PinkPantheress is back!

The 23-year-old star took to Instagram on Wednesday (March 26) to tease some sort of new release. “May 9th,” she wrote with a kiss emoji alongside a photo of herself, looking into the camera with her hand on her hip against a white background.

As of press time, PinkPantheress didn’t indicate whether the release date is for a single or a full album. See the post here.

The star has been taking it easy the past few months after she cancelled all her remaining 2024 tour dates in August — including planned gigs opening for Olivia Rodrigo and Coldplay and her own Capable of Love headlining tour — to focus on her “physical health and overall wellbeing.”

In January, she returned to social media, writing on X, “oh we are soooo back #2025,” alongside two snaps of her working a laptop in what looks like a home studio. “i missed y’all [heart emoji] thanks for waiting on me.”

PinkPantheress broke out in 2021 while still at university when she posted the single “Break It Off” on TikTok, which led to the 2022 release of her breakthrough single, “Boy’s a Liar,” later remixed with Ice Spice in a version that hit No. 3 on the Billboard Hot 100. She released her debut album, Heaven Knows, in 2023 and her most recent solo single was last year’s “Turn It Up“; she also appeared on 2024 collabs with Kaytranada (“Snap My Finger”) and Le Sserafim (“Crazy”).

In 2024, the superstar released the Producer of the Year honor at Billboard’s Women in Music event.

Plenty of country songs have rested through the years on the drinking habits of the lonely. Merle Haggard’s “Misery and Gin,” Moe Bandy’s “Barstool Mountain” and The Charlie Daniels Band’s “Drinkin’ My Baby Goodbye” all find broken-hearted men numbing their hurt with a little liquid medication at the tavern.

It’s a good bet that the vast majority of country listeners know at least something about that plot, which makes them likely to appreciate Vincent Mason’s first radio single, “Wish You Well,” in which the singer processes the passing of an old relationship by downing a few at the bar.

“This guy and this story, I’ve definitely lived it — and definitely lived it recently,” Mason says. “But I think it’s better than to try to get it back.”

The scenario is well-suited for a steel-soaked ballad, though “Wish You Well” defies that expectation. It trips along behind a buzzy guitar at a speedy pace, the melody flying by so quickly it’s easy to miss most of the words and catch only pieces of the story before it becomes familiar.

“Right from the beginning, it’s got that acoustic riff, and it’s moving really quick,” Mason notes. “I’m a big John Mayer fan — I came up on that when I was learning how to play guitar — so that slap flick kind of pattern on the guitar, it’s fun for me to play.”

The song owes its existence to the title of songwriter Blake Pendergrass (“Relapse,” “Days That End in Y”) and the tenacity of co-writer Geoff Warburton (“Best Thing Since Backroads,” “But I Got a Beer in My Hand”). Pendergrass stumbled across the hook during a brainstorming session, with the “wish you well” payoff line mashing up a common courtesy with a well drink. He envisioned a series of wishes in the song, with the singer attempting to escape his lack of fulfillment by downing the house whiskey instead of a particular brand. He introduced the idea during a songwriting session around the fall of 2022, receiving a mostly cool reception. Warburton was in the room that day, and he liked it enough that he continued to ask about it periodically over the next year.

Finally, during a four-person writing appointment on Oct. 3, 2023, at a studio owned by writer-producer Chris LaCorte (“23,” “Wind Up Missin’ You”), Warburton asked about “Wish You Well” again. This time, the collective response was enthusiastic, and they dug into it with abandon as Warburton kicked into a rapid groove on guitar. They tackled the chorus first, loading up the opening lines with a half-dozen wishes — “Wish you would call/ Wish you would miss me” — in a fairly repetitive cadence.

“That first half of the chorus came out pretty fast in the room,” Warburton remembers. “Everyone was ping-ponging ideas, and it just kept falling into place really fast.”

After following that wishful tack for four busy lines, they shifted into syncopated rhythms in the next four, simultaneously changing the lyrical focus as they barreled to the “wish you well” drink at the end.
“Once we had that first half,” Warburton says, “we’re like, ‘OK, maybe we chill on the wish stuff.’ ”

After a pause, they repeated the hook for good measure.

“There’s a lot of information in the chorus,” says co-writer Jessie Jo Dillon (“10,000 Hours,” “Am I Okay?”). “I always think when a song does that, you need to either let the song breathe or repeat the hook as a tag because someone just had to digest a lot of information.”

The chorus took up enough real estate that they had little space left for the verses. Still, they compressed more wishful thinking into those stanzas. The opening line has the guy drinking three shots, parallel to a “Jim Beam genie” granting him three wishes. Pendergrass wasn’t certain that would go over when he suggested it. “I got a little bit of pushback on stuff like that,” he says. “I love doing weird, kind of quirky lines like that. Thankfully, they let me run down that road a little bit.”

Jim Beam is a small contradiction: The song hinges on a generic well drink, but the genie employs a specific brand. “He’s like, ‘Maybe I’ll start with the good stuff,’ ” Dillon says with a laugh. “Then, he’s wasting all his quarters on the jukebox, so he has to scale it back. I’ve so been there.”

That jukebox makes its appearance in the ultra-short second verse, and they specifically named an old-fashioned model instead of a modern, digital version — to rhyme “quarter” with “order,” and to carry out the wishing motif: The guy is throwing coins in a music machine instead of a fountain. “Who wants to sing about typing in your Apple Pay on the TouchTunes on your iPhone?” LaCorte asks rhetorically. “It’s a little less poetic.”

For a quickie bridge, they extended the wish motif – at closing time: He’s still alone and decides to wish upon a “2 a.m. star.” While the words pass fast throughout the song, they flow smoothly, allowing the listener to get absorbed in its musicality. “That’s one of my main priorities when I’m writing, is that I want to make sure that there’s nothing that sounds unnatural in the phrases,” Pendergrass says.

LaCorte whipped up a sparse, mostly acoustic demo with Pendergass singing lead. And Warburton developed a simple, melodic guitar riff. “I’d just been noodling,” Warburton recalls. “Chris was like, ‘Oh, what’s that? Put that in there.’ ”

“Wish You Well” became a favorite for Hang Your Hat Music GM/executive vp Jake Gear, who was hired as Universal Music Group Nashville vp of A&R in March 2024. Around then, he gave the demo to Mason, who was signed to MCA Nashville, without any kind of suggestion that he might want to cut it.

But Mason fixated on it and, after a month of listening, committed to it. The demo was strong enough that they used it as the foundation for the master recording, and the guitar was so rhythmic that they flirted with skipping drums. Ultimately, Aaron Sterling added parts, first playing cajon, though he gradually moved to a more standard kit.

“We were kind of like, ‘Play the drums, but don’t draw attention to the drums,’ ” Mason recalls.
Mason had trouble making the words feel distinct when he cut the lead vocal, so he came back twice, and they cut the tempo both times, finally settling at 169 beats per minute, about six beats slower than the original pace.

“It’s a very wordy song, a very fast song, and there’s a lot of syncopation to that melody,” LaCorte explains. “It takes a lot [of] reps so [that] it comes out naturally. But it definitely helped once we backed it down a few clicks.”

Justin Schipper overdubbed steel and Dobro, and Josh Reedy from Thomas Rhett’s road band delivered harmonies, which get a stark highlight in the final chorus in engineer Dave Clauss’ mix. The track was so commercial that MCA took it to country radio on Feb. 13, making it Mason’s first cut that was serviced to broadcasters. It’s at No. 56 after three charted weeks on the Country Airplay list dated March 29.

“Growing up listening to country radio, I think you kind of just know,” Mason reasons. “It’s just got that X factor and that little bit of a hit thing, and I think it has the best chance on a first listen to grab people’s ear.”

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.

“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.

“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’s The Errors Tour itinerary includes:

(with Sincere Engineer)
3/29 – Buffalo, NY @ Town Ballroom
3/30 – Buffalo, NY @ Town Ballroom
4/1 – Toronto, ON @ The Opera House
4/2– Toronto, ON @ The Opera House
4/4 – Cleveland, OH @ House of Blues
4/5 – Cleveland, OH @ House of Blues
4/6 – Chicago, IL @ House of Blues
4/7 – Chicago, IL @ House of Blues
4/9 – Detroit, MI @ Majestic Theatre
4/10 – Detroit, MI @ Majestic Theatre

(with Smoking Popes)
6/6 – Denver, CO @ Summit Theater
6/7 – Denver, CO @ Summit Theater
6/8 – Salt Lake City, UT @ The Depot
6/9 – Salt Lake City, UT @ The Depot
6/11 – Seattle, WA @ The Showbox
6/12 – Seattle, WA @ The Showbox
6/13 – Portland, OR @ Revolution Hall
6/14 – Portland, OR @ Revolution Hall
6/16 – San Francisco, CA @ August Hall
6/17 – San Francisco, CA @ August Hall
6/19 – Anaheim, CA @ House of Blues
6/20 – Anaheim, CA @ House of Blues
6/21 – Las Vegas, NV @ Fremont Country Club
6/22 – Las Vegas, NV @ Fremont Country Club
6/24 – Mesa, AZ @ The Nile
6/25 – Mesa, AZ @ The Nile
6/27 -Austin, TX @ Emo’s
6/28 -Austin, TX @ Emo’s

(with The Sleeping)
9/6 – Lake Buena Vista, FL @ House of Blues
9/7 – Lake Buena Vista, FL @ House of Blues
9/8 – Atlanta, GA @ The Masquerade (Hell)
9/9 – Atlanta, GA @ The Masquerade (Hell)
9/11 – Nashville, TN @ Main Stage at Eastside Bowl
9/12 – Nashville, TN @ Main Stage at Eastside Bowl
9/13 – Charlotte, NC @ The Underground
9/14 – Charlotte, NC @ The Underground
9/16 – Philadelphia, PA @ Brooklyn Bowl
9/17 – Philadelphia, PA @ Brooklyn Bowl
9/19 – New York, NY @ Irving Plaza
9/20 – New York, NY @ Irving Plaza
9/21 – Boston, MA @ Paradise Rock Club
9/22 – Boston, MA @ Paradise Rock Club
9/24 – Asbury Park, NJ @ Stone Pony
9/25 – Asbury Park, NJ @ Stone Pony
9/26 – Huntington, NY @ The Paramount

The Long Feng art car will serve as the stage for the upcoming Framework in the Desert parties happening around the first weekend of Coachella 2025.

Electronic events producer Framework announced Wednesday (March 26) that the lineups for these parties will feature Dutch producer Mau P, Manchester’s Interplanetary Criminal and California native Max Styler on Saturday, April 12, and Alesso playing one of his underground Body Hi sets on Sunday, April 13, with special guests Francier Mercier and Layton Giordani. The lineup for Friday, April 11, will be announced in the coming weeks.

Framework in the Desert will be the first time that the Long Feng art car has appeared outside of Burning Man, where it made its debut last year. Featuring sets by a flurry of underground DJs, the car was an immediate standout for both its Funktion-One sound system and dragon design.

These festival afterparties are happening at the Atlantic Aviation airport hangar in Thermal, Calif., a few miles from the Coachella site. Tickets are on sale now.

“Framework is back at the Atlantic Aviation hangar in Thermal, bringing our staple production and musical artists to the desert,” said Framework co-founder Kobi Danan. “After unforgettable moments like Chris Lake with Fisher, Black Coffee b2b The Martinez Brothers, Peggy Gou and last year’s standout sets from Charlotte de Witte, Dom Dolla and John Summit, Framework in the Desert has cemented itself as a pivotal extension of the festival experience. In 2025, expect a fresh lineup of global talent and forward-thinking artists, all set in an atmosphere for those craving something beyond the main stage. This year, we’re adding exciting new elements while keeping the unique vibe that’s made this event a fan favorite.”

Framework also curates the lineups for Coachella’s club space, the Yuma Tent, which will this year feature DJ/producers including Mercier, Indira Pagonotto, Vintage Culture, Amelie Lens, Haai, Tripolism, Damian Lazarus and many more. Coachella 2025 happens April 11-13 and April 18-20 in Indio, Calif., with headliners including Lady Gaga, Green Day, Post Malone and Travis Scott.

See the poster for Framework in the Desert below:

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

“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.