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The second day of this year’s Bonnaroo is not going quite to plan, with the Tennessee festival having to issue an evacuation notice Friday (June 13) as severe weather closed in.
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In an announcement posted to Instagram, officials asked attendants to “please head calmly to the nearest exit” and find a vehicle to wait in safely. “Severe weather is approaching,” the caption read. “Please exit Centeroo immediately and shelter in a vehicle. No vehicle? Find a friend.”
Shortly afterward, the festival shared another update. “We expect weather to impact The Farm for the next couple of hours, at least,” it read. “Centeroo and the tolls are closed until the weather has passed. Please remain in a vehicle. We know you’re curious about today’s schedule and we will update you as soon as we can.”
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Billboard has reached out to Bonaroo reps for more details.
The announcement comes as heavy thunderstorms are ripping through Manchester, Tenn., where the four-day music festival is held annually. Tyler, the Creator, John Summit and Glass Animals had been expected to perform later Friday night, with Megadeth, JPEGMAFIA, Marina, Goose and more acts also on the Day 2 lineup.
This year’s Bonnaroo kicked off Thursday (June 12) with performances from Luke Combs, Dom Dolla, Insane Clown Posse and Rebecca Black. If the festival proceeds as planned, the next two days will see Olivia Rodrigo, Avril Lavigne, Nelly, RAYE, Tyla, Arcade Fire, Hozier, GloRilla, Vampire Weekend, Remi Wolfe, Role Model, Alex Warren and more take various stages on the grounds.
See Bonnaroo’s announcements below.
Serbia’s long-running EXIT Festival says that this summer’s edition of the event might be its last in the country.
The electronic event reports that its government funding and cultural grants have been revoked due to the festival publicly aligning with student-led anti-corruption protests that happened after the Novi Sad railway station collapse in November 2024, a tragedy that killed 15 people. The festival also says its sponsors have withdrawn due to pressure by pro-government entities.
“This is the hardest decision in our 25-year history but we believe that freedom has no price,” EXIT founder and director Dušan Kovačević says in a statement provided to media and posted to EXIT’s social channels. “With this act we are defending not only EXIT but the fundamental right to free expression for all cultural actors around the world. We invite them to stand with us in this fight.”
EXIT Festival is set to happen July 10-13 in Novi Sad, Serbia. The lineup features Tiësto, The Prodigy, Eric Prydz, Solomun, DJ Snake and many others.
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The event has a long history with pro-democratic movements, starting in 2000 as a pro-student movement meant to fight for freedom in Serbia and the Balkan countries. Happening at the Petrovaradin Fortress in the city of Novi Sad, the festival has won myriad awards that have distinguished it as one of the top festivals in Europe.
“Through music, creativity, and activism, EXIT has connected generations and nations, rebuilt broken ties, and built bridges where others route to divide,” Kovačević’s statement continues. “We have brought numerous European festival awards to our country and region, along with hundreds of millions of Euros in tourism revenue and international recognition that global experts consider invaluable.
“However, ever since we publicly stood with the students of Serbia in their fight for a freer and more just society, we have been subjected to immense financial and political pressures aimed at stripping us of our fundamental rights to freedom of thought and expression. Despite being completely cut off from public funding at all levels of government, and with some sponsors forced to withdraw under state pressure, we refuse to be silenced. As a result, this year’s anniversary edition will be the last to take place in a Serbia where freedom of speech is systematically suppressed.”
Rolling Loud is headed to India. The hip-hop festival – which already has editions in California, Florida and Thailand – will debut its first festival in Mumbai after bringing the signature event to eight other countries. The two-day festival will be exclusively ticketed and produced in partnership with District by Zomato, a discovery and booking app.
“We never imagined Rolling Loud would take us all the way to India — it’s incredible,” Rolling Loud co-founders and co-CEOs Matt Zingler and Tariq Cherif said in a joint statement. “The hip-hop scene in India has been booming, and bringing the festival to Mumbai felt like the right decision. We’re excited to create a space where Indian fans can celebrate the artists they love, while also introducing international acts to a new audience. For us, it’s always been about building community through hip-hop — and we can’t wait to experience how India shows up.”
The two-day festival in India — which will announce dates and venue at a later time — will feature two distinct stages with elaborate production, plus fans can enjoy a series of local food and drink options, art installations and experiential activations that all tie back to the celebration of global and Indian hip-hop culture. Rolling Loud India promises a spotlight on an array of global superstars and international talent and top and rising Indian hip-hop artists.
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“India’s hip-hop scene is on fire right now, it’s raw, it’s real, and it’s ready. Rolling Loud coming to India isn’t just another festival drop; it’s a cultural shift,” District by Zomato CEO Rahul Ganjoo said in a release. “For years, we’ve felt the need to bridge India’s sound with the global stage, and this is that moment. It’s bigger than music, it’s a loud, undeniable signal that Indian hip-hop is here, it’s global, and it’s got something to say. We’re proud to bring this home.”
Since the event was founded in 2015, Rolling Loud has held festivals in New York, Miami, Toronto and Los Angeles, as well as in Australia, Germany, Portugal, The Netherlands, Thailand and Austria. Rolling Loud lineups throughout the last decade have included Kendrick Lamar, Nicki Minaj, Future, Travis Scott, A$AP Rocky, Cardi B, Playboi Carti and more.
Rolling Loud India tickets will go live exclusively on the District app. For more information on talent lineup, ticket details, festival details and more, check the District app and @districtupdates page on Instagram.
Day three of CMA Fest’s nighttime concert series at Nashville’s Nissan Stadium started right on time at 8 p.m. on Saturday (June 7), following a rain delay the night before. This time, there were clear, but slightly cloudy Nashville skies, with no rain in sight as another round of top artists took to the stage. […]
Mariah the Scientist is not taking the stage at Governors Ball 2025 today (Saturday, June 7), even though her name had remained on the day’s reworked schedule after the New York City festival experienced a four-and-a-half hour delay in opening.
Billboard learned of the cancellation on the ground at Flushing Meadows Corona Park. No announcement was heard at the event, and the change of plans came with no explanation.
Gov Ball organizers posted a brief update in a temporary Instagram Story close to the updated time Mariah was set to perform (5:45-6:15 p.m. ET), but did not give a reason for her set being called off last minute. The social media message simply stated, “Due to unforeseen circumstances, Mariah the Scientist will no longer be able to perform.”
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The “Burning Blue” singer-songwriter — whose breakthrough hit is her first solo entry on the Billboard Hot 100, where the single currently sits at No. 35 — later acknowledged the cancellation on her Instagram account, writing, “So upset I’m not getting to perform at Gov Ball today. I’m so sorry to everybody who showed up through the traffic and rain. I apologize.” She later added a photo showing a rainy view through a window with the caption “I really wanted to perform.”
Billboard has reached out to representatives for both Mariah and Governors Ball for further comment.
The three-day outdoor festival, which launched Friday, opened doors hours later than expected on day two due to forecasts of rain and thunder in the area. While those in line on Saturday were originally meant to be let in at 12 p.m., doors were delayed until 4:30 p.m.
With the weather delay, early sets by Lexa Gates, Yaya Bey, The Backfires and others were removed completely from Saturday’s schedule, while several later performances were pushed back an hour or more. Olivia Rodrigo‘s headlining set on the main stage was moved to 9:25 p.m.; Feid and Wave to Earth, both set to close other stages, had their set times shifted to 8:30 p.m. and 8:45 p.m.
Hozier, Mt. Joy, Clairo, Raye, Royel Otis, The Japanese House and more are on the bill for Governors Ball 2025’s third day on Sunday (June 8).
Governors Ball 2025 hit a snag on day two as weather concerns forced organizers to cancel and delay performances.
On Saturday (June 7), the three-day festival — which launched Friday at New York City’s Flushing Meadows Corona Park — announced that headliners and other scheduled sets would be pushed back due to forecasts of rain and thunder in the area.
“Due to predicted weather, doors will be delayed until 4:30pm. Please delay your arrival and plan accordingly. Stay tuned for the updated schedule!” Gov Ball organizers posted Saturday morning on X
The festival was originally set to open at 12 p.m. on Saturday.
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Later in the morning, organizers released an updated schedule confirming the cancellation of early sets by Lexa Gates, Yaya Bey, The Backfires, and others. Several later performances were rescheduled, with most acts pushed back by an hour or more.
Saturday headliner Olivia Rodrigo, initially slated to perform at 8:30 p.m. on the main stage, was moved to 9:25 p.m. Feid and Wave to Earth, both closing out other stages, had their set times shifted to 8:30 p.m. and 8:45 p.m., respectively. Other artists still expected to perform Saturday evening include Marina, Young Miko, Conan Gray and Car Seat Headrest.
Governors Ball 2025 opened Friday with performances from Tyler, The Creator, Benson Boone, Mk.gee, T-Pain, Tyla, Role Model, The Backseat Lovers, JPEGMAFIA, and others. The fest is scheduled to wrap on Sunday (June 8) with sets by Hozier, Mt. Joy, Clairo, Raye, Royel Otis, The Japanese House, Amaarae, Key Glock, Berlioz and Montell Fish, among others.
Vans Warped Tour might be one of the best-selling festivals of 2025, but organizers say no one music act is responsible for moving the bulk of the 240,000 tickets sold so far across three U.S. cities. Indeed, the brand name alone seems to have been enough.
“We sold the vast majority of those tickets before we had a lineup,” says Kevin Lyman, founder and producer of the traveling punk show, which ran from 1995 to 2018 before returning this year for a limited 30th anniversary run. Lyman, who has partnered with Live Nation festival company Insomniac for this year’s Warped, is working from a makeshift office and headquarters after the Los Angeles wildfires earlier this year forced him to leave his Altadena home, which was damaged but largely spared from the blaze.
“I think there’s nostalgia in the market, but it’s not just for the music — people are longing for events that are affordable and give them a chance to discover something,” says Lyman. Prices for this year’s Warped Tour are $149 for a two-day pass, and the tour is much shorter, with just three stops this year instead of the typical 36 markets. Two of the three markets piggyback off events organized by Insomniac: Warped’s Washington, D.C. stop, from June 14-15, comes two weeks after Insomniac’s Project Glow EDM fest; while the Orlando stop, Nov. 15-16, takes place one week after EDC Orlando at Camping World Stadium. Warped Tour is also coming to Long Beach, Calif., from July 26-27 at Shoreline Waterfront Park.
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Each of the three two-day stops on the tour accounts for nearly 80,000 tickets sold. When combined, the fans attending all six days of the Warped Tour this summer will have purchased 240,000 tickets. That’s likely more tickets than were sold at Coachella this year, which took place over two consecutive three-day weekends, sources tell Billboard. It also likely surpasses the number of tickets sold at the three-day Electric Daisy Carnival in Las Vegas.
Billboard recently caught up with Lyman to discuss the 30th anniversary tour, including how he pitched it to Steven Van Doren, son of Vans founder Paul Van Doren; his expectations from the fans; and whether the 2025 outing is a one-and-done or has the potential to return in 2026 and beyond.
What made you decide to bring Warped Tour back?
People don’t miss something until it’s taken away. I had a fantastic crew; we did a lot of marketing for bands and helped a lot of younger artists. And then, when we took it away, people realized that there was a place for something like Warped Tour. But by then I was busy doing other things — traveling, teaching my class at USC and working on other projects. And then the pandemic hit, and being on a college campus and being around young people, I could see a new need for Warped Tour arise.
What kind of reception have you received so far?
I think it’s been exciting because the bands that remember Warped Tour remember how important it was to their careers, and the younger bands now are super excited to be able to have that experience and be part of it.
Why did you bring in Insomniac for this year’s Warped Tour?
There’s a lot of people over there that grew up around Warped Tour, attended in the past and even worked on Warped Tour. Maureen Valker-Barlow, who works as a senior vp at Insomniac and landed her first job at Warped Tour, approached me, and it was easy for us to figure out how to work together. And then it was like the green light came on, and we just ran with it. They have great people over there like Amanda Phelan, who is a great booker, and Maureen, who I previously mentioned, handling sponsorship, as well as Chris Barlow and Nathan Armstrong in production. I’ve always operated as very small and independent, working in a garage, and they’re a big company, and they know how to run festivals. They handle a lot of the day-to-day stuff, absorbing a significant part of the logistics. And marketing. They’ve given me a little bit more of that structure. What was it like approaching Vans to do another tour? That was easy, because Steve Van Doren and myself go back — we’re talking 25 years of Warped Tour and years before that. It was easy to go over there and say, “Hey, here’s the idea, let’s bring it back with these people. I have faith in them.” Sure, there was a lot of paperwork, but it only took ten minutes of conversation to get this thing going.
Was it difficult to come up with a budget around a $149 ticket price?
Not at all, because I knew from the beginning that Warped would only work if we kept the ticket price fair. I feel strongly that a $149, two-day ticket is affordable to our fans. I think 90% of the reason that people are getting turned off by festivals is because they’re too expensive. Warped was always the show for people that maybe didn’t have that money for some of the other festivals. Both myself and Insomniac felt $149 was the right price, and a lot of people have responded to that price. It also helps that we delivered the lineup. It’s an eclectic lineup that touches on our history and past, but it also looks forward to the future. I’m excited to see which of the younger bands we’ve booked get the biggest reaction from the fans.
You’ve got some big names on the lineup this year like Avril Lavigne, Fishbone, Less Than Jake, Dropkick Murphys, Pennywise and Sublime. You’ve also got dozens of baby bands and newcomers scheduled to play. How do you strike the right balance between old and new?
Well, it’s partially an economic exercise. Every band you book, no matter how big, makes up part of your ticket price, and you always have a few that are reliable and a few that are more of a gamble. We’re booking some of these bands in January, wondering how big they will be in August? Are they going to be bigger than what we paid them? Can the $5,000 band generate $25,000 in value from fans who are excited to see them? If you look at our social media right now, we really don’t need to push Sublime or Rise Against. They’re already known. People are going to enjoy them, and they’re going to have a big, big crowd. We want to grab onto those younger acts like LØLØ or Honey Revenge and really boost them on our social media so they have a big audience at Warped Tour. A lot of what we focus on is leveraging the Warped brand and the larger bands to help raise the profile of the smaller acts.
Did you get the idea to list the bands on the lineup poster in alphabetical order from Insomniac?
No, that’s something I started doing in 1996 because I hate arguing over billing. I think we waste so much time arguing over font size on the poster when we should be marketing to fans and getting behind the show. People are smart. People will come and find the bands they want to see. If you could put Korn in the bottom corner of a festival lineup, people would find them and be excited about them.
What about scheduling? How do you keep egos in check with the schedule?
We don’t announce the set times until the day of the show. I do that because I want people to come early and enjoy all the young bands. I go to too many festivals where people come in at sunset and miss all the great young bands. And my thing is, Warped fans are diehard music fans. They’re not fashion fans, they’re there for the music. And they’re going to figure out the lineup. And I think everything we’re doing so far is working. Hopefully, we deliver the show that people will want to come see next year.
So Warped is not a one-and-done? This is a multi-year project?
I want to really go see what the first show is like in D.C. before we make any final decisions on that. I want to go see the audience and who’s coming. Is it people that want to be part of something moving forward, or people trying to capture a memory? My guess is that it will be a blend of both, but we’ll see.
Could it return as a true touring property, going from city to city, buses and all?
No. Definitely not. I can’t do that to myself, hitting the road for two months straight. I’ve had seven different surgeries because of the Warped Tour. I don’t need any more.
Lee Anderson‘s wife tells him he’s a hoarder, but he prefers to see himself as a Renaissance man of many interests — pop art, ’80s movie posters, ’90s TV action figures, baseball cards and a closet filled with more than 600 pairs of sneakers.
“I love having people over because I love showing off all the s— I have,” says Anderson, who is a year into his new role as president of Wasserman Music — a job that places him at the intersection of commerce and the biggest names in pop culture. He says his zeal for finding, signing and developing talented artists is no different from his passion for adding a rare or sought-after find to his various collections and is part of the skill set that makes him exceptional at his job.
Known for his unmistakable phone voice and large-frame glasses, the Bridgeport, Conn., native cut his teeth in live music working at Burlington, Vt., venues like Nectar’s and Metrodome. Eventually, he joined Paul Morris to work on the agency side of the business, which brought him to Paradigm and then Wasserman Music in 2021, where, in addition to overseeing Team Wass, he works with a client list that includes Skrillex, Zedd, Swedish House Mafia, Charlotte de Witte and Disclosure.
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How has your day-to-day changed now that you are president?
I have more responsibility for the business and everybody there, and I’m carving out extra time to make sure I allocate the right amount of time to each client [that I represent]. The net result is that I’m working significantly more hours. It’s looking at how to actualize and optimize all the opportunities that we have across our company with what’s already there. That doesn’t require a larger head count. It requires figuring out how to work better together and how we look at the whole business.
What’s a recent accomplishment under your leadership?
The hiring of Kevin Shivers, James Rubin and Cristina Baxter from WME. Having senior agents of their caliber, at the top of their game, join Wasserman was a milestone for our company, and I’m proud that we’ve been able to build a place that those three would want to join. Our culture of transparency played a role.
What kind of clients are you looking for?
We want to work with clients that we’re aligned with in terms of vision and approach. We’re known for discovering talent early and growing them into stars. But we try to be very thoughtful and honest and make sure that each agent who’s assigned a client has the bandwidth to give them what they deserve to get there. We really believe that everything starts with strategy — short and long term. It builds accountability for us as a business to do what we say we’re going to do. If we don’t, you should fire us.
Let’s talk about breaking your client, DJ-producer Yousuke Yukimatsu. He has landed some big U.S. bookings, including top billing at Portola Festival. How did you connect?
I saw him on the internet, and a manager that I have a relationship with called me and said, “Have you seen this?” I was like, “Yeah, I’ve been obsessed with it for like the last three days.” He said, “Look, we’re in touch with him, there’s a manager in place, and we’re talking about potentially working with her. Would you be interested?” I said, “Absolutely.” I got on the phone with them and laid out the way I would approach it. And I did what I said I was going to do.Wasserman Music President Lee Anderson on the Festival Headliner Shortage & Why Fyre Fest Isn’t an Anomaly
What’s your strategy for him?
Generally, when you’re coming in, there are metrics of ticket sales or streams or social media engagement. But he’s unique. This wasn’t a producer with a bunch of his own records. He’s very much a Laurent Garnier-style selector and very respected DJ and technician. There was a huge swell of excitement around him. Danny Bell at Portola Festival saw that right away. Huston Powell with C3 saw that right away. We began to put some headline shows up, selling out 3,000 and 5,000 tickets instantly. He had goals, and I understood the aesthetic and types of events and artists he wanted to play around and the types of rooms that he wanted to be in. And we were able to put that plan together.
Are festivals still a good outlet for breaking artists?
Yes, but it has to make sense. There were times when we’d envision our artist playing in front of 15,000 people, and they’d actually be performing for closer to 400 because they’re on at 2 o’clock. So now I ask a number of questions: Is this going to be an impactful moment? Who else is playing at that time? I usually start with that before I even start with the fee. I don’t think I’ve ever had a deal die over the money.
Is there a headliner shortage in the festival space?
It’s hard to get a headliner these days, and that has hurt the festival ecosystem to a degree. I don’t want one client playing 40 festivals in a summer. I want my clients playing the right moments, with different cultural ecosystems that appeal to different audiences.
What makes a good festival talent buyer?
The best talent buyers are the ones that are calling me and chasing me about an act that I haven’t even pitched. Buyers who like to put cool packages together.
Do you want your agents pitching all the big festival buyers?
If an agent sends a list of hundreds of acts to a festival buyer, they’re not doing their job. If an agent’s doing a good job, they should have a plan and targets for their clients. They should be inviting buyers to a show or sending music or doing all the things it takes to get those bookings.
Billy McFarland flamed out trying to revive Fyre Festival. Could another disastrous event like that happen again?
As long as there are ambitious, naive people all over the world who do not recognize their blind spots or realize they’re capable of failure, there will be festivals that crash and burn. I just don’t want to work at the agency that’s got half the lineup on the next one that goes down. It’s very important for agencies to be diligent about what they’re looking at in terms of live opportunities for their clients — and not just look at an offer with a big guaranteed number. Fyre is not the only time we’ve seen things like that.
Tell me about some of the things you collect.
I love Danny Clinch photography. My two favorite artists of all time are Jay-Z and Phish, and I have Clinch prints of both. And for my birthday like eight years ago, Clinch printed and framed a photo that he had taken of me and Skrillex together at Bonnaroo and signed it for me. That is one of my most prized possessions. I collect a lot of toys and pop culture items from the ’80s and ’90s like Miami Vice action figures still in the packaging or like Cheech and Chong or Jay and Silent Bob. I have all the McDonald’s cups from the Dream Team, and I collect sports cards and baseball cards. I’m into sneakers and have over 600 pairs, mostly Nikes, as well as the old Charles Barkley and Deion Sanders sneakers and stuff that I probably will never wear. But I have to have them because I had them when I was in sixth grade or something.
What’s the most you’ve spent on an item for your collection?
I spent seven years collecting all of the original Hasbro World Wrestling Federation action figures from the late ’80s and ’90s. Some of those in the newer, limited series are hard to get, and I paid between like $300 and $400 per figure.
Weirdness reigned once again at Lightning in a Bottle 2025.While the event — which marked its 22nd edition this past weekend, May 21-25 — has alternately been called a transformational festival, a wook gathering and a symposium of psychedelic culture, what’s definitely true is that despite its growth and demographic shifts over the years, the SoCal indie fest still manages to feel not just authentic but a reflection of a fairly specific culture, no small feat in the age of corporate mega-festivals.
In this case, that culture is one interested in art, pleasantly goofy outfits, myriad vibration raising activities and loads of electronic music. (It’s also one that will be recognized by fans of jam bands and attendees of spiritually adjacent festivals like Burning Man and Michigan’s Electric Forest.)
As such, this year’s LiB schedule was populated with activities such as “transformative grief rituals for conscious living and dying” and “high vibe breakfast: tacos for energy & longevity.” There was bingo, there was many varieties of yoga, there was a bar selling exclusively pickle juice, there was a roller skating rink and a drum circle for the kids.
Amid the high heat of the weekend, many attendees could be seen floating on various whimsical inflatables in Lake Webb, located at the center of the site in the Buena Vista Recreation Area 25 miles outside of Bakersfield. Here, tens of thousands of attendees erected their tents and rolled up in their RVs for the event, which is produced by the Do Lab.
Of course, more than any other element, there was music. The 2025 lineup was a mighty one featuring headliners like LiB regular Four Tet, returning star Jamie xx and John Summit, who embraced his self-proclaimed wook side with a Sunday night set on the mainstage and then played a surprise (but not too surprising) b2b with friend and fellow headliner Subtronics.
A flurry of other big and rising stars played across LiB’s six-plus stages, tents and art cars, with the music going until the early hours of the morning. A Saturday night party from L.A.’s legendary A Club Called Rhonda Party series even featured a set by Parris Goebel, who recent work includes creating the choreography for Lady Gaga’s brilliant Coachella 2025 performance and who lit up the Crossroads tent with her high energy show.
And while there were all the typical lights and lasers, arguably the biggest light show of the weekend happened on Saturday night, when a SpaceX Dragon cargo ship returning from the International Space Station created a golden streak of light across the sky.
See photos from Lightning in a Bottle 2025 below.
Japan’s FUJI ROCK FESTIVAL ’25 will return to the Naeba Ski Resort in Yuzawa-cho, Niigata Prefecture again this summer, with dates set for Friday, July 25 through Sunday, July 27.
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Fred again.. will headline Day 1, and Vulfpeck Day 2. These festival slots will be the first time either act performs in Japan, and for the latter, one of the three shows announced for this year. On the final day, Vampire Weekend returns to Fuji Rock for the first time in three years as headliner.
Now in its 26th year in Naeba, FUJI ROCK FESTIVAL takes place in an expanse of land 4 km long dotted with stages of various sizes, featuring over 200 artists of various genres from around the world each year. The scheduled acts from Japan this year include Ichiko Aoba, Answer to Remember, BRAHMAN, Creepy Nuts, DYGL, EGO-WRAPPIN’, Hitsujibungaku, kanekoayano, Kimishima Ohzora Gasso Keitai (“ensemble form”), jo0ji, MIYAVI, Otoboke Beaver, RADWIMPS, Shintaro Sakamoto, Suchmos, Vaundy, Tatsuro Yamashita, and more.
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From outside of Japan, Balming Tiger, Barry Can’t Swim, CA7RIEL & Paco Amoroso, Confidence Man, Ezra Collective, Faye Webster, Fermin Muguruza, Four Tet, James Blake, Haim, HYUKOH, Mei Semones, Mdou Moctar, Night Tempo, OK Go, Perfume Genius, Royel Otis, Sunset Rollercoaster, The Hives, Tycho and more are set to perform. As in previous years, the lineup ranges from veterans to newcomers, making this a festival of music that transcends borders and genres.
The recently announced fifth lineup also includes new additions Joy Anonymous, Us, Ginger Root, Jane Remover, YHWH Nailgun, and Little Sims. ROUTE 17 Rock’n’Roll ORCHESTRA, a special band at FUJI ROCK that features unique guests each year, will include Kumiko Yamashita, Hiroto Komoto, Gen Kugiya, Us, and Liam Ó Maonlaí this year.
Tickets are 59,000 yen (approx. 413 USD) for a three-day ticket and 25,000 yen for a one-day ticket (approx. 175 USD). Friday night tickets, good from 6:00 p.m. on Friday until 5:00 a.m. the next morning, are 16,000 yen (approx. 112 USD), and Under 22 one-day tickets are available for 18,000 yen (approx. 126 USD). Fans from outside Japan can purchase tickets through e+ (e plus), FRF OFFICIAL SHOP GAN-BAN, Ticket PIA, tixCraft, Ticketmaster Singapore, ticketflap, KKTIX, and interpark. Additional informationa can be found on the festival’s official website (https://en.fujirockfestival.com/ ).
An admission-free event is also scheduled for July 24, on the eve of the festival. There will be a bon dance event, a raffle, a fireworks display, a competitive eating contest, and a special gig at the RED MARQUEE stage. Check out the after movie from 2024 below.
FUJI ROCK FESTIVAL
Billboard Japan
