Touring
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Since joining forces in 2011, Queen + Adam Lambert have quickly become one of the most successful touring acts in the world — and now, they’re ready to prove why.
On Friday (March 24), the internationally beloved rock group announced the latest North American expansion of the Rhapsody Tour, set to take place this fall. Kicking off at Baltimore’s CFG Bank Arena in October, the tour will make 14 stops throughout the U.S. and Canada, including shows in New York, Boston, Toronto, Chicago, Nashville and Dallas, before closing out at Los Angeles’ BMO Stadium in November.
For fans who saw the first North American leg of The Rhapsody Tour in 2019, fear not; the new set of dates promises an “expanded and updated” show, with guitarist Sir Brian May adding in a statement, “Our last tour featured our most ambitious production ever. So we decided to rip it apart and get even more ambitious.”
Billboard caught up with May, Lambert and Roger Taylor ahead of their official announcement, where the trio talked about what fans can expect from the new show, their favorite songs to perform live, and why “this is not a farewell tour,” according to May.
This is the first time in four years that the three of you will be touring the U.S. together, following your European tour last year — how are you feeling ahead of hitting the road this fall?
Brian May: It’s incredible, yeah. I think we all learned in COVID how much we really missed this. It was really tough for everybody. We already did our big outing in Europe, but with a lot of restrictions on that; we had a very strict protocol just to get through, because people were going down like flies. But we managed to get through that whole tour without losing a date, and it was all sold-out, packed, fantastic and better than ever, I think. So we thought, “Well, we just have to get back to the states.”
Outside of those restrictions, were there any significant learning curves you had to navigate in a post-COVID touring environment last year?
Roger Taylor: Not really, no, I think it was a huge relief to just get back to something approaching normality. That made up for the fact that we did have to have a lot of mask-wearing, and we temporarily lost a few people along the way. And it was a long tour wasn’t it?
May: Oh, yeah.
Taylor: We were changing it and improving it as we went, and we are now going through all of those improvements again when it comes to this American leg.
I’ve noticed that the phrase “one more time” has been thrown around quite a bit when it comes to this tour — are you planning on this being Queen + Adam Lambert’s final outing?
May: Let me be clear, this is not a farewell tour. You can always do one more time … and then one more time … and then another time after that!
Adam Lambert: [laughs] Yeah, why limit yourself, guys?
Taylor: It’s just a simple, five year farewell tour, right?
When it comes to the “improvements” you’ve made to the show, what can fans expect to see that’s new with this leg of The Rhapsody Tour?
May: Well, we’re not gonna tell you that much, we don’t want to spoil it. [laughs] But the nice things is that the material is what ultimately gives the ideas, and we’re able to develop those ideas as we go along. We get to throw more and more stuff in, production-wise.
Lambert: I will say, the technology has come so far, even in the 10 years that we’ve worked together. It gives us so much freedom when it comes to what we want to create, what environment we want to put around a song. We have all of these toys that we get to play with, which we all get a big kick out of. We have an amazing creative team that work with us — I mean, we add something in a couple of days if we have a cool idea. Once the show kicks off, the show is never locked. It’s never the same show every night, we have the ability to throw a new song in, move the set around, change the visuals. There’s so much freedom.
That’s really interesting — how exactly do you go about adding new songs or new moments on the fly like that?
Lambert: I’d say a couple of glasses of wine and a chat, yeah?
May: [laughs] I mean, we also always do a soundcheck. The soundcheck is the key thing for us, I think. Every time we go into a new city and set things up, we’ll go into a soundcheck for two or three hours sometimes. When we’re doing that, we’ll try new stuff out, and our team is so flexible with us, that we’ll just throw out, “Can you give us a certain lighting effect, can you do stuff on the screens?” And they’ll build it on the spot for us. We don’t work on backing tracks or anything, which means we can kind of do anything we want. And we’re really fortunate to have a technical team that can handle that — a lot of this stuff is programmed to work at pretty exact intervals, and ours is all human touch, which gives it that live feel.
Lambert: Also, when we add a song sort of impromptu, we don’t like to over-rehearse it. We play it in that soundcheck and maybe one more soundcheck, and then we throw it in. It makes it really fun, like it’s a thrill-seeking activity, where we just go for it and see what happens.
Brian, I wanted to congratulate you on your recent knighting from King Charles III — what was that experience like for you?
May: It was nice! It was a lot more exciting that I thought it would be, really. We’ve interacted with King Charles a lot — he was at Live Aid! We’ve worked with him on the Prince’s Trust, which is a wonderful charity that takes care of young people, over the years. So meeting him and having him actually do that for me, was actually a really big deal for me. We had a pleasant chat about how old age was treating us, because we’re about the same age [laughs]. It’s quite nice, I feel like it’s given me a little bit more power to do the work I do with animals. I view it in that light — not so much as a prize, but as a kind of empowerment.
And Adam, congratulations on your High Drama covers album — were there any big covers you wanted to include that didn’t quite make the cut?
Lambert: There were definitely a couple others I was considering, but it was a very thought-out project, so we weren’t wasting a lot of time or energy in the studio. We did it so quick, probably recorded those over about two months. I’m so happy with it, even though I did not write those songs, it felt like I was getting creative in the studio to find new ways to make them sound. That was such a cool challenge for me.
Queen has one of the most prolific songbooks in modern rock music. Obviously there are the core set of hits that you’re gonna play almost no matter what — do you have any favorites in particular to perform that maybe aren’t as monolithic?
May: You know, there’s some stuff that we know would be very difficult — Roger mentioned “The Millionaire Waltz” once.
Taylor: [laughs] Oh yeah, I don’t know if we could pull that off.
May: But a lot of the stuff we do anyways is fairly complex — the key is you don’t play the record. We really play how we feel on the stage. It’s funny, some people would call that a bluff, but there’s a lot of multi-track guitar harmonies in a lot of our songs, and I don’t do that onstage and I don’t use trickery to achieve it. I play what I’m feeling, and people hear that and get a purely live version of the song. No extra frills, because to me, recording has always been different than performing live.
Taylor: Sometimes, the song gains a whole new dimension of excitement from that. But the live version will not be exactly the same as the record — that’s not what we’re about.
May: Some people will do that — they’ll have clicks and backing tracks and make everything sound perfect, but why do that? Why not do something that’s real and in the moment and ready to fall off the edge?
Lambert: As far as the setlist goes, I think we’re all aware of what the fan favorites are. But the most important thing here is that, sure, we need to have fun, but the audience is buying a ticket to see the show. This is about their evening and giving them a show that feels fresh. We are keenly aware of what the favorites are and we try to include the big hits every night — they have a lot of hits, so it’s a lot to choose from. But it’s a two-plus hour show, so we’ve got plenty of time to get those big hits.
Tickets for The Rhapsody Tour officially go on sale Friday, March 31 at 10 a.m. local time on LiveNation.com.
Tony! Toni! Toné! will reunite for a tour in 2023.
The announcement came by way of Instagram posts from members Raphael Saadiq, D’wayne Wiggins and Timothy Christian Riley that read, “Raphael Saadiq revisits Tony! Toni! Toné! Just Me And You Tour 2023” — with an influx of fans including John Legend, Questlove, Keri Hilson, Common and Bun B commenting their excitement on Saadiq’s post.
While no dates have been announced yet, Saadiq included a phone number for fans to reach him via Instagram Stories, linking to his Community.com texting list, which will presumably include more information about the tour.
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Tony! Toni! Toné! is comprised of brothers Saadiq and Wiggins and their cousin Riley, who joined together in 1986 and had a monumental run. Their first album, Who?, was RIAA-certified gold and produced hit singles including “Little Walter,” which reached No. 1 on Billboard‘s Hot R&B/Hip-Hop Songs chart. The group’s second album, The Revival, was met with critical and commercial acclaim, spending 64 weeks on the Billboard 200 chart and going platinum, in addition to boasting a slew of hits, including the Billboard Hot 100 top 10 “Feels Good.”
The “Anniversary” group went their separate ways following the 1996 album House of Music, with Saadiq going on to produce music for Stevie Wonder, Mary J. Blige, En Vogue, D’Angelo, Jill Scott, Erykah Badu, Whitney Houston, John Legend and Beyonce. This year, he won his second Grammy for best R&B song for his work on Beyoncé’s “Cuff It.” Wiggins, who helped develop R&B supergroup Destiny’s Child, entered the film world following the group’s hiatus, working as an executive producer and actor.
Sens. Richard Blumenthal (D-CT) and Sheldon Whitehouse (D-RI) responded to President Joe Biden’s calls for fairness and transparency in ticketing fees by introducing the Junk Fee Prevention Act on Wednesday (March 22). While the proposed legislation goes beyond live music, it would transform how concert tickets are sold and attempts to reduce fees that inflate tickets’ face values.
“Concealed surprise fees — nickel and diming Americans to distraction — must be stopped,” Blumenthal said in a statement.
“Consumers are charged hidden fees when purchasing everything from flights to concert tickets,” added Whitehouse. “Our Junk Fee Prevention Act would provide consumers with the transparency they deserve when making a purchase.”
Biden urged Congress to pass legislation addressing “junk fees” during his Feb. 7 State of the Union address, pledging to cap fees on concert tickets and make companies disclose all-in prices upfront. “Americans are tired of being played for suckers,” he said. “Pass the Junk Fee Prevention Act so companies stop ripping us off.”
Blumenthal and Whitehouse’s proposed legislation would at least improve transparency. Ticketing companies would be required to “clearly and conspicuously” display the total price of a ticket with all fees included “in each advertisement and when a price is first shown to a consumer.”
While the legislation targets concert ticket fees and some re-sale tactics, it’s more than a reaction to Taylor Swift’s botched Eras Tour presale that prompted a Senate hearing on Ticketmaster’s business practices. The Junk Fee Prevention Act seeks to prevent companies from applying or advertising “any mandatory fees that are excessive or deceptive” for any good or service. It also targets fees for airline tickets and short-term housing such as hotels and vacation rentals, and would require airlines to seat parents next to their young children.
Transparency is a key theme of the Junk Fee Prevention Act. It includes a requirement to disclose the total number of tickets being offered for a concert, theater event, sporting event or other events “at a place of public amusement of any kind.” Both lawmakers and consumers have long complained that many concert tickets are held back for fan clubs, commercial partners like credit card companies and VIP packages.
Many of the changes sought in the Junk Fee Prevention Act are also found in the FAIR Ticketing Reforms, a set of “common sense” measures introduced on March 8 by a group of leading music companies including Live Nation, Universal Music Group and Red Light Management. FAIR Ticketing Reforms also calls for an end to speculative selling on secondary markets and mandatory all-in pricing. Unlike the Junk Fee Prevention Act, FAIR Ticketing Reforms also calls for stricter measures against automated bots and policing and fining resale sites that serve as a safe haven for scalpers.
Any person who violates the Junk Fee Prevention Act would be subject to the penalties of the Federal Trade Commission Act. A state attorney general can also bring a civil action if a violation affects residents of that state. In determining whether a fee is excessive, the bill asks the Federal Trade Commission or court to consider whether the fee is “reasonable and proportional” to the cost of a ticket and the reason for the fee. The FTC or court can also consider “any other factors determined appropriate.”
A mandatory fee is defined as any fee required to purchase a ticket, is not “reasonably avoidable,” is not expected to be included by a “reasonable consumer” or “any other fee or surcharge determined appropriate” by the FTC. Within 180 days of the bill’s enactment, the FTC would commence a rule making proceeding to consider whether and how the Federal Communications Commission should require disclosure of mandatory fees or prohibit companies from charging mandatory fees.
UTA has officially set up shop in Atlanta.
Along with its partner company KLUTCH Sports Group, the agency opened its new Atlanta bureau Wednesday (March 22) to extend its ability to discover and serve artists, athletes, musicians and brands in the region. Steve Cohen, Rob Gibbs and Arthur Lewis will serve as co-heads of the new office.
“Atlanta is an entertainment and cultural hub, and planting our flag here gives us the ability to support clients with investments and opportunities across the city’s growing creative ecosystem,” said Cohen and Gibbs in a joint statement.
UTA will offer representation in Atlanta across its multitude of divisions, including music, sports, film, television, digital talent, marketing, gaming, fine arts and more. This includes advising top global brands based in the Southeast on a range of growth initiatives, including ways to partner with the creative community.
“Atlanta is a vibrant city for music, sports and arts, and there is a ripe opportunity to create another center of gravity for film and television,” said UTA CEO Jeremy Zimmer in a statement. “We are excited to bring our full range of services to the community of talented artists, athletes, musicians and creators who call the Southeast their home.”
The new office is located at 1401 Peachtree Street in Midtown Atlanta and occupies nearly 20,000 square feet across three floors. It was designed by the firm Hastings Architecture, which also designed UTA’s office in Nashville.
The Atlanta bureau will additionally feature a fine art gallery called The UTA Artist Space to showcase programming from the Atlanta art community and across UTA’s global fine arts roster. The inaugural show will feature Atlanta-based artist and musician Lonnie Holley in the first exhibition of his work in the city in over 10 years. Entitled “The Eyes Were Always on Us,” the exhibition will feature sculptures constructed from found materials in the tradition of African-American sculpture. The gallery is open to the public Tuesday through Friday from 10 a.m. to 5 p.m. and Saturday from 11 a.m. to 4 p.m.
UTA also boasts offices in Beverly Hills, Nashville, New York, Chicago and London.
Live Nation has acquired a majority interest in Clockenflap, the Hong Kong-based event organizer behind the flagship Clockenflap festival.
Financial terms weren’t disclosed in the arrangement, announced just days after Clockenflap Music and Arts Festival made a triumphant return to the city, following a four-year hiatus.
Held from March 3-5 at Hong Kong’s Central Harbourfront Event Space, the 2023 fest featured performances from Arctic Monkeys, Balming Tiger, Bombay Bicycle Club, The Cardigans, Wu-Tang Clan and more.
Organizers posted the “sold out” sign prior to the most recent edition, which boasted a 30,000 per-day capacity, before announcing a second 2023 fest would be held Dec. 1-3.
Founded in 2008, Clockenflap is one of Asia’s highest-profile festival brands, and certainly HK’s premier contemporary music event.
According to a statement issued Wednesday (March 22), the Clockenflap team will continue to curate, manage and produce its festivals and events, though now with access to LN’s festival portfolio and resources.
“The Live Nation team share our vision for Clockenflap being one of the best city festivals in the world,” says Justin Sweeting, co-founder and music director of Clockenflap, “and with Live Nation’s support and resources, I’m excited for the future of the festival.”
By teaming up with LN, adds Mike Hill, co-founder and managing director of Clockenflap, “we can continue to grow the festival and expand our event activities in Hong Kong and regionally.”
Clockenflap also produces concerts in HK under the brand Clockenflap Presents, including recent sold-out shows for Cigarettes After Sex and Honne.
“Partnering with Clockenflap further demonstrates that Live Nation is committed to bringing world-class festivals and live entertainment experiences to Hong Kong fans,” explains Roger Field, Melbourne-based president of Live Nation Asia Pacific.
Through LN’s global network, Field continues, “we will enhance and grow the Clockenflap brand and deliver new and exciting live opportunities to the region.”
HK’s live music scene is said to be blooming, in part due to the scrapping of hotel quarantine restrictions for international visitors and a cooling in tensions between pro-Democracy protestors and the Chinese police forces, which led to the cancelation of the 2019 event.
When NCT DREAM made their live Stateside return last August as one of KCON’s most anticipated performers, a quiet moment when youngest member Jisung sang just two words from the boy band’s debut single “Chewing Gum” saw the Crypto.com Arena audience erupting into shrieks. It was a quick-but-telling indication of the local interest in the young boy band that made its Billboard 200 debut last year without a proper label deal.
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While last summer’s festival appearance only included five of the seven NCT DREAM members, the entire DREAM crew is now gearing up for a proper visit to America.
On Tuesday (March 21), NCT DREAM dropped the English version of their nostalgic hip-hop single “Beatbox” before heading out on another string of dates in The Dream Show2: In a Dream world tour that includes seven arena shows in April. While many K-pop acts quickly make their way to the U.S. for concerts and opportunities — including NCT counterparts NCT 127, who began promoting in the States heavily after one year together — NCT DREAM is playing across the U.S. more than six and a half years after their debut. While it may have felt like a long wait, the band says the timing for the next step of their “journey” was important and they’re considering all aspects to make the next legs of the world tour special.
NCT DREAM’s Mark, Haechan, Renjun, Jeno, Chenle, Jaemin and Jisung tell Billboard that their newest English song not only was a present for the overseas fans they’re visiting, but also delivered a fresh musical experience for the band too. As the septet hint that more English tracks are on the way, and add they are “actively participating” in their forthcoming studio album due later this year, the focus right now is showcasing the onstage synergy of these seven — or “7DREAM,” as they call themselves.
Read more from the 7DREAM guys, including thoughts on their latest music, touring aspirations, messages for NCTzen fans, and what’s next for NCT DREAM.
Congratulations on the recent news of your growing world tour and English single “Beatbox.” You debuted in 2016; why is now the right time to focus some of your time on the west?
MARK: Everything comes with timing. This year, we are touring on a scale like never before and felt it’d be good to release an English single since we’re meeting fans around the world. We can’t wait to further continue our journey with all of our fans.
How was the experience of recording this new version of “Beatbox”? Is this indicating more English music from NCT DREAM?
RENJUN: It felt like we were recording a new song when working on the English version of “Beatbox” so it was quite fun. I tried to record in a way that’d suit the vibe of the track, and I believe this version shows NCT DREAM’s own colors well so I hope everyone enjoys!
HAECHAN: It’s been a year since we worked on this track again so I feel like we did better with recording this round. The demo track was actually in English; the vibe we first got when listening to it combined really well with NCT DREAM’s to give this version its own sense of uniqueness. And I hope people will look forward to hearing more of NCT DREAM’s English tracks!
What should fans expect from the U.S. leg of the The Dream Show2? Will you prepare special stages, or do you want to keep the current show intact?
JENO: This U.S. tour will be a chance for fans to learn more about NCT DREAM. We are also working hard to make sure that our shows are a place of interaction with our fans. We’ve only performed in the U.S. twice before, so it’ll be exciting to get to see different locations, stay longer and meet more of our international fans.
JAEMIN: I hope fans are excited for not only the “Beatbox” English version but all the stages we’ve prepared! Lots of work went into preparing to finally meet our U.S. NCTzens—we hope they are equally as excited to see NCT DREAM.
This is your first time performing your own concerts in America and you’re playing arenas. Is anyone surprised by the demand for NCT DREAM in the States?
CHENLE: It’s mind-blowing to see so many people show their love and support, and I cannot express enough how thankful we are.
JISUNG: This is the first time after the pandemic that we’re going to the U.S. as “7DREAM,” so it hasn’t quite hit us yet but I’m sure the moment we see our fans up close, it’ll sink in.
MARK and HAECHAN, you’ve had some experience with NCT 127 promoting across the U.S. Did you share any advice with the other members?
MARK: The only advice I told them was how hard we’re going to work. [Laughs] Despite my experience with NCT 127, promoting for NCT DREAM is a new beginning and experience for all the seven of us. The only thing I had to discuss with our members was to be ready to work extra hard, and to try our best to interact with our fans as much as we can.
HAECHAN: I just hope everyone enjoys the moment. It’s our first time in the U.S. as 7DREAM and I’m sure people are excited as well, but it’s important that we enjoy it ourselves so that we can create those memories for our fans.
Anything you’re particularly excited about seeing during the tour?
JENO: I’m most excited to hear the cheers of our NCTzens in all the countries and cities we’ll be going to.
CHENLE: I am looking forward to showing the amazing stages we’ve prepared to all the NCTzens that’ll be coming to see us! I’m also excited to be going to California because I’m a big Stephen Curry fan! We haven’t had much time to explore the U.S. so even the thought of simply being in California is exciting.
NCT DREAM has been so busy! You released Candy for the holidays, your first Japanese single “Best Friend Ever” at the top of 2023, there are Asia, Europe and now U.S. tour dates; when are you finding the time to relax and rest?
RENJUN: Even when we’re busy with several activities, it’s always a good time because it’s spent with my members so even working feels like fun — that in itself sounds like healing to me!
JISUNG: When we have a lot of schedules, there are times when we aren’t able to rest as much but I’m the kind of person who gains more energy from staying active. I do make sure to relax and take care of myself though on days that are less busy.
What else can we look forward to in 2023? We’ve seen a studio album on the schedule for you. Are there any spoilers you can share?
JAEMIN: We are actively participating in our upcoming full-length album and working very hard to bring out the best. I hope people will be able to see just how much we’ve put into it when the album comes out.
Anything else to add for Billboard readers or U.S. fans?
MARK: NCT DREAM is here to see you guys!!! Thank you to all the fans that waited so patiently for us to come—can’t wait to show you NCT DREAM and how we really care about our time here in the west. See you, guys!
Dallas’ renowned So What?! Music Festival is returning for its 15th edition with newly-announced headliners The Used, Pierce The Veil, Sleeping With Sirens and Thursday, who will perform their acclaimed War All The Time album. The event — now managed under a partnership between Third String Entertainment and Disco Donnie Presents — will be held June 24-25 at Dallas’ Fair Park.
Other highlights at this year’s festival include Breathe Carolina, which will perform a rare throwback live set, as well as reunion sets from Maylene & The Sons of Disaster; Woe, Is Me; The Color Morale; Millionaire$; Head Automatica; and Dallas’ own Forever The Sickest Kids.
The latest iteration will also feature some of today’s most in-demand hip-hop artists (both mainstream and underground), including Oliver Francis; the highly anticipated reunion of emo-rap collective GothBoiClique; screamo/hip-hop project Jasiah; and Freddie Dredd.
With a reputation for being the first to introduce the festival world to future stars like G-Eazy, this year’s So What?! is also spotlighting a number of rising artists and internet sensations, including Phonk rapper Sxmpra, hyperpop artist WHOKILLEDXIX, punk-inspired rapper Nascar Aloe and San Francisco hip-hop artist Haarper.
This year’s So What?! festival is the first to be managed under Disco Punk, a partnership struck in January between Third String Entertainment promoters Mike Ziemer and Orlando Mendoza and James “Donnie” Estopinal‘s leading independent electronic promoter outfit Disco Donnie Presents.
Since its founding in 1994, Disco Donnie Presents has primarily focused on the electronic music scene, producing over 18,000 shows and selling over 18 million tickets in over 100 different cities since its inception, as well as over 300 club shows and events in Texas alone. Speaking with Billboard, Ziemer says the Third String team highly values the wealth of experience brought by Estopinal, who has long served as a mentor to promoters.
“I see a lot of myself in Donnie,” says Zeimer. “We think the same way, but he has been through all the possible good and bad scenarios and knows how to navigate the festival landscape in a way where we can actually scale up and grow our festivals properly. We are both learning a lot from each other in this partnership so far and it feels very natural. He actually gives a s— about what he’s doing, who he’s working with, and how things are done.”
Estopinal says he has “kept an eye on” Third String Entertainment “for a long time,” adding, “It’s amazing what they’ve accomplished so far. We’ve always talked about working together and saw this year as the perfect opportunity. I see a lot of myself in Mike and Orlando…I also think they can teach us a lot.”
Ziemer says this year’s festival will feel more focused than the 2022 edition. In 2023, So What?! will feature fewer than 100 acts — roughly three times fewer than last year — and span three stages versus last year’s seven. “We kind of went nuts last year because COVID had us taking a few years off from the festival and we sort of felt compelled to make up for lost time by trying to go as big as possible,” he says. “In the end, we hurt our event because of short sets, too many scheduling conflicts, too many stages, etc. This year we are back to our core of what makes the festival special to our fans. We always did three stages…and people loved the easy ability to rotate between the three and catch as many acts as possible.”
When it first launched in 2008, So What?! featured a blend of pop-punk, rock and metal artists. It has since grown to encompass more genres and become Texas’ fastest-growing festival of its kind, with past headliners including Simple Plan, Trippie Redd, 100 Gecs, Rae Sremmurd and Underoath.
For more information on this year’s So What?! festival, including ticket prices, payment plan options and more, visit SoWhatMusicFestival.com.
Duars Entertainment, the indie label, management, booking and publishing company that handles Puerto Rican star Rauw Alejandro, Cauty and Sie7e, among other artists, has formally launched a new events production company, Duars Live.
Duars Live is led by Duars Entertainment founder Eric Duars Pérez, along with veteran Puerto Rican promoter Paco López as co-producer, Orlando “Chispa” Acosta as stage manager, Omar Rodríguez as head of pre-production and Alexis Soto as production manager.
The launch of Duars Live formalizes an event production and concert promotion operation that Duars Entertainment las long had in place, but is now ready to expand. A catalyst was Alejandro’s “Saturno” tour, which kicked off in March and will play over 70 dates around the world, making stops in 34 North American arenas, 19 European arenas and 17 Latin American arenas. Duars Live is producing the tour in partnership with Outback Presents.
“Producing events is my real passion” says Duars, who began managing Alejandro several years ago and eventually signed him to his label, Duars Entertainment (which now releases his music via a joint venture with Sony Music Latin). “At some point in my career I had the opportunity to manage artists and release music, but I feel like in an odd turn of events, life has led me back to event production which I am totally enjoying now.”
In hiring touring veterans as his support staff, Duars was also aiming at sustained growth of his company overall. “I want to develop people within my structure so that in 10 years they can function without me,” he says. “I want to grow, sign artists, do more projects. My goal is, literally, to grow.”
In addition to Rauw Alejandro’s tour, Duars Live is also producing two shows at Coliseo de Puerto Rico by reggaetón star De La Ghetto and will soon launch another major tour.
The Music Performance Trust Fund (MPTF), established 75 years ago and still one of the industry’s best-kept secrets, has announced its funding support allocation for the upcoming fiscal year.
“We were going to go to $3 million and now we’re looking at moving it to $3.3 million from the fiscal year that begins May 1,” says MPTF Trustee Dan Beck. That’s up from the current fiscal year, when the Fund distributed over $2.7 million in grants.
The New York City-based non-profit supports a wide array of admission-free events and initiatives aimed at enriching lives and uniting communities through music. In April, the trust fund aims to support over 250 live music performances in celebration of Jazz Appreciation Month, and later will be partnering with local businesses and organizations in events celebrating Juneteenth, as well as providing support for the Chicago Lyric Opera, the French Quarter Festival in New Orleans, the Make Music Alliance and the Broadway League’s annual Curtains Up! event held in Times Square.
The MPTF receives funding from the three major labels, as well as Walt Disney Records, and works closely with the American Federation of Musicians (AFM).
The numbers from the fund’s current fiscal year, ending April 30, are impressive; across North America, it helped pay for 1,200 concerts in parks and public spaces, 400 music events at schools, over 1,000 performances at senior centers and over 1,300 live virtual music events. These 3,500-plus performances, covering all genres, drew over 1 million people in total across in-person and virtual events, according to the fund. All performances must be free to the audience, with MPTF paying union musicians for their work at these events.
Confirming this, Beck says, “They’re all free, and that’s a requirement that has been part of the trust fund since the beginning. It all has to be admission free, can’t be tied to any other material event or political rally or anything like that. It must be something that’s…for the good of the community and to get the musicians paid a fair wage.”
To receive funding for an event, local unions apply to the MPTF for a grant to stage a musical performance and line up a local sponsor to match the grant to provide a fair wage payment for the musicians performing. In some instances, MPTF approaches unions and offers a themed event concept to bring to their local markets, but in most cases, the unions and their matching grant partners choose which union musicians and events their efforts will back.
“A lot of times it’s the municipal government or the Parks Department, or an Arts Council in the local city” that co-sponsor events, says Beck, who has been with the fund for 10 years. Beck was president of V2 Records North America before the turn of the century and also spent over two decades with Epic Records prior to that, rising to senior vp of sales and marketing, according to his LinkedIn profile.
Beck says MPTF proactively supports local unions’ efforts to organize community performances. “We monitor the budget limits and rules and try to help the locals successfully access our funds equitably and fairly,” he says, adding that events funded by the organization run the gamut. “Some locals have 30 members. Others have thousands. We are working with full orchestras and solo musicians.”
The funding that the MPTF distributes to local unions in the United States and Canada comes from a negotiated agreement between the labels and the AFM known as the Sound Recording Labor Agreement. That agreement, based on the labels’ annual sales and streaming revenue, calls for those companies to funnel payments directly to three funds: the American Federation of Musicians and Employers’ Pension Fund; the Sound Recording Special Payments Fund; and the Music Performance Trust Fund.
Beck is bullish about this year’s prospects. In addition to musical performances, the organization aims to fund over 500 music education programs in 2023-24 through partnerships with national and local organizations such as Save the Music and Young Audiences Arts for Learning. As part of its educational efforts, it will fund a minimum of $150,000 to be awarded to students in the fall of 2023 through its two scholarship programs, Music Family Scholarship and Music’s Future Scholarship. Last year, more than 90 Music Family Scholarships were given to AFM musicians with family members attending college, while 30 Music’s Future Scholarships went to music students unaffiliated with the union.
On the live performance front, the organization says it will bolster its signature national MusicianFest initiative that brings live music to senior citizens, a segment of society that has been strapped by fixed incomes, inflation, immobility and the devastation wrought by the COVID-19 virus.
While MPTF prefers the local unions to bring in a local funding partner, when the organization is trying to raise its funding distribution outlay, “we have selected certain times where we’ll go to the union locals and say, ‘Look, we will fund 100% if you have something for Black History Month,’” says Beck. For Juneteenth, MPTF did an event with Broadway League, funding a 12-piece band performance in Times Square. “Then we got to thinking about it and [said], ‘Hey, why don’t we take that and offer a Juneteenth event out to all the locals?’ And the response was just great,” Beck adds. “We’ll be doing that again; we will start that offer for Juneteenth literally the day after Jazz Appreciation Month ends.”
While things are looking good going forward, Beck says that MPTF faced major challenges when the pandemic hit — though Beck notes that it also created new opportunities for the fund, with livestreamed performances via Facebook coming to the rescue. “It didn’t matter what type of music someone played, we were able to crank up the livestream thing,” he says. “We have a small staff [of five], I was stunned that we could actually do it. Thankfully, our little grant management team that coordinates all the grants did a remarkable job working with each other. There are 175 union locals across North America, and we were generally working with half of them.”
Certainly, the parent umbrella union’s participation and support remain crucial. Ray Hair, international president of the AFM, said in a statement provided to Billboard that “MPTF is well-positioned to expand its mission throughout the U.S. and Canada for many years to come.” Other prominent supporters include the Recording Industry Association of America (RIAA), whose chairman/CEO Mitch Glazier and COO Michele Ballantyne said in a joint statement: “RIAA Members are honored to support this dynamic, living testament to the tapestry of American music.”
Canadian prime minister, Justin Trudeau, also weighed in with a statement to Billboard regarding the MPTF, saying, “Your commitment towards supporting musicians, making music a part of every child’s life, and adding to public knowledge about music, is unmatched.”
Beck feels his music industry experience has been beneficial in handling the demands of his position. He recalls working in the major label distribution branch system pre-2000 when those companies had sales offices “around the country, and each had a special relationship with their accounts and with the markets that they worked in. I find that’s kind of very similar to what the union locals are like.”
For his part, Beck is just happy to serve. Referencing the Fund’s mission statement, he sees music as a unifying and healing force.
“I’m very grateful that opportunity came my way,” he says. “Where I am in life, there’s no better way to do things than to be working with people who are trying to make some nice community events happen. As divided as people can be, you put them in a little park together [for a musical event] and they all seem to have a good time and speak nicely to everybody else.”
The country’s two leading concert companies, Live Nation and AEG, are at odds over how Congress should address the future of ticketing after a disagreement over Taylor Swift’s record-breaking The Eras Tour.
Long before the pop star’s Nov. 15 sale dominated the news cycle, where hundreds of thousands of Swift fans experienced service disruptions that kept them from buying the tickets they wanted, the two companies had signed an agreement that many thought might take AEG out of the ticketing business entirely. In 2021, when AEG announced that its facility management division ASM had struck a deal to make Ticketmaster its preferred ticketing partner, many assumed that meant the company was on the way to shutting down its own ticking platform, AXS Tickets.
Instead, ASM’s contract with the Live Nation-owned Ticketmaster would pave the way for an expansion of AEG’s AXS, thanks to a provision in Ticketmaster’s exclusive agreement that granted AEG the right to use AXS to sell tickets to AEG-promoted shows at ASM venues, sources tell Billboard. AEG tours like Kane Brown, Elton John and Luke Combs could opt out of using Ticketmaster when playing ASM-client venues such as Soldier Field in Chicago, U.S. Bank Stadium in Minneapolis and Desert Diamond Arena in Glendale, Ariz., and use AXS instead. This marked the largest carve-out in Ticketmaster’s exclusivity contract to date, potentially allowing hundreds of arenas, stadiums and performing arts centers to use AXS for the first time, like the new Allegiant Stadium in Las Vegas — the highest grossing stadium on Billboard’s 2022 year-end Boxscore chart.
The provision was a sort of double victory for AEG, Live Nation’s leading competitor: The company was able to leverage its control over 350 ASM venues to get those clients large payouts for re-signing with Ticketmaster without forsaking its own ticketing service. AEG officials had also hoped this might mark the beginning of a more open ticketing ecosystem away from the sorts of exclusive deals that have helped Ticketmaster gain such dominance in the space. But less than two years later, AEG and Live Nation find themselves at odds, divided over the handling of Swift’s The Eras Tour.
AEG is now refusing to join a coalition of music companies supporting Live Nation’s Fair Ticketing campaign, a piece of proposed anti-scalper legislation born out of the bot attack on Ticketmaster’s Nov. 15 presale for Swift’s tour. While Universal Music Group, Red Light Management, Irving and Jeffrey Azoff, and all four major talent agencies are backing the FAIR Ticketing reforms to ban scalping practices like “speculative” ticket selling and mandating all-in pricing across all ticketing marketplaces nationally, AEG has been taking a different approach to what they see as some of ticketing’s biggest problems. Sources tell Billboard that AEG executives have been quietly lobbying the Department of Justice to investigate Ticketmaster’s use of exclusive ticketing contracts to lock up the ticket market as a possible violation of its consent decree governing its merger with Live Nation in 2010. AEG leadership is also lobbying politicians to include restrictions on such exclusive ticketing practices in new legislation that could be introduced as soon as this week.
Sources say Live Nation executives have been careful not to engage with AEG publicly about its exclusivity agreements. Privately, they have accused AEG of trying to have it both ways, accepting the money that comes with exclusive ticketing contracts, while trying to expand AXS ticketing beyond the ASM deal into all NFL stadiums ticketed by Ticketmaster.
“This is a bad look for them,” one source at Ticketmaster tells Billboard.
Since Live Nation merged with Ticketmaster in 2010 and AEG launched its own ticketing platform in 2012, both companies have found they can earn more from the concerts they promote if they also control the ticketing, collecting more fees for themselves, while keeping data generated by the concert in house. The additional revenue for a promoter like AEG could be substantial, especially for an artist like Swift, who sold a total of 2.4 million tickets for The Eras Tour.
With Swift’s tour, sources say AXS was expecting to handle some of the ticketing under the ASM-Ticketmaster provision, since AEG was a co-promoter with partner Messina Touring Group. ASM managed five stadiums, representing 12 shows on the 52-date trek, and sources say AXS officials were hoping its ties to the tour could lead to it getting some, if not all of the tour. Except that Ticketmaster executives said their exclusive contracts with more than a dozen NFL teams (and the venues they own) superseded AXS’ claim. Under that reading of the deal, two of the 12 ASM dates — a pair of concerts at State Farm Stadium in Glendale, Ariz. — would be ticketed by SeatGeek under its exclusive deal with the Arizona Cardinals. Making matters worse, two of ASM’s management clients decided to partner with Ticketmaster for the sale.
Down to just five shows at two stadiums, AEG dropped the matter. According to a source, AEG executives have since spoken with the Department of Justice, encouraging them to look at Live Nation and Ticketmaster’s use of exclusive contracts as anti-competitive.
Relations only worsened in the days following The Eras Tour presale. After the fiasco, Live Nation chairman Greg Maffei appeared on CNBC to defend Ticketmaster and cited the company’s arrangement with AEG in response to claims of monopolistic behavior. “AEG, who is the promoter for Taylor Swift, chose to use us because, in reality, we are the largest and most effective ticket seller in the world,” he said. “Even our competitors want to come on our platform.” AEG leadership was quick to respond with a statement, saying the promoter had no choice but to use Ticketmaster. “Ticketmaster’s exclusive deals with the vast majority of venues on The Eras Tour required us to ticket through their system,” an AEG spokesperson said. “We didn’t have a choice.”
AEG hopes its private lobbying of politicians and anti-trust officials will lead to regulatory change that could include abolishing exclusive ticketing contracts in the United States and ultimately move toward an industry more similar to Europe, where promoters generally don’t sign exclusive ticketing deals and work with multiple partners to sell tickets.
Despite the disagreement, the ASM-Ticketmaster deal remains in place, and AEG officials have had success convincing buildings like the Greek Theater in Los Angeles and the Quicken Home Arena in Cleveland to avoid exclusive ticketing agreements and remain open to multiple systems.
Live Nation and AEG declined to comment for this story.