Touring
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It looks like Olivia Rodrigo may be getting ready to spill her guts all across the globe. Shortly after the release of her sophomore album Guts, fans noticed what looks to be a teaser for an accompanying world tour — and it’s hidden right in plain sight in one of the album’s new lyric videos.
The visual in question is for “Making the Bed,” the sixth track on Guts. On the song, Rodrigo sings about feeling like her life is out of control following her seemingly overnight rise to fame with 2021’s “Drivers License,” followed by debut album Sour. “I got the things I wanted, it’s just not what I imagined,” she sings.
In the video, the lyrics appear on a sheet of notebook paper lying on a purple backdrop. To the side sits a general admission concert ticket labeled the “Guts World Tour.”
“OLIVIA RODRIGO: GUTS THE WORLD TOUR,” theorized one ecstatic fan, posting a close-up screenshot of the faux ticket on X (formerly known as Twitter).
“DOES OLIVIA THINK I DONT SEE THE GUTS WORLD TOUR TICKET ON THE SIDE OF THE MAKING THE BED LYRIC VIDEO ????? GIRL SPILL,” added another fan, posting a similar screenshot.
Billboard has reached out to the singer’s rep for comment.
In real life, Rodrigo hasn’t yet announced any actual touring plans for Guts, which dropped midnight Friday (Sept. 8). She did say in a recent interview, however, that she wrote the songs on the project with an accompanying tour “in mind.”
“I think there’s a lot of fun songs,” she told Capital FM in England last month. “I wrote the album with a tour in mind, so I think they’re all songs I wanted people to be able to scream in a crowd. Hopefully that’s what’s achieved.”
In the hours before Guts‘ release, the 20-year-old pop star surprised fans gathered at her pop-up event in New York City, sitting for a quick Q&A and giving a sneak peak at four of the album’s songs: “All-American Bitch,” “Logical,” “Get Him Back!” and “Teenage Dream.” Bright and early Friday morning, she performed some of her new songs, as well as a few older favorites, on the TODAY show.
See fan reactions to Olivia Rodrigo’s possible tour teaser below, and check out the video above:
DOES OLIVIA THINK I DONT SEE THE GUTS WORLD TOUR TICKET ON THE SIDE OF THE MAKING THE BED LYRIC VIDEO ????? GIRL SPILL pic.twitter.com/h1P0TzM3Oj— taybrina del rey⸆⸉ eras tour 11/17 🩰 (@cowboylikeTBDR) September 8, 2023
TWICE‘s Ready to Be Tour is still in full swing, and now fans in Brazil can get tickets to an extra date. The K-pop group — Nayeon, Jeongyeon, Momo, Sana, Jihyo, Mina, Dahyun, Chaeyoung and Tzuyu — announced via X, formerly known as Twitter, that tickets for the new concert were officially available to purchase. […]
The opening of a new 2,500-seat venue in the Inland Empire caught many by surprise earlier this year, but the signs of things to come had been in plain sight for months. Since January, those driving along the Southland’s busy interstates, freeways and thoroughfares have all cruised past a bombardment of billboards promoting shows by Missy Elliott, Janet Jackson, Dave Matthews Band, The Killers and Ed Sheeran.
These acts could easily sell out celebrated Los Angeles venues like The Hollywood Bowl or the Dolby Theater, but instead have elected to play a small theater 65 miles east in Highland, Calif., on land owned by the San Manuel Band of Mission Indians, one of California’s wealthiest tribal groups.
The billboard advertising campaign is part of an ambitious national marketing plan to promote the 20-year-old casino following a $750 million upgrade, a name change to Yaamava’ Resort & Casino in Highland (it was formerly called San Manuel Casino) and a first of its kind exclusive booking agreement with Live Nation Southern California aiming to bring 100 shows per year to state-of-the-art venue.
Yaamava’ Theater
Solaiman Fazel
The campaign is designed to be “something that gains much greater national recognition” says Drew Dixon, Yaamava’s vp of entertainment, “something that’s not just a play for these artists, but a tour destination where they want us to be part of something larger that they’re creating.”
Yaamava’ is already well on its way, as the largest of a half-dozen Southern California tribal casinos that are serving as the gateway for artists to access new audiences and lucrative guarantees in California’s fast-growing regions like Sacramento, East San Diego and Palm Springs/Coachella Valley. The location of Yaamava’ and other Southern California tribal casinos makes them convenient tour stops when routing acts to or from Los Angeles, with these facilities just far enough outside the city that they don’t run into too much red tape around L.A. radius clauses.
Tribal gaming in California is a $10 billion business, formally legalized by voters in 2000 after years of operating under a patchwork of local ordinances and supportive rulings of the U.S. Supreme Court. Proposition 1A legalized the operation of slot machines and card games like blackjack, poker and pai gow on tribal land, often in areas outside of San Francisco and Los Angeles that went on to explode in growth throughout the decades that followed. Southern and Northern California, according to a source familiar, are now the most competitive regions for tribal gaming in the U.S. alongside the Atlantic City/Philadelphia area.
As a result, California’s tribal groups are now among some of the richest in the country, with some properties generating hundreds of millions of dollars per year in revenue. While tribal groups are not required to disclose income, a 2004 agreement between then-Gov. Arnold Schwarzeneggar and the United Auburn Indian Community estimated the tribe’s Thunder Valley Casino in Lincoln, the third largest tribal gaming property in the state — about 30 minutes outside Sacramento — generated $350 million a year in revenue from its 3,000 slot machines. It’s a safe bet Yaamava’ is making even more as California’s largest tribal gaming casino with 6,500 slots. And its ownership group, the San Manuel Band of Mission Indians, is expanding outside the state: In April 2022, the tribal group purchased the Palms Hotel and Casino in Las Vegas for $650 million.
With access to millions in capital and a year-round need to draw customers, it’s no surprise that tribal gaming executives believe music and live entertainment can help drive more traffic to tribal casinos. But money alone isn’t enough, explains Seth Shoames, a former UTA agent who now runs his own company Day After Day Productions, which represents Ludacris (who opened for Jackson at her Yaamava’ performance), Staind frontman Aaron Lewis, Brian Wilson and Wayne Newton, and also owns Billy Brill’s Billy Alan Productions with Danny Wimmer Presents in a deal funded by Ron Burkle’s Yucaipa Companies and now books talent on behalf of the company’s casino clients.
“It’s all about how artist and casino can align,” says Shoames, noting that artists can benefit from being exposed to “millions of people in the casino’s database” that the artist might otherwise not have access to through email blasts and social media.
Booking big talent comes at a cost — and often casinos are willing to overpay for talent for strategic purposes, says Shoames. On May 13, for example, Missy Elliot performed at Yaamava’ Theater a week after playing Live Nation’s Friends and Lovers festival in Las Vegas — her only two shows of the year. For Missy Elliot, the Yaamava’ show was a chance to create a more intimate follow up experience; for the casino, the show was a chance to make a statement about Yaamava’ being the host site for unique experience in an intimate setting and worth paying a premium for. A source close to the matter estimates that Janet Jackson was paid $2 million for her June 14 Yaamava’ show and that Andrea Bocelli’s May 18 performance earned the singer between $2-3 million — fees that would exceed ticket sales for the venue.
Concert tickets at Yaamava’ do run higher than average, with tickets for Lionel Richie’s Sept. 16 show at Yaamava’ starting at $250 and going up to $1,050 plus fees. Meanwhile, tickets for Richie’s Sept. 15 show at the Kia Forum in Los Angeles top out at about $250. (A representative for Yaamava’ declined to comment on artist fees or ticket pricing.)
Besides underplays with major acts that boost a casino’s visibility, tribal leaders typically expect concerts to pay for themselves. “Twenty or 30 years ago, [shows at] casinos were a loss leader, but that’s no longer the case,” says Brill, who serves as a talent buyer at Thunder Mountain Casino and the Agua Caliente Casinos’ three locations in Rancho Mirage, Palm Springs and Cathedral City. “In Agua [Caliente’s] case, we want to make money on each show.”
Yaamava’s efforts are designed to attract younger crowds, developing a new generation of gamers while also serving as a convenient alternative to Las Vegas. Yaamava Theater was built with this younger demographic in mind, with its massive 3,800 square foot stage aiming to attract bigger and larger shows like its inaugural April 14 concert by Red Hot Chili Peppers, who performed a private show for Tribal members, journalists and other invited guests. The Black Crowes performed Yaamava Theater’s first public concert in late May.
Yaamava’ Theater
Solaiman Fazel
The property’s partnership with Live Nation helps facilitate the booking of some of its larger acts, which over the next few months include Ed Sheeran, Lionel Richie, The Killers, Kali Uchis and a co-headlining set from Nas and Wu-Tang Clan. Dixon, a former market general manager for Live Nation, also spent 12 years running nightclubs and restaurants in Las Vegas and directs a staff with both casino and music industry backgrounds.
“Yamaava’ is making a substantial effort to rebrand themselves,” says UTA music agent Darius Sabet, who specializes in national casino booking for the agency. “That was obviously a strategic decision that they made, and I believe it’s starting to pay off for them in big ways.”
Monica Reeves who books shows for the three Agua Caliente locations says Yaamava’s upgrades have brought “stronger competitiveness” to the market, with new competition also coming from Acrisure Arena, a 10,000-capacity venue that opened in the Coachella Valley this past December and whose upcoming concerts include ODESZA, Sting, KISS and Madonna.
While all this competition is “great” for artists, says Sabet, the casinos are also competing for the crowds to come see them. Friday and Saturday concerts are most attractive for these properties, given that the fans who come for such events are more likely to stay the entire weekend, not only spending money at the concert, but on rooms, slots, blackjack, food, drinks, spa treatments, steak dinners and other add-ons. That’s a shift from past strategies when many of these casinos did the bulk of their business Monday through Thursday, at which point many locals would decamp to Vegas for the weekend.
Back in this era, performances at the former San Manuel would happen in a bingo hall that was converted into a concert space for shows. With this showroom shut down for years amid the remodel, Yaamava’ “wanted to come back to the market like a boss, and they are,” says Michael Scafuto, CEO of M&M Group, that bought entertainment for San Manuel before the remodel.
“The local casino market is getting to be a brute battle as most of the So Cal Properties are all fighting for the same guests and players,” Scafuto adds. “[Yaamava’] needs to ensure they appeal to SoCal guests and players, so they are dominating the market with a huge brand campaign that involves major stars.”
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Bruce Springsteen postponed the remainder of the E Street Band’s September U.S. shows on Wednesday (Sept. 6) after revealing to fans in a note on Instagram that he was receiving treatment for peptic ulcer disease. The 73-year-old rock icon apologized to the faithful for the scotching of the nine September dates — beginning tonight (Sept. 7) with a show in Syracuse, NY — which were slated to last through a Sept. 29 gig at Nationals Park in Washington. D.C.
Springsteen’s post did not give any additional information on his medical issue, but Billboard reached out to Dr. Rudolph Bedford, a gastroenterologist at Providence Saint John’s Health Center in Santa Monica, CA for more information on the painful, fairly common gastro condition.
Bedford, who does not have any first-hand knowledge of Springsteen’s health and was speaking in general terms on peptic ulcer disease, says that it can cause “sever abdominal pain… to the point of doubling you over.” He says that the condition is caused by an imbalance in the protective lining of the stomach. “The stomach is full of acid and whenever something in that acid destroys the protective lining the nerves in the stomach wall become inflamed and cause severe pain,” Bedford says.
The doctor adds there are several things that might cause the condition, most notably taking anti-inflammatory drugs such as Motrin or Aleve on an empty stomach, or other medications that can cause irritation when taken on an empty stomach.
Another possible cause is a helicobacter pylori infection, which is a bacterial infection in your stomach that Bedford says many people acquire at an early age for reasons that are not always clear; the bacteria sets up in the stomach at an early age and can cause inflammation of the stomach lining leading to ulceration. In the case of the latter, there is no way to know if the infection will cause medical issues later in life and children at not typically tested for it.
Springsteen appears to be a hale and hearty septuagenarian and Bedford says age is not the likeliest factor for the disease. “It can happen to anyone,” he says, adding the caveat that someone the Boss’ age is likely on a more medications than someone who is younger. “I would certainly think he’d be popping antacids and acid reducing meds all day,” Bedford says of the expected treatment.
Though it varies from person-to-person, “significant healing” typically occurs within a week or so; if the cause is H. pylori, Bedford says it could require a dose of antibiotics and acid-reducing meds that would clear the disease up within a week or two. “In this day and age, surgery is exceedingly rare and medications works quite well,” he says of the less typical, more intense surgical intervention.
Last month, Springsteen postponed two shows in Philadelphia at Citizens Bank Park in Philadelphia on Aug. 16 and 18 after falling ill; at the time there was not information on the ailment that caused that postponement.
Check out Springsteen’s post below.
Of all Jimmy Buffett‘s accomplishments, from classic hits such as “Margaritaville” and “Changes In Latitudes, Changes In Attitudes” to building a billion-dollar travel-and-lifestyle empire, one of the biggest was an unprecedented, decades-long amphitheater deal in which he received a whopping 105% of the gross ticket receipts. This anti-mathematical trick stunned the concert business.
“Early in our careers, we would all whisper about Buffett’s rumored deal. Could he possibly be getting not just the lion’s share of the show profits, but all of the box-office gross? Or in some cases more than the box-office gross? What?” asks Fielding Logan, a Q Prime manager who represents country star Eric Church. “Like a mythical white whale, we’ve been chasing that deal ever since.”
How did Buffett, who died Friday at 76, pull off this legendary deal, which several concert-industry sources confirm was in place through his very last amphitheater tours?
In the late 1990s, when SFX Entertainment bought out promoters around the country, the new concert-business giant offered touring stars huge payments to anchor its summer-amphitheater lineup — and avoid losing them to rival companies. Back then, artists were asking — and receiving — 90% of the net ticket sales after expenses, leaving 10% to the promoter.
Buffett took this trend to a new level on his annual summer runs, which drew more than 3.9 million fans and grossed $215.4 million over 196 shows in the 2000s, according to Billboard Boxscore. “Here’s the thing about Jimmy: 90-10 wasn’t good enough for him. He started demanding 105%! All of the gate plus 5% of the gross,” Barry Fey, the late Denver promoter who competed with SFX at the end of his career, wrote in his 2011 book Backstage Past.
Promoters agreed, knowing they could take a cut of ancillary revenues, like parking, food and ticket service charges and — especially with Buffett’s hard-partying Parrotheads — alcohol. “It worked out for me and the other promoters because of beer sales,” Fey wrote.
In 2000, Clear Channel Communications bought SFX, then spun off the concert-promotion business into a new company known as Live Nation — which maintained his deal, sources say. So, for example, in 2005, when Buffett’s show at Arrowhead Pond (now the Honda Center) in Anaheim, Calif., made $1.13 million at the box office, according to Billboard Boxscore, Buffett would have taken home roughly $1.136 million.
Buffett, who toured through spring 2023, set a financial precedent that younger stars, such as country singer Kenny Chesney, were able to replicate, according to sources. “Jimmy was a key artist in establishing and solidifying the amphitheater model,” says Brock Holt, a longtime Nashville promoter who is now a touring consultant, “and opened the doors for a higher financial return for artists.”
“He was the only one who had the leverage to do it. He toured perennially and did the same amount of business each time. The Parrotheads came out. It was a yearly ritual,” says Randy Phillips, former CEO of promoter AEG Live, and now a consultant for Silver Lake, an investment group whose portfolio includes Madison Square Garden Sports and Endeavor. “He was the anchor to Live Nation’s schedule so it was really critical. He used that to negotiate.”
Buffett’s longtime touring reps, including Live Nation, attorney Joel Katz and agent Howard Rose, did not respond to requests for comment.
Tucked into the side of Southern California’s new SoFi Stadium is a Palm Springs-inspired hideaway dreamt up by actor David Arquette and nightlife company The h.wood Group. The field level suite – called Bootsy Bellows at SoFi Stadium – is a truncated version of the West Hollywood bar by the same name (Arquette’s mother’s name) and more stylish than most sporting spaces. Decked out in velvet furniture, breezeblocks and gold-trimming, the suite is an elevated experience for NFL fans watching home teams LA Rams and Chargers, but the operators are stepping up their game for major concerts.
“No one’s really experienced something like that with the decor and everything, so it’s been very special,” The h.wood Group co-founder John Terzian tells Billboard about the reception to the suite. “If you can make people feel warm in a stadium setting, feel like they’re kind of in a living room, you’ve done a pretty good job.”
This summer alone, SoFi Stadium has hosted Twice, Morgan Wallen and Metallica, in addition to six nights of Taylor Swift’s Eras Tour and Beyoncé’s Renaissance World Tour that just wrapped up a star-studded three nights. The h.wood Group has taken the growing demand for stadium concerts and not only expanded their presence at SoFi, but also made improvements over the past three years.
Timothy Norris
“The first season, you could only order like a burger, chicken tenders and fries – standard stadium food. People were paying $10,000 for a table to come to a game, they don’t really just want to eat chicken tenders,” explains The h.wood Group co-founder Brian Toll. Going forward the stadium agreed to allow Bootsy Bellows to take advanced orders to deliver additional offerings like sushi platters and Tomahawk steaks.
The h.wood Group also expanded their seating options for concerts. Instead of being limited to their large suite, Bootsy Bellows has been able to take over more space along the sidelines. For concerts, Terzian says, they can run an entire sideline of suites and, depending on the show, add seats on the field for Bootsy Bellows designed pods. “We’ve extended [the space] so that you have this incredible experience where you have your own little section with a couch and a high top [tables] essentially on the field itself,” he says. “That was a massive thing that we did from last year to this year. It’s all about viewing experiences and things that we keep improving.”
Wonho Lee
The ultimate appeal of the Bootsy suites, according to Terzian, is the level of accommodation. In a stadium that can hold up to 100,000 fans, The h.wood Group tries to simplify an overwhelming experience with an exclusive entrance, dedicated staff to get patrons to the suite and private bathrooms, as well as in suite bars and servers. The difference “has been our attention to handling any sort of talent that comes in,” says Terzian. “The whole idea is when you’re in there, you have your own bar, there’s a DJ going, there aren’t people asking for pictures. You have fun whether it’s with family or friends. It’s supposed to be a safe space.”
Organizers behind the Electric Zoo festival on Randalls Island in New York canceled the Friday (Sept. 1) opening day because Department of Parks & Recreation officials would not issue the permits needed to stage the city’s largest EDM festival, promoters behind the event have confirmed with Billboard.
On Friday, when event organizers with Brooklyn venue company and concert promoter Avant Gardner canceled the festival’s first day, they blamed “global supply chain disruptions” in a statement, saying, “These unexpected delays have prevented us from completing the construction of the main stage in time for Day 1.” Organizers did not provide further specifics. A rep for the festival told Billboard on Tuesday (Sept. 5) that the application for the permits had been made well in advance, adding that the permit issue was resolved when the festival finally opened on Saturday.
Touring industry sources, however, say it was due to organizers’ failure to pay vendors from last year’s festival that led to a shortage of experienced concert professionals willing to work at this year’s event. Specifically, the main festival stage caused the most issues early Friday during an inspection of the site hours before the event was scheduled to open. City officials demanded the festival staff fix several safety and security issues before the festival could open. It took organizers more than 24 hours to fix the issues, leading to the festival opening two hours late on Saturday.
The problems did not stop there, though. Making matters worse, many fans did not receive their festival wristbands and tickets in the mail as promised, forcing attendees to queue up for hours to retrieve their tickets. And then on Sunday, organizers were forced to shut down access to the festival after the site reached maximum capacity. Some fans who reached the festival site after the gates were closed decided to jump fences or run through security checkpoints as a group, joining other ticket-holding fans in mad dashes past security staff. Hoping to deter fans from boarding ferries to Randalls Island, festival organizers announced on X (formerly Twitter) that the event had reached maximum capacity for “unknown reasons” and promised “everyone denied entry today will be issued a refund.”
The problems experienced at Electric Zoo mirror ongoing issues at the Avante Gardner venue. Created by owner and creative director Jürgen “Billy” Bildstein in 2017, Avante Gardner is known as a favorite for fans and acts because of its size and flexible space. To state regulators however, the 6,000-capacity venue has been the subject of ongoing legal disputes and investigations by agencies like the New York State Liquor Authority over overcrowding and drug use since 2016, according to court records. On Aug. 22, liquor authority chair and commissioner Lily Fan testified that Avant Gardner “couldn’t care less what people do in their establishment so long as they made money.”
The price tag for this year’s chaotic festival — including refund costs to fans who didn’t make it in, as well as paying Friday night performers The Chainsmokers, Excision and Kx5 their full fees — could total $25 million, according to former insiders at SFX Entertainment, which owned the festival from 2013 to 2022.
Electric Zoo was originally launched in 2009 by founders Mike Bindra and Laura De Palma and grew to be the East Coast’s biggest electronic festival, always taking place over Labor Day weekend. In June 2022, Bildstein led the purchase of Electric Zoo from LiveStyle, a holding company created in the aftermath of SFX Entertainment’s bankruptcy in 2015. Bildstein agreed to pay $15 million for the festival property, Billboard reported at the time, paying about half the money in cash and while agreeing to a convertible debt note to cover the unpaid portion of the purchase.
Avant Gardner staged the 2022 festival and racked up debt with a number of talent agencies and vendors, sources tell Billboard, leading to delays building out the festival site in 2023 that were partially to blame for the permit delays.
New York City Mayor Eric Adams suggested the city will launch an investigation into Electric Zoo’s organizers for going beyond the festival’s approved capacity. The New York Police Department estimated event organizers oversold the festival’s 42,500-person capacity limit by 7,000 tickets on Sunday.
“It’s unfortunate that the organizers wanted to turn our city into a zoo, and we were not going to allow that to happen,” Adams said during an NYPD briefing on Tuesday. “And we will be dealing with them in the next few days based on their behavior and actions.”
From Diana Ross & Kendrick Lamar surprises to an A-list fan section, here are the most electrifying moments from Bey’s 9/4 B’Day show.
When Reneé Rapp’s manager and talent agent began routing the singer-actress’ debut 2023 tour, they opted to break a key rule in the touring business – always play the smaller venues before playing the larger venues.
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It’s a rule WME agent Ben Totis normally agreed with, and yet, Totis and Rapp’s manager Adam Mersel also believed Rapp had developed a special connection with fans as one of four stars on Mindy Kaling’s hit HBO series The Sex Lives of College Girls playing Leighton, an au-pair raised queer sorority princess attending a fictional liberal arts college in Vermont. The popular show created a huge audience for Rapp, especially with Gen Z adult females, and served as a perfect segue for Rapp’s pursuit of a music career. In July, Rapp confirmed she was leaving the show as it entered its third season.
“Original music and pop music has always been her passion,” Mersel said. “Now’s she getting back into the studio, making music and really taking a swing at it.”
While her popularity and name recognition are certainly a major advantage in live touring, the adage in the industry has long been that all artists — even high-profile new artists like Olivia Rodrigo in 2021 and in 2018 — should build their touring business slowly and deliberately, making sure the artist is ready and the early audiences are invested.
“One of the age-old rules of this business is don’t skip steps,” booking agent veteran Tom Windish with Wasserman Music told Billboard last month. Windish, who counts Eilish, Lorde and Alt-J as clients explains “if you sold 500 tickets the last time, maybe you’ll try to sell 1,000 this time. You’re not just bumping up to 2,000 because you have this data that’s indicating there might be more [demand].”
Rapp is not following that strategy. The North Carolina native put tickets on sale for the LA Greek Theatre (5,900 capacity) on Sept. 30 and the Anthem in Washington DC (6,000 capacity) on Oct. 27 two months before she had even released her debut record Snow Angel on Aug. 18 on Interscope.
As Totis and Mersel had hoped, both shows quickly sold out. She quickly sold out the famed Ryman Auditorium in Nashville, the Mission Ballroom in Denver and the Roadrunner in Boston (despite penning a breakup song on her new album called “I Hate Boston”). In total, Rapp has sold out 22 of the 30 North America dates on her tour, which begins Sept. 15 at the Bayou Music Center in Houston.
Mersel and Totis said there were plenty of reasons to think Rapp could be the exception to the “no skipping steps” rule. While the 23-year-old was new to the record and touring business, she had been involved in musical theater from an early age – and won best actress at the 2018 National High School Musical Theatre Awards (the Jimmy Awards).
“She grew up singing in North Carolina and that is always what she wanted to do with her life,” Mersel explains. “Musical theater sort of was by accident. She was running around really trying to hustle and make it, especially through high school.”
In December, Rapp released her EP and booked some teaser shows including the Troubador in LA and Le Poisson Rouge in New York “just to get her out there in front of her fans and get her on stage for the first time,” Totis explained.
“They were all just supposed to be small shows, but in New York we had 10,000 people sign up for waitlist because the tickets went so quickly,” Totis said, leading her team to add two more New York shows that same month.
Rapp is planning a four-show “take over” in New York starting Nov. 3 – playing two Terminal Five dates along with Brooklyn’s Avante Gardner and Kings Theater. After New York she heads to Europe where she has sold out five of 15 booked shows in the UK, France, the Netherlands, Germany, Belgium before closing out her tour with back-to-back sold out shows March 1 at the famed Hammersmith Apollo in London and a March 4 show at 3Olympia in Dublin.
As for Snow Angel, it debuted at an impressive No. 10 on the Billboard 200 albums chart, the biggest U.S. sales debut for a debut female pop album in 2023
“The music’s great and she’s extremely talented. I don’t think anyone is concerned about her being comfortable on stage knowing where she came from,” Totis said.