Touring
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Though the calendar year has flipped and Billboard’s January Boxscore report celebrates the beginning of a new year in touring, the top of the charts carry over what became a constant toward the end of 2022. According to figures reported to Billboard Boxscore, Elton John’s Farewell Yellow Brick Road Tour earned $40.9 million during the month, securing his seventh at No. 1 on the Top Tours chart overall, and third in the last four months.
Beyond extending his record for time atop the ranking, notably, January’s Oceania leg of John’s sprawling farewell tour pushed the entire run’s gross to $817.9 million – making it the highest grossing tour of all time. It surpasses Ed Sheeran’s The Divide Tour ($776.4 million), which set the previous high mark in 2019, and U2’s The 360 Tour ($736.4 million), which had held the title since 2011.
Simultaneously, John leads the Top Boxscores chart with $11.3 million at Sydney’s Allianz Stadium on Jan. 17-18. Since the charts launched in February 2019, it’s the ninth time an artist has ruled both rankings, and the second for John, who first did so in January 2020. BTS is the only other act to double-up twice.
John’s $40-million January breaks down to two stadiums shows apiece in Newcastle (Jan. 9, 11), Melbourne (Jan. 14-15) and Sydney (Jan. 18-19), plus single shows in Brisbane (Jan. 22) and Christchurch (Jan. 25).
Not only does John crown the Boxscores ranking, he follows himself at Nos. 2 (Melbourne), 4 (Newcastle), 6 (Brisbane), and 11 (Christchurch). Blanketing the chart with four top 10 appearances, he set himself apart from the pack in stadiums during Australia and New Zealand’s summer, while the Northern winter kept last year’s holdovers dormant and 2023’s from beginning later into the spring.
The strategy does extend to the Red Hot Chili Peppers at No. 2 on Top Tours and at Nos. 5, 9 and 12 on Top Boxscores. The funk-pop-rock band earned $15.1 million from the first three of its Oceania shows, with five more to chart in February. This follows the $59.6 million in Europe and $117.4 million in North America last year, playing stadiums in both continents during the warmth of June through September.
With far less history in Oceania than on the Western hemisphere, the Chili Peppers enlisted Post Malone to join the January and February shows. The bulked-up billing helped transform the band from an arena act to a stadium act in the region, having last reported shows in Oceania on 2007’s Stadium Arcadium Tour. Audience in Auckland flipped from 22,000 in ’07 to 48,000 in 2023, while Brisbane’s crowd grew from 22,000 to 40,000.
Playing Brisbane’s Suncorp Stadium just a week after John, the two combined for $13.9 million and 91,000 tickets sold, enough to be the top grossing venue of the month worldwide.
On the Top Venues, 15,001+ capacity chart, Suncorp is followed by Sydney’s Allianz Stadium and Melbourne’s AAMI Park at Nos. 2-3, respectively, plus Manchester’s McDonald Jones Stadium at No. 6, forming a powerful Oceania block over western mainstays like the Kia Forum in Inglewood, Calif. (No. 4), the O2 Arena in London (No. 5) and Madison Square Garden in New York (No. 8).
Continuing the 2022 carryover at the head of Top Tours, Harry Styles is No. 3, after finishing at No. 4 on last year’s annual recap. He earned $12.4 million from 62,000 tickets sold, all from four arena dates. On Jan. 26-27 and 29, Styles played the final three dates of his 15-show mini-residency at the Kia Forum in Inglewood, Calif. Those dates grossed $9.6 million and pushed the entire Inglewood run to a gross of $47.8 million, making it the fifth-highest grossing headline engagement in Boxscore history.
Additionally, Styles played two shows at Acrisure Arena in Palm Desert, Calif. One of those shows, played on Jan. 31, counts toward his monthly total, and the other, played on Feb. 1, will count toward his February earnings.
While January typically is a lull between the final dates of major tours in November and December and the opening nights for the year’s biggest attractions in February and March, January 2023 proved that there are ways to kick off the year in style, pun intended. From John and the Chili Peppers going to Australia, to The 1975 and Future conducting brief, monthlong runs before calendars get too packed, January can be a sneaky time for sleeper ticket sales.
Further flagged by Omicron-era woes, the January 2021 Top Tours chart featured six tours above $5 million, 18 above $1 million, and cut off the 30-position ranking at $548,000. One year later, those numbers improve to eight, 28, and $975,000.
SYDNEY, Australia — Brendon Bainbridge is leaving TEG after 17 years, the past six of those leading the live entertainment, ticketing, digital and data giant’s activities in Asia.
Bainbridge has been “an asset to TEG from day one and I want to personally thank him for his friendship, commitment, loyalty and immense efforts in successfully launching TEG in Asia,” comments TEG CEO Geoff Jones in a statement announcing the move.
During his six-year stint as managing director, Asia, “Brendon has grown the business in the region, leading through the pandemic, the entertainment and ticketing industry’s most challenging period in recent times, positioning TEG Asia to now capitalize on a wealth of opportunity in the region,” adds Jones.
Before making the move to Singapore, Bainbridge served for 11 years as managing director of Ticketek New Zealand.
Bainbridge is leaving to go live in Colorado, according to the company, and TEG is working on opportunities for him to continue working with the company after his relocation.
His successor at TEG is Timothy Ho, who is named as managing director, Asia, and has worked closely with Bainbridge for the last year, creating what should be “seamless transition for our business in the region,” enthuses Jones.
The incoming chief has 15 years’ experience in live entertainment and ticketing prior to joining to TEG, and was a “clear choice to step into the role,” says Sydney-based Jones.
The region, notes Ho, “is at the forefront of every major discussion now for live entertainment and ticketing – it’s a great time to be stepping into this leadership role and fulfilling TEG’s long-term vision and commitment to Asia.”
Currently, the TEG empire includes TEG Live, TEG Sport, TEG Experiences, TEG Dainty, SXSW Sydney, TEG MJR, TEG Van Egmond, Laneway Festival, FAN+, Handsome Tours, Qudos Bank Arena and ticketing giant Ticketek, a multiple winner at the 2022 Ticketing Business Forum international awards in Manchester, England.
In other news, TEG’s owners are reportedly preparing for an auction process.
In one article published last month in the Australian Financial Review, TEG is said to be pitched to big global buyout funds as “a unique business worldwide,” one that has expanded its footprint in recent years.
Another tale which ran in The Australian, suggested a sale process for the group could kick off this April, with investment bank Jefferies tapped to facilitate.
TEG was acquired in 2019 by Silver Lake, the U.S.-based private equity company which specializes in technology investing. Financial terms weren’t revealed, but sources say TEG carried a price tag of $1 billion-plus.
A spokesman did not respond to requests for comment.
After a four-year hiatus, long-running Seattle music festival Bumbershoot will return this Labor Day weekend — with help from e-commerce giant Amazon.
As announced Tuesday (Feb. 21) by new Bumbershoot producer New Rising Sun, the festival will return for its 50th edition on Sept. 2-3, 2023, and Amazon has agreed to underwrite presale tickets for this year’s edition to keep it affordable. The e-retailer will sponsor a special early bird $50 single-day ticket and $85 two-day general admission ticket — prices that are 50% lower than when the event was last held in 2019. Amazon has also announced plans to work with arts organization Third Stone to give out 5,000 tickets to area non-profits and community organizations.
First launched in 1971, Bumbershoot faced a double whammy in recent years thanks to declining ticket sales and attendance in the 2010s followed by three years of closure due to the pandemic.
Bumbershoot was previously produced by AEG Presents, which had agreed to produce the festival with Seattle non-profit festival production company One Reel beginning in 2014 to help cover the $1 million in debt One Reel had racked up and restore the event’s financial footing. In 2019, AEG Pacific Northwest vp Rob Thomas announced the company was not renewing its agreement, hinting at financial differences with One Reel. That same year, a barricade collapse at Bumbershoot injured four attendees.
One Reel executives announced plans to stage the festival in 2020, only to be stymied by the COVID-19 pandemic. In 2021, host venue the Seattle Center put out a new request for proposals for the event, with the winning bid going to New Rising Sun, a collective founded by Neumos co-owner Steven Severin, who now serves as Bumbershoot’s co-president & director of music programming; Vital 5 Productions founder Greg Lundgren, who serves as curator; and McCaw Hall general manager Joe Paganelli, who serves as producer.
“We heard from our community and took action — fulfilling our promise of affordability and inclusivity,” Severin said in a statement to Billboard. “When re-imagining our festival for this return, we examined everything through an arts lens and expanded upon what art is and can be. We look forward to sharing our vision this Labor Day weekend.”
“As ticket prices steadily climb for concerts and events around the globe, we’re excited to support reduced and free ticket prices, creating opportunity for more of our community to enjoy the diversity of Seattle’s creative ecosystem, participate in Bumbershoot’s exciting education programs, and immerse themselves in the arts,” added Amazon senior vp/general counsel/secretary David Zapolsky.
Tickets go on sale Friday (Feb. 24) at 10:00 a.m. PT via bumbershoot.com. Fans are encouraged to purchase tickets in advance as they are expected to sell quickly. A performer lineup will be announced at a later date.
TWICE is hitting the road again. As announced Tuesday (Feb. 21), the K-pop girl group will embark on its highly anticipated READY TO BE world tour this spring, the group’s fifth total world tour and its largest so far.
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The tour will see the ladies of TWICE — Nayeon, Jeongyeon, Momo, Sana, Jihyo, Mina, Dahyun, Chaeyoung and Tzuyu — playing 17 shows across 14 cities, beginning April 15 with stops in South Korea, Australia and Japan. The group will then head overseas to North America, where it’ll make stops at Los Angeles’ SoFi Stadium and MetLife Stadium, concerts that will make them the first female K-pop girl group to play either venue. More North American dates are forthcoming, according to a release.
The tour news follows Billboard‘s announcement that TWICE will be honored at the 2023 Billboard Women in Music Awards with the Breakthrough Artist Award on the first of March. The honor comes after TWICE’s “Moonlight Sunrise,” a single off the group’s March-slated EP Ready to Be, became their second ever entry on the Billboard Hot 100, peaking at No. 84. The track also earned TWICE a career high placement on Billboard’s Digital Song Sales chart, peaking at No. 3.
Tickets for shows in the U.S. will be available through a Ticketmaster Verified Fan sale, now open for registration. If any additional tickets remain after the Verified Fan sale concludes, a general onsale will be announced at a later date. Information for tickets to shows in Korea, Australia and Japan can be found on local event pages.
See the list of confirmed Ready to Be Tour dates below:
Saturday, April 15th – Korea / Seoul / KSPO Dome
Sunday, April 16th – Korea / Seoul / KSPO Dome
Wednesday, May 3rd – Australia / Sydney / Qudos Bank Arena
Saturday, May 6th – Australia / Melbourne / Rod Laver Arena
Saturday, May 13th – Osaka / Japan / Yanmar Stadium Nagai
Sunday, May 14th – Osaka / Japan / Yanmar Stadium Nagai
Saturday, May 20th – Tokyo / Japan / Ajinomoto Stadium
Sunday, May 21st – Tokyo / Japan / Ajinomoto Stadium
Saturday, June 10th – United States / Los Angeles / SoFi Stadium
Tuesday, June 13th – United States / Oakland / Oakland Arena
Friday, June 16th – United States / Seattle / Tacoma Dome
Wednesday, June 21st – United States / Dallas / Globe Life Field
Saturday, June 24th – United States / Houston / Toyota Center
Wednesday, June 28th – United States / Chicago / United Center
Sunday, July 2nd – Canada / Toronto / Scotiabank Arena
Thursday, July 6th – United States / New York / MetLife Stadium
Sunday, July 9th – United States / Atlanta / Truist Park
Jeff Olson has been hired as vp of booking for Crypto. com Arena, Microsoft Theater and L.A. LIVE. In his new role, Olson will focus on sourcing talent and securing deals with high-priority clients and promoters for shows for all three venues. In addition, he’ll be responsible for working with the Los Angeles Lakers, Kings, Clippers and Sparks to assist with the scheduling and maintaining the arena’s calendar as well as working with the award shows and residencies to assist with the scheduling and maintaining Microsoft Theater and L.A. LIVE venue calendars.
“We are incredibly excited to have Jeff Olson joining our team,” says Lee Zeidman, president, Crypto.com Arena, Microsoft Theater and L.A. LIVE. “He brings over 23 years of experience and knowledge of booking and event production to our venues and to the market, along with strong industry relationships. We are looking forward to having Jeff joining us here in Los Angeles and booking a variety of content for our venues in this competitive market.”
Hallie Yavitch, svp of booking and marketing for the trio of venues, said she was happy to welcome Olson back to town for this position — from 2002 to 2014 he lived in LA while working as a talent buyer and marketing director for the Arena Network.
“His impressive resume, experience and relationships will help our venues continue to grow and succeed in a competitive landscape,” Yavitch said.
The Michigan State alum started his career in the live entertainment industry as a talent buyer for Meridian Entertainment in Holt, Michigan in 1998 and went on to work at the ArenaNetwork before becoming the director of booking, events and marketing for the Memphis Grizzlies and FedEx Forum. In his time at the FedEx Forum, he delivered multiple record years in both the number of events, as well as fiscal performance for the venue. From November 2021 to February 2023, he became director of booking & special events for Snapdragon Stadium, the OVG360-managed facility in San Diego.
Olson will report directly to Yavitch.
Long Beach is the laboratory for a half-dozen sustainability initiatives at this weekend’s annual Cali Vibes music festival at the city’s Marina Green Park.
Headlined by Snoop Dogg, Jack Johnson, Slightly Stoopid, Damian Marley, Ben Harper, Cypress Hill and many more, the popular reggae and West Coast hip-hop festival will be ground zero for new efforts by promoter Goldenvoice to dramatically reduce waste, decrease the event’s carbon footprint and use materials from last year’s festival to create merch and apparel for 2023 fans.
The challenge for Cali Vibes — like all other festivals — is that most festivals are not considered environmentally sustainable due to the amount of attendee travel involved, the energy consumed and the waste generated on-site, says AEG vp of Sustainability Erik Distler.
“It’s important to start with recognizing this work is difficult,” Distler says. “Executing sustainability initiatives for a large temporary event with tens of thousands of people involves engaging a broad stakeholder set” that includes artists, vendors, production companies, city officials and fans.
Distler said Goldevoice realized early on that the best way to maximize the impact of their sustainability efforts was to “embrace the complexity at the onset” of planning the 2023 event and develop a strategy centered around trackable operational improvements and attendee education.
“We’re in the business of bringing people together, evoking emotion, fueling passion and energy — it’s very human,” Distler adds. “We have the opportunity and responsibility to connect with our fans and talk about our sustainability work in a way that’s inspiring and uplifting. It’s about what’s possible if we come together.”
Sustainability has always been one of the undertones of Cali Vibes, “due to the event’s proximity to the ocean and the overall spirit of the festival,” says Nic Adler, vp of Goldenvoice Festivals. “This year, we booked Jack Johnson and his team really got us motivated to look at each corner of the festival and ask ourselves ‘what can we do differently?’”
That includes pushing Goldenvoice and its parent company AEG to offer fans refillable water stations and eliminate the sale of single-use plastic water bottles at the festival. This effort included renegotiating a water sponsorship agreement originally brokered by AEG with Origin, which will now offer canned instead of bottled water at Cali Vibes. Goldenvoice also partnered with vendor r.Cup to replace its single-use beer cups with a reusable plastic cup that is collected on-site, washed at a specialized cleaning facility and reused the following weekend.
Cali Vibes
Elli Lauren
“These cups have a life expectancy of several years,” dramatically reducing the number of single-use cups that end up in the landfill, says Michael Ilves, director of Goldenvoice Festivals, noting that the event’s waste management plan includes bins specifically designed to collect the cups.
“Another change in how we manage waste production is that bins previously labeled as trash or landfill will now be labeled as ‘waste-to-energy,’” Ilves explains. “Long Beach happens to have a waste-to-energy power plant that burns off waste, captures the gases released and powers about 35,000 homes off of that process.”
Helping fund the initiative is a first-ever $5 per ticket sustainability fee to pay for initiatives like the r.Cup program and purchase equipment to promote the use of solar energy and reduce the use of diesel generators. Goldenvoice is also working with a vendor to recycle signage, printed material and leftover merchandise from the 2022 festival to create new consumer items for 2023, including apparel, tote bags and posters.
All sustainability initiatives at the festival are being closely tracked by Santa Monica firm Three Squares Inc. — including recording every staff member’s own carbon footprint — to measure Goldenvoice’s progress and analyze opportunities to expand the company’s sustainability efforts to the 32 festival brands it operates globally, including the annual Coachella and Stagecoach festivals. Insights gleaned from the resulting report can help the company significantly improve its environmental impact, Adler explains.
“Popping up in a parking lot for an event that 20,000 people drive to is not sustainable,” Adler says. “That’s why it’s important for us to create a report that allows us to continue the work that we’re doing and be honest about our own carbon footprint. It gives us an opportunity to get together in a room and say ‘Here is last year’s number, this year let’s try to cut it in half.’”
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You are going to have a lot of chances to see P!nk on the road this year. On the same day she dropped her ninth studio album, TRUSTFALL, the “Never Gonna Not Dance Again” singer announced the dates for her 2023 fall arena tour in support of the collection, which is slated to kick off with an Oct. 12 date at the Golden 1 Center in Sacramento, Calif.
The Live Nation-produced 14-city North American tour with support from Grouplove and KidCutUp will feature stops in San Francisco, Vancouver, Denver, Kansas City, Montreal, New York, Cleveland and Miami before winding down on Nov. 18 at Amway Center in Orlando. Tickets for select dates on the TRUSTFALL Tour will be available in a Citi and Verizon presale beginning Tuesday (Feb. 21) at 10 a.m. local time until Feb. 23 at 10 p.m. local time here.
The general onsale for the tour will start on Feb. 24 at 10 a.m. local time here.
Fans have already gotten a taste of TRUSTFALL through the singles “Dance” and the touching ballad dedicated to her late father, “When I Get There.” The album also features collaborations with Chris Stapleton, The Lumineers and First Aid Kit, as well as production and songwriting from Max Martin, Shellback, Greg Kurstin, FRED and Billy Mann.
The TRUSTFALL tour will follow this summer’s previously announced Summer Carnival Stadium Tour, which will feature guests Brandi Carlile, Rock and Roll Hall of Famers Pat Benatar and Neil Giraldo, Grouplove and KidCutUp.
Check out the dates for P!nk’s fall 2023 TRUSTFALL tour and the album cover below:
Oct. 12 – Sacramento, CA @ Golden 1 Center
Oct. 14 – San Francisco, CA @ Chase Center
Oct. 17 – Tacoma, WA @ Tacoma Dome
Oct. 20 – Vancouver, BC @ Rogers Arena
Oct. 25 – Denver, CO @ Ball Arena
Oct. 27 – Kansas City, MO @ T-Mobile Center
Nov. 1 – Montreal, QC @ Bell Centre
Nov. 4 – New York, NY @ Madison Square Garden
Nov. 7 – Indianapolis, IN @ Gainbridge Fieldhouse
Nov. 8 – Cleveland, OH @ Rocket Mortgage FieldHouse
Nov. 11 – Louisville, KY @ KFC Yum! Center
Nov. 12 – Charlotte, NC @ Spectrum Center
Nov. 14 – Miami, FL @ Miami-Dade Arena
Nov. 18 – Orlando, FL @ Amway Center
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When it comes to terrifying performances, Dracmorda and Swanthula Boulet know exactly what an audience wants to see — and now, they’re ready to deliver the fright of your life.
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On Friday (Feb. 17), The Boulet Brothers announced the official lineup for their forthcoming tour to celebrate the recent finale of The Boulet Brothers’ Dragula: Titans. Featuring queens from the long-awaited all-stars season of the show, the new tour is set to headline winner Victoria Elizabeth Black and finalists Koco Caine and HoSo Terra Toma.
Along the way, a smattering of other “drag monsters” from the show are set to appear, including stars like Abhora, Astrud Aurelia, Erika Klash, Evah Destruction, Kendra Onixx & Melissa Befierce.
“We’re so excited to bring the Dragula experience on tour to audiences across the world — it really is a drag show unlike anything audiences have seen before,” Dracmorda said in a statement. Swanthula agreed, adding that, “We cut our teeth producing live events and nightlife spectacles before going into TV and film production, so the live space really is our bailiwick and a place where we (and the stars from Dragula) can really shine.”
The Boulet Brothers’ Dragula: Titans officially premiered on AMC’s Shudder network this past October, marking the franchise’s highest viewership since season 4. In promoting their new tour, the brothers explained the live show serves as an “extension of The Boulet Brothers’ Dragula: Titans show,” and that fans could expect “shocking performance, horror, [and] seeing drag like you’ve never seen it presented before.”
Check out the full list of tour dates and get your tickets here.
For more than two years, Another Planet Entertainment has been quietly working with the creator of iconic venues like Manhattan’s Mercury Lounge and LA’s Teragram Ballroom to launch a new 1,600-capacity venue in downtown Los Angeles — with a goal to shake up the city’s highly competitive venue landscape.
The real estate for The Bellwether, located at 333 Boylston between third and fourth streets just west of downtown and the 110 freeway, was discovered in 2020 by Michael Swier, one of the original partners in New York’s Bowery Presents and an owner of the Teragram and the Moroccan Lounge. Hoping to keep the project off the radar of better financed competitors, Swier began looking for a partner on the 49,000 sq-ft- multi-genre performance space, with an open GA floor, wrap around balcony, multiple bars, a commercial kitchen and a private 600-capacity event space.
333 Boylston has mostly been occupied by night club operators the past three decades, including Prince, who named the night spot after his song “Glam Slam” and from 1992 to 1995 adorned it with huge purple dance floors, heavy gold mesh fabric and a jewel-strewn bed cradled in a sculpted hand from Prince’s Erotic City concert tour. What followed was nearly three failed decades of trying to operate the multilevel space as a dance club. Thinking a music performance venue was a better fit, Swier would eventually find a partner, striking a deal with Another Planet Entertainment’s Gregg Perloff and Allen Scott to partner on a long-term lease and two-year renovation effort expected to wrap up this spring.
Scott and Swier were at the Bellwether earlier this week, touring the sprawling complex which will also house a year-round bar and restaurant, a 600-capacity private event space and offices for both Another Planet and Telegraph Road Management, Laurence Freedmans management company whose clients include Billy Idol, Mike Campbell, Benmont Tench, Cherry Glazerr, Miya Folick and Advertisement. The Bellwether is Another Planet’s first foray into Los Angeles, hometown turf for APE’s two main competitors in the Bay Area where Perloff and company operate the Bill Graham Civic Auditorium, the Greek Theate, Oakland’s Fox Theatre, the independent and San Francisco’s famed Castro Theater, currently under renovation. Live Nation’s holdings in San Francisco include the Fillmore and the recently opened August Hall, while AEG operates the Warfield, the Regency Ballroom and the Great American Hall.
LA’s venue landscape is even more crowded with each company operating a half-dozen venues in the city and independently owned venues like the Troubadour, Largo and the Knitting Factory in North Hollywood. Size wise, the Bellwethers 1,600-capacity lands it between the Live Nation-owned Wiltern Theater (1,850 capacity) and AEG’s El Rey Theater (1,200).
Swier, a New Yorker who recently bought a loft in LA in preparation for the opening of his third venue in the city, is a highly accomplished venue designer and independent live music operator who along with his late wife Margaret and architect brother Brian Swier is best known for New York’s iconic Bowery Ballroom and Mercury Lounge. Swier is a co-founder of New York powerhouse promotion company Bowery Presents and is responsible for relaunching and redesigning Terminal 5 and the Music Hall of Williamsburg. Swier would eventually part ways with Bowery Presents, and in 2017, Bowery would sell a 50% stake in the company to AEG.
Perloff’s career has parallels to Swier – the Maryland native had a knack for concert promotion in college and caught the attention of legendary San Francisco promoter Bill Graham, who famously hired a young Perloff to avoid competing with him. Perloff became Graham’s understudy, and together with longtime BGP pioneer Sherry Wasserman, the three created the business model for the contemporary concert business. After Graham died in a helicopter crash, BGP was sold to SFX and eventually became one of the core components of Live Nation, which stills owns and manages the bulk of the BGP venue portfolio.
Perloff and Wasserman founded Another Planet in 2003 and launched the Outside Lands festival in 2008. Today it is the largest independently operated festival in the U.S., according to Billboard.
Swier didn’t know much about Perloff prior to reaching out to him in 2020 to discuss a potential partnership for the building. Both men decided to keep the project, keeping every detail of the project out of the public domain as they worked to sign the lease and then begin renovations. The stealth campaign worked – maybe too well. Months away from opening, the partners realized they needed to reach out to agents to start booking the building, which would end the secrecy. In fact, today’s decision to announce the existence of the project was made yesterday, a week earlier than planned. Meetings and private tours of the Bellwether are planned for next week during the annual Pollstar Live! conference in Los Angeles.
The National Independent Venue Association (NIVA) will host its latest conference this July in Washington, D.C.
The association — which successfully lobbied for the $16.25 billion Shuttered Venue Operators Grant (SVOG) for indie venues struggling through the pandemic — will bring together its members from July 10-12. The inaugural NIVA Conference was held last year in Cleveland with more than 650 members in attendance.
The 2023 edition will focus on topics including industry diversity, mental health, safety, insurance, the economic impact of live entertainment, booking, artist development, ticketing and the role of live entertainment in policymaking. NIVA ‘23 will also give members the opportunity to engage with the organization’s federal and national partners on Capitol Hill, in the Biden administration and throughout the D.C. region.
“In welcoming the NIVA conference to the District, we look forward to showcasing the independent venues and creatives who keep D.C. the capital of creativity,” said Washington, D.C. mayor Muriel Bowser in a release. “And we have a lot to be proud of — from our vibrant Go Go scene, to the venues that have hosted and built generations of music fans, to the festivals that bring Washingtonians together year after year. D.C. residents love going to festivals and shows and supporting artists, and we know the important role our creative community will continue to play in D.C. ‘s comeback. We look forward to bringing NIVA members and industry experts together in D.C., and we’ll see you in July.”
In addition to a full slate of programming, organizers promise live performances, a pre-party on July 9 and an awards gala July 10 at independent venue The Anthem that will celebrate live entertainment’s contribution to the nation. Events will take place at multiple NIVA music and comedy venues across Washington, D.C. During the evenings, attendees can take advantage of concerts and performances happening every night of the conference as NIVA ‘23 coincides with National Independent Venue Week, making D.C. the epicenter of independent live music in the country the week of July 10.
“Thousands of music and comedy venues across the country spent 2020 and 2021 focused on making the case to Washington D.C. policymakers that small businesses in live entertainment needed help to prevent the permanent loss of stages in every community, and NIVA’s efforts led to the largest arts investment in U.S. history,” said NIVA’s recently appointed executive director Stephen Parker in a release. “This summer, the nation’s music and comedy community will return to D.C. to illustrate why the partnership between government and the independent live entertainment industry must continue beyond the pandemic, to forge the future for independent music and comedy venues, festivals and promoters and to demonstrate their place in America’s culture and economy.”
NIVA is partnering with the following member venues and festivals to bring the 2023 conference to Washington, D.C.: All Things Go, Black Cat, DC Improv, DC9 Nightclub, Down in the Reeds Festival, I.M.P. (The Anthem, 9:30 Club and Lincoln Theatre), Listen Local First D.C., National Cannabis Festival, Pearl Street Warehouse, Rhizome, Songbyrd Music House, The Hamilton, The Pie Shop, The Pocket, U Street Music Hall Presents and Union Stage.
Further details on the conference’s programming and speakers will be announced at a later date. Registration information can be found here.