Touring
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Well that was quick. Just two weeks ago, Billboard was lamenting the lack of women at the top of the midyear Boxscore report but looking forward to the slew of female acts slated to storm the rankings throughout the rest of the year. And now, Beyoncé becomes the first woman at No. 1 on Top Tours in almost four years.
According to figures reported to Billboard Boxscore, the first nine shows of the Renaissance World Tour — between May 10-30 — earned $67.5 million and sold 461,000 tickets. That makes Beyoncé the highest grossing act of the month.
The last time a woman-identifying act crowned the list, P!nk ever so narrowly edged out The Rolling Stones in July 2019 with a similar run of European stadiums. P!nk had previously topped the list in March of that year, with the Spice Girls sneaking in between in June. The four-year break between them includes the blackout period of COVID-19, but still marks a breathless stretch of 28 monthly reports dominated by male acts.
Further, Beyoncé is the first Black artist, regardless of gender, to hit the monthly summit since the charts launched in February 2019. Extending beyond the launch of these rankings, the last to do so was Queen Bey herself, co-headlining with Jay-Z on 2018’s On the Run II Tour. They earned $53.1 million and sold 404,000 tickets in September of that year.
The Renaissance World Tour’s $60 million-plus haul makes it the 10th tour to break that barrier. It’s the sixth biggest monthly gross since the charts premiered, only behind Bad Bunny (twice), The Rolling Stones, Def Leppard and Motley Crue, and The Weeknd.
Beyoncé’s nine shows in May were spread across seven markets in Europe. All seven reports appear on Top Boxscores, led by two dates at London’s Tottenham Hotspur Stadium. Those shows earned $16.9 million and sold 96,000 tickets, enough to rank No. 3.
But the engagement’s bronze medal is more a quirk of timing than a failure to lead the list. She played five shows there, but three of them fell in June, and those will qualify for next month’s recap. In total, the quintet of concerts earned $42.2 million and sold 240,000 tickets. That makes it the seventh highest grossing reported Boxscore of all time, and the highest among women artists, passing the Spice Girls’ 17-show haul at London’s own O2 Arena ($33.8 million; 257,000 tickets) in 2007-08.
Elsewhere, Beyoncé posted eight-digit earnings in Solna, Sweden, grossing $10.7 million on the tour’s first two shows (May 10-11) and at Paris’ Stade de France with $10.1 million. Those follow at Nos. 11-12 on Top Boxscores, ahead of one-night-only concerts in Edinburgh, Scotland (No. 14); Cardiff, Wales (No. 21); Brussels, Belgium (No. 22); and Sunderland, England (No. 24).
Beyoncé’s omnipresence on the May report extends to Top Promoters, pushing Live Nation above $400 million and four million tickets. And three venues from her routing appear on the 10-position Top Stadiums chart, including Tottenham Hotspur Stadium at No. 7, powered solely by its two Renaissance shows.
Only halfway through her voyage through Europe, Renaissance’s $67.5 million from May fast approaches the continental totals from On the Run II and Beyoncé’s solo The Formation World Tour, each of which grossed $87 million across the pond. With more figures reported for June, she’s already blown past both of those tours with more than $150 million in the bank.
Coldplay follows at No. 2 on Top Tours, earning $54.8 million. That gross features its own monthly split, with one show at Manchester’s Etihad Stadium on May 31, leaving three others to chart on next month’s recap. Elsewhere, the band played four-show runs at Barcelona’s Estadi Olimpic Lluis Companys and in Coimbra, Portugal, at Estadio Cidade de Coimbra. Those line up at Nos. 1-2 on Top Boxscores, with Barcelona topping out at $27.3 million.
Coldplay edged out Beyoncé in terms of monthly attendance, but just barely. Chris Martin & Co. sold 482,000 tickets, 4% ahead of Bey’s 461,000.
Harry Styles and Elton John mix in the top five, at Nos. 3 and 5, respectively. Both Brits are scheduled to wrap their respective yearslong tours in July, clearing space for some of the summer’s biggest acts. Some of those make their Top Tours debuts, including Blink-182 at No. 4. The first batch of the pop-punk’s reunion tour grossed $37.1 million in North American arenas.
After popping in at No. 25 in December 2019, Shania Twain makes her post-pandemic return at No. 6, barely under $30 million with $29.7 million and 249,000 tickets. The Queen of Me Tour continues in North America through the end of July before shipping off to Europe in September.
Also hitting the top 10 for the first time are SUGA at No. 7 (previously listed as Agust D on the April report) and Janet Jackson at No. 10. Both acts blow past the $20 million mark with shows in arenas and amphitheaters.
Deeper on Top Tours, 24 acts grossed $10 million or more, eclipsing the 23 of last September. At the onset of the summer season, with stadiums and amphitheaters opening, expect grosses to continue to surge.
She make it look easy, ‘cause she got it. Earlier on Thursday (June 29), Billboard reported that the first nine shows of Beyoncé’s Renaissance World Tour made her the top-grossing touring act of May. But there’s more! She wrapped the European leg of the tour Wednesday night in Warsaw, posting career-high blockbuster numbers. According to figures reported to Billboard Boxscore, Beyoncé grossed $154.4 million and sold 1 million tickets across 21 shows.
Not only is that a huge number that resists qualification, it’s the biggest gross and attendance of any of Beyoncé’s previous European legs. On 2016’s The Formation World Tour and 2018’s On the Run II Tour (co-headlined with Jay-Z), she earned $87 million, marking a 77% bump on her recent stint.
The so-far $154 million-plus total from 21 shows over two months is more than any artist made in the six-month window that defined Billboard’s midyear report. Of course, Harry Styles, Elton John and other acts atop those charts continue to add to their hauls, but it bodes well that the Renaissance World Tour isn’t even half done, putting it in immediate contention for year-end honors.
The tour’s attendance of 1.05 million improves upon 871,000 in 2018 and 867,000 in 2016. It’s the first time that any leg of any solo Beyoncé tour broke the seven-digit milestone.
Of the 14 markets Beyoncé hit, 12 of them yielded local records. That includes the biggest gross in the history of London’s Tottenham Hotspur Stadium and Warsaw’s PGE Narodowy, plus the attendance record at Tottenham. Elsewhere, she set highs for single-night engagements and broke ground among women and Black artists throughout Europe.
The obvious standout of the European shows was a five-night run in London, earning $42.2 million from 240,000 tickets. It instantly blasts in to the all-time top 10 Boxscores, ranked seventh behind two engagements apiece from Harry Styles, Take That and Coldplay. That makes it the single biggest report by a woman, a Black artist, or by any act from the United States.
Further, Beyoncé broke the $10 million barrier with double-headers in Solna, Sweden; Amsterdam; and Warsaw. She scored one more eight-figure show with one night at Paris’ Stade de France. The $10.1 million is slightly off from the $10.9 million from On the Run II, but consider that the 2018 gross came from two shows, matching 92% of that gross with just one show in 2023.
These 21 shows push Beyoncé’s reported career gross to $921.7 million and attendance to 9.9 million. But she’s not done for the near future.
The Renaissance World Tour continues with 36 shows in the U.S. and Canada, kicking off on July 8-9 in Toronto. If Beyoncé continues at this pace, the North American leg would gross $264 million and sell 1.8 million tickets. That leg alone would pass the global total of The Formation World Tour to become the biggest of Beyoncé’s career, though it’d make for a worldwide total of about $415 million and 2.8 million tickets.
On that 2016 run, Beyoncé paced $5.3 million in North America, compared to $5.1 million in Europe, indicating that those estimates could be slightly low. Her Renaissance grosses leapt by 44% in Europe from her previous solo tour, but post-pandemic results across the industry have exacerbated an existing ticket-price gap between the continents. Despite typically smaller capacities, North American stadium grosses have ballooned in a more extreme way than in Europe, which could push Beyoncé’s totals even higher.
Final results will depend on final pricing via the dynamics of a post-pandemic ticketing ecosystem. But it is more than safe to say that Beyoncé will soar beyond $1 billion and 10 million tickets in career figures due to her biggest tour ever.
Madonna’s hotly anticipated Celebration Tour is on pause after the Queen of Pop spent several days in the hospital following a “serious bacterial infection,” according to manager Guy Oseary on social media. The new came on Wednesday (June 28) afternoon, with Oseary revealing on Instagram that Madge had spent several days in the ICU after […]
Taylor Swift still isn’t done adding shows to her ever-expanding Eras Tour stops. Just days after announcing that she’d be bringing her U.S. and Latin America trek to Europe, Asia and Australia, the 33-year-old pop star has now unveiled an additional nine dates — one in Los Angeles, and eight across Europe. The news comes […]
Non-profit foundation Live Music Society has announced the first recipients of the Music in Action grant program, which provides anywhere from $10,000-$50,000 to small venues. For 2023, 17 venues with a maximum capacity of 300 were provided with a total of $500,000 to develop and implement creative ideas to engage their communities, expand audiences, and generate new revenue sources. This year’s recipients include The Rebel Lounge in Arizona, Sunset Tavern in Washington, Happy Dog in Ohio, Café Coda in Wisconsin and more.
Since the start of the global pandemic in 2020, Live Music Society has provided $3 million in grants to small music venues. The first three rounds of funding were aimed at providing pandemic relief, but the new grant program, Music in Action, is pivoting to help venues succeed and not just survive.
Live Music Society founder Pete Muller — who is also a touring musician — tells Billboard that the foundation understands that the economics for these small venues are difficult and the profit margins can be razor thin, even in non-pandemic years. Small venue owners, he believes, know their community and know the best ways to engage locals and bring people back to their rooms. This year’s ideas included The Stone Church in Vermont continuing their GRRLS 2 The Front program which dedicates the month of March to women and nonbinary-led groups and offers a stage management/sound engineering course. The Elastic Arts Foundation in Illinois will revive their Dark Matter performance series and enhance the AfroFuturist Weekend festival showcasing emerging and established Black artists across different neighborhoods of Chicago’s South and West Sides. Cafe CODA in Wisconsin will expand their COOL SCHOOL program, providing free music education activities and introducing a mobile stage for increased accessibility.
“We’re saying, ‘give us your idea and we will mitigate that risk by giving you money to do it,’ That’s what the grant is,” says Muller. “Hopefully that allows them to do something that’s inspiring and helps the club, but also inspires other places…. It’s seed money. Our return is not cash, it’s creating energy in this ecosystem.”
Funds for the grants come from Muller and other supporters. Live Music Society’s board selected the 17 venues and their programs out of more than 100 applications this year, focusing on ideas that champion historically marginalized groups such as BIPOC, Latinx, LGBTQ+ and people with disabilities.
Music in Action is about trusting that music venue owners know what they need to flourish, says Live Music Society executive director Cat Henry, adding “asking [venue owners] was important, not telling them.”
“One of the biggest things we’ve heard from venue owners is that this is unique. There’s not really a lot of funding opportunities, especially for for-profit [businesses],” says Henry. “It changes the way they think about things knowing that somebody cares about this, that there’s an advocate out there that is looking out for the sector as a whole.”
Live Music Society has also teamed up with trade association National Independent Venue Association for the second annual National Independent Venue Association conference set to take place in July in Washington, D.C. Live Music Society will do an introduction to their grantees at the NIVA ‘23 Independent Awards Gala, a panel discussion with key stakeholders from the small venue community and sponsorship of a Salute to Small Venues concert at Pie Shop. Additionally, they will provide a networking space called the Live Music Society Cantina, located across from The Anthem, the main venue hosting conference programming.
Check out a full list of 2023 Music in Action grantees below.
The 2023 Music In Action Grant Recipients:
Big Room Bar, Columbus, OH
Cafe Coda, Madison, WI
Caffé Lena, Saratoga Springs, NY
Chocolate Church Arts Center, Bath, ME
Club Passim, Cambridge, MA
Dazzle, Denver, CO
Drom, New York, NY
Elastic Arts Foundation, Chicago, IL
Happy Dog, Cleveland, OH
Hey Nonny, Arlington Heights, IL
Ivy Room, Albany, CA
Stone Church, Brattleboro, VT
Sunset Tavern, Seattle, WA
TAC Temescal Art Center, Oakland, CA
The Muse Performance Space, Lafayette, CO
The Parlour, Providence, RI
The Rebel Lounge, Phoenix, AZ
Patrick Moore has been named as CEO of Opry Entertainment Group (OEG), a division of Ryman Hospitality Properties. His new role includes oversight of OEG’s growth plan, day-to-day operations and business development activities at the company, which has a portfolio that includes the Grand Ole Opry and the Ryman Auditorium. Moore replaces former OEG CEO […]
Musician David Kushner has signed with WME in all areas. The Chicago-born Kushner continues to be managed by Brent Shows of ALTAR MGMT. In April, Kushner broke onto the Billboard Hot 100 chart with his single “Daylight” and plans to take his talent on the road this fall. After releasing his debut EP Footprint I […]
As if anyone needed more reasons to love Harry Styles, the British superstar gave fans yet an another thing to swoon over at his Cardiff, Wales, Love on Tour stop on Tuesday (June 20). The show was filled with Styles’ trademark onstage banter, this time centered on a pregnant fan who wanted the “As It […]
BMI’s recent rate court victory substantially increasing songwriters and publishers’ royalties for live events will be appealed, according to a notice filed by the North American Concert Promoters Association on Wednesday (June 21).
In May, Southern District of New York Judge Louis Stanton awarded the performance rights organization a 138% increase in rate to 0.5% of the event’s “revenue” with an expanded definition of the term to include tickets sold directly onto the secondary market, servicing fees received by the promoters and revenues from box suites and VIP packages. That 0.5% was up from what BMI said was a blended rate of 0.21%, based on 0.3% interim rate for venues that held less than 10,000 seats; and the interim 0.15% for venues that held more than 10,000 during the period of 2018-2022.
At that time, Stanton also set rates for the retroactive period of 2013-2017, with the previously used, less expansive “revenue” definition that only reflected earnings directly from the face value of primary market ticket sales. Those rates ranged from .08% of revenue for venues of up to 2,500 seats to 0.15% for venues with 10,000 or more seats.
On Tuesday, however, lawyers for the concert trade group filed a notice with the Southern District of intent to appeal that decision in the U.S. Court of Appeals for the Second Circuit, according to the filing submitted by Weil, Gotshal & Manges, the law firm representing the concert promoters. The notice to appeal could mean that the group will appeal; or it could be a procedural move that keeps open the option to appeal. The concert trade group had 30 days to file the appeal notice from the last day in court— a few weeks back on a BMI motion regarding interest on whatever fees might be owed from the 2018-2022 term covered by the newly set rates for that period.
In a statement BMI said the concert industry has long fought against rate increases for songwriters.
“Given Live Nation, AEG and [the North American Concert Promoters Association’s] bizarre position throughout trial that concertgoers attend concerts for the experience of the staging, videos and light shows, as opposed to the actual songs and music being performed, their appeal was not a surprise to BMI,” BMI president and CEO Mike O’Neill said in a statement. “For decades, the live concert industry has fought to keep rates suppressed. And even now, when they are making more money than ever, in more ways than ever, they are determined to deny songwriters and composers the fair value of their work, despite the fact that without their contributions, a concert wouldn’t even be possible. BMI will continue to fight on behalf of our affiliates, the creators of the music that is the very backbone of the live concert industry, to prevent that outcome.”
The concert promoters did not. respond to a request for comment at time of publishing. In May, an AEG spokesperson said “AEG Presents and NACPA were defending performing artists, who bear the costs of BMI fees, in this litigation.” Concert promoters have long billed the performing artist for performance rights organizations’ royalty fees.
Sphere Entertainment Co., the company behind an expensive, state-of-the-art venue opening this fall in Las Vegas, is selling about a quarter of its stake in MSG Entertainment — 5.25 million shares of Class A common stock — in a secondary offering, the company announced Wednesday. That amount could grow by 787,500 shares if the offering’s […]