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I haven't been to a THEY. solo concert yet, but I did see them live on Bryson Tiller's TRAPSOUL tour, for which they were the opening act.

I didn't know about THEY. before I heard that they'd be performing at Bryson's tour as well. I like to know something about the opening acts I'm going to see, so I googled these guys a couple days before the show and immediately liked their music.

I, personally, really enjoyed their performance. It was clear that a large part of the audience didn't know them or their music, but people did go along with it, which I think really says something about their quality as artists. Their vocals were really good and so was their stage presence. They were clearly feeling the music, which I think made the audience feel it as well. At least I felt it! When I looked them up I wasn't sure what their songs would sound like live, but overall it was a really great experience and they didn't disappoint at all. I hope they come back to Amsterdam for a solo concert soon - when they do, you'll find me in front row.

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I saw THEY. at Snowglobe 2017 and originally didn't even want to see them and out of all of the big name artists the duo stood out from all the others as a group who's music sounds even better live and engages the crowd and are great performers!

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Jann & Rick Mercer Hitting The Road Together

Jann & Rick Mercer are hitting the road together this spring for a nationwide ‘Will They or Won’t They Tour’!

Spend an evening of laughter and stories in a freewheeling, unscripted and unrestrained discussion from Canada’s most iconic voices!

ARTIST PRESALE* begins Tuesday Feb 27 th through Thurs Feb 29 th at 10pm local time. 

Use code:  WTWT2024 here: https://livemu.sc/3uMyxug

*Victoria and Vancouver Presales begin March 5 th .

Jann Arden Releases New Novel, The Bittlemores 

Jann hosts an evening with conservationist, dr. jane goodall, jann hosting 2024 jann arden charity golf tournament.

ANNOUNCEMENT: Jann Arden and Rick Mercer Will They or Won't They Tour in Edmonton May 21

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A Canadian answer to Barbieheimer, hilarious singer-songwriter Jann Arden and quirky TV personality Rick Mercer are bringing their combined talents to Edmonton May 21.

ANNOUNCEMENT: Jann Arden and Rick Mercer Will They or Won't They Tour in Edmonton May 21 Back to video

The 16-date Will They or Won’t They Tour promises to be freewheelling, unscripted, unrehearsed and unrestrained as the two national idols explore stories and memories from their multi-decade careers.

The Calgary musician and author is famous for her hits Could I Be Your Girl and Insensitive, as well as performing in The Vagina Monologues and her tell-all memoirs including If I Knew, Don’t You Think I’d Tell You and Falling Backwards.

Arden is also headlining Bear Creek Folk Festival this summer up in Grande Prairie, whihc runs Aug. 16-18.

Mercer, meanwhile, rose through This Hour Has 22 Minutes to his own Rick Mercer Report, the satirical commentary show that ran for 15 seasons through 2018.

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Tickets to the 8 p.m. May 21 Jubilee Auditorium gig will be available for presale 10 a.m. Tuesday, general tickets on sale 10 a.m. Friday at ticketmaster.ca .

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HE.SHE.THEY. Adds More Dates to North American Tour

Photo Credit: Isabel Flores @laskimal

HE.SHE.THEY announced that Brooklyn, San Francisco, Miami, Buffalo, and more have been added to the list of cities they’ll be heading to in 2024.

Pioneering brand HE.SHE.THEY. has been on quite a ride over the past five years as they’ve grown to become one of the leading inclusive promoters and labels in the dance music scene. From fantastic releases to showcases featuring some of the most forward-thinking artists in the community, the hype surrounding this brand has swelled to greater heights. Last year saw HE.SHE.THEY. host a residency in Ibiza, throw parties elsewhere on the planet, and host stages at festivals like Glastonbury, and they’ve set their sights on even more in 2024.

A tour of North America was in the cards for HE.SHE.THEY., and the brand has already seen success with the first stops that took place in Chicago and Dallas at the end of last year and, more recently, in Las Vegas at the end of January. But they’re just getting started for their run this year. After dropping a documentary with Beatport just days ago, they’ve now unveiled the second phase of tour dates.

The previously announced New York date at Superior Ingredients on February 17 will help kick off the second leg of the tour. From there, the HE.SHE.THEY. crew will head to cities including Buffalo , Oklahoma City , San Francisco , Baltimore , Miami , and Atlanta . Artists slated to play during these stops range from Sara Landry , DJ Holographic , and FJAAK to SYREETA , Chippy Nonstop , and J.Phlip , with each city featuring a unique, curated lineup.

But have no fear if the city you live in hasn’t been announced yet, as HE.SHE.THEY. revealed that stops in Denver ,  Detroit ,  Los Angeles ,  Montreal ,  Phoenix ,  San Diego ,  Seattle ,  Toronto , and more will be added soon.

Stay tuned for more details on upcoming HE.SHE.THEY. stops across North America, and grab tickets to the recently announced shows via Resident Advisor !

HE.SHE.THEY. North America Tour 2024 – Phase 2 Dates & Venues:

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Grant Gilmore’s authoritative voice as a media professional lends credibility not common to EDM journalism. As the founder of EDM Identity he has effectively raised the bar on coverage of the past decade’s biggest youth culture phenomenon. After ten years of working for nonprofit organization Pro Player Foundation, Gilmore launched EDM Identity as a media outlet offering accurate informative coverage of the rave scene and electronic music as a whole. Although they cover comprehensive topic matter, they have taken special care in interviewing the likes of Armin van Buuren, Adventure Club, Gorgon City, Lane 8 and Afrojack. In addition to household names, they have also highlighted unsung heroes of the industry through their ID Spotlight segment. Whether he’s covering it or not, you can expect to find Grant Gilmore attending the next big electronic music event. To find out what’s next on his itinerary, follow him via the social links below.

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How Concert Tours Work

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How profitable are concert tours? Very, if the performers are major artists with fans eager to see them. Newcomer Miley Cyrus, for example, brought in $45.3 million from her 70-show Best of Both Worlds concert tour in 2007 and 2008. Tickets sold out in minutes as fans of her "Hannah Montana" TV show vied for the chance to see the teen star perform live during her first music tour [source: MTV News ].

But Mick Jagger and the Rolling Stones, on stage for four decades, hold the record for most profitable tour. Their worldwide A Bigger Bang tour ran from 2005 into 2007 and grossed $558 million [source: Billboard ].

Neither Mick nor Miley is relying on concerts alone for income. Their music tours both followed the release of a new album -- "Hannah Montana 2: Meet Miley Cyrus" for Miley and "A Bigger Bang" for the Rolling Stones -- and both earned more from concert films released after the tours. Disney's 3-D "Best of Both Worlds Concert Tour" film grossed more than $65.3 million before being aired on cable TV, while Martin Scorsese's "Shine a Light" documentary on the Stones' tour grossed $5.3 million [sources: Conde Nast Portfolio , Rolling Stone and Billboard ].

What about performers more distant from sudden fame and reigning stardom? How complicated are concert tours to put together and are they worth the effort? What kind of planning is needed, and how do you work with concert promoters or tour promoters, negotiate a touring schedule and hire a tour crew? Keep reading to find out, starting with the initial planning you'll need to do.

Initial Planning of a Concert Tour

Working with concert promoters, negotiating a concert tour schedule, hiring a concert tour crew.

Think your band is ready to start touring, or are you not sure whether a concert tour should be in your immediate future? Planning and performing during a music tour are complicated and time consuming. Probably the first thing you'll want to do is make sure you can answer that question with a strong "Yes!"

To reach a decision, you'll want to consider factors such as:

• Do we have enough material ready to perform on a tour?
• Can we handle the rigors of travel and the challenge of playing that material every night as if it's fresh and new?
• Do we have a reason to tour now -- like a new CD to promote? Do we have copies of CDs to sell if we are on tour?
• Are we getting enough club bookings and a strong enough response from fans to indicate that they will buy tickets to our concerts?
• Can we get along well enough with each other to survive a tour together?
• What do we want out of a tour -- greater exposure for the band, bigger paychecks for the band members or something else?

Miley Cyrus and the Rolling Stones aside, if you expect to make a lot of money off concert tours, you're likely to be disappointed. By the time the venue, concert promoter and ticket vendor take their cuts, equipment rentals and crew are paid, and transportation and living costs are covered, there may not be as much for the band as you'd expect. That's not even considering sliding CD sales and the move to digital music.

Limited profitability is nothing new for touring bands. Gerald Casale, a founding member of Devo, recalls that band members only earned $12,000 each from the new wave group's Freedom of Choice tour, which grossed $2 million during the group's heyday in 1980 -- and the take would have been even less if T-shirts hadn't sold well. The group began touring again in 2004 [source: Billboard ].

If you've decided you're ready to tour, the next step is preliminary planning, probably led by your band's manager. Here are some questions to consider:

• In which geographic area and at what specific cities and venues do you want to perform? What is your tentative itinerary?
• What specific performing needs do you have in terms of instruments and musical equipment?
• What specific stage, sound engineering and lighting needs do you have?
• How much equipment will the band bring along, and how much will you need to have ready at the venue?
• How many crew members will you need to have on site, and what skills or training do they need?
• What's your tentative budget for the tour, including employee pay and equipment costs?
• What are your limits in tour length and number of shows?

Once you have considered these basics, you need someone who can connect you with your audience. Perhaps your band has a music agent who handles your bookings. But whether you do or not, you or your agent needs to work through a concert promoter, or tour promoter, to put together a tour. Let's look next at what concert promoters do and how to work with them.

Veteran performers continued to dominate the Top 10 list in 2007. Only Josh Grobin and Rascal Flatts started touring after 2000. The average ticket price for the Top 100 concert tours was $61, up 8 percent from $57 a year earlier.

• ­The Police, $133.2 million
• Kenny Chesney, $71.1 million
• Justin Timberlake, $70.6 million
• Celine Dion, $65.3 million
• Van Halen, $56.7 million
• Tim McGraw and Faith Hill, $52.3 million
• Rod Stewart, $49 million
• Genesis, $47.6 million
• Josh Groban, $43 million
• Rascal Flatts, $41.5 million

[source: Pollstar ]

You could try to set up your concert tour, but you probably wouldn't get very far. Tour venues work with -- or are even owned by -- concert promoters, also known as tour promoters. You'll usually need a signed contract with a tour promoter to set up a tour.

A tour promoter organizes a live music tour and makes sure it's profitable. That can include presenting, advertising and even financing concerts at arenas, clubs, auditoriums, festivals and other special events. The promoter finds the talent, the venue and on-site labor, and then handles advertising, marketing and possibly even ticket sales for the tour [sources: Berklee College of Music and Full Sail ].

The biggest national promoters of music tours are Live Nation and AEG Live. Live Nation has begun signing major performers -- including Madonna, Nickelback, Shakira and Jay-Z -- to multi-year 360 contracts that can cover virtually all of the artist's output. This includes everything from music, concert tours and merchandise to endorsements and broadcast rights [source: Bloomberg ].

Don't expect a 360 contract or a contract from a major concert promoter. These companies want well-known stars whose value should hold for the contract length -- which, in Madonna's case, is 10 years. Taking a chance on an up-and-coming band may be far too risky financially [source: The American ].

Instead, your band's manager or music agent will sit down with a regional promoter to discuss the terms of a live music tour. Here are some ideas for finding a concert promoter:

• Start with who you know. Word-of-mouth references may lead you to a promoter.
• Check industry publications like Billboard and Pollstar , the concert industry trade publication, for ads and articles. Pollstar also sells industry directories listing information for booking agencies, concert venues and concert support services.
• Check with venues where you'd like to play to see which promoters work with them.

Once you've found possible promoters, have your manager or agent contact them with information about your band, including genre, background, previous club and tour experience and a CD of your music.

If a promoter offers your band work through your manager, the next step is hammering out a contract covering the tour. The standard contract is the American Federation of Musicians' AFM Performance Agreement. Riders can be attached to handle specific tour details. While the contract itself is usually short, covering payment, profit splits, dates and locations, the rider may be 10 pages or more. Here are some details covered in a rider:

• Promoter's expenses
• Ticket selling policies, including how complimentary tickets will be handled
• Headline billing rights for signs and publicity
• An equipment breakdown detailing what'll be rented by the promoter vs. provided by the band
• A breakdown of local crew that'll need to be hired
• Dressing rooms, security, catering and travel
• Cancellation policies

[source: Donald S. Passman and Randy Glass ]

Price isn't the only important part of a tour arranagement. You also need to agree on a tour schedule. Keep reading to learn more.

Once you've worked out a price, split percentage and other concert details with the concert promoter, you still need to agree on a daily work schedule for your band's concert tour.

Take a careful look at the schedule the tour promoter offers for the music tour. You'll want to make sure that:

• The tour venues follow a geographically logical way instead of resembling a criss-cross, connect-the-dot pattern of overlapping routes
• Enough travel time is built in, allowing for traffic and weather conditions, so that the band has time to set up and do any necessary rehearsing before a concert
• Days off are worked into the schedule to give the band and crew time to recuperate after a number of hard days of concerts and travel.

Keep in mind, too, that concert tours involve a lot more than setting up, rehearsing and playing for an audience. A promoter or record label is likely to want the band to also do local promotions and interviews with media, meet with fans and sign autographs. There may be even more demands on band members' time.

You'll also want to be open to schedule changes. While the beginning of the tour may be thoroughly mapped out, the rest is likely to be more loosely scheduled. If not enough tickets are sold, one or more of the concert venues may drop out and be replaced with a concert in some other location. And if the tour turns out to be really successful, it may even be extended with additional concerts [source: MusicBizAcademy.com ].

Make your requests regarding the schedule, but in the words of Mick Jagger, "You can't always get what you want." Concert promoters are in business to make money, after all, and they want to keep a band working, not taking days off.

With schedule set and contract in hand, you're ready to get on the road again. Right? Well, not quite. You'll need a production manager and tour crew to take care of the logistics and set-up the equipment on the road. Keep reading to find out more.

CD sales are sliding, down 25 percent in 2008 from 2000. That has record labels, pop stars and lesser known bands looking to concert tours to augment income.

But higher gas prices and tighter money may get in the way for both bands and fans. Start-up bands forced to fill up low-mileage vans towing equipment need to make enough at a gig to recoup gas costs. And fans with less disposable cash may be reluctant to fork out money for concert tickets, particularly for big-name artists with seats selling for $75 and more.

Even beyond those economic realities, consider that:

• The big-name stars that bring in the most fans are aging. The Rolling Stones and other heritage acts led the Top 10 grossing tours in 2006 and 2007. Out of the 20 acts, only Justin Timberlake and Christine Aguilera had yet to reach their 30th birthdays.
• The older stars had a large common fan base, coming from Top 40 radio play and promotions and album sales, to fill concert halls. Today's young music enthusiasts have diverse music interests. They get their music from many different sources like cell phones, social networking sites, iTunes and Limewire and often don't even listen to traditional radio.

[sources: Chicago Tribune and The American ]

Even though a concert tour contract probably provides for some local crew at every stop on the tour, you'll want to have your own crew that travels with the band from venue to venue. This tour crew is invaluable because, unlike the local crew, they know the band, its show and its equipment, and they're there every step of the way to make sure the concerts go smoothly.

Here are some crew members and their responsibilities you'll want to have with you on your tour:

• Tour manager or road manager: Manages travel arrangements, pays bills and handles problems as they occur while the band is touring.
• Production manager : Supervises the technical crew and coordinates their work with that of the venue's local crew. Supervises moving equipment from one venue to the next, as well as setting it up and disassembling it.
• Advance person : Arrives at each tour location before the band and crew to help the road manager and make sure advance arrangements have been handled correctly.
• Stage manager: Controls performers' movements and crew on and off the stage; gives crew cues for the houselights.
• Sound engineer : Operates the front of house console, which controls and mixes the sound the audience hears during a live performance.
• Monitor engineer : Operates the monitor console, controlling the sound the band hears during a concert through on-stage or in-ear monitors.
• Sound crew : Set up, disassemble and run sound equipment, as directed by the sound and monitor engineers.
• Lighting operator : Operates the control console for the show and supervises the lighting crew.
• Lighting crew : Sets up, runs and disassembles lighting equipment. May also handle special effects like smoke machines and hoists.
• Backline crew : Sets up and manages performers' instruments and equipment.

[sources: Berklee College of Music and John Vasey]

As you hire crew to fill these positions, look for people who are:

• Flexible and adaptable. Something can and undoubtedly will go wrong during a concert, and you'll need someone who can deal with the situation calmly and quickly.
• Team players who get along with the band and other managers to reduce friction on the road.
• Skilled at the jobs they do and very familiar with the equipment so that they can run it effectively in unfamiliar venues.
• Committed enough to the band and the tour that they will put up with the inconveniences of being on the road and stick with the tour until the end.

Finally, if you're looking to make it on the concert scene, here's some advice from insiders:

• Don't over-play the same clubs, or your ticket sales will start to drop off.
• Recognize the difference between a recording session and a live performance and give the audience a show to remember.
• Re-invent yourselves and freshen up your act over time, like Madonna and the Rolling Stones, to keep fans coming back year after year.

And a final word of advice: Be sure to explore all the potential revenue streams (such as band merchandise, fan clubs, licensing for TV shows and video games, and more) to add to tour income [source: The American ].

For lots more information about concert tours and related topics, check out the links on the next page.

Lots More Information

Related howstuffworks articles.

• How Band Equipment Works
• How Making It Works: Antigone Rising
• How the Club Circuit Works
• How Live Sound Engineering Works
• How Becoming a Music Agent Works

More Great Links

• American Federation of Musicians
• "All You Need to Know about the Music Business, 5 th ed." Passman, Donald S. and Glass, Randy. Simon and Schuster, 2003, page 341. http://books.google.com/books?id=VQcAY1u8zIMC&pg=PA343&;lpg=PA343&dq=negotiate+with+tour+promoter&source=web&ots=HnoStuHZeJ&sig=KBXNvUOLx5OhNHF6CEqrNLRX44Q&­;hl=en&sa=X&oi=book_result&resnum=5&ct=result#PPA340,M1
• "Bon Jovi, Spice Girls Top Mid-Year Touring Chart." Waddell, Ray. Billboard. July 18, 2008. http://www.billboard.com/bbcomnews/article_display.jsp?vnu_content_id=1003829213
• "Careers in Music Business." Berklee College of Music.http://www.berkless.edu/careers/mbm.htm#tours
• "Concert Tour Production Management: How to Take Your Show on the Road." Vasey, John. Focal Press, 1997, pages 3-4.http://books.google.com/books?id=4PiSCRpVB3UC&printsec=frontcover&dq=concert+tour+production&sig=ACfU3U2zKUWwDGf2qQNkpvryH26LPFgALQ#PPA3,M1
• "Devo slowly evolves toward U.S. tour." Madison, Tjames. LiveDaily.com. July 14, 2005. http://www.livedaily.com/news/Devo_slowly_evolves_toward_US_tour-8422.html?t=98
• "Exclusive: Coel, Rapino Talk Live Nation Plans." Waddell, Ray. Billboard. June 23, 2008. http://www.billboard.com/bbcom/search/google/article_display.jsp?vnu_content_id=1003819679
• 'Hannah Montana' goes 3-D on Starz.." Giardina, Carolyn. Billboard. July 11, 2008. http://www.billboard.com/bbcom/search/google/article_display.jsp?vnu_content_id=1003826813
• "Hannah Montana Ticket Bonanza Spurs Officials to Investigate Resellers." Kaufman, Gil. MTV News. Oct. 8, 2007. http://www.mtv.com/news/articles/15713141005/cyrus_miley.jhtml
• "Live Nation Signs Nickelback to Album, Tour Deal." Carrick, Kyla. Bloomberg. July 8, 2008. http://www.bloomberg.com/apps/news?pid=20601082&sid=a3JvhWZnZl6Y&refer=canada
• "Prototype Band Tour and Work Schedule." Knab, Christopher. MusicBizAcademy.com. July 2002. http://www.musicbizacacademy.com/knab/articles/tourschedule.htm
• "Road grows rocky for bands." Kot, Greg. Chicago Tribune. May 25, 2008. http://www.chicagotribune.com/features/arts/chi-recession-pop-0525may25,0,6472218.story
• "Shine a Light." Internet Movie Database. http://www.imdb.com/title/tt0893382/business
• "Stones Bring Bigger Bang." Mar, Alex. Rolling Stone. July 26, 2005. http://www.rollingstone.com/news/story/7504840/stones_bring_bigger_bang
• "The Billboard.com Q&A: Devo." Friedman, Marc and Smith, Karen. Billboard. Jan. 18, 2007. http://www.billboard.com/bbcom/search/google/article_display.jsp?vnu_content_id=1003534792
• "The Billion Dollar Girl." Tirella, Joseph. Conde Nast Portfolio. Feb. 7, 2008. http://www.portfolio.com/culture-lifestyle/culture-inc/arts­/2008/02/07/Hannah-Montanas-Earning-Potential
• "The Police Lock 2007 Top Tours Spot." Pollstar.com. Dec. 31, 2007. http://www.pollstar.com/news/viewnews.pl?NewsID=9020
• "The Show Must Go On." Cohen, Jillian. The American. March/April 2008. http://www.american.com/archive/2008/march-april-magazine-contents/the-show-must-go-on

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Mechanics • 20 min read

The Mechanics of Touring: How the Live Music Industry Works

By Dmitry Pastukhov

Published April 28, 2019

The Live Music Industry: An Overview

Key players in the touring industry, artists and managers, booking agents, tour managers and technicians, festivals & venues, label & publisher, the touring cycle, 1. finding the talent, 2. building the tour strategy and producing the show, 3. booking the tour, 4. selling the tickets, 5. preparations, 6. the day x, 7. the show, tour simulation, tour gross revenue.

Touring makes up a huge portion of an artist’s life and the lion’s share of the industry’s revenues. At the same time, it is the only part of the music career that remains 99% “physical” in what is otherwise the digital-first industry. While some of the artists can easily reach millions of fans via streaming, putting together an international tour for the same crowd is an extremely complicated process.

Despite the rise of digital streaming platforms, make no mistake, live music is still the cash cow of the industry. Even though streaming revenue is expected to grow to $23 billion by 2022, by that same year the live music industry is projected to reach a whopping $31 billion in global value. Global live music revenue continues to increase (with the substantial portion of this growth attributed to the worldwide explosion of EDM festivals, which we've traced in our analyses of Chinese and Indian markets). At the same time, if we take a look at the well-established music economies, a recent Nielsen study found that 52% of Americans attend live shows at least once a year.

Nevertheless, the touring industry’s decentralized and network-based system remains a complex landscape to navigate: artists often work with dozens of local promoters, booking agents and venues in the course of a single tour. So, let’s start with the basics and identify all of the parties that are usually involved in a mid-sized tour:

Artists and their managers are the crucial elements of the live business. As we’ve laid out in our Mechanics of Management , manager’s role is to build and coordinate the artist’s team on all sides of the music industry, and that, of course, includes the concert business. The artist’s management usually takes part in the initial route planning, helps the artist pick the touring team, and serves as a bridge between the live entertainment and all other sides of the artist’s career.  

The job of the booking agent itself is very easy to define: the agent represents the artist across the live industry. Their goal is to book the tour and sell the shows to the local talent buyers, finding the venue and negotiating the price. The booking deal is usually pretty straightforward: “an artist A, represented by the agent B, commits to play an N-minute show in the venue C on the day X for a $Y. ” A good agent is the one who’s able to get all those As, Bs and Cs right — so that the venue is sold out, but there are no fans left without a ticket; the artist gets paid well, but the promoter doesn’t feel cheated, and so on. While the deal is relatively simple, it’s hard to nail all the details — especially given the fact that the show are usually booked from 8 to 24 months in advance, depending on the scope of the venue.

Promoters are the side of the live business that funds the tour and buys the shows. The landscape of concert promotion is complex, and promoters themselves come in various shapes and sizes. To make it a bit simpler, imagine that promoter is a middle-man, connecting the concert space and the artist to put together a show. You can start building that bridge from either side, however.

Tour promoters set out from the artist side, contracting musicians to perform a series of concerts, paying for rehearsals, audiovisual production, covering the travel expenses and so on. Once the show is ready, tour promoters, working closely with the artist’s booking agent, either rent venues themselves or subcontract (read: sell) the shows to the local promoters (or a mixture of both).

Local promoters, in their turn, embark from a concert space. Affiliated, or at least connected with local venues and performance spaces, they buy gigs from the agents and/or tour promoters to own the ticket sales. An art-director of a small club, a local group of party promoters, a team of the major US festival — all those event promoters of different scope would fall into that category.

In that context, the role of the agent becomes clear. If promoters are the middle-men on the side of an artist or a concert space, the agent is the middle-man between the middle-men, who builds up the network of promoters (on both fronts) and artists, serving as a liaison between all sides.

However, some of the biggest tours today can be put together without the agent’s involvement.  One of the main shifts in the live business is the consolidation of tour and local promoters under the umbrella of entertainment conglomerates, with the most notable examples of Live Nation and AEG .

Essentially, these companies have grown their operation to the point where they can build the bridge from both sides, internalizing all the processes. They both produce the concert tours and own (or, at least, establish partnerships with) a vast network of clubs and arenas, providing venues for the tour. Live Nation, AEG and alike can now create centralized international tours, offering artists 360° deals. However, touring under such exclusive promotion remains reserved for the artists of the top echelon — so most of the shows out there are still put together in collaboration between the tour promoters, booking agents and local partners.

Tour managers that stay on the road with the artist's crew are the oil that makes the wheels of the tour spin. Even a nationwide tour involves extremely complex logistics, and it becomes exponentially harder to manage the travel as the tour passes onto an international level. For the first-tier acts, staying on the road with the artist crew, technicians and 30 trucks worth of equipment can cost up to $750k per day . The goal of the tour manager is to make sure that the money doesn't go down the drain when the artist’s bus breaks down in Nowhere, Oklahoma . Getting the band from point A to point B seems to be a pretty straightforward job, but in fact, the routine of the tour manager is dealing with unexpected and solving a dozen of new problems each day — all while keeping the artists happy and ready to perform. To give you a taste of an international tour route, here's an approximate map of the Lizzo's tour in support of "Cuz I Love You" release, stretching over 64 locations and 74,575 km — and that is just the straight routs, not accounting for the actual roadways.

"Cuz I Love You" tour route, 30.04.2019 — 28.10.2019 (interactive version available here )

Tour managers also run the technician crew, and, while the technical support of the tour is often overlooked, the fact is that behind every show there’s a team that turns the performance into an audiovisual experience that the audience has paid to see. It takes hard work and expertise to assemble the stage, set up the lights and the sound system, etc. The live industry relies on the tech crew to make the show actually happen.

Festivals and venues are at the very core of the live business, providing the space and (usually) the base infrastructure for the show. As we've already mentioned, there’s often a great deal of vested interest between local promoters and performance spaces.  That means that there’s usually a local promoter “attached” to the venue, and same goes for music festivals.

Outdoor events are a distinct part of the live performance landscape. Operated by promotion groups, prominent festivals can introduce artists to new audiences, both in terms of fans and music industry executives — all while offering a fat pay-check. A major festival performance puts the artist on the map, and the promotional effect of the show itself has to be considered. It can become even more important than the immediate monetary gain — especially for independent, up-and-coming artists. That’s why the tour routing will often be structured around a couple of big music festivals — and then filled up with solo concerts along the way. A good example is Coachella: as the event takes place over two separate weekends, most of the Coachella artists also book “side-gigs” around the area during the in-between week.

Although recording and publishing industries are not directly engaged in the live business, we have to remember that the music industry is built on collaboration . By convention, most music tours follow the release of an album, and each artist has to report his set after the show to PROs so that the proper songwriters get paid. The music industry is made up of separate companies and people working on the different parts of the artist career — and, while not completely aligned, they are always interconnected.

The six key parties described above work together to bring the live show to the concert-goers. However, it’s important to mention that they won’t always be represented by separate entities. Often some of the roles will be internalized by the different sides of the touring chain: independent artists and their management might produce the tour themselves, internalizing the job of the tour promoter; conglomerate promoters, as we’ve mentioned, can now offer exclusive touring deals; and so on. That said, in the next section we will go through the tour cycle step by step to showcase how all these players interact to create the tour. As it usually is in the music industry, it all starts with the artist.

On the first step, agents and tour promoters find and sign the performer. This process is not much different from the scouting of recording or publishing A&Rs, although the criteria might differ. For some types of artists (like DJs, for example) touring can be relatively huge, while the recording revenues might stay almost non-existent. Agents and A&Rs look for different things in the artist, but the essence of scouting remains the same across the board — identify and sign the promising acts before anyone else does.

There’s another twist to talent hunting in the live industry that is probably worth mentioning. As an average show has to be booked 9-10 months in advance, tour deals are usually signed around a year prior to the actual performance. At the same time, the vast majority of concert tours follow the recording releases to build up the momentum and ride the promotion wave. That has one unavoidable implication: tour promoters and agents sign the artist to perform the material which is not written yet, which can be quite risky.

That is especially true when it comes to the debut artists, that might not even have a 40-minute set or any solid live performance skills when they get their first touring deal. There is a lot of gut feeling that goes into scouting on the live industry side — more than in the recording business at least, where licensing deals allowed labels to mediate the risks of the creative stage.

Once the artist is on board, it’s time to produce the show and define the tour strategy and routing. At this step, the tour promoter starts the preparations: building the light show and live visual materials, booking rehearsal sessions to perfect the live performance, and so on. Meanwhile, the artist, manager, agent and tour promoter work out a general timeframe and draft an approximate route of the future tour. The initial tour planning is usually done around priority shows, like major city performances or music festivals, while the rest of the route is defined in broad strokes. Unless we’re talking about the top-tier, established artists, the tour will always follow a recording release. Once the initial planning is over, the tour strategy will be defined in terms of “The artist will play a priority city/music festival in a specific area N weeks after the release”.

Ones the initial route is set out, the agent goes on to book the tour, pitching the show to local promoters and festivals. Starting with the priority shows and then filling in the details, the tour route gradually takes its final form. The agent negotiates with local promoters to pick out an optimal venue (in terms of volume, style, conditions, etc.) to host the show. As Tom Windish, a senior executive of Paradigm Talent Agency mentioned in our recent interview , picking the right venue is perhaps the hardest part of booking a tour: the material is not out yet, and there’s no way to predict the reception of the release that’s almost a year ahead. Go for a small but safe venue — and you risk losing potential ticket sales and disappointing the fans; go big, and you might end up in a half-empty room, losing on the investment and leaving every side of the deal disappointed. The agent has to make risky decisions in a situation of uncertainty, and given the venue landscape in some of the regions, sometimes that means choosing between a venue capacity of 500 and 2000 for what is reasonably a 1000-ticket show.

As for the conditions and splits of the booking contract, generally local promoters, tour promoters, and artists will split the net profits of the show. Artists might also get a flat fee to ensure they'll make some money even if all other parties do their job poorly. Usually, the more the flat fee, the less the artist’s share of the net profits (and vice versa). In that sense, the structure of the contract splits often reflects the artist's risk appetite: some artists self-produce the tour, sacrifice the flat fees and end up getting almost 100% of the net. Others might ask for a higher "safety" fee, lowering both the profits of the tour and their own stake in it.   Booking agents, in their turn, earn a flat percentage on the revenues ‘on top’ (though they might put their share back in the pot if the tour doesn’t turn out a profit). That might be a lot to take in, but don't worry, we will get back to the splits and give you a clear example with a tour simulation you can find below .

Once the tour is booked, it’s the time to promote it and sell the tickets. On paper, the ball is in the promoter’s court here, but in reality the marketing of the tour is carried out in close collaboration between all the sides — from managers and booking agents to the artists' record labels. Concert marketing is a topic worthy of a separate article, but if we were to simplify things, it could be separated into two main parts.

First is the overarching tour marketing, implemented by the tour promoter and synchronized with the record release. The tour marketing campaign utilizes wide communication channels to promote the tour in general rather than a particular show. Second is the regional marketing owned by the local promoters, which aims to boost the sales of a specific show, focusing on narrow communication channels, like radio, OOH and locally targeted digital advertising.

As far as the actual ticketing strategy is concerned, there’s no one-size-fits-all solution, so most teams go through long and numerous meetings to define tit There's a lot of decisions to be made when settling the details of the ticketing strategy — especially as technology has put new tools into the hands of promoters — but generally accepted sales process follows an “announcement → pre-sale → general sale” pattern. First, the tour is announced through the label- or artist-owned channels. That announcement is both a chance to communicate the tour to the wide audience and build up the artist’s CRM-base by nudging fans to leave their contacts to get notified when tickets go on sale. On the live event market, the buying intent might not realize itself on the first day — so having direct contact with fans and growing the artist's CRM-base is a key tool in the hands of the industry.

Then, the pre-sale takes place: first, reaching out directly to fans in the CRM database — after all, artist-fan relationships are one of the most important assets of an artist, and a fan pre-sale ensures that engaged followers will be able to get tickets to the show. Pre-sale strategy might also involve sales through “preferred partners”, focusing on direct sales through systems like American Express PreSales in the U.S., or even Spotify, that allows to reach the artist’s fans and followers across the tour route based on their listening habits and geo-location. Finally, to complete the pre-sale, local promoters can also use the local communication channels, like CRM-base of the venue and local airplay.

All the pre-sale strategies have two primary objectives. Firstly, based on the pre-sale figures (and historical concert attendance data), the promoter can roughly tell how the show is going to sell in general — and adjust the marketing campaign accordingly. Secondly, pre-sale through reasonably closed off channels can help to mediate the problem of the secondary ticket market. In fact, most of the ticketing strategies aim to sell as many seats as possible before putting the show on the general sale. Ticketing platforms like Songkick, BandsinTown or Seated allow promoters to reach the widest audience but they also puts the show at risk of selling out to the scalper bots in a matter of hours. This is especially true for the biggest artists out there — the more the demand for the show, the more attention it's going to get from the scalpers.

At this point, the tickets are on sale and the date is coming up, but there are still a lot of details to cover to make the show actually happen. Carrying out a 100-show tour means getting the artist and his tour team to a hundred different locations across the globe — all while staying on a tight budget and an even tighter schedule. Then, you have to make sure that every step of the way the artist has the infrastructure to do the actual show. Big tours are extremely complicated logistics, that require a lot of planning (usually carried out by the tour manager, affiliated with the tour promoters). Plane tickets, car rental, backline equipment shipping — this is just a fraction of what needs to be taken care of before reaching the venue.

The venue is (hopefully) sold out, the material is well-rehearsed, the equipment is delivered to the club — but the show is still to be done. Someone has to set up the sound, check tickets at the door, take care of the security, prepare the guest list and set up the bar. This routine can seem insignificant at times, but in fact, a solid on-site setup is a must if you want the audience to enjoy the performance. Surely all of us can remember that one concert with that hour-long queue, delayed performance and warm beer at the bar — a poor concert organization can ruin even the best of shows. Making sure that the concert goes smoothly is a group effort of the tour crew and the local promoter's team, from tour managers and technicians to local sound engineers and the venue stuff.

Finally, one year, tens of thousands of kilometers and thousands of man-hours later, the artist will go on stage. Then, the team will get back on the road to repeat steps 5 through 7 over and over again, until the final row of the tour announcement is crossed out. The artist will eventually get back in the studio and start working on the new material, while tour promoters and agents will begin planning the next tour. That’s the tour life .

To conclude the Mechanics of Touring, we want to share with you an example of how the tour budget and profits are structured. Below, you will find a somewhat simplified (yet accurate at its core) budget simulation of an averaged tour. While the actual “business plan” will be much more detailed, the data below should give you a good idea of who pays for the tour and who ends up making money on it.

Total Fixed and Variable Costs

So, the tour has fixed costs of 70,000€, which have to be covered regardless of the tour length, and variable costs of 7,000€, per show. Such costs structure means that (and this is true for practically every tour) we will enjoy the scale effect , as total costs per show (calculated as (FC+ VC*N)/N, where FC is Fixed Costs, VC — Variable Costs and N is the Number of shows in the tour) will go down as the tour grows, due to the depreciation of the fixed costs.

Total costs per show, for 10-150 concerts in a tour.

To go forward with the simulation, we will assume that the shows of the tour are all booked at the same price (which is never the case due to the difference in the local ticket prices, venue and market capacity, and other specifics). However, to simplify things, we will use the following revenue structure:        

Guarantee per show = 8,000€

Bonus if sold out = 2,000€

If we plotted the tour’s total profits as a function of the number of shows, P/L = (Revenue per show * N) - (FC+VC*N), we would get the following:

Tour P&L (overall profit/loss before splits)

As the total costs per show go down against a constant revenue, the tour turns a profit, breaking even at the 24th and 70th show for “Sold Out” and “Not Sold Out” scenarios accordingly.

Then the time comes to divvy up the profits. First of all, the agent takes a share of all revenues “on top”. In this simulation, we will use a 15% split for the agent. So, if the tour is made up of 100 sold out shows, the agent would get (10,000*100)*15% = €150,000 in fees. However, it’s not customary in the music industry for one side of the deal to make money while the rest are losing. So, usually, the agent won’t take their share if the tour doesn’t turn a profit. But what if the tour makes a bit of money, but not enough to cover the agent’s 15% “on top”?

There are a couple of roads the agent might take in that case, cutting their share down to 5% or taking a percentage of the profits, rather than revenue, but for purposes of this simulation, we will assume that the agent will take their part of the share, but won’t put the promoter back in the red. So, if the tour has made €5K in NET profits by selling out 25 shows, the agent will take €5,000 instead of agreed upon (25*10,000)*15% = €37,500.

Tour promoter will take a share of the NET profits (Total Revenue — Agent’s Share — Costs). That would mean that, although the tour itself will break even on a 24th show in the Song Out scenario, the tour promoter will start making money only after the 47th show (once the agent is fully compensated). If we assume the tour promoter’s share at 20%, on a 100-show, sold out tour they will make ((10,000*100*0,85) - (70,000 + 7,000*100)) * 0,2 = €16,000 . It might seem that the promoters get the short end of the stick here, but in fact, they will often make quite a bit of money in the venue itself on things like bar and parking. This can be a substantial or even primary revenue stream for the promoter, but we’ll have to leave it out of the scope of the simulation for the sake of simplicity.

As for the artist , they will earn a flat fee (in this simulation €1,000 per show) as well as the remaining 80% of the tour’s NET. This sum will make up the artist gross, which in its turn will be divided between the artist and the management (an average manager’s share is around 15% ). So, for a 100-show tour the artist gross will be: (100*1,000) + ((10,000*100*0,85) - (70,000 + 7,000*100)) * 0,8 = €164,000 , which would then be split 85:15 between the artist ( €139,400 ) and the manager ( €24,600 ).

Tour profits distribution, by party

Of course, the actual tour will be much more complicated than in the simulation above. However, it should give you a good idea of how the tour is structured and budgeted. That’s it for this episode of Mechanics, but don’t worry — we’ll keep working to bring you insights on other parts of the music industry. If you liked this article, take a look at our Mechanics of the Music Industry to get the overview of the topics we covered so far — and the ones we plan to cover in the future.

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Dmitry Pastukhov

Content creator for Soundcharts. Deciphering the music business so you don't have to.

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Jann Arden and Rick Mercer The Will They or Won't They Tour

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Jann Arden & Rick Mercer: The Will They or Won’t They Tour

Jann Arden & Rick Mercer The Will They or Won’t They Tour

A night of laughs and intimate conversation, prospera place in kelowna saturday, may 25, 2024 at 8:00 pm.

Singer/songwriter and author Jann Arden and comedian and TV personality Rick Mercer announce they’ll be hitting the road together this spring for the Will They or Won’t They Tour. Produced by Live Nation Canada, this nationwide tour will feature two of Canada’s most notable voices in a free wheeling, unscripted, unrehearsed and unrestrained discussion that will have audiences cheering on the two Canadian icons. Spend an evening of laughter, stories and successes from their careers in entertainment, spanning multiple decades.

Jann Arden  is a multi-platinum, award-winning singer, songwriter, actor and author. Arden has released 15 albums with 19 top ten singles. Her most recent album, Descendant was released in January 2022.

Arden’s accolades include 8 JUNO Awards including Female Artist of the Year and Songwriter of the Year, 10 SOCAN Awards and 4 Western Canadian Music Awards to name a few. In 2020, she was announced as an inductee into the Canadian Music Hall of Fame joining the ranks of Canadian music icons including Alanis Morisette, Bryan Adams, Barenaked Ladies, Bachman Turner Overdrive, Joni Mitchell, Shania Twain and many more. Arden has also been inducted into the Canadian Association of Broadcasters Hall of Fame, has a Star on Canada’s Walk of Fame and has been awarded the Order of Canada.

Arden has written six books, the most recent being her debut novel THE BITTLEMORES available November 7th, 2023. Her most recent memoir IF I KNEW THEN: Finding Wisdom in Failure and Power in Aging follows Arden’s 2017 Canadian best-seller, FEEDING MY MOTHER: Comfort and Laughter in the Kitchen as My Mom Lives with Memory Loss, which spent a combined 44 weeks on The Globe and Mail bestseller lists.

Season 3 of Arden’s CTV hit original comedy series JANN premiered in September 2021. With Arden serving as co-creator and star of the show where she plays a fictionalized version of herself, Season 1 of Jann was the most-watched new Canadian comedy series of the 2018-19 broadcast season. Other screen credits include guest appearances in Wynonna Earp (Syfy), Private Eyes (Fox), The Detour (TBS), and Workin’ Moms (Netflix).

Whether she is captivating audiences with her heartfelt music, entertaining them with her quick wit or sharing her written word in a boldly honest voice – Arden is a Canadian original – a brilliant multi-dimensional talent.

Rick Mercer , Canada’s top political satirist, returned to CBC Television in September, 2017 for the 15th and final season of the  RICK MERCER REPORT . The series ends on April 10, 2018 with an hour-long special. At the March, 2018 Canadian Screen Awards ceremony, the series received the Academy Icon Award “for its ongoing contribution to the media industry within Canada and globally.”

Rick’s weekly helping of topical satire, funny takes on the week’s top stories, Canada wide adventures and famous rants have made this show a perennial audience favourite. Created by Mercer and Gerald Lunz, the show debuted in January 2004 as  Rick Mercer’s Monday Report  and moved to Tuesday nights in 2005.

At the start of 2017 the Department of Canadian Heritage announced that Rick would be a Canada 150 Ambassador throughout  the year celebrating the 150 th  anniversary of Confederation. On July 1, 2017 Rick hosted the three-hour CBC Television special Canada Day 150! From Coast to Coast to Coast featuring performances in every province and territory across the country. In March, 2018, Rick received the ‘best host’ Canadian Screen Award for that special.

On July 1, 2014, it was announced that Rick was made an Officer of the Order of Canada and he was inducted in a ceremony at Rideau Hall in September 2015.

In October, 2016 Rick received The John Drainie Award from ACTRA in recognition of his contribution to Canadian broadcasting and for “your unique approach to raising awareness of Canadian politics and current affairs through the award-winning series This Hour Has 22 Minutes, Made in Canada, and The Rick Mercer Report.”

On New Year’s Eve, 2016 Rick hosted the CBC Television special  Canada’s   New Year’s Eve –Countdown to 2017 , a cross-country musical celebration from Parliament Hill ushering in the nation’s 150th birthday year.

Mercer launched his television career in 1993 as one of the creators, performers, and writers on the hit topical weekly show  This Hour Has 22 Minutes . In 1998 he joined Gerald Lunz and Michael Donovan to create the satirical dramatic series  Made In Canada , where he again starred and contributed as a writer. In 2001 his CBC Television special  Talking To Americans  became the highest rated Canadian comedy special ever with 2.7 million viewers.

Mercer went to Afghanistan in the fall of 2003 to entertain the troops and tape  Rick Mercer’s Christmas in Kabul  a special for CBC Television and returned twice to entertain Canadian Forces. He is the sole civilian recipient of the Canadian Armed Forces Commander Land Forces, Command Commendation in recognition of his support of Canadian peacekeepers.

Rick Mercer began his career in comedy performing and writing in his hometown St John’s, Newfoundland with a series of one-man stage shows. His solo Show Me the Button, debuted at the National Arts Centre in 1990 followed by a national tour. Subsequent stage performances were in I’ve Killed Before, I’ll Kill Again (1992) and Canada: A Good Place to Hide (1995).

He is the recipient of nearly 30 Gemini Awards and Canadian Screen Awards for television writing and performance and in 2015 again won the CSA for ‘Best Performance in a Variety or Sketch Comedy Program or Series.’ In 2009 The Rick Mercer Report took home the prestigious Golden Rose Award for ‘best comedy’ at the international Rose d’Or Television Festival in Lucerne, Switzerland.

Mercer is the author three best-selling books: Streeters, a collections of his rants from  This Hour Has 22 Minutes , and from  The Rick Mercer Report  two collections of rants,Rick Mercer Report: The Book (2007) and A Nation Worth Ranting About (2012). Mercer has also written for Time, Maclean’s, The Globe and Mail, and The National Post.

In November, 2015 he hosted the Giller Awards on CBC Television for the second time and will host them again in November, 2016. He has also hosted the East Coast Music Awards, The Gemini Awards, Juno Awards, the annual Canada Day show from Parliament Hill, and CBC Television’s  The Next Great Prime Minister . In 2014 Rick co-hosted the CBC Television’s Canadian Country Music Awards show with Jann Arden who is also a frequent guest on  The Mercer Report.

He has appeared in a number of feature films, including the Quebec hit Bon Cop, Bad Cop.

In May 2015 he received the Stanley Knowles Humanitarian Award from the Ontario Public Service Employees Union and in October he was inducted into the Canadian Disability Hall of Fame.

Rick has received ACTRA Toronto’s Award of Excellence, the King Clancy Award from the Canadian Foundation for Physically Disabled Persons and The Rick Hansen Award of Excellence given by The March of Dimes for his work benefiting the cause of people with physical disabilities. He was recipient of a Diamond Jubilee Medal in celebration of the Queen’s sixty years on the throne and in October 2013 accepted the prestigious Woodrow Wilson Center Award for Public Service.

He is the recipient of numerous Canadian Comedy Awards, the Sir Peter Ustinov Award at the Banff Television Festival, and the Comedy Icon Lifetime Achievement Award at Ottawa’s Cracking Up the Capital Comedy Festival. He was named one of the Artists of the Year by the Newfoundland and Labrador Arts Council and received the National Arts Centre Award at the Governor General’s Performing Arts Awards in 2004. In April 2014, he was given The DAREArts Leadership Award from a charitable organization that uses educational experiences to empower children and youth facing life challenges.

In 2006, Rick and Belinda Stronach founded the charity Spread the Net, which raises funds to stop the spread of malaria by providing mosquito nets for African children. Every year the season finale of The Rick Mercer Report features the Spread the Net Student Challenge which has raised now over one million dollars. Other charities he has been active in include Hope Air, PFLAG (Parents Families & Friends of Lesbians & Gays), and Toronto’s Casey House, a hospice for people living with HIV/AIDS.

Rick holds Honorary Doctorates from Memorial University, Laurentian University, University of British Columbia, McMaster University, Bishop’s University, Brock University and the University of Guelph. In 2014, he received Honorary Doctorates from the Royal Military Academy and from University of Western Ontario and York University.

In 2019, Rick was bestowed with the Lifetime Achievement award by the Governor Generals’ Performing Arts Awards. Three years later, in 2022, he headlined the “Comedy Night in Canada” stand-up tour organized by Just for Laughs as part of the National tour. Additionally, Rick was awarded the prestigious Stephen Leacock Medal for Humour for his critically acclaimed and bestselling memoir, “Talking to Canadians.” These achievements reflect Rick’s notable contributions to the field of performing arts and his aptitude for delivering exceptional comedic performances.

He is on the board of The Historica-Dominion Institute, an organization dedicated to promoting the study of Canadian history, identity and citizenship.

Rick is a native of St. John’s, Newfoundland.

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The President and Dr. Biden are delighted to welcome members of the public to tour the White House. Public tour requests are scheduled through your Member of Congress and their Congressional Tour Coordinator. Constituents may reach your Member of Congress and Congressional Tour Coordinator through the U.S. House of Representatives Switchboard at 202-225-3121, the U.S. Senate Switchboard at 202-224-3121, or online at  www.congress.gov/members .

Consistent with prior practices, public White House tour requests must be submitted a minimum of 21 days in advance and no more than 90 days in advance of the requested tour date(s). Reservations cannot be accepted for tour dates outside this 21 – 90-day window.  

Public tours are typically available from 9:30 AM to 12:30 PM Tuesday, Wednesday, Thursday, Friday, and Saturday, excluding Federal holidays or unless otherwise noted. If your tour is confirmed, please note that you will be assigned a specific time.  All White House tours are free of charge. The White House tour schedule is subject to change, with little notice, based on inclement weather or official use.

If you are a citizen of a foreign country, please contact your embassy in Washington, D.C. for assistance in submitting a tour request.

Identification Requirements

All U.S. citizens ages 18 and older, and foreign nationals of all ages (including children), must present a valid, government-issued photo ID upon arrival for their tour. Acceptable forms of identification are below.

U.S. CITIZENS

• United States Driver’s License
• Valid United States Passport
• United States Military ID

FOREIGN NATIONALS

• Valid Passport
• Alien Registration Card
• Permanent Resident Card
• U.S. State Department Issued Diplomatic ID Card

A U.S. driver’s license is not an acceptable form of identification for foreign nationals. No foreign-issued state IDs, foreign-issued driver’s licenses, expired passports, photocopies, other transmissions of these documents, or other forms of identification will be accepted. Individuals without acceptable identification, or whose identification does not exactly match the information previously registered, may be denied entry.

Prohibited Items

• Bags of any kind (including fanny packs and clutches)
• Cameras with detachable lenses
• Electric stun guns
• E-cigarettes
• Knives of any kind
• Martial arts
• Tobacco Products
• Toy Weapons
• Video cameras
• Weapons/devices
• Any pointed object
• Any other item determined to be a potential safety hazard

Please note that storage facilities are not provided during your visit. Individuals who arrive with bags or prohibited items will not be permitted to enter the White House.

Permitted Items

• Baby carriers worn on the body
• Breast pumps
• Cell phones
• Compact cameras with lenses less than 3 inches
• Umbrellas without metal tips
• All items needed for medical purposes (i.e. wheelchairs, EpiPens, medication, etc.)

Getting Here

Use of public transportation is strongly encouraged, as there is no parking available on the White House complex and street parking is limited. The closest Metrorail stations to the White House are Federal Triangle (blue and orange lines), Metro Center (blue, orange, silver, and red lines), and McPherson Square (blue, orange, and silver lines).

The White House Tour entrance is located in Sherman Park at 15th Street NW and Alexander Hamilton Place NW. If arriving by rideshare, use the White House Visitor Center (WHVC) as the drop-off address. The WHVC is located at 1450 Pennsylvania Avenue NW, Washington, D.C. 20230, which is one block from the White House.

Restrooms are located at the White House Visitors Center, located at 1450 Pennsylvania Avenue NW, Washington, D.C. 20230. There are no restrooms available once you arrive for your tour.

Accessibility

The White House tour route is wheelchair accessible. Visitors who wish to use a White House wheelchair should notify a U.S. Secret Service officer upon arrival.

Guide animals are permitted in the White House.

Health and Safety Guidance

Guests who receive a confirmed tour reservation will be issued a White House Tour Pass ahead of their tour date containing pertinent health and safety guidance.

Know Before You Go

• Tours are self-guided and last approximately 45 minutes
• Eat a snack and stay hydrated prior to arrival.
• Dress for the weather, knowing you will be outside before your tour.
• Arrive 15 minutes before your scheduled tour time.
• No late arrivals are accepted.
• All guests must be previously registered via the RSVP link provided by the White House.
• Please silence your cell phone and refrain from phone calls during the tour.
• No flash photography or video recording is permitted during your tour.
• Visitors may call the 24-hour Visitors Office information line at 202-456-7041 for latest updates and information relevant to White House tours.

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How It’s Like to Be in a Touring Band

The support and connection of your bandmates, combined with your talent, allow you to shine on stage. Having a band creates lifelong friendships and memories!

It is an experience that no musicians forget. Playing and singing, hanging out with friends, writing songs with band members, and performing them in front of their friends, family, and fans can hardly be described with words. It’s a feeling like no other. 

Here are a few frequently asked questions with thoroughly explained answers about what it’s like to be in a touring band!

How Much Do Bands Get Paid for Touring?

The price depends on the band and the place they perform. Live performances can earn a band as much as $25,000 per show, depending on if they have a track record or not. In 2021 the median pay for bandmembers was around $30.49 per hour, while the median annual wage for all workers was around $45,760.

As of 2022, the Bureau of Labor Statistics reported that the average annual salary for a touring musician in the United States was $48,370, which is around $23.25 per hour. As for wedding occasions, wedding bands can earn around $5,000 per performance. Overall, revenue from live music is expected to reach $30.55 billion by the end of 2022. 

What Do Touring Musicians Do?

Touring musicians travel to different venues in different countries and cities to perform live music. Touring musicians can be a part of a band, ensemble, or orchestra. When on tour, they travel to different places according to their seasonal concert schedule.

Such a concept refers to band members playing live shows almost every night in a different city. Sometimes, they can perform in one city a few nights in a row due to high popularity, demand, and fan base.  

They usually have their touring bus equipped with essential things while that far destination, they travel with an airplane. The tour can last a few months up to a year. 

Do Bands Play Slower Live?

Bands usually play faster than slower when performing live. This is because of the high levels of energy and adrenaline they experience when performing, and live performances generally are generally fast-paced. Also, bands are usually limited in time, so they try to sing as many songs as possible in those 2 hours they have on stage. 

However, sometimes bands can perform slower when doing live shoes. Slower or quieter songs make this decision particularly impactful, as they lend themselves to meditative or dramatic performances. Slowing down a deep song and letting people truly absorb the lyrics can be extremely powerful, especially when the song is meaningful and deep.

Aside from that, bands play slower when performing live shows so the audience can sing along. If the audience knows the lyrics, slowing the music can work, but it’s usually a fast-paced song that takes more work to follow.

Is Being in a Band Stressful?

Being a traveling musician means being on the road all the time, living with your bandmates, and working together. In addition to being one of the most rewarding and beautiful things out there, it is also one of the most stressful.

Whether a musician is a newbie and this is their first tour, semi-pro or professional musicians’, stress is an inevitable thing they must endure. This refers to all kinds of bands and solo artists as well. 

One of the most stressful things a touring band can experience are problems with the sound system, the droopy mike stand, problems with the wardrobe, putting instruments in the hold, cancellation of the shows, no-full gigs, practices, keeping up with the rhythm of the tour while getting enough rest and sleep and healthy diet, to name a few. 

There are so many things that are hard to name, but once the musician goes out on that stage and performs from the bottom of their heart in front of their fans, all that are struggling to go down the drain. 

Do Bands Sleep on Tour Buses?

Yes, band members usually sleep on buses when touring. Sometimes when they stay at one place for a couple of days, they can stay in a hotel. Also, when there are overseas tours, bands, and individual artists can go by plane or even own a private plane for tour purposes. 

The shows usually start around 8.00 PM and are not done before 10:00 PM, and the equipment must be loaded after it’s ended. In the evening, the artists sleep on the bus so they will be ready for their next venue. As for the bus drivers, they sleep in hotel rooms during the day so they can drive during the night.

Who is the Highest Paid Touring Musician?

The highest-paid touring musician is Ed Sheeren, with an actual gross of $776,200,000; after Ed comes the rock band U2, with an actual gross of  $736,421,584.

The band that toured the most during their career is Rolling Stones. Since 1962, they have sold more than 200 million tickets worldwide.

In Conclusion

Touring is never an easy job, but it is one of the most wonderful experiences that is difficult to describe with words. Performing every night in front of your loved ones and fans worldwide can be a pure joy.

All that stress, postponed concerts, problems with the sound system, droopy mikes, not-fit wardrobes, and unslept nights are once forgotten when the band steps on the stage. 

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How To Visit Buckingham Palace In 2024: Tickets, Hours, Tours, And More

Eddie Saint-Jean Last Updated: January 18, 2024

Don’t just stand outside and look for the full-mast flag that means the monarch is home — go in! Buckingham Palace is the British Royal Family’s official residence and even you can visit. That said, it can be tricky and you’ll need to plan ahead. To help you out, I’ve put together this guide with info on tickets, tours, what to see, and the palace’s history. Here’s how to visit Buckingham Palace.

Pro Tip:  Planning what to do on your trip to London? Bookmark this post in your browser so you can easily find it when you’re in the city. Check out our  guide to London  for more planning resources, our best Buckingham Palace tours  for a memorable trip, and the top things to do in London .

Visiting Buckingham Palace: What We’ll Cover

Witnessing the Changing of the Guard at Buckingham Palace is one of the most iconic things you can do in London—after visiting the palace itself, of course.

As the official London residence of the British monarch since 1837, it is replete with all the opulence you would expect of kings and queens. If it’s on your bucket list, you’ll find out what you need to know about how to visit Buckingham Palace in this guide. Here’s what we’ll cover:

• Opening hours and tickets
• How much time to budget for your visit
• What to see in Buckingham Palace
• Guided tour options
• Facts and history of Buckingham Palace
• Places to eat nearby

Not ready to book a tour? Find out if London tours are worth it .

Buckingham Palace Opening Hours and Tickets

Opening Hours:

Visitors have access to the Buckingham Palace State Rooms and the Palace Garden for several weeks throughout the year. But for obvious security reasons, these can only be palace guided tours. Available dates vary based on the tours that the palace offers, but here’s what’s happening in 2023.

Palace-guided tours: Fridays, Saturdays, and Sundays from November to May. Tours usually start at 4:00 pm on Fridays, and 11:00 am through 2:30 pm on Saturdays and Sundays.

Summer tickets: July 14 – September 24, with State Rooms closed on Tuesdays and Wednesdays. Tickets have a timed entry so you’ll want to book ahead , but the palace is open from 9:30 am to the last admission at 5:15 in July and August, and 4:15 in September.

The Changing of the Guard ceremony takes place outside the palace building but within its gates. The public can view this ceremony without a ticket around 10:40 to 11:00 am every day. This time is not exact and is also dependent on weather. The ceremony only happens everyday in June/July and on Mondays, Wednesdays, Fridays, and Sundays for the rest of the year.

Tickets and Tours:

Tickets must be booked online or booked here for a guided tour that includes the area around Buckingham Palace.

Palace-guided tours in the winter and spring:

Adults: £90 Family guided tour: ages 5-17 is £49.50, under 5 is free

Summer Buckingham Palace tickets if purchased in advance:

Adults: £30 Young adults (18-24): £19.50 Child (5-17): £16.50 Disabled: £16.50 Under 5: Free Families: automatic discount for 1 adult and 2 children or up to 2 adults and 4 children

Pro Tip: Your tickets can be validated for up to a year if you ask a Warden to stamp it before leaving!

Address: Buckingham Palace

Not ready to book a tour? Check out our article on the best London tours to take and why .

How Long To Spend at Buckingham Palace

Short Answer: 2.5 hours for the State Rooms or 4.5 hours for the Royal Day Out

There are 19 State Rooms (the palace has a total of 775 rooms) so a meaningful visit will take a few hours. You’ll have access to several of the most ornately decorated rooms with treasures from the Royal Collection, paintings by old master artists, expensive sculptures, and elegant English and French furniture.

Also, you get to see the opulent and historic Throne Room. You might agree as I do that the White Drawing Room is even grander than the Throne Room. Find out for yourself!

What To See In Buckingham Palace

On your visit to the royal residence, make sure you see these incredible rooms and sights. There’s a lot of history and opulence to take in as you see Buckingham Palace. For a more detailed list with history, check out our article on the top things to see at the palace.

• The Changing Of The Guard
• The Throne Room
• The Queen’s Gallery
• The White Drawing Room 
• The Palace Garden
• Treasures Of The Palace
• The Ballroom
• The Gold State Coach
• The Diamond Jubilee State Coach
• The Grand Staircase

Buckingham Palace Tour Options

Guided tours to see Buckingham Palace, the Changing of the Guard, and other important areas around this royal area are the best way to get to know this historic site. We offer several top-rated tours that you can choose to make your vacation in London the best ever.

The Buckingham Palace Royalty Tour (2.5 hours)

Anyone can take an audio-guided tour, but if you book this tour, you get the special attention of a tour guide who knows incredible stories you won’t hear on that audio guide. Plus, you’ll first explore the serene St. James Park where you’ll hear about it’s transformation from a swampland to a deer park and a quiet oasis.

You’ll feel like you know the royals even better after exploring the Mall where official processionals and the Changing of the Guard have happened for centuries. Rest assured that your guide will get you to the right door at Buckingham Palace after entertaining you with stories of what you’ll see inside.

See tour itinerary, price, and description

London Walking Tour with Westminster Abbey and Changing of the Guard (3 hours)

Clients love our skip-the-line access to the famous Westminster Abbey where they can enjoy a few minutes of quiet time with their guide in the nave of the abbey before the public enters.

There’s more to see at Westminster than you think, so having a knowledgeable guide to lead you through the Quire, Poet’s Corner, and more, is extremely helpful. And if the Changing of the Guard happens on the day of your tour, they’ll be sure to help you see it from several vantage points.

London in a Day Tour with Westminster Abbey and Tower of London (7 hours)

Our top-selling London tour is a must-do when you’re traveling to the heart of the United Kingdom. Your local guides are highly qualified and can share an unreal amount of cool facts and stories about London’s iconic sites and history. Starting at Westminster Abbey, you’ll be amazed at just how much of London you can see on foot and on a Thames river cruise.

Your skip-the-line tickets help you maximize your time, and your guides know where the best spots to see the Changing of the Guard are found. Your final stop at the Tower of London brings London’s more grisly history to life. It’s the perfect place to end your busy day tour of London!

Not ready to book a tour? Find out if sightseeing tours in London are worth it .

Buckingham Palace Facts and History 

• The palace has a total of 775 rooms, 19 of which are state rooms open to the public. 
• There have been many properties on the site. From 1698, however, it was known as Buckingham House and was the home of the Duke of Buckingham, where it gets its name.
• In 1761, it became known as the Queen’s House after George III bought it for his wife Queen Charlotte.
• It became a palace for the first time in the 1820s when George IV had it lavishly restructured fit for a king.
• The royal family made it their official residence in 1837, and Queen Victoria was the first royal to officially live there as head of state.
• The palace entertains 50,000 invited guests a year. Also, it averages 578,000 paid visitors a year.
• The Changing of the Guard ceremony happens daily at 10.45 am. King Henry VII made them the official Royal Body Guard 500 years ago. 
• During World War II, the palace was repeatedly targeted but survived nine bombing raids. The Royal Family refused to move out despite concerns for their safety.
• The palace is heavily protected but in 1982 an intruder called Michael Fagan broke into the Queen’s bedroom while she was sleeping. When she awoke, they had a brief chat before she fled the room and raised the alarm.

Places To Eat Nearby

The good news is your dining options are plentiful, but you’ll need to choose wisely. You can dine like royalty on Buckingham Palace Road, very close to the palace. Or, on the same stretch of road, there are sandwich bars with a more laid-back atmosphere and casual dining.

Take your pick of traditional British fare or more exotic cuisines. Here are a few suggestions, but if you’d like more options, also check out our guide to the best restaurants near Buckingham Palace . 

The Laughing Halibut : £ | Takeaway —Grab some old-school fish and chips to take away or take a seat inside. It’s a great place for a quick lunch with good reviews.

Bon Gusto : ££ | Italian Cuisine —Fancy a change from British grub? Try this Italian restaurant with a selection of meat, seafood, and pasta dishes. There are also soups and Mediterranean salads.  

The English Grill : ££££ | Traditional British Fare —This restaurant promises you’ll dine like royalty. Indeed, it is ornately decorated with regal furniture and furnishings. You can enjoy traditional afternoon tea in a garden overlooking the Royal Mews. Also, the range of steak, salad, and dessert dishes (to name a few) are product-sourced from the same Royal suppliers as Buckingham Palace.

Find the best places to stay

Where To Stay in London

Deciding where to stay at a great hotel in London can take some effort since it’s a massive city. Make your decision easier with our list of the best neighborhoods and hotels in London.

Reader Interactions

Comments (10).

June 30, 2022

We Want to visit inside Buckingham Palace either on 13th or 14th July. Can you help us tour and visit it?

July 5, 2022

We don’t currently offer Buckingham Palace tours, but we’d love to take you around London to see the Changing of the Guard at Buckingham Palace, plus even more great locations on our London in a Day tour and Westminster Abbey tour .

July 1, 2022

Will we be able to turn up at Buckingham Palace and buy a ticket on the day? Shanthi

[email protected]

Not necessarily. Since the royal family uses Buckingham Palace, schedules and public access are subject to changes at short notice. Additionally, tours are not available every day. It’s best to plan ahead and purchase tickets before you arrive to have the best chance of entering the palace.

September 19, 2022

It’s my 70th birthday august 21 2023 and I would like to bring my children/grandchildren to visit Buckingham Palace. There will be 2 x Oaps, 3 adults, 1 child aged 9 and 1 aged 4. What would you recommend and at what cost? Thank you for your help Best wishes

September 21, 2022

What a fun trip! You can check their website for tickets next season. The palace is only open for 10 weeks in the summer, and it’s closed early this year due to the queen’s death. You can also book a trip out to Windsor Castle and Stonehenge for fun day trip to another royal residence.

In your ‘blurb’ “It became a palace for the first time in the 1820s when George VI had it lavishly restructured to be fit for a king.” This is incorrect. In actual fact it was ‘King George IV’ who died in 1830 King George VI was Queen Elizabeth II father and died in 1952

Thanks for letting us know about that typo! It makes a difference of generations!

I purchased four Buckingham Palace tour tickets for Thursday, September 29. I do have my confirmation email, but I don’t have the actual ticket email. If I would email my customer and order numbers to an office or a person, is there some way I could please get the email with the actual tickets.

Any help you can provide would be greatly appreciated. Thank you for your time and assistance with this matter.

You’ll need to check with the company from whom you purchased your ticket as they’ll have the accurate information.

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Will Taylor Swift add 'Tortured Poets' to international Eras Tour? Our picks.

A double album. Thirty one songs. Two hours and two minutes. In the spaces between the international, record- breaking Eras Tour, Taylor Swift released her 11th era: "The Tortured Poets Department." But will the behemoth tour make room for the newest addition to Swift's vast catalog and how?

"The Tortured Poets Department" showcases the singer's mastery to connect words like puzzle pieces seamlessly depicting the human experience and complex themes of false wedding promises, relationship imprisonment, break-ups and drug escapism, religion versus rebellion, childhood retrospection and the duality of internally suffering while externally performing. It would be a surprise for her not to push this body of art into the spotlight.

But how it fits into the 44-song three hour and 15-minute Eras tour is anyone's guess. And we won't find out until she resumes the tour on May 9 in Paris. I'll be there.

Read Melissa Ruggieri's review Taylor Swift's 'Tortured Poets' is hauntingly brilliant, even the 15 surprise songs

Whether or not she's incorporating the era has already been decided. Swift is 13 steps ahead . She plans her moves years in advance. There is a two-month break from the tour and she has been spending time in Los Angeles. Her team of dancers have not been as active on social media possibly because they're rehearsing a new set. Or maybe it's a coincidence?

The simplest path would be to absorb some of the the 31 songs into the acoustic set that comes after "Bad Blood" during the "1989" era. Swift has used the 2024 surprise songs to play mash-ups on the guitar and the piano. It's when she makes announcements and it's a custom gift to concertgoers and fans watch in envy on livestreams from around the world.

'Tortured Poets' release live updates What to know as Taylor Swift's new album debuts

More likely, she will add a "Tortured Poets" set. The show is segmented, allowing a new era to squeeze in. She could open the show with the new era, although "Miss Americana and the Heartbreak Prince's" opening line is a perfect opening for an artist who has released seven albums and hasn't seen fans: "It's been a long time coming." She could end the show with the set, but "Karma" is a good show closer.

Cue the confetti. If she ends the tour with "Tortured Poets," I'm guessing "I Can Do It With a Broken Heart" is the closer.

The writing shines bright like Swift's glittering sequin stars which is reminiscent of and relative to "Folklore" and "Evermore." For the flow of the concert, it makes more sense to not place "Tortured Poets" next to these albums. The show flows with a narrative that spans almost two decades with highs and lows of energy. Two areas that could be good: after "Reputation" and before "Speak Now" or after the secret songs and before "Midnights." Maybe she dives into the stage to swim to the an asylum of typewriters and tormented thoughts.

The four eras with the most amount of songs are the latest records she owned that aren't re-records: "Lover" (six songs), "Folklore" (seven songs), "Evermore" (five songs) and "Midnights" (seven songs). Will she follow that flow? Will she cut songs from these eras?

I could see her performing the lead single "Fortnight," title track "The Tortured Poets Department," Eras Tour song "I Can Do It With a Broken Heart," "Down Bad," "Who's Afraid of Little Old Me," "thanK you aIMee" and "So High School."

Swift holds the answer key. Sixty-nine shows are left on the recording shattering magnum opus for 2024.

Don't miss any Taylor Swift news; sign up for the  free, weekly newsletter "This Swift Beat."

Follow Taylor Swift reporter Bryan West on  Instagram ,  TikTok  and  X as @BryanWestTV .

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4 travel secrets of the mega-rich, from a vacation planner for billionaires

Imagine closing down Versailles to enjoy a private candlelit dinner.

That's the reality for the ultra rich, and people like Jaclyn Sienna India make it happen.

India is the founder of a Sienna Charles , a members-only travel agency that caters to wealthy clients who take million-dollar trips around the world. India recently discussed her work and billionaire clientele in a Q&A with The Cut .

Her company's services include a $75,000 annual tier for unlimited travel and dining reservations, and a $150,000 yearly option to tack on a "lifestyle" component. That includes "arranging spa appointments, recruiting house staff, helping clients build a home gym, whatever they need," India told The Cut.

She shared some of the travel secrets of her unthinkably wealthy clients:

1. Penthouse suites are out, yachts are in

Most of India's clients are 55- to 75-year-old ex-finance workers in New York City, but in recent years, she's seen more interest from people in Dallas and Los Angeles who work in finance or film. Her newest clientele are tech VIPs in their 40s and 50s.

India's typical clients are no stranger to booking hotel suites for $30,000 a night, but it's becoming more passe.

The mega-rich want their accommodations loaded up with their preferred foods, fancy water and drinks as well as other, more-specific requests (a space with seven dog beds, for instance), but training hotel staff on everything within a few days is inefficient.

The trendier thing to do is stay at a villa or yacht owned and rented out by billionaires.

"[The owner] has customized everything, picked his staff, and trained them for expectations that are otherworldly," India said. All of that means her clients can "relax deeply because the staff knows how to deliver excellence every minute."

2. They don't deal with luggage

Unlike the rest of us, the rich aren't worried about airline baggage fees. Then again, they're not schlepping their suitcases at all.

Instead, they ship it, India said: "Just throw a FedEx label on it, and it arrives at your destination the next day."

3. They're not dining out at fancy restaurants

Though Sienna Charles staffers know all the best restaurants and how to get impossible reservations, India says many of her clients don't eat out when they travel.

That's what their private chefs are for, she says.

The chefs travel with clients and help maintain their diet and medical or health goals, India said. She gave an example of one client who traveled to San Francisco for two weeks, brought his chef and only ate out once.

"He has all the money in the world, but he didn't want to go to Michelin-star restaurants," India told The Cut. "A lot of our clients work really, really hard, and it's important for them to have consistency and routine wherever they go."

4. They want unique experiences

If you want to rub shoulders with a billionaire this summer, India said they're increasingly trading the typical hotspots (think: Capri) for more "unique experiences."

"They're taking the yacht around Sardinia or going to smaller islands in Sicily," she said.

Sometimes her clients have specific travel requests, like wanting to take a family trip to Rome in a specific timeframe. More often than not, they're pretty general about their vision and want help with the specific details.

One recent tech billionaire "told me they want to go to Europe in August for nine days, just the couple, no kids," India said. "And that's all they said. This is pretty common."

As for those with more modest means, India's best advice is to "normal" people is to steer away from places where celebrities and influencers abound. Or, at least, recognize that you're unlikely to get a similar A-lister experience if you go.

For example, she said, "The Hamptons are good if you stay at somebody's house and lay out at their pool and you have beach access. But if you go to be a lookie-loo and you're staying at a hotel and the traffic sucks and you can't get into a restaurant because nobody knows who you are, then that's probably not the best destination."

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Rock trailblazer Heart reunites for a world tour and a new song

NEW YORK — Heart — the pioneering band that melds Nancy Wilson’s shredding guitar with her sister Ann’s powerhouse vocals — is hitting the road this spring and fall for a world tour that Nancy Wilson describes as “the full-on rocker size.”

“I’ve been strengthening. I’ve got my trainer,” she says. “You go one day at a time and you strengthen one workout session at a time. It’s a lot of work, but it’s the only job I know how to do.”

The Rock & Roll Hall of Famers who gave us classic tracks like “Magic Man,” “Crazy on You” and “Alone” will be playing all the hits, some tracks from of their solo albums — like Ann Wilson’s “Miss One and Only” and Nancy Wilson’s “Love Mistake” — and a new song called “Roll the Dice.”

“I like to say we have really good problems because the problem we have is to choose between a bunch of different, really cool songs that people love already,” says Nancy Wilson.

Like “Barracuda,” a sonic burst which first appeared on the band’s second album, “Little Queen” and is one of the band’s most memorable songs.

“You can’t mess with ‘Barracuda.’ It’s just the way it is. It is great. You get on the horse and you ride. It’s a galloping steed of a ride to go on. And for everybody, including the band.”

The tour kicks off Saturday at the Bon Secours Wellness Arena in Greenville, South Carolina, and will hit cities including Atlanta, Boston, Baltimore, Pittsburgh, Milwaukee, Cleveland, Detroit, as well as the New Orleans Jazz and Heritage Festival and Red Rocks Amphitheater in Morrison, Colorado. International dates include stops in London, Oslo, Berlin, Stockholm, Montreal and Glasgow.

The band’s Royal Flush Tour will have Cheap Trick as the opening act for many stops, but Def Leppard and Journey will join for three stadium dates in Cleveland, Toronto and Boston this summer.

Ann and Nancy Wilson will be filled out by Ryan Wariner (lead and rhythm guitar), Ryan Waters (guitars), Paul Moak (guitars, keyboards and backing vocals), Tony Lucido (bass and backing vocals) and Sean T. Lane (drums).

The tour is the first in several years for Heart, which was rocked by a body blow in 2016 when Ann Wilson’s husband was arrested for assaulting Nancy’s 16-year-old twin sons. Nancy Wilson says that’s all in the past.

“We can take any kind of turbulence, me and Ann, and we’ve always been OK together,” she says. “We’re still steering the ship and happy to do it together. So we’re tight.”

The new tour will take them to Canada, which was warm to the band when they were starting out as what Nancy Wilson calls “a couple of chicks from Seattle.” She recalls Vancouver embracing Heart, and touring in one van across Canada in the dead of winter on two lane highways.

The Wilson sisters broke rock’s glass ceiling in the ‘70s and Nancy Wilson says they only had male influences to look to, like Led Zeppelin, Pink Floyd, the Beatles, the Rolling Stones and the Moody Blues.

Now she says she looks out and loves seeing generations of female rockers. “You have boygenius and you have Billie Eilish and you have Olivia Rodrigo and so many amazing women — Maggie Rogers and Sheryl Crow, who calls us her big influence. And then Billie Eilish might have Sheryl Crow as her influence. So it’s a really nice legacy to pass along. I like to say we’re the OG — the original gangsters — of women and rock.”

Heart has made it into the Rock Hall, won Grammys, sold millions of albums and rocked hundreds of thousands of fans but Nancy Wilson has one place she’d still like to shine.

Next year will mark the 50th anniversary of their debut album, “Dreamboat Annie,” which was the same year that “Saturday Night Live” started. “So we’re actually kind of putting it out there — Heart never played on ‘Saturday Night Live.’ But what about the 50th birthday party with Heart?”

Mark Kennedy is at http://twitter.com/KennedyTwits

'Where Do We Go Now?:' Erie's First To Eleven hits road for East Coast tour

Erie's own First to Eleven is hosting a special show in Erie, bringing their "Where Do We Go Now?" tour home.

The Erie-based cover band kicked off their tour in April bringing their music to a number of major cities, including St. Louis, Baltimore, Chicago, Detroit, Buffalo and Pittsburgh. First to Eleven's band that performs original music without Ryan Krysiak, Concrete Castles, released their most recent album "Brand New Me" in August 2023.

"We’re doing a few more cities, a few bigger rooms and kind of hitting some markets we never touched on before," said Audra Miller, the band's lead vocalist. "Our last tour was pretty much just the East Coast and now we’re doing more of the East Coast and making our way into the Midwest a little bit."

During the Erie show April 26 at BigBar, 14 E. 10th St., the band will partner up with another Erie band, Daytona Beach, and local musician Brooke Surgener.

More: Concrete Castles (Erie's First to Eleven) touring with 1st album of originals, writing 2nd

The show at BigBar was a good fit for the band as it was scheduled close to their show in Pittsburgh.

“It kind of worked out that we already had a show booked at BigBar and it was in the tour, so I was like, 'Oh, we’re going to have to cancel that,'" said Ryan Krysiak, the band's bass guitarist. "Then I was looking at it and that was at the end of the tour and we’re in Pittsburgh the night before. It was like, why don’t we make it happen in Erie? We will keep that show and Daytona Beach has been doing really well at BigBar, as was First to Eleven, so let’s combine them and let’s go hard for this one show."

Preparing for tour and shows

Since 2023, First to Eleven has been pumping out cover songs aiming to add one cover a week to their repertoire.

These cover songs get uploaded to YouTube which help the band decide what the fans like and want to hear so they can create the setlists for tour.

More: From teen rockers to YouTube stars: Erie's First to Eleven at 1 million fans and growing

"It’s very random; it used to be top 40 songs at the beginning of our YouTube career," Miller said. "Once we started doing one cover a week it got a little easier because if one cover doesn’t do as well it’s okay because you have one coming out next week instead of a month later. So now it’s like we listen to the fans, and if there’s something they like, it’s like okay I guess we’ll try it. And if it’s a song we do that does really well we will do something in a similar genre or by a similar artist, or sometimes we will throw in random stuff that we want to try and see if it works."

From the setlist, the band then determines where the show goes from the perspective of the audience.

"For a longer bar show we will play for three hours so we have to pull out pretty much everything," Krysiak said. "That’s based off when you are at a bar you go through this process of like I’m just sitting and having my first drink like what do you want to hear during that set. Then a couple of drinks in you are feeling a little loose. What do you play then and what do you play at the end when you are ready to party."

One of their more popular songs that has done well with the audience, "Sweet Child of Mine" by Guns N' Roses, gave them the idea for their next tour name, "Where Do We Go Now?"

"Brooke (Surgener) came up with it, but our most popular cover on YouTube is 'Sweet Child of Mine.' So she was like you should just take a lyric from that song and name your tour after it, so that’s what we did," Miller said.

First to Eleven has a setlist filled with popular songs from Nickelback to ABBA to Queen and more.

Sometimes bands, including Nickelback , have shared First To Eleven's videos to their social media pages.

When will First To Eleven be in my area?

To find if First to Eleven will be in your area, check out their website firsttoeleven.com . Each show will have its own ticket link.

The band also offers a VIP ticket option which will include early admission, a Q&A before the show and more.

Can’t make the Erie show at BigBar? First to Eleven will be in Erie this summer. The band mentions that if you show up to a show you could be featured in one of their YouTube videos .

The "Where Do We Go Now?" tour goes from April to late August.

Contact Nicholas Sorensen at [email protected]

Pete Townshend Now Says There Will Not Be a Who Farewell Tour: ‘I Was Being Sarcastic’

By Jem Aswad

Executive Editor, Music

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It turns out that when Pete Townshend recently told the New York Times that he was planning on a final Who farewell tour, he was “being sarcastic,” he told the “ Sound Up!” podcast in an interview released today (April 16).

“It feels to me like there’s one thing the Who can do, and that’s a final tour where we play every territory in the world and then crawl off to die,” he told the Times in an interview published last month.

Popular on Variety

When asked about that line in relation to his infamous boast — “I hope I die before I get old” — from the Who’s 1965 song “My Generation,” he continued, “That’s a twist, in a sense. ‘Slit Skirts’ was an honest confession of how I didn’t like what I’d become. When I wrote [‘My Generation’], I was celebrating the fact that I was young — I was 18 and surrounded by old people. Now, everybody seems younger. But in those days, everybody seemed older and they all seemed to be messed up, either miserable or poor or working too hard or complaining about something. The song was about, ‘I’m never gonna be like you if I’m old,’ and I don’t think I am like them. I’m happy and I’m struggling still, and I think I’m operating for the greater good — touch wood!” (Hear the full 50-minute interview here .)

However, even his comment to the Times showed a distaste for touring as the Who. Immediately after his statement to the paper above, he said, “I don’t get much of a buzz from performing with the Who. If I’m really honest, I’ve been touring for the money. My idea of an ‘ordinary lifestyle’ is pretty elevated.” As always, time will tell.

“Sound Up!” is hosted by former MTV VJ Mark Goodman and top music journalist Alan Light (both formerly of SiriusXM’s “Debatable”), is produced by Roger Coletti and distributed by Revolver Podcasts.

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