Month: January 2023

When Madonna hits the road later this year for her career-spanning Celebration Tour, she’ll be taking a global victory lap, further cementing her legacy as the Queen of Pop. She’ll also be taking home big money — upwards of $100 million, by Billboard‘s estimate.

The parade of concerts will feature Madonna’s greatest hits from across her 40-year career, a rare straightforward ambition for one of the world’s most enigmatic artists. With 38 top 10 songs on the Billboard Hot 100 and 23 top 10 albums on the Billboard 200, the tour stands to continue her streak as the highest-grossing solo female artist in Billboard Boxscore history (provided she can fend off Taylor Swift‘s upcoming Eras tour). How high will it go?

Madonna’s touring career began in earnest with 1985’s The Virgin Tour, averaging more than 10,000 tickets and $100,000 per night, according to figures reported to Billboard Boxscore. (The average ticket price on that tour was $14.74, a distant whiff of what her — and all artists’ — arena concert tickets cost in the 2020s. In today’s dollars, adjusted for inflation, that skimpy price would translate to $29.56.)

Already a sell-out force, Madonna’s next trek, 1987’s Who’s That Girl World Tour, tripled her draw and nearly quintupled her selling power in just two years, pacing 35,000 tickets and $756,000 per show in a mix of arenas and stadiums that year.

Both of those figures were just the beginning. They were followed by 1990’s Blond Ambition Tour, 1993’s The Girlie Show and seven tours in the 21st century that have grossed at least $50 million each.

Madonna’s highest-grossing tour thus far is the 85-date Sticky & Sweet Tour in 2008-09, playing stadiums around the world to the tune of $407.7 million and 3.5 million tickets. Fifteen years later, it remains the highest-grossing tour by a woman ever. (Her next trek, 2012’s MDNA Tour – her lengthiest tour by number of shows at 88 – played a mix of stadiums and arenas, and became her second-highest grossing run, with $305.2 million.)

The Celebration Tour was announced on Tuesday (Jan. 17) with 26 shows in North America and 12 in Europe. Throughout this week, that routing expanded to 41 and 20, respectively. Madonna begins the trek on July 15 in Vancouver and is scheduled to wrap Dec. 2 in Amsterdam. Thus far, no dates outside the U.S., Canada and western Europe have been announced.

To gauge the tour’s financial prospects, it would be unfair to simply reflect on Madonna’s most recent tour. That was the 2019-20 Madame X Tour, an experiment that placed the Queen of Pop in intimate theater-based mini-residencies in major markets on both sides of the Atlantic. The 75-show run sold itself out at 179,000 tickets and $51.5 million, but it’s an outlier in a career comprised of (much) larger venues.

A more apt comparison would be the Rebel Heart Tour of 2015-16, a string of 82 arena shows after the stadium madness of her previous two treks. That tour grossed $169.8 million and sold 1.05 million tickets worldwide, including quick stints in Asia and Oceania. On the Rebel Heart Tour, more relevant to the Celebration routing, Madonna averaged $1.8 million and 12,500 tickets in the U.S. and Canada, and $1.7 million and 14,600 tickets in Europe. Given her current 61-show routing for The Celebration Tour, maintaining those averages would put the entire run on track to gross $106.9 million and sell 802,000 tickets.

But ticket prices have risen since Madonna was charging $15-and-under in the ‘80s, including a significant spike in the last five years. Platinum ticketing and dynamic pricing have blown out arena and stadium grosses in the post-pandemic era, with Bad Bunny, Harry Styles, The Rolling Stones and more approaching $200 averages on tour last year.

For example, on Elton John’s Farewell Yellow Brick Road Tour, his average arena ticket in North America jumped from $139 in 2018 to $181 in 2022. That’s a 30% increase, which would bolster Madonna’s projected gross to $140.6 million. But the surge in prices hasn’t been as great in Europe, which could soften our prediction back toward the $130 million mark.

Further, Madonna has long been a global icon. So far, The Celebration Tour spans two continents, while she has frequently hit South America, Asia and Oceania throughout her career. An expansion of the tour — which seems like a natural idea based on the marketability of an all-hits show — would drastically change what is realistic for the 2023 trek. And as noted above, Madonna already increased the number of North American shows for the tour by more than 50% before The Celebration Tour’s general on-sale began on Jan. 20. Demand could dictate further additions.

Today’s on-sale generated over 600,000 tickets sold, with 35 sold-out shows and more to become available next week.

Over nearly 40 years, Madonna has grossed a reported $1.376 billion and sold 11.7 million tickets across 575 shows. That makes her the most successful female act in Boxscore history. The Celebration Tour will nudge her closer to the $1.5 billion mark. Among all acts, only four have grossed more in Boxscore history.

This week, our First Stream Latin roundup — which is a compilation of the best new Latin songs, albums and videos recommended by the Billboard Latin editors each week — is powered by new music from Nicky Jam, Myke Towers and Eddy Herrera, to name a few.

The list includes some urban selections like Myke Towers’ three-song EP Sweet & Sour, which he dropped as a surprise on his 29th birthday (Jan. 15). Hinting at what could possibly be the first part of an album in 2023, following his 2021 set Lyke Mike, the EP encompasses the Puerto Rican rapper’s creative versatility, navigating from saucy drill (“Pauta & Flow”) to R&B-tinged hip-hop (“Los Angeles”) to a hard-hitting reggae plena (“El Joseo”). 

Nicky Jam also dropped his first single of the year called “Toy a Mil,” where he laces reggae beats with Dominican dembow and sings about a girl he was waiting to be single. Colombian reggaetonero Andy Rivera, on the other hand, turns bad boy in “No Pinto Pajaritos,” a midtempo, sensual reggaeton track, in which he assures that he doesn’t sugarcoat things — and that he is, in fact, only interested in having a fling.

Additionally, we spotlighted newcomers Ivonne Galaz and Tania Dominguez (both of Rancho Humilde) on their soulful collab “No Puedo Olvidarte,” backed by dreamy requintos, soft drum beats and a howling bass; the enigmatic electro-pop self-titled debut album of Astronomía Interior, the latest musical configuration of Jesús Báez and Ángel Mosqueda, better known respectively as the keyboardist and bassist of Zoé; and an infectious merengue song that finds Eddy Herrera, Felipe Peláez, and Omar Enrique, drinking their heartbreaks away.  

What’s your favorite new Latin music release this week? Vote below!

Miley Cyrus broke the Spotify record for the most-streamed song in a single week thanks to her latest hit “Flowers,” her ode to loving and taking care of herself.

In addition to flipping Bruno Mars’ 2014 single “If I Was Your Man” on its head, part of the song’s appeal comes from the litany of potential Easter eggs about Cyrus’ relationship with ex-husband Liam Hemsworth, from her choosing to release the track on his 33rd birthday to a reference to the Woolsey Fire that burned down the couple’s Malibu home back in 2019 tucked into the lyrics.

If you need a guide to follow along to Miley Cyrus’ “Flowers,” find the lyrics below:

Billboard’s First Stream serves as a handy guide to this Friday’s most essential releases — the key music that everyone will be talking about today, and that will be dominating playlists this weekend and beyond. 

This week, Trippie Redd drops back in with a surprise, Kali Uchis gives us a kiss-off and The Kid LAROI introduces a new era. Check out all of this week’s First Stream picks below:

Trippie Redd, Mansion Musik 

If the title of Trippie Redd’s new surprise album is familiar, that’s because it’s one letter removed from Chief Keef’s fiercely beloved 2018 mixtape Mansion Musick; Keef serves as the executive producer, as well as something of a spiritual forefather, to Trippie’s latest opus, which boasts 76 minutes of unhinged energy and A-list guest stars. Mansion Musik begins with a zonked-out burst — Future, Lil Baby, Juice WRLD and Keef himself are all featured within the first five songs — never really lets up, with Trippie Redd flexing over distorted guitars, trap beats and anyone who doubts his ferocious power.

Kali Uchis, “I Wish You Roses” 

Kali Uchis’ placement on the 2023 Coachella lineup — the third most prominent name on Sunday’s bill, right behind Frank Ocean and Björk — is a subtle indication for the perceived potential of the genre-blending singer-songwriter following a pair of beguiling albums and the viral sensation of “Telepatía.” “I Wish You Roses” delivers on that promise, a swaying, luxurious vocal showcase that acts as a fond farewell to someone circling out of one’s life and another showcase of Uchis’ power as a hook creator; her ability to conjure lush choruses and sing them with verve and tenacity nods to the artist stepping more into the mainstream this year.

The Kid LAROI, “I Can’t Go Back to The Way It Was (Intro)” 

“I Can’t Go Back to The Way It Was (Intro)” may represent the soft launch of The Kid LAROI’s return: as the first song released from long-awaited full-length The First Time, its short run time and parenthetical note suggest that “Love Again,” which arrives next week, will more closely resemble a proper single. Yet that doesn’t mean the 95-second track isn’t full of intrigue: although “I Can’t Go Back” features LAROI’s brand of warbled melancholy, the pounding drums and ghostly harmonies hint at an expansion of his sound, which has yielded some major hits thus far but could be ballooning into something on a grander scale.

Måneskin, Rush! 

Although Måneskin has taken a highly unorthodox path toward international fame — the Italian rock quartet blew up thanks in part to a years-old cover of a Four Seasons song being scooped up on TikTok and crossing over to streaming platforms — the group isn’t going anywhere now that they’ve arrived. Rush!, their first full-length since their global boom, capitalizes on the brighter spotlight with limitless hooks (some of which are courtesy of Max Martin) and clean, radio-ready guitar hooks; Måneskin is adept at pivoting to the mainstream without shedding any of their ostentatious personality or rock tenacity, which makes the album both a solid introduction as well as a logical next step.

Kim Petras, “Brrr”

Kim Petras is wasting no time harnessing the momentum of “Unholy,” her enormous No. 1 hit with Sam Smith: after ending the year with the single “If Jesus Was a Rockstar,” Petras quickly returns with “Brrr,” a hypnotic hyperpop track that more closely resembles the seductive swirl of “Unholy.” Petras has long been adept at tossing out double entendres and sinking her teeth into synth-pop refrains, but with newfound top 40 juice, a crackling song like “Brrr” could help translate a chart-topping assist into a major solo moment.

Mac DeMarco, Five Easy Hot Dogs 

Last year, Mac DeMarco challenged himself to start driving and not return home until he had created a new album. “Maybe it’s the last couple of years, or maybe it’s my age now, but the idea of forgoing any sort of normalcy or comfort and making my entire life, for a segment of time, completely insane feels very inspiring to me,” he explains in a press release. “I stayed out on the road doing this for almost four months.” He came back with Five Easy Hot Dogs, a charming instrumental exercise that plays out in the order of his trip, and feels like a sumptuous conversation with a curious soul who happens to be an acclaimed, still-evolving indie singer-songwriter.

This week in dance music: Leading New York dance promoter Teksupport partnered with ArtsDistrict Brooklyn for a 20-show series launching this weekend with sets from Nina Kraviz and Magdalena, Lightning In a Bottle dropped the lineup for its 20th anniversary festival this May in SoCal, Skrillex shared a message on his 35th birthday reflecting on the “toughest year of his life,” movement in the Bassnectar camp seemed to suggest an impending direct-to-fans comeback, Skrillex, Flowdan and Fred again.. unleashed the “Rumble” in the top 10 of Billboard‘s Dance/Electronic Songs chart (the chart on which Elvis and Britney Spears’ “Toxic Las Vegas” also debuted this week), and we got the inside scoop oh how ODESZA scored two of the summer’s biggest headlining slots.

And guess what. We’ve got more. Let’s dig in.

Yaeji, “For Granted”

To overthink is to get on a mental hamster wheel, simultaneously sprinting and stuck in place. Yaeji shares such a state of mind on her new single, “For Granted.” On the track, she seems to ruminate on her success: “I don’t even know/ Am I saying thank you?/ Am I enjoying it too?/ Am I taking it for granted?” she asks. Her coo-like vocals are hushed and strangely comforting, while the production, initially sparse, slowly builds into an elastic (yet still mellow) beat. After looping the same verse and chorus a few times, she finally reaches a breakthrough — “I stopped the thinking/ Let it rest and I’ll flow” — unleashing a furious wave of drum & bass in a moment of ultimate catharsis. “For Granted” is the lead single from Yaeji’s upcoming album With A Hammer, out April 7 via XL Recordings. — KRYSTAL RODRIGUEZ

Illenium feat. Nina Nesbitt “Luv Me a Little”

Perpetual favorite Illenium continues his reign over the biggest, most epic (and most epically emotional) realm of the dance kingdom, elevating that status today (Jan. 20) with a new power anthem, “Love Me a Little.” Featuring the rich, exquisitely pretty voice of Scottish singer Nina Nesbitt, the song takes it time warming up, starting with a music box feel and then launching off for the heavens with a big drop more than a minute in and lyrics to belt along with throughout. The track is the latest from Illenium’s self-titled album, coming in April, and comes with the announcement of a 33-date North American and European tour — which will see Illenium on the road from late May through the end of the year. — KATIE BAIN

Kaleena Zanders feat. Shift K3y, “Vibration”

Lots of folks have sought inspiration from the buzzsaw synth sound of ‘90s Euro-House anthems, but where so many sound like copies, Kaleena Zanders’ latest single with production from Shift K3y feels like the honest continuation of that powerful vibe. “Vibration” is electrifying and uplifting, the kind of jam you can ugly dance to while cleansing your soul. 

“This might be one of my favorite songs that I’ve ever put out,” Zanders says. “The message of the song is exactly the kind of music I want to put out into the world. I always write from a space of healing. This is love and vibration, but soul and rave AF!”

It’s a big moment for Zanders, whose booming vocals fit perfectly over Shift K3y’s pumping beat. His songs were some of the singer-songwriter’s favorites when she first got into the electronic scene.

“Through the years by way of my good friend AC Slater, I got to know Shift K3y, and he’s one of the most smoothest, tender and talented dudes in the game,” Zanders says. “Making this track in London came effortlessly and natural. The energy in the room was super high with the help of, my now friend, writer/singer/DJ Alex Mills. We had loads of laughs and fun little kid-like moments that made everyone comfortable to create. I’m so freaking happy this song is out! I hope the world loves it too!” – KAT BEIN

Walker & Royce, Just What the World Needs EP

Brooklyn-L.A. duo Walker & Royce are back on their Rules Don’t Apply label with a new EP, and they didn’t come alone. The EP, a two-tracker called Just What the World Needs, features collaborations with Mindchatter and VNSSA (with whom they previously teamed on “Rave Grave” and “Word”). Mindchatter collab “Same Way Down” goes introspective, with Mindchatter’s airy vocals rising from an abyss of swelling, trance-y synths and a rumbling bassline, while the VNSSA-featuring “Outer Space” aims for 3:00 a.m. afters delirium with driving percussion, trippy lazer-like synths dipped in acid and altered, otherworldly vocals. Just What the World Needs arrives a week before Walker & Royce head out on their U.S. tour, hitting Detroit, Queens, San Francisco and more. — K.R.

Jerry Garcia, “The Wheel” (LP Giobbi Remix)

They say that success is a function of opportunity meeting preparation, and we can’t think of a more apt descriptor for Garcia (Remixed), an official edit of Jerry Garcia‘s 1972 debut solo album from lifelong Deadhead LP Giobbi. Taking on classics like “Deal” and “The Wheel,” the producer — along with fellow psychedelic enthusiasts including DJ Tennis and Le Chev — bring Garcia’s already sublime work to a place of true sunshine daydreams, translating Garcia and The Gratefel Dead for house heads and surely bringing some new fans to the family in the process.

“Getting to remix Jerry Garcia’s entire first album is one of the coolest things I will ever be a part of,” LP says. “Being raised by Deadheads, Jerry felt like a part of my family growing up. I’ve known his voice intimately since the womb and to this day his voice is synonymous with home. Getting to sit in the studio and listen to his creations and pull them apart and appreciate every part of them in a new way was beyond a dream come true. I felt so connected to my family, where I came from and where I’m going through this process.” – K. Bain

Sohmi, “Only One”

Close your eyes, take a deep breath, and let the absolutely perfect groove of Sohmi’s “Only One” wash over you like a melodic baptism. The L.A.-based producer/DJ had a massive 2022, and this silky-smooth single released on the artist’s own label, Permission (via Thrive), is a flag in the sand that says Sohmi shall conquer 2023 as well. She also started the year by playing six shows in four cities in one 72-hour period, so perhaps she too needs to sit back, listen to “Only One” and catch some relaxation. This absolutely delicious tune is the second single from Sohmi’s forthcoming EP Recital. Let it soothe your soul with every listen. – K. Bein

Skrillex feat. Bobby Raps, “Leave Me Like This”

Fred again.. may not have a credit on the new Skrillex track, but the fact that he and Skrillex have been spending loads of time together is easily apparent on this one, via the incorporation of Fred’s style of melodic earworm vocals and a general atmosphere of emotional house frenzy. That vibe shifts into full Skrillex gear around the one-minute mark, with a buzzy bass layered over vocals from Minnesota singer Bobby Raps. In a moment of delicious homage, Skrill even samples his own all-time classic “Scary Monsters and Nice Sprites,” with its iconic “OH MY GOD” drop placed into the new song as it moves into its third and most overtly D&B-oriented movement. “Leave Me Like This” is of course the latest in January’s blitz of new Skrillex material, all of which is leading to his first new album in nine years, the release date for which has not yet been announced. — K. Bain

Surprise! Trippie Redd just dropped a brand new album titled Mansion Musik, on Friday (Jan. 20).

Mansion Musik, according to an official press release regarding the album, is an an ode to Chief Keef’s 2018 Mansion Musick mixtape. Keef had his fair share of involvement on the project and served as Redd’s executive producer for the new studio set, and also features as an artist on tracks “Atlantis” and “Rock Out.”

In addition to the Keef collaborations, Redd’s Mansion Musick is stacked with collaborations. Lil Baby and Future team up with the rapper on “Fully Loaded,” Travis Scott makes an appearance on “Krzy Train” and Juice WRLD makes a posthumous feature on “Knight Crawler.” Other rappers on the project include DaBaby, Lil B, Rich the Kid, Nardo Wick, Kodak Black, G Herbo, Summrs, Rob 49, Ski Mask the Slump God, LUCKI and more. Mansion Musick‘s title track, “Van Helsing,” “Free Rio” and “Killionaire” are the only songs in which Redd is solo.

Mansion Musik is the follow up to Redd’s 2021 album, Trip at Knight. It peaked at No. 2 following its August 2021 release on the all-genre Billboard 200 chart, where it spent a total of 27 weeks. The project’s singles — “Miss the Rage” featuring Playboy Carti, and “Holy Smokes” featuring Lil Uzi Vert — reached the Billboard Hot 100, charting at Nos. 11 and 50, respectively. “Rage” spent 11 weeks on the tally, while “Smokes” spent three.

Stream Mansion Musik below.