Touring
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Christian Nodal, one of the most sought-after artists worldwide within the booming regional Mexican music scene, has announced his Pal Cora Tour 2024 in the United States. Explore Explore See latest videos, charts and news See latest videos, charts and news The mariacheño superstar will kick off his 25-date arena tour in Seattle on Sept. 11, which […]
Sphere Entertainment announced on Monday that it has acquired all of the remaining shares it did not previously own of Holoplot GmbH, a global leader in 3D audio technology based in Berlin. Explore Explore See latest videos, charts and news See latest videos, charts and news Sphere first invested in Holoplot in 2018 when the […]
Childish Gambino is hitting the road. Following the release of his Atavista (3.15.20 reimagined versions) project on Monday (May 13), Donald Glover announced plans for his global The New World Tour.
The “This Is America” rapper is set to tour the world starting this summer with Willow and Amaarae serving as openers. Glover’s first trek since 2018 will kick off in Oklahoma City, Okla., on Aug. 11.
The New World Tour’s “Artist Presale begins this Wednesday 5/15, [and Amex card members] *UK begins Tuesday *AUS begins Thursday,” he captioned the tour flyer on Instagram. “General onsale begins Friday 5/17 *Signup @ theneworldtour.com NOW for access to the Artist presale codes.”
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The trek will run through North America, Australia and a handful of European dates. After OKC, Gambino is slated to hit U.S. markets such as Detroit, Philly, Boston, Brooklyn, Atlanta, Houston, Dallas, Denver, Portland and Los Angeles before wrapping up Stateside with a show in Chicago on Oct. 3.
Gambino then heads across the pond for performances in Italy, Belgium, Netherlands, Norway, France, Germany, the U.K. and more.
The Atlanta creator’s Atavista serves as an 11-track updated collection of the unfinished 3.15.20 project he released as the world was gearing up to shut down for the COVID-19 pandemic in March 2020.
Atavista still boasts collaborations with Ariana Grande (“Time”), 21 Savage (“Psilocybae”), Summer Walker (“Sweet Thang”) and Young Nudy (“Little Foot Big Foot”) — albeit with different song titles. Gambino also released a Hiro Murai-directed black-and-white video for “Little Foot Big Foot” alongside the project, starring an appearance from Abbott Elementary‘s Quinta Brunson.
The 40-year-old isn’t done yet for the year either, as he’s preparing to unleash a second album this summer. The album is the accompanying soundtrack to his forthcoming movie, Bando Stone & The New World.
“My fans are great and have been so patient and are starving — this album is for you guys,” he said during a Gilga Radio stream in April.
Find all of The New World Tour dates below:
AEG Presents, a global leader in live music and events, announced Friday (May 10) that Brent Fedrizzi, who currently serves as co-president and COO of AEG Presents’ Rocky Mountains and Pacific Northwest regions, has been named president, North American regional offices.
Fedrizzi’s promotion follows Rick Mueller’s exit from the company, which the former AEG Presents president for North America announced earlier this week.
Fedrizzi, who will continue to be based out of Denver, is set to guide the company’s 100 U.S. venues – including the 50 owned and operated clubs and theaters in the AEG Presents portfolio – in all aspects of talent buying and promotion, as well as overseeing its 12 regional offices. He will report to AEG Presents chairman and CEO Jay Marciano and will join the company’s executive committee.
“I’ve known Brent for close to 30 years and have worked with him almost as long, so it’s especially gratifying to make this announcement,” said Marciano in a release. “He has a vision, a drive, and an insight into our business that’s been forged over his many years promoting events in every type of venue across the western United States. As co-president of our Rocky Mountain region, his feel for the business is a key reason AEG Presents is the dominant promoter in the market and the Denver office is one of our top performers. Simply put, he’s the right person for the job.”
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“When Jay and I first spoke about this opportunity, I jumped at the chance to work more closely with him, the regional team, and the company as a whole,” Fedrizzi said. “I’m excited for the challenge ahead, and I can’t wait to dive in; there’s never been a more exhilarating time in live events. I’m grateful for the trust Jay has put in me to guide the business into the future; the ability to do so with the people and the company I love is icing on the cake.”
A Colorado native, Fedrizzi began his career in 1991 at the Fey Concert Company in Denver, booking artists at various venues across the Rockies and the Southwest. In 1998, he joined forces with Chuck Morris and Don Strasburg to launch Bill Graham Presents/Chuck Morris Presents in the market. Through a series of acquisitions including SFX and Clear Channel Entertainment, that company would eventually become Live Nation in 2005. Fedrizzi remained there for nine years before leaving with Morris and Strasburg to join AEG Live as COO of the Rocky Mountain region. They quickly established themselves as the dominant force in one of the most competitive and active live music markets in the country and now promote more than 1,100 events annually at a variety of venues including Mission Ballroom, Red Rocks Amphitheatre, Fiddlers Green Amphitheatre and Ball Arena, among many others.
In addition to his work at AEG Presents, Fedrizzi is a board member and four-time president of the North American Concert Promoters Association, a four-time Academy of Country Music award nominee, and a nominee for International Entertainment Buyers Association’s promoter of the year. He currently serves as chairman of the board for Visit Denver and sits on the board of the Colorado Music Hall of Fame.
Few Millennials can boast of having seen the late Jerry Garcia live in concert and yet no generation of jam band fans have benefited from the success and fellowship of bands like The Grateful Dead than those born after Garcia’s death in 1995.
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“Today we live in a golden age for the jam scene,” said veteran music industry executive, producer and artist manager Jonathan Shank, host of The Jam, a new podcast from Osiris Media exploring the bands, the fans and the jams that make up one of the live music’s most enduring musical legacies.
From Phish and Dead and Company’s successful run of shows at The Sphere in Las Vegas, to the emergence of jam superstar artists like Billy Strings, Goose and even EDM pioneers Odesza as mainstream festival headliners, the music born from artists like the Grateful Dead, Allman Brothers Band, the Meters and Dr. John is more accessible than ever.
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Billboard recently caught up with Shank to discuss his long history in the jam scene and hear about his new Osiris Media podcast, which launched in March with interviews from legendary bassist and producer Randy Jackson as well as Relix magazine editor and jam scene scholar Dean Budnick.
Why did you decide to jump into podcasting?
I was inspired by Dan Steinberg and Luke Pierce’s Promoter 101 podcast and the idea of elevating people’s stories in the industry. I wanted to find some untold stories with artists that I love and create a platform to tell those stories in a very organic, free form way, and maybe find a few nuggets that people haven’t heard before.
Besides naming your company after a Grateful Dead album, what are your bona fides in the jam scene?
I’ve managed a few jam bands; first Particle in 2001 and then the Disco Biscuits for quite a little while, who are our guests on the podcast. And then around 2004, I started managing (Grateful Dead percussionist) Mickey Hart, who I met through Irving Azoff and went on to manage Mickey and Bill Kreutzmann in the Rhythm Devils and then later Global Drum Project and the Mickey Hart Band for several years. I love Billy Strings and Goose and I’ve seen The Grateful Dead with Jerry Garcia over 50 times. I still put the Grateful Dead as the benchmark for all live music that I’ve ever experienced.
Where do you see the fingerprints of what the Grateful Dead built in today’s music industry?
The Grateful Dead’s approach to direct to fan marketing through fan club ticketing and community around their live experience is a blueprint for what artists like Beyonce and Taylor Swift are doing today and how they’re connecting with their fans via social media. The Dead were the first to engage fans in a newsletter. They were the first to establish a tape trading practice, which now has really developed into Setlist.net where people go and find sets from different shows. So much of how we think about the connection between artist and fans originates with the Dead.
What does the rise of artists like Billy Strings and Goose say about the longevity of today’s jam band scene?
I think we’re in a new golden era of jam and a lot of that really has to do with the emergence of those two artists — Billy Strings and Goose. They are true headliners that can navigate the mainstream and headline major festivals, like Lollapalooza, that are not just jam centric. They’re the ones who will continue the jam scene into future decades.
Let’s talk about some of the guests you’ve had so far, starting with George Porter from the Meters. What does it say about the jam scene that a New Orleans funk band is part of The Jam podcast?
It’s a great example, actually, of how the jam scene encompasses bluegrass, funk, R& B, and jazz into this large gumbo of influences and different styles of music. George Porter Jr. is somebody who has collaborated with Dr. John, with Robert Palmer and with some of the greatest New Orleans musicians of all time. But he also has collaborated with Widespread Panic and The Grateful Dead. George really has embodied that spirit and does his own Grateful Dead covers now on his set with a cover of “Eyes of the World.”
How do you find guests for your podcast?
I’ve known Robby Krieger since the nineties. I’ve known Randy Jackson for over 10 years. He’s been a great mentor to me. You know, Billy Cobham I worked with in Jazz is Dead. Bill Payne and I have mutual friends. I want to give the people that I’ve crossed paths with over the years a forum to thank them for the part they played in my career path and for inspiring so many others in the music industry.
Who is helping you produce The Jam?
I have great partners on this project. We record the podcast inside the Sony studios and then Osiris handles all of the marketing, editing and distribution. It’s an incredible team. Osiris has a great collection of artists and podcasts that super serve the jam audience. My goal is to feature great artists and some industry folks that have stories to tell and and also some tastemakers and people that you don’t hear from very often and help. I feel very blessed to be highlighting these stories and having conversations with some of the greats in this business.
Mark your calendars because on Friday (May 10), Tems announced the release date for her debut album Born in the Wild and the dates for her upcoming world tour. Born in the Wild will be released on June 7, 2024, via Since ’93/RCA Records. “This is my most special moment. Everything I have I put […]
Building a state-of-the-art Sphere venue is “not like building a McDonalds,” Sphere Entertainment Co. chairman and CEO James Dolan said during the company’s earnings call on Friday. “It’s complicated. It’s a very expensive project.”
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The lone Sphere venue in Las Vegas, which cost $2.3 billion to build through delays and cost overruns during the COVID-19 pandemic, generated revenue of $170.4 million in its fiscal third quarter ended March 31, the parent company, Sphere Entertainment Co, reported Friday. Revenue was slightly better than the $167.8 million in the prior quarter. Adjusted operating income was $12.9 million, slightly down from the prior quarter’s AOI of $14.1 million.
Dolan wants to build more Spheres and insists a second venue will materialize. The company is “in discussions with several markets” and has encountered “plenty of interest all around the world,” he said, “but not until we launched the product in September did people really get to see what it was and began to see how it could perform.”
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Sphere will reach an agreement with “at least one of those markets soon,” Dolan added. “How soon I’m not going to predict.”
Sphere, which wowed music fans through residencies by U2 and Phish, attracted nearly one million guests to more than 270 events in the quarter, said Dolan. In addition to concerts, Sphere offers a motion picture, Postcards from Earth, that CFO David Byrnes said generated $100 million in revenue in the quarter. In June, Sphere will host its first corporate event, a keynote address by Hewlett Packard Enterprise president and CEO Antonio Neri, and its first televised event, the NHL draft.
Demand from artists to perform at Sphere is “stronger than we can even accommodate at this point,” Dolan claimed. The company wants to have “a varied number of kinds of acts, not just legacy rock acts,” and “acts that have the biggest draws,” he added.
Dead & Co. begins its 24-date residency on May 16. A residency by the Eagles has not been officially announced but Dolan suggested during the earnings call the band will indeed perform at Sphere.
“Even if you’re not a Deadhead, you’re gonna love that show,” said Dolan when discussing the need to create “compelling” visuals to complement bands’ musical performances. “And I think the same will be true for The Eagles and for the next acts that we bring up.”
Sphere Entertainment Co. had an operating loss of $40.4 million on revenue of $321.3 million. The company’s other segment, MSG Networks, had AOI of $48.6 million, down 17%, on revenue of $151 million, down 6% from the prior-year quarter. The company explained that those figures decreased from the prior-year quarter “primarily due to a 12.5% decrease in subscribers inclusive of the impact of MSG+,” the network’s streaming platform.
05/10/2024
Seven songs from ‘The Tortured Poets Department’ made their live debut at Défense Arena.
05/10/2024
Madonna played the final shows of The Celebration Tour, closing her six-month trek with $225.4 million and 1.1 million tickets sold over 80 shows, according to figures reported to Billboard Boxscore.
The Celebration Tour is Madonna’s sixth trek to gross more than $100 million. The only other acts to achieve this are the Eagles, The Rolling Stones, Bruce Springsteen and U2, making her the sole woman in this elite group.
The Queen of Pop first announced The Celebration Tour in January 2023, with a planned start date in July of last year. But a medical emergency delayed the North American leg by five months, instead starting in Europe in October. There, she played 27 shows in 10 countries, finishing with $77.5 million and 429,000 tickets.
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By year’s end, Madonna played three shows in Brooklyn and two in Washington, D.C., before resuming the North American leg with 42 more shows from January through April. In the U.S. and Canada, she earned $133.1 million and sold 616,000 tickets, sending the tour’s total figures beyond $200 million and 1 million tickets.
Finally, Madonna went to Latin America for the first time since 2016, as part of the Rebel Heart Tour. Five shows at Mexico City’s Palacio de los Deportes grossed $14.8 million and sold 82,400 tickets.
In all, The Celebration Tour’s $225 million finish marks Madonna’s highest-grossing tour in over a decade. While in Europe, it surpassed her theater experiment on the Madame X Tour ($51.5 million in 2019-20). And during her North American leg, she partied past the Rebel Heart Tour’s $169.8 million from 2015-16.
Madonna’s recent high dates back to 2012’s MDNA Tour, which grossed $305.2 million and sold 2.2 million tickets. That trek played many of the same American arenas as The Celebration Tour, but took her to Europe’s outsized outdoor stadiums, plus a lengthier stadium run throughout Latin America. Her biggest tour ever was the one before that, earning $407.7 million from 3.5 million tickets on the Sticky & Sweet Tour (2008-09).
The apples-to-apples improvement over the Rebel Heart Tour – Madonna’s most recent all-arena run – combines an uptick in ticket prices ($162.42 – > $199.93) with a 12% increase in average per-show attendance count (12,750 – > 14,274).
That average attendance is missing an obvious asterisk. After playing her final show in Mexico City, Madonna staged a free concert at Copacabana Beach in Rio de Janeiro, Brazil, marking her first stop in the city since a Dec. 2, 2012, performance on the MDNA Tour. The show’s gargantuan success does not factor into her official Boxscore results because it was a free event, but it’s plenty worth noting that she drew 1.6 million people – roughly 40% more than the combined attendance of her entire tour. According to concert promoter Live Nation, it’s the largest audience ever for a stand-alone concert by any artist in history.
The Celebration Tour pushes Madonna’s reported career total to $1.6 billion and – without accounting for the Brazil show – 12.8 million tickets.
The Maryland bill targeting speculative ticketing in the state was signed into law by Gov. Wes Moore today. The consumer protection bill focuses on the sale and resale of live event tickets and was supported by the Recording Academy, National Independent Venue Association (NIVA), National Independent Talent Organization (NITO), Eventbrite and more.
The bill bans speculative ticketing (the practice of listing tickets on secondary sites before a reseller owns a ticket), as well as require ticketers to present “all in” pricing for consumers, meaning the full price of the ticket — including all fees — must be present in the price first shown to fans. The law will go into effect on July 1.
“In addition to Senators [Dawn Danielle] Gile and [Pamela] Beidle and Delegate [C.T.] Wilson, we’re also grateful to Marylanders who spoke out and let their elected officials know that they want protection from parasitic scalpers who use acts of deception to gouge concert fans,” said Audrey Fix Schaefer, communications director of Merriweather Post Pavilion and I.M.P. in a statement. “Nearly 17,000 letters were sent by Marylanders to their state legislators, letting those in Annapolis know they want protection from the rampant deception and abuse that’s taking place now. We applaud the entire State legislature for this groundbreaking legislation, and we look forward to working with the Attorney General’s office to help ensure enforcement.”
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The bill requires resellers to provide the zone and seat number for non-general admission events, eliminating the common practice of resellers listing an unspecified seat and procuring a ticket — for a lesser price — once a consumer has purchased the “unspecified” seat from a secondary site. It also reduces resellers’ ability to list generic tickets on resale sites before on-sale for the actual event has occurred.
A standout of the bill for proponents like NIVA, NITO and others, is that the bill makes it illegal for secondary ticketing platforms to provide a marketplace for the sale or resale of tickets that violate the law. If a consumer purchases a ticket that is counterfeit, canceled by the reseller or fails to meet its original description, the secondary platform would be responsible for paying the consumer back for the total amount paid, including any fees. Platforms selling or offering to sell speculative tickets can be fined up to $10,000 for the first infraction and $25,000 for each subsequent infraction.
Additionally, the bill mandates “all-in” ticket pricing — where consumers see the full price of the ticket, including fees, from the beginning of their transaction — and require those fees to be itemized so fans know where their dollars are going. The passage of the bill also means Maryland’s attorney general’s office can conduct a review of how resellers are procuring their tickets, the price difference for fans on the primary versus secondary market, fraudulent tickets, the use of bots, what measures other states have enacted to protect consumers during the ticket buying process and more.
The AG’s study is scheduled to be completed by the end of the year.