Touring
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When Taylor Swift announced in June that she would be performing in Argentina for the first time ever as part of her Eras Tour, tickets to her three shows sold out within hours. Excitement has only grown since then, and finally, on Thursday, Nov. 9, the wait came to an end as 70,000 sang along during her first show, where she performed nearly 45 songs spanning her entire career.
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The show, the first of three at Buenos Aires’ Estadio Monumental (also known as Estadio River) and produced by DF Entertainment (the company owned by promoter Diego Finkelstein), featured Argentine artist Louta and Sabrina Carpenter as opening acts. It began precisely at 8:42 p.m., when Swift appeared on an elevated stage singing “Cruel Summer,” after “Miss Americana” played during the intro. Following the opening performance, she shouted, “Buenos Aires, bienvenidos a The Eras Tour!”
Here are some highlights of the night.
Six Months Camping
Thousands of fans waited impatiently for 3 p.m., the exact time when security was scheduled to open the gates to allow access to the field, the closest location to the main stage. Some Swifties camped outside the stadium for six months to be close to the front of the field, and the minute the gates opened, they sprinted the 100 meters to get the best standing room in the house.
Taylor Gets on Stage
Finally. Swift sets foot on the stage of Estadio Monumental singing “Cruel Summer.” The audience screams, and Taylor speaks to her happiness at being in Argentina for the first time. “Buenos Aires, bienvenidos to The Eras tour!” she shouted. “I am so very lucky because they very first time I decided to visit Argentina, you decided to sell out three shows […] They way you are dancing, the way you are singing, this is on another level.”
The Nerves of the Moment
Swift kicked off the fourth block of the show with “Champagne Problems,” a track she’s performed hundreds of times before. However, when time came to play it at the Monumental, the superstar lost her place at the piano. Far from making it a negative, she found humor in the situation. “This is what Argentines do,” she quipped.
Two-Minute Ovation
Weeks before, Swift’s fandom, via social media, had agreed to do different actions during her show, including lifting posters in certain songs, or reflecting the Argentine flag with their cellphones. Another planned moment was a two-minute ovation to thank Swift for performing in their country. At that point, Swift took out her in-ears and said, “I can’t believe it.”
Emotion Til the Very End
The show is a roller coaster of emotions. For example, Swift gave her hat to a little girl during “22,” and at one point, she stopped the show completely to listen to the crowd roar. But the end of the show will be memorable to all Argentine Swifties. Screams, applause, wristbands high and our country’s message to Taylor: “Argentina loves you. Come back soon.”
Several years ago, Miami-based Loud And Live CEO Nelson Albareda tried to book Brantley Gilbert for a country festival there — but, he says, Gilbert’s agent wouldn’t even pick up the phone. Though Albareda would grow to be a giant in the Latin touring community — he was named Billboard’s 2023 Latin Power Players executive of the year — at that time he was still building his company.
“I called my accounting team and said, ‘Wire $300,000 to William Morris and put Brantley Gilbert on it. And an agent called me and said, ‘Hey, why’d you wire me $300,000?’ and I said, ‘Exactly for this. We’re on the phone. I want to make a deal.’” And that’s how Loud And Live booked Gilbert for 2016’s one-day Tequila Bay Fest, which also featured Montgomery Gentry (in the duo’s last show before Troy Gentry’s death) and Kip Moore, among others.
But Albareda had much bigger plans on his mind. He was keenly aware that country music appealed to Latinos — a Country Music Assn. study showed that Hispanic country music listeners increased 25% between 2006 and 2016 — and that the Miami market was highly underserved by country music tours, which tended to stop in Palm Beach, Fla. — located 75 miles north — instead.
Flash forward seven years and Albarada is realizing the dream that started so many years ago with this weekend’s two-day Country Bay Music Festival. Kicking off Saturday (Nov. 11), the festival, held on the Miami Marina Stadium grounds in Key Biscayne, Fla. near downtown Miami, will feature headliners Sam Hunt and Thomas Rhett, as well as Lainey Wilson, Chris Young, Lee Brice, Elle King, Blanco Brown and BRELAND, among others. For some local flair, Miami-based Latin acts Alexandra Rodriguez and “Cuban Cowboy” Orlando Mendez are also on the bill, as well as country duo Neon Union, which includes Miami-born Leo Brooks.
This time, Nashville agents were all in. Albareda says he had a phone call with 60 agents to talk about the festival and that former agent Gilbert Paz, who now works for Albareda, visited Nashville at least three times over the last two years to meet with agents and managers.
One of those meetings was with The Core Entertainment, whose clients Nate Smith and Josh Ross are playing the festival. The company’s co-founder, “Chief” Zaruk, remembers meeting with reps from Live And Loud several months ago. “They came to [Nashville] with the purpose of saying, ‘Here’s our concept,’ and to explain to people what their vision was for this festival. They did it very smartly,” he says.
The idea of playing to a more diverse audience immediately appealed to Zaruk. “The Latin scene is massive, so if there’s an audience there that we can tap into that also loves country, we’re excited about the opportunity to get into a new fan base,” he says. “It’s only going to help country music and it’s only going to help personally our artists and we’re really excited to see the reaction.”
Fans can attend the festival via land and sea. The Miami Marine Stadium grounds hold around 25,000 people, but eventgoers can also enjoy it from their own boats with the purchase of a BYOBoat pass. “One of the things we want to do is capitalize on what Miami is all about,” Albareda says. “The venue and the way that it’s laid out has a whole view of downtown Miami. Miami Marine Stadium was originally built as a stadium for boat races, so the stadium faces an entire marine basin. Through the years it’s become an iconic place to anchor your boat. What we’ve done for the first time is secured the permits to close the basin and issued permits for you to bring your boat.”
Albareda adds that the festival’s more than 100 boat permits have sold out, with prices based on how many feet the boat measures. Tickets for landlubbers are scaled from as low as around $144 for a one-day pass to two-day platinum VIP tickets priced at more than $1,000.
Sponsorship dollars are also rolling in, with Zelle serving as the primary partner. “We are 300% above what our original budget was,” Albareda says.
To build awareness for the festival, which Loud and Live is presenting in conjunction with its South Florida-focused live events division, EngageLive!, the promoter held a series of pre-parties at the VIVO! Dolphin Mall featuring free concerts by such acts as Frank Ray and Austin Snell and is slated to hold a kick-off party on Friday night (Nov. 10).
Albareda sees tremendous similarities between the Latin and country genres, including the loyalty of the fans to the artists, the tight-knit industry, the emphasis on family and songs that rely on storytelling. “When you look at country music, it’s all about the story, when you look at Latin music it’s about the story. They’re about ‘I’m in love’ or ‘I’m gonna have a tequila’ or ‘I’m gonna have a beer.’ Those cultural relevances are very similar between Latin and country so that is something that has really attracted me.”
Therefore, Albareda views Country Bay Music Festival as more than a one-off event. “I believe that Loud And Live is not only invested in Country Bay, but in figuring out how do we continue to grow within the country genre,” Albareda says, adding that the company is looking at promoting individual country shows within Miami beyond the festival and then building from there to other cities.
Country Bay’s biggest local competition comes from the three-day Tortuga Music Festival, held every spring in neighboring Ft. Lauderdale, Fla. (this year’s edition, which occurred in April, featured Shania Twain, Kenny Chesney and Eric Church, among others). But Albareda sees the two events as more complementary than competitive.
“The festivals are far enough apart and we wanted to differentiate with our diversity. Miami is a diverse city, we wanted a diverse line-up,” Albareda says. “The idea was to [be] reflective of what’s happening overall with music and even with country. Also, if you’re going to have it in Miami, you should reflect the diversity of a market like Miami.”
While it’s too early to know for sure how successful Country Bay will be financially, Albareda is bullish on country music’s overall future in Miami. “We expect hopefully to make money and, if not, to break even,” he says. “Whether it will be profitable or not, we have a multi-year internal commitment to build the festival. We are already picking talent for next year.”
Jared Leto is reaching new heights — literally. To announce his band Thirty Seconds to Mars‘ upcoming global tour, the 51-year-old singer-actor scaled one of the most iconic buildings in the world, New York City’s Empire State Building.
Leto took on the challenge with nothing but an orange jumpsuit and ropes, as seen in footage taken by helicopter circling the landmark. The artist specifically climbed up the narrow base underneath the tower’s antenna, the top of which clears 1,454 feet.
“I’ve had a fascination with the Empire State Building, the ‘world’s number one attraction,’ since I was a kid,” wrote the Suicide Squad star on Instagram, sharing a video of his otherworldly feat. “Not sure if it was Guinness world records, King Kong, but something about this iconic structure always captured my imagination. Built in just 13 short months, in one of the greatest cities in the world it has always been a powerful symbol to me of all the possibilities in life.”
The Thirty Seconds to Mars’ 2024 Seasons World Tour kicks off March 15 in Latin America with festival performances at Lollapalooza Chile, Argentina and Brazil. The trek will support the band’s September album It’s The End of the World But It’s a Beautiful Day, which bowed at No. 76 on the Billboard 200.
“In a lot of ways, this album is about following your dreams and pushing yourself to do the seemingly impossible,” Leto continued in his post. “Climbing the Empire State Building certainly falls into that category for me. As does touring the world with my brother and sharing these unforgettable concerts and experiences with you all.”
The House of Gucci actor also shared a video of himself and his bandmate/brother, Shannon Leto, performing their song “Seasons” at the top of the Empire State Building, the concrete jungle’s landscape sprawling below them.
Pre-sale tickets for the North America shows go on sale Friday (Nov. 10) at 10 a.m. local time on the band’s website. General on sale kicks of Nov. 17 at 10 a.m. local time.
Watch Leto climb the Empire State Building below, and scroll through his post for tour dates:
The owner of one of the country’s most recognizable independent venue companies has agreed to accept a petition on behalf of its bartenders, ID checkers, ticket collectors and floor staff to unionize.
Dayne Frank, president and CEO of First Avenue Productions which owns the famed First Avenue venue and operates six other venue locations in the Twin Cities area, was presented with petition from more than 200 employees earlier this month asking the company to recognize efforts to unionize as part of UNITE HERE Local 17, Minnesota’s hospitality workers’ union. UNITE HERE has about 300,000 members nationwide and is a member of the American Federation of Labor and Congress of Industrial Organizations.
“We recognize that our employees are a key to our success,” Frank said in a statement sent to Billboard, “and it is why we have continually worked to provide them competitive pay, health insurance for anyone working more than 25 hours per week, 401k matching contributions, and more. So when bartenders, service, and event staff expressed their desire to form a union, there was only one answer, which is why we will voluntarily recognize the union, and are committed to bargaining in good faith.”
Employees at First Avenue Productions, which include staff from 7th Street Entry, the Fitzgerald Theater, the Palace Theatre, the Turf Club, Fine Line and the Depot Tavern, began organizing earlier this year through the city’s Restaurant Opportunities Center as part of an effort to address staff disagreements over pay, scheduling and training.
On Nov. 2, more than 70% of the company’s employees voted in favor of moving forward with unionization through UNITE HERE. Frank is expected to begin contact negotiations with UNITE Here in the coming weeks.
“Bargaining in good faith will require everyone to look at the challenges we face as a whole, and how we can strengthen our workplace, incorporate more perspectives, and ultimately move forward together,” Frank said. “While this might be difficult, and will inevitably result in change, I am committed to working together to address those challenges.”
Frank is also a founding board member of the National Independent Venue Association and as the group’s former president led successful efforts to petition the federal government for billions of dollars in relief aid for thousands independent venues facing closure due to COVID-19, including those managed by First Avenue Productions which received more than $17 million from the Shuttered Venue Operator Grant program. The federal aid program is widely credited with preventing the collapse of the independent venue industry.
Sphere, the stunning venue that has transformed the Las Vegas skyline and redefined the concert-going experience, generated $4.1 million from U2’s first two concerts in September, its owner, Sphere Entertainment Co., reported in its quarterly earnings release on Wednesday (Nov. 8).
The $2.3 billion Sphere is a 366-foot tall, 516-foot wide spherical venue with a wrap-around video screen that envelopes a seated audience of 17,600. Sphere’s external skin — called Exosphere — is covered in 580,000 square feet of programmable LED exterior lights that advertises the venue’s technological capabilities.
Sphere also made $2.6 million in additional revenue, primarily from advertising on the Exosphere that began in September.
With only two concerts under its belt through the end of September, Sphere’s earnings release was about the venue’s potential, not its revenue to date. “Our journey with Sphere is just beginning,” said executive chairman/CEO James Dolan during Wednesday’s earnings call. “And while it will take some time for Sphere to realize its full potential, we’re off to a great start.”
U2’s original 25-show residency has been extended by an additional 11 shows that will occur in January and February 2024. The company expects to host two additional residencies in the second half of the fiscal year that ends June 30, 2024, according to Dolan. “We’re having conversations with artists across a wide variety of genres, including discussing runs of varying lengths,” he said.
Sphere had an adjusted operating loss of $83.1 million in the quarter, an increase of $19 million from the prior-year period. It also had $2.8 million of venue operating expenses in the quarter and $2.2 million of event-related expenses. An additional $2.1 million in advertising costs were related to the Oct. 6 launch of The Sphere Experience featuring the film Postcard from Earth by Darren Aronofsky. Selling, general and administrative expenses amounted to $84.2 million.
The Las Vegas venue is the first of what Sphere Entertainment expects to be multiple Sphere venues. Dolan was light on specifics but said there is “a great deal of interest and substantive discussions” in several additional markets. “I will say that it does look like Sphere will be a global brand,” he said, “and so we should expect the expansion globally rather than just in the U.S.”
Sphere Entertainment had total revenue of $118 million in its fiscal first quarter ended September 30, down 4% from the prior-year period. MSG Networks contributed $110.2 million of revenue, down 10% year over year. MSG Networks, which operates two regional sports networks, joined Sphere following a spin-off of MSG Entertainment in April. That same month, Sphere reached an agreement to sell its stake in Tao Group Hospitality to global luxury lifestyle company Mohari Hospitality for about $300 million.
Shares of Sphere Entertainment fell as much as 8.4% to $30.58 on Wednesday morning before recovering to $31.90, down 4.4%, by mid-afternoon. The stock price took a bigger hit on Monday, however, dropping 9.6% following the company’s announcement late on Friday that CFO Gautam Ranji had left the company. Dolan attributed Ranji’s departure to Sphere being a new type of business. “It’s pretty challenging,” he said. “I think we both came to the conclusion that it probably wasn’t a great fit.”
Financial metrics for the first fiscal quarter:
Total revenue of $118 million, down 4% year over year.
Adjusted operating loss of $57.9 million, up 88% year over year.
Net income of $66.4 million, up from a $44 million net loss in the prior-year period.
Sphere revenue of $7.8 million.
Sphere event-related revenue of $4.1 million.
MSG Networks revenue of $110.2 million, down 10% year over year.
Dreamliner Luxury Coaches has acquired Hemphill Brothers Coach Company, combining the two private bus and coach tour operators into the largest provider of entertainer busses in the world.
Formed just three years ago, the Nashville-based Dreamliner now boasts a fleet of 190 high-end luxury coaches, servicing approximately 50% of North American arena and stadium touring market, CEO Jeremy Maul estimates. The high-end bus company specializes in leasing and servicing artist and headliner buses with a client list that includes Beyoncé, Justin Timberlake, Drake, Jonas Brothers, Chris Stapleton, Olivia Rodrigo, Zach Bryan and more.
Hemphill Brothers was launched in 1980 by Joey and Trent Hemphill, Tennessee-based brothers who toured in the family Gospel band and eventually bought out their father’s two-bus leasing company. In 1995, Hemphill Brothers opened their current 55,000 square foot office complex and shop facility on 15 acres of land near Nashville.
Dreamliner was founded in late 2020 during the COVID-19 pandemic by businessman Rich Thomson, managing partner at Caprice Capital Partners and Jeremy Maul, Thomson saw the revival of the touring business as potential investment opportunity for his LA based private investment firm focused mainly on small cap companies with at least $2 million in EBITDA.
The bet on Dreamliner was fairly simple – while the pandemic had completely devastated the touring and concert business, the industry was expected to come back strong in mid-to-late 2021, as evidenced by ticket purchases during the pandemic and pent-up demand. Artists returning to the road would encounter a shortage of high-end luxury buses due to a pivot in the transportation industry away from concert touring.
The tour bus shortage, coupled with the explosion in demand, caused the leasing price for tour buses to nearly double overnight and created a backlog of demand for the industry, Maul explained.
Dreamliner’s first tour was the Jonas Brothers’ August 2021 tour. In June 2022, Dreamliner purchased Diamond Coach leasing from founder Kyle Ervin, growing the company’s fleet from 12 buses to 75 buses while establishing the company’s headquarters in Nashville.
Maul told Billboard that the Hemphill purchase took approximately one year to finalize. The combined business is expected to generate $100 million in business in 2024 from a fleet of 190 coaches, Maul said.
That puts Dreamliner ahead of Encore Luxury Coach, which briefly held the title of largest entertainment coach leasing company in North America following its acquisition of Nitetrain in September.
“As we further our goal of redefining the art of tour travel, we will leverage the strengths and experience at the heart of both Dreamliner and Hemphill to become the industry’s largest and most sought-after resource for high-end tour coaches,” Maul said in a recent press release.
When artists announce a new tour, ticket sales tend to exhibit a pattern: An initial surge of fan enthusiasm followed by a gradual decline in interest.
So, Tim Collins, who manages the Swedish artist Benjamin Ingrosso, was surprised to see demand for tickets to see his client increase throughout his summer tour. “At the beginning of the tour, we hadn’t sold out,” Collins says. “With every show we did, interest in him became bigger. And it was mainly because of how TikTok talked about him throughout the tour.”
TikTok marketing has been a central part of promoting music for more than three years at this point, almost entirely reshaping record labels’ strategy. When the platform started to regularly mint hit singles in 2020, however, the concert business was mostly shut down due to the coronavirus pandemic and shows didn’t get the same sort of attention.
This year, though, TikTok has become the new frontier for marketing tours. “Traditional promoters are starting to really wake up to it,” says Sanu Hariharan, co-head of music partnerships at Creed Media, a marketing company focused on Gen Z.
“It’s opened up a new revenue model for me,” adds Johnny Cloherty, co-founder of the digital marketing company Songfluencer. “A lot of the heavier touring acts are interested in, ‘I’ll pay a handful of creators to come to my VIP section to film content with me backstage to help sell tickets.’ We can get influencers to talk about the merch and do promotion that way.”
What took so long? “In general, live music lags behind the rest of marketing,” according to William Van Orsdel, chief growth officer of the live promotions company Breakaway. “Larger companies out there can’t change the way they’ve been doing things because they’ve always been doing them that way” — relying on tried-and-true techniques like print advertisements, billboards and posters.
Sure enough, Cloherty says when he pitched live music companies on using modern TikTok marketing techniques in 2019 and 2020, he “got laughed out of the room.” “People were like, ‘No way are you going to do this,’” he recalls. But, Van Orsdel continues, “you can’t market in just one silo and expect to be successful.”
The saturation of the post-COVID touring market has also spurred artist managers and event promotion companies to try new concert-marketing techniques. Prices are high; competition for fans is fierce. “The interest in seeing shows is bigger than ever before,” Collins says. “But at the same time, the financial situation is worse than ever before in regards to what you actually can afford to go to. To win a fan, you really have to stand out.”
On top of that, labels have started to see that a tour with buzz leads to streaming gains for the artist on the road, which ultimately helps the record company’s bottom line. Labels don’t participate in artists’ touring income — unless the artist has signed a “360 deal” — which often disincentivizes them from investing in their acts’ live business. “What they’ve realized is that there’s a correlation between having a tour or a set of shows that are relevant and streaming,” Hariharan says.
“Touring goes hand in hand with cultural significance,” adds Andy Serrao, president of Fearless Records. “The moments that are created on touring or in festivals, those don’t just happen and go away. We don’t participate in our artists’ touring revenue, but what we can do to drive the rest of our marketing going into releasing new music is huge.”
Those “moments” from a show depend a lot on the charisma of the artist on stage, of course. “If people are seeing you live and not filming you, that’s a bad sign,” Serrao says.
But marketers can work to make sure that anything exciting that happens is talked about by as many people as possible. “Having influencers at the show is the most important piece of it, because they are really essentially megaphones for the tour,” says Laura Spinelli, digital marketing manager at Shopkeeper Management. “Within the past year, this has become something that we’ve devoted a more significant budget to” for artists like Miranda Lambert and Tenille Townes.
Creed Media recently ran a two-week campaign in Europe for the group Chase Atlantic, using influencers to “create and convey a sense of hype and FOMO around the experience of going to their show,” Hariharan explains. “We wanted to do this early in the tour so that we’re getting consistent relevance and engagement as the tour progresses.” The most successful post — about a guy who takes his girlfriend to see Chase Atlantic — earned nearly 3 million views.
Demand for this sort of marketing is on the rise. “It feels very similar right now to a few years ago when we were trying to convince our label partners to really see the value in influencer marketing for their releases,” Hariharan. “Talking about what we can do for live and touring is a fresh new thing.”
“I’ve gone to a lot of country labels and management companies with this,” Cloherty adds. “Entering 2023 marketing anything without an influencer plan doesn’t seem like it’s very holistic, and that’s especially true if you’re trying to get a younger audience.”
Madison Square Garden Entertainment (MSG Entertainment) had revenue of $142.2 million in the quarter ended Sept. 30, down 3% year over year, as it started its first full fiscal year as a standalone live entertainment company.
MSG Entertainment, which spun off from MSG’s Sphere and MSG Networks businesses in April, had lower event-related revenue and faced a tough comparison to the prior-year quarter. Not only did the prior-year quarter benefit from some concerts that were rescheduled due to the COVID-19 pandemic, but Madison Square Garden enjoyed a 15-show run from Harry Styles from Aug. 20 to Sept. 21, 2022, that grossed $63.1 million from 277,000 ticket sales, according to Billboard Boxscore.
The company saw “significant” merchandise spending from Styles’ fans at those shows, said Dave Byrnes, MSG Entertainment executive vp/CFO, during Tuesday’s earnings call, and per-capita merchandise spending was down last quarter as a result. Fan spending on food and beverage “was up meaningfully” in the latest quarter, however, and MSG Entertainment is seeing “strong in-venue spending from our guests,” he said.
Strong demand for concerts, also seen in Live Nation’s latest earnings results, will help MSG Entertainment achieve a low double-digit percentage increase in event bookings this fiscal year. The company is getting help from a new generation of musicians who have graduated from smaller buildings in its portfolio to its flagship venue, Madison Square Garden. “This fiscal year, there are a number of acts, including Olivia Rodrigo, Tyler Childers and Niall Horan, who previously performed at either The Beacon [Theatre] or Radio City [Music Hall] that will soon headline the Garden for the first time in their careers,” said Byrnes. What’s more, he added, “a number of these first-time acts” are playing multiple nights and experiencing “strong ticket demand for their entire run.”
Beyond the concert business, MSG Entertainment has high expectations for its family shows. The company has 187 planned shows of its Christmas Spectacular at Radio City Music Hall, up from 181 shows in the prior fiscal year. MSG Entertainment expects paid attendance of about 1 million, bringing the holiday run back to pre-pandemic levels. In addition, Cirque du Soleil’s holiday show is returning after it took the year off in 2022, with 66 shows scheduled across The Theater at Madison Square Garden and the Chicago Theatre.
“We’re currently on sale with more concerts at our venues than we were at this time last year for the second half of fiscal ’23,” said Byrnes, “and of those on-sales, a majority of those tickets are already sold, and sell-through on those shows is currently up [a] high single-digit percentage as compared to the second half of fiscal ’23.”
MSG Entertainment repurchased about 3.5 million shares during the quarter, including repayment of a delayed draw term loan facility from Sphere Entertainment with 1.9 million shares. About 1.6 million shares were repurchased at $31.20 per share as part of the secondary underwritten offering by Sphere Entertainment in September.
Looking forward to the full year, MSG Entertainment reaffirmed its previous guidance of revenue from $900 million to $930 million and adjusted operating income of $160 million to $170 million. It lowered guidance for operating income to $85 million to $95 million, down from $100 million to $110 million.
Shares of MSG Entertainment fell as much as 9.8% to $27.55 on Tuesday morning before recovering to $29.09 by midday, a 4.7% decline from Monday’s closing price.
Fiscal first quarter financial metrics:
Revenue of $142.2 million, down 3% year over year.
Operating loss of $33.4 million, up 196% year over year.
Adjusted operating loss of $700,000, down from a $11.5 million operating profit.
Net loss of $50.7 million, up 183% year over year.
The singer-songwriter’s career-spanning trek set a new playbook for superstar tours.
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Green Day is ready to take you on a “Holiday” next summer, as the band announced a massive stadium tour across North America, Europe and the U.K. Mark your calendars, as the presale will occur through Ticketmaster on Wednesday (Nov. 8) at 10 a.m. local time in North America and 9:30 a.m. GMT/10:30 a.m. CET for the EU/U.K. tour dates. General sale tickets will go live on Friday (Nov. 10) at 10 a.m. local time.
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The Saviors Tour will begin its North American leg on July 29, 2024, in Washington, D.C., then hit cities including Toronto, Montreal, Queens, Boston, Philadelphia, Hershey, Chicago and more until the final show on Sept. 28 in San Diego.
“It’s the moment you’ve been waiting for … taking The Saviors Tour on the road all summer long next year to celebrate 30 years of ‘Dookie,’ 20 years of ‘American Idiot’ + our new album ‘Saviors’!!!” the band captioned its Instagram post announcing the tour. “Swipe for dates.”
You’ll need a special code to gain access to the presale, which you can get when you sign up for the band’s mailing list by Tuesday (Nov. 7). If you get an early access code, you’ll receive it through the email you signed up with.
In case you miss out on the presale and general onsale, you’ll potentially have additional ways to score cheap tickets through resale sites such as VividSeats, StubHub, Seat Geek, TicketNetwork and Game Time.
For an additional discount, you can get $10 off Seat Geek ticket purchases of $250-plus with the code BILLBOARD10. Offer is valid on first purchases only.
You can expect a setlist fusing new and old music, as the band also announced they’ll be performing songs from new album Savior, as well as from classics such as Dookie and American Idiot in celebration of both albums’ 30th and 20th anniversaries.