Touring
Jonathan Mayers, co-founder of Superfly Entertainment and the co-creator of iconic festivals including Bonnaroo and Outside Lands, has died. His age and cause of death are unknown at this time.
Mayers grew up an hour outside New York City and attended Tulane University in New Orleans, graduating in 1995. He was first introduced to the music business through his work with famed New Orleans venue Tipitina’s and the long-running Jazz Fest celebration. He co-founded promotion company Superfly in 1996 with Rick Farman, Richard Goodstone and Kerry Black and staged its first concert during Mardi Gras with the Meters, Maceo Parker and Rebirth Brass Band. In 2002, the four men launched and sold out the first Bonnaroo after discovering the perfect festival site an hour outside of Nashville in Manchester, Tenn. Partnering with promoter Ashley Capps of AC Entertainment, agent Chip Hooper of Paradigm and manager Coran Capshaw of Red Light — and securing headliners like Trey Anastasio from Phish and Grateful Dead’s Phil Lesh and Bob Weir — the men created a 70,000-person festival that would become the blueprint for hundreds of other music festivals across the country.
In 2005, Mayers’ Superfly launched Vegoose in Las Vegas with programming at multiplevenues throughout the city. The first festival brought in approximately 37,000 visitors, and Mayers and his team ran the festival for three seasons before opting to shut it down. Mayers would also partner with Another Planet Entertainment in the San Francisco Bay Area in 2008 to launch Outside Lands in San Francisco’s Golden Gate Park. In 2017, Mayers led efforts to partner with Viacom and Comedy Central to produce a large-scale indoor/outdoor comedy festival in San Francisco called Clusterfest that included performances by Kevin Hart, Amy Schumer, Jon Stewart and Trevor Noah.
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While working on Clusterfest, Mayers began interfacing with major film and TV rights holders and created a new experience concept allowing fans to “step inside” some of their favorite TV shows on recreated TV sets. Mayers and team licensed rights from shows like Seinfeld, The Office, South Park, Arrested Development, It’s Always Sunny in Philadelphia and The Daily Show to create immersive fan experiences visited by hundreds of thousands of fans. For the show Friends, Mayers led efforts to create pop-up experiences in multiple cities, including New York, Boston and Atlanta.
Despite his success, Mayers’ relationships with his co-founders at Superfly began deteriorating during the COVID-19 pandemic, and in August 2021, he was terminated from his position at the company. In early 2022, Mayers sued Farman, Goodstone and Black and accused them of civil misrepresentation, breach of contract and fraud for allegedly lowballing him for the value of his shares in Superfly. Also named in the complaint was Virgo Investment Group, a California private equity fund; Mayers alleged that its top executive, Jesse Watson, strung him along for months, promising $5 million in financing before firing him last summer. On Jan. 20, 2023, a New York judge dismissed the lawsuit.
After leaving Superfly, Mayers began work on a new project called Core City Detroit which sought to raise money to invest in a “culturally rich neighborhood anchored by a music campus providing world- class services, infrastructure, and housing for local/national artists & industry along with entertainment experiences for the public,” according to an investment deck on the project. Phase 1 of the Core City Detroit project included a drive-in diner by celebrity chef Kiki Louya and the renovation of an old pickle factory into a music production complex.
Mayers’ longtime friend Peter Shapiro, founder of Dayglo Presents and the Brooklyn Bowl, described him as a creative mastermind who had a deep love for live music and a vision for how it would evolve over the next two decades.
“Jonathan was one of the true real visionaries of the modern concert world and one of the core minds behind Bonnaroo,” Shapiro tells Billboard. “Modern-day festivals are all in some way built off of his vision.”
Company officials at Another Planet Entertainment issued a statement to Billboard following Mayers’ passing. “Jonathan was a bright light, always pushing new and creative ideas in the entertainment space,” they said. “He was a visionary who was integral in the founding and the spirit of Outside Lands. Everyone in the Another Planet family will miss him dearly.”
While riggers hung massive lights and construction workers assembled the stage on a grueling day before Tyler Childers‘ June 2024 concert at the United Center, three young locals showed up: Cheryl, Larry and Ted. And Cheryl gave Kyle Crownover, Childers’ tour manager, a look.
“I was like, ‘I think that’s the one,’” he tells Billboard.
Cheryl, a small terrier-chihauhua mix who tends to “collapse in people’s arms and just look at them,” as Crownover puts it, was a delivery from Chicago’s One Tail at a Time, an animal-rescue group that admitted 1,126 dogs in 2022 and found homes for 1,066, a 97% save rate. Over the past few years, Chappell Roan, Sabrina Carpenter, Kelsea Ballerini, Ed Sheeran, Green Day, Pearl Jam, Blink-182, Maggie Rogers and many others have been beneficiaries of adorable furry deliveries to cheer up artists and crews.
“We’re usually on the road three weeks at a time, so that’s three weeks away from your family. We’re close with the crew, but, on a show day, there’s not time to go meet your friends in the city, so we’re confined to whatever spot we’re playing,” Crownover says. “To bring that in” — the puppies, and occasionally kittens — “and instantly see everyone’s mood change, it’s hard to be stressed.”
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The trend of bringing adoptable pets backstage kicked in about a decade ago, when members of Slayer, Testament and Carcass posed for adorable photos in which they were cuddling with rescued animals before a Seattle show in 2016. But it took off after the pandemic. Returning to work and dealing with strict COVID-19 protocols, inflation and supply-chain issues, crews could be glum.
In some cases, artists — especially those involved in their own animal-rescue charities, such as Miranda Lambert’s Mutt Nation — request the perk in advance. In others, venue managers emphasized “taking care of crew and making sure that the backstage is more of a place where they feel welcome and more at home,” says Amy Tavares, a Nashville-based Live Nation backstage experience manager who has worked with Wags & Walks and other groups to bring in puppies, kittens, goats and pigs to arena and stadium concerts over the last few years.
“It absolutely could be therapeutic. The road can be isolating for everybody, and it makes sense to me that these animals who are offering love and connection are highlighting a deep need for that,” Lucy Kozak Cesnik, a Nashville psychotherapist who used to work as a CAA music agent, tells Billboard. “Animals can lead the way to access being seen and heard, with people who’ve had trauma in their relationships, without their defenses up. Healing can’t just happen in the therapy office.”
Adds Marika Anthony-Shaw, a former Arcade Fire violinist who is founder and CEO of Plus1, a philanthropy group that partners with Carpenter: “You go from bus to backstage and bus to backstage, maybe a couple hotels and maybe a couple flights. There’s a sense of Groundhog Day. The mental-health benefits of interacting with animals reduces stress. There’s a mood boost.”
Working with managers and concert venues, the local rescue groups identify three or four young animals — usually pups — who are more likely to be friendly to people because they haven’t yet learned to be scared of them, then cart them in carriers to the show. They bring playpens, food and treats, and the venues provide a backstage room and bowls of water. So far, no dogs have been reported to have escaped and roamed the stage, disrupting shows, This Is Spinal Tap-style.
“They did not do that!” says Greta Palmer, chief communications and brand officer for Best Friends Animal Society — a Utah-based animal sanctuary with programs in New York, Los Angeles and elsewhere — which provided three puppies and three kittens at a Carpenter show last year, and six kittens as part of a “cuddle lounge” for a 2023 Kesha concert in Atlanta. “We have a bunch of staff that go, and we’ll set up an area with a gate, and people can come in and hang with them, play with them, love on them [and] ideally adopt them.” (Best Friends did not do on-site adoptions for the Kesha show, and none of the animals were adopted at the Carpenter event.)
The strategy worked for Crownover and Cheryl, whom the tour manager adopted shortly after Childers’ Chicago concert. Cheryl has been on the road with the crew ever since, meeting 100 new people a day and greeting visiting foster puppies in various cities. (Crew members on the Childers tour also adopted Larry and Ted after meeting them at the United Center.)
“The main reason we do it is to promote the dogs and promote adoption,” says Alli Rooney, One Tail at a Time’s marketing manager. “And everyone needs a bit more lightness in the world right now.”
The animal visits are pure good-vibes publicity too. When Motley Zoo Animal Rescue brought dogs to the 2016 Slayer-Testament-Carcass show in Seattle, the most tattooed and scowling of metal stars melted in photos with adorable puppies; when Brighter Days Dog Rescue brought dogs to Billie Eilish’s Denver show in November, the organization’s social media post showed the singer-songwriter cheek to cheek with puppies and said they were “showered with love” by the star; and Sheeran has posed with tiny backstage-delivery kittens multiple times, including in 2017, when the SPCA of Wake County surprised him before a Raleigh, N.C., show with animals rescued from a nearby horse farm. At CMA Fest’s kickoff in Nashville June 5, Wags & Walks provided adoptable puppies at an “artist oasis” area, luring country performers such as Gavin Adcock, Ashley Cooke, Meghan Patrick and Kaylee Rose.
Gavin Adcock
Wags & Walks
Some venues, according to Mallory Kerlie, marketing director of Muddy Paws, a New York dog-rescue group, have restrictions on both dogs and cats, many relating to the potential for rabies or injuries. And some rules disallow pit bulls or dogs heavier than 25 pounds. “Here in New York, that’s a particular challenge,” she says. But Muddy Paws accompanies the puppies with trained staff and reliable carriers, and navigates public transportation in case parking is an issue. At the venues, she adds, “It’s a small room with doors. That’s usually the best way to keep them safe.”
Kittens are slightly easier to haul into concerts than dogs, notes Best Friends’ Palmer. She explains: “We can just set up an X-pen and they tend to stay pretty contained.”
Wags & Walks has provided puppies, kittens and even baby goats and pigs for Nashville arenas and stadiums. The non-profit animal rescue group placed the dogs in a soundproof room during Rufus Du Soul’s Ascend Amphitheater soundcheck in May (“So they wouldn’t get scared,” explains Taveras), and also surprised Kelsea Ballerini at Crypto.com Arena in Los Angeles by presenting her with three small sibling puppies for a photo op.
Neither Ballerini nor her team was available for a post-pup interview, but Lesley Brog, founder of Wags & Walks, knew the country superstar’s own dog, Dibs, was going through cancer treatment. “She’s a huge dog lover, and they thought it would make sense,” she says.
Shortly after the puppies arrived before Ballerini’s show, Wags & Walks set them up in a conference room near the office of Cara Vanderhook, the arena’s vp of marketing and communications. The exec mentioned them in a staff chat, and within half an hour, Vanderhook tells Billboard, “I’m not joking, I probably had 30 people in the conference room playing with these puppies. It gave everybody a moment to take a breath when they needed it.”
Last month, Billboard Boxscore revealed its midyear touring recap, dominated by Coldplay, K-pop and Las Vegas’ Sphere. With the launch of Billboard’s comedy hub, we’re taking a closer look at the top-grossing comedy acts at the midyear mark. The 2025 midyear recap provides a switch-up at the top of the list. Kevin Hart led the […]
The “Powerpuff Girls of Pop” descended on Barcelona, Spain this past weekend (June 5-7).
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.
Jim James will kick of NIVA ‘25 with a keynote address on Sunday, June 22. The My Morning Jacket frontman will take the stage at The Pabst Theater in Milwaukee, Wisc. to discuss touring and open up the National Independent Venue Association’s fourth annual conference. In addition, legendary producer Jimmy Jam will address the conference […]
All products and services featured are independently chosen by editors. However, Billboard may receive a commission on orders placed through its retail links, and the retailer may receive certain auditable data for accounting purposes. For live-music fans, 2025 has fed you well so far. From Beyoncé’s Cowboy Carter Tour to Lady Gaga’s upcoming Mayhem Ball […]
Hey, pigs! All of our dreams practically came true when Nine Inch Nails announced in January that the band was hitting the road for the Peel It Back world tour in 2025. (“Practically,” because some of us are still awaiting that new album announcement.) It didn’t take long after the news arrived for fans to […]
Independent live events tech platform Fever said on Thursday it agreed to acquire the U.K. ticketing and discovery platform DICE, according to a press release.
The news comes a day after Fever announced it raised $100 million in a funding round led by L Catterton and Point72.
The tie-up will strengthen Fever’s standing as a global tech entertainment company and will help the 11-year-old DICE scale by giving it access to the 40 countries Fever operates in, the company’s executives said in a statement.
Fever, which operates a discovery platform and media reaching more than 300 million people in 40 countries, says joining forces with DICE will strengthen its global standing while helping DICE to scale. DICE says it has 10 million monthly active fans and ticket sales have doubled in the past two years, according to the press release.
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“We are strengthening our position as the leading global tech player for culture & live entertainment,” Fever’s co-founders Ignacio Bachiller, Alexandre Perez and Francisco Hein said in a statement. “We are firm believers that data and technology have the power to elevate the live music experience — making it more accessible, more personalized, and ultimately more impactful for fans, artists, and venues alike.”
Fever, which combines audience insights, ticketing and discovery tools for promoters and venues, was most-recently valued at $1.8 billion in 2023, Music Business Worldwide reported. The company partners with festivals, such as Primavera Sound, Rock in Rio Lisbon and Pitchfork, as well as independent venues like Clapham Grand.
DICE users will be able to continue using the platform “exactly as they are today,” according to the release.
LionTree Advisors LLC served as the financial advisor DICE, and Wilson, Sonsini, Goodrich & Rosati LLP served as their legal counsel. Fever Labs Inc. was advised by Davis Polk & Wardwell LLP and Morrisson & Foerster LLP.
When Lady Gaga asked Gesaffelstein to appear during her Coachella 2025 weekend one headlining show, the French producer’s answer was obvious: “oui.”
“Of course we had to say yes,” says Alexandra Pilz-Hayot, the founder and director of Savoir Faire, the French company that’s long managed the electronic producer. “He really wanted to be there with her for the launch of the tour.”
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His team worked with Gaga’s to figure out logistics like where the artist born Mike Lévy would stand onstage and what equipment he’d use. Beyond that, “we didn’t really ask that many questions,” says Pilz-Hayot.
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Gesffelstein and his team arrived at Coachella, surprised to see that only one name was on the list of guest artists for Gaga’s Mayhem Ball: Gesaffelstein.
“We literally asked [Gaga], ‘But are there other guests?’” says Pilz-Hayot.
“No, no, you’re the only one,” she told them.
“We were like, ‘Oh my god.’”
Hours later, Gesaffelstein was onstage alongside Gaga and her fleet of dancers, performing for the tens of thousands of people on the field and the millions more watching around the world via livestream.
“GESAFFELSTEIN, OH MY GOD IT’S GESAFFELSTEIN,” at least one person in the crowd screamed when the producer appeared onstage in his signature all-black everything — trousers, jacket, gloves, shimmering mask formed in the shape of his face and hair — at the start of the show’s third act. The slender producer towered behind musical equipment held up by shimmery black pillars, as he and Gaga performed their sexy, funky, playful pop romp “Killah,” a collaborative track from Gaga’s March album, Mayhem.
The moment was a figurative exclamation point on an unrelenting year. The last 12 months have contained Gesaffelstein collaborations with Gaga and Charli xcx (Brat‘s “B2b” and “I Might Say Something Stupid”), the release of his own third studio album, Gamma, and the launch of the tour behind this album, a run that began in April of 2024 on Coachella’s Outdoor Stage and has hit global festivals and standalone arenas like Los Angeles’ Kia Forum.
The tour has indulged the dark, minimalist, deliciously intense and undeniably tantalizing world the producer — long a revered figure of the electronic underground — has erected with both his tough as nails industrial-leaning electronic music and corresponding aesthetic, with this tour easily being one of the best electronic shows on the road in 2024 and 2025.
Julian Bajsel
Julian Bajsel
The tour’s production design was conceived by Lévy and Pierre Claude, who’s worked with the artist for the last 12 years, since the tour for his 2013 debut, Aleph. In his role as production and lighting designer, Claude is in charge of designing the show’s set and lighting schematic while coming up with the ideas it takes to make it all hit hard while also avoiding de facto electronic live show elements like fire, confetti and soaring LED screens.
“Mike is very involved with his own tour for sure, from the design and the story,” Claude says. “For this, he wanted something massive — a big set piece, very theatrical, no technology or automation or anything futuristic, just a theatrical set. And black, of course — everything is black with Mike.”
“You have one person on stage who’s doing everything with machines,” adds Pilz-Hayot. “So it’s trying to make it almost like a ceremony. That’s always been the brief all his life. Of course, we wanted something bigger, that had the spirit of something that would be monumental.”
(Adding to the mystery of it all, no one has interviewed Lévy since circa 2014, a streak that would not be unbroken for this story. Pilz-Hayot explains that “he’s always been very protective of himself; what he wants to share with the audience is never the ‘behind the scenes.’”)
Together, the team conjured a design that puts Gesaffelstein on a raised podium, bookended by his equipment and structures fabricated in the shape of long black crystals, a sort of phantasmagorical flourish in an otherwise tidily designed structure meant to evoke the theater. The setup includes between six to eight towering pillars (depending on the size of the stage) with Gesaffelstein and his podium placed atop a set of stairs. Altogether, it gives the feeling that he’s playing from within a sort of Blade Runner-style Pantheon — and not even necessarily performing from within the set, but being part of it.
“That’s why he’s wearing a mask,” says Claude. “It’s not like a DJ or performer on stage. Mike wanted to be part of the design.”
The set was built in Burbank, Calif., given the city’s proximity to Indio, where Coachella happens. This routine was the same as for Gesaffelstein’s lauded tour behind 2019’s Hyperion, which also began at the festival. “We started at Coachella every time on the Outdoor Stage,” Claude says, “which is very stressful for us, because we have no rehearsals before.”
Did everything at Coachella 2024 go according to plan, despite having no official run through? Claude considers it: “Yes, actually. Yes.”
It helps that this current show is easier to pull off than the one for Hyperion, given that it’s a static piece that involves less technology and moving parts.”We just wanted to work out the lighting with music, so we don’t need technology besides lights and music,” Claude continues. “The plan was to do something very simple, but intense.”
If you’ve stood in front of the stage on this tour, it’s hard to deny the show’s ferociousness, which ramps up over the course of the hour-plus show as Gesaffelstein manhandles his synthesizer. Throughout, he’s bathed in washes of mostly white light and surrounded by lasers as the music builds to a place of pure pummeling. His only interaction with the crowd is when he briefly turns to face forward, extends an arm and wags his middle and index fingers to make a sort of “come with me” gesture. Adding to the intrigue is that it’s impossible to read his face, given the aforementioned mask.
This costume piece, which Pilz-Hayot says was partially inspired by the themes of beauty and sin in Oscar Wilde’s The Picture of Doran Gray, became part of the Gesaffelstein canon on the Hyperion tour. This time, however, the eyes of the mask glow unsettlingly, an effect that adds the surreal feel and helps the show achieve its intended sci-fi mood — even if it does also obscure the artist’s objectively perfect face.
“When he told me he wanted to wear a mask for the Hyperion tour I was like, ‘What the f–k?’” recalls Claude. “He’s like, one of the most beautiful artists in the world, and he wants to hide his face? I was a bit disappointed, because he looks so cool onstage smoking cigarettes or for an hour [while he played]. But when he came for the first show with the mask on, it was like, “What the f–k — It looks so good!’”
“It’s not an artist anymore,” says Pilz-Hayot. “It’s a character.”
On both aesthetic and functional levels, the mask also adds to the intensity. While it’s thin in design and equipped with a fan, Claude reports that “it’s difficult for him to hear.” He uses an in-ear monitor “like an F1 driver,” but the situation is exacerbated by the fact that “he can’t see a lot. He can see like, the first row.”
But “for him, it doesn’t matter,” Claude continues. “His music is intense, so he doesn’t want to have a good time on stage. He just doing his job.”
Julian Bajsel
Julian Bajsel
In terms of lighting, the one moment of color comes during the slinky, G-funk inspired 2013 classic “Hellifornia” during which the stage is bathed in deep red light. “We really wanted to have a dirty strip club mood,” Claude says of this color choice.
Given the emphasis on simplicity, Claude worked to “hide all the technical stuff.” Lights, lasers, cables and even musical equipment are hidden behind columns and under the steps, which are in fact just props and unable to support any weight, making them easier to transport. With no technical elements visible, Claude says the show is almost the “total opposite” of the current lights and lasers bonanza that Gesaffelstein’s friends Justice are currently touring with.
The producer and his 10-person touring team have brought the show to dance-focused festivals around the world. U.S. stops included San Francisco’s Portola, San Diego’s CRSSD, Miami’s Ultra Music Festival and last month’s EDC Las Vegas. Given that some of these dance fests have stage that are fantastically shaped liked butterflies and flowers, Claude says it’s often “very difficult” for him to adapt the minimalist show to the whimsical surroundings. (To wit, it was a striking juxtaposition when Gesaffelstein played EDC’s lotus flower-shaped NeonGarden stage as a fireworks finale lit up the sky behind him.)
“There is not a place that really suits him,” says Pilz-Hayot. “He’s obviously very different from what happens in the EDM scene globally, musically or in live production.”
Still, the dance festival world has warmly welcomed him, and Pilz-Hayot says the team received many show offers after the 2024 Coachella debut. (This type of organic marketing is helpful, given that he doesn’t speak publicly or even have an Instagram account.) His sound also makes it possible for him to exist at major multi-genre festivals at Coachella, Paris’ We Love Green (where he plays this Saturday, June 7) and San Francisco’s Outside Lands, where he plays in August, while making him a fit for other genre-focused events, like Germany’s Rock am Ring and Rock im Park metal festivals — where Gesaffelstein played in 2014, taking the stage after Iron Maiden.
“We were the last act,” says Claude. “The metal fans walked towards the exit and Mike was playing there, and they all stopped and really enjoyed [the performance],” with Gesaffelstein’s heavy canon sharing obvious DNA with the hard, loud and head-banging metal realm.
This ability to exist across worlds while also doing something uniquely his own has arguably been the draw for pop stars like Gaga, Charli and The Weeknd, the latter of whom collaborated with Gesaffelstein on 2019’s “Lost In the Fire.”
“He’s so outside of trends and really wants to follow his path and his artistic proposal,” says Pilz-Hayot. “In a way, he’s been doing this same approach and very particular sound since day one, so the way he produces is so specific that people just want Gesaffelstein’s stamp on their music.”
But those bewitched by the darkness of his sound should not discount the pop sensibility that also lies within. “He has a very strong sense of melody and pop,” continues Pilz-Hayot. “You hear it on the Charli song and the Gaga song, especially on the track ‘Killah.’ It’s the meeting of two artists who really understand each other musically. It’s been the easiest collaboration.”
But you will not hear the track or any of his other pop collabs (which include an official remix of Gaga’s electro smash “Abracadabra”) in his current setlist, which instead pulls from his own catalog, and builds to a place that feels like blissfully getting punched in the face with a battering ram of drums. He’s got festival dates on the calendar through mid-August, then, Pilz-Hayot says, “I guess all he wants is to be back in the studio and making new music. You never know what happens next… but clearly a new album would be the next target.”
When this new album is ready to tour and further build out the dark kingdom of electronic music’s so-called dark prince, fans will be ready, and the team will be too.
“I’ll be touring with the with him forever,” says Claude. “He’s a good friend, and I f–king love his music.”