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The touring sector is stronger than ever in key territories including the United States and Europe. But as music becomes increasingly global, promoters and developers are looking beyond the space's traditional strongholds to expand touring to new markets. For this panel, Billboard assembled key players in the concert industry's accelerating worldwide expansion to break down the opportunities and challenges of global touring.

The 2026 Billboard Live Music Summit takes place on Nov. 10 at the 1 Hotel in West Hollywood. This event brings together artists, executives, promoters, managers and other leaders shaping the live music business. Through conversations, panels and networking, the summit explores the ideas, opportunities and challenges influencing the future of live music.

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Transcript
00:07As you heard, we appropriately walked into Bad Bunny.
00:11There's a reason for that, because of course he did his global stadium tour, did not tour
00:16the U.S., and despite that, had one of the highest-grossing, most successful tours in
00:24history.
00:25Was this a surprise to any of you?
00:28No.
00:29Well, you know, I feel like the demand didn't just show up, right?
00:33The demand was always there.
00:34What changes our ability to see it, believe it, and create some infrastructure around
00:39it?
00:40So it's been great to kind of service those kind of audiences.
00:44Memo, you were going to add something, too?
00:46No, it was insane.
00:47At the end, we were not surprised.
00:49We could have kept more shows, and the demand was there for a lot more shows.
00:54So it's really interesting how an artist can be capable of, the sky's the limit.
01:01And when we talk about global touring, I think a lot of times we center on the market, right?
01:07Global is anything that's not the U.S., but it's not just the market in this case.
01:11It's the market.
01:12It's artists coming from all over the world and being able to tour massively, and it's
01:18also the infrastructure that's being built in the different countries.
01:23So I want to ask each of you, in your areas of expertise, what is the biggest change you've
01:29seen in the last decade or since the pandemic, perhaps?
01:33I don't know, Angie, if you want to start.
01:35You work with all the logistics, all the...
01:38Yes, correct.
01:39And I think the easiest way to answer that question is to say that we're living right
01:44now an expansion.
01:46So real time, we are living in an expansion that is going to ultimately transform what we
01:51know the landscape to be today.
01:54But the exciting thing about that is we...
01:58I think probably many of us, Steve is going to talk to this, I'm sure, it is exciting to
02:05not yet know what the boundaries of that look like.
02:09So the white space for us, anyway, is our international markets.
02:15And that means on the venue side, it means talent.
02:17It means sourcing talent that will go both ways, actually.
02:21So there's so much opportunity.
02:23And that's probably the best part about being situated here right now in 26.
02:29I want to go to Steve, who also works in infrastructure specifically.
02:34What is the big change?
02:35I spend all the money.
02:36Go ahead.
02:37Okay.
02:38I like that.
02:41I mean, if the question's on the COVID front, my reaction to that would be, first of all,
02:46we caught lightning in a bottle because our first two buildings that were under construction
02:51were actually...
02:52It didn't seem like a great thing at the time, but they were under construction during COVID.
02:56Not a great thing, but better than a fledgling company coming out with a brand new building
03:02and nobody to go in, nobody to fill that building.
03:05So we got kind of lucky and we dodged a bullet there.
03:08But it also...
03:09The first two buildings were under construction during COVID.
03:12I think more than anything, I mean, everybody's trying to get back out and everybody wants
03:16that social interaction coming out of COVID.
03:18And I think from a design perspective on some of these buildings, the social interaction
03:22within the building and the various products within the building for us, that's been a
03:27huge change on how people interact in the arena environment, in these different environments.
03:32What are those product types?
03:34So if the question's on the COVID piece, I would say coming out of COVID, that's probably
03:38in addition to demand, just the, you know, what does that look like?
03:43What do those products look like?
03:44And what are those various, you know, social elements once they get to the venue?
03:49What about you, Nidish?
03:50Because you work with so many markets also in Asia, no?
03:54Yeah.
03:54I mean, you know, global touring now is truly global, right?
03:58Like traditionally, a global tour comprises of North America, Western Europe, maybe Australia,
04:05and a couple, as Asians called it, exotic markets, right?
04:08But now, you know...
04:10Exotic markets?
04:11Yeah, exotic markets, as they used to call it.
04:12So now, you know, we've unlocked so many different markets, and the growth really is unlocking
04:16new markets, not just adding shows.
04:19How about for you, Memo?
04:21You're based in Mexico City.
04:22I think one of the biggest changes after COVID is that audiences, we have new generations
04:28of audiences really embracing live music.
04:32If you go to a show that it's an act that it was 20, 25 years old, you'll see 15
04:37-year-old
04:38kids that they were not born when that act was on their heydays.
04:42So the new generation is really embracing live music.
04:45You were telling us in the green room that you now see, that, for example, an act like My Chemical
04:53Romance.
04:54Because I said, well, My Chemical Romance was touring Mexico before, and you said, yes, but
04:59they were...
05:00Yeah.
05:01They were an arena act, and now they're stadium acts.
05:04And that's part of the world, that a lot of arena acts are becoming stadium acts, and the
05:11demand for stadium acts is huge.
05:12So going back to the other question is that we really need more infrastructure on every
05:17country, because in order to get avails right now, even if you're asking for avails for one
05:22year or a year and a half ahead, the venue will go like your third halt or fourth halt.
05:28So yes, we need more infrastructure.
05:30So yes, we're talking about this demand, this growing fandom, and then you want to take
05:36these groups or these acts out to all these different markets, and there's nowhere to play
05:42them, right?
05:42So what have you encountered, Andy, in this journey?
05:46I think that what we have encountered is exactly what you're saying, Layla, which is...
05:51So for example, let me take Asia.
05:53So Asia is a place that we, I think, all would like to figure out or learn much better, learn
06:01more about.
06:02For us, we have...
06:05What's coming for us is actually more activity, expansion, and growth in Asia.
06:11And what that means is exactly what Memo said, which is you might have desire, you might
06:17have willingness, you might have fans, but we need venues.
06:21We need infrastructure.
06:23And so that is...
06:24That's not my department, by the way.
06:26But in order for my department and the folks who are close to me, my global touring family
06:32who are out here, that means that our colleagues who are responsible for that within AEG have
06:41to help to work.
06:42So while we help on the talent and artist front, they are out there working madly to help on
06:49the infrastructure front.
06:50So it's all tied together.
06:52So I'd like to ask the guy with the money.
06:57I didn't say I had the money.
06:58I just said I spent the money.
07:01The guy who spends the money.
07:03So what do you do?
07:04So for example, I'm making it up.
07:07But say you want to expand into Latin America.
07:11To expand appropriately, you need...
07:12I mean, it takes a while to build a venue.
07:15But can you walk us quickly about how do you build a venue in a country in an exotic market?
07:24Well, we haven't been successful in an exotic market yet.
07:28We've looked at a number of buildings, and we manage a number of buildings.
07:31But from a construction standpoint and just from trying to...
07:35There's 10 buildings.
07:37At any point, we're looking at 10, 12 buildings, and maybe one, two of them come to fruition.
07:43So, and some of them circle back later.
07:47But the key piece is identifying the market.
07:51We work with our partners, and we've got our partners here identifying that market.
07:55And where is the opportunity?
07:57There's no appetite for public financing generally.
08:01The public is not looking to finance similar to the U.S.
08:05So, leveraging partners that are in the market, leveraging the knowledge of the market, it's really catching lightning in the
08:12bottle, like I said before, where the order that we think we're going to go in is never the order
08:16that we end up going in.
08:18It's, you know, who's got the land?
08:20Who's got the means?
08:21Who's got the political willpower to get this done?
08:25Because it's...
08:26In most of these markets, it's really tough.
08:28I mean, any market outside the U.S. is really tough to get these buildings done.
08:32You know, one of the things that I think, and, you know, I think Live Nation would say the same
08:36thing, is our position has always been, we'll bring the money.
08:40We'll figure it out.
08:41Like, you're not going to take the risk.
08:42Whoever our partner is, you're not going to take the risk.
08:45You know, we'll figure it out.
08:47And I think we've become really good at commercializing, how to commercialize these buildings and make them work standalone, rather
08:56than putting our hand out as the first measure of, you know, we get to do a building here.
09:00So, you see that in co-op, in our building in co-op, in the building that we're working on
09:05in Madrid, in the building that we're working on in Dublin.
09:10But a lot of it is opportunity and leveraging the partners in the market to identify where is there a
09:18possibility.
09:19The money's there.
09:20You know, where does this thing, where does this building need to go, need to live?
09:25And what's going to work, you know, whether it's the second building in the market, first building in the market.
09:30But we rely heavily, obviously, on the content stream and what that looks like.
09:34You know, the one last thing I would say is the United States, the U.S. is ahead on infrastructure
09:40across the board.
09:42The U.S., most of the U.S. arenas are built with, the arenas at least, are built with a
09:48sports anchor.
09:48That's how we got to where we are.
09:51We're flipping that.
09:52And music is now the anchor to all these buildings.
09:55So, almost every building that I'll mention is not a tenant building.
09:58It's a music-driven building.
10:01It's a music-first building.
10:02They can do other events, but it's a music-first building.
10:05And so, the commercialization around that, the experience, what the artist is requiring, you know, what that looks like, that's
10:13the laser focus that we're on, you know, to try to enter into some of these new markets.
10:20And, you know, I think it's also being thoughtful about expansion, right?
10:23Figuring out, you know, is there market demand for it?
10:26Can we keep the ticket prices affordable so that fans can buy tickets to come to the venues and just
10:32kind of analyze it from there?
10:33Can you give me an example, Nidish, of something that's worked in the Asian markets or in India?
10:41You know, with India, specifically, we're doing more shows there.
10:46Traditionally, it was always just a two-market play, whether it's Delhi or Mumbai.
10:50But now there's multiple markets that artists are trying to perform in, whether it's Bangalore, Lucknow, Northern India, Southern India,
10:58et cetera.
10:59So, you know, it's interesting to see, like, you know, starting from a racetrack, trying to do, like, a festival
11:03-style show, and then realizing if there's demand there and an appetite for shows, and then working with our partners
11:09together to see what kind of infrastructure options we have to kind of expand in those regions.
11:14And you're actually building on the ground as well?
11:19We're in talks right now, depending on, you know, who our partners are there, to try to identify areas where
11:24we can build arenas and, you know, with our partners at Oakview, et cetera.
11:27And, Memo, you, like I said, you're not just Mexico, you're Ocesa, so this is a company that has betted
11:35on live music for decades and decades.
11:39This is not new for you.
11:42And I have to say, I'm Colombian.
11:44I grew up in Colombia.
11:45There was nothing when I was growing up.
11:48And nothing, I mean nothing.
11:50And so when I first went to Auditorio Nacional, I could not believe it.
11:54I was like, this is an auditorium, and it fits 12,000 people, and it's beautiful, and I couldn't wrap
12:00my head around it.
12:01There was nothing like that where I came from.
12:04So what do you do with a market?
12:06How do you build that market?
12:08Because I feel like Mexico really was ahead of the curve from all the other international markets.
12:13Do you feel that way?
12:15Yes.
12:15It was ahead of the curve regarding South America because in Mexico, because of Olympics and some other special events,
12:22Mexico had infrastructure.
12:24It was old, but they had infrastructure.
12:26So it was kind of rebuilding that infrastructure, and that's the one we've been using.
12:32As you said, Colombia didn't have anything.
12:34Colombia didn't have any concerts.
12:36Colombia is now stepping up.
12:37It's getting more venues than a lot of countries in South America.
12:41Colombia is going to be a good market.
12:45And yes, at the end, Mexico right now, the Stadion GMP, which used to be Forozol, got a massive makeover.
12:54It's the number one stadium in the world right now.
12:57Most tickets sold.
12:59And there's a new stadium in Guadalajara, but it's also getting a major makeover.
13:04So there's stadiums that are trying to get that infrastructure in order to the amount of demand there is for
13:11acts so we can continue doing what we do.
13:15Now, all of you have been in this world for a long time.
13:21How has how you booked the artist changed?
13:25How has what markets are you going into now with your artists, those of you who work with artists, that
13:32you wouldn't have gone to five years ago, that it wouldn't have even crossed your mind?
13:38I have one small story related to this.
13:40It's right on the nose, Leila, because it just occurred.
13:44So one of our artists is Andre Bocelli, Maestro Bocelli.
13:47He just played Indonesia in a part of the world where one would never expect to see this absolute spectacle
14:00of a in a good way performance because the photos from this performance are mind blowing.
14:07I mean, and it is a place where one of my colleagues almost stepped on a five foot snake.
14:11So even when you have five foot snake danger, you are also the flip side of that coin.
14:17You are producing and putting on these performances that are going to be in an artist's mind.
14:28He's going to look back on this as a capstone a little bit, I think, because it was that amazing
14:34a performance.
14:35Just the location and being able to stage a show at that level with that kind of music in that
14:41place of the world.
14:43And, you know, with the weekend, we just wrapped up our tour, our worldwide tour, and we played extensively through
14:49Asia, played all through Europe and Travis Scott as well.
14:53We touched base on a lot of different countries and, you know, he played in India, South Africa, places that
14:58he never thought that he would ever play in.
15:00Right. But, you know, because music is truly global, streaming is at an all time high, people are are discovering
15:08music at an all time speed right now.
15:10Right. So I think it's cool to see how people are consuming music.
15:13The population is there.
15:15And then, you know, we're building infrastructure collectively to kind of service that that demand.
15:21So it's it's it's an interesting time to see with all the new territories and also like there's a lot
15:26of territories, like in Central Asia, where governments are realizing this could be a good vehicle for tourism.
15:31So we just had Shakira in Kyrgyzstan in Central Asia, where, you know, the government financed the show, but they
15:39realize that, you know, they'll have an exclusive in that region and people will travel to that region to watch
15:43the show.
15:43So so it's a win win for the artist where they get to go to a new market, we unlock
15:47a new market, discover new audiences and also serve serving the audiences that have always been there.
15:52So with someone like Shakira in a place like that, what do you have to do?
15:56You have to build the place from scratch for her to perform?
15:58No, there was a stadium there already.
16:00So a lot of these have football team soccer teams in the region.
16:04So they already have stadiums.
16:06So we utilize those.
16:07But they never had the big level talent because of, you know, production limitations or just demand in general.
16:13But now that everyone's discovering the music, it's it's a lot easier to do shows there.
16:18And conversely, Memo, in Mexico, did you guys ever have a time and especially when when there were drug wars
16:26in Mexico and all of that, did you have any trouble attracting artists to come to the country, even though
16:31you did have the infrastructure?
16:33Has that shifted?
16:35No, that hasn't happened.
16:37It continues to be the same.
16:39At the end, Mexico, even though it's a big country, it's only a three market country.
16:43Guadalajara, Monterrey, and Mexico City.
16:45And that's it.
16:46Oh, my gosh.
16:46I'm getting educated here.
16:48I always think of Mexico as like a multiplicity of cities.
16:52No, for this industry, it's only those three cities.
16:55And that's it.
16:56And the only one that has surprised us was Shakira.
16:59She did like cities that I've never even been to.
17:01She did a great Mexico tour, but there's such a small amount of acts that could do provinces in Mexico.
17:10One is because the market is not that structure.
17:14And the other one is this football stadiums.
17:17Because they'd rather have football instead of concerts because the field will get damaged and they don't want to move
17:24their games.
17:25So it's hard to do shows in some other parts of Mexico that is not those three big cities.
17:30And now how, what markets, I want to ask each of you, what is the big growth market for you
17:40right now?
17:40Where you guys are, I know you're working many different markets, but which market for each of you individually is
17:47where you see a future?
17:50For me, it's India.
17:52I think there's a lot of discovery of music there.
17:56There's spending for that music.
17:58And then there's infrastructure that's being there to support the music.
18:02And streaming has really helped that.
18:04So there's a large audience for them.
18:06They have disposable income with digital ticketing and production advances.
18:11I think it's an exciting time where people are now discovering how much opportunity there is.
18:17And I think we're just beginning there with all the touring that we're doing there.
18:20We just had Coldplay there.
18:21We do a South Asian artist, Diljeet, there.
18:24Travis Scott just came there.
18:26And we're talking about many other artists to come there in the future.
18:30How about you, Steve?
18:31I would say for us, from an infrastructure spend, number one is Europe.
18:37It just, we talked about it earlier, the UK.
18:41So when we built co-op, it's the first time an arena had been built in Europe, I think, since
18:462002.
18:46So that was, you know, 20 years prior to that.
18:49Since that, you know, Cardiff is not all of our buildings, but Cardiff is being built.
18:55Bristol is being built.
18:56They'll get another building in London at some point.
19:01We're in Madrid, and there's probably two other buildings in Spain that we're pursuing.
19:06NBA Europe coming in will necessitate a whole bunch of arena upgrades and new arenas.
19:12They can't play in the existing arenas, which there'll be some combination there.
19:16The other one for us is Australia.
19:19So Australia has a real possibility of getting at least three new buildings in Australia.
19:25Brisbane, Gold Coast, potentially second building in Sydney, and Melbourne's now talking about it.
19:32So, I mean, some of that is spurred by the Olympic and the Olympic infrastructure.
19:37But as far as kind of where we're spending our time, you know, four years ago, I would have said
19:4290% of my time is spent in the U.S.
19:44Now I would say 90% of my time is spent in some combination of Europe and Australia.
19:50Wow.
19:51Angie?
19:51I'll let Memo finish because let me hop in here real quick on this question.
19:56For us, and I don't mean this to sound like an everything above plus plus answer, but for us it
20:04really is true to your question, Layla.
20:08We feel an obligation and a remit to bolster our relationships in Europe.
20:16That's like a no question.
20:18Latin America, I already talked about Asia, and Steve bringing up Australia, New Zealand is, or rather Australia, but I'll
20:28include New Zealand, that area of the world has such a robust appetite for music and talent and artists.
20:34And even though it is very far and costs can be challenging, for us anyway, you know, we mentioned it
20:42a little bit earlier on the panel, there was an impression of what quote-unquote global touring meant 10 and
20:4915 years ago.
20:50Today, the reality of what global touring is, is truly all of these territories on every continent.
20:59And I will go back to what I said earlier, a priority for us is Asia, and in Asia you
21:04are then dealing with multiple languages.
21:08I mean, we already get this in other territories, but the currencies.
21:12So it's complicated, but it is 100% worth it.
21:16It's worth it.
21:18South America, believe it or not, Sao Paulo, which is one of the biggest cities in the world, doesn't have
21:23an arena.
21:24I know.
21:25So as we started the conversation, it's infrastructure.
21:29South America is working on that, and I think it's going to be a huge region.
21:36It could grow big time.
21:38And for example, Colombia, right now Bogota has two arenas.
21:41They have a new stadium just for concerts, which is called Vive Claro.
21:44You have the football, soccer stadium.
21:47And there's countries like Peru, which didn't exist in the touring map, and now it's a big market.
21:55So as soon as more infrastructure continues developing in South America, it's a great region for growth.
22:03How much can you do without the infrastructure?
22:05In places like Ecuador, for example, which is also opening up?
22:10Yeah, it's opening up, as you said, but it's hard.
22:14You have to talk to the authorities to get a football stadium.
22:16You have to get negotiations with a football team.
22:21And at the end, it's a football stadium that doesn't work as a concert venue.
22:26So you have to have special operations.
22:29And people have to get used to going to real venues for their life experience.
22:35So as soon as the infrastructure starts, the business will grow.
22:40If I could just add one thing.
22:41I mean, I think the stadium point is a great point.
22:44Generally speaking, we're not developing stadiums.
22:46And we don't do a tremendous amount of consulting, but where we are doing consulting is helping the stadiums that
22:53are being built right now prepare for music.
22:57Like that is front and center, whether we're dealing with, you know, AS Roma.
23:03There's a number of stadiums that we're doing consulting work on because that's so important to them.
23:11They've identified that revenue stream.
23:13They want to figure it out, and they want to make sure that it gets built in right up front.
23:18So there's two or three major stadiums where we're doing consulting work on them so that they can get the
23:24music component right.
23:25I think that's incredible.
23:27I can't imagine we would have had this conversation even five years ago, to be honest.
23:32Now, is there a downside to this rapid growth?
23:36Is there any downside?
23:37Is there any major obstacle you guys have encountered that you thought, oh, I didn't factor this?
23:45Well, you know, I think it's about, like I was saying before, being thoughtful about our expansion, right?
23:49Making sure that there's market demand and making sure that the market can sustain an ecosystem.
23:55But, you know, when you do this, you're creating a whole other ecosystem with local vendors.
23:59The economy is bolstered by it and local artists as well, right?
24:03So it's one full ecosystem, but just being thoughtful on how fast we expand and making sure that we have
24:08the right venue for the right type of demand or future demand coming up.
24:13Now, talking about I want to revert it and come back to the U.S., there's been a lot of
24:20issues with visas in the past couple of years.
24:24And not only with visas being denied to artists from Mexico or from Colombia or other countries, but also it
24:31seems to me like the visa process is far stricter for any artist.
24:35You have to be so, so specific about how many days you're going to be here, et cetera.
24:40How has that affected your business in the sense that you've said, OK, we truly need to develop outside the
24:47U.S. or that has no bearing at all?
24:49Well, you know, music is truly global, but I feel like the touring part with visas isn't.
24:55And, you know, it's very challenging with a lot of countries requiring you to send your passport to them to
25:00stamp it as opposed to being digital.
25:02And, you know, it's really working with the different new markets that we try to open up to create a
25:07streamlined process to help us expedite these visas.
25:10So that way, you know, not just I'll extend it even to, like, withholding taxes and making it, you know,
25:15viable for an artist to come there without losing X percent in withholding and then it not become not make
25:21sense to come into a market.
25:23So I definitely think it's a collaboration that needs to happen.
25:25And hopefully a lot of these countries will form a digital way of getting visas and that'll speed up the
25:31process.
25:32You were going to add something?
25:34No, I think what Neresh is saying is true.
25:37It's every country has its pros and cons.
25:39It depends if some countries have a problem with visa because it's really, really hard to get them or some
25:44countries are really relaxed on the paperwork in order to have withholding taxes or whatever.
25:49So it depends on each country.
25:51Mexico, it's really easy for visas.
25:53You don't need a special permit.
25:55You just get an invitation letter and that's it.
25:56So it depends on each country.
25:58I want to answer this, have a small take on this question, Layla, but also the previous one you asked.
26:05And that is what is there to be mindful of with quick expansion.
26:11And that is you want to have great partners wherever you go.
26:17And that local partnership flows into things like what you just asked about previously, what Memo is talking about in
26:23terms of withholding taxes.
26:25Because if you have partners with expertise in areas, then you are, I mean, you're so far ahead of the
26:31game.
26:31And that's, to me, one of the more important pieces of when you contemplate, where do we go and who
26:38do we go there with?
26:39That's a great takeaway, Angie.
26:41So what you're saying is partners on the ground that are from there and that can steer you right.
26:48Okay.
26:50And how, Steve, you were saying that now you spend 90% of your time out before it used to
26:55be in the inverse.
26:57You would spend 90% of your time in the U.S.
27:00That's why I have no voice right now.
27:02Just too much for lying.
27:05But would you say that the U.S. touring market is still the holy grail for artists from abroad?
27:12Because it feels like that to me still.
27:15Well, you know, I feel like diaspora communities are really helping artists tour, right?
27:20So just as an example, I did a tour with Diljit D'Sange.
27:23He was the first South Asian artist not only to play but also sell out Wembley Stadium, which was selling
27:28over 70,000 tickets, right?
27:30So that was an incredible feat that he did that, you know, nobody ever expected or dreamt of.
27:36You know, he played multiple nights at Madison Square Garden.
27:39He played the stadiums in Canada.
27:40It was a first for the community.
27:42And then just recently I did an Israeli artist named Omer Adam.
27:46You know, we did a show in L.A. at Intuit Dome and two shows in Barclays in the round.
27:50And it was the first Israeli artist to play in the round, not one, but even two nights in New
27:55York.
27:55So it's an exciting time where the community is rallying around their people to help support it.
28:03Layla, can I brag for one moment?
28:04Brag away.
28:06Another example that is right on the heels of this list here, Karim Leon at The Sphere.
28:11So, I mean, there were, I can't imagine that without knowing Karim Leon, people would be like, sure, he's going
28:19to blow out this many shows in 26 and then 27.
28:24It's another example of what Nish is talking about.
28:27I totally did not.
28:28And I'm a big Karim fan, supporter, all of that.
28:31But I never imagined that degree of success to be quite right.
28:35It's awesome.
28:36It's awesome to see.
28:37But it became a global thing.
28:39Now it's global touring because a Mexican can do this or Morat from Colombia can sell out stadiums in Mexico
28:45or K-pop or Rammstein selling 180,000 tickets in Mexico City.
28:52We don't speak German.
28:53So it's a global touring thing.
28:57And our time is running out.
28:59But there's one thing that we didn't touch upon, which are costs, the cost of touring in different places, right?
29:07The U.S., everyone, and you guys are the experts, so tell me.
29:11Here in the U.S., it's more expensive, but the ticket prices are higher, right?
29:15In other countries, it's less expensive, but you have to charge less.
29:19So how do you balance?
29:21How do you balance what you can make with what it costs with what the artist can bear?
29:26How do you do this complicated equation?
29:30At the end, one thing takes you to the other one.
29:34Touring is very, very expensive now, and the amount of equipment is huge.
29:38So at the end, you have to reflect it on prices.
29:40So it's hard to keep that balance, but touring is expensive.
29:44And, you know, I think artists want to play all over the world, and they want to give their A
29:49-level show to everyone around the world, right?
29:51But now that, you know, the touring is truly global, you know, we're looking at it from an overall world
29:57perspective as opposed to a secondary thought or, you know, ancillary thought.
30:01So we're really being thoughtful on planning, like, okay, we want to play everywhere around the world.
30:06How do we make this work financially for the artists, but also deliver the best type of show for the
30:12fans that they want to service as well?
30:13So do you keep the same tour exact in every market, or do you have to modify?
30:18I think it depends on the artist, right?
30:20Some artists say, I don't really care, I want to deliver this kind of show for my fans, and I'm
30:25going to go out of pocket for this.
30:27Others will say, you know what, let's scale this down, but still create a memorable experience for the fans.
30:32So it just really depends on which artist it is.
30:35And you were about to say something?
30:37No, I'm just in total agreement because it really depends on the motivation.
30:44So can I go there at any cost?
30:48Sure, you can go anywhere at any cost.
30:50But within that, you have to balance guarantees, you have to balance costs, you're going from continent to continent.
30:57I mean, Memo said it, the logline is, it's expensive, period.
31:02Now I'm going to put you as the grand finale.
31:05I'm going to put the four of you on the spot because I didn't mention any about asking anything like
31:11this.
31:11But I'm curious, and you have to be specific.
31:14I want to know for each of you, what is your dream show of the next 12 months?
31:20And if it doesn't exist, what would it be and where?
31:25Who wants to start?
31:27For example, I'll start with me.
31:30To put everyone at ease, I didn't see it, but my dream show was my chemical romance at the Hollywood
31:36Bowl.
31:37And I was very bummed that I couldn't make it.
31:40But that would have been epic for me.
31:42I saw them in London, in Wembley, and I thought that was great, but I wanted to see them in
31:47a small space.
31:48So that's still my dream show.
31:54I just said to Memo backstage, I told him one of my dream and bucket list items is not a
32:01specific artist,
32:02but I want to go to the biggest rock show possible in Mexico City because of the fans, because of
32:10Mexico City,
32:12because it's the difference between North America and shows here and shows outside of North America are truly the fans
32:20and the energy.
32:20So that is my bucket list dream show.
32:23Okay, we'll go together, Angie.
32:24Memo is going to invite us.
32:25Of course.
32:26Okay, what's yours?
32:28I think I'm really looking forward to OzFest in Mexico City.
32:32There's going to be three OzFests, one in London, one in L.A., one in San Bernardino, and another one
32:38in Mexico City.
32:38Wow. Is that the first time OzFest goes to Mexico City?
32:42First time it goes to Mexico City and the first time in a long time that OzFest is happening.
32:46So I'm really looking forward to it.
32:48It's going to be September.
32:50Okay, now that's a true global happening, I would say.
32:53Steve, how about you?
32:55Any show that's in our building?
32:57You're asking a 61-year-old guy what his dream show is?
33:01You're going to have to raise some bodies for that one.
33:05There must be one that you're already, that's already in your calendar, I'm sure.
33:12You got me between a rock and a hard place because if it gets back to Irving, I've got to
33:16say Eagles, and nobody wants to hear that.
33:18No, I shouldn't say that.
33:19But, I mean, for me, Oasis was a big one.
33:22Oasis is, you know, that's pretty special.
33:27And, you know, that being in the U.K. at the time, or being in the U.K. with the
33:32building there.
33:34So, you know, that's, I'll put them up there.
33:38And now, Nude, it's your turn.
33:39What festival are we going to in India next year?
33:42I think Lollapalooza in India, I've always ended up missing it, but Houston and the team at C3 always puts
33:48on a great show.
33:49So, looking forward to catching that on this time around.
33:53Okay, fantastic.
33:54Well, thank you all so much.
33:56Thank you very much.

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