Touring
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Hardy will bring his amalgam of country and Southern hard rock to fans on his upcoming headlining Jim Bob World Tour, which is visiting arenas and amphitheaters across the U.S. through September, in addition to festival shows in North America as well as his first headlining shows in Europe. Explore Explore See latest videos, charts […]
Morrissey has announced tour dates for the U.K. and Ireland, his first since 2023. The former Smiths singer shared the news of the upcoming shows on his official social media accounts.
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The post said that these were the only concerts he would “perform in Ireland, Scotland and England in 2025,” and will see him play in Dublin, Glasgow and Manchester in May and June.
Morrissey has played a number of shows in North America in recent years, and will tour the region again in 2025. He last played in the U.K. in 2023 with shows in London, Aylesbury, Liverpool and more.
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In November 2024, the “Suedehead” singer claimed that his unreleased album Bonfire of Teenagers has been shelved because of his various controversies. “As you know, nobody will release my music anymore,” Morrissey told a crowd in New Jersey. “As you know because I’m a chief exponent of free speech. In England at least, it’s now criminalized.”
“You cannot speak freely in England. If you don’t believe me, go there,” he continued. “Express an opinion, you’ll be sent to prison. It’s very, very difficult.”
In 2019, Morrissey expressed support for the far-right Britain First political party, and has not released an album since 2020’s I Am Not a Dog on a Chain. His Bonfire of Teenagers LP was scheduled to be released in February 2023, but it was pulled months before its release date, with Morrissey claiming its “fate is exclusively in the hands of Capitol Records (Los Angeles.).”
The album was reportedly made in 2021 and featured contributions from Iggy Pop, Miley Cyrus and producer Andrew Watt. News followed that Cyrus had requested her vocals to be removed from the record. Its title track references the Manchester Arena bombing at an Ariana Grande concert in 2017, which killed 22 attendees and injured hundreds more. One song from the record “Rebels Without Applause” has been issued as a single, with others performed live.
In February 2023, Morrissey issued another statement claiming he was “too diverse” for Universal Music Group. He has since stated that he has recorded an additional album titled Without Music the World Dies, which remains unreleased. He has offered the album to “any record label or private investor [that] has interest in releasing this project,” following his split from Capitol.
See Morrissey’s U.K. & Ireland 2025 tour dates below:
May 31 – Dublin, Ireland @ 3Arena
June 4, 5 – Glasgow, Scotland @ O2 Academy Glasgow
June 7 – Manchester, England @ Co-Op Live
Spanish hitmaker Quevedo is set to return to Latin America with his Buenas Noches Tour, his first trek there in two years. His most ambitious tour in Latin America to date, the “Gran Vía” singer will launch his 14-date stint in Mexico City’s Palacio de los Deportes on April 23. He will then take his […]
Following his triumphant Super Bowl Halftime Show on Sunday (Feb. 9), Kendrick Lamar is extending the victory lap into this summer with a new set of U.K. and European tour dates.
The Grand National Tour, a co-headline trek between Lamar and SZA, will head to the U.K. for four dates this summer: Hampden Park, Glasgow (July 8); Villa Park, Birmingham (July 10); Principality Stadium, Cardiff (July 19); and London’s Tottenham Hotspur Stadium (July 22).
The four dates come amid a slew of dates in Germany, the Netherlands, France, Portugal, Spain, Italy, Poland and Sweden throughout July and August.
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The duo’s Grand National run will tour through North America from April 19, kicking off at Minneapolis’ U.S. Bank Stadium and concluding on June 18 at the Northwest Stadium in Washington, D.C. The pair will also hit up the Rogers Centre in Drake’s hometown Toronto, Canada, along the way.
Tickets for the U.K. and Europe shows go on sale from the tour’s website on Feb. 14.
Kendrick Lamar headlined the Super Bowl Halftime Show in New Orleans’ Caesars Superdome on Sunday, providing a fiery, upbeat set during the blowout win for the Philadelphia Eagles over the Kansas City Chiefs.
Lamar was joined by SZA for two songs, “Luther” and “All the Stars,” and saw him play his Drake diss track “Not Like Us” live. The set came amid legal action from Drake against Universal Music Group for profiteering from a song that allegedly defames him. The song picked up five Grammys at the recent ceremony, including record of the year.
Writing for Billboard, Carl Lamarre called Lamar’s set a “victory lap” following the rapper’s recent accomplishments, and wrote that “the impact of Lamar’s performance is indisputable, leaving hip-hop and pop culture awestruck once again.”
Kendrick Lamar & SZA Grand National UK and Europe tour dates:
July 2 – Cologne, Germany @ RheinEnergieSTADION
July 4 – Frankfurt, Germany @ Deutsche Bank Park
July 8 – Glasgow, U.K. @ Hampden Park
July 10 – Birmingham, U.K. @ Villa Park
July 13 – Amsterdam, Netherlands @ Johan Cruijff ArenA
July 15 – Paris, France @ Paris La Défense Arena
July 19 – Cardiff, U.K. @ Principality Stadium
July 22 – London, U.K. @ Tottenham Hotspur Stadium
July 27 – Lisbon, Portugal @ Estadio do Restelo
July 30 – Barcelona, Spain @ Estadi Olímpic Lluís Companys
Aug. 2 – Rome, Italy @ Stadio Olimpico
Aug. 6 – Warsaw, Poland @ PGE Narodowy
Aug. 9 @ Stockholm, Sweden – 3Arena
Rema announced on Monday (Feb. 10) that he’ll be embarking on the Heis World Tour this spring. The 23-date jaunt will begin on April 11 at the Edmonton Expo Centre in Edmonton, Alberta, Canada, includes his debut performance at both weekends of Coachella, and stops by major international arenas such as London’s O2 Arena and […]
The Fix the Tix coalition is sounding the alarm about the TICKET Act currently making its way through the U.S. Senate, warning that the current bill contains ambiguous language that threatens to undo progress the group has made at cleaning up the event ticket space. Fix the Tix leaders are now urging Congress to work with the group to amend the bill and update language around speculative ticketing, fan clubs and misleading websites.
“While we appreciate the bill’s purpose to protect and inform fans, it contains gaps that, if unaddressed, will undermine both consumer protections and a fair marketplace,” reads the letter addressed to Senator Ted Cruz (R-Texas), who heads the Senate Commerce, Science and Transportation Committee, which held a markup session for the TICKET Act on Wednesday (Feb. 5).
Reintroduced earlier this year by Senator Eric Schmidt (R-Missouri), the TICKET Act mandates all-in pricing for most ticket sellers, bars speculative ticket listings on sites like StubHub and empowers the Federal Trade Commission to pursue violations of the BOTS Act, which has only been enforced once since passing in 2016, according to songwriter and music industry analyst Chris Castle.
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While groups like the Fix the Tix coalition support the legislation in principle, concerns persist that it “undercuts several strong state consumer protection laws already passed in Maryland, Minnesota, Massachusetts, Nevada, and Arizona,” reads the Tuesday (Feb. 4) letter authored by Stephen Parker, the chairman of the Fix The Tix coalition and the executive director of the National Independent Venues Association. Parker also hints that members of his coalition — which includes The Recording Academy, the National Independent Talent Organization and the Artists Rights Alliance — feel left out and want to play a more active role in the legislative process.
“We encourage the Committee to hold a dedicated hearing or otherwise engage” members of the Fix the Tix coalition, Parker wrote, adding that “their real-life expertise can help craft a stronger, more effective TICKET Act” and noting his dismay with the increasing role the “predatory reseller lobby and the ‘consumer groups’ they fund to do their bidding” have played in drafting the bill.
The legislation’s central weakness comes from what it doesn’t include. In his letter, Parker urges Cruz to “bar predatory resellers from exploiting fan clubs or other restricted presales” and “prohibit listing or reselling tickets before the official public on-sale date” — a practice known as speculative ticketing that has long been criticized by consumer rights groups. In total, Parker offers up a half-dozen prescriptive changes for the bill in order to avoid strengthening the “very abuses it sets out to prevent.”
“We look forward to an open process that prioritizes the views of the artists, fans, and venue community that do all the work and take on all the risk to put on live shows,” Parker concludes.
The letter can be read in its entirety here.
Dream Theater‘s new Parasomnia is titled after a specific category of sleep disorders. But it’s also an album that’s made dreams come true for fans of the 40-year-old progressive metal quintet.
Parasomnia marks the recording return of drummer and co-founder Mike Portnoy to the band’s ranks for the first time since 2009’s Black Clouds & Silver Linings. It reunites him with guitarist (and album producer) John Petrucci and bassist John Myung, who started Dream Theater as Majesty in 1985, after meeting at the Berklee College of Music in Boston. Vocalist James LaBrie came on board in 1991, while Jordan Rudess joined in 1999.
That quintet released six studio albums prior to Portnoy’s departure, and Petrucci acknowledges to Billboard that “we fully understand the gravity of Mike coming back and us being together again.”
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From Portnoy’s perspective, “As Dorothy once said (in The Wizard of Oz), there’s no place like home. It’s not the original lineup, but it is the ‘classic’ lineup. I think the era this band made albums, basically ’99 through 2009, that was in a lot of ways the golden age of this band and…a musical blueprint that is such a big part of Dream Theater’s history. For this particular lineup to be reunited, it’s really special.”
While Portnoy acknowledges that “some fences had to be mended” from his departure, he and Petrucci worked together on the latter’s 2020 solo album, Terminal Velocity, and toured together; the two joined Rudess and bassist Tony Levin for a third studio album as Liquid Tension Experiment in 2021. But, Petrucci says, “those weren’t intended as any indication that (Portnoy) might be returning. Mike Mangini [Portnoy’s replacement] was very strong in the band…even if he couldn’t escape the ‘When’s Portnoy coming back?’ question that was constantly asked. We had just come off our first Grammy win [best metal performance in 2022 for “The Alien”] and everything was going great with touring.
“For whatever reason the stars aligned in that moment, in the fall of 2023. We did understand that making the announcement that not only was (Portnoy) coming back, but that we’d be going into the studio again, the excitement would be crazy — for us, too. I think you can hear it on the album.”
The eight-track, 71-minute set — out Friday (Feb. 7) and recorded at Dream Theater’s DTHQ studio on Long Island — is the band’s 16th overall, and the follow-up to 2021’s A View From the Top of the World, which debuted at in the top 10 of Billboard‘s Top Hard Rock Albums, Top Rock Albums and Independent Albums charts. With its intricate arrangements, explosive dynamics, virtuosic playing and long-form compositions (six songs are over seven minutes and a closing epic, “The Shadow Man Incident,” clocks in at a heady 19:32), Parasomnia is everything Dream Theater envelopes while sounding decidedly present-day.
“I wanted it to sound modern but also classic,” Petrucci explains. “Some of the albums made between 1999 and 2009 or so, that’s a period that’s so beloved by our fans. So having Mike rejoin, I think there’s hope for some of that nostalgia coming back — and it pretty much did. You can hear it on the album. It definitely has that vibe. But as a producer I’m going in wanting to make an album that sounds better than anything else we’ve done before. So you try to push the envelope with ways of recording. It’s a combination of using modern techniques but using vintage audio equipment to do it and mash those up in a perfect way. And of course using great personnel — Jimmy T (Meslin) our engineer, Andy Sneap, Mark Gittins — these guys are helping to bring it into the future, into a modern sound. It’s a perfect balance of old and new.”
Petrucci says Parasomnia‘s concept is not based on any real-life sleeping disorders within the band. He first heard the term a few years ago and “kept it in my back pocket. I love the sound of that word. I love the tie-in to dreams and Dream Theater, and I loved that the subject matter could be so creepy and dark and heavy.” He researched the various parasomnias — including sleepwalking, night terrors and night paralysis — and used them as the basis for songs; one, “Dead Asleep,” was even drawn from a true story about a man who accidentally strangled his wife in bed while dreaming that he was fighting a home intruder.
The suite-like “The Shadow Man Incident,” meanwhile, is based on a pre-waking phenomenon of feeling the presence of “demons or dark figures,” according to Petrucci.
“It is a thematic, concept album,” he acknowledges, “so there are some Easter eggs throughout, (musical) themes that repeat themselves that I think hardcore fans will pick up on. We love doing stuff like that. I think it takes the album to another level. It makes it more epic, more classic, more special. And it’s so much fun.”
Portnoy, meanwhile, takes credit for pushing Dream Theater in the conceptual direction on Parasomnia. “It’s such an important album for us that I thought it needed to be something more than just a collection of songs,” he says. “That’s when we started creating the album, thinking of it in terms of one piece of work that you digest from start to finish, like watching a movie or reading a book. Once we decided to go in that direction it really opened the doors to make this a very special album.”
Dream Theater preceded Parasomnia‘s release with the tracks “Night Terror,” “A Broken Man” and “Midnight Messiah,” along with accompanying videos. The band returns to the road on release day in Philadelphia, with dates currently announced through a sold-out March 22 stop at Radio City Music Hall in New York City. Petrucci says the trek will feature a couple of songs from the new album but is mostly designed to continue a celebration of Dream Theater’s 40th anniversary — which began last year, overseas — with a more Parasomnia-centric tour planned for later this year. Portnoy adds that Dream Theater hopes to play the new album in its entirety at that time.
“It’s pretty incredible I’m still in the same band with a guy I met when I was 12, in middle school, and a guy I met when I was 18, just starting at college,” Petrucci notes. “We all love doing it. We’re driven. We love playing our instruments, we love writing music together, recording music together, we love touring together. The chemistry and brotherhood we have as people is just so strong. And on top of that is a fan base that’s international and widespread and loyal and dedicated and devoted. We don’t take that for granted.
“Not every band survives, right? Bands break up, members leave. We know how lucky we are to have a 40-year career and that a member can leave and come back and rejoin with such happiness and excitement around it. That’s a testament to everybody’s love for doing it, and love for each other.”
Music venues come in many different shapes and sizes, but one thing the best have in common is the energy they help create before a show starts. Whether fans were lucky enough to catch rising superstar Chappell Roan at the 1,800-capacity Cain’s Ballroom in Tulsa, Okla., or witness Luis Miguel’s record-breaking tour at Mexico City’s GNP Seguros Stadium, Billboard’s 2025 top music venues were key components of the year’s most magical concert moments.
From a one-of-a-kind exosphere to $350 million renovations, Blue Ribbon fried chicken to Texas barbecue or sustainable initiatives to expert sightlines, factors large and small contribute to a building’s greatness. Here, Billboard honors 28 of the world’s best venues, classified by region, capacity and other attributes such as food and beverage and “wow factor.” The list was determined by Billboard’s reporting and editorial staff. Gross and attendance figures span from Oct. 1, 2023, to Sept. 30, 2024, as reported by Billboard Boxscore.
Top West Coast Stadium: Allegiant Stadium (Las Vegas)65,000 capacity
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Opened in 2020 near the Las Vegas Strip, the $1.9 billion Allegiant Stadium is a visual and technological marvel with its sleek black glass facade, retractable lanai doors and translucent UV-resistant roof that offers a first of its kind climate-controlled environment. The home of the NFL’s Las Vegas Raiders has hosted sellout shows by Taylor Swift, BTS and The Rolling Stones — along with WrestleMania and Super Bowl LVIII — and offers premium lounges, 127 luxury suites and a massive, 26,000-square-foot field-level club. Grossing $119.2 million from just 15 shows, Allegiant ranked as the top U.S. stadium on Boxscore’s Year-End Top 25 Stadiums chart.
Top Central U.S. Stadium: Soldier Field (Chicago)61,000 capacity
Nestled along Chicago’s picturesque lakefront, Soldier Field is a widely beloved landmark that celebrated its 100th anniversary last year as the home of the NFL’s Chicago Bears. Accented by its iconic Greek-style colonnades and glass-and-steel upper structure, Soldier Field is known for excellent sightlines and a rich rock’n’roll history. It has hosted concerts by The Rolling Stones, The Who and, in 1977, the famed “Super Bowl of Rock” that featured Ted Nugent, Lynyrd Skynyrd, REO Speedwagon, Journey and .38 Special. In the last year, Soldier Field brought in over $80 million across eight performances, according to Boxscore.
Top East Coast Stadium: MetLife Stadium (East Rutherford, N.J.)82,000 capacity
There’s nothing bigger in the New York market than MetLife Stadium, home to two NFL teams — the New York Jets and the New York Giants — as well as some of the region’s biggest concerts. Opened in 2010, MetLife is known for its striking exterior facade of aluminum louvers that change colors to represent the home team, as well as the 50,000-square-foot Great Hall pre-event gathering space, cutting-edge video boards and fully immersive audio systems that ensure every performance — including 2023 shows from Bruce Springsteen, and P!nk and The Rolling Stones last year — is top-notch. Last year, the venue grossed more than $66 million from six shows.
Bruce Springsteen & The E Street Band onstage at MetLife Stadium in East Rutherford, N.J., in 2023.
Rob DeMartin
Top International Stadium: GNP Seguros Stadium (Mexico City)65,000 capacity
GNP Seguros Stadium (formerly Foro Sol) crowned Boxscore’s 2024 Top 25 Stadiums chart with 26 shows grossing more than $135 million. Mexico’s biggest stadium has a functional design and open-air structure that blends seamlessly into the sprawling Magdalena Mixhuca Sports City complex surrounding it. GNP Seguros offers unobstructed sightlines for both general admission and premium seating areas, as well as expertly designed acoustics for legendary artists like Paul McCartney, Metallica, Luis Miguel, The Killers and Bruno Mars, who all graced its stage last year after it reopened under the GNP Seguros banner in August. Since its opening in 1993, the venue has also been home to the Formula 1 Mexican Grand Prix and Autódromo Hermanos Rodríguez circuit.
Top U.S. Festival Site: Double JJ Resort (Rothbury, Mich.)50,000 capacity
The sprawling landscape and rustic charm of Double JJ Resort are ideal for Electric Forest festival, held annually at the nearly 90-year-old site. The architecture of Double JJ Resort is rooted in its heritage as a working ranch with wooden barns, log cabins and natural beauty seamlessly integrated into the festival experience. The ranch’s layout includes multiple stages where attendees can enjoy intimate sets or dance to electrifying beats — in 2024, provided by the likes of Pretty Lights and John Summit — in expansive open spaces. Guests can also enjoy activities like horseback riding, golfing, water parks or hiking the resort’s lengthy trail system.
Top International Festival Site: De Schorre Park (Boom, Belgium)150,000-plus capacity
The expansive city park dotted with green alcoves, scenic lakes and rolling hills is home to one of the biggest annual EDM festivals, the world-famous Tomorrowland, which in 2024 featured acts including Swedish House Mafia and Dom Dolla. The site is remarkable for its dedication to detail — every installation and accoutrement at De Schorre is integrated with nature, whether it be a small wooden bridge or one of the seven friendly giant troll sculptures hidden among the trees. Thanks to its open layout and strategically positioned stages, fans can enjoy an immersive concert experience from virtually any direction.
Top West Coast Arena: Intuit Dome (Inglewood, Calif.)18,000 capacity
Opened in August with two nights of Bruno Mars, the new home to the NBA’s Los Angeles Clippers stands out in the crowded L.A. market with its distinctive diagrid exterior comprising thousands of white composite pieces, snapped together like a puzzle to provide both structural support and aesthetic appeal. Each exterior piece is made of a unique chemical formula, tailored to draw upon Southern California’s year-round climate for natural heating and cooling. The dome hosted 20 concerts before the Clippers even started their 2024-25 season and is already set for performances from Rod Wave, Mary J. Blige, Los Tucanes de Tijuana and Keith Urban this year.
Top Central U.S. Arena: United Center (Chicago)23,500 capacity
Nicknamed “The House That Jordan Built,” United Center is best known for the accomplishments of NBA Hall of Famer Michael Jordan. Opened in 1993, the arena is a Midwestern powerhouse, famous for its sleek facade and the commanding presence of its massive arches. Still home to the Chicago Bulls, United Center hosted more than 50 non-NBA events in the past year, placing the arena at No. 8 on Boxscore’s 2024 Year-End Top 50 Venues (15,000-plus capacity) chart with $123.8 million grossed.
Top East Coast Arena: Madison Square Garden (New York)19,500 capacity
The world’s most famous arena has long dominated North America as the top-grossing arena on the continent, attracting millions of music and sports fans each year to Midtown Manhattan. While the Garden has been relocated and renovated throughout the decades, its power and allure will always draw from its location at the center of the country’s largest media market. According to Boxscore’s 2024 year-end data, MSG sold 2 million tickets across 145 shows and grossed nearly $300 million, as it welcomed some of the biggest tours of the year, including Madonna, Nicki Minaj, Olivia Rodrigo, Aventura, Pearl Jam, Charli xcx and Troye Sivan, Sabrina Carpenter and Billie Eilish, while Billy Joel concluded his decadelong residency in July.
Top Canadian Arena: Scotiabank Arena (Toronto)19,800 capacity
Located in the heart of Canada’s most populous city, Scotiabank Arena has been an integral part of Toronto’s cityscape since its 1999 opening. Despite having two tenant sports teams (the NBA’s Toronto Raptors and the NHL’s Toronto Maple Leafs), the arena still held more than 75 shows — drawing over 1 million fans and grossing $120 million in ticket sales — during its 25th-anniversary year, which helped it rank as the highest-grossing Canadian arena on Boxscore’s 2024 Year-End Top 50 Venues (15,000-plus capacity) chart. As it prepares for the next quarter-century, Scotiabank Arena is undergoing a $350 million “reimagination project” that is expected to conclude this summer.
Top Caribbean Arena: Coliseo de Puerto Rico (San Juan)18,500 capacity
The Coliseo de Puerto Rico José Miguel Agrelot, commonly known as the Coliseo de Puerto Rico, has been bringing music to the U.S. territory since 2004 while also developing the next generation of reggaetón, Latin and salsa stars. In 2024, the arena hosted events with Eladio Carrión, Bad Bunny, Carín León, Feid, Ana Gabriel, Camila, Jerry Rivera and Luis Miguel — whose latest world tour made history as the highest-grossing Latin outing in Boxscore history ($330 million). But the landmark venue also provides a stage for acts beyond Latin genres and welcomed artists including Culture Club, Louis Tomlinson, Evanescence and Travis Scott in 2024.
Luis Miguel at Coliseo de Puerto Rico in San Juan in 2024.
Christian Miranda/Fronthouse Media
Top International Arena: O2 Arena (London)20,000 capacity
The O2 Arena is an annual presence on Boxscore’s Year-End Top Venues (15,000-plus capacity) chart. For 2024, the building hosted more than 200 concerts, grossing $261 million with 2.6 million tickets sold. The government-owned, AEG-managed arena held the No. 3 position in 2024 (behind Sphere and Madison Square Garden) in large part thanks to the United Kingdom’s demand for concerts and London’s own reputation as a hub for European travel. Originally built as the Millennium Dome in 2000, the structure was turned into a multipurpose site, retaining its iconic design while integrating cutting-edge sound and lighting systems to further enhance top-tier live shows.
Top West Coast Amphitheater: The Greek Theatre (Los Angeles)5,900 capacity
Situated inside Los Angeles’ scenic Griffith Park, this storied outdoor venue features a striking blend of classical architecture — including columns inspired by ancient Greek amphitheaters — and abundant greenery. Owned by the city of Los Angeles and managed by Legends Hospitality, the Greek is open to promoters of all backgrounds and offers an iconic stage for acts that have graduated from clubs and are on their way to selling out arenas. The amphitheater offers curated, high-end culinary options, while fans can take in more than 95 years of live-music history that includes performances from Frank Sinatra and Fleetwood Mac and contemporary acts like Billie Eilish and Harry Styles.
Top Central U.S. Amphitheater: Red Rocks (Morrison, Colo.)9,600 capacity
Red Rocks is the ultimate aspirational venue — countless artists hope to play the idyllic amphitheater inside Red Rocks Park, a National Historic Landmark, and every fan wants to watch their favorite act while surrounded by the beautifully lit red sandstone outcrops. Opened in 1941, Red Rocks is uniquely carved into the Rocky Mountain landscape, surrounded by towering sandstone monoliths that frame the stage and provide near-perfect acoustics. Lucky for both artists and fans, the iconic venue — owned and operated by the city of Denver — has continued to extend its season each year, hosting 199 shows in 2024. With 1.6 million tickets sold, Red Rocks was the highest-grossing outdoor venue with a capacity of 5,000 to 10,000 in 2024, according to Boxscore’s year-end chart.
Top East Coast Amphitheater: Forest Hills Stadium (Queens)14,000 capacity
Forest Hills Stadium, an iconic, Tudor-style venue originally built in 1923 as part of the West Side Tennis Club, has hosted legends including Bob Dylan, Frank Sinatra, Barbra Streisand and The Beatles (for their very first stadium gigs) after opening up for concerts in the 1960s. Harmonizing with the surrounding neighborhood’s charm, the venue with unparalleled sightlines has an intimate atmosphere that makes concerts feel personal for fans. The stadium sat in disuse for decades before promoter Mike Luba helped reopen it in 2013 and has since had performances from the likes of Mumford & Sons, Ed Sheeran and Hozier, who marked a record four-night run of sellouts last June.
Top West Coast Club Or Theater: YouTube Theater (Los Angeles)6,000 capacity
Opened in 2021 as part of the SoFi Stadium and Hollywood Park complex, YouTube Theater is both a physical and symbolic steppingstone into the entertainment campus. Its marquee entrance, illuminated by digital displays, makes an eye-catching first impression on visitors. For the 2024 year-end Boxscore charts, the midsize venue reported over 100 shows with appearances from John Legend, Myke Towers, Ari Lennox, Los Ángeles Azules and Megadeth, as well as the 85th birthday celebration of soul legend Mavis Staples. With over 340,000 tickets sold for a gross of $31.2 million during the 2023-24 chart year, YouTube Theater has managed to thrive in the competitive L.A. market.
Top Central U.S. Club Or Theater: Ryman Auditorium (Nashville)2,300 capacity
Affectionately known as “The Mother Church of Country Music,” the Ryman has been a revered venue since first opening in 1892 as a tabernacle church by Confederate Civil War veterans. Inspired by the Romanesque Revival architectural movement, the Ryman stands out thanks to its unique accents — it features red brick walls, arched windows with stained glass and a distinctive gabled roof. It was formerly the home of the Grand Ole Opry (which moved to a larger venue in 1974) but was left vacant until reopening in 1994 for a new generation of music fans to sit along the restored pews and enjoy performances by artists from Neil Young to Wu-Tang Clan.
Top East Coast Club Or Theater: Brooklyn Paramount (Brooklyn)2,700 capacity
When the Brooklyn Paramount originally opened in 1928, it was called “America’s first movie theater built for sound” and, as it moved through the decades, it welcomed big band jazz, hosted Alan Freed’s rock’n’roll revues and even became a lavish basketball court for Long Island University. Live Nation reopened the renovated theater in March 2024 with inspiration from its 1920s heyday. Stepping into the building is like walking into a time machine, with its intricate stone carvings, Art Deco flair and a marquee that evokes old-school charm. Since March, the venue has welcomed artists from Norah Jones and Jack White to PinkPantheress and Anitta.
Top Residency Venue: The Colosseum At Caesars Palace (Las Vegas)4,100 capacity
Originally built for megastar Céline Dion, The Colosseum at Caesars Palace has become a pinnacle of Las Vegas glamour and a concert residency jewel. The venue’s exterior is an elaborate homage to ancient Roman architecture, while its interior features plush seats, flawless sound and VIP packages that elevate the fan experience. Since its opening in 2003, The Colosseum has hosted residencies by artists including Elton John, Cher, Shania Twain, Mariah Carey, Usher, Garth Brooks and Adele, whose two-year, 100-show Weekends With Adele residency at the venue wrapped in November 2024. The iconic venue boasted nine entries on Billboard’s list of the 25 Biggest Concert Residencies of All Time.
Wow Factor: Sphere (Las Vegas)18,600 capacity
Sphere isn’t just a venue — it’s a jaw-dropping glimpse into the future of live entertainment. Launching in late 2023 with a 40-show U2 residency, which was followed by runs by Phish, Dead & Company and the Eagles, the stars of each show are Sphere’s state-of-the-art 240-foot-tall video screen inside the 366-foot-tall venue and the building-size video “Exosphere” that cloaks the venue and illuminates the desert sky. The one-of-a-kind experience also features haptic seats, sensor controls and a spatial audio system. With just 77 shows, Sphere topped Boxscore’s 2024 Year-End Top 50 Venues chart (15,000-plus capacity) with more than $420 million grossed and 1.3 million tickets sold.
Top Bucket List Venue: Billy Bob’s (Fort Worth, Texas)6,000 capacity
When it comes to live music with a Texas-size dose of character, Billy Bob’s in Fort Worth stands tall as a honky-tonk haven. Located in the historic Fort Worth Stockyards, Billy Bob’s was formerly an open-air barn used to house prize cattle for the Fort Worth Stock Show before they added the tower at its entrance adorned with a giant neon sign depicting the shape of the venue’s home state. The Lone Star site is decorated with hundreds of neon signs and 75 guitars autographed by the artists who have played there, and it features a full-blown rodeo arena with live bull riding. Add killer barbecue and cold beer, and you’ve got the ultimate night out in the heart of Texas.
Billy Bob’s Texas in Fort Worth, Texas.
Robert Gallagher
Best Concept: The Salt Shed (Chicago)5,000 capacity
This industrial-chic venue, housed in a repurposed Morton Salt warehouse along the Chicago River, makes a bold first impression to newcomers. Its iconic rooftop sign — the same as the label from the Morton Salt in your kitchen cabinet — has been preserved, along with the industrial bones of the warehouse updated with expansive glass walls and riverside patios. The Salt Shed complex includes three spaces: the 3,600-capacity indoor shed, the 5,000-capacity outdoor fairgrounds and the Three Top Lounge, which sits at the highest point of the building and offers craft cocktails and specialty food. Since opening in 2022, the Salt Shed has hosted everyone from indie darlings Fleet Foxes to genre-bending stars like André 3000.
Local Favorite, West: Belly Up (Solano Beach, Calif.)600 capacity
At first glance, Belly Up looks like a run-of-the-mill dive bar, which it was for many years before 1976, when owners Dave Hodges and Greg Gilholm made it into the live-music venue it is today. Belly Up focused mainly on rock’n’roll and blues in its early years, welcoming stars like Etta James, Big Mama Thorton and Lightnin’ Hopkins to its tiny stage. Since then, the small concert hall has hosted performances from Jimmy Buffett, George Clinton, Willie Nelson, Mumford & Sons, Mick Fleetwood and Jack Johnson, among many others. What continues to make the venue special after 50 years is the local Southern California talent that has come through, including Maroon 5, No Doubt, Snoop Dogg, Red Hot Chili Peppers and the Black Eyed Peas.
Local Favorite, Southwest: Empire Control Room & Garage (Austin)1,050 capacity
The Empire Control Room & Garage is the embodiment of Austin’s “Live Music Capital of the World” ethos, carefully blending culture and community each night into an unforgettable experience for fans and artists alike. The three-stage venue — the 1,050-capacity Empire Garage, 350-capacity Control Room and 200-capacity, creekside outdoor patio — is situated in Austin’s Red River cultural district, which boasts one of the few remaining contiguous blocks of live-music venues in the United States. Painted predominantly in black, the outside of Empire rocks an edgy aesthetic, setting the tone for what’s inside: a dynamic, distraction-free live-music venue with immersive lighting and a sound system that punches way above its weight.
Keeping It Indie: 9:30 Club (Washington, D.C.)1,200 capacity
The 9:30 Club isn’t just a music venue — it’s a cultural institution. Since opening in 1980, this standing-room-only rock haven exudes cool, beginning with its industrial brick facade and gritty, yet charming interior where every space comes with an incredible view of the stage. Originally located at 930 F St. (hence the name), the venue has thrived since moving in 1996. The iconic club has not only lasted for decades in the D.C. market but also has remained staunchly independent. For the 2024 year-end Boxscore charts, 9:30 Club reported hosting over 260 events with performances from Fontaines D.C., Royel Otis, Shaboozey and Jack White.
Best Food And Music Pairing: Brooklyn Bowl (Brooklyn)600 capacity
The headliners may change each night, but the menu at Brooklyn Bowl has remained consistent for over a decade. The Blue Ribbon fried chicken remains a standout on the elevated food and beverage menu that graces all four Brooklyn Bowl locations across the country (Brooklyn, Las Vegas, Nashville and Philadelphia). Long considered the greatest meal on New York’s rock’n’roll scene, the secret to chef Michael Psilakis’ famed recipe is all about the batter. Each dish includes a specially sourced gluten-free matzo that’s regularly flown in from Israel, giving each bite that perfectly crispy, impossibly savory taste. Paired with an ice-cold Brooklyn Brewery lager and a heap of sauerkraut mashed potatoes, there is no tastier match in music, either front of house or backstage.
Most Unforgettable Experience: Cain’s Ballroom (Tulsa, Okla.)1,800 capacity
On their 2007 track “Easton & Main,” Oklahoma natives Turnpike Troubadours give a shoutout to their local music venue by stating they left their heart “on the Cain’s Ballroom floor soaking up a bourbon stain.” Country and Americana stars have lots of love for the 1920s dance hall that has hosted sets from Hank Williams and “King of Western Swing” Bob Willis, whose regular appearances at the venue helped it earn the moniker “the Carnegie Hall of Western Swing.” The room — which features a spring-loaded dancefloor, a 4-foot neon star and a silver disco ball lighting up the log cabin — still welcomes greats, with recent performances from Charley Crockett, Wilco and Chappell Roan.
Most Environmentally Friendly: Acrisure Arena (Palm Springs, Calif.)11,000 capacity
Acrisure Arena is a climate-friendly oasis in the heart of the California desert. Built with sustainability in mind, the venue is surrounded by drought-resistant plants and sunk 25 feet below grade to limit exposure of its exterior facade to reduce dependence on its HVAC system. It gathers energy from solar panels covering its parking lot, where electric vehicles are prioritized, and sources food and beverage options from local, sustainable vendors to reduce emissions from travel. Located just hours outside of the Los Angeles metro area, Acrisure Arena grossed over $40 million in the last year, attracting top-tier talent including Madonna, Olivia Rodrigo, Stevie Nicks and Fuerza Regida.
This story appears in the Feb. 8, 2025, issue of Billboard.
Mumford & Sons is gearing up to release the band’s first album in seven years — and now, the group is also planning to bring Rushmere on the road. On Thursday (Feb. 6), the group comprised of Marcus Mumford, Ben Lovett and Ted Dwane announced a small run of tour dates supporting their upcoming LP. […]
Seven-time Grammy winner and Academy Award-winning artist Jon Batiste has signed with UTA for representation in all areas, the agency announced Thursday (Feb. 5) Batiste is also a composer and performer who has built a career spanning multiple genres and disciplines.
This Sunday (Feb. 9), Batiste is set to perform the national anthem at the 2025 Super Bowl in his hometown of New Orleans.
Batiste’s latest studio album Beethoven Blues, released in November via Verve Records/Interscope, blends Beethoven’s compositions with Batiste’s own approach to the piano. The album debuted at No. 1 on Billboard’s Classical Albums chart and held the top spot for five weeks. It also reached the top of the Classical Crossover Albums chart where it sat at the peak for 10 weeks.
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Batiste has earned seven top 10s on the Jazz Albums chart, including a No. 1 with 2014’s Social Music and 2018’s Hollywood Africans, which peaked at No. 2 and spent over six months on the chart. He’s also had three top 10s on the Adult Alternative Airplay chart, with 2021’s “I Need You” reaching No. 2. His song catalog (for tracks on which he is the lead performer) has registered 284.5 million official on-demand U.S. streams, according to Luminate.
Batiste received 11 Grammy nominations in 2022, eight for his album We Are and three for his music to the Pixar movie Soul. He is one of only five artists in Grammy history to receive 11 or more nominations in one year. His nominations were spread across six genre fields in addition to the General Field.
Batiste was the subject of Matthew Heineman’s 2023 documentary American Symphony, released on Netflix in partnership with production company Higher Ground. Batiste and Grammy winner Dan Wilson penned the emotional song “It Never Went Away” for the film, which earned an Oscar nomination for best original song in 2024. American Symphony also won best music film at this year’s Grammys, while a track featured in the film, “It Never Went Away,” won best song written for visual media.
A Juilliard graduate, Batiste served as the bandleader and musical director of The Late Show with Stephen Colbert from 2015 to 2022. His early Grammy recognition included a nomination for best American roots performance in 2018 for his rendition of “Saint James Infirmary Blues” and two nominations in 2020 for Chronology of a Dream: Live at the Village Vanguard and Meditations (with Cory Wong). In 2021, he won the Academy Award for best original score for Disney/Pixar’s Soul alongside Trent Reznor and Atticus Ross. In 2024, he also composed the score for Jason Reitman’s film Saturday Night live on-set during filming.
Batiste additionally runs his own company with an executive team led by Jonathan Azu, Dan Shulman, Ryan Lynn and ID PR.