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Touring

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Harry Styles took his Love on Tour to Seoul’s KSPO Dome on Monday (March 20) as part of the trek’s Asia leg, which found several K-pop musicians in attendance.

Before the show kicked off, fans in the arena were treated to K-pop hits on Styles’ pre-show playlist that included NewJeans’ “OMG,” STAYC’s “Teddy Bear,” BLACKPINK’s “Pink Venom” and BTS’ “Dynamite.”

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After the show began, BLACKPINK‘s Rosé shared footage of her and fellow group mate Jennie enjoying Styles’ set and singing along to 2022’s official Song of the Summer, “As It Was.” When the show wrapped, the “On the Ground” singer took a pic with Styles backstage at the event. The pair shared a one-armed embrace as he gave the camera a thumbs up and a wide smile. “Yayyy thank you @harrystyles for coming to Korea,” she captioned the photo on her Instagram Story.

Rosé and Jennie were far from the only K-pop stars in the audience; several BTS members appeared amongst the crowd, with the duo Taekook — Taehyung (V) and Jung Kook — trending on Twitter for energetically dancing while Styles performed One Direction’s “What Makes You Beautiful.” RM and Suga also were spotted in the audience, but sat in separate locations from V and Jung Kook.

ENHYPEN‘s Jay, Jake, Sunghoon and Ni-Ki took their spots among the audience, wearing face masks to conceal their identities, while MONSTA X‘s Hyungwon and Ateez‘s Wooyoung went to the concert, too. TWICE, Aespa, Super Junior and more also showed their support for the English pop star.

See Rose’s Instagram Story featuring Styles before it disappears here.

MELBOURNE, Australia — Live Nation Australia has secured a multi-year lease to operate Festival Hall, the iconic Melbourne live music and sports venue.
Through the arrangement, confirmed late Friday (March 17), LN is expected to invest in several upgrades on the versatile space, which was built during WW1 and currently boasts a capacity of 5,405.

Festival Hall slots into the concerts giant’s existing portfolio of venues, which includes The Palais Theatre in Melbourne, the Fortitude Music Hall in Brisbane, the Hindley Street Music Hall in Adelaide, and Anita’s Theatre, a historic venue in Thirroul, a northern seaside suburb of Wollongong, which last year became LN’s first push into regional Australia.

“We are extremely excited to be delivering the next chapter of Festival Hall’s life,” comments Roger Field, president LN APAC, “not only because it will help support the growing demand of shows that are coming down the pipeline across the industry, but also to put the iconic venue firmly back on the global live entertainment map.”

LN’s vision for Festival Hall, Field continues, is to ensure that the venue “remains a cornerstone of the State’s live music scene for artists, industry, and fans alike.”

The launch of this new project will support 200 full-time equivalent jobs on event days, sources say.

Festival Hall has a storied history. The multi-purpose space at 300 Dudley Street, in West Melbourne, was originally built back in 1915 by John Wren, chairman of Stadiums Pty Ltd. Fire ripped through the room in 1955, but a rebuild was completed in time for the 1956 Olympics Games, where hosted gymnastics and wrestling.

Over time, the likes of the Beatles, Bill Haley, Johnny Cash, Frank Sinatra, Liberace, Shirley Bassey, Foo Fighters, Ed Sheeran and Lorde have played to packed houses at Festival Hall.

In October 2020, the venue was purchased by Hillsong Church with the intention to create a community hub to support live music, entertainment, and other events. At the time Hillsong stated, “it’s a way to give back to Melbourne and continue the venue’s legacy.”

It’s understood the church will continue to use the venue for weekend services and other events.

Madison Square Garden chairman James Dolan remains defiant in the face of an existential crisis at 4 Pennsylvania Plaza, where a lawsuit filed by two dozen ticket scalpers has mushroomed into a multi-pronged fight with some of New York state’s most powerful political forces — ostensibly at the worst time possible for the World’s Most Famous Arena.

Dolan is currently facing the revocation of Madison Square Garden’s alcohol license from the State Liquor Authority (SLA), a push by New York state Senate Democrats to revoke a $42 million tax break granted to the Garden four decades ago and an investigation by New York Attorney General Letitia James.

It all stems from a lawsuit filed against MSG in October, after more than two dozen longtime season ticket holders identified by Madison Square Garden as scalpers were told that their Knicks tickets were not being renewed for the 2023/2024 season. The brokers sued, arguing that team officials were booting them out of their seats just as the Knicks were finally getting good (the team is expected to make the NBA playoff this season).

Dolan responded to the lawsuit by barring the broker’s attorney, Larry Hutcher, and all lawyers from his firm, Davidoff Hutcher & Citron, from entering venues owned and operated by MSG. Soon, the policy was expanded to all law firms suing MSG, leading to a lawsuit from Hutcher and outrage from city and state officials.

The policy affects about 90 law firms and is being enforced using facial recognition software at all MSG properties, including Radio City Music Hall, where a mother chaperoning a Girl Scout troupe to see the annual Christmas Spectacular was pulled aside by security and forced to leave the venue after being identified as an attorney working at a firm with pending litigation against MSG. In that instance, the attorney was forced to wait outside while her daughter and friends attended the show.

The lawyer ban is unfolding just months ahead of a key hearing in July when MSG officials plan to ask city lawmakers to renew a special permit required for all 2,500-plus capacity venues to operate in the city — an ask complicated by a current disagreement over whether to relocate MSG’s namesake venue.

Madison Square Garden sits atop Penn Station, a long-in-decline rail station used by passengers coming in from Long Island and New Jersey. MSG bought the original Penn Station in 1960, demolished the above-ground structure and relocated the station below street level. Today, more than 600,000 passengers use the station each day. That’s led to calls from the Metropolitan Transit Authority (MTA) and state officials, including multiple past governors, to move Madison Square Garden and fix Penn Station. As a result, city and state leaders are facing increasing pressure to deny MSG’s request for a permanent permit — and Dolan’s ongoing antics aren’t helping.

In the state Senate, Democrats led by Sen. Brad Hoylman (D-Manhattan) have put Madison Square Garden’s $42 million property tax break on the chopping block over the facial recognition brouhaha. Hoylman wants any revenue created by stripping away the tax break sent to the MTA, an overtly symbolic gesture referencing the MTA’s battle with MSG over the future of Penn Station.

In response, MSG released a statement that read, “It’s interesting that Senator Hoylman is rallying to end governmental subsidies for corporations when just last year he voted in favor of legislation that extends a $420M governmental subsidy for the film industry and currently sponsors legislation to create new subsidies for the musical and theatrical production industry. Madison Square Garden is a significant job creator and an economic leader within both our community and the city. Our tax abatement is no different than the government subsidies that every single stadium and arena in New York City and state receive and in fact, is hundreds of millions of dollars less than most other venues.”

Next came a letter from an SLA investigator notifying MSG that it was considering revoking the liquor license of all MSG-owned and operated venues for violating a city rule that licensed establishments be “open to the public.”

“As a condition of your license your premises must remain open to the public, i.e., groups or individuals cannot be excluded on the basis of criteria that are not directly related to your duties under your SLA license, and that you must exercise a high degree of care and supervision to prevent any violations of the Alcoholic Beverage Control Law and the Rules and Regulations of the State Liquor Authority,” said the SLA in the letter.

Days later, the SLA demanded Dolan stand before the liquor authority and explain why MSG’s license should not be stripped away.

Dolan responded with a press release calling the SLA a “gangster-like governmental organization has finally run up against an entity that won’t cower in the face of their outrageous abuses.”

Dolan’s attorney, Randy Maestro, proceeded to file a Rule 78 petition against SLA — a measure used in New York State court to challenge a ruling or determination by a state agency. In a 47-page filing in New York Supreme Court, Dolan accused the SLA of a long history of corruption and even attacked one the SLA’s investigators, accusing him of racial bias and corruption while serving in the NYPD for 19 years.

The lawyer ban, Maestro wrote, is meant to stop lawyers seeking to “improperly leverage their access to MSG’s venues to craft and develop discovery strategy by engaging in improper communication with MSG employees during pending litigation.” He also argued that the policy “temporarily limits the admission of less than 0.8% percent of New York lawyers, less than 0.03% of the five million visitors to MSG’s venues every year, and less than 0.01% of all New Yorkers.”

A hearing on the SLA article 78 motion is preliminarily scheduled for March, while a decision on the tax break is due April 1 in Albany.

On Wednesday, March 15, Billboard editor Taylor Mims moderated a panel at SXSW that discussed the touring industry’s post-pandemic status. Featuring panelists Sara Mertz (VP of music partnerships at Tixr), Liz Norris (manager at Activist Artists Management) and Sarah Tehrani (music touring agent at WME), the panelists voiced concerns about saturation on the road, rising touring costs and the increase in specialized live experiences.

Mertz recalled how as quarantine restrictions lifted and tickets went back on sale, there was “lots of excitement” and a massive rush back to get back the road. But then the industry was then hit with subsequent variants, leading to cancellations en masse. “What we’ve been experiencing the last few years is a pendulum,” she explained.

And while Tehrani added that she has hopes for the industry to level out next year — for which agents at WME are already booking now — Norris explained that “nothing will be the exact same as it was in 2019,” given consumer behavior has changed over the last few years, along with other factors.

“People want a more specialized, curated experience than ever,” said Tehrani. “Rather than these big, throw-everything-at-the-wall-and-see-what-sticks festivals that are focused on going and discovering new music, we’re seeing more interest in boutique festivals.” For example, music fans seem more interested, in Tehrani’s approximation, to see a one-day legacy hip-hop festival than ever, and meanwhile larger-scale, broad appeal festivals are struggling to get the same sales as they once did.

Some artists Tehrani works with, like R&B singer-songwriter UMI, have even tried incorporating new elements to make their tours stand out, like adding in a meditation practice offered as a VIP experience at her shows to boost fan engagement and spread her passion for wellness.

Such experiences are becoming more crucial as the cost of touring continues to rise with inflation — and as a result of cutbacks on positions like bus drivers and sound engineers — leaving consumers to be pickier about which shows they attend.

But still, this strategy is challenged by a high no-show rate. “Attrition remains an issue,” said Mertz. “I don’t know what it is. I was just meeting with a couple of clients last night and they’re like, ‘We don’t understand it, at our sold-out shows, still 20-25% of people are not showing up. Why?’”

In 2021 the issue was attributed to lingering pandemic concerns, but now one of the only explanations the panelists provided was the possibility of increasingly cunning scalpers. “I do think that scalper activity has increased a lot over the last few years,” said Mertz. “It’s a business now.”

For Norris, whose management firm represents Dead & Company, Michael Franti, and the Lumineers, she said one of the industry’s most pressing concerns is “to do a lot of work to make sure the fans aren’t the ones that pay the price” of today’s higher touring costs.

At the same time, the panelists did identify some positive changes that have emerged in live music over the last few years. “Mental health is now at the forefront,” said Norris.

“Having a therapist and physical therapists on the road is new,” added Tehrani. “We’ve always had vocal coaches and stuff like that, but people are definitely thinking about how to take better care of each other. That’s a very good thing”

Willie Nelson announced on Tuesday (March 14) he’s bringing back the Outlaw Music Festival in 2023 for a string of dates this summer.
The annual festival, which serves as a celebration of Nelson’s life and legacy, will see the country rocker bringing friends and family on the road to celebrate his upcoming 90th birthday. Guests will include Robert Plant & Alison Krauss, The Avett Brothers, John Fogerty, Nathaniel Rateliff & The Night Sweats, Whiskey Myers, Gov’t Mule, Marcus King, Margo Price, Trampled By Turtles, Molly Tuttle & Golden Highway, Kathleen Edwards, Flatland Cavalry, Kurt Vile And The Violators, Brittney Spencer and Particle Kid.

“I can’t wait to be on the road with the amazing group of artists joining us on this year’s Outlaw Music Festival Tour,” Nelson said in a press release. “It is always a great day of music and fun with family, friends and the incredible fans, and even more special this year in celebration of my 90th birthday.”

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The Outlaw Music Festival will kick off in Somerset, Wash. on June 23, making additional stops in Dallas, Philadelphia, St. Louis, Cleveland and more before concluding in Cinncinati on Aug. 30. Fans looking to get tickets can do so through a Citi cardmember presale beginning Tuesday, March 14, at 10 a.m. local time until Thursday, March 16, at 10 p.m. local time. General onsale starts on Friday, March 17, at 10 a.m. local time via OutlawMusicFestival.com.

See the full tour announcement and the day-by-day lineups for Outlaw Music Festival below.

Friday, June 23, 2023Somerset, WI – Somerset Amphitheater

Willie Nelson & Family

Robert Plant & Alison Krauss

Trampled By Turtles

Molly Tuttle & Golden Highway

Particle Kid

Saturday, June 24, 2023East Troy, WI – Alpine Valley Music Theatre

Willie Nelson & Family

Robert Plant & Alison Krauss                              

Trampled By Turtles

Molly Tuttle & Golden Highway

Particle Kid

Sunday, June 25, 2023St. Louis, MO – Hollywood Casino Amphitheatre

Willie Nelson & Family

Robert Plant & Alison Krauss

Trampled By Turtles

Molly Tuttle & Golden Highway

Particle Kid

Thursday, June 29, 2023Rogers, AR – Walmart AMP

Willie Nelson & Family

Margo Price

Flatland Cavalry

Particle Kid

Friday, June 30, 2023                                          Dallas, TX – Dos Equis Pavilion

Willie Nelson & Family

Whiskey Myers

Flatland Cavalry

Brittney Spencer

Particle Kid

Sunday, July 2, 2023The Woodlands, TX – Cynthia Woods Mitchell Pavilion

Willie Nelson & Family

Whiskey Myers

Brittney Spencer

Particle Kid

More To Be Announced

Friday, July 28, 2023Columbia, MD – Merriweather Post Pavilion

Willie Nelson & Family

Nathaniel Rateliff & The Night Sweats

Kurt Vile and The Violators

Kathleen Edwards

Particle Kid

Saturday, July 29, 2023Bethel, NY – Bethel Woods Center for the Arts

Willie Nelson & Family

Nathaniel Rateliff & The Night Sweats

Gov’t Mule

Kathleen Edwards

Particle Kid

Sunday, July 30, 2023Darien, NY – Darien Lake Amphitheater

Willie Nelson & Family

Nathaniel Rateliff & The Night Sweats

Gov’t Mule

Kathleen Edwards

Particle Kid

Wednesday, August 2, 2023Gilford, NH – Bank of New Hampshire Pavilion

Willie Nelson & Family

The Avett Brothers

Kathleen Edwards

Flatland Cavalry

Particle Kid

Friday, August 4, 2023Hershey, PA – Hersheypark Stadium

Willie Nelson & Family

The Avett Brothers

Marcus King

Flatland Cavalry

Kathleen Edwards

Particle Kid

Saturday, August 5, 2023Philadelphia, PA – TD Pavilion at The Mann

Willie Nelson & Family

The Avett Brothers

Marcus King

Kathleen Edwards

Flatland Cavalry

Particle Kid

Sunday, August 6, 2023Holmdel, NJ – PNC Bank Arts Center

Willie Nelson & Family

The Avett Brothers

Marcus King

Kathleen Edwards

Flatland Cavalry

Particle Kid

Friday, August 11, 2023Cleveland, OH – Blossom Music Center

Willie Nelson & Family

John Fogerty

Kathleen Edwards

Flatland Cavalry

Particle Kid

Saturday, August 12, 2023Pittsburgh, PA – The Pavilion at Star Lake

Willie Nelson & Family

John Fogerty

Flatland Cavalry

Kathleen Edwards

Particle Kid

Sunday, August 13, 2023Cincinnati, OH – Riverbend Music Center

Willie Nelson & Family

John Fogerty

Gov’t Mule

Kathleen Edwards

Particle Kid

Malachai Johns of the Aliive Agency has spent most his professional career in Washington, D.C.’s go-go scene, first as a teenage guitar player linking up with the Northeast Groovers before creating and producing the band Mambo Sauce, whose 2007 hit “Welcome to DC” charted on the Billboard charts. 
“We were trying to do for go-go what No Doubt had done for ska,” explains Johns, who laments that the song didn’t popularize the genre but takes pride knowing it’s played at the home games of the Nationals (MLB), the Commanders (NFL) and the Capitals (NHL), and is the walk-on music for the Wizards (NBA).

Today, he works as a promoter and talent agent and go-go apostle working non-stop to grow the genre and create a new audience for artists he’s known most of his life. “My overall objective is to expose the rest of the world to the amazingness that is go-go music,” said Johns, who now lives in Long Beach, Calif.

Go-go music dates back to the late 1970s in D.C., thanks to groups like the Young Senators and Agression, and later the music of singer-guitarist Chuck Brown, long credited as the Godfather of go-go.

Brown was a fixture on the Washington, D.C. music scene with his band the Soul Searchers and developed a relaxed style of funk and Afro Caribbean rhythm that he would infuse into go-go. One of Brown’s signatures was the use of percussive breaks in between sets. Having to compete with DJs spinning Top 40 records, Brown would pepper his sets with drum breaks during lulls, finding a way to keep the audience engaged at all times, Johns explained.

Go-go music would reach its zenith in the mid-80s and early-90s with artists like Kurtis Blow and E.U., Slim and Junk Yard Band — but the genre largely remained centered in Washington D.C., where go-go performances still take place most nights.

Johns will host South by Southwest’s first-ever go-go showcase. “SXSW A Go-Go” will feature the all-star house band Crank Caviar with sets by Big G and Weensey from Backyard Band, Chris “Rapper Dude” Black with the Northeast Groovers, Frank Scooby Sirius of Sirius Company and the Chuck Brown Band. 

“SXSW A Go-Go” runs from 8 pm to 2 am on March 15 at The Venue,  516 East 6th Street in Austin.

Welcome to Swift City! On Monday (March 13), Mayor Jerry Weiers of Glendale, Ariz., officially renamed the city to honor the kickoff of Taylor Swift‘s The Eras Tour this weekend.

“And now therefore, I, Jerry P. Weiers, mayor of the city of Glendale, on behalf of our city council, do hereby proclaim that on March 17 and 18, 2023, the city of Glendale will be renamed Swift City,” he said in a ceremonial press conference to share the news before sneaking in a couple of lyrical references. “And all Swifties are encouraged to share their smiles that could light up this whole town on all the social media platforms because the best people in life are free.”

After the back-to-back shows at the newly christened Swift City’s State Farm Arena, Swift will chart a course to Las Vegas; Arlington, Tex.; Tampa, Fla.; Houston; Atlanta and beyond.

On the same day that Glendale became Swift City, the superstar also launched a new tour-centric portal on her official website, complete with access to The Eras Tour merch, personalized playlists, countdowns to each and every stop on the tour and more.

GAYLE, who will be opening the Arizona shows along with Paramore, recently shared her own reaction to the “Anti-Hero” singer asking her to come on the tour. “It just means the world to me and it just was really validating for me, and especially at a very overwhelming time,” the “abcdefu” singer said in an interview with Apple Music 1. “I had no clue what I was going to do this year. I was like, ‘Oh my God, I had the best year of my life. What am I going to do next year?’ And she was like, ‘Here’s something to add to your calendar.’”

Watch Mayor Weiers temporarily re-christen his town from Glendale to Swift City below.

Ad.Ventures, the collective of over 120 independent venues and festivals across the U.S., has announced a new program with Web3 credentialing platform Dentity, bringing the company’s identity verification tech to the events industry. Throughout the week, Ad.ventures and Dentity will unveil new features of the platform at SXSW and showcase new opportunities for fans, venues and artists.

Ad.Ventures was formed by organizers of the National Independent Venue Association (NIVA), who launched the “Save our Stages” advocacy movement in 2020 in response to the pandemic shutdown, successfully securing a $16.2 billion relief program to benefit independent venues, artists and professionals. In an announcement, it said it “remains dedicated to preserving the ecosystem of independent venues, promoters, and festivals throughout the United States. This includes providing them access to the best partners and providers so they can continue scaling, enhancing, and improving their operations and offerings.”

Dentity enables consumers to securely store the most sensitive elements of their identities and public personas — from government IDs and memberships to digital event credentials — securely in one Web3 digital wallet.

“Our growing network of independent venues handles a volume of more than $100 million in ticket sales each year and services more than 10 million customers across thousands of events,” said Ian Fine, vp of partnerships for Ad.Ventures. “Dentity’s Web3 credentialing platform provides venue operators with new technology to improve how they produce their events, whether through the lens of consumer data privacy or by implementing sophisticated, sponsored digital loyalty passes, VIP experiences on-site, exclusive offerings, and content. Our goal is to redefine what a ticket provides before, during, and after an event.”

Jeffrey Schwartz, founder and chief executive of Dentity says the company’s unveiling at SXSW is the “first of many we plan to make which impact the event experience and redefine access management.  Thousands of ticket holders have already downloaded their Web3 credentials alongside their Apple and Google wallet passes and are experiencing the benefits of Dentity’s platform in Austin today.”

Ad.Ventures is hosting the 11th Annual Music Tech Mashup showcase powered by Dentity today (March 13) at the Empire Control Room & Garage in Austin, as well as an official SXSW panel called “The Power of Connection With Emerging Technologies.” Dentity collaborated with Ad.Ventures to power a number of other SXSW events as well, including BrooklynVegan: Lost Weekend, FloodFest, Brooklyn Bowl Family Reunion and Stereogum, among others.  

To enhance the fan experience during and after SXSW, credential holders will be provided with unique offerings on-site and will get access to exclusive discounts and experiences at locally owned and culturally diverse businesses throughout Austin.

He’s going “Back on the Road.” Drake announced his It’s All a Blur Tour with 21 Savage on Monday (March 13). The North American trek will kick off June 16 in New Orleans, and consists of 29 dates in arenas criss-crossing the country, with stops in New York, Los Angeles, Houston, Miami, Montreal and more, before wrapping on Sept. 5 in Glendale, Ariz.

The tour is the “Jimmy Cooks” artist’s first since his 2018 trek, Aubrey & the Three Amigos. According to the press release, as the title suggests, the It’s All a Blur Tour is “a celebration of the last decade.”

This idea is reflected in a video Drake posted to his Instagram account announcing the trek. The visual kicks off with a young, smiling Drake walking, looking hopeful. As it progresses, the video focuses on a billboard that reads “STARTED FROM THE BOTTOM.” From there, the visual shows clips of him performing as a younger man, before cutting to him working his magic in front of ever-growing crowds. There are also scenes of Drake cradling and bottle-feeding infant son Adonis — who was born in 2017 — hopping on a private jet, and more. The video ends with the name of the tour in black text on a yellow background.

Since Drake’s last tour, he’s released several new albums, including Her Loss with tourmate 21 Savage, which dropped in November. The set debuted and peaked at No. 1 on the Billboard 200, earning him his 12th topper on the all-genre tally. Honestly, Nevermind arrived just months earlier in June 2022 (No. 1 peak), and Certified Lover Boy in September 2021 (No. 1 for five weeks).

Tickets for the It’s All a Blur Tour, which is produced by Live Nation, will go on presale first with the Cash App Card on Wednesday (March 15) and Sprite on Thursday (March 16). General onsale kicks off Friday (March 17) at noon local time on DrakeRelated.com.

Check out Drake’s tour announcement video, and see the full It’s All a Blur Tour dates below:

Fri Jun 16 – New Orleans, LA – Smoothie King Center

Mon Jun 19 – Nashville, TN – Bridgestone Arena

Wed Jun 21 – Houston, TX – Toyota Center

Sat Jun 24 – Dallas, TX – American Airlines Center

Wed Jun 28 – Miami, FL – Miami-Dade Arena

Sat Jul 01 – Atlanta, GA – State Farm Arena

Sun Jul 02 – Atlanta, GA – State Farm Arena

Wed Jul 05 – Chicago, IL – United Center

Thu Jul 06 – Chicago, IL – United Center

Sat Jul 08 – Detroit, MI – Little Caesars Arena

Tue Jul 11 – Boston, MA – TD Garden

Wed Jul 12 – Boston, MA – TD Garden

Fri Jul 14 – Montreal, QC – Bell Centre

Mon Jul 17 – Brooklyn, NY – Barclays Center

Tue Jul 18 – Brooklyn, NY – Barclays Center

Tue Jul 25 – New York, NY – Madison Square Garden

Wed Jul 26 – New York, NY – Madison Square Garden

Fri Jul 28 – Washington, DC – Capital One Arena

Mon Jul 31 – Philadelphia, PA – Wells Fargo Center

Sat Aug 12 – Inglewood, CA – Kia Forum

Sun Aug 13 – Inglewood, CA – Kia Forum

Fri Aug 18 – San Francisco, CA – Chase Center

Mon Aug 21 – Los Angeles, CA – Crypto.com Arena

Tue Aug 22 – Los Angeles, CA – Crypto.com Arena

Fri Aug 25 – Seattle, WA – Climate Pledge Arena

Mon Aug 28 – Vancouver, BC – Rogers Arena

Fri Sep 01 – Las Vegas, NV – T-Mobile Arena

Tue Sep 05 – Glendale, AZ – Desert Diamond Arena

The Cure is taking serious measures to avoid outrageous ticket prices for their upcoming tour dates. The band, which announced a 30-date run of shows earlier this week, took to social media Friday (March 10) to let fans (and scalpers) know that tickets for their Shows of a Lost World Tour dates will be non-transferable.
“We want the tour to be affordable for all fans, and we have a very wide (and we think very fair) range of pricing at every show,” the message said. “Our ticketing partners have agreed to help us stop scalpers from getting in the way; to help minimise resale and keep prices at face value, tickets for this tour will not be transferable.”

By making the tickets non-transferable, scalpers will be unable to purchase tickets and then resell them for a profit since the original owner will have to be present to enter the venue. For fans who purchase tickets but can’t make it to the event, they will be able to resell the ticket on a face-value ticket exchange.

Three states in the U.S. have outlawed non-transferable tickets, making it illegal for The Cure to uphold the practice for shows in New York, Illinois and Colorado. For those dates, the band encourages fans to only purchase tickets from face-value exchange platforms like Twickets and Cash or Trade.

“Fans should avoid buying tickets that are being resold at inflated prices by scalpers, and the sites that host these scalpers should refrain from reselling tickets for our shows,” the message reads.

The band went on to explain that any tickets listed as of today (March 10) on secondary ticketing sites are not legitimate. Scalpers will post tickets onto secondary ticketing platforms prior to a tour’s on-sale via a practice called speculative ticketing. When a fan pays for the “speculative ticket”, the scalper will acquire a ticket at a lower price once tickets actually go on sale and pocket the difference. The Cure has stated that they will work with Ticketmaster to cancel any tickets obtained via this method.

When the band announced the world tour earlier this week, they established that “there will be no ‘Platinum’ or ‘Dynamically Priced’ tickets on this tour,” which includes stops at Hollywood Bowl in Los Angeles, Moody Center in Austin, Madison Square Garden in New York and State Farm Arena in Atlanta.

Fans looking to secure tickets to The Cure’s 2023 tour should register with Ticketmaster’s Verified Fan program. Registration is open through Monday (March 13). After registering, fans will be entered into a lottery system to try to purchase tickets for their preferred date and location.

The Cure’s efforts to combat resale ticketing comes after a season of in-demand tours facing astronomical price increases due to dynamic ticketing and scalpers. Ticketmaster is currently facing government inquiries into its handling of the disastrous Taylor Swift Eras Tour presale, which left many fans outraged when service delays and website crashes (caused in part by bots) prevented many of them from securing tickets.