Touring
“To finally be the headliner and not the maid of honor or the freakin’ bridesmaid?” Cyndi Lauper says with a laugh over Zoom. “It was pretty good.” The Brooklyn-born pop/rock legend is talking about her first-ever headlining show at New York’s Madison Square Garden last fall, part of her Girls Just Wanna Have Fun Farewell Tour. These goodbye shows — an invigorating blast of rock energy, pop balladry pathos and vivid art – have been met with rave reviews from fans and critics alike. After overseas legs in Europe, Australia and Japan, Lauper is bringing her tour back to the States (and Canada) this summer for 24 final North American dates, kicking off July 17 in Mansfield, Mass.
Selling out arenas like MSG was a huge part of the reason Lauper – who will be inducted into the Rock & Roll Hall of Fame this fall – wanted to do this farewell tour in the first place. While wrapping up mastering on a soundtrack companion to her 2023 career-retrospective documentary Let the Canary Sing, Lauper says that “everybody turned around and said, ‘Why don’t you do a farewell tour?’” The Grammy, Emmy and Tony winner was into the idea, but with a condition: “If I’m leaving, I would like to headline these places,” she recalls telling her team. “I don’t want to play theaters – I’m in theaters anyway,” she notes, tipping to the fact that she’s spent much of the last 15 years working in musical theater, between Broadway’s Tony-gobbling Kinky Boots and a long-gestating musical adaptation of the 1988 film Working Girl she’s still crafting with Theresa Rebeck.
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Now, for the tour’s North American swan song this summer, Lauper wants the chance to reconnect with fans in places she missed last fall. “I didn’t get to Philadelphia [last year]. I’m going to leave and not go to Philly?” she asks rhetorically ahead of a July 20 date in the City of Brotherly Love. “I wanted to say goodbye to everybody. I really do. That’s the end of this chapter.”
The final North American dates of her Girls Just Wanna Have Fun Farewell Tour will feature some changes – including a setlist swap thanks to a famous fashion designer. Apart from alterations to the staging to accommodate outdoor venues, the Billboard Hot 100-topping singer is adding in some dance music for her fervent LGBTQ fanbase. “I am going to switch one song, because Christian Siriano said, ‘The gays want glamor.’ On Instagram, somebody wrote, ‘The gays love glamor, but they also love to dance. Would you mind just putting in a dance song from [the 2008 album] Bring Ya to the Brink?’ I thought that was really funny,” she admits. “So I said okay, fine.”
While it’s hard to quibble with an injection of upbeat dance music (just imagine if she sang “Sex Is in the Heel” from Kinky Boots? A stan can dream!) to the setlist, the show’s standout moments often come during her peerless ballads. “Time After Time” has found her duetting with guests like Sam Smith and Lucinda Williams, while “True Colors” and “Sally’s Pigeons” are staged in a way that’s as much performance art as pop music (Daniel Wurtzel’s “air fountain” factors heavily into those).
Lauper says it’s impossible for her to pick a standout moment from the shows, though – and she means that literally. “Once I step out there, I’m not there anymore because I’m in it,” she insists. “I used to work at Belmont walking the horses. I feel like one of those racehorses – you’re in it but you can’t think. You have to have one foot in reality and one foot in someplace else, and that place is where things come through you.” She once had a conversation with Prince about this very topic, which he likened to turning off a third eye. “He was like, ‘Part of you, you go out of your mind a little bit [on stage]. You’re not there. You can’t be, because if you are, then you have a third eye. And all of a sudden, whatever magic, otherworldly door it is that you’re knocking on is not going to open.’”
Accidents, however, can test that tenuous connection. Lauper describes one such incident during this tour’s “Sally’s Pigeons,” which features a white sheet undulating through the air thanks to an assortment of crisscrossed fans (not the flesh-and-blood type). “It’s so beautiful, right? Gorgeous. One time I saw that big sheet, it went right up — I had to look away because I was going to start laughing – it fell right on top of somebody. I saw everybody scrambling,” she chuckles. “It’s live, right? You don’t know what the heck (will happen).”
Mostly, however, she’s able to stay in the magic zone – though she admits to fighting some serious nerves prior to that first headlining MSG show. “Before I went on stage at Madison Square Garden, I was thinking, ‘You idiot. You had all your friends come here, and if you fall flat on your face, everybody and all your friends are going to see.’ Then I said to myself, ‘No, be positive. Do not think like that.’ I was like, ‘You know, it’s only rock n’ roll, but I like it. Whatever.’”
Lauper did not, for the record, fall flat on her face, literally or metaphorically – I was there, and it was one of the best concerts I’d seen in years, both performance-wise and conceptually. Much of the tour’s aesthetic traces to Lauper’s love for art, museums and eye-popping fashion; the tour boasts original collaborations with Wurtzel, Siriano, Geoffrey Mac, Brian Burke and Yayoi Kusama. “When you’re moving and you have all that color, it’s like a painting,” Lauper says in her gloriously unrepentant Brooklyn accent – a tone one doesn’t typically associate with a hifalutin arts discourse. “[Kusama] wore her art, and for me in the ‘80s, that’s kind of what I was doing,” she says of the Japanese artist whose distinct polka-dot palette broke through globally around when Lauper catapulted onto MTV and the Billboard charts. “I could kick myself for not knowing in the ‘80s – I had no idea about Kusama. But I was on the hamster wheel and peddling so fast that I did not go to museums (back then), which was sad for me.”
While the 71-year-old icon makes time to experience art in her life these days, it’s hard to escape the sneaking suspicion that, unlike many musicians who can’t keep away from the grind, it’s the hamster wheel that’s following her.
Prior to the tour’s next leg kicking off in July, Lauper is still tinkering with the music for Working Girl. “I am short four songs that I gotta do before the tour, but I think I can do it,” she sighs. “June is pretty full. My God, everything happened at once,” she says, noting that she also needs to start prepping for her induction. “Rock & Roll Hall of Fame is on the eighth (of November), and (Working Girl) opens on the ninth. Wow. So, kill me now, right?”
Schedule overload notwithstanding, Lauper sounds honored to join many of the legends who inspired her in the Rock Hall’s ranks. “It’s a community of people, rockers that have changed the world,” she muses. “Here’s the thing: I still believe that rock n’ roll can save the world. I just want people to remember that we did make a difference. We can make a difference if we band together. We must come together as a community and make light and bring people together to make change, to do the good work.”
For Lauper, sharing her story in her Girls Just Wanna Have Fun Farewell Tour is part of that. “I wanted to have people know who the hell has been singing to them all this time so they would have a connection. And maybe they would be inspired to look at their history, to understand themselves,” she opines. “Everybody has a different perspective. When you tell your story, it makes human beings closer. It makes communities. That’s very important. In the darkest time, remember – you write the chapters, you make light.”
LONDON — Events firm Brockwell Live have confirmed that a series of festivals set to take place in south London’s Brockwell Park will go ahead as planned.
On Friday (May 16), a high court in the capital ruled against Lambeth Council’s decision to approve events including Field Day and Mighty Hoopla over planning permission concerns.
The legal case originated with local residents group Protect Brockwell Park, which challenged regulations stipulating that festivals can only use public parks for 28 days annually without additional planning permission. Campaign leader Rebekah Shaman argued that the planned Brockwell Live events would occupy the park for 37 days in 2025.
Protect Brockwell Park raised over £40,000 ($53,589) last month for a judicial review of the approvals they called “unlawful.” They contended that yearly festivals keep the park closed for too long. They also called for “full public consultations, evidence-based impact assessments and proper evaluation of the long-term impact on the park.” The campaign was also backed by Oscar-winning actor Sir Mark Rylance.On Monday (May 19), however, Brockwell Live announced that the festivals will take place, insisting that the aforementioned ruling only dealt with “a particular point of law and whether an administrative process had been carried out correctly.”
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Wide Awake, the first event in the Brixton park this year, is scheduled for Friday (May 23). In a statement posted to Instagram, Brockwell Live said: “We wish to make it clear that no event will be cancelled as a result of the High Court’s decision.
“We take our stewardship of Brockwell Park seriously. As we prepare to deliver these much-loved, culturally significant events, we remain fully committed to its care, upkeep, and long-term wellbeing. With setup nearly complete, we look forward to opening the gates and welcoming festival goers later this week.”
In a further update this morning, Lambeth Council explained that an application for a new certificate of lawfulness had been submitted following the High Court ruling. A spokesperson said: “Summer Events Limited has applied to Lambeth Council for a new certificate of lawfulness, for 24 days, following the High Court ruling last week on the previous certificate. The council is urgently considering that application. That consideration does not stop the events proceeding.” Summer Events Limited manage the Lambeth County show, using infrastructure from Brockwell Live.
Irish hip-hop trio Kneecap will headline Wide Awake, before the program of events continues with electronic festival Field Day on May 24. Cross The Tracks, City Splash and Brockwell Bounce take place on May 25, 26 and 28 respectively.
Mighty Hoopla will take place over the weekend of May 31 and June 1, with Ciara, Kesha and JADE booked to perform. The Lambeth Country Show will round out the programme, with the festival taking place from June 7 until June 8.
Most cruise ships clear their top decks to fit as many passengers as possible in the pool, but on the Norwegian Gem, that valuable real estate is sacrificed for something a little more sacred: the blues.
That’s because the 965 foot-long vessel, part of the Norwegian Cruise Line (NCL) fleet, is currently the home of the Keeping the Blues Alive at Sea X cruise — a sold-out annual expedition for which the ship’s theaters, lounges and swimming pool are all repurposed for hi-fidelity performances of guitar-driven rock, rhythm and blues.
On the Norwegian Gem, what was once a swim-up bar and pool is now drained and filled with monitors, rigging and enough staging to accommodate a full-scale live show built for theaters and performing arts centers. On Keeping the Blues Alive, contemporary blues legend Joe Bonamassa headlines a lineup of more than a dozen artists that also includes Grammy-winning duo Larkin Poe; rock and blues veteran Big Head Todd and the Monsters; Grammy winner Christone “Kingfish” Ingram; and blues guitarist Eric Gales. Launching out of Miami with stops in Belize and Cancun, Mexico, the cruise is facilitated by the Atlanta-based company Sixthman, a subsidiary of NCL since 2009. This year, the five-night voyage is accommodating about 2,500 diehard Bonamassa fans who have spent approximately $2,500 per cabin to hit the seas with the blues legend and the rest of the lineup, curated by Bonamassa and manager Roy Weisman.
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Keeping the Blues Alive at Sea
Will Byington
“Initially, I was not interested in doing a blues cruise — I had done one before and hated it,” explains Bonamassa, cigar in hand, speaking on the open-air deck of his top-level suite aboard the Gem. “And then I got a call from Sixthman in 2015 and was pitched on an experience that was more artist-friendly and didn’t require me to be in it so much. So we tweaked my schedule a bit, gave it a shot and I just saw how much fun everyone was having. Not just the fans, but the interactions with the other bands.”
Each artist on the Keeping the Blues Alive cruises is paid a festival rate and contracted for three appearances: typically two large stage performances and then a smaller, more intimate engagement. For Bonamassa, that means two main stage performances and a live session of his podcast Welcome to Nerdville.
This edition of Keeping the Blues Alive at Sea, a nod to Bonamassa’s non-profit of the same name, sold out months in advance. When the cruise hit the seas on March 20, the blues man already had two more sold-out Sixthman cruises on the books, including one to Alaska that departs from Seattle.
“Our model is that we focus on passionate communities, and this is one of the most passionate communities out there,” says Jeff Cuellar, who has served as Sixthman’s CEO since Jan. 17. Prior to that, Cuellar worked at festival company AC Entertainment, founder of the famed Bonnaroo festival outside of Nashville.
Larkin Poe
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Bonamassa fans are on the older side, averaging ages 55 to 60. Besides an affinity for Bonamassa’s live performances, they are generally interested in blues, rock and guitar-driven music. However, Sixthman and NCL’s music business goes beyond Bonamassa; the company services more than 35 cruises annually, with upcoming voyages planned for Creed, Lindsey Stirling, Michael Franti, and Coheed and Cambria. Sixthman has also seen success with non-music themed voyages, including several chef-driven food cruises, a true crime podcast cruise and a recently launched cruise celebrating the Hallmark Channel, which sold out hours after going on sale, breaking a company record.
Most cruises take off from Miami and by law are required to make one stop at a foreign port — for NCL, that typically means Nassau, Bahamas; Costa Maya, near Cancun; and Harvest Caye, a private island owned by NCL in Belize. Most cruises include all-inclusive food offerings — alcohol packages are sold separately, typically in advance — and a variety of amenities including outdoor basketball courts, rock climbing walls, full-service gyms, specialty restaurants and casinos with poker rooms that often feature appearances by talent.
Cuellar says Sixthman operates much like a traditional promoter: “For the longest time, music has been the core of what we do and will always be the core, but we have started to diversify and look at other passionate communities, whether it be [for baseball team] the Savannah Bananas or Jay and Silent Bob,” the cinematic duo from Kevin Smith’s cinematic universe. Prices for most cruises start at $1,172 per person for interior cabins and run as high as $2,937 per person for high-end suites with meet and greets. The Norwegian Gem has a total of 1,197 cabins, while larger ships like the Norwegian Encore boast 2,043.
Keeping the Blues Alive at Sea
Will Byington
“It’s a lot of inventory to sell, and while we can have conversations about VIP sales and merch sales, we want to dig even deeper,” says Cuellar. “We want to know where fans are talking about the artist. Is it on Reddit? Is it Facebook? Where are other conversations happening?”
That information becomes critical when it comes to selling and marketing cruises, Cuellar explains, noting that Sixthman heavily relies on the artist to help sell cruise packages. Drawing from data points like Spotify listens, merch and VIP sales, the Sixthman team creates an index for participating artists and then “put[s] out a couple of scores that we use for evaluation to determine how confident we feel that this engagement will be a success,” he says.
“We’ll actually survey a section of their audience so that we know who would be willing to participate,” Cuellar adds. “Sometimes, you get great responses, and we decide to book it immediately, and other times we find it’s not the experience fans are looking for.”
Sixthman’s success with Bonamassa is due to “his amazing connection to his fans,” Cuellar says. “When Joe talks about it, people respond. When he sends out an email, people respond because they know they’re going to get a top-quality experience.”
It’s an experience that Bonamassa and Weisman, his longtime manager and business partner, have spent the last 26 years cultivating, evolving Bonamassa’s live show into a global touring brand with around 100 performances a year. Bonamassa began his career in 1989 as a 12-year-old guitar prodigy opening for blues legend B.B. King and spent his early 20s working the blues nightclub circuit. Weisman, a longtime music executive whose father was Frank Sinatra‘s manager for the last few years of his career, met Bonamassa in 1999 and worked with the bluesman to elevate his live shows to theaters and performing arts centers.
Keeping the Blues Alive at Sea
Will Byington
Their company, J&R Adventures, is home to Bonamassa’s record label, artist management group and vertically integrated touring entities that promote, market and produce his live shows. Early on in their relationship, the men discovered the pathway to success “was super serving an underserved marketplace,” Weisman says. “The key was for us to approach the blues like we’re not afraid of it,” he adds. Instead of trying to mold Bonamassa into a AAA-radio-friendly artist, Weisman says he and Bonamassa had to “go into the blues like a house on fire. Walk right into it. Not be afraid or try to circumvent around it because there’s room as an independent to make a wave without being crushed by the majors.”
That means owning and controlling every part of Bonamassa’s business, from his label to concert promotion. J&R Adventures books the venues for Bonamassa’s tours, takes the risk on each show and handles everything from production to marketing. For Sixthman, Bonamassa’s familiarity and understanding of his audience make him a natural partner, says Cuellar. Bonamassa’s team books all of the support talent and helps curate some of the artist-to-fan activities, like poker tournaments, cooking demonstrations, fireside acoustic performances and meet and greets.
Neither Cuellar nor Weisman would say how much Bonamassa earns from the cruises, other than to note that the model is based on profit sharing and Bonamassa is one of the top-selling artists in the history of the company.
“And they give us this amazing suite,” Weisman says of his accommodations on the top floor of the 14-deck sea liner that’s located inside NCL’s luxury penthouse complex called The Haven, which is equipped with high-end furnishings, private balconies and a 24-hour concierge service, all roped off from the rest of the cruise.
“Norwegian makes it very easy for artists who are used to living out of a suitcase and a hotel room,” he continues. “Being on a cruise like this allows you to settle in a bit, even if it’s just for five days. The privacy and hospitality they facilitate makes a noticeable difference.”
YoungBoy Never Broke Again is getting back on the road once again. YB announced the 2025 MASA Tour (Make America Slime Again) on Thursday (May 15) as the Baton Rouge native regained his freedom after being released from federal prison in March. Explore Explore See latest videos, charts and news See latest videos, charts and […]
Assembling a show for the technological mecca that is Las Vegas’ Sphere is a head-spinning process for any artist and their team. But CAA agent Ferry Rais-Shaghaghi and Sphere Entertainment vp of live Erin Calhoun worked side by side to help create the buzzy, boundary-pushing run by melodic techno artist Anyma, who became the first electronic act to play the venue when he kicked off a residency there in late December that ran through early March.
Booking an electronic artist had been a priority, particularly given that the right artist would, Calhoun says, “be able to leverage all of Sphere’s experiential technologies in a new, compelling way.” Anyma (born Matteo Milleri) had been on the Sphere team’s radar for years, and over time, it became clear that his international appeal, futuristic music and strong preexisting visual identity made the Italian American artist the perfect choice.
Rais-Shaghaghi says that for him and the rest of Anyma’s team, Calhoun became “the point person for us to navigate everything.” In the year or so it took to produce the show — titled Afterlife Presents Anyma ‘The End of Genesys’ — Calhoun and Rais-Shaghaghi formed, he says, “an incredible business relationship that became a friendship with someone we trusted and felt comfortable going to and having the difficult conversations we needed to have.”
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Through these conversations, the team created huge and viral moments, like the scene where a character falls through space, creating a wild, lightly dizzying effect for the audience. They also made a pair of cello-playing robots that helped bring Anyma’s melodies to life. Calhoun says such elements “highlighted the way technology combines with artistry to make for an unforgettable experience.” Milleri developed the visual feast of a show himself alongside Anyma’s longtime visual creative director/lead computer graphics artist Alessio De Vecchi and head creative Alexander Wessely.
Rais-Shaghaghi and his team leveraged their network and hype around the residency to book support acts — “We looked at them more as guests,” he says — for the run that included Peggy Gou, John Summit, Solomun, Amelie Lens, Charlotte de Witte and Tiësto, giving each night a mini-festival feel.
And when issues inevitably arose during production, Rais-Shaghaghi says Calhoun “would always help us in navigating it within her ecosystem and [figuring out] how we could get to the finish line. Erin is firm, but she knows how to get the results she needs without burning bridges. She’s also really good at being a team player, understanding the artist’s creative process and direction and being the voice between the artist and the owner of [Madison Square Garden] in finding that middle ground.”
“We were completely aligned on the overall goal here: to blow everyone away with stunning visuals, next-level sound and an unparalleled live experience,” Calhoun adds. “Every move we made was side by side, which is how we approach every artist playing our venue. The vision is led by the artist, and we do everything we can to make it happen. Ferry is so passionate and was hands-on throughout the entirety of the run.”
This shared mission was ultimately a huge success, with the 12-night residency drawing more than 200,000 fans from around the world. The first eight dates alone sold 137,000 tickets and grossed $21 million, although Rais-Shaghaghi says money is ultimately beside the point.
“Obviously, as agents, we have to look at how we make our clients win financially,” he says, “but more so, it’s about how we can do things where the promoter wins, the fans win and the artists feel that they created an experience that had a high impact.”
This show is clearly one such instance. “From the performers onstage to the fans in the crowd,” Calhoun says, “everyone wanted more, more, more.”
This story appears in the May 17, 2025, issue of Billboard.
LONDON — A number of vital grassroots music venues in the U.K. are set to come under shared ownership in the second phase of a new community-led project.
The Music Venue Properties, the Charitable Community Benefit Society (CBS) created by Music Venue Trust (MVT), seeks to protect grassroots venues by placing them into community ownership and outside of commercial leases with landlords.
Seven grassroots music venue will be included in the next phase of the project: Esquires, Bedford; The Sugarmill, Stoke-on-Trent; The Joiners; Southampton, The Croft, Bristol; Peggy’s Skylight, Nottingham; The Lubber Fiend, Newcastle; The Pipeline, Brighton. The community share offer, which will open on May 15, 2025 and close on July 31, 2025.
The first phase of the Own Our Venues initiative ran in 2023, and raised £2.88m ($3.83m) to secure the ownership of a number of venues across the U.K., including The Bunkhouse in Swansea, Wales, and The Snug in Atherton, England.
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An accompanying press release says that the scheme offers a “cultural lease,” that far exceeds the traditional 18 month commercial lease that these venues must operate within. The statement adds, that these cultural leases “ensure fair, sustainable rent, annual contributions toward essential maintenance, and ongoing support in areas such as financial sustainability and operational best practice.”
Ricky Bates, venue operator of The Joiners, Southampton said of the next phase of the program, “We welcome Music Venue Properties’ ownership of our building as the only real solution to securing one of the most important live music venues in the UK. For almost 60 years, The Joiners has been a vital part of the UK touring circuit and a creative cornerstone of Southampton, but today its future is uncertain. Our lease expires this year, our landlord is retiring and, while the venue is rich in history, the building is over 200 years old and in need of care.
“In today’s economy, it simply isn’t viable for us as individuals to purchase the property but, with the support of the Own Our Venues campaign and the wider music community, we can secure The Joiners for the next 60 years and beyond. Be part of this historic moment—get involved and help protect grassroots music for generations to come.”
It’s the latest move by the U.K. music scene in the fightback against closures of independent venues and to support grassroots musicians. On Wednesday (May 14), the team behind The Leadmill in Sheffield, England said that their eviction appeal had been unsuccessful and that they have three months to vacate the premises. The building’s landlord, the Electric Group, runs a number of venues in the U.K. already, including London’s Electric Brixton, Bristol’s SWX and Newcastle’s NX. Oasis, Arctic Monkeys, Pulp and Coldplay are among the legendary artists to play The Leadmill over the years.
After taking a few years off, the irreverent and one-of-a-kind podcast Promoter 101 is back and dropping hot takes on the concert business like it’s 2018 all over again.
Understanding why music manager Luke Pierce and Live Nation promoter Dan Steinberg revived their podcast is nearly as complex as understanding why they stopped in the first place. When they shelved the show in 2020, shifting priorities and the increasingly complicated post-pandemic concert industry played a major role. But what surprised Steinberg most was that no one stepped in to capitalize on their absence.
“We thought that we’ve been talking for quite a while, and maybe there was another voice; maybe if we got out of the way and somebody else wanted to speak up and fill that void,” Steinberg says.
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But no one did — and Steinberg and Pierce believe that’s partly because the concert business has only grown more complex in the wake of the pandemic, especially with the rise of dynamic pricing and nine-figure tour grosses. While they plan to keep the show’s popular interview format, they also intend to dive deeper into topics like ticket pricing and the reasons behind the sharp rise in concert costs in the post-pandemic era.
“I think it’s a mistake to say the promoters are outpricing the market,” Steinberg said. ” I think the managers are setting the prices. The artist may say they want more money, but I think that call is usually the manager, and it’s their job to direct that, and most artists leave that to the manager and the agent to figure out. I don’t know the promoters that want a more expensive ticket — more often, the promoter is trying to bring the ticket price down.”
Pierce added that there’s a “good swath of working artists that have priced themselves out of the middle class of live music.”
In the months immediately following the reopening of concert venues, fans were spending significant money on concerts and live experiences, making up for time lost during the pandemic. That period was followed by what Pierce calls a “burnout period” that’s happening “right now.”
“While fans return to some of their pre-pandemic behaviors, you know, artists continue to kind of tour at peak levels, and I think that will cause some problems with soft tours and unsold inventory,” he said. The result is a “top-heavy touring ecosystem, where the middle is kind of getting squeezed out a little bit, and I think it’s something artists and their teams really need to be cognizant of.”
The pricing problem will become more acute in the next 24 months based on what happens with the economy, Pierce adds, noting that “we just saw GDP figures come out, and the contraction of the U.S. economy is certainly not a great sign. Paying attention and making adjustments to your business is prudent right now.”
“Put more simply, the demand in the post-pandemic environment was enormous because we couldn’t do anything for a while, and we got free money from the government for a little bit, and nowhere to spend it,” Pierce says. “But that has to reset somewhere along a sensible trend. And I think it’ll be challenging for some people to figure out what that looks like.”
Steinberg notes that while the festival market will need to make some adjustments to navigate a tough economic climate, he remains optimistic about its long-term potential.
“Festivals are not done, it’s just a competitive space,” Steinberg says. “And they’re for younger people. And so there’s always going to be a cooler festival with a more cutting-edge lineup. But festivals can come back from a bad year. Coachella had some rough years, but they came back. Bonnaroo definitely had some tougher years, but they have come back. It’s very cyclical.”
One real challenge festivals face, Pierce notes, is “headliner fatigue, due to a lack of inventory of headliners.” Artists can make more money touring, especially artists playing arenas and stadiums, where they can deliver “the exact experience they want their fans to have, and that’s a better business decision for them, top to bottom.”
Steinberg and Pierce plan to release one new Promoter 101 episode each month and have launched a refreshed brand identity, complete with updated logos and artwork, to mark their return. Their comeback episode, No. 230, features interviews with Paladin Artists agents Steve Martin, Andy Somers and Chyna Chuan. The latest episode is available now at promoter101.net.
The “She Wolf” is on the prowl again. Global superstar Shakira performed to a sold-out crowd at the Bank of America Stadium in Charlotte, N.C., on Tuesday (May 13), kicking off the U.S. leg of her successful Las Mujeres Ya No Lloran World Tour. As the tour slogan suggests, “women don’t cry,” they dominate stadiums! […]
Live Nation has announced the launch of a $30 concert ticket initiative for summer 2025, through which fans will be able to access more than 1,000 shows at select amphitheaters across the U.S. and Canada throughout the season.
Live music fans can catch concerts from The Offspring, Halsey, Nelly, Pierce the Veil, Avril Lavigne, Kesha, HARDY, Dierks Bentley, Cyndi Lauper, Kidz Bop Kids, Rod Stewart and many more for just $30 — an all-inclusive price with no additional fees outside of local taxes.
Additional artists under the $30 ticket options include Willie Nelson, Simple Plan, The Black Keys, Weird Al Yankovic, Little Big Town, James Taylor, Leon Bridges, Goo Goo Dolls, Luke Bryan, Barenaked Ladies, Billy Idol, Cody Jinks, Keith Urban, Big Time Rush, Volbeat, Slightly Stoopid and more.
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More shows will be added throughout the summer, giving fans multiple chances to score $30 tickets all season long.
Starting May 21 in the U.S. and Canada, fans can go to Live Nation’s Ticket to Summer site to see the full list of participating events and add the ticket type “$30 Ticket to Summer” to their cart for the deal. T-Mobile and Rakuten members will get early access on May 20. All ticket sales will begin at 10 a.m. ET on the given day.
The $30 Tickets to Summer initiative follows Live Nation’s similar summer offering, Live Nation Concert Week. Live Nation Concert Week, which hit its 10-year anniversary last year, only lasted seven days. Notably, the promoter recently discontinued its popular Lawn Pass program, through which music fans paid a flat fee for a lawn ticket to every summer concert at participating amphitheaters. At the time of that announcement, the company said it would replace the six-year-old program with something different. The $30 Ticket to Summer will be the promotion giant’s only summer offering for the 2025 season.
Tickets for this year’s $30 Tickets to Summer are available for select Live Nation shows while inventory lasts.
Live Nation has agreed to a long-term lease for a 5,000-seat venue in downtown Atlanta that will be part of a development around the Mercedes-Benz Stadium and State Farm Arena.
Centennial Yards is described by CIM, the developer that has partnered with the City of Atlanta, as a “mixed-used community featuring residential units, retail and entertainment establishments, community gathering spaces and more.” The 50-acre site is expected to have a $5 billion price tag. In addition to the music venue, it will include a 14-story hotel, a two-story food and beverage hall and a Cosm entertainment venue. The development already includes a brewery, loft residences and a 500-foot pedestrian bridge.
Live Nation’s involvement with the development was first reported by The Wall Street Journal.
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Concert venues are increasingly popular properties in urban developments centered around the venues of professional sports teams. Mercedes-Benz Stadium has been the home of the Atlanta Falcons since 2017. The Atlanta Hawks basketball team plays at State Farm Arena.
“Every owner of a major sports team that wants to have their new building is not just building a building anymore,” Live Nation president/CFO Joe Berchtold said at the J.P. Morgan Global Technology, Media and Communications Conference on Tuesday (May 13). “They’re building an entertainment district around it.”
Centennial Yards is the latest example of concert promoters taking part in developments that aim to revitalize urban areas. Downtown Nashville’s The Pinnacle, a 4,500-capacity music venue operated by AEG Presents, is part of Nashville Yards, owned by real estate developer Southwest Value Partners. Nashville Yards also houses AEG Presents’ regional offices, CAA and, starting in July, Messina Touring Group.
Another massive multi-purpose project getting underway is RFK Stadium in Washington, D.C. The development currently includes a food hall, a skate park and festival grounds that hosts music festivals and other large gatherings. Berchtold said at the conference that he was in D.C. last week but didn’t mention the RFK project.
Leasing a mid-sized venue in Atlanta will add to Live Nation’s portfolio of venues under its Venue Nation business segment. Venue Nation plans to open 20 additional venues globally in 2025, which it believes will add 7 million incremental fans annually. As of the end of 2024, Live Nation leased 222 venues, owned 32 and operated 67. It has the exclusive booking rights to another 69 venues and owns an equity stake in 4.