Concerts
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Penske Media Corporation’s new music, art and food festival LA3C is just weeks away, aiming to celebrate the rich culture and diverse communities in the metropolis over a star-studded two-day event.
“This will be the first festival of its kind to fortify a city that combines talent, diversity and culture like no other while engaging with organizations solving some of the city’s pressing challenges,” said LA3C Chief Executive Juan Mora of the upcoming festival in an official statement. “[PMC CEO] Jay [Penske]’s vision and the commitment to positively impact the city of Los Angeles is inspiring. I plan to leverage the expertise of Penske Media’s iconic brands to create an experience for all visitors, and we invite creatives, musicians, and artists to join in our mission.”
Besides performances from Maluma, Megan Thee Stallion, Snoop Dogg, SEVENTEEN and more, LA3C will support the next generations of creative talent in Los Angeles through partnerships with nonprofit arts organizations Heart of Los Angeles (HOLA) and Film Independent.
See below for everything you need to know about the festival celebrating the city of Los Angeles.
Penske Media Corporation is the parent company of Billboard.
The last time BLACKPINK performed at Newark’s Prudential Center was under a very special set of circumstances — the K-pop group took the stage at the VMAs in August to perform their sizzling Born Pink hit “Pink Venom,” which also served as the group’s live debut of the track and their first time performing at an American awards show. Though the girl group — which consists of members Jennie, Jisoo, Lisa and Rosé — dominated at the show, they admitted during their Nov. 14 Born Pink tour stop at Prudential they were nervous to be back. Based on their performance, it was hard to believe.
The moment the group’s iconic “BLACKPINK in your area” tag and establishing horns blared through speakers, Blinks knew exactly which track the quartet was opening with and buzzed with energy and excitement. The set kicked off with BLACKPINK’s personal statement, “How You Like That,” which saw the group expertly hit the song’s memorable choreography with the help from female backup dancers. The opening track served as BLACKPINK’s formal arrival, and concluded with larger than life stage fireworks — in pink, of course — and streamers as if to say “we’re here.”
The hits didn’t stop there — the first act of the concert catered to fans of their high-energy songs, from The Album‘s fan favorites “Pretty Savage” and “Lovesick Girls” to equally pumped up performances of “Don’t Know What To Do” from the Kill This Love EP and the group’s sizzling-yet-sparsely produced debut single “Whistle.” BLACKPINK continued to dabble in pyrotechnics during the show’s second and third acts, with more fireworks, and at times, actual fire onstage by the time “Kill This Love” and “Playing With Fire” rolled around in the setlist. Those were later followed by tracks “Pink Venom”, “Shut Down,” “DDU-DU DDU-DU” and “Typa Girl.”
Fans of BLACKPINK who have seen the group perform either in person or in video know that the girls divide their concert in half, with the second part featuring individual performances from each member of the group, and last night’s performance at the Prudential Center was no exception.
Jisoo was first up to the plate and performed a solo cover of Camila Cabello’s 2019 track “Liar,” a wonderful compliment to her unique vocal tone, while strutting down the runway stage and performing sultry dance moves with the help of the group’s background dancers. Jennie, who often performed her solo debut track “Solo” in previous BLACKPINK concerts, did not go for the obvious choice this time — instead she gave fans a taste of a potential new solo track (fans are calling “You & Me,” though it has no official title yet), which saw her perform equal parts intricate and elegant dance moves with a male dancer, and highlighted her magnetic energy. Rosé, meanwhile, had more than enough solo material to work with but went with Born Pink solo cut “Hard to Love” and R single “On the Ground.” Lisa provided a masterclass in dancing when it came time to perform her solo hits “Lalisa” and “Money,” which saw Blinks in the audience performing the tracks’ moves, sometimes as well as her backup dancers on stage.
One of the sweetest highlights of the show was during the encore. After a near-10-minute wait — which saw fans across the area leading “when I say black, you say pink” and “boombayah” chants to rile up the crowd — the girls came back looking cozy in sweatshirts, hoodies and tees from their merch line, and stripped back their larger-than-life stage personas to goof around and make un-choreographed dances and cute faces with each other while singing “Yeah Yeah Yeah.” Before ending the show, Jennie, Jisoo, Lisa and Rosé took a picture with the entire stadium, prompting the Blinks in attendance to wave their lightsticks and throw up K-pop finger hearts for the camera.
BLACKPINK’s Born Pink tour shows that despite being a top performing global act, Jennie, Jisoo, Lisa and Rosé maintain the loving charm that has cemented them such a passionate fanbase. But don’t be fooled by their sweetness — their talent and star power can “shut down” almost any arena the second they decide to turn it on.
In the time since Paramore‘s last performance in New York — which took place in 2018 at Brooklyn’s Barclays Center as part of the band’s After Laughter tour — there was a major shift. The group has always had a fiercely dedicated group of fans across different races, genders and sexualities, but when the pandemic saw the rebirth of pop punk and alternative music, seen in the rise of stars like Olivia Rodrigo and GAYLE, fans of the genre went back to the basics and flocked back to Paramore. So when the group announced an intimate gig at the historic Beacon Theatre on Sunday, the energy was fierce, fun and as, expected, energetic.
The gig kicked off with Paramore’s newest single, “This Is Why,” which showcased the agility of lead singer Hayley Williams’ vocals as she hit the snappy track’s high notes and funky low notes with ease, all while expertly performing her signature choreography consisting of intricate footwork, larger-than-life arm movements and head bangs (though the latter was in a shorter supply after a warning from Williams’ personal chiropractor, she told the audience during a speaking break).
The first half of the set saw Paramore catering to OG fans with a series of songs from the band’s first three albums, including Brand New Eyes single “Brick by Boring Brick,” Riot! classic “That’s What You Get,” All We Know Is Falling deep cut and fan favorite “Here We Go Again,” plus intense live versions of “Decode” and “I Caught Myself” for all the Twi-Hards in attendance — all of which the audience members sang verbatim.
If the first half of the set was about appeasing old-school fans, the second half of the set — which commenced after a tear-jerking performance of Brand New Eyes‘ acoustic slow jam “Misguided Ghosts” — was about fans fully committing to dancing as wildly as possible, according to Williams. The latter half of the concert was anchored by hits from After Laughter and the band’s self-titled LP, including the sing-along-inducing “Ain’t It Fun” and “Still Into You,” as well as “Rose-Colored Boy” (with a portion of Whitney Houston’s “I Wanna Dance With Somebody”) and “Hard Times” (which included a snippet of Blondie’s “Heart of Glass”), before rolling into the band’s most iconic song to date.
Williams prefaced their signature hit “Misery Business” with a few words to the audience, taking the time before launching into Riot!‘s lead single with a disclaimer.
“The grace that you’ve shown us as we’ve grown up and learned our lessons in front of the world — thank you for that. We’re going to play that TikTok hit not without this disclaimer: Thank you for growing up with us, learning the tough lessons and thank you for being good people. We promise to keep trying to be good people too and to keep learning these lessons.
“This song is about misogyny,” Williams simply said, playing the track that she’s had a complicated lyrical relationship with, even vowing to not perform it live again in previous years.
With nearly 20 years of being in a band, and five of those past years on a break, Paramore’s intimate performance at the Beacon proves what has always been true of the band: God, it just feels so good…to see them live once again.
Elton John is saying goodbye, but not without a little help from his friends. As announced Monday (Nov. 14) in a new teaser trailer, the 75-year-old legend will bring Dua Lipa, Kiki Dee and Brandi Carlile onstage with him for “Elton John: Farewell From Dodger Stadium,” his final North American performance ever.
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The three-hour concert will be live-streamed at 11 p.m. EST Nov. 20 on Disney+, meaning the 50,000 fans at Dodger Stadium will make up just a fraction of the fans who get to watch Sir Elton as he plays his decades-worth of hit songs one last time in North America. And it’s only right that Lipa and Dee are joining him during the show, as the two have served as featured artists on a couple of the icon’s biggest smashes — nearly 50 years apart.
Earlier this year, Elton teamed up with the “Levitating” singer for a mashup of his older hits “Rocket Man,” “Sacrifice” and “Kiss the Bride” remixed by Pnau, which became his first UK No. 1 in 16 years. Five decades before that, Dee was the co-vocalist on his blockbuster duet “Don’t Go Breaking My Heart,” which topped the Billboard Hot 100 for four weeks in 1976.
Carlile has also collaborated with the “Your Song” singer, releasing “Simple Things” with John last year as part of his Billboard 200 Top 10 album The Lockdown Sessions. The two are longtime friends, and Carlile even hosted hosted the 30th annual Elton John AIDS Foundation Academy Awards Viewing Party in March.
Before the farewell concert officially begins, a “Countdown to Elton Live” event will take place on the livestream. According to a release, some of the Grammy winner’s famous friends from around the globe will be featured, along with interviews with Elton John and his husband, filmmaker David Furnish.
After the concert, an hour-long iHeartRadio TV special, “Elton John’s Thank you to America: The Final Song,” will broadcast nationwide on Monday, November 21 at 1 a.m. EST. It’ll look back on legendary moments from Elton’s career and include a live simulcast of his final song and closing remarks from the Dodger Stadium show.
Watch the new trailer for Elton John’s farewell concert featuring Dua Lipa, Kiki Dee and Brandi Carlile above.
Joe Walsh and a bunch of his friends offered plenty of musical service to those who have given service to the country on Sunday night (Nov. 13) in Columbus, Ohio.
Walsh’s sixth VetsAid benefit concert, held at Nationwide Arena, was a homecoming of sorts that brought an all-Ohio bill — the James Gang and Nine Inch Nails from Cleveland, Akron’s Black Keys, the Breeders from Dayton and Dave Grohl from Warren — together for a nearly six-hour show that raised money for grass-roots military veterans organizations either based in Ohio or that ear-marked the funds they received for programs in the state. It’s a cause close to Walsh’s heart; his father, a First Lieutenant in the Army Air Force, was killed in a crash while stationed on Okinawa when Walsh was just 20 months old.
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“When I found myself in a position where I could in some way give back to our nation’s veterans how could I not?” Walsh — who spent some of his youth in Columbus — said during a pre-show press conference. “Seeing how rock ‘n’ roll is something I do best, it’s also the least I could do for those who served and continue to serve our country. So we started VetsAid bringing together the two things that saved my life over and over again – the friends I’ve made and the music we’ve played together.”
Walsh — who had a street named after him near the arena earlier in the week — noted that “The buzz backstage is…a fellowship of musicians. We’re gonna get to know each other and compare notes — and make a big list of people we don’t like.”
Walsh’s wife Marjorie, one of VetsAid’s co founders, choked up as she related that “Dave Grohl just said to me here, ‘Thank you for bringing me home…All the guys have said to that to me. It’s big stuff.” Grohl, in fact, visited his childhood home in Warren earlier Sunday, while Walsh was planning a visit to his on Monday. He also reveled in spending time with one of his best childhood friends, Terry Hatzo, a Vietnam veteran who came home to become a first responder.
Beyond their own highlights, the musicians provided plenty of delights for fans at the concert during their respective 45-minute sets – though planned host Drew Carey was absent due to COVID-19. The best moments of this year’s VetsAid included:
Lots Of Dave For The DollarRepaying Walsh and the James Gang for their participation in the two Taylor Hawkins tribute concerts in September, Grohl lived up to his “special guest” status with several appearances on stage Sunday. He closed the Breeders’ set by guesting on guitar and backing vocals for a rendition of the Pixies’ “Gigantic,” then did the same for Walsh and James Gang by playing drums on “Funk #49.” The Foo Fighters frontman also hopped on with Walsh and his solo band, playing guitar on “Life’s Been Good” and drums on “Rocky Mountain Way.”
The Greatest Band In All The LandThe lauded Ohio State Marching Band kicked things off with its anthem, the McCoys’ “Hang on Sloopy” — with a drum major in full baton-twirling motion — followed by “The Star Spangled Banner.”
The Breeders Honor OhioAmidst its own favorites such as “Divine Hammer,” “Do You Love Me Now?” and “Cannonball,” thequartet offered a couple of welcome nods to its home state — covering “Shocker in Gloomtown” by fellow Daytonites Guided By Voices and, later in the set, “Drivin’ on 9,” an Ed’s Redeeming Qualities song co-written by Dom Leone of Youngstown, Ohio and covered by the Breeders on 1993’s Last Splash.
The James Gang Rides, And Reigns SupremeThe VetsAid appearance was billed as “One Last Ride” for Walsh and compatriots Jimmy Fox and Dale Peters. Walsh backed off that during a recent interview with Billboard, and on Sunday the trio — aided by a keyboardist and three backing vocalists — didn’t sound like it was anywhere near finished as it tore through covers (Howard Tate’s “Stop,” Albert King’s “You’re Gonna Need Me”), songs that have been on the bench for 15 years or longer (“Tend My Garden,” “Asshtonpark,” “Midnight Man” and “Collage”), an epic “Walk Away” and the crowd-pleasing medley of “The Bomber,” “Closet Queen,” “Bolero” and “Cast Your Fate to the Wind” – all before Grohl’s guest shot.
The Black Keys Go BackDan Auerbach and Patrick Carney have enough material to fill an entire VetsAid themselves and made sure to include plenty of hits — “Fever,” “Gold on the Ceiling,” “Lonely Boy” and a beautifully rendered “Little Black Submarines” among them. But they showed some home state love as well, with Auerbach preceding “Your Touch” by remembering that “this is a song we cut back in the day in a basement down in Akron, Ohio.”
Nine Inch Nails ItTrent Reznor and company brought the biggest production of the night — including smoke, strobes and banks of light that flanked the band on stage — as it ferociously attacked the likes of “Wish,” “March of the Pigs,” “Piggy,” “The Perfect Drug,” “The Hand That Feeds” and others before finishing with an affecting rendition of “Hurt.” Reznor probably surprised some in the crowd by noting that “you don’t understand what a big deal Joe Walsh reaching out to me was,” identifying Walsh as the first concert he ever attended. Walsh had the perfect response during his set; “Well, that was the first Nine Inch Nails concert I’ve ever been to…I liked it. It kinda reminded me of being in the Northridge earthquake in California…”
That’s All, Folks…During “Rocky Mountain Way,” Walsh was joined by other guests besides Grohl — the Breeders, who provided backing vocals, and Roy Orbison III, a six-year-old towhead who’s also Walsh’s godson and played along with him during the song’s famous talk-box and solo section, passing the music, and the mission, on to yet another generation.
VetsAid will be streaming via veeps.com through Tuesday, Nov. 15. Donations can be made andmerchandise purchased via vetsaid.org.
Drake announced Monday (Nov. 7) that he’s pushing back his planned show at The Apollo to mourn the death of Takeoff.
“The Apollo show has been moved to allow us to pay respect to our dear friend this weekend,” the superstar wrote on his Instagram Stories beneath an updated poster announcing the new dates of Dec. 6 and 7. “We have added a second date for the fans.”
Sponsored by SiriusXM, the concert at the historic Harlem venue was originally meant to take place this Friday as a one-night-only event.
Last week, Drake memorialized the late Migos rapper — who was gunned down at a Houston bowling alley in the early morning hours of Nov. 1 — during the album release party for Her Loss, his new collaborative LP with 21 Savage.
“I’d just like to send our deepest condolences from the family to the entire QC, to our brother Quavo, to our brother Offset, to the friends and loved ones of the legendary, unprecedented Takeoff — a guy that I knew for a long, long time,” he said, adding, “I always talk about the fact that this was one family. My friends in the music industry are not friends, they’re family. So, our deepest condolences — tragic loss for all of us and, you know, a dark cloud over this business that we love so much.”
However, Drake’s new studio set also arrived with its own share of drama, with the rapper making digs at both Megan Thee Stallion and Serena Williams’ husband Alexis Ohanian in his lyrics.
Check out Drake’s new dates at The Apollo here.
Taylor Swift, in case you haven’t heard, is back. Her 10th studio album, Midnights, was released on Oct. 21 and moved 1.578 million album equivalents in its first week of release in the U.S. according to Luminate, the most since Adele’s 25 seven years ago. The album’s standard edition blanketed the Billboard Hot 100 in unprecedented fashion, occupying the chart’s entire top 10 positions. And now, she has officially announced the Eras Tour, playing stadiums in the U.S. throughout 2023.
Swift is no stranger to the stadium stage. Her last tour, 2018’s Reputation Stadium Tour, played 53 shows, earning $345.7 million and sold 2.9 million tickets, according to figures reported to Billboard Boxscore.
That was enough to make it the highest-grossing and most-attended tour of Swift’s career. She had leveled up from 2015’s The 1989 World Tour, which itself had bested The Red Tour (2013-14). From theaters to arenas to stadiums, and from smaller Midwest markets to global reach, each of Swift’s official five treks have out-grossed and out-sold the one before.
The Reputation Stadium Tour reached career-high status by staying true to its name, sticking to stadiums in all four continents that it played. Swift averaged more than 50,000 paid tickets in Asia, Australia, Europe and North America, doubling her previous high in Asia and quadrupling the nightly attendance from her previous run in Europe.
To do so, the stadium-branded tour played it smart. She played 53 shows worldwide, consolidated from the 80-plus dates on The 1989 World Tour and The Red Tour, forcing high(er) demand on an exclusive routing. In Europe, she stuck to three markets in the U.K., and in Asia only played two shows in Tokyo.
Still, Swift played 38 shows in the U.S., breaking her own record for the highest-grossing stateside tour of all time (the record has since been broken by Elton John). With an even more sparse calendar in 2023 so far, Swift will challenge herself to, once again, outdo herself.
The Eras Tour announced 27 stadium shows in the U.S. (Swift assured fans that international shows would be announced at a later date), beginning March 18 in Glendale, Arizona, and wrapping with an on Aug. 4-5 double-header in Inglewood, California. If Swift were to replicate Reputation’s $7 million nightly domestic average, the tour would earn $189.1 million and sell 1.47 million tickets.
But those figures are based on Reputation’s $128.67 average ticket price. In the time since that tour closed, platinum ticketing, dynamic pricing and inflation have changed the potential for sky-high ticket prices, especially for a stadium A-lister like Swift.
And while the initial routing for Eras is light, the time between its March kickoff and August finale is wide open. Swift is only scheduled to play one or two shows a week, leaving ample room for additional markets and, just as likely, additional shows in the cities she’s already announced. Depending on demand in the two and a half weeks between registration for Ticketmaster’s Verified Fan program and the tour’s general on-sale, Swift’s schedule could bulk up.
And why wouldn’t it? In the time since the Reputation Stadium Tour wrapped in 2018, she has topped the Billboard 200 with six albums and crowned the Hot 100 four times. She was nominated for the Grammy for album of the year three years in a row, winning in 2021 for Folklore. Between her latest record-breaking success with Midnights and the engagement surrounding the Taylor’s Version re-recordings of her older albums, Swift is setting the stage for the cumulative effect of her many eras on their titular tour.
On Tuesday night, Charlie Puth was just grateful to be with an audience instead of his phone screen.
“It was good to be in front of TikTok for two years, but there’s nothing like doing this in front of real, live people,” he told the rapt and energetic audience at New York City’s Beacon Theatre. The pop star and, yes, bona fide TikTok sensation, was in the City That Never Sleeps for the second show of his just-launched One Night Only tour supporting his new album Charlie.
Earlier this month, Puth teased how the tour of more intimate venues came together as a sort of post-pandemic testing of the waters in an interview with Billboard‘s Pop Shop Podcast. “I’ll say what no artist will ever say: I did not know where I stood as a touring artist,” he explained. “We got through a worldwide pandemic — I thought, at one point, my career as a touring artist was over. I had no idea…It has been, like, a couple of years since I had something on Billboard. Like, where did I stand as a touring artist?”
With a set re-creating the singer’s kooky, musically ingenious interior world depicted on the cover of Charlie, no opening act, and a sold-out crowd of superfans going haywire for every song in his repertoire, Puth proved once and for all that he can stand alone, having come into his own as a confident, goofy and pitch-perfect pop star of his own making.
Below, Billboard rounds up the best moments from Charlie’s One Night Only show in New York City.
Charlie (Don’t) Be Quiet!
There was perhaps no more exhilarating way for Puth to kick off his show than with “Charlie Be Quiet!,” the raucous, shout-it-out anthem that gave the New Jersey native the chance to rock the mic as he playfully wailed, “Charlie, be quiet, don’t make a sound/ You got to lower the noise a little bit now/ If she knows you’re in love, she’s gonna run, run away-ay-ay-ay.”
Tears on Charlie’s Piano
Though he’d opened the tour two nights before with a hometown show at Count Basie Center for the Arts in Red Bank, New Jersey, Puth chose New York City as the place to live-debut Charlie deep cut “Tears on My Piano.”
Seated behind his trusty upright piano and bathed in red light, the singer looked like he was having the time of his life belting out the melodic, lovelorn anthem. And even though he’d never performed the track onstage before, the electrified crowd made it immediately clear they had put in their time listening to the studio version by singing along to every single word.
Charlie’s “Extraordinary” Advice
After revealing how the sound of a creaky door hinge led to the creation of Charlie album closer “No More Drama” and running through hit single “Left and Right” (sans BTS’ Jung Kook), “Loser” (“a bit of a self-deprecating anthem, which I think we all need sometimes”) and The Hills-inspired highlight “Smells Like Me,” Puth took a moment to offer his fans a piece of heartfelt encouragement.
“I want all of you — if you take anything out of this night tonight — rather than just watching me perform these songs, which you totally, of course, can do, I know all of you in here are capable of doing something extraordinary in the arts field,” he told his screaming fan base. “What you think is mundane and what you experience every day of your life is extraordinary. You should paint a picture about it, you should write a song about it. That’s how I literally wrote this whole album.”
Charlie Needs You to “Stay”
One fun fact some casual fans may not know is that Puth penned Justin Bieber and The Kid LAROI’s Billboard Hot 100 No. 1 2021 collaboration “Stay,” which has remained on the chart for a stunning 63 weeks and counting. After showing off some impressively candid piano chops and spilling some tea about how Peter Cetera’s music and other “’80s power bops” sparked the song’s hook, the songwriter made the No. 1 hit his own by transforming it into a pulsing, midtempo piano ballad.
Charlie Takes It to Church
While Puth closed the show with an encore of 2015’s “See You Again” and played all the old favorites like “We Don’t Talk Anymore,” “Attention,” “BOY” and “Done for Me,” the most powerful moment of the evening came when he dusted off his 2015 sophomore single “One Call Away.”
“No matter where you go, know you’re not alone/ I’m only one call away/ I’ll be there to save the day/ Superman got nothing on me/ I’m only one call away,” he crooned at the piano, taking the Beacon Theatre to church in a massive, chill-inducing sing-along.
The typical album cycle in recent years: drop a single, announce a handful of concerts, set a release date, encounter a global pandemic, wait two years for the touring industry to allow your world tour to play. Thirty months after tickets went on sale, Lady Gaga has wrapped The much-bigger-than-originally-planned Chromatica Ball to the tune of $112.4 million and 834,000 tickets, according to figures reported to Billboard Boxscore.
The original incarnation of The Chromatica Ball was a set of two European shows (Paris on July 24, 2020 and London on July 30) and four North American shows (Boston on Aug. 5, Toronto on Aug. 9, Chicago on Aug. 14, and East Rutherford, N.J., on Aug. 19). Delayed once to 2021 and again to 2022, the tour expanded from six shows to 20, playing five markets in Europe (including two shows in London), 11 in North America and a double-header in Tokyo.
Much like Harry Styles and Dua Lipa, being forced to push her shows to 2022 by the pandemic yielded heightened anticipation rather than attention-span malaise. Gaga swept through Germany, Sweden, France, the Netherlands and England, earning $28.3 million from six shows in July. She followed with a North American leg that earned $72.6 million in July and August, plus two shows in Tokyo that generated $11.5 million on Sept. 3-4.
Gaga set a handful of local records along the way, claiming the highest gross in Hershey Park Stadium’s history. Among single-night engagements, she has the all-time top gross at San Francisco’s Oracle Park ($7.4 million), top attendance at Boston’s Fenway Park (38,267), and gross and attendance at Chicago’s Wrigley Field ($6.9 million; 43,019). The only event with a larger gross at L.A.’s Dodger Stadium was 2017’s The Classic West, the two-day classic rock super-festival headlined by the Eagles and Fleetwood Mac.
The Chromatica Ball was Gaga’s first all-stadium run, but it wasn’t her first dip in the pond. As early as The Monster Ball (2009-11), the pop shapeshifter played stadiums in multiple Mexican markets, selling out two nights at Mexico City’s Foro Sol with 111,000 tickets sold.
Gaga’s stadium ambition spread throughout Asia, Europe, South America and Africa on The Born This Way Ball (2012-13) and ArtRave: The Artpop Ball (2014), mixed with arenas on each continent, and exclusively indoor venues in North America. Conversely, The Joanne Ball (2017-18) mixed arenas and stadiums in North America but stuck to arenas for its limited European run.
Despite its 2022 expansion, The Chromatica Ball was relatively brief compared to her previous tours. But moving to stadiums allowed Gaga to maximize her nightly audience, averaging 41,700 tickets per night, up 127% from her previous best of 18,400 on The Born This Way Ball. In nightly revenue, The Chromatica Ball leapt by 190% to a pace of $5.6 million, passing The Joanne Ball’s $1.9 million.
At just 20 shows, The Chromatica Ball became Gaga’s highest grossing tour in a decade, and marked her third $100 million-dollar tour, following The Monster Ball and The Born This Way Ball.
In all, Lady Gaga has a reported career gross of $689.5 million and attendance of 6.3 million.
Penske Media Corporation revealed even more performers for its inaugural two-day culture and creativity festival LA3C. Piso 21, Kyle and Chesca were added to the star-studded lineup on Tuesday (Oct. 25).
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In addition, Grammy-nominated producer TOKiMONSTA was announced as the Sunday headliner for the Hot Import Nights Stage, which will also include performance sets by Accia, Cuco and Rosegold. Additionally, VIBE, the leading entertainment and lifestyle brand in celebrating Black culture, will host a special 30th anniversary set featuring LA native producer and DJ Linafornia.
See here for the full lineup for the two-day event, featuring headliners Maluma and Megan Thee Stallion. Food, fine artists and on-site experiences for the event will be announced in the coming weeks.
Penske Media’s first-ever culture and creativity festival will take over the Los Angeles State Historic Park on Dec. 10 and 11, 2022. LA3C stands for Los Angeles the Capital of Culture & Creativity and aims to connect communities through the city’s music, food and art. Additionally, LA3C will support the next generations of creative talent in Los Angeles through partnerships with nonprofit arts organizations Heart of Los Angeles (HOLA) and Film Independent.
The festival and performance sets are slated to run from 1 p.m. to 10 p.m. PT on the first day and 12 p.m. to 9 p.m. PT on day two. All attendees must be over 21 years of age.
Tickets for LA3C are now available to purchase here. For up-to-date news on LA3C, be sure to follow the festival on Facebook, Twitter and Instagram.
Penske Media Corporation is the parent company of Billboard.