IblinkfanA

According to billboard, the NA tour earned the boys over $85 million. https://www.billboard.com/pro/blink-182-reunion-tour-earned-85-million-north-america/ Blink-182 is back together and bigger than ever. The band’s iconic lineup of Travis Barker, Tom DeLonge and Mark Hoppus reunited for their first shows in nine years, yielding the biggest results of their three-decade career. According to figures reported to Billboard Boxscore, the North American leg of the group’s World Tour 2023/2024 grossed $85.3 million and sold 564,000 tickets. This isn’t Blink’s first reunion tour. The trio went on hiatus in 2005, returning in 2009 with the similarly simply titled blink-182 in Concert tour. At the time, that tour became the band’s biggest on every measurable metric. It was the highest-grossing ($22.5 million) and best-selling (660,000 tickets) tour of its career and set new highs on a per-show level, with $522,000 and 15,345 tickets on average. Why Acts Like Weezer and Blink-182 Are Becoming Touring’s New Titans Fourteen years later, Blink is pacing $2.4 million each night, multiplying its one-time-peak comeback numbers by four and a half. These North American shows also set a new high for Blink in terms of attendance, but just barely. The tour averaged 15,664 per show, up 2% from the 2009-10 mark. The band found space to maximize its earnings by playing with pricing. Between 2009 and now, Blink’s ticket prices have exploded, from $34.03 to $151.33. That quadrupled-and-then-some price is due to several factors. For one, touring simply costs more in 2023 than it did in 2009. The price of concert tickets has also exploded due to resale, dynamic pricing and increasingly creative platinum and VIP models. Aside from environmental causes, Blink is in a unique position. The band’s 2009 comeback was highly anticipated, but it was still catering to a relatively young audience who had limits to their disposable income. And while that four-year break created heightened demand, 2009 was past the peak of the mid-’00s emo/pop-punk boom that Blink helped inspire. As bands like Fall Out Boy, Paramore and My Chemical Romance geared up for their own extended hiatuses, the new era of Blink’s career flirted with passé, even as the initial comeback was an unqualified success. Elton John’s Farewell Tour Comes to an End With $939 Million and 6 Million Tickets Blink’s touring in the 2010s was frequent but littered with asterisks. The 10th Annual Honda Civic Tour paired the band with pop-punk successors My Chemical Romance. Blink’s 20th Anniversary Tour stretched from 2012 to 2014 but stuck to small clubs and theaters in North America. Shows continued in 2016 and 2017, but without DeLonge, the band’s defining guitarist. In 2019, there was another co-headline tour, this time with Lil Wayne. Ticket prices pushed closer to $60 on that run, but attendance dipped below the 15,000-plus high, closer to 10,000 tickets per show on average. That makes Blink’s recent North American leg the first proper-proper tour for the main lineup since that original 2009 reunion. Not only is its target demo older (and hopefully wiser and richer), but the band is returning in a more welcoming environment. The group’s 2022 single, “Edging,” was its biggest hit on the Billboard Hot 100 since 2004’s “I Miss You.” Further, on the Alternative Airplay chart, the track spent 13 weeks at No. 1, becoming Blink’s longest-running chart-topper ever on the tally, surpassing the eight-week reign of 1999’s “All The Small Things.” On the live front, My Chemical Romance and Paramore have staged the biggest tours of their own careers by far — 10-plus years removed from their self-imposed breaks around Blink’s first return shows. With its biggest radio success ever on the Alternative Airplay chart, the strength of the current pop-punk nostalgia boom and the added infrastructure of the industry’s bulked-up pricing, Blink was perfectly situated to double, triple and quadruple its previous bests on the road. After 36 shows in the United States and Canada, Blink-182’s World Tour is halfway done. The band will play 24 dates in Europe this fall before heading to Australia for 17 dates, plus a sea of shows in Latin America (a mix of festival engagements and five headline shows). Those concerts mark the band’s first hard-ticket headlines in Oceania since 2004, and its first major Latin American run ever. While there is no direct precedent for Blink’s international success, its North American total suggests a big nine months ahead. With another 36 shows before wrapping in April, earnings will quickly hit nine figures, ultimately heading toward $150 million.

Mark said in discord he was going to do the Burger King “whopper whopper” jingle but opted for no scrubs last minute. I hope he does BK at some point. Would be hilarious.

Mark introduced ATST by saying “not to brag but you might recognize this next song from the Alvin & The Chipmunks movie,” and Tom replied “Pornhub”

How much influence do we think auto tune played in how good they sounded? Obviously the First Date thing has been discussed but I just rewatched part of the show and during Reckless Abandon when Tom starts singing “break a window and bust a wall,” there is a very noticeable change. I am very uninformed when it comes to auto tune and such but from what I’ve seen prior, such as with T-Pain, it’s very obvious. Had it come that far to make it this subtle? Or have they significantly improved their singing? edit: timestamp is 26:12 in the link https://archive.org/details/blink182coachella04142023

“Edging” is the soundtrack to ESPN’s Monday Night Football commercial tonight. I’ve heard it twice in the last ~20 minutes.

I wonder if Ticketmaster is reaping all the benefits of this pricing system? Or if the artist gets a percentage as well. I can’t see many artists sitting by as TM does this to their fans. At th

I debated just trying for Stubhub later on but as everyone else has said, Ticketmaster made it appear as though it was selling out. It’s not ideal.. but I don’t go to many shows so this will be my splurge in that area for the year.

I was checked into the queue for the Chicago show on a laptop and the Twin Cities show on my phone. I checked in between 9:45 & 9:50. For both, I was “2,000+” in line. The Twin Cities queue took about 1/3 of the time the Chicago one did. I wanted seated floor tickets in the center section. When I got in to the Chicago show, they were $1,900/each. However, the same section in St. Paul was $300/each. I ended up snagging center section seats in St. Paul and nosebleeds in Chicago for $175/each. Insane.

Fascinating. seeing how active you are on here, I’d be willing to bet you don’t even care about your own so that’s not surprising.

I can take a joke. however, when some 34 year old on a message board constantly makes snide comments, I’ll clap back. and then you try and flip it back on the other person “oh I was just joking” grow up

I’m not saying this as in I’ve checked who in the band is following who. I’m saying this MORE as “this is how Instagram works.” A bit ironic that you tell someone to put their phone down and go for a walk when said someone posts on this board once every…4 months? And you’re here multiple times daily. KYS.

I know no one here cares, but this isn’t true. There’s some weird thing with Insta where you can look Travis’ “followers,” for example, and Mark won’t show up. However, when you go to Mark’s “following,” Travis IS there.

I don’t want to be “that guy,” but I’m kind of curious… Why drop the news now, after 3 months? This, along with the way in which he worded part of his statement kind of has me worried. Hopefully I’m just looking too far into it.

They have some interesting people available to do it. Of course, the more popular they are, the more they cost, but..

Looks like Tom’s manager is booking a bunch of Cameo videos to drum up attention. You can buy a Cameo from Chris Hansen (To Catch a Predator) For $50 and he’ll do a similar video. Have Tom or Angels post it on their social media and it’ll drum up more than enough attention to make it work it. Smart marketing move IMO.