first show in Houston, TX. The Spring trek wraps right up before summer on June 12 in Manchester, TN. Supporting them on the tour are indie-rock musician Phoebe Bridgers and singer Beabadoobee.

Are you overwhelmed with giddiness yet? Just wait until you hear their new tune, “Me & You Together Song.” The cheery tune finds Healy trying to slide out of the friend zone into a prospective lover’s arms. Drums doing jumping jacks make the mood a festive, celebratory one. If this were the mid-2000s, Adam Sandler would be chasing a lover’s taxi to tell the woman inside that he loves her with this playing in the background.

Okay, we’re finally done with all of the news. The wait for Notes On A Conditional Form just got a bit longer but, with all of the news that’s come with this pushed back date, the world can manage. The 1975’s forthcoming LP will also feature “Frail State of Mind,” “People,” and their self-titled song that features climate change activist Greta Thunberg.

Check out the 1975’s upcoming tour dates below.

04/27 – Houston, TX @ The Cynthia Woods Mitchell Pavilion

04/29 – Austin, TX @ Germania Insurance Amphitheater

05/02 – Dallas, TX @ Dos Equis Pavilion

05/03 – El Paso, TX @ Don Haskins Center

05/05 – Phoenix, AZ @ Gila River Arena

05/07 – Los Angeles, CA @ The Forum ^

05/08 – Irvine, CA @ FivePoint Amphitheatre ^

05/11 – Morrison, CO @ Red Rocks Amphitheatre

05/13 – Omaha, NE @ Baxter Arena

05/14 – St. Louis, MO @ Enterprise Center

05/16 – St. Paul, MN @ Xcel Energy Center

05/18 – Milwaukee, WI @ Fiserv Forum

05/19 – Columbus, OH @ Schottenstein Center

05/21 –  Toronto, ON @ Budweiser Stage

05/23 – Washington, DC @ The Anthem

05/26 – New York, NY @ Madison Square Garden

05/29 – Hanover, MD @ The Hall at Live! Casino and Hotel

06/02 – Pittsburgh, PA @ Petersen Events Center

06/03 – Cleveland, OH @ Rocket Mortgage FieldHouse

06/05 – Virginia Beach, VA @ Veterans United Home Loans Amphitheater

06/06 – Charlotte, NC @ Spectrum Center

06/08 – Jacksonville, FL @ Daily’s Place

06/09 – Miami, FL @ Bayfront Park Amphitheater

06/11 – Atlanta, GA @ Infinite Energy Center #

06/12 – Manchester, TN @ Bonnaroo Music & Arts Festival # ^

# – without Phoebe Bridgers

^ – without Beabadoobee