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Touring

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Beyoncé crowned May’s Top Tours chart before sliding back to No. 2 in June. Back with a vengeance, she’s at No. 1 for July with record-breaking revenue. According to figures reported to Billboard Boxscore, The Renaissance World Tour earned $127.6 million over 11 shows between July 8-30, claiming the largest one-month sum for any artist since the Boxscore archives began in the mid-1980s.

It’s not Beyoncé’s first time setting Boxscore records with the Renaissance World Tour. When her five-show run at London’s Tottenham Hotspur Stadium grossed $42.2 million, it was noted that it was the highest grossing engagement ever by a woman, a Black artist, or any American artist.

This time around, her enormous earnings require no such qualifications, breaking ground without regard to race, gender, genre or geography. Beyoncé’s $127.6 million passes Bad Bunny’s $123.6 million from last September, claiming the biggest one-month gross since the charts launched in February 2019 – and beyond. Before the monthly charts premiered, no artist had reported earnings of $100 million in a single calendar month.

Beyoncé and Bad Bunny, as well as other stadium headliners such as Harry Styles and The Weeknd, continue to show how contemporary acts have invaded a space once thought to be reserved for classic rock bands. Notably, Taylor Swift has yet to report sales figures for The Eras Tour. The last time she was on the road, she joined Beyoncé with Jay-Z, and Ed Sheeran at the top of the pack of 2018’s year-end rankings.

Beyoncé and Bad Bunny’s $120 million-plus months played out in strikingly similar fashion. Both played five one-night engagements, plus doubleheaders in three cities for a total of 11 shows. Both narrowly sold more than half a million tickets – 503,000 for Beyoncé and 501,000 for Bad Bunny. And both relied on a couple major markets to push them over the edge (and then some). Bad Bunny benefited from shows in Inglewood (the greater Los Angeles area) and Las Vegas, while Beyoncé played high-yield concerts in East Rutherford, N.J. (the greater New York area), and Chicago.

Beyoncé’s two nights at New Jersey’s MetLife Stadium (July 29-30) brought in $33.1 million and sold 106,000 tickets, enough to reign over Top Boxscores. That makes her the first woman to simultaneously top both lists in exactly four years, dating back to when P!nk led in July 2019.

Queen Bey follows with two dates at Chicago’s Soldier Field, at No. 3 on Top Boxscores with a gross of $30.1 million. Next, she’s at No. 7 with two shows at Toronto’s Roger’s Centre ($18.3 million). There are four more Beyoncé appearances on the chart (Nos. 20, 24, 27, and 30), more than anyone else.

With two months of shows left to report, the Renaissance World Tour is flying at breakneck speed. After conquering Europe with a $150-million run, Beyoncé has made almost as much ($141.4 million) in North America with far fewer shows. Her 12 North American dates (including an Aug. 1 concert in Foxborough, Mass.) have averaged $11.8 million, which is more than double the business that Beyoncé was doing in the U.S. and Canada on 2016’s The Formation World Tour and 2018’s On the Run II Tour with Jay-Z.

Up 60% from the European leg and 112% from her previous peak, Beyoncé’s July Renaissance shows establish a new standard for herself as an artist, and with its monthly record, for everyone on tour.

Through Aug. 1, The Renaissance World Tour has grossed $295.8 million, already Beyoncé’s highest grossing tour yet, passing The Formation World Tour’s $256.1 million. With two months of shows yet to be reported, Billboard expects that total to soar past the half-billion mark.

Beyoncé’s two shows in Chicago pair with an Ed Sheeran date (July 29) to make Soldier Field the top-grossing venue of the month, at No. 1 on Top Stadiums. That chart mirrors the top of Top Boxscores, with Beyoncé and Coldplay fueling the top four spots.

And while Sheeran’s contribution pushes MetLife Stadium to No. 2, the New York market dominates the arena rankings, with Manhattan’s Madison Square Garden and Brooklyn’s Barclays Center at Nos. 1-2 on Top Venues, 15,001+ capacity.

Among venues with a capacity of 5,001-10,000, Red Rocks Amphitheatre earned $16.5 million. Located in Morrison, Colo. (15 miles west of Denver), The Avett Brothers spotlight the iconic amphitheater’s month with three shows, July 7-9, that grossed $2.3 million and sold 28,050 tickets. Tedeschi Trucks Band, Caamp, Zeds Dead and String Cheese Incident each played multiple shows with million-dollar earnings.

The Weeknd follows Beyoncé on Top Tours with a $85.7 million gross, while mounting the highest attendance total of July with 891,000 tickets sold across 15 stadium shows in Europe. Since the monthly charts began in 2019, that total only trails Harry Styles’ 967,000 tickets in June.

Both acts — and Ed Sheeran in third with 749,000 tickets (June 2022) — nabbed their sales highs with extensive runs of European stadium shows, averaging 60,000 or more seats per night. With slightly smaller venues and higher ticket prices, Beyoncé and Bad Bunny’s massive grosses stem from North American legs.

In total, July’s top 30 tours grossed a combined $861.5 million and sold 7.3 million tickets, up .4% and 2%, respectively, from last month’s record-setting figures. While July sported fewer tours with reports above the $10 million and $20 million thresholds, Beyoncé’s monster earnings helped push the total take into uncharted territory.

British superstar Paul McCartney announced on Wednesday (Aug. 23) his return to Mexico City, where he will offer a concert on Nov. 14 at the Foro Sol as part of his international Got Back Tour. It will be his first performance in six years in the Mexican capital. Explore Explore See latest videos, charts and […]

If you haven’t yet stepped into Beyoncé’s House of Chrome, your time is now. On Wednesday (Aug. 23), Queen Bey took to her Instagram Stories and website to make a very special request to her fans and future Renaissance World Tour attendees. “Virgo Season is upon us. This tour has been such a joy and […]

A decade ago, if you wanted to see your favorite K-pop act in concert, you probably had to travel to New York or Los Angeles to catch a rare U.S. appearance. At arena shows and the now-popular KCON festival, acts like BIGBANG and EXO were “doing insane numbers, but they were considered outsiders or outliers,” says Bernie Cho, president of DFSB Kollective, a Seoul-based artist and label services agency. “A lot of these K-Pop tours were dismissed as being extremely niche; but to me K-pop was like the Grateful Dead.” 

“It turns out,” adds Cho, “the new Asian market is Caucasian.” 

Since BTS broke into the U.S. mainstream in 2017, followed by a wave of other K-pop chart-topping successes from such acts as SuperM, Stray Kids, BLACKPINK, TOMORROW X TOGETHER and, most recently, NewJeans, new touring opportunities are opening up and driving gigs — and business — to more markets across the United States.   

For UTA agent Janet Kim, who’s helped the company expand its K-pop roster and represents acts including “Gangnam Style” icon PSY, the industry’s recognition of and focus on K-pop is capitalizing on a market demand “that has always been there” among Asian communities. The genre’s current expansion is now “opening so many doors for other Korean artists to come to the U.S. and have a real audience,” she says. 

Such strong album sales put K-pop consumption (in terms of equivalent album units) up 43.9% year to date, which is better than Latin, country and the overall market. Within that, from January to July, K-pop on-demand audio streams in the United States are up 20.9% over the same period in 2022, according to Luminate. K-pop album sales are up 77% year to date, with most of that growth coming from physical sales, almost entirely CDs. From January through late July, five of the top 10 physical albums were from K-pop acts, according to Luminate.  

That demand is translating to ticket sales. According to numbers reported to Billboard Boxscore, a 2022 12-date arena tour by HYBE act Seventeen sold nearly 126,000 tickets and averaged $1.2 million a night in revenue. Stops on this tour included Vancouver, Canada, Fort Worth, Texas, and Atlanta, as well as other markets not previously known as genre strongholds. This past spring, BTS’ SUGA performed three sold-out shows in the Chicago area — an expanding K-pop market — and grossed more than $8 million, according to numbers reported to Billboard Boxscore.  

“As we expanded into new and smaller cities, we found demand was often just as high, relative to population size,” says Ellen Kim, CEO of Subkulture Entertainment, a Los Angeles-based K-pop tour production company that launched in 2015 and produced four U.S. shows on BTS’ global Red Bullet tour. “In certain circumstances, we found that demand was higher in smaller markets than more established ones, which were perhaps seeing market fatigue due to an increasing number of artists and shows.”  

A representative for the concert business department at HYBE pinpoints Chicago, Atlanta, Phoenix, Oakland and the whole of Texas as markets the Seoul-based company currently considers especially viable for its roster. Janet Kim at UTA is seeing emerging K-pop acts hold successful concerts in Puerto Rico, Nashville and San Diego which, she says, “were not typical stops on K-pop tours in the past.” 

Globally, K-pop tours are, naturally, most robust in Asia, with the largest of them — like BLACKPINK’s 2022/2023 Born Pink World Tour — typically stopping in South Korea, Thailand, Indonesia, China, The Philippines, Singapore, Malaysia, Taiwan, Vietnam and Japan. But international demand is growing — and not just in the States. Subkulture has recently expanded into Mexico and Canada, says Ellen Kim, with tour plans later this year for Europe and Latin America, which has been a K-pop touring destination since the mid-2010s, with acts most frequently playing in Brazil, Mexico, Chile, Peru and Argentina.  

K-pop U.S. tour legs are getting longer, too. Whereas they once averaged two to four shows in major markets, tours now average between eight and 12 shows in major and secondary markets, with many artists playing multiple nights in one city. In 2022 and 2023, K-pop artists SUGA/Agust D, TWICE, Stray Kids, SEVENTEEN and TOMORROW X TOGETHER all launched arena and stadium tours that collectively hit such cities as New York, L.A. Atlanta, Seattle, Charlotte, Washington D.C., Houston, Fort Worth, Chicago, Oakland and Toronto. This fall, HYBE act ENHYPEN has scheduled arena gigs in Chicago, Houston, Dallas and Glendale, Ariz., among other cities.  

Cho says data analytics tools like Chartmetric — which identifies artists’ streaming, social media and audience data by factors including location, gender, ethnicity and age — have proven especially helpful for artist teams to discover new fanbases while determining routing. He cites a sold-out Epik High show in April at a 3,000-capacity venue in Salt Lake City — typically considered a relatively sleepy B-level market — as an example of such data helping K-pop artists locate fans.  

Many Korean labels and management companies are also currently paying to send their emerging acts to the United States in hopes of breaking them here before Asia, given the prestige fostered by making it in North America. “BTS demonstrated that formula,” says Janet Kim, “where they may not have been the biggest artists in Korea when first starting out, but they spent time and money coming to the U.S. and building their fan base and have done very well for themselves.” 

“If an act can successfully do a U.S. tour, that leads to a world tour,” adds Cho. “It’s validation they’re going to have longevity and, hopefully, a legacy.” 

While KCON has served as a Stateside launching pad for K-pop acts over the past decade, now their management companies and agents are eying marquee festivals like Coachella, Lollapalooza and Governor’s Ball as crowning crossover achievements. Given that such shows put artists in front of huge crowds, they’re also major opportunities for fanbase development.  

It’s a formula that worked for BLACKPINK, who in 2019 became the first K-pop girl group to ever play Coachella. Four years and a global pandemic later, the group headlined the 2023 edition last April. This summer, aespa made history as the first K-pop act to play both Governor’s Ball and Outside Lands and in August, TOMORROW X TOGETHER and NewJeans made their Lollapalooza debuts. (This appearance was NewJeans’ first U.S. festival performance, an achievement that happened the same week the group landed its first No. 1 — not to mention its first entry — on the Billboard 200 albums chart with its sophomore EP, Get Up.) 

“Festival plays have really helped elevate credibility and the clout that K-pop has arrived,” says Cho. “It’s not just through grinding on tours no one knows about. Having big acts and emerging artists play festivals has really been helpful in landing K-pop as something less foreign and more fun.” 

All the sources interviewed for this story said they predict K-pop will continue to grow in the United States. Supporting this, Ellen Kim at Subkulture says that younger fans are more open to non-English content than previous generations, while UTA’s Janet Kim says she’s seen a growing number of labels and A&R executives looking to take on K-pop projects. The HYBE rep says, too, that the many subgenres of K-pop represent pure potential, with these currently “untapped areas” likely to attract even more fans.  

This expanding interest will only further fuel a touring market that used to feel “a lot more niche, like a community or cultural event,” says Janet Kim.  

“Now,” she continues, “it’s just a pop show.” 

Ms. Lauryn Hill is hitting the road, and this time she’s bringing along some very special guests — the Fugees. In honor of the 25-year anniversary of her landmark album Miseducation of Lauryn Hill, she will be embarking on her first world tour since 2020’s Ms. Lauryn Hill Live in Concert trek, she announced on Tuesday (Aug. 22).
The Miseducation of Lauryn Hill 25th Anniversary Tour kicks off at Mystic Lake in Minneapolis, Minn., on Sept. 8, and closes in Climate Pledge Arena in Seattle on Nov. 9.

“The Miseducation of Lauryn Hill is and was a love song to my parents, my family, my people, my musical and cultural forebears, my teachers, my loves, my Creator. I wrote love songs and protest songs — (still love songs) about the subjects and interests that inspired and moved me. I was confident that what inspired me would resonate with an audience that had been led to believe that songs of that kind could only live in the past,” she said in a statement reflecting on the impact of her album. “I loved music, I loved people, I truly felt grateful to God for my life, and genuinely blessed to have a platform where I could share wisdom and perspective through music. I felt a charge to challenge the idea that certain kinds of expression and/or certain kinds of people didn’t belong in certain places. I loved showing what could work or happen provided there was imagination, creativity and LOVE leading the way.”

Grammy-winning reggae star Koffee will open on her stops in Australia Oct. 3 and Oct. 5. Fugees — the Grammy-winning, genre-bending musical collective of which Hill is a part along with Wyclef Jean and Pras — will reunite for their first tour in years to co-headline all U.S. and Canadian dates. (Pras was convicted in April in his political conspiracy case, and could face up to 20 years in prison. The announcement did not address whether the rapper will join the tour.)

There are currently 17 total dates for the Miseducation of Lauryn Hill 25th Anniversary Tour.

The Miseducation of Lauryn Hill, Hill’s debut solo album, arrived on Aug. 25, 1998. The album debuted atop the Billboard 200, making her the first solo female rapper to peak or debut at No. 1 on the ranking. The album spawned three singles that hit the top 40 of the Billboard Hot 100: “Doo Wop (That Thing)” (No. 1, two weeks), “Ex-Factor” (No. 21) and “Everything Is Everything” (No. 35). The Miseducation of Lauryn Hill won Hill five Grammys in one night, making her the first woman to do so; her album is also the first hip-hop record to receive the Grammy for album of the year. Now RIAA-certified Diamond, countless artists continue to cite The Miseducation of Lauryn Hill — which was added to the Library of Congress in 2015 — as a formative and highly influential body of work.

Over the past few months, Ms. Lauryn Hill has made a number of appearances at performances across the United States to celebrate the album’s anniversary. At Hip-Hop 50 Live at Yankee Stadium in The Bronx, N.Y., Hill surprised attendees as a guest during Nas’ set. She wore a hot pink blazer and staggeringly high stilettos as she tore through a medley of her biggest solo and Fugees hits. In June, Hill headlined the Roots Picnic festival, reuniting with the Fugees for the first time since 2021.

Here are all the dates for The Miseducation of Lauryn Hill 25th Anniversary Tour:

Sept. 8 – Minneapolis, MN @ Mystic Lake

Sept. 23 – New York, NY @ Global Citizen Festival

Oct. 1 – Gold Coast, AUS @ Promiseland Festival

Oct. 3 – Melbourne, AUS @ Rod Laver Arena (with Koffee)

Oct. 5 – Sydney, AUS @ Kudos Banks Arena (with Koffee)

Oct. 7 – Auckland, NZ @ Eden Festival

Oct. 17 – Newark, NJ @ Prudential Center (with Fugees)

Oct. 19 – Brooklyn, NY @ Barclays (with Fugees)

Oct. 21 – Washington, DC @ Capital One Arena (with Fugees)

Oct. 23 – Philadelphia, PA @ Wells Fargo Arena (with Fugees)

Oct. 26 – Toronto, ON – Scotia (with Fugees)

Oct. 28 – Chicago, IL @ United Center (with Fugees)

Oct. 30 – Fort Worth, TX @ Dickies Arena (with Fugees)

Nov. 2 – Denver, CO – Ball Arena (with Fugees)

Nov. 5 – Los Angeles, CA @ Kia Forum (with Fugees)

Nov. 7 Oakland, CA @ Oakland Arena (with Fugees)

Nov. 9 – Seattle, WA @ Climate Pledge Arena (with Fugees)

Seattle’s famed Bumbershoot music festival has been on hold for three years after the annual event traded producers and the pandemic interrupted live music for years. This Labor Day weekend (Sept. 2-3), however, the beloved festival is back, celebrating its 50th anniversary and focusing in on community.
In January of 2022, Bumbershoot owner Seattle Center selected the New Rising Sun coalition as its production partner to reimagine the local event. With Neumos co-owner Steven Severin, Museums of Museums founder Greg Lundgren and McCaw Hall general manager Joe Paganelli leading the group, the two-day festival is back in the hands of locals and Severin says the community has embraced their vision of putting emphasis on Pacific Northwest artists for the lineup with Band of Horses, Sunny Day Real Estate and headliners Sleater-Kinney and finding ways to make a major festival more accessible to everyone in the community.

“People were like, ‘Holy sh*t. This is what we’ve been asking for,’” Severin says of the lineup announcement. “This is a 50-year-old festival that has gone through many different changes and metamorphosis, and this is how I believe that Seattle wants to see it.”

Most recently, Bumbershoot was produced by AEG Presents, which agreed to produce the festival with Seattle non-profit festival production company One Reel beginning in 2014 to help cover the $1 million in debt One Reel had wracked up. By 2019, AEG announced it would not renew its contract to work on the festival.

Knowing full well that most festivals take years to turn any profit, Severin – who serves as Bumbershoot’s co-president & director of music programming – says New Rising Sun has worked to remove barriers for those who want to attend the milestone event by partnering with e-commerce giant Amazon, which agreed to underwrite presale tickets for this year’s festival to keep the event affordable. Amazon sponsored a special early bird $50 single day and $85 two-day general admission ticket, the lowest ticket prices have been in a decade, according to Severin. The company also worked with arts organization Third Stone to give out 5,000 tickets to area nom-profits and community organizations.

“I’m never going to fault AEG for how they ran things because that is how festivals changed. The whole model changed. You went for bigger and bigger and bigger artists,” says Severin, but now “the money stays here, it doesn’t go to New York or LA. It’s homegrown, as local as it gets.”

Lundgren, who also founded Vital 5 Productions, believes the festival can attract even more locals through its robust art programming. While there will be traditional festival art exhibits such as large-scale paintings and sculptures called Out of Sight, Lundgren says they are “drawing a larger circle around” what people consider art. The festival will include wrestlers, pole dancers, filmmakers, roller skaters, double Dutch jump rope performers, nail artists, makeup artists, fashion designers, extreme pogo stick and sign spinners (yes, like the folks who spin Subway signs on street corners).

“The more that you start to examine people that work within those [expanded art] spaces, the more that you realize that not only is this their daily practice, very similar to a painter or to a modern dancer or to a filmmaker,” says Lundgren. “But their own attitude and their own ethos around what they do is very much centered around self-expression, around how they’re communicating with their larger world.”

There will be a tattoo runway, where anyone can walk the catwalk to show off their body art. People can sing their favorite karaoke song with an improvised burlesque dancer interpretive dancing at burlesque karaoke and the festival will host a Witch Dome with everything from tarot to past life readings and palmists.

“My hope is that by year two or year three you won’t be able to tell who the performer is and who the audience is. To me, that’s a huge success,” says Lundgren. “If we can create a festival that everybody feels like they have not only the capacity, but the invitation to participate in.”

Additionally, Third Stone – the non-profit arm of Bumbershoot – launched the Workforce Development Program to offer young adults aged 17-25 the opportunity to learn critical business skills within the festival and live music setting. In partnership with The UC Theatre’s Concert Career Pathways (CCP) program, this six-month tuition-free, hands-on education experience and paid internship began in April 2023 and will culminate in the opportunity to work on the grounds at the festival and graduation.

This year’s 16 participants come from all around Washington with most coming from low-income communities and identifying as people of color and/or members of the LGBTQ+ community.

“The heart of the program is to reduce barriers of entry into the [music industry] workforce,” says Third Stone executive director James Miles. “The goal is to prepare these young people to take on any job in live production.”

The program includes in-depth courses with industry veterans from around the industry, as well as hands-on jobs putting on this year’s Bumbershoot. Following graduation for the 16 students, Third Stone will help support the participants in landing their desired job.

Sure, Lil Nas X may be known for his love of trolling fans and haters alike. But with his latest announcement, the pop sensation is ready to show everyone a more sincere side of himself. On Friday (Aug. 18), Lil Nas X announced the official world premiere of his new documentary Lil Nas X: Long […]

Quick: Which summer stadium tour features a singer in a shiny outfit, a special guest and a three-hour set that includes a few surprise curveballs? Would you believe Guns N’ Roses? The band is back on tour again this summer — it plays North American stadiums until mid-October — with Slash, original bassist Duff McKagan, longstanding keyboardist Dizzy Reed and, for many concerts, a surprisingly sincere cover of the Jimmy Webb classic “Wichita Lineman.”
In the case of the East Rutherford, N.J., show – its fourth in North America and second in the U.S. this year – the shiny outfit was frontman Axl Rose’s and the special guest was Andrew Dice Clay, who came on to tell jokes for a few minutes after a tight and tough opening set by the Pretenders. “The Diceman,” as he refers to himself, remains upset about several things, including the social-distancing circles on elevator floors that were introduced during the “pandemical,” and the prevalence of senior citizens in Florida, which seems like an issue that’s been around for quite some time. He’s one of the few comedians who can get as much applause for a vocalization — “Ohhhh” — than he can for a joke. That’s not really a good thing, though.

And Guns N’ Roses? They still have it — and much more of it than before Slash rejoined the band in 2016. Slash’s guitar playing is as sharp as ever, and he and McKagan play well together with the touring band, but Rose’s voice isn’t what it was years ago. By the end of the opening “It’s So Easy,” it was clear that Rose has lost some of his range, although how much is hard to tell — he bellowed the chorus of “Mr. Brownstone” to give it the menace it needs and rose to the occasion of “Welcome to the Jungle,” then struggled to hit the high notes of “Rocket Queen.”

Rose isn’t just a compelling performer for his voice, though. Far more than during the shows without Slash, he stalked the stage like a man on a mission, full of menace but also smiling charisma, taking what seemed like a slight bow after some songs. As Slash played along under his usual top hat, Rose actually seemed to be having fun — his history with his bandmates may be soap-operatic, but they all seemed to be having a great old time. He especially shone on songs that didn’t require piercing high notes, such as “Live and Let Die,” “Civil War” and especially “November Rain.”

At a time when critics seem positively shocked at the idea that a stadium show can run for more than three hours and include two surprise songs, it’s worth remembering that this was once simply what rock fans expected — play for a while and surprise us a bit. Guns N’ Roses went beyond this to give each member a chance to shine: McKagan sang a powerful “TV Eye,” Slash snuck pieces of “Voodoo Child” and “People Get Ready” into other songs and “Dizzy f–king Reed,” as Rose called him, showed off his keyboard work. There were plenty of covers, too: “Down on the Farm” (the U.K. Subs song the band covered on The Spaghetti Incident?), “Knockin’ on Heaven’s Door” and, yes, “Wichita Lineman.” It’s hard to think of a song that seems less suited for a hard rock band – sincere, minimal, tasteful – but it worked well enough to make up for Andrew Dice Clay.

Axl Rose and Slash of Guns N’ Roses perform at MetLife Stadium in East Rutherford, N.J., on Aug. 16, 2023.

Guilherme Neto

After a hard-hitting “Nightrain,” the band came back with an encore that started with “Coma,” then played the AC/DC song “Walk All Over You,” which Rose said had “his favorite f–king drum fill ever.” (Rose uses profanity as punctuation the way the characters on Succession do.) It’s not the easiest song to sing, but Rose jumped around as Slash powered through the riffs and the band shared parts of the chorus. For a few moments — at various points during this show but especially during this song, “Patience” and a show-ending “Paradise City” — you could believe that these musicians weren’t celebrities who had spent three decades feuding, but just guys who fell in love with the power of loud, crunching hard rock. Which, in some way, they still are.

Setlist:

“It’s So Easy”

“Bad Obsession”

“Chinese Democracy”

“Slither” (Velvet Revolver)

“Hard Skool”

“Mr. Brownstone”

“Welcome to the Jungle”

“Pretty Tied Up”

“Absurd”

“Double Talkin’ Jive”

“Estranged”

“Down on the Farm” (U.K. Subs)

“Live and Let Die” (Wings)

“Rocket Queen”

“Reckless Life”

“You Could Be Mine”

“T.V. Eye” (The Stooges)

“Anything Goes”

“Civil War”

Slash guitar solo

“Sweet Child o’ Mine”

“November Rain”

“Wichita Lineman” (Jimmy Webb)

“Catcher in the Rye”

“Knockin’ on Heaven’s Door” (Bob Dylan)

“Nightrain”

Encore:

“Coma”

“Walk All Over You” (AC/DC)

“Patience”

“Paradise City”

For the third time in her career, Lana Del Rey performed in Mexico City on Tuesday (Aug. 15), where she offered an unforgettable show at the Foro Sol that gathered 65,000 attendees, according the promoter Ocesa. It was the first of two concerts in the Mexican capital as part of her international Did You Know […]

Oak View Group (OVG) has appointed Ade Patton as CFO, effective immediately, the global venue development, advisory and investment company announced on Tuesday (Aug. 15). In his new role, Patton will direct and oversee the global financial and accounting activities of the firm. He lives in Denver and will report to OVG chairman/CEO Tim Leiweke. […]