Concerts
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Alanis Morissette tore through a pair of her most beloved singles at the FireAid L.A. Benefit Concert on Thursday night (Jan. 30), taking the stage in the second slot at the Kia Forum and performing “Hand in My Pocket” and “Thank U.” Explore Explore See latest videos, charts and news See latest videos, charts and […]
Before the first note is played at FireAid on Thursday (Jan. 30), more than $60 million dollars will have already been raised from ticket sales and sponsorship dollars for wildfire recovery and prevention efforts from the fires that have ravaged the Los Angeles area. Add to that the donations from viewers watching live on more than 25 streaming outlets that will be matched dollar for dollar by Steve and Connie Ballmer and the event will undoubtedly raise tens of millions of dollars more for the cause.
The Los Angeles concerts will feature Billie Eilish, Earth, Wind & Fire, Gracie Abrams, Jelly Roll, Katy Perry, Lady Gaga, Lil Baby, Olivia Rodrigo, Peso Pluma, Rod Stewart, Stevie Wonder, Sting and Tate McRae at the Intuit Dome, while Alanis Morissette, Anderson .Paak, Dave Matthews and John Mayer, Dawes, Graham Nash, Green Day, John Fogerty, Joni Mitchell, No Doubt, P!nk, Red Hot Chili Peppers, Stephen Stills, Stevie Nicks, and The Black Crowes will take the stage at the Kia Forum.
The idea for the benefit, which was announced three days after the catastrophic fires that have destroyed more than 22,000 homes started on Jan. 7, was born after Shelli Azoff called Los Angeles Clippers CEO Gillian Zucker to see if they could hold a benefit at Intuit Dome, home to the Clippers. So many artists volunteered to play that the concert quickly overflowed to the Kia Forum.
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Irving Azoff, who is producing the event with his wife Shelli and his family in conjunction with Live Nation, talked to Billboard on Tuesday night as he headed to the Kia Forum to watch the two Stevies — Nicks and Wonder — rehearse. In addition to talking about the shows’ logistics, he primarily wanted to express his extreme gratitude to the Ballmers, the artists and nearly 40 sponsoring partners who have made the event possible.
It’s really remarkable how fast this has come together.
After the fires started, Shelli says we’ve got to do something. Some else says the only thing we know how to do is put on shows. Shelli calls Gillian, she offers us Intuit and it’s off to the races…So many [artists] volunteered that we knew we could do both [venues]. You don’t want to tell people no and obviously the ability to raise more money when you got two going instead of one is even greater.
At any point did you think, “Let’s move it to Sofi Stadium” or add a third location, given how many artists were eager to play?
Look, there were three pieces to this: There’s the live gate and the corporate sponsorship for the live gate, which, I’m happy to say, is already north of $60 million. The sponsorships, which Scott Sonnenberg at the Clippers organization and Dan Griffis and his team at Oak View, went out and, they’ve done just an incredible job. People just called and said, “Can I [help]”? But we also knew that this is about helping everybody and getting everybody together so everybody can begin to heal and enjoy this wonderful music to try and get everybody a bit back on track. We knew from the start we wanted to do a modern digital telethon where you text to donate. Ballmer offers the building and the Clippers organization is picking up the expenses so every single dollar of ticket money is going to the charity and with Steve and Connie matching anyone that gives money during the telethon, no, we never thought about Sofi, nor should we.
Rod Stewart was the first artist to volunteer to play, right?
Rod was first in, then Stevie Nicks called me personally and she was second in.
Were you surprised by the sheer number of artists who wanted to donate their time?
I’m not surprised because musicians are among the most caring, heartwarming, giving people in the food chain. So, no, I wasn’t surprised–delighted, but not surprised… It’s not just the money raised; we’re going to create a worldwide consciousness for what these fires really were. [Executive producer] Joel Gallen has put together [segments] with some incredible footage from KTLA of the survivors and fire people. It’s a different kind of show.
You’ve got nearly 40 sponsors. Can sponsors still come on?
We sold out earlier today. Every suite is gone, and all the sponsorships are gone. A lot of sponsors said, “Here, just take our money.” We said, “Tickets should come with that. You want to give us back the tickets for first responders and people that lost their homes?” And many of them did that. I think about 2,500 impacted first responders and homeowners or more will be in the two rooms. Many of [the sponsors] are using their suites. Everybody did what they felt was right. I would guess that for a one-night event in the music business, it’s probably the biggest sponsorship haul in history. We were talking about it today. We don’t think anybody’s come anywhere close. We get the credit for getting the ball rolling, but then the community really took over.
What role is Live Nation playing?
[Live Nation president of California Region] Geni Lincoln–like my wife and daughter Allison and many others–has been working 18 hours a day. [Live Nation CEO] Michael Rapino is an executive producer with Shelli and myself and Gillian Zucker and Joel Gallen. He’s been on calls all day and all night. We’re all out raising money. We’re all out putting it all together. Live Nation has been incredible. I’m just so proud of them and their team and what they brought to the party.
What has been the biggest challenge for you logistically?
Look, it’s rock and roll. What can go wrong will go wrong. Since we’re trying to go back and forth between the arenas most of the night for the telecast, the biggest challenge is going to be that we don’t have technical issues that delay anybody getting on the stage at the right times.
What can fans expect from the sets?
Most people are doing two to three songs. A few are doing four. After it was already on sale and [artists] are all set, then other [artists] called. Since all the slots were gone and God knows how long the show is going to be–right now it’s five-and-a-half hours–[we said], “It’s too late to add you to the bill and we don’t have a slot, but how would you like to go do XYZ with such and such an artist?” I think there’s a good half dozen really surprise moments.
In Tuesday’s New York Times article, you and Recording Academy CEO Harvey Mason went out of your way to say you and the Feb. 2 Grammys are not competing with each other even though the shows are only a few days apart.
We’re not in any sort of competition. They’re an award show. They’re a broadcast television show. We wanted to make this a streaming telethon, meaning a digital streaming moment, right? We didn’t do any over-the-air broadcast. Granted, we’re going to have our moments to tell the story of some of the people impacted by the fires, but this is more like a stream from a music festival. It’s not an award show. They’re two very separate things. I’m on the board of [Recording Academy charity] MusiCares and I hope our board will see fit to give some of the money that we’re making to MusiCares.
How did you pick the date?
We looked at other dates. Remember, our show because we’re trying to solicit donations from consumers– unfortunately, people don’t have a big, long attention span–you want to get up while the fires are still fresh in everybody’s mind. It was kind of guesswork as to when the weather was going to turn and they were going to get control of the fires. We couldn’t go next week because it’s the Super Bowl and we didn’t want to go anywhere near Super Bowl week. And the following week we didn’t have building availability. We didn’t try to go, “Oh, let’s go Grammy week.” Nearly all of the people that are involved either live in LA or have an LA connection, so it wasn’t, “Oh, everybody’s in town for the Grammys. It’s easy to book.” Most of the people would have been here three weeks from now that are here now, so it’s just the way it fell in place.
Was there any thought of going on a broadcast outlet or was it always streaming?
When it became obvious that we were going to do 27 performers, there was no way. You’re not going to put a five-and-a-half hour show on broadcast television.
You’ve already raised more than $60 million. What do you hope the total will be?
We’re already grateful for what we have. I mean, there’s never been a fundraising effort on streamers like this, so I can’t even begin to think about… we’re going to be happy whatever it is. It’s kind of new territory. The outpouring is historic, but, unfortunately, so are the fires.
Audiences can tune into FireAid on a number of platforms, including iApple Music, AppleTV, DIRECTV, MyFree DIRECTV, DIRECTV STREAM, and DIRECTV FOR BUSINESS, Disney+/Hulu, FanDuel, iHeartRadio, KTLA+, Max, Facebook, Instagram, Netflix/Tudum.com, Paramount+/Pluto TV, Peacock/NBC News Now, Prime Video and the Amazon Music Channel on Twitch, SiriusXM’s “LIFE with John Mayer” channel, SoundCloud, TikTok, Veeps, X, and YouTube. Some outlets are also making donations, including DirectTV, which announced it was donating $1 million to FireAid.
Additionally, several AMC Theater and Regal Cinemas will host screenings of the event, which can also be heard on iHeartRadio’s more than 860 radio stations, digital platforms and iHeartRadio app.
Sponsoring partners include Kaiser Permanente, Live Nation, Scopely, American Express, AT&T, Capital Group, Netflix, Snap Inc., U.S. Bank, UBS, Venmo, and Visa Foundation. Gold Partners are DIRECTV, Goldman Sachs, Intuit, Starbucks, YouTube, and the Verizon Foundation.CalHOPE, Prime Video and Amazon MGM Studios, JPMorganChase, Salesforce, Schuman Family Foundation, SiriusXM, Sony Honda Mobility, Spotify and TikTok.
For donations and concert information, go to FireAidLA.org or @FireAidLA.
Billboard is making its way back to South by Southwest in Austin, Texas, for three star-studded concerts from March 13 to 15.
Billboard THE STAGE at SXSW will take place at the the iconic Moody Amphitheater at Waterloo Park, and will kick off Thursday (March 13) with a performance by Texas native and country superstar Koe Wetzel. The fun continues Friday (March 14) when Música Mexicana stars Grupo Frontera — also Texas born and raised — take the stage. The final evening, Saturday (March 15), is presented by Carnival Cruise and will feature a high-energy performance from dance music artist John Summit.
More performers will be announced in the coming weeks.
Carnival Cruise Line will provide pedicabs to transport guests to and from THE STAGE, and will also host a one-of-a-kind Celebration Key experience in The Paradise Zone that features a tropical-themed bar, a snack cart and custom photo opportunities. Additionally, Azzaro Parfums is hosting an immersive fragrance sampling station.
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“Billboard has always been at the forefront of celebrating the artists and moments that shape the global music landscape, and this year at SXSW, we’re continuing that tradition with a unique concert series that highlights the diversity of today’s music scene,” Hannah Karp, Billboard’s editorial director, said in a press statement. “From country to Música Mexicana and electronic dance music, Billboard THE STAGE will bring unforgettable live performances to Austin to enhance the SXSW experience and connect music fans with the artists they love.”
Moody Amphitheater at Waterloo Park will host a ticket pre-sale for all three days of the event starting on Thursday (Jan. 30) at 9 a.m. CT using an exclusive venue code. General admission tickets go on sale the next day via Ticketmaster here at 9 a.m. CT, with a number of tickets reserved for existing SXSW Platinum and Music Badge holders, as well as SXSW Music Festival wristband holders.
Billboard is also partnering with REVERB again to provide a lucky music fan with the chance to win an all-expense-paid VIP trip to SXSW. Participants can enter to win by making a donation to REVERB through Prizeo, which will support REVERB’s Music Decarbonization Project, which works to reduce carbon emissions within the music industry. The prize also includes a meet-and-greet with Koe Wetzel, side-stage viewing, round-trip airfare for two, three nights of hotel accommodations and a signed merch pack. To enter the contest, visit prizeo.com/Koe.
Billboard will report live throughout SXSW. Be sure to follow along on billboard.com and on social media (@billboard) for the latest news and announcements.
Billboard’s parent company PMC is the largest shareholder of SXSW and its brands are official media partners of SXSW.
Coldplay now holds the record for the largest-ever stadium shows of the 21st century following a two-night stint at Narendra Modi Stadium in Ahmedabad, Gujarat, in India, according to Live Nation. The shows also marked the first time Coldplay has played in the country. Over the weekend (Jan. 25-26), the British band performed for 111,581 fans […]
Sometimes, it’s about all the small things — but when it comes to helping out Los Angeles in a crisis, Blink-182 is going above and beyond. On Monday (Jan. 27), bandmates Mark Hoppus, Tom DeLonge and Travis Barker announced a one-night-only charity show at the Hollywood Palladium supporting wildfire relief efforts amid the ongoing natural […]
In January 1975, on a side street in New Haven, Conn., surrounded by the campus of Yale University, a small French restaurant featuring live music opened its doors, with an unlikely name — Toad’s Place.
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This month, Toad’s Place marks its 50th anniversary, now with a national reputation earned by showcasing hundreds of artists, helping to launch the likes of R.E.M and U2 and hosting rare small-room performances by Bruce Springsteen, Bob Dylan, Billy Joel and The Rolling Stones.
In the volatile venue business, Toad’s Place is a survivor. The club is older than many of the nation’s other iconic rooms of its size and has outlasted peers, like New York’s Bottom Line, which were once part of the same showcase circuit.
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Brian Phelps, owner of the club, recently reached out to many of the performers and industry figures who have passed through the club’s doors with the news that “we will be celebrating this golden anniversary” in the coming months. A documentary on Toad’s Place is in the works. Other details of the celebration have not yet been announced.
In 2021, Phelps and veteran New Haven journalist Randall Beach co-authored The Legendary Toad’s Place: Stories from New Haven’s Famed Music Venue (Globe Pequot) and hosted a book party at the club. (Editor’s note: This writer contributed a short essay to the book.) “It has been my job to present the music as best as I could,” said Phelps at that gathering.
It’s fair to say that almost any national or regional club-level artist touring the Northeast from the late 1970s onward has been welcomed at Toad’s Place. While the walls of Toad’s Place may not talk, they are emblazoned with the names of acts that played the club early in their careers. Among many others: U2, R.E.M., Meat Loaf, Michael Bolton (a native of New Haven), Ramones, Talking Heads, Pat Benatar, Joe Jackson and Huey Lewis & the News, whose lead singer told the book’s authors: “We love that joint.”
Phelps says Toad’s Place had survived through the decades thanks to the club’s willingness to evolve with tastes in music and the desires of fans. Paintings on the walls commemorate appearances by Kanye West in 2004, Drake in 2009, Iggy Azalea in 2013 and three bookings of Cardi B in 2016 and 2017. In the past year, the club has presented artists as varied as revered rocker Jack White, former Skid Row frontman Sebastian Bach and country singer Lauren Watkins.
Originally opened by the late Mike Spoerndle and two partners, Toad’s Place began booking national club acts in 1976 with the help of well-connected musician and agent Peter Menta — and, from 1977 onward, with help from promoter Jim Koplik, who is now Live Nation’s regional president of Connecticut and upstate New York.
On Aug. 25, 1978, Koplik had booked Springsteen to play the since-demolished New Haven Coliseum area. After the show, Springsteen stopped by Toad’s Place to jam with John Cafferty and the Beaver Brown Band. The club’s reputation was growing, thanks to the savvy of in-house bookers Lucy Sabini and her successor, Katherine Blossom.
By the summer of 1980, in the wake of the multi-platinum success of The Stranger, Billy Joel had become an arena-packing superstar, when he chose to play two nights at Toad’s Place to record tracks for his Songs in the Attic live album.
But the most remarkable night at Toad’s Place took place at the end of that decade, in August 1989. Beach recalled hearing a message on his home answering machine tipping him off to a hot booking at the club. Others had been told the event was a birthday party for Koplik. A local band, Sons of Bob, were on the bill that night.
On Aug. 12, 1989, The Rolling Stones took the stage at Toad’s Place in front of just 600-something dazed fans at Toad’s Place. The band, which had been rehearsing for their Steel Wheels tour in Washington, Conn., played an 11-song set that opened with “Start Me Up,” closed with “Jumpin’ Jack Flash,” and featured the first live performance of “Mixed Emotions.”
Less than a year later, Dylan, also warming up for a concert tour, gave a marathon performance at Toad’s Place on Jan. 12, 1990, playing for four hours and 20 minutes in multiple sets, granting the request of an audience member to cover Springsteen’s “Dancing in the Dark,” and concluding with “Like a Rolling Stone” at 2:20 a.m.
In the book, Beach quotes Billboard touring editor Dave Brooks, who cites a handful of clubs nationwide that have survived as long as Toad’s Place, like the Stone Pony in Asbury Park, N.J.; First Avenue in Minneapolis; the Troubadour in West Hollywood; and the Iron Horse in Northampton, Mass.
“I think the main thing that has kept them open all these years is staff or current ownership who feel a sense of guardianship, and strive to protect these venues because of their cultural and historical impact on popular music,” said Brooks.
Phelps managed Toad’s Place from 1976 to 1985, then became a partner with Spoerndle and subsequently took over ownership of the club. But at the 2021 book party, Phelps praised the role of his former mentor and partner in launching Toad’s Place. “Big Mike” Spoerndle earned his nickname with his size, his appetites, his lifestyle, his charisma and his generosity; he became “the soul of Toad’s,” Koplik told the book’s authors.
But Spoerndle also struggled for years with substance abuse. For those familiar with the onstage history of Toad’s Place, the book’s deeply reported chapter on Spoerndle, his upbringing and the roots of his addictions is the emotional heart of the Toad’s Place story. On May 6, 2011, Spoerndle, then 59, was found dead at his home — and the cause of death was later given as poly-substance abuse and kidney failure.
When the pandemic struck, Toad’s Place was forced to close for months, “shut up like a damn morgue,” a Yale student said at the time. Phelps turned to savings, the federal Paycheck Protection Program — and, at the time of the book’s completion, was awaiting additional help from the Shuttered Venues Operators Grant, which Congress passed in December 2020.
Reflecting in the book on the pandemic and its aftermath, Phelps writes: “We will survive. We have a destiny in front of us!”
Hugh Jackman received an unexpected surprise from his friend and Deadpool & Wolverine co-star Ryan Reynolds during the opening night of his concert series at New York’s Radio City Music Hall.
On Friday (Jan. 24), the 56-year-old Australian actor launched his sold-out show, From New York, With Love, when Reynolds, 48, playfully interrupted from the audience, stepping up for an impromptu speech.
“I was told this was going to be a comedy version of Les Mis as a one-man show. We all said it was a terrible idea but he carried on. I see he’s duped me once again!” Reynolds joked.
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After a few more laughs, Reynolds turned sentimental and shared some heartfelt words about Jackman.
“This was the first major movie star I ever worked with, 16 or 17 years ago on X-Men Origins: Wolverine,” Reynolds recalled, according to People. “And I was young still. I was impressionable. I was expecting going to this movie set with this guy right here, and I didn’t know, I really didn’t know what was gonna happen. … But what I saw was just about the best thing anyone could possibly experience if you’re working your way up in the industry.”
Reynolds continued, “I saw a movie star, a capital M movie star… I saw this gentleman right here walk around that set, and just like here, he knew every single person’s name, even though he was making them up half the time. He showed a kind of courtesy and gentleness and curiosity, and he put value into every single crew member that we were working with.”
The Canadian actor, seated in the center orchestra next to Deadpool & Wolverine director Shawn Levy, went on to call Jackman “my gotcha for life.”
“I mean it,” Reynolds said. “And I know we were supposed to finish this bit where these two security gentlemen come and they try to take the mic for me — it’s like a struggle, and then they tase me and I go down, and then they hog-tie me and then they put me in the Radio City music garbage dump, and then they just light it on fire. But I wanted to actually just say, I love this man, I care about this man. He is, he is genuinely the best human being I know — and I have 4 children!”
Jackman responded, “I love you, Ryan Reynolds, I love you, man,” before teasing that Reynolds is actually his fifth best friend. He also jokingly added, “Thanks for coming. And thanks for asking for a free ticket, too.”
In October 2024, Jackman enlisted Reynolds for a humorous promo video to announce the Radio City concert series, which launched Friday with musical numbers from his 2017 film The Greatest Showman, as well as his most recent Broadway show, The Music Man. The concert, Jackman’s first concert in five years, also featured songs from Les Misérables and The Boy From Oz.
Originally slated for 12 performances, From New York, With Love was met with overwhelming demand for tickets and has since expanded to 24 shows, running over eight weekends through October.
Morgan Wallen is planning both new music and a new tour for 2025.
Right now, all he’s saying about the new album, his fourth, is the title, I’m The Problem. No word on the album release date, but the title track, written by Wallen, Ernest Keith Smith, Ryan Vojtesak, Grady Block and Jamie McLaughlin, will come out next Friday (Jan. 31).
That’s the same day that the general on-sale begins for tickets for the corresponding I’m the Problem tour (the artist pre-sale, which fans can sign up for starting Jan. 28, begins Jan. 30.)
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The 19-date North American stadium tour will begin June 20 at NRG Stadium in Houston, Texas, roughly a month after his new Sand in My Boots Festival in Gulf Shore, Alabama May 16-18.
The stadium tour will stop in 10 cities, playing two nights in each, except for Madison, Wisconsin, where, as of now, only one date is planned. Rotating direct support includes Brooks & Dunn, Miranda Lambert, Thomas Rhett and Koe Wetzel, with opening acts including Gavin Adcock, Corey Kent, Ella Langley and Anne Wilson. Wallen is booked by The Neal Agency.
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“We made so many lifelong memories on the One Night at A Time World Tour, and I cannot begin to express how grateful I am for my fans and the way they showed up each night,” reflects Wallen. “As I’ve been working on new music, it has inspired me to get back on the road and share these new songs with each of you on the I’m The Problem Tour. See y’all there.”
The 87-date One Night at A Time World Tour grossed more than $300 million, making it the top-grossing country tour even, according to Billboard Boxscore.
Additionally, Wallen’s Dangerous: The Double Album and One Thing At A Time, landed No. 1 and No. 6 on Billboard’s Top 200 Albums of the 21st Century, respectively.
A portion of every ticket sold for the benefits the Morgan Wallen Foundation, which supports programs for youth with a focus on sports and music I’m the Problem tour.
Morgan Wallen 2025 I’m The Problem Tour Dates:June 20 // NRG Stadium // Houston, TX w/ Corey Kent and Koe WetzelJune 21 // NRG Stadium // Houston, TX w/ Corey Kent and Koe WetzelJune 28 // Camp Randall Stadium // Madison, WI w/ Ella Langley and Miranda LambertJuly 11 // Hard Rock Stadium // Miami Gardens, FL w/ Gavin Adcock and Miranda LambertJuly 12 // Hard Rock Stadium // Miami Gardens, FL w/ Gavin Adcock and Brooks & DunnJuly 18 // State Farm Stadium // Glendale, AZ w/ Ella Langley and Miranda LambertJuly 19 // State Farm Stadium // Glendale, AZ w/ Ella Langley and Brooks & DunnJuly 25 // Lumen Field // Seattle, WA w/ Anne Wilson and Miranda LambertJuly 26 // Lumen Field // Seattle, WA w/ Anne Wilson and Brooks & DunnAug 1 // Levi’s Stadium // Santa Clara, CA w/ Anne Wilson and Miranda LambertAug 2 // Levi’s Stadium // Santa Clara, CA w/ Anne Wilson and Brooks & DunnAug 15 // Huntington Bank Field // Cleveland, OH w/ Ella Langley and Miranda LambertAug 16 // Huntington Bank Field // Cleveland, OH w/ Ella Langley and Thomas RhettAug 22 // Gillette Stadium // Foxborough, MA w/ Corey Kent and Miranda LambertAug 23 // Gillette Stadium // Foxborough, MA w/ Corey Kent and Miranda LambertSep 4 // Rogers Centre // Toronto, ON w/ Gavin Adcock and Miranda LambertSep 5 // Rogers Centre // Toronto, ON w/ Gavin Adcock and Brooks & DunnSep 12 // Commonwealth Stadium // Edmonton, AB w/ Ella Langley and Miranda LambertSep 13 // Commonwealth Stadium // Edmonton, AB w/ Ella Langley and Brooks & Dunn
JPEGMAFIA has been forced to end his recent Berlin show earlier than planned after an unexpected incident involving pepper spray in the audience. The New York-born rapper (whose real name is Barrington DeVaughn Hendricks) was performing at Huxley’s Neue Welt in Berlin on Monday (Jan. 20) when the incident took place. Per the Associated Press, […]
Splendour in the Grass, one of Australia’s most prominent music festivals, will not be going ahead in 2025.
The decision to not return following the unceremonious cancelation of its 2024 event was confirmed by promoters Live Nation in a statement given to Rolling Stone AU/NZ.
“The festivals team has our full support to bring Splendour in the Grass back when they feel it’s right,” the statement reads. “In the meantime, we’re working on exciting new projects to support artists and the industry, while meeting the demands of music fans and look forward to sharing more in the coming months.”
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On the Splendour social channels, a separate, more casual message was simultaneously conveyed to its followers, apologizing for their silence and explaining they had “finally” taken the opportunity to have a “holiday”.
“The rest of the festival team have still been busy cooking up some awesome new things for music lovers in Australia, but Splendour needs a little more time to recharge and we won’t be back this year,” the statement read. “Think of it as a breather so we can come back even bigger and better when the time is right. Lots of other huge events on the horizon so keep an ear to the ground in the coming months – we can’t wait to share what we’ve been working on!”
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Established in 2001 and held each year in Byron Bay, a picturesque beach town on the most easterly tip of Australia, Splendour is a destination event, the most popular mid-winter camping fest in the country. Names such as The Cure, Sonic Youth, Childish Gambino, Tame Impala, and Tyler, the Creator have all headlined the festival across its lifetime.
In 2024, the festival was canceled just weeks after it announced Kylie Minogue, Future, and Arcade Fire as headliners. “We know there were many fans excited for this year’s line-up and all the great artists planning to join us, but due to unexpected events we’ll be taking the year off,” a statement from organizers read at the time.
Three months later, the festival’s co-founder Jessica Ducrou, announced that she was exiting her role as co-CEO of Australia’s Secret Sounds Group, the producer of Splendour and a slew of live music brands.
Earlier in 2023, Secret Sounds’ other long-running festival, Falls Festival, announced it too would be taking some time off, though no updates have been provided since.