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Over the past decade, vinyl has grown from a can-you-believe that comeback story to a serious business. Vinyl sales revenue in the U.S. grew 10% in 2023 to $1.4 billion, the same size as the market for Latin music. (The latter brings in far more money overseas. So, over the last few years, to feed demand, labels have started to release a growing array of products, from “collectible” color variations of hit pop albums to high-end products aimed at the audiophile market.
Rhino Entertainment, the catalog division of Warner Music Group, will announce today (Dec. 10) that it is launching a new premium reissue series, Rhino Reserves. The albums will retail for $31.98, with a level of quality higher than many reissues, for a price lower than higher-end audiophile reissues from Mobile Fidelity, which licenses albums from labels, or the company’s own Rhino High Fidelity albums. The first two albums, out Jan. 31 as part of Rhino’s annual Start Your Ear Off Right promotion, are Funkadelic guitarist Eddie Hazel’s 1977 album Game, Dames and Guitar Thangs and New Orleans icon Allen Toussaint’s 1975 Southern Nights.
One impetus for Rhino Reserves is the success of Rhino High Fidelity, an audiophile line that sells for $39.98 online, in numbered editions of 5000 (although the company often releases more unnumbered albums, if demand is high). The High Fidelity releases are sourced from analog tape and pressed on high-quality vinyl, and a few have sold out, including box sets of Doors and ZZ Top albums.
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“This is High Fidelity without the bells and whistles,” says Rhino senior director of A&R Patrick Milligan. “But these are in retail,” unlike the Rhino High Fidelity releases, which are only sold online. Milligan says the series will be sourced from analog masters, with the same attention to detail as the High Fidelity Series, and that the records will be pressed at Fidelity Records Pressing, the new plant owned by company behind Mobile Fidelity reissues. (The High Fidelity series is pressed at Optimal, in Germany.) They will be cut by mastering engineer Matthew Lutthans, although the first two releases will be done by Chris Bellman.
There is already some competition at this level. Blue Note has done well with its audiophile Tone Poet jazz reissues, as well as a high-quality but lower-priced set of reissues. Mobile Fidelity, which has been releasing high-end reissues for decades, is now more active than ever, as is Analogue Production. Both of those companies license the rights to reissue albums from the labels that own the rights.
Rhino Reserves will not release albums on a particular schedule, and the hope is that it will feature some hard-to-find classics, like the first pair of reissues, both of which are beloved by crate diggers but hard to find in high-quality pressings. Reissue buyers seem to be becoming a bit more varied in their tastes, as the generation that grew up with songs from the sixties gives way to one raised on seventies and eighties music.
The lineup for Dick Clark’s New Year’s Rockin’ Eve with Ryan Seacrest 2025 has added a galaxy of stars to this year’s lineup. The West Coast portion of the show will include Alanis Morissette with special guest Reneé Rapp, as well as Dasha, DJ Cassidy’s “Pass the Mic Live!” with Ja Rule, Fat Joe, Slick […]
Apple Music is doubling down on its commitment to fuel Latin music’s global presence with the launch of its brand-new Apple Música Uno radio station, which officially went live on Tuesday (Dec. 10). The station will be free, with no subscription needed.
Música Uno is one of Apple Music’s three new global radio stations, the other two being Apple Music Club and Apple Music Chill. They joined the previously launched Apple Music 1, Apple Music Hits and Apple Music Country radio stations.
Música Uno will have multiple on-air hosts — including radio personalities Evelyn Sicairos, who will host La Oficial Radio, and Lechero, who will helm ¡Dale Play! Radio — as well as exclusive special shows hosted by superstars Becky G, Rauw Alejandro and Grupo Frontera.
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“In the past we’ve been lucky to have the support of Zane [Lowe] and Ebro who’ve given us space in their shows, which aren’t necessarily Latin music shows, and that’s been great, but we need more spaces to tell the stories of many other Latin artists and for them to feel free to speak in Spanish or even Spanglish. Apple Música Uno is the place for that,” says Jerry Pulles, Latin music programmer at Apple Music. Over the past 10 years, Pulles has overseen the launch of several hosted shows, including the Apple Music 1 series La Fórmula Radio with El Guru, which is dedicated to Latin music.
Now, Música Uno will serve as a hub exclusively for all things Latin, covering every spectrum of the genre — from reggaetón to pop to Mexican music. “This radio station will allow us to continue building blocks with the artists we’ve supported since day one,” adds Marissa Lopez, Apple’s head of Latin music artist relations. “We’ve seen Latin music’s growth in real time, so this launch has been a long time coming.”
Rauw Alejandro
Apple Music Radio
The launch of Música Uno comes four years after Apple Music last launched a new radio station, when it introduced Apple Music Hits and Apple Music Country. In this way, it’s hoping to tap into the growing popularity of Latin music as it continues to hit record-high revenues — largely led by paid streaming subscriptions. Over the past two years alone, a total of 134 Latin songs have reached Apple Music’s Global Daily Top 100 — up from 88 the previous two years, according to Apple. In the same time range, the number of música mexicana songs on the chart have more than quadrupled, up from 12 to more than 50.
“This was such a natural evolution for us,” Juan Paz, Apple Music’s global head of Latin music business, says of launching Música Uno. “Radio has always been the heartbeat of Apple Music, where we showcase the best and most relevant music and give artists a space for their creative output. With Apple Música Uno, we will continue to do just that, but in our language and with an opportunity for people all over the world to tune-in for free. Having this available for free globally is a truly exciting opportunity to continue to amplify what we do best — supporting artists and being at the forefront of culture.”
Since launching in 2015, Apple Music has made a name for itself in the industry as an artist-first service, and the launch of Música Uno aligns with that identity, says Patty Flores, head of U.S. Latin, music business partnerships at the company.
“By creating a space like this, we are filling a void where the artist is in charge of their own narrative. And a space where we lead by culture and human curation,” Flores says. “Our tagline roughly translates to the culture that moves you, and we really want to make this station come to life through the voices of our hosts and artists. Whether that is sharing track-by-track commentaries explaining the process and story behind new songs, or checking in to share influences or a special story behind their latest release, we want to tell those stories.”
Becky G
Apple Music Radio
Hosted by the Latin pop hitmaker, The Becky G Show will “give people a real sense of what life on tour is like — from the encounters with my incredible fans to the challenges, the highs, and everything in between,” says Becky G. “This show captures a special moment in my career, where I get to fully represent my culture and all the different layers that shape who I am.”
On Grupo Frontera’s show, meanwhile, the band says that “people will get to see us in a more relaxed environment, hanging out, goofing around and talking about music which is what we do in our regular lives. I think people are going to see that we are just a bunch of regular guys living our dreams. We had a lot of fun with our surprise guests.”
For Krystina DeLuna, Apple Music’s head of música mexicana editorial, Música Uno is an opportunity to continue the growth of a genre that was long considered niche. But today, thanks to a new generation of música mexicana hitmakers, that has totally changed. “The fact that this station is going to be global and free, that’s only going to help continue the conversation of taking música mexicana to the next level, which is what we’ve been trying to do for many years,” she says. “That’s why it was important to have Grupo Frontera host a show and have our playlist música mexicana playlist La Oficial come to life with a hosted show that will be focused on the culture, creating a safe space for artists to speak about their craft.”
The first song played on Música Uno when it launched Tuesday was Bad Bunny’s “El CLúB.” That marks a full circle moment for Apple Music, as the superstar launched the streaming service’s first Latin playlist, ¡Dale Play!, in 2018. “It’s a testament to the building blocks I mentioned before,” says Lopez. “Being there from the beginning of his career and seeing that growth. It’s just so exciting all around.”
Honoring the Grateful Dead without including co-founder Jerry Garcia, which the Kennedy Centers Honors program is doing this year, would be like honoring Earth, Wind & Fire without including Maurice White. Oh wait – the Kennedy Center did that too, in 2019, when they honored three members of the groundbreaking R&B group, but not its principal architect.
It’s not that the Kennedy Center is unaware of what a crucial role Garcia and White played in those groups. It’s just that they reserve their honors for artists who are living. Garcia died in 1995, 29 years before the group was chosen for the Kennedy Center Honors. White died in 2016, three years before EWF got the nod.
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This year’s Kennedy Center Honors were presented on Sunday Dec. 8 at the John F. Kennedy Center for the Performing Arts in Washington D.C. The show, hosted by Queen Latifah, will air on CBS on Sunday Dec. 22 at 8:30 p.m. ET/PT.
The members of Grateful Dead who are being honored are drummers Mickey Hart and Bill Kreutzmann, bass guitarist Phil Lesh and rhythm guitarist Bobby Weir. Lesh died on Oct. 25, three months after this year’s honorees were announced. (The Kennedy Center allows posthumous inductions if the honorees were selected before they died.)
Two other groups received Kennedy Center Honors without key members who had died by the time the groups were included. The Who was honored in 2008, but without drummer Keith Moon, who died in 1978, or bassist John Entwistle, who died in 2002. Led Zeppelin were honored in 2012, but drummer John Bonham, who died in 1980, was not posthumously included.
The Kennedy Center Honors’ site makes plain that the awards “provide recognition to living individuals (emphasis added) who throughout their lifetimes have made significant contributions to American culture through the performing arts.” (Here’s a link to the site’s list of previous inductees.)
Eagles were selected for the Kennedy Center Honors in 2015, but founding member Glenn Frey was too ill to attend, so the honor was postponed one year. By that time, Frey had died, but the Center included him as a recipient anyway – on the grounds that the group was selected before he died. I’ll take it, but a better reason to honor him would have been that he co-founded the genre-bridging group with Don Henley and it wouldn’t have been what it was without him.
Mercifully, all four members of U2 were alive when the band received the honors in 2022. So were both members of The Nicholas Brothers, a popular dance duo of the 1930s to the 1950s. But if one of them had passed away, should that have precluded them from receiving the honor?
The Beatles, the GOAT of all pop and rock groups, are conspicuous by their absence on the roster of Kennedy Center Honors recipients. Paul McCartney was honored as an individual in 2010. A century from now, people looking over the list of Kennedy Center Honors recipients will find it strange that McCartney was honored but the group in which he did his best and most lasting work was not. Why haven’t they been? John Lennon died in 1980, followed by George Harrison in 2001. Their deaths are tragic losses, but why should those deaths keep the group from receiving an award it undisputably deserves?
Bee Gees were never honored. Instead, Barry Gibb got a solo nod in 2023, after the deaths of his brothers Maurice in 2003 and Robin in 2012. Even Barry Gibb would probably say it would have made more sense for him to be saluted alongside his brothers. Almost all of their successes as recording artists were as a unit.
The Beach Boys were never honored. Instead, Brian Wilson got a solo nod in 2007. He was unquestionably the group’s resident genius, but the quintet was one of the most iconic American groups of all time. Unfortunately, Wilson’s brother Dennis died in 1983, followed by Carl in 1998.
There are a few cases where it’s debatable whether it would have made more sense to honor an individual or the entire group. The Kennedy Center honored R&B great Mavis Staples in 2016. Two other members of The Staple Singers had died by that point – Pops Staples (in 2000) and Cleotha Staples (in 2013). In similar fashion, Gladys Knight was honored in 2022. Two other members of the mighty Gladys Knight & the Pips had died at that point – Edward Patten (in 2005) and William Guest (in 2015). There are arguments to be made on both sides about whether it made more sense to honor Staples and Knight as individuals or with the groups in which they had most of their greatest successes, but the fact that group members had died should not be the deciding factor.
When the Kennedy Center Honors finally get around to The Rolling Stones (and what are they waiting for?) it would be nice if they included drummer Charlie Watts, who died in 2021. Other groups that are (or should be) on their list of future inductees which have both living and dead members include Fleetwood Mac, Chicago, Pink Floyd and Queen.
It’s a sad fact of life that artists die. But with our greatest artists, their work lives on. The Kennedy Center should modify its rules so all key members of groups and duos are honored, whether they’re still living at the time of their inductions or have taken their final earthly bows.
The Kennedy Center Honors has become perhaps the most prestigious honor in American arts and entertainment. Who they choose to honor matters. That’s why they should take a close look at this limiting policy.
If they start to honor group members who have died, should they also change their rules and honor individuals who have died – maybe one per year? I certainly wouldn’t object. They could start with Elvis Presley and Bing Crosby, who died in 1977, the year before the Kennedy Center Honors got underway. And they could catch up to some other great artists they missed, including Prince, Michael Jackson, Whitney Houston and Burt Bacharach.
This year’s other honorees, in addition to the Dead, are Bonnie Raitt, jazz musician Arturo Sandoval; director and filmmaker Francis Ford Coppola; and The Apollo, which will receive a special Honors as an iconic American institution.
As promised, Jamie Foxx is opening up about the health scare that led to his hospitalization in 2023. In his new Netflix special, Jamie Foxx: What Had Happened Was…, Foxx details the brain bleed that led to him going off-the-radar for much of the past two years due after an April 2023 health emergency that led to the Oscar-winner’s hospitalization.
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“You have no idea how good this feels. Atlanta, I’m back,” Foxx says tearily in the special that dropped on Tuesday (Dec. 10), according to The Hollywood Reporter. “I was fighting for my life, but I’m here in front of you.” The emotional return to the stage — which has already picked up an early 2025 Golden Globe nomination for best performance in stand-up comedy on television — is described as a mixture of “laughter, music and sobering truth,” as Foxx gets candid with the crowd about his rehab and recovery.
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The special was filmed in Atlanta, which is where Foxx was when he became ill while filming his on-screen reunion with Cameron Diaz in the upcoming Netflix comedy Back in Action. It opens with a montage of videos of fans speculation about what happened to Foxx, with his daughter Corinne coming out first to thank the audience. “This is a special moment for me and my family. It is a blessing to even be here,” she says.
Foxx is emotional at first, wiping away tears, before diving into the red-hot internet rumor mill that revved up after his hospitalization, which was stoked by the lack of accurate information on what had befallen the 56-year-old star. “The internet tried to kill me, though,” he says. “They said I was paralyzed. They said I couldn’t walk. Well, look at me now.”
The tone then reportedly gets serious, as Foxx says that his team still doesn’t know exactly what happened to him on April 11, 2023, explaining that it all began as a very bad headache. “I don’t remember 20 days,” he says, noting that the first doctor he saw dismissed his symptoms, though his sister, Deidra Dixon, sensed something was seriously wrong and drove him around looking for a hospital to treat her brother; that hospital, Piedmont Hospital, is just around the corner from the Atlanta theater where the special was filmed.
A doctor there realized Foxx was having a “brain bleed” that led to a stroke and needed immediate surgery. He recalls that the doctor told Dixon that it was possible the actor would make a full recovery from the stroke, but that he was facing the “worst year of his life.” Foxx says that’s why he retreated from the public, remembering that he woke up on May 4 in a wheelchair with no recollection of what had happened.
“I saw the tunnel. I didn’t see the light,” Foxx says in the special. “It was hot in that tunnel. S–t, am I going to the wrong place in this motherf–ker? Because I looked at the end of the tunnel, and I thought I saw the devil, like, ‘C’mon.’ Or is that Puffy [Combs]?”
Foxx says it was hard to accept the diagnosis at first, but that a psychiatrist helped him focus, which led to what he describes as a deep conversation with God that helped him fight hard to recover by leaning into his humor. He says that his mantra became: “If I can stay funny, I can stay alive.” He also thanks his daughter Corinne for cutting off all access to him during that time, saying his family “didn’t want you to see me like that. And I didn’t want you to see me like that… I want you to see me like this.”
Though he was afraid during the first two weeks of hospitalization that he would die, Foxx gives 14-year-old daughter Anelise credit for sneaking into his hospital room and playing her guitar, a scene she recreates in the special. Jamie Foxx: What Had Happened Was… is streaming on Netflix now.
CD Baby, one of the biggest do-it-yourself distribution services in the industry, laid off members of its creator services team last week, a source close to the matter tells Billboard. Responsible for providing customer support, this team is now being “consolidat[ed]” in an effort to “re-allocat[e] resources” within the company, says a spokesperson for CD Baby.
News of CD Baby’s employment cuts echo the recent news that Distrokid was placing 37 union employees responsible for quality control and customer service on “administrative leave.” These roles were to be outsourced to contractors, located internationally. Its other competitor, TuneCore, was recently sued by UMG in a landmark $500 million lawsuit for allegedly allowing its users to distribute songs that clearly infringed on UMG’s copyrights to streaming services.
Over the last year or so, a number of music businesses, even beyond the realm of DIY distribution, have restructured their companies, leaving hundreds, if not thousands, of music professionals on the search for new jobs. This year alone, UMG completely restructured its recorded music division, laying off hundreds of employees. WMG followed suit with similar restructuring of Atlantic Music Group and layoffs. WMG also shut down LEVEL, one of its distributors. In late 2023, BMG laid off “dozens” in its film/tv, theatrical and international marketing departments.
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A spokesperson for CD Baby replied to Billboard’s request for comment, saying: “In an effort to support the changing needs of artists and the industry, we are consolidating certain CD Baby functions within Downtown and re-allocating resources towards long-term growth opportunities. Unfortunately, this has resulted in the elimination of certain roles and positions at CD Baby. We want to recognize the achievements of these staff members during their tenure with CD Baby. Their dedication to innovation helped CD Baby to become a globally recognized leader in the distribution space. Going forward, we will stay committed to this music-first and pioneering approach, building the services that benefit artists today and in the future.”
CD Baby has helped independent musicians get their music out since its founding in 1998. In the intervening years, it has become one of the pioneers and leaders of the DIY distributor market, democratizing the music business and opening it up to musicians of all backgrounds. CD Baby, and the other services owned by its parent company AVL Digital Group, sold to Downtown Music Holdings in 2021 for a reported $200 million dollars. At the time, CD Baby’s then-CEO Tracy Maddux said of the deal: “This transaction will allow us to take the services we offer the independent music community to the next level.”
The Roots are taking it all the way back to ’95. The legendary hip-hop crew and Tonight Show house band announced the line-up for their 2024 Roots Picnic Experience, which will take place at the Hollywood Bowl in Los Angeles on June 8, 2025.
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The show, “A Roots Picnic Experience: The Class of ’95,” highlighting a roster of classic acts from the mid-1990s will feature a set from the hosts, as well as performances from Lil’ Kim, Redman & Method Man, Bone Thugs-N-Harmony, DJ Quik, Raekwon, E-40, Goodie Mob, Havoc (of Mobb Deep) and others. The group brought their annual event to Los Angeles for the first time this June, where they were joined by Nas, Jill Scott, Lil Wayne, Trombone Shorty, J. Period, Fantasia and many more for a show titled “Hip-Hop Is the Love of My Life.”
Tickets for the 2025 Hollywood Bowl show will go on sale on Wednesday (Dec. 11) at 10 a.m. PT. In the announcement, the group also promised their hometown fans that they shouldn’t fret, they’ll be back home next year for the event that launched in 2007. “DON’T WORRY PHILLY, WE’LL BE BACK FOR YOU IN 2025.”
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In a statement, drummer Ahmir “Questlove” Thompson said, “Well: 1995 was our true arrival. Nineteen eighty-seven was the Year of the Creative Adhesive, the year that tied together Tariq’s world and my world in high school, and 1991 was the Year of the Green Light, the year we gave ourselves permission to take our resources and passion and pursue our dream. But 1995? That was the Year It All Came Together, the year when our first major release, Do You Want More?!!!??! was sent into the world. Hip-hop was an entirely new ballgame back then, on an entirely new playing field. Those were the days when there were still things like mainstream terrestrial radio, bloated video budgets, and creativity at both the regional and the global levels. Those were the days that produced classic album after classic album, unleashing countless new ideas about art. Those were the days when the world was our oyster. This is the story of those days.”
Jack White has shared details of a new U.K. and European tour, set to kick off in Feb. 2025. Find a full list of dates below.
The run of shows follow the soloist and former White Stripes member’s surprise sixth studio LP No Name, which hit No. 33 on the Official U.K. Albums Chart and No. 108 on the Billboard 200 upon release in August.
The tour will commence at Paris’ La Cigale theatre on Feb. 21, before taking moving on to venues in Utrecht, London, Birmingham and Glasgow over the following two weeks. The dates will wrap up with a show at the latter’s Barrowland Ballroom on March 3.
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Details of a special fan presale will be shared with those signed up for White’s newsletter, while remaining tickets will go live at 10 a.m (GMT) on Thursday (Dec. 12). Further ticket sale information can be found via the 49-year-old’s official website.
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Shortly after No Name was unveiled, White played a string of surprise club and bar show in southern U.S. states. Taking to social media on Aug. 13, the songwriter and guitarist posted a statement about how these intimate shows were part of a wider unconventional campaign in support of the album.
“People keep saying that these are ‘Pop up shows’ we’ve been playing, well, you can call them whatever you want, but we are on tour right now,” he said at the time. “Lots of love and rock and roll to you all and you are blessed for giving that love to others, we hope that we see you out on the road soon, if not let’s get coffee and a slice of pie sometime? Music is sacred.”
The newly announced U.K. and European gigs will form part of a larger world tour through spring 2025 that includes more U.S. dates as well as concerts in Australia, New Zealand and Japan.
Jack White U.K. and European 2025 tour dates:Feb. 21 – Paris, France @ La CigaleFeb. 22 – Paris, France @ Le TrianonFeb. 23 – Paris, France @ Le TrianonFeb. 25 – Utrecht, the Netherlands @ TivoliVredenburg (Ronda)Feb. 26 – Utrecht, the Netherlands @ TivoliVredenburg (Ronda)Feb. 28 – London, England @ TroxyMarch 1 – London, England @ TroxyMarch 2 – Birmingham, England @ O2 AcademyMarch 3 – Glasgow, Scotland @ Barrowland Ballroom
Limitless Live has announced its return to London’s Roundhouse for its fourth consecutive year on May 4, 2025.
The event — billed as the U.K.’s largest free live music show with social purpose at its core — seeks to inspire young people from underrepresented backgrounds across the capital. All tickets will be free of charge and will be distributed through youth charities and community organizations. Further details can be found via the Roundhouse website.
Limitless Live 2025 will be headlined by grime MC and rapper Ghetts, who released his fourth studio album On Purpose, With Purpose, through Warner Records in February. The record peaked at No. 29 on the Official U.K. Albums Chart, and went on to receive a nomination for the prestigious Mercury Prize in September.
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Also on the line-up are hip-hop duo Young T & Bugsey, and singer/songwriter Nafe Smallz, with further acts to be announced next year. Limitless Live will partner with KFC and Viagogo to provide free transport for young attendees wishing to travel to the event from other cities across the U.K., including Manchester, Birmingham, Liverpool and Leeds.
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Previous iterations of Limitless Live have included six-time BRIT Award winner RAYE, as well as Stefflon Don, Krept & Konan, Unknown T, and Ms Banks. Over the years, its founder, Tolu Farinto, has offered 12-month internships to a portion of attendees, alongside helping other ticket-holders to secure work placements at Universal Music’s London office.Speaking in a press release earlier this year, Farinto said: “Limitless Live continues to be a beacon of light representing a continued commitment to supporting the aspirations and wellbeing of young people, ensuring that as we navigate a cost of living crisis, underrepresented young people still have access to live music and the best acts in the U.K.”
James Taylor is hitting the road next summer with his all-star band for an extensive 2025 North American tour. The 23-date outing will feature support from vocal harmony trio Tiny Habits, with a presale for the show slated to open today (Dec. 10) at 10 a.m. local time; a JamesTaylor.com account is required in order to participate in the presale.
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The tour is slated to kick off on May 5 with a show at the Footprint Center in Phoenix, AZ, followed by amphitheater gigs in San Diego, Santa Barbara, Milwaukee, Cincinnati and Toronto before winding down at the BankNH Pavilion in Gilford, N.H. on July 1. The outing will feature a few double-downs, including a pair of nights at the Rady Shell at Jacobs Park in San Diego, a pair at the Santa Barbara Bowl in Santa Barbara, CA, two at the Chateau St. Michelle Winery in Seattle, WA and a double-night run at Red Rocks Amphitheatre in Morrison, CO.
A Live Nation presale for select dates will kick off on Wednesday (Dec. 11) at 10 a.m. local time here (use code JOY). The general onsale will begin on Friday (Dec. 13) at 10 a.m. local time through Ticketmaster. According to Taylor’s announcement, more dates will be announced soon.
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The 76-year-old James is headed back on the road after a busy 2024, which found him hitting amphitheaters across the U.S. and playing a benefit Concert for Carolina in October to raise funds for North Carolinians impacted by Hurricane Helene, as well as performing at the DNC and at a Kamala Harris/Tim Walz rally in October.
See James Taylor’s 2025 U.S. summer tour dates below:
May 5 — Phoenix, AZ @ Footprint CenterMay 7 — Palm Desert, CA @ Acrisure ArenaMay 8 — Highland, CA @ Yaamava TheaterMay 10 — San Diego, CA @ Rady ShellMay 11 — San Diego, CA @ Rady ShellMay 13 — Santa Barbara, CA @ Santa Barbara BowlMay 14 — Santa Barbara, CA @ Santa Barbara BowlMay 16 — Stanford, CA @ Frost AmphitheaterMay 17 — Lincoln, CA @ The Venue at Thunder ValleyMay 19 — Bend, OR @ Hayden Homes AmphitheatreMay 21 — Nampa, ID @ Ford AmphitheaterMay 23 — Ridgefield, WA @ RV Inn Style Resorts AmphitheatreMay 25 — Seattle, WA @ Chateau St. Michelle WineryMay 26 — Seattle, WA @ Chateau St. Michelle WineryJune 13 — Morrison, CO @ Red RocksJune 14 — Morrison, CO @ Red RocksJune 17 — St. Paul, MN @ Xcel CenterJune 19 — Highland Park, IL @ RaviniaJune 21 — Milwaukee, WI @ SummerfestJune 23 — Cincinnati, OH @ Riverbend AmphitheaterJune 24 — Cuyahoga Falls, OH @ Blossom Music CenterJune 27 — Toronto, ON @ Budweiser StageJune 29 — Canandaigua, NY @ CMACJuly 1 — Gilford, NH @ BankNH Pavilion