The Music of the Spheres World Tour is the eighth concert tour undertaken by British rock band Coldplay. It is being staged to promote their ninth and tenth studio albums, Music of the Spheres (2021) and Moon Music (2024), respectively. The tour began at San José's Estadio Nacional de Costa Rica on 18 March 2022, paused at London's Wembley Stadium on 12 September 2025 and the band expect to restart in 2027. It marked their return to live performances after the COVID-19 pandemic, spanning 225 dates in 80 cities across 43 countries. They had not toured Everyday Life (2019) because of environmental concerns. A team of experts measured their CO<sub>2</sub> emissions and devised strategies to reduce them over the following two years.
Coldplay announced the first shows on 14 October 2021, a day before Music of the Spheres was released. Similar to the Mylo Xyloto Tour (2011âÂÂ2012), production elements involved pyrotechnics, confetti and lasers. However, adaptations were done to cut their carbon footprint. Other ideas included crafting the first rechargeable mobile show battery in the world with BMW and planting a tree for every ticket sold. Emissions fell by 59% in comparison to the group's previous tour, leading Time to rank Coldplay among the most influential climate action leaders. Pollstar stated that they have ushered in "a new era of sustainable touring".
With a global cultural impact, the Music of the Spheres World Tour grossed $1.52 billion in revenue from 13.1 million tickets, becoming the most-attended tour of all time and the first by a band to collect $1 billion. Coldplay also broke numerous venue records during the tour. The shows received widespread acclaim from music critics, who praised the group's stage presence, musicianship, versatility and joyfulness, as well as the show's production value. A concert film, ', was released in cinemas around the world in 2023, featuring their performances in Buenos Aires.
Following the release of Coldplay's eighth studio album, Everyday Life (2019), lead singer and pianist Chris Martin told BBC News that the band would not tour until they could make shows more sustainable. The record was promoted through intimate charity events and a performance broadcast from the Amman Citadel via YouTube. A team of sustainability experts was commissioned to investigate their carbon footprint and reduce it over the next two years. On 14 October 2021, a day before Music of the Spheres came out, the group announced the first leg of the tour, officially marking their return to live performances after the COVID-19 pandemic. The statement was accompanied by a website that explained how Coldplay would tackle environmental issues across 12 fields, cutting emissions by half relative to the Head Full of Dreams Tour (2016âÂÂ2017). Performances carried out before the trek included the inauguration of Climate Pledge Arena, as well as their Expo 2020 debut. San José was the first stop due to renewable energy in Costa Rica.
The stage was developed in a collaboration between production designer Misty Buckley and lighting designer Sooner Routhier, with Coldplay giving their own input in every aspect of the project. They were inspired by the musica universalis philosophy of ancient Greece, unfolding spherical patterns out from the stage in numerous directions. Other running concepts included "alien music festivals in space, love, people and togetherness". After turning her sketches into CAD drawings, Buckley made their layouts functional and decorated them with symbols from the tour's namesake album. The final design showed two 14-metre circular screens, four inflatable LED spheres and the Moonrise, an arched video wall spanning 44 metres wide and 6 metres high. ROE Visual and PRG Projects supplied the products.
For the ground structure, TAIT Towers built three round stages linked by runways. They were made of lightweight, reusable materials such as recycled steel, while the modular framework allowed Coldplay to make seamless transitions between areas and provide extra vantage points to watch them perform. Along with BMW, the band set up the first rechargeable mobile show battery in the world. It was powered by wind turbines installed on delay towers, solar blankets laid on empty seats and hydrotreated vegetable oil. Two kinetic floors and at least 15 stationary bicycles were arranged to interact with the public as well.
Maintaining their sustainability plans, Coldplay upgraded equipment to incorporate low-energy displays, lasers and lighting sets. Routhier acquired about 600 colour fixtures for the show through Upstaging, favouring IP65-rated products due to their weather resistance. Except for the spotlight system, all the gear was LED-based. Its pieces were suspended from pylons across the venue and fixed in circular configurations, reinforcing patterns with flowing movements. The band wanted to induce the feeling of moving through the seven chakras, leading Routhier to vaguely abide by their colours. In terms of video production, the stage hardware featured 26 cameras. Five were operated automatically and eight were placed near musical instruments. The digital media team created real-time visuals and effects using Notch. To broadcast footage, the camera crew obtained eight Disguise GX 2C servers and a Grass Valley Karrera 4 M/E switcher, while their Ereca Stage Racer 2 units granted control over audio and video signals on a single fiber.
Front of house duties were overseen by Dan Green and Tony Smith, who worked with Coldplay on their previous tour. They renewed the sound system and split the central control into unique racks for each band member, improving their flexibility and integration across departments. Green scaled down his outboard gear as well, extensively relying on effect plugins. The hangs, ground subs, front fills and delays were all supplied by d&b audiotechnik, totaling more than 200 speakers and 110 amplifiers. Products from both the J and SL series were used on tour, reducing power consumption and noise pollution. For control, the sound team had a DiGiCo SD7 console and a Quantum engine. In-ear monitors were primarily Wisycom MTK952 units, as their wide frequency range alleviated the need to carry multiple sets. Lithium batteries on radio communication devices such as wireless microphones and walkie-talkies were replaced by NiMH packages. On special effects, pyrotechnics adopted new formulas to curtail harmful chemicals; balloons were sourced from recyclable material; and confetti cannons adjusted to require less compressed gas for ignition, releasing biodegradable paper. Coldplay also moved from Xylobands to PixMob wristbands made of sugarcane, minimising production by collecting, sterilising and refurbishing them. Lastly, the show had an oversized disco ball with lasers inside.
Coldplay used around 30 trucks and 10 buses to carry their stage and equipment. The fleet consisted of electric vehicles or was fueled with biofuel whenever possible. A sustainability agreement was sent to all venues in advance to verify which environmental policies they could follow, helping the band incorporate local resources into the concerts. Routes were planned to limit air travel, favouring cities accessible to audiences from surrounding regions. The crew relied on both commercial and charter flights, but prioritised the former. Extra fees to harness sustainable aviation fuel were paid at all times, whether for themselves or others.
The product was originally supplied by Neste, but Coldplay severed ties with the company after public accusations of greenwashing. They announced a partnership with DHL for logistics and transport months later. SAP was enlisted to develop a mobile app featuring exclusive photos, videos, news updates and a travel calculator. Fans could also redeem a discount code at the group's merchandise store by opting for cleaner journeys. All of their vendors were selected to provide environmentally conscious pieces, packaged in recycled paper, card or compostable bags whenever possible. The band requested evidence of ethical working conditions as well.
To reduce food waste on the road, catering menus adopted plant-based and meat-free options. Coldplay sourced them locally, donated surplus to food banks and composted their organic scraps. Regarding water use, they asked venues to implement aerated taps, low-flushing toilets and minimise hydraulic pressure. Attendees were encouraged to bring reusable bottles and fill them at designated stations. The group endorsed numerous organisations, including Climeworks, the Ocean Cleanup and Sea Shepherd UK. One Tree Planted nurtured a sapling for every ticket sold in forest reserves. A team led by professor John E. Fernández at the Massachusetts Institute of Technology (MIT) was responsible for observing Coldplay's progress on tour, with unavoidable emissions neutralised according to the Oxford principles. The band donated ã2.1 million to environmental causes in 2021 as well. For inclusivity, resources entailed SubPac vests, sign language interpreters, touch experiences and a KultureCity sensory refuge station. They also launched the Infinity Ticket program, which offered $20 admissions for fans who could not afford the standard prices. Such entries were non-transferable, available only in pairs and assigned to random seats at the box office on concert day. In 2025, the residency at Wembley Stadium became the first completely operated on solar, wind and kinetic power.
Most of the tour included two supporting acts at each concert, with priority given to up-and-coming female singers. In 2022, H.E.R. opened for Coldplay in Argentina, Costa Rica, Santo Domingo, the United States, and Europe along with a regional musician. London Grammar replaced the singer on select dates from the latter territory, while Camila Cabello assumed the role completely in Peru, Colombia and Chile. Mexico had exclusively national guests, with Carla Morrison and DannyLux performing. Zoe Wees was invited for Berlin but substituted by Alli Neumann due to illness. Clara Cava backed up Zoe Gotusso in Buenos Aires for the same reason.
In 2023, Chvrches supported Coldplay in Brazil and Europe. They followed the established template and collaborated with a new local act at every stop, occasionally being swapped for Griff. On 31 May and 1 June, Manchester featured a surprise set from the Oasis Academy Temple Steel Band before the openers. Jada cancelled her guest appearance in Copenhagen after pregnancy complications, which led to Oh Land claiming the spot. H.E.R. returned when the tour visited North America for the second time, accompanied by 070 Shake and Bobby Gonz in all performances rather than a different artist in each city.
Similar to Mexico, only regional talent was recruited for Asia. Those included Yoasobi, Accusefive, Jasmine Sokko and Rriley. Coldplay also teamed up with the West Australian government for a contest in Perth, inviting two musicians to play along with Thelma Plum, Amy Shark and Tash Sultana. In 2024, the band had Maisie Peters, Janelle Monáe and Maggie Rogers taking turns as primary guests, while the secondary slot belonged to local performers again. Melbourne, Sydney and Auckland were originally scheduled to receive PinkPantheress, but she dropped her set due to health issues. Ayra Starr, Emmanuel Kelly and Shone opened instead. Aside from two concerts in Goyang and Kingston upon Hull, all the 2025 dates featured Elyanna. Her partners for the year included Jasleen Royal, Marf, Twice, Willow, Jim Ward, and Gustavo Dudamel.
Divided into four acts, the concert lasted over two hours and represented "a journey traveling outwards into the unknown to then come home having learned something new". Two guest speakers welcomed attendees and introduced a video showing Coldplay's sustainability efforts. It ran for about two minutes, using "Light Through the Veins" (2009) by Jon Hopkins as the soundtrack. The first act, Planets, explored the belief in a greater magic and the decision to search for it. A live feed exhibited the band members walking to the stage, greeting fans and heading to their respective places while "Flying" (1982) by John Williams transitioned into "Music of the Spheres" and "Higher Power", setting off numerous fireworks and confetti cannons. Once the song ended, Martin removed his jacket and guitarist Jonny Buckland started playing "Adventure of a Lifetime" as giant balls were thrown to the crowd. This was followed by "Paradise", which included extended parts based on call-and-repeat exchanges. A short excerpt of "Oceans" marked the beginning of "The Scientist" and Martin sat at the piano for the first time during the night. He thanked the audience while singing, occasionally incorporating covers as well.
Footage of the performance was then sped-up, reversed and played back when Coldplay made their way to the B-stage for Moons, an act that symbolised life's difficult phases and experiences. The interlude flowed into "Viva la Vida", with drummer Will Champion directing the chants throughout the song. White, red and blue visuals were used as a reference to the French Revolution. Buckland kicked off "Hymn for the Weekend" by playing the keyboard next. During the last chorus, Martin pretended to be drunk and stumbled on stage, dropping his facade right before another blast of confetti was released into the public.
The show continued with a piano version of "Let Somebody Go", featuring one of the opening acts or a fan who was chosen in advance on select dates. Buckland, Champion and bassist Guy Berryman moved to the main stage for a break in the meantime, returning only for the rotational slot, when the band performed songs such as "In My Place", "Politik", "Orphans" and "Coloratura". Golden lights were emitted from the wristbands right after to begin "Yellow", which was played under a giant disco ball. For the last chorus, Martin asked people near the stage to turn around, face those at the back of the visited stadium and dedicate the lyrics to them.
Large red hearts appeared across the stands to launch the third act, Stars. It was based on meeting extraterrestrial beings and embracing others of all backgrounds, starting with "Human Heart". Puppet character Angel Moon mimicked the vocals originally recorded by We Are King. The segment was eventually followed by "People of the Pride", which used various flashing lights and flamethrowers. Martin often waved a pride flag taken from the audience during the song. Next in the set, Coldplay performed "Clocks" amid green lasers in reference to the visual backdrop they had on the Rush of Blood to the Head Tour (2002âÂÂ2003).
A secondary section called The Lightclub started with "Infinity Sign" being played while the band donned custom helmets. "Something Just Like This" was then interpreted in American Sign Language, before switching to a remix of "Midnight". Once the intermission ended, they removed their extra gear to present "My Universe", featuring the members of BTS on the screens and vocal cues directed at the public during the outro. Proceeding with the concert, "A Sky Full of Stars" unfolded normally until Martin interrupted the song for a brief discussion with Berryman, Buckland and Champion. He then encouraged attendees to put their phones away before kicking off again.
Home, the fourth and final act, outlined a newfound sense of self-love and appreciation for the diversity of all beings. "Sunrise" played over Louis Armstrong's spoken introduction to "What a Wonderful World" (1967) while the band moved to the C-stage for an acoustic set. They generally performed tracks from Parachutes (2000), followed by a cover, improvisation or guest appearance. The section was also used for acknowledgments, with Martin thanking the tour crew, naming his bandmates for the audience and inviting everyone to raise their arms to send love out into the universe. A fireworks display concluded the latter dynamic.
Coldplay then returned to the main stage for "Humankind" and "Fix You", which included golden lights similar to "Yellow". The last song of the night was "Biutyful", featuring Angel Moon and her group The Weirdos. Butterfly-shaped confetti rained down on the crowd during its outro, while fireworks lit up the sky again. Finally, the central screen exhibited the phrase "Believe in Love" after a blast of party streamers closed the show. Berryman, Buckland, Champion and Martin interacted with fans before leaving, sometimes handing over drumsticks or guitar picks as souvenirs. The production credits rolled to the sound of "A Wave" in the background.
Prior to Bogotá, "Paradise" lacked extended parts, "Charlie Brown" maintained a permanent position on the set list and "Sunrise" introduced the Stars act. Starting from São Paulo, "Let Somebody Go" gave way to the Songbook, where Martin performed a track chosen by the public. Coldplay updated the Lightclub as well, taking turns between "Hymn for the Weekend" (Seeb remix) and "Something Just Like This". "Aeterna" replaced "Midnight" depending on the pick. Singapore fixed "The Jumbotron Song" at the C-stage, with lyrics improvised about the person on the screens. In Budapest, the band cut "Biutyful" to make "Feelslikeimfallinginlove" the finale. Martin Garrix's "Breakaway" (2024) became part of the Lightclub following their Glastonbury Festival appearance. It featured a pre-designated security guard dancing with them on stage. "Humankind" was removed in Rome to bring "Good Feelings". Coldplay performed it after "Fix You" and invited attendees to wear the diffraction glasses handed out before the show to magnify its visuals. Dublin and Melbourne added "We Pray" and "All My Love" to the set list permanently. The former succeeded "Clocks", while the latter wrapped up the Moons act.
Coldplay broke numerous touring records worldwide. Billboard ranked them as the top group of the year in 2022 ($342.1 million from 3.8 million tickets), 2023 ($342.5 million from 3.2 million tickets), 2024 ($400.9 million from 3 million tickets), and 2025 ($464.4 million from 3.5 million tickets). Their first European leg sold 1 million admissions in a single day. Extra dates were scheduled at venues including Stade de France and King Baudouin Stadium, where the band performed a record-breaking four times. The achievement was later reproduced at Estadio Nacional de Chile, while their Estadio River Plate visit reached the 10-show milestone. By making $49.7 million from 626,841 entries in Buenos Aires, they earned the highest gross and attendance for a boxscore report in South American history. Over the course of March 2023, Coldplay became the act with most concerts in a row at the Couto Pereira (2), Nilton Santos (3) and Morumbi (6) stadiums. Revenue at the latter surpassed $40.1 million, an unprecedented figure in Brazil.
The second run across Europe shifted 1.4 million tickets in a day, marking the fastest sales for a band at the time. It was also the quickest in general since Robbie Williams' Close Encounters Tour, which set the record at 1.6 million back in 2005. More than 812,000 users vied for admissions in the United Kingdom, overloading the British Ticketmaster server multiple times. News outlets registered extensive online queues in Portugal (450,000), Spain (350,000), Italy (700,000), and the Netherlands (700,000) as well. Coldplay established new records at the Cidade de Coimbra, LluÃÂs Companys, and San Siro stadiums.
Following dates continued to attract overwhelming demand, surpassing 1.7 million people in Indonesia; 400,000 in Malaysia; 365,000 in Australia; and 1 million in Singapore, where the group arranged a six-night residency. SM Tickets had to suspend internet sales in the Philippines due to a server crash. In Taiwan, entries sold out in three minutes for the first concert and six for the second, both of which were unprecedented among Western musicians. Held on 15 November 2023, the show at Gelora Bung Karno Stadium generated $13.9 million, the most for an individual engagement in Southeast Asia.
In the ensuing months, Coldplay broke the record for consecutive performances at Arena NaÃÂionalÃÂ (2), Merkur Spiel-Arena (3), Eden Park (3), Helsinki Olympic Stadium (4), and Ernst-Happel-Stadion (4). Over 200,000 buyers sought Auckland tickets, while Vienna drew 600,000 potential customers. Queues for India and Hong Kong gathered 13 million and 500,000 users, respectively. The Narendra Modi Stadium concerts had the largest indoor attendances of the 21st century as well. In September 2024, they moved 800,000 entries in a day for the third British leg, which included 10 dates at the Wembley Stadium. Additionally, the third North American run topped 700,000 tickets sold over a single morning. Coldplay grossed $1.52 billion from 13.1 million admissions in 223 reported shows, securing the most attended tour of all time and the first by a group to earn $1 billion. Regionally, the Music of the Spheres World Tour achieved the highest revenue and turnout in European and Latin American history.
The tour received widespread acclaim from music critics worldwide. Andrew Chamings from San Francisco Chronicle said that despite his "cynicism, Coldplay's show was a joyous, bright, cathartic post-pandemic triumph". Writing for Houston Press, Marco Torres called it "a beautiful dream, with balloons flying around, confetti bursting from air cannons and lasers shooting from the stage through the smoke" as the group performed. Fort Worth Star-Telegram Mac Engel claimed that Martin showed all of the skills that make him one of the top performers of his generation and made Cotton Bowl feel intimate with a powerful set. In her review for Chicago Sun-Times, Selena Fragassi credited the concerts with setting the bar for what tours could be like in the future. Similarly, Christopher A. Daniel from The Atlanta Journal-Constitution praised the production values as "reminiscent of the art rock foundation paved by bands like Genesis, Kraftwerk and Pink Floyd", adding that Coldplay are set to become a "must-see legendary act". Furthermore, Philip Cosores of Uproxx opined that "there is no wasted energy, with every bit of the set time used to create memories and impact the audience". He also concluded that if environmental concerns become the norm for touring, the band's status as an essential contemporary artist "will take on greater meaning than just the legacy of their music". In a more mixed review, Ed Masley told The Arizona Republic that their use of the Weirdos during segments of the performance felt awkward, while "Biutyful" did not work well as a closer.
Regioactive Torsten Reitz declared that they were "full of energy and much more powerful than on record", mastering both upbeat and quiet moments. Marine Pineau wrote that Coldplay lived up to their reputation as a live act and lauded the band for their showmanship in her review for Virgin Radio. Alexis Petridis from The Guardian praised the tour for being a "genuinely immersive" experience which gave depth to its namesake album through an inventive approach, rating the residency at Wembley Stadium with five stars. Kate Solomon of The Times considered it a "triumphant homecoming", awarded Coldplay four stars and commended their musicianship. The Telegraph Neil McCormick hailed them as "modern masters" of stadium entertainment and granted the same score. Writing a five-star piece for NME, Hannah Mylrea stated that the band offered a masterclass in how a massive pop show can be done. Wilson Ledo from CNN Portugal noted the concert had a lasting euphoria and praised how Martin interacted with the public. In his Muzikalia review, Pau Clot mentioned that Coldplay "cannot be matched by anyone on this planet today". Göteborgs-Posten Johan Lindqvista highlighted the stage presence of the group and concluded they are "more than special effects". Mark Beaumont of The Independent called their Glastonbury Festival set "the spectacle of a lifetime". On the other hand, Rolling Stone UK Will Richards insisted that the midsection was drawn-out and had more potential. Vicky Jessop from The Standard defined it as "wildly uneven".
Felipe Branco Cruz from Veja affirmed that Coldplay "reinvented the concept of arena rock" with their Rock in Rio performance, turning fans into protagonists of the show rather than just spectators and carrying on the legacy of spectacles that transcend music, first established by groups like Pink Floyd, Queen and U2. Writing for UOL, Yolanda Reis argued it is "undeniable" they are "true showmen" and defined the concert as unforgettable. Roberto Medina, the founder and president of the festival, said "there has only been one moment like tonight, Freddie Mercury in 1985. It was incredible, it was memorable".
El Comercio Juan Carlos Fangacio Arakaki praised their Lima set lists for being complete, diverse and well distributed. Pablo Figueroa stated on CNN Chile that Coldplay managed to deliver one of the best music events in the country since its transition to democracy. An editorial from Infobae lauded the group's versatility while performing in Buenos Aires. Mauro Apicella of La Nación declared that they are leading the way in stadium technology and innovation. Omelete writer Caio Coletti described Berryman's bass as "irresistibly pulsating" and upheld that Champion proved to be a good backing vocalist by guiding the "Viva la Vida" chants.
Saori Yoshiba described the show as "a mixture of openness and intimate intensity" on Barks, adding that she experienced a "night where the power of music and the energy of a live performance left a lasting, euphoric feeling". Writing for CNN Indonesia, Muhammad Feraldi Hifzurahman opined that Coldplay "are truly [something] you should try at least once in your life", praising the chemistry the band had with their fans. However, the review included only four stars out of five because the organisers of the venue did not managed the public well. Sam Mead of The Music stated that "over two decades in, this is [the group] at their bestâÂÂhard-hitting, punchy grooves". The West Australian Caleb Runciman defended that Coldplay were responsible for the greatest event in Optus Stadium history, delivering "a concert, theatre production and light show all in one". He underscored their musical prowess as well, giving them five stars. Poppy Reid from Rolling Stone Australia said that the band solidified their status among the most visionary live acts, consistently blending hits with visual wonders. Conversely, The Guardian Australia Rosamund Brennan questioned the audience engagement while recent material was played. Gregorio Larrazabal applauded the inclusion of national guests on his piece for the Manila Bulletin, illustrating it as a spectacle of global and local melodies intertwining.
On 17 July 2022, Coldplay launched an audio transmission from Stade de France on their tour app, titled Live in Paris. The third show at Estadio River Plate, held on 28 October, was part of Live Broadcast from Buenos Aires, a theatrical event directed by Paul Dugdale. Screenings were held in a record 81 countries and grossed $8.4 million. The band released a director's cut on 19 April 2023, under the name '. Inspired by their shows at Stadio Diego Armando Maradona and arranged by Stillz, the short film Tutto Passa â A Tribute to Napoli premiered on 23 May 2024. The group's tenth studio album, Moon Music, launched on 4 October with songs recorded on the road. Coldplay also joined Disney+ Hotstar for Live in Ahmedabad, drawing more than 8.3 million views on 26 January 2025. Footage from the concerts at Wembley Stadium became available on 30 December, under Music of the Spheres World Tour: An Immersive Experience, for a limited run via Meta Horizon.
According to Pollstar Eric Renner Brown, Coldplay have ushered into "a new era of sustainable touring" with the Music of the Spheres World Tour. Their efforts were considered unprecedented for a stadium concert run, since the band reduced CO<sub>2</sub> emissions by 59% in their first two years of activity, planted 9 million trees in forest reserves, and had their methods adopted by Live Nation to provide green options to more artists. Furthermore, they were listed among the most influential climate action leaders in the world by Time. As the tour became a leading topic of news coverage in visited regions, it was also considered a media phenomenon. Mark Beaumont from The Times stated that the band regained public respect and credibility, which prompted a shift in attitude towards them.
Countries such as Portugal, Italy, and Malaysia experienced significant rises in ticket speculation due to high demand for their shows. Investigation of such cases inspired new legislation. The government of Indonesia decided to simplify their event permit process after Coldplay were not able to schedule more dates in the region. Media outlets informed that ticketless fans came together outside their respective venues in multiple cities to hear the band perform, including 34,000 in Munich. They boosted local economies as well, drawing comparisons to football tournaments like the Champions League. On music charts, their discography enjoyed a resurgence in sales and streams. To assist non-profit organisations, Coldplay teamed up with Global Citizen and the Love Button Global Movement, recruiting new volunteers at every tour stop.
This set list was taken from the 1 June 2025 concert in Stanford, United States. It does not represent all shows throughout the tour.
Act I â Planets
Act II â Moons
Act III â Stars
Act IV â Home
The band performed covers, received guests, invited fans and improvised songs specifically for the occasion on numerous dates, skipping to the rest of the show otherwise.
Covers
Guests
Songbooks
Improvisations
Credits adapted from the band's official tour book, which was released "In loving memory of Ben Farrey and Steve Strange".
Performing members
Management
Audio
Audio crew
Wristbands
Video
Video crew
Video content
Merch
Communications
Production
Security
Backline
Wardrobe and backstage
Carpentry
Carpenter crew
Power
Lighting
Lighting crew
Special effects
Special effects crew
Design and art direction
Photography and videography
Creative
Charity representatives
Rigging crew
Energy zone
Barricades and cable ramps
Live Nation promoters
SJM promoters
Live Nation touring
Booking agents
Legal
Accounting
Business management
Steel and advance
Cities
Others