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Badflower tour dates 2024

Badflower is currently touring across 3 countries and has 7 upcoming concerts.

Their next tour date is at Lion Art Factory in Adelaide, after that they'll be at Oxford Art Factory in Sydney.

Currently touring across

• 🇦🇺 Australia
• 🇳🇿 New Zealand

Upcoming concerts (7) See nearest concert

Lion Art Factory

Oxford Art Factory

San Francisco Bath House

Tuning Fork, Spark Arena

Rockin Red Dirt Ranch

Louder Than Life Festival

Monster Energy Aftershock

Past concerts

Capone's

View all past concerts

Recent tour reviews

100% worth standing in a super crowded tiny room and sweating your ass off for. Not sure what's better- Josh's facial expressions (is that also his O-face?) or Alex's luxurious locks. Full energy all the time, pure entertainment, every song is glorious. See this band, you won't regret it. One of the best live performances I've ever attended.

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What a great show! It was the second time I saw Badflower. They are really really good live! They give everything they've got. The sound was very good and the two supporting acts set the tone for the night. It will probably be the last time I saw Badflower in such a small venue, and I'm glad I did.

I bought the VIP package and it was reasonably priced and probably worth so much more! My daughter had the time of her life. Band was wonderful and genuine and everyone associated with them was awesome as well. Opening bands were really great. Badflower rocked it and my daughter's hands were still shaking after the show because she was so blown away by the experience!

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Melodic (Digital) Magazine: Knox

Melodic (digital) magazine: lauren sanderson, moon taxi, almost monday, melodic (digital) magazine: spencer sutherland, melodic (digital) magazine: chase atlantic, rock n’ roll is alive and well with sin city’s ‘another round’, taylor swift is poetically vulnerable in ‘the tortured poets department’, mae krell accepts her place in the world with ‘(i think) i might be grown’, the ballroom thieves revive the act of true connection with ‘sundust’, animals in denial release exciting new album “crash course volume 2: tickets to dreamland”, julia pratt’s new single “chronos, cruel handler” is a beautiful reflection on familial rage, pillow queens’ new album “name your sorrow” is an ode to the human condition, haiden henderson talks “hell of a good time,” his recent name change, and if blondes really have more fun, bizzy tells us about “when it ends,” highlights from last year, and her plans for the rest of 2024, asha jefferies’ debut album ‘ego ride’ is a journey of movement, dylan’s final show of the rebel child tour in toronto, asking alexandria brought all their friends to buckhead theatre in atlanta, des rocs brought the soul of rock-n-roll to birmingham, alabama, somebody’s child mesmerises sold-out london crowd, english teacher instore shows for remarkable debut album ‘this could be texas’, badflower announces asking for a friend 2023 tour.

After wrapping up their month long 2022 UK and European tour this December, Badflower   has announced their Asking For A Friend 2023 North American Tour kicking off in February 2023. Supporting acts for this two month long tour will be Des Rocs and  Blood Red Shoes .

This newly announced tour will consist of 27 shows and will begin in Atlanta, Georgia on February 21, 2022. They’ll play in several major cities such as Seattle, Denver, Little Rock, Chicago, and Salt Lake City before finishing the tour on April 1, 2022 in Nashville, Tennessee.

Tickets go on sale tomorrow Friday November 18, 2022  to the general public on the bands website, here .

Tour Dates: 02/21 Atlanta, GA – Heaven @ Masquerade 02/23 Silver Spring, MD – The Fillmore 02/24 New York, NY – Irving Plaza 02/25 McKees Rocks, PA – Roxian Theater 02/26 Syracuse, NY – The Westcott Theater 02/27 Boston, MA – Royale 03/01 Detroit, MI – Saint Andrew’s Hall 03/03 Grand Rapids, MI – The Intersection 03/04 Madison, WI – The Sylvee 03/05 Chicago, IL – House Of Blues 03/07 St. Louis, MO – Red Flag 03/09 Denver, CO – Ogden Theatre 03/10 Salt Lake City, UT – Soundwell 03/11 Boise, ID – Knitting Factory 03/14 Portland, OR – Hawthorne Theatre 03/15 Seattle, WA – El Corazon 03/17 Roseville, CA – Goldfield Trading Post 03/18 San Luis Obispo, CA – Fremont Theater 03/19 Los Angeles, CA – Fonda Theater 03/21 Mesa, AZ – Nile Theater 03/23 San Antonio, TX – The Vibes Event Center 03/24 Dallas, TX – House Of Blues 03/25 Houston, TX – House Of Blues 03/26 Oklahoma City, OK – Tower Theatre 03/28 Little Rock, AR – The Hall 03/29 Huntsville, AL – Mars Music Hall 03/31 Asheville, NC – The Orange Peel 04/01 Nashville, TN – Brooklyn Bowl

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On Your Radar: Pillow Queens

Soren hansen leaves us “zoned out”, teddy swims heading out on the i’ve tried everything but therapy tour, pigeon club contemplates his own mortality on thought-provoking new single “ancient history”, more like this related, judah & the lion announce the process tour.

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‘The working class can’t afford it’: the shocking truth about the money bands make on tour

As Taylor Swift tops $1bn in tour revenue, musicians playing smaller venues are facing pitiful fees and frequent losses. Should the state step in to save our live music scene?

W hen you see a band playing to thousands of fans in a sun-drenched festival field, signing a record deal with a major label or playing endlessly from the airwaves, it’s easy to conjure an image of success that comes with some serious cash to boot – particularly when Taylor Swift has broken $1bn in revenue for her current Eras tour. But looks can be deceiving. “I don’t blame the public for seeing a band playing to 2,000 people and thinking they’re minted,” says artist manager Dan Potts. “But the reality is quite different.”

Post-Covid there has been significant focus on grassroots music venues as they struggle to stay open. There’s been less focus on the actual ability of artists to tour these venues. David Martin, chief executive officer of the Featured Artists Coalition (FAC), says we’re in a “cost-of-touring crisis”. Pretty much every cost attached to touring – van hire, crew, travel, accommodation, food and drink – has gone up, while fees and audiences often have not. “[Playing] live is becoming financially unsustainable for many artists,” he says. “Artists are seeing [playing] live as a loss leader now. That’s if they can even afford to make it work in the first place.”

Potts, who works at Red Light Management – home to everyone from Sabrina Carpenter to Kaiser Chiefs and Sofia Kourtesis – feels like there is an industry equivalent of the Spider-Man meme in which they are all pointing to one another. “People who work at labels think bands make loads of money touring, while booking agents think they make loads of money on publishing and so on,” he says. “Everyone thinks artists make money from the other side of the industry they’re not involved in.

“Artists are the biggest employers in the industry. They pay for the tour manager, session musicians, agent, manager, crew, insurance, travel, accommodation, equipment, rehearsal space, production. Everything. I don’t think people know this is all the stuff that the artist pays for and does.”

“Greater transparency is needed,” says Lily Fontaine, lead singer of Leeds band English Teacher. On paper, the four-piece appear to have made it. They are signed with a major label, Island, have played on Later With … Jools Holland, get healthy BBC Radio 6Music airplay, their debut album has received five-star reviews and they are about to embark on their biggest tour to date, which includes an 800-capacity home-town show.

“The reality is that it’s normal for all of these achievements to coexist alongside being on Universal Credit, living at home or sofa surfing,” says Fontaine. During the making of their debut album, she and bandmate Lewis Whiting did the latter while unable to afford rent.

In their four years of existence, English Teacher have yet to turn a profit from touring. “We’ve never directly paid ourselves from a gig,” says Whiting. “A headline tour usually comes out with a deficit. The only thing that we ever make any kind of profit on is festivals, because the fees can be higher, but any money left over just goes towards the next outgoings.” A successful show for the group in the past has been defined by whether they can flog enough merch to afford a supermarket food shop.

So how do they survive? “In the world of artists, we’re in a lucky position,” says Whiting. “We try to pay ourselves £500 a month each from the band pot.” However, they’ve been reliant on their advance for this, which is now gone. “We’re now in that stage where we’re gonna have to figure out where that £500 a month is gonna come from,” says Fontaine. “Because the gig fees won’t be able to cover that.” The band estimate that their 16-date UK tour in May will generate roughly £800 profit. But, says Fontaine, “realistically, I don’t think there will be any profit because things always go over budget”.

For many artists, fees aren’t increasing in line with costs. “There’s been no real incline at all,” says Potts. “For support slots, I don’t think the fees have changed in the last 10 years or so that I’ve been managing, whether that’s £50 at the smaller end or £500 quid for some of the biggest shows.” Fees for headline shows can vary enormously for bands, even on the same tour. Playing a 200-capacity club in Newcastle may land you £600, while a 1,500 cap in London may net you £3,000.

And fewer people are coming to shows at the small-to-mid-sized end of things. “In our audience data, we see there is a gap in new audiences coming through post-pandemic,” says the FAC’s Martin. “As well as a bit of a drop-off in some of the older audiences returning to live shows.” However, despite stagnant fees and shrinking audiences, touring activity in the UK is at a peak. Due to the costs of touring Europe (which can be thousands in taxes and carnet alone) 74% fewer UK bands are now touring Europe post-Brexit. “It’s much more difficult to tour in Europe so there are more artists trying to perform domestically,” says Martin. “That creates a saturation problem.”

For this article, the Guardian has seen 12 tour budget sheets for various bands and artists varying from up-and-comers to firmly established and successful acts, all of whom regularly undertake headline tours across the UK in venues ranging from 150 to 2,500 capacity. Almost all of these result in losses. Understandably, most shared their balance sheets on the condition of anonymity. One four-piece indie band, whose last two albums went Top 10 in the UK charts, reported a loss of £2,885 from a six-day UK tour. The only tour that shows anything resembling healthy profit was a 29-date tour for a solo artist who came away with £6,550. Not bad going for a month’s work but, as Martin points out, “that’s then his touring done for the next six months. So it’s not enough money.”

Nubiyan Twist are a nine-piece Afro-jazz outfit who have a loyal following and tens of millions of streams on Spotify, “We pride ourselves on being able to put on a big show, like your Fela Kutis or James Browns, these epic spectacles,” says bandleader Tom Excell. “But it’s getting more difficult, without a shadow of a doubt.” For an upcoming eight-show tour of Europe, they are predicting a loss of £4,931.28. The only way they can justify doing it is because they got funding from the BPI Music Export Growth Scheme. “I would have just pulled the plug if it wasn’t for that,” says Excell. “I’ve got a two-year-old and I can’t be away from home for that long and come back with a loss.”

Even when the band get more lucrative fees for festivals it’s still tough. They will be paid £5,000 for a festival performance this summer but the total profit after band wages (as Excell pays all his band members in full first) expenses and commissions are paid out will be £277.60. “After four albums and 15 years doing this, to still be having to gamble on whether I’m going to make anything, while everyone else gets paid a guaranteed amount, is a struggle,” admits Excell.

Such thin margins leave little wiggle room, as the space-surf band Japanese Television (who headline 100-300 capacity venues) found out when their booking agent reduced their 13-date UK and EU tour to eight shows with a five-day gap in the middle that will add a further loss of around £1,200 to a tour that is already set to lose them around £700. “Records and T-shirts are basically what keeps us going,” says the band’s Tim Jones. “The only way this tour is working for us is because we just put out our second album and we did about 60 presales on the vinyl and that was basically enough to pay for the van. It’s a hobby that just about pays for itself.”

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The question is: who else will be able to afford to pursue music as a hobby? “It depresses me how many middle and upper class people there are in the music industry,” says manager Potts. “Because the working class just can’t afford to fork out £150 a day for van hire. The only artists doing that are people who have deeper pockets and can afford to take the hit.”

Of course, every act is different in terms of what they justify as reasonable outgoings and not everyone has the same costs, but Potts says from his experience, generally speaking, bands with four or five members now need to be playing 2,000+ capacity venues nationwide to “really start to see things tip”. That tipping point is out of reach for the majority. “Most people don’t actually get to that level,” Potts says. “Just look back at any festival lineup from 10-20 years ago and see which names are still on festival bills and how many you’re like: what happened to them?”

The gap between those who are flying and those who are floundering has become even more stark. “It feels like the top 1% have become the top 0.5%,” says Martin. “The level of artists we’re talking about here that are struggling to make things stack up financially would really surprise people.”

In 2022, the Grammy-winning Pakistani singer Arooj Aftab posted on X: “Touring has been amazing. We headlined a ton, had massive turnouts and have proven ourselves in all the markets. Yet still, running tens of thousands in debt from the tour and I’m being told that it’s ‘normal’. Why is this normal? This should not be normalised.”

I’m told that one US artist – who released one of the most critically acclaimed albums of 2023, which went Top 10 and placed very highly on numerous year-end polls and was nominated for a major award – worked out that the only way she could make her UK tour work was by sub-letting her home.

It’s a far cry from Taylor Swift’s record-breaking Eras jaunt. “The very high end of the live industry is reporting record profits,” says Martin. “You can’t have a healthy music ecosystem where at one end you’ve got people going ‘we’ve made more money than we’ve ever made’ and at the other end you’ve got relatively successful artists that are sofa-surfing while signed to a major label.”

Is there an answer? “When you’re touring Europe, you realise how much state funding in the arts there is,” says Excell. “It really needs more state funding and support from the top down.”

Martin echoes this. “The government needs to start looking at spending money on the music industry as an investment rather than as a cost,” he says. “But you also need to support a sector in a time of crisis. And this is a time of crisis.”

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Tina Knowles Models 'Vintage' Destiny's Child's Tour Shirt She Swiped from Daughter Beyoncé's Closet

Knowles shared a photo of her posing in some merch from the group’s 2005 Destiny Fulfilled… and Lovin’ It tour

Frank Micelotta/Getty; Tina Knowles/Instagram

Beyoncé ’s fashion archives have got the one thing Tina Knowles wants — Destiny's Child merchandise. 

The Grammy winner most likely has tons of bespoke designer pieces in her wardrobe, but her mom only has eyes for her early aughts band tees. 

In an Instagram post shared on April 23, Knowles, 70, confessed that she had snagged a “vintage” Destiny’s Child shirt from her daughter’s closet for a day at the Cécred offices. 

The T-shirt features a photo of Beyoncé, Michelle Williams  and Kelly Rowland , as well as their signatures. It looks the memorabilia is from the R&B trio’s Destiny Fulfilled… and Lovin’ It world tour, which marked their last before the group disbanded in 2006. 

Knowles paired it with a long-sleeve shirt underneath, dark-wash jeans and black boots. 

“Stole this vintage T-shirt from @beyonce ,” Knowles wrote in the caption. “I gave it back though!” 

Fans had lots of compliments to throw around in the comment section, with one writing, “Keep it Mama, it looks great on you.” Another fan couldn’t wrap their head around shopping in the Beyoncé’s closet. “Imagine stealing from Beyonce and it being allowed,” someone joked. 

Tina Knowles/Instagram

With Knowles teasing the “very Cécred day” she had in the same post, it also has us wondering what Beyoncé’s haircare brand is up to. 

The company, of which Knowles is vice chairwoman, launched in February , but it has already been a huge hit within the Beyhive (and beyond).

Cécred debuted with the Foundation collection , an assortment of eight products — shampoo, scalp scrub, mask, conditioner, oil and treatments included — that cleanse, condition and strengthen hair of all textures and types. 

Never miss a story — sign up for  PEOPLE's free daily newsletter  to stay up-to-date on the best of what PEOPLE has to offer, from celebrity news to compelling human interest stories.

When creating her much-awaited haircare line, Beyoncé was inspired by hair rituals from around the world and, of course, her mom, who formerly ran Headliners salon in Houston. 

“So much of the fabric of who I am came from her salon,” Beyoncé told Essence . “That’s my foundation—and I think as an artist, so much of my bold experimentation with hair comes from being inspired by art and sculptures; getting creative with braids; figuring out new techniques; and exploring ways to maintain hair growth with protective styles and wigs, while still feeling fabulous. It all stems from my experiences growing up in my mother’s salon.”

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What Taylor Swift's new album means for her $1 billion fortune

• Taylor Swift's new album, " The Tortured Poets Department ," is almost guaranteed to be a bestseller. 
• But no matter how well it does, it won't be the way Swift earns most of her money this year.
• The remaining leg of her Eras Tour is expected to add much more to Swift's billion-dollar fortune.

Taylor Swift released her new album, " The Tortured Poets Department ," at midnight, and, in what should be no surprise to anyone on this planet in the year 2024, it caused a scene.

Her album garnered millions of streams within hours. There's almost no doubt it'll top the Billboard chart like the 13 Swift albums before it.

But no matter how many platinum certifications it collects or streams it racks up on Spotify, "The Tortured Poets Department" won't be Swift's biggest money-maker this year.

The remaining leg of her Eras Tour — kicking off in Paris next month and running through December — is instead expected to be what contributes most to her fortune, which Bloomberg estimated to be $1.1 billion last year.

"Live music is the engine of the global music business," Clayton Durant, an adjunct professor at NYU Steinhardt's Music Business Program who's the founder of CAD Management, told Business Insider. "Her tour is probably going to earn 10 to 15 times more than her streaming."

Swift's Eras Tour brought in more than $1 billion in ticket sales last year over its 66 dates. By the end of this year, she's set to have played another 86. Swift's cut is unknown, but based on industry standards, she'll surely earn nine figures in 2024 from ticket sales.

Concerts don't only bring in money from ticket sales.

Pollstar estimates that Swifties spend an average of $40 a head on merch at her concerts — that adds up to about $175 million in gross merch sales last year. Swift's camp keeps the majority of that.

Bloomberg estimated that between box office and merchandise, Swift pocketed $225 million, pre-tax, from her first 57 Eras Tour dates. Career earnings from ticket sales and merchandise account for 34% of her total net worth, while earnings from music streaming and sales account for 18%, Bloomberg estimates.

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Swift isn't alone in making money on the road.

In 2021, the last year Billboard made a list of music's top earners, seven out of the 10 top money makers earned more than half of their income from touring.

But the music industry didn't always function this way. Before the advent of streaming, musicians made most of their fortune selling CDs, cassette tapes, and vinyl records .

"Physical music sales made up the bulk of artists' revenue pre-streaming, and that revenue was what enabled artists to tour. These days, the equation has flipped," Tatiana Cirisano, a senior music-industry analyst at MIDiA, told BI over email.

Streaming made listening to recorded music much cheaper. For less than the price of one CD — or for free, illegally or with ads — people could get all the songs they wanted.

"The moment Napster hit, it changed the paradigm, and it really honestly diluted the value of music," Durant said.

To be sure, Swift is still making tens of millions, if not more, on streaming and record sales each year — more than almost any other artist on the planet.

Streaming services such as Spotify pay out artists on a pro-rata model: There's a pot, made up of subscription and ad revenue, paid out to artists each year. Those with the biggest share of the platform's total streams get the biggest piece of it.

But "if you're an individual artist, you have to have a pretty massive audience to be able to earn a meaningful share of that revenue — which is paid out to you after your label gets its cut," Cirisano said.

Last year, Swift was the most streamed artist on both Apple and Spotify. One of every 78 songs streamed in the US last year was a Swift song, according to the music-data firm Luminate. She'll probably rank at or near the top again, between " The Tortured Poets Department " and a streaming lift from the second leg of her Eras Tour.

Swift is also set to earn more than most artists from physical music sales. Last year, she was responsible for one out of every 15 vinyl records sold, according to Luminate. Cirisano said Swift's rabid followers saw physical records as "a symbol of fandom" and a way to support Swift.

That said, without Eras, Swift would just be a poor centimillionaire.

Watch: Artsy CMO, Everette Taylor, tells Insider that the online art marketplace is more inclusive, and lucrative

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