Beyoncé & Jay Z Have Already Made $100 Million From The ‘On The Run’ Tour


Despite rumors of poor ticket sales and marital discord, Billboard magazine is reporting today that Beyoncé and Jay Z have thus far amassed $100 million dollars from their current On The Run Tour. The show has been selling at about 90% capacity — of MASSIVE stadiums — and it’s not even finished yet. After B-Jay wrap up their US dates in San Francisco, CA this week, they will take the show to Paris, France for their only international date … which is being filmed for a concert special to air on HBO later this year. Without question, the On The Run Tour will finish as a massively huge financial success. I guess that billion dollars in the elevator is about to get more padding.

Jay Z and Beyonce’s On The Run tour wraps in North America with two nights at AT&T Park in San Francisco, both tonight (August 5) and tomorrow night (August 6). The pair’s 19 North American shows will gross over $100 million in ticket sales and has sold at more than 90 percent capacity, according to Omar Al-Joulani, vp of North American touring for Live Nation, the promoter/producer of the tour. Attendance will top out at more than 850,000. Al-Joulani declined to comment on press reports of rancor between the couple, adding that he hadn’t read it. Regarding such reports, and speculation that Live Nation might be losing money on the tour, Al-Joulani would only say, “everybody’s winning.” And regarding reports that the plug might be pulled on the tour, the promoter adds, “Production is loading-in in San Francisco as we speak.” Some reports put the couple’s performance guarantee at $4 million per show, which is a reasonable figure, considering the tour’s nightly take is over $5.2 million from an average attendance of nearly 45,000 per show. As predicted by Billboard back in June — when inaccurate reports that the tour was struggling began to surface — sales for the tour finished strong, following a general market trend of tickets selling closer to show date. “These shows sold tremendously well at the end, so we were able to sell-up limited-view and clean up production holds or other holds,” says Al-Joulani. “It was a very successful tour, and we’re pleased to have that big gross number at the end.” The Jay/Bey tour was conceived and launched fast compared to most stadium tours, which are often planned more than a year in advance. “It came together quite quickly, around mid-March,” says Al-Joulani. “By April, we had everything together, and once the routing was in place we had about three weeks until the tour was announced.” Considering the quick ramp-up, the fact that both Jay and Beyonce had been on the road much of last year, and the available window was narrow, routing was a bit of a challenge. “We knew we needed a big ‘statement play’ in L.A., and we needed big statement in New York, so we started by figuring out the avails at the Rose Bowl [in Pasadena] and MetLife Stadium [in New York],” Al-Joulani explains, “and then from there it was just a matter of sorting it out.” Given the “event” status of music’s reigning power couple and the fact that producers were on a tight schedule, “We threw all the usual rules out the window,” Al-Joulani says. “We didn’t worry about days of the week, as long as we were headed in the right direction. There is one beautiful thing about routing late: There’s no messing around, the building is either available or it’s not. You’re not holding for anybody, you’re not waiting for a football or baseball schedules, there was no room for ‘maybes.’ It was all, ‘is this building available?’ which makes your life a lot easier, because there are no variables. And [stadiums] wanted it, so we were able to pick and choose our way through it.” Along with the “must-play” major markets, the tour routed into some secondary markets like Cincinnati, New Orleans and Seattle “that turned out to be wildly successful,” Al-Joulani says. Cincinatti sold out on the pre-sale, New Orleans was “massive,” and Seattle went completely clean. “We had the greatest time in those markets.” Production was “epic,” as described by Al-Joulani, with three staging systems hop-scotching across the route. Elements included a moving high-def screen, pyro, hyrdraulic lifts, and a B stage extended well into the audience. “Knock on wood — we started production load-in in San Francisco at noon today — every show has gone up on time, with no production issues,” he says, adding that there were no weather issues or delays, either. The total production moved on 42 trucks, with about 150 crew.

I’m so lucky that I was able to see this show. I loved every minute of it. I can absolutely believe that B-Jay are making so much money on this tour. I’ve learned long ago to never count these two out. I never believed the poor ticket sale rumors cuz I know, when Beyoncé and Jay Z come to your town — you’re gonna make every effort to see them live because you know they will put on an amazing show. Another $100 million in the bank. Dang. Not too shabby for a few weeks work.