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Almost three decades after the release of their final album, a newly-active Sublime have revealed they’re currently in the studio working on a new record.
The group, which disbanded in 1996 following the passing of frontman Bradley Nowell, found themselves active once again in late 2023 when it was reported Nowell’s son Jakob was fronting the group. Following live performances at the likes of the Coachella Valley Music and Arts Festival in 2024, the group have now told Rolling Stone the reformation is set to feature a new record.
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The 29-year-old explained that he had recently spent a week working with Blink-182 drummer Travis Barker and producer John Feldmann penning tracks for the new album. Founding members Eric Wilson and Bud Gaugh will reportedly join for recording sessions soon.
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“Travis is an old-school fan and scholar of the Sublime catalog,” Nowell said. “They feel like family members now too, man. There was that feeling from everyone that what we’re doing here is something generational and special on an emotional, spiritual, familial level.”
In a statement, Barker noted that the project was “going to be really special,” with the spirit of the group’s late frontman still present within the band. “Bradley comes through his son Jakob,” he added. “Chills every day in the studio when he sings and plays guitar.”
Cynical fans who might be expecting the album to be a poor imitation of what was once was have also had their fears assuaged somewhat, with Nowell specifically noting that the plan isn’t to create a modern, updated version of the band. “No, just more of a solid respect and homage to the works of Sublime,” he says.
Wilson and Gaugh co-founded Sublime with the late Bradley Nowell in 1988, with the group’s first two albums – 1992’s 40oz. to Freedom and 1994’s Robbin’ the Hood – released on the independent Skunk Records label, which Nowell co-founded.
Nowell died of a heroin overdose in May 1996 at the age of 28, just two months before the release of their self-titled major label debut. The record would peak at No. 13 on the Billboard 200, while lead single “What I Got” would top the Alternative Airplay chart in August 1996. Their sole Hot 100 entry came by way of “Doin’ Time” in December 1997, when it hit No. 87.
In 2009, Wilson and Gaugh reunited under the Sublime name with vocalist Rome Ramirez. Use of the band’s name was denied by the Nowell estate, leading to the creation of Sublime With Rome, which would continue with varying lineups until their official dissolution in 2024.
In May 2024, the reformed Sublime issued the track “Feels Like That,” which features Stick Figure alongside vocals from both Bradley and Jakob Nowell. According to Jakob’s latest comments, this archival discovery process has been integral to his new role up the front of thee acclaimed band.
“We’re combing through and trying to distill down what makes a Sublime song a Sublime song,” he explained. “It’s been this fun learning process to get close to and get to know my lost family member in a spiritual sense. I think we leave so much of ourselves, like this blueprint of our DNA, in the work that we create and put out there. So really it’s been also a fact-finding mission.”
Anthony Raneri says the person least surprised that his band Bayside is still around to celebrate its 25th anniversary may be the teenage version of himself, the one from Queens, NY, who knew he wanted to be a rock star.
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“I was just so sure it was gonna happen,” Raneri, 42, tells Billboard. “You could ask me (at a different age) and I would be shocked there was a version of me still doing this. But at 15 or something, I was just so sure. I started this band so young that reality never factored in. I was a kid. I was a dreamer. Bills weren’t part of my life. It was all hopes and dreams at that point. I was too young to know better. And now fast forward…and it’s actually happened.”
Raneri and Bayside — which still includes first-album member Jack O’Shea on guitar, with Nick Ghanbarian on bass since 2004 and drummer Chris Guglielmo since 2006 — will be celebrating the group’s overall 25th anniversary this spring with The Errors Tour. The three-leg outing kicks off March 29 in Buffalo, NY, and all but one of its 23 stops will be two-night affairs with completely different setlists; the first show will feature songs from Bayside’s first four albums, and the second from the subsequent five titles, leading up to last year’s There Are Worse Things Than Being Alive.
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“We conceptualized this years ago, and we decided the 25th anniversary was the right time to put it into place,” Raneri explains. “Every tour we try to shake things up a little bit. It can’t just be the same show all the time. At this point in our career, with the back catalog we have, so many singles over the years, it’s hard to get songs into the setlist. That means track eight on our first record or track five on our fifth record, when do you ever get to that? So this way, if we can dedicate an hour and a half to just the first four records and then the next night to the next five, we get to those deeper cuts and songs that have been left out, which makes it more interesting for us and, I think, for the fans.”
Not surprisingly, Raneri says preparations for the tour have been “very intense” for the quartet. In addition to its own choices Bayside solicited fan requests via social media, which yielded surprises such as “Indiana,” a B-side from 2014’s Cult that also appeared as a bonus track on a deluxe edition of the album.
“We’ve bought into the concept,” Raneri says. “The cool thing about our band, and something we’re so insanely lucky with, is that we can pull something like this off. There’s a lot of bands that exist that have as many records as we do that couldn’t dedicate nights of a tour to newer albums. But we’re lucky that people like and buy and still enjoy our new albums. Our anniversary doesn’t mean we have to go out and just play old records.”
Bayside has, of course, scored some must-play hits from its nine albums as well as EPs, including “Devotion and Desire” from its self-titled 2005 set and “Sick, Sick, Sick,” a top 40 Alternative Airplay chart hit from 2010’s Killing Time. “The second night might not have ‘Devotion and Desire,’” Raneri notes, “but ‘Sick, Sick, Sick,’ it’s crazy to think that’s in the second half of our career, and ‘Already Gone’ and ‘Go To Hell.’ I think there’s plenty to keep people happy either night, if you don’t come for both.”
Raneri feels he and his bandmates have become “more proficient” players during the intervening years, while diving deep into the catalog has given him a perspective on why Bayside has been able to maintain a loyal following for all this time.
“I just think there is an honesty in what bands from our world have always done that’s different than other genres,” he explains. “What we do, it’s not image stuff. With other genres, there’s a lot of things that are of their time. You look at A Flock of Seagulls or something like that, and it’s just so ’80s; they look like the time, they sound like the time, the lyrics are of the time. Same thing with hair metal: [Cinderella’s] ‘Hot and Bothered’ is a bad-ass song when you’re in high school, but when you’re 40 or 50 does it still connect like that? Do you still wear your hair like that? Do you still dress like that? Of course not. I think our scene, it’s earnest as a pillar of its identity. The emotions are more timeless and not as much about the moment the (songs) were made in.”
Raneri and company plan on adding to Bayside’s catalog soon. The group is concentrating on The Errors Tour for the time being, but the frontman promises that “the day after our big, final 25th anniversary show on Long Island (Sept. 26), I’m writing the new record, and that will be our main focus. All of next year we’ll be working on a new record.
“I always start with finding influences,” Raneri explains, “so I’m just listening to a lot of music, and I’m writing down ideas. When I hear a song that I think would be a cool inspiration for something, I write it down. I have notepads around my house with my ideas, notes apps in my phone, playlists that I’ve made of songs I want to take inspiration from for the next record. I’m not at a stage where I know what that inspiration turns into, but I’m shaping. It’s almost like I’m making this very large Pinterest board in my head, and then when it comes time to actually put pen to paper, I’ll have that board to reference.”
Bayside
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Bayside’s The Errors Tour itinerary includes:
(with Sincere Engineer)3/29 – Buffalo, NY @ Town Ballroom3/30 – Buffalo, NY @ Town Ballroom4/1 – Toronto, ON @ The Opera House4/2– Toronto, ON @ The Opera House4/4 – Cleveland, OH @ House of Blues4/5 – Cleveland, OH @ House of Blues4/6 – Chicago, IL @ House of Blues4/7 – Chicago, IL @ House of Blues4/9 – Detroit, MI @ Majestic Theatre4/10 – Detroit, MI @ Majestic Theatre
(with Smoking Popes)6/6 – Denver, CO @ Summit Theater6/7 – Denver, CO @ Summit Theater6/8 – Salt Lake City, UT @ The Depot6/9 – Salt Lake City, UT @ The Depot6/11 – Seattle, WA @ The Showbox6/12 – Seattle, WA @ The Showbox6/13 – Portland, OR @ Revolution Hall6/14 – Portland, OR @ Revolution Hall6/16 – San Francisco, CA @ August Hall6/17 – San Francisco, CA @ August Hall6/19 – Anaheim, CA @ House of Blues6/20 – Anaheim, CA @ House of Blues6/21 – Las Vegas, NV @ Fremont Country Club6/22 – Las Vegas, NV @ Fremont Country Club6/24 – Mesa, AZ @ The Nile6/25 – Mesa, AZ @ The Nile6/27 -Austin, TX @ Emo’s6/28 -Austin, TX @ Emo’s
(with The Sleeping)9/6 – Lake Buena Vista, FL @ House of Blues9/7 – Lake Buena Vista, FL @ House of Blues9/8 – Atlanta, GA @ The Masquerade (Hell)9/9 – Atlanta, GA @ The Masquerade (Hell)9/11 – Nashville, TN @ Main Stage at Eastside Bowl9/12 – Nashville, TN @ Main Stage at Eastside Bowl9/13 – Charlotte, NC @ The Underground9/14 – Charlotte, NC @ The Underground9/16 – Philadelphia, PA @ Brooklyn Bowl9/17 – Philadelphia, PA @ Brooklyn Bowl9/19 – New York, NY @ Irving Plaza9/20 – New York, NY @ Irving Plaza9/21 – Boston, MA @ Paradise Rock Club9/22 – Boston, MA @ Paradise Rock Club9/24 – Asbury Park, NJ @ Stone Pony9/25 – Asbury Park, NJ @ Stone Pony9/26 – Huntington, NY @ The Paramount
Sleep Token scores its first No. 1 on a Billboard multimetric chart, topping the Hot Hard Rock Songs tally dated March 29 with “Emergence.”
“Emergence” rises to No. 1 after debuting at No. 2 on the March 22-dated list via just one day of tracking data after being released on March 13. (It earned 2 million official U.S. streams, 211,000 radio audience impressions and sold 1,000 downloads that day, according to Luminate.)
In the week ending March 20, its first full seven days of tracking, “Emergence” accumulated 9.9 million streams, 528,000 impressions and 2,000 downloads.
The band’s Hot Hard Rock Songs reign follows a No. 2-peaking song in 2023 in “The Summoning.” “Emergence” became Sleep Token’s seventh top 10 on the ranking upon its debut, tying it with Ghost and I Prevail for the eighth-most top 10s since the list began in 2020.
Most Top 10s, Hot Hard Rock Songs
19, Bring Me the Horizon
17, Linkin Park
13, HARDY
10, Falling in Reverse
10, Five Finger Death Punch
10, Foo Fighters
8, Metallica
7, Ghost
7, I Prevail
7, Sleep Token
“Emergence” also rules Hard Rock Digital Song Sales for a second week and bows at No. 1 on Hard Rock Streaming Songs. It’s the band’s first ruler on the latter, eclipsing the No. 16 peak of “The Summoning,” and marks the survey’s first No. 1 debut since Linkin Park’s “The Emptiness Machine” in September 2024.
“Emergence” concurrently vaults 30-7 on Hot Rock & Alternative Songs, Sleep Token’s first top 20 (“The Summoning” peaked at No. 22), and starts at No. 57 on the all-format Billboard Hot 100, the band’s maiden appearance. Its 9.9 million streams are even enough for a No. 50 debut on Streaming Songs, the first hard rock song to reach the list since Linkin Park’s aforementioned “The Emptiness Machine.”
As the lead radio single from Even in Arcadia, Sleep Token’s upcoming fourth studio album (May 9), “Emergence” debuts at No. 31 on Mainstream Rock Airplay, equaling the peak of “Granite,” the band’s only previous appearance on the ranking, from 2024.
Even in Arcadia is the follow-up to 2023’s Take Me Back to Eden, which debuted and peaked at No. 2 on the Top Hard Rock Albums chart dated June 3, 2023, and has earned 744,000 equivalent album units to date.
Coheed and Cambria has its fifth No. 1 on Billboard’s Top Hard Rock Albums chart, debuting atop the March 29-dated ranking with The Father of Make Believe. The new set bows with 16,000 equivalent album units earned in the U.S. in the week ending March 20, according to Luminate. A total of 12,000 units of […]
Lucy Dacus has some mixed feelings about her newly minted public profile. “My dream is that I could play huge shows where [the crowd] knows every word,” she says, “we can connect after the show — and then I can wipe everyone’s mind of myself once they leave.”
The lack of Men in Black-esque technology notwithstanding, it’s easy to see why Dacus may feel that way. After spending the majority of her career as a cult artist with a tight-knit fan base in the indie scene, the singer-songwriter broke big alongside her friends Phoebe Bridgers and Julien Baker with The Record in 2023. Their supergroup, boygenius, sold out arenas, led Billboard’s Top Rock Albums chart while also earning a top 10 debut on the Billboard 200 and dominated the rock categories at the 2024 Grammys, winning three awards.
As she prepares her first solo release since the band’s breakthrough, Dacus, 29, still struggles with her shift from underground phenom to rock headliner. “Honestly, I don’t like being culturally relevant,” she says with a giggle. “I don’t like being somebody where people think they need to have a ‘take,’ in either direction.”
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Yet even in that discomfort, Dacus exudes a confidence that feels new for her. Forever Is a Feeling, her fourth studio album (out March 28 on Geffen Records), takes the sound that Dacus has painstakingly crafted over the last decade and broadens it as her most lush collection to date.
Going into the creation of Forever Is a Feeling, Dacus says she “knew the scope was going to be different” for this album. That process included honing what she wanted to sing about. Whereas her past albums confronted loss and childhood trauma, the new set focuses almost entirely on romance. The first proper track off the album, “Big Deal,” finds Dacus reminding a doomed lover just how important they are; “Talk” traces the shifting dynamics of a relationship to its near end; and album closer “Lost Time” is one of the boldest love songs of her career, on which she declares, “I notice everything about you.”
Meredith Jenks
That line also encapsulates a key part of the singer’s songwriting process: Since she broke onto the scene with 2016’s No Burden, Dacus has always thrived at transforming specificity into universal lyrics. “Once you focus on one thing and one person, it actually recontextualizes everything else, and you realize that every detail is its own universe,” says Dacus, who recently revealed that she and her boygenius bandmate Julien Baker are in a relationship. She then quotes a line she read in one of Susan Sontag’s journals: “Love is noticing.”
With Forever Is a Feeling marking Dacus’ major-label debut on Geffen, the singer’s new music is striking a chord with mainstream listeners. “Ankles,” the project’s exhilarating lead single, earned Dacus her first solo entries on the Adult Alternative Airplay and Rock & Alternative Airplay charts. “She writes songs that are potent and timely but will endure for years to come,” says Matt Morris, executive vp of A&R at Interscope Geffen A&M. “The success of ‘Ankles’ at radio is a very deserved accomplishment for an artist who has already been so influential and continues to break new ground with this album.”
The set also finds Dacus continuing to evolve as a producer, after she recently helmed singer-songwriter Jasmine.4.t’s debut, You Are the Morning, alongside her boygenius bandmates. “A lot of [producing Jasmine’s album] was about advocating when it comes to being less experienced in the studio,” she explains. “It’s about helping develop a language and asking folks, ‘What do you want? Here’s how to say it.’ I want to continue to help hold the emotional space of saying, ‘Do us the favor of being a control freak.’ ”
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That experience speaks to Dacus’ larger goal of late: using her newfound platform to create good. Shortly after the Trump administration began rolling out its anti-trans policy agenda, Dacus took to her social media and called for any of her trans fans hosting fundraisers for gender-affirming surgeries to share their campaigns so that she could donate $10,000 in $500 increments to those in need of help.
There’s a reason Dacus made that pledge in public. “Ten thousand dollars is not that much in the grand scheme of things,” she says. “But I wanted there to be a list of links on my profile so that if anybody else wanted to do what I was doing, then they could scroll through and donate as well. If other people are jumping in, then that can really matter.”
It’s that sense of renewed purpose that shows how far Dacus has come as a leading voice in rock — even if, as she points out, she is the “guinea pig” of the boygenius bandmates as the first of the trio to release a solo project since The Record.
“I feel really gratified when putting my albums out means something to someone else,” she says with a warm smile. “I wouldn’t do this if it didn’t matter to some people.”
Lucy Dacus photographed on March 5, 2025 in New York.
Meredith Jenks
This story appears in the March 22, 2025, issue of Billboard.
LONDON — Following the controversial ticket sale for Oasis’ reunion dates in the U.K. and Ireland this coming summer, the CMA (Competition and Markets Authority) has said that Ticketmaster may have “misled” fans over pricing for the shows.
In August 2024, the Gallagher brothers announced their reformation for 19 stadium shows, their first since their split in 2009. The tour will begin on July 4 at Cardiff’s Principality Stadium, before heading to North America, Asia, Latin America and Australia in the ensuing months
The ticket sale process drew huge demand, but some fans complained of unclear pricing for tickets after long waits for the opportunity to purchase passes. An update to the CMA’s ongoing investigation highlights that Ticketmaster UK may have breached consumer protection law, by “Labelling certain seated tickets as ‘platinum’ and selling them for near 2.5 times the price of equivalent standard tickets, without sufficiently explaining that they did not offer additional benefits and were often located in the same area of the stadium.”
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The update adds that demand meant that cheaper tickets sold out first, but that the release of more expensive tickets for similar places in the stadiums meant that “many fans waited in a lengthy queue without understanding what they would be paying and then having to decide whether to pay a higher price than they expected.”
More than 900,000 tickets were sold for Oasis’ long-awaited reunion tour, but the pricing strategy proved controversial when standard standing tickets advertised at £135 plus fees ($174) were re-labelled “in demand” and changed on Ticketmaster to £355 plus fees ($458).
Following the furore, Oasis issued a statement saying they had no “awareness that dynamic pricing was going to be used” in the sale of tickets for the initial dates. The CMA launched an investigation in September to examine whether Ticketmaster had used “unfair commercial practices” to pressure fans into paying higher prices for tickets.
Ticketmaster denied the use of the so-called ‘dynamic pricing’ method, with the company’s U.K. director Andrew Parsons telling MPs in February, “We don’t change prices in any automated or algorithmic way.” He added that all prices are determined by artist teams and promoters SJM Concerts, MCD Promotions and DF Concerts, all of which have links to Live Nation, Ticketmaster’s owners.
The report acknowledges that since the opening of the investigation, “Ticketmaster has made changes to some aspects of its ticket sales process,” but that the CMA “does not currently consider these changes are sufficient to address its concerns.” The report does not directly comment on the alleged ‘dynamic pricing’ model, but cites other concerns around clearer sale practises.
The CMA says that, “Following a formal investigation, the CMA is now consulting with the ticketing platform on changes to ensure fans receive the right information, at the right time.”
In a statement to Billboard U.K., Ticketmaster U.K. said, “We strive to provide the best ticketing platform through a simple, transparent and consumer-friendly experience. We welcome the CMA’s input in helping make the industry even better for fans.”
Downing Street responded to the report (via the BBC) by repeating a quote given by culture, media and sport secretary Lisa Nandy following the news that the government announced plans to cap the value of resold tickets for live events like music. “The chance to see your favourite musicians or sports teams live is something that all of us enjoy… But for too long fans have had to endure the misery of touts hoovering up tickets for resale at vastly inflated prices.
“We’ve also seen cases where a lack of transparency has meant customers have been caught unawares by last minute price rises for high demand events.”
Elton John is preparing to release his new collaborative album with Brandi Carlile next week, but a new interview has seen the prolific artist reveal the upcoming record left him confronting his mortality.
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John and Carlile’s new record, Who Believes in Angels?, is set to release on April 4, with singles such as its title track and “Swing for the Fences” arriving in the lead-up. While announcing the record, John explained it hit hard on both sides of the spectrum, describeing it as equally “one of the toughest I’ve ever made” and “one of the greatest musical experiences of my life.”
In a new episode of the Smartless podcast which was released to subscribers on Tuesday, March 25 – John’s 78th birthday – the musician revealed that the album’s closing track hit closer to home than previous songs due to its rather pertinent themes.
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“I wrote a song at the end of the album and I just get the lyrics, Bernie Taupin’s lyrics,” John explained “I’m writing the verse, like, ‘Oh, this is really pretty.’ And then I get to the chorus and of course it’s about my death.
“When you get to my age, which is near 100, you think, ‘How much time have I got left?’” he continued, before his thoughts turned to husband David Furnish and sons Zachary and Elijah. “You’ve got children, you’ve got a wonderful husband, you just think about mortality. And so when I got to the chorus, I just broke down for 45 minutes – and it’s all on film.”
The sessions were recorded as part of the film Elton John: Never Too Late, which was released in October to widespread acclaim. The titular “Never Too Late” will also be released on Who Believes in Angels? and was recently up for best original song at the Academy Awards.
“I want everybody to see it because it’s really human, like deeply flawed and embarrassing,” Carlile added. And the kind of shit that you do when you forget that there is a camera on is what’s really interesting.”
The forthcoming episode of the Smartless podcast, which officially releases to all listeners on March 31, also sees John reflecting on his earliest days as a solo musician. “I never imagined myself as a solo artist,” he explained. “When I was in my group, Bluesology, I took the big risk of going up to Liberty Records saying, ‘I want to write songs, I’m so fed up with playing in a band that doesn’t want to go anywhere, and I can sing too.’”
Longtime Fleetwood Mac guitarist Lindsey Buckingham has teamed up with former bandmate Mick Fleetwood once again, with the pair reuniting in the recording studio recently.
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News of the pair’s musician reunion was detailed by Swedish producer Carl Falk, who took to Threads recently to share a photo from the studio where Fleetwood has been working on a new solo album. The sessions have ostensibly also seen Fleetwood working with The War on Drugs’ Adam Granduciel.
“Slightly unreal moment to sit with Lindsey Buckingham and Mick Fleetwood to play Lindsey the album we have been working on,” Falk wrote. “And to see his genuine happiness for Mick to finally do his own album and offering to play guitar and to sing on it. Can’t wait to finish this one.”
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Another post shared by Falk captured Buckingham in the studio with his guitar in hand. “Mick and Lindsey together again, what a flawless guitar player,” the caption wrote. Currently, no official details from Fleetwood have been announced in regard to the content or release of the forthcoming album.
Fleetwood served as one of the founding members of Fleetwood Mac alongside guitarist Peter Green and bassist John McVie, serving as the group’s percussionist for the entirety of their career. Buckingham joined as guitarist and vocalist alongside singer Stevie Nicks in 1974, completing the band’s most famous lineup, which also included McVie’s then-wife Christine.
Buckingham departed the group in 1987, but rejoined in 1997 as part of the band’s classic lineup reunion. Buckingham remained with the band until the 2018 announcement he would no longer be touring as part of Fleetwood Mac.
“I have sadly taken leave of my band of 43 years, Fleetwood Mac. This was not something that was really my doing or my choice,” Buckingham later explained during a live concert. “I think what you would say is that there were factions within the band that had lost their perspective.”
“It harmed the 43-year legacy that we had worked so hard to build,” he added of the group’s decision, “and that legacy was really about rising above difficulties in order to fulfill one’s higher truth and one’s higher destiny.”
The guitarist was replaced by former Tom Petty and the Heartbreakers member Mike Campbell, and Crowded House’s Neil Finn for the band’s final years. Fleetwood Mac would officially split in 2022 following the passing of Christine McVie.
Buckingham’s departure from Fleetwood Mac occurred almost a year after the release of Lindsey Buckingham Christine McVie, an album which featured the band’s lineup with the exception of Nicks. Until 2025, it was the most recent collaboration between Buckingham and Fleetwood.
Garbage announced the dates for their first U.S. tour in nearly a decade on Tuesday (March 25). The 31-city Happy Endings run is slated to kick off on Sept. 3 at the Hard Rock Cafe in Orlando and hit Atlanta, Nashville, Cleveland, Detroit, Philadelphia, Boston, Brooklyn, Pittsburgh, Toronto, Chicago, Minneapolis, Dallas, Denver, Seattle, Vancouver and San Francisco before winding down on Nov. 2 at the Van Burn in Phoenix.
The fall tour will follow the upcoming release of the band’s eighth studio album, Let All That We Imagine Be the Light, which will drop on May 30. Tickets for the tour will go on sale on April 4 here. Singer Shirley Manson said in a statement last month that the follow-up to 2021’s No Gods No Masters will flip that LP’s rage into a more optimistic outlook.
“Our last album was extremely forthright. Born out of frustration and outrage – it had a kind of scorched earth, pissed off quality to it,” Manson said. “With this new record however, I felt a compulsion to reach for a different kind of energy. A more constructive one. I had this vision of us coming up out of the underground with searchlights as we moved towards the future.”
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She added, “Searching for life, searching for love, searching for all the good things in the world that seem so thin on the ground right now. That was the over-riding idea during the making of this record for me – that when things feel dark, it’s best to try to seek out that which is light, that which feels loving and good.”
The band that also features original members producer/drummer Butch Vig and guitarist/keyboardists Duke Erikson and Steve Marker recently wrapped a South American tour and have a pair of dates in Mexico in early April. They were forced to cancel the rest of their 2024 dates in August after Manson required “surgery and rehabilitation” for an undisclosed injury she suffered on tour in Europe earlier in the year.
Check out the tour promo poster and full list of Happy Endings Tour dates below.
Sept. 3 — Orlando, FL @ Hard Rock CaféSept. 5 — Pompano Beach, FL @ Pompano Beach AmphitheatreSept. 6 — St Petersburg, FL @ Jannus LiveSept. 8 — Atlanta, GA @ The EasternSept. 10 — Nashville, TN @ The PinnacleSept. 12 — Cleveland, OH @ Agora TheatreSept. 13 — Detroit, MI @ Masonic Cathedral TheatreSept. 16 — Philadelphia, PA @ Franklin Music HallSept. 17 — Washington, DC @ The AnthemSept. 18 — Boston, MA @ RoadrunnerSept. 20 — Brooklyn, NY @ Brooklyn ParamountSept. 23 — Pittsburgh, PA @ Stage AESept. 24 — Toronto, ON @ HistorySept. 29 — Chicago, IL @ The Salt ShedSept. 30 — Newport, KY @ MegaCorp PavilionOct. 1 — Columbus, OH @ KEMBA Live!Oct. 3 — Madison, WI @ The SylveeOct. 4 — Minneapolis, MN @ First AvenueOct. 6 — Kansas City, MO @ Midland TheatreOct. 7 — Dallas, TX @ The Bomb FactoryOct. 12 — Denver, CO @ The Mission BallroomOct. 15 — Seattle, WA @ Paramount TheatreOct. 18 — Spokane, WA @ Knitting Factory SpokaneOct. 20 — Vancouver, BC @ OrpheumOct. 21 — Portland, OR @ McMenamins Crystal BallroomOct. 23 — Saratoga, CA @ The Mountain WineryOct. 24 — San Francisco, CA @ The WarfieldOct. 26 — Reno, NV @ Silver Legacy Resort CasinoOct. 29 — Salt Lake City, UT @ Rockwell at The ComplexOct. 31 — Las Vegas, NV @ The Cosmopolitan of Las Vegas – The ChelseaNov. 2 — Phoenix, AZ @ The Van Buren
