Cynthia Erivo will be honored at American Ballet Theatre’s 2026 Fall Gala: Angels and Demons on Thursday, Oct. 29, at the David H. Koch Theater at Lincoln Center in New York City.

A Grammy, Daytime Emmy and Tony Award winner and three-time Academy Award nominee, Erivo has become one of the most lauded artists of her generation. Erivo’s portrayal of Elphaba in the Wicked films earned her widespread recognition. In 2025 she received her second career Grammy for “Defying Gravity” from the first Wicked film, performed with her co-star, Ariana Grande. Earlier this year, she returned to the West End in Dracula, taking on 23 characters in an ambitious one-woman production.

By the time of the American Ballet Theatre event, Erivo could have a Primetime Emmy as well. She has two nominations this year: outstanding variety special (live) as producer/host of the 2025 Tony Awards and outstanding variety special (pre-recorded) as principal performer/host of Wicked: One Wonderful Night.

“Few artists possess Cynthia Erivo’s extraordinary ability to transform themselves through performance,” Susan Jaffe, artistic director of American Ballet Theatre, said in a statement. “Whether through music, theater, or film, she brings an uncommon combination of artistry, emotional honesty, and fearless imagination to every role. Those are qualities we deeply value in ballet and strive to cultivate in every artist who takes our stage. Cynthia’s commitment to her craft and her ability to forge profound connections with audiences make her an inspiring artist and an especially meaningful honoree for American Ballet Theatre.”

Erivo’s connection to American Ballet Theatre dates to May 2020, when she appeared in the company’s first digital gala during the pandemic, American Ballet Theatre Together Tonight, in which she performed an a cappella rendition of “America the Beautiful” accompanying a video of the company’s dancers.

In a nod to the Halloween season, “Angels and Demons” is the theme of this year’s Fall Gala. Curated by Jaffe, the one-night-only program will feature excerpts from ballets including Coppélia, Swan Lake, La Sylphide and Sylvia, as well as performances of Frederick Ashton’s Dance of the Blessed Spirits, Michel Fokine’s Le Spectre de la Rose and Agnes de Mille’s Three Virgins and a Devil.

Following the performance, the Angels and Demons celebration will continue with dinner and dancing on the Promenade of the David H. Koch Theater.

The Fall Gala is American Ballet Theatre’s premier annual fundraising event. The 2026 Fall Gala will be led by Gala Grand Chairs Sloan Lindemann Barnett and Violet Barnett; Emily Blavatnik and Laila Blavatnik; and Julia Koch and Mary Julia Koch, three mother-and-daughter pairs joining together in support of American Ballet Theatre and its artists.

Playboi Carti thankfully did not have to wait long to make his presence known at London’s Wembley Stadium.

The rapper, who is supporting The Weeknd on the London stretch of his After Hours Til Dawn Tour, returned to the stage during the headliner’s set to reunite with The Weeknd for two of their biggest collaborations: “Timeless” and “Rather Lie.”

The Weeknd’s revamped 2026 setlist features over 30 songs spanning his career, from After Hours favorites such as “After Hours” and “Faith” to Hurry Up Tomorrow cuts including “Baptized in Fear,” “Open Hearts” and “Wake Me Up.” But midway through the set, the energy shifted toward Carti territory, with the pair launching into “Timeless” before following it with “Rather Lie.” Capital FM reports that Carti joins The Weeknd onstage for both collaborations.

The onstage reunion is fitting as Carti serves as the direct supporting act for The Weeknd across his five-night Wembley run, which kicked off on Aug. 14. The two artists’ chemistry is hardly new. They first unveiled “Timeless” during The Weeknd’s one-night-only concert in São Paulo in September 2024, ahead of the song’s official release later that month.

And the numbers behind their collabs are pretty staggering. “Timeless,” from The Weeknd’s Hurry Up Tomorrow, climbed all the way to No. 3 on the Billboard Hot 100, and also snagged a two-week No. 1 run on Billboard’s Hot R&B/Hip-Hop Songs chart.

Then, earlier this year, Carti and The Weeknd doubled down with “Rather Lie” from Carti’s Music. The track debuted at No. 4 on the Billboard Hot 100, dated March 29, 2025, marking another top five hit for the duo. “Rather Lie” reached No. 3 on Hot R&B/Hip-Hop Songs.

The Weeknd’s After Hours Til Dawn Tour moves on to Dublin for two shows at Croke Park on Aug. 22-23 after the five-night Wembley Stadium run.

Watch a clip of Playboi Carti and The Weeknd performing “Timeless” here.

Flo Rida had Philadelphia’s Citizens Bank Park rocking for his Phillies postgame concert — and he got an unlikely assist from a sleepy baby in the crowd.

The Philly faithful stuck around to rock with Flo Rida after the 6-4 win over the Miami Marlins on Tuesday night (Aug. 18). The 46-year-old ran the gauntlet of his smash hits, moving from the field to the stands and ending up in the dugout.

While performing an a cappella version of his top five Billboard Hot 100 hit “My House” from atop the dugout, Flo Rida picked up a baby from an eager parent in the audience, which made for a hilarious moment.

Fitted in a baby Phillies jersey, the toddler seemed to be woken up from a nap with the speakers booming throughout the stadium. Flo Rida held the baby in one arm while rocking the mic in his other hand and gave the kid a kiss on the cheek before handing her over to the parents. A fan on X nicknamed the baby as the “People’s Princess of Philadelphia.”

So somebody gave Flo Rida a baby and he’s on the 1B dugout with it? pic.twitter.com/NqqPzOArHq

— George Basile (@Georgeadelphia) August 19, 2026

Flo Rida starts #Phillies post game concert with «This is my Jam» pic.twitter.com/Fe7ti7C2JG

— David Malandra Jr (@DaveMReports) August 19, 2026

Flo Rida had plenty of fun throughout the performance as he had fans and a crew of hype men join him on the makeshift stage for 2015’s “G.D.F.R.” which reached No. 8 on the Billboard Hot 100.

“Cannot wait for the Flo Rida concert portion of the World Series Video Yearbook,” one fan joked on X while attempting to manifest another Philllies World Series appearance.

The Phillies have hosted Nelly, Zedd and Vanilla Ice for postgame shows in the past. The Phillies sit in second place at 69-58 in the NL East but currently hold a wild-card playoff spot.

The Florida-bred hitmaker has 29 Hot 100 entries to date, including 11 top 10s and three No. 1 hits.

The Stray Cats are a very rare breed.

Hailing from Long Island, schoolmates Brian Setzer (vocals, guitar), Lee Rocker (double bass), and Slim Jim Phantom (drums) smashed their way into the British mainstream in the early ‘80s, a glorious time of musical freedom when post punk, new wave, and electro-pop acts could slot into rotations alongside some of the country’s sharpest protest artists.

The Stray Cats did it in style, with their rockabilly ways, great hair and hits — five of them crashed the U.K. top 40, and two entered the top 10. None went higher than “Rock This House,” which peaked at No. 9 on the Official U.K. Singles Chart in 1981.

Setzer and Co. stopped by The Tonight Show Starring Jimmy Fallon for a performance of that classic hit. The trio remain tight as a balloon stretched over a bowling ball, Setzer’s hair piled proper, his hands in fine fettle.

What a difference 18 months can make. In the early stages of 2025, Setzer revealed an auto-immune diagnosis, a disease that left him unable to play guitar. He sought treatment at the Mayo Clinic, and stayed optimistic. “I know I will beat this,” he wrote at the time, “it will just take some time.” Time helped and healed.

There’s a lot of love for the Stray Cats in their homeland, too. The rockers wrapped up a summer tour on Sunday, Aug. 16, in Morristown, NJ, and will start a month-long round of fall dates on Nov. 9 in Grand Prairie, TX with stops in Nashville, Charlotte, Orlando, Atlanta and more, before coming to a halt Dec. 6 at Foxwoods, CT.

“It’s good to be healthy and strong again,” Setzer says in a statement. “There’s something about the unique sound of The Stray Cats that keeps drawing me in. The Gretsch guitar, the acoustic bass, and the stand-up drums still sound pure and fresh today.”

In 2025, the band released their first new music in six years, “Stampede” and a cover of Eddie Cochran’s “Teenage Heaven,” both via Surfdog Records. A first pressing of “Stampede / Teenage Heaven” on 7″ blue vinyl sold out, and new variant was pressed to keep up with demand.

Watch the late-night performance below.

Not everybody wants to rule the world. Curt Smith would be happy with a stake in his beloved soccer team, Bath City FC.

The singer, songwriter and co-founder of Tears For Fears has contributed to a 50-strong investor group that is angling to buy the team, which currently plays in the Southern League Premier Division South.

The club’s board and supporters’ society have recommended the sale for about £6 million ($8.1 million), which should plug much-needed investment into the club.

Smith is now based in the United States but grew up in Bath, an historic town in Somerset, England, known for its Roman-built baths and for its short distance to several British icons, including Stonehenge, and the Eavis’ Worthy Farm in Pilton, the site of Glastonbury Festival.

“Here in Twerton, where I spent most of my youth, it is slightly under-served,” Smith tells the BBC. “For me it’s exciting we can do something for the community around here,” he continued.

The investor group is led by Andrew Stalbow, co-founder and CEO of a mobile entertainment company. Should the deal be approved and completed, Stalbow would become the club’s chairman.

“If I can lend my name and make people a bit more comfortable in investing and coming to the club, then I’ll do that,” Smith added. “At times you have to give back and this time I’m giving back to my home town.”

Smith, should the deal progress, would join a long list of musicians with British soccer connections. Elton John served as chairman and director of Watford FC, reporting pumping millions into the club from 1976 until 2002.

John’s “Merry Christmas” collaborator Ed Sheeran bought a 1% stake in his hometown team, Ipswich Town, and sponsors the club’s men’s and women’s team shirt jerseys. Snoop Dogg is an investor and minority shareholder in Welsh team Swansea City, while fellow hip-hop artist Stormzy is a part owner in AFC Croydon Athletic.

And Norman Cook (aka Fatboy Slim) supported his hometown Brighton & Hove Albion FC through tough times in the late 1990s and early 2000s, during which time his Brighton-based record label Skint Records serving as the team’s kit sponsor.

Few celebrities have turned around the fortunes of a club, and done with so many followers watching the process, quite like Hollywood actors Ryan Reynolds and Rob McElhenney have managed with Wrexham A.F.C., which has enjoyed three consecutive promotions, all of it captured for the series Welcome to Wrexham.

Away from the pitch, Smith and his bandmate Roland Orzabal ruled the charts and the airwaves in the mid-to-late 1980s as Tears For Fears, a stretch that included two No. 1 on the Billboard Hot 100 with “Everybody Wants To Rule The World” and “Shout,” both of which appeared on the double album Songs From The Big Chair, which sat atop the Billboard 200 for five weeks.

The duo’s last TFF studio album, The Tipping Point, came out in 2022, peaking at No. 8 on the Billboard 200 and hitting No. 1 on Billboard‘s Top Album Sales and Top Alternative Albums charts.

“It’s like making a music video,” Andrew Bundas says. “There’s no one way to do it.”

He’s speaking about an unusual but increasingly popular visual medium for musicians to promote their new music: planetarium shows. As planetarium educator for the Liberty Science Center in Jersey City, N.J., Bundas has worked on two of the most high-profile examples in recent years: Lil Yachty’s album release events for his Let’s Start Here in 2023, and, last week, listening experiences celebrating Phoebe Bridgers’ Lost Weekend release. 

From Aug. 10-14, fans around the world packed into 44 planetariums — in such far-flung locales as Bozeman, Mont., Vancouver, Glasgow and Auckland — to listen to Lost Weekend while watching one of two different visual experiences Bridgers offered in partnership with Spotify: a planetarium dome show, with original photography by National Geographic’s Babak Tafreshi, or a laser show. But on Aug. 13, the night before the Lost Weekend album release, Bridgers herself showed up to the Liberty Science Center’s Jennifer Chalsty Planetarium, speaking to the audience of fans and performing three tracks in the planetarium space. 

“That she came out the night of the release of the album to physically be in the planetarium, I think says a lot about how much she cared,” says Bundas. “It was really cool.”

Opened six years ago, the Liberty Science Center’s planetarium — which the center’s president and CEO Paul Hoffman notes is “the largest and most technologically advanced planetarium not just in the country but the whole Western Hemisphere” — offers particularly great visual potential to musicians. As Hoffman says, “in terms of resolution, it’s like watching the best HD TV, but on a screen more than 90 feet across.”

Artists of all sorts can take advantage of the capabilities of a planetarium — Hoffman and Bundas have worked with many cover bands, not just well-known stars like Bridgers and Yachty. But a show like Bridgers’, with custom astrophotography, or Yachty’s, with custom animation, can take “months and months and months of time” (astrophotography, for one thing, is very weather-dependent).

Following Bridgers’ Jersey City shows, Hoffman and Bundas spoke to Billboard about what they took to put on — and why more artists should see their local planetariums as an ideal music venue.

How did your planetarium get into working with musicians? 

Paul Hoffman: Our day job is getting astronomy and space science across [to visitors] at a time when discoveries and public interest are peaking. The kinds of images we’re getting from both ground and space-based telescopes are incredible. But we have one of the most sophisticated technological systems, really immersive for the visitor. We all know the Sphere in Las Vegas, but the Sphere is not intimate; this is an intimate setting, it’s 400 people. So we thought it would be wonderful to work with artists — visual artists, musicians — because what they do could be expressed on this incredible canvas. 

Andrew Bundas: A lot of people, when they think of what a planetarium is, it’s kind of an older style one where all we can do is look at the sky. But in the last five to ten years there’s been a huge increase in [sophistication of] the technology that’s in planetariums. We’re able to project 88 million pixels on the dome, 8K resolution powered by incredibly powerful graphics-generating computers — which really opens us up to working with artists and musicians and using the software we have to create amazing custom visuals.

Before Phoebe, what experience did you have working with musicians in the planetarium? 

Hoffman: We worked with Lil Yachty and his team, dropping his album. We’ve worked with cover bands — a Grateful Dead cover band, Strangers Stopping Strangers, used trippy space images and was fantastic. 

Bundas: I think they’ve played in the planetarium three times, and we made a lot of custom very cool slow-moving visuals to go along with their music.

Hoffman: Planetariums can also do laser shows, and they’ve had a real comeback. It’s fun for the right kind of musicians – you’re [playing music to] images that are totally surrounding the audience, so it can add a freshness to an artist’s practice to do a full-dome experience like ours. 

What approach do artists take typically? Do they arrive with a finished product or look to you to help them realize the dome show?

Bundas: Both, really. You can take almost any image and put it through the software that makes the dome experience. The best experience is to think about how you work with the fact that you’re surrounding your audience, and how can you take advantage of that?

Hoffman: The way we work with people is all based on what they want to do. You can use existing images and work with them to create a show, or you can shoot original content. In Phoebe Bridgers’ case, she had [already] worked with a National Geographic photographer [Babak Tafreshi] and it’s absolutely incredible. She and her team had a conception and that’s what they realized on the dome — we didn’t create the images, but we’re completely capable of doing that. 

Bundas: Whenever we work with someone not really familiar, we really encourage them to make use of the entire space… helping the artist just figure out how they can use the space to draw someone’s eye around the front of the room, to the back and sides of them. They’re always very excited to have, in our case, a massive amount of real estate to work with on the screen.

To your minds, is a planetarium particularly well-suited to a specific kind of music or artist? 

Hoffman: Look, they started back with Pink Floyd, classical orchestras have done stuff in planetariums — it’s just a different media. Is there music that’s suited to video? No. But it’s not a trivial exercise. You really want to create an experience that works in an intimate dome space, [so] you or your team or we need to invest time and energy in doing that. 

Bundas: We’ve seen a lot of different kinds of music in the planetarium, and it really is just crafting the visuals to fit the feeling of the music. Historically things like laser shows have skewed more toward psychedelic rock but we’ve run a huge range of laser shows from metal to pop, all over the place. It’s really just crafting the visuals to fit whatever the vibe or intention of the music is.

Since Phoebe came in with her own visuals made, can you tell me what your work with her and her team was like?

Hoffman: Where we worked a lot with her team was on the physical look of our whole space. It’s “sad girl blue.” We were able to light our tower, so the whole place was lit up, there were smoke machines. She did all the images, totally original photography, and it was beautiful nature and astro photography — brilliant. 

Bundas: The planetarium show was very, very carefully crafted to match the feeling of the album.   

Hoffman: It wasn’t just a backdrop to [the music].

How different an experience was it from the one with Lil Yachty? 

Hoffman: It’s obviously a different audience. Drake dropped by [Yachty’s show] unexpectedly. So when you have one of the most famous people in the world drop in, that’s a whole different thing. [Laughs.] 

Bundas: I think the two shows show the two sides of what I think works really well in a planetarium. Phoebe Bridgers was a lot more slowly moving night skies, aurora, and Lil Yachty’s show, there was some of that style of visuals as well but it was a lot more fast paced, more movement — one thing you can do really well here is give the feeling you’re moving in a space, flying forward, and Lil Yachty’s show leaned more into that. But as far as the experiences working with the artists and their teams, it was clear from the beginning with both that they cared deeply about making it an experience well-crafted for the planetarium.

What advice would you give an artist who’s interested in exploring doing a planetarium show?
 
Bundas: Reach out to a planetarium that is local to you — all the planetariums I talk to in the community love working with as many people as possible who want to show their work or create new work. For us, certainly for anyone on the east coast really, we’d love to work with them to bring their creative vision to life. In some cases that’s us recommending some animators who are well versed in the field and can create really amazing 3D digital art; sometimes It’s us connecting them with photographers or videographers with some familiarity in the space.

Just come to some regular planetarium shows too, to see what it feels like to be in that space. We saw some reactions from guests who went to Phoebe Bridgers’ parties this week — their minds are blown as soon as they walk in. 

What did you two think of Lost Weekend itself? 

Hoffman: I liked how emotional it is. I found it quite stirring. I’m not the intended demographic for it obviously, but it was just a beautiful experience to be there among 400 people, most of whom were her most hardcore fans. It had a gentleness to it. 

Bundas: It’s hard for me to separate the album from listening to it in the planetarium, but it’s this almost meditative experience. As an astronomer primarily, the album gives me a very similar feeling to when I’m camping, looking out at the sky on a really clear night. It makes you think.
 
Hearing the feedback from fans after shows, they were mentioning, “How are we gonna go back to life now after experiencing that?” It was so transcendent.

Madonna is officially 68, and she commemorated her birthday by incorporating a few of her favorite things into the celebration: dancing, drinking, breaking plates and feeding cats.

The Queen of Pop shared a series of photos from her birthday celebration on Instagram, captioning the photo dump, “It’s My Birthday! Eat, Pray, Love, Drink, Dance, Break plates, Feed Cats!! Thank you G*D!” She paired the post with her MDNA deluxe edition track “B-Day Song,” featuring M.I.A.

The birthday carousel gives fans a glimpse at Madonna’s festivities, including photos of the pop star dressed to the nines in a floral dress featuring intricate sequin embroidery, flared sleeves and three-dimensional floral appliqués. She accessorized the look with gold stilettos, chunky jewelry and a floral-accented headband.

Amid the glamorous snapshots, Madonna also made time for an adorable activity: feeding cats. The unexpected addition to her birthday checklist quickly became one of the most notable details of the post, perfectly matching the anything-goes spirit of her caption.

Madonna’s choice of soundtrack was also fitting. “B-Day Song,” which features M.I.A., was released as part of the deluxe edition of MDNA in 2012. The track was written by Madonna, M.I.A. and producer Martin Solveig, with Madonna and Solveig also handling production.

Additionally, Madonna’s birthday celebration involved her traveling to Greece with five of her six children. While Madonna has spent more than four decades redefining what it means to be a pop star, her latest birthday post suggests that some things never change, regardless of age. When it comes to celebrating Madonna-style, there’s always room for a little dancing, a little chaos and even a few cats.

See the full Instagram post below.

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Remi Wolf is officially ready to welcome her new sonic era.

On Tuesday (Aug. 18), the singer-songwriter announced her third studio album, Mud, due Oct. 9.

“My third album, Mud, is out October 9th. My favorite, my healer, my family, my precious, my blood, sweat and tears. No more secrets!! I love this music more than anything. I wanna scream and cry!!! Okay, let’s breathe …” Wolf wrote in the caption of an Instagram post announcing the album. She also revealed that her next single, “Bottle,” will arrive Thursday (Aug. 20).

The 11-track project reflects Wolf’s evolution as a singer-songwriter, sounding more grounded and introspective than her previous albums, Juno and Big Ideas. Building on the world introduced by lead single “Twiggy,” Mud showcases a warmer, more spacious sound rooted in live instrumentation and organic storytelling.

According to a press release, Mud was born out of a period of reflection following years of nonstop touring alongside global artists such as Olivia Rodrigo and Lorde. To recharge her creative process, Wolf traveled to Nashville and later attended a retreat in Big Bear, California, with a close circle of friends and musicians, where they spent time creating music and enjoying each other’s company.

“I feel like I’ve crossed into a new phase of life because of this album,” Wolf said in a press release. “I literally felt like I was covered in sh-t. And now, at the end of the album process, I feel so clean and clear. It has been a very cleansing record to make for me.”

See the full Mud tracklist below:

After much teasing, it’s finally been confirmed: OzzFest is returning in 2027. The festival’s official Instagram page confirmed the return of the rock and metal festival for next year and that the event will be held in Villa Park, Birmingham. 

The 42,000-capacity stadium was the site of Black Sabbath and Ozzy Osbourne’s farewell show Back to the Beginning, which took place in July 2025. The post promised that they will share “more info on everything coming soon!” The event dates and lineup have not yet been shared.

OzzFest was devised by Ozzy’s wife and manager Sharon back in 1996 after she was rebuffed by Lollapalooza when trying to book Ozzy for a show. The festival became an annual occurrence and toured throughout the U.S. and Europe until 2008. Since then, it has taken place sporadically, most recently in 2018 at The Forum in Inglewood, California.

Over the years, the festival saw performances from Ozzy, Black Sabbath, Foo Fighters, Tool, Deftones, Slipknot and more. In 2024, Yungblud launched BludFest in Milton Keynes, England and was inspired by the approach his late mentor took with OzzFest.

Since Ozzy’s passing in 2025, Sharon has spoken frequently about bringing the event back. Speaking to Billboard earlier this year, she revealed that negotiations with Live Nation were under way about an event for 2027. “It was something Ozzy was very passionate about: giving young talent a stage in front of a lot of people,” she said. 

“We really started metal festivals in this country. It was [replicated but] never done with the spirit of what ours was, because ours was a place for new talent. It was like summer camp for kids.”

Charity concert Back to the Beginning took place at Villa Park – home to football team Aston Villa F.C. – in a place of serious significance to Ozzy; The Prince of Darkness grew up in the city’s Aston region, and co-founded Black Sabbath in Birmingham with Tony Iommi, Bill Ward and Geezer Butler in 1968.

The event saw the final live outing for Ozzy and Black Sabbath, as well as tribute performances from Metallica, Yungblud, Slayer and more.

Fontaines D.C. has pulled the curtain back on its next era, with the Dublin-formed band’s new album, Dopamine Chamber, confirmed to arrive on Oct. 16 via XL Recordings.

News of the forthcoming LP arrives alongside its punchy lead single, “Marianne,” which received its live debut during a headline gig at the Baluarte de la Candelaria venue, in Cadiz, Spain, on Aug. 8.

According to the press release, Dopamine Chamber was produced by James Ford, who worked with the band on its previous two albums — Skinty Fia and Romance. The album was recorded between London, the English countryside and Palermo, and sees the band embrace a darker, electronic-infused sound. Conor Curley, the band’s guitarist, said in a statement that the sonic shift and new influences is the band “trying to find stuff that pointed into the future.”

Lead single “Marianne,” the band said, was partly inspired by Netflix thriller series Ripley (2024) starring Adam Scott, an adaptation of Patricia Highsmith’s novel The Talented Mr. Ripley. Listen to the track below.

Dopamine Chamber marks Fontaines D.C.’s fifth record to date, following Dogrel (2019), A Hero’s Death (2020), Skinty Fia (2022) and Romance (2024). The latter was nominated for the Mercury Prize and won the band the 2025 BRIT award for international group; it also peaked No. 2 the U.K.’s Official Albums Chart while becoming the group’s first entry on the Billboard 200 (peaking at No. 97).

After meeting at music college in the Irish capital in 2014, the five-piece has gone on to become one of the most acclaimed rock bands of the past decade, earning consistent critical acclaim while growing its audience and leveling up to arena-sized headline shows. Fontaines D.C. has notched multiple Grammy Award nominations across its career, starting with a best rock album nod for A Hero’s Death at the 2021 ceremony, followed by two nominations in 2025 for Romance (best rock album) and the single “Starburster” (best alternative music performance).

The band will headline Reading & Leeds Festival on Aug. 30, appearing alongside fellow bill-toppers Charli xcx, RAYE, Dave, Florence + The Machine and Chase & Status.