Houston psych-rock trio Khruangbin have announced a new run of U.S. tour dates in support of their latest album, A La Sala.

Announced on Monday (Jan. 13), the critically-acclaimed trio added an additional 25 dates to their 2025 schedule, with their North American shows launching in Grand Prairie, TX on Apr. 9. The group will travel across the country throughout April, May, and June, with headline dates planned alongside festival dates at the recently-announced BottleRock Festival in Napa Valley and Buena Vista Lake’s Lightning in a Bottle Festival. They’ll wrap up their current schedule with a return to the U.S. in September for an appearance at Louisville’s Bourbon & Beyond Festival.

The newly-announced dates will also see the band joined by the likes of Helado Negro and John Carroll Kirby on select dates.

Khruangbin return to the road with shows in New Zealand and Australia throughout February and March. They’ll return to Europe and the U.K in August, with headline dates and festival appearances scheduled to take place across the likes of Norway, Finland, Germany, and Turkey.

The current run of dates appear to wrap up the touring schedule for Khruangbin’s fourth album A La Sala, which was released in April 2024 and peaked at No. 38 on the Billboard 200. Despite the record arriving 14 years into the band’s career, its release and critical reception was enough for Khruangbin to receive a nomination for Best New Artist at the 2025 Grammy Awards.

Khruangbin 2025 ‘A La Sala’ Tour Dates

April 9 – Texas Trust CU Theatre at Grand Prairie, Grand Prairie, TX
April 12 – The Cynthia Woods Mitchell Pavilion, The Woodlands, TX
April 15 – Firefly Distillery, Charleston, SC
April 16 – The St. Augustine Amphitheatre, St. Augustine, FL
April 18 – The BayCare Sound, Clearwater, FL
April 19 – FPL Solar Amphitheater at Bayfront Park, Miami, FL
April 22 – Moody Amphitheater, Austin, TX
April 23 – Moody Amphitheater, Austin, TX
May 18 – Wonderfront Festival, San Diego, CA
May 21 – Santa Barbara Bowl, Santa Barbara, CA
May 22 – Santa Barbara Bowl, Santa Barbara, CA
May 23-25 – BottleRock Festival, Napa Valley, CA
May 24 – Lightning in a Bottle Festival, Buena Vista Lake, CA
May 27 – WAMU Theater, Seattle, WA
May 28 – Hayden Holmes Amphitheater, Bend, OR
May 29 – Outlaw Field at Idaho Botanical Garden, Boise, ID
May 31 – The Outside Festival, Denver, CO
June 20 – Mountain Jam Festival, Highmount, NY
June 21 – Stage AE Outdoors, Pittsburgh, PA
June 22 – Electric Forest Festival, Rothbury, MI
June 24 – Ben & Jerry’s Concerts on the Green, Shelburne, VT
June 27 – The Stage at Suffolk Downs, Boston, MA
June 28 – The Capitol Groove Festival, Hartford, CT
June 29 – Thompson’s Point, Portland, ME
September 12-14 – Bourbon & Beyond Festival, Louisville, KY

The upcoming Balloonerism record from late rapper Mac Miller is set to release alongside a short film of the same name, a new announcement says.

Miller’s Balloonerism – the second posthumous album released since his 2018 passing – is scheduled for release on Friday (Jan. 17), though fans can ease themselves into the experience with its accompanying new film.

Based on the lyrics and music of Miller, and directed by Samuel Jerome Mason, the animated Balloonerism “follows a group of school friends who are transfigured by the music of a chord organ and launched into a shadow world”, a synopsis of the film reads. “Swallowed by the turtle of time, they must plod through the underbelly of adulthood.”

The film is scheduled for a Wednesday (Jan. 15) release throughout the U.S., with international fans receiving it one day later. A series of “One Night Only” advance theater screenings are scheduled around the world, including in New York City and Miller’s native Pittsburgh. Other screenings are planned for Australia, New Zealand, Germany, Ireland, France, Canada, and the U.K.

In keeping with the theme of the new record, tickets are priced at $5 (or the “approximate equivalent in ex-US markets”) in line with the album’s lead single, “5 Dollar Pony Rides”.

Miller’s Balloonerism album has been the subject of fan speculation for over a decade now, with the rapper having recorded it around the time of his 2013 album Watching Movies with the Sound Off and follow-up mixtapes, Delusional Thomas and Faces. Following the circulation of leaked songs amongst fan communities, the record’s official release was teased with a trailer at November’s Camp Flog Gnaw festival.

“We believe the project showcases both the breadth of his musical talents and fearlessness as an artist,” they added. “Given that unofficial versions of the album have been circulating online for years and that releasing Balloonerism was something that Malcolm frequently expressed being important to him, we felt it most appropriate to present an official version of the project to the world.”

Last week, “5 Dollar Pony Rides” was shared ahead of the album’s arrival and features Miller’s close friend and collaborator Thundercat helping out on the production side of things.

Travis Kelce may have accidentally dropped a Taylor Swift Easter egg.

The Kansas City Chiefs tight end made an appearance on The Pat McAfee Show on Monday (Jan. 13), where he was asked about being around his Grammy-winning girlfriend while she’s finding musical inspiration.

“Let’s just say you’re hanging and out and having a little dinner and all of the sudden the creative juice sparks,” McAfee began, “and the absolute beast that you’re sitting with who is going to go down as maybe the most famous icon in the history of music … are you a motivator every single time?”

Kelce responded that he would “never chime in” during Swift’s writing process, “but I’m here to support it. I’m here to see where it can go.”

When McAfee suggested Swift might be working on an album about a “good” guy (joking that he’d heard about all the “f—boys” on previous albums, thanks to his Swiftie wife), Kelce cheekily said, “There might be a few.”

“You know I can’t say, you know I can’t say… any of that,” he continued. “I hear music everywhere.”

The superstar’s last album was The Tortured Poets Department, which was released back in April. Swift’s 31-track 11th studio album was No. 1 on the 2024 year-end Billboard 200 albums chart, followed at No. 2 by Swift’s own 1989 (Taylor’s Version), which was released in 2023. Tortured Poets outperformed all of her past albums on the Billboard 200 by spending 15 weeks at the top of the chart. The LP arrived amid Swift’s record-breaking Eras Tour, which wrapped last month after 149 shows.

Elsewhere in the new interview, Kelce talks to McAfee about his role in Adam Sandler’s Happy Gilmore sequel and how “bananas” the crowd was at the Eras Tour concert at Indianapolis’ Lucas Oil Stadium in November.

Watch Kelce’s chat about Swift below:

Halsey‘s path to chart-topping success began in the most unexpected of places: the New Jersey hardcore scene.

In a recently surfaced TikTok video, the Grammy-nominated artist, whose real name is Ashley Nicolette Frangipane, reflected on her early days organizing shows for hardcore and metal bands.

“I used to promote hardcore shows in Jersey before I started making music,” Halsey in the clip during a meet-and-greet event at Ulta for her About-Face beauty line. “I did a lot of hardcore but then also some of the more commercial hardcore. The biggest show I ever booked, I was 16, was like August Burns Red and The Devil Wears Prada.”

Halsey also shared that her senior yearbook quote was inspired by the hardcore band Defeater, adding, “I’ve said before that I might have quoted Hundredth, too, so who knows.”

The singer’s roots in hardcore may seem worlds away from her current pop dominance, but certainly add context to the genre-blending ethos that has defined her career. Her 2015 debut album, Badlands, entered the Billboard 200 at No. 2, a position she has since matched with Manic in 2020 and If I Can’t Have Love, I Want Power in 2021. Halsey earned her first solo Billboard Hot 100 No. 1 with the 2018 smash hit “Without Me,” while her latest album, The Great Impersonator (2024), debuted at No. 2 on the Billboard 200 and topped the Top Rock & Alternative Albums and Top Alternative Albums charts, selling 93,000 equivalent album units in its first week, including 81,000 in traditional album sales, according to Luminate.

The Great Impersonator marked her third leader on the latter following If I Can’t Have Love, I Want Power (2021) and Badlands (2015). It also entered Billboard’s Top Album Sales chart at No. 2, driven by strong vinyl sales, which accounted for 26,000 of the total.

The album features tracks like “Panic Attack” and “Ego,” which debuted on the Hot Rock & Alternative Songs chart at No. 25 and No. 30, respectively. “Ego” made notable progress on radio, peaking at No. 25 on Adult Pop Airplay and reaching No. 28 on Pop Airplay.

Halsey’s foray into rock and metal began long before her chart-topping success. Her 2021 album, If I Can’t Have Love, I Want Power, produced by Trent Reznor and Atticus Ross, featured collaborations with rock icons like Dave Grohl and Lindsey Buckingham. With The Great Impersonator, Halsey continued her rock-inspired exploration, even recreating iconic looks of artists like David Bowie, Cher, and Bruce Springsteen in the lead-up to the album’s October 2024 release.

After almost 16 years spent as The Weeknd, Abel Tesfaye says he is considering retiring his famous musical moniker after his upcoming projects.

Tesfaye spoke at length about his experiences with music in recent years as part of a new cover story with Variety, which coincides with the release of his new album, Hurry Up Tomorrow, on Jan. 24. While discussing the journey that led to this new record, Tesfaye looked back to an infamous show at California’s SoFi Stadium in Sept. 2022. Just four songs in, Tesfaye’s failing voice necessitated the cancelation of the gig’s remainder.

As he explains though, a trip to his doctor resulted in nothing out of the ordinary. “And that’s when we came to the realization that it was all up here,” he told the publication while pointing at his head.

It was the combination of factors – ranging from the myriad items on his already-packed schedule to the mental exhaustion – that has since weighed heavily on Tesfaye as he strides toward the release of Hurry Up Tomorrow. Promoted with billboards that teased an impending end, and social posts that indicated his story would conclude with this final ‘chapter’, Variety pushed Tesfaye about what his repeated references “closing this chapter” relate to. “I would say my existence as the Weeknd,” he explains.

“It’s a headspace I’ve gotta get into that I just don’t have any more desire for,” he continues. “You have a persona, but then you have the competition of it all. It becomes this rat race: more accolades, more success, more shows, more albums, more awards and more No. 1s. It never ends until you end it.”

“Part of me actually was thinking, ‘You lost your voice because it’s done; you said what you had to say. Don’t overstay at the party — you can end it now and live a happy life’,” he adds, looking back at his canceled 2022 show. “Put the bow on it: ‘Hurry Up Tomorrow’? Now we’re here. When is the right time to leave, if not at your peak? Once you understand who I am too much, then it’s time to pivot.”

As Tesfaye asserts, though the closing of this chapter may see The Weeknd as fans know it coming to an end, it won’t be the end of music that he makes.

“I don’t think I can stop doing that,” he says. “But everything needs to feel like a challenge. And for me right now, the Weeknd, whatever that is, it’s been mastered. No one’s gonna do the Weeknd better than me, and I’m not gonna do it better than what it is right now. I think I’ve overcome every challenge as this persona, and that’s why I’m really excited about this film, because I love this challenge.

“But I just want to know what comes after,” he adds. “I want to know what tomorrow looks like.”

Tesfaye is scheduled to release his sixth studio album as The Weeknd, Hurry Up Tomorrow, on Jan. 24. On May 16, his film of the same name will be released via Lionsgate. Directed by Trey Edward Shults (Waves, It Comes At Night), the film will mark Tesfaye’s feature-starring debut, and serves as something of an extension of the forthcoming album.