Mumford & Sons have revealed a 19-date UK/EU tour in support of their forthcoming album, RUSHMERE.

The British folk-rock trio will kick off the trek in Stockholm on 6 November at Avicii Arena (cap. 16,500) — one of the Swedish capital’s in-demand venues — and wrap up at The O2 (20,000) in London on 10 December.

Their 7th LP RUSHMERE, which shares its name with the London pond where the band was formed, will be their first in seven years and is due out 28 March. Presale for the tour starts next Tuesday, 18 March, with a general sale following on Thursday, 20 March.

This jaunt will also include stops at Copenhagen’s Royal Arena (16,000), Berlin’s Uber Arena (17,000), Paris’s Adidas Arena (9,000), Amsterdam’s Ziggo Dome (17,000), and Barcelona’s Palau Sant Jordi (17,960).

Over the summer, the trio — comprised of Marcus Mumford, Ben Lovett and Ted Dwane — will precede the tour with two outdoor shows at Dublin’s Malahide Castle (20,000) and Italy’s Arena di Verona (22,000) in July.

For this venture, Mumford & Sons have partnered with PLUS1 to support War Child, with £1 from every ticket sold earmarked to help War Child protect, educate, and stand up for the rights of children affected by war.

The band are currently in the midst of their first headline shows since 2018

The band are in the midst of their first headline shows since 2018, a nine-date intimate club tour of Europe, Australia and North America. After performing at the likes of Melkweg (1,500) in Amsterdam and London’s O2 Forum Kentish Town (2,300), they are gearing up to head down to Sydney’s iconic Opera House next Monday, 17 March.

Remaining stops on this run also include a North American leg, with Los Angeles’ Hollywood Palladium (4,000), the Chicago Theatre (3,600), Toronto’s Massey Hall at Allied Music Centre (2,765), and New York City’s Brooklyn Paramount (2,700) on tap.

Earlier this month, the group performed an impromptu, intimate show at London’s Flat Iron Square (420), playing two acoustic sets in support of RUSHMERE. Over 1,000 fans showed up to the south London venue, per NME.

TVG Hospitality, which operates the Southwark Quarter and its Flat Iron Square and Omeara (320), is helmed by Lovett, who co-founded the venture with his brother Greg.

Mumford & Sons are represented by CAA in North America and WME for the rest of the world.

The full list of remaining tour dates is as follows:

17th March – Sydney Opera House, Sydney
20th March – Hollywood Palladium, Los Angeles
22nd March – Chicago Theatre, Chicago
23rd March – Allied Music Centre – Massey Hall, Toronto
26th March – Brooklyn Paramount, New York

4th July – Malahide Castle, Dublin
7th July – Arena di Verona, Verona

6th November – Avicii Arena, Stockholm
8th November – Royal Arena, Copenhagen
10th November – Uber Arena, Berlin
12th November – Lanxess Arena, Cologne
13th November – Sportpaleis, Antwerp
14th November – Adidas Arena, Paris
16th November – Rockhal, Luxembourg
17th November – Ziggo Dome, Amsterdam
19th November – Unipol Arena, Bologna
20th November – Hallenstadion, Zurich
21st November – Unipol Forum, Milan
23rd November – Palau Sant Jordi, Barcelona
25th November – Sagres Campo Pequeno, Lisbon
2nd December – OVO Hydro, Glasgow
3rd December – Co-op Live, Manchester
5th December – Utilita Arena, Sheffield
7th December – Utilita Arena, Birmingham
8th December – Utilita Arena, Cardiff
10th December – The O2, London

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Mumford & Sons have signalled their return with the announcement of a nine-date intimate club tour of Europe, Australia and North America.

The shows will be the British folk-rock band’s first string of headline dates in Europe since 2018.

Ahead of the 28 March release of their new album RUSHMERE – their first LP in seven years – Mumford & Sons will arrive in Europe next month for a series of small club shows.

The run will take in Melkweg in Amsterdam, the Netherlands (5 March), Elysee Montmatre in Paris, France (7 March) and Metropol, Berlin (9 March), returning to the UK for a date at O2 Forum Kentish Town (cap. 2,300) on 11 March.

The band then head Down Under for a gig at Sydney Opera House on 17 March before finishing up with four North American shows in Los Angeles, Chicago, Toronto and Brooklyn.

Members of agora, the band’s fan community, will have priority access from 13 February, with a general sale to take place the following day.

The trio – Marcus Mumford, Ben Lovett and Ted Dwane – are represented by CAA in North America and WME for the rest of the world.

Mumford & Sons have partnered with PLUS1 to support War Child, with $1 from every ticket sold to be donated to the charity.

The full list of tour dates is as follows:

March 5: Amsterdam, NL – Melkweg

March 7: Paris, FR – Elysee Montmatre

March 9: Berlin, DE – Metropol

March 11: London, UK – O2 Forum Kentish Town

March 17: Sydney, AU – Sydney Opera House

March 20: Los Angeles, CA – Hollywood Palladium

March 22: Chicago, IL – The Chicago Theatre

March 23: Toronto, ON – Allied Music Centre, Massey Hall

March 26: New York, NY – Brooklyn Paramount

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Ben Lovett says more than 250 shows are booked for each of his London venues in 2022 as the live business gears up to roar back from the Covid-19 crisis.

The Mumford & Sons musician has opened three grassroots sites in the UK – Omeara (320-cap), Lafayette (600-cap) and The Social (250-cap) – under his Venue Group umbrella since 2016.

And in the second and final part of his interview with IQ (see part one here), Lovett, who is about to make his first move into the US market with the opening of two new venues in Huntsville, Alabama, says the signs indicate the industry is “coming back strong” from the travails of the past two years.

“Our venues in London are already pretty much booked up for next year and that’s a great sign,” he says. “In terms of what other people are doing, I’m actually hearing stories about more venues being planned and opened than I’ve heard about in the last 10 years, so I do think there’s a general swing of the pendulum back to investing into the infrastructure of this industry again, rather than five years ago when every story was about another venue closing down.

“Equally, I’ve read stories about a new Cardiff arena coming; a new Manchester arena coming; Koko’s back with a crazy budget attached to it… So, on balance, you have to believe we’re building more venues than we’re losing, which is a great result.”

Lovett’s Lafayette project, which is set within the new Good Ways development in King’s Cross, opened with a special show by Dave in March 2020, only to be forced to close just 10 days after opening due to the pandemic.

We’re not going to hit a point with this pandemic where a light switch suddenly turns back on and everything’s fine again

“I wouldn’t have changed that Dave show for anything, because it was just amazing to be able to watch him perform in there the day after the BRITs,” reflects Lovett. “But I think for the team, it’s been a little bit strange, because we haven’t had that grand opening moment again. It’s been like a reopening, which isn’t quite the same.

“The general campus of King’s Cross is taking a minute to come back online – there are a lot of big companies there that haven’t had people come back to work fully yet, I think offices are 25 to 50% full, so it’s creeping back.”

The Communion co-founder continues: “I’m now of the mindset that we’re not going to hit a point with this pandemic where a light switch suddenly turns back on and everything’s fine again. It’s just going to muddle its way back to that point, which I think will reflect in the spaces that people are occupying as well.

“It’s not like, suddenly, everyone wakes up one day and says, ‘Right, I’m going to a gig again.’ I’ve been to some great gigs in the last couple of months, but I know other people who are like, ‘I’m just not quite there yet, mentally, I spent so many months being afraid to touch a door handle, that the idea of standing in a sweaty box with a bunch of strangers is a big call.’ They’re like, ‘I know I’ll get there,’ but it’s a little bit of a gradual re-entry.”

Omeara celebrated its fifth birthday last week with a night headlined by Gang of Youths. Lovett’s first venue, it has staged intimate gigs by artists including Kylie Minogue, Skepta, Beck and Biffy Clyro, along with a three-night stand by Sam Fender in November 2018.

“It obviously holds a very special place in my heart,” says Lovett. “Without that venue and the positive reaction towards it, and the conversations I’ve had with artists in the dressing room over the years – with Beck and Maggie Rogers, and certain artists I have vivid memories of talking to after their shows – I don’t think I would have been inspired to do the rest of it. It’s really that first child syndrome, and five years is both young and old.

“I really want to figure out how Omeara becomes a place like the Cavern or 100 Club, that people talk about decades later as being the place where such and such a band launched. We got Sam Fender’s first show in London. I think he’ll be around for a long time as an artist and it’d be pretty cool if, in 30 years’ time, Omeara is still standing and people are going into that room saying, ‘Wow, I can’t believe that Sam Fender once played here. Look how small it is, and now he’s doing stadiums.’

“Five years is an important mark on our way there, but there’s a lot more work to be done. I want us to continue to establish [Omeara] as a cornerstone of grassroots culture in London.”

This is a service industry to support people’s dreams and there’s something very beautiful about it

Lovett, whose London Venue Group received a £2.35m grant via the UK government’s Culture Recovery Fund to maintain the buildings during their Covid-imposed closure and explore streaming options in the future, was full of praise for the resilience displayed by the domestic venue sector.

“There’s a lot of creative adaptability in the DNA of the people that choose to get into this industry,” he says. “It’s a tough, resilient bunch that come up with ways in which they can make ends meet, even if it’s to tie over for as long a period as it’s been. But it’s always a little bit cyclical, we’re used to it, there are seasons of ebbs and flows.

“There was a fair amount of support given at the right times. Not comprehensive, but it definitely helped. I wouldn’t say that we’re fully back in terms of all the people that were there before, being there now, but the music industry in the UK is functional and it will build back stronger.

“In and amongst the pressure of it all, there’s been important conversations and collaboration; people opening up and breaking down some of those barriers that build up sometimes between theoretical competitors, and more of a sense of togetherness. And that’s more like the kind of culture and the personality of the whole industry in my mind. This is not like the stockmarket, this is a service industry to support people’s dreams and there’s something very beautiful about it. I think sometimes it just takes something shocking happening to remind people of that.”

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Mumford & Sons’ live strategy formed the core of the Futures Forum keynote interview on Friday (6 March), featuring founding band member Ben Lovett, manager Adam Tudhope and agent Lucy Dickins, in conversation with journalist Paul Stokes.

“We are most passionate about the live side,” said Lovett, in a statement that proved almost superfluous over the course of the interview, given the palpable sense of enthusiasm he emitted while talking about Mumford & Sons’ past tours, their Gentlemen of the Road events and his own venues, Omeara and Lafayette.

Since the very earliest stages of Mumford & Sons – and even before they were known as such – the band members approached performing with a “sleeves rolled-up mentality”, unafraid of getting involved with staging and other aspects of putting on shows.

This resulted in a collaborative approach to touring, which remains to this very day. “I love the fact that it is always a conversation between us and the promoters,” said Lovett. “We respect promoters as a band – it’s in our DNA.”

The band officially formed in 2007, consisting of Marcus Mumford, Winston Marshall, Ted Dwane and Lovett, with Dickins and Tudhope coming on board as firm members of the team from the get go.

“We just toured non-stop,” said Dickins, who joined WME in May last year. “I’ve never seen a work ethic like it and that continues today.”

Lovett agreed that “the main reason Mumford & Sons exist is to tour”. The band’s most recent concert tour, Delta, saw them perform more than 60 dates at arenas across Europe, North America, Asia and Australia.

“I’ve never seen a work ethic like it and that continues today”

The mammoth tour sold 700,000 tickets in just a few days of going on sale, broke multiple attendance records and featured the band playing in the round for the first time. “It was very challenging but incredibly effective staging,” said Lovett, explaining there was a “sense of duty” to allow fans to experience their songs in a different way for their fourth headlining tour.

“We took some risks on Delta,” he said, “and on balance it really paid off. It really felt like there were connection happening between audience members throughout that tour.”

Forming meaningful connections in interesting places is at the heart of much of what the band do. The team revealed that upcoming plans to “go deeper into eastern Europe”, explore new “seemingly random places” and work with new promoters, were “scuppered” by the recent coronavirus outbreak.

“We really do have a really awesome idea up our sleeves,” said Tudhope, with the team hinting that plans would not be put on hold forever.

The band’s Gentlemen of the Road event series has seen them perform in many different places, travelling to small towns in the UK, Australia, the US, South Africa, and more.

“The culture clash is so beautiful”, said Tudhope, speaking of seeing tiny, off-the-beaten track towns inundated with festivalgoers, and local businesses benefitting from the event. “There’s a real community aspect.”

Dickins referenced the practical challenges of finding a suitable site for these unique events and curating the line-up. “It’s double, if not triple the amount of work but it’s worth every bit,” she said. “Enthusiasm drives it.”

“It was very challenging but incredibly effective staging”

From a business point of view, Tudhope said the events were a great way of gaining a true understanding of how promoters work, which has “really informed a lot of our own business decisions.”

“Promoters aren’t a bank for us,” added the Mumford & Sons manager. “They’re the enablers of a dream and you need a good relationship for that.”

If the experience of putting on their own events has enabled the band and team to develop a deeper understanding of how promoters work, then Lovett’s experience as a touring musician has informed him in his capacity as a venue owner.

Lovett, who owns and operates London venues Omeara and the recently opened Lafayette, stated that both fans and artists want something “unique” from venues, asking why the industry is pushing a more standardised “cookie cutter” model.

“Everybody wants to play Omeara because it’s so thought out from the artist’s side,” said Dickins. Artists that have performed at the 320-capacity venue include the Pretenders, Kodaline, the Maccabees, Beck and Circa Waves, with upcoming performances from Jake Bugg, Amy Wadge and Jesse Malin.

Lafayette (600-cap.) opened its doors last week with a performance by Brit Award-winner Dave and already has a full programme of upcoming events by the likes of Jack Peñate, D Double E and Hudson Taylor.

“The support I’ve received for Lafayette has meant the world,” said Lovett, adding that he has the lease on the venue for 25 years – equating to around 5,000 shows. “Just think of all the acts that are going to go through there.”

“For me, the sign of a successful band is longevity”

Lovett’s venue ventures have much to do with sustaining the live industry and providing artists with a place to perform. Lovett referenced the number of venue closures that have been seen in recent years, emphasising the damage that the secondary ticketing market is enacting on the grassroots level of the industry in particular.

Tudhope spoke of how the US leg of Mumfords’ Delta tour ended up generating “many millions” for the secondary market. “We didn’t want our fans to have to pay that money,” he said, explaining that it was the tickets sold at the affordable price band that were most heavily targeted by touts.

This experience “galvanised us really strongly to do something about it”, said Tudhope. Together with other managers and artists, the Mumford team has now created “a really good coalition” around anti-touting group FanFair Alliance.

Environmental sustainability is another area that the team is looking to improve upon. The band partnered with green touring specialist Reverb on its Delta tour to calculate – and later offset – carbon emissions, and create an eco-friendly touring template for future use.

“The key thing you have to commit to is spending money,” said Tudhope. “It costs money to be greener, that’s the reality.”

With sustainability remaining essential to Mumford & Sons’ ethos, it appears this will be a cost the band is willing to take.

“For me, the sign of a successful band is longevity, rather than number ones or show size, or anything else,” said Lovett. “All I want to know is: how can we do this for longer?”

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The 32nd International Live Music Conference (ILMC) is kicking off tomorrow (3 March) in London, welcoming top music industry professionals for a wide range of panel discussions, keynote interviews and networking events.

The 2020 edition of ILMC features the conference’s most wide-reaching agenda yet, with sessions looking at the agency, ticketing, venue and festival sectors, as well as exploring green touring, mental health, the Insta-generation and life after losing a star act.

This year also sees the return of Futures Forum on 6 March, a forward-looking discussion and networking event created by young professionals for the next generation of live music industry leaders.

Highlights of the ILMC agenda include the ILMC Breakfast Meeting, which sees Dire Straits manager Ed Bicknell site down to interview fellow legendary artist manager Peter Rudge, and the Futures Forum keynote, featuring Team Mumford & Sons – founding band member and venue owner Ben Lovett, manager Adam Tudhope and booking agent Lucy Dickins.

The 2020 edition of ILMC features the conference’s most wide-reaching agenda yet

Elsewhere, ILMC’s main opening session The Open Forum: Universally challenged will consider the impact of Covid-19 coronavirus on the business, as well as other key topics; agents line up to discuss recent strategies for both emerging and established artists in The Agency Business 2020; urban music’s meteoric rise is examined in the Urban Legends: Hip hop on top panel; and the industry’s duty of care towards its workforce forms the centre of conversation in the Mental Health: Next steps for live session.

A packed ILMC workshop schedule will look at the impact 5G is likely to have on live music, the benefits video-sharing platform TikTok brings to the business, how to maximise the potential of digital marketing and the advantages of digital ticketing.

The first day of the conference shines the spotlight on live music production at the ILMC Production Meeting (IPM) and sustainability at the Green Events and Innovations Conference (GEI).

Outside of the conference programming, the best and brightest of the industry will be crowned at the ILMC Arthur Awards Winners’ Dinner on Thursday night and delegates will go head to head in a series of activities including the It’s a Copout game show night, as well as staples of the ILMC night-time programme table football and karaoke.

ILMC takes place at the Royal Garden Hotel in London from 3 to 6 March. Companies supporting this year’s conference include Live Nation, Ticketmaster, Eventim, Universe, Livestyled, Tysers, Joy Station, Mojo Rental and Showsec.

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Legendary artist manager Peter Rudge and Team Mumford & Sons and  have been announced as the keynote speakers at this year’s International Live Music Conference (ILMC) in March.

The ILMC Breakfast Meeting (Wednesday 4 March) this year features two titans of the artist management game, as Dire Straits manager Ed Bicknell sits down to interview Peter Rudge, whose roster has included the Who, the Rolling Stones, Roger Waters, Duran Duran, Madness, Ray Davies, Anastacia, James, Imelda May and Ball & Boe.

The Futures Forum keynote, taking place on the final, youth-focused day of the conference on 6 March, will see Team Mumford & Sons interviewed by Radio X DJ John Kennedy. Founding band member and venue owner Ben Lovett will be joined by manager Adam Tudhope (Everybody’s) and booking agent Lucy Dickins (WME) to reflect on Mumfords’ journey from banjo-plucking west London folkies to global superstars.

The ILMC Breakfast Meeting features two titans of the artist management game

Elsewhere across the ILMC conference schedule, guest speakers include CAA co-head Emma Banks, UTA’s head of global music David Zedeck, Live Nation’s executive president of international touring Phil Bowdery and SVP Marketing Jackie Wilgar, Book My Show CEO Ashish Hemrajani, AEG President and CEO Alex Hill, Oak View Group co-chair Jessica Koravos and O2’s head of sponsorship Gareth Griffiths.

Last year’s Breakfast Meeting saw the Who’s Roger Daltrey take to the stage to discuss the band’s beginnings, crooked managers and his oft-strained relationship with Pete Townshend, whereas the inaugural Futures Forum keynote featured double grammy winner Dua Lipa talking about the challenges faced by women in the industry, alongside her father, Dugi.

ILMC takes place at the Royal Garden Hotel and The Baglioni Hotel in Kensington from 3 to 6 March. The invitation-only event sells out annually, with 1,200 delegates from over 60 markets attending the main conference, and a total of around 2,000 professionals expected at ILMC events across the week.

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Mumford and Sons member Ben Lovett has announced plans for his second live music venue, Lafayette, launching in London early next year.

Lovett opened grassroots venue Omeara (320-cap.) in late 2016. His new venture, located in Kings Cross, will be set within the new Good Ways development.

The new venue will be booked by Communion, the team that organise all live shows and club nights at Omeara.

“A few years ago I embarked on a journey into the unknown with family and friends and launched Omeara at Flat Iron Square,” comments Lovett. “We weren’t entirely clear how to achieve what we ultimately wanted, but we definitely knew what it needed to be and why we were doing it.

“I have had some of my favourite and most memorable experiences in Omeara since it opened back in late 2016, and I truly believe that the experience it has provided both fans and artists is something so important to London’s venue landscape.

“I’m forever committed to pushing forward a new era of music venues that truly elevate people’s expectations of what that experience should be”

“It is with great pride that I can now share our plans to open Lafayette @ Goods Way which will be in the heart of King’s Cross, adjacent to Central St. Martins and Coal Drops Yard. I’m forever committed to pushing forward a new era of music venues that truly elevate people’s expectations of what that experience should be, and I believe London ought to continually strive to be at the forefront of the entertainment industry on a global stage, as the best city in the world.

It’s still early days in the venue’s construction but, this time, not only do we know exactly what it will be and why we’re doing it, but we’re now extremely confident that we know how to deliver it too!”

Lovett aims to provide a wide array of programming for the new venues, from “regular, eclectic club nights” to “bespoke one-off events”.

Further details, including Lafayette’s capacity and information on upcoming shows, will be shared over the coming weeks.

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Over the 2019 festival season, German promoter FKP Scorpio reduced plastic waste across its festivals, as part of ongoing sustainability plans.

On average, fans attending twin festivals Hurricane and Southside produce six to eight kilograms of waste over four festival days.

Attendees of Hurricane 2019 generated 4.5 kilograms of waste per person, the lowest amount on record. Around one third of this waste can currently be recycled, with plans to increase this amount over the coming years.

The waste reduction is the result of the “Green Rocks” programme, launched in 2013 to improve cleanliness and sustainability at Hurricane and Southside, and to ensure FKP Scorpio communicates effectively around issues of sustainability.

New regulations include a ban on single-use plastics for vendors, sponsors and caterers, as well as a multi-platform online campaign encouraging festivalgoers to renounce plastic products and bring reusable alternatives.

Attendees of Hurricane 2019 generated 4.5 kilograms of waste per person, the lowest amount on record

Backstage, plastic bottle usage was reduced by 70%, following the introduction of reusable alternatives and water stations.

To make clean-up operations more efficient, maintenance teams mounted a two-metre wide magnet on the front of tractors to clear the ground of all magnetic waste such as cans, tent pegs and hairpins.

The introduction of recycling collection sacks, which could be handed in at stations around the festival site, allowed for more efficient and effective sorting of waste.

Performers at the 2019 festivals included Foo Fighters, Mumford and Sons, the Cure and Tame Impala.

Hurricane and Southside return on 19 to 21 June 2020. The twin festivals recorded their best-ever presale for their 2020 events, selling 40,000 tickets in two days.

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WME has confirmed to IQ that award winning music agent Lucy Dickins is joining the company in June. Currently a senior agent at ITB, she will become head of WME’s UK music division – a newly created role.

“Lucy is a star player, and the perfect addition to our team,” says WME’s head of music, Marc Geiger. “There’s no one else who possesses Lucy’s combination of pedigree, taste and respect in our industry. After being in business with her family for so many years, we feel fortunate that she decided to join WME, and we look forward to bringing her perspective to our clients and colleagues.”

Adding Dickins to the payroll is a significant coup for WME’s music team in the UK, where the company has been operating since 2007. One of the music industry’s most respected and successful agents, her existing client roster includes Adele, Mumford & Sons, Laura Marling, James Blake and Mabel, whom WME will now represent globally. Dickins also works with Hot Chip, Bryan Ferry, Rex Orange County, Jamie T, Jack Peñate, among others, all of whom are expected to join her at WME.  Also following her to WME’s central London offices will be ITB agents James Simmons and Chris Payne.

Underlining her popularity in the global industry, in March this year, Dickins’ peers voted her the Second Least Offensive Agent at ILMC’s Arthur Awards.

“There’s no one else who possesses Lucy’s combination of pedigree, taste and respect in our industry”

She states, “Growing up in this business, I’ve been lucky to learn from the best, but now is the time for me to take the next step in my career. The opportunity to join WME was hugely exciting, and I’m confident that this relationship can grow into something special.”

The job switch will bring her career of more than 20 years at ITB to an end. After a work experience stint at the agency as a teenager, Dickins began her career working for a small independent record label before re-joining ITB as an assistant in 1998. During the past two decades, she has built a reputation for developing artists and emerging talent from grass roots, and she is renowned for the close rapport she forms with her artists.

Lucy is part of a music business dynasty that stretches back to her musician grandfather, Percy, who, in the 1950s, co-founded the NME and introduced the Top 20 recorded music charts into popular UK culture. Her father, Barry, formed ITB in 1978 with a client list made up of some of the biggest artists of all time, including Bob Dylan and Neil Young. Her brother, Jonathan, currently manages a hugely successful roster including Adele, while her uncle, Rob, is a former head of Warner Brothers.

She was recently revealed as one of the first speakers at Eurosonic Noorderslag 2020, where she will be interviewed, alongside her father and brother, by ILMC’s Greg Parmley.

Her hire culminates a period of growth for WME’s UK office. This year the agency booked more shows at the O2 Arena than any of its rivals, in addition to leading European festival bookings.

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British folk-pop act Mumfords & Sons broke the attendance record with their show at Detroit’s Little Caesars Arena last Wednesday, promoter 313 Presents has revealed.

The show – part of the band’s fourth concert tour, the big-production, in-the-round Delta tour – played to 17,794 people on 27 March, a spokesperson for the 20,000-capacity arena tells WXYZ Detroit.

Detroit-based 313 Presents, which co-promoted the show with Live Nation, thanked the band for a “fantastic night and a broken record to date […] #1 paid attendance to date at Little Caesars Arena.”

https://www.facebook.com/313Presents/photos/a.1236072933160925/1769879673113579/

After a troubled start in the UK plagued by “logistical” issues, the Delta tour headed to the US in December – with highlights including two nights at Madison Square Garden on 10 and 11 December – then to Australasia, before returning to North America in late February. The band will play a string of European arena and festival dates this summer.

Little Caesars Arena, located in the Midtown area of Detroit, Michigan, opened in 2017. It is operated by Olympia Entertainment (parent company of 313 Presents), which also owns several sports teams in Michigan.

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