Touring
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MELBOURNE, Australia — Veteran live entertainment professional Meagan (Meg) Walker will join ASM Global (APAC) later this year as group director of arena operations.
Effective Oct. 10, ASM Global will join the venues management specialist from Live Nation, with responsibilities for the company’s arena network in Australia while supporting other arena venues in the region, reads a statement, with a focus on event acquisition, operational planning for best practice patron experience and event delivery.
Walker’s resume includes senior management roles with some of Australia’s most successful venues including Melbourne’s Rod Laver Arena, Margaret Court Arena, John Cain Arena and Palais Theatre.
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In her new role, Walker replaces Tim Worton, who announced his retirement earlier this year.
“The depth and scale of Meg’s experience in the operation of major events and live entertainment is the perfect fit to lead our portfolio of world class arenas, frequently featured in Billboard, Pollstar and Rolling Stone,” ASM APAC chairman and CEO Harvey Lister says.“Both Meg Walker and Tim Worton have long been recognized as legends in the industry and we are so fortunate to be the recipients of their expertise and professionalism as part of our management team.“Meg has proven to be an accomplished event professional with strategic and collaborative leadership skills.”
One of Walker’s great talents, says Lister, is the ability to mentor the next generation of aspiring venue managers, which will be a key part of her role to support the company’s continuing growth.
The company is currently enjoying “exponential growth and development” for its portfolio of entertainment venues in Australia, the Asia Pacific and MENA regions. Worldwide, ASM Global operates over 400 venues on five continents.
“I look forward to contributing to the ongoing strong performance and growth of the ASM Global portfolio by collaborating with all stakeholders and supporting the team to achieve their personal and professional goals,” adds Walker, “while ensuring ASM arenas maintain their world’s best practice reputation.”
Worton, meanwhile, is leaving the live entertainment industry for a new career path. As previously reported, he will step away from ASM Global at year’s end, at which time he will enter 12 months’ full-time studies at Moore Theological College in Sydney. When completed, Worton will endeavor to work in a pastoral, chaplaincy or ministry role.
Sydney-based Worton has logged 33 years in the entertainment business, including 25 years with ASM Global (previously AEG Ogden). For the past 19 years, he has served as the venues and event management specialist’s group director of arenas for APAC. Worton will work with Walker during the transition.
On the heels of releasing his The Hood Poet album on Aug. 9, Polo G is set to hit the road in support of his latest LP. Polo announced a 26-city North American trek on Tuesday (Aug. 20) with The Hood Poet Tour slated to kick off in Denver on Oct. 24.
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“I’ve always put my heart into my music, and now I’m bringing that energy to the stage,” Polo G said in a statement. “This tour is for the fans who’ve been with me since day one and for everyone who’s been part of this journey. I can’t wait to share this experience with y’all.”
The Hood Poet Tour will see support from Vonoff1700, Skylar Blatt, Diany Dior, Scorey and Twotiime. Tickets will be available with a local presale on Wednesday (Aug. 21), with the general public getting a chance on Friday (Aug. 23) at 10 a.m. local time. VIP packages are also available on Polo’s website.
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Following the Denver kickoff, The Hood Poet Tour will be making stops in Kansas City, his hometown of Chicago, Detroit, Toronto, NYC, Boston, Philly, Atlanta, Houston, Dallas, San Diego and San Francisco before wrapping up in Los Angeles on Nov. 29.
Polo G’s The Hood Poet served as his fourth studio album, and featured appearances from Future, GloRilla, 42 Dugg, Offset, The Kid LAROI, Lil Durk, G Herbo, Hunxho and Fridayy. The LP was Polo’s first to debut outside the top six on the Billboard 200 as the project came in at No. 28 in its first week on the chart while hitting No. 5 on the Top Rap Albums chart.
Find all of the dates below:
Oct. 24 – Denver, Co. @ Fillmore Auditorium
Oct. 27 – Minneapolis, Minn. @ Uptown Theater Minneapolis
Oct. 29 – Kansas City, Mo. @ The Midland Theatre
Oct. 30 – St. Louis, Mo. @ The Pageant
Nov. 1 – Milwaukee, Wis. @ The Eagles Ballroom
Nov. 2 – Chicago, Ill. @ Byline Bank Aragon Ballroom
Nov. 3 – Grand Rapids, Mich. @ GLC Live at 20 Monroe
Nov. 4 – Detroit @ The Fillmore Detroit
Nov. 5 – Toronto, Ontario, Canada @ REBEL
Nov. 7 – New York City @ Palladium Times Square
Nov. 8 – Hartford, Conn. @ The Webster
Nov. 9 – Providence, R.I. @ The Strand Ballroom
Nov. 10 – Montclair, N.J. @ The Wellmont Theater
Nov. 11 – Boston @ Citizens House of Blues Boston
Nov. 13 – Philadelphia, @ The Fillmore Philadelphia !
Nov. 14 – Washington, D.C. @ Echostage
Nov. 15 – Raleigh, N.C. @ The Ritz
Nov 16 – Atlanta @ The Eastern
Nov. 18 – Charlotte, N.C. @ The Fillmore Charlotte
Nov. 20 – New Orleans, La. @ The Fillmore New Orleans
Nov. 21 – Houston, Texas @ Bayou Music Center
Nov. 22 – Austin, Texas @ Stubb’s Waller Creek Amphitheater
Nov. 23 – Dallas @ South Side Ballroom
Nov. 26 – San Diego @ House of Blues San Diego
Nov. 27 – San Francisco @ The Midway
Nov. 29 – Los Angeles @ The Wiltern
SYDNEY, Australia — Playbill Group, the venue management business that operates the Hordern Pavilion, a Sydney landmark, has struck a partnership with AEG Presents and Frontier Touring, part of the Mushroom Group.
Going forward, Michael Nebenzahl continues as managing director of Playbill, in a “business as usual” arrangement, reads a joint statement.
Playbill and Frontier, both Australian, family-founded companies proving competitive on the global stage, have much in common, Frontier Touring CEO Dion Brant tells Billboard. “When we met Michael and his team it became obvious that the similarities didn’t stop there. We think very similarly, we have similar values and a similar culture. Both companies care deeply and go the extra mile for their clients, be it a theatrical production, a sporting team, or a music artist. Both go out of their way to treat fans well. And both focus on hiring and developing talented people, care about their people and trust them to deliver day in day out.”
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He adds, “with all the things the companies have in common the partnership feels natural for both.”
Formed in 1958 by Brian and Jocelyn Nebenzahl, Playbill’s interests include management of the Hordern Pavilion, which this year celebrates its 100th anniversary, and will host the ARIA Awards this November for the third-successive year.
From its grand opening in 1924 until 1983 (when the now demolished Sydney Entertainment Centre first opened its doors), the Hordern, with its 5,500-capacity, was the largest indoor venue in the country’s biggest city. Over time, the room has hosted concerts by a who’s who of global superstars, from Frank Sinatra to Coldplay, Foo Fighters, Nirvana, David Bowie, Queen and the Jackson Five.
Playbill also merchandises for theatrical productions including musicals, national theatre and music companies in 12 countries worldwide, and partners with major sporting teams and operates venue concessions across the country and in Asia.
Playbill’s merchandise division has “been a mainstay” of the theater scene in Australia for over 60 years, notes Brant, “and is now a major force” on the world stage.
“I am delighted to be partnering with AEG Presents and Frontier Touring in this next phase of the Playbill journey,” comments Nebenzahl in a statement. “We have always prided ourselves on serving our customers, whether in musical theatre, sport or as a venue through the Hordern Pavilion. In AEG, we have found a like-minded partner to continue to honor the legacy my parents created when they founded the business.”
Frontier Touring and AEG Presents, the live-entertainment division of Los Angeles-based AEG, struck a strategic joint venture in 2019, formalizing a successful 12-year arrangement on tours into these parts. With that agreement, the award-winning Australian concerts specialist stepped into a global family whose portfolio includes venues around the globe, many at the arena-and-stadium level.
AEG has a long-established presence here through its then-named AEG Ogden joint venture, the largest venue management company in Asia Pacific. In 2019, AEG Facilities, the venue management subsidiary of AEG, announced a merger with SMG to create a new management empire called ASM Global, which would collect more than 300 facilities worldwide under a single banner.
“The Hordern and Frontier have a long-standing relationship bringing the best live music to Sydney,” comments Anthony Dunsford, GM Playbill Venues. “We look forward to continuing our role to bring iconic acts to the fans.”
The U.S. Department of Justice has refiled its historic anti-trust lawsuit against concert promoter Live Nation, with 10 additional states joining the effort to break up the company more than a decade after its 2010 merger with Ticketmaster.
The Attorneys General for Indiana, Iowa, Kansas, Louisiana, Mississippi, Nebraska, New Mexico, South Dakota, Utah and Vermont were added to an amended complaint filed in New York’s Southern District on Monday (Aug. 19), bringing the total number of states participating in the lawsuit to 40 total, along with the District of Columbia.
“There is nothing new in the Amended Complaint,” a statement from Live Nation reads. “The lawsuit still won’t solve the issues fans care about relating to ticket prices, service fees, and access to in-demand shows. We look forward to sharing more facts as the case progresses.”
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The amended lawsuit re-alleges that Live Nation and Ticketmaster acted like a monopoly and violated Sections 1 and 2 of the Sherman Act by using illegal tactics to expand its concert promotion business and management of amphitheaters. The new complaint also includes new details about how Live Nation allegedly expanded its ticketing business after it merged with Ticketmaster in 2009, including information about the company’s controversial relationship with arena developer and operator Oak View Group (OVG). Founded in 2015 by Tim Leiweke and music manager Irving Azoff, Oak View Group manages nearly 200 venues and relies on Live Nation to bring major tours to its concert facilities, which includes such top U.S. venues as Climate Pledge Arena in Seattle, the Moody Center in Austin and UBS Arena in Belmont, N.Y.
As the building manager’s main representative, OVG is supposed to manage the competitive process for selecting a venue’s ticketing contract, but the complaint alleges that OVG is obligated to “advocate for exclusive agreements with Ticketmaster for more than 100 venues Oak View Group manages” — which the lawsuit claims essentially “locks those venues into long-term exclusive Ticketmaster agreements.” The agreement, the government argues, unfairly prevents third-party competitors from entering the ticketing space while compensating OVG with a substantial “incentive payment” from Live Nation plus significant annual payments.
In fairness, OVG’s competitor AEG — which also competes with Live Nation for concert promotion and ticketing — also accepted payments for the buildings it managed under ASM Global, the building management firm it owned with Canadian private equity firm Onex and recently sold to Legends Hospitality.
The revised complaint does not include additional damaging exchanges between Live Nation CEO Michael Rapino and potential competitors, or new damaging information that shows the company employing heavy-handed tactics. Instead, it contains more analysis of the concert market following the merger of Live Nation-Ticketmaster. On that front, according to the complaint, “Live Nation’s conduct has harmed fans because they have been left with fewer concerts, have had more limited choices among touring artists, have paid higher ticketing fees, and have experienced a lower-quality ticketing experience than they otherwise would have but for Live Nation’s anticompetitive conduct.”
The creator of Ibiza clubbing institutions Hï and Ushuaïa has announced the opening a new nightclub on the island in 2025.
The space, called [UNVRS], has been dubbed a “hyperclub,” by The Night League, the group behind the new concept and the other two afrorementioned clubs.
While details are still scant regarding what a “hyperclub” is, what this space will look like or what kind of music it will program, Yann Pissenem, the owner, founder and CEO of The Night League tells Billboard that with the new space, “we’re taking everything we’ve learned from creating Ushuaïa and Hï Ibiza—venues ranked among the world’s best—and pushing the boundaries even further.
“A Hyperclub is the next evolution in global nightlife,” Pissenem continues. “Imagine seeing your favorite artists in a space that offers the best elements of a club, the infrastructure of an arena, and the best hospitality in the world.[UNVRS] is about attention to granular detail, from the finishes across the venue to the unique experiences our guests will never forget. It’s a space that retains the raw energy of a rave, connecting the present and future within the walls of stunning architecture.
The announcement of the club technically began on July 31, when many in Ibiza reported seeing a mysterious object in the sky near Es Vedra, a large rock formation just off the coast of the island’s west coast.
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Today (Aug. 19) that situation was revealed to be a marketing stunt, with none other than Will Smith (an original Man In Black, of course) posting a video of himself to Instagram saying he’d seen the “UFO sighting” and therefore “hit my boy Yann, and Yann is like the king of Ibiza,” with Pissenem then sending Smith a pinned location on the island, which lead Smith to the construction site of the new club. In the video, Smith meets Pissenem at the site, with Pissenem declaring “welcome to [UNVRS]” as the Men In Black them song plays.
With The Night League, Pissenem has made Ushuaïa and Hï destinations for many of the world’s biggest DJs, with this season’s Ushuaïa residents including Calvin Harris, David Guetta, Martin Garrix and Armin van Buuren and Hï hosting heavy hitters like Black Coffee, Eric Prydz, Fisher and many more. The company says that together, these clubs bring in 1.5 million attendees each season.
“Ibiza has always been the epicenter of global club culture, and we feel a responsibility to elevate it again, ensuring it remains at the forefront of the nightlife scene,” Pissenem continues to Billboard. “With [UNVRS], we’re not just preserving Ibiza’s prestige; we’re redefining what’s possible in club culture.”
Coldplay is the midst of the third European leg of the Music of the Spheres World Tour, which has also taken the British quartet to Asia and North and South America, with 11 shows scheduled in Australia and New Zealand later this year. In all of that globe-trotting, the band has made Boxscore history, building […]
After a year of playing host to more than 960 live events and 6.3 million ticket holders, Madison Square Garden Entertainment Corp. said on Friday revenues rose 13% in its first full year since spinning off from the Sphere.
Last April, MSG spun off from MSG Sphere, the next-generation music venue in Las Vegas, leaving behind the rest of its live events business under the company name MSG Entertainment. MSGE includes venues such as Madison Square Garden, Hulu Theater at Madison Square Garden, Radio City Music Hall, the Beacon Theatre and The Chicago Theatre, an entertainment and sports booking business, the Radio City Rockettes and the Christmas Spectacular production, and long-term arena license agreements with New York Knicks and New York Rangers, which play their home games at Madison Square Garden.
Executives attributed this year’s revenue growth to a record number of shows at the Garden in the fourth quarter, which included Billy Joel‘s 150th show at Madison Square Garden and two sold-out shows by the breakout singer songwriter Noah Kahan, and said they expect even more next year.
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“The world’s most famous arena ended the year on a particularly strong note with robust year over year growth in the number of concerts in fourth quarter,” MSG Entertainment chief financial officer Mike Grau said on a call with investors. “This reflects our efforts to increase venue utilization within the Knicks and Rangers playoff window, as well as our success in attracting acts that are headlining the Garden for the first time.”
A majority of events at the company’s venues sold out in the quarter and saw higher per capita spending on food, beverage and merchandise. Grau said a higher number of shows in the coming fiscal year are expected to boost the company’s adjusted operating income by high-single to low double-digit percentage increase.
MSG Entertainment reported revenues of $959.3 million for the full fiscal year ending June 30, up 13% from fiscal year 2023. It reported an operating income of $111.9 million, up $6.9 million, and adjusted operating income of $211.5 million, up $9.9 million, both compared to fiscal 2023.
On a quarterly basis, the company’s $186.1 million in revenue for the fourth fiscal quarter of 2024 was up 26% from the year-ago quarter. MSG recorded an operating loss of $8.9 million in the quarter and adjusted operating income of $13.1 million, both improvements over the prior year’s quarter.
Revenues from food, beverage and merchandise sales in the fourth fiscal quarter rose 48% to $34.7 million compared to the prior year period.
On Aug. 2, Adele kicked off a 10-show run at Germany’s Munich Messe, playing the only concerts since the release of her 2021 album 30 other than her Las Vegas residency at The Colosseum at Caesars Palace. In turn, her catalog is seeing gains in worldwide consumption, leading to several re-entries on the global charts.
Leading the pack, “Easy On Me,” from the album, returns to the Billboard Global Excl. U.S. chart (dated Aug. 17) at No. 128, while reappearing on the Billboard Global 200 at No. 170. Then, the trio of chart-topping smashes from 2011’s 21: “Someone Like You” at Nos. 144 and 178, respectively, “Rolling In the Deep” at Nos. 149 and 200, and “Set Fire To the Rain” at No. 152 on Global Excl. U.S.
In total, Adele’s catalog generated 142.4 million official streams worldwide in the week ending Aug. 8, according to Luminate, up 29% from the previous frame, and sold 6,000 downloads (up 65%). Sales particularly surged outside the U.S., up 113% compared to a domestic bump of 19%. Still, video footage from her Germany residency went wide, sparking a 23% U.S. increase in streams, not far behind the 31% boost internationally.
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Of her four charting tracks, “Someone Like You” achieves the biggest percentage gains in both metrics, up 73% in sales and 33% in streams. In doing so, it leapfrogs the other 21 singles.
Beyond the 200-position charts, 25’s “Love In the Dark” is up 47% in streams (to 9.2 million) and 214% in sales, making it the week’s most popular song from the 2015 album despite not being one of the set’s four promoted singles. It’s one of six 25 tracks performed during her Munich shows.
Adele’s residency continues through Aug. 31, likely spurring continued chart activity throughout the month.
City of Hope will present Jay Marciano, chairman and CEO of AEG Presents, with its prestigious Spirit of Life Award at a Oct. 22 gala headlined by legendary singer and songwriter Elton John.
City of Hope is one of the largest and most advanced cancer research and treatment organizations in the U.S. and a leading research center for diabetes and other life-threatening illnesses. The Spirit of Life Gala, organized by the City of Hope’s Music, Film and Entertainment Industry (MFEI) volunteer and fundraising group’s, will take place at the historic Shrine Auditorium and Expo Hall in downtown Los Angeles. Marciano is the 51st executive to be honored during the annual affair, recognizing individuals for their longtime philanthropic and humanitarian efforts. Besides managing some of the largest tours in history — Taylor Swift’s “Eras Tour” and Elton John’s “Farewell Yellow Brick Road” — Marciano is focused on galvanizing the industry to accelerate cancer research at City of Hope so that more people around the world may benefit from its findings.
In addition to the performance by John, attendees will experience a curated menu by chef Evan Funke, a master of the old-world techniques of handmade pasta, and an unprecedented act by magician and mentalist David Blaine — both experiences promise to round out an evening of magic. Comedian, actor, musician and writer Fred Armisen will emcee the event.
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“I am honored to be receiving The Spirit of Life Award from City of Hope and to be able to contribute to raising awareness and funds to speed its important work of eradicating cancer and improving lives for so many,” Marciano said in a statement. “I am also humbled and grateful that Elton John, a true superstar in every regard, has agreed to lend his immeasurable talents to this event with a performance that’s sure to inspire support for a cause that unfortunately touches so many lives.”
John’s historic, final tour saw the musical icon play 330 shows worldwide to over 6.25 million fans across the UK, Europe, North America and Australia. The U.S. leg of the tour concluded with three sell-out shows at Dodger Stadium. The concert was livestreamed on Disney+ in every territory the channel broadcasts in, a global first. He later headlined Glastonbury’s Pyramid Stage in June 2023, the final UK show before the Farewell Yellow Brick Road tour concluded in July 2023, marking the end of more than 50 years on the road. Now, the stage has been set for another very special performance at the Spirit of Life Gala.
“Jay is more than a colleague; he is a dear friend,” John said. “It is my pleasure to lend my support to him as he receives the Spirit of Life honor, especially given City of Hope’s dignity-giving supportive care for people who face cancer, along with its unmatched research for other life-threatening illnesses. Their important work has led to advancements in the field that have fortunately enabled so many people to live beautiful, long lives. Everyone should have that opportunity, and I’m honored to play a part in City of Hope’s work towards that goal.”
Founded more than a century ago to serve people who had trouble accessing high-quality, effective cancer treatment, City of Hope combines inclusive, compassionate care with big dreams realized through breakthrough scientific research.
“Our longstanding supporters in the entertainment industry are helping us deliver on our most important goal: saving lives,” said Robert Stone, CEO of City of Hope and the Helen and Morgan Chu Chief Executive Officer Distinguished Chair. “Thank you, Jay, and our partners for helping us ensure that people with cancer, regardless of race, socioeconomic status or geography, have equitable access to the most advanced cancer treatments available.”
In its 50-plus year history, MFEI raised over $150 million to benefit City of Hope research and care programs.
“The music industry has the power to unite millions of people for a cause, and when that cause is cancer research, the impact can be transformative,” said Kristin J. Bertell, chief philanthropy officer at City of Hope. “Jay’s support will amplify awareness, raise crucial funds, and inspire hope for millions of cancer patients and their families. It’s not just about entertainment; it’s about saving lives through the power of philanthropy,” Bertell continued.
“City of Hope’s MFEI Board cannot thank Jay Marciano, and his entire team, enough for all they are doing to help fight these horrible diseases,” said Evan Lamberg, president of Universal Music Publishing Group. “There is not a single person I meet that has not, in some way directly or indirectly, been affected by cancer. City of Hope continues its battle against cancer around the clock and looks to continue to make the quality of people’s lives better.”
MFEI’s Spirit of Life Gala will conclude a year-long fundraising initiative which will also include auctions and a dinner series to benefit City of Hope. Tickets and sponsorship information can be found here.
BRISBANE, Australia — Bluesfest Byron Bay will wave bye-bye after its 2025 edition.
The event is an institution on the Australian festivals calendar, staging performances from the likes of Bob Dylan, BB King, Paul Simon, John Mayer, Mary J Blige, and Kendrick Lamar, plus homegrown stars Cold Chisel, Midnight Oil and Crowded House, across its 35-year history.
Its place and time is unique, presented each year over the Easter long weekend, the final fest of the warmer months, doing so from its home of Byron Bay, the picturesque beach town that sits on the most easterly point of Australia.
“To my Dear Bluesfest Family, and after more than 50 years in the music business, Bluesfest has been a labour of love, a celebration of music, community, and the resilient spirit of our fans,” writes Peter Noble, Bluesfest festival director.
After the 2025 fest, “as much as it pains me to say this, it’s time to close this chapter,” he continues.” Next year’s festival is “definitely” happening, “but it will be our last.”
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Bluesfest is one of the most-popular, and longest-running, multi-day shows of its kind in Australia. Its organizers boast a swag of domestic and international awards, including multiple Helpmann and Pollstar trophies.
History apparently means little in a marketplace where the cost-of-living crisis, changing ticket-buying behavior and a slew of factors are crushing the widerfestivals business.
No brand is immune.
This year alone has seen a remarkable lineup of casualties, including Splendour In The Grass, Groovin The Moo, Spilt Milk, Caloundra Music Festival, Harvest Rock and others.
During its heyday, Bluesfest averaged 85,000 attendees. That figure swelled to 102,000 in 2022, when live music returned from the lockdown years. The most recent show, however, counted fewer than 65,000 attendees.
When Bluesfest collected the best festival award at Variety Australia’s Live Biz Breakfast in June, Noble, speaking from the podium, delivered a rallying cry for festival organizers in these particularly tough times.
“We’ve really got to be as one as an industry. We need to speak to government,” he remarked. “We need to say this is the time you support our industry because we are facing an extinction event and that event can be looked at during the times of COVID, government delivered a lot of funding… come on government. Give us a hand up, we don’t want a handout. We can get through this because our industry is worth it.”
The final edition of Bluesfest will be a four-day event, from April 17 to 20, 2025, on the 300-acre Byron Events Farm, about 7 miles north of Byron Bay.
The first artist announcement for Bluesfest 2025 will be made next week. “This final edition is not just the end of an era,” reads a statement, “it’s a celebration of everything that Bluesfest has stood for over the past 35 plus years – music, community, and unforgettable experiences.”