The Mayhem Ball

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The Mayhem Ball
Tour by Lady Gaga
The Mayhem Ball - Lady Gaga (2).png
Promotional poster
Location
  • Asia
  • Europe
  • North America
  • Oceania
Associated album Mayhem
Start dateJuly 16, 2025 (2025-07-16)
End dateApril 13, 2026 (2026-04-13)
No. of shows87
Producer Live Nation
Attendance594,979 [a]
Box office$141.5 million [a]
Website ladygaga.com/live
Lady Gaga concert chronology

The Mayhem Ball is the ongoing eighth concert tour by the American singer Lady Gaga, in support of her album Mayhem (2025). The tour was announced following the strong response to the album, having initially planned only a brief run of outdoor promotional concerts. [1] Spanning 87 shows across Asia, Europe, North America, and Oceania, the tour began on July 16, 2025, at the T-Mobile Arena in Paradise, United States, and is scheduled to conclude on April 13, 2026, at Madison Square Garden in New York City.

Contents

Conceived as a theatrical production divided into acts, the tour was produced by Gaga and Michael Polansky, and directed by Gaga and Ben Dalgleish of Human Person, with choreography by Parris Goebel. [2] Designed for arenas to allow greater creative control, the show combines large-scale staging, narrative elements, and couture-inspired fashion, with its main set piece being a Colosseum-like opera house. [3] Its storyline explores themes of duality, death, and rebirth, expanding upon the operatic and psychological motifs of the album. [4] [5] The setlist consists primarily of songs from Mayhem, along with tracks from most of her previous albums.

The Mayhem Ball received widespread critical acclaim for its theatricality, Gaga's vocal performance, and the production design, costumes, and choreography. [b] Critics also described it as a celebration of her career, with reviews across multiple countries being overwhelmingly positive. [c] The first North American leg grossed over $103 million from 27 reported shows, marking her highest-grossing run in any territory, with Billboard projecting total earnings to exceed $300 million. [6]

Background and development

Gaga's last headlining concert tour, the Chromatica Ball (2022), consisted of a brief itinerary of 20 shows at outdoor stadiums throughout North America, Europe, and Japan. [7] As the tour began, Gaga revealed that she was able to perform without much of the chronic pain caused by her long-term fibromyalgia for the first time "in ages". Health improvements and the tour's commercial success and positive critical reception reignited her confidence in her performance and her ability to tour. [8] The tour was chronicled via Gaga Chromatica Ball , a critically acclaimed concert film released on May 25, 2024, in collaboration with HBO and its streaming service, HBO Max. [9]

Alongside editing Gaga Chromatica Ball and completing her duties associated with her role in Joker: Folie à Deux (2024) and its accompanying soundtrack, Gaga spent most of 2023 and 2024 recording what she referred to as "some of the best songs [she] can remember." [10] These sessions culminated in two studio albums, 2024's Harlequin and 2025's Mayhem , the latter of which reached the top of music charts in over 20 countries around the world and was described as a "chaotic blur of genres" focused in Gaga's pop roots. [11] The album was initially supported by the release of three singles, "Die with a Smile", "Disease", "Abracadabra", and a run of promotional concerts that included stops at the 2025 Coachella festival and a free performance to an estimated 2.5 million spectators at Copacabana Beach in Rio de Janeiro, Brazil, which became the largest show of Gaga's career and the most-attended concert by a female artist in history. [12] [13]

Announcements

On March 26, 2025, Gaga announced the Mayhem Ball concert tour through her social media accounts, unveiling an initial run of thirty-two dates in North American and European cities. [1] [14] [15] Due to an overwhelming commercial response, additional concerts in both continents were announced throughout the next week, which included extra dates in New York City, Paradise, Nevada, London and Paris, among others. [16] Following these announcements, Hits and Rolling Stone identified the previously revealed outdoor promotional concerts as part of the tour, [1] [17] though Live Nation, the official promoter, and Billboard list them separately under distinct titles, indicating they are not part of the Mayhem Ball. [6] [18]

To promote the tour, Gaga launched a tarot-themed minigame that invited fans to discover their "lyrical prophecy" through cards inspired by The Art of Personal Chaos and connected to the tour's imagery and merchandise. [19] On April 8, 2025, Gaga announced three dates scheduled for December at outdoor stadiums in Australia, marking her first shows in the country in 11 years. [20] Due to initial demand, second shows in both Melbourne and Sydney, respectively, were added to the tour's itinerary. [21] [22] On April 22, 2025, succeeding Gaga's performances at Coachella, three shows in San Francisco and four shows in Inglewood were announced. [23]

On June 9, 2025, Gaga announced five shows in Japan, scheduled at the Tokyo Dome and Osaka Dome for the following January. This announcement officially extended the tour to 2026. [24] One month later, an additional show in Tokyo was announced due to overwhelming demand. [25] In September 2025, Gaga announced additional dates throughout North America scheduled for 2026, including stops in new cities such as Washington, D.C., Boston, and Saint Paul, Minnesota. [26] [27] [28]

Production

Conception and stage setup

Mayhem Ball Manchester 06.jpg
Mayhem Ball Manchester 99.jpg
Lady Gaga - Born This Way at The Mayhem Ball in London.jpg
Lady Gaga - Bad Romance at The Mayhem Ball in London.jpg
Stage lighting and set design expanding on the theatrical world and aesthetics of Mayhem [d]

The tour was conceived as a theatrical production divided into acts, produced by Lady Gaga and Michael Polansky, and directed by Gaga and Ben Dalgleish of Human Person. [2] [33] Creative direction was handled by Gaga, Polansky, Human Person, and Parris Goebel, who also served as choreographer. [2] [34] The production and stage design were created by Jason Ardizzone-West and Es Devlin. [35] [36] During the production phase, Gaga emphasized the importance of creative control and the show's theatrical scope, stating:

We chose arenas this time to give me the opportunity to control the details of the show in a way you simply can’t in stadiums — and honestly, I can’t wait. This show is designed to be the kind of theatrical and electrifying experience that brings Mayhem to life exactly how I envision it. [1]

The main set piece is a Colosseum-like opera house with balconies and boxes, [3] where Gaga, the band, and twenty-two dancers perform, [37] [38] featuring a pendulum-shaped catwalk that extends into the crowd and changes appearance throughout the show, with effects such as simulated blood flow or a multicolored parquet floor depending on the number. [39] The show expanded on the operatic and psychological themes first introduced earlier that year, [3] incorporating new choreography, custom-made costumes, and large-scale staging that emphasized transformation and chaos within the Mayhem universe. [19] [29] [40]

In an interview with Variety , Goebel said the opening sequence was conceived as "a theatrical opera that would immediately establish the show's grand scale." [41] She further explained envisioning colossal gowns that eventually evolved into a cage-like dress with dancers inside, creating a "really innovative and mic drop" moment, while also reimagining "Paparazzi" as "a slow, emotional rendition", with Gaga emerging from a sandbox representing a grave and using a flowing cape to symbolize "her soaring and finding her wings again." [41] On the "Poker Face" performance, Goebel said:

I kept thinking, what are visuals that people can resonate with and relate to? With the chessboard idea, we ran through that being on different types of songs, and then I was like, wait for "Poker Face," it's brilliant. It made sense, so we started to develop the story of this push and pull with her and a different version of herself. Everyone knows how to play chess, and putting that in her emotional storyline was really cool and powerful. [41]

Costume design

The costumes for the Mayhem Ball extended on the aesthetic first introduced during The Art of Personal Chaos, continuing Gaga's exploration of duality between darkness and purity. [4] [42] She worked with stylists Natali Germanotta, Hunter Clem and Hardstyle's Peri Rosenzweig and Nick Royal to curate gothic and operatic looks across four acts, combining religious iconography, sculptural silhouettes, and metallic constructions. [2] [35] [42]

Gaga atop the multi-tiered red gown designed by Jet Sets Lady Gaga - The Mayhem Ball in London.jpg
Gaga atop the multi-tiered red gown designed by Jet Sets

Custom designs were created by Sam Lewis, Athena Lawton, Manuel Albarran, Dilara Findikoglu, Francesco Risso for Marni, and Matières Fécales, with additional pieces by Seth Pratt, Gyouree Kim, Louis Verdad, and accessories from Chrome Hearts and Yaz XL. [e] Footwear include custom rhinestone work by Disco Daddy Studio, Stuart Weitzman items and Steve Madden boots with handmade modifications by designer Lacey Dalimonte. [48]

Several looks drew direct inspiration from historical haute couture and pop-cultural icons. [4] [35] [38] The opening crimson gown, designed by Samuel Lewis, Athena Lawton and William Ramseur, was structured as a multi-story steel cage engineered by Jet Sets, [43] incorporating Elizabethan corsetry and metallic studs in an homage to Thierry Mugler's 1985 Lady Macbeth design, and symbolizing the tension between control and chaos. [4] [35] Another key motif referenced the red lace gown from Alexander McQueen's Fall/Winter 1998 Joan collection—worn by Gaga at the 2009 MTV Video Music Awards—reframing her early fame within themes of sacrifice and rebirth, [43] [49] and subtly recalling the visual language of her early videos such as "Bad Romance". [49] [50]

The wardrobe also revisited her 2009 "Paparazzi" music video imagery, featuring armor-like bodysuits, metallic crutches, and a billowing cape that nodded to the visual motifs of the original video. [51] [52] Elements of McQueen's Spring/Summer 2005 It's Only a Game and Fall/Winter 2003 Scanners collections also informed later acts, blending chess-like visuals and surreal tailoring with psychological symbolism. [4] Additional designs evoked Michael Jackson 's Dangerous tour (1992) uniforms through military tailoring by Louis Verdad, while a hooded cloak inspired by The Phantom of the Opera (1986) closed the show. [4] [39] [53]

Throughout the tour she alternated between black leather bodysuits, spiked armor, and white gowns with illuminated trains and elongated prosthetic gloves, [43] [54] occasionally incorporating archival pieces like her original Born This Way jacket by Thomas Knight. [55] Fashion publications such as Vogue , Cosmopolitan , W , Vanity Fair , and Variety highlighted the wardrobe's theatrical scale and "gothic glamour", noting its blend of haute couture and performance art, its recurring references to designers like McQueen and Mugler, [4] [43] [56] and how each look "pushed the boundary between fashion and performance further." [19]

Concert synopsis

A typical show of the Mayhem Ball lasts around two and a half hours and featured about 30 songs, [57] [58] [59] with both the piano performance and the encore "surprise song" varying between dates. [f] The show revamps the storyline and thematic elements used for The Art of Personal Chaos, [19] portraying an internal battle between light and darkness through an angelic persona and its darker, gothic counterpart. [5] [64] Before the concert begins, a prelude segment titled "Voices of Mayhem" features opera arias playing over fan-submitted messages displayed on screen, [33] [19] [65] followed by footage of Gaga dressed in Elizabethan-style attire writing a letter with a feathered pen. [38] [39]

Lady Gaga live in Barcelona 28th Oct (54902831290).jpg
Lady Gaga live in Barcelona 29th Oct (54901655407).jpg
Gaga performing "Scheiße" (left) and "Garden of Eden" (right) during the first act, wearing a black veil and cabaret bodysuit [66]

The concert opens with a visual interlude showing two versions of Gaga —a brunette in a crimson gown, her dark counterpart known as the Mistress of Mayhem, and a blonde in white— reciting the "Manifesto of Mayhem". [39] [67] [68] Act I: Of Velvet and Vice begins with a brief orchestral rendition of "Bloody Mary", performed by Gaga as she emerges atop a 25-foot Tudor red gown. [69] She then declares, "the category is dance or die" before transitioning into "Abracadabra", [70] with the dancers encased in a steel frame cage beneath her skirt. [39] [68] As the song progresses, she descends to join the dancers before a medley of "Judas" and a remix of "Aura" follows, after she removes the top layer of the outfit to reveal a red dress. [5] [39] [71] She then performs "Scheiße" in a black veil and cabaret bodysuit, and "Garden of Eden" on the electric guitar, [66] moving with her dancers toward the tip of the catwalk near the end of the song. [72] "Poker Face" follows, staged as a chess match with her doppelgänger dressed in contrasting black and white costumes, [65] [73] with dancers forming two opposing armies as the battle plays out through choreography. [4] After defeating her counterpart, Gaga shouts "Off with her head!" as the Gesaffelstein remix of "Abracadabra" begins, concluding the act. [39] [73] [74]

Gaga performing "Paparazzi" during the second act, evoking imagery from the music video of the track Lady Gaga performs Paparazzi at The Mayhem Ball.jpeg
Gaga performing "Paparazzi" during the second act, evoking imagery from the music video of the track

In Act II: And She Fell into a Gothic Dream, Gaga performs "Perfect Celebrity" inside a sand grave, surrounded by skeletal figures of her dancers and a deceased doppelgänger partially buried in the sand. [73] [67] "Disease" follows, during which the skeletons begin to move, revealing themselves as her dancers, [72] while her red alter-ego reappears to confront her before ending with Gaga's strangulation. [68] [75] She begins singing "Paparazzi" while emerging from the sand set and walking along the catwalk on crutches, [68] wearing a white lace outfit partly covered by metallic armor and a skullcap, [76] with a long white train that lights up in vivid colors towards the end of the song. [73] [75] After a short interlude, she performs "LoveGame", [66] followed by "Alejandro", [33] and closes the act with "The Beast", featuring an electric guitar sequence. [77] [78]

The third act, Act III: The Beautiful Nightmare That Knows Her Name, opens with Gaga in a black Elizabethan gown decorated with pink roses, emerging from a colossal skull to the rhythm of drum beats that lead into "Killah". [73] [76] She then performs "Zombieboy" on a retractable staircase while a visual effect projects audience members on the screens with glowing green eyes, resembling zombies, [31] [79] before returning in a voluminous white dress for "The Dead Dance". [58] [80] She walks the catwalk during "LoveDrug" before a shortened version of "Applause". [81] [5] The dress is gradually removed as "Just Dance" closes the act, [82] leading into the interlude "Wake Her Up!", a Cirkut remix of "Abracadabra". [83]

Gaga performing "Shallow" during the fourth act, with a visual segment resembling The Phantom of the Opera Lady Gaga performing Shallow in Barcelona (edited).jpg
Gaga performing "Shallow" during the fourth act, with a visual segment resembling The Phantom of the Opera

The show continues with Act IV: Every Chessboard Has Two Queens, where Gaga and her dancers wear black ensembles to perform "Shadow of a Man". [4] She continues with "Kill for Love" backed by the live band, and "Summerboy" on electric guitar. [84] "Born This Way" follows at the end of the catwalk. [4] Clad in a black hooded cloak, Gaga performs "Million Reasons" on one side of the stage as the Mistress of Mayhem reappears atop the red gown from the opening act on the other. [4] The scene marks a transitional moment in the show, as the light and dark versions of Gaga face each other before joining hands in the center of the stage, signifying their coexistence in harmony. [5] [66] For "Shallow", the pair board a glowing boat that glides along a river-like runway, with the Mistress embodying Charon—the mythological ferryman—guiding Gaga across the catwalk to the B-stage. [30] [68] [75] She then performs "Die with a Smile" on piano and, on select dates, adds a surprise song. [73] [85] To close the act, Gaga performs "Vanish into You" near the barricades, directly interacting with fans. [66] [86]

The concert concludes with Finale: Eternal Aria of the Monster Heart, featuring a recorded speech that symbolizes the union of Gaga and the Mistress of Mayhem, [5] [87] as Gaga declares, "We are monsters, and monsters never die". [73] [81] It is followed by "Bad Romance", where Gaga and her dancers wear white Elizabethan attire and red plague doctor outfits in a scene simulating a medical operation, [4] [39] as the credits roll on screen and the opera house set appears to burn. [88] The encore shows Gaga removing her costume and makeup while performing "How Bad Do U Want Me" offstage, [71] [85] with the camera following her return to the stage to bow with the dancers and thank the audience. [89] [90]

Critical reception

The Mayhem Ball received widespread critical acclaim for its theatricality and Gaga's performance, with particular praise directed at the production design, costumes, and choreography. [b] It was also described as a celebration of the artist's career and an enhanced version of the Mayhem promotional concerts. [g] Several critics called it "the show of the year," [h] and reviews were overwhelmingly positive across the countries visited by the tour, with most awarding it the highest possible ratings in their respective outlets. [c]

North America

Tomás Mier of Rolling Stone praised the July 16, 2025, show in Paradise, writing that "Gaga didn't just revisit [the Coachella show] — she expanded it, sharpened it, sprinkled in some nostalgia, and fully realized the gothic dream she had only just introduced", stating that it felt "more intimate". [5] Billboard 's Joe Lynch described the show as "a theatrical, electric and delicious live affair, offering fans charged performances of Mayhem's best songs (some of which are among her all-time best) and previous dance classics that inhabit the same sonic and thematic universe", adding that "despite the heat outside the stadium, the crowd was ready to give it their all once Mother Monster took the stage." [65] USA Today 's Melissa Ruggieri stated that the show could "rival any Broadway musical" and described it as a venue "where the pop-goth of 'Abracadabra', the disco-fied 'LoveGame' and the heart-shattering balladry of 'Shallow' all sound authentic. And where, as Gaga reminded toward the end of the show, everyone is welcome and respected." [99]

"Perfect Celebrity" was emphasized as an "elaborate set piece" performance by The New York Times' Lindsay Zoladz. Lady Gaga performing "Perfect Celebrity" (Mayhem Ball 9-10-25).png
"Perfect Celebrity" was emphasized as an "elaborate set piece" performance by The New York Times ' Lindsay Zoladz.

Variety 's Steven J. Horowitz deemed the show "a breathless, finely-tuned spectacular that once again reinforced that when it comes to Gaga, success is never an accident — just a welcome reminder of her many, many talents and, more importantly, how she's continued to refine them." [43] Lindsay Zoladz of The New York Times reviewed the August 22, 2025 concert at Madison Square Garden and wrote that Gaga "proved to be at the peak of her powers in a campy, excessive and emotional show that connected her past and present with theatricality, humor and precision," describing it as "a crowning moment in nearly two decades of her career." [57] Caryn Ganz, from the same outlet, described it as Gaga's most disciplined and precise production to date, and called its opening act "the most spectacular and arresting beginning to any pop spectacle." [70] Drew Gillis of The A.V. Club called the show "a fan's dream" and "the kind of over-the-top spectacle [Gaga] hasn't really created since 2013's Artpop ," praising its theatrical scale and the rare intimacy of seeing her in an arena setting. [3] Anthony D'Alessandro of Deadline reviewed the Los Angeles show, describing it as a celebration of everything that defines Gaga and "a much bigger monster" than the Monster Ball Tour. [39] Toronto Star 's Emilie Hanskamp reviewed the Toronto concert and observed that the Mayhem Ball "bridges theatre and pop in a singular way, placing Gaga at a unique intersection of art and pop maximalism," and praised her live vocals and emotional connection with fans throughout the show. [62]

Europe

Following the first show in London, The Independent 's Adam White referred to the tour as "the concert of the year". White opined that the show is put together "impeccably", and suggests that "Gaga isn't ready to give up her pop crown yet". He described the concert as "elaborate" and full of "bombast", highlighting the costume changes and sincerity of the show. [90] Alexis Petridis of The Guardian wrote that "there is always something astonishing to look at; the entire show seemed to have been conceived by people who thought the real problem with Gaga's performances to date was that they weren't exaggerated and outrageous enough." [31] In a review for the London Standard , India Block praised its theatricality and Gaga's performance, adding: "There are pop stars, musical performers, and then true auteurs. Lady Gaga is one of the latter. If we could give the concert six stars, we would." [68] NME described the performance as "impeccable camp theater from a true pop icon." [67] Robin Murray of Clash described it as "a hard show to summarize but even harder to truly unpack, a thrilling experience that stands out for its individuality, depth, and the visceral strength of its central figure." [32] Neil McCormick of The Daily Telegraph remarked that "at the heart of her show is Gaga herself, driving and animating it, an exceptional talent with the vocal and musical abilities to make most of her pop peers look like wannabes." [97]

"The Dead Dance" was referred to as a "visual highlight" and "steroid disco" by Thomas H. Green of The Arts Desk. Mayhem Ball Manchester 14.jpg
"The Dead Dance" was referred to as a "visual highlight" and "steroid disco" by Thomas H. Green of The Arts Desk .

Will Hodgkinson of The Times observed that Gaga showcased her "hard-working nature" as she performed with her dancers and guitarists, delivering a "series of routines". He also wrote that the performance was predominantly "straightforward pop" rather than the singer's "jazz standards", focusing on its essence while "embodying pop opera", and marked by a dramatic "late arrival and an intense" theatrical presence throughout. [100] Daniel Welsh of HuffPost declared that "The Mayhem Ball is simply the best thing she's ever done," while Rosie Hewitson of Time Out wrote that she had "never seen a tour with so much spectacle. Her voice is incredible." [92] [101] Emily Bootle of The i Paper described it as "an extravaganza of gothic and operatic pop theater: proof that Gaga is a pop revolutionary, absolutely magnificent." [102] Jamie Tabberer of Attitude called it "a sublime, dark carnival of fame monsters." [103] Reviewing the October 12 show in Stockholm, Markus Larsson of Aftonbladet praised its "unreal control and intensity," [104] while Anders Dahlbom of Expressen highlighted Gaga's "constant desire to create lasting visual moments," calling it "a showcase of true pop maximalism." [105] Gaffa , Göteborgsposten and WP Kultura also praised the concert, describing it as "revolutionary" and "the best of the year." [95] [106] [107]

Following the October 19 concert in Assago, Mattia Marzi of Il Messaggero described the show as "a true celebration" and "the most ambitious and complex tour the visionary Gaga has undertaken to date," [108] while Renato Franco of Corriere della Sera praised it for its "natural and flamboyant sense of spectacle." [109] la Repubblica 's Marco Castrovinci called it "the show of the year," [96] and Federica Mochi of Adnkronos added that "in an era of instant consumption, Gaga proves pop can still surprise." [110] Reviewing the October 28 concert in Barcelona, Luis Hidalgo of El País described the show as "a triumph of opera," praising its cohesive acts and Gaga's commanding energy and vocal power. [98] La Vanguardia 's Sergio Lozano called it "a gothic frenzy," describing it as "an extravagant and magnetic celebration of Gaga's pop and theatrical power," [111] while El Mundo 's Vanessa Graell deemed it "epic and cathartic." [112] Markus Brandstetter of Musikexpress described the November 4 concert in Berlin as "a visual Gesamtkunstwerk ," [113] with Bild 's staff noting that "what happens on that stage is more than just a concert, a show that truly deserves the adjective 'extreme'." [114]

Commercial performance

Originally planned to have 32 dates, promoter Live Nation added an additional 13 concerts across multiple cities, due to the demand. [16] On April 3, 2025, it was reported the tour sold out during the first day of general sale. [115] In an initial sales report, Billboard suggested the Mayhem Ball could be Gaga's biggest tour in over a decade, with an estimation of "$100 million to surging toward $125 million". They also said the decision to move from stadiums to arenas could possibly "drive higher prices than on the Chromatica Ball, with far fewer seats available each night". [116]

The first North American leg of the tour far exceeded the commercial performance of her past arena tours, such as the Born This Way Ball (2012–2013) and 2014's ArtRave: The Artpop Ball. The first run of shows in the US and Canada grossed over $103 million with only 27 dates reported, nearly crossing initial estimates projected for the entire tour. Thus, this leg became Gaga's highest grossing run of shows across any of her tours or residencies in any territory. According to Billboard, the tour could "potentially [triple]" their initial estimates and cross $300 million following the performance of the first leg and the addition of further arena shows in North America and stadium shows in Japan and Australia. [6]

Set list

This set list is from the July 16, 2025, concert in Paradise. [71] [86] [117] It may not represent all concerts.

Act I: Of Velvet and Vice

  1. "Bloody Mary"
  2. "Abracadabra"
  3. "Judas" / "Aura" (medley)
  4. "Scheiße"
  5. "Garden of Eden"
  6. "Poker Face"

Act II: And She Fell into a Gothic Dream

  1. "Perfect Celebrity"
  2. "Disease"
  3. "Paparazzi"
  4. "LoveGame"
  5. "Alejandro"
  6. "The Beast"

Act III: The Beautiful Nightmare That Knows Her Name

  1. "Killah"
  2. "Zombieboy"
  3. "LoveDrug"
  4. "Applause"
  5. "Just Dance"

Act IV: Every Chessboard Has Two Queens

  1. "Shadow of a Man"
  2. "Kill for Love"
  3. "Summerboy"
  4. "Born This Way"
  5. "Million Reasons"
  6. "Shallow"
  7. "Die with a Smile"
  8. "Vanish into You"

Finale: Eternal Aria of the Monster Heart

  1. "Bad Romance"

Encore

  1. "How Bad Do U Want Me"

Notes

Tour dates

List of 2025 concerts [129]
Date (2025)CityCountryVenueAttendanceRevenue
July 16 Paradise [i] United States T-Mobile Arena 44,530 / 44,530$11,094,860
July 18
July 19
July 22 San Francisco Chase Center 40,657 / 40,657$10,424,203
July 24
July 26
July 28 Inglewood [j] Kia Forum 54,809 / 54,809$15,388,147
July 29
August 1
August 2
August 6 Seattle Climate Pledge Arena 43,419 / 43,419$11,240,782
August 7
August 9
August 22 New York City Madison Square Garden 81,585 / 81,585 [k] $27,108,989 [k]
August 23
August 26
August 27
August 31 Miami Kaseya Center 27,038 / 27,038$7,463,886
September 1
September 6New York CityMadison Square Garden [k] [k]
September 7
September 10 Toronto Canada Scotiabank Arena 43,175 / 43,175$8,895,547
September 11
September 13
September 15 Chicago United States United Center 43,016 / 43,016$11,772,225
September 17
September 18
September 29 London England The O2 Arena 63,629 / 63,629$12,443,857
September 30
October 2
October 4
October 7 Manchester Co-op Live 31,657 / 31,657$6,611,714
October 8
October 12 Stockholm Sweden Avicii Arena 43,528 / 43,528$7,282,982
October 13
October 15
October 19 Assago [l] Italy Unipol Forum 23,755 / 23,755$4,262,890
October 20
October 28 Barcelona Spain Palau Sant Jordi 54,181 / 54,181$7,510,759
October 29
October 31
November 4 Berlin Germany Uber Arena ——
November 5
November 9 Amsterdam Netherlands Ziggo Dome ——
November 11 Antwerp Belgium AFAS Dome ——
November 13 Décines-Charpieu [m] France LDLC Arena ——
November 14
November 17 Paris Accor Arena ——
November 18
November 20
November 22
December 5 Melbourne Australia Marvel Stadium ——
December 6
December 9 Brisbane Suncorp Stadium ——
December 12 Sydney Accor Stadium ——
December 13
List of 2026 concerts [26] [27] [28]
Date (2026)CityCountryVenueAttendanceRevenue
January 21 Osaka Japan Kyocera Dome ——
January 22
January 25 Tokyo Tokyo Dome ——
January 26
January 29
January 30
February 14 Glendale United States Desert Diamond Arena ——
February 15
February 18Inglewood [j] Kia Forum——
February 19
February 22
February 23
February 28 Fort Worth Dickies Arena ——
March 1
March 4 Atlanta State Farm Arena ——
March 5
March 8 Austin Moody Center ——
March 9
March 13 [n] MiamiKaseya Center——
March 19New York CityMadison Square Garden——
March 20
March 23 Washington, D.C. Capital One Arena ——
March 24
March 29 Boston TD Garden ——
March 30
April 2 Montreal Canada Centre Bell ——
April 3
April 6
April 9 Saint Paul United States Grand Casino Arena ——
April 10
April 13New York CityMadison Square Garden——
Total594,979 / 594,979 (100%)$141,500,841

See also

Notes

  1. 1 2 Based on the 41 reported dates.
  2. 1 2 Attributed to multiple sources: [30] [91] [92] [93]
  3. 1 2 Attributed to multiple sources: [90] [31] [97] [67] [98]
  4. ↑ Attributed to multiple sources: [1] [29] [30] [31] [32]
  5. ↑ Part of the wardrobe previously donned during the outdoor promotional concerts. Attributed to multiple sources: [44] [45] [46] [47]
  6. ↑ Attributed to multiple sources: [60] [61] [62] [63]
  7. ↑ Attributed to multiple sources: [5] [39] [71] [94]
  8. ↑ Attributed to multiple sources: [90] [68] [95] [96]
  9. ↑ Labeled as Las Vegas in promotional material.
  10. 1 2 Labeled as Los Angeles in promotional material.
  11. 1 2 3 4 The concerts in New York City on August 22 – September 7, 2025, had their data combined into a single boxscore.
  12. ↑ Labelled as Milan in promotional material.
  13. ↑ Labelled as Lyon in promotional material.
  14. ↑ The concert in Miami on March 13, 2026, was originally planned for September 3, 2025, but it was rescheduled due to vocal strain. [130]

References

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