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Trending on Billboard Earlier today (Oct. 29), Billboard published the September Boxscore report, with Chris Brown repeating as the biggest touring act of the month. But while the biggest stars of rock, hip-hop and more packed stadiums, comedians were road warrior-ing their way to sold-out theaters and arenas. Here, we’re looking at the five biggest […]
On August’s Boxscore recap, Chris Brown became the fourth artist to lead the monthly Top Tours chart in 2025, coming close to the nine-figure mark with $96.8 million. According to figures reported to Billboard Boxscore, he comes even closer on September’s report, logging a second consecutive month at No. 1 with $98.1 million and 580,000 tickets sold.
When Brown topped the charts last month, he became the 10th artist to report monthly earnings of more than $90 million since the lists launched in 2019. By immediately hitting that mark again, he becomes just the third act to do so twice. Beyoncé grossed more than $90 million in six different months, split evenly between 2023’s Renaissance World Tour and this year’s Cowboy Carter Tour. Bad Bunny did it twice, both during 2022’s World’s Hottest Tour.
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Brown’s 13 shows during September were spread across 10 U.S. cities, three of which boasted double-headers. Those – Arlington, Texas (Globe Life Park on Sept. 2-3), Inglewood, Calif. (SoFi Stadium on Sept. 13-14), and Las Vegas (Allegiant Stadium on Sept. 19-20) – broke $10 million each, grossing $14 million, $16.3 million, and $15.8 million, respectively. They all appear in the top 10 of Top Boxscores.
Brown launched Breezy Bowl XX in June and wrapped two weeks ago (Oct. 16). The entire trek earned $295.5 million and sold just under two million tickets (1.983 million) over 49 shows. Of those totals, $47.8 million and 490,000 tickets are from the tour’s European leg, and the remaining $247.8 million and 1.5 million tickets are from North American shows.
On Brown’s first stadium tour, he’s up by 39% from his previous European trek (Under the Influence Tour 2023). In the U.S. and Canada, the leap is more pronounced, up 201% from last year’s The 11:11 Tour.
Brown’s final Breezy Bowl shows push his career earnings over the half-billion mark. Across 322 reported shows, the R&B phenom has grossed $511.4 million and sold 4.9 million tickets. That includes all of his solo headline revenue, plus 50% of co-headline tours like a pair of 2007 tours with Ne-Yo and Bow Wow, 2015’s Between The Sheets Tour (with Trey Songz) and 2022’s One of Them Ones Tour (Lil Baby).
It’s not just Brown who repeats atop the monthly charts: Coldplay is No. 1 for a second straight month on Top Boxscores, with the final four of its 10 shows at London’s Wembley Stadium. The first six topped the August ranking with $78.9 million, and this month’s shows add $52.5 million. Altogether, the three-week run brought in $131.4 million and sold 791,000 tickets.
Both in terms of earnings and attendance, Coldplay’s Wembley Stadium run is the biggest single-venue engagement by a headline artist ever. That record applies to artists on tour, and does not include extended residencies, like Celine Dion at The Colosseum at Caesars Palace or Billy Joel at Madison Square Garden.
The Wembley shows were the only dates on Coldplay’s calendar in September, but they are enough to earn the band the runner-up spot on Top Tours. In addition to a record-tying seven months at No. 1, this is its sixth appearance at No. 2. Brown and Coldplay are the third duo to go back-to-back at Nos. 1-2 this year, following Shakira and Tyler, The Creator in February and March, and Beyoncé and The Weeknd in May and June.
As previously reported, Coldplay is planning more shows on the record-breaking Music of the Spheres World Tour for 2027. It’s already sold more tickets than any tour ever, and by the end of its teased 360-show run, it will likely be the biggest grosser as well.
September marks the first top 10 appearance on Top Tours for three artists. Benson Boone is No. 6 with $29 million and 238,000 tickets. He previously topped out at No. 19 in January with shows in Asia and Australia. Tate McRae is No. 9 with $21.9 million and 175,000 tickets, up from No. 14 last month.
In between, YoungBoy Never Broke Again makes his Top Tours debut, hitting No. 8 on his first chart appearance. The first 17 shows of the Make America Slime Again Tour pulled in $28.3 million from 231,000 tickets sold. He had a packed schedule, stretching from the 1st to the 29th, peaking with two shows each in Dallas ($3.9 million at American Airlines Center on Sept. 1-2) and Los Angeles ($3.8 million at Crypto.com Arena on Sept. 9-10).
Lady Gaga is no stranger to the Top Tours chart but hits a new career high on the September ranking. After bouncing in and out of the top 10 over the last five months, she is No. 3 on the current edition. Eleven shows from The MAYHEM Ball grossed $39.7 million and sold 159,000 tickets, including major-market, multi-national dates in Chicago, London, Miami, New York, and Toronto.
Just beneath her, former chart-topper Shakira is No. 4 with $33.9 million from eight shows in Mexico. Las Mujeres Ya No Lloran World Tour is already the highest-grossing Latin tour by a woman, and 17 yet-to-be-reported shows in South America could push its all-time status even further before its Dec. 11 Buenos Aires.
Rounding out the top five, Zach Bryan earned $29.4 million and sold 192,000 tickets from just two shows in September. First, he performed at Notre Dame Stadium, welcoming 79,300 fans to the South Bend, Ind. stadium. But his second date, a Sept. 27 show at Michigan Stadium in Ann Arbor, upped the ante with 112,000 tickets sold. It is reported to be the largest ticketed concert in U.S. history.
Billboard‘s Live Music Summit will be held in Los Angeles on Nov. 3. For tickets and more information, click here.
Earlier this month, Chappell Roan wrapped a brief run of concerts in the United States, paired with a few European dates in August. The Visions of Damsels & Dangerous Other Things Tour complemented Roan’s ongoing sweep of dominant festival performances over the last year and a half, cementing her as one of her generation’s fastest-growing live acts. She finished her recent tour, her only headline shows for 2025, playing to crowds of 30,000 and more, marking an eye-openingly fast rise to the biggest venues in the world.
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According to figures reported to Billboard Boxscore, Roan’s 11 headline shows in 2025 grossed $28.3 million and sold 276,000 tickets. They split between three overseas and eight in the United States. Some of the shows were in arenas and amphitheaters: Zurich’s Hallenstadion (12,539 tickets) and New York’s Forest Hills Stadium, which despite its name, is significantly smaller than a typical football or baseball stadium (53,458 tickets, spread across four shows). The others escalated her reach in Edinburgh, Kansas City, and Los Angeles.
Two nights at Royal Highland Centre in Edinburgh, Scotland drew 60,000 fans, averaging 30,000 per show. Two dates at Kansas City’s Liberty Memorial Park sold 69,600 tickets, averaging 34,800. The final two concerts, at Brookside Park at The Rose Bowl in Pasadena, Calif., moved 80,000 tickets, eclipsing 40,000 each night.
These venues are flat parks that recreate the sprawling crowd shots of Roan’s famed festival performances, more so than a typical football stadium with its enclosed stadium-style seating. But the number of tickets sold is comparable to any baseball stadium in the United States and far exceeds – roughly doubles – the capacity of an arena show.
These stadium-sized Boxscore figures elevate Roan even beyond the startling heights of her 2024. Her North American headline shows from last year broke into three legs. She averaged 2,083 tickets per show while performing one-offs during her opening stint on Olivia Rodrigo’s GUTS World Tour (Feb. – April). In May and June, following the release of breakout hit “Good Luck, Babe!,” she paced 3,581 tickets. By October, she was up to 10,179. One year later, Roan sold 25,389 tickets per show, ranging from 13,365 in New York to 40,010 in Los Angeles.
All of that growth, and all of these fans, with just one album under her belt. Selling out stadiums is a career-capping accomplishment for any artist, but almost an unfathomable one just two years removed from the release of one’s debut LP. The umbrella of stadium acts has grown wider in the years since returning from the COVID-19 blackout, but Roan’s supercharged ascent is still quite notable.
Zach Bryan first elevated to stadiums in 2024, almost exactly two years after he cracked the Billboard 200 with American Heartbreak. But his discography expanded by the time he played Oakland’s RingCentral Coliseum, with two more top 10 albums and four other charting titles. Fellow country chart-topper Morgan Wallen played one such show in 2021, three years and two albums deep.
Global stadium schedules have also welcomed younger artists who don’t primarily perform in English, specifically Latin and Korean acts. Still, all of them had meatier discographies than Roan’s to fill out their stadium setlists: Bad Bunny released three albums in three years before his stadium debut. Karol G and SEVENTEEN each had four albums in seven years. TWICE had six entries on the Billboard 200, all between 2020-23, before reporting a stadium show. By the time Fred again.. announced similarly eye-popping stadium shows, he had a few albums to his name.
Closer to Roan stylistically, Lady Gaga hit Mexico City’s Foro Sol (now called Estadio GNP Seguros) in May 2011, ending The Monster Ball in stadiums a year and a half after beginning it in theaters. Still, she had two top 10 albums and was weeks away from releasing her third. The year before, Taylor Swift also capped her debut headline tour at a stadium, but she was supporting her sophomore set Fearless, which won the Grammy for album of the year months prior.
Perhaps Peso Pluma comes closest to mirroring Roan’s timeline to stadiums. He played Monterrey, Mexico’s Estadio Mobil Super in November 2023, about 15 months after his first Billboard chart appearance. Even so, Genesis, his breakthrough album from 2023, was his third. J-Hope, JIN, and SUGA each hit at least one stadium on their first tours, but their history as part of BTS surely added depth to their respective ticket-buying bases.
Clearly, Roan has built a large, dedicated fan base from just one album. After first debuting on the Billboard 200 and Billboard Hot 100 in April 2024, she jumped from clubs to theaters to festivals, and then to solo headline stadium-sized engagements, all in the span of less than 18 months. Her recent tour was brief but mighty, leaving little to the imagination as to her potential box office success whenever her next shows are announced, whichever venues she decides to play.
Billboard‘s Live Music Summit will be held in Los Angeles on Nov. 3. For tickets and more information, click here.
Last month, Billboard Boxscore revealed its midyear touring recap, dominated by Coldplay, K-pop and Las Vegas’ Sphere. With the launch of Billboard’s comedy hub, we’re taking a closer look at the top-grossing comedy acts at the midyear mark. The 2025 midyear recap provides a switch-up at the top of the list. Kevin Hart led the […]
Shakira is the top Latin touring artist on the Billboard Boxscore midyear chart, grossing $130 million on her Las Mujeres Ya No Lloran World Tour so far. Shakira reported 21 concerts for the midyear touring period, which runs from Oct. 31, 2024, to March 31, 2025, landing her the number two slot overall on the […]
Coldplay was back on the road in April, extending the group’s reach to Hong Kong and Goyang, South Korea (14 miles from Seoul). According to figures reported to Billboard Boxscore, the British band is No. 1 on the monthly Top Tours chart, with $67.4 million in the bank and 502,000 tickets sold.
Coldplay has been one of the most dominant acts on the Boxscore charts since the 2022 kickoff of the Music of the Spheres World Tour, reigning over seven Top Tours charts. The band’s touring calendar has become an accurate predictor of chart results: Its last batch of shows was in January, which matches its sixth monthly victory. Before that, Coldplay had dates in November, aligning with its fifth monthly win. Coldplay has only one show scheduled in May, but a busier calendar throughout the summer immediately makes the band prohibitive competition for the top spot over the next several months.
With its April triumph, Chris Martin & Co. tie Bad Bunny and Elton John for the most months at No. 1 (seven). Trans-Siberian Orchestra follows with five (December of every year since the chart premiered).
Beyoncé and P!nk have each led four times. The latter did it twice on the Beautiful Trauma World Tour in 2019 and twice more with dates from Summer Carnival and Trustfall Tour in 2023-24. Beyoncé dominated the summer of 2023 with the Renaissance World Tour and played the first show on Cowboy Carter Tour on April 28, squeaking onto the month’s list with one date.
Coldplay’s April boils down to four shows at Hong Kong’s Kai Tak Stadium and six at Goyang Stadium in South Korea. The first set of dates grossed $32.9 million and sold 184,000 tickets. The second set moved $34.4 million from 318,000 tickets. That’s enough to secure the top two positions on the Top Boxscores chart.
The grosses of Coldplay’s two stops are close, separated by just 4%. But the longer stay in Goyang sold 73% more tickets, which means that the ticket price in Hong Kong had to be much higher. At Kai Tak Stadium, Coldplay averaged $179 per seat, while the Korean shows paced $108.22.
Added to Coldplay’s January run in the United Arab Emirates and India, the 2025 Asian leg wrapped with $124 million and 1.1 million tickets. Combined with the 2023-24 leg in Japan, Taiwan, Indonesia and more, Asia accounts for $253.4 million on the Music of the Spheres World Tour. Worldwide, the trek has brought in $1.3 billion and sold 11.4 million tickets, extending its lead as the bestselling tour in history.
Coldplay picks back up on May 31 in Stanford, Calif., kicking off a 17-show run in the U.S. and Canada. Finally, there are 12 dates scheduled in the U.K., closing out the three-and-a-half-year tour with 10 shows at London’s Wembley Stadium. By closing night, the trek will be approaching $1.5 billion and 13 million tickets sold.
From one of the biggest tours of all time nearing its close to the opening shows of one of 2025’s hottest tickets, Kendrick Lamar and SZA are No. 2 on April’s tally. The first four shows of the Grand National Tour brought in $43.2 million and sold 180,000 tickets.
Lamar and SZA premiered their co-headline trek on April 19 at Minneapolis’ U.S. Bank Stadium, before hitting Houston, Dallas and Atlanta. These are the first stadium shows for each artist, having previously conquered arenas in 2022 (Lamar’s The Steppers Tour) and 2023 (SZA’s SOS Tour).
Already, the Grand National Tour is the biggest tour of either artist’s career, and they are only 10 shows deep. Including six reported shows in May, which will count toward next month’s charts, the trek has earned $115.7 million and sold 508,000 tickets through the May 17 show at Seattle’s Lumen Field.
Thirteen shows remain on the pair’s schedule in North America, before traveling to Europe for 16 dates. Before its close on Aug. 9 in Stockholm, the Grand National Tour will be one of the biggest co-headline treks in history.
April was not just the stadium launchpad for Lamar and SZA. In the closing days of the month, Lady Gaga played her first two ticketed shows of the year at Mexico City’s Estadio GNP Seguros (April 26-27), hitting No. 6 on Top Boxscores and No. 10 on Top Tours. Beyoncé opened Cowboy Carter Tour in Los Angeles (April 28), reaching Nos. 14 and 15, respectively. And Post Malone unleashed the Big Ass Stadium Tour with assistance from Jelly Roll in Salt Lake City (April 29).
Beyoncé, Gaga and SZA help to make April a banner month for women on tour. They are three of 10 women on the Top Tours chart, up from seven in March, six in February, and just one in January. Still less than half, the 33% representation in April represents the most women on a Top Tours chart in its 58 editions, surpassing nine, or 30%, in December 2019 and January 2022.
In between SZA and Gaga, Shakira is No. 7 after leading the list in February and March. The first Latin American leg of her 2025 tour ended mid-month, handicapping her potential rank. Elsewhere, Charli xcx and Olivia Rodrigo carry over tours that began in 2024. Kelsea Ballerini, Mary J. Blige and Kylie Minogue wrapped up spring runs, while Katy Perry began The Lifetimes Tour with five shows in Mexico.
On Wednesday (May 28), Billboard revealed its midyear Boxscore charts, celebrating the top-grossing and best-selling artists, venues, and concert promoters around the world between Oct. 1, 2024, and March 31, 2025. Amid the pop, rock, R&B and Latin acts that blanket the Top Tours ranking, an unprecedented string of K-pop artists are in the mix, with five such acts among the all-genre top 50.
SEVENTEEN leads the pack, as it did for K-pop on midyear recaps for 2024 and 2023. But after grossing $30 million on the 2023 list, and $67.5 million for 2024, the group is No. 3 on the overall tally with $120.9 million and 842,000 tickets sold, according to figures reported to Billboard Boxscore. The group is sandwiched between Shakira at No. 2 ($130 million) and Eagles at No. 4 ($112.2 million).
SEVENTEEN is the highest-ranking Korean act ever on the all-genre midyear list, surpassing BTS’ No. 4 rank in 2022. BTS did manage a matching No. 3 rank on 2019’s year-end tally, but hadn’t played enough shows in the first half of that chart year to appear on the midyear chart.
Not only has K-pop’s top artist essentially doubled its midyear gross for the second consecutive year, but the bench is deepening. This year’s all-genre top 50 includes five K-pop acts, up from three in 2023 and 2024, and two in 2022. The threshold for K-pop’s top five is $25.1 million at the midyear point – this time last year, it was $3.1 million.
After SEVENTEEN, ATEEZ and J-Hope are next at Nos. 2-3 on Top Tours by Genre (K-pop), each with earnings of more than $28 million. The latter is the first K-pop soloist to make the midyear overall Top Tours chart, though he previously was included with his fellow BTS bandmates. ENHYPEN and TOMORROW X TOGETHER round out the list, also within a couple percentage points of one another above the $25 million mark.
These four groups and one soloist made their millions while proving the international strength of Korean artists. During the six-month tracking period, they toured arenas and stadiums throughout Asia (SEVENTEEN, J-Hope, ENHYPEN and TOMORROW X TOGETHER), Europe (ATEEZ and TOMORROW X TOGETHER), Mexico (J-Hope) and the U.S. (SEVENTEEN and J-Hope).
Altogether, K-pop acts on the midyear Top Tours chart brought in a collective $228 million and sold 1.6 million tickets from 78 shows. That marks a 79% increase over the genre’s 2024 showing, which itself was a 93% jump from 2023. In just two years, K-pop has more than tripled its presence on the midyear chart.
Scroll down for details on the top five K-pop acts on Billboard’s midyear Boxscore report. The midyear tracking period covers all reported shows, worldwide, between Oct. 1, 2024, and March 31, 2025.
On Wednesday (May 28), Billboard revealed its midyear Boxscore report, tracking the top touring artists, concert venues and promoters around the world. From October 1, 2024, to March 31, 2025, the midyear recap focuses on the biggest tours from the end of 2024 and beginning of 2025, before global stadium tours and music festivals take over the summer.
The animated graphic below shows how the top 10 tours have shaped and shifted over this six-month period.
The immediate leader was Paul McCartney. The legendary Beatle played a sold-out stadium show in Montevideo, Uruguay on the first day of the tracking period, bringing in $4.5 million from 37,573 tickets sold. Later that week, he had two dates at Estadio River Plate in Buenos Aires, adding $20.6 million and 128,000 tickets to his totals.
But by October 9, Bruno Mars stole McCartney’s thunder. Four shows deep into a six-night run at Sao Paulo’s Estadio do Morumbi, Mars’ $28.2 million surpassed McCartney’s $25.1 million. These early shows, plus Luis Miguel’s seven nights in Mexico City and Aventura’s stadium shows in Argentina and Peru, helped establish Latin America as live music’s center of gravity for the early days of the 2025 Boxscore tracking period.
Before the end of October, estimates for Taylor Swift’s The Eras Tour overtook Mars, McCartney and everyone else, as she began the final leg of her record-breaking two-year trek. While overall tour gross and attendance was reported by The New York Times, show-by-show data has still not been reported to Billboard Boxscore. Therefore, Swift remains absent from official midyear charts and her specific grosses in this time period have not been officially submitted.
Swift stays on top throughout the rest of the video, ultimately grossing an estimated $250 million in the tour’s final months in the U.S. and Canada. But the top 10 continued to fluctuate with November and December shows from Aventura, P!nk and Usher.
After bouncing around the top five in the late months of 2024, Coldplay asserted itself under Swift in January. The band played shows in the United Arab Emirates and India, breaking stadium attendance records for the 21st century with its two nights in Ahmedabad, India (more than 111,000 tickets each show).
Late-in-the-game moves come from K-pop boy band SEVENTEEN and Latin pop icon Shakira. Both artists grossed more than $100 million by the end of March, with Shakira banking her entire $130 million in just the last two months of the tracking period.
Coldplay, Shakira, Eagles, and Usher have all had reported shows in April and May that set them up for bigger totals by year-end. And the last few weeks have seen the kick-off for major tours by Beyoncé, Lady Gaga, Kendrick Lamar & SZA and Post Malone. By the end of 2025, this top 10 will likely get shaken up several times over.
Most people wouldn’t expect to see pillows passed around a Dead & Company concert.
But for Bernie Cahill of Activist Artists Management — the firm that manages Bobby Weir, a founding member of the Grateful Dead and frontman of Dead & Company (which Cahill co-manages with Irving Azoff and Steve Moir) — the decorative pillows, handed out to fans with floor tickets during the band’s nightly performance of “Drums/Space” at its Sphere residency, serve an important purpose. Those on the floor are encouraged to lie down and gaze up at the cutting-edge venue’s towering screen, which during the instrumental segment often displays imagery of the cosmos; at other points during the band’s Dead Forever shows, audiences take in visuals from the San Francisco Bay Area to psychedelic animations.
Thanks to its massive video screen, its booking of superstar acts and its aggressively high ticket prices, Las Vegas’ Sphere — where Dead & Company alone grossed $21.6 million from six concerts in March, when it resumed shows there following a successful run last year — is again the world’s top-grossing building, according to figures reported to Billboard Boxscore. It surpasses the top stadium (Mexico City’s Estadio GNP Seguros) and two iconic New York venues (Madison Square Garden and Radio City Music Hall) with a $165.3 million haul at midyear, which spans from Oct. 1, 2024, to March 31, 2025.
Sphere’s economic power isn’t in its show count — at midyear, the venue has hosted only 42 dates, including other residencies by the Eagles and dance artist Anyma — but in its average ticket price, which at $238 is roughly double those of Madison Square Garden ($133) or London’s O2 Arena ($105). While much of the music industry debates rising ticket prices, Sphere has shown there’s a vibrant market ready to pay a premium for special experiences delivered by top talent.
A DOWNWARD TREND: This year’s midyear charts are down significantly compared with 2024: Last year, the top 10 tours at this time had a combined gross of $1.4 billion, while in 2025, the top 10 outings have grossed a combined $1 billion, a drop of more than 28%. Among the top 50 tours, the combined gross disparity was less stark but still notable, going from $3.2 billion in 2024 to $2.5 billion in 2025, a drop of about 21%.
But this shift doesn’t necessarily signify weakness in the market. The main reason was show count: There have been fewer concerts in 2025 at the midyear point than there were in 2024. In 2024, the top 10 tours at midyear reported a combined 442 total shows for the period, compared with 245 in 2025, a 45% decline. For the top 50, the 1,425 shows reported in 2024 fell to 1,159 in 2025, a drop of 18.7%. On Billboard’s Top Promoters chart, Live Nation’s grosses were down to $2.2 billion in 2025 from $2.8 billion in 2024. But because shows are booked months, or sometimes over a year, in advance, changes in the number of total shows don’t reveal much about consumer spending or demand in early 2025.
The decline partially stems from timing. During a recent earnings call, Live Nation president/CEO Michael Rapino noted that more artists are waiting until the second and third quarters to launch their tours — and with more acts playing stadiums in 2025, more major tours are on the road in the summer, when the weather is better. The 2025 show count should increase in the next six months, which historically covers the busiest part of the year, especially in North America.
Importantly, last year’s touring numbers at midyear were unusually high thanks to U2’s venue-opening Sphere residency, which grossed $231.6 million from 38 shows during that time. That tracking period also included dozens of concerts from three major tours (Madonna, P!nk and Luis Miguel) that led to a high show count.
CHART STATS: Three acts in the 2025 midyear top 10 — Coldplay, P!nk and Eagles — also appeared in last year’s midyear top 10. And three more among the top 10 — Paul McCartney, Bruno Mars and SEVENTEEN — ranked among the top 20 at midyear in 2024. But there are some notable differences in the music genres atop the chart.
After three Latin tours reached the top 10 at midyear in 2024, only Shakira has done so in 2025. And after Travis Scott ranked No. 9 at midyear in 2024, no hip-hop artists cracked the top 10 in 2025. The highest-ranking hip-hop tour at midyear is Tyler, The Creator, who is No. 16 with $65.3 million grossed.
When it comes to ticket prices, Eagles at Sphere had the highest average price among the top 10 tours of $285 per ticket, followed by Usher, who charged an average of $179, and P!nk, whose tickets averaged $174.
The cheapest tickets among the top 10 tours were for Coldplay ($109), Mars ($118) and McCartney ($129). On average, the ticket price of the top 50 tours was $130, down 10% from 2024. On the Top Tours chart, 10 acts had an average ticket price that was under $100: Aventura ($99), Sebastian Maniscalco ($98), André Rieu ($94), Deftones ($88), Iron Maiden ($85), Trans-Siberian Orchestra ($84), Nick Cave and The Bad Seeds ($84), Cody Johnson ($77), Feid ($77) and Strait ($49).
THE TOP 10: Keep scrolling for details on the top 10 touring artists of Billboard’s midyear Boxscore period, tracking all shows worldwide from Oct. 1, 2024, to March 31, 2025.
Justin Timberlake
Image Credit: Kevin Mazur/Getty Images
On May 9, Beyoncé wrapped a historic run of five shows at SoFi Stadium in Inglewood, California, 10 miles from downtown Los Angeles. According to figures reported to Billboard Boxscore, the Cowboy Carter Tour kick-off grossed $55.7 million and sold 217,000 tickets.
Beyoncé’s $50 million-plus run in Los Angeles is the biggest reported single-venue engagement of 2025 so far, eclipsing multiple stops on Coldplay’s tour through Asia and Shakira’s seven-night stay in Mexico City. Further, it’s the fifth-highest grossing tour stop in Boxscore history, only behind two legs of U2’s Sphere residency in Las Vegas (2023-24), Harry Styles’ 15 shows at Madison Square Garden in New York (2022), and eight nights of Take That at Wembley Stadium in London (2011). Notably, it’s the highest-grossing reported single-venue engagement ever by a woman.
Cowboy Carter Tour launched on Monday, April 28, with successive performances on May 1, 4, 7, and 9. On average, Beyoncé grossed $11.1 million per night, playing to more than 43,000 fans at each show. In completing this week-long run, she has now played more shows at SoFi Stadium than any other artist in the venue’s history – eight, including three in 2023 – since its opening at the beginning of the decade.
The L.A.-area shows may not even remain the tour’s peak, as an upcoming five-night stay at MetLife Stadium in East Rutherford, N.J. (13 miles from New York) could challenge that $55 million take. Beyoncé will have her longest run at one venue in London with six nights at Tottenham Hotspur Stadium, though ticket prices overseas often fall below the surging rates in the United States.
Using Cowboy Carter Tour figures in the Los Angeles area as a guide, with city-by-city comparisons to previous tours, it appears that Beyoncé’s 2025 run is barreling toward Billboard’s initial projections of $300 million. It will out-gross all of her previous tours with the lone exception of 2023’s Renaissance World Tour, which ran for 56 shows compared to Cowboy Carter Tour’s current routing of 32. According to Live Nation, total ticket sales will eclipse one million.
The initial reports for Cowboy Carter Tour push Beyoncé’s reported career Boxscore earnings past $1.4 billion, with 11.9 million tickets sold. Those totals will continue to rise until the trek closes on July 26 at Las Vegas’ Allegiant Stadium.
