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Telemundo and HYBE Latin America are set to debut Pase a la Fama, a music competition series focused on discovering the next great Regional Mexican band. Launching on June 8, the show will feature contestants vying for a $100,000 prize and a record deal with HYBE Latin America. Explore See latest videos, charts and news […]
Step by step, New Kids on the Block are taking their fans 35 years backward in time. On Thursday (April 24), the boy band announced that an anniversary reissue of Billboard 200-topping 1990 album Step By Step is arriving this summer, celebrating 35 years since the quintet’s fourth studio LP. Featuring bonus material, unreleased tracks […]
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Rhymefest dropped a wild story on the It’s Just My Opinion podcast recently, claiming that Eminem called him the n-word during a rap battle back in 1998.
According to Rhymefest, the two clashed at Scribble Jam in Cincinnati, one of the biggest underground rap battles in the country at the time, where legends from all over came to prove themselves. According to Rhymefest, the two clashed at Scribble Jam in Cincinnati, one of the biggest underground rap battles in the country at the time, where legends from all over came to prove themselves.
The Chicago rapper said, “I battled Eminem in ’98 at this competition called Scribble Jam in Cincinnati,” Rhymefest said. “It was the biggest battle in the Midwest, and a lot of famous rappers, DJs, and breakdancers came outta there.”But the real shocker came when Rhymefest recalled one of Em’s bars during their battle. “That was the first time a white dude ever called me a n-gga,” he said. “He spit, ‘I’ll let my razor split you, ’til they have to staple stitch you, this n-gga took my facial tissue, turned it to a racial issue.’”
The real shocker came when Rhymefest recalled one of Em’s bars during their battle. “That was the first time a white dude ever called me a n-gga,” he said. “He spit, ‘I’ll let my razor split you, ’til they have to staple stitch you, this n-gga took my facial tissue, turned it to a racial issue.’” Instead of getting mad, Rhymefest said he was actually impressed. “You couldn’t even be mad,” he laughed, acknowledging how hard the line hit. “I realized something about racism that day, it’s why Family Guy works.”
Em hasn’t said anything about the claim yet, but if this is true, it’s another complex layer in his already controversial career.
The PRO business is booming! But could it become a victim of its own success?
For the 75 years after the 1939 founding of BMI, the U.S. had three organizations that collected public performance royalties for songs on behalf of composers and publishers: ASCAP, SESAC and BMI. And for much of that time — from the 1950s, when ASCAP and BMI expanded into all genres, to 1993, when a group of investors purchased SESAC — the competition might best be described as gentlemanly. ASCAP and BMI became the Coke and Pepsi of PROs, licensing similar rights, for different songs, to similar bars, restaurants, concert venues and television and radio stations. The privately owned SESAC was less aggressive than it is now.
Some licensees want to set the clock back to that simpler time. They may have inspired members of Congress to ask the Copyright Office to look into the subject, which resulted in a Notice of Inquiry and then a flood of comments. (Billboard has a guide here.) To understand why, and what this means, it helps to realize how much U.S. performance rights licensing has changed in the last decade.
In 2013, Irving Azoff, ever the disruptor, founded GMR, which like SESAC — owned by the investment group Blackstone since 2017 — signs big songwriters with big advances. Unlike ASCAP and BMI, which are more constrained by antitrust consent decrees and allow all songwriters to join, GMR and SESAC are free to cherry-pick from the most popular. (All four have big writers; GMR and SESAC just don’t have small ones.) With fewer writers, they are thought to bring in more money per performance of a song. They are also thought to be wildly profitable: A recent deal for a stake in GMR valued the company at $3.3 billion. Any business that good attracts competition, and two new PROs have emerged over the last five years: AllTrack, founded by former SESAC board member Hayden Bower; and the Florida-based PRO Music Rights.
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Things got complicated. Venues that had once received three bills for their use of music were suddenly getting five or six. Most knew they needed rights from what we might call the big four — and let’s pause for a moment to consider just how weird it is that the U.S. now has more established PROs than major labels — but some weren’t sure if they needed the rights controlled by AllTrack and PRO Music Rights. Costs went up — with the possibility of future increases — and let’s not kid ourselves that this is the real issue here.
Both the Notice of Inquiry and the responses to it are fascinating because, as several executives pointed out to me, this isn’t an issue that the Copyright Office — or even government regulation in general — seems especially well-suited to solve. The Copyright Office administers and consults on intellectual property law, and licensees presumably see the NOI as an opening move in a push for legislation that could constrain PROs — or even empower a government body to set royalty rates, as one does for mechanical rights. That would be a disaster for publishers and songwriters, which get their only negotiating power from performing rights. And licensees have much more lobbying power than the music business, simply because every Congressional district has bars and restaurants, while the music business is relatively concentrated in a few cities.
What, exactly, is the problem here? Look at the NOI, which sets out two very different issues: “The number of PROs in the United States has expanded in recent years, potentially undermining licensing efficiencies” and “PROs do not all disclose comprehensive information concerning the works that are covered by their licenses, and their royalty distribution practices and policies.” The only thing these issues have in common is that neither of them is really a matter for copyright law.
The idea that there are too many PROs is odd because for years the issue was that ASCAP and BMI had too much market power — hence the antitrust consent decrees. In legal terms, this is known as trying to have it both ways. Competition is a good thing, as long as it’s fair. If it’s not, that’s a matter for competition law — which traditionally champions competition! — not copyright.
One of the real issues behind the NOI is that it can be hard to tell which PRO controls what rights. This can be complicated, though, and the issues often have less to do with concealing information than with presenting it in an accessible way. AllTrack, which is focused on the independent market, allows potential licensees to search a database of songs to which it controls rights, but that requires looking up specific compositions. The site displays far more prominently some of the artists who play songs to which AllTrack owns at least some rights, including Billy Ray Cyrus, Elle King and No Doubt. In smaller type, underneath, it says that “The artists above are examples, but not an all inclusive list, of performers of AllTrack music” — and in most, but not all, cases it doesn’t control rights to all these artists’ songs, let alone their rights as songwriters. Billboard readers understand this, but it might drive the average bar owner to drink.
PRO Music Rights is even more controversial. It seems to focus on serving smaller songwriters in the so-called long tail, and it says it controls rights to more than 2 million works, including songs performed by A$AP Rocky, Wiz Khalifa and others. It is unclear how popular many of those songs are, though, and both the ASCAP and BMI responses to the NOI challenge its business practices more directly than those of AllTrack. In its filing, ASCAP says that in 2018 it discovered millions of songs registered by PRO Music Rights “that were apparently either computer-generated sounds or merely random titles” and BMI’s response points out that Spotify in a court filing accused PRO Music Rights founder Jake Noch of flooding its platform with AI music, although the case in question subsequently settled. (PRO Music Rights filed its own response to the NOI that accuses the established PROs of engaging in “anti-competitive practices.”)
The other side of transparency is that it’s not always clear how some PROs distribute some of the money they collect. But it seems hard to believe that licensees really worry about this — most just want to pay less — and that issue is really between PROs and creators and publishers. (Alas, Billboard advertisers seldom ask about the compensation of the publication’s witty and dashing “Follow the Money” columnist.) The best way to address this — maybe the only way to address it in a lasting way — could be a competitive market. Big songwriters who think that the big PROs don’t serve them well can sign with SESAC or GMR, although not all of them do. Why shouldn’t smaller ones have more options as well?
Like every other issue in the music business, this is ultimately about money — rightsholders want to charge more and licensees want to pay less. That’s business. And it seems best to keep it as business, without getting the government involved.
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After a delay, primarily due to Donald Trump’s blatant abuse of tariffs, Nintendo was forced to postpone pre-orders for the Nintendo Switch 2 for fans in the US. After some waiting, the day has arrived for gamers stateside to secure Nintendo’s new console, and as expected, things did not go smoothly.
Although people have been complaining about the Switch 2’s price, demand is still strong. Gamers had a frustrating time trying to secure a Nintendo Switch 2 due to several sites offering pre-orders crashing under the high volume of traffic.
Best Buy, Target, and Walmart all experienced issues with their websites on Thursday morning once pre-orders for the Switch 2 went live, according to Downdetector.
For about 45 minutes, starting around midnight, following the announcement that pre-orders for the Switch 2 went live, more than 2,000 customers reported experiencing issues while trying to connect to Target’s website.
Best Buy wasn’t any better. Even though they required customers to have an account on the website, a tactic to combat scalping, customers began encountering issues around 9 PM on Wednesday, which persisted until 2 AM on Thursday.
GameStop, remember them? Kicked off their Nintendo Switch 2 pre-orders on Thursday at 11 AM; spoiler alert, it was also a hot mess.
Still, some were able to secure their Nintendo Switch 2 consoles, even though it required some searching. To those people, congratulations on your major accomplishment.
The Buzz & Discourse Around The Nintendo Switch 2
The Nintendo Switch 2 is set to launch on June 5, a date Nintendo says will hold firm. Since its announcement, there has been considerable excitement, as well as considerable discourse, particularly regarding the costs of its games.
Mario Kart World, one of the console’s launch titles, will cost $80, and that is not sitting well with some gamers.
Many were worried that Nintendo would raise the price of the console in response to Trump’s tariffs, but the company has recently announced that the console’s price will remain unchanged. However, they did raise the price on accessories.
Welp.
You can see more reactions to the Switch 2 pre-order situation in the gallery below.
1. Felt this
3. Gotta kill time somehow
8. Nature is healing
Save this storySaveSave this storySaveAfter months and months of celebration, Saturday Night Live’s 50th season is finally coming to an end. The season will wrap up on May 17, with an episode featuring host Scarlett Johansson and musical guest Bad Bunny. The Puerto Rican rapper, singer, and songwriter will be making his third appearance as a musical guest.Before Johansson and Bad Bunny are on Saturday Night Live, the show will welcome host Quinta Brunson and musical guest Benson Boone (on May 3) and host Walton Goggins and musical guests Arcade Fire (on May 10). Boone will be making his SNL debut, while Arcade Fire are returning for a sixth time. They most recently were on the show in 2022.Season 50 of Saturday Night Live began in September, with host Jean Smart and musical guest Jelly Roll. Since then, the NBC program has welcomed Billie Eilish, Chappell Roan, Charli XCX, Timothée Chalamet, Lady Gaga, and others. There have also been the specials SNL50: The Homecoming Concert and SNL50: The Anniversary Special.Bad Bunny began 2025 with the new album Debí Tirar Más Fotos. This summer, he’ll play a concert residency in Puerto Rico.The 20 Best Albums of 2025 So Far
In the new trailer for the third and final season of The Summer I Turned Pretty, Belly and Jeremiah live happily ever after — or do they? Luckily, Taylor Swift has songs for either outcome.
Released Thursday (April 24), the minute-long teaser features two of the pop superstar’s most beloved tracks, starting with Lover album closer “Daylight.” The ethereal ballad plays over an ooey-gooey montage of Lola Tung and Gavin Casalegno’s characters picking up where they left off in season two — as a couple, despite Belly previously dating Jeremiah’s brother, Conrad, who is nowhere to be found for almost all of the trailer.
As the two frolic through their college campus, make out in the library and slow dance at a party, Swift’s voice sings, “I don’t wanna look at anything else now that I saw you/ I don’t wanna think of anything else now that I thought of you/ I’ve been sleeping so long in a 20-year dark night/ And now I see daylight.”
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At the very end, however, #Jelly’s romantic fantasy is interrupted by a certain intruder: Christopher Briney’s Conrad, who shows up at the brothers’ beach house and delivers the only spoken line in the entire trailer.
“Hey,” he says as a shocked Belly opens the front door on him, while “Daylight” abruptly switches to a line from a very different Swift track. “Loving him was red,” interjects the 14-time Grammy winner’s voice on 2012’s Red title track.
The new trailer is far from the first time The Summer I Turned Pretty — which is based on the Jenny Hahn book series of the same name — has featured Swift’s music. In fact, the singer-songwriter has been one of the biggest musical contributors to the show since it premiered in 2022, with “The Way I Loved You,” “Exile” featuring Bon Iver, “Snow on the Beach” with Lana Del Rey, “Sweet Nothing,” “This Love,” “Last Kiss” and several more Swift tracks finding homes in various episodes.
The final season will put an end to the messy love triangle that has fueled the show from the beginning, with the description reading, “It’s the end of her junior year of college, and Belly’s looking forward to another summer in Cousins with her soulmate, Jeremiah … until some core-shaking events bring her first love Conrad back into her life.”
“Now on the brink of adulthood, Belly finds herself at a crossroads and must decide which brother has her heart,” it continues. “Summer will never be the same.”
Season three of The Summer I Turned Pretty arrives on Prime Video July 16. Watch the trailer above.
Cornell University has canceled Kehlani’s upcoming performance, which the singer was slated to perform on campus at the university’s annual Slope Day on May 7. According to The New York Times, Cornell president Michael I. Kotlikoff emailed students and faculty on Wednesday (April 23) to make his decision to cancel Kehlani’s performance official. Explore Explore […]
The toxicity of contemporary male R&B has been a talking point for nearly a decade, and Texas-bred R&B crooner Dende is ready to take action and bring “yearning” back to the forefront.
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“I don’t feel like a lot of people yearn anymore,” he tells Billboard days after releasing his I Am, Because You Are… EP. “There’s a certain amount of emotion that R&B requires.”
In other words, Dende is over the era of nonchalance. Born in Austin and raised in Katy, Texas, Dende has been a musician his entire life. From church choir stints to makeshift bedroom studios in college, the soulful multihyphenate has spent years honing his sound into its current amalgamation of passionate ad-libs, gospel chords, pop inclinations, and hip-hop cadences.
Earlier this year (Feb. 12), Dende (born Jeremi Lewings) signed with Def Jam, marking an end to his time as an independent artist – an era that led him to close studio collaborator Billy Blunt and his CXR management team. Dende’s transition into the major label system came shortly after a viral live performance video of “Nightmares,” a track from his acclaimed 2023 ’95 Civic EP. With his face covered in bloody makeup to accentuate his particularly theatrical rendition of the song, that live performance video encapsulates everything Dende seeks to bring to contemporary R&B: From his quotidian fashion to his stage show, Dende is wholly unafraid to feel the full extent and breadth of his emotions in front of an audience — he isn’t too cool to be hurt or hopelessly in love.
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With a smattering of singles and a handful of EPs dating back to 2018, Dende has slowly made a name for himself in R&B circles with his spunky, introspective tunes. His new I Am EP transports him to visual art, taking notes from Picasso and Basquiat in how they allowed their muses to speak through them and their work. Featuring collaborations with Luciia, Roy Woods and Kiilynn, Dende’s latest project is his strongest stab at world-building yet – from the scene-setting “The Louvre” – to the heart-melting “Dance With Me.”
Billboard spoke with April’s R&B Rookie of the Month about the evolution of his sound, the origins of his stage name, his all-time favorite ad-libs and his relationship with fashion.
What are your earliest music memories?
I was really young when I started singing in church. My dad was a pastor, so I was in the choir. At one point, it was literally just me and my sister doing solos in the choir. I also played the drums for the church.
I was also really into American Idol, which we used to watch as a family. In elementary school, we had a talent show and I sang “Flying Without Wings” because Ruben Studdard sang it. And my teacher cried. [Laughs.]
Do you hear the music that you grew up with in the music that you make today?
In unconventional ways, yes. Obviously, I don’t make gospel music, but on my last project, I had a more gospel-leaning song with a choir. And the fact that we use live instrumentation; my producer, Billy Blunt, is a heavy church baby too. That’s where he gets all his chords and progressions from.
What’s the first song you remember being stuck in your head?
“Nobody’s Supposed to Be Here” by Deborah Cox. I used to scream that song in the car.
Do you remember when you wrote your first song? What was it?
The first real song that I wrote was probably in my freshman year; I wrote it in a practice room. My cousin had given me an old microphone, and I put a sock over it, played the piano and recorded it on my laptop speaker. I don’t remember exactly what the song was called, but I know it sucked! [Laughs.] I made very bad music for a very long time. I was decent enough on instruments to put stuff together, but the songs themselves were bad.
What were you writing about back then?
Being a sad boy, as I tend to do. I still do that to this day.
When did you decide that you wanted to pursue music professionally?
Probably my sophomore year of college when I was at Clark [Atlanta University]. That was my first year living off campus. I had an apartment with my sister, and people would come over to record. People were paying me for studio time [and] I didn’t know what I was doing! Around then, I stopped going to class [because] I just wanted to do music. I was entering different contests in Atlanta [like Mic Check]; even though it was mostly rappers, I would go up there and sneak some singing in.
Why did you decide to use a stage name and how did you land on Dende?
I’ve always had nicknames. When I was younger, people called me “Jerm” and that [ended up being] my first artist name. I didn’t really like that, and no one really calls me by my actual name, so I got the name Dende because I’m a heavy anime nerd. For people that don’t know, Dende is from Dragon Ball Z, and I have him tatted on my forearm. [In the show], Dende cannot fight, but without him, the dragon balls don’t exist, so without him, a lot of people don’t get their wishes. I liked that because he’s a side character, but he’s really important to the plot.
How would you describe the Dende sound? How has it evolved over the years?
Poppy R&B with a little bit of hip-hop and gospel chords. At first, it was just straight-up piano and terrible drums, then it became straight up electronic drums and beats and rapping – I wasn’t singing at all. [After that], I transitioned into doing half-singing and half-rapping, then I moved more into the R&B space.
What’s your favorite part of the music making process? Is there any part that you find more annoying or draining than others?
I love writing. Post-production is probably my favorite part, because we can add cool stuff. A lot of my songs translate well to live sets, because there’s lots of hits and live instruments. We get to be a little bit more creative with how we structure the song – outside of lyrics – at that point. I don’t find mixing fun. I used to mix all my stuff, but I don’t do that anymore. It’s annoying because it’s a tedious process.
Talk to me about your indie journey. Why did you end up signing to Def Jam?
When I was independent, I was doing everything by myself – mixing, mastering, recording, producing. Then I got [in touch with] Billy Blunt [in 2021] and he started producing for me. CXR, my management team, came [into the picture] right after the pandemic. CXR is my management, but we function as a label. So going from that to the indie label space and the signing with Def Jam [in early 2025] wasn’t that crazy of a transition for us because we had been working together as a label and team for such a long time. I don’t think much is different other than having other people around us that can help ensure our vision comes to life.
Why did you decide to go with CXR on the management side?
To keep up with the momentum that I had gained virtually on my own during the pandemic, I was looking for management. It was between [CXR] and [another person] that’s in Houston. I went with [CXR] because they fit me more. With them, I get a whole team. We have marketing, A&R, day-to-day managers, social media managers – it’s a whole machine. I don’t even think I was ready for that yet, but it definitely helped propel me to another level.
What inspired the new EP? When did you start and finish recording?
[I was inspired by] things that I was feeling while going through life, which is pretty much what all my music is about. This [EP] is about falling in love and finding somebody that you feel fits you perfectly while also maybe not being the most financially sound [option at the time]. The purpose of this project is a starving artist falling in love and trying to navigate that. We started making this one before we even put out [‘95 Civic]. The last song we did was “The Louvre” with Luciia, which I cut last January.
Was the plan always to make the track-list half solo songs and half duets?
No, I was gonna do it all by myself, but it just ended up being that way. It became a more collaborative effort. I felt that some of the songs needed somebody else to strengthen them, so we did that. What I’m looking for [in a potential collaborator] is: Are you going to make the song better? My team is also looking for what’s beneficial about the feature outside of the music – I probably should care more about that, but I tend not to. I just want to make the best song possible. That’s why I have a team!
Who are some of your favorite visual artists?
I like Basquiat a lot. He was an insane human being, and I really resonate with that. I’m not nearly as insane, but I like people who are doing what they want to do in the way they like to do it – because that wasn’t the norm.
I also really like Dita Montana, an artist in Houston who actually did the cover art for my EP. I’ve been a fan of her for years. I literally had paintings that she painted in my house that I got five or six years ago.
Why did “Need U Like” and “The Louvre” feel like the right songs to introduce this project?
“The Louvre” fits the aesthetic of the project the most on the whole EP. This project is about physical art, and this song is saying that you deserve to be hung up on the wall at the most prestigious place in the world [for art] to live.
“Need U Like,” is not only a hard song, but it also showcases my personality and how I approach relationships. I’m telling this person that I’m willing to do the impossible to make us happen.
Do you plan to rap more on future projects?
Maybe just a little bit. I enjoy singing more than rapping, I just like writing in the way that a rapper would. I wrote “Need U Like” as if I was rapping, and then I just sang it.
What do you think you’re bringing to contemporary male R&B that’s unique?
I wouldn’t say it’s unique to me, because it was in existence at one point, but I don’t think it exists as much anymore: yearning. I don’t feel like a lot of people yearn anymore. When I perform “Better Than Him” [from 2023’s Before We Crash EP], I literally will drop down on my knees.
Any plans to tour this EP? Is there any particular artist that you’d like to open for?
We are planning to tour the project. We did a few listening parties, and I know I’m about to do a Houston show for the EP on May 2. After that, we’re gearing up for the next project.
[Opening for] Tyler, the Creator is obviously the dream. I like Kenyon Dixon a whole lot; I would love to go on tour with him. Obviously, Lucky Daye, but I don’t know if he’s going on tour anytime soon. And Bieber!
How do you incorporate fashion into your music and overall brand?
I like to look good, and I like to make a statement with what I’m wearing. When I do live shows, I fit the aesthetic of the project with what I’m wearing. On the last project, I was the guy that shows up to your window with a boombox, so I’m wearing jeans, a fitted cap and a letterman jacket. Halfway through the set, I switch clothes and switch over to a [different project], and that dude looks like he got stood up at the altar.
You’re in a moment of a lot of momentum right now. Does it ever get scary knowing what’s on the horizon for you?
I wouldn’t say it gets scary. I think I get overwhelmed with how many things I need to do, but I’m not really scared. I keep God first, so whatever is for me is for me.
If you could pick one producer to lock in with for an entire project, who would it be?
D’Mile.
What song has your favorite ad libs of all time? Pick one of your songs and then pick someone else’s song.
For me, let’s say “Block Me.” For someone else, we’re going to go with Charlie Wilson’s “There Goes My Baby.”
Save this storySaveSave this storySaveJapanese Breakfast is extending her ongoing tour in support of the new album For Melancholy Brunettes (& Sad Women). The new dates include additional stops at sold-out cities and previously passed locations, like Los Angeles and San Diego. Check out the full list of tour dates below.Michelle Zauner has also returned with yet another new music video, this time for the album cut “Winter in LA.” Directed by Zauner and Peter Ash Lee, and produced by Ssense, the clip was filmed in South Korea and tracks the singer as she dances around an empty bar in bridal getup. “Winter in LA” follows visuals for the new album’s “Orlando in Love,” “Picture Window,” and “Mega Circuit.”If her Coachella performance was any indication of what to expect on these upcoming tour dates, then fans might get to see Japanese Breakfast cover Gorillaz’s 2010 single “On Melancholy Hill” again. That live rendition featured additional help from tour opener Ginger Root and Japanese Breakfast touring member Christabel Lin on electric violin.Read about Japanese Breakfast’s “Be Sweet” in “The 100 Best Songs of the 2020s So Far.”All products featured on Pitchfork are independently selected by our editors. However, when you buy something through our retail links, we may earn an affiliate commission.Japanese Breakfast: Melancholy TourBuy Now at TicketmasterJapanese Breakfast:04-24 Dallas, TX – South Side Ballroom *04-26 Atlanta, GA – The Tabernacle *04-27 Charlotte, NC – The Fillmore *04-28 Nashville, TN – Ryman Auditorium *04-30 Chicago, IL – Salt Shed *05-01 Chicago, IL – Salt Shed *05-02 Chicago, IL – Salt Shed *05-03 Detroit, MI – The Fillmore *05-05 Toronto, Ontario – Massey Hall *05-06 Toronto, Ontario – Massey Hall *05-07 Boston, MA – MGM Music Hall at Fenway *05-09 Brooklyn, NY – Brooklyn Paramount *05-10 Brooklyn, NY – Brooklyn Paramount *05-11 Brooklyn, NY – Brooklyn Paramount *05-12 Brooklyn, NY – Brooklyn Paramount *05-15 Philadelphia, PA – The Met Philadelphia *05-16 Philadelphia, PA – The Met Philadelphia *06-03 Sydney, Australia – Vivid Live at Sydney Opera House06-05 Melbourne, Australia – Rising at PICA06-07 Auckland, New Zealand – Auckland Town Hall06-11 Tokyo, Japan – Zepp Shinjuku06-13 Osaka, Japan – Umeda Club Quattro06-15 Cheorwon, South Korea – DMZ Peace Train06-21 Milwaukee, WI – Summerfest06-24 Oslo, Norway – Rockefeller06-25 Stockholm, Sweden – Filadelfia #06-26 Copenhagen, Denmark – Vega #06-28 Pilton, England – Glastonbury Festival06-29 Manchester, England – Academy 1 #06-30 Glasgow, Scotland – Barrowland #07-01 Bristol, England – O2 Academy Bristol #07-03 London, England – O2 Academy Brixton #07-04-06 Ewijk, Netherlands – Down the Rabbit Hole07-05 Utrecht, Netherlands – TivoliVredenburg #07-08 Paris, France – Le Trianon #07-10 Bilbao, Spain – Bilbao BBK Live07-27 Portland, OR – Project Pabst08-20 San Diego, CA – Cal Coast Credit Union Open Air Theatre *08-22 Los Angeles, CA – Greek Theatre *08-23 Santa Barbara, CA – Santa Barbara Bowl *08-27 San Francisco, CA – The Masonic *08-28 San Francisco, CA – The Masonic *08-30 Bend, OR – Hayden Homes Amphitheater *09-01 Vancouver, British Columbia – The Orpheum *09-02 Seattle, WA – Woodland Park Amphitheater *09-03 Seattle, WA – Woodland Park Amphitheater *09-05 Salt Lake City, UT – Twilight Concert Series @ The Gallivan Center * ^09-06 Denver, CO – The Mission Ballroom *09-09 St. Paul, MN – The Palace Theatre *09-10 Madison, WI – The Sylvee ** with Ginger Root# with Minhwi Lee^ with Tomper