Touring
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SZA‘s 2023 just got busier. The “Kill Bill” singer revealed on Tuesday (April 11) that she’s extending of her S.O.S. tour, which will see her traveling across Europe and more cities in North America starting this summer.
The tour extension will kick off on June 1 with a stop at the Ziggo Dome in Amsterdam. Throughout the month, SZA will play shows in Paris, Zurich, Berlin, London and more before concluding the European leg on June 21 in Dublin with a show at the 3Arena. “Escapism” singer RAYE will support SZA on the European leg, with the exception of the June 11 date in Cologne, Germany.
The 33-year-old will head stateside in September, starting with a show at Miami’s Kaseya Center on Sept. 20. The second North American trek will include stops in Nashville, Brooklyn, Chicago, Houston, Los Angeles, and more before concluding in Phoenix on Oct. 29. The St. Louis-born artist plays her hometown on Oct. 11. The Philadelphia show on Sept. 26 serves as rescheduled date from SZA’s postponed S.O.S. tour stop in the city on March 2.
Fans looking to get presale access to tickets for Europe can do so staring on on Wednesday, April 12, at 10 a.m. local time. Remaining tickets will be sold in a general onsale that will take place on Friday, April 14, at 12 p.m. local time on szasos.com. North America dates go on presale via Live Nation on Thursday, April 13, at 10 a.m. local time. General on sale will begin on Friday, April 14, at 12 p.m. local time on szasos.com.
See the full list of tour dates below.
THE S.O.S. EUROPE TOUR DATES
June 1 – Amsterdam, Netherlands – Ziggo Dome*
June 5 – Paris, France – Accor Arena*
June 7 – Zurich, Switzerland – Hallenstadion*
June 9 – Berlin, Germany – Mercedes-Benz Arena*
June 11 – Cologne, Germany – Lanxess Arena
June 13 – Manchester, UK – AO Arena*
June 15 – Glasgow, UK – OVO Hydro*
June 17 – London, UK – The O2*
June 18 – London, UK – The O2*
June 21 – Dublin, Ireland – 3Arena*
*With Support from RAYE
THE S.O.S. NORTH AMERICAN TOUR DATES
Sept. 20 – Miami, Fla. – Kaseya Center
Sept. 22 – Tampa, Fla. – Amalie Arena
Sept. 24 – Nashville, Tenn. – Bridgestone Arena
Sept. 26 – Philadelphia, Penn. – Wells Fargo Center^
Sept. 28 – Baltimore, Md. – CFG Bank Arena
Sept. 30 – Boston, Mass. – TD Garden
Oct. 1 – Newark, N.J. – Prudential Center
Oct. 4 – Toronto, ON – Scotiabank Arena
Oct. 6 – Brooklyn, N.Y. – Barclays Center
Oct. 7 – Brooklyn, N.Y. – Barclays Center
Oct. 10 – Chicago, Ill. – United Center
Oct. 11 – St. Louis, Mo. – Enterprise Center
Oct. 14 – Houston, Texas – Toyota Center
Oct. 15 – San Antonio, Texas – AT&T Center
Oct. 18 – Denver, Colo. – Ball Arena
Oct. 19 – Salt Lake City, Utah – Vivint Arena
Oct. 22 – Los Angeles, Calif. – Crypto.com Arena
Oct. 23 – Los Angeles, Calif. – Crypto.com Arena
Oct. 26 – San Francisco, Calif. – Chase Center
Oct. 28 – Las Vegas, Nev. – T-Mobile Arena
Oct. 29 – Phoenix, Ariz. – Footprint Center
^ Rescheduled date from Leg 1 without Omar Apollo
The Who may have played their last-ever U.S. dates. The veteran Rock and Roll Hall of Famers who’ve been taking their closing curtain calls since their “final” show in 1982 may actually be done playing shows in the U.S. according to singer Roger Daltrey.
While the band has some more Who Hits Back shows boked in Europe this summer, Daltrey, 79, told USA Today that another hop across the ocean might be out of the question. “Nothing at the moment. I don’t know if we’ll ever come back to tour America,” said Daltrey. “There is only one tour we could do, an orchestrated Quadrophenia to round out the catalog. But that’s one tall order to sing that piece of music, as I’ll be 80 next year. I never say never, but at the moment it’s very doubtful.”
As far as what might finally slow the band down, Daltrey said the chaos of the post-pandemic touring economy is a huge reason. “Touring has become very difficult since COVID. We cannot get insured and most of the big bands doing arena shows, by the time they do their first show and rehearsals and get the staging and crew together, all the buses and hotels, you’re upwards $600,000 to a million in the hole,” he said of the lingering impact of the COVID-19 pandemic shutdowns on touring.
“To earn that back, if you’re doing a 12-show run, you don’t start to earn it back until the seventh or eighth show,” Daltrey explained. “That’s just how the business works. The trouble now is if you get COVID after the first show, you’ve (lost) that money.”
The Who just released the live collection The Who with Orchestra: Live at Wembley, a 20-song chronicle of their 2019 show at the iconic stadium, which marked their first headlining slot there in 40 years. And while Daltrey said the band was in perhaps its finest form ever at the moment, some of their signature bits don’t have quite the same pop as they did a half century ago.
“Pete can’t quite jump 10 foot in the air anymore. He can do 3 foot, so he’s not bad! (Laughs),” he said of the band’s guitarist and only remaining original member. “I don’t swing the microphone hardly at all now because it doesn’t matter to the sound anymore. Before, when all of those things used to work, it was a circus act. We’re more than that now. I’m proud that our music has come of age and I think you could say this is the most modern classical music out there.”
The Who will hit the road again on June 14 with a gig in Barcelona, Spain and on a Euro run that is currently slated to run through an August 28 show in Sandringham, England at the Royal Sandringham Estate in Norfolk.
Beabadoobee is currently living out her “Wildest Dreams” while supporting Taylor Swift during the superstar’s Eras Tour across the United States. For Beabadoobee’s first day supporting on the tour — March 25 at Las Vegas’ Allegiant Stadium — Swift dedicated “Our Song” to her, which the 22-year-old opened up about in an interview with People published Friday (April 7).
During the show, Swift told her crowd before launching into the third single from her self-titled debut that she had read an interview with her opening act. Said the star, “I figured for her first show with us, I’d play that specific song that she said she wanted to hear.”
Beabadoobee excitedly recalled that the experience “didn’t feel real” to her. “Imagine someone that you’ve listened to growing up and almost shaped your childhood being like, ‘This is for young Bea.’ And I’m like, well, f–k my life. I’m going to die,” she said. “It’s like all the problems have just been solved in that [moment].”
“She’s just so awesome. And the fact that she took the time to say that and to watch an interview, and to sing it and even just introducing me,” the “Talk” singer, whose real name is Beatrice Kristi Laus, continued. “It’s just mental that someone I’m a massive fan of appreciates my music as much. It was a trip. It was a massive trip. It was like I was on shrooms or something.”
As for how Bea is handling the pressure of opening stadium shows, she revealed that keeping her nerves under control is a tough task — especially considering that Swift is counting on her. “It’s actually pretty terrifying out there. Hope I get used to it. But I think it’s just when I’m on that stage, I not only think about like, ‘Oh, I’m going to play to all these people and that’s so terrifying as it is,’” she shard. “It’s more like, ‘Oh my God, I’m doing this for Taylor Swift because Taylor Swift wants me up here and she loves me and I love her.’ So it’s just a lot to take in when you’re up there.”
In addition to performing with Swift, Beabadoobee is doing a series of solo concerts and festival dates throughout the spring and summer after wrapping up The Eras Tour run on April 29.
It’s been a transformative few months for SZA. The R&B superstar released SOS, her second studio album, in December to universal critical acclaim and blockbuster business. The set earned 318,000 album equivalent units in its first week of release, kicking off a non-consecutive 10-week run atop the Billboard 200. And in the middle of that chart-topping stretch, she kicked off the aptly titled SOS Tour.
The 18-date stint ran from Feb. 21 through March 23, giving SZA her first taste of headlining arenas on her own. According to figures reported to Billboard Boxscore, the SOS Tour grossed $34.5 million and sold 238,000 tickets.
Spread across its month of action, SOS shows averaged $1.9 million and 12,812 tickets per night. Returns were remarkably consistent, only dipping below 11,000 at the (relatively) low-capacity Viejas Arena in San Diego. The SoCal arena sold 8,700 tickets, but fostered the tour’s second-highest ticket price, at $174.69. Otherwise, attendance swung between 11,069 (Atlanta) and 14,383 (Toronto) on a nightly basis.
New York and Los Angeles were the two markets, perhaps unsurprisingly, with double-headers. SZA played two shows at Madison Square Garden on March 4-5, and the run’s final two dates at Kia Forum in Inglewood, Calif., on March 22-23. Logically, these were the highest grosses and attendance counts, hitting $4.7 million and 27,000 tickets at the East Coast arena, and $3.9 million and 25,000 on the West.
Reporting is limited for SZA’s pre-pandemic concerts, with a small handful of figures for 2017’s Ctrl the Tour and subsequent 2019 Australian shows. But matching up her shows market-by-market, her growth over the last six years is undeniable.
SZA played at Austin’s Emo’s on Oct. 1, 2017, earning $31,000 from a sold-out audience of 1,550. She returned to the city on March 9 at the newly minted Moody Center. She spun that attendance and its average $20 ticket seven times over, amounting to a show gross 55 times the total of her previous market play ($1.7 million).
In New York, it’s a similar – but bigger – story. SZA grossed $45,000 and sold 1,800 tickets at Brooklyn Steel on Dec. 10, 2017. Returning to Madison Square Garden last month, she earned $4.7 million and sold 27,000 tickets. That represents a jump of 1,376% in attendance and more than 10,000% in revenue.
The caveat in NYC is that SZA also played an un-reported show at Manhattan’s Irving Plaza the night after her Brooklyn date in 2017. But even if the 1,100-capacity club sold out at the same average ticket price, her growth in New York would still be nearly 6,500%.
SZA got some arena experience during her first album cycle, snagging co-headline billing on Top Dawg Entertainment’s Champions Tour in between Kendrick Lamar and Schoolboy Q. But even that stacked bill played only one show in New York, selling fewer tickets (12,500) than SZA did on either of her solo ’23 shows at the same venue.
Much of that upward trajectory can be attributed to the slow-burn success of 2017’s CTRL. While peaking at No. 3 and spending “just” a handful of weeks in the Billboard 200’s top 10, it has accumulated more than 300 weeks on the chart. One of its five frames in the top 10 was in June 2022, after a five-year-anniversary deluxe edition hit streaming services.
After letting that album breathe for more than five years, SZA’s timing was sharp. The SOS Tour was announced days after its namesake album was released, with tickets going on sale a few days after that. The set’s massive opening week backed up the feverish hype surrounding her long-awaited comeback, and its subsequent ticket on-sale capitalized on that momentum without missing a beat.
The SOS Tour helped complete SZA’s transformation from slow-burn R&B wunderkind to genre-bending arena powerhouse. She is represented by Wasserman Music and promoted by Live Nation. The tour featured direct support act Omar Apollo.
Just under the surface of Ed Sheeran’s chart-topping Oceania shows, the Red Hot Chili Peppers breaks new ground on Billboard’s monthly Boxscore charts. The band is No. 2 on February’s Top Tours ranking, and followed closely again at No. 6, becoming the first act to appear twice on the same chart since the list launched in February 2019.
The Chili Peppers played eight shows in Australia and New Zealand from Jan. 21 through Feb. 12. For those stadium gigs, the group paired with Post Malone for a co-headline run of $48.2 million, splitting by $15.2 million in January and another $33 million in February. That was enough to land them at No. 2 for both months, first behind Elton John and then Sheeran.
Without missing a beat, the Chili Peppers followed with three shows in Asia on Feb. 16, 19 and 21, sans Post Malone. Those earned $12.1 million, putting the unaccompanied band at No. 6 on February’s overall ranking. In the four years since the monthly charts premiered, no act had previously doubled up on the 30-position ranking, much less in the top 10.
While it’s the first time that an artist has scored two positions on a monthly chart, it’s not unprecedented among all Boxscore rankings. On the 2018 year-end charts, Jay-Z was No. 3 alongside Beyonce for the On the Run II Tour, and at No. 25 for his solo headline dates.
The Chili Peppers also blanket the Top Boxscore chart, both on its own and alongside Post Malone. The co-headline shows appear at Nos. 5-6 and 9, topped by two shows on Feb. 2 and 4 at Sydney’s Accor Stadium ($13.5 million; 107,000 tickets).
Unaccompanied, the band hits Nos. 9 and 24, spotlighting the Feb. 19 performance at Tokyo Dome which earned $7.2 million and sold 45,000 tickets.
In addition to two shows from Sheeran, the Chili Peppers’ Sydney dates helped make Accor Stadium the month’s top-grossing venue with a $32.4 million gross and 279,000 tickets sold.
Since launching in June in Europe, the Red Hot Chili Peppers’ Global Stadium Tour has earned $237.4 million and sold 1.9 million tickets. Beyond the Oceania and Asia legs, the band continues with a swing of North American shows that extend through mid-April, before returning to Europe and continuing on to Latin America later this year.
At $491.9 million, the soon-to-be-reported Western shows will push the band’s career Boxscore gross past the half-billion mark.
Live Nation president/CEO Michael Rapino is once again dipping into his personal bank account to convey his financial support and commitment to the concert promotion company he’s been building since 2005. On Friday (March 31), he purchased approximately $1 million worth of company stock “in order to maintain his strong level of stock ownership in the Company,” according to a recent Securities and Exchange Commission filing.
The purchase is a bit confusing since it was part of a tax withholding effort and was technically listed as a sale of shares by Rapino rather than an acquisition. But just as he did in March 2020, Rapino spent approximately $1 million of his own money to increase the number of Live Nation shares he held in his portfolio.
Rapino made the March 2020 purchase just as the company’s share price, and most of the stock market, was being battered by fears of a deep recession due to the COVID-19 pandemic. At the time, the company was trading at $38.60 per share, down nearly 50% from weeks earlier when the stock was trading at approximately $74 per share.
Today, that $1 million Rapino invested in the company in 2020 is worth $1.8 million, with the Live Nation stock hovering around $68 to $70 per share — better than it was during the early days of the pandemic, but lower than shareholders want considering that the company enjoyed record revenue in 2022 and is poised for a big 2023 with superstar artists like Beyoncé, Drake and Madonna hitting the road. Rapino’s latest purchase is a way to shore up confidence in the company as it heads into another promising year.
Dragging the company’s share price down are concerns about debt and regulatory pressure from Washington, D.C. Live Nation carried $3.7 billion in debt prior to the pandemic and now shows a debt level of $6 billion. With nearly $5.1 billion of that debt set at a fixed interest rate, the company will easily be able to service its interest payments, but it’s unlikely to raise additional capital for acquisitions in the short term due to federal monetary shifts toward higher interest rates. On the regulatory front, the company is facing both long-term scrutiny over its 2010 merger with Ticketmaster and more recent attention over its handling of the 2022 ticket sale for Taylor Swift‘s Eras Tour.
Friday’s purchase was structured differently than the March 2020 purchase, which saw Rapino buy the $1 million in company shares off the open market. Instead, it was part of a share surrender by Rapino and other executives over taxes due on vested restricted stock awards. As part of the company’s equity incentive plan, Rapino was to surrender 22,204 shares of restricted stock back to the company to cover withholding taxes but opted to pay $1 million out of his own pocket toward taxes due on his 2022 stock award, “hereby retaining ownership of 14,285 shares of common stock of the Company that would have otherwise been surrendered to the Company to pay taxes,” according to the SEC filing.
Rapino currently holds 5.2 million shares of Live Nation, consisting of 3.5 million shares of common stock, options to purchase an additional 600,000 shares and a performance share award targeted at 1.1 million shares of common stock.
The Recording Academy is using the power of music for good.
On Wednesday (April 5), the organization announced a new partnership with several United Nations Human Rights-supported global initiatives on a campaign that will engage major artists to use their talents and platform to galvanize support for UN human rights goals, including advocacy for LGBTQ+ rights, gender equality, women’s empowerment, climate justice and a broad range of other human rights issues.
The first activation under the initiative is the Right Here, Right Now Mini Global Climate Concert Series, which will see popular arena acts performing in small concert venues around the world while highlighting climate issues including floods, droughts, fires, tornadoes, hurricanes, tsunamis, food insecurity, clean water, ocean acidity, deforestation, mental health and more. The series is set to kick off April 13 at the Boulder Theater in Colorado with The Lumineers’ Wesley Schultz alongside special guest Yola. The performance, produced by AEG Presents and supported by the University of Colorado Boulder, will be filmed by Citizen Pictures for a later broadcast.
The concert series is a partnership between the Recording Academy and the Right Here, Right Now Global Climate Alliance, a public-private partnership developed by David Clark Cause alongside UN Human Rights that seeks to address climate change as a human rights crisis.
“We are honored to be working with several United Nations-supported global music initiatives to bring together artists and create unique music events to promote social justice around the world,” said Recording Academy CEO Harvey Mason Jr. in a release. “Music has no boundaries so we are excited to partner with the artist community and work with the United Nations to further their human rights goals and ultimately, better the world.”
The Right Here, Right Now initiative plans to hold additional concerts in cities on multiple continents, with discussions already underway for shows in New York, Los Angeles, Nashville, London, Johannesburg, Bogotá and Dubai. Proceeds will go to United Nations Human Rights climate justice initiatives as well as MusiCares, the Recording Academy’s music charity, which is establishing The Right Here, Right Now MusiCares Fund to focus relief efforts on music communities impacted by the climate crisis.
“Music provides a platform for the biggest megaphone in the world,” added Clark Cause in a statement, adding that Boulder was chosen as the kickoff city because it “has become the ‘Davos of Climate Change,’ since the University of Colorado Boulder recently convened world leaders, top climate experts, business leaders, and human rights advocates, along with students from our Education Coalition that includes over 2,300 universities – for the Right Here, Right Now Global Climate Summit co-hosted with United Nations Human Rights last year.”
Celebrities who have previously lent their support to the Right Here, Right Now Global Climate Alliance and United Nations Human Rights include Quincy Jones, Celine Dion, Leonardo DiCaprio, Cher, Camila Cabello, Annie Lennox, LL Cool J, Cyndi Lauper, Pitbull, Jack Black, the Lumineers, Ellen DeGeneres, Jeff Bridges, Edward Norton, Bob Weir, Dead & Company, Kesha, Joss Stone and Michael Franti.
“Throughout history, music has been an important outlet for communication, cultural expression, and expression of dissent. As the Global Partner of the Right Here, Right Now Global Climate Alliance, UN Human Rights welcomes the news that the Recording Academy will be joining the alliance as the Global Partner of Right Here, Right Now Music, in order to help promote our mutual goals and objectives to help prevent the worst impacts of the climate catastrophe on persons, groups and peoples in vulnerable situations,” said Benjamin Schachter, UN Human Rights team leader for environment and climate change.
The Right Here, Right Now Mini Global Concert at Boulder Theater is being advised on best sustainability practices by Sound Future Foundation, a nonprofit that aims to accelerate climate innovation for the live event industry.
Bob Dylan, Sam Smith, Lil Nas X, Nile Rodgers and Janelle Monáe are among the big stars confirmed for the 57th edition of the Montreux Jazz Festival, set to take place mid-year on the shoreline of Lake Geneva, Switzerland.
Also lining up this time are Christine and the Queens, Chilly Gonzales, Mavis Staples, Mark Ronson, Norah Jones, Lionel Richie, Iggy Pop, Caroline Polachek, Chris Isaak and many others, organizers announce today (April 5).
This year’s show is set to run June 30 to July 15.
Dylan returns to Montreux for the first time in a decade to present his 2020 album Rough and Rowdy Ways, which arrived at No. 2 on the Billboard 200 chart. Rough and Rowdy Ways earned Dylan his 23rd career top 10, as he became the first act to have achieved at least one new top 40-charting album in every decade from the 1960s through the 2020s.
Meanwhile, the iconic fest’s two venues, the Auditorium Stravinski and Montreux Jazz Lab, will host performances from across the music spectrum, and from the late ‘50s to the present day.
Auditorium Stravinski boasts a stacked bill with Buddy Guy, Mavis Staples, Maluma, and many others, its performers owning a combined 85 Grammy Awards. Sam Smith will perform for the first time at the Auditorium, eight years after wowing the crowds at the Montreux Jazz Lab.
Established in 1967 by late jazz connoisseur Claude Nobs, the festival has hosted many of the greats of contemporary music, from Prince to David Bowie, Nina Simone, Quincy Jones, Marvin Gaye, Elton John and others. Mathieu Jaton has directed the fest since 2013, the year Nobs passed away.
Nearly 250,000 spectators attend the event in a regular year, which continues to evolve and introduce audiences to styles and tunes well outside the broad world that is jazz; the event paused in 2020 due to pandemic, returned in 2021 with a downsized format, and was back to its regular programming in 2022.
Also appearing on this year’s program is Brit Award-winning indie-pop duo Wet Leg, Grammy Award-winning Australian electronic trio Rufus Du Sol, and Aussie retro soul act the Teskey Brothers.
On the closing night, uber-producer Mark Ronson will present a specially curated and “unique collaborative concert,” organizers say, featuring special guests Yebba and Lucky Daye.
Tickets go on sale Thursday (April 6) at montreuxjazzfestival.com.
The magic number is 44 for I.M.P. productions today as it prepares for the 44th anniversary of the opening of the original 9:30 Club in Washington, D.C., with the May 30 launch of Atlantis, a 450-capacity venue with 44 underplay shows booked through late September — including an opening show from the Foo Fighters — all priced at $44.
Foo Fighters frontman Dave Grohl let the news slip that I.M.P. would open a new, smaller venue fashioned as a near-replica of the original 9:30 Club — where he got his start — when he reopened the venue in 2021 following the COVID-19 shutdown.
“We’ll probably be the band that opens that place, too, right?” he told the confused audience at the time. Notably, the original 9:30 Club — located at 930 F Street, NW in D.C. — was previously home to another club called Atlantis prior to I.M.P.’s takeover of the venue in 1980.
The new Atlantis, which cost $10 million, will be located next to the newer, 1,200-capacity 9:30 Club, located at 815 V St NW. It will serve as a replica of the original 9:30 Club, “sans the gargantuan rats and notorious stench, but with a nod to the infamous pole,” a press release reads.
“We’ve been doing our smallest shows in other peoples’ venues for too many years now,” said Seth Hurwitz, chairman of I.M.P. “We needed a place that’s ours. This can be the most exciting step in an artist’s career. This will be where we help introduce new artists to the world, and their story needs to be told right. Our smallest venue will be treated as important, if not more, than our bigger venues. If the stories are told right, both the artists and the fans begin their hopefully long-term relationship, and we as promoters do better too.”
When Foo Fighters kick off this new era of The Atlantis, Dave Grohl won’t just be christening the room – he’ll be honoring the legacy of a space that he attended as a kid and later took the stage of with bands like Scream and Nirvana.
Tickets for the inaugural run of shows at The Atlantis will be $44 each and non-transferable. They will be sold via a lottery-style process, with protections to ensure that real fans attend the shows. To thwart scalping, The Atlantis is utilizing Ticketmaster Request for the inaugural run of shows, which is open now at TheAtlantis.com and will run through Friday (April 7) at 11:59 p.m.. ET. Fans will learn next week if their ticket requests have been fulfilled. If a ticketholder is unable to make the show, a fan-to-fan face-value ticket exchange option will be available.
The Atlantis will be booked by Zhubin Aghamolla, who also books The Anthem and Merriweather Post Pavilion, while Sam Hurwitz has been named general manager. Hurwitz has served as front-of-house manager for D.C. club The Anthem since 2018.
You can find the full schedule for The Atlantis’ 44-show run, dedicated to the 9:30 Club’s history, present, and future, below.
May 30 – Foo Fighters
May 31 – The Walkmen
June 2 – Hot Chip
June 3 – Rainbow Kitten Surprise
June 4 – Modern English
June 5 – Franz Ferdinand
June 6 – Pixies
June 9 – Tank and the Bangas
June 10 – Yo La Tengo
June 16 – Marc Roberge of O.A.R.
June 17 – Hannibal Buress + Eshu Tune
June 19 – Sylvan Esso
June 20 – Darius Rucker
June 24 – Rodrigo y Gabriela
June 25 – X
June 28 – Jeff Tweedy
July 2 – Barenaked Ladies
July 6 – Tegan and Sara
July 7 – The Head and The Heart
July 15 – The Magnetic Fields
July 20 – Clutch
July 21 – Jenny Lewis
July 23 – The Struts
July 27 – Third Eye Blind
July 28 – Portugal. The Man
July 29 – Living Colour
July 30 – Iron & Wine
Aug. 5 – Gogol Bordello
Aug. 6 – Bush
Aug. 8 – Shakey Graves
Aug. 10 – Drive-By Truckers
Aug. 14 – Parliament Funkadelic feat. George Clinton
Aug. 17 – Thievery Corporation
Aug. 27 – Joan Jett
Aug. 28 – Gary Clark Jr.
Sept. 2 – Ben Gibbard
Sept. 6 – Luna
Sept. 9 – Bartees Strange
Sept. 13 – Spoon
Sept. 15 – Tove Lo
Sept. 17 – Billy Idol
Sept. 21 – Bastille
Sept. 22 – Matt and Kim
Sept. 29 – Maggie Rogers
Nederlander Concerts promotes Jamie Loeb to senior vice president. In her new role, Loeb will continue to report directly to the chief executive officer Alex Hodges.
“From her first day at Nederlander Concerts, Jamie has been an incredibly strong leader,” said Hodges. “She has helped Nederlander Concerts maintain its position as one of the most important independent promoters in North America. She was instrumental in getting us through the height of the pandemic and a successful rebound last year with our return to a full schedule of performances.”
Loeb tells Billboard, “I have always been proud to be part of such a dynamic team that is dedicated to bringing exceptional live experiences to fans. I am honored and grateful for the opportunity to continue contributing to the growth and success of our company in this new role.”
Loeb joined Nederlander Concerts in 2008 as VP of marketing. She is responsible for the online development, marketing initiatives and promotional campaigns for Nederlander’s venues and its bookings at third-party facilities. With local, regional and national experience, Loeb creates innovative strategies and tour marketing campaigns, which integrate traditional and digital technologies resulting in a deeper connection between artists, their fans and ticket sales.
In 2020, she was honored as Women of Influence by VenuesNow Magazine.
During the pandemic, Jamie started volunteering with the National Independent Venue Association and played a key role in a number of projects, including the #SOSFEST — a three-day virtual festival with Foo Fighters, Miley Cyrus, The Roots, Reba McEntire, Leon Bridges, Dave Matthews, Little Big Town, G-Easy and Brittany Howard, which raised over $3 million for the NIVA Emergency Relief Fund.
Loeb and the NIVA team’s efforts led to Congress passing the $16 billion Shuttered Venue Operators Grant program, effectively saving the independent concert business from total collapse. Simultaneously, she and her team at Nederlander Concerts launched the innovative Drive-In OC series featuring Andrew McMahon, Kaskade, LP and comedy and movies at City National Grove of Anaheim. The series proved a great success, safely hosting over 80 drive-in events for over 65,000 fans while grossing over $4.1 million in ticket sales.
Prior to Nederlander, Loeb was the senior director of national tour marketing for Live Nation where she developed national tour marketing plans for Def Leppard, Avril Lavigne, Projekt Revolution and more. She also participates regularly on panels nationwide, including SXSW, Pollstar and the Aspen Live Music Conference, with digital marketing pioneers and other promoters in the industry.