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P!nk’s record-breaking ANZ ticket sales celebrated

Australia and New Zealand’s love affair with P!nk shows no signs of abating after the singer’s Summer Carnival Tour took her ticket sales in the territory past three million.

The US star, whose real name is Alecia Moore, will have been seen by nearly one million people on the tour’s ANZ leg by the time it wraps up at Queensland Country Bank Stadium on 23 March.

The 20-show run represents the most stadium dates ever performed by any artist in the region on a single tour, with the sales taking P!nk’s total ticket sales to more than 3.1m during her six Australasian tours – the largest career sales ever achieved by any international performer in Australia and New Zealand.

“P!nk is one of the most amazing live performers to ever walk onto the stage,” says Live Nation Australasia chair Michael Coppel, P!nk’s long-standing promoter in Australia. “I’ve been very privileged to share in her epic 20-year journey in Australia and New Zealand, where she has played more than 200 shows.”

P!nk broke the attendance records at Sydney’s Allianz Stadium and at Melbourne’s Marvel Stadium, and also became the first female artist to headline at Eden Park, New Zealand’s national stadium. The two Auckland shows shattered the attendance record at the venue.

“There is a palpable mutual love affair between the Australasian audience that love seeing her perform live, and an artist who clearly loves being here”

Live Nation Australia joined P!nk’s manager Roger Davies and record label Sony Music Australia to congratulate the 44-year-old on her achievements.

“There is a palpable mutual love affair between the Australasian audience that love seeing her perform live, and an artist who clearly loves being here,” adds Coppel. “Congratulations, Alecia, on yet another stunning record-breaking tour and on an incredible career, with even greater success surely to come.”

Following the conclusion of the ANZ dates, the Summer Carnival Tour will resume in Europe in June before switching to North America in August.

The team behind the tour gave a unique glimpse behind the scenes of the global trek at the recent ILMC Production Meeting (IPM). Revisit the panel report here.

 


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Behind the scenes of P!nk’s Summer Carnival

The team behind P!nk’s Summer Carnival Tour gave a unique glimpse behind the scenes of the global trek at the recent ILMC Production Meeting (IPM).

Marshall Arts’ Barrie Marshall, Craig Stanley and Anna De Neiderhausen were joined by Gaffer Award-winning production manager Malcolm Weldon for the special session, moderated by Okan Tombulka of eps at the Royal Garden Hotel in London.

The speakers discussed the planning and execution of the tour, which now stretches until late 2024 and has already broken multiple records. Just last weekend, P!nk – real name Alecia Moore – became the first female headline artist to grace Auckland’s Eden park in New Zealand in the venue’s 120-year history, hosting more than 100,000 fans over two nights.

Weldon, who joined the panel remotely from the ANZ leg of the jaunt, started off by explaining how the singer’s live vision (and renowned acrobatics) comes to life.

“They come up with the ideas and the concept, and I try to pull it off”

“It all starts with [P!nk], [show director] Baz Halpin and [manager] Roger Davies,” he said. “They come up with the ideas and the concept, and I try to pull it off. It’s their dreams and so my job is to make sure that I can get it from point A to point B to point C, to try to make sure that I can give her the same show every night.”

He continued: “The biggest challenge that we have is because of the acrobatics, everything that’s above us has to correlate precisely on the ground. It’s not like a rock and roll show, where it’s just some guy standing there playing guitars or beating on drums, it’s a theatrical pop show. So you’re trying to get all of those elements to align every show, they have to be where they have to be.

“The majority of everything she asked for is there. The only time that we can’t give it to her is when we’ve done some festival dates – because the show is an intricate show and certain things wouldn’t work – but that hasn’t caused too much of a problem. With Alecia, once you can explain to her why she can’t have something on a certain date, she understands. She may not like it, but she understands.”

Below is a selection of other takeaways from the in-depth chat…

Picking the right cities…
Barrie Marshall:
“A lot of it’s done by Roger Davies, because he knows exactly what he wants to do and where he wants to play. In the case of Alecia, she’s so successful… there’s no problem where you’ve got some countries that are weaker than others. It’s quite useful if we can start here [in the UK] sometimes, because a lot of the equipment comes from here… so that means access is easier. Although things have become so sophisticated now, it seems to me that you can get most equipment you need in most territories, so it’s not critical.”

Venue availability…
BM: “I find it difficult because the pandemic changed many, many things. There were no shows, everything stopped. Everybody was at the bus stop and the bus never came, so there was no way to accommodate people’s needs. We all stayed at home and waited, tried to do things, but waited until it was clear enough for us to go back to work. That meant then there were for two and a half years, maybe three years, a backlog of artists who definitely wanted to get out and tour, so you tried to put three years of touring into a year. It’s beginning to ease up a bit, but it’s still very difficult, so venues are in great demand.”

“It is complicated because now there’s so much legislation and each country is different”

Licensing issues…
Craig Stanley: “A few years ago… we would leave it until fairly late to be able to pass all the information to the licensing authorities, recognising that the artist is also making up her mind – quite rightly – of the show she wants to present. Now, you start your licence applications six, seven, eight months ahead, and then through Europe it’s exactly the same story. But it is complicated because now there’s so much legislation and each country is different. Even within Germany, Munich is just a different universe in requiring certain paperwork. Here in the UK, Scotland is completely different to England. You think you’ve got everything down, and then the licensing officer changes and you have to go back to square one.”

Anna De Neiderhausen: “We have to appease the local authorities, so we are ultimately the middleman. Sometimes local authorities are a little bit unrealistic and maybe don’t really have the experience, [whereas] some of them really are all over it. So it’s just finding that balance trying to not make Malcolm’s life hard, but at the same time, making sure the show goes ahead.”

CS: “Part of my role is to go around Europe, and the advance trip is absolutely crucial. Malcolm and his team are brilliant at actually going there, meeting with the local people and explaining what he needs, understanding their problems, and we find some middle ground.”

Malcolm Weldon: “In 2023, I felt like I was a step behind because we didn’t know what the show really was until we got to Bolton and built the whole show, so you’re kind of learning as you go. And then as you get more shows under your belt, you go, ‘Okay, this is what this is.’ And then you leave Europe and go to North America, and now you’re on a different stage and you’re playing baseball stadiums, which no show of this size should be playing. But they bought tickets, they’re showing up and so we make it happen.”

“You can’t change the ticket price once you’ve charged for the ticket. You have to somehow try and make those budgets work”

Maximising capacity…
BM: “
One of the great advantages with Alecia is her performances are phenomenal, she’s never in one place for very long, so therefore the sightlines in the stadium are such that you see her a great deal of the time. That’s a big advantage to having an artist who’s performing in a certain position all the time, more or less. She moves around a lot and she’s very aware of her audience. She has a great sense of humour and also has a particularly unique way of talking to her audiences, it’s very personal. And the screens we’ve got now are superb so the quality of the video content is phenomenal.”

Budget concerns…
BM:
“You can’t change the ticket price once you’ve charged for the ticket. You have to somehow try and make those budgets work. Artists put a lot of money in to production and give the very best they can, and they don’t want to fall short. And Malcolm, in his position, can’t and won’t let the standard down.”

MW: “I [was once working with a very famous artist] and I was trying to stay within budget. They went outside the budget, so I said, ‘That’s going to be more expensive if we do it this way.’ And that artist told me, ‘Don’t worry about how I spend my money, Malcolm.'”

“It’s very easy to think you’re just selling the show, you’re actually supporting the artist’s career”

The importance of the collective…
MW: “It’s a total group effort. If you have somebody on the crew whose job is just doing towels and water, the most important person to the artist at the point when they got sweat in their eyes, or they’re thirsty, is the person that puts out the towels and water. It’s all a group effort.”

BM: “We all work for the audience and the artist at the end of the day, so we all contribute to that and we all have respect for that. We just all have to look after each other in the best way we can and we’ll get the best results.”

CS: “It’s also about… working with our colleagues and understanding how the marketing is done. The marketing is to sell tickets absolutely, but it’s also about respecting the artist and working with the record company. It’s very easy to think you’re just selling the show, you’re actually supporting the artist’s career. One reason why Marshall Arts has incredibly long relationships with the artists – we’ve worked with P!nk for 22 years – is understanding what the manager, as well as the artist, needs to actually help build the career. And now we’re at the stadium level, we don’t take anything for granted.”

 


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ANZ records tumble for P!nk’s Summer Carnival Tour

P!nk’s Summer Carnival Tour is poised to break the record for the most stadium concerts by any artist touring Australia and New Zealand.

The American singer launches the Live Nation-produced run, which will stop in 10 cities for 20 shows across 44 days, with two nights at Sydney’s Allianz Stadium this weekend (9-10 February).

Summer Carnival is already the biggest selling AU/NZ tour ever for a female artist and is set to place her among the top three biggest selling artists ever in the region, with close to one million fans expected to attend her dates in Sydney, Newcastle, Brisbane, Gold Coast, Melbourne, Adelaide, Perth, Townsville, Dunedin and Auckland.

“I said it was going really well but ‘I’ve got a challenge for you. Ed Sheeran did 18 concerts on his last stadium tour, and if you do add one more city, you’ll break his record,’” Live Nation Australasia chair Michael Coppel tells the Daily Telegraph. “She said ‘Let’s do it!’

“At this point we are over 850,000 tickets and she will sell 900,000 before we’re done, which will probably make it the second biggest tour ever in Australia [trailing only Sheeran in terms of ticket sales]. It will be the biggest ever tour by a female artist.”

The imminent tour will also see P!nk reach the milestone of more than three million tickets sold across her career in Australia and New Zealand – comfortably the highest number of tickets sold in those countries by any artist.

“One of the reasons Australians loves P!nk is she has put the time into coming here for more than 20 years,” says Coppel, who recalls the star’s first visit to the region in 2004.

“She sparked something with Australia because she is who she is, and the albums got bigger and bigger, and the tours got bigger and bigger”

“That first tour was a real struggle,” he explains. “She didn’t have an audience here yet, we sold 25,000 tickets over six shows, and we lost a lot of money as the promoter. But then she sparked something with Australia because she is who she is, and the albums got bigger and bigger, and the tours got bigger and bigger.”

Joining P!nk as special guest on the tour will be multi-platinum award-winning Australian singer and songwriter, Tones And I.

“P!nk was really keen on having Tones open because she wants to be empowering of female artists,” adds Coppel. “You’ve seen in America she had Pat Benatar and her good friend Brandi Carlile play.”

The blockbuster trek is also returning to Europe between 11 June and 25 July, before returning to North America.  P!nk also recently announced a second outing in North America for 2024, dubbed P!nk Live.

IPM will also delve behind the scenes for the Inside P!nk’s Summer Carnival session on 29 February at this year’s ILMC. Key individuals from the production and team will walk through the tour to discuss just how it came together, the key challenges it has faced, and how the production has delivered such monumental impact.

Confirmed for the panel are Okan Tombulca of eps, alongside Marshall Arts’ Barrie Marshall and Craig Stanley, while production manager Malcom Weldon – the recipient of this year’s IQ Gaffer Award – will join the discussion from on tour in Australia.

 


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P!nk extends Summer Carnival after 3m ticket sales

P!nk has further extended her Summer Carnival Tour after selling more than three million tickets for the stadium run so far.

Produced by Live Nation, the tour returns to North American stadiums for a 17-date outing, kicking off on 10 August at The Dome at America’s Center in St Louis and wrapping up in Miami’s LoanDepot park on 23 November.

It will feature special guest Sheryl Crow, along with The Script and KidCutUp, as support across all dates.

The tour has already grossed $350 million (€324m) across dates in Europe, the UK, North America, and forthcoming Australia, and New Zealand shows.

The trek launched in Bolton, UK, in June this year and went on to gross $125m and sell one million tickets on the European leg. Stops included two concerts at BST Hyde Park in London, two at La Défense Arena (cap. 40,000) in France and two at Olympiastadion (74,475) in Germany.

European promoters involved in promoting the tour include Marshall Arts, AEG Presents/BST Hyde Park, Paris La Defense Arena, Live Nation/Werchter Boutique, Mojo, Peter Reiger Konzertagentur, Barracuda Music and Live Nation Poland.

P!nk led Billboard‘s monthly Top Tour chart for October after grossing $51.2m from 10 US shows and 271,000 ticket sales, split between two separate tours.

The 44-year-old singer played four Summer Carnival stadium concerts before heading indoors to arenas for the Trustfall Tour, making her the first artist to head the list via multiple tours. The Summer Carnival gigs generated $30.9m and sold 190,000 tickets, while the six Trustfall shows earned $20.2m from 81,100 tickets.

P!nk’s 2024 North American Summer Carnival Tour will stop at:

Sat Aug 10 | St. Louis, MO | The Dome at America’s Center

Wed Aug 14 | Toronto, ON | Rogers Centre

Sun Aug 18 | Philadelphia, PA | Lincoln Financial Field

Wed Aug 21 | Foxborough, MA | Gillette Stadium

Sat Aug 24 | Chicago, IL | Soldier Field

Wed Aug 28 | Missoula, MT | Washington Grizzly Stadium

Sat Aug 31 | Edmonton, AB | Commonwealth Stadium

Wed Sep 11 | San Diego, CA | Petco Park

Fri Sep 13 | Las Vegas, NV | Allegiant Stadium

Sun Sep 15 | Los Angeles, CA | Dodger Stadium

Tue Oct 01 | Hershey, PA | Hersheypark Stadium

Thu Oct 03 | East Rutherford, NJ | MetLife Stadium

Sun Oct 06 | Syracuse, NY | JMA Wireless Dome

Sat Oct 12 | Indianapolis, IN | Lucas Oil Stadium

Wed Nov 06 | Arlington, TX | Globe Life Field* ^

Mon Nov 18 | Orlando, FL | Camping World Stadium^

Sat Nov 23 | Miami, FL | loanDepot park

 


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P!nk, Burna Boy line up more UK/EU stadium shows

P!nk and Burna Boy have both announced more stadium shows in the UK/Europe after milestone concerts in the country this summer.

Earlier this year, Burna Boy became the first-ever African artist to headline a UK stadium with his performance at London Stadium (cap. 60,000) on Saturday 3 June.

The Afro-fusion star will return to the very same stadium on Saturday 29th June 2024 for a special performance alongside his band, The Outsiders, as part of the I Told Them… Tour.

Spaceship Entertainment, Whytelion and Coko Bar will promote the Grammy Award-winner’s return show, with tickets on sale this Friday (24 November).

Also in June 2024, P!nk will return to the UK with her blockbuster Summer Carnival Tour, which this year spanned 64 dates and grossed US$350 million.

Following her two sell-out headline shows at BST, P!NK will return to London with two nights at Tottenham Hotspur Stadium

The 16-stop 2024 run includes stadium shows in London, Dublin, Liverpool, Cardiff, Glasgow, Bern, Copenhagen, Amsterdam, Brussels, Leipzig, Stuttgart, Mönchengladbach and Stockholm.

Following her two sell-out headline shows at BST during the summer, P!NK will return to London with two nights at Tottenham Hotspur Stadium (62,850).

The Script, GAYLE, and DJ and producer KidCutUp are due to support the star on the Summer Carnival Tour 2024.

The Summer Carnival Tour recently completed a North American leg where P!nk performed to 1.75 million fans with sold-out record-breaking shows across the country.

Its next stop is Australia and New Zealand, with shows in Sydney, Adelaide, Melbourne, Auckland and more.

 


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Pink sells over 725k tickets for Australian tour

Pink has extended her Australian tour, which has already sold more than 725,000 tickets to become the country’s biggest-selling run ever by a female artist.

The 43-year-old American is set to cover the largest distance of any touring artist around Australia by playing a record-breaking 15 stadiums concerts on her 2024 Summer Carnival tour, which launched in Europe back in June and switched to North America last month.

Live Nation Australia chair Michael Coppel, the singer’s career-long promoter in the region, says the dates will take Pink past three million ticket sales in Australasia.

“It’s been the thrill of a lifetime to promote Pink’s six Australian tours since 2004, and the 20th anniversary of that association will see Pink surpass three million tickets sold in Australia and New Zealand,” says Coppel. “Only fitting that we break new ground with the record to be set at her first show in Northern Queensland at Queensland Country Bank Stadium.”

The trek is currently set to conclude in Townsville with a newly announced show at Queensland Country Bank Stadium on 23 March next year, with support from Tones and I.

“Pink’s Aussie shows sold out in minutes across the country, making the tour extension into North Queensland an exciting next step in meeting this unprecedented demand,” says Live Nation Australia president Roger Field. “The only regional Pink show hosted here in Townsville is not only testament to Live Nation’s ability to deliver world class events, but our commitment in continuing to provide a world-class pipeline of major events for Queensland.”

The tour leg will start with two nights at Sydney’s Allianz Stadium from 9-10 February, and will go on to visit Newcastle, Brisbane, the Gold Coast, Melbourne, Adelaide and Perth before landing in New Zealand for shows at Forsyth Barr Stadium, Dunedin on 5 March, and Eden Park, Auckland from 8-9 March.

“Pink’s immense popularity across Australia is extremely hard to miss, and the addition of a show in North Queensland will be incredible for local fans”

It will then return to Australia for further concerts in Melbourne, Sydney and Brisbane, before wrapping up with the new Townsville date. The singer’s previous 2018-19 Beautiful Trauma tour was attended by more than three million fans worldwide, generating $397.3 million from 159 dates.

“Pink’s immense popularity across Australia is extremely hard to miss, and the addition of a show in North Queensland will be incredible for local fans,” adds Ticketmaster Australia MD Gavin Taylor. “It is great to be part of the Queensland Country Bank Stadium story, and we can’t wait to see Pink perform at the only world-class stadium in Townsville.”

Meanwhile, the New South Wales government is continuing its bid to increase the number of major concerts at Sydney’s Allianz Stadium and this week released the planning modification for public exhibition after Paul McCartney confirmed he will play back-to-back concerts at the new A$828 million (€490m) venue this October.

Under a concert cap that was created in the mid-1990s, the stadium is restricted to a maximum of six concerts per year, with a five-year rolling average of for concerts a year.

“Our goal is to bring live music back to NSW,” says NSW minister for jobs and tourism John Graham. “The state lost half of all music venues over the last decade and we are addressing this.

“There could not be a bigger symbol of where the new government wants to head than lifting the concert cap.”

 


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