Touring
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“My mother always wanted me to be a doctor,” Barry Manilow quipped on stage Tuesday (June 3) night at Detroit’s Little Caesars Arena. “She would be so proud!”
Manilow indeed became a doctor during his Detroit tour stop, when six cap-and-gowned faculty members from Chicago’s VanderCook College of Music (the only U.S. school that specializes in teaching music educators) presented him with an honorary Doctor of Music Education honoris causa. The honorary degree, according to VanderCook President Kimberly Farris, recognized “your enduring dedication to music education,” which, she added, “resonates deeply with our mission.” The degree specifically saluted the Manilow Music Project, which he says has spent $10 million during the past 15 years providing musical instruments to schools and honoring music educators. On Tuesday, Manilow presented a $10,000 grant to a teacher from Detroit’s Cass Technical High School.
Donning his own cap and gown and accepting the degree, Manilow explained that “the VanderCook College stands for everything I believe in. Their commitment to music teachers and my passion for getting playable instruments for young people go hand in hand. That’s why it really speaks to me.” He gave special thanks to his drummer, Yolandus “YL” Douglas, for spearheading the honor.
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“This is such a meaningful honor,” Manilow continued. “I’ve gotten awards before — Emmys, Grammys, People’s Choice Awards. Most of them were always honoring me as a singer, songwriter and performer, and they were always great. I’m always so grateful for them. But this is the first time that anybody has acknowledged me as being a musician, so thank you all…I’ll never forget this.” Manilow then tossed his mortarboard into the crowd as his band played “Pomp and Circumstance.”
The show was part of the 81-year-old Manilow’s continuing The Last Concerts series he’s playing in “these cities that have been so supportive” during his 52-year recording career. Prior to the Detroit stop he told Billboard that the endeavor has put him in a reflective space. “It’s like, ‘What? Am I the only one left?’” he says. “It’s Billy Joel, and Elton (John) is not well and Rod (Stewart) and Neil (Diamond). Diana Ross is still in great shape I think. There must be only a handful of people in my world that are still there. I’m still healthy. I’m strong and I’ve still got my voice and my energy. The night I can’t hit the F natural on ‘Even Now,’ that’s the night I throw in the towel. But I can still do it.”
Though he “never got to know” Joel, Manilow adds that he wishes that Piano Man well in his struggle with the brain disorder Normal Pressure Hydrocephalus (NPH) that has taken him off the road. “Oh, it’s so horrible, so horrible,” Manilow says. “It just broke my heart when I heard about Billy Joel. I’m such a fan of his work. I really hope he’s able to get back to it.”
Manilow’s work, meanwhile, isn’t just onstage these days. By the end of the summer Manilow hopes to release a new album, his first since Night Songs II in 2020. “This’ll probably be my last album,” he notes, adding that, “I’ve been working on it for a long time…for so long that the style of music has changed. [laughs] I had to go back and redo (the songs) so they sounded a little more contemporary. I had to take all the strings out, all the background vocals out ‘cause they don’t do that anymore. They don’t use strings and background vocals and all that. Even I heard that it sounded dated, so we had to go back and redo it.”
The result, he says, is “a Barry pop album. I think people who like what I do will like this album; I don’t know about everybody else who likes today’s music, but it’s a solid album.” Manilow adds that he’s not trying to compete with the current crop of chart toppers and Grammy winners.
“The songwriting has changed,” he notes. “Young people don’t write the way I was trained to write. There’s no verse which goes into the chorus which goes back to the verse which goes to ending, and you change keys. They don’t do that. They start the song and then they just…it feels like a run-on sentence to me. I can’t find the hook. I can’t find the chorus. It just keeps on going, and then it ends. That’s not what this album is, and that’s not the way I know how to write, and I think my contemporary songwriters and people I work with would say the same.”
This year, in fact, marks 50 years since Manilow scored his first Billboard Hot 100 No. 1 hit, “Mandy,” while January will mark 50 years since his second No. 1, “I Write the Songs,” which was penned by Bruce Johnston of the Beach Boys. Both were recommended to him by Arista Records then-chief Clive Davis, and Manilow laughs as he recalls their professional relationship. “Every time Clive gave me an idea I would turn it down — every single time I would turn it down.” His objection to that one, in particular, was pointed: “I can’t sing a song where it says, ‘I write the songs’; people will think I’m this egomaniac. I won’t do it! Same thing with any of the other ones. I turned them all down. But Davis was relentless; ‘You’ve got to try it. You’ve got to try it!’ So I would put my arranger hat on and crawl into these songs and figure out how I can do these songs so I can be proud of it.”
“I Write the Songs,” of course, remains cemented into Manilow’s setlists, including his “lifetime” residency at the Westgate Las Vegas Resort & Casino, which resumes on June 12. There’s no end date in sight, he insists, but having already done a One Last Time! tour back in 2015 Manilow insists that he’s not kidding about each stop being the final performance in each city.
“It’s a bittersweet experience for me because I know that I’m not coming back here and (the fans) know I’m not coming back here. And when I finish and I say ‘goodbye’ it is goodbye,” he says. “I’ve never felt that before. Usually I know that (on) the next tour, I’ll probably come back here. But this time I know I’m not coming back to these cities. I’ve been doing this for so many years, and I’ve done these cities over and over and over, but this is it.”
At the inaugural SXSW London taking place June 2-7, with nearly 900 speakers participating in some 500 sessions, one specific topic was of sharp relevance to the music industry — indeed, every industry and every attendee.
The climate crisis.
The past year saw extreme weather drive fires across the music capital of Los Angeles; a cyclone prompt cancellations of some two dozen live events in Australia in a single week; and more than 50 festivals in the U.K. either postponed or canceled due to forces including higher weather-related insurance costs.
“Climate change is not some distant threat,” said Leila Toplic, chief communications and trust officer of Carbonfuture, which provides verification of efforts to remove carbon from the atmosphere.
“The business case for taking action is still there,” remarked Helen Clarkson, CEO of the the Climate Group, a non-profit whiich has worked with more than 500 multinational businesses in 175 markets. (She spoke during a panel provocatively entitled “Canceling Sustainabilty,” about efforts to purse a green agenda in the face of new anti-environmental rhetoric in Washington, D.C.)
SXSW London organizers tapped the Bellwethers Group, which is focused on building a green economy, as its the official sustainability partner and the company hosted several days of panels at the Nature and Cimate House.
One of those panels focused on the role that advertising and public relations agencies can play in guiding businesses which claim to be concerned about the climate. Lameya Chaudhury, head of social impact for the mission-driven creative agency Luck Generals, remarked: “The question we’re asking of clients in 2025 is — did you really f–king mean it?”
SXSW London builds on the four-decade legacy of the South By Southwest music, arts, film and tech conference and festival launched in Austin, Texas, in 1987. Two years ago, Penske Media (the owner of Billboard) took a majority interest in the company which now presents conferences in Austin; Sydney, Australia; and now in the formerly industry district of Shoreditch in East London.
The climate-focused discussion that hit closest to home for the music industry took place Wednesday morning. Billed as “The Future of Sustainable Live Events,” it was moderated by Claire O’Neill, CEO and co-founder of the international nonprofit A Greener Future and co-founder of green energy specialists, Grid Faeries.
Panel participants included Sam Booth, director of sustainability for AEG Europe; Alex Bruford, founder, managing director and agent with ATC Live, whose clients include The Lumineers and Fontaines DC; and Mark Stevenson, co-founder of CUR8, whose mission is to remove 1 billion tons of carbon a year from the atmosphere.
Here are five key takeaways from their discussion.
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For Wu-Tang Clan superfans with money to burn, snagging a premium ticket for their upcoming tour won’t just buy killer seats, but gain them entry to an exclusive pre-party offering an immersive look at the kung-fu and iconography of the famed Staten Island hip-hop collective.
“We’re really being thoughtful from a pricing perspective,” Ben Duvdevani, co-founder of One More Time VIP, says of the Shaolin Temple Preshow Party ticket package, which offers entry to a time capsule-style exhibit showcasing rare Wu-Tang fan memorabilia and 3D video projections of classic films like The 36th Chamber of Shaolin and Five Deadly Venoms that inspired albums like Enter the Wu-Tang (36 Chambers) and Wu-Tang Forever.
“Packaging premium seats with these programs is enticing for the fan and helps push inventory. It helps push the bots out of purchasing premium inventory” and, he adds, “helps conversion for VIP.”
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The Shaolin Temple package is just one example of the lucrative VIP concert business in 2025, which is poised for a comeback thanks to a new generation of fans looking to invest in artist-centric experiences.
“There’s a ton of business out there because there are so many artists on the road right now, and so many artists at all levels trying to create something memorable for their fans,” adds Duvdevani, whose company is handing VIP packages for about 300 tours this year including Shaboozey, Sabrina Carpenter, Teddy Swims and HAIM.
It’s an impressive feat for an industry hit hard by COVID-19. The VIP business was born in the 1990s thanks in part to the work of New Yorker Shelley Lazar — the beloved “Ticketing Queen” who convinced iconic artists like the Rolling Stones, Paul McCartney and The Who to let her build out premium offerings for diehard fans she came to know on a first name basis — and it continued to grow in the new millennium as touring exploded. By the early 2000s, most artists were offering fans some type of VIP product, from meet and greets to destination concerts, facilitated and produced by a new generation of VIP companies with names like Fresh Beats and CID.
Beginning in 2017, many of the VIP companies started to consolidate. Several of them came under the NFL-backed firm OnLocation, which was purchased in March 2020 by Endeavor — just weeks before the concert business shut down for more than a year during COVID-19. During the pandemic, one popular U.K. VIP and hospitality company, Pollen, was forced to file for bankruptcy and later dismissed most of their staff.
Many VIP executives used the pandemic period to leave Endeavor and begin serving out their non-competes. By 2022, a new crop of companies founded by these execs started popping up, including One More Time, which won the contract to build the Shaolin Temple Preshow Party for Wu-Tang Clan’s upcoming Final Chapter North American arena tour. “It’s a bespoke preshow activation, where there’s going to be some surprises and a really special experience for fans,” Duvdevani tells Billboard of the exhibit that was created for the group’s 27-city tour. The Shaolin Temple pre-party is being packaged with front section floor tickets and priced at $740 a piece all-in.
VIP conversion has become increasingly common as more artists embrace platinum ticket pricing and higher prices for front row seating inventory as a response to secondary ticketing prices. Coupling these high-end tickets with VIP add-ons has become an important way to move aggressively priced inventory.
That need has led to one major change in how VIP packages and fan clubs are operated. Prior to the pandemic, many VIP companies operated ticketing systems that pulled tickets off the Ticketmaster or AXS platform, a practice that has largely ended.
“We want to put our best foot forward to make sure everyone’s winning, so we’re not taking anything off platform,” Duvdevani says. “Promoters are still getting the sale, and we’re also being mindful of that inventory. We don’t want to hold up a sell-out.”
Eddie Meehan got his start running VIP access company A Wonderful Union in the early 2000s before eventually selling to OnLocation and subsequently launching Please & Thank You. Meehan said his new company’s clients include Backstreet Boys, Alice Cooper, Melissa Etheridge and Peso Pluma.
“You have to be creative because many artists simply aren’t interested in doing meet and greets, it’s very taxing,” says Meehan, noting that he’s found success creating activations for artists like Aimee Mann, who offered VIP package holders a preshow soundcheck performance with songs not performed during the concert. Fans of another Please & Thank You client, *NSYNC, were invited to a restaurant for a private dumpling making party.
“We’ve had a lot of success bringing in brands to underwrite some of these events, which means more money in the pocket of the artist,” says Meehan, who has struck deals with Amazon Music and eBay Motors. “I tell brands they won’t get the same exposure to 600,000 fans they would get on a tour, but they do get access to 3,000 diehard, loyal fans who will evangelize your brand.”
Duvdevani added that VIP offerings shouldn’t be limited to established artists, pointing to newcomer Jessica Baio, a 23-year-old singer-songwriter who hired One More Time to run a VIP meet and greet program for her first headliner club tour.
“I feel like such an important part of going and performing live is also getting to meet people face to face,” Baio tells Billboard. “It’s something I wanted to offer to people and it’s just one of my favorite parts of the night, getting to physically hug people and meet them in person and allow them to share why my songs have touched them.”
While young artists like Baio have found success with a meet and greet program scaled to fit their tours, VIP industry luminary Dan Berkowitz, who is widely recognized with having helped create the VIP business through his firm CID, which he sold in 2016, says artists should only offer VIP experiences to fans if those experiences promote an “authentic connection.”
If the artist is committed to making the experience work, says Berkowitz, who launched his new company, 100x Hospitality, in 2022, there’s always potential for success.
“There is always going to be a strong demand for compelling experiences and people are always going to want to feel connected to the music that they love and to each other,” he says.
With Tha Carter VI set to arrive on Friday (June 6), Lil Wayne is plotting a North American tour to bring the album with him on the road later this year. Announced on Tuesday (June 3), Weezy’s Tha Carter VI Tour is slated to kick off on Friday with a celebratory show at the iconic […]
Drake has expanded his upcoming summer tour with his newly-announced $ome $pecial $hows 4 UK run through the United Kingdom and Europe with PARTYNEXTDOOR. Earlier this year it was announced that Drake would headline Wireless Festival in London on all three nights (July 11-13), and the Canadian superstar will now expand his run to include […]
A Honduras-based hotel owner says he’s reviving the Fyre Festival brand alongside Billy McFarland as a pop-up experience at his island resort, marking the latest twist in a bizarre saga.
Heath Miller, a former New York concert promoter and one-time manager of Webster Hall in Manhattan, says he reached an agreement with McFarland to stage a 300-to-400-person Fyre Resort Pop-Up at his hotel, Coral Villa Utila, located on the island of Utila, one of Honduras’ famed Bay Islands in the Caribbean. The event will run from Sept. 3-10.
Tickets are cheap: Just book a room at Miller’s 25-room resort, and a pass for Fyre is included. Rooms start at $198 per night for singles, $329 for couples, $399 for triples and $449 for the hotel’s four-bed room.
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Miller is quick to point out that the September event is not being billed as Fyre Festival II, adding that tickets from that event won’t get you access to the Fyre Resort Pop-Up, which he says will be more low key than what had been planned for Fyre’s comeback festival in Playa Del Carmen, Mexico. There will be live entertainment, although Miller notes that he hasn’t secured any talent yet and says the festival won’t have a large budget or a splashy lineup.
“This event isn’t for an artist looking for a $100,000 fee,” he says. “Honestly, for me, this is a promotional vehicle for my hotel and it plays into my grand plan — I’m working on writing a book on my music career, and the book was supposed to end last June [with a story about] Jack Antonoff in Asbury Park. But instead, I guess Fyre is going to be the final chapter of the book.”
In Miller’s estimation, the controversy around the disastrous 2018 festival — which garnered international headlines when ticketholders arrived on a Bahamian island to find that the promised luxury event had not been realized — may ultimately be the biggest draw.
“Fyre Festival is a tainted brand that obviously has a horrible reputation, but at the end of the day, this brand can create press and awareness better than Coachella can,” he says.
Miller has been managing the hotel since 2019 for his late father, who bought the island resort in the 1990s. He says his idea for the Fyre pop-up is partially inspired by Sixthman, the concert and cruise ships company owned by Norwegian Cruise Lines that stages music-themed cruises for artists like Lindsay Stirling, Joe Bonamassa and comedian Nate Bargatze.
“Originally, I wanted to do fan club and events here,” on Utila, says Miller, who hoped to match music with scuba diving and water excursions. He adds, “Fans want to engage with the artist in unique and different ways and see them play in unique settings,” noting that the Fyre pop-up presented a rare opportunity to build proof of concept.
Under the terms of their agreement, McFarland maintains full ownership of Fyre, and Miller will serve as venue manager and site host.
Miller says he’s already secured permits and local approval for the Fyre Resort Pop-Up and said he hopes the famed festival brand creates some positive buzz for Utila. The island is popular year-round with scuba divers and snorkelers who visit the island to swim with sharks and explore the 600-mile-long Mesoamerican Barrier Reef, but it isn’t as well-known as other Caribbean destinations like Barbados, St. Lucia, and the Turks and Caicos Islands.
Miller adds he’s well aware of McFarland’s past failures with Fyre Festival, most famously with the disastrous first edition in 2018, which left hundreds of fans temporarily trapped on Grand Exuma island. McFarland masterminded the event, according to the FBI, convincing fans to shell out thousands for luxury accommodations that turned out to be emergency tents and gourmet meals that were little more than cheese sandwiches.
McFarland went to prison after admitting to stealing $26 million from investors for the event and has been working to repay them since being released from prison in 2022 after serving four years of his six-year sentence. While serving in solitary confinement, McFarland came up with the idea for a sequel to Fyre, which he had hoped would repair his image, and bounced around different sites in the Bahamas and Mexico before landing on Playa del Carmen near Cancun. McFarland ultimately hired Mexican firm Lost Nights to produce the event and staged a press conference on March 27 with local officials to highlight it.
However, things went south in April when city leaders from Playa del Carmen announced that no permits for Fyre Festival had been issued in the seaside town. McFarland responded by releasing images of permits that he said proved Fyre was happening, but he later pulled the plug on the event and refunded ticket holders. On April 24, McFarland announced he was selling Fyre’s assets and intellectual property and had reached an agreement with a streaming service to license the name.
Miller says McFarland retains the name for Fyre and has a core team of a half-dozen individuals working with him, including his long-time partner, Michael Falb.
“I’m well aware of Billy’s past and I think it’s important that we are transparent about what happened. I personally met with the mayor of Utila when securing the permits for this event and even showed him the documentaries about Fyre Festival,” Miller said of the films FYRE: The Greatest Party That Never Happened and Fyre Fraud, both of which were released in 2019 and chronicled the festival’s rise and fall.
“Billy has issues and one of his biggest flaws is that he tends to trust people more than he should,” Miller says, noting that McFarland reminds him of himself when he was a young promoter working New York’s nightlife circuit as an independent concert promoter, both for himself and for John Scher’s Metropolitan Concerts and later Webster Hall. Miller notes he worked with McFarland prior to Fyre Festival, when McFarland was running millennial VIP company Magnises.
“He never stiffed me on a bill — we always got paid what we were owed,” Miller says. “I look at Billy’s mistakes and I ask myself what I would have done if I was controlling millions of dollars for a huge party. I don’t know. What I can tell you about Billy is that he a big kid at heart that really just wants to throw the world’s greatest party.”
To buy tickets and learn more visit fyrehotels.com.
The home of the University of Connecticut’s storied men’s and women’s basketball teams has a new name: PeoplesBank Arena.
Headquartered in Holyoke, Mass., PeoplesBank is a community bank company with 20 branches and about $4.5 billion in assets; it is referred to as a mutual bank and is owned by its depositors.
The naming rights agreement, announced by the arena’s co-manager Oak View Group (OVG) on Monday (June 2), aligns PeoplesBank with one of Connecticut’s busiest concert venues. Originally known as the Hartford Civic Center when it first opened in 1976, the city-owned facility changed its name to the XL Center in 2007 as part of a naming rights agreement with the XL Group insurance company. In 2013, Global Spectrum won the management contract for the 16,000-seat building. In late 2021, Global Spectrum’s parent company, Spectra, was purchased by OVG, which manages the arena with the Capital Region Development Authority under a lease with the city of Hartford, Conn.
PeoplesBank Arena has hosted a number of major concerts in recent years, including Bad Bunny‘s Apr. 20, 2024, stop at the arena on his Most Wanted Tour. The building hosted legendary Norteño band Los Tigres del Norte on Apr. 27, 2024; bachata icons Aventura on May 27; Sabrina Carpenter‘s Short n’ Sweet tour on Oct. 2; and Chris Tomlin and CAIN‘s Holy Forever World Tour on Oct. 23.
PeoplesBank Arena is also home to the American Hockey League’s Hartford Wolf Pack, the 12-time National Champion UConn Women’s Basketball team, the six-time National Champion UConn Men’s Basketball team and UConn Men’s Ice Hockey.
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“PeoplesBank’s deep-rooted commitment to putting people and communities first perfectly aligns with our purpose-driven mindset that fuels everything we do at Oak View Group,” said Peter Luukko, co-chairman of OVG, in a statement. “This partnership is more than naming rights—it’s a shared vision to deliver dynamic experiences, elevate the fan journey, and create lasting impact where it matters most: in the communities we serve.”Renovations are ongoing at the arena. The next phase of construction includes “upgrades to the seating area, the addition of new lower-level luxury suites, and the development of enhanced concession areas designed to elevate the overall guest experience,” according to a press release from OVG.
“From upgraded seating and premium hospitality to world-class food and beverage, enhanced concert rigging, and top-tier amenities for performers and athletes, every detail is getting an overhaul,” the release continues. “PeoplesBank Arena’s $145 million transformation is set to be completed this fall as it will re-establish Hartford as a must-play destination on everyone’s touring schedule.”
More at PeoplesBankArena.com.
Whether she likes it or not, Megyn Kelly is a part of Beyoncé‘s Cowboy Carter Tour — but that’s not stopping the political commentator from slamming the superstar for including footage of her in the trek’s visuals.
In a recent clip from The Megyn Kelly Show titled “Beyonce Tries Playing Victim,” Kelly said it had recently come to her attention that “Beyoncé, who’s on some world tour right now reinventing herself as a country star, is running videotape during the show of yours truly.”
“Here is another one of the most privileged, beloved women in the world — and richest, based on her own fortune, never mind the man she’s married to,” the TV personality continued, referring to billionaire Roc Nation founder Jay-Z. “But [she] still has to look for the one sliver where she could play the victim and be aggrieved because big bad Megyn Kelly said something completely milquetoast about her entry into country music.”
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Billboard has reached out to Bey’s rep for comment.
Kelly’s remarks come more than a month after the Destiny’s Child alum kicked off her world tour in support of Billboard 200-topping album Cowboy Carter, which found Bey exploring her love for country music across 27 tracks, including collaborations with icons such as Willie Nelson and Dolly Parton. At a certain point in each show, a blurred-out clip of the former Fox News anchor blasting Bey for “sticking her big toe” into country music during an appearance on Australia’s Sky News plays on venue screens.
The moment in the show is representative of how many people were critical of the 35-time Grammy winner for experimenting with country music once Cowboy Carter dropped in March 2024. Many parts of the industry were unwelcoming — the album earned zero nominations at the CMA Awards and country radio did not embrace any tracks — but Bey would become the first Black woman to ever reach No. 1 on the Hot Country Songs chart with lead single “Texas Hold ‘Em.” Cowboy Carter also took home both album of the year and best country album at the 2025 Grammys.
But despite Bey’s success since the last time she spoke on the subject, Kelly doubled down on her early criticism of Cowboy Carter. “She and her marketing people were treating that entry [into country music] like the second coming, like it’s Jesus incarnate,” she added on on The Megyn Kelly Show. “‘All hail Queen Bey, she’s here to rescue country music,’ which was a perfectly thriving industry long before Beyoncé showed up.”
Following stints in Los Angeles, Chicago and the New York City area throughout the month of May, Bey is now gearing up to bring her Cowboy Carter trek to London for a string of shows at Tottenham Hotspur Stadium kicking off June 5. Her five-night stay at SoFi Stadium in Inglewood, Calif., grossed $55.7 million with 217,000 sold, marking the biggest single-venue engagement reported to Billboard Boxscore in 2025 so far.
Kelly’s complaint about the Sky News footage isn’t the first instance of someone taking issue with the Cowboy Carter Tour visuals, however. In May, attorneys for Sphere Entertainment Co. CEO James Dolan sent Bey a cease-and-desist for using imagery of the Las Vegas Sphere in a video interlude, after which the musician cheekily superimposed the city’s Allegiant Stadium over the first venue in the visual.
Ticketing platform Seated is being re-acquired by its founders, David McKay and John Griffin, four years after it was acquired by intimate live experience producer Sofar Sounds. McKay will lead the company’s return to independence as CEO.
Seated — dubbed an artist-first ticketing platform — was launched in 2017 to empower artists to take more control of their ticketing by enhancing tour listings for artist websites; it has since evolved into a central pillar of many major tours’ marketing and ticketing efforts. The platform’s offerings have now expanded to include SMS-based presale registration, audience-building and pixeling for ad strategy, official waitlists for sold-out shows, and direct-to-fan ticketing. Seated has come to work with big-name artists including Billie Eilish, Post Malone, Olivia Rodrigo, Lizzo, Eric Church, John Mayer, Morgan Wallen, Ed Sheeran, Bruno Mars and Gracie Abrams in recent years.
“When we sold the company in February 2021, it was a very different time [for live events], and our vision of what a combined Seated and Sofar would become drastically changed once the vaccines came out. Our business was clearly moving in a different direction than Sofar,” says McKay. “To their credit, [Sofar] continued to support us and we stayed a fully independent operating team inside of Sofar for those four years, which actually made this a very clean split.”
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The two entities began discussing a split when former Sofar Sounds CEO Jim Lucchese departed the company in 2024 to become the president of Berklee College of Music. Lucchese was replaced by former Atlas Obscura CEO Warren Webster, who McKay says is a “breath of fresh air for Sofar” but diverges from Seated’s goals of working with arena and stadium touring artists.
“Seated has achieved remarkable growth under Sofar Sounds’ ownership these last four years, becoming a vital partner to some of the biggest artists in the world,” Webster said in a statement. “We’re proud to have been part of that story, and as Sofar focuses on the increasing demand in our communities for live experiences, we’re thrilled that Seated will continue to grow with its founders at the helm.”
For the founders, the reacquisition is about doubling down on building tools for artists to sell tickets directly and develop stronger connections with their fans. The platform has recently done direct-to-fan ticketing for Noah Kahan, Shawn Mendes and Goose, while artists like Brandi Carlile, John Legend and Nathaniel Rateliff have used Seated to sell their own presale tickets, giving them more control over the ticketing experience and fan data. Seated has also helped artists use identity verification for resale and waitlist ticketing, reducing the number of tickets that end up with brokers.
Over the past year, the biggest residencies at Sphere in Las Vegas — including Eagles, Dead & Company and Kenny Chesney — also used Seated for data capture, demand insights and SMS presale registrations.
With ticketing being a hot-button issue in the last few years, McKay says he is excited to be independent again so that Seated can focus more on helping artists capture their fan data. Rather than spending all of their tour marketing on directing fans to ticketing platforms where they have to wait for a specific time for an onsale, McKay wants artists to be able to give their fans actionable items that get them closer to securing tickets.
“When tickets are not on sale yet, fans can sign up for reminders to get tickets, and when tickets sell out, we open up the fan waitlist,” McKay says, and all that fan data goes back to the artist.
“All the ticketing companies that you know and love — or don’t — are built with the tools to service their customers, which are the venues,” McKay says, adding that major ticketing companies are investing in box office computers, scanners and season ticket technology for sports teams. “Ticketing companies as a whole, the artist isn’t their customer.”
After playing Fenway Park in Boston, Kahan was set to perform at a local Vermont venue with only 5,00 tickets available. Instead of making fans rush to an onsale (where bots are the quickest to the tickets), the company had fans sign up with their information and their price range, and Seated was able to sort through to make sure all buyers were authentic fans. If fans needed a refund, they could click a button to return the ticket, and it would go to another fan on the waitlist. Fans who did not want a refund for their ticket could donate the money they spent to Kahan’s charity, with McKay stating that 15% of those who wanted a refund did so.
“That’s the biggest difference between an artist-led ticketing platform and a venue-led ticketing platform,” says McKay.
On Friday (May 30), a day after her show at Boston’s Fenway Park was canceled, Shakira has called off her WorldPride Welcome Concert set for Saturday night at Washington, D.C.’s Nationals Park.
The news was shared on social media accounts for Nationals Park, home of Major League Baseball’s Washington Nationals.
“Due to complications with the previous show in Boston, Shakira’s full tour production cannot be transported to Washington, D.C. in time for her scheduled performance at Nationals Park on Saturday, May 31,” the ballpark statement reads. “As a result, the D.C. show has been canceled. Despite every effort to make it happen, it is not possible to move forward as planned.”
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The statement says refunds will be “issued automatically for Ticketmaster and Nationals.com purchases,” while anyone who bought tickets through third-party resellers should contact their point of purchase directly.
The original post on Nationals Park socials included a separate statement from Shakira in both English in Spanish, reading: “Due to circumstances beyond my control, I am sad and heartbroken that I will not be able to be in Washington, D.C. with you tomorrow. I hope that I can come back to D.C., as soon as I am able. Meanwhile, please know that I am eternally thankful for your unconditional support.” That Shakira statement has since been deleted from the Nationals Park accounts and does not appear on any of Shakira’s social channels.
Shakira‘s show scheduled for Thursday night at Boston’s Fenway Park was canceled just hours before it was set to start “due to unforeseen circumstances,” the stadium announced on social media. Live Nation later told Billboard in a statement: “During a routine pre-show check, structural elements were identified as not being up to standard, so the shows were canceled. All team members are safe.”
While Shakira’s WorldPride Welcome Concert has been canceled, the WorldPride D.C. website assures that all other events will continue as planned. Find a full schedule here.
Shakira’s Las Mujeres Ya No Lloran World Tour is set to continue Monday at Atlanta’s State Farm Arena.