Rock
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Among the seminal albums celebrating momentous anniversaries this year is Tina Turner’s classic What’s Love Got to Do with It. Originally released on June 15, 1993, the soundtrack to the singer-songwriter’s biographical film by the same title is being repackaged in honor of its 30th anniversary. The brand-new special edition collection will be released on April 26 […]
It’s a good time to be Benson Boone.
The 21-year-old Washington-born singer-songwriter, who got some early exposure on American Idol and has since gained a following of nearly five million on TikTok, had scored a pair of Billboard Hot 100 hits early in the 2020s with the piano-led ballads “In the Stars” and “Ghost Town.” But for his latest single, the love song “Beautiful Things,” he added some power to his balladry, going electric with a mid-song guitar kick-in reminiscent of Billie Eilish’s “Happier Than Ever.” The single immediately arrived not only as his own biggest hit, but one of the breakout songs of early 2024, debuting at No. 15 on the Billboard Hot 100 and jumping to No. 3 just two weeks later.
Now, Boone, who records for Night Street/Warner Records (signed by executive vp of A&R Jeff Sosnow to the latter label), is preparing to head out on his first U.S. headlining tour as his smash single continues to climb the charts, even topping the Billboard Global 200 this week. And while his first two minor hits gave him a little taste of stardom — momentum which faded about as quickly as it appeared — this time, he says he’s not going to let this opening close again.
“I’m very prepared for this moment — and I haven’t been in the past,” Boone explains. “My two other songs that have done well — I wasn’t prepared for them. I teased them without even having the song fully ready. So much happened so fast, and looking back, I could’ve done a lot better at keeping that moment [going]. But this one, I’m ready. I’ve been ready for this one.”
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Below, Boone talks about the inspiration for his new signature hit, why he thinks the song has already taken him to a new level, and if those inevitable Eilish comparisons were something he had in mind while writing it.
You’ve had this song in the can for a little while now. Do you remember about when you first recorded it, first came up with the idea for it or anything like that?
I wrote it on my piano September 29th. I’d just moved to L.A., and I’d moved my grandma’s old piano up to my living room. I couldn’t sleep one night, and I didn’t know what to do, so I came downstairs and started playing the piano. That’s when I wrote the melodies for “Beautiful Things.” The next day I had a session, and I took it into the studio.
Were the lyrics inspired by any specific relationships in your life?
Yeah, it was inspired by a relationship that I had just gotten into — for the first time in my life, I felt like I was extremely out of control of the way this relationship would turn out. Meaning like, in the past, I feel like I’ve always known that I could be the one to end a relationship. This one felt very different. It was the first time that I’d really been actually, genuinely terrified to lose something.
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The song pivots sonically in the middle. Did you always conceive the two parts as one song, or did you figure out a way to bridge them together?
That night that I wrote it, I couldn’t figure out a chorus for the verse melody, so I moved on to a different idea. I actually wrote both of those ideas as separate songs. When I was in the studio, Jack [LaFrantz] — the guy I wrote it with — was the one who suggested [bridging them], because I showed him both of the ideas. He’s the one that suggested that we make it one [combined song].
The structure of the song did take a long time to figure out because we didn’t know if we should do it all slow, and then do one chorus at the end, or if we should do three choruses. It took us two weeks — after we had already built out production — to redo everything, and that’s where we finally cracked the code. I’m very happy with the way it turned out.
What gave you the confidence that the song could work in this format? Was it the sort of thing where you just heard it once and were like, “OK, this is gonna work”? Could you already start seeing in your head that that moment would sorta play on social media?
I think I knew after I heard the chorus with production that this could be a really big song. With teasing on social media, and with promoting your music, you never really know what’s gonna go. All I can do is try my best to push it. But I was really hoping this one would go, because I do love this song.
And outside of any TikTok video, it just feels like a big change for me — a change in the right direction, that’s more like my other music that will be coming out.
When I’ve been talking about the song with co-workers and friends, a lot of times the song that keeps coming up as a reference point for it is “Happier Than Ever” by Billie Eilish — another song that starts slow, has that big kick-in moment, and then ends on 10. Was that song something that you thought about at all?
I wasn’t really thinking about a particular song when I wrote this song. But that’s an incredible song, and I guess in ways, yeah, “Beautiful Things” has a structure sort of like that. It’s incredible to have songs that change very drastically from beginning to end. A lot of the songs that I’ve written in the past couple months have that — tempo changes and production changes, and everything picks up a little bit, or slows down a little bit. But yeah, I mean — Billie Eilish. That song’s incredible. So good.
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You said that this song is maybe a little more in line with music you have that’s coming out. Is that sort of a specifically guitar-oriented thing? Not many of your songs before this had such a prominent guitar sound to it, but this one is pretty rocking. How does that fit in with the rest of the stuff you have coming up?
A lot of my stuff in the past has been very piano-based. Obviously, I still have a lot of piano in my songs, but there definitely have been more heavier guitar songs, which I’m very happy about.
I love the guitar. But overall, since the last time I released music, my voice has been maturing a lot. My style has been changing just slightly. And I think the songs that I will be releasing in the next couple months are closer to what my future looks like for releasing music. I’m very excited.
Are you already envisioning what kind of a big moment “Beautiful Things” is going to be when you go out and play it on tour?
Yeah, I’ve thought a lot about that, like how cool it’ll be to sing that chorus with everyone. The night of the release I did a pop-up show in Utah — I announced it like an hour before, and a couple thousand people came. It was really awesome: I sung the song for them, and it was so incredible. To hear so many people that screamed that song with me, it’s pretty crazy.
Beyond the tour, is there anything you’re particularly looking forward to this year?
Man, all I’ve been thinking about is the tour, and I’ll be going some places that I’ve never been before. But after the tour, and after all the shows, I’m really looking forward to just being with my friends. I think we’re gonna go on a trip to Greece and have two weeks and just live my life.
A version of this story originally appeared in the Feb. 10, 2024, issue of Billboard.
Songs that were performed at and/or snagged wins at the 2024 Grammy Awards saw bumps in U.S. streams and sales toward the Billboard charts, resulting in multiple gains, re-entries and even debuts on the Feb. 17-dated tallies.
Perhaps no one benefited more from the Feb. 4 ceremony than Tracy Chapman, whose 1988 single “Fast Car,” as previously reported, returns to the Billboard Hot 100 for the first time since October of that year, re-entering at No. 42. (Older songs are eligible to appear on Billboard’s multimetric charts if in the top half and with a meaningful reason for their re-entry.)
“Fast Car,” which was performed as a duet with Luke Combs during the broadcast, earned 6 million official U.S. streams Feb. 2-8, a boost of 153%, according to Luminate. It also accumulated 35,000 digital downloads, enough to send it to No. 1 on Digital Song Sales for the first time.
Gains for Chapman’s catalog weren’t limited to “Fast Car,” though. In all, on-demand streams of Chapman’s music totaled 13.5 million, a 217% jump from 4.3 million listens Jan. 26-Feb. 1.
She also racked up 50,000 total song sales, a 5,909% boost from 1,000 Jan. 26-Feb. 1.
Chapman’s next-best-performing song, “Give Me One Reason,” hops onto Digital Song Sales at No. 15 thanks to 7,000 downloads, up 3,544%. It also earned 2.6 million streams, a leap of 40%.
Chapman’s music dots the Rock Digital Song Sales ranking as well, in addition to the appearances of “Fast Car” (No. 1) and “Give Me One Reason” (No. 3). Other entries include “Talkin’ Bout a Revolution” (No. 7; 2,000 downloads, up 5,600%), “Baby Can I Hold You” (No. 9; 2,000 downloads, up 2,557%), “Stand By Me (Live From The Late Show With David Letterman)” (No. 10; 2,000, up 4,149%) and “The Promise” (No. 15; 1,000, up 2,740%).
As previously reported, Chapman’s self-titled 1988 debut returns to the Billboard 200 with 15,000 equivalent album units earned. The set also appears on Americana/Folk Albums and Top Rock & Alternative Albums at Nos. 4 and 13, respectively, and her Greatest Hits reaches the former at No. 16 (7,000 units).
Chapman’s original wasn’t the only version of “Fast Car” to see chart movement. Combs’ cover rebounds to the top 10 of the Hot 100, leaping 20-8 thanks to 13.6 million streams, a gain of 26%, plus 17,000 downloads, up 1,168%.
Toward the top of the Hot 100, SZA’s “Snooze” ranks as the top-performing song affiliated with the Grammys in terms of overall streams, jumping 10-5 on the strength of 16.6 million listens, up 29%. “Snooze,” which also garnered 3,000 downloads (up 285%), was performed during the ceremony and also won for best R&B song.
Miley Cyrus’ “Flowers,” a winner for a pair of awards (including record of the year) and another tune performed during the broadcast, returns to the Hot 100’s top 10, blasting 32-10 with 11.3 million streams (a jump of 51%) and 26,000 sold (rising 2,157%). It’s Cyrus’ first time in the top 10 with the song, an eight-week No. 1 in 2023, since August.
Billie Eilish’s “What Was I Made For?,” represented on the broadcast during a performance as well as its win for song of the year, vaults 31-20 on the Hot 100 with 9.4 million streams, up 16%, and a 300% jump in downloads to 8,000.
Overall, 14 songs performed during the Grammy broadcast or pre-telecast (which was streamed via the Grammys’ YouTube page prior to the main broadcast) were part of the top 2,000 most streamed titles in the U.S. Feb. 2-8 and had at least a 5% bump in streams for the week.
Performed:
SZA, “Snooze” (16.6 million streams, up 29%)
Luke Combs, “Fast Car” (13.6 million streams, up 26%)
Miley Cyrus, “Flowers” (11.3 million streams, up 51%)
Billie Eilish, “What Was I Made For?” (9.4 million streams, up 16%)
Olivia Rodrigo, “Vampire” (9.4 million streams, up 14%)
SZA, “Kill Bill” (8.6 million streams, up 15%)
Travis Scott feat. Playboi Carti, “FE!N” (7.5 million streams, up 17%)
Dua Lipa, “Houdini” (7 million streams, up 8%)
Tracy Chapman, “Fast Car” (6 million streams, up 153%)
Travis Scott, “My Eyes” (5.9 million streams, up 11%)
Billy Joel, “Turn the Lights Back On” (4.5 million streams, up 340%)
Bill Withers, “Ain’t No Sunshine” (3.7 million streams, up 12%)*
Laufey, “From the Start” (3.7 million streams, up 5%)**
Creedence Clearwater Revival, “Proud Mary” (1.7 million streams, up 5%)***
*performed during the in memoriam segment by Jon Batiste**performed during the pre-telecast ***performed during the in memoriam segment by Fantasia
Of note, Billy Joel’s “Turn the Lights Back On” was also amid its first full week of availability after having been released Feb. 1.
Six songs that won awards during the main ceremony or premiere ceremony were within the top 2,000 songs in U.S. streams Feb. 2-8 and were also up at least 5%.
Won:
SZA, “Snooze” (16.6 million streams, up 29%) (best R&B song)
Miley Cyrus, “Flowers” (11.3 million streams, up 51%) (record of the year, best pop solo performance)
Billie Eilish, “What Was I Made For?” (9.4 million streams, up 16%) (song of the year, best song written for visual media)
Boygenius, “Not Strong Enough” (2.6 million streams, up 45%) (best rock performance, best rock song)
SZA feat. Phoebe Bridgers, “Ghost in the Machine” (2.4 million streams, up 36%) (best pop duo/group performance)
Killer Mike & Andre 3000 feat. Future & Erykah Badu, “Scientists & Engineers” (2.2 million streams, up 773%) (best rap performance, best rap song)
Though she didn’t make the Hot 100, Joni Mitchell sports a sizable boost in streams and sales of her catalog after she appeared during the broadcast to perform “Both Sides Now,” flanked by Brandi Carlile, Allison Russell, Lucius and more. The ‘60s classic returns to Digital Song Sales at No. 10 via 9,000 downloads, a 3,507% leap. The song also accumulated 473,000 on-demand U.S. streams, up 213%.
Mitchell’s catalog soared 126% in overall on-demand U.S. streams, from 1.4 million Jan. 26-Feb. 1 to 3.1 million Feb. 2-8. In all, she garnered 14,000 downloads, a gain of 1,361%.
The Billboard 200 features multiple Grammy-related gains in addition to the aforementioned Chapman re-entry. SZA’s SOS, a winner for best progressive R&B album, leads the pack at No. 3 with 53,000 units, up 28%. Taylor Swift’s album of the year-winning Midnights, meanwhile, jumps 9-5 with 51,000 units, up 35%. The full rundown can be found here.
Wrestling star Chris Jericho’s hard-rock band, Fozzy, has released eight albums since 2000, including three consecutive sets from 2012 to 2017 that charted on the Billboard 200. (2014’s Do You Wanna Start a War fared best, peaking at No. 54.) Fozzy, which most recently released Boombox in 2022, regularly tours the United States, making radio station visits and doing other local promo along the way. Jericho spoke by phone from his Tampa, Fla., home.
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How important for you and Fozzy is the recognition that comes with chart hits?
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We never realized how important rock radio is to a band’s success until we started getting played on rock radio, and that started with “Judas,” back in 2018. We’ve had six Top 10 hits since on the mainstream rock charts. It really makes a difference for the band’s growth — people coming to the shows, the notoriety of the band. We’ve become a radio artist now. Every song we’ve released gets played across the country.
Do you go through all the radio promotion exercises, visiting stations across the country, or do you avoid it?
No, no, no, I don’t avoid anything. Any type of promotion that I can do, I’ll do it. If you put something out, you want to make sure people know it’s out there. You visit a radio station, they’re going to play your song more… It really is a long-term chess game with a lot of strategy involved.
When a Fozzy song hits the charts, how do you celebrate?
It’s always cool. But this is a business. We’re not playing rock star in Fozzy. If we hit No. 1, I’d celebrate, because that’s the highest you can get. “Judas” got to No. 5 and they’re playing it in football and hockey and wrestling stadiums around the world — but how can we do this for the next song? We’re always looking forward. It’s not like, “Wow, we’ve made it because we’re on the radio.” You make it when you get to the Shinedown or Van Halen level, when you’ve had 20 No. 1 songs.
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How much does your recognition as a wrestler help streaming and sales?
We’ve had to work twice as hard to gain people’s respect over the years, just because I’m in the band. But that’s changed, now, where I think Fozzy stands on its own. People aren’t playing our songs on the radio because I’m a wrestler, they’re playing our songs on the radio because people like them and we’re good. Once we got past that initial hump years ago, people look forward to hearing the new Fozzy tunes — they know it’s going to be perfect for radio, it’s going to be catchy, it’s going to be melodic, it’s going to be heavy.
What are you working on now?
Our Boombox record took about three years to make. We were calling it Chinese Fozzocracy because of the pandemic. You didn’t want to put out a record without being able to support it. We put the record out and three songs went Top 10, three more songs went over great live and the other three songs went to the Fozzy Dead Song Graveyard. And that was a shame, because all those songs were great. Now the idea is to do one song at a time. That way, every song gets a chance to live or die on its own.
A wide-ranging group of more than 400 musicians, actors, agents and managers and studio executives signed an open letter to the 2024 Eurovision Song Contest rejecting attempts by some participating countries to bar Israel from participating in this year’s event. Among those lending their names to the letter from the non-profit entertainment industry organization Creative Community for Peace were: Helen Mirren, Liev Schreiber, KISS’ Gene Simmons, Scooter Braun, Boy George, Sharon Osbourne, Emmy Rossum, Mayim Bialik, Debra Messing, Diane Warren and Selma Blair, among many others.
The letter supports the European Broadcasting Union’s commitment to including Israel in this year’s contest amid calls last month from Swedish and Finnish artists demanding Israel’s exclusion from the contest over their belief that including the country “undermines” the spirit of the competition. The letters cited Israel’s ongoing response to the deadly Oct. 7 surprise assault on the nation from Hamas militants in which more than 1,200 Israelis — mostly civilians — were murdered, sexually assaulted and attacked and more than 250 were taken hostage.
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“We have been shocked and disappointed to see some members of the entertainment community calling for Israel to be banished from the Contest for responding to the greatest massacre of Jews since the Holocaust,” the letter reads. “Under the cover of thousands of rockets fired indiscriminately into civilian populations, Hamas murdered and kidnapped innocent men, women, and children.”
Artist manager Braun added, “Music is a place for unity not division. It is a language that should always bring us together. Artists should never be discriminated against for who they are, who they love, or where they’re born. These boycott efforts do nothing but distract from the uplifting and unifying power of music – something we need now more than ever.”
KISS’ Simmons, who was born in Israel to a Holocaust survivor mother, wrote, “Music unites people from all backgrounds. It’s the one language that everyone can understand. It’s a beautiful thing and a great way to bring people together. Those advocating to exclude an Israeli singer from Eurovision don’t move the needle towards peace, but only further divide the world.”
Last month’s letter from a group of more than 1,000 Swedish artists — this year’s Eurovision will be held in the the Swedish city of Malmö from May 7-11 — requested that Israel be barred from participating over it’s “brutal” response to the Hamas attack, citing the “humanitarian disaster” in Gaza.
“We who sign this are 1,000 artists who believe in music as a unifying force. The Eurovision song contest began as a peace project with the ambition to unite countries and citizens through music,” read the Swedish letter, whose signers included Robyn, First Aid Kit and Fever Ray. “Allowing Israel’s participation undermines not only the spirit of the competition but the entire public service mission. It also sends the signal that governments can commit war crimes without consequences. Therefore, we appeal to the EBU: Exclude Israel from the Eurovision song contest 2024.”
To date, the 130-day war has reportedly led to the deaths of more than 28,000 Palestinians, the destruction of much of the Gaza Strip’s infrastructure and the displacement of more than one million Gazans. The Swedish letter joined earlier, similar requests to exclude Israel from more than 1,400 artists in Finland and Iceland.
The open letter from Creative Community for Peace — the first public call of its kind from the entertainment industry voicing unequivocal support of Israel’s inclusion in the contest — highlights Eurovision’s ability to unify people from diverse backgrounds and music’s power to effect positive change in the world.
Other signatories to the open letter include: Julianna Marguiles, Ginnifer Goodwin, Recording Academy CEO Harvey Mason Jr., Skylar Astin, Atlantic Records Group CEO Julie Greenwald, Universal Music Publishing Group CEO Jody Gerson, Warner Records CEO Aaron Bay-Schuck, Patricia Heaton, Jennifer Jason Leigh, Disturbed’s David Draiman, Tom Arnold, Columbia Pictures chairman Tom Rothman and MRC co-founder/co-CEO Modi Wiczyk.
The letter notes that Israel has a long and storied Eurovision history — including hosting in 1979, 1999 and 2019 and winning in 1978, 1979, 1998 and 2018 — while offering up a diverse group of contestants representing the Palestinian, Ethiopian and LGBTQIA+ communities. “Furthermore, we believe that unifying events such as singing competitions are crucial to help bridge our cultural divides and unite people of all backgrounds through their shared love of music,” it reads.
“The annual Eurovision Song Contest embodies this unifying spirit. Every year, millions of people across Europe and around the world join in a massive display of cultural exchange and celebration of music. Those who are calling for Israel’s exclusion are subverting the spirit of the Contest and turning it from a celebration of unity into a tool of politics.” Click here to see the full letter.
Fresh off his mesmerizing performance of “America the Beautiful” at Sunday’s Super Bowl LVIII, Post Malone is bloodied but unbound in a new teaser poster for the upcoming Road House remake. Amazon’s Prime Video released images from the upcoming film on Tuesday (Feb. 13), including one in which Posty gives a menacing “come at me” […]
Pearl Jam is proving the band’s still alive — and not with an evenflow of news, but a gigaton of it. The grunge pioneers announced on Tuesday (Feb. 13), that they will soon drop a twelfth studio album titled Dark Matter, and to celebrate the news, released its title track. Hours later, the Seattle band […]
Michael Marcagi is officially a Billboard Hot 100-charting hitmaker. The singer-songwriter and Cincinnati native scores his first career entry on the Feb. 17-dated survey, as “Scared to Start” opens at No. 98. Explore Explore See latest videos, charts and news See latest videos, charts and news Released Jan. 12 on Warner Records, the song debuts […]
Count former Oasis singer, solo star and proprietor of one of rock‘s most legendary bored-to-death stares Liam Gallagher as someone unimpressed by his band’s inclusion on the 2024 short list for nomination into the Rock and Roll Hall of Fame.
The notoriously tetchy singer who went solo after older brother and chief Oasis songwriter Noel Gallagher split the band in 2009 summed up his dyspeptic feelings about the nod in a short, sharp tweet in which he wrote, “F–ck the Rock n Roll hall of fame its full of BUMBACLARTS.” The latter is a Jamaican slang term frequently employed by Gallagher on his socials when peeved to express his disdain in no uncertain terms.
At press time a spokesperson for the RRHOF had not returned Billboard‘s request for additional comment on Gallagher’s tweet.
When someone commented with a reminder to Oasis fans to choose the group in the RRHOF fan vote since, at the moment, Oasis was “losing stratospherically” to this year’s other nominees, Gallagher responded, “Don’t waste your time Rkid as much as it’s appreciated it’s all a load of bollox.” He later wrote a comment on another post suggesting the Britpop superstars really do deserve the award. “I appreciate that you do but I honestly feel there’s something very fishy about those awards,” Gallagher wrote in one of dozens of snarky, humorous replies.
To be fair, someone else resurfaced a 2021 response Gallagher posted to someone asking his thoughts on Oasis’ possible induction into the Rock Hall, to which the singer said, “Not interested in any of that.”
At press time Oasis had just over 23,500 votes from fans, with Ozzy Osbourne leading all vote-getters (39,848), followed by Peter Frampton, Foreigner, Cher, Dave Matthews Band, Lenny Kravitz, Mariah Carey and Kool & the Gang. The only acts below Oasis currently are Sinéad O’Connor, Sade and Jane’s Addiction. This year’s roster of nominees also includes Mary J. Blige, Eric B. & Rakim and A Tribe Called Quest.
Gallagher’s pointed response was quite different from one of his fellow irascible British rock peers, metal god Ozzy Osbourne, who said he was “deeply honored” to be considered as a solo act after already being enshrined with Black Sabbath. Foreigner singer Mick Jones also said it was an honor, calling the nomination an “incredible endorsement” of the band’s achievements over the past 45+ years and guitar great Frampton said he “screamed” when he found out. In the past, the Sex Pistols’ John Lydon and Guns N’ Roses’ Axl Rose have thrown cold water on their bands’ induction and a number of key band members have been conspicuously absent at inductions of Black Sabbath, Jefferson Airplane and Van Halen.
Gallagher would certainly not be the first potential inductee to say they’d prefer not being enshrined in Cleveland. Back in 2022, country superstar Dolly Parton initially “respectfully” declined the Hall’s nomination, later reversing course and accepting the honor, as well as releasing her first rock album, Rockstar.
The 2024 nominees will be decided by a voting body of 1,000+ “artists, historians and members of the music industry,” per a press release. The Rock Hall’s Class of 2024 will be announced in late April.
Check out Gallagher’s tweet below.
Fuck the Rock n Roll hall of fame its full of BUMBACLARTS LG x— Liam Gallagher (@liamgallagher) February 12, 2024
AC/DC are gearing up for their first European tour in eight years. The veteran hard rockers announced on Monday morning (Feb. 12) that they are gearing up for the European Power Up tour with a line-up featuring singer Brian Johnson, guitarist Angus Young, rhythm guitarist Stevie Young, drummer Matt Laug and Chris Chaney (Jane’s Addiction) replacing longtime bassist Cliff Williams. Williams retired from the band after the conclusion of the 2016 Rock or Bust tour, returning to the fold briefly for the 2020 Power Up album.
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The 21-show swing in 10 countries is slated to kick off with the first of two dates at the Veltins Arena in Gelsenkirchen, Germany on May 17, followed by shows in Italy, Spain, the Netherlands, Germany, Austria and Switzerland before hitting London’s Wembley Stadium for a pair of shows (July 3, 7), Germany, Slovakia and Paris and then winding down with a gig at Croke Park in Dublin, Ireland on August 17.
Tickets for tour will go on sale to the general public on Friday (Feb. 16) between 9-10 a.m. local time; click here for more ticketing information.
The European swing follows AC/DC’s long-awaited return to the stage last year at the all-star hard rock Power Trip festival in Indio, California. The band began teasing their 2024 return on socials last week, posting images of a lightning bolt and a countdown cued to a snippet of “Are You Ready” from 1990’s The Razors Edge.
Power Up marked the return of singer Johnson, who had stepped aside while touring in 2016 due to hearing-loss issues, with Axl Rose of Guns N’ Roses filling in for 22 shows; the tour also saw the band reunited with drummer Phil Rudd after a stint in rehab. The band did not tour in support of Power Up after the seven-leg, 17-month-long stadium outing in support of Rock or Bust.
See the band’s announcement and the tour dates below.
We are thrilled to finally announce the ‘POWER UP’ European Tour. Angus, Brian, Stevie, and Matt will be joined by Chris Chaney to carry the torch for Cliff. (1/2) pic.twitter.com/VTVMKdweNX— AC/DC (@acdc) February 12, 2024
AC/DC 2024 European summer tour dates:
May 17 – Gelsenkirchen, Germany @ Veltins Arena
May 21 – Gelsenkirchen, Germany @ Veltins Arena
May 25 – Reggio Emilia, Italy @ RCF Arena
May 29 – Seville, Spain @ La Cartuja Stadium
June 5 – Amsterdam, The Netherlands @ Johan Cruyff Arena
June 9 – Munich, Germany @ Olympic Stadium
June 12 – Munich, Germany @ Olympic Stadium
June 16 – Dresden, Germany @ Messe
June 23 – Vienna, Austria @ Ernst Happel Stadium
June 26 – Vienna, Austria @ Ernst Happel Stadium
June 29 – Zurich, Switzerland @ Letzigrund Stadium
July 3 – London, England @ Wembley Stadium
July 7 – London, England @ Wembley Stadium
July 13 – Hockenheim, Germany @ Ring
July 17 – Stuttgart, Germany @ Wasen
July 21 – Bratislava, Slovakia @ Old Airport
July 27 – Nuremberg, Germany @ Zeppelinfeld
July 31 – Hannover, Germany @ Messe
August 9 – Dessel, Belgium @ Festivalpark Stenehei
August 13 – Paris, France @ Hippodrome ParisLongchamp
August 17 – Dublin, Ireland @ Croke Park