Aussie Venues, Promoters, High Ranked In Billboard’s Mid-Year Report

A number of Australian top-end venues and two promoters ranked high in Billboard’s Mid-Year Report.

The magazine’s midyear Boxscore charts are based on reported shows between October 1, 2025, and March 31, 2026.

In the Stadiums category, Sydney Accor Stadium was #3 globally and #1 in Oceania’s Top Stadium category. It grossed US$69.3 million across eight shows with 583,000 attendees.

Melbourne’s Marvel Stadium ranked #5 globally and #2 in the Oceania listings. It turned over $92 million across 13 shows with 724,000 going through its turnstiles.

The stadium’s General Manager Scott Fitzgerald stated "With a jam-packed end of year calendar that already features global superstars Harry Styles, Foo Fighters, Australia’s own Dom Dolla, Robbie Williams, and Guns N’ Roses, we can't wait to welcome hundreds of thousands of fans and event goers through our doors to experience everything our stadium has to offer."

Brisbane’s Suncorp Stadium had a turnover of $42.2 million, with 304,000 patrons. That placed it at the 10th best performing stadium in the world.

It had a record 11 concerts announced for the calendar year, after Queensland regulators increased the number of its concerts to 12 for a year, and up to 21 for peak years.

A spokesperson for the stadium summed up, “The midyear ranking also took into account concerts from the summer season, including the Metallica, Lady Gaga, and AC/DC shows at the end of 2025.

“Thank you to all the fans who made us one of the world’s best. Bring on more concerts in 2026 like Post Malone, Foo Fighters, Robbie Williams and Guns N’Roses!”

The Arenas category (capacity 15,001) showed Sydney’s Qudos Bank Arena ranked #6 in the world, and #1 arena in Oceania. It shifted 504,000 tickets across 40 shows, generating a revenue of $68 million.

For venues with 10,001 to 15,000 capacity, Brisbane Entertainment Centre was ranked at #8 worldwide due to its $31 million gross. 

Perth RAC Arena was listed at #12 with an attendance of 259,000 and $29.9 million gross.

In the 5,001 to 10,000 capacity, Australia was represented by TikTok Entertainment Centre and Hordern Pavilion, both in Sydney.

TEG Group and Untitled Group were in the Top 20 Promoters, both showing admirable strategies to bring crowds into their events.

TEG Group had 1.6 million patrons and generated $151,8 million, giving it a #7 world ranking.

Untitled Group exceeded forecasts, ranked at #12 with crowd attendance of 657,000 and a $76.4 million gross.

RÜFÜS DU SOL made it into the Top 50 Artists Tour, turning over $23.3 million, up from $21.6 million.

Lady Gaga and Bad Bunny were battling it out, with Gaga inching ahead by just 3%. “Both acts posted stunning grosses for such a short span of time,” Billboard reported.

It went on to say, “Gaga’s The Mayhem Ball is the highest-grossing tour at midyear, with $236.2 million grossed — the highest midyear gross in Boxscore history (dating to 1991), outpacing U2’s Sphere stint ($231.6 million) from two years ago. 

“U2 got there by brute force, charging an average of $368 per ticket for the venue’s inaugural residency. 

“Gaga had a still-high-but-earthbound ticket price of $203.98 but won by persistence. She played 52 shows in six months, roughly double Bad Bunny’s count and more than any act in the top 50 other than Trans-Siberian Orchestra, with its dual ensembles touring the country at once, and comedian Nate Bargatze. That show count exceeds all the acts on last year’s midyear ranking too, again with the asterisk of TSO and stand-up comics.

“With Bad Bunny’s DeBÍ TiRAR MáS FOToS World Tour at $230 million, this is the first time that two acts grossed more than $200 million in the same midyear period. Last year, no artist even cracked $150 million in that period.”

Paul McCartney and Shakira are next, each with less than half of Gaga and Bad Bunny’s earnings. There are fewer $100 million tours than in previous years (five, compared to six in 2025 and eight in 2024), and $50 million tours (16, compared to 19 and 20, respectively).

This piece of content has been assisted by the Australian Government through Music Australia and Creative Australia, its arts funding and advisory body