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LE SSERAFIM are artists, but also, in the new trailer for their upcoming fifth mini album, HOT, they are also quite literally pieces of art. The intriguing two-minute teaser for the EP that is due out on March 14 dropped on Thursday (Feb. 20) and it finds a gallery full of art lovers perusing an exhibition entitled “HOT, We’re hot on our own, 2025,” in which the quintet are frozen in a variety of poses while seated or standing on metallic platforms.

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Singers KIM CHAEWON, SAKURA, HUH YUNJIN, KAZUHA, and HONG EUNCHAE manage to hold their icy postures as a somber violin plays in the background, until their statue-like reverie is unexpectedly broken by an adorable grey cat with tiny wings. The sound of the kitty’s meowing sets off a handclap beat and a dilation of the women’s eyes, sneezing them to life as they appear to melt into the ground while a temperature gauge rises from cold to warm.

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A ghostly track bubbles up and the members come to life, interacting with a Marcel Duchamp-like off-the-shelf kitchen faucet titled “Purity is the Hottest,” which, when turned on and allowed to flow onto the floor, electrocutes the feline, transforming the sterile space into a throbbing nightclub.

From crawling through fur-lined tunnels to walking on a giant hamster wheel, the women are awakened as a voiceover intones “a single flame was born” in Korean while they and the gallery patrons expertly catwalk their way through the space. “The flame engulfed the silence, splitting apart the dark” a voice reveals in English, further advancing the fiery narrative with the cryptic phrase: “Drawn to the wavering beauty, the flame believed that the reason for its existence was to burn ever brighter.”

With the temperature quickly rising to “hot,” the liquid from the sink turns into a fiery flame and the once-again-frozen women are blown away like dust by an unseen wind, only to rise again from the ashes like phoenixes.

HOT is the follow-up to the group’s 2024 fourth mini-album, CRAZY.

Watch the HOT trailer below.

Pioneering jazz pianist-singer Nat King Cole is best known for classics such as “Mona Lisa” and “The Christmas Song” as well as for hosting his own television show on NBC in 1956. However, it was a Black woman who initially broke that barrier in 1950 on the DuMont Television Network: jazz and classical pianist-singer Hazel Scott.

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That’s just one of the Black history lessons comprising the revelatory PBS documentary American Masters – The Disappearance of Miss Scott, which premieres Feb. 21 (9 p.m. ET, check local listings). Produced and directed by Nicole London, the documentary marks the first in-depth film about the early 20th century star whose fierce and fearless advocacy of civil rights during Jim Crow prompted the stipulation in her contracts that Scott wouldn’t play before segregated audiences. In fact, the documentary notes that Rev. Martin Luther King said the first desegregated audience he sat in was at one of Scott’s shows. And her film contracts stated that she would only perform as herself or as a patron — never a servant — in the movie roles she was offered. She even organized an actors strike during the production of a film because of unfair treatment.

Her impactful career in the aftermath of that strike, however, was further derailed in the U.S. when she was blacklisted during the ‘50s Red Scare by the House Un-American Committee. But that didn’t faze the intrepid Scott. Relocating to Paris in 1957, she added another successful chapter to her legacy before returning to the U.S. in 1967. As she’s quoted in the documentary: “They say I’m impossible. I won’t conform.”

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“That resilience during the era’s McCarthyism was the kind of element that I wanted to highlight,” says London, whose credits include the Emmy-winning American Masters film Miles Davis: Birth of the Cool. “I wanted people to know that Scott was a towering figure of her time — and to also understand the reasons why we don’t know her. At a time when there was so little available, she stood up against the odds and it cost her. But it shouldn’t cost us the pleasure and the gift of getting to know her story and learning from it, especially today.”

Born in Trinidad in 1920 and raised in Harlem, New York, Scott was a child prodigy. Taught by her classically trained pianist/saxophonist-music teacher mother Alma, Scott began playing piano at two years old, performed in public at three and by eight was a pupil at the Juilliard School of Music. A member of her mother’s all-female band at 14, Scott landed her first professional gig at 15 with the Count Basie Orchestra. By 19 she was headlining Café Society, the first integrated club in Manhattan. She would later marry and divorce Adam Clayton Powell Jr., a pioneer and civil rights activist in his own right as the first Black congressman from the state of New York.

An engrossing compilation of archival footage and stills, performance clips and animation illuminate Scott’s career journey, which included appearances in films (Something to Shout About, I Dood It, and Rhapsody in Blue), followed by the aforementioned nationally syndicated TV program The Hazel Scott Show, featuring herself and jazz legends Charles Mingus and Max Roach. Providing further context are excerpts from Scott’s unpublished autobiography voiced by Emmy-winning actress Sheryl Lee Ralph plus interviews with country artist Mickey Guyton, actresses Amanda Seales and Tracie Thoms and jazz musicians Camille Thurman and Jason Moran.

“I wanted people who weren’t necessarily obvious because [Scott] didn’t just influence jazz. Her reach and influence are so much bigger in terms of the possibilities for women in film, television and elsewhere. Here I am, a Black female director who wouldn’t be in this position if I hadn’t had these footsteps to follow. I also wanted to touch on the importance of friendship between women and women in support systems for each other, especially Black women.”

Influenced and mentored by jazz icons/family friends like Billie Holiday, Fats Waller and Art Tatum, Scott became known for the speed with which she could play and the top-notch improvisational skills she applied in “jazzing” up classic songs. Then there was her dexterous ability at playing two pianos at once. Alicia Keys paid tribute to Scott’s  influence and inspiration while hosting the 2019 Grammy Awards during which she played two pianos.

His mother’s high level of musicianship, in addition to her personal crusade for what’s right, is one thing that Scott’s only child, Adam Clayton Powell III, wants viewers to witness. He shared with Billboard that Grammy-winning pianist Michelle Cann and other musicians have recreated his mother’s improvisations from her records for project that will be released in late summer. He adds that Cann told him the project was “like the Olympics, almost impossible to do physically. She said the musicians working on this were staring at the sheet music. But in looking at clips of my mother playing, she’s smiling at the audience — not even looking at the keyboard.”

As the documentary was being developed, Powell learned just how valuable dollar-wise his mother’s talent was after her biographer Karen Chilton (2010’s Hazel Scott: The Pioneering Journey of a Jazz Pianist, from Café Society to Hollywood to HUAC) found some of Scott’s old film contracts. “The idea that my mother was making, in today’s dollars, more than $2 million a year at MGM is like whoa,” he says. “And her hands were insured by Lloyds of London for $1 million in 1940s dollars, which is over $18 million today.”

In The Disappearance of Hazel Scott, viewers will learn as well about her insistence to appear before the House UnAmerican Committee, the end of her troubled marriage, a suicide attempt and the dream job that materialized after her return to the U.S. Throughout it all, Powell says his mother often quoted the French song “Non, je ne regrette rien,” covered by Edith Piaf. Its title translates to “No, I Regret Nothing.”

This Valentine’s Day, Drake released his first new album since before his 2024 feud with Kendrick Lamar changed everything about his career outlook and overall narrative — the PartyNextDoor full-length team-up $ome $exy $ongs 4 U. While the final verdict on the album and what it might (or might not) do for Drake’s overall trajectory […]

What were some of the most notable trends on the Billboard Hot 100 songs chart during 2024? Hit Songs Deconstructed, which provides compositional analytics for top 10 Hot 100 hits, has released its year-end 2024 State of the Hot 100 Top 10 report.

Here are three takeaways from Hit Songs Deconstructed’s latest in-depth research.

Hip-Hop Topped Pop, Country

Hip-hop/rap reigned as the most common primary genre in the Hot 100’s top 10 throughout 2024, contributing to 38% of all top 10 hits, and bounding from a 23% take in 2023.

Pop placed second with a 29% share in 2024, the same total as 2023, when it finished first.

“Hip-hop/rap was the only primary genre that increased in prominence when compared to 2023,” Hit Songs Deconstructed notes. “This is largely due to the success of artists who appeared on three or more of the year’s hip-hop/rap top 10s: Kendrick Lamar (eight), Future and Metro Boomin (five each) and Tyler, the Creator (three).”

Hip-hop/rap and pop have traded annual titles as the leading primary genre in the Hot 100’s top 10 since the former led in both 2017 and 2018:

2024: Hip-hop/rap, 38% — Pop, 29%

2023: Pop, 29% — Hip-hop/rap, 23%

2022: Hip-hop/rap, 38% — Pop, 35%

2021: Pop, 39% — Hip-hop/rap, 34%

2020: Hip-hop/rap, 41% — Pop, 40%

2019: Pop, 47% — Hip-hop/rap, 34%

2018: Hip-hop/rap, 59% — Pop, 24%

2017: Hip-hop/rap, 32% — Pop, 31%

Country has been the third-biggest primary genre the past two years, with a 15% share of Hot 100 top 10s in both 2023 and 2024. From 2017 to 2022, R&B/soul placed third each year, ranging from 8% to 17% takes of the top 10.

Women Vocals Vaulted

The gap nearly closed between male- and female-sung Hot 100 top 10s in 2024.

“Male-led songs continued to be most common in 2024, but have been in decline,” Hit Songs Deconstructed reports. “Conversely, female-led songs have been on the rise and reached their highest level in over a decade. This was largely thanks to Taylor Swift and her 10 top 10s, along with Sabrina Carpenter and Beyoncé, each scoring three.”

Billboard

Meanwhile, Hot 100 top 10s with a solo lead vocalist claimed their highest share in a decade: 70%, up from wins of 66% in 2023 and 62% in 2022. (In 2021, multiple lead vocalists edged out soloists, 51% to 49%, thanks to collaborations by the likes of Coldplay and BTS, Elton John and Dua Lipa, and The Kid Laroi and Justin Bieber.)

Drumming Up New Interest

Looking at (or, listening to) instruments in Hot 100 top 10s, acoustic drums continued to surge in 2024.

“The use of primarily acoustic drums/percussion nearly quintupled since 2022, rising to 37% of songs in 2024, its highest level since 2014,” Hit Songs Deconstructed finds. “Representatives spanned an array of genres,” including country (Post Malone’s “I Had Some Help,” featuring Morgan Wallen), hip-hop/rap (Tyler, the Creator’s “Noid”), pop (Sabrina Carpenter’s “Please Please Please”) and rock (Benson Boone’s “Beautiful Things”).

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Plus, electric bass rose to 32% of Hot 100 top 10s in 2024, up from 17% in 2020, and electric piano rose to 18%, tying its highest level in over a decade, mostly via hip-hop/rap- and R&B/soul-influenced hits.

Conversely, and while still central in Hot 100 top 10s, synth usage dropped to a 71% share in 2024, its lowest since 2014. Similarly, electronic drums/percussion declined to a 42% take – down from 45% in 2023 and 64% in 2022 and likewise their lowest since 2014.

It was a beautiful ride in 2024 for Benson Boone, as the breakthrough artist scored the biggest hit on the planet.
Boone’s “Beautiful Things” is crowned the IFPI Global Single Award for 2024, effectively the world’s best-performing single across all digital formats.

Boone earns bragging rights as his signature song planted itself at or near the top of sales charts, everywhere.

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Released in January 2024, “Beautiful Things” nabbed top spot in this year’s IFPI Global Single Chart, his first appearance in an IFPI Global Chart Top 10, and won silverware at the Billboard Music Awards, MTV Video Music Awards and MTV Europe Music Awards.

The 21-year-old Monroe, WA native was nominated for best new artist at the 2025 Grammys, where he performed the song, and it peaked at No. 1 in the U.K. and Australia. “Beautiful Things” reached No. 2 on the Billboard Hot 100.

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During the calendar year, “Beautiful Things” racked up 2.11 billion equivalent global subscription streams, according to data published today (Feb. 20) by the IFPI, and including paid subscription streaming, ad-supported platforms, and single-track downloads.

“We are delighted to present the IFPI Global Single Award to Benson Boone,” comments Victoria Oakley, CEO, IFPI. “As a global breakout artist, this is an amazing achievement to produce a truly worldwide hit. Congratulations to Benson, his team and Warner Records for this incredible accomplishment.”

Boone discovered his love for music when his friend asked him to join their group for a Battle of the Bands competition. He went on to audition for American Idol, where he received a standing ovation from the judges. Ultimately, he dropped out of the talent quest and took a different road, signing to Imagine Dragons’ lead singer Dan Reynolds’ label, Night Street Records/Warner Records. Now he’s on top of the world.

Boone leads a fresh-faced top three, ahead of Sabrina Carpenter’s “Espresso” and Teddy Swims’ “Lose Control,” respectively. U.S. artists dominate the tally with nine of the top 10. Irishman Hozier prevents a clean sweep with “Too Sweet,” dropping in at No. 6. IFPI’s recently-anointed Global Recording Artist of the Year, Taylor Swift, appears at No. 9 with “Cruel Summer.” The cut, lifted from her 2019 album Lover, enjoyed a resurgence thanks to her record-breaking The Eras Tour.

Top 20 IFPI Global Singles Chart 2024

The Osheaga Festival in Parc Jean-Dreapeau in Montreal (Aug. 1-3) announced its 2025 lineup on Wednesday (Feb. 19), which will feature headlining sets from The Killers, Tyler, the Creator and Olivia Rodrigo.

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The stacked-and-packed roster also includes: Glass Animals, Doechii, Dominic Fike, Lucy Dacus, Finneas, Gracie Abrams, The Chainsmokers, The Struts, Future Island, Smino, Tommy Richman, Shaboozey, Kaleo, TV on the Radio, Cage the Elephant, Jamie XX, Royel Otis, The Beaches, Chet Faker, Gigi Perez, Bossman Dlow and Bigxthaplug, among many others.

Tickets for this year’s event will go on sale on Friday (Feb. 21) here; $1 from every ticket will be donated to the Evenko Foundation, which provides musical instruments to schools in Quebec and encourages young people to pursue a life in the performing arts.

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Among the other acts on this year’s roster are: Barry Can’t Swim, Jorja Smith, Artemas, James Hype, Nico Moreno, Måneskin singer Damiano David, Omah Lay, La Femme, Joey Valence & Brae, Wunderhorse, BBNO$, Sammy Virji, Alex Warren, Claude Vonstroke, Good Neighbours, Naomi Sharon, Adam Ten, Whitney, Matt Champion, Isoxo, Marina, Mark Ambor, Amaarae, Loco Dice, The Dare, Jersey, Oden & Fatzo, Ruby Water, Inji and Kenny Mason.

Last year’s Osheaga hosted nearly 150,000 fans at the city’s largest outdoor concert venue, where they took in sets by Noah Kahan, Green Day, SZA, Melanie Martinez, Lil Tjay, Smashing Pumpkins, Martin Garrix, Reneé Rapp, Hozier, Teddy Swims, Teezo Touchdown, Rancid, Chappell Roan, Raye, Tyla, Kevin Abstract, Justice, Jungle and T-Pain.

Check out the 2025 Osheaga Festival poster below.

Lady Gaga has made a career of wearing the most outrageous, impractical and confounding costumes in pop history. But one outfit in particular has continued to top the list of her most cuckoo couture: the Franc Fernandez-designed meat dress she wore to the 2010 MTV VMAs.

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The cow costume accessorized with steak shoes and a shank chapeau blew minds at the time and continues to be one of her most iconic looks. But in a new lie detector test with Vanity Fair, Gaga was asked if she would ever wear the raw chuck couture — which was later preserved and turned into beef jerky — again.

“I don’t think so. No,” Gaga, 38, told the examiner, who informed the singer that her answer was “inconclusive.” Gaga seemed taken aback, responding, “Oh, well, that was a surprise.” She was also reminded that she asked Cher to hold her meat purse while accepting the video of the year award for “Bad Romance.”

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When the interviewer asked if that moment brought her closer to the fellow pop icon, Gaga said, “I think so. In the moment.”

Dressed in a lacy white outfit with peaked shoulders and a corset top, a serious-looking Gaga seemed nervous to take the test, admitting that she does not “have a good poker face,” which the examiner said caused the machine to detect “some deception.”

“So I do have a good poker face? Thank you,” she replied with a contented smile. In a timely query, Gaga was reminded that the video for her 2009 collab with Beyoncé, “Telephone,” says “to be continued” at the end, prompting a question about whether there will be a second part some day. “Yes,” Gaga said, though she admitted she didn’t know when it would be released, and, when presented with a picture of Beyoncé and asked if her fellow pop icon would be involved the second time, slyly saying “maybe.”

As for whether she’s ever answered the phone and said, “sorry, I can’t hear you, I’m kind of busy,” as she sings in the song, Mother Monster said, “I feel like I might have done that before, but maybe not,” fretting that she was saying both yes and no; the interviewer said either way she was being truthful.

Also, for the record, she still has that giant egg she arrived in at the 2011 Grammy Awards, which is stashed in her 40,000-square foot archive with her other famous costumes.

At press time it wasn’t clear if the second “Telephone” would be including on Gaga’s upcoming seventh studio album, Mayhem, which is slated to drop on March 7. Earlier this week, the singer revealed the full track list for the 14-track LP, which will feature the previously released singles “Die With a Smile,” “Abracadabra” and “Disease,” as well as “Garden of Eden,” “Perfect Celebrity,” “Zombieboy,” “Vanish Into You,” “LoveDrug,” “How Bad Do U Want Me,” “Don’t Call Tonight,” the Gesaffelstein-collab “Killah,” “Shadow of a Man,” “The Beast,” “Blade of Grass” and two bonus tracks, “Kill For Love” and “Can’t Stop the High.”

Watch Gaga take the VF lie detector test below (beef talk begins at 11:30 mark).

Ozzy Osbourne was once invited to audition for a role in Pirates of the Caribbean—but the opportunity was shut down by his longtime manager and wife, Sharon Osbourne.

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During a recent appearance on Billy Corgan’s The Magnificent Others podcast, Sharon revealed what she considers the “biggest mistake” she ever made on the legendary Black Sabbath frontman’s behalf. “He got offered to go and read for Pirates of the Caribbean, and I’ve never said this to anyone,” she admitted to the Smashing Pumpkins frontman. “And I said no. Now wouldn’t he have been perfect?”

Corgan immediately agreed, responding, “He would have been perfect! Maybe it’s not too late, but God bless.”

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While it remains unclear which character Ozzy was being considered for, the Pirates of the Caribbean franchise has a history of casting rock legends. The Rolling Stones’ Keith Richards famously played Captain Teague, the father of Johnny Depp’s Captain Jack Sparrow, in At World’s End (2007) and On Stranger Tides (2011).

Paul McCartney also made an appearance in Dead Men Tell No Tales (2017) as Jack Sparrow’s uncle, Uncle Jack. Given Ozzy’s unmistakable persona and theatrical stage presence, it’s easy to imagine him fitting right into the swashbuckling world of the blockbuster franchise.

Beyond his near brush with Hollywood, Ozzy has remained active in music despite ongoing health struggles. In recent years, he released Patient Number 9 (2022), which earned a Grammy for Best Rock Album, and announced his retirement from touring due to health concerns. Meanwhile, Black Sabbath’s final reunion show is set to take place on July 5 in Birmingham, featuring appearances from Guns N’ Roses, Tool, and even actor Jason Momoa.

While Ozzy never got his shot at the high seas, his legacy as the Prince of Darkness remains untouchable—onstage and, perhaps, in an alternate timeline, on the big screen.

Drake’s Anita Max Win Tour in Australia continues to deliver viral moments—this time, with the rapper handing out $30,000 to a pregnant fan at his Sydney show at Qudos Bank Arena on Wednesday night (Feb. 19).

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During a break in his set, Drake was scanning the crowd for signs when he spotted one that read: “I’m 20 weeks pregnant.” In a video circulating social media, the “Hotline Bling” rapper immediately reacted with disbelief.

“Are you 20 weeks pregnant? Get out of the pit. Get outta there,” Drake told the fan, later identified as Tiana Henderson, before instructing security to move her to VIP seating. “Give her some VIP tickets immediately and like $30,000,” he added before jokingly asking, “Who the f—brings a baby to a mosh pit?”

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Henderson and her friend were then escorted out of the packed general admission area to a more comfortable spot in VIP.

Drake’s latest giveaway is just one of many on his Anita Max Win Tour, where he has been handing out cash to fans throughout Australia. At his Melbourne show earlier this month, he reportedly gifted a fan $25,000 after noticing a sign referencing his son, Adonis, and another $20,000 to a concertgoer celebrating her birthday. While performing in Perth, he handed out $40,000 to two fans, including one waving the Canadian flag.

Earlier this week, he made headlines again by giving $30,000 to a fan in Sydney who held up a sign asking for help to quit their job at McDonald’s. The rapper played into the Australian slang, repeating the request in an exaggerated Aussie accent: “Help us quit Maccas, mate.”

In addition to his on-stage giveaways, Drake has been using the tour to promote $ome $exy $ongs 4 U, his newly released joint album with longtime collaborator PARTYNEXTDOOR, who has joined him on-stage during his Australian tour.

Released on Feb. 14, the project has been a commercial success, earning over 56.6 million first-day streams on Spotify—making it the second-highest debut of the year. $ome $exy $ongs 4 U also broke the record for the biggest R&B/Soul album in Apple Music’s history by first-day streams worldwide.

Drake and Party are set to headline the first day of this year’s Wireless Festival in London with special guest Summer Walker in July. Drake will also headline the next two days with “The Mandem,” Burna Boy, and the Worl’ Boss Vybz Kartel by his side.

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Touring can bring its fair share of unexpected adventures, but for British rockers The Wombats, a night out in Rio de Janeiro took an unnerving turn when an argument with the wrong person led to a high-stakes chase back to their hotel.

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Frontman Matthew “Murph” Murphy explained the incident to The Daily Star’s Wired column, revealing that drama unfolded during a night out when tensions escalated between someone in the band’s group and a local they had unknowingly crossed paths with.

“We got chased in Rio by a gang. We were out, someone said the wrong thing, we were doing the wrong thing,” Murphy told the newspaper as per Music-News. “Somebody – I won’t say who got into an argument with this other guy, and didn’t realise who he was, or what he was in.”

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The moment of confrontation quickly turned into something more sinister. As the band piled into a taxi, they realized they were being followed. “Our taxi was chased back to the hotel by these two Land Rovers,” Murphy revealed. “I ran up to my hotel room, and our tour manager had to diffuse the situation.”

He added, “Apparently, it was pretty freaky.”

While the Rio incident might have been their most alarming encounter, it wasn’t the only dramatic moment the band faced while touring in Brazil. Just days earlier, The Wombats had to cut their set short in São Paulo after a cyclone wreaked havoc mid-performance.

“When we played in São Paulo, a freak cyclone hit the stage in the middle of our third track and completely soaked us,” Murphy told NME in Oct. “Wrote off all the gear. Some steel split, and the stage we were on had folded down.”

Despite the mayhem, the festival carried on, with The Strokes headlining later that night under far-from-ideal conditions.

Murphy explained, “We were on the other stage, but it was facing the main stage where The Strokes were headlining. They went on that night, but all the drapes had come off, there was no screen, they were just playing against scaffolding. It was pretty ridiculous.”

The Wombats will soon kick off their upcoming arena run across the U.K. in March 2025. The band will take the stage in cities including London, Nottingham, Cardiff, and Manchester, with additional festival appearances lined up later in the year, following the release of their sixth studio album, Oh! The Ocean.