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Touring

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Music agents Zach Iser and Caroline Yim have landed at UTA, where both will serve as partners and agents in the music department. Iser and Yim were previously at WME, which they joined in 2021 as partners and co-heads of hip-hop and R&B. Prior to that, they were with CAA for three years. Both have […]

Forest Hills Stadium in Queens says its 2025 season is officially on despite a long-running noise dispute with its neighbors. “As anticipated, we’re pleased to announce that the City of New York has given Forest Hills Stadium the green light for our 2025 concert season to proceed as planned,” reads a statement from a stadium […]

Six months ago, a stadium-concert headliner decided to create tens of thousands of high-end T-shirts and hoodies to “rival any streetwear brand and be able to sell it for less than Sabrina Carpenter or Billie Eilish,” says Billy Candler, CEO/co-founder of Absolute Merch, a 13-year-old company that works with 30 artists. Candler arranged to purchase the shirts from China, then ship them on April 9, two weeks before a new U.S. tour.
But on April 2, President Trump imposed an 84% tariff on Chinese imports. Then, in the next few days, he boosted them to 104%, then 125%, then 145%. With each increase, Candler says, “I almost had a heart attack. It’s just exploded our plan.” As of Saturday (April 12), the company’s freight order has been “literally sitting in Customs waiting to be cleared,” with new tariffs imposed.

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As with industries that manufacture and ship smartphones, aluminum foil, car parts and toasters, artist-merch companies like Absolute are scrambling to predict the Trump administration’s final number on Chinese tariffs and figure out how to transfer production to alternative countries. Ideally, Absolute Merch would simply cancel its China order and restart in the U.S., but the deadline is too tight for the stadium-level act’s upcoming tour and, as Candler says, “You can’t do it in America. We really don’t make fabric here.” It may eventually be possible to shift to Vietnam or elsewhere, but Chinese prices for blank shirts tend to be cheapest, music-merch sources say, and nobody knows whether Trump will reimpose tariffs on other countries in July, after his 90-day respite period.

Even if every company in the $13.4 billion global music-merch business, as MIDiA Research estimated, pulls out of China, demand will spike in other countries, and merch manufacturers will likely raise their prices. “Costs will go up because of capacity shortages once China is not an option,” says Barry Drinkwater, executive chairman of Global Merchandising Services, which works with Iron Maiden, Guns N’ Roses and others.

Will artists and their merch companies pass the additional costs stemming from tariffs to their customers? They may have no choice but to raise prices, Candler says, speculating that hoodies could rise to $150 and T-shirts to $65 if the trade war continues. “I have a client manufacturing a cut-and-sew bomber jacket,” adds Pat Dagle, owner of Terminal Merchandise, which works with 20 artists. “That jacket jumped from a price point of $35 to $80, on our side, because of the tariffs. The cost falls onto us, so it’s negating a lot of our profit.”

“It’s going to affect everybody,” says Kevin Meehan, a 30-year artist-merch manufacturer in Costa Mesa, Calif. “Because 90% of the trims in the world are made in China — your zippers, your buttons, your snaps, your drawcords, your eyelets, all that stuff for apparel.” 

Andy Stensrud, a veteran Nashville music merchandiser who works with Bad Bunny, IU and other Latin and K-pop stars, adds of China: “When it comes to the custom apparel, they are so far ahead of everybody else with turnaround times and pricing. We just made some custom hockey jerseys for a band, and they cranked them out in 10 days. No one can touch that.”

For now, many in music merch are remaining calm as the U.S.-Chinese tariff situation fluctuates. Dov Charney, the American Apparel founder who created Los Angeles Apparel in 2016, stands to benefit from artists and others seeking merch items not made in China. He says most touring artists source T-shirts and other clothing products from Honduras, El Salvador and Central America, which haven’t had to contend with high tariffs. Even China-made products are unlikely to increase by more than $5 or $10 for a T-shirt, he adds, because wholesale shirt costs are low and the high expenses come from things like transportation and design, which are unlikely to change due to tariffs. “OK, boo-hoo,” Charney tells Billboard. “It’s not going to have a profound effect as much as people are saying.”

Brent Rambler, guitarist for hard-rock band August Burns Red, which runs its own merch operation, is avoiding the tariff uncertainty, refusing to “proactively raise our prices” and risk turning off fans in the long term. The band’s T-shirts come from Bangladesh, and while its coffee mugs are made in China, a manufacturing increase of $1.50 to $2 per unit is unlikely to lead to a consumer price bump: “You don’t want to turn people away,” Rambler says. 

Steve Culver, president of Nashville-based merch company Dreamer Media, adds that the tariffs are a political issue likely to be resolved before consumer costs rise too dramatically. “It’s too early to understand how it’s going to play out,” he says. “I’m not panicking.”

For now, tariff stress has spread to all levels of the touring business, which relies on merch, especially artists who can’t make a living on streaming revenues. Reached by phone while driving from St. Louis to Kansas City in a van stuffed with cardboard merch boxes, Evan Thomas Weiss, frontman of Pet Symmetry, says the emo band pays $13 to $15 to print a T-shirt, plus more on transportation and other expenses, then sells it for $30 at a show in order to make a small profit. If tariffs cause production prices to rise by even 20%, a fan could pay as much as $40. 

“I don’t know how anybody’s going to be able to afford that,” he says.

Pet Symmetry was lucky — its latest order of 300 to 400 shirts and other merch items arrived two weeks ago, in time for its current club tour. 

“But if something happens over the summer, and tariffs go into effect, we have to do some real reflection, and decide whether to order more now or wait,” Weiss says. “Which is such a difficult position for a small band to be in.” From the van, guitarist Erik Czaja adds: “If it came to it, one of us would learn how to screen-print.”

Chris Eggertsen contributed to this report.

Brooklyn Bowl is known for emo nights, jam bands, fried chicken fare and 16 lanes for spares, strikes and gutter balls. What patrons might not know is that it is also one of the few music venues run by women.
Less than half of the 72,000 managers employed in the entertainment and recreation industries in the United States last year were women, according to the U.S. Bureau of Labor Statistics. However, at Brooklyn Bowl — launched in 2009 by live music impresario Peter Shapiro — women make up 75% of the full-time salaried staff running the show.

General manager Anna Ayers leads the original Brooklyn-based Bowl, and her majority female staff have plenty of company across Shapiro’s venues. Sara Barnett serves as the general manager of the Brooklyn Bowl Nashville; Alyssa Kitchen is the general manager of The Capitol Theatre, where 60% of managers are women; and the head of venue operations for the chain of Brooklyn Bowls and The Capitol Theatre is Rachel Baron.

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Anna Ayers, General Manager, Brooklyn Bowl.

Diane Bondareff

“I don’t think this happens at a lot of venues,” says Ayers, general manager of the Bowl in Williamsburg, which celebrated its 15th anniversary last July. “Operationally, being a woman on the floor is not the norm. And it’s challenging running it because it’s not what people typically see.”

The majority of the jobs in the music industry in production, distribution, retail, management or promotion are held by men, particularly upper management roles, according to data from U.S. Bureau of Labor Statistics (BLS). For example, the number of women among the top ranks of major music companies took a hit last year after a wave of retirements and company restructuring.

The percentage of women employed by establishments that organize, promote or manage concerts has been increasing in the past 15 years, from 36% in 2008 to 43% in 2013 to 46% in 2018, according to data from the BLS. The percentage has held steady at between 44% and 46% since 2018. (The BLS also includes sports management, promotion and agent jobs in this category.)

Sarah Barnett

Mitzi Rose

Prior to the COVID-19 pandemic, Ayers says the Bowl’s operations managers — who are often the last people to leave at night — were mostly men. Today, all four of the Bowl’s operations managers are women who have risen through the ranks, such as Beatriz Gonzalez, a 15-year Bowl veteran who started as a busser.

Shapiro created the Brooklyn Bowl venue chain — which also operates venues in Philadelphia, Las Vegas and Nashville — and owns The Capitol Theatre, the Bearsville Theater and Garcia’s clubs, a restaurant and venue chain that pays tribute to the Grateful Dead frontman. Managed under the umbrella of Dayglo Presents, Shapiro says the leadership across Dayglo took shape without planning or hiring initiatives.

“It just happened organically because these are the best people for the roles,” says Shapiro, who also owns Relix Magazine. “Women are often really well suited to run music venues.”

Rachel Baron

dayglo Presents

Shapiro says the Brooklyn Bowls’ concert hall-bowling alley-restaurant concept with their brick and wood aesthetic aim to create a warm environment and high-touch experience.

“We are just looking for the right people, and it just so happens that they ended up being women in a lot of key roles,” Shapiro says, pointing to other women leaders at his companies, including Brooklyn Bowl Nashville’s general manager Barnett and Baron, the head of venue operations for the four Brooklyn Bowls and The Capitol Theatre.

Kitchen, general manager at The Capitol Theatre, says she thinks women holding top roles at her company is reflective of a shift she has seen in other industries.

Alyssa Kitchen

Amanda Brandl

“Specifically, in the Dayglo companies I think that’s happened very fast,” says Kitchen, a former accountant whose staff includes women managers who handle oversight of cash operations, accounting, artist contracts, the box office and more. “We are a collaborative group.”

Amid the backdrop of economic uncertainty and diversity, equity and inclusion initiatives falling out of favor at many institutions since the Trump administration took power, Shapiro says his venues have seen measurable success as women have made up a greater percentage of their workforce.

“There’s something about the touch that women leaders have that is unmatched,” Shapiro says. “I think it’s an important to running a music venue in 2025.”

Ice Cube is hitting the road. The West Coast icon announced the Truth to Power: 4 Decades of Attitude Tour on Tuesday (April 15). The North American trek is his first domestic headlining tour in more than a decade.

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The 22-date run kicks off in Brooklyn at the Barclays Center on Sept. 4 and will invade arenas across the country. Cube is hitting cities such as Baltimore, Atlanta, Los Angeles, Cleveland, Chicago, Oakland and wrapping up north of the border in Toronto.

“Truth to Power is more than a tour — it’s a 40-year celebration,” Cube said in a statement. “The world needs truth. The people need power. And that’s what my music brings. It’s gonna be next level to go from city to city with a major production unlike anything I’ve ever done before.”

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Pre-sale tickets will start going on sale on Wednesday morning (April 16). Fans should keep an eye on Cube’s social media accounts when it comes to gaining access to pre-sales, while the general public will be able to purchase tickets on Friday morning (April 18) on Cube’s website.

There will be a variety of VIP packages available that will come with meet-and-greet opportunities with Cube, signed vinyls and more.

Ice Cube will be celebrating his decorated discography ranging from the days of running with N.W.A. to his Hall of Fame solo work through his most recent album, Man Down, which arrived in November.

For the first time since 2010, Ice Cube entered Billboard‘s Top Rap Albums chart last year with Man Down‘s debut at No. 8. The set was released through Lench Mob/Hitmaker Music Group and earned 20,000 equivalent album units in the U.S., according to Luminate.

“Most of the people who say hip-hop is a young man’s game don’t do it and ain’t never gripped a mic and ripped it,” Cube told Billboard last year. “I’m not worried about my ACL and my Achilles. This is wordplay, this is wordplay and flow. This is skill and beat selection, concept and hook selection.”

Find all of the Four Decades of Attitude Tour dates below.

Opry Entertainment Group (OEG) has named Tim Jorgensen as vp of operations on its Austin team. In the new role, Jorgensen will lead OEG’s Block 21 businesses in the city, including ACL Live, 3TEN and W Austin. In addition to leading strategic direction for the Block 21 complex, he will oversee day-to-day operations at ACL […]

Stevie Nicks has no plans to stand back idly this summer and fall, with the rock legend announcing that she’s getting back on the road with a run of solo tour dates Monday (April 14). Interspersed between Nicks’ previously announced joint performances with Billy Joel, the solo run will begin Aug. 12 with a show […]

Puerto Rican superstar Rauw Alejandro announced on Monday (April 14) that he’s taking his 2025 Cosa Nuestra world tour to Latin America, revealing that his visit will make stops in Argentina, Brazil, Colombia and Mexico. The Latin American tour — produced by Live Nation — will kick off on Oct. 14, in Chile and will travel […]

Canadian singer-songwriter Bells Larsen is cancelling his forthcoming U.S. tour after the Trump administration made it impossible for him to travel in the country as a trans man.
In a lengthy post to his Instagram on Friday (April 11), Larsen revealed that, according to an email from the American Federation of Musicians (AFM), he would not be able to apply for a travel visa to the United States since his Canadian passport designates his gender rather than his biological sex.

“To put it super plainly, because I’m trans (and have an M on my passport), I can’t tour in the States,” Larsen wrote. “I hesitate to include a ‘right now’ or an ‘anymore’ at the end of my previous sentence, because — in this sociopolitical climate — I truly don’t know which phrasing holds more truth.”

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Billboard has reached out to the AFM for comment.

U.S. Citizenship and Immigrant Services (USCIS) announced at the beginning of April that they had updated their policy at the outset of April to only recognize biological sex on immigration forms, in accordance with the Trump administration’s executive order requiring travel documents (including passports and visas) to designate a person’s sex as assigned at birth.

In his post, Larsen admits that he was already feeling trepidatious about touring the U.S. amidst an onslaught of anti-trans initiatives being pursued by the current administration, especially when it came to the administration’s treatment of trans people crossing the border. “If random people are getting randomly questioned/stopped/detained at borders, how can I — as someone wanting to make money abroad by exhibiting my lived experience as a trans person — expect to pass go and get out of jail free?” he asked. “My plan was to tour with harm reduction in mind.”

Larsen said that after speaking with two separate immigration lawyers and the AFM, he decided that there was “no way to move forward” with his scheduled tour, despite his eagerness to see his U.S. fans. “This new policy has crushed my dreams,” he wrote. “I’m cradling a very broken heart and the realization that I don’t know if or when I will be able to tour in the States again.”

The singer-songwriter was set to bring his forthcoming new album Blurring Time stateside this June, with dates in Boston, New York City and Los Angeles throughout the month. The new LP deals extensively with Larsen’s experience transitioning while using vocal recordings from both before and after his transition (his “high” and “low” voices, as he calls them in a statement) to create harmonies between his former and current self. The latest single from that album, “Might,” was released on Wednesday (April 9).

“I was hoping that the album would help me break into the US music market and connect with cool, likeminded American musicians,” he wrote. “More than anything, thought, I just really wanted to perform my album for queer and trans people in the US who saw their stories reflected in my own.”

Bells Larsen’s new album Blurring Time drops on April 25 via Royal Mountain Records. Read his full statement on his cancelled U.S. tour below:

Renowned singer-songwriter Silvio Rodríguez has announced a tour across five South American countries later this year, sharing the news in an Instagram post on Thursday (April 10).

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“Hey, friends! I’m Silvio Rodríguez, and I just wanted to share this quick message to announce an upcoming tour through Latin America,” he said in the video. “It’ll be in five countries, running from late September to early November of 2025. The countries, in this order, are Chile, Argentina, Uruguay, Peru and Colombia. That’s all for now! We’re really excited about this, and I hope you all are too. Thank you so much.”

This marks his first performances outside of Cuba since 2022, when he gave concerts in Mexico — including one in Mexico City’s Zócalo before an audience of 100,000. The announcement also sets his return to South America after last touring the region in 2018 with concerts in Chile and Argentina.

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The nueva trova artist will be joined on tour by Emilio Vega (vibraphone), Jorge Aragón and Malva Rodríguez (piano), Niurka González (flute and clarinet), Jorge Reyes (double bass), Rachid López (guitar), Maykel Elizarde (tres guitar) and Oliver Valdés (drums), according to Cuba Noticias 360.

His most recent release, Quería Saber — his 21st studio album — was released last June.

Silvio Rodríguez is a pioneer of la nueva trova, a music movement that emerged in Cuba in the late 1960s blending poetic lyrics with social and political themes. One of his most recognizable hits include “Ojalá,” “Quien Fuera,” “Te Doy Una Canción” and many more. His profound storytelling and evocative melodies have inspired generations, establishing him as one of Latin America’s most iconic and influential artists.

See his announcement below: