2hollis Announces 2027 Pirouette Tour Dates

Following the massive success of his 2025 major label debut star—which propelled him to sold-out tours across North America and Europe, alongside high-profile festival slots at Coachella and Lollapalooza—the hyperpop visionary 2hollis is set to return to the stage. The artist has officially announced his upcoming 2027 Pirouette tour, a sprawling run of live shows supporting his highly anticipated new album, Pirouette, which arrives on November 11.

2hollis, who first gained traction crafting electronic music in his bedroom, has cultivated a singular aesthetic that blends underground rap, industrial techno, and experimental pop. His ability to deliver emotionally charged songwriting through a distorted, genre-defying lens has cemented his status as a unique force in modern music. For this upcoming tour, he will be joined by special guests Lucy Bedroque and Conceal.

Tour Schedule and Routing

The Pirouette tour is set to be a global affair. The North American leg kicks off on November 14 in Los Angeles at Camp Flog Gnaw, followed by a comprehensive run through major cities including Chicago, Toronto, Atlanta, and Dallas. The tour will also hit the PNE Forum in Vancouver on March 12, 2027, before concluding the North American portion of the trek in Brooklyn on May 14 at Under the K Bridge Park.

International fans can catch the tour throughout April 2027, with dates scheduled across Europe and the U.K. Highlights include performances at London’s OVO Arena Wembley on April 7, Berlin’s UFO im Velodrom on April 16, and a final European stop at Paris’s Zénith on April 21.

Ticket Information

Fans looking to secure their spot for the Pirouette tour should note that the artist presale begins on October 27 at 10 am local time. Venue presales follow at 11 am, with Spotify presales for the EU and UK markets opening at 2 pm. General ticket sales for all dates will commence on October 28 at 10 am local time.

Cece Natalie Breaks Down Her “Flood Whole Towns” Music Video

Cece Natalie has been on a serious run since The FADER caught up with the producer-popstar backstage at Elsewhere last fall. Following an 8-song EP of loosies at the end of 2025, she went on tour this spring with PinkPantheress, and dropped a bomb new single, “DOMINO.” Despite mixed reactions to her opening slot for Pink, it’s clear that Cece has been dialing in the dark aesthetic of her throbbing alt-pop, which sits somewhere between Amethyst-era Tinashe and “Summer Bummer” Lana Del Rey.

Her latest single “Flood Whole Towns” sketches an impressionist portrait of a thorny relationship, the sort that your friends might call codependent at best and toxic at worst. “I defend you with my life, they just wanna protect me / the bad aftertaste in all their mouths, I L-O-V-E-E.” Cece’s music is preoccupied with this sort of bittersweetness, the ways that affection and attraction can bring out the worst in ourselves and our lovers, and how we might find that pain more pleasurable than problematic. When Cece Natalie says she doesn’t want to be a typical Y2K pop princess, she means it.

The Creative Vision Behind “Flood Whole Towns”

Speaking exclusively about recording “Flood Whole Towns” with co-producer Aaron Shadrow, Cece noted, “Different little elements sound like they’re from different time periods, to me. And I like that the outro vocals get progressively more off-key the more I say ‘I blame you.’” She explained that her vocal approach aimed to balance those different “eras” she was hearing in the instrumental.

“There isn’t a lot of Autotune on this song because it would sound too pretty and too modern,” Cece says. “I like that some lines are straightforward and others feel kinda medieval. I don’t really know how I came up with ‘the cross that I bear is the clutter inside,’ but it’s a top 10 favorite lyric in any song of mine. I write and record simultaneously, but I was pulling from journal entries where I give myself permission to be as irrational as I want to be.”

Cece also helped co-creative direct the treatment for the music video, stating, “I got to include some of the things that I have always wanted in my visual world, like fantasy, adventure, and death. It was really cool in a way, also, to build a story where I die at the end. I didn’t want to make myself the hero of my story this time. There is no hero.”

A Cinematic Collaboration

Director Hannah De Vries, who previously directed the video for “Exitin,” praised the collaboration: “I’m obsessed with the Cece Natalie character and myth. Mia has a rawness and unapologetic way of acting, performing, and moving that is her superpower and her charm.”

Speaking to the video treatment, De Vries added, “Mia loves Nosferatu and Salem witch trials-esque aesthetics, and so I was looking at Brothers Grimm and fable stuff… which led me to this Rumpelstiltskin moment… like who’s doing Rumpelstiltskin? No one girl.”

“Had to Google how to use the 100 year old colonial spindle.”

“I look so kind here.”

“I wish my hair was my height in inches multiplied by 3 +50 inches.”

“Something about my facial expression or my posture makes me look like I am a plastic doll.”

“I trapped a spirit in the wooden toy snake.”

“I had my quarantined misophonia lunch break here.”

“I love rolling around in a pile of hay but it got in my eyeball and it hurt.”

“This was my first time ever letting anyone do my makeup. Now I don’t look busted.”

“I wanted to film at the masonic lodge but they were charging a trillion dollars and some change so we found this old house instead.”

“I like this one cause my a** looks so fat.”

“This one is so divorce movie.”

Audrey Hobert’s Jokes Are Universal: A Night at Brooklyn Paramount

Audrey Hobert was thankful to be at the Brooklyn Paramount after a mildly received performance on Jimmy Kimmel. “They just kind of sit there,” Hobert demurred about the late-night TV crowd as she stepped onto the stage for night two of three sold-out shows in Brooklyn. Audrey Hobert’s jokes are universal, and her ability to connect with a live audience is undeniable.

Indeed, her crowd at the Paramount on September 30 was certainly not just sitting there. It took me about 45 minutes to get into the show for unclear reasons and the line snaked around three full blocks, resembling a multi-colored lanyard of Gen Z and Millennial pop fans dressed in bright pinks and yellows, and some even in full thematic clown regalia. Once inside, the crowd was faced with a mannequin, a curious decoy prop, on stage before the show began. Once Hobert arrived, standing atop a chair that was covered by an absurdly long trenchcoat a la The Little Rascals, the attendees were pretty much unanimously partaking in collective karaoke.

@allychiu Audrey Hobert at Brooklyn Paramount was so good live #audreyhobert #audreyhobertconcert #audreyhobertlive #brooklynparamount #audreyhoberttour @Audrey Hobert ♬ original sound - Ally

The Evolution of a Pop Storyteller

Hobert only has 12 songs in her catalogue, but the love she has accrued from a growing audience is deep and thorough. She first emerged into public awareness as Grace Abrams’ best friend and co-writer. With her debut single “Sue Me,” Hobert distinguished herself as a wholly different kind of artist. By the time she released her debut album Who’s the Clown? last August, she was well set up to expand the capacity of her big top circus beyond fans of Abrams.

At times in the Brooklyn venue, it was hard to hear her vocals as the crowd became a choir. The set wasn’t much more than 30 minutes long, but what it lacked in length it made up for in triumphant and theatrical monologues and prop work. Of the various items Hobert brought on stage with her, there was a trampoline, a barbeque lighter treated like an Olympic torch, red roses, and a fan that strategically blew Audrey’s blonde locks like she was in a soap opera.

@audreyhobertworld THIS WAS EVERYTHINGGG #audreyhobert #tour #nyc ♬ original sound - audreywethair

Narrative and Catharsis

The gags were seasoning for the matter at hand, which was ultimately Hobert’s storytelling. Hobert, whose background is in playwriting and screenplays, has a strong intuition for narrative and momentum. Her songs feel like tight sitcom episodes, with tension and resolution. It even has a laugh track in all of us, as Hobert consistently offers up one-liners that beckon guffaws. The music is vulnerable, yes, but it is also reliably entertaining.

Does its crowd-pleasing quality make Hobert the titular clown of her album title? Not necessarily. In its relatability and universality, Hobert’s music renders all of us the clown. It’s not embarrassing, though, to be a jokerster in this universe. At Brooklyn Paramount, we were all in on the joke together, singing along in the collective circus.

KATSEYE Deliver High-Energy Debut on Saturday Night Live

Global pop sensation KATSEYE made their highly anticipated debut on Saturday Night Live this past weekend (September 26), serving as the musical guests for the season 52 premiere hosted by NBA star Jalen Brunson. The group delivered a polished performance, showcasing their vocal and choreographic prowess on the iconic Studio 8H stage.

Appearing as a four-piece, the group featured Daniela Avanzini, Lara Raj, Megan Skiendiel, and Yoonchae Jeung. Members Manon Bannerman and Sophia Laforteza are currently on hiatus, though the remaining quartet maintained the group’s signature high-energy stage presence.

For their first set, the group performed ‘Animal’, the lead single from their recent EP Wild. The track, which was co-written by Ed Sheeran, has already proven to be a commercial success, climbing to Number 24 on the Billboard Hot 100. The performance highlighted the group’s tight choreography and pop sensibilities.

Watch the performance of ‘Animal’ below:

Later in the evening, the group returned to the stage to perform the more playful ‘Hootie Frutti’, another standout track from the Wild EP. Beyond their musical contributions, the members also participated in a pre-recorded comedy sketch that parodied The Debut: Dream Academy, the competition series that originally formed the group.

Watch the performance of ‘Hootie Frutti’ below:

The group is currently in the midst of their ‘WILDWORLD’ arena tour, which recently concluded its European leg. As they continue to navigate their rapid rise in the music industry, their Saturday Night Live appearance marks a significant milestone in their career, further cementing their status as a global pop force.

Rhea Raj is here for South Asia’s global domination

When Rhea Raj calls in from her home in Los Angeles, a week has passed since the news officially dropped that the nascent popstar inked a joint venture with HYBE America, Republic Records, and 5 Junction Management. The deal—which bears resemblance to the HYBE x Geffen contract that formed her younger sister Lara’s multinational girl group KATSEYE—has been a long time coming, she says.

“I think about the timeline of my life so much,” she adds. “Where I’m at right now feels like all the stars have aligned themselves in a way that I always hoped they would. I couldn’t have been better poised for it than I am right now.”

Courtesy of HYBE/Republic

Even though many have discovered Raj in the past few years, the singer has been pursuing superstardom for a decade. Her first parlay with the spotlight was as a contestant on season 15 of American Idol in 2016. In the last few years she has bubbled up on her own through two album releases and a slew of confident and slinky capital-P pop singles like 2022's "Devil In A Dress." But only now, she says, does she feel like she has the tools to finally be able to build the full extent of her dreams. “For the first time in my life, I’m creating music and visuals of my next project from the most genuine, innocent, childlike space I’ve ever been in before,” she says.

A New Chapter with Industry Titans

Reflecting on her journey, Raj notes that her path to this moment was paved by years of independent hustle. After moving from New York to Los Angeles five years ago, she focused on writing and producing for herself and others. A pivotal moment came when she reconnected with her manager, Anjula Acharia—the powerhouse behind Priyanka Chopra. “She’s our it-girl icon who came from India and did her thing in the U.S.,” Raj explains. With Acharia’s guidance, Raj secured meetings with Republic Records founder Monte Lipman and HYBE America’s CEO Isaac Lee, effectively assembling what she calls her “Avengers” team.

Courtesy of HYPE/Republic

Championing South Asian Representation

For Raj, this career milestone is about more than just personal success; it is about visibility. Growing up as an Indian-American, she balanced her love for classical Indian dance with a deep appreciation for Western pop icons like Britney Spears and Rihanna. “Growing up, I didn’t see people from India or South Asian artists on big stages,” she says. “I hope that by signing with a big label, I can reach more people and versions of little Rhea. I want them to see all the things that I’ll do over the course of my life as an artist and think, ‘I can do this too.’”

It’s so crazy to me that when you see women in general, but especially a woman of color, breaking boundaries, people always want to find a way to undermine how someone got there.

Addressing the inevitable online criticism regarding her rapid rise and industry connections, Raj remains focused on her craft. She chooses to ignore the noise, preferring to let her work speak for itself. Looking ahead, she is excited about the prospect of collaborating with her sister, Lara, and continuing to turn her personal experiences—including the challenges of her early career—into art. “I’m going to use all of the fear, sadness, and pain and continue turning them into art,” she concludes. “That’s the beauty of life.”

Miley Cyrus Hits the Limit of Reinvention on ‘Bass Persuades’

Miley Cyrus is in love again. On the former child star’s tenth studio album, Bass Persuades, Miley (who now goes by just her first name) churns out ballads and dance-rock with driving beats. If you’re wondering if being in love and becoming stable can still make for great music, her new record isn’t a great case study.

The cover of Miley's Bass Persuades.Mert Alas

Like the Queen of Pop Madonna, Cyrus has always been a queen of reinvention—shedding her Hannah Montana persona for rap and EDM on Bangerz (2013), shifting to stripped, stoner ballads on Dead Petz (2015), country-pop on Younger Now (2017), grunge-rock on Plastic Hearts (2020), before finally settling on more traditional pop on her last two records Endless Summer Vacation (2023) and Something Beautiful (2025).

Bass Persuades lies somewhere between the radio-friendly pop of “Flowers” and the edge of “Midnight Sky.” The lead single attempts to use spoken word and grim synths to make an appeal to Gen Z: it’s time to party. The opening of the record suggests a far more punchy outing from Miley than what she ultimately delivers. The title track is a confused version of Madonna’s “Danceteria” where Miley wishes the kids still wanted to dance, but the “bass persuades.” She lists the dangers of modernity: “Candy’s cut with fentanyl,” “paving over pastures ‘cause horses are gone,” and the kids don’t have MTV, but we should “go analog.” It’s catchy, but it’s more of a mouthful than an anthem like Madonna’s “Music” or “Dance Till The World Ends”—failing to sound at ease on the dance floor. The second song, “Different Religion” featuring Model/Actriz, is one of the standouts on the album, cohering far more than the messy antics of the title track.

Behind the Scenes: Kim Petras’s “Autobahn” Music Video

German pop sensation Kim Petras is back with another compelling visual narrative. Following the release of the deluxe edition of her album Detour, titled Detour (Rare N' Deluxe), Petras has unveiled a striking music video for the standout track “Autobahn.” The song, which explores the complexities of unrequited love, serves as a thematic companion to her previous car-centric anthem, “Jeep.”

Reflecting on the creative process, Petras describes the track as a journey through the feeling of being lost. “For 'Autobahn,' I was thinking about what it feels like when someone doesn’t want you back — like you’re walking aimlessly in the wrong direction with a broken compass,” she shared. Sonically, the track draws inspiration from early 2000s pop, featuring peppy drum beats and acid synths that evoke the spirit of Michelle Branch.

A Visual Journey Through the Autobahn

The music video, directed by Neve Abcari, captures Petras navigating a Los Angeles-based interpretation of the German highway. The aesthetic leans heavily into 2000s Euro-fashion, with a notable nod to her heritage as she dons traditional Gretel-style German attire. This visual storytelling complements her recent, more candid explorations of her upbringing and her transition to independent artistry.

To provide a deeper look into the production, Petras shared a series of exclusive behind-the-scenes photos from the shoot.

BTS of Kim Petras's "Autobahn" music video

"Blue light therapy / into the zone vibes / icy blue everything" — Kim PetrasCourtesy of Kim Petras

"Btw did u know im German"Courtesy of Kim Petras

"Walking into oncoming traffic <3"Courtesy of Kim Petras

From icy blue lighting setups to moments of playful vulnerability, the photos highlight the collaborative energy on set. Petras noted, “Yes I was really on the cement,” emphasizing the hands-on nature of the production. As she continues to evolve her sound and visual identity, this latest project stands as a testament to her commitment to authentic, high-concept pop artistry.

Listen to Detour (RARE N' DELUXE) today and stay tuned for more updates on Kim Petras.

no na Preview ‘Island Girl’ with Cinematic Short Film

The Indonesian girl group no na is inviting fans into the vibrant, sonic world of their upcoming debut album, Island Girl, which is set for release on September 18. To mark the occasion, the group has unveiled a 13-minute short film titled “speaker freaker (the long song),” providing a cinematic preview of the project.

The ambitious visual project features snippets from eight tracks off the album, including previously released singles “rollerblade” and “work.” Shot on location across Indonesia—specifically in the bustling urban centers of Jakarta and Yogyakarta—the film captures the country’s stunning coastal landscapes and energetic city life. Musically, the previewed tracks lean into a 2000s-inspired aesthetic, blending Detroit-style Ghettotech with the rhythmic, propulsive influence of traditional Indonesian gamelan.

“‘speaker freaker (the long song)’ is our fun little nod to mixtapes from the ’90s and early 2000s,” the group shared in a statement. “We loved the idea of taking people through the different tracks on Island Girl almost like they’re listening to a mixtape, and giving them a taste of the album before it’s fully out.”

The group, comprised of members Baila, Christy, Esther, and Shaz, described the filming process as an “island girl road trip.” They emphasized that the visual component was essential for grounding the album in their cultural identity. “It was really important for us to bring that Indonesian pride into the visual world of the album and share where we come from,” they noted. “We wanted the introduction to Island Girl to feel fun, playful, and a little unexpected.”

Since the viral success of their January single “work,” the group has rapidly ascended as global representatives of a new pop subgenre they call Island Pop. With Island Girl arriving later this month, the short film serves as a bold, non-traditional introduction to their evolving sound.

Miley Cyrus Returns with Club-Ready Single “Bass Persuades”

Miley Cyrus has officially returned to the spotlight, sharing the title track from her highly anticipated upcoming album, Bass Persuades. Set for release on September 18, the new single arrives alongside a choreo-heavy music video directed by Mert Alas, signaling a bold new chapter for the artist.

Throughout her expansive career, Miley has seamlessly navigated genres ranging from rock and country to hip-hop and pure pop. With this latest project, she appears to be leaning into a darker, industrial-pop aesthetic. The album is expected to feature collaborations with notable artists, including the NYC-based rock quartet Model/Actriz and Andrew Wyatt of the Swedish pop-rock trio Miike Snow.

Chxrry is the Whole Show: A Review of The Ego Tour

Baby’s All Right was simply too small for the energy Chxrry brought to the stage. As fans packed into the venue, it became clear that the Canadian singer-songwriter has firmly established herself at the center of pop girl conversations. Following the release of U, Me & My Ego, which masterfully blends synthpop, rage, and R&B, Chxrry has proven that The Ego Tour is a masterclass in performance.

Whatever the opposite of an industry plant is, that’s how The Ego Tour feels. When she emerged in front of the crowd at 8:15 p.m., Chxrry performed with minimal artifice, armed only with a microphone and a striking latex ensemble. The audience was fully engaged, singing along to every track. Even when navigating the absence of guest features, such as during a performance of “Badness,” the crowd filled the void, rapping every word of the verse before the artist herself, Cash Cobain, made a surprise appearance for an encore.

A Polished Evolution

The product of dedicated studio sessions with producer Believve, U, Me & My Ego represents a significant leap in quality from Chxrry’s earlier EPs. While tracks like “Blockstar” and “Bottles & Lights” were clearly designed to resonate in a live setting, the show also highlighted the emotional depth of her slower cuts. Collective renditions of “Bible” and “Boring” provided a sense of catharsis, proving that her music resonates deeply with listeners who map their own experiences onto her sonic landscapes.

For the live show, Chxrry reorganized the album’s tracklist to keep the audience on their toes. By moving from the defiant “Blockstar” to the self-assured “Main Character,” she weaves an underdog-to-star narrative that feels both personal and ambitious. As she noted in our previous interview, the album title is a reflection of her identity as both a person and an artist.

The Power of Presence

Despite some online discourse regarding the scale of her stage design, Chxrry is undeniably delivering a pop spectacle. In an era where many artists rely on heavy production, there is something refreshing and thrilling about a star who needs nothing more than her own presence to command a room. As she continues her tour, including a highly anticipated stop at Bowery Ballroom, it is evident that Chxrry is not just a rising star—she is the whole show.