Touring
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After releasing his third studio album, Since I Have a Lover, 6LACK is ready to hit the road after announcing his colossal world tour Tuesday (April 25).
Slated for the fall, the Since I Have a Lover World Tour will kick off its North America trek on Oct. 1. The 40-plus date jaunt will span across the nation in cities such as New York, Los Angeles and Philadelphia before concluding in Atlanta on Nov. 24 at the State Farm Arena. His Spillage Village teammate Mereba will open for him on select dates. Other guests include Spinall and Sabodi.
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Then in February, 6LACK will embark on the European leg of his tour, touching down in Germany, Denmark and Belgium. On social media, 6LACK celebrated the announcement by saying, “The most special one so far, 5 years since the last trip & telling the story from FREE 6LACK to EALL to now.”
Produced by Live Nation, the artist presale for the Since I Have a Lover Tour will go live from April 26 through April 28 at 10 a.m. local time, and then tickets for the general public go on sale immediately after. VIP packages are also available, including meet-and-greets with 6LACK, premium tickets, exclusive merch items and early entry. Fans can visit the Live Nation website for more information.
Check out the tour dates below:
October 1, 2023 – Portland, OR @ Alaska Airlines’ Theater of the Clouds **
October 4, 2023 – Vancouver, BC @ PNE Forum **
October 5, 2023 – Seattle, WA @ WAMU Theater **
October 7, 2023 – San Francisco, CA @ The Masonic **
October 10, 2023 – Los Angeles, CA @ YouTube Theater **
October 12, 2023 – San Diego, CA @ SOMA **
October 13, 2023 – Phoenix, AZ @ The Van Buren **
October 15, 2023 – Salt Lake City, UT @ The Complex **
October 17, 2023 – Denver, CO @ Fillmore Auditorium (Denver) **
October 19, 2023 – St. Louis, MO @ The Pageant *
October 21, 2023 – Dallas, TX @ The Pavilion at Toyota Music Factory *
October 22, 2023 – Austin, TX @ Stubb’s Waller Creek Amphitheater *
October 25, 2023 – Houston, TX @ Bayou Music Center *
October 26, 2023 – New Orleans, LA @ The Fillmore New Orleans *
October 31, 2023 – Minneapolis, MN @ The Fillmore Minneapolis *
November 1, 2023 – Chicago, IL @ Byline Bank Aragon Ballroom *
November 2, 2023 – Detroit, MI @ The Fillmore Detroit *
November 5, 2023 – New York, NY @ Manhattan Center Hammerstein Ballroom *
November 6, 2023 – Brooklyn, NY @ Great Hall – Avant Gardner *
November 8, 2023 – Washington, DC @ The Anthem *
November 10, 2023 – Boston, MA @ MGM Music Hall at Fenway *
November 11, 2023 – Montreal, QC @ MTELUS *
November 13, 2023 – Toronto, ON @ HISTORY *
November 16, 2023 – Philadelphia, PA @ The Fillmore Philadelphia *
November 18, 2023 – Raleigh, NC @ The Ritz *
November 19, 2023 – Charlotte, NC @ The Fillmore Charlotte *
November 21, 2023 – Orlando, FL @ Hard Rock Live Orlando *
November 22, 2023 – Miami, FL @ Kaseya Center *
November 24, 2023 – Atlanta, GA @ State Farm Arena *
February 12, 2024 – Dublin, Ireland @ 3Olympia Theatre #
February 14, 2024 – Glasgow, United Kingdom @ O2 Academy Glasgow #
February 15, 2024 – Manchester, United Kingdom @ O2 Apollo #
February 17, 2024 – Birmingham, United Kingdom @ O2 Academy Birmingham #
February 18, 2024 – London, United Kingdom @ Eventim Apollo #
February 20, 2024 – Paris, France @ Bataclan #
February 21, 2024 – Cologne, Germany @ Live Music Hall #
February 22, 2024 – Brussels, Belgium @ Ancienne Belgique #
February 25, 2024 – Amsterdam, Netherlands @ Melkweg #
February 27, 2024 – Berlin, Germany @ Huxley’s Neue Welt #
February 29, 2024 – Copenhagen, Denmark @ Amager Bio #
March 1, 2024 – Stockholm, Sweden @ Berns #
March 3, 2024 – Oslo, Norway @ Rockefeller Music Hall #
Shows supported by special guest *
Show dates supported by Mereba **
Show dates supported by Spinall and Sadboi #
Concert promoter Goldenvoice of AEG Presents has re-upped its partnership with the historic Santa Barbara Bowl, extended its booking contract through 2032, company officials tell Billboard.
Built in the 1930s under the federal Work Projects Administration as part of President Franklin Roosevelt‘s New Deal, the sandstone-kissed 4,500-seat open-air rock and roll coliseum has hosted concerts by the likes of Bob Marley, James Taylor, Stevie Wonder and more.
Since the early 1990s, the Bowl has been managed by the not-for-profit Santa Barbara Bowl Foundation and programed by long-time talent buyer Moss Jacobs. For most of the 1990s, Jacobs was aligned with concert promoter Goldenvoice, which held the booking contract until the 2001 purchase of Goldenvoice by AEG. Jacobs left Goldenvoice that year and joined Nederlander Concerts as a vp of booking, bringing the booking rights to the bowl with him. In 2016, he quit Nederlander and went back to Goldenvoice, where he works as a Goldenvoice senior vp. Following his 2016 exit, the foundation exercised a key man clause in its contract with Nederlander, allowing it to end its deal and hand booking rights back to Goldenvoice.
“The Santa Barbara Bowl Foundation has been a vital partner,” states Jacobs, “helping Goldenvoice to foster incredible talent at one of the finest outdoor venues in the world. The Foundation understands the significance of partnering with a substantial national organization to benefit this amazing local community. This contract will allow us to build on the foundation of past great events to improve the already amazing stature of the Santa Barbara Bowl.”
Santa Barbara Bowl Foundation executive director Rick Boller said he was “thrilled to sign this booking agreement with Goldenvoice for another decade.” Since taking over management of the facility, the foundation has helped raise over $43 million for capital improvements at the Bowl.
Frank Ocean’s decision to cancel his second of two performances at Coachella this weekend will likely cost the festival several million dollars, sources tell Billboard — losses that the festival will try to offset, in part, with finding new uses for the giant ice pad the company created for Ocean’s long-awaited performance.
A source close to the situation tells Billboard that festival promoter Goldenvoice is trying to make the best out of the millions of dollars spent on building a giant ice pad that was supposed to accommodate over 100 skaters during Ocean’s set last Sunday night but was scrapped at the last minute after the artist suffered an ankle injury. The ice pad cannot be used as a public ice rink, the source says, but the Goldenvoice team is working out how to incorporate it into another yet-to-be determined performance.
Ocean was to be paid $4 million for each of his two Coachella performances, for a total of $8 million, sources say. Since Ocean is not performing for the second weekend, he will only be paid for the first weekend’s performance. Goldenvoice, however, will still need to pay Blink-182 that same $4 million rate for their replacement one-hour headlining set on Sunday, sources say, and will also need to pay the newly announced Skrillex, Four Tet and Fred again.. combo for their closing set.
Typically, festival promoters pay an artist a performance rate and also cover basic production needs such as staging, sound, lighting and video boards. The artists will cover all additional production elements from their fee that are unique to their performance such as musicians, dancers, performers and other major visual elements.
In Ocean’s case, however, the most expensive part of his production — the custom ice pad— was built by Goldenvoice and came with significant energy costs. So, while Goldenvoice had planned to recoup that cost from his performance fees, sources say the production costs Ocean racked up exceed the $4 million he earned for the first weekend. That means Ocean failed to turn a profit from his Coachella appearance and that the festival will have to eat the remaining loss — for which it is highly unlikely to demand repayment.
Ocean also racked up about $45,000 in curfew fines during his set, which played 25 minutes past the mandatory midnight curfew imposed by Indio, California, city officials. However, a source close to Ocean says those fines are Goldenvoice’s fault, claiming Ocean’s set started an hour late because festival staff took an additional 50 minutes to change over the stage from Bjork’s set to Ocean’s set.
Despite the curfew fines, which added up to $133,000 over the weekend, according to officials with the city of Indio, the millions of dollars spent on an unused ice sheet and extra talent costs, Goldenvoice is still likely to make a profit from the festival. In an average year, Coachella grosses more than $115 million in ticket sales across both weekends and makes tens of millions more in food, beverage and hospitality.
Coachella’s second weekend kicks off Friday (April 21) in Indio.
Following a four-month hiatus, Coldplay returned to the stage in March to extremely efficient effect. Despite playing just three Brazilian markets, the band still compiled numbers large enough to secure honors as the top-grossing live act of the month. According to figures reported to Blilboard Boxscore, the British act earned $65.4 million and sold 736,000 tickets between March 10 and March 28.
That eye-popping total was amassed from $40.1 million over six shows in Sao Paulo, $8.1 million from two shows in Curitiba and $17.2 million across three dates in Rio de Janeiro.
The slate of stadium concerts in Sao Paulo marks the seventh-largest engagement in Boxscore history, both in terms of gross and paid attendance. Further, that run helps Coldplay become the third consecutive act to simultaneously lead Top Tours and Top Boxscores, following fellow Brits Elton John in January and Ed Sheeran in February.
The Brazil shows averaged $5.9 million and 67,000 tickets per show, in step with previous legs in the U.S. ($5.7 million; 53,200 tickets) and Europe ($6.4 million; 66,400 tickets). But it’s a boost from previous plays in Latin America.
Coldplay opened the tour with shows March and April 2022 in Costa Rica, the Dominican Republic, and Mexico, pacing $4.1 million and 52,600 tickets. The band returned last September for concerts in Argentina, Chile, Colombia and Peru, running $4.6 million and 58,900 tickets per show. The Brazil run marks a 30% bump from the previous South American lap.
March is Coldplay’s second month at No. 1 on Top Tours. The band’s first trip to the top was last July with almost identical totals, when they grossed $66.7 million and sold 730,000 tickets. The 736,000 haul this month is the second-biggest monthly attendance count, only behind Sheeran’s 750,000 in June 2022.
In total, the Music of the Spheres Tour has grossed $407.7 million and sold more than 4.5 million tickets since launching in March 2022, approaching the all-time top 10 in both metrics. The band’s previous tour, the A Head Full of Dreams Tour (2016-17), sits at No. 7 on the historical ranking, with $523.3 million and sold 5.4 million tickets.
The Music of the Spheres Tour resumes in May in Europe before returning to North America in September. With close to 40 scheduled shows left to play, the entire run could be heading toward the all-time top five with more than $600 million in the bank and six million tickets sold.
Sheeran backs off from No. 1 in February to No. 2 in March, adding $43.1 million and 409,000 tickets for The Mathematics Tour. He is followed by Harry Styles at No. 3, enjoying his seventh consecutive month in the top five.
It’s the fifth month with an all-British top three since Billboard launched the monthly rankings in February 2019. All five of those occurrences have featured at least one of this month’s leaders, with Sheeran participating in four of those sweeps.
SZA is No. 4 with $23.2 million and more than 150,000 tickets on the SOS Tour. Matching Carrie Underwood last month and Karol G in October, it’s the highest rank for a female artist in more than a year based on reported figures. The only women to reach higher since returning from the pandemic were Billie Eilish, Reba McEntire and Alanis Morissette, each hitting No. 3 in February 2022, January 2022, and September 2021, respectively.
Much ado was made of the Red Hot Chili Peppers’ double-duty in February, appearing twice in Top Tours’ top 10 – once by themselves and once with co-headliner Post Malone. A version of that phenomenon happens on March’s Top Boxscores ranking, as Billy Joel hits No. 27 on Top Boxscores with his latest Madison Square Garden concert, but also No. 6 with co-headliner Stevie Nicks. The first date of their brief collaborative tour earned $10.9 million at SoFi Stadium in Inglewood, Calif. Both acts have further scheduled dates separately and together.
Coldplay’s dominance extends to the venue charts. Sao Paulo’s Estadio do Morumbi, home of their mammoth six-show run, is the top-grossing venue of the month, No. 1 on the ranking for venues with a capacity of 15,001 or more, but out-grossing every venue on the other capacity-specific charts as well. Estadio Nilton Santos, the band’s Rio de Janeiro stadium, follows on the 15,001+ ranking at No. 7.
T-Mobile Arena (Las Vegas) and Madison Square Garden (New York) follow at Nos. 2-3, leading the month for arenas. Las Vegas scores No. 1 rankings on the 10,001-15k chart with MGM Grand Garden ($6.8 million) and 5,001-10k list with Dolby Live ($13.5 million).
The tally for venues with a capacity of 5,000 or less is led by Morsani Hall at the Straz Center for the Performing Arts in Tampa, Fla., earning $6.7 million from 26 shows during March. Vegas’ Resorts World Theatre follows at No. 2 ($5.2 million), giving Sin City a top two rank on all four venue charts.
What many fans had been speculating is true: Luis Miguel is going on tour this year.
On Tuesday (April 19), the Mexican crooner announced the dates for his 43-date stint in North and South America that will kick off Aug. 3 in Buenos Aires, Argentina. The trek will visit major cities in the U.S. such as Chicago, Las Vegas, Miami and Los Angeles before wrapping up Dec. 17 in Guadalajara, Mexico. The tour is produced by CMN.
It’s Luis Miguel’s first tour in years. His last tour — México Por Siempre, which ran from 2018 to 2019 — grossed $101.4 million and sold 965,000 tickets across 116 shows, according to Billboard Boxscore. It was the highest grossing Latin tour in Boxscore history until last year when Bad Bunny‘s El Último Tour del Mundo and World’s Hottest Tour surpassed it.
The anticipation for this trek began when El Sol de México — or “The Mexican Sun,” as he is known — simply posted on Instagram “Luis Miguel Tour 2023” in February without offering more details. Whether he’ll drop new music to coincide with the tour is still up in the air. The elusive artist dropped ¡MÉXICO Por Siempre! in 2017, which won album of the year at the Latin Grammy Awards.
Luis Miguel is one of Latin music’s biggest star and one of the top vocalists of his generation. The chart-topping artist has notched 16 No. 1 songs on Billboard‘s Hot Latin Songs chart, and nine leaders on the Top Latin Albums tally.
See Luis Miguel’s world tour dates below:
Madonna is taking her massive Celebration Tour to Mexico. The icon revealed that she will be stopping to perform in Mexico City on January 25, 2024, marking her first non-U.S. or Europe dates of the tour.
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Tickets for the new date at Palacio De Los Deportes will go on sale on Friday (April 21) at 11 a.m. local time here. Legacy members of Madonna’s official fan club will have access to a pre-sale beginning on Monday (April 17) at 1 p.m. local time. CitiBanamex cardmembers’ presale begins on Thursday (April 20) at 11 a.m. local time.
The Celebration Tour — which will honor her four decades of hits — is set to span from July 15 all the way through Dec. 1. The first North American leg of the tour will kick off Saturday, July 15, at the Rogers Arena in Vancouver and will make additional stops in Phoenix, Detroit, Atlanta, Toronto, Montreal and more before concluding at the T-Mobile Arena in Las Vegas on Oct. 8. The tour’s European leg will pick up with a pair of dates at The O2 arena on Oct. 14-15 and will make stops in Paris, Barcelona, Milan, Berlin and more before concluding in Amsterdam on Dec. 1 at the Ziggo Dome. The tour then picks back up in Brooklyn on Dec. 13, and stretches through Jan. 20 in Phoenix, Ariz. As previously announced, Bob the Drag Queen will be a special guest on the tour.
“This is a good time for me — I’m gathering ideas, getting inspired, hanging out with creative people, watching films, seeing art, listening to music,” Madonna shared of getting back onstage in a recent feature with Vanity Fair.
The return of two highly popular dance artists has created new headaches for promoters dealing with increased public outcry over ticket scalping. Skrillex’s first show in nine years at the iconic Red Rocks Amphitheatre in Morrison, Colorado, and Pretty Lights’ comeback tour after a five-year absence have created supply and demand issues not often seen in the amphitheater and club space. That’s meant new challenges with how to deal with resellers buying tickets en masse and posting them online for profit.
Earlier this week, AEG Presents announced plans to reclaim tickets purchased by scalpers for a sold-out April 29 show by Skrillex at Red Rocks and resell them to fans through the Fair AXS ticketing platform, AEG’s own fan verification. Fair AXS requires fans to register in advance for high demand tickets, and like Ticketmaster’s Verified Fan platform, is designed to weed out scalpers.
The company is now weighing whether a similar plan to claw back tickets for the upcoming, sold-out Pretty Lights tour that kicks off Aug. 6 at the Mission Ballroom in Denver and sell those to fans through Fair AXS.
With the Skrillex concert, says AEG Presents co-president and senior talent buyer Don Strausberg, when the company scraped the sales data, it found instances of buyers who bought multiple tickets, exceeding the four-ticket limit on purchases and violated the terms of service for AEG-owned ticketing system AXS tickets. Those ticket purchases were then canceled, refunded to the originally buyer and put back on sale through the Fair AXS platform, a registration-based identity-verification system that helps concert promoters determine the likelihood that a ticket purchaser is a legitimate fan and not a ticket broker. (This verification system was recently utilized by Zach Bryan for his 2023 tour and requires fans to register in advance and provide their credit card information.) Strausberg says AEG is now considering whether to do the same for the Peaking Lights tour.
Strausberg didn’t identify how many Skrillex tickets were pulled back and sold through Fair AXS, but noted that demand for the April 29 show far exceeded supply at the world-famous 9,545-capacity venue.
“It’s time consuming,” to comb through all of the sales, and requires additional steps by both AEG and fans to register in advance for Fair AXS and to verify the accounts, Strausberg says, “but lately more people are asking for this.” Trying to identify individuals who violated AXS’s terms or service is “something we do without fail on nearly every large concert” says Strausberg, although the scale of unauthorized activity happening with the Skrillex show was larger than normal.
Scalping exists at every level of the concert business, but it’s much rarer to see high volume ticket scalping at smaller capacity venues like those on the Pretty Lights tour, where the artist is playing 3,500-size rooms. AXS ticketed 18 of the 24 shows on the Pretty Lights tour, totaling about 60,000 tickets total.
Lately, ticketing companies like Ticketmaster and AXS have become more effective at reducing the number of tickets that end up on the secondary market. That’s pushed some brokers into smaller capacity events, says a secondary market analyst who spoke on the condition of anonymity. “There’s much less opportunity at the club and theater level,” they add, where the majority of shows don’t sell completely sell out.
While Katy Perry spent a good portion of 2022 dazzling The Theatre at Resorts World for her Las Vegas residency, it’s been six years since her last world tour in support of her fifth studio album, Witness.
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In a new interview with Out, Perry said that it’s about time she hits the road again. “I still love making music. I still love spreading light and love,” she told the publication. “I know there’s a lot of people who couldn’t make it to Vegas. The last time I was on tour was in 2018. I’m… due. How about that? I’m due to go out and see the kids that couldn’t make it to Vegas.”
As for her extravagant Vegas residency, titled Play, the 38-year-old superstar looks back on the experience fondly and with empowerment. “I’m just so proud of the show that we created and we put on. It is such a spectacular show that we love so much,” she shared. “It’s almost like the greatest hits show! I call it all thriller, no filler. I wish I could bring it to the rest of the world, but it’s just not technically possible to cart around OTT toilets and bathtubs. Closing a chapter on Play allows me to start a new chapter. I’m so excited for the potential of my story to continue.”
The power-packed set list kicked off with “ET,” “Chained to the Rhythm,” “Dark Horse” and “It’s Not the End of the World,” and included hits like “California Gurls,” “Hot N’ Cold/Last Friday Night,” “Waking up in Vegas,” “Bon Appetit,” “Daisies,” “I Kissed a Girl,” “Lost/Part of Me/Wide Awake,” “Swish Swish,” “When I’m Gone/Walking on Air!,” “Never Really Over,” “Teenage Dream,” “Smile” and Roar.”
Rich Paul, founder and CEO of Klutch Sports Group and United Talent Agency board member and head of sports, has joined the board of directors at Live Nation. Paul, who is longtime partner of pop superstar Adele, boasts a client list that includes LeBron James, John Wall, Anthony Davis and Draymond Green and “brings a valuable perspective from sports, business, entertainment and more,” said Greg Maffei, chairman of the Live Nation board of directors. “We’re fortunate to welcome him as a new addition to our board.”
Live Nation President and CEO Michael Rapino noted that “Rich understands what it takes to help talent develop a long and successful career. His input will be a great addition as we continue driving more value for artists and their fans through live shows.”
Paul, who has regularly been named one of the most powerful agents in sports by Forbes, ESPN and Sports Illustrated — which crowned him “The King Maker” on a 2019 cover — got his start working with James in 2003. He later joined CAA and went on to launch his sports agency Klutch in 2012. In 2020, he became the first African American to sit on the board of UTA, which made a significant investment in his company Klutch the year prior. Last year, he inked a deal with New Balance for the launch of the Klutch Athletics clothing line.
“Live Nation’s artist-centric approach to business makes this a really natural fit for me,” said Paul in a statment. “Going to an event live is one of the most powerful ways to experience sports and music, and I look forward to contributing to the company and the industry in this new way.”
Reigning CMA entertainer of the year winner Luke Combs and Ryman Hospitality Properties’ Opry Entertainment Group have joined forces to reimagine Nashville’s Wildhorse Saloon, located at 120 2nd Ave. N., as a Combs-inspired multi-level entertainment venue; it’s set to open in 2024.
The yet-to-be-named complex will total 69,000 square feet, including an outdoor-indoor capacity of nearly 3,200 people, and will reflect Combs’ passions for music, songwriting, whiskey and sports. Specifically, the venue will take inspiration from Combs’ debut hit “Hurricane,” which went 8x multi-Platinum and spent two weeks at the pinnacle of Billboard‘s Country Airplay chart in 2017.
Speaking with Billboard at the Wildhorse Saloon in downtown Nashville, Combs said that watching Opry Entertainment’s work on Blake Shelton’s Ole Red venues was inspiring.
“I’ve had other offers for venues, but I always thought if I had the chance one day to do a venue, I would want to work with them. Working in hospitality the way they do, they bring something unique to the table.”
Combs added, “I talked with Blake about it this January, when we were talking about working with the Opry folks. He had so many great things to say about them and was like, ‘You should absolutely do this,’ and he was excited for me. It was great to get that affirmation.”
The entertainment complex will include a 1,500-person capacity concert venue for ticketed events. Meanwhile, a proposed rooftop bar (720-person capacity) with views of the Cumberland River and Nissan Stadium will add 9,000 square feet of entertainment space to the existing 60,000-square-foot venue.
The three interior levels will convey Combs’ songs, lifestyle and connection to his Bootlegger fans.
Colin Reed, Ryman Hospitality Properties’ executive chairman, told Billboard that he estimates the project will cost in the “tens of millions,” though he declined to offer specific financials.
Reed described the venue as containing a “250-seater honky-tonk at the front that can open up into the concert hall behind it.” He adds that the concert hall will include a “Beautiful Crazy” area designed for groups and bachelorette parties, as well as a bourbon bar and an area dedicated and inspired by Combs’ Bootleggers fanclub.
“We’ve definitely tried to prove over the years that we always think about the fans first,” Combs told Billboard. “I wanted to continue to do that with this spot, too. I didn’t just want to slap y name on something and wash my hands of it. I’ve been very hands-on with this. I wanted it to be something where my fans felt like they could come to. Obviously, if they are in the fanclub, there will be special things and special places for them to come to and unique opportunities.”
“With the honky-tonk, when I say 250 people, it will be two stories,” Reed tells Billboard. “It will be a small, intimate 250-capacity, where people will be on the second floor, looking down onto a stage and on the ground floor it will have a great bar behind it.”
Reed adds that the third floor is include a “new-generation sorts bar, to provide people who come to Nashville, who want not only to drink good bourbon, good beer, but also listen to music and watch their favorite sports team play.”
In the meantime, the venue will continue to operate as the Wildhorse Saloon until the new venue opens in 2024.
The Wildhorse Saloon opened in downtown Nashville in 1994 and has since been home to more than 4,000 television show episodes and tapings, as well as a destination for corporate events. The venue previously hosted The Wildhorse Saloon Dance Show on The Nashville Network in the 1990s and served as a base for the CMT show Can You Duet.
Combs says fans can absolutely expect to see some surprise appearances and performances from him at the venue.
“Any opportunity or any time I do something in town, I can do it here, because this is a spot that is large and versatile. It will be a really unique spot,” Combs says.
Combs is currently on his world tour, will will visit Nashville this weekend, for two shows at Nissan Stadium.