Robert Plant and Alison Krauss‘ second collaborative album opens atop multiple Billboard charts dated Dec. 4.

Raise the Roof, the follow-up to the pair’s 2007’s LP Raising Sand, starts at No. 1 on the Top Rock Albums, Americana/Folk Albums and Bluegrass Albums charts with 40,000 equivalent album units earned (38,000 in album sales) in the week ending Nov. 25, according to MRC Data, following its Nov. 19 release.

The set is the act’s second ruler each on Top Rock Albums, which began in 2006, following Raising Sand‘s two-week reign beginning in November 2007. Their initial team-up also went on to win the Grammy Award for album of the year in 2009, while its track “Please Read the Letter” won for record of the year. (Krauss boasts the fourth-most Grammy Award wins of all time with 27, after late conductor Georg Solti with 31 and Beyoncé and Quincy Jones, each with 28.)

On Americana/Folk Albums, which began in 2009, Plant notches his second No. 1, after 2017’s Carry Fire. Krauss adds her third leader, following 2011’s Paper Airplane, with her longtime band Union Station, and 2017’s Windy City.

Raise the Roof is Plant’s first Bluegrass Albums No. 1 and Krauss’ fifth, after her aforementioned Americana/Folk Albums leaders plus her and Union Station’s Live (2002, the year that the chart launched) and Lonely Runs Both Ways (2004).

Plant also adds his second Top Country Albums top 10, thanks to Raise the Roof‘s No. 3 debut, after Raising Sand arrived at its No. 2 peak in 2007. Krauss claims her 11th top 10, a sum that includes three No. 1s and combines her entries as a soloist and fronting Union Station.

On the all-genre Billboard 200, Raise the Roof enters at No. 7, marking Plant’s ninth solo top 10 and Krauss’ fifth. (Led Zeppelin, with Plant as a member, has banked seven No. 1s, among 13 top 10s, on the Billboard 200, first reigning with Led Zeppelin II in 1969.)

“Can’t Let Go,” Raise the Roof‘s lead single and a Lucinda Williams cover, concurrently debuts at No. 39 on Hot Rock & Alternative Songs, with 327,000 U.S. streams, 262,000 radio audience impressions and 2,500 downloads sold. The lattermost sum sends the track onto Rock Digital Song Sales at No. 8. The song also spends a 15th week on Adult Alternative Airplay, where it rose to No. 8 in October.

Robert Plant and Alison Krauss‘ second collaborative album opens atop multiple Billboard charts dated Dec. 4.

Raise the Roof, the follow-up to the pair’s 2007’s LP Raising Sand, starts at No. 1 on the Top Rock Albums, Americana/Folk Albums and Bluegrass Albums charts with 40,000 equivalent album units earned (38,000 in album sales) in the week ending Nov. 25, according to MRC Data, following its Nov. 19 release.

The set is the act’s second ruler each on Top Rock Albums, which began in 2006, following Raising Sand‘s two-week reign beginning in November 2007. Their initial team-up also went on to win the Grammy Award for album of the year in 2009, while its track “Please Read the Letter” won for record of the year. (Krauss boasts the fourth-most Grammy Award wins of all time with 27, after late conductor Georg Solti with 31 and Beyoncé and Quincy Jones, each with 28.)

On Americana/Folk Albums, which began in 2009, Plant notches his second No. 1, after 2017’s Carry Fire. Krauss adds her third leader, following 2011’s Paper Airplane, with her longtime band Union Station, and 2017’s Windy City.

Raise the Roof is Plant’s first Bluegrass Albums No. 1 and Krauss’ fifth, after her aforementioned Americana/Folk Albums leaders plus her and Union Station’s Live (2002, the year that the chart launched) and Lonely Runs Both Ways (2004).

Plant also adds his second Top Country Albums top 10, thanks to Raise the Roof‘s No. 3 debut, after Raising Sand arrived at its No. 2 peak in 2007. Krauss claims her 11th top 10, a sum that includes three No. 1s and combines her entries as a soloist and fronting Union Station.

On the all-genre Billboard 200, Raise the Roof enters at No. 7, marking Plant’s ninth solo top 10 and Krauss’ fifth. (Led Zeppelin, with Plant as a member, has banked seven No. 1s, among 13 top 10s, on the Billboard 200, first reigning with Led Zeppelin II in 1969.)

“Can’t Let Go,” Raise the Roof‘s lead single and a Lucinda Williams cover, concurrently debuts at No. 39 on Hot Rock & Alternative Songs, with 327,000 U.S. streams, 262,000 radio audience impressions and 2,500 downloads sold. The lattermost sum sends the track onto Rock Digital Song Sales at No. 8. The song also spends a 15th week on Adult Alternative Airplay, where it rose to No. 8 in October.

Robert Plant and Alison Krauss‘ second collaborative album opens atop multiple Billboard charts dated Dec. 4.

Raise the Roof, the follow-up to the pair’s 2007’s LP Raising Sand, starts at No. 1 on the Top Rock Albums, Americana/Folk Albums and Bluegrass Albums charts with 40,000 equivalent album units earned (38,000 in album sales) in the week ending Nov. 25, according to MRC Data, following its Nov. 19 release.

The set is the act’s second ruler each on Top Rock Albums, which began in 2006, following Raising Sand‘s two-week reign beginning in November 2007. Their initial team-up also went on to win the Grammy Award for album of the year in 2009, while its track “Please Read the Letter” won for record of the year. (Krauss boasts the fourth-most Grammy Award wins of all time with 27, after late conductor Georg Solti with 31 and Beyoncé and Quincy Jones, each with 28.)

On Americana/Folk Albums, which began in 2009, Plant notches his second No. 1, after 2017’s Carry Fire. Krauss adds her third leader, following 2011’s Paper Airplane, with her longtime band Union Station, and 2017’s Windy City.

Raise the Roof is Plant’s first Bluegrass Albums No. 1 and Krauss’ fifth, after her aforementioned Americana/Folk Albums leaders plus her and Union Station’s Live (2002, the year that the chart launched) and Lonely Runs Both Ways (2004).

Plant also adds his second Top Country Albums top 10, thanks to Raise the Roof‘s No. 3 debut, after Raising Sand arrived at its No. 2 peak in 2007. Krauss claims her 11th top 10, a sum that includes three No. 1s and combines her entries as a soloist and fronting Union Station.

On the all-genre Billboard 200, Raise the Roof enters at No. 7, marking Plant’s ninth solo top 10 and Krauss’ fifth. (Led Zeppelin, with Plant as a member, has banked seven No. 1s, among 13 top 10s, on the Billboard 200, first reigning with Led Zeppelin II in 1969.)

“Can’t Let Go,” Raise the Roof‘s lead single and a Lucinda Williams cover, concurrently debuts at No. 39 on Hot Rock & Alternative Songs, with 327,000 U.S. streams, 262,000 radio audience impressions and 2,500 downloads sold. The lattermost sum sends the track onto Rock Digital Song Sales at No. 8. The song also spends a 15th week on Adult Alternative Airplay, where it rose to No. 8 in October.

Last year when TIDAL and Amazon Music announced that they were streaming music in Dolby Atmos, music fans and the music business reacted with a high level of curiosity to see if this new format was here to stay. I believe, though, once Apple Music announced, in May of 2021, that support for Spatial Audio would be included into their existing subscription plans, many consumers, artists, engineers, and producers acted on this curiosity, which led to more than 40 million Apple Music users trying it out. In thinking about this situation more, some of the early hesitance to produce Atmos Music stemmed from a long history of audio innovations that never quite delivered on their promises. Attempts at creating a surround music experience often involved complicated setups, elite-level hardware configurations, and specialized mixes, meaning that the barrier to entry was high for both a consumer and for a production.

Dolby Atmos Music is a format that is different from the previous attempts to expand music beyond a stereo experience. This isn?t Surround Sound 2.0; it?s a whole new world. Atmos works in ways that really don’t have any barriers to entry for a listener (besides subscribing to a Dolby Atmos-supported streaming service) and without any need for understanding or tinkering with the technology to enjoy. It is already inspiring new creativity in the studio, from the mic selection and placement during the recording process to the final mixing and delivery.

From Limited Speakers to Ubiquitous Headphones

One of the limitations of previous incarnations of surround sound for music was how you could listen to it. You had to purchase and understand how to set up a series of speakers just so, and then position yourself in the sweet spot to really experience the full effect. Along with this, there wasn?t a lot of 5.1 or 7.1 surround sound music available in a vast array of genres for the consumer to get hooked to it. So, this 5.1 and 7.1 surround setup really ended up catering more to home theaters for watching television programs and movies.

Dolby Atmos and other immersive formats are actually able to be consumed differently compared to 5.1 and 7.1 surround sound music mixes. As an example, Dolby Atmos productions for both music and streaming movies/programs are able to play back the correct mix tailored to your playback system. That means you can listen to music mixed in Dolby Atmos on headphones, which is the most common way people listen to music by far, or on a compatible soundbar; the appropriate mix will automatically be played without any listener interaction. In other words, the Dolby Atmos format fits into existing habits and services seamlessly, no complex speaker set up required.

Giving and Capturing Space

Consumer adoption is one thing, but another important piece of the staying power lies in what artists, producers and engineers make of Dolby Atmos, and what will keep these 40 million listeners engaged and wanting more. Writing, recording and producing music in Dolby Atmos has some serious creative advantages over traditional stereo. They can not only move sounds around, but they can also position any sound or instrument in a 360 soundscape to allow for the best sonic separation and clarity of a mix.

Rob D?Amico

Because of this, engineers don?t have to try and fit all sonic information into just a stereo (two channel) mix. They can take advantage of a much more flexible and creative environment where each instrument or sound can occupy its own space, as well as intriguing options to utilize dynamics for different expressions. Think, for example, about a chorus with a four-part harmony. Atmos gives an engineer far more options for placing each voice in space so that listeners can really savor each vocal line and its nuances. This helps the track feel more ?live? and adds richness and depth.

This increased spatial range is already inspiring new discoveries among engineers, akin to giving them an incredibly expanded palette to play with. Imagine a painter who had only used flat shades of grey and who now has a paintbox full of three-dimensional colors. With Dolby Atmos productions, engineers and producers are now considering during the recording process, how to capture the acoustic space, not just the sound source itself. They are changing the way they place mics while recording, adding special mics just to record the sound of a room and other atmospheric elements, to give them more to work with during the mix. They?re capturing the full color of a place, not just a performance.

When Artists Dream in Atmos

Artists are just discovering the possibilities of Atmos, and those who do are often blown away. But over time, it will become second nature to think about how their music can be experienced immersively. Just like a generation adopted smartphones and now do everything on them, younger artists and fans will begin to feel like they can?t live without immersive audio experiences. They are going to think about the space they want their music to sound like or to sound in. The room or environment will become another key sound source or instrument in the mix. Though they may start composing on a guitar or a piano or a laptop, they will immediately start thinking about the production in terms of Atmos instead of stereo.

And more and more artists will get a chance to experience and experiment with Dolby Atmos on their own, thanks to the format?s accessibility. Dolby Atmos is accessible to those with home project studios. Serious music creators and independent professionals can produce Dolby Atmos Music using Pro Tools | Ultimate and the Dolby Atmos Production Suite at an affordable price. You don’t need to have a studio with a halo of speakers to mix in Atmos, especially if their intended audience is going to consume it binaurally. It all will run on the same computer, and you can monitor as you’re mixing binaurally with a pair of decent-quality headphones.

Dolby Atmos? accessibility for creators and music fans, as well as its qualities and possibilities, mean that the format is here to stay. The same way immersive music is moving into other contexts and virtual experiences like fitness, gaming, and health care, Dolby Atmos will unlock new opportunities for music professionals and independent creators alike, letting them find new sonic means of expression ready for the world to experience.

Rob D?Amico is senior director of product management, audio services, at Avid Technology.

Last year when TIDAL and Amazon Music announced that they were streaming music in Dolby Atmos, music fans and the music business reacted with a high level of curiosity to see if this new format was here to stay. I believe, though, once Apple Music announced, in May of 2021, that support for Spatial Audio would be included into their existing subscription plans, many consumers, artists, engineers, and producers acted on this curiosity, which led to more than 40 million Apple Music users trying it out. In thinking about this situation more, some of the early hesitance to produce Atmos Music stemmed from a long history of audio innovations that never quite delivered on their promises. Attempts at creating a surround music experience often involved complicated setups, elite-level hardware configurations, and specialized mixes, meaning that the barrier to entry was high for both a consumer and for a production.

Dolby Atmos Music is a format that is different from the previous attempts to expand music beyond a stereo experience. This isn?t Surround Sound 2.0; it?s a whole new world. Atmos works in ways that really don’t have any barriers to entry for a listener (besides subscribing to a Dolby Atmos-supported streaming service) and without any need for understanding or tinkering with the technology to enjoy. It is already inspiring new creativity in the studio, from the mic selection and placement during the recording process to the final mixing and delivery.

From Limited Speakers to Ubiquitous Headphones

One of the limitations of previous incarnations of surround sound for music was how you could listen to it. You had to purchase and understand how to set up a series of speakers just so, and then position yourself in the sweet spot to really experience the full effect. Along with this, there wasn?t a lot of 5.1 or 7.1 surround sound music available in a vast array of genres for the consumer to get hooked to it. So, this 5.1 and 7.1 surround setup really ended up catering more to home theaters for watching television programs and movies.

Dolby Atmos and other immersive formats are actually able to be consumed differently compared to 5.1 and 7.1 surround sound music mixes. As an example, Dolby Atmos productions for both music and streaming movies/programs are able to play back the correct mix tailored to your playback system. That means you can listen to music mixed in Dolby Atmos on headphones, which is the most common way people listen to music by far, or on a compatible soundbar; the appropriate mix will automatically be played without any listener interaction. In other words, the Dolby Atmos format fits into existing habits and services seamlessly, no complex speaker set up required.

Giving and Capturing Space

Consumer adoption is one thing, but another important piece of the staying power lies in what artists, producers and engineers make of Dolby Atmos, and what will keep these 40 million listeners engaged and wanting more. Writing, recording and producing music in Dolby Atmos has some serious creative advantages over traditional stereo. They can not only move sounds around, but they can also position any sound or instrument in a 360 soundscape to allow for the best sonic separation and clarity of a mix.

Rob D?Amico

Because of this, engineers don?t have to try and fit all sonic information into just a stereo (two channel) mix. They can take advantage of a much more flexible and creative environment where each instrument or sound can occupy its own space, as well as intriguing options to utilize dynamics for different expressions. Think, for example, about a chorus with a four-part harmony. Atmos gives an engineer far more options for placing each voice in space so that listeners can really savor each vocal line and its nuances. This helps the track feel more ?live? and adds richness and depth.

This increased spatial range is already inspiring new discoveries among engineers, akin to giving them an incredibly expanded palette to play with. Imagine a painter who had only used flat shades of grey and who now has a paintbox full of three-dimensional colors. With Dolby Atmos productions, engineers and producers are now considering during the recording process, how to capture the acoustic space, not just the sound source itself. They are changing the way they place mics while recording, adding special mics just to record the sound of a room and other atmospheric elements, to give them more to work with during the mix. They?re capturing the full color of a place, not just a performance.

When Artists Dream in Atmos

Artists are just discovering the possibilities of Atmos, and those who do are often blown away. But over time, it will become second nature to think about how their music can be experienced immersively. Just like a generation adopted smartphones and now do everything on them, younger artists and fans will begin to feel like they can?t live without immersive audio experiences. They are going to think about the space they want their music to sound like or to sound in. The room or environment will become another key sound source or instrument in the mix. Though they may start composing on a guitar or a piano or a laptop, they will immediately start thinking about the production in terms of Atmos instead of stereo.

And more and more artists will get a chance to experience and experiment with Dolby Atmos on their own, thanks to the format?s accessibility. Dolby Atmos is accessible to those with home project studios. Serious music creators and independent professionals can produce Dolby Atmos Music using Pro Tools | Ultimate and the Dolby Atmos Production Suite at an affordable price. You don’t need to have a studio with a halo of speakers to mix in Atmos, especially if their intended audience is going to consume it binaurally. It all will run on the same computer, and you can monitor as you’re mixing binaurally with a pair of decent-quality headphones.

Dolby Atmos? accessibility for creators and music fans, as well as its qualities and possibilities, mean that the format is here to stay. The same way immersive music is moving into other contexts and virtual experiences like fitness, gaming, and health care, Dolby Atmos will unlock new opportunities for music professionals and independent creators alike, letting them find new sonic means of expression ready for the world to experience.

Rob D?Amico is senior director of product management, audio services, at Avid Technology.

Last year when TIDAL and Amazon Music announced that they were streaming music in Dolby Atmos, music fans and the music business reacted with a high level of curiosity to see if this new format was here to stay. I believe, though, once Apple Music announced, in May of 2021, that support for Spatial Audio would be included into their existing subscription plans, many consumers, artists, engineers, and producers acted on this curiosity, which led to more than 40 million Apple Music users trying it out. In thinking about this situation more, some of the early hesitance to produce Atmos Music stemmed from a long history of audio innovations that never quite delivered on their promises. Attempts at creating a surround music experience often involved complicated setups, elite-level hardware configurations, and specialized mixes, meaning that the barrier to entry was high for both a consumer and for a production.

Dolby Atmos Music is a format that is different from the previous attempts to expand music beyond a stereo experience. This isn?t Surround Sound 2.0; it?s a whole new world. Atmos works in ways that really don’t have any barriers to entry for a listener (besides subscribing to a Dolby Atmos-supported streaming service) and without any need for understanding or tinkering with the technology to enjoy. It is already inspiring new creativity in the studio, from the mic selection and placement during the recording process to the final mixing and delivery.

From Limited Speakers to Ubiquitous Headphones

One of the limitations of previous incarnations of surround sound for music was how you could listen to it. You had to purchase and understand how to set up a series of speakers just so, and then position yourself in the sweet spot to really experience the full effect. Along with this, there wasn?t a lot of 5.1 or 7.1 surround sound music available in a vast array of genres for the consumer to get hooked to it. So, this 5.1 and 7.1 surround setup really ended up catering more to home theaters for watching television programs and movies.

Dolby Atmos and other immersive formats are actually able to be consumed differently compared to 5.1 and 7.1 surround sound music mixes. As an example, Dolby Atmos productions for both music and streaming movies/programs are able to play back the correct mix tailored to your playback system. That means you can listen to music mixed in Dolby Atmos on headphones, which is the most common way people listen to music by far, or on a compatible soundbar; the appropriate mix will automatically be played without any listener interaction. In other words, the Dolby Atmos format fits into existing habits and services seamlessly, no complex speaker set up required.

Giving and Capturing Space

Consumer adoption is one thing, but another important piece of the staying power lies in what artists, producers and engineers make of Dolby Atmos, and what will keep these 40 million listeners engaged and wanting more. Writing, recording and producing music in Dolby Atmos has some serious creative advantages over traditional stereo. They can not only move sounds around, but they can also position any sound or instrument in a 360 soundscape to allow for the best sonic separation and clarity of a mix.

Rob D?Amico

Because of this, engineers don?t have to try and fit all sonic information into just a stereo (two channel) mix. They can take advantage of a much more flexible and creative environment where each instrument or sound can occupy its own space, as well as intriguing options to utilize dynamics for different expressions. Think, for example, about a chorus with a four-part harmony. Atmos gives an engineer far more options for placing each voice in space so that listeners can really savor each vocal line and its nuances. This helps the track feel more ?live? and adds richness and depth.

This increased spatial range is already inspiring new discoveries among engineers, akin to giving them an incredibly expanded palette to play with. Imagine a painter who had only used flat shades of grey and who now has a paintbox full of three-dimensional colors. With Dolby Atmos productions, engineers and producers are now considering during the recording process, how to capture the acoustic space, not just the sound source itself. They are changing the way they place mics while recording, adding special mics just to record the sound of a room and other atmospheric elements, to give them more to work with during the mix. They?re capturing the full color of a place, not just a performance.

When Artists Dream in Atmos

Artists are just discovering the possibilities of Atmos, and those who do are often blown away. But over time, it will become second nature to think about how their music can be experienced immersively. Just like a generation adopted smartphones and now do everything on them, younger artists and fans will begin to feel like they can?t live without immersive audio experiences. They are going to think about the space they want their music to sound like or to sound in. The room or environment will become another key sound source or instrument in the mix. Though they may start composing on a guitar or a piano or a laptop, they will immediately start thinking about the production in terms of Atmos instead of stereo.

And more and more artists will get a chance to experience and experiment with Dolby Atmos on their own, thanks to the format?s accessibility. Dolby Atmos is accessible to those with home project studios. Serious music creators and independent professionals can produce Dolby Atmos Music using Pro Tools | Ultimate and the Dolby Atmos Production Suite at an affordable price. You don’t need to have a studio with a halo of speakers to mix in Atmos, especially if their intended audience is going to consume it binaurally. It all will run on the same computer, and you can monitor as you’re mixing binaurally with a pair of decent-quality headphones.

Dolby Atmos? accessibility for creators and music fans, as well as its qualities and possibilities, mean that the format is here to stay. The same way immersive music is moving into other contexts and virtual experiences like fitness, gaming, and health care, Dolby Atmos will unlock new opportunities for music professionals and independent creators alike, letting them find new sonic means of expression ready for the world to experience.

Rob D?Amico is senior director of product management, audio services, at Avid Technology.

Veteran music agents Bruno Del Granado and Jeff Krones have been promoted at leading entertainment agency CAA. Krones has become the co-head of CAA Nashville Music, while Del Granado will now serve in the newly created role of head of the agency?s global Latin Music.  

?Today’s appointments of two superbly talented new leaders attest to the tremendous momentum CAA is experiencing across our touring business,? said CAA?s head of music Rob Light in a release. ?Jeff and Bruno’s individual instincts, taste, and experience have made them world-class agents, and we look forward to them expanding their impact for clients and CAA in their new leadership roles.? 

Del Granado works with prominent Latin music artists including Maluma, Gloria Estefan, Luis Fonsi, Becky G, Danna Paola, Jen Carlos Canela, and Isabela Moner. He came to CAA in 2013 from RM Entertainment Group, which he formed in partnership with Ricky Martin. 

?As the reach and influence of Latin music continues to grow across the globe, I?m thrilled to work alongside the incredible artists driving the success and cultural impact of the music,? Del Granado said in a release. ?With the continued support of the broader CAA team, our Latin Music group will create even more opportunities ahead.? 

In the last year, CAA?s Latin music touring division has secured major deals for its artists including a global multi-million dollar brand partnership for Ricky Martin with the Chilean beauty brand KUMIKO. The division also helped secure a role for superstar Gloria Estefan to co-star with Andy Garcia in Plan B/Warner Bros.?s Father of the Bride remake.  

Previously, he founded Entertainment Media Factory, Inc. a music, television, and film production and programming company specializing in content for Latin America, Europe, and Asia. Prior to Entertainment Media Factory, Inc., he was the president of Maverick Recording Company?s Latin division, and vp of programming for MTV LatAm.  

Jeff Krones

In his new role, Krones will join Nashville music co-heads Marc Dennis, Brian Manning and Darin Murphy. Krones works with high-profile clients such as Dan + Shay, Twenty One Pilots, Brett Young, Needtobreathe, and NF, among many others. 

?I?m honored to join my fellow Co-Heads in helping to build on our success in Nashville. As a team, we?re passionate about discovering, developing, and serving a wide range of artists that touch many different genres and cultures,? said Krones in a release. ?I?m fortunate to have spent my entire career at CAA, surrounded by the best agents, and I?m excited by the opportunity to help shape our future.? 

Krones, who was elected to the Board of the Academy of Country Music in 2017, began his career as an intern at CAA in 2004 and was promoted to agent in 2007. 

Veteran music agents Bruno Del Granado and Jeff Krones have been promoted at leading entertainment agency CAA. Krones has become the co-head of CAA Nashville Music, while Del Granado will now serve in the newly created role of head of the agency?s global Latin Music.  

?Today’s appointments of two superbly talented new leaders attest to the tremendous momentum CAA is experiencing across our touring business,? said CAA?s head of music Rob Light in a release. ?Jeff and Bruno’s individual instincts, taste, and experience have made them world-class agents, and we look forward to them expanding their impact for clients and CAA in their new leadership roles.? 

Del Granado works with prominent Latin music artists including Maluma, Gloria Estefan, Luis Fonsi, Becky G, Danna Paola, Jen Carlos Canela, and Isabela Moner. He came to CAA in 2013 from RM Entertainment Group, which he formed in partnership with Ricky Martin. 

?As the reach and influence of Latin music continues to grow across the globe, I?m thrilled to work alongside the incredible artists driving the success and cultural impact of the music,? Del Granado said in a release. ?With the continued support of the broader CAA team, our Latin Music group will create even more opportunities ahead.? 

In the last year, CAA?s Latin music touring division has secured major deals for its artists including a global multi-million dollar brand partnership for Ricky Martin with the Chilean beauty brand KUMIKO. The division also helped secure a role for superstar Gloria Estefan to co-star with Andy Garcia in Plan B/Warner Bros.?s Father of the Bride remake.  

Previously, he founded Entertainment Media Factory, Inc. a music, television, and film production and programming company specializing in content for Latin America, Europe, and Asia. Prior to Entertainment Media Factory, Inc., he was the president of Maverick Recording Company?s Latin division, and vp of programming for MTV LatAm.  

Jeff Krones

In his new role, Krones will join Nashville music co-heads Marc Dennis, Brian Manning and Darin Murphy. Krones works with high-profile clients such as Dan + Shay, Twenty One Pilots, Brett Young, Needtobreathe, and NF, among many others. 

?I?m honored to join my fellow Co-Heads in helping to build on our success in Nashville. As a team, we?re passionate about discovering, developing, and serving a wide range of artists that touch many different genres and cultures,? said Krones in a release. ?I?m fortunate to have spent my entire career at CAA, surrounded by the best agents, and I?m excited by the opportunity to help shape our future.? 

Krones, who was elected to the Board of the Academy of Country Music in 2017, began his career as an intern at CAA in 2004 and was promoted to agent in 2007. 

Veteran music agents Bruno Del Granado and Jeff Krones have been promoted at leading entertainment agency CAA. Krones has become the co-head of CAA Nashville Music, while Del Granado will now serve in the newly created role of head of the agency?s global Latin Music.  

?Today’s appointments of two superbly talented new leaders attest to the tremendous momentum CAA is experiencing across our touring business,? said CAA?s head of music Rob Light in a release. ?Jeff and Bruno’s individual instincts, taste, and experience have made them world-class agents, and we look forward to them expanding their impact for clients and CAA in their new leadership roles.? 

Del Granado works with prominent Latin music artists including Maluma, Gloria Estefan, Luis Fonsi, Becky G, Danna Paola, Jen Carlos Canela, and Isabela Moner. He came to CAA in 2013 from RM Entertainment Group, which he formed in partnership with Ricky Martin. 

?As the reach and influence of Latin music continues to grow across the globe, I?m thrilled to work alongside the incredible artists driving the success and cultural impact of the music,? Del Granado said in a release. ?With the continued support of the broader CAA team, our Latin Music group will create even more opportunities ahead.? 

In the last year, CAA?s Latin music touring division has secured major deals for its artists including a global multi-million dollar brand partnership for Ricky Martin with the Chilean beauty brand KUMIKO. The division also helped secure a role for superstar Gloria Estefan to co-star with Andy Garcia in Plan B/Warner Bros.?s Father of the Bride remake.  

Previously, he founded Entertainment Media Factory, Inc. a music, television, and film production and programming company specializing in content for Latin America, Europe, and Asia. Prior to Entertainment Media Factory, Inc., he was the president of Maverick Recording Company?s Latin division, and vp of programming for MTV LatAm.  

Jeff Krones

In his new role, Krones will join Nashville music co-heads Marc Dennis, Brian Manning and Darin Murphy. Krones works with high-profile clients such as Dan + Shay, Twenty One Pilots, Brett Young, Needtobreathe, and NF, among many others. 

?I?m honored to join my fellow Co-Heads in helping to build on our success in Nashville. As a team, we?re passionate about discovering, developing, and serving a wide range of artists that touch many different genres and cultures,? said Krones in a release. ?I?m fortunate to have spent my entire career at CAA, surrounded by the best agents, and I?m excited by the opportunity to help shape our future.? 

Krones, who was elected to the Board of the Academy of Country Music in 2017, began his career as an intern at CAA in 2004 and was promoted to agent in 2007. 

State of Mine sends a hard rock cover of a country hit to No. 1 on Billboard‘s Hot Hard Rock Songs chart for a second time in 2021, as “God’s Country,” with Drew Jacobs, starts atop the Dec. 4-dated survey.

The acts’ rendition of Blake Shelton‘s seven-week Hot Country Songs No. 1 from 2019 debuts with 842,000 U.S. streams and 25,300 downloads sold in the Nov. 19-25 tracking week, according to MRC Data.

It follows State of Mine’s cover of Garth Brooks‘ “The Thunder Rolls” (featuring No Resolve), which crowned Hot Hard Rock Songs in February and ranks at No. 7 on the latest list with 418,000 streams and 1,500 sold.

“God’s Country” also becomes State of Mine’s first all-format Digital Song Sales No. 1. It’s the band’s second leader, after “Thunder” on Rock Digital Song Sales and Hard Rock Digital Song Sales.

Jacobs, meanwhile, claims his first No. 1 ranks thanks to “God’s Country.”

The track additionally arrives as each act’s first top 10 on Hot Rock & Alternative Songs, starting at No. 8, and first entry on the Billboard Hot 100, bowing at No. 73.

State of Mine sends a hard rock cover of a country hit to No. 1 on Billboard‘s Hot Hard Rock Songs chart for a second time in 2021, as “God’s Country,” with Drew Jacobs, starts atop the Dec. 4-dated survey.

The acts’ rendition of Blake Shelton‘s seven-week Hot Country Songs No. 1 from 2019 debuts with 842,000 U.S. streams and 25,300 downloads sold in the Nov. 19-25 tracking week, according to MRC Data.

It follows State of Mine’s cover of Garth Brooks‘ “The Thunder Rolls” (featuring No Resolve), which crowned Hot Hard Rock Songs in February and ranks at No. 7 on the latest list with 418,000 streams and 1,500 sold.

“God’s Country” also becomes State of Mine’s first all-format Digital Song Sales No. 1. It’s the band’s second leader, after “Thunder” on Rock Digital Song Sales and Hard Rock Digital Song Sales.

Jacobs, meanwhile, claims his first No. 1 ranks thanks to “God’s Country.”

The track additionally arrives as each act’s first top 10 on Hot Rock & Alternative Songs, starting at No. 8, and first entry on the Billboard Hot 100, bowing at No. 73.

State of Mine sends a hard rock cover of a country hit to No. 1 on Billboard‘s Hot Hard Rock Songs chart for a second time in 2021, as “God’s Country,” with Drew Jacobs, starts atop the Dec. 4-dated survey.

The acts’ rendition of Blake Shelton‘s seven-week Hot Country Songs No. 1 from 2019 debuts with 842,000 U.S. streams and 25,300 downloads sold in the Nov. 19-25 tracking week, according to MRC Data.

It follows State of Mine’s cover of Garth Brooks‘ “The Thunder Rolls” (featuring No Resolve), which crowned Hot Hard Rock Songs in February and ranks at No. 7 on the latest list with 418,000 streams and 1,500 sold.

“God’s Country” also becomes State of Mine’s first all-format Digital Song Sales No. 1. It’s the band’s second leader, after “Thunder” on Rock Digital Song Sales and Hard Rock Digital Song Sales.

Jacobs, meanwhile, claims his first No. 1 ranks thanks to “God’s Country.”

The track additionally arrives as each act’s first top 10 on Hot Rock & Alternative Songs, starting at No. 8, and first entry on the Billboard Hot 100, bowing at No. 73.

Venue management company ASM Global is expanding its partnership division with Jason Oberlander, who has been hired as chief commercial officer. Oberlander will be tasked with expanding ASM?s naming rights and marketing partnerships for the company’s arenas, stadiums, theaters and convention centers. 

?We have the scale, consumer touchpoints and ability to integrate brands in?to music, sports, business, tech and more?that will drive value for the brands, content providers, venue partners and guests,? said ASM President and CEO Ron Bension in a release. ?Jason?s extensive experience, particularly with IMG in forging new national partnerships with Fortune 1000 brands, will provide far and away the most diverse and enriching opportunities the industry has ever seen.? 

Oberlander was most recently the svp of national sales for sports marketing company Learfield IMG College, which holds the multimedia rights to more than 200 of the nation?s top collegiate athletic properties.  

?ASM?s growth potential is unlimited,? Oberlander said in a release. ?We?re the world?s largest live-event marketing platform, which enables us to deliver fan-engagement opportunities to brands across the guest journey; and we can do it on a scale that no one else can deliver.? 

ASM Global was formed in 2019 as a merger between AEG Facilities and SMG to create a standalone venue management mega-company with a portfolio of more than 325 venues. ASM Global, in concert with AEG Global Partnerships, has been active in recent months in securing naming rights and other ASM Global corporate partnerships. Key naming rights include the Coca-Cola Music Hall and Distro T-Mobile in Puerto Rico; the renamed T-Mobile Center in Kansas City, Missouri; and the AO Arena in Manchester, England.  

?Fans are craving live-event experiences more than ever, and brands will want to be a part of those moments. No one has the breadth of events, venues, tenant partners and boots on the ground like ASM,? Oberlander added. ?At a full run, there are 164 million people coming through our venues. That?s more than the four major U.S. professional sports leagues combined. We are very excited to show brand partners what we?re planning.? 

Venue management company ASM Global is expanding its partnership division with Jason Oberlander, who has been hired as chief commercial officer. Oberlander will be tasked with expanding ASM?s naming rights and marketing partnerships for the company’s arenas, stadiums, theaters and convention centers. 

?We have the scale, consumer touchpoints and ability to integrate brands in?to music, sports, business, tech and more?that will drive value for the brands, content providers, venue partners and guests,? said ASM President and CEO Ron Bension in a release. ?Jason?s extensive experience, particularly with IMG in forging new national partnerships with Fortune 1000 brands, will provide far and away the most diverse and enriching opportunities the industry has ever seen.? 

Oberlander was most recently the svp of national sales for sports marketing company Learfield IMG College, which holds the multimedia rights to more than 200 of the nation?s top collegiate athletic properties.  

?ASM?s growth potential is unlimited,? Oberlander said in a release. ?We?re the world?s largest live-event marketing platform, which enables us to deliver fan-engagement opportunities to brands across the guest journey; and we can do it on a scale that no one else can deliver.? 

ASM Global was formed in 2019 as a merger between AEG Facilities and SMG to create a standalone venue management mega-company with a portfolio of more than 325 venues. ASM Global, in concert with AEG Global Partnerships, has been active in recent months in securing naming rights and other ASM Global corporate partnerships. Key naming rights include the Coca-Cola Music Hall and Distro T-Mobile in Puerto Rico; the renamed T-Mobile Center in Kansas City, Missouri; and the AO Arena in Manchester, England.  

?Fans are craving live-event experiences more than ever, and brands will want to be a part of those moments. No one has the breadth of events, venues, tenant partners and boots on the ground like ASM,? Oberlander added. ?At a full run, there are 164 million people coming through our venues. That?s more than the four major U.S. professional sports leagues combined. We are very excited to show brand partners what we?re planning.? 

Venue management company ASM Global is expanding its partnership division with Jason Oberlander, who has been hired as chief commercial officer. Oberlander will be tasked with expanding ASM?s naming rights and marketing partnerships for the company’s arenas, stadiums, theaters and convention centers. 

?We have the scale, consumer touchpoints and ability to integrate brands in?to music, sports, business, tech and more?that will drive value for the brands, content providers, venue partners and guests,? said ASM President and CEO Ron Bension in a release. ?Jason?s extensive experience, particularly with IMG in forging new national partnerships with Fortune 1000 brands, will provide far and away the most diverse and enriching opportunities the industry has ever seen.? 

Oberlander was most recently the svp of national sales for sports marketing company Learfield IMG College, which holds the multimedia rights to more than 200 of the nation?s top collegiate athletic properties.  

?ASM?s growth potential is unlimited,? Oberlander said in a release. ?We?re the world?s largest live-event marketing platform, which enables us to deliver fan-engagement opportunities to brands across the guest journey; and we can do it on a scale that no one else can deliver.? 

ASM Global was formed in 2019 as a merger between AEG Facilities and SMG to create a standalone venue management mega-company with a portfolio of more than 325 venues. ASM Global, in concert with AEG Global Partnerships, has been active in recent months in securing naming rights and other ASM Global corporate partnerships. Key naming rights include the Coca-Cola Music Hall and Distro T-Mobile in Puerto Rico; the renamed T-Mobile Center in Kansas City, Missouri; and the AO Arena in Manchester, England.  

?Fans are craving live-event experiences more than ever, and brands will want to be a part of those moments. No one has the breadth of events, venues, tenant partners and boots on the ground like ASM,? Oberlander added. ?At a full run, there are 164 million people coming through our venues. That?s more than the four major U.S. professional sports leagues combined. We are very excited to show brand partners what we?re planning.? 

A federal appeals court ruled Monday that Josh Groban?s 2003 hit “You Raise Me Up” didn?t infringe the copyright to a little-known 1977 song, ruling that both songs were actually derived from the century-old folk song ?Danny Boy.?

Ending a three-year legal battle over Groban?s first big hit, the U.S. Court of Appeals for the Ninth Circuit upheld a lower judge?s decision last year: That any similarities between the two songs originated in the famous folk ballad, for which any copyright has long since expired.

The ruling came in a lawsuit filed in 2018 by a company called Johannsongs-Publishing Ltd., which owns the rights to a 1977 song entitled “Söknuður.” The case claimed that “You Raise Me Up,? written by Irish-Norwegian band Secret Garden but popularized by Groban?s version, was “97% similar” to the earlier song.

The lawsuit named Secret Garden member and songwriter Rolf Løvland as a defendant, as well as Universal Music Group, Warner Music Group, Spotify and Apple. Groban, who merely covered the song, was never a party to the lawsuit.

“You Raise Me Up” was Groban’s first hit on the Billboard Hot 100, reaching No. 73 in April 2004. It also brought him his first Grammy nomination, for best male pop vocal performance.

Last year, a federal trial judge dismissed the case. Citing a report prepared by famed New York University musicologist Lawrence Ferrara, the judge ruled that the similarities between the two songs were derived from so-called prior art ? a legal term referring to a third, pre-existing piece of music.

In this case, that song was “Danny Boy,” the mournful 1913 English ballad set to the melody of the even-older Irish folk song “Londonderry Air.”

?Any melodic similarities between ?Soknudur? and ?Raise? are either unprotectible because they are found in prior art songs including ?Londonderry Air? aka ?Danny Boy,? or they are too scattered to amount to substantial similarity,? wrote U.S. District Judge André Birotte Jr. in his April 2020 decision.

In seeking to overturn that ruling, Johannsongs argued on appeal that Judge Birotte had unfairly excluded a report from the company?s own expert, another well-known musicologist named Judith Finell. The judge did so on the grounds that Finell failed to properly ?filter? unprotectable elements when comparing the two songs.

But on Monday, the Ninth Circuit said Judge Birotte had made the proper decision and ?did not abuse its discretion in excluding Finell?s expert reports because they failed to filter out similarities that are attributable to prior art, as required.?

Barry Slotnick, an attorney at the law firm Loeb & Loeb who represented UMG and the other defendants, told Billboard on Tuesday (Nov. 30) that he and his clients were ?quite pleased that the Ninth Circuit recognized and upheld the well-considered decision of the district court judge.?

The ruling is likely to fully end the lawsuit, barring a reversal by the full Ninth Circuit or the U.S. Supreme Court, both of which are very unlikely. On Tuesday, an attorney for Johannsongs told Billboard that he was strongly considering an appeal to the high court, citing unsettled law over how courts analyze such copyright cases.

“My client would just like his day in court before a jury, so that they can hear these two songs and decide,” said Michael Machat of the law firm Machat & Associates PC.

A federal appeals court ruled Monday that Josh Groban?s 2003 hit “You Raise Me Up” didn?t infringe the copyright to a little-known 1977 song, ruling that both songs were actually derived from the century-old folk song ?Danny Boy.?

Ending a three-year legal battle over Groban?s first big hit, the U.S. Court of Appeals for the Ninth Circuit upheld a lower judge?s decision last year: That any similarities between the two songs originated in the famous folk ballad, for which any copyright has long since expired.

The ruling came in a lawsuit filed in 2018 by a company called Johannsongs-Publishing Ltd., which owns the rights to a 1977 song entitled “Söknuður.” The case claimed that “You Raise Me Up,? written by Irish-Norwegian band Secret Garden but popularized by Groban?s version, was “97% similar” to the earlier song.

The lawsuit named Secret Garden member and songwriter Rolf Løvland as a defendant, as well as Universal Music Group, Warner Music Group, Spotify and Apple. Groban, who merely covered the song, was never a party to the lawsuit.

“You Raise Me Up” was Groban’s first hit on the Billboard Hot 100, reaching No. 73 in April 2004. It also brought him his first Grammy nomination, for best male pop vocal performance.

Last year, a federal trial judge dismissed the case. Citing a report prepared by famed New York University musicologist Lawrence Ferrara, the judge ruled that the similarities between the two songs were derived from so-called prior art ? a legal term referring to a third, pre-existing piece of music.

In this case, that song was “Danny Boy,” the mournful 1913 English ballad set to the melody of the even-older Irish folk song “Londonderry Air.”

?Any melodic similarities between ?Soknudur? and ?Raise? are either unprotectible because they are found in prior art songs including ?Londonderry Air? aka ?Danny Boy,? or they are too scattered to amount to substantial similarity,? wrote U.S. District Judge André Birotte Jr. in his April 2020 decision.

In seeking to overturn that ruling, Johannsongs argued on appeal that Judge Birotte had unfairly excluded a report from the company?s own expert, another well-known musicologist named Judith Finell. The judge did so on the grounds that Finell failed to properly ?filter? unprotectable elements when comparing the two songs.

But on Monday, the Ninth Circuit said Judge Birotte had made the proper decision and ?did not abuse its discretion in excluding Finell?s expert reports because they failed to filter out similarities that are attributable to prior art, as required.?

Barry Slotnick, an attorney at the law firm Loeb & Loeb who represented UMG and the other defendants, told Billboard on Tuesday (Nov. 30) that he and his clients were ?quite pleased that the Ninth Circuit recognized and upheld the well-considered decision of the district court judge.?

The ruling is likely to fully end the lawsuit, barring a reversal by the full Ninth Circuit or the U.S. Supreme Court, both of which are very unlikely. On Tuesday, an attorney for Johannsongs told Billboard that he was strongly considering an appeal to the high court, citing unsettled law over how courts analyze such copyright cases.

“My client would just like his day in court before a jury, so that they can hear these two songs and decide,” said Michael Machat of the law firm Machat & Associates PC.

A federal appeals court ruled Monday that Josh Groban?s 2003 hit “You Raise Me Up” didn?t infringe the copyright to a little-known 1977 song, ruling that both songs were actually derived from the century-old folk song ?Danny Boy.?

Ending a three-year legal battle over Groban?s first big hit, the U.S. Court of Appeals for the Ninth Circuit upheld a lower judge?s decision last year: That any similarities between the two songs originated in the famous folk ballad, for which any copyright has long since expired.

The ruling came in a lawsuit filed in 2018 by a company called Johannsongs-Publishing Ltd., which owns the rights to a 1977 song entitled “Söknuður.” The case claimed that “You Raise Me Up,? written by Irish-Norwegian band Secret Garden but popularized by Groban?s version, was “97% similar” to the earlier song.

The lawsuit named Secret Garden member and songwriter Rolf Løvland as a defendant, as well as Universal Music Group, Warner Music Group, Spotify and Apple. Groban, who merely covered the song, was never a party to the lawsuit.

“You Raise Me Up” was Groban’s first hit on the Billboard Hot 100, reaching No. 73 in April 2004. It also brought him his first Grammy nomination, for best male pop vocal performance.

Last year, a federal trial judge dismissed the case. Citing a report prepared by famed New York University musicologist Lawrence Ferrara, the judge ruled that the similarities between the two songs were derived from so-called prior art ? a legal term referring to a third, pre-existing piece of music.

In this case, that song was “Danny Boy,” the mournful 1913 English ballad set to the melody of the even-older Irish folk song “Londonderry Air.”

?Any melodic similarities between ?Soknudur? and ?Raise? are either unprotectible because they are found in prior art songs including ?Londonderry Air? aka ?Danny Boy,? or they are too scattered to amount to substantial similarity,? wrote U.S. District Judge André Birotte Jr. in his April 2020 decision.

In seeking to overturn that ruling, Johannsongs argued on appeal that Judge Birotte had unfairly excluded a report from the company?s own expert, another well-known musicologist named Judith Finell. The judge did so on the grounds that Finell failed to properly ?filter? unprotectable elements when comparing the two songs.

But on Monday, the Ninth Circuit said Judge Birotte had made the proper decision and ?did not abuse its discretion in excluding Finell?s expert reports because they failed to filter out similarities that are attributable to prior art, as required.?

Barry Slotnick, an attorney at the law firm Loeb & Loeb who represented UMG and the other defendants, told Billboard on Tuesday (Nov. 30) that he and his clients were ?quite pleased that the Ninth Circuit recognized and upheld the well-considered decision of the district court judge.?

The ruling is likely to fully end the lawsuit, barring a reversal by the full Ninth Circuit or the U.S. Supreme Court, both of which are very unlikely. On Tuesday, an attorney for Johannsongs told Billboard that he was strongly considering an appeal to the high court, citing unsettled law over how courts analyze such copyright cases.

“My client would just like his day in court before a jury, so that they can hear these two songs and decide,” said Michael Machat of the law firm Machat & Associates PC.

Colombian star Maluma isn’t the only one who’s announced that he’s touring in 2021. Injecting a much-needed boost of confidence in the live market — which has been significantly impacted by the pandemic-imposed shutdown — other artists who are hitting the road include Banda MS and Mike Bahía, among others.

The global coronavirus pandemic is still an ongoing health crisis, but Latin acts are looking to jumpstart the live industry with sporadic tour dates across the country.

Below is an updating list of concerts by Latin acts in 2021.

Jesse y Joy

Grammy and Latin Grammy-winning siblings Jesse y Joy are returning to touring, announcing today their “Cliches” world tour slated for 2022. Produced by Live Nation, the 22-dates tour will kick off March 4 in Puerto Rico’s Coca Cola Music Hall and wrap up on April 10 in Fantasy Springs Resort Casino at Indio, Calif. “Cliches,” which marks their first tour in nearly three years, will also make pit stops in key U.S. cities including Miami, New York, Los Angeles, and Houston, to name a few. Tickets will go on sale at 10 a.m. local time on Friday, Dec. 3.  For ticket sales and more information, click here.

Ya llega – Cliches World Tour – ?!! Aquí las primeras fechas ? Invitados especiales @thelittlejesus & @chulemusica
Y el pre-sale inicia HOY a las 12pm EST con el código 2022CLICHES ?https://t.co/6P2zuvT6Ks pic.twitter.com/vk6tVxSDG2

— Jesse & Joy Oficial (@jesseyjoy) November 30, 2021

Pedro Capo

The Puerto Rican singer-songwriter is hitting the road in 2022 with an 11-date tour across the U.S. Capo kicks off his tour at the emblematic Coliseo de Puerto Rico on May 7 and will visit New York, Boston, Dallas, and other cities before wrapping up on June 4 at the Fillmore in Miami Beach. For ticket information, visit pedrocapomusica.com.

Familia nos vamos de Tour ??!!!! Están listos??? ???

Boletos a la venta ?? https://t.co/CIgUZLD0Wl pic.twitter.com/warqv7mDA6

— Pedro Capó (@pedrocapo) November 23, 2021

Maná

Jay Wheeler

Jay Wheeler, a former Billboard Latin Artist on the Rise and 2021 Latin Grammy nominee, will kick off his U.S. tour on Nov. 26 at The Cosmopolitan in Las Vegas and is slated to wrap up on Feb. 18, 2022, at the Hard Rock Live in Orland, Fla. “We’re going on tour!! Thank you for so much, family,” the Puerto Rican artist expressed on social media. With more than 40 cities confirmed, tickets for La Voz Favorite Tour, presented by Elite Media & Marketing (EMM), will go on sale at 10 a.m. local time on Oct. 16 via www.JayWheelerMusic.com or www.EMM360.com. More dates and cities are expected to be announced.

NOS FUIMOS DE TOUR!!?
GRACIAS POR TANTO FAMILIA. ??

COMPRA TU BOLETO DESDE EL SÁBADO A LAS 10 AM, NOS VEMOS EN TU CIUDAD ?

BOLETOS AQUÍ ???https://t.co/5o8wvCDLhf pic.twitter.com/EkZLrLbpH6

— J ª Y (@jaywheelerpr) October 11, 2021

Los Temerarios

Los Temerarios returns to touring in 2022 after a COVID-19-imposed hiatus. The Mexican grupero band, led by brothers Gustavo and Adolfo Ángel, are set to kick off the trek Feb. 4 in San Jose, California?s SAP Center, and wrap up on April 9 in Greensboro, North Carolina. ?After a long pause due to the pandemic, and a difficult situation that has impacted all of us, we are filled with joy to reunite with our beloved fans to create new and beautiful memories thanks to music,? Los Temerarios said in a statement. The coast-to-coast tour will make stops in cities such as Chicago, Los Angeles, Dallas and New York, among others. See the complete list of tour dates here.

Emocionados de presentarles las fechas de #LosTemerarios 2022 US Tour. https://t.co/gVc9vwpqwZ pic.twitter.com/1RfsIvVYvR

— Los Temerarios (@los_temerarios) October 12, 2021

Blessd

Colombian newcomer Blessd announced his first-ever U.S. tour, El Bendito Tour, kicking off Oct. 14 at La Chiflada in Paterson, N.J. and wrapping up on Oct. 22 at Tampa, Florida’s Vibras. The former Billboard Latin Artist on the Rise will also visit New York, Orland, and Massachusetts, to name a few. “God is rewarding us with these new triumphs that we are getting little by little,” the artist expressed in a statement. Following his U.S. tour, Blessd will tour Europe in the fall.

Rubén Blades

Rubén Blades, Latin Recording Academy’s 2021 Person of the Year, is hitting the road in 2021 with an eight-city tour called Salswing Tour alongside the Roberto Delgado Big Band, composed of 20 Panamanian musicians. Produced by Live and Loud, Blades will kick off the U.S. tour on Nov. 20 in Oakland and wrap up on Dec. 5 in Chicago. Paying homage to his album’s name Salswing!, Blades and Big Band will celebrate the origins of Latin Jazz and the mutual influences between son, the rhythmic Afro-Caribbean music, and swing. See the dates below and for ticketing information, visit rubenblades.com.

El Alfa

El Alfa has announced his first-ever world tour beginning in the U.S. in the fall of 2021. The Dominican dembow star — who?s collaborated with artists such as Bad Bunny, Daddy Yankee, and more — will kick off the North American leg of his tour on Oct. 14 in Dallas and wrap up Nov. 21 in The Chelsea at The Cosmopolitan of Las Vegas after making pit stops in key cities including New York, Miami, and Atlanta. Produced by Live Nation, tickets for El Alfa?s tour will go on sale at 10 a.m. local time on Aug. 13 via ticketmaster.com. Click on the link below to see full tour dates:

Sech

Panamanian singer-songwriter Sech kicked off his CMN-produced 42 Tour on July 30 with back-to-back concerts in Miami, Orlando and Atlanta. Sech will continue touring from August to October, visiting cities such as New York, Las Vegas and Los Angeles. He will also make two stops in Mexico: one in Baja California for Baja Beach Fest in August, and one in Nuevo León in November. See the complete list of dates here.

Nio García

Puerto Rican artist Nio Garcia announced his upcoming 2021 AM Tour set to kick off in the Dominican Republic on Aug. 3, and will make its way to the U.S. Aug. 13 with stops in Nashville August 13. From there it will make stops in Boston, Las Vegas, Miami and Chicago, among other cities. Tickets will be on sale Aug, 5 through www.zamoralive.com. See all the dates below:

 

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Cafe Tacuba

Cafe Tacuba is going on tour this fall with special guest Diamante Eléctrico, kicking off Nov. 1 at New York’s Irving Plaza and wrapping Nov. 17 at Texas’ McAllen Performing Arts Center. Known for hits such as “La Ingrata,” “Eres,” and “Chilanga Banda,” the Mexican rock band will also visit fans in Georgia, North Carolina, and Miami.

Produced by Live Nation, general tickets go on sale starting Friday, July 30, via Ticketmaster.com. Citi cardmembers can purchase pre-sale tickets from 10 a.m. local time on Tuesday, July 27, to 10 p.m. local time on July 29 through Citi Entertainment. Fan pre-sale will be available at 10 a.m. local time on July 70 until 10 p.m. local time July 29 via Ticketmaster.com.

Mon Nov 01 — New York, NY @ Irving Plaza
Tue Nov 02 — New York, NY @ Irving Plaza
Thu Nov 04 — Silver Spring, MD @ The Fillmore Silver Spring
Sun Nov 07 — Raleigh, NC @ The Ritz
Mon Nov 08 — Charlotte, NC @ The Fillmore Charlotte
Tue Nov 09 — Atlanta, GA @ Buckhead Theatre
Fri Nov 12 — St. Petersburg, FL @ Mahaffey Theater
Sat Nov 13 — Miami Beach, FL @ The Fillmore at Jackie Gleason Theater
Sun Nov 14 — Orlando, FL @ House of Blues Orlando
Tue Nov 16 — Houston, TX @ Bayou Music Center
Wed Nov 17 — McAllen, TX @ McAllen Performing Arts Center
Fri Nov 19 — Austin, TX @ Bass Concert Hall
Sat Nov 20 — San Antonio, TX @ Aztec Theatre
Mon Nov 22 — Irving, TX @ The Pavilion at Toyota Music Factory
Wed Nov 24 — El Paso, TX @ Abraham Chavez Theatre

Juanes

Dubbed Origen Tour, the Colombian singer-songwriter promises fans an ?up close and immersive journey? through all of his greatest hits combined with his album?s newer songs, such as ?Rebélion,? ?Nuestro Juramento,? and ?Dancing in the Dark.? ?These are songs that marked my childhood, my teen years, and my early adulthood,? Juanes previously told Billboard of his album. ?This was curated to show my life. I wanted to return to a place where I felt I was myself.? His origins will now reflect on his upcoming tour that is produced by Live Nation and kicks off Sept. 16 at The Fillmore in Miami. For full dates and tickets information, click here.

Aventura

Aventura fans, rejoice! ?The Kings of Bachata? have announced four new stadium dates across the U.S. as part of their final run together as a group. After selling out their Aug. 14 show at Miami’s Hard Rock Stadium, the bachata supergroup will also now visit Chicago; Los Angeles; Arlington, Texas; and East Rutherford, N.J. Aventura, helmed by Romeo Santos, Henry Santos, Lenny Santos and Max Santos, grossed $25.8 million and sold 189,000 tickets for their 2020 Inmortal Tour, according to figures reported to Billboard Boxscore. The Live Nation-produced 2021 stadium tour will go on sale Friday, July 23, at 12 p.m. local time through ticketmaster.com.

Mon Laferte

Chilean singer-songwriter Mon Laferte announced a two-month U.S. trek in support of her latest album, SEIS. The coast-to-coast tour, produced by Live Nation, is set to kick off Sept. 14 in Seattle, with Laferte making stops in major cities such as Los Angeles, Chicago and Miami. The tour will wrap up Oct. 28 in Tucson, Ariz. Tickets will go on sale on Friday, July 23, at 10 a.m. local time. 

Karol G

Karol G will embark on her first-ever U.S. headlining tour this fall, calling it the ?most exciting show? of her entire career. Dubbed ?Bichota Tour,? after her unapologetic and empowering single, Karol kicks off her monthlong tour Oct. 20 in Denver?s Mission Ballroom. She?ll make pit stops in Los Angeles, New York, Atlanta and Miami before wrapping up in San Juan?s Coliseo de Puerto Rico. ?Bichota Tour? — where Karol will perform hits off of her most recent album, KG0516 — is presented by Smirnoff, produced by AEG Presents, and booked by UTA. Tickets are already on sale via karolgmusic.com.

Rauw Alejandro

After the success of “Todo de Ti” on social media and with his upcoming album Vice Versa, Rauw Alejandro is ready to hit the road. With more than 50 dates confirmed, the Puerto Rican artist is “crazy to sing all of these songs lives,” he tells Billboard.  The tour kicks off July 15 in Raleigh, N.C., and wrap up on Jan. 15 in Los Angeles. In between, Rauw will make stops in New Jersey, Las Vegas, Texas and even back-to-back dates in Spain. “It?s going to be a long ride but we?re ready, my team is ready, to give everything on stage.” Tickets are already on sale via RauwAlejandro.com.

Marco Antonio Solis y Los Bukis

Slated for Aug. 27 at the SoFi Stadium in Los Angeles, Sept. 4 at Soldier Field in Chicago, and Sept. 15 at AT&T Stadium in Dallas, the limited-run tour is titled ?Una Historia Cantada (A Sung History).? It will put Marco Antonio Solís onstage with his bandmates for the first time in 25 years. In addition to his Los Bukis dates, Solís will also perform two solo dates this year, Sept. 10 and 11 at Caesars Palace in Las Vegas. Those dates are part of several that were postponed due to the pandemic.

Gilberto Santa Rosa

Gilberto Santa Rosa?s Camínalo (Walk It) tour will hit more than 16 U.S. cities, beginning with Lubbock, Texas, on Oct. 7. The Camínalo tour will make stops at The Conga Room in Los Angeles and the San José Center for the Performing Arts in San José, and also at the Theater at MGM National Harbor and the Ocean Resort Casino in Atlantic City.  Camínalo will “be a big party, full of music and good vibes,? said Santa Rosa. The tour is named after one of the songs in his new album, Colegas.

Farruko

Named after his upcoming studio album and in honor of one of the main highways in Puerto Rico near his hometown, the La 167 tour will kick off Nov. 19 in San Diego?s Viejas Arena and make pit stops in Houston, Atlanta, Miami and San Juan and Puerto Rico, among other cities. The tour, presented for the most part by Loud and Live and Live Nation on select shows, is set to wrap up Feb. 20 in Chicago?s Rosemont Theatre. Tickets for the La 167 Tour go on sale at 10 a.m. local time Friday (June 25) via Farruko?s official website.

Morat

Colombian pop-rock group Morat has locked in a 14-date U.S. tour, kicking off in the fall. Dubbed “A Donde Vamos” tour, after their 2019 bop, the quartet will visit fans in Los Angeles, Dallas, Chicago, and New York, to name a few stops. The fall tour will wrap up on Oct. 24 in Miami. The U.S. tour will come on the heels of Morat’s Spain tour in the summer. To purchase tickets, click here.

Preventa este jueves 10 am hora Miami ???? #ADóndeVamosTour2021 pic.twitter.com/USqGtrxLRC

— Morat (@MoratBanda) June 1, 2021

Carlos Vives

Carlos Vives returns to touring with his “Despues de Todo… Vives” tour kicking off Dec. 3 at the FTX Arena (formerly known as the AmericanAirlines Arena) in Miami. The Latin Grammy-winning, Colombian superstar will then visit fans in the U.S. and Canada throughout the first few months of 2022.  ?After everything we have been through, returning to North America, to so many beloved places, to see unforgettable friends and special audiences again, makes this truly a historic moment for me,” Vives expressed in a statement.

The highly awaited tour, produced by Loud And Live, will make pit stops in Seattle, Houston, Toronto, Boston, and more cities. ?After months of anticipation, Loud And Live is excited to bring this experience to his fans who have been eagerly awaiting to see Vives in concert to enjoy in his repertoire of classics and newest hits and will ensure that this is a memorable experience for all,” said Nelson Albareda, CEO of Loud And Live. Tickets are available via Ticketmaster and AXS.

Christian Nodal

Christian Nodal announced the dates for his 2021 “Botella Tras Botella” U.S. tour with special guest Gera MX. Produced by Live Nation, the Regional Mexican star will kick off his series of concerts on Sept. 14 at Las Vegas? Zappos Theater at Planet Hollywood and is slated to wrap on Dec. 19 at Phoenix?s Arizona Federal Theatre. Nodal will make pit stops in Orlando, Nashville, Dallas, Los Angeles, Chicago, and other cities. The tour was coined after his and Gera?s country-meets-hip-hop collab “Botella Tras Botella,” which made Billboard history as the first Regional Mexican title to enter the Hot 100 in its almost 63-year history.

?Mi gente!
Me llena de felicidad darles la noticia que por fin volvemos de gira por Estados Unidos con #BotellaTrasBotellaTour??!?
Por fin nos veremos para disfrutar de momentos inolvidables.??????? ? https://t.co/vNvJC86Z9j pic.twitter.com/alyXcdE9Qt

— NODAL (@elnodal) June 1, 2021

Camilo

Tickets are now on sale for Camilo?s first-ever U.S. tour, the Mis Manos (My Hands) tour, titled after his recently released album. Produced by Loud and Live, will hit theaters in 14 cities, beginning with Miami, Oct. 22 at the Filmore and ending Dec. 3 at the Coca-Cola Theater in San Juan, Puerto Rico.

?This is the first time I?m going on stage to perform my songs with my band,? Camilo tells Billboard. ?The expectation of looking my fans in the eye, and having them look into my eyes and sing those songs, which are anthems of hope, makes this an almost mystical encounter.? See the full dates here.

Ricky Martin & Enrique Iglesias

Ricky Martin and Enrique Iglesias are officially kicking off their highly awaited co-headlining tour this fall, Billboard has learned.The 26-date North America tour is confirmed to kick off Sept. 25 At Las Vegas? MGM Grand Garden Arena and wrap up on Nov. 20 at Anaheim?s Honda Center. The iconic pop stars will also visit fans in Boston, Chicago, Los Angeles, Miami, and more.

Tickets are available on Ticketmaster.com.Colombian star Sebastian Yatra will perform as a special guest on the trek in select cities. Here is the complete list of tour stops.

Pepe Aguilar

Pepe Aguilar will continue his Jaripeo Sin Fronteras tour with 15 new dates in 2021. Conceptualized by the renowned regional Mexican star himself, the family-friendly concert will have performances by Pepe, Angela Aguilar, Leonardo Aguilar, Antonio Aguilar Jr., Banda Sinaloense, Mariachi Zacatecano, rodeo acts, horse shows, charreria competition, bull riders and more. The 2021 tour, produced by Live Nation, will kick off Sept. 4 in Phoenix?s Gila River Arena, and wrap up on Dec. 5 in San Jose?s SAP Center. The Aguilar dynasty will also make pit stops in Atlanta, Chicago, Las Vegas, and Los Angeles, to name a few.

Tickets for the 2021 Jaripeo Sin Fronteras tour are now on sale via Ticketmaster.com. See full dates here.

Related

Related Pepe Aguilar on Bringing His 'Jaripeo Sin Fronteras' Tour to Life: 'It's One of a Kind' 05/05/2021

Alejandro Sanz

After becoming one of the first Latin artists to kick off virtual concerts during the pandemic, Alejandro Sanz returns to touring this year with the announcement of new U.S. dates of his #LaGira 2021 tour. Produced by Live Nation, the Spanish crooner will kick off the tour on Oct. 8 at Illinois’ Rosemont Theatre and run until Oct. 31 at San Jose?s SAP Center. Sanz will also visit fans in New York, Miami, Houston and Los Angeles, to name a few. Tickets for his 2021 shows go on sale at 10 a.m. local time on April 29 via Ticketmaster. See the dates here.

Marc Anthony

Marc Anthony‘s 23-date North American tour is set to kick off Aug. 27 in San Antonio’s AT&T Center, Billboard can exclusively announce. The “Marc Anthony Tour” — with stops in major cities including Chicago, Miami and Los Angeles and two dates in Canada — is produced and presented by CMN and Magnus Media, with tickets to go on sale April 30 via Ticketmaster.

Zoé

In celebration of their recently released album Sonidos de Karmática Resonancia, Mexican band Zoé announced a 26-date U.S. tour set to launch in August with two dates at the House of Blues in Chicago.This year’s trek, which will see them perform in venues such as the Greek Theater in L.A. and Kings Theatre in New York, comes two years since their last tour in 2019 in support of their Grammy-winning album Aztlán. Tickets for Zoé’s summer/fall U.S. tour are on sale through www.ticketmaster.com and zoetheband.com. See the tour dates here.

David Bisbal 

At the 2021 Latin AMAs, where he performed “Tears of Gold” alongside Carrie Underwood, David Bisbal told Billboard he was also preparing for his 2021 “En Tus Planes” tour. Set to kick off in the fall, the tour begins September 30 in Miami’s The Fillmore Miami Beach and wraps up on Oct. 30 in California’s San Jose Civic. The Spanish crooner, who will be celebrating 20 years of career in 2022, will also make pit stops in cities such as Atlanta, New York, San Juan, Dallas, Chicago, and Las Vegas, to name a few. Tickets are available at www.ticketmaster.com.

Myriam Hernandez

Blessing fans with hits such as “El Hombre Que Yo Amo,? ?Herida? and ?Peligroso Amor,” as well as songs from her upcoming studio album, Myriam Hernandez announced her diverse and conceptual Sinergia Tour will take place in the fall. Dubbed “synergy,” flowers will play an important role on this tour, representing the union of the four natural elements, in addition to beauty, sensuality and mystery. The tour will kick off Oct. 8 at The Palace Theatre in Stanford, Conn., and run until Oct. 24 at Straz Center for The Performing Arts in Tampa, Fla. For full dates and ticket information, visit ticketmaster.com.

Banda MS

Banda MS announced their return to touring with the U.S. leg of their Banda MS Positivo tour. The Mexican musical group promises a packed concert with banda sinaloense, acoustic, and norteño music, to name a few. Spanish singer Natalia Jiménez is confirmed to join the band as a special guest on at least five tour stops. Banda MS Positivo tour will kick off on May 14 in Hidalgo, Texas and run until Nov. 20 in Stockton, Calif. They will make pit stops in D.C., Chicago, Orlando, and Memphis, and other cities.

Tickets for Banda MS Positivo will go on sale at 10 a.m. on Friday, April 9, via Ticketmaster.com.

Gilberto Santa Rosa

On Sept. 24, the salsa artist will perform the first of his nine concerts in the U.S. Gilberto Santa Rosa will kick off his tour in El Cajon, Calif., and wrap up in National Harbor, Md.

See the dates here.

Grupo Firme

Rising regional Mexican band will hit the road March 20 for their 27-date U.S. tour. Grupo Firme will make stops at Chicago, Orlando and Houston.

See the dates here.

Maluma

The Colombian star’s newly announced 30-date U.S. and Puerto Rico arena tour is the biggest and most ambitious 2021 U.S. tour to date. Maluma’s Papi Juancho tour will kick off Sept. 1 in Sacramento’s Golden 1 Center and wrap up at Chicago’s Allstate Arena on Oct. 24.

See the dates here.

Colombian star Maluma isn’t the only one who’s announced that he’s touring in 2021. Injecting a much-needed boost of confidence in the live market — which has been significantly impacted by the pandemic-imposed shutdown — other artists who are hitting the road include Banda MS and Mike Bahía, among others.

The global coronavirus pandemic is still an ongoing health crisis, but Latin acts are looking to jumpstart the live industry with sporadic tour dates across the country.

Below is an updating list of concerts by Latin acts in 2021.

Jesse y Joy

Grammy and Latin Grammy-winning siblings Jesse y Joy are returning to touring, announcing today their “Cliches” world tour slated for 2022. Produced by Live Nation, the 22-dates tour will kick off March 4 in Puerto Rico’s Coca Cola Music Hall and wrap up on April 10 in Fantasy Springs Resort Casino at Indio, Calif. “Cliches,” which marks their first tour in nearly three years, will also make pit stops in key U.S. cities including Miami, New York, Los Angeles, and Houston, to name a few. Tickets will go on sale at 10 a.m. local time on Friday, Dec. 3.  For ticket sales and more information, click here.

Ya llega – Cliches World Tour – ?!! Aquí las primeras fechas ? Invitados especiales @thelittlejesus & @chulemusica
Y el pre-sale inicia HOY a las 12pm EST con el código 2022CLICHES ?https://t.co/6P2zuvT6Ks pic.twitter.com/vk6tVxSDG2

— Jesse & Joy Oficial (@jesseyjoy) November 30, 2021

Pedro Capo

The Puerto Rican singer-songwriter is hitting the road in 2022 with an 11-date tour across the U.S. Capo kicks off his tour at the emblematic Coliseo de Puerto Rico on May 7 and will visit New York, Boston, Dallas, and other cities before wrapping up on June 4 at the Fillmore in Miami Beach. For ticket information, visit pedrocapomusica.com.

Familia nos vamos de Tour ??!!!! Están listos??? ???

Boletos a la venta ?? https://t.co/CIgUZLD0Wl pic.twitter.com/warqv7mDA6

— Pedro Capó (@pedrocapo) November 23, 2021

Maná

Jay Wheeler

Jay Wheeler, a former Billboard Latin Artist on the Rise and 2021 Latin Grammy nominee, will kick off his U.S. tour on Nov. 26 at The Cosmopolitan in Las Vegas and is slated to wrap up on Feb. 18, 2022, at the Hard Rock Live in Orland, Fla. “We’re going on tour!! Thank you for so much, family,” the Puerto Rican artist expressed on social media. With more than 40 cities confirmed, tickets for La Voz Favorite Tour, presented by Elite Media & Marketing (EMM), will go on sale at 10 a.m. local time on Oct. 16 via www.JayWheelerMusic.com or www.EMM360.com. More dates and cities are expected to be announced.

NOS FUIMOS DE TOUR!!?
GRACIAS POR TANTO FAMILIA. ??

COMPRA TU BOLETO DESDE EL SÁBADO A LAS 10 AM, NOS VEMOS EN TU CIUDAD ?

BOLETOS AQUÍ ???https://t.co/5o8wvCDLhf pic.twitter.com/EkZLrLbpH6

— J ª Y (@jaywheelerpr) October 11, 2021

Los Temerarios

Los Temerarios returns to touring in 2022 after a COVID-19-imposed hiatus. The Mexican grupero band, led by brothers Gustavo and Adolfo Ángel, are set to kick off the trek Feb. 4 in San Jose, California?s SAP Center, and wrap up on April 9 in Greensboro, North Carolina. ?After a long pause due to the pandemic, and a difficult situation that has impacted all of us, we are filled with joy to reunite with our beloved fans to create new and beautiful memories thanks to music,? Los Temerarios said in a statement. The coast-to-coast tour will make stops in cities such as Chicago, Los Angeles, Dallas and New York, among others. See the complete list of tour dates here.

Emocionados de presentarles las fechas de #LosTemerarios 2022 US Tour. https://t.co/gVc9vwpqwZ pic.twitter.com/1RfsIvVYvR

— Los Temerarios (@los_temerarios) October 12, 2021

Blessd

Colombian newcomer Blessd announced his first-ever U.S. tour, El Bendito Tour, kicking off Oct. 14 at La Chiflada in Paterson, N.J. and wrapping up on Oct. 22 at Tampa, Florida’s Vibras. The former Billboard Latin Artist on the Rise will also visit New York, Orland, and Massachusetts, to name a few. “God is rewarding us with these new triumphs that we are getting little by little,” the artist expressed in a statement. Following his U.S. tour, Blessd will tour Europe in the fall.

Rubén Blades

Rubén Blades, Latin Recording Academy’s 2021 Person of the Year, is hitting the road in 2021 with an eight-city tour called Salswing Tour alongside the Roberto Delgado Big Band, composed of 20 Panamanian musicians. Produced by Live and Loud, Blades will kick off the U.S. tour on Nov. 20 in Oakland and wrap up on Dec. 5 in Chicago. Paying homage to his album’s name Salswing!, Blades and Big Band will celebrate the origins of Latin Jazz and the mutual influences between son, the rhythmic Afro-Caribbean music, and swing. See the dates below and for ticketing information, visit rubenblades.com.

El Alfa

El Alfa has announced his first-ever world tour beginning in the U.S. in the fall of 2021. The Dominican dembow star — who?s collaborated with artists such as Bad Bunny, Daddy Yankee, and more — will kick off the North American leg of his tour on Oct. 14 in Dallas and wrap up Nov. 21 in The Chelsea at The Cosmopolitan of Las Vegas after making pit stops in key cities including New York, Miami, and Atlanta. Produced by Live Nation, tickets for El Alfa?s tour will go on sale at 10 a.m. local time on Aug. 13 via ticketmaster.com. Click on the link below to see full tour dates:

Sech

Panamanian singer-songwriter Sech kicked off his CMN-produced 42 Tour on July 30 with back-to-back concerts in Miami, Orlando and Atlanta. Sech will continue touring from August to October, visiting cities such as New York, Las Vegas and Los Angeles. He will also make two stops in Mexico: one in Baja California for Baja Beach Fest in August, and one in Nuevo León in November. See the complete list of dates here.

Nio García

Puerto Rican artist Nio Garcia announced his upcoming 2021 AM Tour set to kick off in the Dominican Republic on Aug. 3, and will make its way to the U.S. Aug. 13 with stops in Nashville August 13. From there it will make stops in Boston, Las Vegas, Miami and Chicago, among other cities. Tickets will be on sale Aug, 5 through www.zamoralive.com. See all the dates below:

 

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Cafe Tacuba

Cafe Tacuba is going on tour this fall with special guest Diamante Eléctrico, kicking off Nov. 1 at New York’s Irving Plaza and wrapping Nov. 17 at Texas’ McAllen Performing Arts Center. Known for hits such as “La Ingrata,” “Eres,” and “Chilanga Banda,” the Mexican rock band will also visit fans in Georgia, North Carolina, and Miami.

Produced by Live Nation, general tickets go on sale starting Friday, July 30, via Ticketmaster.com. Citi cardmembers can purchase pre-sale tickets from 10 a.m. local time on Tuesday, July 27, to 10 p.m. local time on July 29 through Citi Entertainment. Fan pre-sale will be available at 10 a.m. local time on July 70 until 10 p.m. local time July 29 via Ticketmaster.com.

Mon Nov 01 — New York, NY @ Irving Plaza
Tue Nov 02 — New York, NY @ Irving Plaza
Thu Nov 04 — Silver Spring, MD @ The Fillmore Silver Spring
Sun Nov 07 — Raleigh, NC @ The Ritz
Mon Nov 08 — Charlotte, NC @ The Fillmore Charlotte
Tue Nov 09 — Atlanta, GA @ Buckhead Theatre
Fri Nov 12 — St. Petersburg, FL @ Mahaffey Theater
Sat Nov 13 — Miami Beach, FL @ The Fillmore at Jackie Gleason Theater
Sun Nov 14 — Orlando, FL @ House of Blues Orlando
Tue Nov 16 — Houston, TX @ Bayou Music Center
Wed Nov 17 — McAllen, TX @ McAllen Performing Arts Center
Fri Nov 19 — Austin, TX @ Bass Concert Hall
Sat Nov 20 — San Antonio, TX @ Aztec Theatre
Mon Nov 22 — Irving, TX @ The Pavilion at Toyota Music Factory
Wed Nov 24 — El Paso, TX @ Abraham Chavez Theatre

Juanes

Dubbed Origen Tour, the Colombian singer-songwriter promises fans an ?up close and immersive journey? through all of his greatest hits combined with his album?s newer songs, such as ?Rebélion,? ?Nuestro Juramento,? and ?Dancing in the Dark.? ?These are songs that marked my childhood, my teen years, and my early adulthood,? Juanes previously told Billboard of his album. ?This was curated to show my life. I wanted to return to a place where I felt I was myself.? His origins will now reflect on his upcoming tour that is produced by Live Nation and kicks off Sept. 16 at The Fillmore in Miami. For full dates and tickets information, click here.

Aventura

Aventura fans, rejoice! ?The Kings of Bachata? have announced four new stadium dates across the U.S. as part of their final run together as a group. After selling out their Aug. 14 show at Miami’s Hard Rock Stadium, the bachata supergroup will also now visit Chicago; Los Angeles; Arlington, Texas; and East Rutherford, N.J. Aventura, helmed by Romeo Santos, Henry Santos, Lenny Santos and Max Santos, grossed $25.8 million and sold 189,000 tickets for their 2020 Inmortal Tour, according to figures reported to Billboard Boxscore. The Live Nation-produced 2021 stadium tour will go on sale Friday, July 23, at 12 p.m. local time through ticketmaster.com.

Mon Laferte

Chilean singer-songwriter Mon Laferte announced a two-month U.S. trek in support of her latest album, SEIS. The coast-to-coast tour, produced by Live Nation, is set to kick off Sept. 14 in Seattle, with Laferte making stops in major cities such as Los Angeles, Chicago and Miami. The tour will wrap up Oct. 28 in Tucson, Ariz. Tickets will go on sale on Friday, July 23, at 10 a.m. local time. 

Karol G

Karol G will embark on her first-ever U.S. headlining tour this fall, calling it the ?most exciting show? of her entire career. Dubbed ?Bichota Tour,? after her unapologetic and empowering single, Karol kicks off her monthlong tour Oct. 20 in Denver?s Mission Ballroom. She?ll make pit stops in Los Angeles, New York, Atlanta and Miami before wrapping up in San Juan?s Coliseo de Puerto Rico. ?Bichota Tour? — where Karol will perform hits off of her most recent album, KG0516 — is presented by Smirnoff, produced by AEG Presents, and booked by UTA. Tickets are already on sale via karolgmusic.com.

Rauw Alejandro

After the success of “Todo de Ti” on social media and with his upcoming album Vice Versa, Rauw Alejandro is ready to hit the road. With more than 50 dates confirmed, the Puerto Rican artist is “crazy to sing all of these songs lives,” he tells Billboard.  The tour kicks off July 15 in Raleigh, N.C., and wrap up on Jan. 15 in Los Angeles. In between, Rauw will make stops in New Jersey, Las Vegas, Texas and even back-to-back dates in Spain. “It?s going to be a long ride but we?re ready, my team is ready, to give everything on stage.” Tickets are already on sale via RauwAlejandro.com.

Marco Antonio Solis y Los Bukis

Slated for Aug. 27 at the SoFi Stadium in Los Angeles, Sept. 4 at Soldier Field in Chicago, and Sept. 15 at AT&T Stadium in Dallas, the limited-run tour is titled ?Una Historia Cantada (A Sung History).? It will put Marco Antonio Solís onstage with his bandmates for the first time in 25 years. In addition to his Los Bukis dates, Solís will also perform two solo dates this year, Sept. 10 and 11 at Caesars Palace in Las Vegas. Those dates are part of several that were postponed due to the pandemic.

Gilberto Santa Rosa

Gilberto Santa Rosa?s Camínalo (Walk It) tour will hit more than 16 U.S. cities, beginning with Lubbock, Texas, on Oct. 7. The Camínalo tour will make stops at The Conga Room in Los Angeles and the San José Center for the Performing Arts in San José, and also at the Theater at MGM National Harbor and the Ocean Resort Casino in Atlantic City.  Camínalo will “be a big party, full of music and good vibes,? said Santa Rosa. The tour is named after one of the songs in his new album, Colegas.

Farruko

Named after his upcoming studio album and in honor of one of the main highways in Puerto Rico near his hometown, the La 167 tour will kick off Nov. 19 in San Diego?s Viejas Arena and make pit stops in Houston, Atlanta, Miami and San Juan and Puerto Rico, among other cities. The tour, presented for the most part by Loud and Live and Live Nation on select shows, is set to wrap up Feb. 20 in Chicago?s Rosemont Theatre. Tickets for the La 167 Tour go on sale at 10 a.m. local time Friday (June 25) via Farruko?s official website.

Morat

Colombian pop-rock group Morat has locked in a 14-date U.S. tour, kicking off in the fall. Dubbed “A Donde Vamos” tour, after their 2019 bop, the quartet will visit fans in Los Angeles, Dallas, Chicago, and New York, to name a few stops. The fall tour will wrap up on Oct. 24 in Miami. The U.S. tour will come on the heels of Morat’s Spain tour in the summer. To purchase tickets, click here.

Preventa este jueves 10 am hora Miami ???? #ADóndeVamosTour2021 pic.twitter.com/USqGtrxLRC

— Morat (@MoratBanda) June 1, 2021

Carlos Vives

Carlos Vives returns to touring with his “Despues de Todo… Vives” tour kicking off Dec. 3 at the FTX Arena (formerly known as the AmericanAirlines Arena) in Miami. The Latin Grammy-winning, Colombian superstar will then visit fans in the U.S. and Canada throughout the first few months of 2022.  ?After everything we have been through, returning to North America, to so many beloved places, to see unforgettable friends and special audiences again, makes this truly a historic moment for me,” Vives expressed in a statement.

The highly awaited tour, produced by Loud And Live, will make pit stops in Seattle, Houston, Toronto, Boston, and more cities. ?After months of anticipation, Loud And Live is excited to bring this experience to his fans who have been eagerly awaiting to see Vives in concert to enjoy in his repertoire of classics and newest hits and will ensure that this is a memorable experience for all,” said Nelson Albareda, CEO of Loud And Live. Tickets are available via Ticketmaster and AXS.

Christian Nodal

Christian Nodal announced the dates for his 2021 “Botella Tras Botella” U.S. tour with special guest Gera MX. Produced by Live Nation, the Regional Mexican star will kick off his series of concerts on Sept. 14 at Las Vegas? Zappos Theater at Planet Hollywood and is slated to wrap on Dec. 19 at Phoenix?s Arizona Federal Theatre. Nodal will make pit stops in Orlando, Nashville, Dallas, Los Angeles, Chicago, and other cities. The tour was coined after his and Gera?s country-meets-hip-hop collab “Botella Tras Botella,” which made Billboard history as the first Regional Mexican title to enter the Hot 100 in its almost 63-year history.

?Mi gente!
Me llena de felicidad darles la noticia que por fin volvemos de gira por Estados Unidos con #BotellaTrasBotellaTour??!?
Por fin nos veremos para disfrutar de momentos inolvidables.??????? ? https://t.co/vNvJC86Z9j pic.twitter.com/alyXcdE9Qt

— NODAL (@elnodal) June 1, 2021

Camilo

Tickets are now on sale for Camilo?s first-ever U.S. tour, the Mis Manos (My Hands) tour, titled after his recently released album. Produced by Loud and Live, will hit theaters in 14 cities, beginning with Miami, Oct. 22 at the Filmore and ending Dec. 3 at the Coca-Cola Theater in San Juan, Puerto Rico.

?This is the first time I?m going on stage to perform my songs with my band,? Camilo tells Billboard. ?The expectation of looking my fans in the eye, and having them look into my eyes and sing those songs, which are anthems of hope, makes this an almost mystical encounter.? See the full dates here.

Ricky Martin & Enrique Iglesias

Ricky Martin and Enrique Iglesias are officially kicking off their highly awaited co-headlining tour this fall, Billboard has learned.The 26-date North America tour is confirmed to kick off Sept. 25 At Las Vegas? MGM Grand Garden Arena and wrap up on Nov. 20 at Anaheim?s Honda Center. The iconic pop stars will also visit fans in Boston, Chicago, Los Angeles, Miami, and more.

Tickets are available on Ticketmaster.com.Colombian star Sebastian Yatra will perform as a special guest on the trek in select cities. Here is the complete list of tour stops.

Pepe Aguilar

Pepe Aguilar will continue his Jaripeo Sin Fronteras tour with 15 new dates in 2021. Conceptualized by the renowned regional Mexican star himself, the family-friendly concert will have performances by Pepe, Angela Aguilar, Leonardo Aguilar, Antonio Aguilar Jr., Banda Sinaloense, Mariachi Zacatecano, rodeo acts, horse shows, charreria competition, bull riders and more. The 2021 tour, produced by Live Nation, will kick off Sept. 4 in Phoenix?s Gila River Arena, and wrap up on Dec. 5 in San Jose?s SAP Center. The Aguilar dynasty will also make pit stops in Atlanta, Chicago, Las Vegas, and Los Angeles, to name a few.

Tickets for the 2021 Jaripeo Sin Fronteras tour are now on sale via Ticketmaster.com. See full dates here.

Related

Related Pepe Aguilar on Bringing His 'Jaripeo Sin Fronteras' Tour to Life: 'It's One of a Kind' 05/05/2021

Alejandro Sanz

After becoming one of the first Latin artists to kick off virtual concerts during the pandemic, Alejandro Sanz returns to touring this year with the announcement of new U.S. dates of his #LaGira 2021 tour. Produced by Live Nation, the Spanish crooner will kick off the tour on Oct. 8 at Illinois’ Rosemont Theatre and run until Oct. 31 at San Jose?s SAP Center. Sanz will also visit fans in New York, Miami, Houston and Los Angeles, to name a few. Tickets for his 2021 shows go on sale at 10 a.m. local time on April 29 via Ticketmaster. See the dates here.

Marc Anthony

Marc Anthony‘s 23-date North American tour is set to kick off Aug. 27 in San Antonio’s AT&T Center, Billboard can exclusively announce. The “Marc Anthony Tour” — with stops in major cities including Chicago, Miami and Los Angeles and two dates in Canada — is produced and presented by CMN and Magnus Media, with tickets to go on sale April 30 via Ticketmaster.

Zoé

In celebration of their recently released album Sonidos de Karmática Resonancia, Mexican band Zoé announced a 26-date U.S. tour set to launch in August with two dates at the House of Blues in Chicago.This year’s trek, which will see them perform in venues such as the Greek Theater in L.A. and Kings Theatre in New York, comes two years since their last tour in 2019 in support of their Grammy-winning album Aztlán. Tickets for Zoé’s summer/fall U.S. tour are on sale through www.ticketmaster.com and zoetheband.com. See the tour dates here.

David Bisbal 

At the 2021 Latin AMAs, where he performed “Tears of Gold” alongside Carrie Underwood, David Bisbal told Billboard he was also preparing for his 2021 “En Tus Planes” tour. Set to kick off in the fall, the tour begins September 30 in Miami’s The Fillmore Miami Beach and wraps up on Oct. 30 in California’s San Jose Civic. The Spanish crooner, who will be celebrating 20 years of career in 2022, will also make pit stops in cities such as Atlanta, New York, San Juan, Dallas, Chicago, and Las Vegas, to name a few. Tickets are available at www.ticketmaster.com.

Myriam Hernandez

Blessing fans with hits such as “El Hombre Que Yo Amo,? ?Herida? and ?Peligroso Amor,” as well as songs from her upcoming studio album, Myriam Hernandez announced her diverse and conceptual Sinergia Tour will take place in the fall. Dubbed “synergy,” flowers will play an important role on this tour, representing the union of the four natural elements, in addition to beauty, sensuality and mystery. The tour will kick off Oct. 8 at The Palace Theatre in Stanford, Conn., and run until Oct. 24 at Straz Center for The Performing Arts in Tampa, Fla. For full dates and ticket information, visit ticketmaster.com.

Banda MS

Banda MS announced their return to touring with the U.S. leg of their Banda MS Positivo tour. The Mexican musical group promises a packed concert with banda sinaloense, acoustic, and norteño music, to name a few. Spanish singer Natalia Jiménez is confirmed to join the band as a special guest on at least five tour stops. Banda MS Positivo tour will kick off on May 14 in Hidalgo, Texas and run until Nov. 20 in Stockton, Calif. They will make pit stops in D.C., Chicago, Orlando, and Memphis, and other cities.

Tickets for Banda MS Positivo will go on sale at 10 a.m. on Friday, April 9, via Ticketmaster.com.

Gilberto Santa Rosa

On Sept. 24, the salsa artist will perform the first of his nine concerts in the U.S. Gilberto Santa Rosa will kick off his tour in El Cajon, Calif., and wrap up in National Harbor, Md.

See the dates here.

Grupo Firme

Rising regional Mexican band will hit the road March 20 for their 27-date U.S. tour. Grupo Firme will make stops at Chicago, Orlando and Houston.

See the dates here.

Maluma

The Colombian star’s newly announced 30-date U.S. and Puerto Rico arena tour is the biggest and most ambitious 2021 U.S. tour to date. Maluma’s Papi Juancho tour will kick off Sept. 1 in Sacramento’s Golden 1 Center and wrap up at Chicago’s Allstate Arena on Oct. 24.

See the dates here.

Colombian star Maluma isn’t the only one who’s announced that he’s touring in 2021. Injecting a much-needed boost of confidence in the live market — which has been significantly impacted by the pandemic-imposed shutdown — other artists who are hitting the road include Banda MS and Mike Bahía, among others.

The global coronavirus pandemic is still an ongoing health crisis, but Latin acts are looking to jumpstart the live industry with sporadic tour dates across the country.

Below is an updating list of concerts by Latin acts in 2021.

Jesse y Joy

Grammy and Latin Grammy-winning siblings Jesse y Joy are returning to touring, announcing today their “Cliches” world tour slated for 2022. Produced by Live Nation, the 22-dates tour will kick off March 4 in Puerto Rico’s Coca Cola Music Hall and wrap up on April 10 in Fantasy Springs Resort Casino at Indio, Calif. “Cliches,” which marks their first tour in nearly three years, will also make pit stops in key U.S. cities including Miami, New York, Los Angeles, and Houston, to name a few. Tickets will go on sale at 10 a.m. local time on Friday, Dec. 3.  For ticket sales and more information, click here.

Ya llega – Cliches World Tour – ?!! Aquí las primeras fechas ? Invitados especiales @thelittlejesus & @chulemusica
Y el pre-sale inicia HOY a las 12pm EST con el código 2022CLICHES ?https://t.co/6P2zuvT6Ks pic.twitter.com/vk6tVxSDG2

— Jesse & Joy Oficial (@jesseyjoy) November 30, 2021

Pedro Capo

The Puerto Rican singer-songwriter is hitting the road in 2022 with an 11-date tour across the U.S. Capo kicks off his tour at the emblematic Coliseo de Puerto Rico on May 7 and will visit New York, Boston, Dallas, and other cities before wrapping up on June 4 at the Fillmore in Miami Beach. For ticket information, visit pedrocapomusica.com.

Familia nos vamos de Tour ??!!!! Están listos??? ???

Boletos a la venta ?? https://t.co/CIgUZLD0Wl pic.twitter.com/warqv7mDA6

— Pedro Capó (@pedrocapo) November 23, 2021

Maná

Jay Wheeler

Jay Wheeler, a former Billboard Latin Artist on the Rise and 2021 Latin Grammy nominee, will kick off his U.S. tour on Nov. 26 at The Cosmopolitan in Las Vegas and is slated to wrap up on Feb. 18, 2022, at the Hard Rock Live in Orland, Fla. “We’re going on tour!! Thank you for so much, family,” the Puerto Rican artist expressed on social media. With more than 40 cities confirmed, tickets for La Voz Favorite Tour, presented by Elite Media & Marketing (EMM), will go on sale at 10 a.m. local time on Oct. 16 via www.JayWheelerMusic.com or www.EMM360.com. More dates and cities are expected to be announced.

NOS FUIMOS DE TOUR!!?
GRACIAS POR TANTO FAMILIA. ??

COMPRA TU BOLETO DESDE EL SÁBADO A LAS 10 AM, NOS VEMOS EN TU CIUDAD ?

BOLETOS AQUÍ ???https://t.co/5o8wvCDLhf pic.twitter.com/EkZLrLbpH6

— J ª Y (@jaywheelerpr) October 11, 2021

Los Temerarios

Los Temerarios returns to touring in 2022 after a COVID-19-imposed hiatus. The Mexican grupero band, led by brothers Gustavo and Adolfo Ángel, are set to kick off the trek Feb. 4 in San Jose, California?s SAP Center, and wrap up on April 9 in Greensboro, North Carolina. ?After a long pause due to the pandemic, and a difficult situation that has impacted all of us, we are filled with joy to reunite with our beloved fans to create new and beautiful memories thanks to music,? Los Temerarios said in a statement. The coast-to-coast tour will make stops in cities such as Chicago, Los Angeles, Dallas and New York, among others. See the complete list of tour dates here.

Emocionados de presentarles las fechas de #LosTemerarios 2022 US Tour. https://t.co/gVc9vwpqwZ pic.twitter.com/1RfsIvVYvR

— Los Temerarios (@los_temerarios) October 12, 2021

Blessd

Colombian newcomer Blessd announced his first-ever U.S. tour, El Bendito Tour, kicking off Oct. 14 at La Chiflada in Paterson, N.J. and wrapping up on Oct. 22 at Tampa, Florida’s Vibras. The former Billboard Latin Artist on the Rise will also visit New York, Orland, and Massachusetts, to name a few. “God is rewarding us with these new triumphs that we are getting little by little,” the artist expressed in a statement. Following his U.S. tour, Blessd will tour Europe in the fall.

Rubén Blades

Rubén Blades, Latin Recording Academy’s 2021 Person of the Year, is hitting the road in 2021 with an eight-city tour called Salswing Tour alongside the Roberto Delgado Big Band, composed of 20 Panamanian musicians. Produced by Live and Loud, Blades will kick off the U.S. tour on Nov. 20 in Oakland and wrap up on Dec. 5 in Chicago. Paying homage to his album’s name Salswing!, Blades and Big Band will celebrate the origins of Latin Jazz and the mutual influences between son, the rhythmic Afro-Caribbean music, and swing. See the dates below and for ticketing information, visit rubenblades.com.

El Alfa

El Alfa has announced his first-ever world tour beginning in the U.S. in the fall of 2021. The Dominican dembow star — who?s collaborated with artists such as Bad Bunny, Daddy Yankee, and more — will kick off the North American leg of his tour on Oct. 14 in Dallas and wrap up Nov. 21 in The Chelsea at The Cosmopolitan of Las Vegas after making pit stops in key cities including New York, Miami, and Atlanta. Produced by Live Nation, tickets for El Alfa?s tour will go on sale at 10 a.m. local time on Aug. 13 via ticketmaster.com. Click on the link below to see full tour dates:

Sech

Panamanian singer-songwriter Sech kicked off his CMN-produced 42 Tour on July 30 with back-to-back concerts in Miami, Orlando and Atlanta. Sech will continue touring from August to October, visiting cities such as New York, Las Vegas and Los Angeles. He will also make two stops in Mexico: one in Baja California for Baja Beach Fest in August, and one in Nuevo León in November. See the complete list of dates here.

Nio García

Puerto Rican artist Nio Garcia announced his upcoming 2021 AM Tour set to kick off in the Dominican Republic on Aug. 3, and will make its way to the U.S. Aug. 13 with stops in Nashville August 13. From there it will make stops in Boston, Las Vegas, Miami and Chicago, among other cities. Tickets will be on sale Aug, 5 through www.zamoralive.com. See all the dates below:

 

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Cafe Tacuba

Cafe Tacuba is going on tour this fall with special guest Diamante Eléctrico, kicking off Nov. 1 at New York’s Irving Plaza and wrapping Nov. 17 at Texas’ McAllen Performing Arts Center. Known for hits such as “La Ingrata,” “Eres,” and “Chilanga Banda,” the Mexican rock band will also visit fans in Georgia, North Carolina, and Miami.

Produced by Live Nation, general tickets go on sale starting Friday, July 30, via Ticketmaster.com. Citi cardmembers can purchase pre-sale tickets from 10 a.m. local time on Tuesday, July 27, to 10 p.m. local time on July 29 through Citi Entertainment. Fan pre-sale will be available at 10 a.m. local time on July 70 until 10 p.m. local time July 29 via Ticketmaster.com.

Mon Nov 01 — New York, NY @ Irving Plaza
Tue Nov 02 — New York, NY @ Irving Plaza
Thu Nov 04 — Silver Spring, MD @ The Fillmore Silver Spring
Sun Nov 07 — Raleigh, NC @ The Ritz
Mon Nov 08 — Charlotte, NC @ The Fillmore Charlotte
Tue Nov 09 — Atlanta, GA @ Buckhead Theatre
Fri Nov 12 — St. Petersburg, FL @ Mahaffey Theater
Sat Nov 13 — Miami Beach, FL @ The Fillmore at Jackie Gleason Theater
Sun Nov 14 — Orlando, FL @ House of Blues Orlando
Tue Nov 16 — Houston, TX @ Bayou Music Center
Wed Nov 17 — McAllen, TX @ McAllen Performing Arts Center
Fri Nov 19 — Austin, TX @ Bass Concert Hall
Sat Nov 20 — San Antonio, TX @ Aztec Theatre
Mon Nov 22 — Irving, TX @ The Pavilion at Toyota Music Factory
Wed Nov 24 — El Paso, TX @ Abraham Chavez Theatre

Juanes

Dubbed Origen Tour, the Colombian singer-songwriter promises fans an ?up close and immersive journey? through all of his greatest hits combined with his album?s newer songs, such as ?Rebélion,? ?Nuestro Juramento,? and ?Dancing in the Dark.? ?These are songs that marked my childhood, my teen years, and my early adulthood,? Juanes previously told Billboard of his album. ?This was curated to show my life. I wanted to return to a place where I felt I was myself.? His origins will now reflect on his upcoming tour that is produced by Live Nation and kicks off Sept. 16 at The Fillmore in Miami. For full dates and tickets information, click here.

Aventura

Aventura fans, rejoice! ?The Kings of Bachata? have announced four new stadium dates across the U.S. as part of their final run together as a group. After selling out their Aug. 14 show at Miami’s Hard Rock Stadium, the bachata supergroup will also now visit Chicago; Los Angeles; Arlington, Texas; and East Rutherford, N.J. Aventura, helmed by Romeo Santos, Henry Santos, Lenny Santos and Max Santos, grossed $25.8 million and sold 189,000 tickets for their 2020 Inmortal Tour, according to figures reported to Billboard Boxscore. The Live Nation-produced 2021 stadium tour will go on sale Friday, July 23, at 12 p.m. local time through ticketmaster.com.

Mon Laferte

Chilean singer-songwriter Mon Laferte announced a two-month U.S. trek in support of her latest album, SEIS. The coast-to-coast tour, produced by Live Nation, is set to kick off Sept. 14 in Seattle, with Laferte making stops in major cities such as Los Angeles, Chicago and Miami. The tour will wrap up Oct. 28 in Tucson, Ariz. Tickets will go on sale on Friday, July 23, at 10 a.m. local time. 

Karol G

Karol G will embark on her first-ever U.S. headlining tour this fall, calling it the ?most exciting show? of her entire career. Dubbed ?Bichota Tour,? after her unapologetic and empowering single, Karol kicks off her monthlong tour Oct. 20 in Denver?s Mission Ballroom. She?ll make pit stops in Los Angeles, New York, Atlanta and Miami before wrapping up in San Juan?s Coliseo de Puerto Rico. ?Bichota Tour? — where Karol will perform hits off of her most recent album, KG0516 — is presented by Smirnoff, produced by AEG Presents, and booked by UTA. Tickets are already on sale via karolgmusic.com.

Rauw Alejandro

After the success of “Todo de Ti” on social media and with his upcoming album Vice Versa, Rauw Alejandro is ready to hit the road. With more than 50 dates confirmed, the Puerto Rican artist is “crazy to sing all of these songs lives,” he tells Billboard.  The tour kicks off July 15 in Raleigh, N.C., and wrap up on Jan. 15 in Los Angeles. In between, Rauw will make stops in New Jersey, Las Vegas, Texas and even back-to-back dates in Spain. “It?s going to be a long ride but we?re ready, my team is ready, to give everything on stage.” Tickets are already on sale via RauwAlejandro.com.

Marco Antonio Solis y Los Bukis

Slated for Aug. 27 at the SoFi Stadium in Los Angeles, Sept. 4 at Soldier Field in Chicago, and Sept. 15 at AT&T Stadium in Dallas, the limited-run tour is titled ?Una Historia Cantada (A Sung History).? It will put Marco Antonio Solís onstage with his bandmates for the first time in 25 years. In addition to his Los Bukis dates, Solís will also perform two solo dates this year, Sept. 10 and 11 at Caesars Palace in Las Vegas. Those dates are part of several that were postponed due to the pandemic.

Gilberto Santa Rosa

Gilberto Santa Rosa?s Camínalo (Walk It) tour will hit more than 16 U.S. cities, beginning with Lubbock, Texas, on Oct. 7. The Camínalo tour will make stops at The Conga Room in Los Angeles and the San José Center for the Performing Arts in San José, and also at the Theater at MGM National Harbor and the Ocean Resort Casino in Atlantic City.  Camínalo will “be a big party, full of music and good vibes,? said Santa Rosa. The tour is named after one of the songs in his new album, Colegas.

Farruko

Named after his upcoming studio album and in honor of one of the main highways in Puerto Rico near his hometown, the La 167 tour will kick off Nov. 19 in San Diego?s Viejas Arena and make pit stops in Houston, Atlanta, Miami and San Juan and Puerto Rico, among other cities. The tour, presented for the most part by Loud and Live and Live Nation on select shows, is set to wrap up Feb. 20 in Chicago?s Rosemont Theatre. Tickets for the La 167 Tour go on sale at 10 a.m. local time Friday (June 25) via Farruko?s official website.

Morat

Colombian pop-rock group Morat has locked in a 14-date U.S. tour, kicking off in the fall. Dubbed “A Donde Vamos” tour, after their 2019 bop, the quartet will visit fans in Los Angeles, Dallas, Chicago, and New York, to name a few stops. The fall tour will wrap up on Oct. 24 in Miami. The U.S. tour will come on the heels of Morat’s Spain tour in the summer. To purchase tickets, click here.

Preventa este jueves 10 am hora Miami ???? #ADóndeVamosTour2021 pic.twitter.com/USqGtrxLRC

— Morat (@MoratBanda) June 1, 2021

Carlos Vives

Carlos Vives returns to touring with his “Despues de Todo… Vives” tour kicking off Dec. 3 at the FTX Arena (formerly known as the AmericanAirlines Arena) in Miami. The Latin Grammy-winning, Colombian superstar will then visit fans in the U.S. and Canada throughout the first few months of 2022.  ?After everything we have been through, returning to North America, to so many beloved places, to see unforgettable friends and special audiences again, makes this truly a historic moment for me,” Vives expressed in a statement.

The highly awaited tour, produced by Loud And Live, will make pit stops in Seattle, Houston, Toronto, Boston, and more cities. ?After months of anticipation, Loud And Live is excited to bring this experience to his fans who have been eagerly awaiting to see Vives in concert to enjoy in his repertoire of classics and newest hits and will ensure that this is a memorable experience for all,” said Nelson Albareda, CEO of Loud And Live. Tickets are available via Ticketmaster and AXS.

Christian Nodal

Christian Nodal announced the dates for his 2021 “Botella Tras Botella” U.S. tour with special guest Gera MX. Produced by Live Nation, the Regional Mexican star will kick off his series of concerts on Sept. 14 at Las Vegas? Zappos Theater at Planet Hollywood and is slated to wrap on Dec. 19 at Phoenix?s Arizona Federal Theatre. Nodal will make pit stops in Orlando, Nashville, Dallas, Los Angeles, Chicago, and other cities. The tour was coined after his and Gera?s country-meets-hip-hop collab “Botella Tras Botella,” which made Billboard history as the first Regional Mexican title to enter the Hot 100 in its almost 63-year history.

?Mi gente!
Me llena de felicidad darles la noticia que por fin volvemos de gira por Estados Unidos con #BotellaTrasBotellaTour??!?
Por fin nos veremos para disfrutar de momentos inolvidables.??????? ? https://t.co/vNvJC86Z9j pic.twitter.com/alyXcdE9Qt

— NODAL (@elnodal) June 1, 2021

Camilo

Tickets are now on sale for Camilo?s first-ever U.S. tour, the Mis Manos (My Hands) tour, titled after his recently released album. Produced by Loud and Live, will hit theaters in 14 cities, beginning with Miami, Oct. 22 at the Filmore and ending Dec. 3 at the Coca-Cola Theater in San Juan, Puerto Rico.

?This is the first time I?m going on stage to perform my songs with my band,? Camilo tells Billboard. ?The expectation of looking my fans in the eye, and having them look into my eyes and sing those songs, which are anthems of hope, makes this an almost mystical encounter.? See the full dates here.

Ricky Martin & Enrique Iglesias

Ricky Martin and Enrique Iglesias are officially kicking off their highly awaited co-headlining tour this fall, Billboard has learned.The 26-date North America tour is confirmed to kick off Sept. 25 At Las Vegas? MGM Grand Garden Arena and wrap up on Nov. 20 at Anaheim?s Honda Center. The iconic pop stars will also visit fans in Boston, Chicago, Los Angeles, Miami, and more.

Tickets are available on Ticketmaster.com.Colombian star Sebastian Yatra will perform as a special guest on the trek in select cities. Here is the complete list of tour stops.

Pepe Aguilar

Pepe Aguilar will continue his Jaripeo Sin Fronteras tour with 15 new dates in 2021. Conceptualized by the renowned regional Mexican star himself, the family-friendly concert will have performances by Pepe, Angela Aguilar, Leonardo Aguilar, Antonio Aguilar Jr., Banda Sinaloense, Mariachi Zacatecano, rodeo acts, horse shows, charreria competition, bull riders and more. The 2021 tour, produced by Live Nation, will kick off Sept. 4 in Phoenix?s Gila River Arena, and wrap up on Dec. 5 in San Jose?s SAP Center. The Aguilar dynasty will also make pit stops in Atlanta, Chicago, Las Vegas, and Los Angeles, to name a few.

Tickets for the 2021 Jaripeo Sin Fronteras tour are now on sale via Ticketmaster.com. See full dates here.

Related

Related Pepe Aguilar on Bringing His 'Jaripeo Sin Fronteras' Tour to Life: 'It's One of a Kind' 05/05/2021

Alejandro Sanz

After becoming one of the first Latin artists to kick off virtual concerts during the pandemic, Alejandro Sanz returns to touring this year with the announcement of new U.S. dates of his #LaGira 2021 tour. Produced by Live Nation, the Spanish crooner will kick off the tour on Oct. 8 at Illinois’ Rosemont Theatre and run until Oct. 31 at San Jose?s SAP Center. Sanz will also visit fans in New York, Miami, Houston and Los Angeles, to name a few. Tickets for his 2021 shows go on sale at 10 a.m. local time on April 29 via Ticketmaster. See the dates here.

Marc Anthony

Marc Anthony‘s 23-date North American tour is set to kick off Aug. 27 in San Antonio’s AT&T Center, Billboard can exclusively announce. The “Marc Anthony Tour” — with stops in major cities including Chicago, Miami and Los Angeles and two dates in Canada — is produced and presented by CMN and Magnus Media, with tickets to go on sale April 30 via Ticketmaster.

Zoé

In celebration of their recently released album Sonidos de Karmática Resonancia, Mexican band Zoé announced a 26-date U.S. tour set to launch in August with two dates at the House of Blues in Chicago.This year’s trek, which will see them perform in venues such as the Greek Theater in L.A. and Kings Theatre in New York, comes two years since their last tour in 2019 in support of their Grammy-winning album Aztlán. Tickets for Zoé’s summer/fall U.S. tour are on sale through www.ticketmaster.com and zoetheband.com. See the tour dates here.

David Bisbal 

At the 2021 Latin AMAs, where he performed “Tears of Gold” alongside Carrie Underwood, David Bisbal told Billboard he was also preparing for his 2021 “En Tus Planes” tour. Set to kick off in the fall, the tour begins September 30 in Miami’s The Fillmore Miami Beach and wraps up on Oct. 30 in California’s San Jose Civic. The Spanish crooner, who will be celebrating 20 years of career in 2022, will also make pit stops in cities such as Atlanta, New York, San Juan, Dallas, Chicago, and Las Vegas, to name a few. Tickets are available at www.ticketmaster.com.

Myriam Hernandez

Blessing fans with hits such as “El Hombre Que Yo Amo,? ?Herida? and ?Peligroso Amor,” as well as songs from her upcoming studio album, Myriam Hernandez announced her diverse and conceptual Sinergia Tour will take place in the fall. Dubbed “synergy,” flowers will play an important role on this tour, representing the union of the four natural elements, in addition to beauty, sensuality and mystery. The tour will kick off Oct. 8 at The Palace Theatre in Stanford, Conn., and run until Oct. 24 at Straz Center for The Performing Arts in Tampa, Fla. For full dates and ticket information, visit ticketmaster.com.

Banda MS

Banda MS announced their return to touring with the U.S. leg of their Banda MS Positivo tour. The Mexican musical group promises a packed concert with banda sinaloense, acoustic, and norteño music, to name a few. Spanish singer Natalia Jiménez is confirmed to join the band as a special guest on at least five tour stops. Banda MS Positivo tour will kick off on May 14 in Hidalgo, Texas and run until Nov. 20 in Stockton, Calif. They will make pit stops in D.C., Chicago, Orlando, and Memphis, and other cities.

Tickets for Banda MS Positivo will go on sale at 10 a.m. on Friday, April 9, via Ticketmaster.com.

Gilberto Santa Rosa

On Sept. 24, the salsa artist will perform the first of his nine concerts in the U.S. Gilberto Santa Rosa will kick off his tour in El Cajon, Calif., and wrap up in National Harbor, Md.

See the dates here.

Grupo Firme

Rising regional Mexican band will hit the road March 20 for their 27-date U.S. tour. Grupo Firme will make stops at Chicago, Orlando and Houston.

See the dates here.

Maluma

The Colombian star’s newly announced 30-date U.S. and Puerto Rico arena tour is the biggest and most ambitious 2021 U.S. tour to date. Maluma’s Papi Juancho tour will kick off Sept. 1 in Sacramento’s Golden 1 Center and wrap up at Chicago’s Allstate Arena on Oct. 24.

See the dates here.

BMG has acquired Mötley Crüe‘s entire recorded music catalog in a deal that marks the company’s largest single-artist deal since its founding in 2008, the company announced Tuesday (Nov. 30).

The deal covers the heavy metal icons’ nine studio albums, starting with the 1981 debut Too Fast for Love to the latest release, 2008’s Saints of Los Angeles. Billboard estimates the band has sold 22.5 million albums in the U.S., based on RIAA certifications pre-1991 and MRC Data figures from 1991 to present.

Terms were not disclosed, although one music industry source put the figure between two numbers that other outlets have reported, at higher than $90 million but not $150 million.

BMG’s global catalog team plans to work closely with the band and its management to re-promote the releases starting next year.

?It feels amazing to be collaborating with our new partners at BMG,” Mötley Crüe said in a statement. “Their extensive track record of success in Rock made them the perfect home to continue preserving and growing our musical legacy, ensuring we always stay at The Top.”

Mötley Crüe’s manager Allen Kovac added: ?After working side by side with BMG for well over a decade, the relationship we have developed and success we?ve accomplished over the years made this a very easy transition to entrust with this treasured Rock catalog. Working with BMG in any capacity, whether that?s publishing or records, has always been a great experience.?

Mötley Crüe’s most popular recordings, spanning from Too Fast for Love to 1997’s Generation Swine, and including the singles “Girls, Girls, Girls,” “Smokin’ in the Boys Room” and “Dr. Feelgood,” among others were all released on Elektra Records, which the band signed with in 1982. In the 1990s, Kovac helped the band acquire those masters from Elektra was part of a contract renegotiation.

?With expert management at the helm, Mötley Crüe have long owned their own recordings,” BMG’s president repertoire & marketing for New York and Los Angeles Thomas Scherer said in a statement. “It is an honor and a privilege for BMG to be entrusted with this catalog. They are the perfect fit for our global digital and physical expertise in rock.?

In June 2022, Mötley Crüe plans to kick off their headlining U.S. stadium tour, which was previously postponed due to the COVID-19 pandemic. The more-than-30-date tour marks the band?s first major concert run since 2015.

?This is more than just a significant transaction. It?s a new chapter for an extraordinary catalog,” said BMG CEO Hartwig Masuch in a statement. “Few bands understand the myth and the magic of Rock like Mötley Crüe do. In an increasingly competitive rights acquisition market, artists need to be convinced that a buyer will do the right thing with their work. I am delighted that Mötley Crüe have decided BMG will be the best custodians of their musical career.?

In March, BMG announced it was teaming with private equity firm KKR to buy music assets in what was described as a $1 billion deal pipeline. This Mötley Crüe acquisition, however, is not part of that partnership.

Lately, BMG has been in the business of acquiring iconic catalogs, including a deal with Mick Fleetwood in January covering his share in Fleetwood Mac’s recordings, and a blockbuster deal in October with Tina Turner that covered her artist?s share of her recordings, her writer?s share of publishing and her neighboring rights from her solo career. The company is also home to the rights to several iconic hard rock acts, including Black Sabbath, Dio, Motörhead and the Scorpions, while it helped Iron Maiden achieve the highest-charting album of the band’s career in September.

Mötley Crüe, Kovac and Chris Nilsson of 10th Street Entertainment were advised in the transaction by Tim Mandelbaum, Cynthia Katz, and the law firm of Fox Rothschild.

BMG has acquired Mötley Crüe‘s entire recorded music catalog in a deal that marks the company’s largest single-artist deal since its founding in 2008, the company announced Tuesday (Nov. 30).

The deal covers the heavy metal icons’ nine studio albums, starting with the 1981 debut Too Fast for Love to the latest release, 2008’s Saints of Los Angeles. Billboard estimates the band has sold 22.5 million albums in the U.S., based on RIAA certifications pre-1991 and MRC Data figures from 1991 to present.

Terms were not disclosed, although one music industry source put the figure between two numbers that other outlets have reported, at higher than $90 million but not $150 million.

BMG’s global catalog team plans to work closely with the band and its management to re-promote the releases starting next year.

?It feels amazing to be collaborating with our new partners at BMG,” Mötley Crüe said in a statement. “Their extensive track record of success in Rock made them the perfect home to continue preserving and growing our musical legacy, ensuring we always stay at The Top.”

Mötley Crüe’s manager Allen Kovac added: ?After working side by side with BMG for well over a decade, the relationship we have developed and success we?ve accomplished over the years made this a very easy transition to entrust with this treasured Rock catalog. Working with BMG in any capacity, whether that?s publishing or records, has always been a great experience.?

Mötley Crüe’s most popular recordings, spanning from Too Fast for Love to 1997’s Generation Swine, and including the singles “Girls, Girls, Girls,” “Smokin’ in the Boys Room” and “Dr. Feelgood,” among others were all released on Elektra Records, which the band signed with in 1982. In the 1990s, Kovac helped the band acquire those masters from Elektra was part of a contract renegotiation.

?With expert management at the helm, Mötley Crüe have long owned their own recordings,” BMG’s president repertoire & marketing for New York and Los Angeles Thomas Scherer said in a statement. “It is an honor and a privilege for BMG to be entrusted with this catalog. They are the perfect fit for our global digital and physical expertise in rock.?

In June 2022, Mötley Crüe plans to kick off their headlining U.S. stadium tour, which was previously postponed due to the COVID-19 pandemic. The more-than-30-date tour marks the band?s first major concert run since 2015.

?This is more than just a significant transaction. It?s a new chapter for an extraordinary catalog,” said BMG CEO Hartwig Masuch in a statement. “Few bands understand the myth and the magic of Rock like Mötley Crüe do. In an increasingly competitive rights acquisition market, artists need to be convinced that a buyer will do the right thing with their work. I am delighted that Mötley Crüe have decided BMG will be the best custodians of their musical career.?

In March, BMG announced it was teaming with private equity firm KKR to buy music assets in what was described as a $1 billion deal pipeline. This Mötley Crüe acquisition, however, is not part of that partnership.

Lately, BMG has been in the business of acquiring iconic catalogs, including a deal with Mick Fleetwood in January covering his share in Fleetwood Mac’s recordings, and a blockbuster deal in October with Tina Turner that covered her artist?s share of her recordings, her writer?s share of publishing and her neighboring rights from her solo career. The company is also home to the rights to several iconic hard rock acts, including Black Sabbath, Dio, Motörhead and the Scorpions, while it helped Iron Maiden achieve the highest-charting album of the band’s career in September.

Mötley Crüe, Kovac and Chris Nilsson of 10th Street Entertainment were advised in the transaction by Tim Mandelbaum, Cynthia Katz, and the law firm of Fox Rothschild.

BMG has acquired Mötley Crüe‘s entire recorded music catalog in a deal that marks the company’s largest single-artist deal since its founding in 2008, the company announced Tuesday (Nov. 30).

The deal covers the heavy metal icons’ nine studio albums, starting with the 1981 debut Too Fast for Love to the latest release, 2008’s Saints of Los Angeles. Billboard estimates the band has sold 22.5 million albums in the U.S., based on RIAA certifications pre-1991 and MRC Data figures from 1991 to present.

Terms were not disclosed, although one music industry source put the figure between two numbers that other outlets have reported, at higher than $90 million but not $150 million.

BMG’s global catalog team plans to work closely with the band and its management to re-promote the releases starting next year.

?It feels amazing to be collaborating with our new partners at BMG,” Mötley Crüe said in a statement. “Their extensive track record of success in Rock made them the perfect home to continue preserving and growing our musical legacy, ensuring we always stay at The Top.”

Mötley Crüe’s manager Allen Kovac added: ?After working side by side with BMG for well over a decade, the relationship we have developed and success we?ve accomplished over the years made this a very easy transition to entrust with this treasured Rock catalog. Working with BMG in any capacity, whether that?s publishing or records, has always been a great experience.?

Mötley Crüe’s most popular recordings, spanning from Too Fast for Love to 1997’s Generation Swine, and including the singles “Girls, Girls, Girls,” “Smokin’ in the Boys Room” and “Dr. Feelgood,” among others were all released on Elektra Records, which the band signed with in 1982. In the 1990s, Kovac helped the band acquire those masters from Elektra was part of a contract renegotiation.

?With expert management at the helm, Mötley Crüe have long owned their own recordings,” BMG’s president repertoire & marketing for New York and Los Angeles Thomas Scherer said in a statement. “It is an honor and a privilege for BMG to be entrusted with this catalog. They are the perfect fit for our global digital and physical expertise in rock.?

In June 2022, Mötley Crüe plans to kick off their headlining U.S. stadium tour, which was previously postponed due to the COVID-19 pandemic. The more-than-30-date tour marks the band?s first major concert run since 2015.

?This is more than just a significant transaction. It?s a new chapter for an extraordinary catalog,” said BMG CEO Hartwig Masuch in a statement. “Few bands understand the myth and the magic of Rock like Mötley Crüe do. In an increasingly competitive rights acquisition market, artists need to be convinced that a buyer will do the right thing with their work. I am delighted that Mötley Crüe have decided BMG will be the best custodians of their musical career.?

In March, BMG announced it was teaming with private equity firm KKR to buy music assets in what was described as a $1 billion deal pipeline. This Mötley Crüe acquisition, however, is not part of that partnership.

Lately, BMG has been in the business of acquiring iconic catalogs, including a deal with Mick Fleetwood in January covering his share in Fleetwood Mac’s recordings, and a blockbuster deal in October with Tina Turner that covered her artist?s share of her recordings, her writer?s share of publishing and her neighboring rights from her solo career. The company is also home to the rights to several iconic hard rock acts, including Black Sabbath, Dio, Motörhead and the Scorpions, while it helped Iron Maiden achieve the highest-charting album of the band’s career in September.

Mötley Crüe, Kovac and Chris Nilsson of 10th Street Entertainment were advised in the transaction by Tim Mandelbaum, Cynthia Katz, and the law firm of Fox Rothschild.

The Toronto International Film Festival announced on Tuesday the appointment of Jeffrey Remedios, chairman and CEO of Universal Music Canada, as chair of TIFF?s board of directors, succeeding Jennifer Tory.

Remedios has been a member of the TIFF Board for five years; Tory held the chair role since 2016.

“I?d first like to congratulate and thank Jennifer Tory for her impeccable leadership and years of commitment and contribution to TIFF, particularly in recent years as the organization navigated these unprecedented times,” Remedios said of assuming Tory’s role. “I?d also like to thank our departing Board colleagues – Ellis, Wade, Shabin, Francis, Frank and Geoff – for their dedication and countless contributions. I?m humbled and honored to serve TIFF?s mission in the role of Chair alongside my esteemed existing and new Board colleagues.”

Remedios also sits on the boards of the Canadian Academy of Recording Arts & Sciences, Music Canada and the board of Arts & Crafts, the independent music label he co-founded in 2003 and where he served as President until 2015. He founded Field Trip, downtown Toronto?s boutique community music and arts festival held at Historic Fort York and is former Chairman of FACTOR, a foundation that assists Canadian talent on recordings. He also served on the boards of the Art Gallery of Ontario, the Canadian Opera Company, the Canadian Independent Music Association and the Minister?s Advisory Council for Arts & Culture.

TIFF also announced the departures of long-time members Ellis Jacob, Wade Oosterman and Shabin Mohamed. Other members stepping down are Francis Shen, Frank Kollmar and Geoff Beattie. Joining the board are Mary DePaoli, Danis Goulet, Allen Lau, Devorah Lithwick, and Laurie May.

Following the board news, TIFF announced Cameron Bailey as its new CEO.

The Toronto International Film Festival announced on Tuesday the appointment of Jeffrey Remedios, chairman and CEO of Universal Music Canada, as chair of TIFF?s board of directors, succeeding Jennifer Tory.

Remedios has been a member of the TIFF Board for five years; Tory held the chair role since 2016.

“I?d first like to congratulate and thank Jennifer Tory for her impeccable leadership and years of commitment and contribution to TIFF, particularly in recent years as the organization navigated these unprecedented times,” Remedios said of assuming Tory’s role. “I?d also like to thank our departing Board colleagues – Ellis, Wade, Shabin, Francis, Frank and Geoff – for their dedication and countless contributions. I?m humbled and honored to serve TIFF?s mission in the role of Chair alongside my esteemed existing and new Board colleagues.”

Remedios also sits on the boards of the Canadian Academy of Recording Arts & Sciences, Music Canada and the board of Arts & Crafts, the independent music label he co-founded in 2003 and where he served as President until 2015. He founded Field Trip, downtown Toronto?s boutique community music and arts festival held at Historic Fort York and is former Chairman of FACTOR, a foundation that assists Canadian talent on recordings. He also served on the boards of the Art Gallery of Ontario, the Canadian Opera Company, the Canadian Independent Music Association and the Minister?s Advisory Council for Arts & Culture.

TIFF also announced the departures of long-time members Ellis Jacob, Wade Oosterman and Shabin Mohamed. Other members stepping down are Francis Shen, Frank Kollmar and Geoff Beattie. Joining the board are Mary DePaoli, Danis Goulet, Allen Lau, Devorah Lithwick, and Laurie May.

Following the board news, TIFF announced Cameron Bailey as its new CEO.

The Toronto International Film Festival announced on Tuesday the appointment of Jeffrey Remedios, chairman and CEO of Universal Music Canada, as chair of TIFF?s board of directors, succeeding Jennifer Tory.

Remedios has been a member of the TIFF Board for five years; Tory held the chair role since 2016.

“I?d first like to congratulate and thank Jennifer Tory for her impeccable leadership and years of commitment and contribution to TIFF, particularly in recent years as the organization navigated these unprecedented times,” Remedios said of assuming Tory’s role. “I?d also like to thank our departing Board colleagues – Ellis, Wade, Shabin, Francis, Frank and Geoff – for their dedication and countless contributions. I?m humbled and honored to serve TIFF?s mission in the role of Chair alongside my esteemed existing and new Board colleagues.”

Remedios also sits on the boards of the Canadian Academy of Recording Arts & Sciences, Music Canada and the board of Arts & Crafts, the independent music label he co-founded in 2003 and where he served as President until 2015. He founded Field Trip, downtown Toronto?s boutique community music and arts festival held at Historic Fort York and is former Chairman of FACTOR, a foundation that assists Canadian talent on recordings. He also served on the boards of the Art Gallery of Ontario, the Canadian Opera Company, the Canadian Independent Music Association and the Minister?s Advisory Council for Arts & Culture.

TIFF also announced the departures of long-time members Ellis Jacob, Wade Oosterman and Shabin Mohamed. Other members stepping down are Francis Shen, Frank Kollmar and Geoff Beattie. Joining the board are Mary DePaoli, Danis Goulet, Allen Lau, Devorah Lithwick, and Laurie May.

Following the board news, TIFF announced Cameron Bailey as its new CEO.

What were some of the most notable trends on the Billboard Hot 100 songs chart through the first three quarters of 2021?

Hit Songs Deconstructed, which provides compositional analytics for top 10 Hot 100 hits, has released its State of the Hot 100 Top 10: Q3 2021 report.

Here are five takeaways from Hit Songs Deconstructed’s latest in-depth research.

Hip-hop over pop: Through the first three quarters of 2021, hip-hop was the most popular primary genre in the Hot 100’s top 10, with a 41% share of all top 10s. Pop ranked second, at 36%.

Hip-hop pulled ahead of pop after pop led 41% to 34% in the year’s first half. Helping ignite the turnaround? The Sept. 18-dated Hot 100, when Drake claimed a record nine concurrent top 10s, all from his album Certified Lover Boy, which launched that week at No. 1 on the Billboard 200. Leading his haul, “Way 2 Sexy,” featuring Future and Young Thug, soared in atop the Hot 100 that frame.

Hip-hop won a tight battle in the Hot 100’s top 10 for all of 2020 (41% vs. 40%), after pop took 2019 (48% vs. 34%) and hip-hop led in 2018 (59% vs. 24%, a relative landslide thanks in part to, again, Drake’s dominance that year).

Guys’ gains: Songs with exclusively male lead vocals dominated the Hot 100’s top 10 in Q1-Q3 2021, accounting for a 73% claim of all top 10s. Titles with exclusively female lead vocals drew a 19% share.

The gap between the two widened slightly from a 69% vs. 23% split in all of 2020. Men also won by similar, though somewhat less decisive, margins in 2019 (62% vs. 22%), 2018 (63% vs. 23%) and 2017 (58% vs. 23%).

Meanwhile, songs mixing male and female lead vocals, such as The Weeknd and Ariana Grande’s remixed “Save Your Tears,” remained below 10% among all Hot 100 top 10s through the year’s first nine months, in line with an 8% share for such hits in 2020. That’s down noticeably from 16% in 2019 and 23% in both 2018 and 2017.

Time for a change: The most common song length for a Hot 100 top 10 in the first three quarters of 2021? Under 3 minutes, with a 37% share. The ranking reflects a worst-to-first nearly five-year turnaround, as in 2017 such a length placed last (9%). Notably, The Kid LAROI and Justin Bieber’s “Stay,” at just 2:21, reigned for seven weeks beginning in August.

Songs of 3-to-3:29 minutes in length fell to second in Q1-Q3 2021, after leading in all of 2020, down more than double from 53% to 24%.

Meanwhile, top 10s over 4 minutes again placed last over the year’s first three quarters, as in 2020 and 2019. Still, such songs made gains from 7% to 8% to 17% in that span (and with Q4 already including one record-breaking entrant).

Hold your applause: Synths remained the most prominent instrument in Hot 100 top 10s through the first three quarters of 2021. Not only has the sound led each year since 2017, it has risen in share from 75% to 81% to 91% to an even more dominant 95% since 2018.

Notably on the decline? Hand claps. After appearing in 80% of top 10s in 2017, and between 60 and 69% in 2018-20, they fell to 44% in the first three quarters of 2021. Still, a hand for top 10s this year featuring such, well, handiwork, including Dua Lipa’s No. 2-peaking “Levitating.”

‘Good days on my mind ?’: Perhaps unsurprisingly, given 2020-21, songs with an introspective lyrical theme have increased among Hot 100 top 10s in that span. Such hits, including SZA’s “Good Days,” Masked Wolf’s “Astronaut in the Ocean” and Ed Sheeran’s “Bad Habits,” logged a 29% share in Q1-Q3 this year, a high since 2017 and rising from 21% last year and more than tripling from 9% in 2017.

Meanwhile, love/relationships led all lyrical themes among top 10s in the first nine months of 2021, mirroring its top-ranking 49% share in 2020.

What were some of the most notable trends on the Billboard Hot 100 songs chart through the first three quarters of 2021?

Hit Songs Deconstructed, which provides compositional analytics for top 10 Hot 100 hits, has released its State of the Hot 100 Top 10: Q3 2021 report.

Here are five takeaways from Hit Songs Deconstructed’s latest in-depth research.

Hip-hop over pop: Through the first three quarters of 2021, hip-hop was the most popular primary genre in the Hot 100’s top 10, with a 41% share of all top 10s. Pop ranked second, at 36%.

Hip-hop pulled ahead of pop after pop led 41% to 34% in the year’s first half. Helping ignite the turnaround? The Sept. 18-dated Hot 100, when Drake claimed a record nine concurrent top 10s, all from his album Certified Lover Boy, which launched that week at No. 1 on the Billboard 200. Leading his haul, “Way 2 Sexy,” featuring Future and Young Thug, soared in atop the Hot 100 that frame.

Hip-hop won a tight battle in the Hot 100’s top 10 for all of 2020 (41% vs. 40%), after pop took 2019 (48% vs. 34%) and hip-hop led in 2018 (59% vs. 24%, a relative landslide thanks in part to, again, Drake’s dominance that year).

Guys’ gains: Songs with exclusively male lead vocals dominated the Hot 100’s top 10 in Q1-Q3 2021, accounting for a 73% claim of all top 10s. Titles with exclusively female lead vocals drew a 19% share.

The gap between the two widened slightly from a 69% vs. 23% split in all of 2020. Men also won by similar, though somewhat less decisive, margins in 2019 (62% vs. 22%), 2018 (63% vs. 23%) and 2017 (58% vs. 23%).

Meanwhile, songs mixing male and female lead vocals, such as The Weeknd and Ariana Grande’s remixed “Save Your Tears,” remained below 10% among all Hot 100 top 10s through the year’s first nine months, in line with an 8% share for such hits in 2020. That’s down noticeably from 16% in 2019 and 23% in both 2018 and 2017.

Time for a change: The most common song length for a Hot 100 top 10 in the first three quarters of 2021? Under 3 minutes, with a 37% share. The ranking reflects a worst-to-first nearly five-year turnaround, as in 2017 such a length placed last (9%). Notably, The Kid LAROI and Justin Bieber’s “Stay,” at just 2:21, reigned for seven weeks beginning in August.

Songs of 3-to-3:29 minutes in length fell to second in Q1-Q3 2021, after leading in all of 2020, down more than double from 53% to 24%.

Meanwhile, top 10s over 4 minutes again placed last over the year’s first three quarters, as in 2020 and 2019. Still, such songs made gains from 7% to 8% to 17% in that span (and with Q4 already including one record-breaking entrant).

Hold your applause: Synths remained the most prominent instrument in Hot 100 top 10s through the first three quarters of 2021. Not only has the sound led each year since 2017, it has risen in share from 75% to 81% to 91% to an even more dominant 95% since 2018.

Notably on the decline? Hand claps. After appearing in 80% of top 10s in 2017, and between 60 and 69% in 2018-20, they fell to 44% in the first three quarters of 2021. Still, a hand for top 10s this year featuring such, well, handiwork, including Dua Lipa’s No. 2-peaking “Levitating.”

‘Good days on my mind ?’: Perhaps unsurprisingly, given 2020-21, songs with an introspective lyrical theme have increased among Hot 100 top 10s in that span. Such hits, including SZA’s “Good Days,” Masked Wolf’s “Astronaut in the Ocean” and Ed Sheeran’s “Bad Habits,” logged a 29% share in Q1-Q3 this year, a high since 2017 and rising from 21% last year and more than tripling from 9% in 2017.

Meanwhile, love/relationships led all lyrical themes among top 10s in the first nine months of 2021, mirroring its top-ranking 49% share in 2020.

What were some of the most notable trends on the Billboard Hot 100 songs chart through the first three quarters of 2021?

Hit Songs Deconstructed, which provides compositional analytics for top 10 Hot 100 hits, has released its State of the Hot 100 Top 10: Q3 2021 report.

Here are five takeaways from Hit Songs Deconstructed’s latest in-depth research.

Hip-hop over pop: Through the first three quarters of 2021, hip-hop was the most popular primary genre in the Hot 100’s top 10, with a 41% share of all top 10s. Pop ranked second, at 36%.

Hip-hop pulled ahead of pop after pop led 41% to 34% in the year’s first half. Helping ignite the turnaround? The Sept. 18-dated Hot 100, when Drake claimed a record nine concurrent top 10s, all from his album Certified Lover Boy, which launched that week at No. 1 on the Billboard 200. Leading his haul, “Way 2 Sexy,” featuring Future and Young Thug, soared in atop the Hot 100 that frame.

Hip-hop won a tight battle in the Hot 100’s top 10 for all of 2020 (41% vs. 40%), after pop took 2019 (48% vs. 34%) and hip-hop led in 2018 (59% vs. 24%, a relative landslide thanks in part to, again, Drake’s dominance that year).

Guys’ gains: Songs with exclusively male lead vocals dominated the Hot 100’s top 10 in Q1-Q3 2021, accounting for a 73% claim of all top 10s. Titles with exclusively female lead vocals drew a 19% share.

The gap between the two widened slightly from a 69% vs. 23% split in all of 2020. Men also won by similar, though somewhat less decisive, margins in 2019 (62% vs. 22%), 2018 (63% vs. 23%) and 2017 (58% vs. 23%).

Meanwhile, songs mixing male and female lead vocals, such as The Weeknd and Ariana Grande’s remixed “Save Your Tears,” remained below 10% among all Hot 100 top 10s through the year’s first nine months, in line with an 8% share for such hits in 2020. That’s down noticeably from 16% in 2019 and 23% in both 2018 and 2017.

Time for a change: The most common song length for a Hot 100 top 10 in the first three quarters of 2021? Under 3 minutes, with a 37% share. The ranking reflects a worst-to-first nearly five-year turnaround, as in 2017 such a length placed last (9%). Notably, The Kid LAROI and Justin Bieber’s “Stay,” at just 2:21, reigned for seven weeks beginning in August.

Songs of 3-to-3:29 minutes in length fell to second in Q1-Q3 2021, after leading in all of 2020, down more than double from 53% to 24%.

Meanwhile, top 10s over 4 minutes again placed last over the year’s first three quarters, as in 2020 and 2019. Still, such songs made gains from 7% to 8% to 17% in that span (and with Q4 already including one record-breaking entrant).

Hold your applause: Synths remained the most prominent instrument in Hot 100 top 10s through the first three quarters of 2021. Not only has the sound led each year since 2017, it has risen in share from 75% to 81% to 91% to an even more dominant 95% since 2018.

Notably on the decline? Hand claps. After appearing in 80% of top 10s in 2017, and between 60 and 69% in 2018-20, they fell to 44% in the first three quarters of 2021. Still, a hand for top 10s this year featuring such, well, handiwork, including Dua Lipa’s No. 2-peaking “Levitating.”

‘Good days on my mind ?’: Perhaps unsurprisingly, given 2020-21, songs with an introspective lyrical theme have increased among Hot 100 top 10s in that span. Such hits, including SZA’s “Good Days,” Masked Wolf’s “Astronaut in the Ocean” and Ed Sheeran’s “Bad Habits,” logged a 29% share in Q1-Q3 this year, a high since 2017 and rising from 21% last year and more than tripling from 9% in 2017.

Meanwhile, love/relationships led all lyrical themes among top 10s in the first nine months of 2021, mirroring its top-ranking 49% share in 2020.

The San Francisco 49ers and Save Our Water announced on Friday that they are teaming up to encourage all Californians to take actions now to save water for current and future water needs, following the second driest year on record. The partnership aims to raise awareness about the importance of water conservation at a critical time in California and the Western U.S.

To kickoff the partnership, the 49ers created water-conscious signage around restrooms and water fountains and published a water conservation information webpage. The team is also working on a public service announcement launching in December that will feature star wide receiver Deebo Samuel encouraging California residents to go the extra yard to conserve water.

“As the oldest professional sports team in the Bay Area, we have called the state of California home for 75 years. We recognize our responsibility to encourage the Faithful to use less water, especially during these crucial times,” said 49ers Executive Vice President and Levi’s® Stadium General Manager Jim Mercurio. “We are confident that partnering with Save Our Water will enhance our ability to help educate all Californians and provide additional tools and resources geared toward conserving water for the future of our communities and our families.”

Since opening in 2014, Levi’s Stadium has made sustainability and water conservation a top priority by implementing water saving practices throughout the entire stadium. For example, the venue led the way as the first in California to connect to its city’s recycled water system, which now accounts for about 85 percent of all water usage. Use of recycled water and installation of water-efficient fixtures have helped reduce water consumption in the stadium by 44 percent.

As communities across the state grapple with another year in drought, the 49ers and Save Our Water are encouraging everyday life efforts and practices to save water. From checking for leaks to turning off sprinklers on rainy days, there are several impactful changes that can be made around the home.

“California is experiencing historic drought conditions driven by climate change and as we anticipate another dry water year, we are calling on all Californians to come together to save water,” said Ryan Bailey, DWR’s Water Use Efficiency Branch Manager. “We are excited to have the 49ers as partners in this conservation effort and together we encourage everyone to make daily changes to conserve water.”

In response to the drought conditions in California, Governor Gavin Newsom announced in October an executive order expanding the drought emergency in additional counties, including San Francisco and Los Angeles, and urging Californians to double down on water conservation efforts. For more information on how Californians can take action today to save water, visit SaveOurWater.com.

Check out the Levi’s Stadium website and media guide for more on sustainability practices underway at the stadium.

Read the original announcement here

The UN Climate Change Conference has brought a flurry of carbon-cutting pledges within sport but the real work lies ahead. Here, SportsPro outlines some of the areas in which the industry will be working towards a better environmental future.

Protesters hang a large banner on the Olympic rings during a demonstration in Paris

Researchers have predicted that only ten of the 19 former hosts of the Winter Olympics will be naturally viable winter sports centres by 2050

Campaign Calls on World Leaders to Protect and Conserve 30% of the Global Ocean by 2030

LOS ANGELES, Calif./USA (Friday, November 12, 2021) – The World Surf League (WSL) today announces the delivery of the We Are One Ocean petition to the United Nations Convention on Biodiversity, Kunming China, calling on world leaders to protect and conserve 30% of the global ocean by 2030.

The WSL launched We Are One Ocean in early 2021 with the goal of bringing people together to care about the issue of ocean conservation and preserve the future of surfing for generations of surfers to come. Since launch, the campaign has brought together people from over 150 countries and more than 90 organizations as well as garnering more than 400 million cumulative reach.

“We Are One Ocean provides a powerful opportunity for the global community of surfers and ocean lovers to have their voice heard by world leaders,” said WSL Chief People & Purpose Officer, Emily Hofer. “We know that meaningful change can be achieved through igniting passionate communities to speak up on behalf of our one ocean. The WSL is committed to working at both the global and grassroots level to protect and conserve the global ocean and, in particular, investing in youth as stewards of the global ocean.”

WSL collaborated with nine ambassadors from around the world – including scientists who surf Dr. Cliff Kapono and Dr. Easkey Britton as well as WSL Championship Tour surfers Kanoa Igarashi, and Lakey Peterson – to expand the conversation by sharing their personal connection to our one ocean in the We Are One Ocean content series. The campaign was also integrated into Championship Tour (CT) events throughout the season, including beach cleanups, coastal restoration and turtle nesting preparation.

The WSL brought together an unprecedented worldwide coalition of more than 90 Non Governmental Organizations (NGOs) and corporations in support of We Are One Ocean and committed to conservation, sports, and sustainability, including the Natural Resources Defense Council, Conservation International, Take3, Surfers Against Sewage, I AM WATER, Surfrider Foundation, Sea Legacy, Lonely Whale, PADI and World Sailing.

As part of the We Are One Ocean campaign the WSL launched and funded a new grant program, which supports the ocean conservation work of non-governmental organizations tied to the locations and communities around the world that graciously host WSL CT events. Recipients included SOS Mata Atlântica Foundation, Brazil, WILDCOAST, California, M?lama P?p?kea-Waimea, Hawaii and WILDOCEANS, South Africa. The application for the 2022 grant program is open now.

We Are One Ocean is supported by Shiseido as part of the SHISEIDO BLUE PROJECT, which promotes ocean conservation through initiatives such as beach clean ups and sand dune planting to safeguard shorelines, and Gillette Venus as part of their ongoing commitment to provide women the best grooming products while protecting our planet’s resources, as well as the all-new Jeep 4xe hybrid electric vehicle.

The petition has been delivered in the form of a video to the United Nations Biodiversity Conference (CBD) ahead of the meetings in Kunming, China next spring, where the new Post-2020 Global Biodiversity Framework will be presented for final consideration and decision by CBD’s 196 parties.

Read the original press release here

OVG?s Climate Pledge Arena, powered entirely by renewable energy, gives the Kraken a shiny new venue and the world an environmental beacon of change.

Once Amazon bought naming rights to the new arena, work stopped for six weeks to figure out how to reduce climate impact. – Taryn Graham

As Tim Leiweke made short remarks to media members after an October tour of the newly opened Climate Pledge Arena, his large white labradoodle, Dudley, stood on hind legs and gave Leiweke a furry hug. The Oak View Group CEO and his dog had been separated for the past month as Leiweke focused his attention on getting the company?s $1.15-billion arena project over the finish line.

?That was my reward, seeing Dudley,? Leiweke said later.

Like many involved with Climate Pledge Arena, Leiweke?s demeanor that day ? the morning after the hometown Foo Fighters unofficially opened the building with an Oct. 19 concert ? was a palpable blend of pride and relief. Four years earlier, Leiweke told the Seattle Times as the project was just getting underway, ?Everyone in life feels a desire, a passion, a purpose to go test themselves. That?s what I plan to do.?

Leiweke got more of a test than he ever wanted.

Climate Pledge Arena could go down as one of the most complicated builds in North American sports venue history owing to a spate of factors, not least the legal requirements to preserve and include the former KeyArena?s 59-year-old, 44-million-pound roof in the new design, or the greatest global health crisis in a century that created shipping issues right through the Foo Fighters show, when the building still hadn?t received its electric fryers.

?There was nothing as hard as this,? Leiweke said. ?What remains in my career and probably my daughter (Francesca) running the company, there will never be one as hard as this.?

The project team, led by OVG and including architects Populous, builders Mortenson and engineers Thornton Tomasetti and ME Engineers, finished the venue in time for Coldplay and NHL expansion team the Seattle Kraken to officially open it on Oct. 22 and 23. Finishing on time was a testament to the sustained collaboration and teamwork of the designers, builders and engineers.

And the arena bears the clear imprint of Leiweke, a determined force of nature and the right kind of owner for a project that other major players in sports business deemed too expensive or impractical.

The result is one of the most sustainable sports venues on the planet, capable of hosting any type of concert and multiple pro sports teams, a crown jewel in a growing OVG empire, and a testament to architectural, construction and engineering ingenuity firmly connected to its history.

?We didn?t really have money, we didn?t have a track record or history for the company itself, and we had to figure it out,? said Leiweke. ?The moment we had enough guts to say, ?we think we could build a brand-new arena and keep the roof on it and protect that historic landmark,? everything six years later started then.?

Amazon chose to name the home of the expansion Kraken after the company?s Climate Pledge to send a clear message in support of sustainability. – Taryn Graham

Civic hurdles

The complexity of Climate Pledge Arena?s 29-month construction project will likely never be matched for two key reasons: Ideally there won?t be another world-altering event like the COVID-19 pandemic, and it?s unlikely any other developer would build a new arena under an existing roof.

But the project?s first hurdles were endemic to Seattle and started well before construction.

By the early 2000s, KeyArena, the home of the Seattle SuperSonics, had outlived its utility. Its back-of-house fundamentals were missing, and the venue was passed over by high-profile touring acts. Built in 1962 with a roof inspired by a local native tribe?s customary hat, KeyArena sat in the dense, busy heart of a city that had no desire to publicly fund the major improvements necessary to keep the Sonics. They bolted for Oklahoma City in 2008.

Oak View Group?s Tim Leiweke saw construction challenges as a chance to push and test himself. – Taryn Graham

Left without a major sports tenant, AEG profitably operated the arena during that period by leaning on live music, college sports and the WNBA?s Storm. But something would have to change for the city to land an NHL or NBA team.

?You didn?t have to look very far down the road once the Sonics left to see that it was going to become a bit of a problem for the city and for Seattle Center,? said Robert Nellams, director of Seattle Center, the 74-acre park in which Climate Pledge Arena is located.

A subsequent effort to build an arena in the SoDo area crumbled for several reasons, namely because of taxpayers? reticence to kick in public money and increased congestion in the district where the city?s port and the Seahawks and Mariners stadiums already resided.

Leiweke had intimate knowledge of the Seattle market, in part from his time as president and CEO of AEG, a 17-year tenure that ended in 2013. Two years later, he founded OVG with entertainment mogul Irving Azoff. Where many were focused on the SoDo area of Seattle, Leiweke wondered why the KeyArena site couldn?t work, especially given the dense and attractive uptown area in which it sat.

The city put forth a KeyArena redevelopment request for proposal in early 2017. In Seattle?s prevailing political climate, OVG had a key advantage.

?They agreed to do it without asking the public to invest hundreds of millions of dollars, or any millions of dollars. That gave them the upper hand,? said Seattle developer Bob Wallace. ?Then when they decided to locate at [KeyArena] and take this albatross off the city?s hands, it was a win-win.?

OVG?s $564 million bid was one of just two the city received. AEG submitted the other, but ultimately withdrew its bid that included public funding, saying it perceived the process as slanted in OVG?s favor. Seattle?s city council approved OVG?s bid in September 2018.

The Alaska Airlines Atrium replaced KeyArena?s old outdoor loading dock and is the new arena entrance. – Taryn Graham

Climate Pledge Arena

Capacity: Hockey, 17,100; Basketball, 18,100; Concerts, 17,200

Tenant: Seattle Kraken (NHL), Seattle Storm (WNBA)

Owner: Oak View Group

Operator: Oak View Group

Cost: $1.15 billion

Architect: Populous

Owners? rep: CAA Icon

General contractor: Mortenson

Structural engineer: Thornton Tomasetti

Mechanical/electrical/plumbing engineer: ME Engineers

Seat provider: Fixed seating by Camatic; Moet Chandon Imperial Lounge chairs custom designed by Rockwell

Suites/premium areas: 59; Tunnel Club Suites, Pitchbook Suites, WaFd Bank Club, Symetra Club, Moet Chandon Imperial Lounge, Space Needle Lounge, Verizon Lounge, and Mt. Baker Hall

Suite designer: Rockwell

Premium area capacity: 5,140

Naming rights: Amazon

Legacy/founding partners: Alaska Airlines, The Climate Pledge, Coors Light, Starbucks, Symetra, Verizon, Virginia Mason Franciscan Health, WaFd Bank

Concessionaire: Delaware North

Soda pouring rights: Pepsi

Video boards: Daktronics

Wi-Fi system designer: Cisco

DAS provider: Verizon

DAS hardware: Commscope

Red steel, blue steel

As Populous? lead architect on the Climate Pledge Arena job, it was Geoff Cheong?s task to design a new building beneath the 59-year-old roof, which had gained Seattle Landmark Preservation Board protection in 2017, and federal protection a year later from the National Registry of Historic Places. OVG was actually behind the effort to get federal recognition; they already had to keep the roof, so pursuing federal historic recognition, and the associated $50 million in tax credits, was a clever financial move. But beyond the design challenge, getting the two historic preservation entities to approve designs was taxing, too, especially since neither body communicated with the other. The historic approval process was ongoing, right up to the arena?s opening.

?In my professional career, the most complex design challenge I?ve been a part of and that our Populous team has had to solve,? said Cheong.

Construction was greenlit in late 2018, but the original contractors, Skanska and AECOM Hunt?s joint venture, backed out when they couldn?t commit to OVG?s aggressive timeline and budget. Mortenson stepped in and project executive Greg Huber distinctly remembers the first briefing meeting.

??We?re gonna do what, and why? We?re going to dig a tunnel?? Just being hit with a number of complexities was certainly overwhelming,? he said.

Significant demolition finally began in May 2019. All of Climate Pledge Arena?s back-of-house functions would be positioned at the bottom of the building, which meant the hole the venue sat in needed to be wider and deeper. After the roof was securely propped up and a temporary steel support system installed, the team finished demolition of the old building and then excavation of the 53-foot-deep hole.

Building back up was slow and tedious. As permanent steel was installed, the existing temporary pieces had to be painstakingly cut out with a torch or disassembled. Huber showed a reporter a time-lapse animation of the process; temporary steel was colored blue and permanent steel red, and they overlapped enough that red and blue blended to purple.

?We knew about it, we planned for it, and it just ended up being one of the great difficulties of the job,? said Huber.

Climate Pledge Arena?s significant emphasis on live music spawned the other major engineering and construction difficulty, the creation of a 170-foot-long, roughly 30-foot-tall-by-30-foot-wide tunnel connecting the venue?s subterranean back-of-house functions to the outside world. Put simply, the arena ?doesn?t work without it,? Leiweke said.

The tunnel?s entrance sits a block away from the arena and it passes within five feet under a historically protected 98-year-old brick building before leading to an open space in the arena with eight loading docks and ample maneuvering room for tractor trailer trucks. The arena floor is located near the loading docks, making concert setup and breakdown more convenient, and there is a devoted area for performers, called the ?artists compound,? that includes dressing rooms, green rooms and a recording studio.

Thanks to the subterranean back-of-house elements, Cheong and Populous could design a 360-degree, public-facing exterior on the ground level. That makes Climate Pledge Arena one of the few, if not only, buildings in the NHL with no visible backdoor.

This lenticular print looks different depending on the angle. – Taryn Graham

Amid the yearlong process to create the tunnel, two project-changing surprises hit the team. COVID landed in the U.S. around February and Seattle was initially one of the country?s hardest hit cities. There were coronavirus cases at the arena job site, but the project evaded major virus outbreaks and only shut down for two days total.

?Doing it in our COVID world where the whole nature of how you had to work on a project was changed, mandated really ? reduced crew sizes, very close coordination of who was in contact with who ? that was a good illustrator of the whole project here,? said CAA Icon project executive Rob Stephens. ?Everyone just worked together and kept this going.?

Then, in June 2020, OVG announced that Amazon would be the venue?s naming-rights holder, but that the company would put Climate Pledge, its global initiative to get major corporations to address and eliminate their carbon footprints, on the building. That prompted a six-week pause of construction as Mortenson and the rest of the project members reviewed completed and future work in search of sustainable alternatives. That resulted in a slew of changes, including all the gas lines being removed and replaced with electric (the venue will be the world?s first arena to run solely on renewable energy); finding a place to put a large number of photovoltaic installations ? the 500-kilowatt solar panels couldn?t go on the historic roof; and ME Engineers creating a vertical drip watering system for the arena?s enormous living wall. (See story, Page 23.)

?It was a curveball that we got thrown, but we knew it was important to Amazon and we were able to make it work,? said Huber.

Dual scoreboards are intended to mimic goalie helmets. – Taryn Graham

Arena facts

Just like being there

Mortenson used four virtual reality headsets to help stakeholders experience Climate Pledge Arena virtually before it was constructed. Up to four people at a time could interact with each other in the virtual version of the building, which led to ?a lot of revisions to clean up the design, to conceal structure or fire-proofing or whatever, and just really enhance it, because you could see it and feel it,? said Mortenson project executive Greg Huber.

Shopping spree

The Climate Pledge Arena construction project averaged over $2 million worth of production per day at peak, and nearly 6,000 individuals contributed to the project?s total 3.8 million hours of work.

Lighting is lit

Climate Pledge Arena has 224 LED displays totaling more than 28,000 square feet of LED, more than any arena in the world. Daktronics provided the LED, including the 100-plus displays spread around the concourse and the twin three-sided scoreboards within the seating bowl, the first triangle scoreboards in the U.S.

Moving art

Rockwell Group designed the arena?s premium areas but The LAB at Rockwell Group, the firm?s team of creative technologists, contributed two interactive, 35-foot-long disc activation screens that use sensory technology to track guests and cause the two-color discs to flip back and forth in response to guests? movements. The discs form an array of images related to events at the arena.

Grab and go, literally

Only six Amazon Just Walk Out stores exist in sports venues worldwide, with four of them at Climate Pledge Arena. But the venue will be the first to launch Just Walk Out stores that serve hot food. Just Walk Out tech previously used sensory scales as one of six factors that definitively determined which items customers were purchasing, but serving freshly cooked food complicated that setup, especially if one kitchen worker had a heavier hand than another. New tech has been developed to address the issue.

Next chapter

The project kicked off amid Seattle?s red hot (read: busiest and most expensive) construction market, driving the venue?s price tag up from the get-go. Budgeting for Climate Pledge Arena was ?the worst,? Leiweke said. ?It just kept on growing.?

By the final publicly reported tally, OVG?s initial project bid had nearly doubled to $1.15 billion. With Dudley resting at his feet, Leiweke rattled off several cost increasers: deciding to go big on the premium spaces added $100 million to the project; the Amazon-inspired, mid-construction sustainability changes cost another roughly $50 million; and beginning in the fall of 2020, the pandemic?s disruption of the supply chain and shipping forced the team to seek expensive shipping help from companies like Seattle-based Expeditors International. At one point, the arena?s seats were stuck in Malaysia for three months; at another, its risers trapped in Slovakia.

But OVG?s funding never appeared to be a major issue.

A 2019 construction loan of $500 million from a consortium led by SunTrust provided OVG with its first substantial outside support. The company said it has since refinanced the construction loan with a long-term investment grade-rated bond. Around the same time, Kraken owners Seattle Hockey Partners ? consisting of billionaire David Bonderman, movie producer Jerry Bruckheimer, and Tod Leiweke (Tim?s brother) ? took on a $325 million loan; OVG owns 51% of the arena and Seattle Hockey Partners owns the other 49%.

OVG had additional backing from Live Nation and the $100 million investment it received from Silver Lake in March 2018 in exchange for an equity stake in OVG. Leiweke?s company had the $50 million in National Historic Registry tax credits, and by February 2020, OVG?s partnerships team had cornerstone deals with Symetra, Alaska Airlines, and Virginia Mason Franciscan Health nailed down, reportedly valued at between $4 million and $6 million each.

OVG landed the sports industry?s sponsorship white whale, Amazon, in a June 2020 naming-rights deal valued between $300 million and $400 million. OVG?s pact with the city of Seattle meant the arena owners kept all naming-rights revenue.

?Yes, the budget went up,? said Leiweke, ?but so did the revenue.?

The night after the Foo Fighters unofficially opened the building, an army of people buzzed around the floor and up in the rafters? rigging, tearing down the first of the arena?s many concerts. Getting Climate Pledge Arena built will be immense for OVG?s long-term business, but it also gives Seattle another shot at landing an NBA franchise.

?We followed their lead,? Leiweke said about the NBA. ?I hope that there is another chapter we get to write here.?

Those connected to the unique project undoubtedly felt pride as they listened to the Foo Fighters? Dave Grohl sing ?make my way back home, when I learn to fly high? that Tuesday night. But they also felt mental and physical fatigue and a sense of relief. Asked if he felt that way, too, now that the project was done, Huber smiled.

?Yeah,? he said. ?Not a hard question.?

Read the original SBJ article here

Image: Johan Cruijff ArenA