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Travis Scott closed out the Circus Maximus Tour on Halloween after more than a year of cross-continental shows. According to figures reported to Billboard Boxscore, the trek grossed $209.3 million and sold 1.7 million tickets over 76 dates.
Those numbers are massive without qualification, but they are monumental in hip-hop. No solo rapper has ever sold that many tickets on one tour. Previously, Jay-Z cracked two million while co-headlining the On the Run II Tour with Beyoncé in 2018. The only other unaccompanied rapper to report more than a million tickets on a single tour is 50 Cent on last year’s The Final Lap Tour (1.1 million), celebrating the 20-year anniversary of Get Rich or Die Tryin.’
Though the Circus Maximus Tour began in arenas, Scott interspersed stadium dates as 2023 rolled into 2024. First, amid 43 arena shows in the U.S. and Canada, he sold out SoFi Stadium in Inglewood, Calif. (12 miles from downtown Los Angeles). And while his European leg began indoors, he broke stadiums in London, Koln, and Milan, selling more than 71,000 tickets in the lattermost city.
Stadiums followed in Sao Paulo, Mexico City, New York and across Oceania. The last nine shows of the tour in September and October moved 415,000 tickets, or 24% of the tour’s total attendance, despite accounting for just 12% of the trek’s shows.
Melbourne, Australia, was the biggest stop of Scott’s tour. Two shows on Oct. 22-23 grossed $12.6 million and sold 115,000 tickets.
The scale of the Circus Maximus Tour – stadiums on four continents – is unprecedented in hip-hop. 50 Cent and Nicki Minaj, each of whom cracked $100 million on tours of their own over the last two years, played in North America and Europe. Drake, who has crossed the nine-figure mark multiple times, only played in the U.S. and Canada on It’s All a Blur. The language barrier for a particularly wordy genre could mean that extensive touring in Europe and Latin America is difficult, but Scott’s global hits and onstage spectacle helped translate his show to international audiences.
Even stateside, Scott’s 2023-24 stadium shows are groundbreaking for rappers. Eminem and Jay-Z have played similar venues, but the former toured alongside Rihanna and the latter has done it next to Beyonce and Justin Timberlake. Eminem and Jay-Z did play stadiums together in 2010 during a commercial boom for both, but just two in Detroit and two in New York on The Home & Home Tour.
As a soloist, Eminem played two shows at Detroit’s Ford Field in 2003, plus a show in Hawaii in 2019. He’s also a proven stadium sellout in Australia and New Zealand. 50 Cent has one reported solo stadium show in Sao Paulo.
Scott’s world tour improved upon his previous outing in every conceivable way. Scott sold 53% more tickets per show on The Circus Maximus Tour than on Astroworld: Wish You Were Here in 2018-19 (22,494 vs. 14,692), he played more than 20 more shows (76 vs. 55) and commanded 65% more per ticket ($122.46 vs. $74.43).
In total, the Circus Maximus Tour sold more than twice the tickets of its predecessor (1.7 million vs. 808,000) and grossed more than three times as much ($209.3 million vs. $60.1 million).
The Circus Maximus Tour was in support of Utopia, Scott’s fourth studio album. The set debuted atop the Billboard 200 and stayed there for four weeks, and sent three songs – “Meltdown,” featuring Drake; “FEIN!,” featuring Playboi Carti; and “K-Pop” featuring Bad Bunny and The Weeknd – to the top 10 of the Billboard Hot 100.
Dating back to a sold-out show at Los Angeles’ The Fonda Theatre ($42,000; 1,200 tickets), Scott has grossed $275.3 million and sold 2.6 million tickets.
On Nov. 20, P!nk played the last of 128 shows over the last year and a half. The run was sprawling, from the Summer Carnival Tour, which took place in stadiums, to the Trustfall Tour and P!nk Live, both of which brought her to arenas. Altogether, she earned $693.8 million and sold more than 4.8 million tickets, according to figures reported to Billboard Boxscore. One of her many box office achievements is recent: The nine shows she played in October make her the biggest touring act of the month.
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Across nine shows between Oct. 1-18, P!nk grossed $44.2 million and sold 254,000 tickets, putting her at No. 1 on Billboard’s monthly Top Tours chart. That haul includes four stadium dates, including an Oct. 3 show at MetLife Stadium ($9.1 million; 60,400 tickets), and three arena stops, including double-headers at Detroit’s Little Caesars Arena and St. Paul’s Xcel Energy Center.
Another nine shows in November make P!nk eligible for one last monthly chart in 2024, when the November report is published next month.
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When separated by tour, P!nk’s 2023-24 run breaks down to $584.7 million for the Summer Carnival Tour, $60.8 million for last year’s Trustfall Tour and $48.3 million for this fall’s Live 2024 run. Since launching last June, Luis Miguel is the only musician who has played more shows.
The Summer Carnival is the second-highest grossing tour in history among women, accounting for Billboard’s billion-dollar-plus estimate for Taylor Swift’s as-yet-unreported The Eras Tour. P!nk narrowly passes Beyoncé’s Renaissance World Tour, which grossed $579.8 million last year during a comparatively brief 56-show sweep. Madonna’s Sticky & Sweet Tour (2008-09) and P!nk’s own Beautiful Trauma World Tour (2018-19) follow next, hovering on opposite sides of the $400 million threshold.
Among all artists, and including estimates for Swift, The Summer Carnival Tour ranks eighth in revenue, and just outside the top 10 based on attendance.
The Summer Carnival Tour spanned five legs – each of which grossed at least $100 million – across three continents. The biggest was a 22-show run in North America, bringing in $150.7 million from July to October of 2023. Ultimately, the U.S. and Canada delivered $266 million, Europe accounted for about $214 million and 20 shows in Oceania added $104.3 million.
Travis Scott follows on October’s Top Tours chart, scoring the highest monthly rank for a rap artist since returning from the pandemic shutdown. He grossed $41.2 million and sold 352,000 tickets on the final dates of the Circus Maximus Tour.
Scott kicked off the month with an Oct. 9 show at MetLife Stadium in East Rutherford, N.J. (13 miles from New York City), bringing in $8.7 million from 61,700 tickets sold. That’s $400,000 less, but 1,300 more tickets than stats for P!nk’s October show at the same venue.
He then brought his world tour to three cities in Australia, plus a closing-night performance in Auckland, New Zealand. The Oceania leg grossed $32.5 million and sold 291,000 tickets, which is slightly more than half of the European leg (June-August), but more than double the Latin American run from September.
Usher is next at No. 3, with $36.6 million for Usher: Past Present Future. Since kicking off on Aug. 20, the tour has earned $90.6 million. With North American shows scheduled through mid-December and a European leg in the spring, it’s likely to close in on $150 million.
Future tourmates Post Malone and Jelly Roll round out the top 5 at Nos. 4 and 5, respectively. Last week, Post announced The Big Ass Stadium Tour with Jelly Roll as direct support, which will bring both acts to – you guessed it, stadiums – for the first time in their careers. Combined, they’ve brought in over $130 million this year, but they’ll head closer to $200 million in 2025.
And just outside the top five, Sabrina Carpenter makes her Top Tours debut at No. 6. The first handful of dates from the Short n’ Sweet Tour left her just outside the top 30 in September, but a full slate of shows lifts her into the top 10 for October, with a full gross of $27.8 million from 221,000 tickets sold. The first leg wrapped up on Nov. 18 at the Kia Forum in Inglewood, Calif., and 14 shows are set for March throughout Europe.
Melbourne, Australia’s Marvel Stadium the month’s top-grossing concert venue, thanks to a trio of double-headers. On Oct. 5-6, The Weeknd sold 92,100 tickets and earned $12.5 million. A couple weeks later, Travis Scott played on Oct. 21-22, upping the ante to 115,000 tickets and $12.6 million. And on Oct. 30-31, Coldplay played the first two shows of a four-night run, bringing in $14.4 million from 115,000 tickets. All three are among the top five on Top Boxscores.
Madison Square Garden returns to the summit among indoor venues, grossing $23.4 million from 13 shows in October. That includes a Halloween show by Duran Duran, a farewell performance from Cyndi Lauper (Oct. 30), and a get-out-the-vote concert from Stevie Wonder (Sept. 10).
MSG’s banner month pushes its Las Vegas sister-venue Sphere back to No. 2, supported by just four shows of Eagles’ residency. Those dates grossed $18.9 million, adding to the $23.2 million in September.
A quartet of American venues top the smaller-capacity rankings. Austin’s Moody Center is tops among rooms with a cap of 10,001-15k, Red Rocks Amphitheater in Morrison, Colo., Is No. 1 on the 5,001-10k chart, Atlanta’s Fox Theatre rules the 2,501-5k tally, and Grand Rapids, Mich., wins gold on the 2,500-or-less survey via DeVos Performance Hall.
When one door closes, another opens. Or rather, when one Post Malone tour finishes, another much bigger one announces.
Through closing night on Oct. 27, Post grossed $63 million and sold 470,000 tickets on the F-1 Trillion Tour, according to figures reported to Billboard Boxscore. And on Tuesday morning (Nov. 19), he announced The Big Ass Stadium Tour, which kicks off on April 29.
The move from amphitheaters to stadiums is a big one. The average capacity of Post’s fall shows was 18,786 seats, and the football stadiums on his 2025 route generally exceed 50,000. But all the F-1 Trillion Tour shows sold out – including two sprinkled-in stadiums in Boston and Nashville – and it appears he’s left some meat on the bone.
Post played a swift 25-show run in September and October, which is significantly less than the 39 shows on last year’s If Y’all Weren’t Here, I’d Be Crying Tour ($81 million; 802,000 tickets), which immediately followed the 63-date Twelve Carat Tour ($138.6 million; 1.1 million tickets) that stretched from 2022 into 2023. Post is a proven road warrior, and his brief fall trek simply whetted his base’s appetite.
Plus, his fanbase is expanding, as Post further transitions from hip-hop to pop to country. His fall tour – and presumably his upcoming one – is in support of F-1 Trillion, a country album that hosted more than a dozen of the genre’s cross-generational superstars, from Dolly Parton to Tim McGraw to Lainey Wilson.
The pivot was successful, as F-1 Trillion topped the Billboard 200 with 250,000 equivalent album units earned in its first week, more than doubling each of his previous two studio LPs. And while 2023’s Austin didn’t land a top 10 single on the Billboard Hot 100, this year’s “I Had Some Help,” featuring Morgan Wallen, spent its first six weeks at No. 1 and remains in the top 10 half a year later (as of the Nov. 23-dated chart). If he was selling out arenas and amphitheaters off less successful albums and starved his audience of a robust 2024 tour on the back of a comeback, the stage is well set for next year’s stadium trek.
And if he needs some help, he has it in the form of special guest Jelly Roll. Featured on F-1 Trillion’s “Losers,” he’s on his own fall tour navigating arenas and amphitheaters across the United States. Through Nov. 17, the Beautifully Broken Tour has earned $71.9 million and sold 615,000 tickets. Five shows are left on the schedule, wrapping up on Nov. 26 at Nashville’s Bridgestone Arena.
Quite notably, Jelly Roll’s 2024 tour has out-grossed and outsold Post’s own trek, positioning him as more than just an opening act as both artists prepare to play the biggest stages of their careers. But total volume does not tell the whole story: While Post has perhaps intentionally kept his routing sparse, Jelly hasn’t held back, as the latter’s show count is more than double the former’s. On a per-show level, Post is the stronger earner ($2.5 million vs. $1.4 million) and the bigger seller (18,786 vs. 12,291).
The initial announcement for The Big Ass Stadium Tour includes 25 dates, matching the length of Post’s fall tour. But while Post played to 470,000 fans in 2024, next year’s run will bring him to well over 1 million. It will all-but-certainly play as his highest-earning tour, flirting with a $200 million gross.
Dating back to Post Malone’s first show reported to Boxscore, a 2016 performance at Emo’s in Austin, Texas ($16,449; 660 tickets), he has grossed $415.6 million and sold 3.9 million tickets across 254 shows.
Over the last year-and-change, Charli XCX and Troye Sivan launched two album campaigns, topped Billboard charts, earned Grammy Award nominations, and took their careers to new heights. The pinnacle of their synergized success was their North American co-headlining arena tour.
Charli XCX and Troye Sivan Present: Sweat played 22 shows in the U.S. and Canada in September and October, wrapping with $28 million and 297,000 tickets sold, according to figures reported to Billboard Boxscore. This surpasses Billboard’s own projections of $23.5 million and 270,000 from just last month.
From the tour’s April announcement, tickets gradually encroached on sell-out territory. Major markets like New York, Los Angeles and San Francisco blew out immediately, but overall, the tour averaged 67% after the first weekend of sales. As Sivan toured Europe and Charli turned the summer green, sales grew to 70% by the end of May, 80% by mid-June, 90% by the end of July, and to 97% by opening night. With final numbers reported, the tour was completely sold out, even if Sivan once lovingly joked that they were “flopping” in Nashville.
Jared Braverman (SVP of Global Touring at Live Nation) commented to Billboard, “The Sweat Tour selling out all 22 shows is a true testament to both Charli and Troye as arena-level acts. We believed in their ability to fill these venues from the moment we announced the tour and went on sale back in April. The success reflects the strong fanbases they’ve built and how their music continues to connect deeply with fans live.”
Los Angeles was the highlight, where they played two nights at Inglewood’s Kia Forum, pulling in $3.2 million from 29,500 tickets sold. Closing night (Oct. 23) at Seattle’s Climate Pledge Arena scored the tour’s best single-night attendance (15,016), while the Sept. 23 show at New York’s Madison Square Garden posted the highest one-night gross ($1.7 million).
On average, the Sweat shows grossed $1.3 million and sold 13,479 tickets per show. That’s more than ten times either artist’s previous best as a solo headliner, even considering shows they played earlier this year.
It’s rare for artists who make pop and dance music to sell out arenas without an extensive slate of chart hits. In conversation with Zane Low, Charli reflected that “niche is being rewarded in a way that we haven’t seen for a while.” The world-building that each artist has done with their recent albums and throughout the Sweat tour with guest stars in their orbit like Addison Rae, Kesha and Lorde, super-served fans. In Charli’s words, “We just have to do it for them. And we have to make them feel so special, because they are, because they’ve championed me and us for so long.”
Live Nation’s Lesley Olenik (SVP, Global Touring) agreed, calling it “the can’t-miss live event of the year.” She continued, “What made it truly special was the energy — fans were free to express themselves in ways we haven’t seen in years, and Charli and Troye fed off that vibe every night. It was a no-judgment zone where everyone could unapologetically be themselves.”
That’s not to say that they have not broken through on a mainstream level before. Charli reached the top 10 of the Billboard Hot 100 in 2014 and even claimed that year’s Song of the Summer as a featured guest on Iggy Azalea’s “Fancy.” Sivan has four top 10s on the Billboard 200 and nine hits on the Hot 100. In the last year, both acts hit No. 1 on Top Dance/Electronic Albums and logged multiple top 10s on Hot Dance/Electronic Songs, separately and together.
Both artists will return home for brief runs of shows in November. Sivan will re-up the Something to Give Each Other Tour with six shows throughout Australia and New Zealand. After hosting and performing on the Nov. 16 episode of Saturday Night Live, Charli will launch the Brat Tour with four shows in the U.K. Combined, they’ve already moved 419,000 tickets and earned $34 million on the road in 2024. By year’s end, those numbers will swell beyond 500,000 and $45 million.
A little over eight months ago, Olivia Rodrigo had only headlined theaters. Flash forward to today, and she has sold out arenas on four continents and staged one of the year’s biggest tours. The pop phenom wrapped the Guts World Tour last week, bringing in $184.6 million from over 1.4 million tickets sold, according to figures reported to Billboard Boxscore.
The Guts cycle began in June 2023, when Rodrigo unleashed “Vampire,” the Grammy Award-nominated single that topped the Billboard Hot 100 for two weeks. The album followed, debuting atop the Billboard 200, landing its entire track list on the Hot 100, and earning two Grammy nominations of its own. After hedging bets with a theater tour following 2021’s gargantuan debut with Sour, the stage was set for an upgrade to arenas now that the sophomore slump had been avoided.
Rodrigo kicked off the Guts World Tour on Feb. 23 at Acrisure Arena in Palm Desert, Calif. That show sold 9,998 tickets, marking the smallest attendance for any stop on the tour. Things picked up quickly, ending her first North American leg with four shows at New York’s Madison Square Garden, earning $10 million from 57,900 tickets between April 5-9.
Though the New York run stands as the highest-grossing engagement of the Guts World Tour, that was not the end of Rodrigo’s run. She played 29 shows across 19 cities in Europe before returning to the U.S. and Canada for another 20 dates. To cap things off, she hit six Asian markets, plus four-night runs in Melbourne and Sydney, Australia.
During Rodrigo’s stint in Asia, her Oct. 5 performance at Manila’s Philippine Arena grossed $1.2 million and sold 48,800 tickets. It’s the best-selling single show of the entire tour – and her entire career – eclipsed only by four-night engagements in major markets like New York, London and Los Angeles. But out of 62 stops throughout 2024, it’s her third-lowest earner. That’s because she purposely kept tickets cheap, averaging $25.04 USD, which stands as less than a fifth the tour’s average of $128.81. Rodrigo is Filipino-American, and the show was a special stop – she is one of just seven artists to report concerts in Philippines this year – where all net proceeds went to local charity Jhpiego through the Fund 4 Good.
In terms of venue capacity and global reach, the Guts World Tour was a major step up for Rodrigo. While reporting for the Sour Tour was incomplete, its 16 reported shows averaged $415,000 and sold 5,517 tickets per show. Two years later, her nightly attendance is up 173% to 15,084, and her average gross jumped by 369% to $1.9 million. In 2022, she played 33 shows in North America and 16 in Europe. In 2024, those numbers bloated to 48 and 29, respectively, plus the 18 combined shows in Australia and Asia.
Still, there might be more room to grow. Co-manager Zack Morgenroth told Billboard that, per tour promoter Live Nation, demand indicated that Rodrigo could’ve packed stadiums just as well. Even at a low price, Rodrigo moved nearly 50,000 tickets in Manila, giving proof of concept.
The numbers are huge, but the tour’s greater impact extends beyond the accolades. Rodrigo’s Fund 4 Good led the way, in collaboration with HeadCount, the National Network of Abortion Funds and more. And then, there’s the secondhand buzz that helped guide Chappell Roan from the first leg’s opening act to industry noisemaker, eventually returning as a special guest in August, rousing the crowd with a choreographed sing-along of her own “Hot To Go.”
At 21 years old, Rodrigo’s Guts World Tour is the highest-grossing tour for someone of her young age (or younger) in a decade, dating back to when One Direction ruled the year-end Top Tours chart in 2014 with the Where We Are Tour. But that’s not enough – Rodrigo herself laments “When am I gonna stop being great for my age and just start being good” on Guts deep cut “Teenage Dream.” Her 2024 trek is now one of the 10 biggest pop tours of the decade so far, ranking among treks by peers like Harry Styles and icons like Madonna.
Is it really summer without The Rolling Stones on tour? The rock icons have toured North America, Europe, or both, for every summer but three in the last 12 years, consistently topping charts and setting records. After a break in 2023, the Stones returned for the Hackney Diamonds Tour, playing 18 shows in 15 cities throughout the U.S. and Canada from the end of April through the middle of July. According to figures reported to Billboard Boxscore, the trek earned $235 million and sold 848,000 tickets.
The tour was in support of the band’s Hackney Diamonds album, released in October 2023. The set marked the band’s first album of original material since 2005’s A Bigger Bang. Hackney Diamonds debuted at No. 3 on the Billboard 200 – the group’s highest-charting album since Bang also hit No. 3 – and extended the band’s record for the most top 10s on the chart.
The Hackney Diamonds Tour kicked off at Houston’s NRG Stadium on April 28, 2024,, bringing the Stones to more than 40,000 fans. By the time the band wrapped at Levi’s Stadium in Santa Clara on July 17, it had scored the highest-earning summer of its career. Sixty, its 2022 jaunt, earned $120.8 million, and the biggest of its four No Filter Tour legs brought in $177.8 million in 2019. While they’ve made more money on years-long treks, Mick Jagger & co. have never earned more than $200 million in a single season.
The Stones’ 2024 run was highlighted by double-headers in East Rutherford, N.J. (17 miles outside New York City), Chicago and Inglewood, Calif. (11 miles from downtown Los Angeles). Each of those engagements grossed more than $20 million, topped by the New Jersey shows at MetLife Stadium on May 23 and 26, which earned a combined $29.2 million and sold 105,000 tickets.
Those MetLife dates mark a career peak, setting the highest gross of the Stones’ 35-year Boxscore history. The Inglewood and Chicago dates also fall in the top 10, while Denver, Foxborough, Las Vegas and Philadelphia line up in the band’s all-time top 20, all between $15-16 million.
Every market on the tour delivered an eight-figure gross, with the lone exception of Glendale, Ariz., whose May 7 State Farm Stadium show grossed $8.4 million and sold 44,800 tickets.
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The Hackney Diamonds Tour sets a new high for The Rolling Stones and pushes the band further into uncharted Boxscore territory. This is its sixth tour to earn more than $200 million and 10th to gross more than $100 million. Both counts are Boxscore records, extending their lead for the most nine-figure tours, now three $100-million tours away from the group’s closest competitors.
Dating back to a report for two shows at Philadelphia’s Veterans Stadium on Aug. 31-Sept. 1, 1989, The Rolling Stones have earned $2.873 billion and sold 28.9 million tickets.
Across Green Day’s 12 shows in September — 11 at stadiums, plus an amphitheater show in Austin, Texas — the band sold 415,000 tickets at an average ticket price of $114.71, combining for earnings of $47.5 million according to figures reported to Billboard Boxscore. That puts the California trio’s The Saviors Tour at No. 1 on Billboard’s monthly Top Tours ranking.
The Saviors Tour kicked off in June with a $33.8 million run in Europe, before crossing the Atlantic for a 26-city tour of the United States and Canada. Though Green Day had sprinkled stadiums late in the 2004-05 American Idiot World Tour and then committed fully to the venues with Fall Out Boy and Weezer on the 2021-22 Hella Mega Tour, this marks the band’s first solo headlining run to predominantly play stadiums.
The Saviors Tour is named after Green Day’s 14th studio album. The set debuted at No. 4 on the Billboard 200 earlier this year and spawned “Dilemma,” which spent eight weeks atop Alternative Airplay. But the trek helped juice up the band’s reach by calling back to two of its landmark albums, celebrating the 30th anniversary of Dookie and the 20th anniversary of American Idiot by playing both LPs in full each night.
In September, Green Day hit a high for its entire North American leg, with $5.7 million and 47,800 tickets at SoFi Stadium in Inglewood, Calif. That’s one of three entries for the band on Top Boxscores, at No. 24. Dates at San Francisco’s Oracle Park and San Diego’s Petco Park follow at Nos. 27 and 29, respectively.
It’s uncommon for an act to be No. 1 on Top Tours without a similarly high placement on Top Boxscores. Throughout 2024, the highest-grossing touring act has always had at least one entry in the top 10 of Top Boxscores, with the same act ruling both charts in five of the right months before September.
Further, in the 51 editions of Billboard’s monthly Boxscore charts since Feb. 2019, the artist at No. 1 on Top Tours was in the top 10 of Top Boxscores 43 times. Of the eight instances where they did not overlap, four were by Trans-Siberian Orchestra during their annual December takeover. That group routinely rules Top Tours without making impact on Top Boxscores, assembling its massive monthly total by playing multiple shows per day, with the help of two coastal touring ensembles.
Though there is only one iteration of Green Day responsible for its September victory, the strategy is similar. The punk-rock icons have the month’s biggest tour by volume, playing 12 stadium shows between Sept. 1-28. The acts that lead Top Boxscores – Coldplay, Metallica, Bruno Mars – all held splashy multi-night engagements in international territories, but didn’t tour consistently throughout the month.
Timing also helps. In August, Green Day’s $47.5-million gross would have sat behind the entire top five, helmed by Zach Bryan above $90 million and Coldplay over $80 million. The former took September off and the latter wrapped its European leg on Sept. 2, clearing a path for Billie Joe & co. to claim their first monthly victory.
Still, the individual shows on The Saviors Tour mark the biggest of Green Day’s storied career. While the SoFi Stadium shows were the biggest of the North American leg, a June 29 show at London’s Wembley Stadium ($7.9 million; 76,000 tickets) topped the entire tour. It was also the highest-grossing and best-attended night of the band’s entire reported Boxscore history.
Further, Green Day’s 25 top-earning concert engagements all come from this year’s tour. In all, The Saviors Tour grossed $132.4 million and sold 1.2 million tickets, easily ending as the band’s highest-grossing and best-selling tour ever.
Directly following Green Day on Top Tours are two of the biggest R&B acts on the road. Bruno Mars is No. 2 with $43.8 million and Usher is No. 3 with $36 million. The former played in Indonesia, Malaysia and Taiwan (plus one show in Las Vegas). Three shows at Jakarta’s Beach City International Stadium account for nearly half of Mars’ total monthly gross, bringing in $21.5 million from 142,000 tickets.
Notably, Mars is not technically on a tour, rather playing one-off engagements around his ongoing residency at Las Vegas’ Dolby Live. His last trek was the 24K Magic World Tour, which earned $396.1 million and sold 3.6 million tickets in 2017-18. His current Vegas stint is among the top 10 residencies in Boxscore history, now up to $138.8 million.
Usher, on the other hand, is amidst his first proper headline tour since 2015, after closing out his own Vegas residency late last year. Usher: Past Present Future kicked off in August, averaging $2.3 million per show in September. Its biggest stop so far was a four-night run at Brooklyn’s Barclays Center, which brought in $10.2 million and sold 58,000 tickets.
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Rock tours flood the rest of the top 10, with Metallica, Jeff Lynne’s ELO and Pearl Jam following at Nos. 4-5 and 8, respectively. Coldplay, Twenty One Pilots and the Eagles line up consecutively just outside the top 10.
While Green Day crowns Top Tours while missing the top 10 of Top Boxscores, Coldplay does the opposite, at No. 1 on the latter chart while sitting at No. 11 on the former. Coldplay only had two shows during September, but they made them count. The British quartet played four concerts at Dublin’s Croke Park – two on Aug. 29-30, which counted toward the August chart, and two on Sept. 1-2. The September dates grossed $24.8 million and sold 165,000 tickets.
Further down on Top Boxscores, Sebastian Maniscalco grossed $10.7 million across five nights at Madison Square Garden, earning the No. 8 entry. It’s the highest-grossing report for a comedian in Boxscore history. The number of comedy acts who can play one night at an arena is small, so consider Maniscalco one of very few who could sell out five.
For the sixth consecutive month, Zach Bryan has one of the 10 biggest tours in the world. For the second of the last three, he’s at No. 1. According to figures reported to Billboard Boxscore, Bryan grossed $93.2 million and sold 467,000 tickets from 13 shows around the U.S., returning to the top of Billboard’s monthly Top Tours chart.
When Bryan topped the list in June, Billboard noted that he was only the second country act to rule the tally since it launched in early 2019, following Morgan Wallen. Now, he’s the only artist in his genre to claim multiple months at No. 1. Bad Bunny and Elton John lead overall, each having topped seven monthly charts.
Bryan kicked off The Quittin’ Time Tour in March at a string of North American arenas. By the end of May and into June, he began sprinkling in stadium plays, multiplying his potential nightly audience by three or four and prompting his first monthly win. In August, stadiums made up the majority of his calendar — for 10 of his 13 shows. Those were spread across major markets such as Atlanta, Philadelphia and Minneapolis, leaving only Kansas City and Grand Forks, N.D., in arenas.
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This transition from indoor basketball courts to outdoor football fields joins Bryan with fellow country superstars such as Luke Combs and Wallen as well as the biggest of the big beyond genre, like The Rolling Stones and Taylor Swift.
A double-header at Philly’s Lincoln Financial Field earned the biggest gross of Bryan’s career. The Aug. 6-7 stay earned $20.7 million and sold 103,000 tickets, followed immediately by another six-digit attendance total at Atlanta’s Mercedes-Benz Stadium on Aug. 10-11 ($17.8 million; 100,000 tickets).
Since beginning in Chicago on March 5, The Quittin’ Time Tour has grossed $318.1 million and sold 1.6 million tickets. Bryan will resume the trek with 18 shows in November and December. Most of his remaining 2024 dates bring him back to arenas, which means he could add another $60 million by year’s end, approaching the $400 million mark.
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Bryan’s summer on top was briefly interrupted by Coldplay’s July victory. This month, Chris Martin & Co. dip to No. 2, with a gross of $86.4 million from 626,000 tickets sold. Though the band misses Bryan’s high mark by about 7%, its attendance total is tops for August.
As has been customary amid the Music of the Spheres World Tour, Coldplay’s August schedule was compact, including three shows in Munich, four in Vienna and two in Dublin. The extended run at Vienna’s Ernst Happen Stadion on Aug. 21-22 and 24-25 is both the highest grossing ($33 million) and bestselling engagement of the month (251,000 tickets).
As Billboard reported, The Music of the Spheres World Tour is already the highest grossing and bestselling rock tour in Boxscore history, with $1.06 billion and 9.6 million tickets sold through Sept. 2. Next on its record-breaking schedule is the 10 million ticket threshold, which will certainly clear during the Australia and New Zealand leg in October and November.
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Metallica follows at No. 3 on August’s Top Tours chart with $74 million and 621,000 tickets. The latter figure barely misses Coldplay’s ticket sales, separated by just 5,000 tickets, or less than 1%. The hard-rock legends sport two appearances in the top 10 of Top Boxscores, at Nos. 8-9 with stints at Foxborough’s Gillette Stadium and Chicago’s Soldier Field, respectively.
At No. 4, P!nk is the lone woman in August’s top 10 at $55.6 million and 329,000 tickets, next followed by Jhene Aiko’s $16.3 million and 150,000 tickets. While gender representation can be marked by the whims of monthly schedules – there were five women on the charts for June and July, and September marks the launches of major treks by Sabrina Carpenter, Charli XCX and Billie Eilish – it’s startling to see women make up less than 7% of August’s top-30 pie.
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Interrupting Coldplay’s sweep of Top Boxscores, Outside Lands Music and Arts Festival is No. 2. The San Francisco festival grossed $29.5 million and sold 184,000 tickets across its Aug. 9-11 run.
Outside Lands is joined by Montreal’s Osheaga Music & Arts Festival, which rounds out the chart’s top 10 with $14.7 million and 137,000 tickets sold. It’s one of a string of festivals, along with Ilesoniq and Lasso Montreal, that pushed Evenko to No. 5 on the month’s Top Promoters ranking.
On the venue rankings, it’s the fourth consecutive win for Sphere among rooms with a capacity of 15,001 or more (excluding stadiums). Again, Dead & Company ushered the immersive arena to its victory, which closed out its summer-long residency on Aug. 10.
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Last year was a banner year for live events, with grosses from the top 100 tours up 53% from 2019, the last full year before the pandemic, according to figures reported to Billboard Boxscore. In March, Billboard and Luminate collaborated to dig deeper, and published The Shared Impact of Touring and Streaming. On Wednesday (Sept. […]
Already one of the most successful and prolific Latin music artists in Boxscore history, Luis Miguel has re-entered the record books with his ongoing world tour. According to figures reported to Billboard Boxscore, the Luis Miguel Tour 2023-24 has grossed $318.2 million and sold 2.2 million tickets in its first 146 shows. That makes it the highest grossing tour ever among Latin acts.
At an Aug. 28 show in Caracas, Venezuela, Miguel slid past Bad Bunny’s World’s Hottest Tour ($314.1 million) and Karol G’s Manana Sera Bonito Tour ($313.3 million) for the Latin Boxscore record and extended it a few days later with a concert in Juarez, Mexico.
Miguel’s current tour kicked off with a bang last summer, with 10 shows at Buenos Aires’ Movistar Arena, and then another 10 at the venue of the same name in Santiago, Chile. Those 20 kick-off dates brought in a combined $28.1 million and sold 227,000 tickets, already establishing it as the third highest grosser of his storied career. After that, he toured through the U.S., Mexico and Latin America, back to the U.S., over to Spain, and most recently, back to LatAm.
Miguel’s run in the U.S. was fruitful ($49.8 million), but the turn to his native Mexico was even bigger, bringing in $57.5 million in 20 shows. By the end of 2023, he had earned $141 million – still a way’s away from the all-time high, but enough to handily pass his own Mexico Por Siempre Tour from 2018-19 ($101.4 million) as his biggest tour yet.
Across stadiums in Latin America, Miguel added another $73 million in the early months of 2024, and another $65.6 million in North American arenas through mid-June. Twelve shows in Spain packed in $27.6 million, and his return to Central America padded the tour with another $10.7 million in five shows in August.
Not only is this Miguel’s highest-grossing tour, it’s his best-seller. At 2.194 million tickets so far, he has doubled (and then some) his previous run, where he moved 965,000 tickets. On the all-time leaderboard, he still trails Karol G’s 2.326 million, though he will easily pass that mark by the end of the month.
While Bad Bunny and Karol G had earned their all-time highs exclusively in stadiums around the world, Luis Miguel has mixed arenas and stadiums, with more than double the show count.
Already in unprecedented waters, Miguel has played another seven as-yet-unreported shows in Mexico and Las Vegas, with another 30 scheduled in Mexico through Nov. 25. The centerpiece of his remaining shows is a 10-show run at Mexico City’s Arena Ciudad de Mexico between Oct. 8-24. Seven shows at the same venue grossed $14.6 million last November, so his extended stint is expected to surpass that and be the entire tour’s biggest engagement.
Miguel’s 20 shows in Mexico last year averaged $2.873 million per date. Applying the same logic, the remaining dates (including September shows that he has played but not yet reported) could add another $100 million and make him the first Latin artist to stage a $400 million tour.
Dating back to a November 1991 concert at New York’s The Paramount, Miguel has grossed $633.1 million and sold 6.3 million tickets over 701 reported shows.