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Touring

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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:

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. Today, we begin with Latin.

Throughout the 2010s, Latin acts – here, defined as artists who primarily perform in Spanish – were consistently supporting players on the Boxscore charts. Strong supporting players, with generally a combined 3-6% share of the yearly top 100 tours’ total gross, but supporting, nonetheless. But as the many subgenres that comprise Latin music’s growing global footprint gained international recognition and popularity, acts from Puerto Rico, Colombia, Mexico and more returned from the pandemic with a strengthened touring audience.

Latin’s top-100 share rose from 5.3% in 2019 to 12.1% in 2022. That was thanks, in large part, to Bad Bunny’s record-breaking year atop the year-end Top Tours chart, plus fumes from Daddy Yankee’s farewell tour. In 2023, the genre dips to 11.5% in 2023. But in the absence of Bad Bunny’s $373.5 million from last year, Latin’s deepening bench picked up the slack to remain relatively steady, signaling the potential for even more growth in the years to come.

While reggaetón and pop acts continued to power Latin touring, 2023 marked the rise of regional Mexican music, on streaming services and on stages. Eslabon Armado, Fuerza Regida and Peso Pluma conquered Billboard’s global charts, while those acts, Grupo Firme and others were selling out arenas across the U.S. and Central America.

Scroll to check out the top 10 highest grossing tours by Latin artists, according to figures reported to Billboard Boxscore. All reported shows worldwide between Nov. 1, 2022 – Sept. 30, 2023 are eligible.

Carin Leon

Image Credit: Kevin Winter/Getty Images for Latin Recording Academy

Sphere Entertainment provided the first inside glimpse at the finances of James Dolan‘s $2 billion Sphere project in Las Vegas in a new Securities and Exchange Commission filing on Tuesday (Dec. 5).
Spun off from Madison Square Garden Entertainment in April and now trading on the NYSE as SPHR, the company is expected to report positive adjusted income this quarter thanks to the opening of the venue and a successful run of shows including U2:UV’s Achtung Baby Live At Sphere.

According to Billboard Boxscore, U2‘s 17-show run beginning in September at Sphere generated nearly $110 million in ticket sales. The SEC filing notes that those shows generated a total of $30.7 million in revenue for Sphere Entertainment through Nov. 30. Meanwhile, Sphere Entertainment’s own content offering, Darren Aronofsky’s Postcard from Earth, has generated approximately $44.5 million in total revenue from ticket sales from 111 showings.

U2 played its first show at Sphere on Sept. 29, 2023, kicking off a multi-month run at the venue. Due to the strong demand, 15 more shows have been added in January, February and March 2024, bringing the band’s planned number of performances to 40.

Also in the SEC filing, the company announced plans to raise money through the sale of $225 million in convertible senior notes that are due to mature in 2028, as well as the option for purchasers to buy an additional $33.75 million in notes.

Sphere Entertainment plans to use a portion of the proceeds from the notes sale to fund capped call transactions designed to reduce the potential dilution of its common stock from the conversion of debt into equity. The remainder of the net proceeds will be used for general corporate purposes, including capital for Sphere-related growth initiatives, according to a release announcing the offering. The initial conversion rate, interest rate and certain other terms of the notes will be negotiated between Sphere Entertainment and the initial purchasers.

Sphere Entertainment began the quarter (starting Sept. 30) with $433.5 million in cash on hand, with $123 million coming from advance ticket sales. The principal balance of the company’s total debt at the beginning of the quarter was approximately $1.2 billion, including $932.3 million of debt under the MSGN Credit Facilities. Under the terms of the MSGN deal, $103.1 million in required quarterly amortization payments are due between Sept. 30, 2023, and Oct. 11, 2024.

Shares of Sphere Entertainment dropped nearly 20% in trading after the company announced the debt offering, but bounced back slightly and were down 15.5% to $28.41 at the market’s close.

TikTok announced that it will bring its in-app ticketing feature, a collaboration with Ticketmaster, to an additional 20 countries on Monday (Dec. 4). 
The feature allows artists to put Ticketmaster event links in the clips they post on TikTok, making it easy for their followers to click and buy tickets in the app. TikTok started testing the feature in the U.S. in August 2022. 

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The two companies didn’t share any information about the results of the test, though they said Niall Horan, The Kooks, Burna Boy, and Shania Twain have all tried it out. TikTok opened access to the feature this week to certified artists in the U.K., Ireland, Australia, Germany, France, Canada, Mexico, Austria, Belgium, Czech Republic, Denmark, Finland, Italy, Netherlands, New Zealand, Norway, Poland, Switzerland, Spain and Sweden.

In a statement, Michael Chua, Ticketmaster’s vp global business development and strategic partnerships, said the partnership will allow artists to “easily connect their content to event discovery and ticket purchase in-app making it easier than ever for fans around the world to experience their favorite artists live.”

“By enabling fans to buy tickets directly through TikTok, we’re giving artists the opportunity to reach ticket buyers in a whole new way,” added Michael Kümmerle, TikTok’s global music partnership development lead. “We hope to deliver further value to all artists throughout all stages of their careers and provide more opportunities for a growing fanbase.”

TikTok has been busy rolling out features lately. Last week, the platform added official artist labels (available once a user has released four songs) and a “new” tag that can be used to highlight an act’s latest release (14 days before the song comes out and for another 30 days after it drops). “These features can deepen engagement whilst creating unique opportunities for fans to connect with their favorite artists in meaningful ways, driving music discovery on the platform,” said Paul Hourican, TikTok’s global head of music partnerships and programming, in a statement.

It’s been more than 27 years since Sublime performed its final show with Bradley Nowell, but recent moves by the late frontman’s family have paved the way for the band’s possible return with Nowell’s son Jakob Nowell as the famed Long Beach punk-ska-reggae trio’s next generation singer.

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Jakob Nowell — who was 11 months old when his father died in 1996 — has been performing and touring for more than a decade, and this year signed a record deal with Epitaph Records for his group Jakob’s Castle and made a surprise appearance with Stick Figure at Coachella. On Dec. 11, he will perform at a benefit concert for Bad Brains frontman H.R. at the Teragram Ballroom in Los Angeles alongside Sublime’s original members, bassist Eric Wilson and drummer Bud Gaugh, for the first time ever. The trio are not calling themselves Sublime for the benefit show, but Jakob’s manager Kevin Zinger with Regime Music Group and musician-turned-executive Joe Escalante have already been selected by the original band members, along with Bradley Nowell’s wife (and Jakob’s mom) Troy Dendekker Nowell, to manage the rights and intellectual property for Sublime.

Kevin Zinger

Fabrice Henssens

Zinger and Escalante have been hired to manage the “legacy assets, the licensing and all the business in Sublime going forward for Jake, Troy, Bud and Eric,” Escalante tells Billboard. “The guys plan to jam together in support of H.R. at the Teragram Ballroom on Dec. 11. Beyond that we’re not prepared to make any announcements.”

Zinger is a veteran music executive and documentary filmmaker whose clients include House of Pain, Tower of Power, Everlast and Steele Pulse. Escalante is bassist for the famed Orange County punk band The Vandals, as well as a music executive and Hollywood showrunner.

News of a relaunched Sublime has generated significant interest from festival talent buyers who have already begun submitting offers for festival bookings, Zinger tells Billboard. But for now, he says, the three men remain focused on rehearsing for the Dec. 11 show.

Joe Escalante

Aki Yamazaki

“We’re patiently waiting and doing the right thing,” says Zinger. “If the vibe’s there, the vibe’s there.”

Wilson is also a member of Sublime with Rome, a popular touring outfit led by singer Rome Ramirez that plays songs from Sublime’s catalog as well as Ramirez’s originals. The name Sublime with Rome was created as legal a compromise between Ramirez, Wilson and Troy Dendekker Nowell in 2010 after Nowell sued to stop the men from touring under the name Sublime.

Further complicating matters for Sublime relaunch with Jakob Nowell is that Sublime With Rome have a New Zealand tour and a number of big festivals booked in 2024;, as does Jakob’s Castle, who’s opening for G Love & Special Sauce on a tour running through the end of March.

Tickets are still available for Positive Mental Attitude: A Benefit For HR of Bad Brains at the Teragram Ballroom on Dec. 11, priced at $30 apiece. There is also a GoFundMe set up to benefit H.R. here.

Doja Cat isn’t too happy with her performance at her Thursday night (Nov. 30) concert. After leaving the stage in Newark, N.J., the 28-year-old rapper posted an apology to fans on her Instagram Story. “I’m so f–kin sorry New Jersey,” Doja wrote, placing text over a seemingly random photo of a crushed-up chip. “I don’t […]

The Black Opry has revealed the initial slate of shows for its 2024 The Black Opry Revue tour, with tickets on sale now at blackopryrevue.com. The shows run from January through April.

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Each show of mostly acoustic performances features a unique lineup of Black artists in the country, Americana, folk and roots music scenes. Newly announced shows for 2024 will feature performers including Sug Daniels, King Jester, Nick Tabron, Crystal Rose, Denitia, Layna, Autumn Nicholas, Justin Reid, Lori Rayne, Deidre Hall, Naomi Wachira, Grace Givertz, LW Watterson, Mehuman, Tylar Bryant, Mia Borders, Jared Michael Cline, Gary Blackchild, Nicky Diamonds, Julie Williams, Rachel Maxann, Ally Free, Roberta Lea, Jett Holden, Whitney Mongé, Nathan Graham, Christine Melody, Isaiah Cunningham, Carmen Dianne, The Kentucky Gentlemen, Leon Timbo, and Ping Rose & the Anti-Heroes.

The Black Opry was formed with a mission to create equity and opportunities for Black artists within the country, Americana, folk and roots music industries and form a space that is safe and helpful to Black artists and creating an inclusive version of these genres for Black artists, fans and executives.

The Black Opry Revue first held three stand-alone shows in 2021, before launching in earnest in January 2022. The Black Opry Revue has been featured in more than 100 venues and festivals across the United States, including CMA Fest, Newport Folk Fest, Americanafest and more.

See the list of 2024 tour dates below:

Black Opry Revue 2024 Tour Dates

Jan. 6, 2024 – Lancaster, PA @ Zoetropolis Cinema featuring Sug Daniels | King Jester

Jan. 11-14, 2024 – South Walton, FL @ 30A Songwriters Fest featuring Nick Tabron | Crystal Rose | Denitia | Layna | Autumn Nicholas | Justin Reid

Feb. 9, 2024 – Berkeley, CA @ Freight & Salvage featuring Layna | Lori Rayne | Deidre Hall | Naomi Wachira

Feb. 9, 2024 – Barre, VT @ Barre Opera House featuring Sug Daniels | Grace Givertz | LW Watterson | Mehuman | Tylar Bryant

Feb. 10, 2024 – Keene, NH @ Showroom featuring Sug Daniels | Grace Givertz

Feb. 15, 2024 – Jacksonville, FL @ JAX Music Experience featuring Layne | Lori Rayne | Mia Borders | Jared Michael Cline

Feb. 16, 2024 – Fort Collins, CO @ Lincoln Center featuring Garry Blackchild | Nicky Diamonds | Rachel Maxann | Ally Free | Nick Tabron

Feb.  16, 2024 – Virginia Beach, VA @ Sandler Center featuring Roberta Lea | Julie Williams | Jett Holden | Whitney Mongé | Tylar Bryant

Feb. 23, 2024 – Detroit, MI @ Detroit Institute of Arts featuring Nathan Graham | Christine Melody | Jett Holden | Isaiah Cunningham

Feb. 29, 2024 – Aspen, CO @ Wheeler Opera House featuring Tylar Bryant | Carmen Dianne | Nick Tabron | Jett Holden | Julie Williams

March 1-8, 2024 – Cayamo Journey Through Song Leon Timbo | The Kentucky Gentlemen | Accompanied by Ping Rose & The Anti-Heroes

March 29, 2024 – Wolf Trap, VA @ The Barns at Wolf Trap featuring Sug Daniels | Grace Givertz | Tylar Bryant | Rachel Maxann | Roberta Lea

April 6, 20024 – Ft. Lauderdale, FL @ Tortuga Music Fest featuring Tylar Bryant | The Kentucky Gentlemen | Julie Williams | Roberta Lea

A decade ago, the top eight acts on the 2013 Billboard Boxscore Top Tours chart each took in more than $100 million in ticket sales. Of those, Taylor Swift and Rihanna were young superstars; Pink and Beyoncé were each in their second decade as solo performers; and three — Bruce Springsteen, Bon Jovi and The Rolling Stones — were legacy rock acts. (The eighth was Cirque du Soleil’s Michael Jackson show.) Those results were typical for the time, which was why concert industry executives feared for years that their business wouldn’t have a steady supply of superstars that could fill stadiums and arenas after acts like the Stones and Elton John retired.

Now in 2023, the second full year of post-pandemic touring, 17 acts reached the $100 million mark (and 13 hit the inflation-adjusted equivalent of $132 million). Of those, nine released a debut album after 2010: Harry Styles, Morgan Wallen, Ed Sheeran, The Weeknd, BLACKPINK, Karol G, Drake, Luke Combs and Post Malone.

They look and sound differently, too. Unlike the rock acts that dominated the Boxscore charts in 2013 and for many of the years before and after, this new generation of headliners leans more toward pop, either in terms of genre (Styles, Sheeran, BLACKPINK), radio airplay (The Weeknd, Post Malone) or both. They’re more diverse, both personally and in terms of audience appeal, and more likely to score hits on the Billboard Hot 100. And they have enough drawing power to charge as much or more than legacy rock acts that appeal to an older, and presumably wealthier, audience.

To understand why so many newer acts can now gross more than $100 million, it helps to look at how that happens. To score those kinds of results, an act needs to not only sell a lot of tickets — it needs to sell them for a fairly high price. For years, most stadium acts had their roots in classic rock, and they alone could break the $100 mark for per-ticket pricing, at least partly because their audience tends to have more money and partly because fans knew they wouldn’t tour forever.

Some younger top acts use elaborate productions and cultural cachet to create that same sense of event — the fear of missing out — that makes fans willing to part with more money. That’s at the heart of the year’s top outing, Swift’s The Eras Tour, which Billboard Boxscore estimates brought in $920 million. (Swift and her team opted not to report attendance or ticket sales to Billboard Boxscore, which disqualifies her from the chart. Swift, who has previously reported her ticket sales, is not the first act to opt out, but she’s the first who would have been a contender for the top spot.)

If Swift had reported her numbers, she would certainly come in ahead of the official No. 1, Beyoncé’s Renaissance world tour, which took in $570.5 million from 55 shows during the tracking period. (Beyoncé played a final show on Oct. 1, which added $9.3 million to the tour’s overall haul.) That’s the highest single-year gross ever reported to Boxscore. Some of that success was due to pent-up demand — Beyoncé hadn’t performed as a solo artist since the 2016 Formation World Tour — and some resulted from more aggressive pricing. Many acts have raised ticket prices, apparently in order to capture more value that might otherwise go to scalpers.

Like Beyoncé’s shows, Coldplay’s Music of the Spheres world tour, which came in at No. 2 with $342.5 million from 55 concerts, had an elaborate visual component. So did Styles’ arena outing, which took in $338.2 million from 69 concerts, including nine at the Los Angeles Forum. Rounding out the top five were Wallen ($260.4 million from 44 shows) and Sheeran ($256.9 million from 46). Filling out the top 17 tours that grossed over $100 million were P!nk, John, The Weeknd, Depeche Mode, BLACKPINK, Karol G, Drake, Combs, Metallica, Dead & Company, Post Malone and George Strait.

The concert business isn’t only reacting to this trend toward younger and more diverse artists — it has played a role in making it happen. Over the last decade, the industry has shifted its focus from breaking individual acts as top touring attractions to creating a venue network that can identify artists with growth potential.

AEG and Live Nation have both adopted this strategy, and each has its own club and theater network that it uses to court artists like Wallen, Karol G, Combs and Post Malone. From there, artists can be steered into the company’s other divisions, including festivals or specialty promoters like The Messina Group, which is half-owned by AEG and this year produced tours by Swift, Strait, Eric Church and others.

This approach to developing artists as live acts focuses on boosting them to a certain level of popularity before moving on to the next. It’s paying off. The total gross of the top 10 tours is up 22% from 2022, to $2.7 billion, while the total for the top 100 is up 17%, to $7.5 billion. (These figures undercount industry growth because the time period that Boxscore used is a month shorter than in previous years — Nov. 1, 2022, to Sept. 30, 2023, rather than the previous period of Nov. 1 to Oct. 31.) That means 36% of the money taken by the top 100 tours went to the top 10 — and 51% went to the top 20.

That sharp rise in revenue partly comes from increased ticket prices, especially for younger artists. In fact, in a break with long-standing industry practice, younger acts are now charging more for some tickets than veterans. This year, it cost an average of $33 less to see the oldest of the top 10 touring acts, 76-year-old John (average: $166), than the youngest, 29-year-old Wallen (average: $199).

That might not last. The average price for the top 100 tours is now around $122, and fans may not be able to pay much more. A recent Peak Performance study by UTA Intelligence and Variety surveyed 1,500 concertgoers and found that over 62% said the biggest impediment to seeing more shows was the price, while 38% said the sole reason they didn’t go to a concert they wanted to attend was the expense.

Another year, another Boxscore recap. After Ed Sheeran scored consecutive wins in 2018-19, Elton John and The Rolling Stones led abridged COVID-flanked charts in 2020-21, and Bad Bunny broke ground in 2022, Beyoncé rules the 2023 year-end Top Tours ranking.
According to figures reported to Billboard Boxscore, the Renaissance World Tour grossed $570.5 million during the 2023 tracking period – Nov. 1, 2022-Sept. 30, 2023 – and another $9.3 million on its final show on Oct. 1. But the tour didn’t even begin until May 10 – and now, you can take a look at how the Top Tours chart took shape, from start to finish.

For the first month, Coldplay and Elton John dominated the race. John began ahead with $7.8 million on Nov. 1 from a show at Las Vegas’ Allegiant Stadium. The final shows of Coldplay’s 10-night run in Buenos Aires gave them the lead by Nov. 2, but a week later, John resumed his reign.

After dominating the 2022 year-end charts, Latin music reigned in December and into the new year. Bad Bunny took over first, before ceding to Daddy Yankee, whose farewell La Ultima Vuelta World Tour grossed $72.5 million between early November and its late December finish.

The Brits returned to the top in January, as John reclaimed the No. 1 spot, followed by Harry Styles.

Notably, figures for Taylor Swift’s The Eras Tour have not yet been reported to Boxscore. While that disqualifies her from appearing on year-end charts, Billboard’s projections place her at the center of the year’s biggest touring acts.

Based on estimates, Swift would have ended the Styles era around mid-April, becoming the first artist in 2023 to gross $200 million, $300 million, $400 million, and beyond. By the end of August, The Eras Tour played its last shows of the tracking period, with more than $800 million in the bank.

Based on official figures, Styles and John continued to flip the top spot well into the summer, until Beyoncé broke through in August. The Renaissance World Tour brought her to the top 10 within a month of launching, with $85.8 million by June 5 and $141.8 million by the end of its first leg (June 28).

Kicking off the North American leg on July 8, Beyoncé kicked into high gear, averaging nearly double the nightly grosses of her European shows. Her three shows at Atlanta’s Mercedes-Benz Stadium on Aug. 11-12 and 14 charged the tour’s overall gross from $324.8 million to $364.6 million, pushing the Renaissance World Tour to No. 1, where it’d stay through the end of the tracking period.

Ultimately, at $570.5 million, Beyoncé enjoys a 67% lead over Coldplay, which snuck by Styles at the last minute to land at No. 2.

Though they never occupied the top spot, BLACKPINK and Ed Sheeran were among the top 10 throughout most of the year. The K-pop girl-group spent the first four months of the tracking period in the top five, before dipping off the graph and returning to the top 10 for year’s end. Sheeran took the early months off from touring, and then shot onto the list by late February. For his part, Morgan Wallen blossomed in the late months with stadium shows in support of One Thing at a Time, ultimately yielding the biggest year-end gross for a country tour ever.

Click here to see the full year-end 2023 Boxscore charts.

From K-pop to Latin and beyond, Billboard’s Boxscore charts are undergoing a facelift, spotlighted by a diverse crop of artists crowding the 2023 year-end report. While pop and rock have long dominated the touring space, the two central genres’ combined market share has dropped from 69% in 2019, to 59% in 2022, and now to 48% in 2023.

Traditionally, the common threshold for a stadium tour is that the artist in question should be generally ubiquitous: recognizable by face and name, with a handful-plus of sing-along hooks, and accessible across generations, genres and cultures. That explains the sustained success of veteran acts such as Elton John, Madonna and The Rolling Stones.

But even without discographies that date back to the 20th century, contemporary acts have infiltrated the stadium space while still operating as current hitmakers. Beyoncé, Ed Sheeran and Taylor Swift have broken ground with record-breaking global tours that eschew past notions that underestimated young audiences. Those acts, though still building their own legendary discographies, pass the various tests mentioned above, with widespread recognition and iconic hits.

In the post-pandemic era, the goal posts have shifted once again. Beyond the slew of mainstream stars that fit the established mold – generally from mainland U.S., Canada or the U.K., performing in English, and catering to pop or an adjacent radio format – stadium stages, and therefore the upper reaches of the year-end Boxscore charts, have some fresh faces.

Rounding out the top 10 of the 2023 Top Tours chart, BLACKPINK grossed $148.3 million and sold 703,000 tickets from 29 reported shows in the eligibility window. Next, Karol G is No. 11 with $146.9 million and 843,000 tickets sold from just 19 dates. Side by side, they lead genre rankings for K-pop and Latin, respectively.

Next to artists such as The Weeknd, P!nk and Luke Combs, BLACKPINK and Karol G stand out as stadium stars and Boxscore chart-toppers. The nine acts that ranked higher on Top Tours have, on average, 12 top 10 hits on the Billboard Hot 100 songs chart. BLACKPINK and Karol G, on the other hand, have spent a combined total of one week in the top 10, when Karol G’s “TQG,” with Shakira, hit No. 7 earlier this year.

This puts both acts at odds with the presumed criteria for stadium acts. Neither artist has conquered the Hot 100, nor have they been nominated for a general-field Grammy award, hosted Saturday Night Live, or made hyped-up cameos or supporting turns in a major film or television series. To boot, their careers are young. Karol G released her first album in 2017 and BLACKPINK did so in 2020. Depeche Mode – the only other act in the top 10 without a No. 1 hit on the Hot 100 – has been building its fan base for more than 40 years.

Both BLACKPINK and Karol G have, however, reached No. 1 on the Billboard 200 albums chart, perhaps signifying a deep, passionate fan base ready to pay top-dollar for concert tickets, even without the wider-spread recognition that often accompanies hit singles.

Notably, neither are the first of their respective genres to hit the jackpot. Bad Bunny broke ground for Latin artists last year when he ruled the 2022 year-end chart. In doing so, he broke BTS’ record for the highest year-end finish for an act that primarily performs in a non-English language, after the K-pop boy band finished 2019 at No. 3.

If there’s a constant with non-English-language acts playing stadiums, it’s that with the minor exceptions of Bad Bunny and BTS, they’ve been outliers with vast fan bases that sometimes aren’t represented in the mainstream. Initially, Karol G’s team booked six stadiums in “safe” markets. Those dates quickly blossomed to nine when Los Angeles, Miami and New York shows sold out and second dates were added. When all was said and done, she played 19 shows in 16 cities.

“She was the one who insisted on playing the stadium, not a 360 arena,” says her sister, Jessica Giraldo, who oversees Karol G’s businesses. “She was the one who wanted to do a stadium tour. She said, ‘Believe in my vision.’”

When reflecting on the growth of regional Mexican music in 2023 at Billboard’s Latin Music Week, Live Nation’s Jorge Garcia noted, “These are the same people that are buying Drake tickets. They’re also the fans buying the Fuerza Regida ticket.” Once impenetrable lines that divided artists by genre and culture are fading away, quickly.

The 2023 achievements by BLACKPINK and Karol G do a few things. For one, their collective triumph means that Bad Bunny and BTS’ banner years were not anomalies. More than that, both genres have deeper benches than ever. K-pop girl-group TWICE also played U.S. stadiums, while BTS member SUGA conquered arenas as a soloist. Both grossed more than $50 million this year.

Further, 14 artists who primarily perform in Spanish find themselves among the year-end top 100, representing a mix of legacy acts and newcomers; reggaeton, pop and regional Mexican; and artists from Colombia, Mexico, Puerto Rico and more. Latin music’s share of the top 100’s total gross dipped from 12.1% in 2022 to 11.5%, but considering the absence of Bad Bunny’s $373.5 million gross from last year, Latin’s steady hold points toward more growth over the coming years.

The Boxscore arrival of BLACKPINK and Karol G is also a win for gender representation. Women doubled their share of the top 100 tours from last year. Of just 12 woman-identifying acts in the top 100, the genres of K-pop and Latin claim four (TWICE and Ana Gabriel, in addition to BLACKPINK and Karol G).

They’re also skewing the Boxscore charts younger. The members of BLACKPNIK range from 26 to 28 years old, and Karol G is 32, all well below the top 100’s average of 46.6. The two youngest acts in the top 100 are both K-pop groups (ENHYPEN averages 20 and TOMORROW X TOGETHER averages 22). The next youngest are Latin acts (the group Fuerza Regida averages 23 and soloist Peso Pluma is 24). Members of Grupo Firme, SEVENTEEN and Bad Bunny himself are all in their 20s, among others from both genres.

In all, genre diversity helps make 2023 one of the youngest years in Boxscore history. It’s the youngest top 100 since 2014, when One Direction (average age of 21 at the time) was No. 1, and the youngest top 10 since 2001, when *NSYNC and the Backstreet Boys paired up in the top five.

Legacy acts from pop, rock and R&B continue to do stellar business at the box office, proven by the presence of Rod Stewart, Lionel Richie and Journey, among many others. But the push of younger artists from diverse genres only points to the touring industry, and specifically the slate of artists capable of selling out stadiums, being able to replenish itself with fresh faces well into the next decade.

With K-pop and Latin genres leading the charge, the reshaping of the U.S. touring circuit continues. Late last year, Belgium’s Stromae — mixing French-language pop, rap and electronic — played a brief North American tour, including two nights at New York’s Madison Square Garden. Hailing from Nigeria, Asake sold out the Barclays Center in Brooklyn on Sept. 8, while Burna Boy launched a full North American arena tour in early November. If Bad Bunny and BTS blew the door open, then BLACKPINK, Karol G and a growing list of international artists are breaking down the wall.

Click here to see the full year-end 2023 Boxscore charts.

Dating back almost 40 years, all Boxscore rankings are based on figures reported to Billboard. Data is reported from a variety of official industry sources, from artist managers and agents to promoters and venue executives.

All reported shows, worldwide, between Nov. 1, 2022 – Sept. 30, 2023, are eligible for year-end 2023 consideration.