Touring
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Live Nation has expanded its partnership with SoLa Impact’s SoLa Foundation, funding a major investment in SoLa’s second state-of-the-art youth center in L.A. and a program that will provide fully subsidized educational and workforce training opportunities in music and technology.
The touring giant has agreed to finance the completion of the new campus, which will be named SoLa Tech and Entertainment Center Powered by Live Nation. Opening in early 2025, the new 8,500-square-foot technology and entertainment center will be located on the ground floor of the “Crenshaw Lofts,” SoLa Impact’s new 195-unit workforce and affordable housing development located near Crenshaw and Leimert Blvds.
The center will host the 18-week Live Nation Next Gen Program, which offers paid apprenticeships for historically excluded youth (ages 16-21) from South L.A. The program helps students explore entertainment and production careers and learn directly from Live Nation staff and executives about various aspects of live entertainment — from booking to marketing to operations and more. The program, which will work in partnership with Live Nation’s School of Live, will culminate with the group promoting, ticketing and producing a community concert.
“We are incredibly inspired and encouraged by Live Nation’s continued partnership and their commitment to diversity and inclusion in the live music industry and beyond,” said Sherri Francois, SoLa Impact’s chief impact officer and executive director of the SoLa Foundation. “This is another amazing example of the power of mission-aligned corporate and nonprofit partners working together with focus and determination to solve seemingly intractable challenges.”
The new SoLa Tech and Entertainment Center Powered by Live Nation will service more than 1,000 students annually, with a long-term goal to close the socio-economic access gap for careers in the entertainment, science, technology, engineering, arts and math (STEAM) fields. Within the music sector, students will also be trained in the business and technology of the live entertainment industry, audio engineering and recording, coding, 3D modeling and animation, graphic design, digital content creation, entrepreneurship, and practical life and career skills. The center will also be a space for cultural, economic and civic events for the wider community.
“Live music isn’t a standard part of most schools and colleges, even though it continues to be a growing industry,” added Michael Rapino, president/CEO of Live Nation Entertainment. “By partnering together with SoLa, kids learn the business of music and we help them get first-hand experience, which unlocks a whole new world of careers, which has been incredible to be part of.”
SoLa Tech and Entertainment Center Powered by Live Nation, set to open in early 2025 in South LA.
Courtesy Live Nation
Last week, Billboard revealed its year-end Boxscore charts, ranking the top tours, venues and promoters of 2023. That coverage included analysis of the new wave of genre diverse artists crashing stadium stages and in turn, our charts. This week, we are breaking down the year’s biggest tours, genre by genre. Here, we continue with R&B.
R&B has some humongous contemporary stars – Beyoncé, Bruno Mars, Usher and more – but in the last decade, it’s been too reliant on those stars to keep it afloat. The graph below shows how the genre has experienced severe spikes and drops, often victim to the scheduling whims of a small group of headliners.
In 2016, when Beyoncé mounted The Formation World Tour, R&B spiked from 3.5% of the overall top 100 gross, to 8%. But in 2019, after Bruno Mars wrapped his globe-conquering 24K Magic Tour, its share plummeted from 11.5% to 2.7%.
In 2023, R&B is hitting from all sides. The established superstars named above – Beyoncé, Bruno Mars, Usher – were all active, joining forces with next-gen headliners such as SZA and The Weeknd. More than that, Lionel Richie, New Edition and others are harnessing their legacies to build the next phase of their touring careers. All of that builds to the genre’s biggest share of the top 100 tours, dating back more than a decade.
That mix of classic artists and ascendant stars bodes well for the genre, even when its biggest icons are off cycle.
Keep reading to check out the top 10 highest grossing tours by R&B artists, according to figures reported to Billboard Boxscore. All reported shows worldwide between Nov. 1, 2022 – Sept. 30, 2023, are eligible. Here, we define R&B acts as artists who have recently featured on Billboard’s Top R&B Albums or Hot R&B Songs charts.
Lionel Richie
Image Credit: Adam Bettcher/Getty Images
Executive promotions are inevitably announced with press releases. Francesca Bodie‘s elevation to the newly created position of COO for the venue development, management and investment company Oak View Group (OVG), also comes with the announcement of two significant deals she led for the company founded by her father, OVG CEO Tim Leiweke and music’s multisector entrepreneur Irving Azoff.
Bodie, who served as OVG’s president of business development prior to her promotion, engineered the company’s strategic investment in Family Entertainment Holdings, the company behind the popular live franchises, Hot Wheels Monster Trucks Live, which is tied to the classic toy brand, and Magic of Lights, an all-ages holiday light show. OVG also unveiled activations with premium wine and spirits brand, Christian Navarro — including The NINETEEN 62 Club, a luxe lounge at Baltimore’s CFG Bank Arena and premium concession kiosks at four OVG facilities — the first offshoots of a venture with Navarro that Bodie also spearheaded.
Bodie’s new role will increase from capital development, mergers, and acquisitions to a focus on new revenue streams including overseeing all day-to-day operations for OVG globally, as well as leading OVG’s executive committee of highly diverse and accomplished executives into this next stage of growth.
According to the company, Bodie, a graduate of Stanford University who has worked in the facilities business since high school “when I helped load-in the Ringling Brothers Circus at STAPLES Center,” has raised more than $12-billion of invested capital for seven venues that OVG built and opened in the last 18 months, including the $1-billion-plus makeover for the redevelopment of Seattle’s Climate Pledge Arena, New York’s $1.5 billion UBS Arena, the $375 million Moody Center in Austin, Texas; the $300 million Acrisure Arena in Palm Springs, Calif.; and the $200 million CFG Bank Arena in Baltimore.
In an exclusive interview with Billboard, Bodie says that after OVG’s year-and-a-half growth surge, her father — who she refers to as “Tim” — identified a need for processes and communication. So, this position is about building depth and organizational structure, and to put processes in place for [OVG360 CEO] Chris Granger to grow his company.
Bodie, who is the mother of two sons, 8 and 4, says her new role “will also allow me to strengthen our international platform, which is going to be a huge focus for us these next few years.”
In an interview with Billboard earlier this year, Tim also said that international was a big part of OVG’s future.
I am very excited about it. The seeds that we planted even during COVID are just now showing fruition and growth. April 19 is the big opening for Coop Arena [in Manchester, England], which is the first facility we are opening internationally. It’s the largest arena in the United Kingdom, with the largest private investment in any facility in the U.K. It is going to change touring in Western Europe. That’s going to be the start of our domino effect. Our strategy has always been that we have to be in the most influential capital markets in the world. São Paulo, Brazil is under construction; Madrid is in our pipeline as is Vienna, after we won the bid against pretty tough competition. Once we make that private investment — and we have strong local partners in each of those markets — we’re going to expand our service business in coordination. Taylor Swift’s tour has shown that fans are traveling internationally, but the overseas markets don’t have the facilities that we have here. Acts are still playing in buildings that were built many decades ago. So, for us there’s a huge opportunity for the private sector to come in and create what the fans expect — which is acoustically perfect sound, huge amenities, a huge focus on premium hospitality, and then giving the artist a platform to play in an optimal environment, including taking care of them from a safety perspective as well as a sustainability perspective.
Coop City is the first carbon neutral arena in the United Kingdom?
The first ever in Europe. In my new role, I’m going to be a huge advocate and partner of Chris in our GOAL [Green Operations and Advanced Leadership] initiative as well as our sustainable design. LEED certification is really just about how you design the building. Where we as an industry make the most impact on facilities is operations. Not every facility is going to be able to get to carbon neutrality, but everyone can move the needle in a better way. We track water, waste and energy usage, among other metrics, and if we can improve those markers every year, that is a good thing for our environment. Now, every building that we have [owned-and-operated facilities as well as venues OVG manages or where it handles food-and-beverage service] will be on the GOAL platform, which is in partnership with AWS (Amazon Web Services). Any facility with a mass gathering can join GOAL. We come in and measure every usage group that a facility has: water, air quality. sanitization around COVID, food waste, and obviously, carbon and energy is a huge portion of it. We take into account a facility’s age and determine what should be expected of the venue. Then we give them tools that identify areas that, operationally, they can drive better usage the next year.
In that same Billboard interview, Tim said that one day you are going to step into the CEO role. Your promotion to COO seems like the first step in a succession plan. Is there a timetable?
I can’t make that assumption. I will say this. Tim has never been more passionate about the industry or in better shape. I have worked with him officially since 2008, unofficially since 2004, and this is the most energetic and enthused he has ever been in his professional career. OVG hasn’t even hit the halfway mark. We’re going to double in value here in the next three to five years.
So, he hasn’t discussed this with you?
If that’s his plan he hasn’t shared it with me. He always says, “Earn your keep,” so he’s instilled a work ethic in me that I’m very grateful for, but our story is about depth right now. We made two critical hires with Chris Granger joining us — his vision around data and team-building is spectacular for that growth — and Ade Patton, a Fortune 500 CFO.
Can you put a number on the plan to double OVG’s value?
Tim’s goal is a $10 billion company and I’ll leave it at that.
What’s your perspective on the dearth of women in music industry C-suites?
I feel fortunate because there’s no gray area for Tim on this, and it’s not because he has a daughter. It’s just how he is. We have 50-50 representation on our executive committee. There are two women and four men on our board, and we all have equal votes. It’s very important to Tim to get voices and opinions from diverse backgrounds. I don’t want to dirt anyone, but I don’t see that call to action at Legends and ASM Global – and I worked at AEG and MLSE [Maple Leaf Sports & Entertainment] —that enables the upward trajectory we have here. I’m also fortunate because [Azoff Company co-presidents] Beth Collins who’s been a great friend of mine and is also fellow board member, and Susan Genco, as well as the folks at Azoff have been incredible. Irving is a cofounder [of OVG] and I’ve known him since I was in seventh grade. It’s a shared culture system between Tim and Irving where they have strong women around them and they empower them in a way that is unique in the business.
How does your management style differ from the CEO?
Tim is a visionary. His thing is, Why not? Why can’t we do this? We are entrepreneurs. He also says, “We are not afraid.” We don’t make fear-based decisions. We stay focused. This promotion is an opportunity for me is to keep us focused as we expand. We have a tremendous appetite for additional M&A. That’s one of the reasons why we are very bullish on Family Entertainment Holdings. You are going to see our company triple down on content and make sure that our facilities have the best opportunities to diversify content. If existing facilities or new markets make sense and hit our return threshold, we are in that game of growth. And Chris Granger would echo me on the 360 side. They won 30 out of 33 bids last year, and they are on a rocket ship to diversification.
How does AEG’s sale of ASM Global to Legends affect your business?
We always anticipated there would be two [players in the facilities sector]. It doesn’t change where we’re investing capital or what our mission statement is. We have more entrepreneurial spirit when it comes to looking at partnerships and alignment. As for Legends, anybody who has dealt with the Feds recently knows that they will have to go through an approval process, just as we did with Spectra [the venue management and hospitality provider that OVG Facilities merged with in 2021 to create OVG360.]. I think they have their work cut out for them on the NFL side. That said, I have a tremendous amount of respect for that team. Shervin. [Mirhashemi, the CEO of Legends] was at my wedding and so was [AEG president/CEO] Dan Beckerman. I wish them the best, but I don’t think about them very much to be honest with you. None of us do.
Can you elaborate on the challenge Legends faces regarding the NFL?
If you look at Legends’ role in the last bit of NFL stadiums that have come up for service bids, project management or premium or sponsorship, they have the lion’s share of them, which would seem to put customers at a disadvantage when one company will have that much market share of NFL stadiums for F&B, premium/sponsorship sales and operations.”
Have you done any new deals in the last six months that you can talk about?
We’ve done a few that will be announced in the new year that will expand our portfolio in a meaningful way in London. We are very focused on growth there. We have relationships and deals from the arena perspective both in Cardiff, in partnership with Live Nation, and in Bristol which is a great sister market to Coop. You’re going to see us continue to be very aggressive in Wales, Scotland, Ireland, and the surrounding regions because there isn’t a tremendous amount of density there. From a service add perspective, we’re going to be aggressively growing our executive team and actively bidding on food and beverage and facility management.
You are spearheading OVG’s Las Vegas development. There are so many venues there. How are you going to make this one different?
Vegas is this anomaly where there’s never a glass ceiling to what it can be. Look at the Wynn. It’s the most profitable hotel on the strip and it has been for decades. And every time someone tries to match it, the Wynn raises the bar a notch. T-Mobile Arena was the last facility Tim built before he left [as president/CEO of AEG]. That building is 10 years old, and, no disrespect, it’s great for [Las Vegas’ NHL hockey team] the Golden Knights. But what we see is the need to set a new bar on touring, and that venue needs to speak to what is best in class today.

Singer, songwriter and dancer Victoria Monét gives Billboard a full behind-the-scenes look at her The Jaguar Tour, being a mother on the road, getting her first solo Billboard Hot 100 placement, love for Ciara and more!Victoria Monét:Are you hearing that?
Cameraman:Yeah, let’s hold for one second.
Victoria Monét:I can’t get no quiet around here because we’re on tour.
What’s up? It’s Victoria Monét, and this is my tour stop in New York City. And this is where I’m at the stage right down there in a little bit, so see you there!
It’s my very first tour, headlining ever. I’m doing a combination of songs from Jaguar I and Jaguar II. So you get, like, kind of two of my projects in one tour. It’s just really awesome. I’m excited to be doing this.
If I had to pick my favorite songs to perform from ‘Jaguar I and II, I think I would bookend it. My show starts with “Moment,” which is from Jaguar I, and it’s always exciting to see the crowd for the very first time. Everyone’s just, like, super in tune, all the phones are out, so that’s always really exciting. And then the finale is really fun. I do a song from Jaguar II called “On My Mama.” There’s a lot of energy surrounding it — it’s on the radio right now, so it feels very current.
The dance from the music video is somewhat viral, so I can see people doing it in the audience, so that always makes it more, like, an interactive part of the show, which feels really fun to do.
To see “On My Mama” become my first solo Hot 100 entry is really insane. I’ve been writing for so long and I’ve seen glimpses of it for my pen, but not for me as an artist, so it’s really, like, a whole new light for me. I’m super excited. I’m really grateful. I know how much it takes to get an accolade now. So I’m just thankful for everyone who is behind the scenes pushing it, every person at radio, everybody who’s streaming it and sharing with their friends and just making it go and do what it’s doing. I just have a really good understanding of what it takes to be anywhere near Hot 100. So I’m very, very thankful.
And now we are headed to talk to the GRAMMY U students!Watch the full video above!
AEG Presents is the latest music-related company to announce a move to the Nashville mixed-use district Nashville Yards, which is being co-developed by AEG and Southwest Value Partners.
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AEG Presents will relocate its regional office to Nashville Yards in 2025. The company’s new location will be comprised of the company’s regional office, members of its global touring division and the Nashville outpost of AEG Presents partner Messina Touring Group. Combined, these three entities oversee everything from bookings at intimate clubs to stadium tour dates, having promoted tours for artists including Kelsea Ballerini, Zach Bryan, Kenny Chesney, Eric Church and more.
AEG will also book and operate the upcoming 4,500-capacity music venue that’s slated to open in Nashville Yards in 2025.
Rick Mueller, president of AEG Presents North America, said in a statement: “We’ve been hyper-focused on expanding our presence in Nashville for a few years now. It’s a big opportunity for us to be consolidating all our operations under one roof at what’s soon to be one of the most popular destinations in the city, and to be booking and operating a new, state-of-the-art music venue on-site makes it that much more exciting.”
“We have an exceptional partnership with AEG, and together we believe we are constructing one of the most uniquely attractive music, retail and creative workplace environments in the world,” added Cary Mack, managing partner of Southwest Value Partners. “Independent of that, AEG Presents is a preeminent entertainment brand and operator of world class entertainment venues, and we are very excited to have their extended presence at Nashville Yards.”
In November, booking agency CAA announced that its Nashville office will also relocate to Nashville Yards in 2025. Upon completion, the 19-acre mixed-used development will feature pedestrian pathways, open green spaces, plazas and Class A+ office, residential, hospitality, entertainment, retail and culinary offerings.
Nonprofit organization Live Music Society is continuing its efforts to support small venues and listening rooms across the country. Today, the organization announced more than $200,000 in additional grants distributed to 31 independent venues, which brings its annual granted funds to over $800,000 so far.
The so-called Toolbox grants are designed for uses including regulatory compliance, enhanced accessibility and upgrading crucial systems such as ticketing and sales. This month’s recipients include xBk in Des Moines, Iowa, which will be installing a portable wheelchair ramp and ADA-compliant stage to better serve artists with disabilities; and The Hideout in Chicago, which will be hiring a social media consultant to improve its understanding of audience metrics and social media management systems and marketing practices. Another recipient, Moe’s Alley in Santa Cruz, Calif., will be installing a large flatscreen behind the stage to serve bands with visual elements in a space that cannot accommodate projection.
“These grants go beyond just supporting performance spaces; they foster a vibrant community where venues exchange knowledge, evolve together, and weave a richer cultural tapestry for our nation,” said Live Music Society founder Pete Muller in a release. “This expansion isn’t just about financial assistance; it’s about helping to create an ecosystem where artists and audiences flourish hand in hand.”
Additional venues assisted by this month’s grants include Alex’s Bar, Roots Music Project, Jalopy Theatre, One Longfellow Square, 20 Front Street, Beat Kitchen, Belltown Yacht Club, Cafe Colonial, Casbah, Drkmttr, Floyd Country Store, Hoosier Dome, La Peña Cultural Center, Moe’s Alley, Natalie’s Grandview, Next Stage Arts, New Deal Café, No Class, Opolis, PAUSA art house, Portland House of Music, Rambling House Music Bar, Real Art Tacoma, ShapeShifter Lab, The Egremont Barn, The Goodfoot, The Hideout, The Lost Church, The Parlor Room and The Venue.
“Small venues are the heartbeat of musical growth — they’re where artists learn, make mistakes, and connect with communities,” added Live Music Society board member and singer/activist Nona Hendryx. “Our commitment lies in supporting these venues and understanding that they’re vital launchpads for artists, where songs transform from garage or bedroom creations to stage sensations. Without them, stepping stones in the artist’s journey are missing.”
Live Music Society has continued to expand its programming since its inception in 2020 in response to mass gathering bans that impacted music venues during the height of the COVID-19 pandemic. Earlier in 2023, it provided $100,000 in Toolbox grants and an additional $500,000 for its Music in Action initiative, which helps venues develop and implement creative ideas to engage their communities, expand audiences and generate new revenue sources.
Daniel McCartney and Brandon Frankel have joined 33 & West, the L.A.-based booking agency founded in 2018 by JJ Cassiere, Matt Pike and Dan Rozenblum. McCartney, a former agent at UTA, will join 33 & West as an agent with his current roster, while Frankel will serve as marketing and branding lead. Both are scheduled to start on Jan. 8.
A mainstay in the music industry, McCartney brings a decade of experience from his time at UTA, having worked with acts such as Young Thug, Demi Lovato, Mod Sun, Burna Boy, and grandson. Prior to UTA, he spent seven years touring with his band. Frankel brings nearly 20 years of music marketing and touring experience to 33 & West following past roles at Atlantic Records, CAA and, most recently, The Windish Agency, where he worked in brand partnerships and marketing for renowned artists such as Diplo and alt-J prior to its acquisition by Paradigm.
“I’ve long admired what 33 & West have built and was so impressed with their success and growth in only a few years,” said McCartney. “For an independent agency to do full-service (music, touring, film, TV, comedy), it allows us to compete at a high level, which is something important that our clients need.”
In his new role, Frankel will lead 33 & West’s tour marketing and branding division, strategizing to propel the agency’s current roster — which includes Santa Fe Klan, Dance Gavin Dance and Devo — further along in their careers.
“I couldn’t be more excited to join 33 & West, an agency so deeply committed to the long-term visions of their clients,” said Frankel. “I look forward to collaborating with our stellar team to create opportunities that spotlight artists at key career moments.”
The new hires is part of a rapid expansion at 33 & West as of late. The company’s agent roster also includes Shan Patrick, Ian Fintak, Russell Brantley and Peter DeSantis, who serves as head of talent and music crossover.
“Now more than ever, managers and artists are seeing that they don’t need to be at one of the big three letter companies to be successful,” said Cassiere. “We provide a service for artists to represent them properly — we’re not trying to be a big multimedia company or stray away from the real goal which is artist representation.”
Cassiere added, “Being an independent agency, and now being able to provide the services that the other companies do provide, allows us to deploy a very hands-on white glove approach though a very boutique experience. And we know our clients want that type of experience and want to grow their careers with us.”
Ice Spice has signed with WME for international representation in all areas, Billboard can confirm. A representative for the rapper confirms that veteran hip-hop agent Cara Lewis and C Lewis Group continue to represent her in North America and Canada. The news of the WME signing was originally reported by Variety. The Bronx rapper has […]
South by Southwest Music Festival 2024 has revealed a second slate of artists set to perform in Austin next year. Among the highlights are Glasser, SPRINTS, GRÓA, Gruff Rhys, Ho99o9, Holly Macve, Kikuo, LAIR, Pink Pablo, PVA, Pylon Reenactment Society and Ralphie Choo, all of whom will showcase their talents during the six-day festival.
Next year’s SXSW Music Festival will take place from March 11-16 throughout the Austin area. Other emerging acts announced on Wednesday (Dec. 6) include RUBIO, Sinkane, Sofia Kourtesis, Sycco, Tamera, TENGGER, 250, Alexander Biggs, Enola Gay, DICE, HALLEY, HIEN, Skateland, Yo Diablo, Water Damage, TENGGER, Sui Zhen and RUBIO. The festival has created playlists on Spotify and YouTube featuring the music of the showcasing artists.
The list of showcase partners for the 38th annual SXSW has also grown, with labels like New West Records and Bayonet Records, as well as promoter High Road Touring and agency Mint Talent Group, being announced. Elsewhere, newly announced presenters include Adult Decisions, All The Vibes, ATC Live, Atomic Music Group, Breakout West, CareFreeBlackGirl, Chicken Ranch Records, City Slang, Dear Life Records, Dedstrange, Don Giovanni Records, Everything R&B, Father/Daughter Records, Fierce Panda, FOCUS Wales, Island Wave, Italians Do It Better, Gorilla vs. Bear, Jazz Re:Freshed, The Line of Best Fit, The Loyalty Firm, M for Montreal, Music from Ireland, Now Wave, Pop Montreal, Reeperbahn Festival, The Smoke Out, Space Agency, The Spanish Wave, Synásthesie Festival, Taiwan Beats, Tokyo Calling, Traffic Music and Wide Days Scotland.
Founded in 1987 in Austin, SXSW has grown to encompass tech, film and TV, music, education and culture. The entirety of the 2024 conference and festival will run from March 8-16.
In April 2021, it was announced that SXSW signed a “lifeline” deal with P-MRC, a joint venture between Penske Media Corporation and MRC, making P-MRC a stakeholder and long-term partner with the Austin festival. P-MRC is the parent company of Billboard.
See below for the full list of showcasing artists announced on Wednesday.
250 (Seoul SOUTH KOREA)Afternoon Bike Ride (Montreal CANADA)Akira Galaxy (Los Angeles CA)Ako(a子) (Himeji City JAPAN)Alexander Biggs (Melbourne AUSTRALIA)Alex Nicol (Montreal CANADA)Amis du Teche (Breaux Bridge LA)Angelo Moore and the Brand New Step (Austin TX)Anna Smyrk (Melbourne AUSTRALIA)Anna Vaverková (Prague CZECHIA)Another Sky (London UK-ENGLAND)Arches (Hong Kong HONG KONG)Askew (London UK-ENGLAND)Axel Flóvent (Reykjavik ICELAND)Äyanna (London UK-ENGLAND)The Ayoub Sisters (London UK-ENGLAND)Bad Bad Hats (Minneapolis MN)The Beatbox Collective (London UK-ENGLAND)beccs (Warehan MA)Bee Bee Sea (Castel Goffredo ITALY)Being Dead (Austin TX)Benjamin Walker (Chile MEXICO)Bess Atwell (Brighton UK-ENGLAND)Bleach Lab (London UK-ENGLAND)BLK JKS (Johannesburg SOUTH AFRICA)Bloomsday (Brooklyn NY)Blue Lake (Copenhagen DENMARK)Boy With Apple (Gothenburg SWEDEN)BROTHER DEGE (Lafayette LA)Buffalo Nichols (Milwaukee WI)Caleb Landry Jones (Garland TX)Camidoh (Accra GHANA)Carla Geneve (Perth AUSTRALIA)Certainly So (Nashville TN)Cha’keeta B (Austin TX)Chalk (Belfast UK-N. IRELAND)Chartreuse (The Black Country UK-ENGLAND)Chelsea Carmichael (London UK-ENGLAND)Chiaki Mayumura (Setagya JAPAN)Chief Cleopatra (Austin TX)China Bears (Bridgwater UK-ENGLAND)Chxrry22 (Toronto CANADA)CLT DRP (Brighton UK-ENGLAND)Conchur White (Portadown UK-N. IRELAND)CURRLS (Brighton UK-ENGLAND)Danny Bonilla (Dallas TX)Dasom Baek (Seoul SOUTH KOREA)Daydream Twins (Austin TX)Dead Tooth (Brooklyn NY)Delights (Manchester UK-ENGLAND)DICE (Perth AUSTRALIA)Dirt Buyer (Brooklyn NY)Discovery Zone (New York NY)Divorce (Nottingham UK-ENGLAND)Dobrawa Czocher (Warsaw POLAND)DOMICO (Tokyo JAPAN)Do Nothing (Nottingham UK-ENGLAND)Dream Nails (London UK-ENGLAND)Dumb Buoys Fishing Club (London UK-ENGLAND)dust (Newcastle AUSTRALIA)Earth Tongue (Wellington NEW ZEALAND)Eleni Drake (London UK-ENGLAND)Elisapie (Salluit CANADA)Elle Shimada (Melbourne AUSTRALIA)Ellie Bleach (London UK-ENGLAND)Emily Barker (Perth AUSTRALIA)Emily Frembgen (Brooklyn NY)Emma Aibara (Yokohama JAPAN)Enola Gay (Belfast UK-N. IRELAND)Etta Bond (London UK-ENGLAND)fantasy of a broken heart (Brooklyn NY)Fat Dog (London UK-ENGLAND)FAZI 法兹 (Xi’an CHINA)Field Guide (Winnipeg CANADA)Folk Bitch Trio (Melbourne AUSTRALIA)FONTINE (Winnipeg CANADA)Forest Claudette (Melbourne AUSTRALIA)Friedberg (Berlin GERMANY)Fust (Durham NC)Gavin James (Dublin IRELAND)Glasser (New York NY)Glixen (Phoenix AZ)Good Looks (Austin TX)Grandbrothers (Berlin GERMANY)GRÓA (Reykjavik ICELAND)Gruff Rhys (Cardiff UK-WALES)Gurriers (Dublin IRELAND)HALLEY (Waseda JAPAN)Harvest Thieves (Austin TX)Hause Plants (Lisbon PORTUGAL)The HawtThorns (Nashville TN)HIEN (Budapest HUNGARY)HighSchool (Melbourne AUSTRALIA)Hinako Omori (London UK-ENGLAND)HMS Morris (Cardiff UK-WALES)Ho99o9 (Newark NJ)Holly Macve (Brighton UK-ENGLAND)Hooks & The Huckleberries (Albuquerque NM)Hour (Philadelphia PA)The Howdies (Athens GA)Humour (Glasgow UK-SCOTLAND)HYPNOSIS THERAPY (Seoul SOUTH KOREA)IFE (New Orleans LA)Iona Zajac (Glasgow UK-SCOTLAND)Iris Jean (Alkmaar NETHERLANDS)Izo FitzRoy (London UK-ENGLAND)Jack Barksdale (Fort Worth TX)Jack Harris (Cleveland OH)JADA (London UK-ENGLAND)Jad Fair and the Placebos (Manor TX)Jaimee Harris (Nashville TN)JÁNA (Stockholm SWEDEN)Jazz re:freshed DJs (London UK-ENGLAND)Jeannel (Berlin GERMANY)Jeshi (London UK-ENGLAND)JFDR (Reykjavík ICELAND)JM Stevens (Austin TX)Jon Muq (Austin TX)Jon Vinyl (Toronto CANADA)Juani Mustard (Viña Del Mar CHILE)JUANPALITOSCHINOS (Mexico City MEXICO)Justin Webb (Nashville TN)Kali Claire (London UK-ENGLAND)Ken Yates (London CANADA)Kikuo (Tokyo JAPAN)Kroi (Tokyo JAPAN)LAIR (Jatiwangi INDONESIA)Laney Tripp (New Smyrna Beach CA)Larry Seaman (Austin TX)Laura-Mary Carter (Brighton UK-ENGLAND)Laura Misch (London UK-ENGLAND)Lauren Housley & The Northern Cowboys (Sheffield UK-ENGLAND)Lauren Lakis (Austin TX)L E M F R E C K (Newport UK-WALES)Library Card (Rotterdam NETHERLANDS)Lindsay Beaver & Brad Stivers (Austin TX)Lisa Morales (Austin TX)Logan Crosby (Milledgeville GA)Logan Halstead (Powell County KY)Los Cogelones (Mexico MEXICO)Lottery Winners (Leigh UK-ENGLAND)Madam Radar (Austin TX)Malugi (Berlin GERMANY)Mama Terra (Glasgow UK-SCOTLAND)The Manatees (Southampton UK-ENGLAND)maxime. 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Iron Maiden‘s first show scheduled in Bogota, Colombia, in 13 years drove fans to snatch up 42,000 tickets in 21 minutes to sell out El Campín Stadium 11 months before the Nov. 24, 2024, date. It is the first show in Colombia to sell out so far in advance, according to promoter Move Concerts.
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“We all expected strong sales given the long wait since they last performed here, which was on March 20, 2011, but never in our wildest dreams did we think it would blow out in 21 minutes and smash sales records,” Alfredo Villaveces, Managing Director of Move Concerts Colombia, said in a press release. “And if we factor in the fact we went up so far ahead of the show date – something no other artist had done here – it is truly amazing.”
According to the press release, the time span clocked for tickets sold broke the sales velocity records of all previous international acts who have performed in the past in Colombia, including The Rolling Stones, Coldplay, Madonna, Ed Sheeran and The Weeknd.
But compared to all performing artists, including Latin American, Iron Maiden’s sellout pace was exceeded by Colombian superstar Karol G, who recently performed two sellout stadium shows in her hometown of Medellín as part of her Mañana Será Bonito Tour.
Formed in Leyton, East London, in 1975, the English heavy metal band is known for classics such as “The Trooper,” “Hallowed Be Thy Name” and “The Number of the Beast.” On the Billboard charts, the band has had four top 10 albums on the Billboard 200.
Iron Maiden’s 2024 Future Past World Tour will also include two shows in Chile, at the 60,000-seat Estadio Nacional in Santiago, on Nov. 27 and 28, 2024. Tickets for those dates are on sale now and, according to Move Concerts, more than 95,000 have been sold so far.
Find more info on the tour below: