Lizzo latest artist to shun Tennessee’s anti-drag law
Lizzo is the latest artist to rebuke legislation designed to restrict drag performances in public, pending in the US state of Tennessee (TN).
The Grammy-award-winning singer invited 20 drag queens onstage during her concert at the Thompson-Boling arena in Knoxville (TN) on Friday (21 April) night.
Among the queens present were RuPaul’s Drag Race stars Aquaria, Kandy Muse, Asia O’Hara and Vanessa Vanjie Mateo.
In February, the Republican governor of Tennessee, Bill Lee, signed the legislation against “adult cabaret” in public or in front of minors.
A federal judge temporarily blocked the law in late March, saying it was too vaguely written. Civil rights groups have criticised the law as a violation of free speech.
The Tennessee law is part of a wider Republican effort to restrict drag shows and other LGBTQ+ public gatherings.
“In light of recent and tragic events and current events, I was told by people on the internet, ‘Cancel your shows in Tennessee,’ ‘Don’t go to Tennessee,’” Lizzo said during the Friday concert.
“The oppression of the LGBTQ+ is not only unacceptable and inhumane”
“Their reason was valid, but why would I not come to the people who need to hear this message the most? Why would I not create a safe space in Tennessee where we can celebrate drag entertainers and celebrate our differences?”
Lizzo’s protest comes soon after Madonna added a Nashville (TN) stop to her upcoming greatest hits tour in protest of the state’s anti-LGBT+ bills, which include a ban on transition-related care for minors.
Madonna: The Celebration Tour, which is supported by RuPaul’s Drag Race winner Bob the Drag Queen, will visit Nashville’s Bridgestone Arena on 22 December. A portion of proceeds from the show will go to trans rights organisations.
“The oppression of the LGBTQ+ is not only unacceptable and inhumane, it’s creating an unsafe environment; it makes America a dangerous place for our most vulnerable citizens, especially trans women of colour,” said Madonna in a statement.
“Also, these so-called laws to protect our children are unfounded and pathetic. Anyone with half a brain knows not to fuck with a drag queen. Bob and I will see you from the stage in Nashville where we will celebrate the beauty that is the queer community.”
Prior to that, Nashville-based artists came together for a benefit concert to raise awareness and funds for the LGBTQ community, in the wake of the Tennessee legislation.
Paramore’s Hayley Williams, Sheryl Crow, Maren Morris, Brothers Osborne, Jason Isbell, Amanda Shires, Yola, Brittany Howard, Hozier, Adeem the Artist, Julien Baker, Joy Oladokun, Jake Wesley Rogers and Mya Byrne performed at the Bridgestone Arena for the Love Rising fundraiser.
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Female superstars lead 2023’s blockbuster tours
Female artists are leading the way on 2023’s touring circuit, with American superstars Beyoncé, Madonna, Pink and Lizzo joining Taylor Swift in scoring huge sales for blockbuster tours.
A raft of additional US stadium shows were confirmed for Beyoncé’s Renaissance World Tour – the singer’s first solo tour in seven years – after demand exceeded the number of originally available tickets by more than 800%. The run kicks off in Europe at Stockholm’s Friends Arena on 10 May, switching to to North America in July.
“Even with these added dates, it is still expected that the majority of interested fans will not be able to get tickets because demand drastically exceeds supply,” reads a Live Nation statement.
Following the Eras tour fallout, which prompted last month’s US Senate antitrust hearing, Ticketmaster tweaked the presale for the Renaissance tour in the US, dividing the Verified Fan registration period into three groups based on city.
More than three million people attempted to buy tickets for Beyoncé’s European dates, with her original two-night stand in London expanding to five at the 60,000-cap Tottenham Hotspur Stadium. Extra nights were also added in cities such as Amsterdam, Stockholm and Warsaw.
“We experienced and successfully handled an extraordinary level of demand and traffic for Beyoncé”
While the BBC reported complaints of long queues and technical issues during the UK onsale, Ticketmaster declared the process a success.
“We experienced and successfully handled an extraordinary level of demand and traffic for Beyoncé,” says a Ticketmaster spokesperson. “While there were never going to be enough tickets to meet demand, thousands of happy fans secured their tickets.”
Live Nation France boss Angelo Gopee tells Le Parisien “the demand has been huge” for the star’s two French shows at the 60,000-cap Stade de France in Paris and 55,000-cap Orange Velodrome, Marseille. Tickets started at €85.
“Do not believe that because 270,000 people are [in the queue], we can sell 270,000 tickets and fill four stadiums,” says Gopee. Many come to see the prices, the location of the seats and leave. For Madonna, we had 120,000 fans waiting and we sold 60,000 tickets.”
“We had never experienced such demand since 2014,” adds Velodrome stadium director Martin d’Argenlieu.
Taylor Swift’s 52-date The Eras US tour remains the standard-bearer in terms of demand
Madonna’s 2023/24 The Celebration Tour – which marks the 40th anniversary of her breakout single Holiday – has been another smash hit, selling more than 600,000 tickets.
Produced by Live Nation, the global greatest hits tour will kick off in North America on 15 July at Rogers Arena in Vancouver, Canada. Madonna’s 2008-2009 Sticky and Sweet Tour is currently the highest-grossing tour by a female artist ever, raking in $411 million (£335m).
In addition, Pink’s first tour in four years, The Pink Summer Carnival, commences on 7 June with the first of two concerts at the University of Bolton Stadium and takes in stadiums and festivals around Europe, including two dates at the 65,000-cap BST Hyde Park in London. Making its way to North America in July, the run is due to conclude at Chase Field, Phoenix on 9 October.
And Lizzo’s The Special Tour got underway in the US last Autumn and arrived at European arenas in February, with a second North American leg slated from April to June.
Nevertheless, Taylor Swift’s 52-date The Eras US tour remains the standard-bearer in terms of demand, selling a record 2.4 million tickets in a single day.
“Despite all the challenges and the breakdowns, we did sell over two million tickets that day, we could have filled 900 stadiums.” said Live Nation chair Greg Maffei following the controversial presale last November.
Other acts playing stadium tours this year include Bruce Springsteen and The E Street Band, Harry Styles, The Weeknd, Elton John, Coldplay, Rammstein, Red Hot Chili Peppers and Def Leppard + Motley Crue.
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The Gaffer: Nicole Massey
As the production manager for Billie Eilish, Nicole Massey has become one of the most high-profile roadies in the world, thanks in no small part to presenting the young star to an audience of millions at The Grammys this year.
Her résumé includes working with some of the biggest stars to ever grace the stage – Coldplay, Beyoncé, Madonna, Prince, Rod Stewart, and Van Halen, to name but a few. But it was the Divine Miss M who first ignited Nicole’s passion for touring, while her insatiable desire to learn new skills has seen her seamlessly switch roles from performer to production guru. Unlike some of her peers who fell into the production sector, Nicole’s fate seemed sealed from the start. “My parents met while working on a theatrical production, so you could say it’s in my blood,” she reveals. Indeed, the smell of the greasepaint has never been far away. “I was a dancer and performer from a really early age – I was always being excused from school to go to New York for some audition or another,” she recalls.
Raised in the city of Lancaster, Pennsylvania – in the same county as global production hub, Lititz – Nicole was given free rein to exercise her imagination, as her parents could obviously see where her natural talent might take her. “They encouraged my creativity. I had imaginary friends as a child – Shamen, Camen, and Amy – who we would pick up on the side of the road on car journeys. My sister’s friends would be wondering what on earth we were doing, but it was a regular thing,” she laughs.
Growing up surrounded by adult actors and performers may have helped instil self-confidence in the young Nicole, too, because when she had the chance to compete for a dance scholarship across the country in Dallas, Texas, she persuaded her parents to let her undertake the trip on her own. Needless to say, she won the scholarship.
Getting older
Having made a name for herself in theatrical circles, Nicole found herself living in Los Angeles until her first taste of life on the road on a live music show changed everything – dancing for Bette Midler on her 1999 Divine Miss Millennium tour. “It was my first rock-and-roll-style tour. And, honestly, within days I decided that I never wanted to not do this,” states Nicole.
Nicole next found herself out with Backstreet Boys, which saw her having to use her passport for work for the first time. “I remember being in Buenos Aires and just so excited that I could go see the Eva Peron balcony, because I’m a dorky theatre girl,” she says. “At any opportunity, I’d do all the sightseeing and stuff, so I got the nickname Pollyanna because I was so excited to be everywhere… I’m just a girl from little Lancaster, Pennsylvania, and I’ve been to Uzbekistan; I’ve been to Prince Charles’s birthday party. I never want to take this for granted.”
“It was my first rock-and-roll-style tour. And, honestly, within days I decided that I never wanted to not do this”
Determined to keep touring, Nicole would offer artists her dancing prowess while taking on additional roles behind the scenes. “I was a professional dancer until about the age of 28 or 29,” she notes. “But even when I was on tour, I’d take jobs where I was dancing and doing wardrobe.”
Working for Rod Stewart offered such an opportunity and also allowed her to participate in one of the music industry’s favourite side-lines: nepotism. “Rod loves using people’s skills to the maximum – he has a drum tech who is also the percussionist, for instance. So, when we hired my sister, Danielle, for wardrobe on the tour and Rod discovered she was a Rockette – one of the dancing girls at Radio City [Music Hall] – he asked us to choreograph something for Hot Legs and for Sexy. As a result, we danced all of the 2008 tour. I would go from being a tour manager to dancing in the show and coming back, with full stage makeup on, to deal with promoters and stuff like that. It was funny.”
Taking on wardrobe duties for the likes of The Chicks and such costume-heavy outings as Madonna’s Re-Invention tour in 2004, Nicole’s curiosity for all aspects of production started to develop early on, but it was her long, on-off touring with Rod Stewart she points to as opening new doors.
“The first real production job was before working with Rod, when Bill Leabody asked me to be his production assistant on Enrique Iglesias,” she explains. “However, with Rod Stewart, I started out doing wardrobe, and then when the band’s tour manager was leaving, they were confident I could take on that role as well, so I was doing both for a while. And then that’s when we hired my sister.”
I didn’t change my number
Gaining a solid reputation for her can-do attitude, Nicole was on the end of a call from Craig Finley when he was planning Coldplay’s 2009 European stadium tour – drafting her in as production coordinator. And when Leabody took over for Coldplay’s 2012 world tour, the writing was on the wall. “I ended up telling Rod during a tour of Australia that I was going to work for Coldplay the following year, so I gave him about six-months’ notice.”
Rod Stewart’s influence continues in Nicole’s life, however, as his 2009 tour date in Ireland had life-changing repercussions.
“My dear friend, Tom McCarthy, who is an Irish guy that owns a couple of bars in New York, told me he’d be coming to Rod’s shows when we were in Ireland. And the night before the Dublin show, he asked if he could bring his friend, Dick Massey, who was in the movie The Commitments, to the show. Naturally, I said yes because I love that movie, but I didn’t know which one he was, and I hadn’t seen it since about 1991. In fact, one of my childhood friends reminded me that we had to sneak into the movie theatre because the movie was R-rated – up until Pulp Fiction came out, The Commitments held the record for the most F-bombs.
“But anyway, Dick came to the Rod Stewart show, and three months later I was living in Dublin. And three years later we got married.”
“I would go from being a tour manager to dancing in the show and coming back, with full stage makeup on, to deal with promoters”
Immersing herself back in the production side of touring suited Nicole perfectly. “I just fell in love with being part of the crew,” she tells IQ. “I truly love taking care of the crew and being the mama. When you’re the production coordinator or production manager, half of the job is just dealing with people, personalities, and managing their expectations.”
My strange addiction
Prior to her long stint with Coldplay, which took her from 2012 to 2019, many of Nicole’s jobs involved fulfilling more than one role – a work ethic driven by her determination to learn as many disciplines as possible.
“From the time I was on the road with Backstreet Boys, 24 years ago, I’d travel on the audio bus and ask, ‘How do you guys know whose cables are what?’ And they’d say, ‘Why don’t you come load PA with us to find out!’ And so, I started loading in and out PA on Backstreet with the Clair audio boys. That’s how I learned where everything was going and started to feel more comfortable on the floor, rather than hiding back in those offices.”
She continues, “I found out very early on that it’s good to push your cases to the truck: you have to find the things that actually help the whole tour, rather than just thinking of yourself.”
Eager to learn about different roles, Nicole would consistently volunteer for other production-related tasks. “I helped with confetti on lots of tours,” she reports. “I did confetti on The Chicks, on [Michael] Bublé, and I used to call the confetti cues on Coldplay.”
Her natural curiosity made every day an education process. “I just asked the questions. I realise that there’s no way that anybody can know everything, especially with how technology changes so quickly. But I guess it comes back to me being bold and not afraid to say I have a different idea about how to do something.”
Certainly, her work on arena and stadium tours offered countless moments to build her knowledge base, which for one of those rare people who can boast a photographic memory, has resulted in an encyclopaedic skillset. “Being a part of such big, heavy productions, you almost have to possess the knowledge just to operate,” says Nicole. “As the [production] coordinator, I had no freight knowledge until Bill [Leabody] let me be a part of the email chains, which really allowed me to learn.”
“You have to find the things that actually help the whole tour, rather than just thinking of yourself”
Citing other colleagues who nurtured her, she continues, “On Enrique, I had a tour manager called Jerry Levin, who encouraged me and made me his assistant. Through him I learned a lot about dealing with the artist directly in the sense of their needs, hotels, and flights, and all that stuff. Cary ‘Slim’ Ritcher was a production manager who I worked with on smaller shows, and he explained why we’d run the cables a certain way because we were near the [loading] dock, and you didn’t want to be rolling road cases over the top. There are a ton of dumb little nuances of touring, whether it’s in a theatre or whether it’s in a stadium. But if you treat every day as a learning experience, it all mounts up.”
Everything I wanted
As one of the most popular characters on the global tour circuit, it’s somewhat astonishing that Nicole’s work with Billie Eilish marks her debut as a production manager. Indeed, if she had not been vocal about her ambitions to become the boss, it’s conceivable she might still be waiting in the wings.
The magic moment came in South Africa on Beyoncé and Jay-Z’s 2018 world tour. “Bill Leabody and I were in a runner van, and I just said out loud that I wanted to be a production manager. I put it out into the universe, and less than four months later, Bill recommended me for the Billie job,” says Nicole.
Taking up the story, Leabody tells IQ, “I first met Nicole nearly 20 years ago on a tour with The Chicks when she was in charge of wardrobe. We shared an irreverent sense of humour and hit it off straight away. Nicole was always in a good mood and was wonderful at her job.”
Reunited on the next Chicks’ tour, Nicole became Leabody’s production coordinator. “Other tours followed and, when Coldplay came around, I of course took Nicole with me,” continues Leabody. “We did two stadium tours together, which Nicole handled effortlessly.
“When the OTR2 tour, with Beyoncé and Jay Z came in, Carmen Rodriguez was already in place as coordinator. However, there was an opening for someone to go in advance to deal with steel crews and make sure production needs were all ready for us coming in hot. Nicole took on this challenge and did an amazing job.
“To say that Nicole has excelled is an understatement. She is now universally accepted as one of the best”
“[When] Nicole [subsequently] asked me if I thought she could step up to be a production manager, I had no doubt at all that she could do it, and I told her so.” Within weeks, Leabody was made aware that Billie Eilish needed a new production manager. “Unfortunately, I had other commitments, but when Billie’s manager, Danny Rukasin, asked if I could recommend someone else, I immediately thought of Nicole.” Leabody adds, “To say that Nicole has excelled is an understatement. She is now universally accepted as one of the best, and I am so honoured to welcome her into the community of ‘Gaffers’: the first woman to be invited to join and a fabulous role model.”
Nicole comments, “I’m very proud to be the first female Gaffer, and more so because of the company I’m keeping. I’m just so honoured to join Bill and Jake [Berry] and Chris [Kansy], and all those guys. I’ve known them all for a long time.”
Oxytocin
Turning to her first official PM job, Nicole states, “Having the backing of a Gaffer – Bill – on speed dial has been a blessing. I’m so fortunate that I can call upon all kinds of people who I’ve worked with over the years to ask their advice about something. But sometimes I’ll say, ‘This might seem like a stupid idea…’ And it turns out it’s a winner and the feedback is ‘Why didn’t we think of that?!’ So, I’m definitely putting my own stamp on being a production manager.”
She continues, “I’m sure I annoy some crew members because I’m very positive and try to constantly motivate them. I was so involved in dance teams and sports teams growing up that I thrive on the camaraderie. Nobody on tour does this for the crazy hours and the stressful times. They do it because of the people. I look out into that crowd every night. And I look at those kids. And I’m like, ‘Oh my god…’ That’s why I do it!”
As for Happier Than Ever, The World Tour, Nicole has nothing but praise for artists Billie and Finneas after the lengths they went to in order to make sure the crew were kept as active as possible when Covid shut things down very early in the original tour schedule. “We got three shows in, and then the pandemic happened,” says Nicole. “It was pretty scary, and I felt very responsible, trying to make sure that everyone was okay.”
“I look out into that crowd every night. And I look at those kids. And I’m like, ‘Oh my god…’ That’s why I do it!”
Two of the crew were easy enough to keep an eye on – husband Dick, who is Nicole’s production coordinator, and four-legged, tail-wagging production chief, Reggie, whom Mr & Mrs Massey chaperone around the world. “Dick and I worked together on Coldplay, but we were in different offices: he was doing VIP ticketing when I was production coordinator. So, we’ve been out together before, but when Billie was about to go out in 2020, I asked him if he’d come and join me and Reggie in the office.”
Come out and play
Despite the moratorium on live music, Eilish’s core crew were only side-lined for a matter of weeks before a plan was actioned to keep them busy. “We actually started going to LA in July of 2020 because Billie created a whole bunch of different live projects, such as an Amazon project and a Disney project at the Hollywood Bowl,” reveals Nicole.
“Then, when her documentary came out, we did a little video release party. And for all the stuff like that, she used her touring crew: the backline guys, audio control… A small group of us would fly to LA, where we’d quarantine for the first few days, then we’d all test and stay at a hotel that had an outdoor firepit so that, after work, we could sit outside and have a beer, like you would normally, and hang out, distanced but safe. We even agreed that nobody would eat indoors to minimise the chances of catching Covid: those were the rules if you wanted to keep working.”
While the postponed tour dates remained on hold, the various other projects eventually rolled into Eilish’s festival season. “And then that rolled into the tour for this year,” smiles Nicole. “We loaded in for rehearsals in Los Angeles on January 2, so we were pretty fortunate in terms of work compared to a lot of our touring colleagues.”
Overheated
While Nicole admits she has worked on more fraught tours, the production on Happier Than Ever, The World Tour is a complex affair.
“This show is a beast,” she tells IQ. “Normally, a show comes in, the stage is built at the other end, lighting goes up, stage rolls in. Bam! You have a show. Billie’s production involves lighting coming in, then some of the staging, then lighting deals with some of the moving trusses, then we roll in the diamond part of the stage, then we finish the lighting, then we have the lighting on the sides, then we roll in the thrust. It’s like an onion that you have to just keep peeling, layer on layer.
“This show just shows what is capable with an amazing team. I relied on my stage manager, Jayy Jutting, and then he relied on the crew chiefs, who were so dedicated – if we didn’t have Mattie Rynes, my head rigger, Jack Deitering, my head carp, Wayne Kwiat on lighting, Scott ‘Bull’ Allen from Strictly FX, Matt McQuaid with audio, Dave Keipert and Racheal Hudson from Team Video, Brian Benauer with Tait Automation… every department needed a strong leader or else we were just going to fail.”
“This show is a beast… It’s like an onion that you have to just keep peeling, layer on layer”
That respect is patently mutual, as Nicole has been affectionately nicknamed ‘The Hammer’ by Billie’s crew members, impressed by the way that the PM quietly goes about making sure her plan is adhered to, without having to raise her voice. “I hate shouters; it’s my pet peeve,” she says. “If you keep it internal and then use your loud voice when you need to, people know that you’re serious.”
Indeed, despite the North American dates requiring crew to wear full PPE to mitigate against Covid-19, Nicole’s strategy for that leg set the benchmark for the entire tour, with zero dates being lost to the virus.
Moving to Europe where restrictions were more relaxed should have been a relief. However, while the majority of American venues have loading bays, the opposite is true in Europe, where new driving regulations further complicated being on the road.
“I had a little breakdown in Dublin,” confesses Nicole. “I was very nervous about a few of the overnighters and worried we weren’t going to make it. So, I got all the crew chiefs together and told them that I needed help. It turned out to be a good moment for me as a production manager – just to gather all the people who I know are really good at their jobs, so we could figure it out together.”
One of the major headaches for the daily routine was dealing with the B stage: a crane that takes Eilish far and wide around venues so that she can literally be just a few feet from fans, even when they are seated in arena balconies.
“That arm weighs 8,000 pounds,” states Nicole. “We took it from the US to Europe to Australia, and it’s now enroute back to Los Angeles for Billie’s December shows at The Forum.”
Explaining the intricacies of dealing with such a massive piece of equipment, she says, “To load the turret you actually have to tilt it on its side because the containers are not wide enough. We even took it to festivals a couple times, like at Austin City Limits. It just makes such a cool impact because the people that Billie is looking right at never thought that they could get the chance to be that close to her. But it’s complicated. In Dublin, for instance, we had to change the orientation of the arm so that it was parallel to the audience because of how short it is inside the 3Arena. Each venue had to be approached on a case-by-case basis, and every day was different because of the elevations of where the seats were, etc. Our programmer, Pat King, did a great job.”
“I got all the crew chiefs together and told them that I needed help. It turned out to be a good moment for me”
As for the tour’s trickiest shows, Nicole cites the visit to the Accor Arena as a date that literally led to sleepless nights.
“My scariest day was back-to-back Cologne then Paris,” she reports. “On that overnight, a couple of us jumped ahead on the catering bus and were in the venue in Paris to start just dumping things as they came in.
“The planning worked well, though. We did a pre-rig and motors were in the air when we got there. But it took a lot: I had the video crew chief walking around checking on all the other departments to see where he could help – people just stepped up to go that extra mile for Billie. I mean, at 5:45pm, I was on my hands and knees doing barricade because I was determined we were not going to be late for doors.”
She adds, “We had to come up with an A, B, and C show because of timing. We knew that it would take minimum two hours and 11 minutes to complete the building of our automated video tile ramp once the main stage was in place. But I have the most amazing head [carpenter] Jack Deitering. If it was not for that man, I really don’t know if the show in Paris would have happened.”
Bellyache
With the spectre of Covid requiring the services of EMT (emergency medical technician) Gordon Oldham, trying to keep crew healthy was a fulltime task. “I’m not gonna lie; I don’t think I ever want to do a tour without some kind of medical person on tour, now,” says Nicole. “Gordon did a great job and proved invaluable for all kinds of things outside of the Covid situation.
“The crew was very international,” she says of a crew that sometimes had to be patched together to deal with Covid absentees. “We had Lithuanians, Polish, Ukrainian drivers, so we had a lot of language and communication issues, but Robert Hewett at Stagetruck was beyond helpful throughout the whole thing.
“In Ireland, we had riggers from Budapest, I believe, and there were one or two places in Europe where we struggled, but surprisingly we were never more than 20 short, so we managed to deal with it.”
“I don’t think I ever want to do a tour without some kind of medical person on tour, now”
Such issues were a piece of cake compared to Australia. “In Sydney, we had only 45 people out of 110 on the load-in,” Nicole says. “Luckily, we had a full load-in day and we organised accordingly: we talked to the crew chiefs and said when they officially really needed the hands, then great. But otherwise, these guys would break off and give lighting six hands, and then the special effects hands would go straight to audio, and we just had to juggle around like that. Sydney and Perth were the only ones where it was a little crazy.”
Male fantasy
Having made the grade as one of the world’s top production managers, Nicole is determined to encourage other women in the business that they have the skills to do likewise. Not that everyone universally recognises her as the production chief, yet. “As a woman, people come up and start to talk to the stage manager before me, because they just think I’m a girl standing there,” she tells IQ. “It happens all the time in the office, where Dick has to say, ‘Have you met Nicole, our production manager?’ It’s ridiculous, but I’m lucky that I have really wonderful people around me that support me in that sense.”
She also namechecks some of the many women who have helped her on her journey and inspired her to aim for the top job. “Working with Marguerite Nguyen on Coldplay, I was given so much of an opportunity to do different things that most coordinators would never do on a tour. So, I feel like I was prepared to take the step up to PM, more than most, because that tour is just so massive.”
Advocating that more tours consider elevating women to production chief, Nicole observes, “We’re multitaskers and organisers. There are lots of amazing female leaders out there – we have Emma Reynolds-Taylor running the production for Glastonbury; Duchess [Sue Iredale] has been running productions forever; Bianca Mauro runs a stage at Austin City Limits. So, we have all these women that are running big festivals and stages and events, and while it just hasn’t happened as much on the road, there are still plenty of amazing women out there, day after day, delivering shows to fans. There just needs to be more, in the crew chief roles and upwards, but also just more women in touring, in general.
“What I think needs to happen is that women need to be trusted with management positions in touring and throughout the music business. We need to start pushing more of these strong-willed women, like myself, forward a bit more. There are lots of them out there who have been working their ass[es] off for years and feeling very good about what they do but who do not necessarily know or believe that they can do what I’m doing. But they can, and it’s a situation that we can all work on together to provide more support and encouragement to drive the change.”
“Women need to be trusted with management positions in touring and throughout the music business”
Indeed, citing one example of where her own personal experience as a dancer came to the fore, Nicole remembers a dilemma ahead of Eilish’s February 2022 concert at Pittsburgh’s PPG Paints Arena. “Billie’s toaster had a power issue,” states Nicole. “It’s the mechanism that allows her to pop-up onto the stage at the start of the show, and we all worked hard to try to fix it, but I finally knew it was time to go and tell her. But before I did that, I went out with the carpenter; we looked at putting a set of stairs in place and a bunch of different things so that I had three options for her to make her entrance.
“I’m not gonna lie; I really was proud of myself in the sense that it was my dance background that made me figure out the best way for her to enter. That was the first time I had that realisation that I can bring things to the table that a male production manager wouldn’t necessarily come up with.”
Breaking such news to the artist may be daunting, but Nicole’s bond with Billie is strong. “She’s an amazing artist,” states Nicole. “The thing that makes Billie so special is she doesn’t need the bells and whistles. So as the tour progressed and that muscle memory, night after night, developed, it was so good to just see her so happy and having so much fun out there.”
Indeed, that respect goes both ways, when Billie asked Nicole to introduce her Grammy performance when the Academy wanted to feature women in touring.
“The Grammy thing was an amazing moment; I had so much fun,” she smiles. “My friend, Patrick Logue from the Rod Stewart Camp, once told me that chewing gum was easier to get off the stage than me – and it’s kind of true; I’m such a ham! But I didn’t realise the impact it would have. Two weeks after The Grammys, when we were at Coachella, I had people I didn’t know coming up to me and thanking me for being the voice of our industry; speaking out for women. So, a really proud moment turned into this thing where I just had people stopping me left and right. And I was so honoured that it was perceived that way because I truly, truly love this industry.”
And having attained the top job, Nicole concludes that it’s given her a newfound understanding of her peers and former PM bosses. “I have so much more respect for all the production managers that I’ve worked with, because I used to keep my inbox as a to-do list, while I’d look at the likes of Bill’s email and think, ‘Oh my god, how can you let get it that way?’ But now I understand – I have 64,000 messages in my inbox now. It’s never-ending.”
“The thing that makes Billie so special is she doesn’t need the bells and whistles”
My future
As for what’s next, Nicole reveals that industry nepotism has benefitted her once more, while the enforced time off that she and Dick enjoyed at the start of the pandemic has made her a little more relaxed about looking at next year’s employment contracts.
“After Billie’s hometown shows in December, the crew will all go our separate ways, but we’ve also got a little Finneas tour in Australia starting in January, where he’s doing the Laneway Festivals. So, we’ll get back together for that. And then we’ll come back to do some rehearsals before Billie heads to Latin America, then have a break in April.
“After that… I don’t really know, there’s nothing 100% confirmed, so I’m just going to play it by ear. Everybody keeps asking me what I’m going to do when The Happier Than Ever Tour ends, but I don’t stress about stuff like that anymore.”
Unsurprisingly, remaining in the camp for whom she described at The Grammys as “The best 20-year-old boss in the world,” would be top choice for Nicole, who concludes, “When it comes to work, I trust my gut and am hopeful that it means we’ll get to continue working with Billie.”
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Madonna announces global greatest hits tour
Madonna has announced a global tour to celebrate the 40th anniversary of her breakout single Holiday.
The pop icon will perform music from her entire career, from 1983’s self-titled debut album to 2019’s Madame X.
The tour, titled Madonna: The Celebration Tour, will see her return to arenas and stadiums after the theatre-based Madame X shows in 2019 and 2020.
Produced by Live Nation, the 35-city global tour will kick off in North America on Saturday 15 July at Rogers Arena in Vancouver, BC with stops in Detroit, Chicago, New York, Miami, Los Angeles and more.
The outing will then continue in Europe, where Madonna will hit 11 cities throughout the autumn, including London, Barcelona, Paris, and Stockholm, among others. The Celebration Tour will wrap in Amsterdam, NL on Friday, 1 December at Ziggo Dome.
Announcing the new tour, the star said: “I am excited to explore as many songs as possible, in hopes to give my fans the show they have been waiting for.”
A press release said the concerts “will take us on Madonna’s artistic journey through four decades and pays respect to the city of New York where her career in music began”.
The tour will also offer a “one-of-a-kind experience” with special guest Bob the Drag Queen a.k.a. Caldwell Tidicue across all dates on the global tour.
Madonna’s 2008-2009 Sticky and Sweet Tour is the highest-grossing tour by a female artist ever, raking in $411 million (£335 million).
The Celebration Tour North America dates:
Sat Jul 15 – Vancouver, BC – Rogers Arena
Tue Jul 18 – Seattle, WA – Climate Pledge Arena
Sat Jul 22 – Phoenix, AZ – Footprint Center
Tue Jul 25 – Denver, CO – Ball Arena
Thu Jul 27 – Tulsa, OK – BOK Center
Sun Jul 30 – St. Paul, MN – Xcel Energy Center
Wed Aug 02 – Cleveland, OH – Rocket Mortgage Fieldhouse
Sat Aug 05 – Detroit, MI – Little Caesars Arena
Mon. Aug 07 – Pittsburgh, PA – PPG Paints Arena
Wed Aug 09 – Chicago, IL – United Center
Sun Aug 13 – Toronto, ON – Scotiabank Arena
Sat Aug 19 – Montreal, QC – Centre Bell
Wed Aug 23 – New York, NY – Madison Square Garden
Thu Aug 24 – New York, NY – Madison Square Garden
Wed Aug 30 – Boston, MA – TD Garden
Sat Sep 02 – Washington, DC – Capital One Arena
Tue Sep 05 – Atlanta, GA – State Farm Arena
Thu Sep 07 – Tampa, FL – Amalie Arena
Sat Sep 09 – Miami, FL – Miami-Dade Arena
Wed Sep 13 – Houston, TX – Toyota Center
Mon Sep 18 – Dallas, TX – American Airlines Center
Thu Sep 21 – Austin, TX – Moody Center ATX
Wed Sep 27 – Los Angeles, CA – Crypto.com Arena
Wed Oct 04 – San Francisco, CA – Chase Center
Sat Oct 07 – Las Vegas, NV – T-Mobile Arena
The Celebration Tour Europe dates:
Sat Oct 14 – London, UK – The O2
Sat Oct 21 – Antwerp, BE – Sportpaleis
Wed. Oct. 25 – Copenhagen, DK – Royal Arena
Sat Oct 28 – Stockholm, SE – Tele2 Arena
Wed Nov 01 – Barcelona, ES – Palau Sant Jordi
Mon Nov 06 – Lisbon, PT – Altice Arena
Sun Nov 12 – Paris, FR – Accor Arena
Mon Nov 13 – Paris, FR – Accor Arena
Wed Nov 15 – Cologne, DE – Lanxess Arena
Thu Nov 23 – Milan, IT – Mediolanum Forum
Tue Nov 28 – Berlin, DE – Mercedes-Benz Arena
Fri Dec 1 – Amsterdam, NL – Ziggo Dome
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Four sentenced over Madonna stage collapse
Four professionals including the former head of operations for Live Nation France have been sentenced, following the collapse of a stage in France in 2009 that killed two people.
Technicians had been setting up the stage at the Velodrome stadium in Marseille for a Madonna concert when the partially-built roof fell in, bringing down a crane.
Charles Criscenzo, a 52-year-old French worker, and Charles Prow, a 23-year-old Briton, were killed while eight other workers sustained injuries in the accident. One of the injured workers took his own life two years later.
Yesterday (17 February), the magistrates of the court of Marseille (south), where the concert was to be held in 2009, convicted four defendants of manslaughter and involuntary damages, and acquitted three other defendants.
Live Nation France was ordered to pay a €150,000 fine, and Tour Concept €50,000
After a decade-long investigation, Jacqueline Bitton, at the time head of the French operations for Live Nation, received the most severe sentence: a suspended two-year prison term and a fine of €20,000.
Tim Norman, head of the British firm Edwin Shirley Group (ESG) which owned the stage, received a suspended two-year term as well as a €15,000 fine.
A manager at a French subcontractor hired by ESG, Tour Concept France, was given a suspended 18-month sentence and a €10,000 fine, while a British foreman hired for the job by ESG got an 18-month suspended sentence.
Live Nation France was ordered to pay a €150,000 fine, and Tour Concept €50,000.
After the concert was cancelled, Madonna said she was “shocked” by what happened and sent her condolences to the families of the victims. She did not appear at the trial.
The 60,000-seater Velodrome is France’s second-biggest sports arena and home to the Olympique de Marseille football club.
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Live Nation SVP International steps down
Jason Miller, senior vice president of international and emerging markets at Live Nation, has announced that he is leaving the live entertainment giant after over seven years.
Miller held his most recent role at Live Nation since 2016, after previously serving as senior vice president of the company’s operations in Asia.
Prior to joining Live Nation, he operated a concert consultancy and spent more than a decade as an agent at CAA.
“I am humbled by the record-breaking tours this team executed”
In a social media post, replicated by Celebrity Access, the live industry veteran wrote that he had “officially moved on” from his role at Live Nation.
“I am incredibly proud of the team I built at Live Nation. I am humbled by the record-breaking tours this team executed (U2, Coldplay, Madonna, Bruno Mars, Guns & Roses, etc, etc),” reads the post.
“I am grateful for all the career changing experiences I’ve had at Live Nation over the last 7+ years.”
Miller adds that he is unsure “where my next adventure will lead, but I am excited for what the future holds.”
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Cyrus cancels bushfire benefit, but Aus GP to go ahead
Miley Cyrus has cancelled her headline performance at the World Tour Bushfire Relief show in Melbourne this Friday (13 March) owing to concerns over the spread of coronavirus.
The show – part of Apollo World Touring and Westbrook Inc.’s new World Tour concert series – was due to take place at Lakeside Stadium on the eve of this weekend’s Australian grand prix, with Lil Nas X and the Veronicas also due to perform.
“Due to the recommendations of local, state, federal and international government authorities, including the [US] Center for Disease Control, to reduce potential health risks in response to the current global health crisis we are no longer traveling to Aus for the show,” Cyrus announced on Twitter yesterday.
I am so disappointed to not be there, but I have to do what is right to protect the health and safety of my band and crew. I will still be making a donation to help the victims of the Australian bush fire. I’m sorry to miss everyone in Australia, but I will be back soon.
— Miley Ray Cyrus (@MileyCyrus) March 10, 2020
Following Cyrus’s cancellation, promoter TEG Dainty said the whole show had been cancelled and that fans would receive a refund via ticket agency Ticketek.
“World Tour’s Saturday night show with Robbie Williams will still be going ahead, and we look forward to bringing Melbourne a fantastic night of entertainment,” reads a statement from TEG Dainty. “Robbie is already on his way to Australia.”
The Australian grand prix – the opening race of the 2020 Formula 1 season – will still go ahead as planned this Sunday (15 March), say organisers.
Andrew Westacott, CEO of the Australian Grand Prix Corporation, says – unlike 20 March’s Bahrain grand prix, which will be spectator-less – the race will go ahead with fans in attendance. “We’ve got to go around things sensibly,” he says “We have to keep moving on through life while taking precautions.”
Professor Brendan Murphy, the chief medical officer for the Australian government, said that holding Sunday’s race would not pose a risk to public health, reports the BBC.
“I’m not feeling at all concerned going to mass gatherings or walking down the streets in Victoria,” he said. “So I don’t think that there’s a risk at the grand prix.”
“We have to keep moving on through life while taking precautions”
Other high-profile Covid-19-related cancellations over the last 24 hours include Madonna’s Madame X world tour, which has lost its final two shows in France, and Pearl Jam, who have been forced to call off a 17-date North American tour.
The Queen of Pop was due to play the 2,800-capacity Grand Rex in Paris tonight and tomorrow (10–11 March). However, as of Sunday (8 March), the French government has outlawed gatherings of more than 1,000 people (down from a previous ban of shows over 5,000 fans), meaning that (“with profound regret” on Madonna’s part) the concerts cannot go ahead.
Meanwhile, Pearl Jam have postponed a North American trek due to begin in Toronto on 18 March.
“We are being told that being part of large gatherings is high on the list of things to avoid, as this global health crisis is now beginning to affect all of our lives,” reads a statement from the grunge veterans.
“So it is with deep frustration and regret that we are forced to make this most unfortunate of announcements.” A European tour is due to begin in June.
Photo © Raph_PH on Flickr (CC BY 2.0)
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Ill health affects major tours despite best efforts
Worldwide concert tours by Ozzy Osbourne and Elton John have been disrupted this week, as the stars battle with poor health.
Earlier today (18 February), Ozzy Osbourne cancelled the North American leg of his upcoming No More Tours 2 tour – which had been rescheduled from last year – “to recover from various health issues”.
“I don’t want to start a tour and then cancel shows at the last minute, as it’s just not fair to the fans,” reads a statement on the singer’s website. “I’d rather they get a refund now and when I do the North American tour down the road, everyone who bought a ticket for these shows will be the first ones in line to purchase tickets at that time.”
Osbourne was due to start the Live Nation-promoted tour in Atlanta at the end of May. A run of European tour dates starting in October 2020 are currently due to go ahead as planned.
Another artist to experience health-related issues this week is Elton John, who was forced to leave the stage during a show at Auckland’s Mount Smart Stadium in New Zealand on Sunday night. The singer had been diagnosed with walking pneumonia – a milder strain of the illness – earlier that day.
“I don’t want to start a tour and then cancel shows at the last minute, as it’s just not fair to the fans”
Chugg Entertainment, which is promoting Elton John’s upcoming shows in New Zealand and Australia, has confirmed that the star’s two remaining Auckland dates will be postponed to 2021.
“Despite the best efforts of a performer who never wants to disappoint his fans, upon further consultation from doctors and specialists, it has this evening been decided that Sir Elton John’s two remaining Mt Smart Stadium, Auckland, performances will be rescheduled to Friday 15 and Saturday 16 January 2021,” reads a press statement.
The rescheduled dates extend the singer’s mammoth Farewell Yellow Brick Road tour, which was due to conclude at London’s O2 Arena on 17 December 2020. Tickets for this year’s postponed shows will be valid for the dates in 2021, with those unable to attend next year able to request a refund via Ticketmaster.
Ill health has also troubled Madonna recently, causing the cancellation of 11 of the 93 dates on her Madame X tour. The singer called off three shows of her recent 14-show residency at London’s Palladium theatre due to injury.
“As you all know I have multiple injuries and have had to cancel shows to give me time to recover,” said the artist in a statement.
Photo: Ernst Vikne/Flickr (CC BY-SA 2.0) (cropped)
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The decade in live: 2012
The start of a new year and, perhaps more significantly, a new decade is fast approaching – and while many may be thinking ahead to New Year’s Eve plans and well-meaning 2020 resolutions, IQ is casting its mind back to the most pivotal industry moments of the last ten years.
As in the previous 12 months, 2012 saw the live music industry still grappling with the effects of the global economic crisis, with many countries just beginning to clamber out of recession and others heading for dreaded ‘double dips’.
This continuing economic uncertainty naturally bit into the leisure spend of discriminating ticket buyers with a variety of entertainment options – though the world did not, as predicted by some long-dead Mexicans, come to an end.
Elsewhere, the weather gods interfered with yet more festivals, while Hurricane Sandy had a devastating effect on the industry in the New York area. In the UK, meanwhile, the Olympics scored on many levels, but provided far too much competition for many.
2012 in numbers
The top 50 worldwide tours grossed a combined US$3 billion in 2012, according to Pollstar, down around 2% from $3.07bn in 2011.
Madonna’s MDNA tour was the clear No1, grossing $296.1 million, ahead of second-placed Bruce Springsteen, whose E Street Band earned $210.2m. Both acts played to more than 2m fans worldwide 2012.
Roger Waters’ The Wall generated $186.4m to come in at No3, and was also the highest-ranking hold-over from the 2011 chart, where he placed No5 with a gross of $103.6 million.
Reflecting the lingering impact of the financial crisis, the total tickets sold by the top 50 tours was 34.9m, which continued the decline from 35.5m the previous year (and well off the pace from 2009, when the top 50 sold 45.3 million, says Pollstar).
2012 in brief
January
FKP Scorpio buys a stake in Utrecht-based booking agency and artist management company Friendly Fire.
Touring festival Big Day Out calls time on its New Zealand leg after promoter Ken West admits that falling audience numbers have made the Auckland show unviable.
February
Madonna sparks controversy when she tells Newsweek magazine fans should “work all year, scrape the money together” for a $300 ticket to her MDNA tour.
March
Private-equity firm CVC Asia Pacific puts its Australian ticketing company, Ticketek, and Sydney’s Allphones Arena up for a sale in a bid to reduce a A$2.7bn (€2.1bn) debt run-up by Nine Entertainment, which owns the assets.
Stuart Galbraith buys out AEG’s 50% stake in Kilimanjaro Live for an undisclosed sum. Both parties say they will continue to work together on events in future. (Kili later cancels the 2012 edition of Sonisphere at Knebworth, which was to have featured Kiss, Faith No More and Marilyn Manson.)
Ebay-owned secondary ticketing service, StubHub, launches operations in the UK and admits it is looking at further expansion across Europe.
Roger Waters’s The Wall tour was the third most lucrative of 2012 (© Brennan Schnell/Eastscene.com/Wikimedia Commons (CC BY 2.0))
April
Serbian authorities arrest the venue owner and other individuals following a fire at the Contrast nightclub in Novi Sad that leaves six people dead.
Tupac Shakur, who died 15 years previous, is the main talking point at Coachella, as a multimillion-dollar hologram of the rapper appears on stage alongside Dr Dre and Snoop Dogg.
May
Viagogo raises eyebrows by shifting its operational base from the UK to Switzerland, amid speculation it wants to resell tickets for the Olympic Games without falling foul of British law.
Investment firm Silver Lake Partners completes a transaction to acquire a 31% stake in William Morris Endeavor.
June
Former AEG Germany CEO Detlef Kornett forms a venue consultancy, Verescon, with DEAG with Peter Schwenkow.
Swedish telecom operator Tele2 pays an undisclosed sum to secure naming rights for Stockholm’s new 40,000-capacity stadium, operated by AEG.
Paul McCartney, Mike Oldfield and Dizzee Rascal performed at the London 2012 opening ceremony (© Matt Deegan/Flickr (CC BY 2.0))
July
Live Nation appoints former CAA exec David Zedeck to the role of executive VP and president of global talent and artist development.
Artists including Paul McCartney, Mike Oldfield, Dizzee Rascal and Emeli Sandé are each paid £1 for their performances at the Olympics opening ceremony. The show attracts 26.9m viewers in the UK alone, and billions more worldwide.
August
Three members of Russian punk band Pussy Riot are jailed for two years each, after staging an anti-Vladimir Putin protest in a Moscow cathedral.
September
AEG drops its claim against Lloyd’s of London on a multimillion-dollar insurance policy, following the death of Michael Jackson.
C3 Presents’ Lollapalooza debuted in Brazil in April (© Henrique Oli/Wikimedia Commons (CC BY-SA 3.0))
October
Glastonbury Festival takes just 100 minutes to sell out all 135,000 tickets for next summer’s event, despite not naming a single act on the 2013 bill.
C3 Presents extends an arrangement with Globo Organization’s GEO for more events in Brazil, following a successful Lollapalooza.
November
AEG is awarded the contract to take over shows at London’s prestigious Hyde Park, ending Live Nation’s decade-long relationship with the 80,000-capacity space.
Frank Barsalona, founder of Premier Talent, dies aged 74. Premier was the first agency to work exclusively with rock artists, with clients including the Yardbirds, Bruce Springsteen, Tom Petty, U2 and Van Halen.
December
The Wall Street Journal reports that a number of bidders are in contention to acquire AEG, despite a reported $10bn asking price.
Irving Azoff unexpectedly resigns as chairman of Live Nation and CEO of its Front Line Management Group, to concentrate on his own artist management company.
Who we lost
Notable industry deaths in 2012 included South by Southwest creative director Brent Grulke, Lasse Ollsen of Swedish promoter Viva Art Music, Jon Lord of Deep Purple, Armin Rahn, founder of Munich-based Armin Rahn Agency and Management, Radiohead drum tech Scott Johnson, Perth Arena general manager David Humphreys, R&B legend Etta James, pop powerhouse Whitney Houston, the Bee Gees’ Robin Gibb, disco diva Donna Summer, the Monkees’ Davy Jones and legendary agents Armin Rahm and Frank Barsalona.
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Biggest music line-up ever for Pride events
As London gears up for its Pride parade this Saturday (6 July), live music is playing an increasingly important part in Pride events across the globe, with artists are doing their bit to further equality.
The London event, featuring performances from Billy Porter and X Factor star Saara Aalto, marks the end of Pride month, a worldwide celebration of the LGBT+ community and of that community’s movement for equality.
In June, Pride parades and festivals took place in cities including Los Angeles, New York, San Francisco, Sao Paulo and Sydney, with more scheduled throughout the UK and Europe over the coming months.
Pride events in New York saw performances from Madonna, Lady Gaga, Lizzo and Alicia Keys. In Los Angeles Meghan Trainor, Years and Years, Cristian Castro and the Veronicas featured on the Pride festival line-up.
Across the Atlantic, “LGBT+ icon” Kylie Minogue will headline Brighton’s Pride in the Park on Saturday 3 August, fresh from her appearance at Glastonbury Festival. Joining Kylie at the event will be Grace Jones, Jessie J and Clean Bandit.
Manchester is putting on arguably one of the biggest live music events of the Pride calendar, taking over Broadwick Venue’s Mayfield Depot (10,000-cap.) for a ticketed, two-day music event, Manchester Pride Live.
Organisers “expect to see record attendance” as acts such as Ariana Grande, Cheryl and Basement Jaxx prepare to grace the stage.
“Celebrating LGBT+ life means a great deal to each of the artists performing at the festival this year,” Manchester Pride chief executive Mark Fletcher tells IQ.
“Celebrating LGBT+ life means a great deal to each of the artists performing at the festival this year”
“We work closely with agents and management to ensure that all artists are clear on the importance of Pride celebrations and this year we’ve actually received more requests than ever from artists who want to come along to perform at the festival to show their support for the campaign for greater LGBT+ equality.”
The choice of heterosexual Grande as the Manchester Pride Live headliner sparked complaints from some members of the LGBT+ community, according to Variety, as did the selection of non-LGTB+ artists at other Pride events.
However, the Manchester Pride boss states the event always aims “to ensure there is clear representation from LGBT+ artists on the line-up” and stresses that the appearance of any high-profile artists “is very important to our audience”.
“Whether they are LGBT+ or allies, the message that is displayed through the appearance of high-profile artists is clear for the world to see: We stand as one to tackle the inequalities and discrimination that is still faced by LGBT+ people today,” comments Fletcher.
“Music and performance represent freedom and happiness which both play a huge part in what we stand for,” adds Fletcher. “Music is at the heart of our Pride celebrations in Manchester and the music we showcase helps to create a vibrant atmosphere of unity.”
Manchester Pride Live weekend tickets are priced at £64.50 plus booking fees and are available here.
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