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Touring

Page: 102

In January 2018, Elton John announced his impending retirement from touring, but only after a worldwide, multi-year farewell tour to say goodbye. He kicked off the Farewell Yellow Brick Road Tour in September of that year and began a record-breaking run, though it isn’t over yet.
According to figures reported to Billboard Boxscore, the Farewell Yellow Brick Road Tour has grossed $817.9 million across 278 shows so far — more than any tour in Boxscore history. Bypassing Ed Sheeran’s The Divide Tour ($776.4 million), it is the first tour in Billboard’s archives to cross the $800 million benchmark.

The Farewell Yellow Brick Road Tour was promoted by AEG Presents, with select local partners in certain international markets.

Sheeran set the record in 2019 toward the end of his 258-show run, replacing U2’s The 360 Tour ($736.4 million). Both of those tours went far and wide, playing six and five continents, respectively, and spending most, if not all, of their time in stadiums. Conversely, John spent 2018-20 and the first quarter of 2022 in arenas in North America, Europe, and Oceania, before advancing to stadiums in each continent for the tour’s final year.

That advancement paid off. John’s first three North American legs combined to $268.2 million over 116 shows. His stadium run from July – Nov. 2022 brought in $222.1 million, or 83% of his arena grosses, in just 33 shows.

Similarly, his European stadium outgrossed his arena leg, $69.2 million to $49.9 million, despite playing 12 fewer shows. And most recently, his average per-show gross in Australia and New Zealand swelled from $2.5 million in 2019-20 in arenas to $5.1 million in stadiums.

In total, the January ’23 Oceania leg grossed $40.9 million and sold 242,000 tickets. Combined with updated North American grosses to account for previously unreported platinum lifts, the Farewell tour’s total revenue surges passed $800 million, with 51 European shows still to play through July 8.

While the tour’s first couple years in arenas certainly laid the foundation for John to scale the all-time ranking, it took three full legs in North America and Europe to hit the all-time top 40, at $217.8 million after 108 shows. His return to the U.S. and Canada in the Fall of 2019 lifted the tour’s total to $292.3 million, moving up to No. 20.

The following Oceania leg from Nov. 2019 – March 2020 (it was mercifully scheduled to end days before the global lockdown began) brought the gross up to $385.4 million, lifting to No. 13. John’s post-COVID North American arena run added $100 million, climbing into the all-time top 10 at No. 6 with $485.7 million. The stadium run in Europe brought him to No. 4, followed by a nudge to No. 2 with North American shows, finally ascending to the all-time crown with a brief run in Oceania from Jan. 8-24. 6

Sorting by tickets sold, John still has a way to go on the all-time ranking. The Farewell Yellow Brick Road has sold 5.3 million tickets, ranked behind Sheeran and U2’s previous record-holders, in addition to The Rolling Stones’ Voodoo Lounge Tour (1994-95), Coldplay’s A Head Full of Dreams Tour (2016-17) and Guns N’ Roses’ Not in This Lifetime… Tour (2016-19). Sheeran’s Divide Tour still stands atop the all-time attendance chart with 8.9 million tickets.

While it’s next-to-impossible for John to catch up to the tickets-sold record with just one leg of shows, his European dates will allow him to pass Coldplay and GNR, presumably moving into fourth place on the all-time list. Returning to “intimate” arenas for the final leg, John could be setting his sights on another unprecedented benchmark, sure to approach and likely to cross $900 million by his final performance.

Dating back to reports for John’s Ice on Fire Tour (1986), and including his share of co-headline runs with Eric Clapton, James Taylor, Tina Turner, and, many times over, Billy Joel, John has grossed $1.863 billion and sold 19.9 million tickets over 1,573 reported shows. That’s the highest career gross and attendance for a solo artist in Boxscore history, having passed Bruce Springsteen and Madonna while on this tour. On Billboard’s 2019 recap of the top 125 artists of all time, John finished at No. 3, behind The Beatles and The Rolling Stones.

MUMBAI — Drawing more than 60,000 music fans over two days, with 40 artists performing on four stages spread across 50 acres, the inaugural edition of Lollapalooza India this weekend conquered the mantle of the largest multi-genre festival ever held in India.
In the country’s exponentially growing live music scene, Lollapalooza was somewhat late to the party, arriving more than a decade after multi-genre properties such as the Bacardi NH7 Weekender and Vh1 Supersonic. That meant audience expectations for an international brand like Lollapalooza were somewhat higher, especially because ticket prices (between $70 and $90 for advance purchase) were almost double those for its homegrown Indian counterparts.

To Indian music fans it felt like a super-sized Weekender, with some of the former programming and production team members working for Lollapalooza. The main difference: huge stages with amped-up sound and light production. Lolla’s crowd of roughly 30,000 per days also topped Supersonic’s latest edition in 2020, which pulled in about 20,000 over two days; and last November’s Weekender, which drew a little less than 20,000 per day over three days, according to people who work with the festivals.

Indian promoter BookMyShow — which previously produced stand-alone concerts by Justin Bieber and U2 at a cricket stadium in the outskirts of the city — staged the first installment of Lollapalooza India at the Mahalaxmi Racecourse, situated in the heart of Mumbai on a narrow road that frequently witnesses traffic snarls.

For many of the domestic acts — which made up 60% of the line-up — Lollapalooza was the biggest event they’ve played in their career to date. The festival featured headliners Imagine Dragons, The Strokes, Diplo, Cigarettes After Sex and Indian hip-hop star Divine, with debut India performances from Chinese pop star Jackson Wang and U.K. indie rock trio The Wombats.

Watching the performances, Lollapalooza felt a lot like a festival in the U.S. or Europe. But it also suffered from the same problems that plague other Indian festivals. Sound-related issues hindered some sets. Attendees lost cell phone service towards the evening. Bottlenecks at the end meant those who drove to the venue needed over an hour to leave, despite BookMyShow having encouraged the use of public transport by not providing on-site parking.

Lollapalooza India will also be remembered for the rampant reselling that took place prior to the festival, over WhatsApp groups and through messages shared on posts from the festival’s official Instagram page. The majority of resellers weren’t scalpers, but rather customers who bought early bird tickets in August and were disappointed by the line-up when it was revealed in November, according to one poll on Twitter.

The roster had been rumored to include such names as Metallica, Pearl Jam and Green Day, who had played the 2022 editions in the U.S., South America and Europe, as well as Red Hot Chili Peppers and Arctic Monkeys, who are touring Asia right now. BookMyShow, which co-produced the festival along with Perry Farrell and C3 Presents, neither confirmed nor denied the rumors, fueling speculation that at least some of those names might be on the bill. (Billboard reached out to BookMyShow for comment on Monday about the rampant reselling and fan issues with the final lineup but has not heard back yet.)

The Indian edition included a bunch of acts, such as metal band Bloodywood, pop ensemble Easy Wanderlings, alternative rock group The F16s and pop-rock outfit The Yellow Diary who have already performed at several festivals this season — as well artists like Divine and singer-songwriter Prateek Kuhad, who have recently gone on nationwide tours.

The backlash posed some interesting questions: Is it fair game for festival promoters to sell tickets before the line-up is announced? How many of its headliners does a global festival have to replicate to live up to its “international” reputation? Does India have enough festival-worthy acts to sustain the number of festivals being staged?

Despite a consistently growing listenership for international music on audio-streaming services, promoters in India have yet to solve logistical and infrastructure challenges. The economics of bringing million-dollar international artists to the country for a one-off show are far trickier than booking them for multi-city dates across Europe and South America, other continents to which Lollapalooza has expanded. This is coupled with the severe lack of venues for events the magnitude of Lollapalooza in cities such as Mumbai where there are few vast open grounds.

Among the most talked about sets were those by Imagine Dragons, The Strokes, Greta Van Fleet and Canadian-Punjabi hip-hop star A.P. Dhillon (who some criticized for relying heavily on a backing track).

Lollapalooza India 2023.

Courtesy Photo

From the number of revelers that flocked to their stages, it was evident India has a fervent following for acts as wide-ranging as dream-pop band Cigarettes After Sex and former K-pop idol Jackson Wang, to electronic music producer Madeon and indie pop group Japanese Breakfast. 

While the organizers might have played it relatively safe with the Indian line-up, most local artists drew sizable crowds, with Divine and Kuhad attracting thousands in a testament to their current superstar status. Farrell, meanwhile, was seen walking around the festival site and being stopped for selfies by fans.

A substantial proportion of the attendees comprised first-time festival goers, including Mumbai residents who didn’t have to take the effort of traveling to neighboring city Pune where Weekender and Supersonic are held.

After originally debuting in 1991 as a farewell tour for Farrell, the singer of Jane’s Addiction, Lollapalooza has been an annual multi-genre event in Chicago’s Grant Park since 2005, after Farrell and William Morris partnered with Austin-based Capital Sports Entertainment (now C3 Presents). The festival expanded to South America — Santiago, Chile; São Paulo and Buenos Aires — and to Berlin, Paris and Stockholm. In 2014, Live Nation bought a controlling interest in C3. 

As they get set to work on the 2024 edition of Lollapalooza India — C3 Presents partner Charlie Walker told Billboard in July that they “don’t go anywhere with the expectation of not going on forever” — the organizers have plenty of feedback to consider when planning its return.

Björk‘s Cornucopia is heading overseas. On Monday (Jan. 30), the singer announced that her successful Cornucopia residency shows at New York City’s The Shed will travel to Europe for an arena tour this year

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“Cornucopia was always intended to be a world for both utopia and the album after that … which is now out there called Fossora. So I am truly excited to premier those two worlds colliding, this autumn in southern Europe,” Björk said in a press release.

The original show is based on her album Utopia and includes her catalogue of music. The Cornucopia arena tour shows will be reworked to include music from Fossora, according to the press release. Fossora is nominated for the best alternative music album Grammy, which will be handed out Feb. 5.

The tour will kick off on Sept. 1 in Lisbon, Portugal, at the Altice Arena. After making stops across the continent in Madrid, Paris, Milan, Prague, Vienna and more, the trek will conclude on Dec. 5 at Bordeaux, France’s Arkéa Arena. The shows arrive after Björk’s scheduled concert dates earlier in the year, which includes a run at Australia’s Perth Festival and stops in Japan in March, as well as a Coachella appearance in April.

Tickets for the 2023 European Cornucopia tour dates go on sale starting Friday, Feb. 3, at 9 a.m. local time. Tickets for Madrid will go on sale the same day at 10 a.m. local time. See the full list of dates below.

BJÖRK 2023 TOUR DATES

Sept. 1 – Altice Arena, Lisbon, Portugal

Sept. 4 – WiZink Centre, Madrid, Spain

Sept. 8 – Accor Arena, Paris, France

Sept. 12 – Mediolanum Forum, Milan, Italy

Sept. 16 – O2 Arena, Prague, Czech Republic

Sept. 19 – Wiener Stadthalle, Vienna, Austria

Sept. 23 – Unipol Arena, Bologna, Italy

Nov. 18 – Tauron Arena, Krakow, Poland

Nov. 21 – Barclays Arena, Hamburg, Germany

Nov. 24 – Quarterback Immobilien Arena, Leipzig, Germany

Nov. 28 – Hallenstadion, Zurich, Switzerland

Dec. 2 – Zénith, Nantes, France

Dec. 5 – Arkéa Arena, Bordeaux, France

Madonna‘s upcoming world tour is already poised to be quite the celebration. Now, all she needs are some people to celebrate with.
In a new video posted on her Twitter Sunday (Jan. 29), Madonna gets some help commemorating her career-spanning Celebration Tour from a host of special guests. Asking at the video’s start “I really want to know if you guys are excited that I’m going on tour,” the singer cedes the screen to a series of artists — including FKA Twigs, Kim Petras, Paris Hilton, Honey Dijon, Quavo, Ab-Soul, Bob the Drag Queen, Arca, Tokischa, Jozzy, Teezo Touchdown, Evan Mock and Jozzy — all offering emphatic yeses.

For at least one of those stars, the excitement is about more than just the prospect of seeing a new Madonna show. Bob the Drag Queen, the winner of season eight of RuPaul’s Drag Race, is set to appear as a special guest on the circuit. Celebrating the announcement two weeks back, the drag star tweeted a photo of herself dressed in a Madonna-inspired outfit on Drag Race next to a photo of the pair hanging out. “We’ve come a long way,” the queen wrote.

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The tour has already sold out in multiple major cities, leading to Madonna adding 13 new dates to accommodate the demand from fans. In a recent interview with Vanity Fair, the icon took a moment to relish her recent achievements. “I’m about to create another show, and I’ve been working for several years on the screenplay about my life,” she said. “This is a good time for me — I’m gathering ideas, getting inspired, hanging out with creative people, watching films, seeing art, listening to music.”

While that screenplay was in the process of being transformed into a biopic of the singer’s life, Madonna’s representatives recently revealed that the production was officially being put on hold so that the singer could focus on her world tour.

Check out Madonna’s teaser clip below:

Luke Bryan will bring his signature party vibe to summer when his Country On Tour visits 36 cities this year, starting June 15 in Syracuse, NY.

The five-time entertainer of the year winner will also present his fans with music from several red-hot newcomers, highlighting the music of Chayce Beckham, Tyler Braden, Ashley Cooke, Jackson Dean, Jon Langston, Conner Smith, Alana Springsteen, Hailey Whitters and DJ Rock.

Since launching his inaugural major headlining trek in 2013 with his Dirt Road Diaries Tour, Bryan has played to more than 13 million fans, while simultaneously continuing to amass hit songs (he has earned 26 No. 1 Billboard Country Airplay hits to date). He’s used his massive platform to offer numerous newcomers a prime performance slot on his tour, providing a sought-after stage for rising artists who have now also become household names in country music, including Morgan Wallen, Lauren Alaina, Little Big Town and Cole Swindell.

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“Artists get into the business to make music and perform it for the fans,” Bryan said via a press release. “Leaving it all out on that stage is what it’s all about for me. I’m excited to support and have so many talented new artists along for the ride this year. It’s one of the most rewarding parts of our job.”

Additionally, Bryan has diversified his concert offerings to include his annual Spring Break and Farm Tours, and just celebrated his eighth Crash My Playa festival in Mexico. He’s also spearheading his ongoing headlining show at Resorts World Theatre in Las Vegas.

Tickets for the tour dates go on sale Feb. 3 at 10 a.m. local time at lukebryan.com. See the full schedule for his Country On Tour below:

06/15/2023: Syracuse, NY- St. Joseph’s Health Amphitheater at Lakeview

06/16/2023: Darien Center, NY-Darien Lake Amphitheater

06/17/2023: Toronto, ON-Budweiser Stage

06/23/2023: Philadelphia, PA-Freedom Mortgage Pavilion

06/24/2023: Holmdel, NJ -PNC Bank Arts Center

07/06/2023: Wantagh, NY-Northwell Health at Jones Beach Theater

07/07/2023: Columbia, MD-Merriweather Post Pavilion

07/13/2023: Hershey, PA-Hersheypark Stadium

07/20/2023: Portland, OR-RV Inn Style Resorts Amphitheater

07/21/2023: Wheatland, CA-Toyota Amphitheatre

07/22/2023: Mountain View, CA-Shoreline Amphitheatre

07/27/2023: Lubbock, TX-United Supermarkets Arena

07/28/2023: Albuquerque, NM-Isleta Amphitheater

07/29/2023: Denver, CO-Ball Arena

08/04/2023: Salt Lake City, UT-USANA Amphitheatre

08/05/2023: Boise, ID-Ford Idaho Center Amphitheater

08/10/2023: Rogers, AR-Walmart AMP

08/12/2023: Nashville, TN-Bridgestone Arena

08/13/2023: Brandon, MS-Brandon Amphitheater

08/17/2023: Cincinnati, OH-Riverbend Music Center

08/18/2023: Indianapolis, IN-Ruoff Music Center

08/19/2023: Pittsburgh, PA-The Pavilion at Star Lake

08/25/2023: Evansville, IN-Ford Center

08/26/2023: St. Louis, MO-Hollywood Casino Amphitheatre

09/28/2023: Dallas, TX-Dos Equis Pavilion

09/29/2023: Ft Worth, TX-Dickies Arena

09/30/2023: Tulsa, OK-BOK Center

10/05/2023: Orlando, FL-Amway Center

10/06/2023: Savannah, GA-Enmarket Arena

10/07/2023: Charlotte, NC-PNC Music Pavilion

10/12/2023: Sioux Falls, SD-Denny Sanford PREMIER Center

10/13/2023: Green Bay, WI-Resch Center

10/14/2023: St. Paul, MN-Xcel Energy Center

10/26/2023: Raleigh, NC-Coastal Credit Union Music Park

10/27/2023: Charlottesville, VA-John Paul Jones Arena

10/28/2023: Charleston, SC-Credit One Stadium

2023 is off to a strong start for John Mayer fans. The guitar pro announced a solo acoustic arena tour on Thursday (Jan. 26), featuring 19 stops across North America this spring.

“I began my career on stage with only a guitar and a microphone,” he shared. “A lot has changed since then, but I knew one day I’d feel it in my heart to do an entire run of shows on my own again, just like those early days.”

It was unclear what was to come for the artist after Mayer announced his departure from Columbia Records after 21 years in March 2022. The only thing that was clear was that John wasn’t calling it quits, sharing at the time that “I love music more than ever, and I believe some of my best work still lies ahead.”

This run of shows marks Mayer’s first solo endeavor since the departure, with attendees having “acoustic, electric and piano” picks both new and old to look forward to on the special tour.

While he can rip up an electric solo like no other, some of his best lyricism and guitar work shine on his acoustic tracks. This was made abundantly clear during several stops of the 2022 Sob Rock tour, when Mayer pivoted to an acoustic-heavy format after several of his band members tested positive for COVID-19.

Could those set of shows have been the inspiration for this stripped-down trek? Of the 20-plus years of songs in his catalog, here are 24-ish songs we hope to hear on the solo tour, with a focus on the acoustic and piano favorites.

There are inevitable psychological scars that all people need to address once they reach adulthood. Whether tackled through therapy, medication, meditation, music, exercise, supplements or any other means, The Rose came to learn that they could address trauma as private individuals and members of their chart-topping Korean rock band. The quartet says their new, record-breaking album Heal is not just words of wisdom to share with fans but nightly mantras for themselves, too, while touring the album throughout the globe.

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After more than two years apart to settle drama with their previous Korean label and take care of South Korea’s mandatory military enlistment, The Rose reemerged in August last year with a new partnership alongside Transparent Arts (the entertainment agency founded by Billboard Hot 100 hitmakers Far East Movement) to release their first full-length album Heal. Preceded by the singles “Childhood” and “Sour,” Heal landed in the Top 20 of both the Top Album Sales and Top Current Album Sales charts, while peaking at No. 4 on the Heatseekers Albums too. Since its release, Heal has earned 12,000 equivalent album units, according to Luminate while their 2018 EP Void is their biggest release in the U.S. with 25,000 units earned to date.

After The Rose’s 2017 debut with “Sorry” led to the band earning a breakout K-pop artist to watch honor by Billboard, these career highs nearly five years after their mainstream introduction mark the band’s all-encapsulating dedication to what initially brought them together.

“The main message of The Rose when we first created the band was ‘healing together with music,’” explains the group’s Korean-American leader Woosung, who built up his solo pop career alongside Transparent during the band hiatus. “Coming into this new chapter of The Rose, we really wanted to remind ourselves and also remind our listeners.”

Those reminders came via Heal‘s creative process (The Rose handles nearly everything on this LP with contributions from pop and K-pop songwriter-producer Brian Lee on the stadium-sized anthem “Cure” and vocals from Transparent labelmate James Reid on the euphoric collaboration “Yes”), plus singing their lyrics back to themselves throughout their ongoing Heal Together world tour (that’s already played North and South America, Asia, and is currently in its final leg in Europe).

“We try to keep connecting with what we write and what we sing, trying to remind ourselves that life can be beautiful,” Woosung adds before vocalist-guitarist-keyboardist Dojoon adds how often a “lyric comes to us and it hits different every time. That’s a really good thing to have as a musician.” Bassist-singer Jaehyeong admits certain songs on the road make him tear up, while drummer-singer Hajoon lets the setlist take him back to moments in time.

Speaking with Billboard during some downtime amid touring, go on The Rose’s healing journey to dig deeper into Heal, reflections from tour, future music plans and more.

Woosung

Jack Vu

Hajoon

Jack Vu

Congratulations on the chart success of Heal. You set new records for Korean-rock groups; how did that feel?

Woosung: We’re just very thankful and blessed, to be honest; that’s what we’ve been feeling. We don’t feel overly excited honestly, because our fans have been pushing so hard for us that the numbers made sense for us. All we want to do is just thank them. And we’ve been trying to give our best show and keep our conditions strong so that we could, at least, have that time be enjoyable for fans—that’s how we give back.

Dojoon: It might be a more common Korean expression but we “don’t feel it in our skin yet.” It doesn’t feel real, but we’re so thankful.

This is your first album in partnership with Transparent Arts, which Billboard broke the news about in August. What was different with this album behind the scenes?

Woosung: The biggest difference is, now, we have our partners that trust our visions. We are creating visions together and we trust their vision. The biggest thing is just the openness and the honesty that makes us who we are and makes Transparent who Transparent is. It’s funny because Kev [Nishimura, Transparent Arts co-CEO] came up with this phrase, “We’re the guns to the Roses.” We’re learning so much with James Roh [COO/Management at Transparent] and Daniel “Dpd” Park being part of our team.

Dojoon: We learned a lot and we’re learning all the time, but the most important lesson and thing has been teamwork.

Woosung: There’s a phrase we always say, right? [Transparent co-CEO] Kirby [Lee]’s son says…

All: “Teamwork makes the dream work.” [Laughs]

Dojoon: It could be a cliché, but we really mean it and believe in that phrase. They have different personalities and different thoughts, and, likewise, we have different personalities and different thoughts. We know how to pay respect; every time we see them and they see us, we learn a lot from each other. I think it’s a really good synergy.

Did Transparent Arts bring James Reid onto “Yes”? He’s such a perfect vocal fit.

Woosung: No, James brought himself. [Laughs] We were finishing up the album in Joshua Tree, and James was there just hanging out with us…

Dojoon: James even said, “I want to go. I really want to come! Can I come?”

Woosung: We’re like, “Yeah, of course, you’re always welcome.” He came, hung out with us, and then he was hearing what we had made so far and he’s like, “I like this one, I want to be on this one.” We thought, “Yeah, it makes sense. You’re on it.” [Laughs] And he knew he was a perfect fit too. James was like, “This is my sh-t right here.”

Dojoon: And, naturally, there was a trade. Sammy [Woosung] got to be on James’ song [“Hold on Tight” off Reid’s Lovescene: album released in October 2022].

Heal is The Rose’s first full project since your break to handle military enlistment and other projects. What did you learn on your own that you brought to this project?

Dojoon: Individually, we got to spend time on our own, and we had a lot of time thinking about ourselves and the team individually, which made us realize how taking this time isn’t a bad thing. So, we got more peace of mind. We really got to learn more about how to stay calm and keep going—I think that’s the best lesson we learned from that hiatus.

Woosung: Honestly, we matured in our own way, which is very helpful for our group. Now, I think there’s peace of mind where we can think more about what others feel and truly try to understand how each other feels which grows us as a team because we couldn’t always really understand where the other person is coming from. We’re bringing that into our album, our daily lives, everything.

Jaehyeong: I met new people, so they influenced me in terms of music. There were a lot of things; some of the people I met during that time played classical or traditional music, so they influenced me.

I can hear some of that in “See-Saw.” I want to get into some of the topics in the album and songs. The title is simple but very powerful. When did you decide that Heal was the name of the album?

Woosung: It was just random, we were just talking.

Dojoon: Oh, but it was a four-letter word: H-E-A-L.

Woosung: Our albums have only been four letter words: Void, Dawn, Heal. That’s on purpose but when we first got together, all four of us were just catching up, sharing our stories of what we went through and how we had kind of gone through life without each others’ presence. And we really felt how that the main message of The Rose when we first created the band was “healing together with music.” Coming into this new chapter of The Rose, we really wanted to remind ourselves and also remind our listeners. And just in general, we felt like people had a lot of healing to do in terms of little things or big things in this life: it can be childhood trauma, traumas that you don’t even remember that you need to heal from, a recent incident that you want to heal from. We honestly believe that music is a universal language that does a lot of healing so we just wanted to create this tool for everybody that listens to the music to kind of guide them, and guide us as well, through this healing journey.

Why is that world “heal” so important to you guys, whether it’s as a band or independently?

Woosung: Well, I learned over the past two or three years of my traumas, the childhood traumas that I had which brought out certain behaviors, certain thinking, certain actions, certain way of talking, certain way of handling things. I think, really, the root of it was from a childhood trauma that I had even forgotten. I didn’t really understand it until I thought about it so, that was a big turning point for me for sure; how to conversate and how to really handle things.

Dojoon: I had a little difficulty expressing my feelings to friends or people who I love. By talking a lot with our members and going through that, I’m trying more to express myself a little more. And that’s my task from now on, but I’m on a healing journey as we go.

It sounds like you guys can help one another in your healing journeys.

Woosung: For sure. We’re in it together.

Dojoon: We have a song called “See-Saw” and writing it was a very healing experience. It’s a story of its own, there’s a part in the lyrics where we reply back to Jaehyeong. I think that’s a great thing to have as a band where we actually can heal by performing it every time.

Jaehyeong: We just had a concert in Toronto where we sang “See-Saw,” it was only our fifth concert on tour. I didn’t cry at the show, but I don’t know, our fans grabbing their phones, turning on their flashlight, our members singing, and that part that made me so emotional. I was crying, and I think that crying helps me find more clarity and overcome my own trauma. That’s my healing time.

So “See-Saw” is the song that makes The Rose cry?

Dojoon: One of them, yeah! [Laughs]

Dojoon

Jack Vu

Jaehyeong

Jack Vu

Everything I’m hearing makes it clear that “Childhood” was the perfect single to begin this album and these topics. Was that on purpose?

Woosung: That’s correct. Because everything starts from our childhood, right?

Dojoon: We were all a child once, every person.

The lyrics of “Childhood” say, “Don’t forget when you were a child…/ Let it stay in your mind.” How do you guys live that lyric?

Woosung: Well, that’s the thing: when we write the songs, it’s not us saying that we’re better and already know how to do it—it’s also reminding ourselves. We’re just like the listeners; there’s nothing more special between listener and performer. The music is what’s special and we’re trying to live and remember these messages through music. So, we try but we’re human as well—we forget. It’s hard to chase those childhood dreams sometimes and reality makes it hard. But we try to keep connecting with what we write and what we sing, trying to remind ourselves that life can be beautiful, life is beautiful, and we want to live it beautifully.

Dojoon: Speaking of forgetting, we tend to forget our songs. Then when we listen back, after a few months or a few years, we’ll realize, “Oh yeah, we talked about this.” And this lyric comes to us and it hits different every time. That’s a really good thing to have as a musician.

I also really want to give you props for the “Childhood” music video too. It’s so well done and not like anything I feel like I’ve seen from a pop group based in Korea. I loved how you showed so many different bodies, you showed your bodies, tell me about conceptualizing the video.

Woosung: The main message behind that visual was just that we’re all born naked, we’re all equal, we’re all children once, we’re all humans. That was what we want to showcase. You don’t have to be perfect—as you can see, we don’t even have perfect bodies. We got a little gut. Hajoon had a pretty nice body, he’s been working out. [Laughs] But me, I just hang out. But we wanted to showcase the naturalness of just human beings and the beauty of being natural. And also showcase nature because that’s as natural as it could get.

What’s the best song to perform on tour?

Woosung: My favorite performance is “Definition of Ugly Is,” the first song on the setlist. I think it really sets the mood. I really love the messaging behind the song, which is like the Ugly Duckling: you’re a swan, you don’t know yet, but everybody thinks you’re special, they pick on you, but you become a swan, you were just in the wrong group…that’s my favorite song to play.

Dojoon: I think, “Sour.” “Definition of Ugly Is” is the leading, first song for the show but “Sour” is the very last song. Well, when the audience is really into the concert and really, feeling it, that’s the time when “Sour” comes out. I feel like everybody can relate to the melody, they sing along with us really well, and I have so much fun doing that song.

Jaehyeong: For me, the first one is “See-Saw” but the second one is “Black Rose.” You know, it is our first time to sing this song to our [fans known as] Black Roses. We’re not playing our instruments; we only sing and sing together to our fans. It feels like very special and so emotional. I love it. A lot of fans come up to us to say, “I really loved the ‘Black Rose’ out of the whole setlist.”

Hajoon: For me, “Sorry” is my favorite to perform because the song is our first song. So, when I play that, I feel like when we started the band, it’s like coming back to the beginning. I think our fans feel the same too. They know the lyrics very well because it’s been out there for almost six years.

Looking ahead, what’s coming next as the new year starts?

Woosung: We have the world tour and everything wraps around March-ish. We’re really excited to just be on the road, see our fans, really perform. Between those times, we’re visiting these cities and doing publicity. We’re even doing news platforms in new cities, it’s been great. We’re excited to finish that up strong, give a good performance to each city, and we’re going to go on a break for one month, from March to April 1st. Then after that, it’s start over. We’re going to get ready for another album, talk about where we want to take that album and get back into it.

Dojoon: Yeah, we’re really excited for the next production.

Any hints you can give? Or influences you guys have been feeling lately?

Woosung: The album’s going to be four letters.

I guess we could expect that.

Dojoon: We’re going to make something very…

Hajoon: Cool!

Dojoon: A cool, city-ish vibe?

Woosung: Yes, city vibes. You know how Heal was our Joshua Tree vibe? In nature?

Dojoon: It’s going to be the opposite now—maybe.

That’s a good tease. Anything else to add for the fans?

Woosung: We honestly just want to thank our Black Roses. They’ve been amazing, making us trend on Twitter for like every day on tour. They’ve been doing fan events together. We’re very thankful just to be building this community and being a part of this community. We want to share our experiences as well, and we’re happy that we have a community that we can engage in and talk with, even keeping up with them on Discord. So, thank you, Black Roses, we “Rose” you. We Rose all of you. And we hope to see you very soon.

In December, Barclays Center and BSE Global chief executive Sam Zussman arranged a meeting with officials at SeatGeek and offered the ticketing company an ultimatum: Either terminate the seven-year contract they signed with his predecessor, John Abbamondi, the year before, or else Zussman would publicize SeatGeek’s tech failures as they happened, multiple sources tell Billboard.

SeatGeek quietly complied and the ticketing company’s third NBA contract would come to an end, losing one of New York’s most popular venues. Starting this month, all new concerts at the arena are now ticketed by the team’s previous ticketing provider, Live Nation’s Ticketmaster — the world’s biggest ticketing service — under a deal term that runs for three to five years, according to sources familiar with the situation.

“The Barclays Center team met with our execs to figure out a way to amend the contract which would offer us the ability to continue ticketing the teams, but not third party events,” a SeatGeek spokesperson told Billboard in a statement. “Several months later we offered Barclays the opportunity to simply end the agreement, in consultation with our other clients, on good terms.”

A separate statement from Barclays Center confirmed that BSE Global and SeatGeek’s partnership would “wind down” beginning with the New York Liberty’s 2023 season in May. “SeatGeek provided our fans with a first-class gameday ticketing experience,” the statement reads, “and we’re appreciative of the time and energy they put into our work together.”

“They Just Aren’t Designed for High-Demand Ticket Sales”

A Barclays Center representative would not comment on the reason behind the arena’s dramatic turn face, or why Zussman had been frustrated with SeatGeek’s fulfillment of its contract — most ticketing agreements have clearly defined “service level agreements” governing response expediency and site uptime — but an incident from October 2021 provides insight into the issues SeatGeek may have been struggling to rectify.

Booking agents Jared Arfa and Marsha Vlasic at Artist Group International whose agency represents New York indie rock icons The Strokes, claim SeatGeek mishandled an October 2021 presale that cost the group several hundred thousand dollars. That concert, originally scheduled for Dec. 31, 2021, was postponed to April 2022 due to concerns over the omicron COVID-19 variant and ended up selling 13,548 tickets and grossing $1.57 million. That total was 2,000 tickets and $400,000 less than the band’s 2019 New Year’s Eve show at Barclays Center, which Arfa and Vlasic blame on SeatGeek’s user interface— not The Strokes’ popularity.

“They just aren’t designed for high-demand ticket sales, like concerts,” says Arfa, who describes SeatGeek as “a secondary ticketing company that dabbles in primary ticket sales” and struggled during large sales. “There’s things that we have become accustomed to in the music business that SeatGeek can’t do that as well.”

By contrast, says one prominent Brooklyn concert promoter familiar with both ticketing systems, “Ticketmaster has a ton of marketing power and reach in New York” through its huge email lists, search engine optimization and decades of work in the city. “For better or worse,” the booker adds, “Ticketmaster sells the most tickets in New York hands down.”

This wasn’t a one-time instance, either. Sources tell Billboard that concert promoters S2BN booked and then cancelled a Genesis 2022 tour date for Barclays Center due to issues with SeatGeek. The show, which was to be a surprise fourth New York date of the band’s Last Domino run (Genesis played two nights at Madison Square Garden and one at UBS Arena in Belmont), suffered from technical issues after going on sale and never came close to hitting the promoter’s sales goals.

The SeatGeek Deal Points

SeatGeek officials dispute the claims about problems with their system, telling Billboard in a lengthy statement, “Being the fastest growing tech company and a newer entrant to the primary ticketing space, SeatGeek is unencumbered by legacy technology, historical relationships, and outdated biases, allowing us to invest where the most impact can be felt.”

“In the last twelve months,” SeatGeek’s statement continues, “we’ve bolstered our entertainment team with key hires and have completely revamped our entertainment product offering, including making a number of fan-friendly strides in how we handle onsales, from utilizing state-of-the-art 3D view-from-seat imagery to providing ‘similar seat’ recommendations when multiple customers are vying for the same inventory.” The changes have resulted in “resounding appreciation from both AEG and Live Nation’s teams.”

Abbamondi signed the SeatGeek deal in 2021 with a $10 million signing package, sources say, that included cash, savings on the fees SeatGeek charged and a lucrative sponsorship agreement. The contract was seen as a means of helping reduce owner and Alibaba co-founder Joe Tsai’s $50 million to $100 million annual losses operating the team and arena since he bought out majority owner Mikhail Prokhorov in 2019. Just seven months later, however, Tsai agreed to accept Abbamondi’s resignation, despite the executive signing a record number of sponsorship agreements for the Nets that brought in an additional $30 million in annual revenue.

For SeatGeek, one of the largest ticket resale services in North America, the Barclays Center deal marked a major win in the company’s move from secondary ticketing into the primary, direct-to-consumer ticket business. Partnering with venues for primary ticketing services also drives significant traffic to SeatGeek’s secondary marketplace. That’s because ticket buyers don’t generally know if they are buying tickets from the team or from a reseller, since all primary and secondary tickets are listed together without any differentiation. The company’s other clients include the NBA’s New Orleans Pelicans and Cleveland Cavaliers, the NFL’s Dallas Cowboys and Arizona Cardinals, most of Major League Soccer and a growing number of Broadway theaters due to an alliance with Shubert Tickets.

Ticketmaster Regains Control

Ticketmaster has been under scrutiny this week, following a high-profile hearing before the U.S. Senate Judiciary Committee on Tuesday, examining competition in the ticketing industry and the company’s disastrous Nov. 15 ticket sale for Taylor Swift’s record-breaking The Eras tour. SeatGeek chief executive Jack Groetzinger testified during the hearing that Live Nation and Ticketmaster’s 2010 merger should be unwound due to a monopolistic behavior, saying it “it stifles competition completely.” (He was not, however, asked about his company’s own outages selling tickets to five of the concert dates for which the company has exclusive deals — including one reported instance where it charged a woman’s credit 14 times for $9,000 in total.) With Barclays Center’s move back to Ticketmaster, and the opening of the UBS Arena in late 2021, Ticketmaster now tickets all four of New York’s major arenas.

Barclays Center’s switch is likely to be examined by the Department of Justice, which monitors Ticketmaster as part of a 13-year-old consent decree dating back to Live Nation’s 2010 merger with Ticketmaster. One area of inquiry will likely be the drop in the number of concerts brought to Barclays Center in 2022, compared to 2019, the last full year of concerts prior to the COVID-19 pandemic.

Six months after signing with SeatGeek, Barclays Center saw the number of especial events and concerts at the building drop 13% from 2019 to 2022. The number of Live Nation concerts at the building fell 23% compared while the revenue generated from those Live Nation 2022 shows — $14.6 million — was less than half of the $31 million Live Nation concerts generated at Barclays Center in 2019.

The precipitous drop in Live Nation content, if done to retaliate against the venue for signing with Ticketmaster, could be a serious violation of the consent decree and could be grounds for challenging the merger in court.

Billboard found that other major buildings experienced similar fluctuations, though, including Madison Square Garden, which saw its total show count from 2019 to 2022 drop 11%. Revenue from Live Nation touring shows dropped 20% during that same period, while the number of touring shows brought to the arena was only down 2%. The 02 Arena in London, Scotiabank Arena in Toronto and FTX Arena in Miami each also experienced double-digit event night declines at their venues in 2022 compared to 2019.

The arena shows that Live Nation did bring to Barclays Center were some of the company’s most popular tours, according to Boxscore data, including Kendrick Lamar ($3.7 million gross), My Chemical Romance ($4.4 million gross) and Arcade Fire ($1.3 million gross). Barclays Center was also likely impacted by the opening of the OVG-managed UBS Arena, which booked $50 million in shows in 2022. Often the opening of a new venue can temporarily affect older venues as touring shows line up to be among the first to play the new facility. Barclays Center was able to make up for much of the loss caused by the decrease in Live Nation shows with higher grossing events from other promoters. By doing so, executives were able to minimize the venue’s drop in revenue from 2022 to 2019 to a difference of only $2 million, according to Boxscore data. Among those were Elton John’s March 1-2 concerts that generated $4.9 million in sales and Tame Impala’s March 14-15 shows that generated $1.9 million in sales, both promoted by AEG Presents. As well, Bad Bunny’s March 19-20 dates from Latin promoter Henry Cardenas generated more than $7.9 million in sales.

Looking ahead to 2023, Barclays Center already has three of the year’s biggest shows on the books – Madonna, as well as Blink-182 and Bruce Springsteen. Blink and Springsteen are both Live Nation tours booked at the venue prior to the switch back to Ticketmaster.

Zayn has signed with UTA for representation across music, film and television, among other areas.

Currently at work on his fourth studio album, Zayn launched his career as a member of One Direction in 2010 before departing the group in 2015 to embark on a solo career. In 2016, he released his debut solo album, Mind of Mine, which hit No. 1 on the Billboard 200 and was certified platinum by the RIAA. The album’s lead single, “Pillowtalk,” also topped the Billboard Hot 100 and has since been certified five-times platinum by the RIAA. He has garnered several accolades for his music throughout his career, including a Billboard Music Award, an American Music Award, an MTV VMA and two Brit Award nods.

Zayn’s catalog, which encompasses three studio albums (2018’s gold-certified Icarus Falls, 2021’s Nobody Is Listening and Mind of Mine), has earned 4.6 million on-demand official U.S. streams, according to Luminate.

Outside of music, Zayn has also ventured into the fashion world, having collaborated on capsule collections with the likes of Giuseppe Zanotti and Versus Versace while gracing the cover of numerous fashion publications including Vogue, GQ, ELLE UK, Highsnobiety, PAPER and The FADER. In 2017, he was named “Most Stylish Man” at the British GQ Men of the Year Awards.

Elsewhere, ZAYN has advocated for free school lunches for children living in poverty in the UK, penning an open letter to Prime Minister Rishi Sunak.

Zayn is also represented by Nicola Carson at ZenKai Management and Taryn Zimmerman.

John Mayer is headed on the road — this time, with a twist. On Thursday (Jan. 26), the singer-songwriter announced an 19-date solo arena tour across North America in 2023 that will consist of him leaning heavily on his acoustic guitar for the series of performances.

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The trek will see the “Daughters” singer travel across cities in the United States and Canada. The tour begins on March 11 at Newark’s Prudential Center, and will make stops in Boston, New York, Toronto, Atlanta, Chicago and more before concluding on April 14 in Los Angeles at the Kia Forum. Lizzy McAlpine and Alec Benjamin will support Mayer on the tour, alongside one more special guest who has yet to be announced.

Mayer spoke about what the tour means to him in an Instagram post that featured the trek’s official poster — a picture of him sitting on stool while holding an acoustic guitar.

“I began my career on stage with only a guitar and a microphone. A lot has changed since then, but I knew one day I’d feel it in my heart to do an entire run of shows on my own again, just like those early days,” he shared. “It took a couple of decades, but I feel it now. I’ll be playing old songs. Newer songs. Songs you haven’t heard yet that I’ll be road testing – all on acoustic, electric, and piano.”

As for the finer details, such as when fans can buy tickets, Mayer added: “Tickets go on sale to the public Friday, Feb. 3. at 9 a.m. local time. Presales start Wednesday, Feb. 1, at 9 a.m. local time and run through Thursday, Feb. 2, at 10 p.m.  Sign up to access presale tickets now at johnmayer.com.” Tickets will be sold via seated.

See Mayer’s post and the concert dates for the tour, below.

Here are the tour dates:

Saturday, March 11                Newark, NJ                             Prudential Center                   

Monday, March 13                 Boston, MA                             TD Garden

Wednesday, March 15          New York, NY                         Madison Square Garden

Saturday, March 18               Pittsburgh, PA                        PPG Paints Arena

Monday, March 20               Toronto, ON                            Scotiabank Arena

Wednesday, March 22         Detroit, MI                              Little Caesars Arena

Friday, March 24                   Nashville, TN                          Bridgestone Arena

Saturday, March 25              Cleveland, OH                         Rocket Mortgage FieldHouse 

Monday, March 27                Atlanta, GA                             State Farm Arena

Wednesday, March 29         St. Louis, MO                          Enterprise Center

Friday, March 31                   Chicago, IL                              United Center

Saturday, April 1                    St. Paul, MN                            Xcel Energy Center

Monday, April 3                     Denver, CO                             Ball Arena

Wednesday, April 5              Phoenix, AZ                            Footprint Center

Thursday, April 6                  Palm Desert, CA                     Acrisure Arena            

Saturday, April 8                  Sacramento, CA                      Golden 1 Center

Monday, April 10                  Vancouver, BC                        Rogers Arena

Tuesday, April 11                  Seattle, WA                             Climate Pledge Arena             

Friday, April 14                     Los Angeles, CA                      Kia Forum