Concerts
Page: 57
Cardi B and Offset headlined the Hall of Fame pre-Super Bowl party early Sunday morning (Feb. 12), and when the rap princess was feeling a little thirsty, the Migos performer played the role of prince charming.
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“Can I get a little liquorrrrr?” Cardi B asked. “There’s no liquor for me, huh? Damn. I don’t like that.”
The duo performed their Grammy-nominated hit “Clout” and kissed onstage. But then Offset returned with a small gift for his wife.
“Thank you, baby,” Cardi B said. “Let’s take a shot. Put your drink up, b—-. One, two, three — bottoms up, b—-!”
She then performed her fiery verse on “Tomorrow 2,” her collaboration with breakthrough rapper GloRilla. Cardi B — in a shiny, mini green dress — kicked off the show at Gila River Resorts & Casinos in Arizona with “Money” and also performed upbeat hits like “WAP” and her debut smash single, “Bodak Yellow (Money Moves).”
“You wanna go corporate on them? Let’s go corporate on them,” the DJ said before Cardi B rapped her verse on the remix to Bruno Mars’ “Finesse.”
Before performing the Latin hit “I Like It,” which features her with Bad Bunny and J Balvin, she scoped out the audience. “Do we have out-of-towners in here? Or are you guys from Arizona?”
“Where you from?” she asked a man in the crowd. “Los Angeles? He likes avocado toast.”
Serena Williams danced and jammed onstage behind Cardi B throughout her performance, and the Grammy winner embraced and exchanged words with the iconic athlete after her set.
Other celebrity attendees include Tiffany Haddish, Kelis, Chuck Liddell, Marshall Faulk, Joe Haden and Deandre Ayton.
Cardi B took her shoes off during the performance and gyrated onstage, even walking into the middle of the packed room to dance more closely with her fans, who filmed the majority of the show with their cell phones. At one point when she was onstage her security guard had to smack a fan’s arm who held on to Cardi’s hand too long.
“A lot of bad b—-es in the building,” Cardi B said when the lights turned on. “I see some chains — a lot of [men] in the building, ladies! Spread them cheeks!”
“Thank you everybody,” she said after her performance. “You can keep on partying all night. Meet me in the casino and let’s spend some motherf—ing money.”
This article originally appeared on The Hollywood Reporter.
Following a four-show blitz of North America in December, U.K.-based indie rock outfit Lovejoy is returning to the U.S. with a 20-date North American tour. Tickets for the trek went on sale Friday (Feb. 10).
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Lovejoy touch down in North America on May 4 at Nashville’s Basement East and will is also slated to play the Shaky Knees festival in Atlanta on May 5, the Novo in Los Angeles on May 16 and Minneapolis’ First Avenue on May 26. The group will end their tour with a show at the Governor’s Ball Festival on June 10.
Formed during the final days of the pandemic by lead singer Wilbur Soot — a well-known Twitch streamer and former Youtube comedian — with friends from Brighton Beach, England, Lovejoy has amassed nearly 1.6 million monthly listeners on Spotify and built a steady following here in the U.S.
In December, the group’s first U.S. shows — two in Los Angeles and two in New York — quickly sold out, packing venues like L.A.’s Moroccan Lounge with a steady flow of 20-something, mostly female, fans marching to the beat of the band’s double kick drum percussion. Lovejoy’s visit would reveal the band’s status as unlikely heartthrobs and showcase their clever banter and mischievous wit.
Along with the tour announcement, Lovejoy has released a video for the band’s hard-charging new single “Call Me What You Like.” Soot has a penchant for casting himself as a hopeless romantic — a “Jim Halpert” from The Office type, replete with entangled numbness and inescapable inadequacy — and yet he refuses to melt into a floor puddle with a kitschy breakup song. As it turns out, “Call Me What You Like” is a surprising and satisfying middle finger to the notion of having it all as it mucks around in the middle phases of an early relationship close to collapse.
Along with Lovejoy singles “Knee Deep” and “It’s All Futile! It’s All Pointless!”, “Call Me What You Like” demonstrates how much progress the group has made in finding its voice, creating and then dissipating density with surprise hooks, lyrical bridges and stop-on-a-dime change-ups. Many of the songs have Soot walking through vignettes of half-memory and snapshots, pushing listeners farther and farther down the trail with only breadcrumbs to find their way back.
“And so I find’s myself in your mum’s bedroom,” Soot sings on the new single. “Fighting with the pink roller blinds. It’s on pay-per-view. Just place your bests on who’s lost their mind.” When asked what the line meant during a brief interview with bandmates Joe Goldsmith, Ash Kabosu and Mark Boardman, Soot laughed and offered up, “I’m not necessarily sure, in that song I just find myself thinking a lot about her mom’s bathroom and going through the drawers.”
Dates for the 2023 Lovejoy tour are listed below. For more information, visit www.lvjyonline.com.
May 4th – Nashville, TN @ The Basement East
May 5th – Atlanta, GA @ Shaky Knees Music Festival
May 8th – Dallas, TX @ Granada Theater
May 9th – Austin, TX @ Scoot Inn
May 12th – Phoenix, AZ @ Crescent Ballroom
May 13th – San Diego, CA @ Music Box
May 16th – Los Angeles, CA @ The Novo
May 17th – San Francisco, CA @ Bimbo’s 365 Club
May 19th – Portland, OR @ Hawthorne
May 20th – Seattle, WA @ Neumos
May 23rd – Salt Lake City, UT @ The Complex
May 24th – Denver, CO @ Ogden Theatre (Venue Upgrade)
May 26th – Minneapolis, MN @ First Avenue (Venue Upgrade)
May 27th – Milwaukee, WI @ Riverside Theater (Venue Upgrade)
May 28th – Detroit, MI @ Royal Oak Music Theatre (Venue Upgrade)
May 30th – Toronto, ON @ Danforth Music Hall
June 2nd – Boston, MA @ Royale
June 3rd – Philadelphia, PA @ Theatre of Living Arts
June 6th – Washington, D.C. @ Howard
June 10th – New York, NY @ Governors Ball Music Festival
Sanremo 2023 started with an unprecedented honor. Italy’s president, Sergio Mattarella, appeared among the audience of the Ariston Theatre, the first time a president had ever appeared at the festival. Accompanied by his daughter Laura, he seemed visibly touched by actor Roberto Benigni’s monologue in tribute to the 75th anniversary of the Italian constitution.
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The first night of the event was full of highlights – both great and questionable — from Chiara Ferragni’s debut as co-host, to Blanco’s angry reaction to a hearing problem, to Pooh’s excessively long medley. Then, of course, there were the performances of the first 14 contestants. Here is a recap of the memorable moments of the first night of Sanremo 2023.
The Best Moments
President Mattarella and Roberto Benigni Pay Homage to the Italian Constitution
Amadeus and Gianni Morandi (host and co-host of the show) saluted Mattarella. Accompanied by the orchestra, Morandi sang the Italian national anthem with the audience of the theatre.
Then Benigni joined them on stage. He celebrated the importance of the Sanremo Festival as a prime expression of Italian popular music, which is not always safeguarded by political institutions. Since Amilcare Rambaldi founded the event in 1951, Sanremo “has been holding a fundamental place in our society,” Benigni said.
“This edition is particularly special: We are celebrating the 75th anniversary of our constitution,” the actor went on. “You must be asking yourselves, ‘What’s the relationship between that and Sanremo?’ Well, they both celebrate freedom.” Benigni proceeded to quote Article 21 from the Italian constitution, his personal favorite, as it guarantees freedom of the press and expression of thought.
Mahmood and Blanco Sing “Brividi”
Mahmood and Blanco, winners of Sanremo 2022, attended the event as guest artists. After a memorable year — “Brividi” (“Shivers”) was Italy’s No. 1 song of the year, according to FIMI — they went back to where it all began, moving the audience with a touching performance. “It’s weird to come back a year later and feel the same emotions,” said Mahmood before leaving the stage. “This place is like home for me.”
The Best Competition Performances
Marco Mengoni arrived, sung impeccably, received well-deserved applause and left. Almost like in an old fashioned Sanremo. He handled the stage with the ease of someone who did not need to prove anything — he won in 2013 with “L’essenziale” (“The Essential Thing”) — and “Due Vite” (“Two Lives”) highlighted his great vocal versatility, ranging from almost rap-like verses to his unmistakable high notes in the chorus.
Coma_Cose stared into each other’s eyes and said that “farewell is not a possibility.” The duo, who are also a couple in real life, was about to break up after their huge success at last year’s festival, where they participated with “Fiamme negli Occhi” (“Flames in Your Eyes”), but that did not happen. Their performance of “L’Addio” (“The Goodbye”) was flawless. Elodie’s performance was among the most awaited. When she walked down the stairs in a total black look, she proved to be a real diva once again. On first listen, “Due” was maybe less memorable than her other singles, but her trademark smoky voice caught the audience’s attention from the first notes.
In a career spanning more than 50 years, pop act I Cugini di Campagna never participated in Sanremo — until this year, when they showed up with a great song, “Lettrera 22,” written by La Rappresentante di Lista, and silenced their haters’ comments.
The Flops
Pooh’s Long Medley
Roby Facchinetti, Dodi Battaglia and Red Canzian took full control of the stage of the Ariston Theatre and started a medley of their own classics that lasted 25 minutes. The nostalgia effect was guaranteed. But the living members (drummer Stefano D’Orazio died in 2020; a video of him singing was projected for a virtual duet on “Uomini Soli” [Lonely Men]) were not flawless, especially Facchinetti’s weird high notes and Battaglia’s playback-guitar shredding. Original member Riccardo Fogli joined them on stage and bassist Red Canzian tried to set the bar high, but it was not enough.
Salmo on the Cruise Ship
Cameras captured rapper Salmo next to a pool on the Costa Crociere cruise ship, which is anchored in front of Sanremo. While he does not need to prove his talent, he could have taken advantage of the opportunity to reach a new audience. Still, he sung a medley of his “Russel Crowe” and “90 Minuti,” surrounded by people dancing and drinking cocktails. He wore slippers and jumped into the pool at the end, still holding the microphone. It was too many rap clichés all at once.
Blanco’s Anger
The silliest moment came around midnight. Blanco hit the stage again to sing his new single “L’Isola delle Rose” (“The Island of Roses”), but he did not hear his own voice in the ear monitors. He lost his mind. He started kicking the roses that were placed as scenic design for his performance. Not the best behavior, but he revived the show with his punk attitude. At one point he stopped singing and just kept destroying the flowers. The audience did not appreciate it and started booing. Amadeus returned and said, “Come on, don’t we want to hear Salmo’s song?” General laughter. Then, Gianni Morandi was seen cleaning the stage with a broom. “Well, we can’t leave it like this,” he said.
The First Ranking
Accredited members of the press voted on the performances of the first night of Sanremo. Marco Mengoni, Elodie and Coma Cose pushed into the lead, while Anna Oxa occupies the last position. Here is the first partial ranking:
Marco Mengoni
Elodie
Coma_Cose
Ultimo
Leo Gassmann
Mara Sattei
Colla Zio
Cugini di Campagna
Mr.Rain
Gianluca Grignani
Ariete
gIANMARIA
Olly
Anna Oxa
Janet Jackson is set to open the official 2023 Hollywood Bowl Summer Season with a performance of her Together Again Tour on June 10.
Jackson leads the long list of talent the Los Angeles Philharmonic Association announced Tuesday (Feb. 7) for this year. The season will include dates from Jill Scott, King Gizzard and the Lizard Wizard, The Beach Boys, Kool & The Gang, Sparks, Café Tcvba, Portugal. The Man, Maggie Rogers, Louis Tomlinson and more.
Prior to the summer season, the Bowl will also see shows from Reba McEntire, Phish, Andrea Bocelli, Shania Twain and a special celebration for Willie Nelson’s 90th birthday.
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The LA Phil has announced concerts and events running through Sept. 24 with additional artists including Jacob Collier, Buddy Guy, Air Supply, Culture Club, Herbie Hancock, My Morning Jacket and Gladys Knight.
“As we look to the next hundred years at the Hollywood Bowl, I am honored and excited to share a season which, to me, speaks of a beautiful future ahead,” says LA Phil music and artistic director Gustavo Dudamel in a release. “From timeless music by Mendelssohn, de Falla and Verdi, to modern-day classics by John Williams and Duke Ellington, to the soul-filling sounds of our Pan-American Music Initiative, to the singular energy of Café Tacvba, each of these programs takes us on the kind of magic journey that can only begin at the Bowl.”
This season, the Bowl will also host a special birthday concert, Quincy Jones’ 90th Birthday Tribute, with a roster of special guests alongside the Hollywood Bowl Orchestra, led by Jones collaborator Jules Buckley. The Bowl will also feature several films in concert including Harry Potter and the Deathly Hollows Part 2, Star Wars: Return of the Jedi and 2001: A Space Odyssey. There will also be a sing-a-long for Sound of Music and Walt Disney Animation Studios: The Concert that will showcase the music and animation of Disney over the past century including highlights from Snow White to Encanto.
The famed Hollywood Bowl Jazz Festival will take place June 17-18 with Kamasi Washington, Leon Bridges, St. Paul and the Broken Bones, Digable Planets, The Soul Rebels with Big Freedia, Samara Joy, West Coast Get Down and more.
Dudamel will also conduct the LA Phil in Mendelssohn’s A Midsummer Night’s Dream and, alongside famed Hollywood movie composer John Williams, will share the podium for three special evenings of Maestro of the Movies: John Williams with the LA Phil including a selection of films clips on the big screens.
The LA Phil is also partnering with KCRW to present genre-spanning concerts: Reggae Nights XXI featuring Beres Hammond and Steel Pulse, Portugal. The Man with Chicano Batman and Say She She, Maggie Rogers with Alvvays, Los Auténticos Decadentes and more.
“There is no place like the Hollywood Bowl on a summer night, and we look forward to welcoming everyone back for another unforgettable season of music led by the extraordinary vision of Gustavo Dudamel,” said LA Phil chief content and engagement officer Renae Williams Niles.
Check out the full schedule here.
Over nearly four decades, Billboard Boxscore has charted the biggest tours in the world. From Whitney Houston and Billy Joel in the ‘80s to Bad Bunny and Billie Eilish in 2022, artists have topped Boxscore charts in Vegas theaters, international stadiums, and everything in between.
Most recently, road warrior Elton John broke the record for the highest grossing tour of all time with the Farewell Yellow Brick Road Tour, now at $818 million after a brief leg of Australian shows. His tour began in September 2018, was interrupted by COVID for two years, and has returned stronger than ever — and stronger than everyone else.
The updated top 10 tours of all-time include previous record-holders by Ed Sheeran and The Rolling Stones, as well as live legends like Guns N’ Roses and Madonna.
John’s triumphant farewell tour is one of two in the top 10 with post-pandemic results, but more upheaval could be on the way. Still on the road, Coldplay, Harry Styles and previous record-holder Ed Sheeran are marching past the $200 million and $300 million marks with many shows scheduled for this year. And that’s not to mention newly announced 2023 treks by Beyoncé, Metallica, Taylor Swift, and more.
An influx of tours by these artists would not just help to modernize the top 10 but would add dashes of diversity, breaking up a current roster that includes eight tours by male rock acts from the U.K., Ireland and Australia.
Below are the 10 highest-grossing tours in the Boxscore archives, ranked by total earnings, according to figures reported to Billboard Boxscore. All 10 have grossed more than $400 million – who will be next to join the club?
The Foo Fighters, Lizzo and The Strokes are among the headliners for this summer’s 2023 Fuji Rock Festival in Japan. The event slated to take place July 28-30 at the Naeba Ski Resort in Yuzawa, Niigata Prefectur will also feature sets from Lewis Capaldi, Louis Cole, Anderson.Paak’s NxWorries, Weezer, Alanis Morissette, Cory Wong, Denzel Curry, Slowdive, Yeah Yeah Yeahs, Yo La Tengo and Black Midi, among many others.
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Tickets for the event can be purchased now through Viagogo. Among the other acts on this year’s bill are: Alexander23, Balming Tiger, Dermot Kennedy, Fever 333, G. Love & Donovan Frankenreiter, Ginger Root, Gogo Penguin, Gryffin, Idles, Jatayu, Neal Francis, Overmono, Sudan Archives and more.
The announcement is just the latest in a growing list of festival headlining dates announced by the Foo Fighters following a nearly year-long layoff; the band last headlined a show at Lollapalooza Argentina in March 2022 and they performed a number of songs at a pair of tribute concerts to late drummer Taylor Hawkins in London and L.A. in September.
The band has eight festival stops on their roster so far, kicking off with Boston Calling on May 26, followed by Columbus, Ohio’s Sonic Temple Arts & Music Festival, Germany’s Rock Am Ring and Rock Im Park in early June — which they were just added to as replacements for Pantera — a June 18 stop at Bonnaroo, the July 15 Harley-Davidson Homecoming Festival in Milwaukee and The Town in Sao Paulo, Brazil on Sept. 9.
Following Hawkins’ unexpected death at age 50 last March before a festival date in Bogotá, Colombia, the group performed with a series of fill-in drummers at the tribute shows, but at press time had not announced who would be behind the kit for this summer’s gigs.
Check out the full 2023 Fuji Rock poster below.
Shania Twain is back on her horse with “Queen Of Me,” her first album in more than five years.
The Canadian country-pop superstar marks her comeback with the 12-track set, led by “Waking Up Dreaming,” her first single since 2017, and her latest, “Giddy Up!”.
A five-time Grammy Award winner, Queen of Me marks the first artist release through Republic Nashville.
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“I’m honored and excited to be the label’s first artist and lead the charge of this new and exciting chapter,” she said last September when the deal was struck. “In this respect, it feels like a new beginning all around, and I’m embracing it wholeheartedly.”
Queen of Me is the followup to Twain’s fifth studio album Now, which blasted to No. 1 on the Billboard 200 chart in 2017. Prior to that, Twain’s fourth album release was 2002’s Up, which also hit No. 1 on the main U.S. chart.
Considering that timeline, which, for lengthy periods saw Twain sidelined with health problems, including Lyme disease, dysphonia and throat surgery, Queen of Me is just her second studio LP in more than 20 years.
Twain has been in the headlines of late, discussing her severe reaction to the COVID-19 virus, which evolved into pneumonia and required her to be airlifted to a hospital, and for an interview with Apple Music in which she talked about the time she almost worked with Prince before his death.
On her phone call with the Purple One, Prince laid out some ground rules for what would-be studio time with Twain — namely that there was no swearing allowed at Paisley Park.
“So that was another strike,” Twain told Apple Music’s Zane Lowe. “I’m like, ‘Oh no, I love you so much, but I don’t think I could get through writing and recording an album without swearing, somewhere along the way.”
Twain is set to serve as a presenter at the 2023 Grammy Awards and she’s the subject of the Netflix documentary Not Just A Girl, produced by Mercury Studios and directed by Joss Crowley.
Stream Queen of Me below.
Harry Styles celebrated his 29th birthday on Wednesday (Feb. 1) with the final show of his Love on Tour North American run. The “Late Night Talking” superstar took the stage at Acrisure Arena, Southern California’s newest venue in Greater Palm Springs to honor his next year of life with 11,000 of his lucky fans.
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The show had plenty of birthday-themed moments, including when the crowd broke out into the “Happy Birthday” song. While Styles tried to playfully hush his fans at first, he ultimately gave in to the love and is seen smiling wide on videos captured and posted on Twitter.
“Obviously, I have a fear of people not coming to my birthday party. So, I just thought I would do a show and maybe you might come,” the Grammy winner told fans in another clip. Later on, Styles blew out candles on a cake and even sported a floppy birthday hat.
The superstar is nominated in Big Four categories at the 65th annual Grammy Awards, set for Feb. 5 at Crypto.com Arena in Los Angeles. He’s up for six awards total, including album, record and song of the year for Harry’s House and “As It Was,” respectively.
Styles will also be performing at the Grammy Awards, along with Lizzo, Bad Bunny, Mary J. Blige, Brandi Carlile, Luke Combs, Steve Lacy and Sam Smith & Kim Petras. Styles performed “Watermelon Sugar” on the Grammy telecast two years ago. He also won his first Grammy for the track – best pop solo performance.
Beyoncé released Renaissance, her seventh solo studio album, in July 2022 to rapturous acclaim and No. 1 status on the Billboard 200 and, for lead single “Break My Soul,” No. 1 on the Billboard Hot 100. But unlike 2016’s Lemonade and 2013’s Beyoncé, there were no concerts and no televised performances — not even a music video.
But six months later, days ahead of a potentially pivotal Grammy ceremony (Feb. 5) where she’s the year’s leading nominee, Beyoncé has announced the Renaissance world tour. It’s bound to be one of the year’s biggest concert events, aiming to be her fourth tour to gross more than $200 million based on forecasts estimated by Billboard Boxscore. In fact, the tour could easily sail past the $275 million mark. The all-stadium trek is currently scheduled to play 41 shows in 10 countries from May 10 through September 27.
A Beyoncé tour used to be a given every couple of years, but the Renaissance world tour will launch seven years after her last solo outing, 2016’s The Formation World Tour. That was her first solo trek in stadiums, though neither the show’s stellar reviews nor fans’ insatiable demand hinted at her rookie status. The tour earned $256.1 million and sold 2.2 million tickets, according to figures reported to Billboard Boxscore, finishing atop Billboard’s year-end Top Tours chart.
In the years since, Beyoncé mounted On the Run II, her second stadium tour alongside Jay-Z following 2014’s On the Run. The stadium trek came close to Beyoncé’s solo high mark but finished with $253.5 million and 2.2 million tickets — coming within 1% of Formation’s gross and 3% of its attendance despite the doubled-up star-power. The strength of Beyoncé’s solo tour among her entire live history perhaps speaks to her unique draw as one of the century’s most singular live entertainers.
The Formation World Tour marked a 21% improvement upon the $212 million take of 2013-14’s The Mrs. Carter Show World Tour, which spanned 126 dates in arenas.
This summer’s Renaissance world tour was announced with 15 shows in Europe in May and June, followed by 26 shows in the U.S. and Canada.
That 41-show sum is slightly shorter than The Formation World Tour’s 49 and On the Run II Tour’s 48. But while Renaissance could trail her previous outings in cumulative gross because of a more compact schedule, that scenario is unlikely considering the industry’s plumped-up ticketing.
In efforts to redirect second-and-third-party ticket sales to the artist, dynamic pricing, platinum ticketing and fan-to-fan re-sale have sent grosses soaring in the post-pandemic era. Beyoncé’s 2016 and 2018 tours averaged $114 and $116 per ticket, but that number will likely be far closer to, if not more than, $200 in 2023.
And like with Billboard’s early projections for Taylor Swift and Madonna, Beyoncé’s initial routing announcement may just be the singer playing coy. Per the first announced round of shows, London is the only market with more than one show, while previous Beyoncé tours also doubled up in New York, Chicago, Paris, Houston and more. More dates could be announced in some of the routing’s open spaces due to expectedly high demand. As the routing stands at press time, there are often four or five days between shows, with long stretches between May 30 (London) and June 8 (Barcelona), and September 2 and 11 (Inglewood, Calif. and Vancouver).
The continental splits for Formation and OTR2 were similar to that of Renaissance, with slightly more than a third of the entire tour in Europe and the other 60-65% in North America. Grosses and attendance lined up, too — $86.9 million and 867,000 tickets in Europe on Formation and $87 million and 871,000 tickets on OTR2, versus $169.1 million and 1.4 million tickets in North America on Formation and $166.5 million and 1.3 million on OTR2.
Given her consistent sell-out stadium business and an expected 30%-plus lift on ticket prices, the Renaissance world tour could be earning $6.8-$7.5 million per show. At the low end of that projection, with no additional shows, total gross would be heading for a personal-best $275 million. With just a few extra shows, at the top of that range, she’d notch her first $300 million tour.
Across her career, Beyoncé has grossed $767.3 million and sold 8.9 million tickets across 375 shows, including those with Jay-Z and the Verizon Ladies First Tour, a co-headline run with Missy Elliott and Alicia Keys in 2004. That means that the Renaissance world tour is setting her up to be one of three women to potentially cross the billion-dollar mark this year. Swift’s Eras Tour is sure to push her over the edge, while P!nk’s Summer Carnival Tour could do the trick as well.
Renaissance was Beyoncé’s seventh No. 1 album, while “Break My Soul” marked her eighth No. 1 song. When album cut “Cuff It” shot to No. 10 on the Hot 100 last month, it became the 21st top 10 Hot 100 song of her solo career. The Renaissance world tour is scheduled to kick off May 10 at Stockholm’s Friends Arena and wrap on September 27 at New Orleans’ Caesars Superdome.
Mexico and Australia, BLACKPINK is coming to your area! On Wednesday (Feb. 1), the K-pop group announced an extension of its Born Pink World Tour that now includes extra dates on different sides of the hemisphere.
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The quartet shared the news with tour posters that featured Jennie, Jisoo, Lisa and Rosé’s silhouettes, with the new dates for each country in pink text below. The Born Pink World Tour will hit Mexico City’s Foro Sol on April 26. Australia will get four dates: June 10-11 at Melbourne’s Rod Laver Arena and June 16-17 at Sydney’s Qudos Bank Arena.
In addition to announcing the dates, BLACKPINK also shared details about how fans can register for the official Blink fanclub presale. BLINKs will need to join the Blink Membership on Weverse, register for the fanclub presale on Weverse within the registration period, and check for details on Weverse of YG’s official website for updates.
BLINK membership presale registration is available now through Sunday, Feb. 5, at 10 p.m. CT for the Mexico City dates, with the presale commencing on Feb. 7 at 11 a.m. CT. The Australian presale registration is available now through Sunday, Feb. 5, at 10 p.m. AEDT. Presale tickets for the Australian shows will also go on sale on Feb. 7: Syndey BLINKs can purchase starting at 11 a.m. AEDT, while Melbourne BLINKs can purchase at 1 p.m. AEDT. General onsale for all shows starts on Feb. 9.
See BLACKPINK’s Mexico and Australia tour announcements below.