Concerts
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Beyoncé fan Jon Hetherington posted a video last week in which he lamented that he would not be able to achieve a lifelong dream of seeing Queen Bey in concert in Seattle at Lumen Field because he said the airline he was flying on was unable to accommodate his wheelchair. In a TikTok video, Oregon native Hetherington said he got the airport and was told by the unnamed airline that his chair was four inches too tall to be loaded onto the plane.
“They checked every possible flight, every airline, and nothing is available. So after 25 years of waiting, I’m not seeing Beyonce tonight. So ableism strikes again,” he lamented in the video that went viral and racked up more than 360,000 likes and 1,500 comments.
He was quickly flooded by comments from the Bey Hive, with some offering to give him their tickets for upcoming shows, and many others tagging Beyoncé, her Parkwood Entertainment management company and Columbia Records. “I’ve waited so f–king long for this,” Hetherington said in a follow-up video in which he said was demoralized, frustrated and sad about missing the show; two weeks earlier he said he was left stranded in Seattle for hours after a Janelle Monáe show because he could not find an accessible taxi in Seattle.
The groundswell of support and offers of help for the Oregon native turned into a dream come true on Thursday night (Sept. 21) when Hetherington, 34 — who has cerebral palsy and uses an electric wheelchair — was able to attend Bey’s Renaissance tour date at AT&T Stadium in Arlington, TX after a member of the singer’s team reached out to him, according to the New York Times; at press time a spokesperson for Beyoncé could not be reached for confirmation of the report.
The Times reported that Bey’s team arranged for a new flight and after the show Hetherington reported that not only did his dream come true, but he met Beyoncé’s mom — Tina Knowles-Lawson — as well as the singer herself. “Beyhive, you made this happen, you pushed and tagged like the internet has never seen. Tonight, for the first time ever, I had a seat on the floor for a concert. Welcome to the RENAISSANCE,” he wrote alongside a shot of him awaiting the beginning of the concert.
In a second photo, next to a smiling Knowles-Lawson, Hetherington was elated about his magical night and told his followers that he planned to keep the special words Beyoncé shared to himself. “There is much that I will say in the coming days about what tonight means to me. There are some things I’ll keep for myself. Truly an honor to meet you, @mstinaknowles! Thank you for all that you’ve done and given the world. We’re so grateful,” he said.
“To the Queen herself, @beyonce, I will treasure those words you said and the hugs you gave,” he added. “I meant every word I said. No, for anyone and everyone reading this, I will not ever share with you what was said to me, don’t even try it. That moment is between the two of us.”
See Hetherington’s posts below.
Most pop stars don’t suddenly experience a lot of firsts several decades into their career, but Kylie Minogue has always stood out from the pop pack.
Last year, the Aussie icon brought her branded rosé wine to the U.S. after dominating sales in the U.K.; on Nov. 3, she begins her debut Las Vegas residency at the Venetian’s Voltaire, making her the first headliner at the new venue. And unexpectedly this May — just two months shy of her debut album turning 35 — Minogue landed a viral smash with “Padam Padam,” a song that helped define the summer of 2023. The single, titled after the onomatopoeic sound of a heartbeat, instantly inspired an eclectic slew of memes, dances and lip-syncs from a generation who wasn’t even born when Minogue’s “Can’t Get You Out of My Head” hit the Billboard Hot 100’s top 10 in March 2002.
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With new album Tension out now and her Vegas residency kicking off soon, Minogue chatted with Billboard about joining TikTok, Padam-demonium and the most personal song on her latest album.
We have to start by talking “Padam Padam,” which was everywhere this summer, from Ariana Grande lip-syncing to Vice President Harris dancing to it in front of Stonewall. When did you realize the reaction to this song was different from other singles?
It felt very instantaneous. I didn’t know it was going to be this kind of, dare I say, zeitgeist-y [song with] more than a day of excitement on socials. But I had the feeling, “This is different from other times.” I was just loving it, I’m not gonna lie.
And it finally pushed you to become active on TikTok. Now that you’ve been doing it a bit, what do you think of that environment?
I’m into it now. My label tried to get me to do TikTok things before and it didn’t feel organic enough. But “Padam Padam” happened organically. I don’t think anyone on the team was thinking, “This is our TikTok moment.” In “Tension,” there’s less of a routine, but enough, and I’ve enjoyed seeing people extract what they want from the video and make it their own. It’s not, “this is how it goes – now you do it.” It’s a presentation, and then the users decide how they want to express themselves with it. People are so creative and hilarious. It’s amazing to me to have another big first in my career, and “Padam” did that.
Your last few albums have all had a theme: Kylie Christmas was the holiday album, Golden was the Nashville record, Disco was obviously the disco LP. Is there a theme for Tension?
We started searching for one. Initially, a kind of ‘80s vibe was floated. We did a block of writing with an ‘80s lilt in mind and then we abandoned it. Then there was no theme, and things really started to come together. It’s just what feels good — it’s servicing the song. And then making sure sonically they live in the same world enough to live as an album. Even a song like “Tension” is referencing different eras and sounds.
Was there one song that was the hardest to get right?
“Story” took a lot of chipping away.
It seemed very personal.
It is.
“10 Out of 10,” your collab with Oliver Heldens, is so much fun. How was working with him?
I’ve still not met Oliver! We were emailing back and forth, he was always very sweet over old-school emails, which I really like. We went back and forth with stems; it took me a long time to get that one down with the syncopation of it. A few songs (on Tension) took a while, and that was one of them. Whereas “Padam” took no time at all.
At the New York preview listening session over the summer, “Green Light” went off.
What a joy to hear the songs with people and get instant feedback – that tipped me over the edge. I tried to say, “this might be one of the slower ones” (to the crowd), and then, nuh-uh. It’s illuminating. It’s not like a 100 people got together in a room and came up with a plan – it was a natural, visceral reaction. And that helped us inform the run of singles, and “Tension” being a single. When we got past the fact that there was no theme for this album, the one thing I kept coming back to was my A&R Jamie Nelson, who was so important in this process. He said, “Just have fun – as long as it’s not boring.” And I don’t think any of the songs are boring. Mission accomplished on that front.
This is your 16th album now. What keeps you excited about making new music?
Writing with people I love, particularly Biff Stannard, Duck Blackwell and Jon Green on the last couple albums. There’s a history and an unspoken acceptance — we all complement each other. We enjoy writing together. Starting a day with nothing and writing a song is one aspect of creating that I love more and more, especially as I understand my strengths more in writing, and what risks I want to take. And now I self-record a lot — I travel with my studio — and I have my independence with that. I really, really had such a desire to get back into the studio.
You have a Las Vegas residency starting in November – you’ll be the first headliner to play the Voltaire. It’s called “More Than Just a Residency.” How are you making it more than what someone has seen before?
Well, that’s the club tag line [laughs]. But the presentation of the venue is custom-made: what they’ve come up with is a cross between a ‘30s cabaret club and Studio 54. That’s where it’s more than just a residency – there’s gonna be other entertainment leading up to the headline act, and if you want to stay (after my performance) you can carry on, there will be a DJ after it. It is more than just a residency — mine will stand alone as having another point of view.
Have you seen any shows in Vegas that inspired you?
Lady Gaga’s Jazz & Piano show, John Legend’s show and Silk Sonic. I was really inspired seeing the excitement. Vegas is its own beast.
Are you a gambler? Will we see you at the blackjack table?
I’m not. I’m a kind of 10-cent slot machine, give myself a 20-buck limit. It’s uneventful, me and gambling.
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You mentioned how “Tension” references different eras and sounds. I love how cool the verses feel, but then there’s this euphoric chorus.
It’s a roller coaster of a song. I can’t get that one out of my head.
The video is amazing.
Yes, the many me’s.
Are those looks a hint of what’s to come at the residency?
If I can be four people at once, yes. There’s nods to all sorts of things in the video and it’s incredible seeing people come up with their own theories. I don’t know which character will be the one I see people dressing up as (in Vegas). I wouldn’t know where to place my bet. Maybe the controller, the bleached blonde. I encourage people who come to the show in Vegas to live your best life, be your best self and have a great time. That’s a good tag line, isn’t it?
It has been one hell of a summer.
Fires sweeping across thousands of acres of dry Canadian wilderness sent apocalyptic clouds of smoke across East Coast cities. Hurricane Idalia, powered by rising ocean temperatures, raged across the Southeast causing widespread flooding and an estimated $12 billion to $20 billion in damage. Heatwaves sent temperatures soaring above 110 degrees from Portland to Puerto Rico. Drivers in Phoenix were burned by the seat belt buckles of cars left in the sun.
The climate crisis is real.
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“Our planet has just endured a season of simmering — the hottest summer on record. Climate breakdown has begun,” U.N. Secretary-General António Guterres said in a statement Sept. 6, marking the release of the latest data from the European Union’s Copernicus Climate Change Service by the World Meteorological Organization.
For more than three decades, one music event has been singularly focused on a piece of American life that holds at least part of the answer to this crisis — family farming. For that reason, Willie Nelson’s Farm Aid may well be the nation’s most important music festival right now.
“Climate change is the most important issue we face today,” says Dave Matthews, who is a member of the board — along with Nelson, John Mellencamp, Neil Young, and Margo Price — of Farm Aid, which Nelson launched in 1985, to help keep family farmers on their land. Since it began, through its annual benefit concerts, Farm Aid has raised more than $64 million to support programs that help family farmers.
Now in its 38th year, Farm Aid takes place Sept 23 at Ruoff Music Center in Noblesville, Indiana—Mellencamp’s home state — with the organization’s guiding artists joined by the Grateful Dead’s Bobby Weir & the Wolf Bros. featuring the Wolfpack, Lukas Nelson, Nathaniel Rateliff & the Night Sweats, Allison Russell, The String Cheese Incident and Particle Kid. Also on the bill: Clayton Anderson, The Black Opry featuring Lori Rayne, Tylar Bryant and Kyshona, the Jim Irsay Band, featuring Ann Wilson of Heart, Native Pride Productions and the Wisdom Indian Dancers.
“Farm Aid’s mission raises awareness around the importance of a national system of agriculture that values family farmers, good food, soil and water, and strong communities,” continues Matthews. “The mission is important because the industrial agriculture practiced on large corporate farms is contributing to the climate crisis. We need to continue to focus on solutions and agriculture methods that help mitigate climate change.”
Billboard first reported on the link between Farm Aid’s support of family farmers and the fight against climate change in 2011. “We started out to save the family farmer. Now it looks like the family farmer is going to save us,” Nelson said at the time.
In a comment he shared recently with Billboard, Nelson said: “We all eat and we all live on this one planet together. If your food is grown by corporate farmers with unhealthy practices, that’s what you’re putting into your body. Along with the fact that it had to travel several thousand miles to get to you, when local farmers mostly have better farming practices and a better carbon footprint.”
Carbon is the key to understanding how Farm Aid’s support for family farms is helping to address the climate crisis. Carbon dioxide (CO2) accounts for nearly 80 percent of the greenhouse gasses that trap heat in the atmosphere, according to the U.S. Environmental Protection Agency. The dramatic rise in CO2 levels in the atmosphere is the cause of the climate crisis. But carbon dioxide is removed from the atmosphere —or “sequestered”— when it is absorbed by plants as part of the biological carbon cycle, the EPA notes.
And that’s where farming enters the equation — but not just any kind of farming.
In recent years, there has been an increasing awareness that industrial agriculture practiced on large corporate farms is contributing to the climate crisis. In an August 2021 report, the National Resources Defense Council stated that industrial agriculture is a “significant source” of carbon in the atmosphere.
“Industrial agriculture is a large contributor to [greenhouse gas] emissions around the world,” writes Jennifer Fahy, communication director of Farm Aid, in a blog entry titled “Farmers and Climate Change: Myths vs Facts,” that was posted on the organization’s website in July.
“But family farmers have tremendous capacity to not just decrease emissions, but to actually sequester carbon dioxide in the soil with climate-resilient agricultural practices like organic production, cover crops, rotational grazing, agroforestry and more. These and other innovations mean family farmers and ranchers are leaders at the forefront of climate mitigation,” writes Fahy.
The farming techniques that Fahy describes are, in fact, deeply rooted in the nation’s history. “These methods originally come from Indigenous, Black, Brown and People of Color traditions that pre-date industrial agriculture, which is characterized by large-scale monoculture, intensive use of chemical pesticides and fertilizers, and concentrated animal feeding operations,” she writes.
Farm Aid’s advocacy is not only for family farms, but also racial and social justice and the broader communities fed by good food.
“Even as the people practicing these methods have endured genocide, land theft and loss, racism and discrimination, and the pressures of industrial agriculture, they have kept these traditions alive. Regenerative agriculture is not new; it’s been on the margins of our dominant industrial agriculture system. It’s time for it to come to the fore,” Fahy writes.
Farm Aid is one of many advocacy organizations that have called on the federal government to support regenerative farming to combat climate change, through funding in the Farm Bill. A multi-part, multibillion-dollar piece of legislation that is passed by Congress about every five years, the Farm Bill has a massive influence on how the nation’s food is grown. The most recent Farm Bill was passed in 2018 and expires this year.
In September 2022, Farm Aid joined more than 150 organizations in co-signing a letter asking President Biden “to weigh in on the next Farm Bill and demand that Congress build even further on the administration’s actions to date to reduce economic inequality; bridge the nation’s racial divides; end hunger; confront the climate crisis; improve nutrition and food safety; and protect and support farmers, workers, and communities,” wrote Fahy at that time.
In March, representing Farm Aid, Mellencamp went to Washington, D.C. to support and sing at The Rally for Resistance: Farmers for Climate Action. The event was organized under the umbrella of the National Sustainable Agriculture Coalition and involved some two dozen activist organizations and more than 30 delegations of farmers from across the country who converged on Washington to make their voices heard.
“We’ve been slugging since 1985 and let’s keep slugging,” Mellencamp told the crowd. “Let’s try to improve the quality of the food that we eat, the air that we breathe and the people that we are.”
Farm Aid’s organizers say this year’s Indiana festival will highlight the work of family farmers to address climate change through regenerative, organic and sustainable farming practices. It will showcase these climate champions on the Farm Aid stage and throughout the event. As farmers and farm and food advocates converge from across the country for the annual festival, Farm Aid will host additional pre-festival events to spotlight their work.
This year also will see the return to the Farm Aid stage of Neil Young, who did not attend in 2021 or 2022 due to the COVID-19 pandemic. (The 2020 event was presented online.)
In previous years, Young has spoken on stage about the ability of family farms to sequester carbon in the soil. “We need soil, with carbon in it, good strong soil,” he told the crowd during Farm Aid in Hartford in 2018. And he called on the audience to make deliberate choices when buying their food: “So what are you going to do the next time you see a farmer’s market?” he called out. “Say hello to a farmer. Buy something! Buy something good — something that’s good to the earth.”
Margo Price has echoed Young’s view that consumers must make choices to support sustainable agriculture — to save the farmers who will help save the planet. “The climate crisis and the food crisis are unfortunately, one and the same,” says Price. “Everybody’s gotta eat, and every time you spend a dollar, you are casting a vote.
“We are on the brink of living in an oligarchy, where three billionaires own more wealth than the rest of America.,” she continues. “Politicians’ greed is unquenchable and they don’t seem to care about the world we are leaving behind for future generations… We are facing uncertain times ahead, and it’s more important than ever for organizations like Farm Aid to educate the public, nurture agriculture, and preserve the precious few family farms that we have left.”
When Ed Sheeran was a teenager in England, his dream was to one day open for John Mayer. On Tuesday night, that dream came true. Mayer played a one-off solo show at LA’s Wiltern theater to benefit his Heart and Armor Foundation, and on Tuesday morning, Mayer’s named was joined by Sheeran’s on the Wiltern […]
This Saturday (Sept. 23), the Global Citizen Festival will return to Central Park’s Great Lawn in New York City for a day of music and action. In keeping with Global Citizen’s campaign to push global leaders to take meaningful action to combat climate change (among other initiatives), the organization is making 2023 its most sustainable […]
Olivia Rodrigo has a massive week on Billboard’s charts.
After releasing her sophomore album Guts Sept. 8, the LP soars in at No. 1 on the Billboard 200 (dated Sept. 23), while all 12 songs from the set chart in the Billboard Hot 100’s top 40, led by lead single “Vampire” at No. 1.
As all 11 tracks from Rodrigo’s 2021 debut set Sour hit the Hot 100’s top 40 that year, she becomes the first artist to chart all songs from two career-opening albums in the Hot 100’s top 40.
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“Vampire” rebounds for a second week atop the Hot 100, after debuting at the summit 10 weeks earlier, with 55.8 million radio airplay audience impressions, 22.8 million U.S. streams (up 82%) and 4,000 downloads sold (up 89%) in the Sept. 8-14 tracking week, according to Luminate. In July, the song arrived as Rodrigo’s third No. 1 (all No. 1 debuts), following “Drivers License” and “Good 4 U” in 2021.
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Rodrigo places one additional song in the Hot 100’s top 10, as second Guts single “Bad Idea Right?” vaults 26-7, reaching a new peak.
Here’s a recap of Rodrigo’s 12 titles on the latest Hot 100 (all of which are debuts except where noted):
Olivia Rodrigo on the Sept. 23-dated Hot 100:No. 1, “Vampire” (up 9-1; second week at No. 1)No. 7, “Bad Idea Right?” (up 26-7; new high)No. 11, “Get Him Back!”No. 13, “All-American Bitch”No. 16, “The Grudge”No. 19, “Making the Bed”No. 20, “Logical”No. 23, “Lacy”No. 24, “Ballad of a Homeschooled Girl”No. 25, “Love Is Embarrassing”No. 30, “Pretty Isn’t Pretty”No. 39, “Teenage Dream”
Rodrigo is just the third female artist to place 12 songs in the Hot 100’s top 40 simultaneously, after Taylor Swift and SZA. Swift tallied a personal-best 18 songs in the top 40 on Nov. 5, 2022, when her album Midnights debuted atop the Billboard 200. SZA logged 12 songs in the top 40 on Dec. 24, 2022, concurrent with the arrival of her LP SOS. Drake holds the overall record for the most concurrent top 40 entries, 21, on both the July 14, 2018, and Sept. 18, 2021 charts, concurrent with the arrivals of his albums Scorpion and Certified Lover Boy, respectively.
Rodrigo charted all 11 songs from Sour in the Hot 100’s top 40 the week that the album launched atop the Billboard 200 (June 5, 2021). Of her 24 career songs to chart on the Hot 100, all have reached the top 40 except for her first entry, “All I Want.” The song, from High School Musical: The Musical: The Series, peaked at No. 90 in 2020.
Billboard is bringing its signature artist showcase Down Under. The media company is teaming up with American Express to deliver The Stage at the inaugural South by Southwest in Sydney, Australia. XG will take the stage as the evening’s headliner for the one-night-only Oct. 20 concert, which will open with Lil Cherry and GOLDBUUDA.
“It’s an honor to work with our partners at SXSW Sydney to bring THE STAGE to a global audience,” Dana Droppo, chief brand officer of Billboard, said in a press statement. “We pride ourselves on providing unparalleled music experiences and with the help of American Express are thrilled to have XG headlining our first Australian show.”
“Billboard’s legendary SXSW shows have long been a highlight in Austin,” added Colin Daniels, SXSW Sydney’s managing director. “We’re so excited to partner with them in our inaugural year to provide SXSW Sydney attendees and the public an exclusive performance from one of the buzziest pop artists in the world right now.”
Since the group’s 2022 debut, XG have been making waves in Korea, Japan and the United States. The septet — which consists of members Jurin, Cocona, Chisa, Hinata, Maya, Juria and Harvey — are gearing up to release their first mini album New DNA on Sept. 27. “Every stage we’ve had the honor to perform on has been incredibly special and unforgettable,” said Harvey. “The memories of meeting our ALPHAZ in-person and the scenery we’ve seen with our fellow members are all unforgettable. We look forward to visiting more countries and regions, sharing our music, and creating beautiful memories with everyone we meet! I’m really excited about the opportunity to perform at a festival in Australia. It would mean a lot to me if I could show my performance to my grandparents, and I’m feeling very nervous about it!”
The Stage at SXSW Sydney will take place at The Hordern Pavilion at Moore Park. Tickets will be available to purchase for American Express cardholders starting Wednesday (Sept. 20) at 10 a.m. AEST. The general on-sale will begin at 10 a.m. AEST on Friday (Sept. 22). Additionally, a reserved number of tickets will be available exclusively for SXSW Sydney Platinum Badge holders, SXSW Sydney Music Badge Holders and SXSW Sydney Music Festival wristband holders on a first come, first serve basis.
Billboard will be reporting live from SXSW Sydney on October 20, and viewers can tune in by visiting Billboard.com and following @billboard on Facebook, Instagram and Twitter for the latest news and announcements.
Penske Media Corporation, Billboard‘s parent company, is an investor in SXSW.
You might be so not invited to Adam Sandler‘s daughter’s bar mitzvah, but the comedian is giving his fans ample opportunity to see him live this fall. On Wednesday (Sept. 13), Live Nation announced that Sandler is set to embark on a 25-date North American trek titled the I Missed You Tour.
Produced by Live Nation, the tour will commence on Oct. 12 at Rogers Arena in Vancouver, BC, and make stops in Las Vegas, Memphis, Toronto and more before closing in Denver at Ball Arena on Dec. 12. The I Missed You Tour marks Sandler’s second major trek of the year. In March, the three-time Grammy-nominated comedian and actor added seven more shows to his Adam Sandler LIVE tour.
The new tour comes on the heels of several acclaimed films from the five-time Emmy nominee. This year, Sandler produced and starred in You Are So Not Invited to My Bat Mitzvah alongside Tony winner Idina Menzel, wife Jackie Sandler and daughters Sadie and Sunny Sandler. Last year, he acted opposite Academy Award nominee Queen Latifah in the sports dramedy Hustle, for which he won the People’s Choice Award for The Comedy Movie Star of 2022. Back in 2019, Sandler flaunted his dramatic chops in the award-winning thriller Uncut Gems.
Sandler has charted five titles on the Billboard 200, peaking with 1999’s Stan and Judy’s Kid at No. 16, while his “Chanukah Song” peaked at No. 80 on the Billboard Hot 100 in early 1999. Earlier this year, Sandler was honored with the 2023 Mark Twain Prize for American Humor.
Through a Live Nation presale, fans will be able to purchase tickets to the I Missed You Tour beginning Thursday at noon local time. The general sale starts Friday at noon local time.
Here are all the dates for Adam Sandler’s I Missed You Tour:
Thu. Oct. 12 — Vancouver, BC — Rogers ArenaFri. Oct. 13 — Seattle, WA — Climate Pledge ArenaSat. Oct. 14 — Portland, OR — Veterans Memorial ColiseumSun. Oct. 15 — Nampa, ID — Ford Idaho Center ArenaMon. Oct. 16 — Spokane, WA — Spokane ArenaWed. Oct. 18 — San Jose, CA — SAP Center at San JoseThu. Oct. 19 — Stateline, NV — Tahoe Blue Event CenterFri. Oct. 20 — Fresno, CA — Save Mart CenterSat. Oct. 21 — Palm Desert, CA — Acrisure ArenaMon. Oct. 23 — Anaheim, CA — Honda CenterTue. Nov. 7 — Toronto, ON — Scotiabank ArenaWed. Nov. 8 — Rochester, NY — Blue Cross ArenaThu. Nov. 9 — Washington, DC — Capital One ArenaSat. Nov. 11 — Milwaukee, WI — Fiserv ForumSun. Nov. 12 — Minneapolis, MN — Target CenterMon. Nov. 13 — Des Moines, IA — Wells Fargo ArenaWed. Nov. 15 — Indianapolis, IN — Gainbridge FieldhouseThu. Nov. 16 — Memphis, TN — FedExForumSat. Dec. 2 — Las Vegas, NV — Michelob ULTRA ArenaSun. Dec. 3 — Salt Lake City, UT — Delta CenterThu. Dec. 7 — San Antonio, TX — AT&T CenterFri. Dec. 8 — Thackerville, OK — WinStar CasinoSat. Dec. 9 — Oklahoma City, OK — Paycom CenterSun. Dec. 10 — Wichita, KS — INTRUST Bank ArenaTue. Dec. 12 — Denver, CO — Ball Arena
Before kicking off the fall leg of his solo acoustic tour, John Mayer announced Tuesday (Sept. 12) that he’ll play a one-off show at The Wiltern in Los Angeles next week with 100% of the proceeds going to his Heart and Armor Foundation for veterans. Tickets — which start at $99 — will go on […]
Oliver Anthony is standing firm on affordable ticket prices.
The singer had a disagreement with a Knoxville, Tenn., music bar called Cotton Eyed Joe, where he was scheduled to perform later this month, leading to the show getting canceled and the the venue expressing some choice words on social media.
Ticket prices were listed at $99, and a meet and greet costed $199, which upset Anthony, who recorded a video posted to Instagram to deter fans from paying that price. “I had to pull off on the side of the road and make this video. My adrenaline’s pumping, man,” he says in the clip. He continued in the caption, “Don’t buy $90 Cotton Eyed Joe tickets or $200 for a meet and greet. That’s not acceptable. Just saw the Facebook post and lost my s—. Miscommunication with my friend booking shows and I. My shows should never cost more than $40, ideally no more than $25. Hell, out of the 4 shows we have currently done, 2 of them have been completely free. This will get straightened out tonight. Hold off on buying tickets for now.”
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However, Cotton Eyed Joe took to Facebook to explain that Anthony had agreed to play a 60-minute set at the Knoxville bar for $120,000, which would allow the bar to “break even and bring our customers a show we thought would be fun.” The bar then added a bit of shade by referencing Anthony’s Hot 100 chart topper, concluding their message: “To our talent agency and promotor friends that follow us… be careful booking the North Man of Richmond.”
See the post here.
“I am not pointing fingers at Cotton Eyed Joe, I don’t know where the miscommunication took place. I’m just upset seeing those prices,” Anthony responded on Facebook, adding that he’ll be more involved in upcoming bookings.
The 31-year-old’s breakout viral hit “Rich Men North of Richmond” unexpectedly debuted at No. 1 on the Billboard Hot 100 songs chart. Among other chart achievements for the singer-songwriter, he’s the first artist ever to launch atop the list with no prior chart history in any form. His success story began when a now-viral video of Anthony, posted by radiowv, began circulating around the Internet, showing the singer offering an acoustic performance of “Rich Men North of Richmond,” vocalizing the pain and angst of the working class at the hands of greedy rich men. The song takes on high taxes, abuse of welfare and selfish politicians.