Touring
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Olivia Rodrigo, Nicki Minaj, SZA, Usher and Niall Horan are among the artists who will be featured in the annual iHeartRadio Jingle Ball Tour Presented by Capital One. Other artists who will perform at tour stops include OneRepublic, AJR, Sabrina Carpenter, Miguel, Jelly Roll, Big Time Rush, NCT DREAM and Flo Rida.
The tour will stop in Tampa, Fla.; Dallas/Fort Worth; Los Angeles; Chicago; Detroit; New York; Boston; Washington, D.C.; Philadelphia; Atlanta; and Miami/Fort Lauderdale.
“Our annual iHeartRadio Jingle Ball lineup is one of our most anticipated of the year, and we’re excited to finally share who will be joining us on the road this season,” Tom Poleman, chief programming officer for iHeartMedia, said in a statement. “This event always showcases the best in pop music and gives our listeners the chance to celebrate the holiday season alongside their favorite artists.”
iHeartMedia and ABC also announced on Thursday (Sept. 28) a new multi-year agreement for ABC to become the exclusive television broadcast partner for the annual event. A network special, airing Dec. 21 (8-10 p.m. ET/PT), will feature footage from all iHeartRadio Jingle Ball tour stops. The special will be available on demand and on Hulu the following day.
“The biggest holiday music event in America is coming to ABC for the first time,” said John Sykes, president of entertainment enterprises for iHeartMedia. “Viewers will have a front row seat to experience this multi city tour as it rolls across the country.”
For the ninth straight year, Capital One will be the national presenting partner of the iHeartRadio Jingle Ball Tour. Eligible Capital One cardholders will get first access to high-demand tickets and exclusive experiences through a special Capital One cardholder presale in each city and can also redeem rewards for curated ticket packages on Capital One Entertainment.
The iHeartRadio Jingle Ball Capital One cardholder presale begins Tuesday, Oct. 3, at 10 a.m. local time and runs through Thursday, Oct. 5, at 10 a.m. local time, or while presale tickets last. Presale info and tickets will be available at iHeartRadio.com/CapitalOne.
All other tickets go on sale to the general public on Friday, Oct. 6, at noon local time and will be available at iHeartRadio.com/JingleBall.
Capital One cardholders can add a Capital One Access Pass to any pre-sale ticket purchase (while supplies last) to attend an exclusive pre-show event at the Dallas/Fort Worth, Los Angeles, Chicago, New York, and Washington, D.C., stops, which includes a private performance from Horan, Big Time Rush or OneRepublic depending on the city.
For the 10th consecutive year, 10 cities on the tour – Los Angeles, Chicago, Detroit, New York, Boston, Philadelphia, Washington, D.C., Atlanta, Tampa and Miami/Fort Lauderdale – will partner with the Ryan Seacrest Foundation, a nonprofit dedicated to inspiring today’s youth through entertainment and education-focused initiatives. In addition, iHeartRadio’s 106.1 KISS FM’s Jingle Ball in Dallas will work with the Kidd’s Kids program of the Kraddick Foundation, whose mission is to create positive memories for families of children with life-altering or life-threatening conditions. Each event will allocate a portion of ticket sales to its benefiting organization as well as offer exclusive packages through online auctions leading up to the events.
The tour is executive produced by Poleman, Sykes and Bart Peters, senior vice president, production & development for iHeartMedia. The iHeartRadio Jingle Ball special on ABC is produced by OBB Pictures, a division of Michael D. Ratner’s OBB Media.
The 2023 iHeartRadio Jingle Ball Tour Presented by Capital One schedule includes the following tour stops. Artists and/or events subject to change or cancellation without notice.
Tampa, Florida
Date/Venue: Sunday, Nov. 26, at 7 p.m. ET – iHeartRadio 93.3 FLZ’s Jingle Ball 2023 Presented by Capital One at Amalie Arena
Performers: Niall Horan, Teddy Swims, Zara Larsson, Doechii, Paul Russell, Kaliii and Lawrence
Dallas/Fort Worth, Texas
Date/Venue: Tuesday, Nov. 28, at 7:30 p.m. CT – iHeartRadio 106.1 KISS FM’s Jingle Ball 2023 Presented by Capital One at Dickies Arena
Performers: Jelly Roll, Doechii, Big Time Rush, Flo Rida, LANY, Paul Russell, Kaliii and P1Harmony
Los Angeles
Date/Venue: Friday, Dec. 1, at 7:30 p.m. PT – iHeartRadio 102.7 KIIS FM’s Jingle Ball 2023 Presented by Capital One at the Kia Forum
Performers: Olivia Rodrigo, Niall Horan, AJR, Sabrina Carpenter, Miguel, Doechii, Flo Rida, (G)I-DLE and P1Harmony
Chicago
Date/Venue: Monday, Dec. 4, at 7 p.m. CT – iHeartRadio 103.5 KISS FM’s Jingle Ball 2023 Presented by Capital One at Allstate Arena
Performers: Nicki Minaj, Jelly Roll, Big Time Rush, Doechii, (G)I-DLE and Kaliii
Detroit
Date/Venue: Tuesday, Dec. 5, at 7:30 p.m. ET – iHeartRadio Channel 95.5’s Jingle Ball 2023 Presented by Capital One at Little Caesars Arena
Performers: Usher, Jelly Roll, Lil Durk, Big Time Rush, Flo Rida, Doechii, Kaliii and (G)I-DLE
New York
Date/Venue: Friday, Dec. 8, at 7 p.m. ET – iHeartRadio Z100’s Jingle Ball 2023 Presented by Capital One at Madison Square Garden
Performers: Olivia Rodrigo, SZA, OneRepublic, Sabrina Carpenter, Jelly Roll, Big Time Rush, Doechii, Pentatonix, David Kushner and Melanie Martinez
Boston
Date/Venue: Sunday, Dec. 10, at 6 p.m. ET – iHeartRadio KISS 108’s Jingle Ball 2023 Presented by Capital One at TD Garden
Performers: SZA, Sabrina Carpenter, OneRepublic, Flo Rida, David Kushner, Melanie Martinez, NCT DREAM and (G)I-DLE
Washington, D.C.
Date/Venue: Monday, Dec. 11, at 7:30 p.m. ET – iHeartRadio Hot 99.5’s Jingle Ball 2023 Presented by Capital One at Capital One Arena
Performers: OneRepublic, Jelly Roll, Big Time Rush, Doechii, Flo Rida, Melanie Martinez, David Kushner, NCT DREAM and (G)I-DLE
Philadelphia
Date/Venue: Tuesday, Dec. 12, at 7:30 p.m. ET – iHeartRadio Q102’s Jingle Ball 2023 Presented by Capital One at Wells Fargo Center
Performers: Usher, OneRepublic, Jelly Roll, Big Time Rush, Doechii, David Kushner and (G)I-DLE
Atlanta
Date/Venue: Thursday, Dec. 14, at 7:30 p.m. EST – iHeartRadio Power 96.1’s Jingle Ball 2023 Presented by Capital One at State Farm Arena
Performers: Nicki Minaj, Ice Spice, Sabrina Carpenter, Flo Rida, David Kushner, Kaliii and NCT DREAM
Fort Lauderdale/Miami
Date/Venue: Saturday, Dec. 16, at 7:30 p.m. EST – iHeartRadio Y100’s Jingle Ball 2023 Presented by Capital One at Amerant Bank Arena, Ft. Lauderdale
Performers: Marshmello, AJR, Flo Rida, Ludacris, LANY, David Kushner, Kaliii and Paul Russell
Lizzo has lodged her first legal response to the lawsuit brought by three of her former dancers in August.
In what amounts to a 31-point rebuttal against claims that the dancers were subjected to sexual harassment and a hostile work environment while on tour with the singer, Lizzo and her Big Grrrl Big Touring company are requesting that the court dismiss the case with prejudice (meaning it cannot be refiled). In the event the court declines to dismiss it, the defendants are requesting a jury trial.
In the original complaint, filed Aug. 1 in Los Angeles court, dancers Arianna Davis, Crystal Williams and Noelle Rodriguez accused Lizzo (real name Melissa Jefferson) and Big Grrrl Big Touring of several allegations. Among them: that Lizzo pressured dancers to attend a sex show in Amsterdam and interact with the nude performers; that dance team captain Shirlene Quigley repeatedly engaged in behavior that made them feel uncomfortable; that Lizzo “called attention” to a dancer’s weight gain following a performance; that employees of the touring company singled out Black dancers by accusing them of “being lazy, unprofessional and having bad attitudes”; and that Lizzo denied dancers bathroom breaks during an “excruciating re-audition” process.
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The new document — filed Wednesday by Lizzo’s lawyers, Martin Singer, Michael Weinsten and Melissa Lerner — offers more than 30 wide-ranging defenses to the dancers’ complaint. They include:
That the plaintiffs “ratified, acquiesced, condoned, and/or approved of the acts or omissions of Defendants, in whole or in part, about which Plaintiffs now complain”;
That the defendants’ alleged conduct “was undertaken in good faith and with good cause” and “undertaken for legitimate reasons reasonably related to one or more lawful business purposes”;
That the plaintiffs are “guilty of unclean hands,” which in legal terms means they have done something unethical and should therefore be denied relief;
That the plaintiffs should be barred from pursuing the case based on the doctrine of estoppel, meaning they have acted unfairly or made false representations in bringing the lawsuit;
That the plaintiffs failed to “mediate in good faith pursuant” to their contract terms with Big Grrrl Big Touring and are subject to arbitration under those terms;
That the claims are preempted by California’s Workers’ Compensation Act and should therefore be decided by the workers’ compensation appeals board as opposed to the court;
That if the plaintiffs were harmed as alleged, the plaintiffs and/or others who are not listed as defendants “contributed, in whole or in part,” to that harm;
That the defendants’ alleged actions arose from the exercise of their rights of free speech and/or religion;
That plaintiffs failed to “avail themselves” of internal anti-discrimination and anti-harassment policies and complaint procedures while employed on the tour;
That plaintiffs’ claims regarding discrimination or retaliation should be barred because any employment decisions were made “for legitimate, non-discriminatory, non-pretextual reasons and Defendants acted out of business necessity”;
That the plaintiffs “have failed to plead and cannot establish facts sufficient to support allegations of malice, oppression or fraud”;
That defendants are not liable for punitive damages because they did not “engage in wrongful conduct,” “authorize or ratify any wrongful conduct,” or “have advance knowledge of the unfitness of any employee and employ that employee with a conscious disregard of the rights and safety of others.”
“This is the first step of a legal process in which Lizzo and her team will demonstrate that they have always practiced what they’ve preached — whether it comes to promoting body positivity, leading a safe and supportive workplace or protecting individuals from any kind of harassment,” said Lizzo spokesperson Stefan Friedman in a statement. “Any and all claims to the contrary are ridiculous, and we look forward to proving so in a court of law.”
In response to the new filing, the dancers’ attorney, Neama Rahmani, released the following statement: “Lizzo’s answer merely consists of boilerplate objections that have nothing to do with the case. That said, the key takeaway is that Lizzo is agreeing to our clients’ demand for a jury trial. We look forward to presenting our case in court and letting a panel of her peers decide who is telling the truth, Lizzo and her team who continue to shame the victims or the plaintiffs and so many others who have come forward sharing similar stories of abuse and harassment.”
Though this is Lizzo’s first legal response to the lawsuit, the singer categorically denied the dancers’ claims two days after it was filed, stating on social media that the allegations were as “unbelievable as they sound and too outrageous to not be addressed.”
“These sensationalized stories are coming from former employees who have already publicly admitted that they were told their behavior on tour was inappropriate and unprofessional,” she added. Later that day, the dancers appeared on CNN This Morning to rehash their allegations and called Lizzo’s statement “disheartening” and “incredibly frustrating.”
Two weeks later, Lizzo’s Big Grrrls dance team released a statement in support of the singer, saying they “had the time of our lives” on the tour and continuing, “The commitment to character and culture taking precedence over every movement and moment has been one of the Greatest lessons and Blessings that we could possibly could ask for.”
The Aug. 1 lawsuit is the first of two that have been brought against Lizzo. Earlier this month, the singer — along with her wardrobe manager Amanda Nomura, tour manager Carlina Gugliotta and Big Grrrl Big Touring — were sued by clothing designer Asha Daniels, who alleged sexual and racial harassment, disability discrimination, assault, illegal retaliatory termination and more while working on Lizzo’s Special tour.
The second lawsuit dropped the same day Lizzo was due to receive the Black Music Action Coalition’s Quincy Jones Humanitarian Award at the organization’s 2023 gala.
While accepting the honor that evening, Lizzo — who was introduced by cast members from her Emmy-winning reality show, Watch Out For the Big Grrrls — gave an emotional speech in which she said, “I’m going to continue to be who I am, no matter who’s watching. I’m going to continue to amplify the voices of marginalized people because I have a microphone and I know how to use it. And I’m going to continue to put on, represent and create safe spaces for Black fat women because that’s what the f— I do!”
She continued, “This support right now means the world to me.”
This summer, Disturbed launched a North American amphitheater tour in support of Divisive, the band’s eighth studio album over a three-decade career. For a group that deep into their journey as live performers, another summer tour can feel like a bit of plug-and-play. But this time around, the band’s Boxscore results were bigger than ever before. According to figures reported to Billboard Boxscore, the Take Back Your Life Tour earned $17.4 million and sold 336,000 tickets.
That makes 2023 the biggest year of the band’s touring career, surpassing the $14.6 million earned in 2019.
On a per-show basis, Disturbed averaged $601,000 per night, beating previous career-bests of $473,000 in 2011 and $405,000 in 2019. But as proven by an endless list of post-pandemic examples, inflation and platinum ticketing and dynamic pricing and primary-market re-sale make bulking up tour grosses more possible, if not easier, than ever. But in Disturbed’s case, this peak revenue cannot be explained by exploiting 2023’s chaotic ticketing market.
The average ticket price for the Take Back Your Life Tour was $51.07. That’s actually down by 11% from 2019’s $58.66, and only 7% above the average from 2016 ($48.72). That means that the band’s soaring earnings can be explained by increased attendance.
The Take Back Your Life Tour averaged 11,573 tickets per show, up from 6,901 in 2019 and 4,404 in 2016. Over the last two album cycles, Disturbed has multiplied its ticket-buying fanbase by more than two and a half. Sorted by attendance, the band’s 10 biggest concerts ever all happened this summer, led by the Sept. 2 show at Ruoff Home Mortgage Music Center in Noblesville, Ind., marking its first headline show with more than 20,000 fans.
This year’s tour was in key Live Nation amphitheaters, after mostly playing in scaled down arenas. Located just outside of primary touring markets, these outdoor venues have the space to accommodate thousands of fans, often more than the indoor arenas situated in the center of major cities.
Not only did Disturbed have the literal space to sell more tickets, taking advantage of the venues’ large lawns (all dates had a baseline price of $29.50), but the infrastructure around amphitheaters also allows for modest pricing, even up to the first row. Parking, merchandise and concessions are major parts of the experience, especially with bulked-up lineups on long summer days. Breaking Benjamin and Jinjer supported Disturbed on the road this summer.
The decision to level up to amphitheaters did a lot of the heavy lifting for Disturbed’s new career peak, but the release of last year’s Divisive certainly helped as well. Before the tour began, the album had already made “Hey You” the band’s 11th No. 1 on Billboard’s Mainstream Rock Airplay chart, with “Bad Man” reaching No. 2 in March. Throughout the tour, “Unstoppable” climbed the ranks, ultimately becoming the band’s 12th chart-topper in mid-August. “Don’t Tell Me” featuring Ann Wilson is next, set for release in November.
Dating back to the band’s first show in the reported archives, when Disturbed earned $10,000 and sold 682 tickets at Saratoga Winners in upstate New York on Sept. 26, 2000, the metal superstars have grossed $71.2 million and sold 1.8 million tickets across 365 shows.
He’s country, he’s rock, he’s a superstar. Zach Bryan wrapped the Burn Burn Burn Tour at the end of August after touring the continent all summer. According to figures reported to Billboard Boxscore, the trek grossed $43.9 million and sold 475,000 tickets across 32 dates.
The Burn Burn Burn Tour took Bryan around the U.S. and Canada in a mix of amphitheaters and arenas, promoted by AEG Presents. The routing mixed primary markets such as New York and Los Angeles with secondary markets including Wilkes-Barre, Penn., and Grand Rapids, Mich., just as his music fuses genres and eschews traditional demographic lines.
With that, the biggest shows on the tour were not major pop stops such as Chicago or San Francisco, nor country hot spots Nashville or Dallas (he didn’t play anywhere in Tennessee). Instead, with roots in each city, double-headers at Philadelphia’s Wells Fargo Center (May 30-31) and Tulsa’s BOK Center (Aug. 10-11) shone the brightest, with earnings of $3.7 million and $3.2 million, respectively.
The Burn Burn Burn Tour was Bryan’s second live outing in two years. Just last year, he mounted the American Run Tour. Each tour was almost identical in length (32 shows in 2023 vs. 31 in 2022) but the results were dramatically different. The average attendance scaled from 5,735 tickets on last year’s run to 14,841 this summer, jumping by 158%. While his reach grew, so did demand. All while endeavoring to control a ballooning ticketing market, the average price jumped from $51 in 2022 to $92.52 in 2023.
Those are stellar improvements for any artist, but even more stark considering the six-month break between tours. And while the Burn Burn Burn Tour ended last month, Bryan has already plotted his next live venture. The Quittin’ Time Tour kicks off in Chicago on March 6, scheduled to run through mid-December with two final hometown shows at the BOK Center.
Even at his current pace, Bryan is already situated to do bigger business in 2024 than 2023. The initial Quittin’ Time announcement included 53 shows, more ambitious than this year’s 32. Just by adding 20-plus dates, next year’s run is on track to land in the $70 million to $75 million range. But he’s unlikely to top out there, as his ’24 routing is bulked up not just in length, but in size.
Bryan will return to some of the arenas from this summer’s tour, coming back to Las Vegas’ T-Mobile Arena and the Desert Diamond Casino in Glendale, Ariz., playing two shows at each venue rather than one. In other markets, there are clever extensions, like playing two shows at the Prudential Center, N.J., and two at Brooklyn’s Barclays Center, compared to this year’s double header at Forest Hills Stadium in New York City’s Queens. Despite its name, the latter venue functions more like a scaled amphitheater, smaller than either of next year’s New York-area arenas.
Elsewhere, it’ll be a whole different ball game. Two 2023 arena dates in Philadelphia will translate to a night at the city’s football stadium (Lincoln Financial Field) in 2024. More stadiums fill out his routing in Atlanta; Foxborough, Mass.; Minneapolis; and Tampa, some of which will be new concert markets for Bryan altogether.
It’s easy to plot Bryan’s transformation from theaters to arenas to stadiums over such a short window. This year’s Burn Burn Burn Tour was plotted, announced and went on-sale amidst the lingering success of American Heartbreak, which debuted and peaked at No. 5 on the Billboard 200 and then stayed in the top 20 for all but one of the 70 weeks since.
Next year’s Quittin’ Time Tour was announced at the tail end of this year’s run, upon the release of his self-titled album. That one debuted at No. 1 on the Billboard 200 and spawned a No. 1 arrival on the Billboard Hot 100 songs chart with “I Remember Everything,” featuring Kacey Musgraves. Just last week, he followed it with Boys of Faith, an EP that is currently posting major streaming numbers that are atypical for a seemingly casual release.
Following post-pandemic stadium transformations for Luke Combs and Morgan Wallen, Bryan will likely mount one of the biggest country tours in Boxscore history. The expanded and fortified routing could lead the Quittin’ Time Tour toward $100 million and one million tickets in 2024.
In July, Beyoncé set the record for the highest one-month gross in the history of Billboard Boxscore (dating back to 1985) with $127.6 million. That haul narrowly edged out Bad Bunny’s $123.7 million from September of last year. But immediately after breaking ground, Queen Bey re-asserts herself, and the Renaissance World Tour, as an all-time dominant Boxscore force. According to figures reported to Billboard Boxscore, Beyoncé’s 14 shows in August earned $179.3 million.
Improving upon her existing record by 40%, Beyoncé distances herself from the pack, notching two of just four $100 million months since the charts launched in February 2019. Bad Bunny and Harry Styles achieved the other two.
After leading Top Tours in May and July, Beyoncé scores a third month at No. 1. That puts her in four-way tie with Ed Sheeran, the Rolling Stones and Trans-Siberian Orchestra. Bad Bunny spent four months at No. 1, and Elton John leads with seven.
With her freshly extended earnings record, Beyoncé claims the month’s highest attendance total for the first time, after falling short of Coldplay in May and The Weeknd in July. Her 14 shows sold 697,000 tickets.
After crowning Top Boxscores in July with two shows at New Jersey’s MetLife Stadium, Beyoncé ups the ante with three shows at Atlanta’s Mercedes-Benz Stadium. The triple-header grossed $39.8 million and sold 156,000 tickets on Aug. 11-12 and 14. That puts it among the top 10 grossing headline engagements ever, and the third highest in North America. The only two bigger reports are courtesy of Harry Styles, with 15-show runs at Madison Square Garden and the Kia Forum, making for an apples-to-oranges comparison to Beyoncé’s three-night stadium sweep.
Elsewhere, Beyoncé brought in $29.4 million on Aug. 6-7 at FedEx Field in Landover, Md. (Washington, D.C. area) and $25.8 million on Aug. 26-27 at Las Vegas’ Allegiant Stadium. Those three engagements alone would be enough for No. 1 on Top Tours, before adding the other seven shows she played between Gillette Stadium in Foxborough, Mass. (Boston area) on Aug. 1 and Levi’s Stadium in Santa Clara, Calif. (San Francisco area) on Aug. 30.
This gigantic monthly haul adds to an already record-breaking summer for Beyoncé. Previously, Billboard reported that the Renaissance World Tour is the highest-grossing tour of all time by an R&B artist, replacing her own Formation World Tour from 2016. Now, at $461.3 million, it passes Madonna’s Sticky & Sweet Tour (2008-09) to become the highest-grossing tour by a woman in the Boxscore archives.
The Renaissance World Tour will come to a close on Sunday (Oct. 1). With 10 shows left to be reported, its global haul will blow past the $500 million mark, likely closer to $560 million. That will be enough to situate it among Boxscore’s 10 highest grossing tours ever. As of now, it’d make her the only woman, only Black artist, and only American solo act on the all-time leaderboard.
These records, and all Boxscore data, are based on figures reported to Billboard by various industry sources, such as venues, concert promoters and artist management.
In terms of attendance, the Renaissance World Tour is up to 2.247 million tickets, narrowly eclipsing the Formation World Tour’s 2.242 million to become her best-selling tour yet.
When Beyoncé crowned the May report, she became the first woman in almost four years to lead the list, since P!nk was No. 1 in July 2019. Three months later, with Beyoncé still at No. 1, the stars align with P!nk at No. 2. That marks the first time since the charts premiered four years ago that two women top the chart side-by-side.
P!nk claims the runner-up spot by a razor thin margin. Her 10 shows in August earned $68.59 million, just 0.025% ahead of Metallica’s $68.57 million, themselves barely separated from Morgan Wallen’s $68.36 million.
All three acts launched nine-figure tours earlier this year. P!nk began the Summer Canival Tour in Europe in June before traveling stateside. Metallica hit the road on the M72 World Tour in April with a brief European leg. Now 10 shows deep in North America, the tour has grossed $123.7 million and sold 1.2 million tickets worldwide, becoming the band’s sixth million-ticket tour.
For Wallen, the One Night at a Time Tour started in March, days after the release of its namesake One Thing at a Time album. The LP has gone on to top the Billboard 200 for 15 non-consecutive weeks, never leaving the top five in its 29-weeks-and-counting run on the chart. Between Australia and North America, the tour has earned $218 million so far, becoming the highest grossing tour by a country artist ever. Good year for Morgan Wallen!
While Beyoncé posted all-time high numbers for North American stadiums, her three Atlanta shows are No. 2 on Top Boxscores. She’s blocked by Another Planet’s Outside Lands Music and Arts Festival. The annual San Francisco event grossed $40.1 million and sold out all three days at 225,000 tickets. That’s the festival’s biggest gross and attendance ever, surpassing last year’s $33.9 million by 18%.
It’s the fourth time that Outside Lands has been No. 1 on Top Boxscores, following its triumphs in August 2022, October 2021 and August 2019. Across 13 reports (2008; 2011-19; 2021-23), the festival has welcomed just under 2.5 million customers (2,497,832 to be exact), amounting to $318.6 million in ticket sales.
The August Boxscore report is home to a particularly diverse set of artists. The artists among the month’s top 10 tours have charted on key Billboard charts across country, dance/electronic, Latin, pop, R&B, rap and rock, just in the last year.
Bruce Springsteen & the E Street Band have pulled their remaining 2023 tour dates as Springsteen continues to recover from peptic ulcer disease. Among the postponed dates are a November Canadian run and his Dec. 4 and 6 dates at Los Angeles’ Kia Forum. The postponed dates will move into 2024, with rescheduled dates to […]
Matty Healy said The 1975 will go on an “indefinite hiatus” when the group completes dates for its current Still… At Their Very Best world tour in late March 2024. The band — who’ve been on the road playing festivals and headlining gigs since March 2022 — kicked off the first leg of their current […]
Usher is likely to use the world’s biggest stage at Super Bowl LVIII in February to promote his first major tour in nearly a decade and become the first act to launch a tour from the big game in seven years, sources tell Billboard.
Following the NFL’s announcement Sunday that the R&B icon will take over Allegiant Stadium in Las Vegas on Feb. 11 as the game’s halftime show performer, sources say Usher’s team has been busy placing holds on arenas around the world. That same team is expected to spend the next four-and-a-half months routing, confirming and finalizing a 2024 global tour that sources expect will be ready to go on sale moments after he steps off the stage.
Over the past two years, Usher has made a home on the Las Vegas Strip with two residencies at the The Colosseum at Caesars Palace and Dolby Live at Park MGM (for Usher: The Las Vegas Residency and My Way: The Vegas Residency, respectively). Combined, his residencies have earned $83 million and sold 374,000 tickets from 79 shows, according to figures reported to Billboard Boxscore, and Billboard estimates that his Vegas earnings should exceed $100 million by early December. That’s more than any of Usher’s prior tours, topping 2010-11’s OMG Tour, which brought in $76 million — and coincidentally lined up with the singer’s previous Super Bowl halftime appearance, when he made a cameo during The Black Eyed Peas’ 2011 set. His last major tour was 2014–15’s The UR Experience Tour.
Usher will also use the halftime show as a platform to launch a new album release. The Atlanta superstar will drop his ninth studio album and his first since 2016, called Coming Home, on the same day as the Super Bowl. Last year, more than 115 million people tuned in for the Super Bowl, according to the NFL, showing viewership of the annual championship game continues to grow even as more Americans “cut the cord” with their cable providers and seek out digital streaming alternatives. Despite the increase in eyeballs, the number of artists making tour announcements or adjustments have dropped dramatically.
It has been seven years since an artist took advantage of Super Bowl halftime show’s massive viewership to announce a new tour — the last was Lady Gaga in 2017. The reason for that is likely two-fold. First, there are more artists touring than ever before, making it difficult for artists to time their touring plans and album cycles around a February announcement date, especially when halftime performers aren’t typically announced until September. The second change was a new partnership with Jay-Z and Roc Nation in 2019 to curate and book the halftime show, which has favored collaborative spectacles over single artist promotion with performances by Shakira and Jennifer Lopez at the 2020 Super Bowl and Dr. Dre, Snoop Dogg, Eminem, Mary J. Blige, 50 Cent and Kendrick Lamar at the 2022 Super Bowl.
Looking at the last five Super Bowl halftime shows, from 2018 to 2022, only two were linked to tour announcements: In 2018, Justin Timberlake, announced additional dates for his Man of the Woods Tour including second American leg for Man of the Woods following his Super Bowl LII halftime performance at U.S. Bank Stadium in Minneapolis. And, in 2021, The Weeknd announced the long-awaited rescheduled dates for his After Hours Tour along with 39 new shows in North America and Europe after his Super Bowl performance. (Eight months later, those rescheduled dates were cancelled a second time, and the tour was upgraded to stadiums for summer 2022.)
The preceding five-year period, 2017-2013, was far busier — four out of five of the halftime shows from this period were linked to major tour announcements.
The last artist to announce a tour immediately following their performance at the Super Bowl was Lady Gaga in 2017. The singer began her remarkable set by descending from the top of Houston’s NRG Stadium onto an on-field stage to perform “Just Dance,” “Bad Romance,” “Poker Face”. After her show wrapped, a post on her Twitter account teased out a world tour, and then hours later a follow-up tweet directed fans to website where fans could buy tickets. Coldplay’s halftime performance in 2016 led to two major tour announcements: one for the band’s Head Full of Dreams Tour and another for their halftime co-star Beyoncé’s Formation Tour. Beyonce also announced The Mrs. Carter Show World Tour following 2013 Super Bowl performance, while Bruno Mars announced new dates for his Moonshine Jungle Tour following his 2014 halftime show performance in 2014.
Additional reporting by Eric Frankenberg.
The Country Music Association has announced changes to its CMA Touring Awards, which recognize behind-the-scenes members of the country music touring community.
New this year, the 2023 CMA Touring Awards will add five categories to its current 15 categories. CMA members will soon be able to vote for crew, backline technician, stage manager, support services company and unsung hero of the year.
In addition, the balloting process for the 2023 CMA Touring Awards has been updated. A nomination round will take place between Friday, Oct. 6 and Thursday, Oct. 19, allowing eligible CMA professional voting members the opportunity to nominate individuals/companies in all 20 categories while providing a brief explanation for their nomination.
A CMA Touring Awards nominations task force will then review the top 20 nominated individuals/companies in each category and determine the finalists.
A final round of voting between Wednesday, Dec. 13, and Thursday, Dec. 28, will allow eligible CMA professional voting members to cast their vote among the top five to eight finalists in each category.
The 2023 CMA Touring Awards ceremony is expected to be held in Nashville in early 2024.
The CMA Touring Awards, originally called the SRO (Standing Room Only) Awards, were created by the CMA board of directors in 1990. The first awards were presented at a black-tie gala during CMA’s Entertainment Expo, also known as the Talent Buyers Entertainment Marketplace. The SRO Awards were renamed the CMA Touring Awards in 2016.
Here are details on the five new CMA Touring Award categories:
Crew of the Year
This award honors the entire crew of a country music tour that executed a multi-city run of shows during the eligibility period. The award recognizes the crew that has consistently demonstrated outstanding professionalism, skills, teamwork, hospitality, innovation and excellence in all aspects of their work. This award is not necessarily for the team supporting the biggest or top-selling tour of the year, but for the crew that has clearly demonstrated the most heart and spirit on the road, making the biggest overall contribution to elevating country music.
Backline Technician of the Year
This award goes to a backline technician who has demonstrated technical proficiency in ensuring exceptional musician and/or artist support on a country tour during the eligibility period.
Stage Manager of the Year
This award goes to a stage manager who has been instrumental in organizing and executing a country tour during the eligibility period.
Support Services Company of the Year
This award goes to a support services company that has maintained high professional standards and delivered creative and innovative ideas through their services provided to a country tour during the eligibility period. This may include video, lighting, merchandise, security, sound equipment leasing, transportation, catering, staging and other touring support services companies.
Unsung Hero of the Year
This award goes to a touring professional who has made invaluable contributions behind the scenes and served as a vital part of a country tour during the eligibility period. The recipient of this award has gone above and beyond their assigned duties and has worked tirelessly to elevate the overall experience for everyone on the tour. Individuals who are eligible to be nominated in the other CMA Touring Award categories are not eligible to be nominated for this award category.
Live Nation, the world’s largest concert promoter, is launching an ambitious new program to improve the lives of touring musicians and cut down on the growing costs traveling artists facing criss-crossing the country.
Today, the concert giant has announced the launch of “On the Road Again,” a new program inspired by legendary singer/songwriter Willie Nelson to support developing artists and their road crews. The program — which has no expiration date and is expected to save artists tens of millions per year — tackles the growing costs of travel expenses and the ability of artists to make money through merch sales.
“Touring is important to artists so whatever we can do to help other artists, I think we should do it. This program will impact thousands of artists this year and help make touring a little bit easier,” said Nelson, who provided his famous hit song On the Road Again as the anthem for the program.
Starting today, all acts playing Live Nation owned and operated clubs, from headliners to support acts will receive a $1,500 gas and travel cash stipend per show to all headliners and support acts, on top of nightly performance compensation.
As part of the program, the company’s clubs will no longer charge merchandise selling fees, allowing artists to keep 100% of merch profits. Many artists rely on merch sales to generate cash for the band while they’re on the road. In January, Ineffable Music Group became the first company to wave merch fees for the companies 10+ venues and showrooms. The decision by Live Nation to waive these fees will likely lead to more cash in the hands of touring artists.
“Touring is a crucial part of an artist’s livelihood, and we understand travel costs take one of the biggest bites out of artists’ nightly profits,” a press release from Live Nation reads. “By helping with these core expenses, we aim to make it easier for artists on the road so they can keep performing to their fans in more cities across the country.”
The On the Road Again also includes financial bonuses to local promoters that help execute at shows as well as tour reps and venue crew members that have worked over 500 hours in 2023. On the Road Again also includes $5 million to Crew Nation, a fund created during the pandemic to support crew across the industry facing unforeseen hardship.
“Delivering for live artists is always our core mission,” said Michael Rapino, President and CEO of Live Nation in a statement to Billboard. “The live music industry is continuing to grow and as it does, we want to do everything we can to support artists at all levels on their touring journey especially the developing artists in clubs. Like Willie says, this is all about making it a little easier for thousands of artists to continue doing what they love: going out and playing for their fans.”
Conpany officials added that On the Road Again is “a true collaboration that draws on insights from Nelson’s years on the road as well as feedback from touring artists, their teams and venue operators to help support day to day life on tour. All benefits from On the Road Again are being provided directly from the venue’s existing earnings, with no increases to consumers.”
For more information on the program and a list of participating venues, visit roadagain.live
Courtesy Photo