concert tour what does it mean

How Concert Tours Work

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How profitable are concert tours? Very, if the performers are major artists with fans eager to see them. Newcomer Miley Cyrus, for example, brought in $45.3 million from her 70-show Best of Both Worlds concert tour in 2007 and 2008. Tickets sold out in minutes as fans of her "Hannah Montana" TV show vied for the chance to see the teen star perform live during her first music tour [source: MTV News ].

But Mick Jagger and the Rolling Stones, on stage for four decades, hold the record for most profitable tour. Their worldwide A Bigger Bang tour ran from 2005 into 2007 and grossed $558 million [source: Billboard ].

Neither Mick nor Miley is relying on concerts alone for income. Their music tours both followed the release of a new album -- "Hannah Montana 2: Meet Miley Cyrus" for Miley and "A Bigger Bang" for the Rolling Stones -- and both earned more from concert films released after the tours. Disney's 3-D "Best of Both Worlds Concert Tour" film grossed more than $65.3 million before being aired on cable TV, while Martin Scorsese's "Shine a Light" documentary on the Stones' tour grossed $5.3 million [sources: Conde Nast Portfolio , Rolling Stone and Billboard ].

What about performers more distant from sudden fame and reigning stardom? How complicated are concert tours to put together and are they worth the effort? What kind of planning is needed, and how do you work with concert promoters or tour promoters, negotiate a touring schedule and hire a tour crew? Keep reading to find out, starting with the initial planning you'll need to do.

Initial Planning of a Concert Tour

Working with concert promoters, negotiating a concert tour schedule, hiring a concert tour crew.

Think your band is ready to start touring, or are you not sure whether a concert tour should be in your immediate future? Planning and performing during a music tour are complicated and time consuming. Probably the first thing you'll want to do is make sure you can answer that question with a strong "Yes!"

To reach a decision, you'll want to consider factors such as:

Do we have enough material ready to perform on a tour?
Can we handle the rigors of travel and the challenge of playing that material every night as if it's fresh and new?
Do we have a reason to tour now -- like a new CD to promote? Do we have copies of CDs to sell if we are on tour?
Are we getting enough club bookings and a strong enough response from fans to indicate that they will buy tickets to our concerts?
Can we get along well enough with each other to survive a tour together?
What do we want out of a tour -- greater exposure for the band, bigger paychecks for the band members or something else?

Miley Cyrus and the Rolling Stones aside, if you expect to make a lot of money off concert tours, you're likely to be disappointed. By the time the venue, concert promoter and ticket vendor take their cuts, equipment rentals and crew are paid, and transportation and living costs are covered, there may not be as much for the band as you'd expect. That's not even considering sliding CD sales and the move to digital music.

Limited profitability is nothing new for touring bands. Gerald Casale, a founding member of Devo, recalls that band members only earned $12,000 each from the new wave group's Freedom of Choice tour, which grossed $2 million during the group's heyday in 1980 -- and the take would have been even less if T-shirts hadn't sold well. The group began touring again in 2004 [source: Billboard ].

If you've decided you're ready to tour, the next step is preliminary planning, probably led by your band's manager. Here are some questions to consider:

In which geographic area and at what specific cities and venues do you want to perform? What is your tentative itinerary?
What specific performing needs do you have in terms of instruments and musical equipment?
What specific stage, sound engineering and lighting needs do you have?
How much equipment will the band bring along, and how much will you need to have ready at the venue?
How many crew members will you need to have on site, and what skills or training do they need?
What's your tentative budget for the tour, including employee pay and equipment costs?
What are your limits in tour length and number of shows?

Once you have considered these basics, you need someone who can connect you with your audience. Perhaps your band has a music agent who handles your bookings. But whether you do or not, you or your agent needs to work through a concert promoter, or tour promoter, to put together a tour. Let's look next at what concert promoters do and how to work with them.

Veteran performers continued to dominate the Top 10 list in 2007. Only Josh Grobin and Rascal Flatts started touring after 2000. The average ticket price for the Top 100 concert tours was $61, up 8 percent from $57 a year earlier.

The Police, $133.2 million
Kenny Chesney, $71.1 million
Justin Timberlake, $70.6 million
Celine Dion, $65.3 million
Van Halen, $56.7 million
Tim McGraw and Faith Hill, $52.3 million
Rod Stewart, $49 million
Genesis, $47.6 million
Josh Groban, $43 million
Rascal Flatts, $41.5 million

[source: Pollstar ]

You could try to set up your concert tour, but you probably wouldn't get very far. Tour venues work with -- or are even owned by -- concert promoters, also known as tour promoters. You'll usually need a signed contract with a tour promoter to set up a tour.

A tour promoter organizes a live music tour and makes sure it's profitable. That can include presenting, advertising and even financing concerts at arenas, clubs, auditoriums, festivals and other special events. The promoter finds the talent, the venue and on-site labor, and then handles advertising, marketing and possibly even ticket sales for the tour [sources: Berklee College of Music and Full Sail ].

The biggest national promoters of music tours are Live Nation and AEG Live. Live Nation has begun signing major performers -- including Madonna, Nickelback, Shakira and Jay-Z -- to multi-year 360 contracts that can cover virtually all of the artist's output. This includes everything from music, concert tours and merchandise to endorsements and broadcast rights [source: Bloomberg ].

Don't expect a 360 contract or a contract from a major concert promoter. These companies want well-known stars whose value should hold for the contract length -- which, in Madonna's case, is 10 years. Taking a chance on an up-and-coming band may be far too risky financially [source: The American ].

Instead, your band's manager or music agent will sit down with a regional promoter to discuss the terms of a live music tour. Here are some ideas for finding a concert promoter:

Start with who you know. Word-of-mouth references may lead you to a promoter.
Check industry publications like Billboard and Pollstar , the concert industry trade publication, for ads and articles. Pollstar also sells industry directories listing information for booking agencies, concert venues and concert support services.
Check with venues where you'd like to play to see which promoters work with them.

Once you've found possible promoters, have your manager or agent contact them with information about your band, including genre, background, previous club and tour experience and a CD of your music.

If a promoter offers your band work through your manager, the next step is hammering out a contract covering the tour. The standard contract is the American Federation of Musicians' AFM Performance Agreement. Riders can be attached to handle specific tour details. While the contract itself is usually short, covering payment, profit splits, dates and locations, the rider may be 10 pages or more. Here are some details covered in a rider:

Promoter's expenses
Ticket selling policies, including how complimentary tickets will be handled
Headline billing rights for signs and publicity
An equipment breakdown detailing what'll be rented by the promoter vs. provided by the band
A breakdown of local crew that'll need to be hired
Dressing rooms, security, catering and travel
Cancellation policies

[source: Donald S. Passman and Randy Glass ]

Price isn't the only important part of a tour arranagement. You also need to agree on a tour schedule. Keep reading to learn more.

Once you've worked out a price, split percentage and other concert details with the concert promoter, you still need to agree on a daily work schedule for your band's concert tour.

Take a careful look at the schedule the tour promoter offers for the music tour. You'll want to make sure that:

The tour venues follow a geographically logical way instead of resembling a criss-cross, connect-the-dot pattern of overlapping routes
Enough travel time is built in, allowing for traffic and weather conditions, so that the band has time to set up and do any necessary rehearsing before a concert
Days off are worked into the schedule to give the band and crew time to recuperate after a number of hard days of concerts and travel.

Keep in mind, too, that concert tours involve a lot more than setting up, rehearsing and playing for an audience. A promoter or record label is likely to want the band to also do local promotions and interviews with media, meet with fans and sign autographs. There may be even more demands on band members' time.

You'll also want to be open to schedule changes. While the beginning of the tour may be thoroughly mapped out, the rest is likely to be more loosely scheduled. If not enough tickets are sold, one or more of the concert venues may drop out and be replaced with a concert in some other location. And if the tour turns out to be really successful, it may even be extended with additional concerts [source: MusicBizAcademy.com ].

Make your requests regarding the schedule, but in the words of Mick Jagger, "You can't always get what you want." Concert promoters are in business to make money, after all, and they want to keep a band working, not taking days off.

With schedule set and contract in hand, you're ready to get on the road again. Right? Well, not quite. You'll need a production manager and tour crew to take care of the logistics and set-up the equipment on the road. Keep reading to find out more.

CD sales are sliding, down 25 percent in 2008 from 2000. That has record labels, pop stars and lesser known bands looking to concert tours to augment income.

But higher gas prices and tighter money may get in the way for both bands and fans. Start-up bands forced to fill up low-mileage vans towing equipment need to make enough at a gig to recoup gas costs. And fans with less disposable cash may be reluctant to fork out money for concert tickets, particularly for big-name artists with seats selling for $75 and more.

Even beyond those economic realities, consider that:

The big-name stars that bring in the most fans are aging. The Rolling Stones and other heritage acts led the Top 10 grossing tours in 2006 and 2007. Out of the 20 acts, only Justin Timberlake and Christine Aguilera had yet to reach their 30th birthdays.
The older stars had a large common fan base, coming from Top 40 radio play and promotions and album sales, to fill concert halls. Today's young music enthusiasts have diverse music interests. They get their music from many different sources like cell phones, social networking sites, iTunes and Limewire and often don't even listen to traditional radio.

[sources: Chicago Tribune and The American ]

Even though a concert tour contract probably provides for some local crew at every stop on the tour, you'll want to have your own crew that travels with the band from venue to venue. This tour crew is invaluable because, unlike the local crew, they know the band, its show and its equipment, and they're there every step of the way to make sure the concerts go smoothly.

Here are some crew members and their responsibilities you'll want to have with you on your tour:

Tour manager or road manager: Manages travel arrangements, pays bills and handles problems as they occur while the band is touring.
Production manager : Supervises the technical crew and coordinates their work with that of the venue's local crew. Supervises moving equipment from one venue to the next, as well as setting it up and disassembling it.
Advance person : Arrives at each tour location before the band and crew to help the road manager and make sure advance arrangements have been handled correctly.
Stage manager: Controls performers' movements and crew on and off the stage; gives crew cues for the houselights.
Sound engineer : Operates the front of house console, which controls and mixes the sound the audience hears during a live performance.
Monitor engineer : Operates the monitor console, controlling the sound the band hears during a concert through on-stage or in-ear monitors.
Sound crew : Set up, disassemble and run sound equipment, as directed by the sound and monitor engineers.
Lighting operator : Operates the control console for the show and supervises the lighting crew.
Lighting crew : Sets up, runs and disassembles lighting equipment. May also handle special effects like smoke machines and hoists.
Backline crew : Sets up and manages performers' instruments and equipment.

[sources: Berklee College of Music and John Vasey]

As you hire crew to fill these positions, look for people who are:

Flexible and adaptable. Something can and undoubtedly will go wrong during a concert, and you'll need someone who can deal with the situation calmly and quickly.
Team players who get along with the band and other managers to reduce friction on the road.
Skilled at the jobs they do and very familiar with the equipment so that they can run it effectively in unfamiliar venues.
Committed enough to the band and the tour that they will put up with the inconveniences of being on the road and stick with the tour until the end.

Finally, if you're looking to make it on the concert scene, here's some advice from insiders:

Don't over-play the same clubs, or your ticket sales will start to drop off.
Recognize the difference between a recording session and a live performance and give the audience a show to remember.
Re-invent yourselves and freshen up your act over time, like Madonna and the Rolling Stones, to keep fans coming back year after year.

And a final word of advice: Be sure to explore all the potential revenue streams (such as band merchandise, fan clubs, licensing for TV shows and video games, and more) to add to tour income [source: The American ].

For lots more information about concert tours and related topics, check out the links on the next page.

Lots More Information

Concert Terms Glossary: 54 Music Industry Definitions

Are you starting to get interested in music? If yes, there is some important terminology you should know in the music industry. Below, you’ll find 52 definitions in this concert terms glossary. If it helps you, please bookmark it for future reference!

In the context of concerts, “advance” typically refers to the period of time before a show or event takes place (advanced notice), during which tickets are available for purchase in advance of the performance date. Buying tickets can secure your spot for a concert .

Advanced ticket purchases offer better seating options or discounted prices compared to buying tickets at the door on the day of the concert. In addition, purchasing tickets in advance can help ensure you don’t miss out on a popular event, as some concerts may sell out quickly.

2. Backline

“Backline” refers to the musical equipment positioned at the back of the stage. Performers can use this equipment during the concert.

Backline equipment includes these items:

Microphones
Sound mixers
Anything necessary for a show

The concert venue or promoter often provides a backline. Multiple performers may share it during a concert or festival.

Backline equipment helps performers have the gear to put on a great show, without transporting their own gear. It also provided a backup option to performers who prefer their gear.

3. Barricade

“Barricade” (like our website’s name) refers to a physical barrier between the stage and the audience. The barricade uses sturdy materials (like steel) to provide a clear separation between the performers and the audience.

The barricade helps keep the performers and the concert-goers safe. It can prevent fans from rushing to the stage or interfering with the performance. Sometimes, the barricade has security personnel to enforce the separation between fans and players.

4. Backstage

“Backstage” is the area of the concert venue only for performers and their support staff. This area is often behind the stage and may include dressing rooms, lounges, and other facilities the performers use before and after the show.

Backstage areas are usually off-limits to the general public. These areas may only be accessed by performers, crew members, and authorized personnel. The backstage can be a busy and high-energy environment, as performers prepare for their show, practice their routines, and interact with other team members.

5. Bonuses/Overages

Bonuses or overages refer to additional payments beyond an artist’s guaranteed fee. These payouts occur when artists meet or exceed certain performance milestones, such as selling out a show or making enough revenue for the venue.

These bonuses or overages are usually negotiated as part of the artist’s contract. They incentivize performers to work hard and promote their concerts to ensure success.

6. Bid/Offer

A bid or offer is the price a promoter or buyer will pay for an artist to perform at an event. This offer is negotiated between the buyer and the artist’s representatives.

These factors influence the size of a bid:
The artist’s popularity
Recent performance history
The size and location of the venue
The expected attendance or revenue

The bid or offer represents the financial commitment that the buyer is willing to make to secure the artist’s services for the event.

7. Box Office Statement/ Ticket Manifest

A box office statement or ticket manifest is a document that provides information about event-based ticket sales. The ticketing company or venue typically generates this document.

The manifest includes these items:

Total number of tickets sold
Price of each ticket
The date and time of each sale
Any fees or taxes.

The box office statement or ticket manifest is an important tool for event organizers and promoters. It allows them to track the revenue generated by ticket sales and make informed decisions about future events.

8. Break Even Point

The break-even point is when the total revenue equals the total expenses for an event. In other words, it is when the event has neither made a profit nor incurred a loss.

The break-even point tells you how many tickets you must sell to start making money. Once you get to the “zero,” it’s all profit for the venue, artists, and anyone else entitled to a cut.

Concert promoters might adjust the ticket price based on projected sales. This way, you don’t have to sell as many tickets to reach this point. However, they risk losing sales if driving the ticket price too high.

A concert is a live performance by one or more musicians, typically/hopefully in front of a paying audience. Concerts can be held in various venues, including theaters, clubs, arenas, and outdoor spaces.

Concerts are often organized and advertised by a promoter or production company. Tickets are sold to the public in advance of the performance. Concerts provide a unique opportunity for fans to see their favorite artists perform live and can be a powerful experience that creates lasting memories.

10. Configuration

Configuration is the physical arrangement of the stage, seating, and other elements within a venue. This includes these factors:

Placement of the stage in relation to the seating area
Size and shape of the stage
The layout of the seating and aisles
Location of additional features such as sound systems, lighting, and video screens.

a venue’s configuration can have a significant impact on the overall experience of the audience and the performance of the artists. Configurations may vary depending on the type of event and the preferences of the artist and production team.

11. Contract

A contract is a legally binding agreement between two parties. In our concert-centric definition list, this might include the artist and the promoter or venue. Either way, it outlines the terms and conditions of this professional relationship.

A concert contract includes details such as the date, time, and location of the event, the artist’s fee, any technical or logistical requirements, and the responsibilities of both parties.

Contracts may also include provisions related to insurance, liability, cancellation policies, and any additional terms negotiated between the parties. Concert contracts are important tools for protecting the artist and the promoter. Contracts are essential for ensuring concerts are planned and executed professionally and transparently.

A crew is a group that works behind the scenes to set up, operate, and maintain the technical aspects of the performance. This may include these roles:

Sound engineers
Lighting technicians
Other production personnel

The crew is responsible for everything from setting up the stage to running the sound and lighting during the performance. They are critical in ensuring the event runs smoothly, and the artist’s vision is realized.

Crew members often work long hours and in challenging conditions. Their expertise is invaluable in creating a successful concert.

13. Disclaimers

A disclaimer is a statement included in promotional materials, tickets, or other documents that limits the legal liability of the promoter, venue, or artist. Disclaimers warn attendees of the potential risks of attending the concert. These statements may state that the promoter, venue, or artist is not responsible for any injuries, damages, or losses during the event.

While disclaimers do not necessarily absolve parties of legal responsibility, they are an important tool for managing risk and protecting the interests of all parties involved in the concert production process.

A drop refers to a sudden change in the music or lighting during a performance. “The Drop” creates a dramatic effect or builds anticipation.

Beat drops are commonly used in electronic dance music (EDM) . A drop may involve a sudden change in tempo , melody, or rhythm. You might also see a change in the lighting or visual effects on the stage.

Drops can create a sense of excitement throughout the audience. These drops can be a powerful tool for creating memorable moments during a concert performance.

15. Dressing Room

A dressing room is a private area backstage where performers prepare and store their personal belongings. Dressing rooms vary in size and amenities depending on the size and type of venue.

These rooms typically this as a bare minimum:

Additional storage

Dressing rooms provide performers a private space to focus and prepare without distractions. These rooms may also be a place for performers to rest and relax between performances or during breaks.

An encore is an additional performance after the main set of an artist or band. Encores are a long-standing tradition in the music industry . These performances are often planned in advance by the artist or production team.

The encore involves the artist returning to the stage after the audience chants “encore.” The artist or band returns to play one of their well-known songs.

Encores can be a concert highlight, allowing the artist to connect with the audience. The encore is a memorable moment for concert-goers.

While encores are not always guaranteed, they are a popular and highly anticipated feature of many concerts.

17. Feedback

Feedback is the high-pitched, screeching sound that comes from a sound system. For example, when a microphone gets too close to the speaker, it “hears itself.”

Feedback amplifies its own sound, creating a loop that gets louder until it reaches a high-pitched screech. Feedback can be a frustrating issue for performers and audience members. It can disrupt the overall experience of the concert.

Sound engineers must carefully adjust the levels and placement of microphones and speakers to prevent feedback.

18. Front of House (FOH)

The “front of house” (FOH) is the area of a venue that is accessible to the general public. It is where audience members sit or stand during a performance.

The FOH area typically includes these areas:

Main seating or standing area
Concession stands
Other amenities

“Front of house” refers to the personnel responsible for the same area. FOH staff includes ushers, ticket takers, and security. The FOH team plays a critical role in ensuring the concert runs smoothly. They help the audience enjoy the performance in a safe and comfortable environment.

“Fly” refers to ropes, pulleys, and battens used to raise and lower equipment and scenery above the stage. The fly system allows stagehands to change the configuration of the stage. They do this by moving sets and props on and offstage.

This system is controlled by a “fly operator” using a specialized control panel for the various components of the set. The fly system requires careful execution to ensure equipment and personnel remain safe during setup and performance.

20. General Admission (GA)

General admission (GA) is a ticketing system where audience members are not assigned specific seats within a venue. Instead, they can enter the venue and select their own spot. GA is on a first-come, first-served basis.

General admission tickets are less expensive than reserved seats. These tickets are commonly used for standing-room-only concerts, festivals, and large-scale performances.

While general admission provides more flexibility, it risks overcrowding and other logistical issues. Overcrowding is a problem at popular or high-demand events.

Staff must monitor the traffic at GA events to ensure a safe and enjoyable experience for all attendees.

21. Headliner

A headliner is the main act or performer featured at the end of a show or event. The headliner performs for the longest time. These bands or artists draw the largest crowd, creating the most excitement among fans.

Headliners are marketed prominently in the lead-up to a concert. They are a major factor in attracting audiences and generating revenue for the event.

Headliners sometimes have more control over the concert’s production, including lighting, sound, and stage design. Headliners are often some of the most successful performers in the music industry .

22. House Lights

House lights refer to the lighting in the audience area of a venue, not just the stage. These lights illuminate the seating and standing areas of the venue.

These lights can also provide lighting to signal the end of a performance (guiding people to exits). The lighting crew controls the house lights, which can be adjusted for effects during the concert.

In some cases, the house lights may be dimmed or turned off completely during the performance to enhance the visual impact of the stage lighting or to create the right atmosphere.

23. In-House

“In-house” refers to personnel, equipment, or services provided by the venue or promoter. This differs from equipment being outsourced to external vendors or contractors. An in-house sound engineer would be a staff member of the venue or promoter. Regardless, they are responsible for managing the sound system and equipment for a concert.

In-house services can often provide greater efficiency and consistency for concerts and events. After all, they are already familiar with the venue and its facilities. However, they may also be limited in their expertise or resources. External contractors have seen more venues, giving them a new perspective.

24. In-Ear Monitors

In-ear monitors , or IEMs, are an earpiece performers use during live concerts to monitor their performance and the sound mix. Unlike traditional stage monitors, which are on the floor or stage, IEMs fit into the performer’s ears. These monitors provide a personalized mix of various sound sources, such as instruments, vocals, and effects.

In-ear monitors can offer several advantages over traditional stage monitors, including better sound quality , reduced ambient noise, and greater mobility and flexibility on stage. They can also help protect the performer’s hearing by reducing exposure to loud sound levels. IEMs require careful calibration and management to ensure that the sound mix is appropriate for each performer, and that feedback and other issues are minimized during the performance.

25. Line Check

A line check is a brief test of the sound system and equipment. Staff members do this before the performers begin their soundcheck or rehearsal.

During a line check, each input channel of the mixing console is checked. This ensures that it receives a signal and that the sound levels are correct.

Line checks are typically conducted by the sound engineer or the performer’s technical crew. They correct any issues or problems with the sound system before the main performance.

Line checks are often conducted more quickly than a full sound check, which is a more comprehensive test of the sound system. A full sound check includes fine-tuning and adjustments to the sound mix.

Line checks are an important part of the technical preparation for a concert. They help ensure that the sound system is working properly and that the performance will proceed smoothly.

26. Load-Bearing Capacity

Load-bearing capacity is the maximum weight a structure or equipment can safely support. For example, this might include the following:

Rigging points
Scaffolding
Lighting trusses
Speaker arrays

Load-bearing capacity is important when setting up concert stages and equipment. Exceeding the maximum weight limit can cause structural damage or collapse, resulting in serious injury or property damage.

Load-bearing capacity is found through careful engineering calculations and testing. Local building codes and safety standards regulate it.

Concert production teams and technical crews are responsible for ensuring that all equipment and structures are set up and used within their load-bearing capacity limits to ensure the safety of performers, crew, and audience members.

27. Load-In and Load-Out

Load-in and load-out refer to setting up and taking down equipment and materials at the venue.

The load-in process involves bringing equipment, instruments, and other materials for setting up. This can involve carrying heavy equipment upstairs, setting up stages and rigging, and connecting sound and lighting equipment.

Load-out breaks down the equipment after the performance. This can include packing up instruments and equipment, dismantling stages and rigging, and loading everything onto trucks.

Load-in and load-out are time-consuming and physically demanding tasks. Crews require careful coordination and planning to handle things right.

Solid loading procedures are essential for a concert or event. They must be done safely and efficiently to ensure equipment is not damaged during transport.

28. Manifest

A manifest is a document that lists what’s being transported to the venue. This can include the following:

Instruments
Everything else being shipped

Manifests ensure all equipment and materials are accounted for and transported safely. They can be used to identify and resolve any discrepancies that may arise while loading.

The production team or crew maintains manifests which may be shared with venue staff, transport companies, and other relevant parties. This keeps everyone involved in the production informed about what is being transported and its location.

29. Merchandise

Merchandise, often shortened to “merch,” refers to products sold to fans and attendees. Merch includes items like these:

Vinyl records
Anything else featuring an artist’s name, logo, or branding

Merchandising is an important source of revenue for performers. It can help to build and maintain a connection between fans and the artist.

Many fans enjoy collecting and wearing merchandise to support their favorite performers. Merchandise is often sold at a booth or table set up at the venue. It may be available before, during, and after the performance.

Some artists may also offer exclusive merchandise only available at certain concerts. This makes some merch valuable and sought-after collector’s items for fans.

30. Merch Rate

“Merch rate” is the rate of merchandise sales that the performer earns. This rate is negotiated as part of the contract between the artist and the promoter or venue. It can vary depending on several factors:

The size and popularity of the artist
Type and quality of the merchandise being sold
The revenue and attendance of the concert

The merch rate has a significant impact on their earnings and profitability. It’s also important for promoters and venues, as a higher merch rate attracts lucrative acts.

The merch rate may be calculated as a percentage of the total sales. You can also measure it as a fixed fee per item sold, depending on the specific terms of the contract.

31. Middle Agent

A middle agent is an intermediate person or company between the artist and the promoter or venue. Middle agents provide various services:

Negotiating contracts
Arranging logistics
Coordinating marketing and promotion efforts

They may also handle financial transactions and payments on behalf of the artist and provide support throughout the execution of the event.

Middle agents help facilitate profitable concerts bridging the gap between artists and promoters. They provide expertise in logistics, marketing, and finances.

However, middle agents can also increase the complexity and cost of organizing a concert, as their services typically come at a price. They may add an additional layer of communication and coordination that can create logistical challenges.

A mixer is an audio equipment that combines and adjusts the various audio signals from those on stage. It is a control center for the audio system.

A good mixer lets the sound engineer adjust the volume, tone, and balance of different audio inputs in real-time. This can include adjusting the levels of individual instruments. Mixers add effects like reverb or delay, ensuring the sound mix is balanced.

Mixers range in size and complexity from small, portable units to large, multi-channel consoles for larger concerts. The sound engineer, or mixer operator, uses the mixer. They work closely with crew members to ensure the sound is optimized for the specific venue and audience.

33. Monitor

A monitor is a speaker or set of speakers providing sound to the performers on stage. This allows them to hear themselves and other performers more clearly.

Monitors are typically placed around the stage and can be adjusted in volume, tone, and balance. This helps them meet the specific needs of each performer.

In-ear monitors (see above) are a type of monitor that fits directly into the ear. These monitors provide more precise and customizable sound than traditional floor monitors.

Monitors create a successful performance, allowing performers to hear themselves and others.

The sound engineer or monitor technician sets up the monitors to create the desired sound mix. They work closely with the performers and other members of the technical crew to ensure that the sound is optimized for the specific venue and audience.

34. Mosh Pit

A mosh pit is a spot before the stage where fans dance, jump, and engage in energetic and aggressive movements. The mosh pit is typically characterized by physical activity. Audience members push and shove each other in time with the music.

Moshing is associated with punk, metal, and hardcore. It is seen as a way for fans to express their enthusiasm for the music and engage with other like-minded individuals.

While moshing can be an exciting and positive experience for some, it can also be dangerous and lead to injuries if not properly managed. As such, many venues and concert organizers have established guidelines or rules for moshing. Venues may have security personnel present to ensure the safety of both performers and audience members.

35. Opening Act

An opening act is a performer or group that performs before the main or headlining act. The opening act complements the style or genre of the headlining act. These performers may be selected based on popularity, stage presence, or other considerations.

Opening acts often warm up the audience and build excitement for the main event. They may be given a limited amount of time to perform, typically ranging from 15 minutes to an hour.

While opening acts may be less well-known than the headliner, they can provide an important opportunity for exposure and help build a fan base. Opening for a big star is typically a milestone for an artist or band’s career.

36. Promoter

A promoter is responsible for organizing and marketing a performance or event. The promoter books the venue, negotiates with the artist or band, handles ticket sales and marketing, and oversees the event’s logistics.

Promoters may be independent contractors or work for a larger organization, such as a concert production company or record label .

The success of a live concert or event is dependent on the promoter’s ability to effectively market the show. They also need the ability to manage the many logistical details involved. Promoters may also be responsible for managing the financial aspects of the event, such as negotiating performance fees and managing expenses. They may be compensated through a percentage of ticket sales or other performance-related revenue.

37. Production Skills

Production skills are the technical and logistical expertise to execute a successful performance. These skills may include the following:

Sound engineering
Lighting design
Stage design
Set construction
Video production
Other technical aspects of live performance.

These skills are critical to ensuring the concert runs smoothly, sounds good, and looks great. They involve complex coordination between a team of technical specialists, musicians, and performers.

Production skills are essential for creating an engaging and immersive concert experience for the audience. They are often a key factor in the success of a live event.

38. Proscenium Staging

Proscenium staging is a concert stage design where the stage is framed by a large arch or rectangular frame. This is known as the proscenium arch .

The audience is typically seated on one side of the arch, facing the stage. Meanwhile, the performance area is behind the arch.

This type of staging is common in traditional theater and concert venues. It allows for a clear separation between the performers and the audience, complex sets, and lighting effects.

The proscenium arch can also create a sense of depth and perspective on the stage. This makes it a popular choice for large-scale productions that require a grand and immersive visual experience.

39. Reserved Seating

Reserved seating is an arrangement where specific seats are set aside for ticket holders at a live concert. This contrasts with general admission, where seating is not assigned

Recall from our earlier definition, GA attendees can choose their own seats on a first-come, first-served basis. With reserved seating, ticket holders typically choose their seats at purchase. The venue gives them a map to get to their seat, sorted by different rows and sections.

Reserved seating is often used for large-scale concerts that need to sort many people. It also appeals to those who prefer a more structured seating arrangement. However, reserved seating can also be more expensive than general admission. It may limit flexibility regarding seating arrangements or last-minute changes.

A rider is a contractual document outlining the requirements of an artist for their appearance at a concert or event. The rider may include various details, such as these:

Technical specifications for the performance
Hospitality and accommodation requirements
Catering preferences
Other logistical details

The rider is negotiated between the artist and the promoter or event organizer. It is an essential part of the artist’s contract.

The purpose of the rider is to ensure that the artist’s needs are met and that they can perform to the best of their abilities. It also provides a clear and agreed-upon set of expectations for both parties.

Riders can be very specific and detailed. They may vary greatly depending on the artist and the type of performance.

A rigger is a professional who installs and operates rigging equipment, which holds heavy loads. This may include rigging for the following:

Permanent stage elements
Temporary structures (such as trusses and scaffolding)

Rigging is an essential part of many concerts and events. It allows for the safe and secure suspension of equipment, scenery, and performers above the stage or audience.

Riggers must be trained to use rigging equipment. They must have a deep understanding of physics, load-bearing capacities, and safety protocols to ensure that all rigging is installed and operated safely and effectively.

In many cases, riggers work closely with lighting and sound technicians. They also work with other members of the technical crew, to ensure that all show elements are coordinated and integrated seamlessly.

42. Rigging

Rigging refers to installing equipment and structures (see above) that support various elements of a live concert or event.

It allows equipment and performers to be positioned safely above the audience. Rigging is typically performed by professional riggers, who work closely with other members of the technical crew.

A roadie is a member of a touring crew who works behind the scenes to set up, maintain, and break down equipment for a live concert or event.

Roadies are responsible for various tasks, including the following:

Loading and unloading equipment
Setting up and testing sound and lighting systems
Coordinating with other technical crew members

Roadies are often required to work long hours, travel extensively, and perform physically demanding tasks. They play a vital role in the success of a live performance, ensuring that all technical aspects of the show are executed flawlessly and contributing to the overall experience of the audience.

44. Setlist

A setlist lists songs a performer or band plans to play during a live concert. When you hear a band talk about “playing a set,” this is what they mean.

The setlist is usually planned in advance but may be adjusted during the show depending on the audience’s reaction, the performers’ energy level, or other factors. Setlists can be a source of anticipation and excitement for fans, who often try to guess which songs will be included and in what order.

45. Settlement Sheet

A settlement sheet outlines the financial details of a concert or live event. This includes the costs, revenues, and profits. You’ll also find information about the number of tickets sold, the ticket prices, any expenses related to the venue, production, and performers, and any additional income from merchandise or sponsorships.

The settlement sheet is usually prepared by the promoter or producer of the event and is reviewed and agreed upon by the performers and their representatives before payment is made. Settlement sheets are an important tool for tracking the financial success of a concert or live event and for ensuring that all parties are compensated fairly.

46. Soundcheck

The sound check is where musicians and sound technicians adjust the sound system and instruments in preparation for a live performance. It involves playing some noise to ensure that the levels of the instruments and vocals are balanced and the sound is appropriate for the venue.

A sound check is important because it ensures that the sound quality for the live show is optimal. With this, any issues can be identified and resolved before the performance begins. Sound checks happen several hours before the performance, and the promoter or the venue typically sets the time and duration.

47. Sound Engineer

A sound engineer manages sound quality during a live performance or recording. They handle the technical aspects, including setting up and operating the sound system, adjusting levels and frequencies, and ensuring the sound is balanced and clear.

Sound engineers may work for a venue or be hired to manage their sound for a short time. They may also work in recording studios , film, or TV production. Sound engineers have training and experience in audio engineering, acoustics, and music production .

48. Stage Diving

Stage diving is when a performer jumps off the stage and is carried by the crowd. The crowd passes the performer around, hopefully ending up back on the stage.

It is a popular form of crowd surfing and is often associated with punk, metal, and rock concerts. While stage diving can be a thrilling experience for performers and fans, it can also be dangerous. There is some potential for injury to the performer or crowd members. It is often discouraged or prohibited by concert venues and promoters.

49. Stage Left and Stage Right

“Stage left” and “stage right” refer to the left and right sides of the stage from the perspective of a performer facing the audience. These terms are used by the production crew, performers, and event staff to coordinate movements and positioning. When referring to the stage from the audience’s perspective, the terms “stage left” and “stage right” are reversed.

A tour is a series of concerts by an artist or band at various venues.

Tours range from small, local shows to large-scale productions with multiple artists. The success of a tour may depend on factors such as the popularity of the artists, the quality of the performances, the quality of the production, and the effectiveness of the marketing and promotion efforts.

A venue is a location, such as a concert hall, theater, arena, stadium, or other space, where concerts, performances, or other public gatherings occur. A venue varies in size and may be indoor or outdoor, permanent or temporary. The choice of venue can affect the success and overall experience of the event.

52. Very Important Person (VIP)

A “very important person” or VIP in the concert industry has special privileges or access at an event due to their status. VIP tickets are sold to those willing to pay a premium.

VIP tickets include preferred seating, exclusive areas, meet-and-greets with the performers, or access to VIP lounges and hospitality. Alternatively, VIP guests may include celebrities, industry professionals, sponsors, or high-paying fans. Meanwhile, those who purchase VIP tickets just need deep pockets.

53. Will-Call Window

The will-call window at a concert venue is where guests can pick up pre-purchased tickets or those left under their names. It’s usually at the box office or near the venue’s entrance.

It is staffed by venue personnel who verify the identity of the ticket holder before issuing the tickets. The term “will call” indicates that the tickets are being held for the guest and can be picked up on the event day.

Wings are the areas offstage to the left and right of the performing area concealed from the audience’s view by curtains or other scenic elements. Performers use the wings to enter and exit the stage. They are also used for costume changes, prop storage, and technical equipment.

The term “fly space” refers to the area above the stage where the scenery, lighting, and other objects can be suspended and flown in and out of the performing area.

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Tour Route Example (Lizzo US + Europe Tour)

Mechanics • 20 min read

The Mechanics of Touring: How the Live Music Industry Works

By Dmitry Pastukhov

Published April 28, 2019

The Live Music Industry: An Overview

Key players in the touring industry, artists and managers, booking agents, tour managers and technicians, festivals & venues, label & publisher, the touring cycle, 1. finding the talent, 2. building the tour strategy and producing the show, 3. booking the tour, 4. selling the tickets, 5. preparations, 6. the day x, 7. the show, tour simulation, tour gross revenue.

Touring makes up a huge portion of an artist’s life and the lion’s share of the industry’s revenues. At the same time, it is the only part of the music career that remains 99% “physical” in what is otherwise the digital-first industry. While some of the artists can easily reach millions of fans via streaming, putting together an international tour for the same crowd is an extremely complicated process.

Despite the rise of digital streaming platforms, make no mistake, live music is still the cash cow of the industry. Even though streaming revenue is expected to grow to $23 billion by 2022, by that same year the live music industry is projected to reach a whopping $31 billion in global value. Global live music revenue continues to increase (with the substantial portion of this growth attributed to the worldwide explosion of EDM festivals, which we've traced in our analyses of Chinese and Indian markets). At the same time, if we take a look at the well-established music economies, a recent Nielsen study found that 52% of Americans attend live shows at least once a year.

Nevertheless, the touring industry’s decentralized and network-based system remains a complex landscape to navigate: artists often work with dozens of local promoters, booking agents and venues in the course of a single tour. So, let’s start with the basics and identify all of the parties that are usually involved in a mid-sized tour:

Artists and their managers are the crucial elements of the live business. As we’ve laid out in our Mechanics of Management , manager’s role is to build and coordinate the artist’s team on all sides of the music industry, and that, of course, includes the concert business. The artist’s management usually takes part in the initial route planning, helps the artist pick the touring team, and serves as a bridge between the live entertainment and all other sides of the artist’s career.

The job of the booking agent itself is very easy to define: the agent represents the artist across the live industry. Their goal is to book the tour and sell the shows to the local talent buyers, finding the venue and negotiating the price. The booking deal is usually pretty straightforward: “an artist A, represented by the agent B, commits to play an N-minute show in the venue C on the day X for a $Y. ” A good agent is the one who’s able to get all those As, Bs and Cs right — so that the venue is sold out, but there are no fans left without a ticket; the artist gets paid well, but the promoter doesn’t feel cheated, and so on. While the deal is relatively simple, it’s hard to nail all the details — especially given the fact that the show are usually booked from 8 to 24 months in advance, depending on the scope of the venue.

Promoters are the side of the live business that funds the tour and buys the shows. The landscape of concert promotion is complex, and promoters themselves come in various shapes and sizes. To make it a bit simpler, imagine that promoter is a middle-man, connecting the concert space and the artist to put together a show. You can start building that bridge from either side, however.

Tour promoters set out from the artist side, contracting musicians to perform a series of concerts, paying for rehearsals, audiovisual production, covering the travel expenses and so on. Once the show is ready, tour promoters, working closely with the artist’s booking agent, either rent venues themselves or subcontract (read: sell) the shows to the local promoters (or a mixture of both).

Local promoters, in their turn, embark from a concert space. Affiliated, or at least connected with local venues and performance spaces, they buy gigs from the agents and/or tour promoters to own the ticket sales. An art-director of a small club, a local group of party promoters, a team of the major US festival — all those event promoters of different scope would fall into that category.

In that context, the role of the agent becomes clear. If promoters are the middle-men on the side of an artist or a concert space, the agent is the middle-man between the middle-men, who builds up the network of promoters (on both fronts) and artists, serving as a liaison between all sides.

However, some of the biggest tours today can be put together without the agent’s involvement. One of the main shifts in the live business is the consolidation of tour and local promoters under the umbrella of entertainment conglomerates, with the most notable examples of Live Nation and AEG .

Essentially, these companies have grown their operation to the point where they can build the bridge from both sides, internalizing all the processes. They both produce the concert tours and own (or, at least, establish partnerships with) a vast network of clubs and arenas, providing venues for the tour. Live Nation, AEG and alike can now create centralized international tours, offering artists 360° deals. However, touring under such exclusive promotion remains reserved for the artists of the top echelon — so most of the shows out there are still put together in collaboration between the tour promoters, booking agents and local partners.

Tour managers that stay on the road with the artist's crew are the oil that makes the wheels of the tour spin. Even a nationwide tour involves extremely complex logistics, and it becomes exponentially harder to manage the travel as the tour passes onto an international level. For the first-tier acts, staying on the road with the artist crew, technicians and 30 trucks worth of equipment can cost up to $750k per day . The goal of the tour manager is to make sure that the money doesn't go down the drain when the artist’s bus breaks down in Nowhere, Oklahoma . Getting the band from point A to point B seems to be a pretty straightforward job, but in fact, the routine of the tour manager is dealing with unexpected and solving a dozen of new problems each day — all while keeping the artists happy and ready to perform. To give you a taste of an international tour route, here's an approximate map of the Lizzo's tour in support of "Cuz I Love You" release, stretching over 64 locations and 74,575 km — and that is just the straight routs, not accounting for the actual roadways.

"Cuz I Love You" tour route, 30.04.2019 — 28.10.2019 (interactive version available here )

Tour managers also run the technician crew, and, while the technical support of the tour is often overlooked, the fact is that behind every show there’s a team that turns the performance into an audiovisual experience that the audience has paid to see. It takes hard work and expertise to assemble the stage, set up the lights and the sound system, etc. The live industry relies on the tech crew to make the show actually happen.

Festivals and venues are at the very core of the live business, providing the space and (usually) the base infrastructure for the show. As we've already mentioned, there’s often a great deal of vested interest between local promoters and performance spaces. That means that there’s usually a local promoter “attached” to the venue, and same goes for music festivals.

Outdoor events are a distinct part of the live performance landscape. Operated by promotion groups, prominent festivals can introduce artists to new audiences, both in terms of fans and music industry executives — all while offering a fat pay-check. A major festival performance puts the artist on the map, and the promotional effect of the show itself has to be considered. It can become even more important than the immediate monetary gain — especially for independent, up-and-coming artists. That’s why the tour routing will often be structured around a couple of big music festivals — and then filled up with solo concerts along the way. A good example is Coachella: as the event takes place over two separate weekends, most of the Coachella artists also book “side-gigs” around the area during the in-between week.

Although recording and publishing industries are not directly engaged in the live business, we have to remember that the music industry is built on collaboration . By convention, most music tours follow the release of an album, and each artist has to report his set after the show to PROs so that the proper songwriters get paid. The music industry is made up of separate companies and people working on the different parts of the artist career — and, while not completely aligned, they are always interconnected.

The six key parties described above work together to bring the live show to the concert-goers. However, it’s important to mention that they won’t always be represented by separate entities. Often some of the roles will be internalized by the different sides of the touring chain: independent artists and their management might produce the tour themselves, internalizing the job of the tour promoter; conglomerate promoters, as we’ve mentioned, can now offer exclusive touring deals; and so on. That said, in the next section we will go through the tour cycle step by step to showcase how all these players interact to create the tour. As it usually is in the music industry, it all starts with the artist.

On the first step, agents and tour promoters find and sign the performer. This process is not much different from the scouting of recording or publishing A&Rs, although the criteria might differ. For some types of artists (like DJs, for example) touring can be relatively huge, while the recording revenues might stay almost non-existent. Agents and A&Rs look for different things in the artist, but the essence of scouting remains the same across the board — identify and sign the promising acts before anyone else does.

There’s another twist to talent hunting in the live industry that is probably worth mentioning. As an average show has to be booked 9-10 months in advance, tour deals are usually signed around a year prior to the actual performance. At the same time, the vast majority of concert tours follow the recording releases to build up the momentum and ride the promotion wave. That has one unavoidable implication: tour promoters and agents sign the artist to perform the material which is not written yet, which can be quite risky.

That is especially true when it comes to the debut artists, that might not even have a 40-minute set or any solid live performance skills when they get their first touring deal. There is a lot of gut feeling that goes into scouting on the live industry side — more than in the recording business at least, where licensing deals allowed labels to mediate the risks of the creative stage.

Once the artist is on board, it’s time to produce the show and define the tour strategy and routing. At this step, the tour promoter starts the preparations: building the light show and live visual materials, booking rehearsal sessions to perfect the live performance, and so on. Meanwhile, the artist, manager, agent and tour promoter work out a general timeframe and draft an approximate route of the future tour. The initial tour planning is usually done around priority shows, like major city performances or music festivals, while the rest of the route is defined in broad strokes. Unless we’re talking about the top-tier, established artists, the tour will always follow a recording release. Once the initial planning is over, the tour strategy will be defined in terms of “The artist will play a priority city/music festival in a specific area N weeks after the release”.

Ones the initial route is set out, the agent goes on to book the tour, pitching the show to local promoters and festivals. Starting with the priority shows and then filling in the details, the tour route gradually takes its final form. The agent negotiates with local promoters to pick out an optimal venue (in terms of volume, style, conditions, etc.) to host the show. As Tom Windish, a senior executive of Paradigm Talent Agency mentioned in our recent interview , picking the right venue is perhaps the hardest part of booking a tour: the material is not out yet, and there’s no way to predict the reception of the release that’s almost a year ahead. Go for a small but safe venue — and you risk losing potential ticket sales and disappointing the fans; go big, and you might end up in a half-empty room, losing on the investment and leaving every side of the deal disappointed. The agent has to make risky decisions in a situation of uncertainty, and given the venue landscape in some of the regions, sometimes that means choosing between a venue capacity of 500 and 2000 for what is reasonably a 1000-ticket show.

As for the conditions and splits of the booking contract, generally local promoters, tour promoters, and artists will split the net profits of the show. Artists might also get a flat fee to ensure they'll make some money even if all other parties do their job poorly. Usually, the more the flat fee, the less the artist’s share of the net profits (and vice versa). In that sense, the structure of the contract splits often reflects the artist's risk appetite: some artists self-produce the tour, sacrifice the flat fees and end up getting almost 100% of the net. Others might ask for a higher "safety" fee, lowering both the profits of the tour and their own stake in it. Booking agents, in their turn, earn a flat percentage on the revenues ‘on top’ (though they might put their share back in the pot if the tour doesn’t turn out a profit). That might be a lot to take in, but don't worry, we will get back to the splits and give you a clear example with a tour simulation you can find below .

Once the tour is booked, it’s the time to promote it and sell the tickets. On paper, the ball is in the promoter’s court here, but in reality the marketing of the tour is carried out in close collaboration between all the sides — from managers and booking agents to the artists' record labels. Concert marketing is a topic worthy of a separate article, but if we were to simplify things, it could be separated into two main parts.

First is the overarching tour marketing, implemented by the tour promoter and synchronized with the record release. The tour marketing campaign utilizes wide communication channels to promote the tour in general rather than a particular show. Second is the regional marketing owned by the local promoters, which aims to boost the sales of a specific show, focusing on narrow communication channels, like radio, OOH and locally targeted digital advertising.

As far as the actual ticketing strategy is concerned, there’s no one-size-fits-all solution, so most teams go through long and numerous meetings to define tit There's a lot of decisions to be made when settling the details of the ticketing strategy — especially as technology has put new tools into the hands of promoters — but generally accepted sales process follows an “announcement → pre-sale → general sale” pattern. First, the tour is announced through the label- or artist-owned channels. That announcement is both a chance to communicate the tour to the wide audience and build up the artist’s CRM-base by nudging fans to leave their contacts to get notified when tickets go on sale. On the live event market, the buying intent might not realize itself on the first day — so having direct contact with fans and growing the artist's CRM-base is a key tool in the hands of the industry.

Then, the pre-sale takes place: first, reaching out directly to fans in the CRM database — after all, artist-fan relationships are one of the most important assets of an artist, and a fan pre-sale ensures that engaged followers will be able to get tickets to the show. Pre-sale strategy might also involve sales through “preferred partners”, focusing on direct sales through systems like American Express PreSales in the U.S., or even Spotify, that allows to reach the artist’s fans and followers across the tour route based on their listening habits and geo-location. Finally, to complete the pre-sale, local promoters can also use the local communication channels, like CRM-base of the venue and local airplay.

All the pre-sale strategies have two primary objectives. Firstly, based on the pre-sale figures (and historical concert attendance data), the promoter can roughly tell how the show is going to sell in general — and adjust the marketing campaign accordingly. Secondly, pre-sale through reasonably closed off channels can help to mediate the problem of the secondary ticket market. In fact, most of the ticketing strategies aim to sell as many seats as possible before putting the show on the general sale. Ticketing platforms like Songkick, BandsinTown or Seated allow promoters to reach the widest audience but they also puts the show at risk of selling out to the scalper bots in a matter of hours. This is especially true for the biggest artists out there — the more the demand for the show, the more attention it's going to get from the scalpers.

At this point, the tickets are on sale and the date is coming up, but there are still a lot of details to cover to make the show actually happen. Carrying out a 100-show tour means getting the artist and his tour team to a hundred different locations across the globe — all while staying on a tight budget and an even tighter schedule. Then, you have to make sure that every step of the way the artist has the infrastructure to do the actual show. Big tours are extremely complicated logistics, that require a lot of planning (usually carried out by the tour manager, affiliated with the tour promoters). Plane tickets, car rental, backline equipment shipping — this is just a fraction of what needs to be taken care of before reaching the venue.

The venue is (hopefully) sold out, the material is well-rehearsed, the equipment is delivered to the club — but the show is still to be done. Someone has to set up the sound, check tickets at the door, take care of the security, prepare the guest list and set up the bar. This routine can seem insignificant at times, but in fact, a solid on-site setup is a must if you want the audience to enjoy the performance. Surely all of us can remember that one concert with that hour-long queue, delayed performance and warm beer at the bar — a poor concert organization can ruin even the best of shows. Making sure that the concert goes smoothly is a group effort of the tour crew and the local promoter's team, from tour managers and technicians to local sound engineers and the venue stuff.

Finally, one year, tens of thousands of kilometers and thousands of man-hours later, the artist will go on stage. Then, the team will get back on the road to repeat steps 5 through 7 over and over again, until the final row of the tour announcement is crossed out. The artist will eventually get back in the studio and start working on the new material, while tour promoters and agents will begin planning the next tour. That’s the tour life .

To conclude the Mechanics of Touring, we want to share with you an example of how the tour budget and profits are structured. Below, you will find a somewhat simplified (yet accurate at its core) budget simulation of an averaged tour. While the actual “business plan” will be much more detailed, the data below should give you a good idea of who pays for the tour and who ends up making money on it.

Total Fixed and Variable Costs

So, the tour has fixed costs of 70,000€, which have to be covered regardless of the tour length, and variable costs of 7,000€, per show. Such costs structure means that (and this is true for practically every tour) we will enjoy the scale effect , as total costs per show (calculated as (FC+ VC*N)/N, where FC is Fixed Costs, VC — Variable Costs and N is the Number of shows in the tour) will go down as the tour grows, due to the depreciation of the fixed costs.

Total costs per show, for 10-150 concerts in a tour.

To go forward with the simulation, we will assume that the shows of the tour are all booked at the same price (which is never the case due to the difference in the local ticket prices, venue and market capacity, and other specifics). However, to simplify things, we will use the following revenue structure:

Guarantee per show = 8,000€

Bonus if sold out = 2,000€

If we plotted the tour’s total profits as a function of the number of shows, P/L = (Revenue per show * N) - (FC+VC*N), we would get the following:

Tour P&L (overall profit/loss before splits)

As the total costs per show go down against a constant revenue, the tour turns a profit, breaking even at the 24th and 70th show for “Sold Out” and “Not Sold Out” scenarios accordingly.

Then the time comes to divvy up the profits. First of all, the agent takes a share of all revenues “on top”. In this simulation, we will use a 15% split for the agent. So, if the tour is made up of 100 sold out shows, the agent would get (10,000*100)*15% = €150,000 in fees. However, it’s not customary in the music industry for one side of the deal to make money while the rest are losing. So, usually, the agent won’t take their share if the tour doesn’t turn a profit. But what if the tour makes a bit of money, but not enough to cover the agent’s 15% “on top”?

There are a couple of roads the agent might take in that case, cutting their share down to 5% or taking a percentage of the profits, rather than revenue, but for purposes of this simulation, we will assume that the agent will take their part of the share, but won’t put the promoter back in the red. So, if the tour has made €5K in NET profits by selling out 25 shows, the agent will take €5,000 instead of agreed upon (25*10,000)*15% = €37,500.

Tour promoter will take a share of the NET profits (Total Revenue — Agent’s Share — Costs). That would mean that, although the tour itself will break even on a 24th show in the Song Out scenario, the tour promoter will start making money only after the 47th show (once the agent is fully compensated). If we assume the tour promoter’s share at 20%, on a 100-show, sold out tour they will make ((10,000*100*0,85) - (70,000 + 7,000*100)) * 0,2 = €16,000 . It might seem that the promoters get the short end of the stick here, but in fact, they will often make quite a bit of money in the venue itself on things like bar and parking. This can be a substantial or even primary revenue stream for the promoter, but we’ll have to leave it out of the scope of the simulation for the sake of simplicity.

As for the artist , they will earn a flat fee (in this simulation €1,000 per show) as well as the remaining 80% of the tour’s NET. This sum will make up the artist gross, which in its turn will be divided between the artist and the management (an average manager’s share is around 15% ). So, for a 100-show tour the artist gross will be: (100*1,000) + ((10,000*100*0,85) - (70,000 + 7,000*100)) * 0,8 = €164,000 , which would then be split 85:15 between the artist ( €139,400 ) and the manager ( €24,600 ).

Tour profits distribution, by party

Of course, the actual tour will be much more complicated than in the simulation above. However, it should give you a good idea of how the tour is structured and budgeted. That’s it for this episode of Mechanics, but don’t worry — we’ll keep working to bring you insights on other parts of the music industry. If you liked this article, take a look at our Mechanics of the Music Industry to get the overview of the topics we covered so far — and the ones we plan to cover in the future.

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Dmitry Pastukhov

Content creator for Soundcharts. Deciphering the music business so you don't have to.

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Where concert ticket money goes: who's getting rich off live music's golden age?

The money you’re forking over to see your favourite band is paying for an entire touring ecosystem, including artists, promoters, sets and medical staff

I n 2001, Billboard Boxscore reported that the top 100 music concerts of the year collectively generated $350m. In 2015, the top 25 concerts alone grossed just shy of $360m. There are two reasons behind this: more people are going to shows and ticket prices are spiking sharply.

Here is a topically illustrative example, given that their Joshua Tree 30th anniversary tour is the hottest ticket of the moment. In 2001, U2 had the ninth-biggest venue gross of the year in the US, collecting $6.4m from 78,275 tickets sold across four shows at the United Center in Chicago, with tickets priced at $45-$130. In 2015, they had the fourth-biggest gross of the year with $19.4m earned, playing eight shows to 149,942 people, with tickets at $30-$275. At the bottom end, some tickets were cheaper, but the band played more nights to twice as many people and made three times the money. Obviously, inflation has to be factored in, but the contrast between how they toured then and how they tour now is significant.

Of course, gross earnings are far from synonymous with profit. Acts touring today are not just swelling their own bank accounts; there are a lot of mouths to feed along the way. Fans paying $275 for a show might presume most of that is going straight to the band. But it really isn’t. So what, exactly, is your ticket price paying for?

The live industry is rarely keen to draw back the curtain to show its inner workings, so the Guardian spoke to a number of live music insiders who wished to remain anonymous. In doing so, they were able to speak candidly about where, exactly, the money goes.

There are no precise splits that apply in every case as it will depend on the band, the venue, the promoter, the marketing budget and tax laws, among other things. The following is intended only as a general guide to how your ticket price could break down and what it is going to pay for. Most of the things that have to be paid for will apply in almost every case. What will be different is how much they will be paid. And that includes the band members.

Peeling it back layer by layer, of your ticket price, around 10% is going to be swallowed up by a booking fee and processing fee (either posting the tickets or charging you for the “privilege” of printing them at home), with some of that actually working its way back to the band and their promoter.

You also have to take out taxes from that. In the US, about a 5% rate is applied to tickets, but it can be as high as 35% in some European countries due to the addition of “cultural taxes”. A small percentage of the gross – the monies left after transaction fees are deducted – will be collected and paid through, eventually, to songwriters in public performance royalties. The rate will depend on the venue size, but Ascap, which collects royalties, says on its website the figure can start at 0.8% and drop to 0.1% for venues with over 25,000 capacities. Again, as with taxes, there are higher deductions in Europe, with PRS for Music in the UK, for example, collecting 3% of the gross.

What is left – roughly 84% of the gross – then is carved up between the band and their promoter (who puts on and underwrites the show). But there are still more things to be paid for.

“Fixed expenses are many and various,” says one source, who drew on a spreadsheet for a recent arena tour for a major act they worked with before reeling off all the things that they had to account for. These included (deep breath): venue hire, stage hands, venue staff, electricians, power, spotlight hire, scaffolding, barriers, catering, public liability insurance (in case anyone is injured at the show), backstage furniture (yes, really), forklifts, rigging, medical staff, transport and even towels. Many times the venue will pay for that out of its cut, but that will depend on the particulars of the deal struck.

That can leave anything between 50% and 70% of the gross, but there are no hard and fast rules for how that is divided between the act and the promoter. A commonly quoted figure is that the promoter will take 15% of what is left and the act will get 85%. But it will depend on if the promoter really has to work to get the show to sell out or if they are pushing on an open door and demand is so high it sells out in seconds. In those instances, the promoter may get as little as 5%; but for arena shows charging $150 or more for tickets, that 5% quickly adds up.

Performers are often offered a guarantee, making the performance risk-free as they will be offered a set fee regardless of whether the show sells out, with the promoter shouldering any losses. In many cases, the performers will get a guaranteed minimum fee plus a percentage of anything made beyond that figure.

“In the case of a fixed fee, the promoter would guarantee the artist money and then the promoter gets anything above that,” says Steve Machin, CEO of Accent Media, the operator of the .tickets domain name space. “Or they might split the money with different percentages. So if it’s normally 80-20 after allowable costs, if the act gets a guarantee, then the split would be adjusted in favour of the promoter.”

The artist’s share then has to cover its own mini economy. The act will have their own crew (roadies, sound engineers, lighting crew, catering, tour manager, backing singers, extra musicians, dancers and so on) as well as transport trucks, with 30 articulated trucks on the road not being uncommon for the biggest shows. One huge act’s manager reportedly said it cost them $750,000 a day to be on the road, whether they were playing a show or not. Talking of which, don’t forget that the manager also needs their cut of the band’s share – normally 15%-20%.

Before any of that happens, rehearsal time has to be paid for as well as the design and build of stage sets. Not every band will have something as spectacular (and costly) as the Claw on U2’s 360° tour, but they can’t just show up and play to 80,000 people with a few lights and screens, hoping for the best.

“I often ask myself if the audience would rather have that amount of money spent on that kind of show or have a much cheaper ticket price to get into a reasonable-sized venue and watch the act playing,” says one source of the huge drain a spectacular show can have on profits. “That comes down to the act.”

The more money acts are going to make, it appears, the more ways they can find to spend it on expensive hotels, helicopters and ostentatious stage sets that – in less hubristic moments – they perhaps don’t need. Never underestimate ego and its ability to blow budgets out of the water.

“If you give an act loads of money, they’ll find a good way of spending it on the show,” says a source who has seen this happen time and again. “So it’s never going to be as profitable as people think and it’s never a case of all the money going straight into the band’s pockets.”

This is not a play to make us feel sympathy for poor stadium acts who are left destitute after an exhausting 300 shows around the world. Rather it is a timely reminder that – as in everything – money generated and profits made are never bedfellows. Indeed, they rarely even share the same zip code.

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Roadie Dictionary: A List of Touring Terms

Look, I know it’s easy to get lost in all the terms and the slang. But here are a bunch of words and common phrases that you’ll hear while touring, advancing, or even in a bunch of these articles. Some technical, some… not so much. This list will never be finished, I’ll continue to update.

Updated Oct 12th, 2022.

If you can think of anything to add, hit me on social media or email at [email protected]

Advance – The art of negotiating details prior to the day of show. See article on What is Advancing? (Coming later this week).

AtVenu – A cloud-based merchandise management software with the ability to electronically sync the team so everyone can see reports, inventory, stats, etc. https://www.atvenu.com/

Back to the Future – When you play a city, leave, then have to drive back through later in the tour.

Backend – Slang for overages. See overages. i.e. “We hit 50k on the back-end”

Backline – This refers to all instruments to perform the show. Guitars, Bass, Drums, Keys, Amps, etc. are all considered backline

Boat – Often referred to as a guitar boat, this the a multiple guitar stand. It’s normally set-up in the guitar world (see world) so the tech can have all the necessary guitars out and ready. A Vault is the same thing, just on wheels and the guitars live inside it.

Boomerang – When you accidentally steal something from a venue and have to ship it back

Bro-Tech – A friend of the artist, hired to be a tech due to their relationship more than their merit. Often found drinking the beer and forgetting things at load out.

Bunk – Your coffin-sized bedroom on the bus where you sleep, cry and have alone time. See crying

Bunk alley – the hallway where the bunks are, separating the drivers side and the passenger side bunks. “I keep dropping my pillows into bunk alley at night”

Bunk bunny – k. This is a gross one. It’s the name of a sock that you jack off into.

Bus Bay – the area underneath the bus where luggage is stored.

Bus Call – A set time for when the bus is scheduled to depart. If you’re late for this, sometimes you get left behind. See Oil-Spot

Bus Flea – When a FOB (friend of band) rides the bus to another city.

Buyouts – When cash is distributed instead of the show paying for a service or product. I.e. instead of providing dinner, the promoter can give the tour manager cash for a meal buyout. Or, if there is budget allotted for production and the artist is self-contained, the artist takes the buyout instead.

Cash Advance – The final settlement is usually paid by chq or wire. If the tour manager needs some cash (it will be deducted from the settlement), but they need to ask the promoter for it in advance as cash isn’t as easy to pull these days.

Condo bunk – The bunk configuration that’s taller than the standard sized bunk. They’re usually 2 per column instead of the standard 3 per column.

Copy That – A common term used to display understanding.

Crew-ni-form – The Crew Uniform. Black hoodie, Black T-shirt, Black pants.

Crew Year’s Eve – Last show before multiple days off OR Last show of a tour.

Cross Load – When you load into a location for the sole purpose of loading into another vehicle. When you load from one truck to another. When you load from bus trailer directly to a truck.

Cryo – Short for cryogenics. The act of blasting cold compressed air through a jet for a special effect.

Dart Board Tour – When the touring routing looks like it was determined by throwing darts at a map.

db Limit – a predetermined amount maximum SPL (sound pressure level) allowed at a certain venue. You often see this in outdoor venues that have neighbours close by. i.e. “There’s a db limit of 100dba at FOH”

Dead Cases – “ Deads ” for short refers to case lids and empty cases. For example… While loading in, “Where are we gonna put our deads ?”

Dead Man – A rolled drum carpet that looks like it contains a dead body.

Direct Support – The artist that plays just before the headliner

Disco Load-Out – When you load out and there is a DJ playing tunes cuz the bar refuses to let the party die. It is loud, annoying, and painful.

Distro – A piece of gear that distributes power. This will be connected to the venue’s power distribution then sent to lights, audio, stage etc. Sometimes requires an electrician to “tie-in” the tails

Donkey Show – Sometimes referred to as a “Gong Show”. When everything is disorganized and disastrous.

Down-Time – Time in between tours where you go home to rest. i.e. “Get home safe, enjoy your down-time”

Driver Bay – A bay on the bus designated for the driver. It normally holds the vacuum, bus supplies, and the driver’s personal possessions.

Drop and Go – When there is no parking at the venue and you have to drop all of your gear, then the bus or van has to go park offsite.

Drum Riser – See Risers. Drum riser’s common dimensions are 8ft x 8ft x 1ft and need to be specified if it requires wheels.

Dummy Check – The act of doing a double check or final walk through to make sure you didn’t forget anything. I.e. “Did anyone do a dummy-check?”

Ego Riser – See Risers. Ego risers are normally positioned downstage for the artist to stand on and look bigger or higher for effect.

Flat Deal – A version of the contract in which the artist is paid a flat fee as a guarantee and will not be receiving overages. See guarantee and overages.

FOH – Abbreviation for Front of House . Where the audio and lighting consoles live in the crowd.

Front Lounge – Refers to the front – common area – section of the bus. This is where the bathroom, fridge, kitchenette, TVs, and seats are.

Gaff – Cloth tape used for just about everything on the road. Found in a variation of sizes and colours.

Garth Vader – Midwest casino goers with oxygen tanks and cigarettes.

Generator – Genny for short. An engine in a bay of the bus used to generate power for the bus when the engine is off.

Generator alley – The alleyway between 2 busses that are parked beside each other. If the generators are running, it’s a vortex of exhaust fumes.

Gig Foot – See Stage Turd. A Piece of Gaff tape stuck to your shoe

Grab and Go – When you stop for food but don’t have time to eat.

Grab and Vibe – When you stop for food but have time to chill and eat.

Groupie – You know what they are. No, you shouldn’t bang them.

Guarantee – A contracted amount that the artist gets paid to do a show.

Hang-a-bility – A way to describe someone’s ability to hang out

High touch – This shit is crazy. It’s big in Kpop touring. This is a VIP segment where you literally run past the artist and give them a High-Five. Meet n Greets are for losers.

Hollywood Pack – Refers to a truck pack with no stacking cases. Everything is flat and easy to load in. Also referred to as a “Flat Pack”

Hospitality Rider – This is the famous rider. This is the list that all the fans wanna know about. A “hospo” rider is the list of all your hospitality needs that you need to perform the show. It’s supposed to be snacks, drinks, etc to cover your crew through the day. Some see this as an opportunity to make outlandish requests as this is where you’d see the 1000 brown M&M’s. It’s frowned upon. Here’s a link to the smoking gun for a bunch of famous riders .

Hot Bag – A bag in which you go #2 into since there are no #2’s on the bus. This is pretty gross, maybe you should just ask the driver to pull over instead.

IATSE – See Unions. IATSE is the union for the International Alliance of Theatrical and Stage Employees . Follow the link here to their website to familiarize yourself.

Jump Seat – The seat beside the driver in the front of the bus. Equivalent to riding shotgun in a bus. It’s also the designated smoking seat.

Junk bunk – a bunk that doesn’t have anyone sleeping in it. It get filled with everyone’s bags, jackets, shoes, etc.

Justin Case – A permanent reserved guest list spot held just in case of a late request

Laminate – This is your laminated backstage pass. Normally worn around your neck or from a carabiner on your belt loop, they’re often numbered or have your name so they’re traceable and accountable. These bad boys generally cost money if they are lost and need to be replaced.

LaundroMerch – When your luggage gets lost or stolen and you have to borrow merch for the sake of clean clothes.

Lead driver – The driver in charge of the other drivers. If there are busses and trucks on the tour, it will be a truck driver since they are usually at the venue before the busses.

Load in – The act of moving gear from it’s transportation into the venue

Lobby Call – A pre-determined time to meet in the lobby of a hotel. i.e. “Lobby call at 8am”

Loft – This isn’t your sexy apartment above a store in Soho. It’s a second level in the truck, built out of plywood and load bars, to store less heavy items. Oftentimes becomes a way to store merch boxes.

Marlon Randos – Random people or guests in the way of load out. Especially true in loading zones and hallways.

Master Tour – Tour Management software that has the ability to electronically sync band, crew, management, etc. NO MORE QUESTIONS ABOUT WHAT HOTEL WE’RE AT OR WHAT TIME WE’RE ON. #checkmastertour https://www.eventric.com/master-tour-management-software/

Merch – Short form for merchandise. Refers to the items available for sale to the general public. Pretty straight forward if you’ve ever been to a show.

NDA – Non Disclosure Agreement. It’s a legal contract that protects one party from their information being made public. Often times an artist will have the crew sign an NDA to protect their privacy and their artwork.

Neck-down – A person only useful from the neck down. As in, useful for pushing cases, but not thinking.

Noise Curfew – A predetermined time when all noise must stop. This could be a policy that does not allow noise during the day if there are offices beside the venue, or if the city has a strict no noise past 11pm bylaw.

Oil-Spot – see Bus Call. Stems from the Latin term where you miss bus call and there is literally a spot of oil on the ground where the bus used to be. Please, I beg you. Someone make an emoji for an oil spot. All I have is this. ??

Overages – This is kinda a broad overview but, overages are the remaining amount of money left from show revenue (ticket sales) after all over the expenses (show costs) are paid. The amount of money to split are called the overages. i.e. The show brings in 50k, but costs $40k to produce, $10k are the overages to be split amongst the artist and the promoter. (Amounts and % are based on the contract)

Over Drive – (OD for short) A time when the bus driver gets into overtime. It can be after 450miles or 10 hours in 1 drive. Can also be if you bring a driver back from the hotel before their legally allotted time off (8 hours).

Parking Map – A detailed map provided by the promoter rep (or in the tech pack) to show the bus and truck drivers where to park. Oftentimes, the drivers arrive in the middle of the night. A detailed parking map allows them to get sorted properly without having to wake anyone up.

Party Shoes – Slides or slippers worn on the bus.

Pass of Shame – When someone loses their tour pass and as preliminary replacement/punishment, they have to wear an A4/Letter sized pass for a day.

Points – See Overages – Slang for percentages. “PR: Do you want to show cost this? TM: Naw, fuck it, we’re into points already. Let’s make some moneeey.”

Pre-Settlement – This is an updatable version of the settlement delivered to the tour manager from the promoter rep during the day of show. This gives you a good idea of where you’re at with expenses vs tickets sold before the box office closes and you can make informed money decisions based on that.

Production Rider – See Rider . A list of production-related items (Audio, Lighting, Video) that are required to do the show. i.e. Audio section will say, We require a 4-way PA System with the ability to produce 120db of distortion-free audio at 100ft. These are often multiple pages and dependant on the level of artist.

Punters – The fans, the crowd, the VIPs. “(during security meeting) Which way do the punters come in?”

Punisher – A friend or a fan that is TOO DAMN MUCH

Pyro – Short for pyrotechnics. Means literal FIRE!!!

Quad – A destination on the other side of the gymnasium, only if naked and in the movie Old School. Otherwise, it’s a 4 outlet box used to plug-in A/C.

Quick connect – Often also referred to as NC-14 or Veam, This is an adapter to screw and connect a stage box. This is useful so you can plug all of your cables into the stage box on the riser, and only use the connecter when the riser rolls into place. This makes life much faster.

Quit-Fire – Depends on who you ask if the person quit or was fired. When someone quits before they are fired, or vice versa, gets fired before they can quit.

Ramp Party – When the hands are called to move the ramp from under the truck to the back of the trailer.

Rider – Broken into 2 categories. See Hospitality Rider or Production Rider. This is a list of all the things you would like. These are often very elaborate. They are sent to the promoter when purchasing the show, where the promoter scratches off items that they don’t want to pay for, signs it, and sends it back to the artist. It is part 2 to a contract.

Rider Spiders – Guests/Friends who eat or drink all the rider and after-show food.

Risers – Wood or steel platform to elevate a particlar instrument or person. i.e. Drum riser. 8ftx8ftx2ft on wheels.

Roadie – Did you know there are a bunch of people that get offended by this word? They find it derogatory? Sticks and stones, luv (Jack Sparrow impression)

Roadie Bra – A chest harness to hold tools, flashlight, phone, radio, and other accessories

Roadie Friday – This is the best day of every week. It’s any show day that is followed by a day off.

Rock Doc – The doctor that comes to the venue when someone is sick

Rumble strips – Perforations on the side of the road to alert drivers when they are veering out of the lane. These are the #1 reason for waking up road dogs.

Runner – A local person hired on show day to source various items. A runner is usually in a vehicle and is responsible for running errands on behalf of the tour all day. i.e. running to the grocery store/home depot, or driving the bus drivers to the hotel.

Safety – A steel cable used as a backup for rigging. i.e. each light fixture has a “safety” in case the clamp malfunctions and the light falls from the truss.

Security Meeting – A meeting that happens every show day approx 30 mins before doors to got over backstage access, evacuation plans, security placements, and a double check on all artist and venue policies. Normally has the tour manager, promoter rep, venue production manager, and head of security.

Settlement – The art of sorting financials. “TM: Hey, when can you settle up? PR: Gimme 15, the box office just closed”

Shed – A slang term for an amphitheatre with a roof over the crowd

Show Cost – A pre-approved allotment of money categorized to facilitate the show. i.e. labor, hospitality, security, etc. All of the amounts go into the settlement at the end of the night when calculating overages. see overages

Slide Out – A section of the bus that literally slides out to extend the living space. Often found in the front lounge, it can only be out when the bus is parked.

Stacks and Racks – A term referring to a PA system and it’s amps. “We’re traveling with all audio except stacks and racks”

Stage Box – A box on stage in which you plug audio cables into. These run from the stage to the snake and keep things tidy.

Stage Hand – Normally just referred to as hands , They are the categorized labor that help the touring crew set-up. Broken into Audio, Lighting, Video, Backline, etc.

Stage Turd – A Piece of Gaff tape stuck to your shoe

Status – A term that refers to Airline or Hotel loyalty programs. The more you fly or stay, the higher levels of status you obtain and the more perks you receive.

Steward – the head union rep on site. They are the boss of the union laborers.

Sub Ride – A long bus ride. As if you’re trapped in a submarine.

Tech Packet – A list of all items available for use at the venue. This includes PA specs and info on Lighting, dressing rooms, showers, stage size, etc.

Tetris – The art of distinguishing the truck pack.

Throw and Go – When there is no time for soundcheck, so you have to put your gear on stage during changeover and hope for the best.

Tourmonal – A person’s negative feelings which have been brought on by the usual hurdles of day to day life on tour.

Transpo – Short for transportation, It refers to the logistics surrounding transportation. i.e. Getting vans to pick the crew up at the hotel and bring them to the venue.

Truck Fit – Having a certain level of physical ability to be able to stack 3 high cases in several trucks at 2am

Two Birds Stoned – This is a Rickyism from The Trailer Park Boys. It means the popular phrase kill 2 birds with 1 stone if you’re from a trailer park in Atlantic Canada.

Union – You know what, to the lower level touring acts, unions have a bad rap. But fuck that. Unions are the only part of civilization and are a great thing IF UTILIZED PROPERLY. A union protects the worker’s rights ensuring that they get proper breaks, paid according to labor laws, and ensure that everything is running according to safety regulations. They do it literally every day and are there to help. See IATSE for more union info.

Venue Curfew – A predetermined time when the venue has to be closed or is no longer staffed. See noise curfew.

Visqueen – A thin clear plastic used to cover gear in the event of rain.

WDA – This might just be a personal one but its code for showering and means Wash Dat Ass . i.e. “I don’t know if I’ll have time to go out, I still have to WDA.”

Wheels to Jesus – A case flipped upside down. wheel to the sky

Yerba Mate – A naturally caffeinated beverage for when you need a change from coffee.

Zero – How much I care about you if you don’t share this on the social links below.

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About Author

Jawsh Thomas

Tour Manager | Father | Husband | Founder/Editor of @backstageculture

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This shit is amazing Jawsh. You have put your “down time” to excellent use. When you get to the chapter about merch interviews hit me up. Always, H

Thanks Hal! Check your email, my man.

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5 Things To Know Before Seeing Taylor Swift At “The Eras Tour”

Taylor Swift is touring for the first time since 2018 and has released four studio albums — Lover, Folklore, Evermore and Midnights — in the five years that followed her Reputation Stadium Tour. Swift announced The Eras Tour on Nov. 1, 2022, just weeks following the announcement of Midnights, her tenth studio album.

The timing of the announcements led some to believe that The Eras Tour would essentially become a Midnights-centric tour, but that wasn’t the case. Swift opened the tour on March 17 in Glendale, Arizona with a 44-track set list that spanned much of her discography to date.

Since a showing of The Eras Tour is a long concert bringing unprecedented fan turnout, you’ll have to consider different things than other concerts when preparing to see Swift on tour.

Wear Comfortable Shoes

The Eras Tour can extend beyond five hours in length when you consider openers, intermissions and Swift’s lengthy performance. Though exact total times will vary based on the openers and final set list at each venue, Swift’s typical set list runs roughly three hours and 13 minutes.

At the March 17 show in Glendale, fans remained on their feet for the entirety of the show, and other showings to date have displayed the same fan involvement. That’ll mean attendees will need to stand up to catch a glimpse of Swift for hours straight, most likely standing on concrete stadiums. To stay comfortable and avoid missing out, wear running shoes, quality sneakers or other sturdy shoes to the concert.

Don’t Stand In Line For The Merch Truck

The Eras Tour has brought incredible demand for tour merchandise, and some items have sold out at showings within minutes of gates opening. Though some merchandise items are available on Swift’s online store , others — like the highly-sought blue crewneck — are exclusive to the tour.

Gates typically open for 6:30 p.m. showings two hours before the scheduled start times. A large merchandise truck usually opens at noon, with lines forming even before that. Though people have suggested standing in line for the merch truck hours before entering the venue, that isn’t the best way to be successful.

Instead, wait in line after passing through the security checkpoint in front of the stadium’s gates. There are a multitude of merchandise stands inside the venue that have stock of all the most popular merchandise items. Waiting in front of the stadium gates will allow you to be the first to enter the venue, all but guaranteeing access to merchandise.

However, keep in mind that not all merchandise stands have the same items available. Be sure to glance at the red tapestry showcasing available items before getting in line to wait.

Bring Earplugs. Seriously.

A ton of people have suggested that concert-goers wear protective earplugs to The Eras Tour shows, and it’s easy to dismiss the idea. Of course, after paying hundreds of dollars to see Swift, attendees want to make sure they are enjoying the atmosphere to the fullest.

Regardless, people going to The Eras Tour should seriously consider wearing earplugs to the concert. It’s not necessarily to protect the wearer’s ears from the sound of Swift’s music — that sound level is about the same as other stadium concerts.

But not many other concerts have more than 70,000 people scream-singing lyrics at the top of their lungs for hours straight. Ever experienced ear pain because someone was screaming in your ear? That’s essentially what The Eras Tour can be, at times.

And yes, you’ll still be able to hear all of Swift’s stunning vocals while wearing ear protection.

Make A Clear Bag Plan Before You Go

Most people attending The Eras Tour will be going to stadiums near their home, and may have attended those venues previously. However, Swift has enacted her own bag policies that may differ from the stadium’s typical policies.

Generally, The Eras Tour has a stringent bag policy that requires all bags to be clear and not exceed 12” x 6” x 12” dimensions. A detailed list of prohibited items for Swift’s showing at Ford Field in Detroit, Michigan can be found here , but check with your venue for the exact policy.

To make sure your items are in compliance, make a plan before leaving to ensure nothing gets thrown away at the security checkpoint. It’s important to purchase a clear bag in advance, because prices will be higher at and around the stadium on the day of the showing.

Ready Your Smartphone

The length of Eras Tour shows poses another problem, this time for your phone. Since the concert is upwards of five hours long — and attendees might have to travel before and after with their device — battery is a concern. To combat this, make sure phones are fully charged, low power mode is enabled and brightness is down when possible.

Consider purchasing a portable charger for the event and remember to bring the right cables for your device. This could extend a phone’s life by hours, depending on the portable charger.

For people that plan to record a lot of photos and videos of the concert, check how much storage is left on your smartphone. A photo can take up as many as 25 megabytes of storage, with videos taking up gigabytes of space based on their length. To free up space, upload media to the cloud, save it to a computer or delete unnecessary apps for the time being.

If you’re really in a pinch for space, Android users can utilize expanded storage with a microSD card or a USB-C flash drive. For iPhone users, the Sandisk iXpand flash drive can add up to 256 gigabytes of extra storage.

Enjoy The Show

After fighting tooth-and-nail for concert tickets, you’ve gotten the chance to see The Eras Tour, so follow these tips for the best experience.

Brady Snyder
Taylor Swift

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What does it mean if you were waitlisted for Taylor Swift's Eras Tour tickets?

Taylor Swift added a batch of dates to her Eras Tour in North America in 2024 and fans are already virtually lining up to score tickets.

Ticketmaster asked fans to register online by Nov. 2 for the chance to purchase tickets to three British Columbia shows at face value in the Eras Tour Verified Onsale. On Nov. 8, Swifties learned via email whether or not they were selected to participate in the sale, which begins Nov. 9.

In an email to those lucky enough to get the pre-sale code, Ticketmaster said they would be receiving that code before the sale begins. But to a number of other hopeful buyers, they received an email saying they were on the waitlist for the Eras Tour Verified Onsale.

Here's what it means to be on the Ticketmaster waitlist

Those with a code to participate in the Eras Tour Verified Onsale will have a chance to purchase tickets in cities they pre-selected. Ticketmaster emphasized in their emails that having a code does not guarantee you will get a ticket, and that "due to the high demand, we expect all tickets to be purchased during the Verified Fan Onsale."

However, if any tickets do remain after the initial sale is complete, Ticketmaster said it will begin notifying those on the waitlist that they can enter the sale for a chance to buy tickets.

What initially happened when Ticketmaster held a sale for Taylor Swift tickets in the United States

Ticketmaster famously fumbled the initial ticket sales of Swift's U.S. tour, with many waiting in a virtual queue for the early sale for hours, sometimes to end up with nothing .

In a post on Nov. 19, 2022 , the company said that the initial Verified Fan pre-sale had been plagued by a "staggering number of bot attacks as well as fans who didn’t have codes." The result was an "unprecedented" 3.5 billion total system requests, Ticketmaster reported — four times the company's previous peak.

“We want to apologize to Taylor and all of her fans — especially those who had a terrible experience trying to purchase tickets,” the seller said in a statement at the time.

The company seems to be trying to prevent more subterfuge this time around, saying in the waitlisted email that the unique access codes cannot be purchased or transferred and will only work with the account to which it was assigned.

Fans have banded together since the first round of ticket sales to try to help other Swifties secure tickets and avoid the steep secondary market prices. (For context, tickets to Swift's Aug. 9 show in Los Angeles are going for a minimum of $864 each for essentially behind the stage and as high as $3,386 for floor seats on StubHub, as of the evening of Aug. 8.)

A woman who founded the TS Fandom Fund , a Tumblr collective that seeks to address economic inequality among the Swift fandom, told the New York Time s in March that those working to help other fans get tickets were fueled by altruistic enthusiasm.

“We want Taylor to look out and see people who actually know the words to these songs, and we want to be surrounded by the people who make up our community, not just randoms,” she told the newspaper.

Swift wrapped up the first U.S. leg of her tour in Los Angeles after performing a total of six sold-out shows at Sofi Stadium in Inglewood.

She then headed to Mexico to begin a set of international dates that will take her to South America, Asia, Australia and Europe through 2024 before she returns to North America.

Sam Kubota is a senior digital editor and journalist for TODAY Digital based in Los Angeles. She joined NBC News in 2019.

What Is A Concert Promoter And How Do I Become One?

Concert promoters do not have easy jobs. They are cat wranglers in the middle of a three-ring circus. Connecting exciting artists to hot venues to create a fantastic event sounds awfully glamorous and exciting. It is. But it’s also a ton of work for concert promoters who have hundreds of tasks to get done, thousands of details to attend to, and a lot of egos to manage.

The concert promoter is responsible for every detail from connecting the right act to the right venue and negotiating a financially-viable event contract, to managing transportation, to getting tickets sold, to making sure the stage and equipment is properly set up. Being a concert promoter is not a role for those who can’t focus on the details.

Through all the project management and marketing activities, it’s also the concert promoter’s responsibility to put together a budget and stick to it. This is where contract negotiations become so important, especially since some artists can ask for some pretty crazy stuff. As the concert promoter, you want a buzz-worthy event where everyone has an amazing time. But it’s also your job to make sure everyone (including you) has made money on the event. With all the details and minutiae of planning, promoting and executing a concert – it’s easy to bleed money if you’re not on top of what’s being spent on what. So add business management to the concert promoter’s duties.

At the center of it all it is making sure the artist(s) are taken care of. This doesn’t just mean stocking the green room with a musician’s favorite bottled water. It means making sure the venue is ready to provide the right environment for their type of performance. It means promoting and marketing the event to the right people so there’s a full house with an enthusiastic crowd. Never forget your own days performing before a live audience, whether it was a school recital or local night club. Performing live is an exciting, nerve-wracking proposition for even the most experienced and professional musicians. Take care of the talent.

The Three R's: Readin’ Writin’ and ‘Rithmatic

To succeed at concert promotion, you need to master the education basics.

Reading : Concert promoters need to read a lot. Read about the music industry, marketing, and business. Reading (on whatever topic) is also a necessary skill to mastering the next skill.

Writing : Concert promoters have to do a lot of writing. Copywriting promotional materials, from press releases to media kits to social media content, is a huge part of the job. While going to college isn’t necessary to start down the concert promoter track, taking some writing and communications courses is definitely recommended. If you can’t use your writing to persuade people to attend events, you can’t promote.

Arithmetic : Those budgets aren’t going to resolve themselves. During contract negotiations, contract promoters need to run numbers, under costs, and whether there’s sufficient profit forecast based on the terms being discussed. You don’t need to do the math in your head. Any good spreadsheet application can do the math for you. You just need to get proficient in using them to run numbers and budgets, and let the application do the heavy lifting.

A few more valuable, practical skills:

Learn about graphic design and how to use a program like Photoshop. When you’re starting out, you won’t just be writing promotional materials, you’ll probably doing the graphics as well.
Get some technical experience in the process of setting up and striking events, instruments, DJ booths, anything related to a concert staging.

Getting started

Like so many music-related professions, there’s no college degree or bright line career path to getting there. Because so much of the job has to be learned on the job, getting practical experience in any skill or task demanded by a concert promoter is valuable.

Getting an internship with a concert promoter, talent manager, venue or booking manager is one way to start. Of course, being an attractive candidate as an intern will require having some degree of experience already. Since promotional writing is such a big part of the job, start finding blogs and sites where you can publish some writing to hone your skills and build a portfolio. Develop your own social media presence as someone in the know of great music events.

Network with fellow students or peers who are musicians or performers so you can start your learning process and gaining practical experience with people who can’t afford to pay professional concert promoters.

If you want to make sure you’re positioning yourself well to get an internship or entry level position with a concert promotion company, check out these common concert promoter interview questions . They’ll give you a good idea of what these companies are looking for in candidates.

Manage your expectations

Everyone with an Instagram account and an interest in billing themselves as a “concert promoter” is out there hustling. If you’re genuinely interested in being a successful concert promoter, being willing to show some patience. That means starting at the bottom with small events and venues. It also means finding ways to earn money in addition to any concert promoting work. Ideally, your other work is helping you develop the same kinds of skills and contacts that will be useful in concert promoting.

Listen to this interview with concert promoter-extraordinaire Graham Williams to get his perspective.

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Definition of concert

(Entry 1 of 2)

Definition of concert (Entry 2 of 2)

transitive verb

intransitive verb

Examples of concert in a Sentence

These examples are programmatically compiled from various online sources to illustrate current usage of the word 'concert.' Any opinions expressed in the examples do not represent those of Merriam-Webster or its editors. Send us feedback about these examples.

Word History

French, from Italian concerto , from concertare

Middle French concerter , from Old Italian concertare , perhaps from com- + certo certain, decided, from Latin certus — more at certain

1571, in the meaning defined at sense 2

1652, in the meaning defined at transitive sense 1

Phrases Containing concert

concert grand
concert pitch
pre - concert
promenade concert

Dictionary Entries Near concert

concern oneself

concertante

Cite this Entry

“Concert.” Merriam-Webster.com Dictionary , Merriam-Webster, https://www.merriam-webster.com/dictionary/concert. Accessed 1 May. 2024.

Kids Definition

Kids definition of concert.

Kids Definition of concert (Entry 2 of 2)

More from Merriam-Webster on concert

Nglish: Translation of concert for Spanish Speakers

Britannica English: Translation of concert for Arabic Speakers

Britannica.com: Encyclopedia article about concert

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Ultimate guide to Rolling Stones 2024 at State Farm Stadium in Glendale: Tickets, parking

The Rolling Stones will be getting their ya-ya’s out again at State Farm Stadium in Glendale when the Hackney Diamonds Tour hits metro Phoenix on Tuesday, May 7, a day the city has proclaimed shall temporarily be known as Ruby Tuesday .

This is the Stones’ third time at State Farm Stadium, where they last played in 2019 on their final tour with Charlie Watts, who left this world on Aug. 24, 2021.

The Hackney Diamond Tour is in support of their first album of original material in nearly 20 years, which topped the Billboard album charts in late October while leading many critics to proclaim it their best work since “Tattoo You” in 1981 (and whether you agree with that or not, it’s certainly a strong contender for the title).

Glendale is the third stop on the Rolling Stones 2024 tour. Here’s everything you need to know before you go.

When is the Rolling Stones 2024 State Farm Stadium concert?

The Rolling Stones will play State Farm Stadium in Glendale on Tuesday, May 7.

What time does the Rolling Stones concert start?

Here's the timetable:

Parking lots open at 4 p.m.
Plaza opens at 5 p.m.
Doors open at 6 p.m.
Concert starts at 8 p.m.

When does State Farm Stadium open for concerts?

Doors open at 6 p.m. Fans are encouraged to show up as early as possible to avoid potential delays at the gates as you get closer to show time. The concert starts at 8 p.m.

Motorists should expect congestion, especially during rush hour. Allow ample drive time and arrive no later than 6 p.m. to minimize the potential for delays.

Where is State Farm Stadium?

State Farm Stadium is off Loop 101 between Cardinals Way/Bethany Home Road and Glendale Avenue in the Glendale Sports and Entertainment District.

The street address is 1 Cardinals Way, and typing "State Farm Stadium" into your phone will yield the same result, which may not be as helpful as you think.

In fact, fans are encouraged to avoid their favorite apps when approaching the stadium, as they do not take into account special road closures, traffic patterns and access routes allocated to specific carparks. Using these apps could result in a longer commute.

The stadium website encourages ticketholders to use the directions on the parking pass purchased at SeatGeek.com , as this accounts for road closures and event-specific diversions.

State Farm Stadium parking map

This map will help as you get close.

How to get to State Farm Stadium for the Rolling Stones

The State Farm Stadium website offers these directions:

From the south: Take Loop 101 north, exit at Bethany Home Road/Cardinals Way and turn right off the exit. State Farm Stadium is on the left.

From the north: Take Loop 101 south, exit at Glendale Avenue and turn right onto Glendale Avenue. Make the first left onto 99th Avenue and left onto Maryland Avenue and continue over the bridge. State Farm Stadium is on the right.

From the East Valley using Interstate 10: Follow I-10 west to Loop 101 north. Exit at Bethany Home Road/Cardinals Way and turn right off the exit. State Farm Stadium is on the left.

From the East Valley using surface streets: Take Glendale Avenue west to 91st Avenue. Turn left onto 91st Avenue. State Farm Stadium is on the right.

From the West Valley using I-10: Follow I-10 east to Loop 101 north. Exit at Bethany Home Road/Cardinals Way and turn right off the exit. State Farm Stadium is on the left.

From the West Valley using surface streets: Take Glendale Avenue east to 95th Avenue. Turn right on 95th Avenue and follow it south. State Farm Stadium is on the left.

Rolling Stones 2024 tickets in Phoenix

Tickets are available through SeatGeek , starting at $65.

Is State Farm Stadium air-conditioned?

Yes, State Farm Stadium is air-conditioned.

Will the State Farm Stadium roof be open?

Most likely not.

Can I bring a seat cushion or blanket to State Farm Stadium?

Yes. One-piece foam seat cushions no larger than 18 inches without pockets, zippers or concealable areas are permitted.

Additional clothing, blankets, etc., are permitted if carried loosely or in an approved clear bag. Blankets should be carried over the shoulder to be screened more quickly.

State Farm Stadium security

Metal detector screening and a search of all bags and other items will take place at stadium gates. There are no provisions to store or safeguard prohibited bags. Guests will be asked to return prohibited items to their cars.

State Farm Stadium water bottle policy

You can bring in one factory-sealed, non-frozen 500ml (16.9 ounce) bottle of plain water. Sports drinks and flavored water are not permitted.

Glass bottles, cans and vacuum bottles also are not allowed.

State Farm Stadium prohibited items

The following items are not permitted inside State Farm Stadium:

Aerosol cans.
Alcoholic beverages.
Animals (except for documented service animals).
Bags that do not meet NFL guidelines (must be clear and smaller than 12 by 12 by 6 inches).
Banners or signs larger than 3 feet by 2 feet.
Beverages other than one factory-sealed, non-frozen 500ml (16.9 ounce) bottle of plain water. Sports drinks and flavored water are not permitted.
Beverage containers — glass bottles, cans and vacuum bottles.
Cameras with professional lenses, tripods/monopods and iPads.
Chewing tobacco.
E-cigarettes/vaporizer pens.
Clothing deemed obscene or indecent in a public setting.
Coolers of any kind.
Food (unless used for children younger than 2).
Footballs and beach balls (inflated or deflated).
Illegal drugs.
Laptop computers.
Laser pointers.
Noisemakers of any kind (whistles, horns, bells, etc.).
Poles or sticks of any kind, including selfie sticks and brooms.
Seat cushions except those that are one piece and have no zippers, pockets or concealable areas.
Golf carts, skateboards, rollerblades or hoverboards.
Umbrellas larger than 12 inches in length.
Unmanned aircraft systems (drones, etc.).
Video cameras (single purpose).
Weapons of any kind including, but not limited to, firearms and knives.
Any item deemed inappropriate or hazardous by stadium security.

State Farm Stadium bag policy for concerts

The NFL clear bag policy is enforced for all events at State Farm Stadium. Fans are encouraged to bring no bags, but the following will be permitted:

Bags that are clear plastic, vinyl or PVC and do not exceed 12 by 12 by 6 inches. This includes clear backpacks, fanny packs and cinch bags.
One-gallon clear plastic freezer bag (Ziploc or similar).
Small clutch bags, with a maximum size of 4.5 inches by 6.5 inches, with or without a handle or strap, may be carried into the stadium along with one clear bag.
Exceptions for medically necessary items will be made after inspection at a gate designated for this purpose.

Is State Farm Stadium a cashless venue?

Yes. Cash is not accepted at State Farm Stadium.

Lost and found at State Farm Stadium

Report lost items by filling out the form at statefarmstadium.com . In the Item Description section, provide as much information as possible. If an item is turned in that matches your description, you will be contacted.

Rolling Stones 2024 tour at State Farm Stadium in Glendale

When: 8 p.m. Tuesday, May 7.

Where: State Farm Stadium, 1 Cardinals Way, Glendale.

Admission: $63 and up.

Details: 800-745-3000, SeatGeek.com .

Reach the reporter at [email protected] or 602-444-4495. Follow him on X (formerly Twitter) @EdMasley .

Support local journalism. Subscribe to azcentral.com today.

George Strait, Chris Stapleton in concert at EverBank Stadium. Here's what you should know

The echoes from two Luke Combs concerts will barely have time to fade before another big country crowd heads to Jacksonville's EverBank Stadium, this time for a triple bill of George Strait , Chris Stapleton and Little Big Town on Saturday, May 11.

Strait is about as big a star as you'll find anywhere in country music, and Stapleton isn't far behind. In fact, all three acts have headlined shows at venues in the Jacksonville area.

Strait is a "neotraditional" country star, sort of a throwback to the days when country music leaned heavily on pedal-steel guitars and fiddles. He's sold something like 120 million albums and has a record-setting 60 number-one hits. He's in the Country Music Hall of Fame, was named Artist of the Decade by the Academy of Country Music and has won more Country Music Association awards than anyone. Only Elvis Presley and the Beatles have released more gold or platinum albums.

Here's what you need to know about the show.

Where is George Strait playing in Jacksonville?

The concert is at EverBank Stadium , home of the Jacksonville Jaguars .

Who is opening for George Strait in Jacksonville?

First up is Little Big Town, a quartet that's toured with Strait in the past and has been named Vocal Group of the Year several times each by the Academy of Country Music and the Country Music Awards. The band has played Jacksonville shows at Freebird Live , Metropolitan Park, the arena, the St. Augustine Amphitheatre and Daily's Place, plus they did a 2012 show at Mayport Naval Station before a Georgetown-Florida basketball game aboard an aircraft carrier and played at Florida Country Superfest in the stadium in 2013.

Chris Stapleton is a Kentucky native who wrote hit songs for Strait, Kenny Chesney and Luke Bryan before busting out on his own with his quadruple-platinum debut album, "Traveler." He's won ten Grammy Awards and is the reigning Academy of Country Music Entertainer of the Year and Country Music Association Male Vocalist of the Year. Four of his five studio albums have gone platinum or better and all five topped the country charts. He's played at least three times at Jacksonville's arena and once at the St. Augustine Amphitheatre.

Fitting in: What to look for (and how to fit in) at a country music concert

How much are George Strait tickets in Jacksonville?

Tickets are available through the stadium's website, everbankstadium.com , ranging from $125-$650.

Has George Strait ever played a concert in Jacksonville?

Strait has been coming to Jacksonville since at least 1988. He played at the old Jacksonville Coliseum in '88, '94 and '95, headlined a huge country show at what was then called Alltel Stadium in 2000 and played the arena in '11 . He was scheduled to play at the arena in 2008 but came down with the flu backstage and had to reschedule for the following year; Little Big Town was the opening act for that show and played anyway.

Didn't George Strait retire from touring years ago?

Strait made quite a big deal about retiring from the road, even going on a Cowboy Rides Away Tour in 2014 and releasing a live album from the final show. He was back on the road a few years later, sort of, playing almost exclusively at the arena in Las Vegas from 2016-21. He now plays "limited engagements" that are a week or two apart.

More big concerts in 2024: 24 big shows coming to Jacksonville in 2024: Strait, Willie, McGraw, NKOTB

What other stadiums is George Strait playing on this tour?

The tour includes stops at the home stadiums of the Indianapolis Colts, Iowa State Cyclones, Carolina Panthers, New York Giants/Jets, Utah Utes, Texas A&M Aggies, Detroit Lions, Chicago Bears and Las Vegas Raiders.

Where can I park for the George Strait concerts?

Parking options range from $49-$107.50. There are thousands of spots in lots and garages in the nearby downtown area.

Getting there: How to get to events at EverBank Stadium

What time do parking lots open for the George Strait concert?

How many people will be at the george strait concert .

Officials are expecting around 40,000-45,000 fans.

What time does the stadium open for the George Strait concert?

Gates open at 4:30 p.m.

Can I jump into the EverBank Stadium swimming pools if I get overheated during the George Strait concert?

No, the “spas” on the north end of the stadium will not be open during the concerts. The entire north end of the stadium, which is behind the stage, will be closed to the public. The seats in Daily’s Place, the amphitheater attached to the southern end of the stadium, will be used as a cooling-off area for fans.

Desperately seeking shade: Where fans can find the coolest spots at TIAA Bank Field

Can I leave the stadium and come back in?

No. There is no re-entry allowed.

What time does the first act come on stage?

Little Big Town is scheduled to take the stage at 5:45 p.m., Chris Stapleton is scheduled to start at 7:15 p.m. Strait starts his show at 9:15 p.m.

Will the George Strait concert be rescheduled if it rains?

Acts may be postponed due to lightning, but the shows are rain or shine. The stage will be covered, but the fans won’t be.

What can I bring with me to the George Strait concert?

Policies will be mostly the same as at a Jaguars game. You can bring in one factory-sealed water bottle that is 16.9 ounces or less. All bags brought into the stadium must be clear and no larger than 12-by-6-by-12 inches. Backpacks of any kind (even clear) are prohibited, and no outside food or beverages are permitted.

Can I bring a camera to the George Strait concert?

Not if it has a detachable lens, but you can shoot all the photos you want with your smartphone. Go-Pros, HD video cameras and drones are also prohibited.

Can I hold up my phone and record the whole George Strait concert?

There’s no rule against that, but the people sitting behind you will hate you for it.

Billie Eilish Announces HIT ME HARD AND SOFT: THE TOUR

2024/25 DATES REVEALED FOR NORTH AMERICA, EUROPE, UNITED KINGDOM, IRELAND, AND AUSTRALIA

American express card member presale starts april 30 and general on-sale begins may 3, third studio album hit me hard and soft out on may 17 [darkroom/interscope records].

Following the news of her highly anticipated third studio album HIT ME HARD AND SOFT , set for release on May 17 [pre-order/add/save HERE ], Billie Eilish has announced arena dates, produced by Live Nation, for her HIT ME HARD AND SOFT: THE TOUR . Starting in September 2024 , Eilish will embark on her North American leg of the tour which runs through to the end of December 2024 . The tour will continue in Australia starting February 2025 ahead of her European, U.K., and Ireland arena dates starting in April until late July . For a full list of tour dates, see below or visit billieeilish.com

Tickets for BILLIE EILISH: HIT ME HARD AND SOFT: THE TOUR will be available starting with the American Express® Presale beginning Tuesday, April 30 , with additional presales running throughout the week. Any remaining tickets will be available during the general on-sale starting Friday, May 3 on billieeilish.com . On-sale start times vary by market, check local listings for more information.

American Express® Card Members can purchase tickets before the general public beginning Tuesday, April 30 (while supplies last) – this is one of the many entertainment benefits American Express Card Members can access. Presale start + end times will vary by market, check your local listings at billieeilish.com for more information.

SUSTAINABILITY EFFORTS

Billie Eilish will continue her long-standing partnership with environmental nonprofit REVERB on this tour, building on the success of previous efforts, which resulted in over $1 million donated to environmental, greenhouse gas reduction, and climate justice projects, more than 150,000 fan actions, and much more. Sustainability efforts on this tour will include reducing greenhouse gas pollution, decreasing single-use plastic waste, supporting climate action, and updating concession offerings to promote and encourage plant-based food options with Support+Feed .

In keeping with her commitment to making a difference in the environmental impacts of her music and touring, a portion of the proceeds from ticket sales in North America will go to REVERB and its ongoing effort to help support organizations across the country addressing the impacts of food insecurity and the climate crisis.

ECO-VILLAGE

The Billie Eilish REVERB Eco-Villages will be set up at 2 locations in the main concourse of every show where fans can take part in the tour’s sustainability efforts, connect with nonprofits, and take meaningful action for people and the planet.

SUPPORT+FEED

For collective action at the intersection of climate and food, Support+Feed will be launching a 360 campaign throughout the tour. Following the success in 2022, Support+Feed will offer an expanded version of the Support+Feed Pledge inspiring fans to eat one plant-based meal a day for 30 days with digital elements and community activations. Fans will also have the opportunity to participate in Plant-based Food Drives in a selection of cities alongside the tour to raise awareness and gather food to distribute to local communities.

Fans are encouraged to join the effort to make the HIT ME HARD AND SOFT: THE TOUR more sustainable. Where possible, take public transportation and carpool to and from the shows to help reduce greenhouse gas pollution and encourage more public transportation options. Fans will receive information via email about public transportation options before the show.

Venue partners are also helping to lessen the environmental footprint of the tour. In addition to efforts to decrease waste through reducing or eliminating single-use plastics and diverting landfill waste with compost and recycling, venues will be offering plant-based food options at all shows.

FAN PARTICIPATION

Bring an empty reusable water bottle or donate for a custom RockNRefill Nalgene bottle to fill up at the free water refill stations located at each venue. The RockNRefill bottles and refill stations are located at the Eco-Villages in the main concourse at all shows. Fight fast fashion by opting for thrifted, upcycled, or borrowed clothes instead of buying new clothing to wear to shows.

HIT ME HARD AND SOFT: THE TOUR – NORTH AMERICA*

Sun Sep 29 – Québec, QC – Centre Videotron Tue Oct 01 – Toronto, ON – Scotiabank Arena Wed Oct 02 – Toronto, ON – Scotiabank Arena Fri Oct 04 – Baltimore, MD – CFG Bank Arena Sat Oct 05 – Philadelphia, PA – Wells Fargo Center Mon Oct 07 – Detroit, MI – Little Caesars Arena Wed Oct 09 – Newark, NJ – Prudential Center Fri Oct 11 – Boston, MA – TD Garden Sun Oct 13 – Pittsburgh, PA – PPG Paints Arena Wed Oct 16 – New York, NY – Madison Square Garden Thu Oct 17 – New York, NY – Madison Square Garden Fri Oct 18 – New York, NY – Madison Square Garden Sat Nov 02 – Atlanta, GA – State Farm Arena Sun Nov 03 – Atlanta, GA – State Farm Arena Wed Nov 06 – Nashville, TN – Bridgestone Arena Fri Nov 08 – Cincinnati, OH – Heritage Bank Center Sun Nov 10 – Saint Paul, MN – Xcel Energy Center Mon Nov 11 – Saint Paul, MN – Xcel Energy Center Wed Nov 13 – Chicago, IL – United Center Thu Nov 14 – Chicago, IL – United Center Sat Nov 16 – Kansas City, MO – T-Mobile Center Sun Nov 17 – Omaha, NE – CHI Health Center Omaha Tue Nov 19 – Denver, CO – Ball Arena Wed Nov 20 – Denver, CO – Ball Arena Tue Dec 03 – Vancouver, BC – Rogers Arena Thu Dec 05 – Seattle, WA – Climate Pledge Arena Fri Dec 06 – Seattle, WA – Climate Pledge Arena Sun Dec 08 – Portland, OR – Moda Center Tue Dec 10 – San Jose, CA – SAP Center at San Jose Wed Dec 11 – San Jose, CA – SAP Center at San Jose Fri Dec 13 – Glendale, AZ – Desert Diamond Arena Sun Dec 15 – Inglewood, CA – Kia Forum Mon Dec 16 – Inglewood, CA – Kia Forum Tue Dec 17 – Inglewood, CA – Kia Forum

HIT ME HARD AND SOFT: THE TOUR – AUSTRALIA

Tue Feb 18, 2025 – Brisbane, Australia – Brisbane Entertainment Centre Wed Feb 19, 2025 – Brisbane, Australia – Brisbane Entertainment Centre Fri Feb 21, 2025 – Brisbane, Australia – Brisbane Entertainment Centre Sat Feb 22, 2025 – Brisbane, Australia – Brisbane Entertainment Centre Mon Feb 24, 2025 – Sydney, Australia – Qudos Bank Arena Tue Feb 25, 2025 – Sydney, Australia – Qudos Bank Arena Thu Feb 27, 2025 – Sydney, Australia – Qudos Bank Arena Fri Feb 28, 2025 – Sydney, Australia – Qudos Bank Arena Tue Mar 4, 2025 –Melbourne, Australia – Rod Laver Arena Wed Mar 5, 2025 – Melbourne, Australia – Rod Laver Arena Fri Mar 7, 2025 – Melbourne, Australia – Rod Laver Arena Sat Mar 8, 2025 – Melbourne, Australia – Rod Laver Arena

HIT ME HARD AND SOFT: THE TOUR – EUROPE/U.K./IRELAND Wed Apr 23, 2025 – Stockholm, Sweden – Avicii Arena

Thu Apr 24, 2025 – Stockholm, Sweden – Avicii Arena

Sat Apr 26, 2025 – Oslo, Norway – Telenor Arena Mon Apr 28, 2025 – Copenhagen, Denmark – Royal Arena Tue Apr 29, 2025 – Copenhagen, Denmark – Royal Arena

Fri May 2, 2025 – Hannover, Germany – ZAG Arena Sun May 4, 2025 – Amsterdam, Netherlands – Ziggo Dome Mon May 5, 2025 – Amsterdam, Netherlands – Ziggo Dome Wed May 7, 2025 – Amsterdam, Netherlands – Ziggo Dome Fri May 9, 2025 – Berlin, Germany – Uber Arena Thu May 29, 2025 – Cologne, Germany – Lanxess Arena Fri May 30, 2025 – Cologne, Germany – Lanxess Arena Sun June 1, 2025 – Prague, Czech Republic – O2 Arena Tue June 3, 2025 – Kraków, Poland – Tauron Arena Wed June 4, 2025 – Kraków, Poland – Tauron Arena Fri June 6, 2025 – Vienna, Austria – Stadthalle Sun June 8, 2025 – Bologna, Italy – Unipol Arena Tue June 10, 2025 – Paris, France – Accor Arena Wed June 11, 2025 – Paris, France – Accor Arena Sat June 14, 2025 – Barcelona, Spain – Palau Sant Jordi Sun June 15, 2025 –Barcelona, Spain – Palau Sant Jordi

Mon Jul 7, 2025 – Glasgow, UK – OVO Hydro Tue Jul 8, 2025 – Glasgow, UK – OVO Hydro Thu Jul 10, 2025 – London, UK – The O2 Fri Jul 11, 2025 –London, UK – The O2 Sun Jul 13, 2025 – London, UK – The O2 Mon Jul 14, 2025 – London, UK – The O2 Wed Jul 16, 2025 – London, UK – The O2 Thu Jul 17, 2025 – London, UK – The O2 Sat Jul 19, 2025 – Manchester, UK – Co-op Live Sun Jul 20, 2025 – Manchester, UK – Co-op Live Tue Jul 22, 2025 – Manchester, UK – Co-op Live Wed Jul 23, 2025 – Manchester, UK – Co-op Live Sat Jul 26, 2025 – Dublin, Ireland – 3Arena Sun Jul 27, 2025 – Dublin, Ireland – 3Arena

*The tour wants to give fans, not scalpers, the best chance to buy tickets at face value. To make this possible they have chosen to use Ticketmaster’s Face Value Exchange. If fans purchase tickets for a show in the U.S. or Canada and can’t attend, they’ll have the option to resell them to other fans at the original price paid. To help protect the Exchange, the tour has requested all tickets be mobile only and restricted from transfer. This applies to all shows except those in Colorado, Illinois, and New York where Face Value Exchange cannot be mandated. Please note, a valid bank account or debit card within the country of your event is required to sell on the Face Value Exchange. More information on how the Ticketmaster Exchange works is available here .

Billie Eilish’s forthcoming album, HIT ME HARD AND SOFT was written by Billie Eilish and FINNEAS , her brother and long-time collaborator, who also produced the album. HIT ME HARD AND SOFT will be available on all digital platforms, and in a continued effort to minimize waste and combat climate change; across all physical formats in limited variants on the same day, with the same track-listing and using 100% recyclable materials. For more information on all sustainable practices for this album release, please visit https://store.billieeilish.com/pages/sustainability

HIT ME HARD AND SOFT is out everywhere on May 17.

Pre-order/add/save HERE.

High Res Images HERE

Photo credit for album artwork and press photo is William Drumm

About Live Nation Entertainment

Live Nation Entertainment (NYSE: LYV) is the world’s leading live entertainment company comprised of global market leaders: Ticketmaster, Live Nation Concerts, and Live Nation Sponsorship. For additional information, visit www.livenationentertainment.com .

For all media inquiries, please contact:

Alexandra Baker | [email protected]

Jamie Sward | [email protected]

For all Live Nation Concerts inquiries, please contact:

Monique Sowinski | [email protected]

Maya Sarin | [email protected]

No one rocks like The Rolling Stones: Mick Jagger, band thrill on Hackney Diamonds Tour

HOUSTON − It’s not only stunning, but it's somewhat miraculous that more than 60 years after their first tour, the Rolling Stones are still filling stadiums.

It’s even more head-spinning to realize that along with their treasured hits, the Rolling Stones are enhancing their set list with a trio of songs from last year’s well-received “Hackney Diamonds” – their first album of original material in 18 years and the impetus for this 16-city tour.

We’d call it a victory lap, but frontman Mick Jagger is better suited for marathons.

At the kickoff Sunday at NRG Stadium in Houston, the core triumvirate of Jagger, Keith Richards and Ronnie Wood – along with their supporting cast of exceptional musicians and singers – hit the massive stage to the sounds of Richards’ slashing out the riff of, fittingly, “Start Me Up.”

Jagger, the nimble CEO of Stones Inc., peacocked in a silver shimmering jacket, his elastic legs a mere pedestal for his rotating torso.

Richards, still owning his disheveled pirate look with a knit cap and multicolored scarf dangling from his hip, and Wood, grinning continuously and occasionally scampering down the lengthy catwalk, retained their roles as faithful consiglieres.

There isn’t a patch of smooth facial skin among them (Jagger and Richards are 80 and Wood is 76). But with the energy to plow through an 18-song, two-hour set – yes, shorter than previous Stones shows, but still fulfilling – no one is looking to crown them pageant winners.

More: Jon Bon Jovi talks 'mental anguish' of vocal cord issues, 'big brother' Bruce Springsteen

While the band needed a couple of songs to fully find their groove – the striding cadence of a reworked “Get Off Of My Cloud” and a ramshackle “Rocks Off” felt curious rather than robust – Jagger compensated with his riveting presence and still-supple vocals.

Along with the “Hackney Diamonds” songs plucked for their major live debuts (the band played a few of the new tracks at an intimate New York club gig in October ), including the feisty “ Angry ” and encore of gospelized “ Sweet Sounds of Heaven ,” the 1966 tune “ Out of Time ” also received its U.S. debut. The band revived it last year during some performances for the overseas Sixty tour.

“I don’t think you really knew it, but you got to know it,” Jagger said with a smile after leading the nearly full stadium through the arm-waving chorus.

As typical for a Rolling Stones production, the stage ran the width of the stadium, blanketed with screens beaming images of the band with magnificent clarity. Close-ups of drummer Steve Jordan, who assumed rhythm duties after the death of original drummer Charlie Watts in 2021, joyfully thundering through the gem “ Paint It, Black ” and birthday boy Chuck Leavell ripping out a fleet-fingered solo on his Yamaha keyboard on “Honky Tonk Women” offered fans a peek at the magic happening a few feet behind Jagger and Co.

During the always-visceral “ Sympathy for the Devil ,” as serpents and fire crawled across the screens, Jagger prowled through the sinister groove, augmented by percussion provided by background vocalist Bernard Fowler and chunky bass lines from Darryl Jones.

Keyboardist Matt Clifford added French horn to “ You Can’t Always Get What You Want ” as Jagger, playing an acoustic guitar, strolled through the message of acquiescence that escalated into a gospel throwdown.

The horn duo of Karl Denson and Tim Ries coated many familiar anthems – “Jumpin’ Jack Flash” and “Miss You” among them – with their rich brass sounds. But, as fans have realized over the decades, the ominous “Gimme Shelter” remains a centerpiece of any Rolling Stones concert, and Jagger has a new onstage playmate in powerhouse background vocalist Chanel Haynes.

The woman who starred as Tina Turner in the West End musical of Turner’s life and officially became part of the band last year steamrolled through “Gimme Shelter” with a voice blaring attitude and vigor. As she and Jagger strolled the catwalk, sharing vocals and chemistry, Jagger wisely backed off a couple of times, allowing Haynes to unleash her theatrical verve.

But this is still Jagger’s circus, and whether he’s bobbing like a jittery prizefighter or wiggling his shoulders like the world’s most slender Chippendales dancer, he is an octogenarian who captivates.

More: New Orleans Jazz Fest 2024: Lineup, daily schedule, start times, ticket info

The band has enlisted various openers throughout the tour. In Houston, blues-rock guitar ace – and Texas native – Gary Clark Jr. landed the opening-night slot and for 45 minutes enchanted the mostly full stadium.

With a large band – five musicians, three background vocalists – behind him, Clark was the epitome of cool in dark shades and a bandanna as he took the stage with “Maktub” from his recently released fourth album, “JPEG Raw.”

Clark is a big name for an opener (then again, it is the Rolling Stones) and he used his time well with massive licks on the crunch rockers “Bright Lights” and “This is Who We Are,” with singer Naala joining him.

The soul-inflected “Feed the Babies” seared as a set highlight as the singer/guitarist displayed sizzling playing and a breezy vibe for the crowd.

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Billie Eilish fans lash out at ‘ridiculous’ ticket prices for 2025 tour

Fans were dismayed with many branding the sum ‘ridiculous’ in the midst of a cost of living crisis, article bookmarked.

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Billie Eilish fans have called out the US pop star after it emerged that standing tickets to her forthcoming arena shows were being sold for £145 each.

Pre-sale tickets to the singer’s Hit Me Hard and Soft tour became available between 30 April to 1 May, including early access for American Express card members.

The 22-year-old will be performing a string of dates in the UK and Ireland next year, including five nights at the O2 Arena in London, two nights in Glasgow, four in Manchester and two in Dublin.

In press material announcing the tour, it was revealed that Eilish’s team had chosen to use Ticketmaster’s Face Value Exchange, meaning fans have the option to resell tickets to other fans in the US or Canada if they are no longer able to attend themselves.

“The tour wants to give fans, not scalpers, the best chance to buy tickets at face value,” the statement said.

As tickets went on sale, however, many fans were dismayed to learn how much they were priced at, with many branding the sum “ridiculous” in the midst of a cost of living crisis.

“I honestly wanted more Billie tickets but £145 for standing is so ridiculous I can’t even process it,” one fan wrote on X/Twitter.

“£145 for Billie Eilish tickets does she not know there’s a cost of living [crisis] happening in the UK,” fan Zoe said.

Another remarked: “Me coming onto Ticketmaster seeing Billie Eilish prices then coming straight back out again. £145 for standing is this delusion?” In the replies, the fan compared the price to the first time she saw Eilish live, when she paid £20 for a ticket.

Enjoy unlimited access to 70 million ad-free songs and podcasts with Amazon Music

Not everyone had sympathy for fans though, as some said it was their choice to pay that much for a ticket.

X/Twitter user Billy asked: “At what point do people realise they’re being conned and priced out. If you’re buying tickets at that price then honestly you’re part of the problem now.”

Matt, the writer behind the Scientists of Sound music blog, agreed: “People paying nearly £145 for Billie Eilish tickets are part of the problem. When these venues sell out at these prices artists and promoters couldn’t care less as they’re getting away with it. Fans are being completely priced out of these events and it’s only getting worse.”

One fan, who preferred to remain anonymous, told The Independent that buying tickets to concerts often felt like an “online war”, with fans feeling pressured into paying extortionate sums or else risk missing out.

“Artists and ticketing companies know that their fans will pay any amount of money to see their favourite artists,” he said, “and it’s only getting worse because fandoms are so strong. At what point does it go too far? This feels pretty close.”

At what point does it go too far? This feels pretty close

Confirming he had paid £146 for a standing ticket at the newly built Co-op Live arena in Manchester, the fan admitted he felt exploited.

“I go to quite a few gigs a year, [and] whenever it comes to the bigger shows you’re looking at a minimum of £70 or £80,” he said. “I paid £110 for standing to see Taylor Swift at Wembley, which actually feels like a bit of a bargain now.”

The fan said that artist exploitation went beyond concert tickets: “I’ve got into collecting vinyl recently and didn’t realise how many variants there are per album with exclusive songs or photos or whatever it might be. These artists know that their fans want every version because they love them so much. It just feels unfair.”

Jason Burt bought tickets for his 14-year-old daughter and said they were around the same price they paid for Eilish’s last tour, “but slightly less than I did for [Bruce] Springsteen this time last year”.

“The price is, in my opinion, excessive, despite the fact she will be thrilled by the concert,” he said. “[My daughter] is aware of the cost and appreciates how lucky she is to be able to go.”

Mr Burt said there was “definitely an element of exploitation” involved with artists of Eilish’s size, but questioned how much involvement the artists themselves had in deciding ticket prices.

He also pointed out the other ways in which artists are able to generate revenue from their fans: “If you have 30+ formats of an album, for example, there is an implicit understanding that some fans will buy all of them, which in turns pushes its chart position exponentially,” he said.

“Similarly, merch at gigs. Some will want all of it. As a parent, I wouldn’t buy it all and i’m lucky my daughter has no interest in that level of ‘completism’, but I’m sure it puts pressure on parents at a time we can least afford it.”

A representative for Eilish declined to comment when contacted by The Independent.

Eilish recently hit out at major artists making “40 different vinyl packages that have a different unique thing ust to get you to keep buying more”, branding the practice “wasteful”.

She was later forced to clarify that she was not calling out fellow pop star Taylor Swift, who had recently announced a number of different versions of her 11th studio album, The Tortured Poets Department.

“I wasn’t singling anyone out, these are industry-wide systemic issues. and when it comes to variants, so many artists release them, including ME! Which I clearly state in the article,” Eilish wrote on Instagram.

“The climate crisis is now and it’s about all of us being part of the problem and trying to do better sheesh.”

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COMMENTS

Concert tour
A concert tour (or simply tour) is a series of concerts by an artist or group of artists in different cities, countries or locations. Often, concert tours are named to differentiate different tours by the same artist and to associate a specific tour with a particular album or product. Especially in the popular music world, such tours can become ...
How Concert Tours Work
Top Grossing Concert Tours of 2007. Veteran performers continued to dominate the Top 10 list in 2007. Only Josh Grobin and Rascal Flatts started touring after 2000. The average ticket price for the Top 100 concert tours was $61, up 8 percent from $57 a year earlier. The Police, $133.2 million.
Concert Terms Glossary: 54 Music Industry Definitions
9. Concert. A concert is a live performance by one or more musicians, typically/hopefully in front of a paying audience. Concerts can be held in various venues, including theaters, clubs, arenas, and outdoor spaces. Concerts are often organized and advertised by a promoter or production company.
Glossary of Music Terms: Live Performances
Strike: To strike something is to take it down and off the stage. That could mean an amp, an instrument, or the entire set-up for a band. Support: The opening act or acts for the headliners. Support acts get shorter set times and are usually there to warm up the crowd for the main event.
Concert Lingo & Music Industry Slang
Often abbreviated "M&G". Merch/Merchandise - Also called swag. These are any items sold by the artist and/or venue at an event, usually with brands, names or trademarks and sometimes including location (s) or date (s) of the tour/event. These often include T-shirts, posters, shirts, key chains, CDs, and other items.
The Mechanics of Touring: How the Live Music Industry Works
Touring is a complex process of coordinating artists, promoters, booking agents, venues and logistics. Learn the key players, roles and steps of the live music industry, from finding the talent to selling the tickets, and how it works for different types of tours.
Where concert ticket money goes: who's getting rich off live music's
Here is a topically illustrative example, given that their Joshua Tree 30th anniversary tour is the hottest ticket of the moment. In 2001, U2 had the ninth-biggest venue gross of the year in the ...
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The Event. Venue: Site where an event or concert is held.Examples include clubs, theaters, auditoriums, arenas, amphitheaters, casino showrooms, and festivals. Hard Ticket Event: An event to which tickets are sold to the general public and where final payment to the Headline Artist is directly related to how many tickets are sold.Typically, the main source of entertainment is the Artists ...
CONCERT TOUR definition and meaning
A concert tour is an organized trip that people such as musicians, politicians, or theatre companies go on to several different places, stopping to meet people or perform. The web page provides the pronunciation, examples, and sources of this term from the Collins English Dictionary.
Concert
Concert. A concert is a live music performance in front of an audience. [1] The performance may be carried by a single musician, sometimes then called a recital, or by a musical ensemble, such as an orchestra, choir, or band. Concerts are held in a wide variety and size of settings, from private houses and small nightclubs, dedicated concert ...
Roadie Dictionary: A List of Touring Terms
Crew Year's Eve - Last show before multiple days off OR Last show of a tour. Cross Load - When you load into a location for the sole purpose of loading into another vehicle. When you load from one truck to another. When you load from bus trailer directly to a truck. Cryo - Short for cryogenics.
5 Things To Know Before Seeing Taylor Swift At "The Eras Tour"
Malak Kassem. James Williams. Carlyann Carey. 5 Things To Know Before Seeing Taylor Swift At "The Eras Tour". From a concert-goer who attended opening night of Swift's tour in Glendale, here are five tips you should know before seeing the pop star in concert. Brady Snyder, Editor-in-Chief Emeritus • May 3, 2023. Torch Photo / Brady Snyder.
Concert residency
The venue of Britney Spears's concert residency at the Planet Hollywood Las Vegas. A concert residency (also known as musical residency or simply residency) is a series of concerts, similar to a concert tour, but only performed at one location. Pollstar Awards defined residency as a run of 10 or more shows at a single venue. With exceptions, virtual venues are included.
meaning
1. In the context of a radio or TV program the qualifier "live" would indicate a live broadcast of the concert (as opposed to a replay). The term "live" is also applied to recordings of actual concerts (as opposed to recordings done in a studio). In general, though, the qualifier "live" in front of "concert" would seem redundant.
What does it mean if you were waitlisted for Taylor Swift's Eras Tour
Ticketmaster asked fans to register online by Nov. 2 for the chance to purchase tickets to three British Columbia shows at face value in the Eras Tour Verified Onsale. On Nov. 8, Swifties learned ...
Billie Eilish: Hit Me Hard and Soft: the Tour
There is a strict purchase limit of 4 tickets per account on this tour. We reserve the right to cancel your orders and tickets, and to prevent you, without notice, from making future purchases on our site if you try to exceed the posted ticket limits. Sale Schedule. The following presales start on Tuesday, April 30th: Artist Presale
What Is A Concert Promoter And How Do I Become One?
The concert promoter is responsible for every detail from connecting the right act to the right venue and negotiating a financially-viable event contract, to managing transportation, to getting tickets sold, to making sure the stage and equipment is properly set up. Being a concert promoter is not a role for those who can't focus on the details.
Concert Definition & Meaning
concert: [noun] agreement in design or plan : union formed by mutual communication of opinion and views.
Cheapest destinations to see Taylor Swift concerts from 'Eras Tour' abroad
But you can see an "Eras Tour" show in Warsaw, Poland, on Aug. 1, 2024, for about $500 cheaper than the cheapest concert ticket for a Miami show in October (including a roundtrip plane ticket ...
What Is Concert Dance? 7 Examples & History
It's a bit tricky to pin down, but only because concert dance encompasses a variety of dances. But a good rule of thumb is that concert dance is any dance done performatively. That means it's a dance done with an audience to witness it. The result of this broad-strokes definition is that examples of concert dance include: Ballet. Jazz.
Headliner (performances)
A headliner is the main act in a music, theatre, or comedy performance. Generally, the headliner is the final act in a performance, preceded by the opening act (s) . In music, the headliner often reserves sole permissions to the name of the tour. Thus, tour names often reflect the name of the latest album or a popular song from the latest album ...
Rolling Stones tour 2024: Ultimate guide to their Phoenix concert
What time does the Rolling Stones concert start? Here's the timetable: Parking lots open at 4 p.m. Plaza opens at 5 p.m. Doors open at 6 p.m. Concert starts at 8 p.m.
Tour
A journey through a given list of places, such as by an entertainer performing concerts. A trip taken to another country in which several matches are played. (military) A tour of duty. (obsolete) A going round; a circuit. * Milton ; The bird of Jove stooped from his airy tour . (obsolete) A turn; a revolution. the tours of the heavenly bodies ...
What Taylor Swift's new album means for her $1 billion fortune
Concerts don't only bring in money from ticket sales. Pollstar estimates that Swifties spend an average of $40 a head on merch at her concerts — that adds up to about $175 million in gross merch ...
How to get Billie Eilish tickets for the 2024-2025 world tour
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George Strait in Jacksonville: Concert time, ticket info, opening acts
What time does the stadium open for the George Strait concert? Gates open at 4:30 p.m. Can I jump into the EverBank Stadium swimming pools if I get overheated during the George Strait concert?
Billie Eilish Announces HIT ME HARD AND SOFT: THE TOUR
Starting in September 2024, Eilish will embark on her North American leg of the tour which runs through to the end of December 2024. The tour will continue in Australia starting February 2025 ahead of her European, U.K., and Ireland arena dates starting in April until late July. For a full list of tour dates, see below or visit billieeilish.com
The Eras Tour
The Eras Tour is the ongoing sixth concert tour by the American singer-songwriter Taylor Swift.Consisting of 152 shows across five continents, the tour commenced on March 17, 2023, in Glendale, Arizona, United States, and is set to conclude on December 8, 2024, in Vancouver, Canada.With a global cultural impact, the Eras Tour became the first tour to surpass $1 billion in revenue, making it ...
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Billie Eilish fans lash out at 'ridiculous' ticket prices for 2025 tour
Billie Eilish fans have called out the US pop star after it emerged that standing tickets to her forthcoming arena shows were being sold for £145 each. Pre-sale tickets to the singer's Hit Me ...