“At the beginning, I didn’t even know how to behave, what to do. It’s like, 'Wait a minute, cabrón. I’m famous, I have to act this way, I have to hide, I have to pretend.' But no. I’m me, and that’s that.' —sanbenito Read his Billboard cover story:
American stadium shows still left to tally). World’s Hottest Tour broke venue revenue records in 12 of the 15 U.S. markets that it played, including New York, Chicago and Washington, D.C., averaging $11.1 million per show — the biggest average gross by any artist in any genre in Boxscore history , as well as the biggest Latin tour. Bad Bunny is also the first artist to mount separate $100 million-plus tours in the same calendar year; his 35-datetrek played 25 U.S.
And when people get in line to buy Bad Bunny tickets, they’re not expecting bells and whistles. “It’s him with a microphone, in front of 60,000 people,” says Cárdenas, whose client list in his 45 years of promoting concerts includes touring powerhouses like Marc Anthony and the late Vicente Fernández. “All other artists have a band or a roster of dancers. This man is alone, with a DJ for over 70% of the show.
Case in point: Bad Bunny’s now fabled concert stunt where he stands on a small island with a palm tree that flies over audiences. The stunt has its roots in a 2018 show at New York’s Madison Square Garden. Two weeks out, Assad asked production manager Roly Garbalosa to make Bad Bunny fly. Navigating a permit process that typically takes two months in just 10 days would be expensive — and the cost would have to come out of management’s pocket. “But Noah didn’t blink,” recalls Garbalosa.
That’s easier said than done. U.S. shows gross far more than those in Latin America because ticket prices are higher. Plus, in Latin America, the cost of long-distance air travel is higher, and replicating a complex tour in venues that often lack the appropriate technology means added costs and less revenue both for artist and promoter.
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