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Charli XCX announced the international dates for her 2024 Brat tour on Monday (March 25), which will be a mix of live concerts and what she’s dubbed “partygirl” events. The run will kick off with a set at Primavera Sound Barcelona on June 1, followed by shows in London, New York, Chicago, Los Angeles and Mexico City before winding down on June 22 in Sao Paulo, Brazil.
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Just hours after announcing the dates, the singer noted on Instagram that all the shows were already sold out.
At press time Charli had not yet announced the release date for BRAT, her sixth full-length album, though she did recently reveal that it is out this summer, contains 15 songs and is 41:23 long. The follow-up to her 2022 album Crash has been advanced by the uptempo first single, “Von Dutch.”
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Speaking to Billboard at this year’s 2024 Women in Music event, Charli said that BRAT is a club record meant to evoke the illegal London rave scene of the early 2000s where she started performing as a 14 and 15-year-old, produced from a tight collection of sounds to create “this unique minimalism that is very loud and bold.”
She also said that the album is “very direct” eschewing “metaphor and flowery lyricism” for language that is closer to the way she talks to her friends in text messages. “This record is all the things I would talk about with my friends, said exactly how I would say them. It’s in ways very aggressive and confrontational, but also very conversational and personal,” she said. “And not in that boring way where artists are like, ‘This is my most personal record.’ To me, it feels like listening to a conversation with a friend.
See the Brat tour announcement and dates below.
BRAT tour dates:
June 1 — Barcelona, Spain @ Primavera Sound Barcelona
June 7 — London, England @ Here at Outernet
June 11 — Queens, NY @ Knockdown Center
June 12 — Chicago, IL @ Radius
June 15 — Los Angeles, CA @ Shrine Expo Hall
June 19 — Mexico City, Mexico @ LooLoo Studio
June 22 — São Paulo, Brazil @ Zig Club
Dwayne “The Rock” Johnson is using his powers as Maui for good. The actor took to X (previously known as Twitter) on Sunday (March 24) to share a heartwarming video of himself singing his Hot 100 hit from Moana, “You’re Welcome,” to a toddler named Naomi who is currently hospitalized with a brain disorder. Johnson […]
From NCT DREAM‘s delicious debut with “Chewing Gum” in 2016 to later devouring the charts with hits like “Hot Sauce” and “Candy,” the boy band’s taste for snackable singles takes a different and darker turn with “Smoothie,” the lead single off their just-released Dream( )scape EP, that speaks to the group’s hope of using music for fans to “escape their fears and negativity.”
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“Our producers and label were like, ‘Is there something that you guys want to say in particular?’” group leader MARK explains to Billboard days before the album drop. “RENJUN was actually thinking, ‘Musically and visually, we’ve always been so bright and very optimistic, but I think we can kind of express how it’s still NCT DREAM and sometimes we can also have bad dreams.”
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Represented through the intense five-part ( )SCAPE Film on YouTube and their most experimental mini album, NCT DREAM tweaked their signature style for tracks that recognize hardship and offer an empowering, encouraging message. MARK opens intro track “icantfeelanything” announcing, “I might’ve been afraid to be brave,” followed by CHENLE crooning, “‘Cause I’m lost and confused” before an intense breakbeat switches into a chant of frustrated yells.
The septet tackles anxiety on the pacifying R&B of “UNKNOWN” (Encouraging the listener to slowly but surely “Go chase your dreams/ Dive in, dive in, into the unknown”) as they yearn for freedom on hip-hop/pop cut “BOX” (“I don’t need controllin’, Let me go/Nobody lockin’ me up, nobody stoppin’ me”). The hook-heavy single “Smoothie” flips the group’s tried-and-true foodie styling by inspiring the audience to share their worries with NCT DREAM so they can blend it into a healing formula: “Throw in that doubt and fake, pour in all that pain / Shower that in all this ice, eventually it all melts.”
Pronounced as “Dream Escape,” the tight, six-track makeup of Dream( )scape offers fans not only an uplifting getaway of a listening experience but crucially lets them in a bit closer to a group that all debuted as teenagers and is becoming a team of wise young adults. The messages should connect well with audiences worldwide as NCT DREAM’s Dream Show 3: Dream( )scape world tour begins in May with plans to visit Latin America, the U.S., and Europe before the year’s end.
Before then, read more from MARK, RENJUN, CHENLE, JENO, JAEMIN, HAECHAN and JISUNG on creating their latest album, upcoming world tour and more.
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Congratulations on the new album. From the teasers to the music itself, NCT DREAM shares a lot through Dream( )scape. Overall, what are you looking to show in this album?
RENJUN: As expressed through the ( )SCAPE Film trailers, although we have all different jobs and are in different locations, we experience the same external stress and, through those processes, we almost feel like we are liberated. And also the title song itself, you can see that it’s titled “Smoothie,” but it means that we will grind all these bad ingredients and mix them up [into something positive].”
MARK: I think we’ve really grown as people, and as artists, and that definitely reflects the way we make our albums now because I think this album might actually have the most of our identities and our personal colors in it. We were very involved in the process from the very start and we really got to put in the message that we’ve always wanted to deliver to our audiences. This album, in particular, really kind of showcases who we are the most out of all the other albums in terms of that we were very much looking forward to how our fans would respond to that. [Dream( )scape] revolved around our ideas, and we were involved with how we wanted this whole message shared, so it made us feel like, “Okay, we need to take more responsibility for this album.”
JENO: This album is the starting point of this year in our new chapter so I think we now want to focus more on that stories that lie within.
What message did you all want to share? MARK opens the album by saying, “I might’ve been afraid to be brave,” and the idea of is mentioned a few times in the record. What’s the significance of bravery here?
RENJUN: It’s always hard to start something and take that first step. Actually, it’s very difficult to be brave and requires a lot of courage. And with this album, we wanted to help others at their own starting line to be brave by themselves.
MARK: Our producers and label were like, “Is there something that you guys want to say in particular for this album?” So, we were thinking among our members but RENJUN was actually thinking, “Musically and visually, we’ve always been so bright and very optimistic, but I think we can kind of express how it’s still NCT DREAM and sometimes we can also have bad dreams as well, you know?” Even though we are going for our dreams, there are hardships that we face in reality. Our hope is to let our audiences escape their fears and negativity; we really want to encourage that. That kind of formed the title of our album as well, which is Dream( )scape.
And I wanted to clarify because I feel like a lot of people would pronounce it as “Dreamscape,” but it’s “Dream Escape.” They took the “e” out because the parentheses are supposed to symbolize a gate, you know? We have to call it “Dream Escape,” I guess — the “e” escaped.
JENO: We express our growth through our music. Since we debuted at such a young age, I think we still have things to figure out from the younger image that our group holds. So, with that in mind, when we were producing this album, we tried to escape from that image that we had.
It felt like Dream( )scape was viral the moment you unveiled these dark teasers that we haven’t seen from NCT DREAM—I thought the bruised and bloody feet were very striking. Can you explain them and your take on the reactions?
RENJUN: The initial teasers meant that the clothes on top are very neat and sleek, but you also see these wounded feet from the members. This signifies that, in real life, everyone seems to be comfortable and put together, but we have hidden feelings inside and wounds in our hearts—and that’s normal. We’re trying to express that going through struggles and pain eventually leads to an escape.
JENO: As you can see in the ( )SCAPE Film, we are locked in our own rooms to show each of the member’s own dreams and identities in this suppressed reality. Eventually, we get to escape after the seven of us gather up, and that’s the storyline that we focused on when we were filming.
MARK: It was really fun seeing how after every photo got released, the fans were like, “Oh, what does this mean? What does this symbolize? I think there’s a story behind all this.” I really liked to see how they were very attentive to each and every detail of the photo, and sometimes even, we were surprised by how they interpreted some parts of a photo or video — their trying to detect what it all meant before everything was released was one of the things that we really liked about this promotion.
Not to pry, but that’s a great message that I imagine many artists relate to. Is there anything you dealt with where things looked good on the outside, but something else was going on inside?
RENJUN: I think everyone has pain and scars from their lives that they don’t want to show until they’re ready. So, maybe talking to people [about this subject] could make others comfortable to want to reveal their pains.
JENO: To continue that, I think the rooms that I described earlier really relate to this album, and that’s where the story and concept came from.
MARK: I think there are a lot of times where I feel very hungry on set, but I just can’t show that to the people because I feel like that might be delaying the whole schedule, you know? Very painful…
RENJUN: He’s joking! He’s always kidding.
MARK: I mean, there’s a seed of truth. [Group laughs.] But don’t worry too much.
Why was “Smoothie” the right song to choose the single for this important album?
MARK: So, it was really hard choosing the title track because we had a lot of meetings and heard a lot of different options of songs for the title track [single], but we eventually chose “Smoothie” because one of the main goals we had for this comeback was to come up with a song that had the easiest hook but still had an impact. In a way, we could have chosen a more complex song, but we wanted to really narrow it down to the simplest type of hook that anyone can kind of catch on, even from the first listen, and I remember how we agreed that “Smoothie” would be the one because of that reason specifically.
JAEMIN: There are a lot of ingredients from which you make a “Smoothie” pictured in the music video, and what we wanted to express was cutting through all these bad ingredients to viewers — that’s the plot point that you might want to look forward to the most when watching.
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One of my favorite tracks from your LP last year, ISTJ: The 3rd Album, was “Yogurt Shake,” and I wondered if “Smoothie” was related to it.
MARK: That’s also one thing we wanted to say! We have a lot of songs that relate to food or something you can eat, which is why we wanted to have the “Dirty Smoothie” as the title because we didn’t want it to sound too common or something that people can expect right away.
Looking at some of the other Dream( )scape tracks you were involved in, I love the lyrics in “BOX,” which MARK co-wrote. Did this come from a personal place or do you ever feel NCT DREAM is put into a box?
RENJUN: We wanted to more so summarize a universal feeling because I think everyone, whether it’s at home or work, I think everyone has felt that kind of feeling of being put in a box so wanting to explore and feel free.
MARK: I relate to what RENJUN said because, whether we are or aren’t aware of it, we all have our own boxes internally as well. I realized that this song’s theme and energy really fit the album’s concept — we can’t be trapped in your frame or opinions anymore. If you were to put that as a “BOX,” this song helps us come out of that and I just wanted to put that energy into the verses that I wrote.
MARK and JENO took part in “UNKNOWN,” which I found comforting and I think fans will too.
MARK: Just from the word, “unknown,” I think a lot of people can relate to being afraid when it’s something that you’re not familiar with — even though they know that they have to take that step. We use the analogy of a body of water as something being “UNKNOWN” so you can dive into the unknown by taking a leap of faith. When me and JENO were writing, we really wanted to express how we know that we want to take that dive so let’s just take the leap of fate together — because it’s always better to do something with someone you trust rather than do it alone.
The album closes with “Breathing,” co-written by MARK, JENO, JAEMIN and JISUNG.
JENO: When I was making the rap, the song content itself is very dark and restrictive, feeling like your breath is running out — that is, until I met you and that became the cure. So, that’s the theme that we set from the start.
RENJUN: The first part of the song starts with “Where I am” and the last part ends with “Here I am.” When we were recording, we put our emotions and struggles into this idea of feeling lost, but when we were getting close to the end, we felt like, “Oh, I am here and I am determined.”
You’ll soon take these songs on stage with your Dream Show 3: Dream( )scape world tour. How are the preparations going?
JISUNG: I think it’s going to be a better concert than The Dream Show 2. We’re still working on it, but we set Dream( )scape as the direction and focus on The Dream Show 3 tour. It’ll be a very different concert because we’re now more experienced, we have new songs and I think we can put out more diverse and improved sides of ourselves.
JENO: This year, fans can look forward to a show where each section has its own strong, independent color and various charms in each section — that’s the key point.
RENJUN: It’s almost like riding a rollercoaster because our emotions throughout the sections have a dynamic to it. So, fans can also ride the ups and downs with us.
What else do fans need to know right now?
CHENLE: We worked really hard on this album, so I hope you guys look forward to it from the trailer to the stages we’re going to perform when we have the album out. It’s going to be a very busy year for us and we’re going to look to do a lot of things. We’ll be getting closer with you all so please look forward to all that.
“Lose Control” climbed to No. 1 on the Billboard Hot 100 songs chart dated March 30, 2024, marking his first chart-topper on the survey with his first-ever song to make the chart. Explore Explore See latest videos, charts and news See latest videos, charts and news In celebration, the 31-year-old singer-songwriter took to his Instagram Story to […]
Looking for some motivation to help power you through the start of another work week? We feel you, and with some stellar new pop tunes, we’ve got you covered. These tracks from artists including Porter Robinson, Artemas, Empress Of and more will get you energized to take on the week. Pop any of these gems into […]
From her splashy first hits as a soloist to her later experiments with house music and country, Beyoncé always sticks the landing — even upwards of three decades into her career. But before we dive into her biggest hits as the mononymous, standalone performer the world knows her as today, it’s important to note that […]
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The Kid Laroi is hitting the road. In celebration of his November album The First Time, the 20-year-old singer-songwriter has announced plans to embark on a North American tour, unveiling all 31 dates on social media Monday (March 25). The Australian musician will kick off the North American leg May 18 in Vancouver, B.C., after […]
Madonna is closing out her career-spanning global Celebration Tour in the splashiest way possible. On Monday (March 25), the singer announced that she will play her biggest show to date on May 4th on iconic Copacabana Beach in Rio De Janeiro, Brazil. Explore Explore See latest videos, charts and news See latest videos, charts and […]

It may be Cowboy Carter week, but the silvery disco ball strobe lights of Renaissance — the first act of Beyoncé’s presently unfolding trilogy — continue to illuminate the world. On Monday (March 26), the Human Rights Campaign debuted Renaissance: A Queer Syllabus, a sprawling collection of academic articles, essays, films and other pieces of media rooted in Black queer and feminist studies and directly inspired by each track on Queen Bey’s Billboard 200-topping dance album.
Curated by Justin Calhoun, Leslie Hall and Chauna Lawson of the HRC’s HBCU program, the syllabus will serve as an educational resource designed to honor, analyze and celebrate the joy, resilience, innovation and legacy of the Black queer community. The syllabus will be shared with nearly 30 historically Black colleges and universities, including Howard University, North Carolina A&T University, Prairie View A&M University and Shaw University.
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Released in the summer of 2022, Renaissance was and continues to be a bonafide cultural phenomenon. A lovingly researched ode to the Black queer roots of dance music filtered through her intensely personal relationship with her late Uncle Johnny, the album captivated fans around the world and shined a much-needed light on the unsung movers and shakers of Black queer art and culture. The album won four Grammys — including a historic win for best dance/electronic album — housed a pair of Billboard Hot 100 top 10 hits in “Break My Soul” (No. 1) and “Cuff It” (No. 6) and spawned a record-breaking stadium tour and accompanying box office-topping documentary concert film.
From the economic impact of Beyoncé’s silver fashion aesthetic to career boosts given to Black queer icons such as Kevin Aviance, Ts Madison and Honey Dijon, Renaissance proved itself to be much more than a standard LP. The HRC understood that there was a chance to make a real impact across education and activism through the lens of the record.
“There are ways that we can embed the impact of her lyrics into real life. It was serendipitous for this to happen,” said Hall, director of the HRC’s HBCU Program. “All the anti-DEI [diversity, equity and inclusion] laws were being introduced in the same states that she was doing concerts in. So, what would it look like for us to put our best thinking together to put articles, books, and movies to all of the songs on her album?”
On May 15, 2023 — just three shows into the Renaissance World Tour — Florida Gov. Ron DeSantis signed a bill banning DEI initiatives in public colleges. A month later (June 14, 2023), the governor of Beyoncé’s home state of Texas, Greg Abbott, signed a bill prohibiting DEI offices and the hiring of DEI staff at public higher education institutions.
The juxtaposition of rising anti-queer sentiments and Beyoncé’s Renaissance era anchors the syllabus’ arrangement. The syllabus begins with a brief statement summarizing and reiterating the HRC’s June 2023 LGBTQ+ State of Emergency statement, which they declared “for the first time following an unprecedented and dangerous spike in anti-LGBTQ+ legislative assaults sweeping state houses.” The final pages of the syllabus contain both a reprint of Beyoncé’s statement in memory of O’Shea Sibley — a young Black queer man who was murdered in Brooklyn back in July 2023 for simply voguing to Renaissance -—and an additional statement from the HRC denouncing hate crimes.
“I think when you preface something [with] a state of emergency, you get the lay of the land and how important [the] syllabus is,” said Calhoun, an HBCU program manager at HRC. “It brings a sense of urgency and realness to what’s actually happening to queer youth, especially black Queer Youth.”
Calhoun — alongside Hall and Lawson — began work on the syllabus in October 2023, dividing the album’s 16-song tracklist into different themes and building hubs of additional secondary resources that expound on said themes. Despite Calhoun’s initial concerns that breaking up the tracklist would “lose the flow” of the album — Renaissance is intentionally mixed and sequenced to emulate a seamless DJ set — he ultimately agreed that the approach helped the syllabus feel more like a lesson plan.
Six themes anchor the syllabus, ranging from “intersectionality and inclusivity” to “social justice and activism.” Fan favorite tracks like “Alien Superstar” and “Thique” rope in the origins of the body positivity moment and iconic speeches from Barbara Ann Teer (including the one sampled on “Superstar”) under the umbrella of “empowerment and self-acceptance.” “Energy,” the song behind the infamous “mute challenge,” gets new readings by interloping essays from bell hooks and Patricia Hill Collins. Even less-famed tracks like “Move” (with Grace Jones & Tems) — which is paired with fascinating readings on the effects of colonialism on pre-colonial Africa and African perspectives on trans identity — get in on the scholarly fun.
Naturally, “Heated,” a song that had an intense, immediate impact on Renaissance listeners with deep ties to the ballroom scene, served as the crux of the syllabus, according to Calhoun. “It was the model child for how a section of the syllabus should look,” he explains. “There was so much to unpack in ‘Heated.’ You have Beyoncé’s Uncle Johnny, a Black gay man [living] during the AIDS epidemic — that lead to us [compiling different resources] about how we lost a generation of black gay men who were visionaries and people who paved the culture.”
The syllabus is a thorough resource, one that continues the HRC’s connection with Beyoncé’s Renaissance era. On Aug. 27, 2023, the HRC, with support from Beyoncé’s BeyGOOD Foundation, mounted the Equality Ball in Las Vegas, NV – an event that doubled as actual ball complete with a “Bring It Like Beyoncé” category and an educational resource pushing voter registration and sexual health awareness.
Although Parkwood Entertainment, Beyoncé’s production company, did not authorize or give “direct sign off” on the syllabus (Billboard reached out to representatives at Parkwood for comment), creating the resource was “a seamless process,” according to Calhoun. “We knew amongst the team which authors and which folks to go to for certain things, I don’t think any of us did many Google searches,” said Hall. “We knew where to go to connect the right [resources] to one of her songs [and] build a course out of it. It is really a testament to well-read, well-learned people. I feel obligated to say that because we don’t talk about ourselves like that. We’re smart. It would take folks with Howard degrees to put something like this together.”
From Pauli Murray and C. Riley Snorton to Audre Lorde and Sonya Renee Taylor, HRC’s new syllabus continues Renaissance’s mission of highlighting, amplifying and re-centering Black and queer voices. Of course, this syllabus is far from the first piece of Beyoncé-inspired coursework in higher education. Following the release of the Grammy winner’s culture-shifting album Lemonade in 2016, a slew of Beyoncé-themed classes debuted across higher education institutions — including the University of Copenhagen, Rutgers University, Arizona State University and the University of Texas at San Antonio.
For Hall, the rise of courses tackling social constructs through the lens of pop culture is only a good thing. “We’re in a powder keg right now, and it’s gonna pop around election time,” he says. “We have to get information to folks in younger generations. We need them to be connected to what’s really happening and a way to do that is through music and culture.”
Nonetheless, Hall and his colleagues aren’t oblivious to the fact that Renaissance exists in an intrinsically capitalistic context. “[It’s] something I grapple with so much,” notes Calhoun. “I had a teacher who once said that capitalism is the current structure and we have to live under it. This is how life operates. What is Beyoncé going to do to stop a capitalist structure? I just don’t feel like we’re at a point in the movement where we know what we want [people like her] to do.”
While there may be no current plans for a Cowboy Carter syllabus — “being from the Mississippi Delta, that would be dope, but it depends on Beyoncé,” quipped Calhoun — the HRC’s Renaissance syllabus is the ultimate proof that the Renaissance is, in fact, not over.
“We’ve made a course that adds to scholarship about Black queer futures and specifically ballroom and uplifting history that’s not as popular in academia,” says Calhoun. “It really adds to the academic cannon of Black queer scholarship in a way we haven’t seen before.”