Touring
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Drake postponed the remaining handful of dates on his Anita Max Wynn Tour slated to run through Australia and New Zealand in March. And now, fans are reacting to the unexpected news. It all started after rep for Drake confirmed Tuesday (Feb. 25) that the trek was delayed due to a “scheduling conflict” in a […]
Coldplay has long established itself as a global touring force. By the end of 2024, The Music of the Spheres World Tour had become the most attended tour in history, via 11 legs of international concerts in five continents. Now, the band rules January’s Boxscore recap by breaking new ground with its first shows in India.
Over nine shows between Jan. 9-26, Coldplay grossed $56.6 million and sold 590,000 tickets in January, according to figures reported to Billboard Boxscore. It’s the sixth time that the British quartet has ruled the monthly Top Tours ranking, continuing a cat-and-mouse chase to the record books.
In November, Coldplay scored its fifth win, pulling out of a three-way tie with Beyoncé and Trans-Siberian Orchestra. Then, TSO caught up in December with its own fifth victory. Now, Coldplay inches to six. With a packed schedule between April and September, the band is in a better position to match Elton John and Bad Bunny’s record seven before TSO begins its annual holiday run in November.
Coldplay’s January run began with four shows at Abu Dhabi’s Zayed Sports City Stadium between Jan. 9-14. Those dates earned $28 million and sold 203,000 tickets, securing No. 1 on Top Boxscores. The band’s last trip to the United Arab Emirates was a one-night engagement on New Year’s Eve of 2016, raking in $4.3 million from 31,300 tickets during the A Head Full of Dreams Tour. The 2025 shows averaged $7 million and 50,800 tickets, marking improvements of 63% and 62%. But considering the expansion to four nights, Coldplay was able to sextuple its prior stop.
Then, the band went to India for the first time in its career, playing three shows in Mumbai on Jan. 18 and 20-21, grossing $12.8 million from 164,000 tickets. Finally, there were two shows at Ahmedabad’s Narrenda Modi Stadium. Those grossed $15.7 million and sold 224,000 tickets.
At more than 110,000 for each night, Coldplay broke the record for the largest stadium shows of the 21st century. The Ahmedabad shows sold 111,581 tickets on Jan. 25 and 111,989 on Jan. 26, narrowly bypassing George Strait’s 110,905 at Kyle Field at Texas A&M last June. Strait’s date remains the bestselling U.S. stadium show ever.
This is Coldplay’s second leg of shows in Asia during the Music of the Spheres World Tour. Between November 2023 and February 2024, it grossed $129.4 million and sold 884,000 tickets from dates in Japan, Malaysia, Taiwan and more. Altogether, the entire continent has generated $186 million in grosses for the record-breaking tour, with more shows scheduled in April in Hong Kong and South Korea.
After that, the Music of the Spheres World Tour will continue with 17 shows in the U.S. and Canada, plus 12 in the United Kingdom, scheduled to wrap the trek with 10 hometown shows at London’s Wembley Stadium. Since its 2022 launch, the tour has sold 10.9 million tickets and grossed just under $1.2 billion, making it the best-selling and second highest-grossing tour in Boxscore history.
Coldplay nearly doubles its closest competition, with Luke Combs and SEVENTEEN at Nos. 2-3 with $30.3 million and $28.8 million, respectively. Only three more acts grossed more than $10 million, as the Eagles, Justin Timberlake and ATEEZ follow.
January was a particularly strong month for K-pop groups, with ENHYPEN as the third Korean act in the top 10, at No. 8 with $7.7 million from just two shows. SEVENTEEN and ENHYPEN score with shows in Asia – the former in the Philippines and Singapore and the latter in Japan. ATEEZ had a string of European dates, peaking with more than 22,000 tickets over two nights at London’s O2 Arena.
As is becoming increasingly common since its 2023 opening, Sphere is No. 1 on Top Venues (15,001+ capacity). Both acts who played shows there in January are among the top 10 touring acts, headed by the Eagles at No. 4. Two weekends of dates combined to $18.7 million and 65,600 tickets, pushing the band’s residency to $98 million and 327,000 tickets since its Sept. 20 kickoff. With four February shows still to be reported and more scheduled in March and April, those totals will likely soar beyond $150 million and half a million tickets.
At No. 9, Anyma posts $7.5 million and 52,300 tickets from three shows at the Las Vegas arena. Combined with its five shows in December, the Italian American DJ drove $21 million and 137,000 tickets, marking a successful close to the venue’s first electronic residency.
January is historically a dry month, with Western stadium tours on pause for cold weather. It makes sense then that Asia and Oceania make up nine of the month’s top 10 stadiums, powered by Coldplay and the K-pop acts mentioned earlier, plus Luke Combs with shows in Brisbane and Sydney. They leave room for Mexico City’s Estadio GNP Seguros at No. 8, with $8.9 million from Kygo ($3.3 million on Jan. 25) and Linkin Park ($5.6 million on Jan. 31).
Even indoors, January calendars were light. In November and December, seven arenas eclipsed $10 million in each month, while Sphere is January’s only entry on Top Venues (15,001+ capacity) to gross eight figures.
Radio City Music Hall lores over the Top Venues (5,001-10k capacity) chart with $13.2 million – nearly five times the $2.7 million of Sydney’s Hordern Pavilion at No. 2. The New York theater benefits from the final shows of its Christmas Spectacular, with engagements later in the month from Dave Chappelle, The Giggly Squad, and Hugh Jackman.
Artist contract clauses to promote environmentally sustainable touring were highlighted Wednesday (Feb. 26) in London at the 37th annual International Music Conference.
The green initiatives have been put forth by the U.K. live music advocacy group LIVE (Live Music Industry Venues and Entertainment). Its members are a federation of 16 live music industry associations representing some 3,159 businesses, more than 34,000 British artists and 2,000 backstage workers.
Delegates to the ILMC, who hailed from some 60 countries, were greeted Wednesday morning with comments from Chris Bryant, the U.K. minister for creative industries, arts and tourism. “Live music in the U.K. is a really important part of what we have to offer,” said Bryant (while he lamented poor wifi at festivals and “utterly inedible” food at many venues).
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The green contract clauses, initially announced by LIVE last October, are “designed to galvanise industry-wide action and transform the environmental impact of live events,” according to a statement from the organization.
Efforts to reduce the impact of travel-intensive touring on the climate have been promoted in recent years by artists like Coldplay.
When the band announced its Music of the Spheres Tour in 2021, it pledged to reduce its direct carbon emissions—from show production, freight, band and crew travel—by at least 50%. Coldplay subsequently announced that carbon emissions on the first two years of that tour were 59% less than its previous stadium tour (2016-2017) on a show-by-show basis, with its figures verified by the MIT Environmental Solutions Initiative.
The LIVE environmental proposals come at a time when climate change is acknowledged as the driving cause of catastrophes worldwide, from extreme flooding in Europe last fall to the devastating wildfires in Los Angeles earlier this year.
Within the music industry, it has been estimated that extreme weather had affected at least 30 major concerts in 2023, including evacuations, cancellations and postponements, based on a running tally, “while the total number of affected music events worldwide is surely far higher,” Billboard reported.
The contract clauses result from discussions with representatives from the agencies Wasserman and ATC Live, the global event producer TAIT, the Music Managers Forum and other major players in the touring industry. Leading the process has been the working group LIVE Green, guided by Carol Scott, the Principal Sustainability Advocate at TAIT, and Live Green impact consultant Ross Patel.
“It’s a long road, we’re all on it and we’re going in the right direction,” Patel told an ILMC session Wednesday which he hosted, along with Hilary Walsh, general manager of the U.K.booking agency Pure Represents.
The clauses are intended to help artists, agents, promoters,venues and others to create events with environmental sustainability at the core of planning events, with a focus on energy efficiency; waste reduction; water conservation; local and sustainable food; low carbon emission means of transport to encouraging attendees to travel to the show using lower carbon emission transport; offering sustainable and ethical merch; and much more.
“We’re presented with the evidence of a changing global climate on a daily basis,” said Patel as he opened the ILMC session. “And we also know that we hold the keys to be more resilient.”
Patel made the point that the changes to long-standing practices needed within the live music industry to make touring more sustainable are similar to those in the field of health and safety that are now considered standard.
Patel praised “industry professionals who can pack out an empty room at the drop of a hat, or transport thousands of fans to fields in the middle of nowhere, for life-changing experiences…. So why stop there? Why not create events that fill attendees with hope” in the face of climate challenges.
Environmentally sustainable live events exist, said Patel. “The challenge is how to increase the frequency of that.”
Walsh offered the perspective of Pure Represents, a relatively young booking agency, whose founder, Angus Baskerville, has made sustainability a personal and business priority.
“It’s really important to Angus,” said Walsh, noting the agency founder is the father of two small children and “wanted to leave behind a legacy that was sustainable.”
Walsh notes that the green contract clauses (available online from LIVE) have been easily inserted into touring agreements for Pure clients.
But sometimes those clauses have been deleted in returned contracts. Reducing resistance to change, says Walsh, required “conversations, not just on email, on Power Points, or any of that” with promoters, venues, tour managers, production managers and artist managers.
“It’s about us sharing that information,” says Walsh. “I think slowly everybody is getting onboard.”
Katie Bain provided assistance in this story.
The Federal Communications Commission (FCC) is scrutinizing iHeartMedia’s upcoming iHeartCountry Festival in Austin as part of an investigation into whether radio stations have been offering airplay to artists in exchange for free shows.
In a lengthy letter sent Monday (Feb. 24) to iHeartMedia chairman/CEO Robert Pittman, FCC chairman Brendan Carr — who was appointed to the FCC board in 2023 by former President Joe Biden and promoted to chairman via an executive order from President Donald Trump on Jan. 21 — said he “want[s] to know whether iHeart is effectively and secretly forcing musicians to choose between, one, receiving their usual, ordinary, and full scale compensation for performing or, two, receiving less favorable airplay on iHeart radio stations.”
Carr went on to note that “certain owners of federally licensed radio stations are effectively compelling musicians to perform at radio station events or festivals for free (or for reduced compensation) in exchange for more favorable airplay,” a practice he warned violated federal bans on practices like payola.
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The letter follows a previous letter sent by U.S. Senator Marsha Blackburn (R-Tenn.) to the FCC earlier this month in which she asked the agency to take action to prevent the alleged practice, claiming it was “critically impacting Tennessee’s content creators.” The FCC subsequently issued an enforcement advisory in which it warned that promising radio play in exchange for free concerts would break federal law. The agency further said it would “consider investigating substantive allegations of payola that come to its attention.”
Traditionally, payola investigations have dealt with music labels and publishing groups paying radio stations to illegally promote commercial music and boost album sales. In 1959, popular radio personalities like Alan Freed were investigated by both the U.S. House and Senate for accepting cash “consulting fees” to play songs on the radio as requested by the shadowy radio promotion industry. In the 1970s, the investigation expanded to include the Italian mafia, whom the FCC accused of using drugs like cocaine for payola. In the 1990s, former NY District Attorney Elliot Spitzer won payola settlements against Sony, BMG and Warner Music, and won a civil lawsuit against Entercom.
Carr’s letter to iHeartMedia hints that the federal government may adopt a novel legal theory that radio promotion concerts, held by large FM radio stations in markets across the U.S., could be a form of payola. Specifically, Carr singles out the May 3 iHeartCountry Festival in Austin, Texas.
Carr’s three-page letter to iHeart included eight lengthy questions he asked Pittman to answer within 10 days. Among other things, Pittman is requesting a list of all artists playing iHeartCountry Festival at Austin’s Moody Center, how much they would normally be paid for a concert appearance and whether any of the artists “will receive better or worse airplay on iHeart radio stations based on their participation in the Festival or the compensation they receive for performing at the Festival.”
In the music business, artists’ appearances are typically delineated into two categories: promotional, or media, appearances, when an artist is promoting a new venture like an album or a film and appears on a talk show to promote that project; and paid appearances, when an artist performs or showcases their talents to audience members who have typically paid some type of admission fee. Artists aren’t usually paid for promotional appearances, and radio concerts have long been categorized by radio stations as promotional in nature and typically do not include payments.
Carr continued that he wants to learn more about the upcoming iHeart concert so that he can get “a real-world example of how such events are put together—including artist solicitation and compensation—and the procedures that are in place to ensure compliance with the relevant statutes and regulations.”
Officials with iHeartMedia responded to the letter in a statement, noting that the company looks forward to “demonstrating to the Commission how performing at the iHeartCountry Festival — or declining to do so — has no bearing on our stations’ airplay, and we do not make any overt or covert agreements about airplay with artists performing at our events.”
The iHeart statement goes on to say, “The iHeartCountry Festival provides the same kind of promotion that that we see with artists on talk shows, late night television, the Super Bowl and in digital music performances and events: the promotional value to the artists is the event itself, and, in our case, is unrelated to our radio airplay.”
This lineup at this year’s iHeartCountry Festival lineup, which is slated for May 3, includes Brooks & Dunn, Thomas Rhett, Rascal Flatts, Cole Swindell, Sam Hunt, Megan Moroney, Bailey Zimmerman and Nate Smith.
Young Thug is locked in to perform his first live show since coming home from prison last Halloween. However, his fans in the States might be a bit disappointed because the show is overseas. Thugger will headline the third day of Belgian music festival Les Ardentes on July 5. Earlier Tuesday (Feb. 25), organizers posted […]
Sacramento’s newest music venue, Channel 24, has announced its inaugural lineup as it prepares to open its doors this spring. Opening the venue for its first official show on April 24 is young country music artist Tucker Wetmore — Billboard‘s Country Rookie of the Month in May 2024 — whose debut single, “Wind Up Missin’ […]
Billy Joel is in a New York and New Jersey state of mind. During his 2025 tour, which kicks off March 15 in Toronto, Joel will play all three New York City-area sports stadiums, making him the first artist to ever play all three in one summer. His impressive feat will come over a month-long […]
Billy McFarland‘s against-all-odds comeback festival has an official ticketing partner, location and new date, but skeptics still have plenty of reasons to doubt the convicted fraudster’s claims that Fyre Fest 2 won’t be a repeat of his 2017 disaster in the Bahamas.
On Monday (Feb. 24), Austin-based secondary ticketing site soldout.com announced an exclusive ticketing partnership with Fyre Festival 2, which the release announced was to be held on Isla Mujeres in Mexico from May 30 to June 2, 2025 (roughly a month later than the previously-announced dates of April 25-28). Isla Mujeres is a popular tourist destination in the Caribbean Sea about a 30-minute ferry ride from Cancun, located in the state of Quintana Roo.
Tickets for Fyre Fest 2 start at $1,400 a piece for a four-day pass (airfare and hotel not included) and go as high as $25,000 for artist passes that include backstage access and overnight stays at one of two high-end hotels on the island. There’s even a $1 million package for eight people that McFarland says includes access to luxury villas, a private marina with high-end yachts and a private jet to and from Cancun.
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Fyre is handling the primary sale of tickets through its own internal system and is utilizing soldout.com for secondary sales. On its website, soldout.com guarantees fans a 100% refund of their money if an event is canceled and not rescheduled. Notably, fans seeking a refund for the 2017 festival received pennies on the dollar due to the festival’s bankruptcy.
Andrew Hentrich, president of Soldout.com, affirms that his company does guarantee refunds if the fest is canceled, noting that “all proceeds from Fyre Festival ticket sales on SoldOut.com are held securely and will not be settled with Fyre until after the event has successfully taken place. Additionally, SoldOut.com is fully insured and financially equipped to issue refunds if necessary, ensuring buyers are protected in the event of cancellation or significant changes to the festival date. This policy applies to all events listed on SoldOut.com, not just Fyre Festival.”
McFarland has been teasing Fyre Festival 2 as a redemption project and personal rebrand since being released from prison and into a halfway house in May 2022. McFarland served four years of his six-year sentence after admitting to defrauding investors in the disastrous 2017 Fyre Festival, which was promised as a luxury destination music event via extravagant promotion from A-list celebrity influencers. But when ticketholders showed up on Great Exuma island in The Bahamas, they found the event they were promised was totally unrealized. McFarland also pleaded guilty to charges in a later ticket-selling scam.
McFarland promises Fyre Festival 2 will be different, and nailing down a location and locking in a date for the festival are major milestones. A press release also announced that Mexican concert production company LostNights would handle festival logistics.
“FYRE Festival 2 is about the adventure into the unknown, curating elite, once-in-a-lifetime experiences,” McFarland said in a statement. “Soldout.com’s background in the music festival world will ensure that our guests have a seamless ticket-buying process from start to finish. Soldout.com is a great addition to the team which also includes Lostnights, our talented and accomplished festival producer and operator.”
The next step will be securing talent for the festival. Billboard reached out to two of the largest booking agencies for music festivals and both said no one has contacted them from Fyre Festival or LostNights to book musical talent.
Disturbed is walking down memory lane and starting a new era at the same time.
The Chicago-formed heavy rock quartet kicks off The Sickness 25th Anniversary Tour on Tuesday (Feb. 25) in Nampa, Idaho, celebrating its five-times platinum debut album, which spent 106 weeks on the Billboard 200. Meanwhile, it’s just released “I Will Not Break,” a characteristically defiant track that is the first taste of Disturbed’s ninth studio album, which will be followed by additional singles before the full-length’s release — most likely in 2026, according to frontman David Draiman.
“We’re going to release track by track over a set course of time,” Draiman, who now resides in Miami, tells Billboard. “We have so many strong songs in this collection of material, so many single contenders, we’re just gonna push ’em out bit by bit. Every musician is most in love with their newest creation, but this body of work was so inspiring it made us want to change our strategy. We have some incredible surprises, too — not all meat and potatoes, stereotypical Disturbed, either, definitely a lot of left turns for us. We’ll see when those actually get to see the light of day. We can’t wait for all of it to be out.”
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Guitarist Dan Donegan feels the same way, describing what’s coming as “a well-rounded body of work. There’s some interesting stuff in there, some really great ideas, some very cool moments. It’s a good blend of everything that’s become Disturbed — some of those old-school moments, those animalistic moments. We’re always gonna have those big, melodic moments with David to showcase showcase some of his vocal jobs, some great, heavy riffs — some of my favorite riffs I’ve written so far. I think fans will be pleased.”
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The heavy-hitting (and certainly familiar-sounding) “I Will Not Break” makes its intent clear with its title. Draiman — whose vocal follows a minute and 16 seconds of hard grooving by Donegan, drummer Mike Wrengren and bassist John Moyer — says it was inspired by “the darkness that I had to go through during the last touring cycle,” which included a 2023 divorce and learning to single-parent his son, as well as aftermath of the Oct. 7 Hamas terror attack on Israel and the rising antisemitism he saw surfacing around the world.
“It’s definitely a song I think is very needed right now — definitely I needed it,” Draiman explains. “It’s an empowerment tune. It’s about overcoming adversity. It’s about coming out the other side of the darkness, about not letting the pressures that mount in your life break you.” He adds that the song — produced by Drew “WZRD BLD” Fulk (Lil Wayne, Knocked Loose, NLE Choppa), who helmed 2022’s Divisive — was one of the last to surface in the process.
“We were definitely in a stride of sorts, and definitely feeling it,” Draiman says. “I said to the guys, ‘Give me something, give me an idea that has the old school, head-bobbing feel, that familiar rhythm that I can get really syncopated with and do what they do. So they gave me that. Too easy.”
While fans wait for more new tracks and the eventual album, Disturbed will deliver a 25th anniversary edition of The Sickness on March 7, adding B-sides, demos and previously unreleased songs to flesh out the package, which housed the No. 5-peaking Mainstream Rock Airplay hit “Down With the Sickness” and the Alternative Airplay top 10 “Stupify.”
For the tour, Disturbed will be playing The Sickness, which was produced by Johnny K, in its entirety and in sequence, which Draiman describes as “weird” since those hits, usually saved for the end of the night, will come significantly earlier. “We’ve never done anything like this. I think it’s going to be really cool,” Donegan adds. “It’s our biggest album and our big debut, so we want to honor it from start to finish, playing some of these songs we haven’t played in a long time, and then have a second set of things we did after that.”
Disturbed has plenty to draw from there as well, with 27 top 10 Mainstream Rock Airplay hits — a dozen of which hit No. 1, including remakes of Genesis’ “Land of Confusion” and Simon & Garfunkel’s “The Sound of Silence.” All told Disturbed has scored five platinum-or-better albums.
“I remember when we were playing local, before we were touring outside of Chicago, we used to say, ‘I hope we get to the point where we can fill the Riviera Theatres of the world’;…maybe 2,000 seats,” Draiman recalls. “Now we’re playing arenas and packing them with 10, 15, 20,000 at a time. It’s very surreal. It never loses its luster, and it’s still amazing to experience the nice, steady, gradual ascent we’ve been able to have over the course of our career.”
Donegan’s take is that Disturbed “weren’t reinventing the wheel, but we weren’t trying to emulate a certain band, either. We just took all our influences and improvised and wrote the songs, and it started becoming something. But we weren’t chasing anything else; we were just writing the music that we wanted to write.”
The guitarist considers “Down With the Sickness” illustrative of that philosophy. “We were just going into the rehearsal room in the late ‘90s, jumping on our instruments and warming up,” Donegan remembers. “Mikey did this tribal beat…it was never intended for anything, just warming up, and I said, ‘Keep doing that for a minute’ and just started improvising the riff and developing it. David’s listening to what we’re doing and we put that little pause in it, before it kicks in heavier, and out of nowhere in the break he does the signature ‘wa-ka-ka-ka!’ thing and we’re looking at him going, ‘What the hell…?!’ It was just an instinct, just a reaction to this tribal beat and the riff. We were taken aback by it; we didn’t know if he was gonna turn it into words or what, but it just kinda stuck. We were trying to find our own identity…and that definitely helped.”
For The Sickness 25th Anniversary Tour Disturbed is also putting together a museum of sorts for VIP package buyers, including instruments and stage outfits, concert posters and vintage t-shirts and merchandise. The group has also announced a European leg of the trek with 17 dates kicking off Sept. 29 in Copenhagen. For Draiman, Donegan and their bandmates, the nostalgic dip has been an invigorating reminder of where the band came from as well as jet fuel for its future plans.
“I just love the fact we’re still hungry,” Donegan says. “We’ve bene very blessed and fortunate to check off bucket list items. We’ve played with pretty much all our heroes — Metallica, Judas Priest, Pantera, Queensrÿche, all these classic rock/metal bands we’ve grown up to. We just played with Iron Maiden in Mexico City in November; that was a huge bucket list show for us. And there’s been a lot of bucket list venues. And we still love doing it. There’s an incredible addiction to performing, to being on stage and that interaction with the crowd, to going into the studio and making new music, all of it.”
Draiman will check off another item of his own on July 5, when he’ll be part of the Back To The Beginning concert in Birmingham, England, where Ozzy Osbourne and the original lineup of Black Sabbath will play its final show supported by a who’s-who list of heavy metal and hard rock acts. “I’m elated to be part of it, humbled and honored,” he says, noting Disturbed’s appearances on Ozzfest tours helped break the band. “It’s the most seminal frontman and band for hard rock and heavy metal; the second record I ever bought, right after Kiss Destroyer, was (Sabbath’s) We Sold Our Soul for Rock ‘n’ Roll. I love Ozzy. I love the Osbourne family. They’ve been so supportive, such a huge part of we’ve become who we’ve become. We could not have done it without them, so I’m intensely grateful. We all are. I hope that I can just do my little part to pay tribute to their legacy.”
The Sickness 25th Anniversary Tour North American itinerary includes:Feb 25 Nampa, ID Ford Idaho Center Arena*Feb 27 Denver, CO Ball Arena*Mar 02 St. Louis, MO Enterprise Center*Mar 04 Milwaukee, WI Fiserv Forum*Mar 06 Minneapolis, MN Target Center*Mar 08 Chicago, IL United Center*Mar 10 Detroit, MI Little Caesars Arena*Mar 12 Louisville, KY KFC Yum! Center*Mar 14 Boston, MA TD Garden*Mar 17 Washington, D.C. Capital One Arena*Mar 19 Montreal, QC Centre Bell*Mar 21 New York, NY Madison Square Garden*Mar 29 Cincinnati, OH Heritage Bank Center^Mar 31 Cleveland, OH Rocket Mortgage Fieldhouse^Apr 02 Philadelphia, PA Wells Fargo Center^Apr 04 Buffalo, NY KeyBank Center^Apr 05 Pittsburgh, PA PPG Paints Arena^Apr 07 Toronto, ON Scotiabank Arena^Apr 09 Indianapolis, IN Gainbridge Fieldhouse^Apr 12 Charlotte, NC Spectrum Center^Apr 14 Raleigh, NC Lenovo Center^Apr 16 Birmingham, AL Legacy Arena at The BJCC^Apr 18 Sunrise, FL Amerant Bank Arena^Apr 23 Duluth, GA Gas South Arena^Apr 25 San Antonio, TX Frost Bank Center^Apr 26 Fort Worth, TX Dickies Arena^Apr 28 Oklahoma City, OK Paycom Center^May 05 Seattle, WA Climate Pledge Arena^May 07 Portland, OR Moda Center^May 09 Sacramento, CA Golden 1 Center^May 10 San Francisco, CA Chase Center^May 13 Inglewood, CA Kia Forum^May 15 Phoenix, AZ Footprint Center^May 17 Las Vegas, NV MGM Grand Garden Arena^*with special guests Three Days Grace and opener Sevendust^with special guests Daughtry and opener Nothing More
Ed Sheeran wrapped his six-city tour of India on Feb. 15 with more than 120,000 tickets sold, according to Indian entertainment platform BookMyShow. Sheeran played seven nights across the country as part of his + – = ÷ x Tour that is continuing on to China, United Arab Emirates, Qatar, Bahrain and more. The India […]