Valentine’s Day marked one of the biggest mornings of UK onsales in living memory, as fans rushed to snag tickets for stadium outings for the likes of Beyoncé, Black Sabbath and Kendrick Lamar & SZA.

The shows have added to an already jam-packed summer schedule of outdoor shows in 2025, with superstars such as Coldplay, Oasis, Dua Lipa, AC/DC, Lana Del Rey, Imagine Dragons, Guns N’ Roses and Sam Fender also lining up to perform at the biggest venues.

The latest scramble has reignited fan and media chatter about the price of entry for major concerts, with some ticket types for Beyoncé’s upcoming Cowboy Carter Tour seeing hikes of up to 50% from her last outing two years ago.

The superstar returns to London’s Tottenham Hotspur Stadium (cap. 62,850) this June for a six-show run in support of the Award-winning album, with ticket prices ranging from £71-£950. Beyoncé sold out five shows at the same venue two years ago during her Renaissance World Tour (RWT), the second highest-grossing tour of 2023 after Taylor Swift’s Eras Tour.

The run grossed $579.8 million and sold 2.8 million tickets across 56 shows in North America and Europe, according to Billboard Boxscore. That venture took the Grammy Award-winner to 39 cities across 10 countries, while the upcoming trek will only visit eight cities in three countries, seeing Beyoncé play 29 total shows.

While the touring route has tightened up, ticket prices have predictably risen from her outing two years ago. Prices for seated tickets have risen by at least 20%, with the cheapest option available for these dates starting over £71.

Standing tickets took a greater hike, rising by up to 50% from 2023 prices. Fans looking to stand at the Cowboy Carter Tour can expect to pay a minimum of £220, and almost £500 to stand nearer the stage in the ‘club’ option. General standing tickets for RWT ranged from £106.80-£177.50.

“This expansion is driven by increasing consumer demand for live experiences”

Ticket prices are on the rise across all levels of touring, with Pollstar reporting average ticket prices rose 3.91% in 2024 to $135.92 (£107.80), and momentum is showing no signs of slowing.

“This expansion is driven by increasing consumer demand for live experiences fuelled by flagship concerts and residencies of global superstars and the proliferation of large-scale events in general,” said FKP Scorpio CEO Stephan Thanscheidt in a recent interview with IQ.

Featured Artists Coalition (FAC) boss David Martin credits past research by former Spotify economist Will Page for signalling the direction of travel.

“Even back in 2022, it was evident that much of the ‘boom’ that was being witnessed in live music was due to high value, major, large-scale shows,” Martin tells IQ. “Add inflation which impacts both artists’ costs and fans’ wallets, along with the lasting audience impacts of the pandemic and the trend for the biggest artists to host their own events and residencies and it’s easy to see the drivers of increased prices.

“While it is positive to see demand at that level, I’m concerned about the impact on mid-level and grassroots artists. If fans are spending huge sums on one-off events, it appears that there is a real danger that they’ll attend fewer shows elsewhere.”

Some artists are seeking ways to keep costs down for fans. Coldplay have offered a limited number of Infinity Tickets, priced at £20/$20/€20 each plus taxes and fees, across their record-shattering Music of the Spheres World Tour. For their return to Wembley Stadium for a historic 10-night stand in autumn, the band’s second London stint on the same tour, fans could score standing tickets for £112.75.

The rise in general ticket prices for top stadium shows has also been more than matched across premium offerings — Beyoncé’s VIP pit sections in front of the stage come at the price of £850, while Black Sabbath fans seeking a side-stage premium experience could fork out just under £3,000.

“Clearly there’s some quite fascinating trends in our culture right now”

The cheapest tickets available for the “greatest heavy metal show ever” start at £197.50, while general admission standing starts at £262.50. The July reunion will see Black Sabbath’s original lineup – Osbourne, Tony Iommi, Geezer Butler and Bill Ward – top the bill, marking Osbourne’s final performance and the first time the quartet have played together in 20 years. More than 150,000 fans reportedly joined the queue for tickets when they went on general sale at 10am today.

Meanwhile, those looking to see Kendrick Lamar & SZA’s UK/EU outing this summer can expect to spend £75-£750 for tickets, with GA standing starting at just under £160. Other tours set to descend on stadiums across the UK this summer include Linkin Park, Billy Joel, Bruce Springsteen & The E Street Band, and Robbie Williams, to name a select few.

“Clearly there’s some quite fascinating trends in our culture right now,” observes Martin. “On one level, there’s an inexhaustible supply of new music, film, video, podcasts, books, substacks, and a whole mass of interesting niches and genres. It’s a complete cultural sprawl. On the other hand, there’s also that kind of ‘Barbenheimer’ effect, where audiences want to participate en masse for events by the likes of Coldplay, Oasis, Taylor Swift or Beyoncé. And they’re prepared to pay a premium for those experiences, even if it’s at the cost of others.”

Get more stories like this in your inbox by signing up for IQ Index, IQ’s free email digest of essential live music industry news.

The controversy over Oasis’ UK reunion shows has taken another twist after a number of customers complained of having their tickets cancelled by Ticketmaster and See Tickets after being identified as bots.

The ticket agents began emailing and refunding those believed to have broken the terms and conditions imposed for the 2025 stadium run last Friday (7 February), only for several fans to claim they bought their tickets legitimately.

An appeals process is in place for those who feel they have been wrongfully targeted.

“Anyone who has been contacted and believes a refund was made in error has been sent a form to fill in for the tour’s promoters to review,” says a Ticketmaster spokesperson.

Promoters Live Nation and SJM said last October they would cancel up to 50,000 tickets deemed to have breached the rules in an effort to clamp down on unofficial resale sites.

“All ticket sales data will be manually forensically examined and any use of bots, multiple identities, false identities, or other fraudulent means of acquiring tickets may be reported,” read the T&Cs.

“These terms and conditions were successfully put in place to take action against the reselling of tickets through unauthorised secondary ticketing companies”

IQ understands that tickets will only be cancelled if the promoter and band management are completely convinced that the buyer is not a genuine customer, with multiple layers of checks before people were contacted. Internally, there is confidence the crackdown has been carried out correctly.

“These terms and conditions were successfully put in place to take action against the reselling of tickets through unauthorised secondary ticketing companies at grossly inflated prices for huge profit,” says a post on Ticketmaster and See Tickets’ websites. “The examination of ticket sales is ongoing and the results will be passed to relevant law enforcement once complete where appropriate.

“Refunded tickets will be made available again at face value in due course from the official ticket agent Ticketmaster.”

It continues: “Expert Abuse and Fraud teams have reviewed all sales and identified any made by bots. We cannot go into more detail, as we do not want bot-using touts to have any further information on the process.”

Oasis Live ’25 was the biggest concert launch ever seen in the UK and Ireland when it went on sale last August as more than 10 million fans from 158 countries attempted to buy tickets for the 1.4 million tickets available for the group’s first shows since 2009. The on-sale became infamously marred by a dynamic ticketing row that triggered multiple inquiries in the UK and Ireland.

Strict anti-touting measures were put in place in a bid to ensure tickets are resold for no more than face value, with Twickets selected as the tour’s official ticket resale platform.

However, despite the use of unauthorised resellers being against the ticket terms and conditions, there has been no word from the tour as to whether they will seek to cancel all tickets currently listed on secondary sites, many at inflated prices.

In a previous high-profile case, organisers of Ed Sheeran’s 2018 ÷ Tour stadium run cancelled around 10,000 tickets after Viagogo refused a request from Sheeran’s team not to list the tickets for resale.

Get more stories like this in your inbox by signing up for IQ Index, IQ’s free email digest of essential live music industry news.

With the end of 2024 in sight, IQ presents a look back the biggest live music industry stories from the past year. Revisit the most notable moments from the last 12 months below – and there is only one place to start…

A $2bn juggernaut: Taylor Swift wraps up Eras Tour

After 149 shows, five continents and an unprecedented box office gross, Taylor Swift’s The Eras Tour came to an end in Vancouver, Canada, in December.

The epoch-defining 21-month trek garnered an all-time record US$2,077,618,725 (€1.96 billion) at the box office after selling more than 10.1 million tickets, with the economic benefits of staging an Eras residency for host cities even earning its own term – “Swiftonomics”.

The run’s 80 shows this year raked in $1,043,421,552 (€993.4m) from 5.2m ticket sales at an average ticket price of $200.27 (€190.68). IQ explored how Swift captured the zeitgeist like no other artist in decades upon the conclusion of the tour’s European leg at London’s Wembley Stadium in August.

Coldplay’s Music of the Spheres World Tour was a distant second in the tour rankings – grossing $421.7m, having moved 3.3m tickets for 54 concerts (average ticket price: $128.05). The ongoing run has also made history after claiming the overall record for tickets sold on a single tour, shifting 10.3m tickets since commencing in March 2022, and is already the second highest-grossing ever.

The top 10 list was completed by P!nk (367.3m), Luis Miguel ($261.5m), Bruce Springsteen & The E Street Band ($251.3m), the Rolling Stones ($235m), Bad Bunny ($210.9m), Zach Bryan ($199.2m), Metallica ($179.4m), and Madonna ($178.8m).

Global investment firm buys Superstruct for €1.3bn

American global investment firm KKR acquired festival giant Superstruct Entertainment from Providence in a €1.3 billion deal.

Fellow private equity firm CVC also went on to secure a stake in the firm, which owns and operates over 80 music festivals across 10 countries in Europe and Australia, including Wacken Open Air, Parookaville, Tinderbox, Sónar, Øya, Benicàssim, Kendal Calling and Boardmasters.

Superstruct was launched in 2017 by Creamfields founder and former Live Nation president of electronic music James Barton and Roderik Schlosser while at Providence.

IQ charted the increasingly close links between the international touring industry and PE here.

Meanwhile, Superstruct’s Barton will give his first interview in the company’s history at next year’s International Live Music Conference (ILMC).

Oasis confirm 2025 reunion tour

Legendary British rock band Oasis confirmed they are reuniting for a 2025 world tour.

The Gallagher brothers last performed together in August 2009, when they split following a backstage bust-up at France’s Rock en Seine.

The Oasis Live ‘25 Tour was the biggest concert launch ever seen in UK and Ireland, with more than 10 million fans from 158 countries attempting to buy tickets for the group’s first shows since 2009.

However, the unprecedented demand soon gave way to a dynamic ticketing controversy that has prompted multiple inquiries. There was widespread media coverage of fan anger after customers were offered “in demand” tickets for more than twice the advertised face value under surge pricing after queuing online for several hours.

Dynamic pricing was subsequently not employed for the group’s other tour dates in North America, South America, Asia and Australia, which have all sold out.

Adele’s Munich run ‘a milestone in music history’

The team behind Adele’s historic German run hailed acclaimed show as “a milestone in music history”.

More than 730,000 tickets were sold for the singer’s 10-night stint at a giant pop-up stadium in Munich, held between 2-31 August. The “bespoke” outdoor venue boasted a 220m x 30m LED screen, supplied by Solotech, which has been certified by Guinness World Records as the Largest Continuous Outdoor LED Screen (temporary) ever built.

Alongside the venue, the 75,000-square-metre Adele World – which included an authentic English pub, a fairground wheel, karaoke, Farmers Markets, merchandise and a typical Bavarian beer garden with live entertainment – attracted 500,000 visitors.

“We could not simply use a blueprint of another project – we had to start from scratch,” said Live Nation GSA CEO Marek Lieberberg, who co-promoted the residency with Klaus Leutgeb, CEO of Austria’s Leutgeb Entertainment Group.

“Before this started, I said: ‘Never before and never again.’ Now, I would say, ‘Never before but maybe again.

“It’s a milestone in music history, for sure. And it seems too good to waste. But if we ever did something like this again, it has to cater to the specific vision of the artist, like this one has.”

Co-op Live Manchester bounces back

A whirlwind first six months for Manchester’s Co-op Live (cap. 23,500) saw the UK’s largest live entertainment rebound from its delayed opening.

The £365 million facility hosted prestigious events including the UFC and the MTV EMAs, as well as indoor shows by Paul McCartney, the Eagles and Pearl Jam.

NEC Group veteran Guy Dunstan joined in October as its new general manager and SVP, with Rebecca Kane Burton, formerly of The O2, LW Theatres and Sodexo Live, becoming EVP of venue management for OVG International.

Originally slated to join the OVG fold over the summer, Kane Burton was parachuted in as interim boss of Manchester’s Co-op Live in April, as the venue’s launch was pushed back two weeks following a series of hitches. It ultimately launched on 14 May with a triumphant hometown concert by Elbow.

“I think any of us now, if we hear any Elbow music, will cry tears of joy, because that’s the moment we finally got the doors open and ready and away,” Kane Burton told IQ. “And then June just was amazing, because it was just literally back-to-back gigs and you start becoming a very well-oiled machine.”

CTS Eventim wins race to acquire See Tickets

CTS Eventim acquired Vivendi’s festival and international ticketing businesses in a €300 million deal.

The agreement included See Tickets and a portfolio of 11 festivals including the UK’s Love Supreme and Kite, as well as Garorock in France. Vivendi concert halls including L’Olympia concert hall in Paris, plus See Tickets France and Brive Festival, are not part of the deal.

The French firm’s ticketing and festival activities acquired by CTS collectively produced €137 million in revenues in 2023.

“With See Tickets and its festival operations, Vivendi has established two notable players in the ticketing and live entertainment sector,” said CTS CEO Klaus-Peter Schulenberg.

“The acquisition supports our internationalisation strategy and will also benefit artists and their managers, as we will be able to offer even more seamless services on a global scale. We look forward to collaborating with our new colleagues on shaping the future of live entertainment.”

DOJ sues Live Nation over alleged ‘monopoly’

The US Department of Justice (DOJ) launched an explosive lawsuit which could seek to break up Live Nation-Ticketmaster after alleging the company has violated antitrust laws.

LN and Ticketmaster, who merged in 2010, are accused of using their “power and influence” to “insert themselves at the centre and the edges of virtually every aspect of the live music ecosystem”.

The suit, which was filed in May in the United States District Court Southern District of New York, claims: “Through a self-reinforcing ‘flywheel’ that Live Nation-Ticketmaster created to connect their multiple interconnected businesses and interests, Live Nation and Ticketmaster have engaged in numerous forms of anticompetitive conduct.”

The defendants vigorously contest the claims, with the case set to go to trial in 2026.

Live Nation’s share price rocketed to an all-time high in the wake of Donald Trump’s election victory in November, and the company has said it is “hopeful” the imminent administration change will have a positive impact on its antitrust battle.

Second Sphere venue location revealed

The world’s second Sphere venue is to be built in Abu Dhabi, it was revealed.

Sphere Entertainment and the Department of Culture and Tourism – Abu Dhabi confirmed the longstanding rumours, announcing they will work together to bring the next-generation project to life in the UAE capital.

Since opening the $2.3 billion Sphere in Las Vegas, US, in September 2023, Sphere Entertainment has pursued plans to develop a global network of Sphere venues, with the expansion expected to provide “significant growth potential and drive new revenue streams”.

“The vision for Sphere has always included a global network of venues, and today’s announcement is a significant milestone toward that goal,” said Sphere Entertainment executive chair and CEO James Dolan. “Sphere is redefining live entertainment and extending the reach of its transformative impact. We are proud to collaborate with DCT Abu Dhabi to develop Sphere in their city.”

The partners say the venue will be located in a “prime spot” in Abu Dhabi and echo the scale of the 20,000-cap Las Vegas original, which has so far hosted residencies by U2, Phish, Dead & Company and the Eagles’ ongoing run, as well as the Darren Aronofsky-directed immersive production Postcard from Earth.

CAA trio appointed co-heads of global touring

Creative Artists Agency (CAA) announced senior agents Emma Banks, Darryl Eaton and Rick Roskin as co-heads of global touring.

The trio, all long-time senior members of the firm’s leadership team, will oversee the department’s continued international growth and build upon the work of predecessor Rob Light, who was named CAA MD earlier in the year after a quarter of a century as head of global touring.

“With the most talented team of agents ever at one agency, and serving the most influential artists in the world, we see unlimited opportunities ahead,” said Roskin, Eaton and Banks. “The live business has never been stronger nor had more momentum, and artists have never had more ways to express themselves and grow their careers, making this an absolutely incredible time to help chart CAA’s path for the future.

“We’re fortunate to have shared in the success, stability and uniquely strong culture that the department has enjoyed under Rob’s outstanding leadership. Our vision, and commitment moving forward, is to foster cutting-edge ideas that drive the market and ensure that CAA remains the most exciting and empowering agency for the industry’s best agents and artists to thrive.”

Live legends remembered

SJM Concerts director Chris York, one of the UK’s leading and most respected promoters, died in July aged 55 following a long illness.

Over the course of 30 years, York worked with artists including Oasis, Foo Fighters, Green Day, The Chemical Brothers, Lily Allen, Massive Attack, Robert Plant, Underworld, Lorde, Morrissey, Placebo, Suede and Stereophonics.

In a statement, SJM said it was “deeply saddened” at news of his passing. York joined the Manchester-based company in 1993, forming a “solid and unshakeable partnership and friendship” with founder Simon Moran.

“We have lost a leader, a mentor a force of nature and a friend,” said the firm. “His loss will be felt keenly by all the staff at the company and by many industry professionals and artists around the world. His influence and personality will live forever within SJM Concerts.”

The music world also lost Mean Fiddler founder and festival pioneer Vince Power in March, aged 76. The Irish promoter helped change the face of the music industry, working across festivals such as Glastonbury, Reading & Leeds, Phoenix, The Fleadh, Madstock and Spain’s Benicassim,

Power opened the Mean Fiddler venue in Harlesden, London, in 1982, which formed the springboard for his Mean Fiddler Group empire.

“Vince’s passing is a massive loss to the music industry and to me personally,” said Festival Republic MD Melvin Benn. “A visionary with a willingness to take risks to enable his vision but always with a humbleness that belied his importance. We had an amazing 20 years together that helped shape the music industry as we know it now.”

Get more stories like this in your inbox by signing up for IQ Index, IQ’s free email digest of essential live music industry news.

Newcastle-born singer-songwriter Sam Fender has announced three stadium headline shows for next summer in support of his forthcoming album, People Watching.

The CAA-repped act will perform at the 75,000-capacity London Stadium on Friday 6 June, marking his first stadium show outside Newcastle and his biggest-ever headline show.

He’ll then return to the north for two hometown shows at Newcastle’s St. James’ Park on Thursday 12 and Saturday 14 June.

It’ll be the third and fourth time the North Shields-hailing musician has performed in his home city stadium, having sold out two nights back in 2023. He will overtake The Rolling Stones who have performed at St James’ Park on three previous occasions.

CMAT will support Fender at all three shows, and The War on Drugs will play on 6 and 14 June.

Next month, the 30-year-old will embark on his first UK tour since spring 2022, along with a slate of arena dates across Europe.

Sam Fender will deliver his first stadium show outside Newcastle and his biggest-ever headline show at London Stadium

Oasis have announced South Korea and Japan dates for their eagerly anticipated 2025 reunion tour.

Liam and Noel Gallagher will perform at the Goyang Stadium in South Korea on 21 October, as well as two shows in Japan at the Tokyo Dome on 25 and 26 October.

Since confirming their return to the stage earlier this year, the brothers have announced stadium gigs in the UK and Ireland, followed by a string of dates in North America.

They’ll then return for two extra dates at London’s Wembley Stadium in late September, before heading to Australia for shows in Melbourne and Sydney and then playing further dates in South America.

Meanwhile, Charli XCX today announced a run of US arena dates for next April and May, following her joint headline run with Troye Sivan on the 2024 SWEAT Tour.

Produced by Live Nation, the BRAT 2025 arena tour will stop at Moody Center (Austin, TX), Target Center (Minneapolis, MN), Allstate Arena (Rosemont, IL) and Barclays Center (Brooklyn, NY) for two dates. Her UK arena tour is due to kick off next week.

Shakira has announced a seventh and final date at the Estadio GNP Seguros in Mexico City as part of her historic Las Mujeres Ya No Lloran World Tour.

With this announcement, she becomes the first artist in Mexico’s history to sell out seven consecutive shows at the 65,000-capacity venue. The Colombian star has already sold over 1 million tickets in Latin America alone.

Shakira becomes the first artist in Mexico’s history to sell out seven consecutive shows at Estadio GNP Seguros

Last month, the 47-year-old upgraded from arenas to stadiums in several markets in response to “incredible fan demand and production changes”.

Rod Stewart has announced that he is done with “large-scale world tours” when his current run of dates is complete.

The music legend has a number of shows locked in for 2025, including North American tours in February/March, Las Vegas residencies in March and May/June, a European tour in April/May and another North American tour in July/August.

Now, he has confirmed that these shows will be the final major arena shows of his career in a post on social media.

“This will be the end of large-scale world tours for me, but I have no desire to retire,” he said.

“I’d like to move onto a Great American Songbook, Swing Fever tour the year after next – smaller venues and more intimacy. But then again, I may not…”

And finally, Childish Gambino has announced the cancellation of his Australian and New Zealand tour dates next year.

Gambino – aka Donald Glover – was due to perform in New Zealand in late January 2024 and Australia in February.

“Unfortunately, my path to recovery is taking longer than expected,” he explained in a statement. “Know that I will do what I can to give you an exceptional experience when the time is right.”

The cancellation comes after Gambino in October similarly cancelled his North American, UK and European tour dates to undergo surgery for an undisclosed issue.

The tour and it’s subsequent cancellation followed the release of his new album Bando Stone and The New World, which was released earlier this year and marked the final album under his Childish Gambino moniker.

Get more stories like this in your inbox by signing up for IQ Index, IQ’s free email digest of essential live music industry news.

With on-sales for hot shows regularly making headlines, sometimes for the wrong reasons, a debate has ignited among experts as to whether the live business should switch from online queues to ballots for the most in-demand concerts.

Glastonbury unveiled a revamped online queuing system for yesterday’s (17 November) general sale, whereby fans were “randomly” assigned a place in the queue at the start of the sale, rather than having to refresh the page like in previous years. While the system was a novelty for Glastonbury, it has been the standard path for most high-demand shows for a number of years.

Speaking to presenter and DJ Annie Mac ahead of this summer’s festival, Glastonbury organiser Emily Eavis explained why the event had decided against distributing tickets via a ballot.

“I think if we did a ballot, we’d end up with some people who weren’t necessarily as bothered about coming,” she claimed.

Elsewhere, however, Oasis held a special invitation-only ballot for their two additional shows at Wembley Stadium next September, limited to fans who had been unsuccessful in the initial on sale for their 2025 reunion tour despite queuing for hours.

And Sam Fender made tickets for his upcoming hometown show at Newcastle’s 11,000-cap Utilita Arena available by ballot to customers with North-East postcodes only.

“I use the analogy that if you entered the lottery and you didn’t win, you wouldn’t complain to the National Lottery that you didn’t win”

Steve Tilley of Kilimanjaro Live, promoter of the 20 December concert, explains the thinking behind the method.

‘’It’s an attempt to try and manage the demand and introduce some kind of element of randomness/luck into the equation when you’re very very confident that there’s no way the supply is going to be able to meet expected demand,” he tells IQ. “I use the analogy that if you entered the lottery and you didn’t win, you wouldn’t complain to the National Lottery that you didn’t win. And we don’t even charge you for entering our lottery unless you get the chance to buy a ticket.”

Sam Ricketts, head of business development & artist services at AXS, says that ballots have become an “increasingly popular solution for measuring demand and getting tickets into the hands of real fans”, while Gigantic Tickets co-CEO Simon Carpenter deems them “the fairest way to go” when demand for a show is sky-high.

“The Sam Fender show in Newcastle at the arena is a perfect example, where you’ve got hundreds of thousands of people wanting to go to a show with a 10,000 capacity,” notes Carpenter.

Ed Sheeran agent Jon Ollier of One Fiinix Live points out that ballots are commonplace in certain parts of the world, such as Japan.

“Anything that we can do to try and reimagine and make the ticket purchasing process more fair [is for] the better,” he adds.

“They are probably not the right solution for most on sales. But for the ones that are going to see high demand, they are absolutely the way to go”

Ticketing executive and former STAR Council member Richard Howle advises that ballots aren’t right for every on sale, however.

“In fact, they are probably not the right solution for most on sales,” he asserts. “But for the big ones – the ones that are going to see high demand – they are absolutely the way to go.”

Howle believes there are numerous benefits from an industry perspective, particularly around data and pricing, in addition to gauging demand.

“During a typical on sale we only manage to collect data from those who successfully book a ticket,” he suggests. “By running a ballot we have the opportunity to collect data from everyone who is interested in buying a ticket. And I don’t just mean marketing data which relies on people opting in – huge amounts of insight can be gleaned about potential audiences.

“Balloting also provides an idea of demand in advance: London has the demand for four dates, Birmingham three, Manchester two, etc. This certainty of demand will make scheduling routing and deal-making so much clearer.”

He adds: “By running a ballot, by receiving information in advance about what audiences are prepared to pay, promoters can optimise their manifests to deliver the maximum returns as well as preserving any wishes that an artist may have about preserving a percentage of tickets at accessible prices.

“Whilst prices can be set in advance, the number of tickets available at each price band does not have to be decided until the balloting process is complete and customers have indicated which price they wish to pay. Tickets can be truly priced based on demand, without upsetting customers.”

“Ticketing systems are built to cope with high demand, but sometimes technology breaks and on sales can go horribly wrong”

Furthermore, Howle notes there are technological advantages, both in terms of handling demand and battling ticket touting.

“Yes, ticketing systems are built to cope with high demand, but sometimes technology breaks and on sales can go horribly wrong – disrupting both pricing and scheduling strategies,” he says. “The gentler pace of a ballot makes the whole process much smoother – for everyone. It is an unnecessary stress which everyone could do without.

“Perhaps one of the biggest pros of balloting is that it makes it very hard for touts and their bots. Multiple applications and known touts can be screened out during the balloting process. The touts will always find a way, but we can make it much harder for them.”

Telecoms giant O2 gives away tickets for its intimate, one-off Priority gig series for free to O2 and Virgin Media customers via a ballot. Acts have included Kylie Minogue, D-Block Europe, Raye and Sam Fender, while more than 100,000 ballot entries were submitted for Girls Aloud at O2 Shepherd’s Bush Empire in July.

“We see huge demand for our Priority Gigs, which does mean disappointment for some customers who don’t win tickets, but the ballot process creates fair opportunity to win and allows us to open up these one-of-a-kind music experiences to as many people as possible,” says Gareth Griffiths, director, partnerships and sponsorship at Virgin Media O2.

According to Griffiths, one of the biggest pluses of ballots is the “greater ability” they provide to tailor the ticketing process to suit a particular show or artist.

“With D-Block Europe and Raye’s Priority Gigs, for example, giving their biggest fans the first chance to grab tickets was a really important element of the show,” he says. “O2 was able to do this by using our Priority Tickets data, to give those who had engaged with the artists’ shows before the first chance to enter. This allows us to ensure the room is filled with those who most want to be there, and to connect artists with their biggest fans.”

“The casual fan who might ordinarily try their luck for a ticket on a single screen has equal footing with a die-hard fan”

Matt Kaplan, head of UK/EU at price-capped resale marketplace Tixel also sees far more positives than negatives.

“What we like about ticket ballots is that they typically bring a more fan-centric approach to the challenges of selling tickets to high-demand events,” he tells IQ. “By collecting all prospective buyers into the same ‘pot’ you level the playing field and remove the intense pressure of having to have five laptops, two phones, an iPad, a hope and a prayer, competing for that coveted moment of being redirected to the purchase page.

“I guess one thing that could be seen as controversial is that the casual fan who might ordinarily try their luck for a ticket on a single screen has equal footing with a die-hard fan who might have assembled an army of friends and dozens of screens for more “chances” at a ticket. And is this a bad thing? Probably not.”

Although Howle considers the benefits of ballots to outweigh the negatives, he acknowledges the downside.

“It takes time to organise and manage, which is why it is not appropriate to do every on sale as a ballot,” he stresses. “Some promoters and artists like the fuss of an onsale, some like to say that they ‘broke the internet’ that they ‘sold out in xx minutes’. But what is a better indication of popularity: ‘20,000 ticket sold out in 10 minutes’ or ‘a million people have entered a ballot’?”

He continues: “One con, which is particularly relevant to the UK is that allocations are split across a number of different ticketing companies. This is an added complication which needs co-ordinating – but it shouldn’t be a barrier to balloting.

“The final con is that an on sale generates its own excitement, its own buzz which encourages others to join, to make that impulse buy. Perhaps if fans had more time to make a considered decision about whether they were going to attend or how much they wished to spend they wouldn’t pay as much? But counter to this, is that there will be much larger pool of people to access and with a ballot there is the opportunity to optimise the manifest to generate greater revenues.”

“As a promoter, 99 times out of 100 you’re more worried about selling out as quickly and easily as possible”

Nevertheless, if push came to shove, Kilimanjaro’s Tilley admits he would choose a normal on sale process over a ballot.

“As a promoter, 99 times out of 100 you’re more worried about selling out as quickly and easily as possible,” he says. “Promoting artists that require people to enter a ballot is a privilege indeed but that level of demand comes with a whole different set of problems for promoters and venues to try and solve.’’

He concludes: “When demand is so great that most people are going to be disappointed inevitably some fans take to social media to complain direct to artists and managers about something not being fair or potentially blaming a ticket agent tech issue – whether fair or not – and so on. If you introduce a ballot then luck becomes a factor and most people accept the rules at that point. Of course, there are still people on socials making their feelings known but I guess that’s the way of the world.”

Indeed, as the industry has learned time and time again – ballots or not – you’ll never be able to please everyone.

Get more stories like this in your inbox by signing up for IQ Index, IQ’s free email digest of essential live music industry news.

Promoters of Oasis’ reunion concerts say they will cancel up to 50,000 tickets listed on unofficial resale sites for the tour’s UK leg.

Live Nation and SJM told BBC Radio 4’s File on 4 the invalidated tickets would be re-listed at face value on Ticketmaster.

Oasis Live ’25 was the biggest concert launch ever seen in UK and Ireland, with over 10 million fans from 158 countries attempting to buy tickets for the 1.4 million tickets available for the group’s first shows since 2009.

Strict anti-touting measures were put in place in a bid to ensure tickets are resold for no more than face value and booking fees, with Twickets selected as the tour’s official ticket resale platform.

“Ticket resale is permitted at no more than the price you paid (face value + booking fees),” read a message on the Oasis website prior to the 31 August on-sale. “Please only use the official resale partners www.twickets.live and Ticketmaster. Selling tickets through unauthorised resale platforms will breach these T&Cs and those tickets may be cancelled.”

The promoters said they would begin the process of voiding tickets deemed to have breached the terms and conditions shortly.

“Fans will be the beneficiaries of this action when any cancelled tickets go back on sale at face value”

“These terms and conditions were successfully put in place to take action against secondary ticketing companies reselling tickets for huge profit,” they say in a statement. “Only 4% of tickets have ended up on resale sites. Some major tours can see up to 20% of tickets appearing via the major unauthorised secondary platforms.

“All parties involved with the tour continue to urge fans not to purchase tickets from unauthorised websites as some of these may be fraudulent and others subject to cancellation.”

Speaking to IQ, FanFair Alliance campaign manager Adam Webb praises the move.

“It’s great to see Oasis take these measures to enforce their T&Cs,” he says. “To be clear, they are not cancelling tickets bought by fans – they are cancelling tickets unlawfully acquired by touts. That’s a very different thing. Some of these tickets might not even have been resold. And obviously fans will be the beneficiaries of this action when any cancelled tickets go back on sale at face value.”

Viagogo’s Matt Drew told File on 4 that “2%” of Oasis tickets had appeared on Viagogo and Stubhub, and indicated the secondary sites would not be deterred from offering them for resale.

“We will continue to sell them in the way the regulator says we can,” he said. “We are serving a clear consumer need, we will continue doing it on that basis.”

“For the upcoming Oasis world tour, the only shows for which tickets are not being touted on Viagogo, StubHub and Gigsberg are the two at Croke Park in Dublin”

In a previous high-profile case, organisers of Ed Sheeran’s 2018 ÷ Tour stadium run cancelled around 10,000 tickets after Viagogo refused a request from Sheeran’s team not to list the tickets for resale. Labour MP Sharon Hodgson referenced the singer during last week’s secondary ticketing hearing in parliament.

“I do not want this debate to end without mentioning Ed Sheeran and how much he has done to try to tackle the scourge of ticket touting,” said Hodgson. “Lots of other artists, such as Iron Maiden, Arctic Monkeys, Mumford & Sons and many others have tried, but Ed Sheeran went above and beyond by cancelling tickets when they had been resold. Taylor Swift never did that because she did not want to break the hearts of all her fans, but Ed Sheeran has been a real warrior in that regard.”

With the new Labour government preparing to launch a consultation into the resale market, Hodgson highlighted the impact of ticketing legislation introduced in Ireland in 2021.

“For the upcoming Oasis world tour, the only shows for which tickets are not being touted on Viagogo, StubHub and Gigsberg are the two at Croke Park in Dublin,” she said.

Cast were this week confirmed as the opening act for Oasis’ 19-date UK and Ireland tour leg, joining previously announced special guest Richard Ashcroft on the bill. The  on-sale became marred by a dynamic ticketing row that triggered multiple inquiries in the UK and Ireland. In the wake of the backlash, the band’s team opted against utilising the pricing strategy for their subsequent North America and Australia sales to “hopefully avoid a repeat of the issues”.

“It is widely accepted that dynamic pricing remains a useful tool to combat ticket touting and keep prices for a significant proportion of fans lower than the market rate and thus more affordable,” they said in a statement. “But, when unprecedented ticket demand (where the entire tour could be sold many times over at the moment tickets go on sale) is combined with technology that cannot cope with that demand, it becomes less effective and can lead to an unacceptable experience for fans.”

Get more stories like this in your inbox by signing up for IQ Index, IQ’s free email digest of essential live music industry news.

An abundance of tours have been announced over recent days, including a venture down under for Oasis, new North American dates from Coldplay, and Kylie Minogue’s biggest outing in over a decade.

Oasis has announced that their 2025 reunion world tour will head to Australia next year for stops in Melbourne and Sydney. The Gallagher brothers will play Melbourne’s Marvel Stadium (cap. 56,347) on 31 October and Sydney’s Accor Stadium on 7 November (83,500).

The dates follow previously announced legs across the UK, including seven nights at London’s Wembley Stadium, and North America. Produced by Live Nation and SJM Concerts, the venture will bring the pair to stadiums in Manchester, Chicago, Los Angeles, Mexico City, and more next year.

The two shows are promoted by Live Nation Australia, with a private ballot giving fans presale access before the 15 October general sale.

“The number of stadium-level acts touring today is unprecedented”

Coldplay is set to return to North America on their Music of the Spheres world tour with a new batch of dates. The record-shattering run will return the British hitmakers to stadiums across the US and Canada next summer, including Las Vegas’s Allegiant Stadium (65,000), Nashville’s Nissan Stadium (69,143), Miami’s Hard Rock Stadium (65,326), and more.

Both Coldplay and Oasis are due to perform at Toronto’s newest venue, the 50,000-capacity, Rogers Stadium. The Live Nation-backed purpose-built venue will operate seasonally and is designed to capitalise on the influx of tours from A-list artists.

“The number of stadium-level acts touring today is unprecedented, with more acts than available nights at existing venues. That’s why we’re making this investment—to ensure Toronto fans don’t miss out on world-class artists,” said Erik Hoffman, president, music at Live Nation Canada, during the September stadium announcement.

Coldplay’s Live Nation-promoted tour will also bring the group to Abu Dhabi for four nights, Mumbai for three, Hong Kong for three, and Seoul for six shows early next year, followed by the new North American dates. The tour is currently slated to end with a second UK leg, including two nights in Hull and 10 in London next autumn.

Ticket sales for the global trek have already surpassed 10 million, with the band performing across five continents since launching the tour in March 2022. It became the first tour by a band to gross over $1 billion from a single tour, joining Taylor Swift’s The Eras Tour in the billionaires club.

During the UK dates announcement, Coldplay pledged 10% of proceeds from their 2025 UK dates to Music Venue Trust to support upcoming artists and grassroots music venues, some of which they played on their rise to global stardom.

Kylie Minogue is due to embark on her biggest tour in over a decade

Australian pop icon Kylie Minogue has unveiled North American and European legs for her Tension Tour, expanding the venture to four continents. The Padam Padam singer will play across 16 arenas across the US and Canada, including NYC’s Madison Square Garden (19,500) and LA’s Crypto.com Arena (20,000), next spring.

Joining 14 previously announced UK dates, the European leg will bring Minogue to 13 arenas — like Berlin’s Uber Arena (17,000), France’s Accor Arena (20,300), and The Netherlands’s Ziggo Dome (17,000) around Europe — in summer 2025. The star, repped by UTA in North America and CAA for the rest of the world, will also perform in Lithuania and Estonia on the Live Nation-promoted run.

Welsh rockers Stereophonics have announced its Stadium Anthems tour for next summer. The band will play across stadiums and fields, including Dublin’s St Anne’s Park (20,000), Glasgow’s Bellahouston Park for Summer Sessions, London’s Finsbury Park (45,000), and finishing at Cardiff’s Principality Stadium (74,500). Promoted by Live Nation, the X-ray Touring-represented group’s biggest-ever tour will also see them headline the Isle of Wight Festival next June.

American singer Tinashe has also expanded her Match My Freak world tour by adding dates in Europe, the UK, and Japan, joining previously announced NA dates. The Nasty singer will play theatres in Osaka and Tokyo before venturing to play theatres across Copenhagen, Paris, London, Dublin, and more next February.

Legendary rockstars Mötley Crüe will hit Las Vegas next year, for an 11-show residency at Dolby Live at Park MGM (6,400) next spring.

Get more stories like this in your inbox by signing up for IQ Index, IQ’s free email digest of essential live music industry news.

UK ticket sales for the Oasis reunion tour have reportedly boosted ‘non-essential spending’ by British consumers to the highest level this year in September, in further proof of live music’s value to the economy.

The Oasis Live ‘25 Tour was the biggest-ever concert launch in UK and Ireland, with more than 10 million fans from 158 countries attempting to buy tickets for the group’s first shows since 2009.

The unprecedented demand for Oasis tickets bolstered a 36% annual jump in spending on shows and concerts, which contributed to a 2.7% year-on-year increase in non-essential spending, according to consumer card data compiled by Barclays.

Dynamic ticketing on these shows meant that some fans were charged more than £350 for tickets with an initial face value of £150 – a move that subsequently prompted an investigation by the UK government.

In the last year, blockbuster tours and festivals have significantly impacted the economy, both through consumer spending and inflation.

In the UK, it was recently revealed that the live music sector contributed a record £6.1 billion (€7.2bn) to the economy for the first time last year.

It was recently revealed that the UK live music sector contributed a record £6.1 billion (€7.2bn) to the economy

The growth in the sector last year was driven largely by concert revenues, which jumped by 19% year-on-year and accounted for nearly three quarters (73.5%) of the total, boosted by major tours by acts such as Beyoncé and Coldplay.

Concert tickets have also been shown to influence inflation. Earlier this year, The Bank of England faced a dilemma about whether to cut interest rates after official figures showed inflation proving stickier than initially expected. Some economists attributed the issue to consumer spending around Taylor Swift’s blockbuster The Eras Tour as it moved through the UK.

“While difficult to fully untangle, it’s certainly very possible that some Taylor Swift effects were at play here and could very well reverse out next month,” said Sanjay Raja, chief UK economist at Deutsche Bank.

This was also the case last year as confirmed by a 2023 report from the ONS which stated that prices for recreational and cultural goods and services had increased 6.8% in the year to May 2023, up from 6.4% in April and the highest rate since August 1991.

The report came weeks after Beyoncé’s Renaissance tour was blamed for Sweden’s inflation rise after kicking off at Stockholm’s Friends Arena last month. The tour reportedly prompting a surge in restaurant and hotel pricing in the area as tens of thousands of fans arrived in the city.

“It’s certainly very possible that some Taylor Swift effects were at play here and could very well reverse out next month”

Michael Grahn, chief economist at Danske Bank, told CNN that the additional demand from Beyoncé’s fans was behind two-thirds of the price rises seen in the hospitality sector in May. As a result, Sweden reported higher-than-expected inflation of 9.7% during the month.

As a result of the economic impact of live music, A-list tours have become increasingly hot commodities for governments, with some bidding to secure exclusive concerts.

Earlier this year, it was reported that Singapore struck an exclusivity deal with Taylor Swift and her promoters to make the island nation her only Eras tour stop in Southeast Asia.

The Singapore Tourism Board (STB) authorised a grant for Swift to perform at the 55,000-cap Singapore National Stadium next month, allegedly on the condition she would not play any other countries in the region.

This ignited fierce competition among other Southeast Asian nations, with the Philippines pledging to build a “Taylor Swift-ready” stadium by 2028.

Unsurprisingly, Singapore’s investment in Taylor Swift paid off with the government later crediting live music with helping to rejuvenate tourism in Singapore.

A-list tours have become increasingly hot commodities in cities’ efforts to boost tourism

By August, the country had welcomed around 6.3 million international visitors in 2023, putting it on track towards meeting its goal of 12-14m.

In another high-profile case, it emerged that the Western Australian government paid A$8 million to subsidise two Coldplay concerts.

The band played two nights at Perth’s Optus Stadium – their first gigs in Western Australia since 2009 – in November 2023 as part of their Music of the Spheres World Tour, in what was hailed as a “major tourism coup” for the country’s fourth most populous city.

Presented by the WA government, through Tourism WA, and Live Nation, the Australian-exclusive gigs were promoted alongside hotel packages designed to encourage visitors to stay longer in Perth and explore the region further, creating additional economic benefits.

A Guardian report revealed that $8m (€5m) was paid to Live Nation in relation to the performances, which Tourism WA said injected “tens of millions of visitor spend” into the state’s economy.

It follows a similar disclosure around Coldplay’s four nights at the 50,000-cap Estádio Cidade de Coimbra in Portugal in May last year.

The concerts attracted controversy when it was revealed promoter Everything is New would receive €440,000 from the municipality and was exempted from “municipal fees and prices” for the shows. The authority also spent €28,000 on restoring the stadium’s pitch.

Get more stories like this in your inbox by signing up for IQ Index, IQ’s free email digest of essential live music industry news.

The National Independent Venue Association (NIVA) is urging Congress to investigate “deceptive” ticketing practices after discovering thousands of fake tickets already listed for resale for Oasis’ 2025 North American tour.

NIVA says that 9,000 speculative and, in many cases, non-existent tickets for the band’s US and Canada concerts appeared on secondary platforms at prices far above face value ahead of yesterday’s (3 October) presale and today’s general sale.

It is now calling on the Senate Commerce Committee to hold a hearing on predatory ticket practices – including the sale of speculative tickets – upon Congress’ return from recess in November.

“We are sharing examples of speculative and fake tickets from the Oasis shows with Congress because these are among the highest-profile sales that get the public’s and Congress’ attention,” says NIVA executive director Stephen Parker in a letter to Senate committee on commerce, science and transportation chair Maria Cantwell and US senator Ted Cruz.

“The scourge of fake tickets for these shows and so many other lower profile shows deceives consumers and may even lead them to buy flights, hotels, dinners, and more that they can’t recover if they don’t receive the ticket they have purchased or if the ticket they receive does not work.

“The prices for these fake tickets are likely exceedingly higher than the face value of the tickets. We can’t determine the exact markup on the fake tickets given that there are no tickets available for the public to buy, let alone see the price. These price gouged tickets will leave fans with less money to spend on other shows and less money for the food, drink, and merchandise that generate critical revenue for the local communities where these shows happen.”

“We found a significant number of listings with no warning or messages that the tickets were not in the possession of the seller”

The US trade association claims that approximately 4,354 fake tickets for three Oasis shows were listed on StubHub as of the evening of 2 October, with around 3,450 fake tickets listed on Vivid Seats.

“We found a significant number of listings with no warning or messages that the tickets were not in the possession of the seller, including the most expensive tickets across all three nights,” continues Parker. “Even more egregious is messaging on Vivid Seats sharing misinformation with fans that only ‘1% of tickets [are] left’ when again, the official ticket sale has not yet begun.”

IQ has approached StubHub and Vivid Seats for comment.

NIVA, which represents more than 2,000 independent concert venues and related music businesses, is also pressing lawmakers to advance the Fans First Act as part of a comprehensive year-end legislative package to reform ticketing practices in the territory.

Introduced by senators last December, the Fans First Act is designed to help increase transparency in ticket sales, protect customers “from fake or dramatically overpriced tickets,” and hold “bad actors who engage in illegal ticket sale practices” to account.

“What is happening this week with Oasis tickets in the US is alarming, but it pales in comparison to what artists and independent stages see every day”

“What is happening this week with Oasis tickets in the US is alarming, but it pales in comparison to what artists and independent stages see every day from predatory resellers,” adds Parker. “This letter is a defence of consumers and artists everywhere.”

Earlier this week, Oasis announced outdoor shows in the US, Canada and Mexico for next summer – their first gigs in North America since 2008 – supported by special guests Cage The Elephant.

The reunited group went on to confirm four additional shows as part of the tour leg, which is produced by Live Nation and SJM, due to “phenomenal demand”. They will now play Toronto’s new Rogers Stadium (24-25 August), Chicago’s Soldier Field (28 August), MetLife Stadium in East Rutherford, New Jersey (31 August & 1 September), Los Angeles’ Rose Bowl (6-7 September) and GNP Seguros Stadium (12-13 September).

Fans who have purchased tickets and can no longer attend the shows are urged to resell their tickets via the North American tour’s official resale platform Twickets or Ticketmaster Fan-to-Fan in the US and Canada.

Meanwhile, RTE has reported details of almost 100 complaints made to Ireland’s Competition and Consumer Protection Commission (CCPC) over the handling of the 31 August on-sale for the band’s Dublin concerts, which is being investigated by the watchdog.

The UK & Ireland sale was marred by a controversy over dynamic pricing that has sparked multiple inquiries. A statement from Oasis’ management confirmed the model will not be employed for the US, Canada and Mexico shows.

Get more stories like this in your inbox by signing up for IQ Index, IQ’s free email digest of essential live music industry news.

Oasis have expanded their 2025 reunion tour by announcing a handful of stadium dates in North America.

Produced by Live Nation and SJM, the run will see the Gallagher brothers play stadiums in Toronto, Chicago, East Rutherford, Los Angeles and Mexico City next summer, supported by special guests Cage The Elephant.

The confirmed shows at the new Rogers Stadium in Toronto, Canada (24 August) and in the US at Soldier Field, Chicago (28 August), MetLife Stadium in New Jersey (31 August) and Los Angeles’ Rose Bowl Stadium (6 September) will represent their biggest ever headline concerts in the territory. They will also perform in Mexico at GNP Seguros Stadium on 12 September.

The Britpop legends built up a solid following across the Atlantic during their commercial peak in the 90s, but famously fell short of reaching a similar level of success as in their native UK.

“America. Oasis is coming. You have one last chance to prove that you loved us all along”

“America. Oasis is coming,” says a statement from the group. “You have one last chance to prove that you loved us all along.”

The general ticket onsale will begin on Friday 4 October at www.ticketmaster.com. As with the UK shows, Twickets will serve as the official resale partner.

Plans are also underway for Oasis Live ’25 to visit other continents outside of Europe and North America later next year.

The Oasis Live ‘25 Tour was the biggest concert launch ever seen in UK and Ireland, with more than 10 million fans from 158 countries attempting to buy tickets for the group’s first shows since 2009.

However, the unprecedented demand soon gave way to a dynamic ticketing controversy that has prompted multiple inquiries. There was widespread media coverage of fan anger after customers were offered “in demand” tickets for more than twice the advertised face value under surge pricing after queuing online for several hours.

“Ticketmaster’s dynamic pricing model will not be applied to the forthcoming sale of tickets to Oasis concerts in North America”

A statement from Oasis’ management says that dynamic pricing will not be employed for the US, Canada and Mexico shows.

“Ticketmaster’s dynamic pricing model will not be applied to the forthcoming sale of tickets to Oasis concerts in North America,” it reads. “It is widely accepted that dynamic pricing remains a useful tool to combat ticket touting and keep prices for a significant proportion of fans lower than the market rate and thus more affordable.

“But, when unprecedented ticket demand (where the entire tour could be sold many times over at the moment tickets go on sale) is combined with technology that cannot cope with that demand, it becomes less effective and can lead to an unacceptable experience for fans.

“We have made this decision for the North America tour to hopefully avoid a repeat of the issues fans in the UK and Ireland experienced recently.”

The full list of 2025 tour dates announced so far is as follows:

July

4 – Cardiff, UK – Principality Stadium

5 – Cardiff, UK – Principality Stadium

11 – Manchester, UK – Heaton Park

12 – Manchester, UK – Heaton Park

16 – Manchester, UK – Heaton Park

19 – Manchester, UK – Heaton Park

20 – Manchester, UK – Heaton Park

25 – London, UK – Wembley Stadium

26 – London, UK – Wembley Stadium

30 – London, UK – Wembley Stadium

August

2 – London, UK – Wembley Stadium

3 – London, UK – Wembley Stadium

8 – Edinburgh, UK – Scottish Gas Murrayfield Stadium

9 – Edinburgh, UK – Scottish Gas Murrayfield Stadium

12 – Edinburgh, UK – Scottish Gas Murrayfield Stadium

16 – Dublin, IE – Croke Park

17 – Dublin, IE – Croke Park

24 – Toronto, ON – Rogers Stadium

28 – Chicago, IL – Soldier Field

31 – East Rutherford, NJ – MetLife Stadium

September

6 – Los Angeles, CA – Rose Bowl Stadium

12 – Mexico City, MX – Estadio GNP Seguros

27 – London, UK – Wembley Stadium

28 – London, UK – Wembley Stadium

Get more stories like this in your inbox by signing up for IQ Index, IQ’s free email digest of essential live music industry news.