The habit he can’t break: Louis Tomlinson returns to the road
Usually, when an act completes a world tour, they come off the road for an extended period to rest, record new material, and then typically two or three years later the wheels are set in motion for an album release, promo, and tour dates. Louis Tomlinson did not get that memo.
His first solo tour ran late due to the pandemic restrictions, meaning that by the time it concluded in September 2022, his second album, Faith in the Future, was scheduled to drop and tickets for the associated tour were ready to go on sale.
“This tour went on sale last October or November – basically a year in advance,” explains agent Holly Rowland, who represents Tomlinson alongside Alex Hardee, internationally, while Wasserman Music colleagues Marty Diamond and Ash Mowry-Lewis do likewise for North America.
Despite that quick turnaround between tours, Rowland reports that ticket sales for the current tour are going very well indeed. “The first leg went through Scandinavia before doing the Baltics and Eastern Europe – Romania, Bulgaria, and Greece – places that most people, especially arena-level acts, don’t really go. And the second leg, which is more mainland Europe, started on 2 October.”
The tour is big. Very big for just a second outing in his own name. Between May and July this year, Tomlinson played 39 dates in the US and Canada across a mix of amphitheatres, arenas, pavilions, and stadiums. In August, he returned to Europe, where he is currently is in the midst of another 39 dates in arenas across the continent and the UK, which will take him to 18 November. Then, in early 2024, the Faith in the Future tour goes to Australia for two outdoor dates in Melbourne and Brisbane, before he takes the show to the country’s biggest indoor venue, the Qudos Bank Arena in Sydney.
“The tour before obviously was a Covid tour where the dates had to be chopped and changed. The positive aspect of that was that we were able to upgrade venues where that made sense”
And, as IQ went to press, Tomlinson released dates for a return to Latin America in May 2024 for a mix of indoor and outdoor shows, including stadia, across Mexico, Argentina, Brazil, Chile, Colombia, Costa Rica, Panama, Paraguay, Puerto Rico, and Uruguay.
“We’re going to Australia and part of Asia early next year,” states artist manager Matt Vines of London-based Seven 7 Management. “We then go into Latin America in May and June. And then we’ll handpick a selection of festivals next summer, before we draw the line on the campaign at the end of the summer.”
Rowland comments, “The tour before obviously was a Covid tour where the dates had to be chopped and changed. The positive aspect of that was that we were able to upgrade venues where that made sense. But it was really nice to start from scratch on this tour to make sure the routing was all going in the right direction.” She reports, “We’ve done nearly 16,000 tickets in Amsterdam, and 14,000 in Paris, which I think just underlines his credibility as an artist and his growing reputation among fans.”
Back to You
Playing a major role in shifting that ticketing inventory is a network of promoters also enjoying Tomlinson’s rising star.
“On this tour, it’s mainly Live Nation – we use a lot of the One Direction promoter,” explains Rowland. “But for Greece, we used Honeycomb Live, Charmenko did Romania, 8 Days A Week promoted the three shows in the Baltics, All Things Live did Finland, Fource are doing Prague, it’s Gadget in Switzerland, Atelier in Luxembourg, and when we get to the UK, it’s SJM, and MCD in Ireland.”
With a total of 39 European dates, Rowland split the outing into separate legs, scheduling a break after Scandinavia, the Balkans, Baltics and Athens, Greece and another after mainland Europe ending in Zurich, Switzerland.
“Louis has a real desire to perform to fans in markets that are often overlooked”
“It’s a perfect ratio, if I do say so myself,” she laughs. “It was right to split it up – 39 dates is a long, long tour, especially with the American tour throughout the summer being 11 weeks! We made sure to schedule days off, for everyone to recharge their batteries.”
In Spain, Nacho Córdoba at Live Nation promoted Tomlinson’s shows in Bilbao, Madrid, and Barcelona and reports sell-outs at each of the arenas involved.
“When Louis was last here, it was three days before the pandemic shut everything down in Spain. In fact, I think he played the final show before the market closed because of Covid,” says Córdoba.
“Last year, Louis organised his Away From Home festival in Fuengirola, and that also sold out, so we know he has a big following in Spain, and we also know that Spanish fans are super loyal. So, on this tour we sold out 7,000 tickets at Bilbao Arena Miribilla, 13,600 tickets at WiZink in Madrid, and 11,200 at Palau St Jordi in Barcelona.”
Already looking forward to Tomlinson “and his fantastic team” returning on the next tour, Córdoba believes it will be important to see what happens with the next album – and Tomlinson’s expectations – before making any plans.
“The most important thing is to keep the fans happy and keep the momentum building with Louis,” he states. “I am a big fan of the arenas, because the atmosphere at his shows was incredible. So, rather than look at going bigger, it might be a case of looking at other arenas in other markets. Whatever he does, we cannot wait to have Louis back in Spain.”
“He’s kept the ticket prices reasonable – and he never wants to do any gold circle or VIP tickets. I think that’s why he’s so close to his fans, because it’s not about maximising profits”
Stefan Wyss at Gadget abc Entertainment in Switzerland promoted Tomlinson when he visited Zurich’s Hallenstadion on 23 October and explains that he previously played the city’s Halle 622 venue on the first tour.
Recalling that debut solo outing, Wyss tells IQ, “At first, we announced a mid-size theatre club show, 1,800-capacity, but it sold out instantly. Then we moved it to Halle 62, which is 3,500-cap, and that also sold out immediately, so it was a really big success.
“They’ve invested a lot in the production of this current tour, and it’s doing really strong numbers, so that’s why we decided to go to the arena this time around, where we set a mid-size capacity of 7,000, which is good for a small market like Switzerland, especially because he’s coming back just one year later and playing a much bigger show.”
Wyss adds, “He’s kept the ticket prices reasonable – and he never wants to do any gold circle or VIP tickets. I think that’s why he’s so close to his fans, because it’s not about maximising profits. Another reason for his success is that in addition to attracting a mainstream audience, he’s also getting the music lovers because he’s just a very good songwriter and has brilliant songs.”
Wyss also notes that with many young fans typically arriving the day before the concert, the responsibility to look after them is extended.
“We set up toilets, we have security overnight, we give water away. It’s part of the organisation that we will take care of the fans.”
Fresh from announcing 12 dates across Argentina, Brazil (x 3), Chile, Colombia, Costa Rica, Peru, Paraguay, Panama, Puerto Rico, and Uruguay, promoter Fabiano Lima De Queiroz at Move Concerts reports that Tomlinson will visit a mix of arenas, as well as stadiums in Santiago, São Paolo, and Buenos Aires during his May tour.
“Louis really looks after his fans. On the last tour they did a deal with Greggs [bakery chain] to give free food to the people waiting in line, as some of them camped out for days in advance”
“Our first tour with Louis was supposed to be in 2020 and we’d booked half arenas everywhere – 5,000-6,000 capacities,” he informs IQ. “Louis was one of those acts who connected very well with the fans during the pandemic, so when we shifted the dates, first to 2021, and then to 2022, we ended up selling out and having to upgrade in certain metropolitan markets.
“In Santiago, for instance, we’d sold out two full arenas of 13,000 cap, but then the government declared that for mass gatherings the numbers needed to be limited to 10,000 people.”
Rather than let fans down, Move added a third date, which again ended up selling out. “I remember being on a night plane from Miami, while Matt Vines was flying in from Dallas, and we were both using the aircraft wi-fi to negotiate via text for that third show,” says Queiroz. “It was an interesting way to confirm putting the third date on sale, just three days before the actual show!”
He adds, “We’re taking a big bet on this tour when it comes to the number of cities and the capacities of the venues, but we’re hoping for the best, and we’ve gone out strong. We feel that the artist is in a good moment and that the latest album has just created more interest, so we’re looking forward to when he arrives in May.”
Further north, Ocesa will promote three dates in Mexico, including a stadium show at the F1 circuit, Autódromo Hermanos Rodríguez, deepening Tomlinson’s footprint in that crucial North American market.
Meanwhile, in Tomlinson’s homeland, Jack Dowling at SJM is promoting seven UK dates in November at arenas in Sheffield, Manchester, Glasgow, Brighton, Cardiff, London, and Birmingham, which will round out the European leg of the tour.
“We have a responsibility to look after [the fans]. Coming to a show should be a safe space, it’s where they find joy, and we have a responsibility to protect that”
“SJM has done every show Louis has been involved with, including all the One Direction arena and stadium shows,” notes Dowling, adding that on the first tour, the London show was originally pencilled in as a Roundhouse, then two Roundhouse shows, before finally being upgraded to Wembley Arena.
“This time, The O2 arena show in London will be sold out, while all the others have passed the expectations of where we wanted to be on this tour. In fact, when the UK dates were announced, it ranked as the fourth most engaged tour on social media in SJM’s history – his fans are just nuts.”
But Dowling also reports that the fanbase for Tomlinson is expanding. “The demographics are pulling not just from pop but also from indie rock now.”
Dowling adds, “Louis really looks after his fans. On the last tour they did a deal with Greggs [bakery chain] to give free food to the people waiting in line, as some of them camped out for days in advance.”
Out of my System
Ensuring his fans are looked after properly is the number one priority in Tomlinson’s live career.
Noting that Tomlinson’s audience comprises mainly young women and girls, Rowland reveals that, at the artist’s insistence, a safety team has been added to the tour to ensure everyone that attends his shows is looked after. “They manage all the safety within the shows for the fans,” she explains. “They came in for the Wembley show last year and have been with us ever since – they’ve been beneficial to the running of the tour.
“When he played in South America, some of his fans were camping outside for a month. So we have a responsibility to look after them. Coming to a show should be a safe space, it’s where they find joy, and we have a responsibility to protect that.”
Manager Vines comments, “One issue that we came up against almost all last year was crushing and fans passing out. We adopted a system where we could communicate with fans, who could hold up a mobile phone with a flashing red-and-white sign if they were in trouble but then we’d see them all popping up.
“I don’t know whether some of that was a hangover of the pandemic where fans just weren’t used to being in venues. But we experienced a number of situations where hydration and temperatures in venues became an issue. I know Billie Eilish went through similar issues.”
“I get detailed incident reports after each show… So far on this tour, we haven’t had any issues with crushing or hydration, which is fantastic”
With Tomlinson determined to meet a duty of care toward his fans, Vines says that the team now sends a “considerable advance package” to promoters ahead of their tour dates. “Our safety team goes into venues in the morning and basically ensures that a number of different things are in place – making sure that water is given to the fans, where the water comes from, and at what points in the show it happens.”
And on the crushing phenomena, he reports, “We’ve worked out how many fans it’s safe to have without a secondary barrier. So we instruct promoters to have certain barriers in place to relieve that pressure and avoid crushing.”
He adds, “I get detailed incident reports after each show, which lets myself and my management team know exactly what happened, and so far on this tour, we haven’t had any issues with crushing or hydration, which is fantastic.”
Production manager Craig Sherwood is impressed by the way the tour has pivoted to protect the ‘Louies.’ “The welfare officers are vital for the young girls who are aged from, I guess, 14 upwards. They can get dehydrated and malnourished pretty quickly if they are camping out for days, so it’s important that we look out for their wellbeing,” says Sherwood.
Citing the extremes that the Louies will put themselves through in an effort to secure themselves prime positions at the front of the stage, Sherwood recalls, “The first show on our US tour was in February, and it was freezing, but we found out that girls had been camping out on the pavement for five days. It’s crazy, as we know these young girls are coming from all over the world to see Louis.”
However, Tomlinson’s connection with those fans is evident in the level of merchandise sales at each show. “It’s a huge part of our business,” says Vines. “In America, we averaged about $36 a head, and it’s not much shy of that in Europe – we’ve set a few national records in terms of spend per head. But we spend a lot of time on merch plans, and we do venue-specific drops and give it a lot of care and attention, as it’s a really important element of Louis’ business.”
“We don’t do dynamic pricing, we don’t do platinum ticketing, we don’t do paid VIPs, we don’t increase ticket prices on aisle seats – all those tricks that everyone does that most fans don’t know about: we don’t do any of those”
We Made It
Making sure that the Faith in the Future tour delivers Tomlinson to his growing legion of fans, PM Sherwood’s long association with artist manager Vines made him the obvious choice when the artist first began his solo career.
“I remember doing a lot of promo dates around the UK and US before we started touring properly,” says Sherwood of his work with Tomlinson. “In fact, one of the first shows I remember doing with Louis was in Madrid when he played in a stadium, and I could see it was a taste of things to come.”
The partnership between Sherwood and Vines is crucial. “In terms of the show growing, our biggest challenge is keeping costs down, because we’re extremely cautious on ticket pricing,” says Vines. “We don’t do dynamic pricing, we don’t do platinum ticketing, we don’t do paid VIPs, we don’t increase ticket prices on aisle seats – all those tricks that everyone does that most fans don’t know about: we don’t do any of those.
“So, when it comes to the production side of things, we need to be incredibly careful. But I’ve been working with Craig for a decade, and he knows the importance of trying to keep costs as low as possible. For instance, we’ll run the show virtually a number of times so Louis can watch it with the show designer, Tom Taylor, make comments and tweak things. Then we’ll go into pre-production. But we try to do as much in virtual reality as possible before we take it into the physical world.”
Sherwood states, “Basically, we started out with two or three trucks, but now we’re up to nine, and things seem to be getting bigger day by day.”
Thankfully, Sherwood has amassed a vastly experienced crew over the years, allowing them to handle even the most unexpected scenarios. “I’ve been touring since the dawn of time, but the core crew I work with now have been together since about 2010, and I trust them implicitly, so I leave it up to them who they hire, as long as they think I’m going to like them, and they’ll get along with everyone. So far, it has worked well,” Sherwood reports.
And that veteran crew has dealt with some terrifying weather extremes on the current tour, including a show at Red Rocks in Colorado where the audience were subjected to a freak storm with golf ball-sized hail stones injuring dozens of people.
“We need to tweak the rigging on a daily basis, as we move to different venues”
Elsewhere, the crew has had to act quickly when the threat of high winds in Nashville caused problems on that outdoor run. “We didn’t want the video screens blowing about above the heads of the band, so it must have been amusing for the audience to see us taking them down,” Sherwood reports.
Indoors in Europe, the environment has been more controllable. The production itself involves an A-stage set 180 degrees across the barricades, although Sherwood says that on occasion a catwalk is also used by the performers.
“It’s a great lighting show and fantastic for audio, as we have a phenomenal front-of-house sound engineer – John Delf from Edge Studios – who makes life very easy for the rest of us,” says Sherwood. He also namechecks Barrie Pitt (monitor engineer), Oli Crump (audio system designer), Tom Taylor (lighting designer), Sam Kenyon (lighting technical director), and Torin Arnold (stage manager), while he praises Solo-Tech for supplying the sound, and Colour Sound Experiment (CSE) for taking charge of lighting, video, and rigging equipment.
Indeed, CSE has ten personnel out with the Faith in the Future tour. “We have eight screens on the road – six on stage plus two IMAGS that we use wherever appropriate,” the company’s Haydn Cruickshank tells IQ.
“We need to tweak the rigging on a daily basis, as we move to different venues, but other than that it’s a fairly smooth process thanks to Craig Sherwood. He is old-school and planned and worked on the production very far in advance, which is a great scenario for all involved. Craig is definitely one of our favourite production managers to work with.”
“Post-pandemic, the number of long-haul flights still aren’t as frequent as they were. As a result, the production is being reverse-engineered”
Garry Lewis at bussing contractors Beat The Street is also a fan of PM Sherwood. “Craig split the European tour into different runs. So, from Hamburg to Zurich, we had two super high-decker 12-berth buses for the tour party and two 16-berth double-deckers for the crew,” says Lewis. “After the show in Athens, we still have the two super high-deckers, as Louis loves them – he prefers to spend time on the bus, rather than in hotels – but we also have two 12-berth super high-deckers for the crew, as well as another crew 16-berth double-decker.”
Lewis continues, “We’ve worked with Craig for a good few years, and we have a great relationship with him. He plans everything way in advance, so it means it’s all very straightforward for us with no issues. So, we use single drivers for each bus, except on the longer runs or when our drivers are scheduled for prolonged breaks, and then we’ll fly in extra drivers as needed.”
If I Could Fly
With the production travelling to Australia in early 2024, before shifting to Latin America, Andy Lovell at Freight Minds is gearing up to become involved with Tomlinson once again.
“We’ve never failed anywhere to open the doors on time, so we know we’re capable of getting things done, even if we have a late start at mid-day”
“We did the Central and South America dates on the tour last year, and onto Mexico,” says Lovell. “It was very challenging back then as we were still coming back from Covid, and various systems and infrastructure were in pieces. But it all went well in the end, as we kept an eye on things and worked on it every day to make sure we had solutions to everything that was thrown our way.”
Lovell continues, “Things on this tour kick in early next year for us. Historically, Australian services were quite reliable, as we could use any number of airlines. But post-pandemic, the number of long-haul flights still aren’t as frequent as they were. As a result, the production is being reverse-engineered with the budget being worked out before we can see what we can afford to take as freight, and then we try to plan accordingly.
“Similarly, in Central and South America there are still just a fraction of the flights operating, compared to pre-Covid, so that makes it very challenging. If there aren’t the flights to handle the gear, then you have to start looking at chartering aircraft, or alter your schedule, and that can become very expensive, very fast.”
With everyone working on the artist’s behalf to make sure the tour remains on track, being able to call on such experienced production experts is paying off on a daily basis.
Sherwood notes, “There are a few back-to-back shows over long distances that occasionally mean we don’t arrive at the next venue until 11am, rather than 6am. But we’ve never failed anywhere to open the doors on time, so we know we’re capable of getting things done, even if we have a late start at mid-day.”
Such dilemmas are not lost on agent Rowland. “It’s not so much the routing, it’s more like the timings, because Louis does have two support acts, so the show starts at 7 o’clock, and then when we’re done, we need to load out to get to the next show in good time for loading in the next morning and soundchecks, etc.”
Nonetheless, Sherwood admits that he loves the trickier venues and schedules. “Because I’m a dinosaur, I relish anything that makes things difficult or awkward for us on the production side of things,” he says. “I think everyone on the crew looks forward to challenges and finding the solutions to problems.”
“We have this amazing platform where we can put these bands in front of these audiences as a showcase that allows them to build these authentic new audiences”
Having amassed millions of fans through his association with One Direction, Tomlinson very much has a ‘pay it forward’ attitude to music and is building a reputation as a champion for emerging talent, wherever he performs.
“He’s a great advocate for alternative music,” says manager Vines. “Louis realises that he’s in an incredibly privileged position in terms of what he can create in terms of awareness. He loves alternative music and indie music, and he understands how hard it is for that music to be heard. But we have this amazing platform where we can put these bands in front of these audiences as a showcase that allows them to build these authentic new audiences. It’s a huge part of his love of music, wanting to help younger bands.”
Rowland agrees. “He took an act called Andrew Cushin – a very new artist – on the road in America with him as his support, and he’s doing the same for Europe. Louis is a fan and is championing his career.
Indeed, Tomlinson’s A&R skills have knock-on effects for his agent, too. “He asked me to confirm the Australian band Pacific Avenue as support for his Australian tour last year. The music was great and they didn’t have an agent, so now I’m representing them!” says Rowland.
As the European tour speeds toward its conclusion, agent Rowland is enjoying every minute of it. “It’s incredible – they’ve really stepped things up,” she says, fresh from seeing the show in Athens and Paris. “They’ve got 6 hanging LED screens on the stage, and the whole production just looks polished and professional.”
And Rowland is especially excited about next year’s Latin American dates, which will deliver her first stadium shows as an agent. “The return to Latin America is going to be huge – Louis is playing arenas and stadiums in South America and Mexico: 15 shows across 11 countries,” she says.
“He loves his fans, and he loves performing for them, it’s as simple as that. He just loves being on the road and seeing how the songs connect live”
Vines is similarly enthused. Harking back to the Covid situation, when a show would go on sale, sell out, be postponed, and then rescheduled in a bigger venue, Vines says, “For example, in Chile, originally the show was scheduled at a 5,000-cap, half-capacity arena in Santiago. And what we ended up doing was three nights at 10,000-cap in that same venue.”
Vines contends that Tomlinson’s work ethic is outstanding. “He loves his fans, and he loves performing for them, it’s as simple as that,” he says. “He just loves being on the road and seeing how the songs connect live. In fact, the second album was very much written with the tour and live shows in mind – ‘This song could work live,’ ‘This one will open the set,’ ‘This is the one we can do for the encore.’”
Another element to Tomlinson’s psyche has been his decision to visit places off the usual tour circuit. “Louis has a real desire to perform to fans in markets that are often overlooked,” says Rowland.
Manager Vines explains that while the Covid-delayed first tour allowed them to upgrade venues pretty much everywhere, “On this tour, we’re a bit more competent on venue sizes, but we still speculate a little bit in different territories. In Europe, for example, we’ve gone into the Baltics and a number of different places to test the markets there, while in America, we are looking at A and B markets but also tertiary markets as well – we go to places where people just don’t tour in America, just to see what the reaction is. That was something that very much interested Louis – to play in front of people who don’t normally have gigs in their town. So there’s been a lot of experimentation on this tour in terms of where we go and what room to play.”
“Louis also is extremely fan-focused in everything that he does. He comes at it from a perspective of ‘I want to take the show to them'”
That concept is something that Vines has employed before. “I manage a bank called Hurts who were pretty much overlooked by the British radio system and we have spent 15 years building a business outside of the UK. And that was built on going to play at those places where people didn’t normally go. They built to multiple arena level in Russia, for instance.
“If you can build fanbases in lots of different places, you have festivals that you can play every summer, as well as touring those places. It allows you to have more consistency over a number of years, by having more opportunities.”
Such a strategy found a convert in Tomlinson. Vines tells IQ, “Louis also is extremely fan-focused in everything that he does. He comes at it from a perspective of ‘I want to take the show to them,’ meaning he’s always more willing to take the risky option to try something out.”
And the results? “It’s a combination,” concludes Vines. “There have been a couple of places where we now understand why tours don’t go there. But there’s are more places where it’s worked incredibly well. For example, we enjoyed incredibly good sales in Budapest. And overall, it’s allowing us to get a clearer idea, globally, of where the demand is, which will help us when we go into the next tour cycle.”
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IQ 123 out now: Alex Bruford, Louis Tomlinson, The Sphere
IQ 123, the latest issue of the international live music industry’s favourite magazine, is available to read online now.
The November 2023 edition sees Gordon Masson talk to Alex Bruford about his first 20 years in music and the philosophies behind his ATC Live agency and, elsewhere, the IQ editor goes behind the scenes of Louis Tomlinson’s Faith in the Future world tour.
In addition, the issue offers a deep dive into the growing live music cruise business, as well as a health check on the Danish market. Plus, the IQ team reflects on the recent International Festival Forum (IFF) and looks ahead to the ‘out-of-this-world’ 36th edition of ILMC.
For this edition’s comment and columns, IQ passes the mick to Nick Morgan for some key takeaways from a decade of producing and organising festivals, while Rachel Flaszczak explains how MVT’s Own Our Venues helped save her grassroots music venue for future generations.
As always, the majority of the magazine’s content will appear online in some form in the next four weeks.
However, if you can’t wait for your fix of essential live music industry features, opinion and analysis, click here to subscribe to IQ from just £8 a month – or check out what you’re missing out on with the limited preview below:
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Harry Styles’ Love on Tour grosses $600m
Harry Styles has grossed close to $600 million with his recently wrapped outing, Love On Tour.
The Live Nation-produced world tour kicked off in September 2021 and spanned nearly three years, combining post-pandemic shows in support of his 2019 album Fine Line with 2022-23 dates promoting his more recent Grammy-winning LP Harry’s House.
The $590.3m run, which combined arena and stadium shows, saw 4.7 million people attend 165 shows across five continents, according to Billboard.
This puts Love on Tour in fourth place on Billboard Boxscore’s top 10 highest-grossing tours of all time, after Elton John’s Farewell Yellow Brick Road ($939m), Ed Sheeran’s The Divide Tour ($776m) and U2’s 360° Tour ($736m).
The $590.3m run, which combined arena and stadium shows, saw 4.7 million people attend 165 shows across five continents
Highlights of the tour include 20 sold-out nights at New York City’s Madison Square Garden, 18 nights at Los Angeles’ Kia Forum, and four nights at London’s Wembley Stadium which grossed $36.4m and sold 335,000 tickets.
The last full month of the tour was also notable, with Styles earning $105.4 million and selling 967,000 tickets from 15 stadium shows. This saw the former One Direction star shoot to number 1 on Billboard’s Top Tours chart in June.
The 29-year-old is only the second act to earn a nine-figure monthly gross after Bad Bunny raked in $123.7 million in September 2022 on World’s Hottest Tour.
Of the $600m gross, Styles raised and donated more than $6.5m to a long list of charities and nonprofit organisations around the world, including Planned Parenthood, Save the Children, Black Minds, Choose Love, the Sydney Zoo and Every Town for Gun Safety.
Styles, who is represented by CAA, wrapped the final show of Love on Tour in Reggio Emilia, Italy, on 22 July.
Hail storm at Louis Tomlinson gig injures 100
Nearly 100 concertgoers were injured by a powerful hail storm that crashed down during Louis Tomlinson’s outdoor show in Colorado on Wednesday night (21 June).
Fans of the English singer-songwriter were forced to run for cover as “golf-ball-sized” hail rained down on the iconic Red Rocks Park and Amphitheatre.
Seven people were taken to local hospitals with non-life-threatening injuries and another 80 to 90 attendees were treated on the scene, West Metro Fire Rescue said.
my dad took this right after i was safe backstage. it was straight out of a horror movie. pic.twitter.com/cCzY2jiDIE
— madi♡²⁸ todayyy (@anditslou) June 22, 2023
The injured suffered broken bones and lacerations, according to the rescue service said.
“Devastated about the show tonight, hope everyone’s ok, I’ll be back!” said Tomlinson in a tweet. “Even though we didn’t play the show I felt all of your passion! Sending you all love!”
Tonight was the scariest night of my life. It started pelting people with hail at Red Rocks and my sister and I luckily found shelter under a sign. I am bleeding and have huge bumps on my head from the hail. Hoping everyone made it out safely. pic.twitter.com/jong1SBuYd
— nicole (@nikkitbfh) June 22, 2023
The Red Rocks Park and Amphitheatre had initially said that Tomlinson’s show would be affected by a weather delay as it urged concertgoers to “please seek shelter in your vehicle.”
It later said the show had officially been postponed. “Please be safe exiting the amphitheatre — we’ll have more information for ticket holders soon,” the venue said in a tweet.
Wasserman’s Holly Rowland on the rise of Louis Tomlinson
Wasserman Music agent Holly Rowland has spoken to IQ about Louis Tomlinson’s 2023 European arena tour.
The former One Direction star is to embark on a 39-date outing across 28 countries next year, having recently completed a pandemic-delayed tour that spanned 57 dates in Europe, South America, Asia and Australia.
“Louis wanted to go everywhere,” says Rowland, who represents Tomlinson with Wassmerman’s Alex Hardee.
“One Direction never really toured Europe extensively – they did the major cities and the stadiums – but they never went to Eastern Europe for example. During their solo careers, Harry Styles has never done it and Niall Horan has never done it.”
Rowland believes that unlike Styles and Horan, who have also carved out solo careers since the best-selling boyband disbanded in 2016, Tomlinson’s worth is often underestimated.
“When I say I’ve booked a 39-date arena tour for Louis, people can’t believe it,” Rowland tells IQ. “They don’t believe his sales or the fact he has his own festival.”
“Even markets which are typically late sellers are nearly sold out even though the concerts are still a year away”
If Tomlinson was overlooked before, it all looks set to change now. Last Friday (18 November), the star beat Bruce Springsteen to score his first solo UK No. 1 album with ‘Faith In The Future’ via BMG. At the same time, ticket sales for his forthcoming tour are “really strong” despite going on sale a year in advance.
“It will sell out,” says Rowland. “London’s The O2 [cap. 21,000], for example, is on 90% and even markets which are typically late sellers, like Greece, are nearly sold out even though the concerts are still a year away.”
Rowland says it’s thanks to a symbiotic album-tour campaign that Tomlinson’s sales are strong on both the recorded and the live side.
“You wouldn’t typically go on sale with a tour so early but we needed to go out before the album so we could get the pre-orders,” she explains. “Synchronicity with recorded and live has sometimes been missed before but now, more than ever, it’s so important. An artist does well because their whole team is across everything and is communicating with each other.”
Rowland and Tomlinson’s team are particularly proud of the ticket prices for the tour, which start at £27.50 regionally.
“He’s a man of the people,” she says. “For example, he won’t do any golden circles or platinum or flexible ticketing or increased isle seating or paid meet-and-greets. That’s his philosophy.
“He won’t do any golden circles or platinum or flexible ticketing or increased isle seating or paid meet-and-greets”
“The issue nowadays is costs are going up so you have to cover your base but also keep it fair for the customer. The promoters crunched the numbers on their side and there was a lot of back and forth on the ticket price but obviously, the tour is spread across multiple dates so that helps. Plus it’s something Louis really wants to do.”
Promoters working on Tomlinson’s forthcoming tour include Live Nation (Slovenia, Hungary, Bulgaria), 8 Days a Week (Baltics), Pop Farm (Greece), Follow The Step (Poland), Charmenko (Romania), Fource Entertainment (Czech Republic) and SJM (UK).
The Faith In The Future 2023 outing is the follow-up to Tomlinson’s first world tour, which concluded in September, having been pushed back due to the pandemic.
Highlights from the tour include South America – “one of Louis’s biggest markets” – which saw the star sell 30,000 tickets in Brazil, 30,000 in Buenos Aires and 21,000 in Mexico.
Rowland also notes an open-air show in Milan, Italy, at the beginning of September, which saw 34,000 tickets fly off the shelf in 48 hours.
2022 also saw the evolution of Tomlinson’s own festival, Away From Home, which launched last year in Crystal Palace Park, London, and was free to attend.
“Louis’s fanbase is so loyal and they hang on every word he says”
This year the event moved to Malaga in Spain and featured The Vaccines, Sun Room, Stone and Hinds, all of whom performed alongside Tomlinson. This time around the event was ticked and Rowland says it sold 15,500 tickets in two days.
“I programmed it [alongside Louis] so it was quite fun to be on the other side of things, being the promoter and offering out supports to agents,” says Rowland.
Launching a festival was the natural progression for Tomlinson, who is known to hand-pick his own tour supports – many of whom go on to see great success, according to Rowland and Hardee.
“His fanbase is so loyal and they hang on every word he says,” says Rowland. “He’ll go onstage after the support acts and say ‘How amazing were they, go out and follow them,’ and that’s what his fans do because they really believe in him and trust him.”
Rowland notes that Tomlinson’s fanbase is surprisingly young – between 14–18 years old – which translates into strong merchandise sales, thanks to the parent pound.
“He can’t hide from his past in One Direction but we need to respect his path and see him for the artist he wants to be”
“What’s crazy is that his fanbase is so young, they weren’t even around when One Direction were having their heyday. They must’ve found the band through siblings or something…” she notes.
When asked if it has been difficult to extricate Tomlinson from his previous work in One Direction, Rowland says: “He can’t hide from his past – One Direction were one of the biggest boybands of all time – but we need to respect his path and see him for the artist he wants to be and not who he was.
And as for comparisons to his former bandmates’ solo careers, she adds: “Harry is pop, Niall is more singer-songwriter and Louis is indie. That’s the music he loves and you can see that through the acts he requests to support him. It’s time now to shine the light on who he is.”
The decade in live: 2015
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.
Following on from a strong year in 2014, the live music industry in 2015 continued to go from strength to strength, with fans once again showing willingness to spend money on concert tickets.
After the success of their first all-stadia tour, British boyband One Direction embarked on another mammoth concert tour, which came in at number two on the year-end charts, despite the departure of band member Zayn Malik two months in. The tour was the beginning of the end for the band, which went on indefinite hiatus the following year.
2015 was a busy year in the live business, notably seeing the birth of Tim Leiweke and Irving Azoff’s Oak View Group. It was also the year that the Robert Sillerman’s rebirthed SFX Entertainment began to run into some serious trouble…
2015 in numbers
The top 100 worldwide tours grossed more than US$4.7 billion in 2015, up 14% from the year before but falling short of 2013’s $5bn. Ticket sales were also up, increasing by 16% to 59.7m, again lower than the 2013 total of 63.3m. The average ticket price in 2015 was down $3.30 to $78.80.
Taylor Swift was the top touring artist of the year, grossing $250.4m with her The 1989 world tour. The singer generated nearly $200m in North America alone, smashing the previous record of $162m set by the Rolling Stones in 2005.
One Direction also had a successful year with the On the Road Again tour, coming in behind Swift with year-end gross at $210.2m and selling 2.4m tickets, the most of any artist that year. AC/DC made $180m in ticket sales on their biggest tour to date, with U2’s Innocence + Experience grossing $152.2m and Foo Fighters’ Sonic Highway tour totalling $127m.
2015 in brief
Live Nation takes control of Austin City Limits and Lollapalooza promoter C3 Presents, paying a reported $125m for a 51% stake.
Austrian concert organiser Arcadia agrees a new partnership with four German companies – Four Artists, Chimperator Live, KKT and FKP Scorpio – to found Arcadia Live, a new
Live Nation agrees a joint venture with Thailand-based entertainment firm BEC-Tero. The new company, Live Nation BEC-Tero, will promote concerts by Western, J-Pop and K-Pop artists in the region, a pursuit in which BEC-Tero’s concerts division is already a market leader locally.
The Agency Group acquires UK-based electronic music agency Futureboogie, whose roster includes the likes of Bonobo, Crazy P and Nightmares on Wax.
The state of Washington passes a bill to outlaw ticket bots in an attempt to clamp down on the computer software that often prevents humans from buying seats online for concerts and sporting events. The move brings the number of states that have banned bots to 13.
A group of artists including Chris Martin, Calvin Harris, Madonna, Rihanna, Beyoncé, Jay Z, Kanye West, Daft Punk, Alicia Keys, Jack White and Nicki Minaj launch a new streaming service called Tidal, which is described as the first artist-owned platform for music and video.
The O2 arena in London announces that it has sold its 15 millionth ticket. The building, which opened in June 2007, has consistently been the most popular live music venue in the world, with research conducted by Media Insight Consulting claiming that 30% of the UK population has attended The O2 complex at least once.
ILMC launches the International Festival Forum, which aims to help strengthen the relationship between event organisers and agents. The London-based event is set to feature partner agencies such as Coda, The Agency Group, Primary Talent and X-ray Touring who will showcase festival-ready acts to promoters from around the world.
Australian media company Nine Entertainment sells its live events companies Nine Live and Ticketek to Asian private equity firm Affinity Equity Partners for AUD$640m ($480m).
Sydney-based Soapbox Artists, which grew out of the Australian wing of Ministry of Sound, announces its merger with the Melbourne-based 360 Agency. The combined EDM agencies will be a significant player in the dance market, representing a large roster of DJ and producer talent.
Live Nation acquires a controlling stake in American festival Bonnaroo. Under the terms of the deal, current promoters Superfly and AC Entertainment will continue to programme and run the event.
AEG agrees an extended deal with America’s International Speedway Corporation (ISC), allowing the company’s AEG Live division to look at organising concerts at racetracks around the country. ISC owns 13 raceways, including such iconic arenas as Daytona and Watkins Glen.
The Foo Fighters cancel a number of shows after frontman Dave Grohl breaks his leg during a concert in Sweden. Despite a nasty fracture, however, Grohl makes headlines around the world by returning to complete the Gothenburg show, receiving medical attention on stage.
German promoter Deutsche Entertainment AG and its UK offshoots Kilimanjaro Live and Raymond Gubbay Ltd, have set-up a company to sell tickets for their British shows. MyTicket.co.uk will expand the MyTicket concept that has already been running in Germany for six months.
The Windish Agency and Paradigm Talent Agency agree a partnership deal to form one of the world’s biggest independent agency operations, bringing The Windish Agency together with Paradigm partner agencies AM Only and Coda Music Agency, as well as Paradigm itself.
Live Nation Entertainment forms Live Nation Concerts Germany with German concert promoter Marek Lieberberg to promote concerts and festivals in Germany, Austria and Switzerland.
William Morris agent Sol Parker jumps ship to Coda Agency, taking Take That, The Prodigy and Rita Ora with him.
United Talent Agency completes its acquisition of The Agency Group.
Live Nation acquires venue and festival operator MAMA & Company, returning a number of former Live Nation assets to its portfolio.
Australian promoter Andrew McManus is arrested at Melbourne Airport on charges of money laundering and the importation of 300 kilograms of cocaine. McManus is one of five people arrested in Australia and the United States as part of an FBI investigation.
Disgruntled investors hit SFX with a lawsuit claiming they were deceived with false and misleading statements over the company’s privatisation plans.
Ebay-owned secondary ticketing platform StubHub launches in Germany.
Pandora completes a $450m takeover of specialist ticketing agency Ticketfly.
Several preliminary bids are reportedly submitted for EDM promoter SFX in addition to that from CEO Robert Sillerman, who bid to buy back the company for $3.25 per share.
SFX promotes former IQ new boss Sebastian Solano to CEO of ID&T North America.
Ex-AEG chief Tim Leiweke forms live entertainment investment firm Oak View Group with Irving Azoff.
Ex-Done Events chief Thomas Ovesen is named CEO of new Dubai-based live music company 117 Live.
Live Nation UK vice-president Steve Homer and senior vice-president Toby Leighton-Pope leave the company.
Who we lost
Mike Porcaro, bassist for Toto; blues legend B.B. King; John Gammon, Pollstar’s UK/Europe correspondent; veteran promoter and ILMC member, Paul King; Stage Entertainment’s project manager Sjoerd Unger; Live Nation venue chief David Vickers; U2 tour manager Dennis Sheehan.
Harry Styles announces first arena dates
Live on Tour, the debut solo tour by ex-One Direction star Harry Styles, has added a raft of arena dates for 2018.
The Live Nation-promoted tour, announced in April, was initially largely limited to medium-sized venues (Greek Theatre, Radio City Music Hall, Eventim Apollo, Paris’s Olympia), with two dates at Spark Arena in Auckland the sole exception.
It was, as expected, an instant sell-out, with Styles (pictured) and Ticketmaster going as far as to pen an open letter apologising to fans unable to get tickets. (Though less than 5% of tickets ended up on the resale market, as Ticketmaster used its Verified Fan presale programme – also deployed recently for Linkin Park – to minimise touting.)
However, due to “overwhelming demand” – and as Styles’s self-titled debut album tops charts around the world – Live Nation today announced a massive arena tour for 2018, kicking off at St Jakobshalle (9,000-cap.) in Basel on 11 March, wrapping up at LA’s The Forum (17,505-cap.) on 13 July.
Interestingly, Styles and Live Nation don’t appear to have been affected by the rumoured booking war between Irving Azoff/MSG and AEG in Los Angeles, with the singer playing The O2 and AEG venues in Europe – but not the Staples Center in Los Angeles.
A full list of 2018 dates – which include arenas across the Americas, Asia, Europe and Australasia – is available at hstyles.co.uk/2018.
1D turn down £1m to endorse resale site
One Direction turned down an offer of over £1 million to endorse a prominent secondary ticketing website, it has emerged.
“1D got offered a seven-figure sum by a secondary ticketing company to be featured on their site, and a very large share on uplift on those highly-priced tickets,” a “source close to the band” tells the Daily Mirror. “The band flatly turned this down.”
In a statement to the Mirror, band member Niall Horan calls resale sites such as StubHub and Viagogo “terrible for music and for real music fans”, echoing the tone of the language used at the launch earlier this month of anti-touting initiative FanFair Alliance, and says the band “always thought very carefully about how tickets were priced, and so to regularly see fans on Twitter unable to get a ticket or having to pay ridiculous secondary ticketing prices was incredibly frustrating”.
“1D got offered a seven-figure sum by a secondary ticketing company to be featured on their site… The band flatly turned this down”
One Direction previously lent their support to a petition created by Mumford & Sons manager Adam Tudhope which called for the protection of music fans by properly enforcing the 2015 Consumer Rights Act.
Around a month later Professor Michael Waterson, in his review of the British secondary ticketing market, recommended just that – a decision welcomed by Tudhope and others – but disappointed others by failing to call for the criminalisation of ticket touting in the UK.
Even if 1D weren’t so anti-touting, it’s not like they need the money: the band were collectively the second-richest celebrities of 2015, behind only Taylor Swift.
Giants of touring are world’s richest celebrities
Although we know from PwC that global revenues from live music topped US$25 billion last year, it was the release today of Forbes’s annual celebrity rich list that really put that astronomical figure into context, revealing as it did that Taylor Swift and One Direction – who had the first and second highest-grossing tours of 2015, respectively – are also the world’s best-paid celebrities.
Twenty-six-year-old Swift, whose 1989 world tour grossed $250.4m in 2015, is first-placed in the Forbes list, having earnt $170m last year, with One Direction not far behind, having collectively taken home $110m (their On the Road Again tour made $210.2m).
Swift’s success can be attributed to having “smashed The Rolling Stones’ North American touring record”, notes Forbes, while the On the Road Again tour “kept [One Direction’s] earnings higher than any active band, despite Zayn Malik’s departure in March 2015”. Swift was joint eight with Robert Downey Jnr in last year’s list, while 1D placed fourth.
Swift’s smashed The Rolling Stones’ North American touring record while the On the Road Again tour kept One Direction’s earnings higher than any active band
Adele, whose Adele Live 2016 looks set to be one of the most lucrative of 2016, placed ninth ($80.5), while Madonna, whose archbishop-offending Rebel Heart tour closed in Sydney in late March, is 12th ($76.5m).
Other musical names in the top 25 include Rihanna in joint 13th ($75m), country star Garth Brooks in 15th ($70m), AC/DC in 17th ($67.5m), The Rolling Stones in 18th ($66.5m), Calvin Harris in 21st ($63m), Bruce Springsteen – currently on tour with The River – in 24th and Rock Werchter headliner Paul McCartney in 25th ($56.5m).
AC/DC, the Stones and McCartney all placed, like Swift and One Direction, in the highest-grossing tours of 2015.