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Chance The Rapper has been teasing his second album, Star Line, for the better part of the last three years.

Today, though, he gave fans the news they’ve been waiting for so long: Star Line has a release date. The album’s coming on August 15, making it a little over six years since the release of his controversial “debut” album, The Big Day. Chance announced the album via social media today, with a short video clip:

He first announced the album with “Child Of God” back in spring 2022, but since then, he’s either pushed it back or given sporadic updates on its progress, all while releasing a steady trickle of singles like “Buried Alive,” “Stars Out,” “3333,” and most recently, “Tree” with Smino.

During the album’s long rollout, he began playing it for fans at an ever-evolving art installation, leading to it mistakenly being called Star Line Gallery by fans for a while. Last year, he corrected them, saying he wouldn’t release it until they stopped telling him to drop “the album.” “I’m not going to drop the album until y’all start calling it Star Line,” he quipped during a live stream.

And while he never gave a solid reason for the delay, it’s probably safe to speculate that it was caused by a combination of performance anxiety and perfectionism from the lukewarm reception for The Big Day, his gig as host for NBC’s The Voice, and his divorce. Through it all, though, he kept releasing high-quality raps and staying connected with fans — dedication which will pay off in just two more weeks.

Star Line is out on 8/15. Find more info here.

I. BECAUSE WE NEED EACH OTHER

When Oasis announced their return to the road just over 11 months ago, the least original people on the internet all made the same observation: No chance the Gallagher brothers stay together until next summer. It was semi-jokey conventional wisdom that Liam and Noel — who broke up their band in 2009 after a backstage blowup in Paris that involved at least one plum tossed in anger — were too prone to interpersonal strife to pull off the highest profile rock reunion tour of the 21st century. If they did make it to the tour, haters and pessimists insisted, the shows would be a debacle (at worst) or an overpriced ego trip (at best).

Well, I saw Oasis last week at Wembley Stadium in London with 81,000 other fans. And it was incredible. Incredible! One of my favorite shows of all time. And hands down the greatest stadium show. The comeback is real, and it’s spectacular.

I really believe this. I know it. But as a full-time music critic and occasional, quasi-competent music journalist, I want to verify my own claims. The problem is that I didn’t take very many notes while I was watching the concert. And the notes I did take are mostly useless. (One just says “MEGA” in all caps.) The thing is, it’s hard to take notes when you’re holding drinks in both of your hands, a state of affairs that occurred frequently during the two-hour performance. And it’s doubly difficult when you’re constantly hugging your pal when the band starts playing another song you have loved since you were 16.

So, I’m listening to a bootleg recording as I type this. The audio quality is shockingly good considering it’s an audience tape recorded in a sea of overexcited blokes donning football jerseys and Paul Weller haircuts. But it can’t fully convey what I remember witnessing. The Paul Weller blokes are singing along slightly behind the band, and Joey Waronker’s drums are extra thuddy to a degree that seems unfair to Oasis’ replacement timekeeper. (As a Zac Starkey partisan I’m trying to be fair here.)

The highlight for me comes early in the set. All the songs are highlights, really, even the ones I didn’t particularly love going in. (I take back all the snarky things I ever said about “Roll With It.”) But “Acquiesce,” which they played second, is my No. 1 favorite Oasis track, and it set the tone for the entire concert. They’ve been playing the same setlist every night, and because this is Oasis, the message conveyed by the song selections is not subtle. They begin with “Hello,” because “it’s good to be back,” apparently. (Also, opening with “Columbia,” like they did back in 1996 at Knebworth, would have annihilated everyone in attendance.) Later, “Talk Tonight” and “Stand By Me,” normally presented as love songs, are recontextualized as anthems of reconciliation. The B-side “Fade Away,” already one of their more poignant and barbed songs, has extra-significance as a statement about the passage of time. And playing “Live Forever” and “Rock N Roll Star” back-to-back before the encore made Oasis’ most swaggering anthems sound almost melancholy.

But “Acquiesce” is the song. In the past 16 years, I have seen Liam and Noel play Oasis tunes on their respective solo tours. (I also saw Beady Eye many years ago, though I wouldn’t recognize a Beady Eye song now if it tapped me on the shoulder and said, “Beady Eye music, mate.”) I enjoyed hearing Liam sneer his way through “Slide Away” in a medium-sized club, and I was thrilled to see Noel encore with “Don’t Look Back In Anger” at a small theater gig. But “Acquiesce” is the one they have to play together, with Liam on the verses and Noel on the chorus. It was, in a sense, the tune we were all gathered to hear.

After the cataclysmic guitar riff — which sounds like a violent backstage melee possibly involving produce — Liam comes in hot. His voice, as confirmed by the bootleg, sounds outstanding. (The hoarseness you hear on Familiar To Millions, the live album recorded at the old Wembley a quarter-century ago, has been cleared away.) It’s a million degrees in the stadium, and yet Liam is inexplicably wearing a brownish green jacket zipped up to the neck and a scarf, plus the de rigueur corduroy bucket hat. Actually, given that this is Liam Gallagher, the attire is explicable. Liam wears a winter jacket in July because he’s among the last of the genuinely cool rock guys. His refusal to sweat is his most profound artistic act.

When the chorus arrives, Noel hits it with 16 years of pent-up energy. His voice also is in outstanding shape. More important, he sounds sincere. “Because we need each other / We believe in one another,” he says emphatically. “And I know we’re going to uncover / What’s sleepin’ in our soul.” Noel sings those lines like he is levitating two feet over the stage. And for a split second, the entire audience seems to be levitating, too.

What I detected — what we all detected — was entirely unexpected: Are these guys feeling … sentimental about all this? After spending the better part of this century giving each other the insult-comic treatment in the press, do they … like each other now?

What was sleepin’ in our souls had truly been reawakened. Oasis, holy crap, was really back. And it was, against all odds, better than you could have hoped for.

II. WALKIN’ TO THE SOUND OF MY FAVORITE TUNE

The one other time I saw Oasis was on January 18, 1998. The Be Here Now tour at Northrop Auditorium in Minneapolis. Guigsy was still, technically, in the band. (I say “technically” because he appeared to have consumed enough marijuana to render him medically brain dead.) They played 16 songs, four of which were solo Noel songs. And one of those tunes, “Talk Tonight,” was interrupted by a fire alarm. The encore was “Acquiesce,” which climaxed with Liam leaving the stage for the front row, where he heckled Noel as he sang the song’s outro. After the show, we stood outside in subzero wind chill and called up to the window in the band’s green room, where Liam occasionally appeared and flashed two-finger salutes to the crowd.

These were my heroes. On this night, the antics were excellent and the music was just okay. The deafening, mile-high “wall of guitars” sound of the album carried over to the tour, but it was rendered with a decided lack of enthusiasm. Souls were in deep slumber at this time. In the moment, I attributed this to a combination of misery-inducing factors: the disappointing reaction to Be Here Now, the awfulness of traveling to Minnesota in January, general burnout from the nonstop grind of the past several years. But after seeing Oasis at Wembley, I now know the real reason why that gig was underwhelming.

They were playing for Americans and not British people.

In August and September, Oasis will perform in a handful of select cities in America. And based on what I saw last week, I expect those shows to be good. But they won’t be as good as the shows in the U.K. They just won’t. In the U.S., Oasis is a good live act. (And, sometimes, they are a mediocre one.) But in England, they are amazing in concert. Even when they suck in Great Britain, they are still better than they’ll ever be in America.

Oasis has the most decisive home-field advantage I have ever witnessed in music. I didn’t fully appreciate it until I experienced it firsthand — not just at Wembley but all over London, where Oasis band shirts were ubiquitous in every neighborhood and tourist attraction I visited. Surely, excitement over the reunion shows played a part in that. But the central place that Oasis has in British culture — which feels more akin to monarchy than “normal popular rock band” status — really does seem unique. The Tragically Hip, I think, has similar significance in Canada. But I struggle to come up with an American equivalent. Taylor Swift? I don’t know that she’s more popular here than everywhere else in the world. Springsteen? Too much partisan political baggage. Michael Jackson? Too much “baggage” baggage.

I was keenly aware of my otherness at Wembley. A running bit where Liam kept slagging off Arsenal fans went completely over my head, despite multiple attempts by my associate, Australian Dave, to explain it to me. And that was okay. I was just a guest here. An American interloper eavesdropping on a passionate love affair.

I now understand, sort of, the reply guys crowding my mentions every time I talk about Oasis on social media. (Particularly on the less fun and more scold-y one named after the sixth Wilco album.) Many of them are from England, and they all buy into the conspiracy theory (originally forwarded by Kevin Shields of My Bloody Valentine) about how Britpop was a government plot to increase national pride in the 1990s. Maybe that’s true. (If it is, it’s the greatest triumph for the British government since the liberation of France.) But in the end, it’s irrelevant. The Brits love Oasis, and hating them seems like the way less fun alternative. Just imagine the indignity of being a British Oasis hater. It must be like hating the NFL in America. Their cultural loneliness has radicalized them. Oasis is everywhere there, creating joy and camaraderie, and they can’t participate in it.

If I lived in England, and had this band rammed down my throat for more than 30 years, I might hate Oasis, too. But I don’t live in England. So, while I empathize with the haters, I can’t relate, thank god. For me, being among the ecstatic Oasis lovers was like, finally, arriving at my rock ‘n’ roll home.

III. MY BODY FEELS YOUNG BUT MY MIND IS VERY OLD

A few days before the concert, I met up with my pal Alex (who like me originally hails from the American Midwest) at a 200-year-old pub near my Airbnb. It was his favorite bar in London, which he discovered not long after moving there seven or eight years ago. On his inaugural visit, they were having a piano sing-along night, and they eventually started playing Oasis songs. One after another, he told me. Not just the big ones, but also the B-sides. And not just the B-sides, but also the deep cuts that, in America, only the real heads know. Here in England, however, even the normal everyday drinkers had memorized every word. It wasn’t until they got to “The Girl In The Dirty Shirt” — a song about Noel’s now-ex-wife, from Be Here Now — that they flubbed a lyric or two.

At the show, I saw fans demonstrate their Oasis devotion in various ways. The full spectrum of human emotion was represented. During “Cigarettes And Alcohol,” the GA floor section was transformed into a human wave of bobbing bodies that (almost) resembled a mosh pit. During “Don’t Look Back In Anger,” I saw a burly man behind me sobbing heavily. During “The Masterplan,” an extremely high yob knocked a drink out of my hand like he was rehearsing a lethal karate chop. But the most common expression of communal excitement was the mass sing-along.

It’s one thing to hear a couple dozen people nail Oasis B-sides in a bar. It was quite another to see the throngs at Wembley sing every word to “Half The World Away,” one of the undercard tracks from 1994’s “Whatever” single. I’ve always had a “whatever” kind of attitude about “Half The World Away,” one of the lesser Noel acoustic songs from their imperial mid-’90s period. But after hearing all those Brits nearly drown out Noel at Wembley, I have newfound appreciation and even awe for how ingrained Oasis B-sides are culturally over there.

The importance of this sing-along aspect cannot be overestimated when assessing Oasis’ music. After this concert, I’m now convinced that it’s the cornerstone of their appeal. Noel Gallagher is not a great or even cogent lyricist, and his melodies can sometimes seem a little samey. But when it comes to writing songs that large groups of individuals in various states of inebriation can sing in unison, perfectly, Bob Dylan and Beethoven have nothing on him. He is the absolute genius of that very specific art form. Oasis is constantly compared to the Beatles, the Sex Pistols, and the other iconic British rock bands. But their songs actually have more in common with “Happy Birthday” or nursery rhymes. (In the case of “Some Might Say,” and “my dog’s been itchin’/itchin’ in the kitchen once again,” I’m talking literal nursey rhymes.) In England, for a certain generation, I imagine they are the kind of tunes you don’t remember ever learning, they just seem implanted in your brain from the time you’re born.

I’m not normally a sing-along guy at concerts. And I generally don’t like it when other people do it at shows. This was different. This was transformational, and a key part to the home-field advantage. When Oasis plays “Half The World Away” in America, will the audience care? Or will they hit the bathroom until “Wonderwall” comes on? At Wembley, the performance of the audience elevated the performance of the band. It shrank the expanse of the stadium down to the size of a cozy pub. And it made strangers feel, for about 120 minutes, like lifelong friends.

IV. A DREAMER DREAMS SHE NEVER DIES

When the Oasis shows were announced last summer, my friend Steve Gorman — who toured with Oasis many years ago in another lifetime — called it the last big rock reunion tour. At first, I pushed back. Surely there will be others. But then I thought about it: Who is left to reunite and tour on the level that Oasis can? The few remaining big bands/brands that haven’t cashed in already — Talking Heads, The Smiths, anyone else? — seem unlikely to do so. And time is running out for the last remaining giants, a fact reiterated by the tribute to the late Ozzy Osbourne that flashed on the jumbotron screens during “Live Forever.”

Stadium shows get a bad rap for good reasons — the sound is lousy, the sightlines are worse, the drinks are overpriced, and getting in and out of the parking lot feels like it takes twice as long as the concert. But at their best, they have a sense of scale that is emotionally overwhelming. They create a temporary world that feels vast and utopian, where the only tasks at hand are music and revelry, where you don’t even care that an extremely high yob karate-chopped your drink because you’re also psyched to hear “The Masterplan.” A great stadium show connects you to a hive mind the size of a decently populated Middle American city, and that’s a very powerful feeling.

Oasis is back because Liam and Noel are (relatively) young middle-aged men, and because there are so few other bands in their lane. The world’s stadiums require groups that have 12 to 15 songs that tens of thousands of people know by heart and want to experience one more time as part of a mass-population event. Oasis can do that, and I suspect they will be on the road for a very long time and will make an extreme amount of money in the process.

Of course, it’s possible the spell will break soon and Liam and Noel will go back to hating each other. I would bet on that happening, given the laws of nature and the nature of brotherhood. But at Wembley, Oasis played and they played brilliantly. The audience came and they left satisfied. The band wrapped, as they must, with “Champagne Supernova,” one of our finest stadium-rock anthems. And Liam concluded by balancing a tambourine on his head, a gesture both ridiculous and grand, just like the band he sings for. And on that night, at least, the tambourine did not fall.

EDM performer 2hollis dropped his fourth album, Star, earlier this year, and today, has dropped the video for one of its tracks, “Flash.” The video, directed by Noah Dillon, lives up to the song’s title, strobing its way through one of his performances. The visual also makes reference to his insistence that he’ll be a star with a short vignette about a group of children with painted faces, one of whom removes his facepaint and runs away.

“Flash” follows “Style,” the second single from the album, and “Afraid,” the first. 2hollis will take the album on tour beginning in September; you can see the dates below.

Watch the “Flash” video above.

2hollis Tour Dates

9/19/2025 – San Diego, CA @ SOMA San Diego
9/20/2025 – Las Vegas, NV @ Brooklyn Bowl
9/21/2025 – Phoenix, AZ @ The Van Buren
9/26/2025 – Vancouver, BC @ Vogue Theatre
9/27/2025 – Portland, OR @ Roseland Theater
9/28/2025 – Seattle, WA @ Showbox SoDo
10/1/2025 – Minneapolis, MN @ First Avenue
10/3/2025 – Detroit, MI @ Royal Oak Music Hall
10/4/2025 – Toronto, ON @ Queen Elizabeth Theatre
10/6/2025 – Montreal, QC @ MTELUS
10/7/2025 – Boston, MA @ Roadrunner
10/8/2025 – New York, NY @ Terminal 5
10/9/2025 – New York, NY @ Terminal 5
10/11/2025 – Philadelphia, PA @ Franklin Music Hall
10/12/2025 – Richmond, VA @ The National
10/14/2025 – Silver Spring, MD @ The Fillmore Silver Spring
10/15/2025 – Raleigh, NC @ The Ritz
10/16/2025 – Atlanta, GA @ The Eastern
10/19/2025 – St. Petersburg, FL @ Jannus Live
10/21/2025 – Houston, TX @ 713 Music Hall
10/22/2025 – Dallas, TX @ The Factory in Deep Ellum
10/23/2025 – Austin, TX @ Stubb’s Waller Creek Amphitheater
10/24/2025 – San Antonio, TX @ The Aztec Theatre

Star is out now via Interscope. You can find more info here.

A couple of months ago, Bryson Tiller made his official return with the reveal that his next album, Solace & The Vices would be a double album. Since then, the Louisville native has been relatively radio silent, aside from news collaborations with Tink and Chris Brown. Today, though, the Trapsoul pioneer revealed the release date for the first half of the project, titled The Vices. It’s due on August 8, and according to its press release, “showcases Tiller’s gritty, high-energy side.” Presumably, this means he’ll do more rapping than singing here.

Tiller elaborated on Instagram, writing, “It’s hard to call one a ‘rap album’ and the other ‘r&b’ because I can’t help but to do both on every song. Just know that this is a TRUE double album and not just 20+ songs that I wanted to share.”

“When I was writing Solace my number one goal was to treat it like therapy and say exactly what was on my mind, finding comfort during my times of sadness,” he continued. “That felt good. With The Vices I decided to get rid of my Vices completely and prove to myself that I didn’t need Weed, Alcohol, and all the other shenanigans to have FUN. I’ve been sober ever since. (Still tryna figure out how to look like I enjoy the club tho lol).”

It’s probably fair to say we’ll receive more updates in the coming days, but for now, all we can do is speculate.

The Vices is due on 8/8 via Trapsoul/RCA Records.

The trailer for Darren Aronofsky’s upcoming crime comedy Caught Stealing has some fierce punk energy, so it’s only right that English post-punk band Idles not only handles the film’s score, but also contributes four all-new songs to its soundtrack. The first one they’ve released is “Rabbit Run,” a pulsating head nodder with a lot of glitchy, paranoid energy and one hell of a beat switch, mirroring the vibe the movie appears to be going for.

In the press release, band frontman Joe Talbot says, “This has been a huge opportunity for us that seemingly came about after a chance meeting backstage at Fallon when we both happened to be guests on the same day. But in hindsight, I realize that Darren is one of my favorite directors and his films have in some ways made me who I am as an artist. This lucid dream has been a lifetime in the making and one that I will live over and over with a huge sense of humility and joy.”

Aronofsky echoed that sentiment, saying, “I built Caught Stealing to be a roller coaster of fun and wanted to supercharge the film by main lining a punk sensibility. I don’t think a band has really been tasked with performing a score for a movie. Who better to collaborate with than Idles? It has been a dream watching them bend their notes to blast a hole in our movie screen.”

You can watch the lyrics video for “Rabbit Run” up top.

Caught Stealing is in theaters August 29.

There’s been a lot of talk recently about how rare it is to see albums get carefully plotted rollout campaigns, but it’s likely even rarer that artists and labels plan out extended rollouts for singles.

But that’s what Kehlani has done with her June release, “Folded.” The track was out for two weeks before the Bay Area singer shared the laundry-oriented music video, and today, she has dropped another wrinkle in the rollout with “(Un)folded,” a stripped-down reimagining focusing on her tender vocals. The new version also has its own black-and-white music video, which finds Kehlani performing the song in a laundromat, accompanied by her daughter, Adeya Nomi.

While the singer still has yet to announce a new album, she’s kept busy this year with the release and rollout of “Folded,” and got a chance to work with a legend, as well. Last week, R&B icon Mariah Carey shared a new single, “Sugar Sweet,” featuring Kehlani and Jamaican singer Shenseea. Kehlani was especially excited about the collaboration, writing on Instagram, “Nobody speak to me. I got a song with the one and only Mariah Carey! The earliest video of me singing and first song I ever learned was ‘Hero,’ and everybody who knows me knows this is one of my heroes. This woman is the definition of an icon. To have given us so much, for DECADES & never fail to impress us through all the twists and turns music makes. I am so honored and immensely grateful. There truly are no words.”

Watch Kehlani’s “(Un)folded” video above.

West Coast crooner Blxst is the latest guest on Sound Check with Jeremy Hecht, and of course, had to make some difficult choices between West Coast classics. Blxst is a year removed from the release of his debut album, I’ll Always Come Find You, and resurfaces after a relatively quiet first half of 2025 to set the stage for his next act as a newly independent artist.

Here’s how it works: Jeremy plays two songs for the guest artist, who has to choose one and explain their choice, giving Jeremy a chance to learn their musical taste. Jeremy then has to guess the artist’s life anthem, the song they’d take to a desert island, which the guest wrote down earlier on a piece of paper. Our production team has also given him a decoy song, and Jeremy has to guess which is correct based on what he’s learned in the previous rounds.

Naturally, the songs picked include a range of big names from LA, including DJ Quik, Kendrick Lamar, Snoop Dogg, Nipsey Hussle, and Dom Kennedy. Blxst also has to choose between songs from two of his favorite albums — Get Rich Or Die Trying and Graduation — and R&B hitmakers Brandy and Bryson Tiller.

Watch Offset take on the Sound Check challenge above. New episodes of Sound Check drop every Wednesday at noon ET/9 a.m. PT on Uproxx’s YouTube.

For the past few weeks, my social algorithms have been absolutely inundated with videos featuring Laufey’s new single, “Lover Girl.” Most of them are from Laufey herself (or her twin sister Junia), performing the sort of quirky choreography that first put TikTok on the map. This comes as no surprise to me; the Icelandic singer’s 2023 album Bewitched has been on repeat since it came out, and her dreamy take on jazz-pop is right up my alley.

So the debut of the official music video for the bossa nova-influenced ode to butterflies-in-the-stomach, head-over-heels romance is a welcome sight. In it, Laufey dances her way around Japan dressed like Wednesday Addams, showing off that TikTok dance, singing in a traditional temple, snagging a bowl of ramen, and sightseeing in the city streets.

“Lover Girl” is the third single from Laufey’s upcoming third studio album, A Matter Of Time, preceded by “Tough Luck” and “Silver Lining.” In a recent interview, she explained how the album will take a new direction for her, saying, “People expect a pretty façade of girly clothes, fantastical stories, and romantic music. This time, I was interested in seeing how I could draw out the most flawed parts of myself and look at them directly in the mirror.”

Laufey will also be pairing the new album with a run of tour dates beginning in August, playing some of the biggest venues of her career so far.

You can watch the “Lover Girl” video above.

A Matter Of Time is out 8/22 via Vingolf Recordings/AWAL. Find more information here.

The Uproxx Music Travel Hot List series is sponsored by Priceline, where you can go to book your next music travel adventure.

We’re a little over halfway through 2025, and it’s already felt like five years. If you’re a music fan, that goes double; the music news has flown fast and furiously, from new albums popping up in the middle of the night three days after they were announced to massive comebacks from some of the biggest acts on the planet. And that was in the same weekend!

Of course, that’s to say nothing of catching your favorite artists live. Whether they’re making their returns or saying their farewells, many of our favorite acts are hitting the road hard, even in a tougher climate than ever for live entertainment. Here are just a few of the shows worth traveling for before the end of the year — and why.

Aminé – Portland

I’m going to go to bat for my birthday twin here; Aminé deserves more attention than he gets. The innovative Northwesterner has a new album out, 13 Months Of Sunshine, and is putting on for his region, his roots, and for fun, freewheeling rap with nothing to prove. He’s gearing up for his Tour De Dance promoting the new album, and of course, the best place to catch him perform is in his hometown, Portland, at his very own festival, Best Day Ever on September 13-14. Hometown shows are always special, but in this case, you also get to catch left-field favorites like Smino, Thundercat, and Zack Fox. You can find more info here.

Clipse – Virginia Beach

In the same vein, there’s likely no better place to catch Clipse than in their hometown on August 10. The brother duo put out their first album in nearly 16 years a week ago, so the odds are that this will be your first chance to see them in at least that long. Against a lot of odds, Let God Sort Em Out has been the buzzy release that the sleepy first quarter release schedule seemed to be missing, so of course, there’s a big groundswell of support behind their tour promoting it. They’ve given us well-received previews of what their live performances will look like with a Tiny Desk Concert proving their chemistry is as sharp as ever, so you can get your tickets here.

Laufey – Norfolk, Chautauqua, Cuyahoga Falls, Saratoga Springs

The other day, I was at a street festival outside Staples Center — fine, Crypto.com Arena (sigh) — and I was kind of shocked to see Laufey billed to play there. Not because I don’t think the Icelandic singer isn’t massively popular — and for good reason — but it’s kind of wild to think of her low-key, jazzy production filling up arenas while she does her quirky, kind of awkward TikTok-approved choreo for “Lover Girl.” Fortunately, at select venues on her A Matter Of Time Tour, she’ll be backed by a full symphony orchestra to make the most of the lush compositions on her latest album, also named A Matter Of Time. If you get a chance to see her live with an orchestra, it’ll make all the difference. Find more info here.

Lil Wayne – Miami

Speaking of hometown shows… look, we get it: Wayne was a little disappointed he didn’t get to play the Super Bowl Halftime Show in New Orleans. I’m not entirely sure why The Big Easy isn’t on his route for Tha Carter VI Tour, but since he spends most of his time in Miami these days anyway, I think it’d be fair to consider it a hometown show. The October 2nd West Palm Beach show is also the tour’s finale, which is usually a good time. And while I’m sure there’s an argument to be made that he deserves to play at least an arena capacity-wise, as a veteran concertgoer, I will always advocate for smaller venues like amphitheaters — especially for hip-hop shows — because they sound better, the energy is more focused, and hip-hop is best felt face-to-face, not looking down from an upper bowl seat. You can find out for yourself here.

PinkPantheress – Chicago

You may be wondering, “Why Chicago?” After all, the experimental, millennial pop culture-influenced dance music aficionado hails from across the pond, effectively nixing my “hometown show” motif.

Au contraire, mon frere: As we at Uproxx keep reminding you, Chicago is widely considered to be the birthplace of so-called “oontz-oontz music” (her words, not mine). If you’ve ever shook booty or pumped your fists to the familiar “boots-and-pants” four-on-the-floor beat, you have The Windy City to thank. And while PP jumps genres from house to 2-step and even slips in some DnB, there’s probably no better place to hear her do so on her An Evening With PinkPantheress mini-tour than the Chicago date on November 1. More info here.

Sailorr – Los Angeles/New York

Once again, my immaculate theming is ruined by routing! J/k, but here’s why you should check out From Florida’s Finest singer Sailorr in LA or New York, as cliché as it might seem. One, The Roxy and Bowery Ballroom are legendary venues, and the way things are going, independent venues with as much history as them are rapidly following velociraptors and kiwi birds into extinction. You should see them while you still have the chance. And two, whatever happens with small venues in the future, you probably won’t be seeing much of Sailorr at those places in the future anyway; the “Bitches Brew” singer is due for a big breakout, and probably won’t be playing anything under 2,000 cap on her next one. As someone who’s got more “I saw them back when” stories than average, I’d say it’s worth the trip to put a few in your own memory banks. You can find tickets here.

Attention Stargazers! On September 16th, Myles Smith will be performing at Nashville Tennessee’s famed Ryman Auditorium as part of his “We Were Never Strangers” tour, and Priceline wants to send you to see him live! As part of The Dream Tour sweepstakes, three lucky winners have the chance to catch Smith’s soon-to-be legendary Music City performance. Flights, hotel, and transportation are included!

There is no purchase necessary to enter the sweeps; simply visit Priceline’s The Dream Tour sweepstakes page below and enter the drop! Priceline will announce the winner on September 1st, so clear your calendar and enter for a chance to win a trip to see Myles Smith on Priceline’s dime. The only thing better than seeing Myles Smith in Nashville is seeing Myles Smith in Nashville for free!

The sweeps is open to all legal residents of the United States over the age of 18 and includes roundtrip airfare, a $100 transportation per diem, and a free hotel stay. Sounds like an unforgettable VIP experience.

To enter the drop, hit up Priceline’s sweeps page here. We’re instantly envious of whoever those three winners end up being. Good luck!