Lady GaGa :: Charts & Sales History

[nympho]

Spotify Monthly Listeners
31,578,564

26th worldwide

Females
1. Selena Gomez (45,930,048)
2. Dua Lipa (41,493,059)
3. Sia (33,504,145)
4. Halsey (32,577,443)
5. Camila Cabello (32,233,583)
6. Lady Gaga (31,578,564)
7. Ariana Grande (31,432,250)
8. Nicki Minaj (31,379,473)
9. Rihanna (30,804,160)
10. Cardi B (29,221,382)

[spiritboy]

Re: Lady GaGa :: Charts & Sales History

Nympho, do you think ASIB increased her profile on streaming and gained her new followers?

[ViviLittleM]

Re: Lady GaGa :: Charts & Sales History

The Fame still charting on Billboard 200 at #168 (-1)

212 WEEKS ON CHART

[nympho]

"Shallow" surpassed 100 million views on YouTube.

It becomes Gaga's 16th Vevo Certified music video.

1. Bad Romance - 982M
2. Poker Face - 554M
3. Telephone - 388M
4. Alejandro - 347M
5. Applause - 321M
6. Judas - 313M
7. Paparazzi - 279M
8. Just Dance - 248M
9. Born This Way - 238M
10. Million Reasons - 158M
11. LoveGame - 151M
12. You and I - 133M
13. The Edge of Glory - 129M
14. Perfect Illusion - 125M
15. Video Phone - 115M
16. Shallow - 101M

[solitaire]

Re: Lady GaGa :: Charts & Sales History

Not to discredit her but reaching 100M has become a staple rather than an achievement due to how YouTube/streaming has grown massively recently. So I'm surprised Vevo Certified is still a thing.

[nympho]

^
Nobody said it was something spectacular...
Just keeping track of her videos passing 100 million.

[beredy]

Nobody said it was something spectacular...

TBH it still is. Big videos did become bigger, but a lot of artists you'd think were popular have trouble getting to big YT views. So 100 million is still a nice mark to get to.

[IronFist1994]

Re: Lady GaGa :: Charts & Sales History

Is this airplay chart relevant? According to it, Shallow is #7 in Europe and ARUTW is #39.

http://www.eurotop44.com/et44.html

[ViviLittleM]

Lady Gaga's The Fame Monster 10X Platinum UK
[tweet:22qed28d]https://twitter.com/BRITs/status/1063458169710624770[/tweet:22qed28d]

[nympho]

Lady Gaga's The Fame at 10

We look back at the iconic debut from Lady Gaga, as it hits 10-times platinum in the UK

Lady Gaga's debut album The Fame, which turns 10 in 2019, has reached a huge milestone in the UK, passing 3 million combined sales across physical, downloads, and streams – which makes it 10-times platinum!
To celebrate this big 10 – and the other big 10 on the way – we look back at the album that kicked off one of the most exhilarating, interesting careers in pop!

Release
It may seem inconceivable now in the days of #NewMusicFriday and global releases, but The Fame came out in the UK a full four months after it hit stores in the US. This created a huge buzz around this mysterious, outrageous new pop star and when finally released in the UK, The Fame went straight in at 3.

Chart performance
The Fame has occupied every slot in the Top 10, spending a total of seven weeks at Number 1 across four separate stints, with the first lasting a month. It made its home in the Top 10 across 72 weeks (!) and was in the Top 40 for a total of 132 weeks. It was last in the Top 40 in 2017 when it made an unexpected return for one week, at 38.

The Fame Monster
The Fame is basically two albums in one. As the end of 2009 approached, Lady Gaga recorded a new set of eight songs, and while in some territories it was a completely separate album, in the UK, The Fame was re-released as a two-disc set, with the original album on one, and The Fame Monster on the other. The addition of the new album propelled The Fame back into the Top 10 in November 2009.


The singles
Just Dance, featuring Colby O'Donis, was Lady Gaga's first single, spending three weeks there in January 2009. While stylistically and visually it was merely a hint of the artist Lady Gaga was about to become, it was the perfect "light" introduction to anyone curious.

Next, came Poker Face, arguably the big breakthrough that widened her audience beyond pop fans. Poker Face also spent three weeks at Number 1 and was Gaga's first million-seller, crossing the milestone in September 2010. It's her biggest selling song in the UK, and the most downloaded and streamed of The Fame – 1.17 million downloads, and 21.4 million plays.

Up third was Paparazzi, whose video showed just how far Gaga was willing to go in the name of art. Peaking at Number 4, not many videos for Top 10 hits show its star be flung off a balcony by a lover she would then go on to fatally poison – not the last time Gaga would use a toxin to off a few of her enemies – and Gaga's unique style and attention to detail was really starting to show through. Her fake-bloodbath performance of the track at the 2009 MTV VMAs made headlines across the world – but it was only going to get bigger.

Many people forget about the album's fourth single LoveGame – it was very quickly overshadowed by the looming Fame Monster – but it still did OK, reaching Number 19.

Bad Romance, the lead single from The Fame Monster reissue, was the real game-changer. Gaga's third Number 1 single, Bad Romance managed two single-week stints at the top, in December 2009 and January 2010. It became Gaga's second million-seller in 2013, and has shifted 1.03 million downloads, notched up 20.2 million listens, and is the album's most-viewed video, with 1.2 million watches.

Just when you thought Gaga couldn't get any bigger, she enlisted Beyoncé for a scene-stealing cameo on next single Telephone, which became The Fame's fourth and final chart-topper. The epic 10-minute video was a sequel to Paparazzi in which Bey and Gaga went on a poisoning rampage, and bought Telephone two weeks at Number 1 in March 2010. It would be Lady Gaga's last Number 1 for over eight years, while Beyoncé hasn't topped the Official Singles Chart since. But it wasn't over for The Fame yet…

While Alejandro might sound like a summery bop, Gaga explored her darker side with the video, closing off The Fame era with some of her most visually impressive work. The eagerly awaited video was a huge talking point, and helped lift Alejandro to a Number 7 peak in July 2010 – not bad for what is essentially the seventh single off an album that's already shifted over two-million copies.

The biggest non-single of the album is Speechless, a ballad from the The Fame Monster reissue which Gaga performed at the Royal Variety Performance – it's sold 60,000 downloads and racked up 2.2 million listens.

Sales
The Fame sold fairly steadily, taking almost three months to hit Number 1, around the time Poker Face – its second single – topped the Official Singles Chart. Its biggest sales peak came at the end of 2009, when it sold 405,000 in just three weeks over the Christmas period. It crossed the million-sales mark at this point. The Fame took just over four further months to pass two million in spring 2010! It sailed past the three-million mark in November 2018.


Impact
Lady Gaga's meteroric rise to fame became the blueprint every new artist wanted to follow, and Poker Face and Just Dance were the first and third biggest sellers of 2009 respectively. Gaga reinvigorated interest in electro-pop and was arguably responsible for producer RedOne becoming the music supremo every star wanted to work with. Through her canny exploitation of her own image and presenting her performances and videos as art, Lady Gaga upped the game and her accelerated reinvention drew comparisons with legendary artists, most notably Madonna – and we all know how that went down. Lady Gaga certainly got people talking.


The Fame's tracks in order of most downloaded
1 POKER FACE
2 BAD ROMANCE
3 JUST DANCE
4 TELEPHONE
5 PAPARAZZI
6 ALEJANDRO
7 LOVEGAME
8 SPEECHLESS
9 BEAUTIFUL DIRTY RICH
10 STARSTRUCK
11 MONSTER
12 EH EH
13 DANCE IN THE DARK
14 TEETH
15 BOYS BOYS BOYS
16 SO HAPPY I COULD DIE
17 THE FAME
18 I LIKE IT ROUGH
19 PAPER GANGSTA
20 MONEY HONEY
21 BROWN EYES
22 SUMMERBOY
23 DISCO HEAVEN
24 AGAIN AGAIN
©2018 Official Charts Company. All rights reserved.

The Fame's tracks in order of most audio streams
1 POKER FACE
2 BAD ROMANCE
3 JUST DANCE
4 TELEPHONE
5 PAPARAZZI
6 ALEJANDRO
7 LOVEGAME
8 MONSTER
9 SPEECHLESS
10 TEETH
11 DANCE IN THE DARK
12 EH EH
13 BEAUTIFUL DIRTY RICH
14 BOYS BOYS BOYS
15 SO HAPPY I COULD DIE
16 STARSTRUCK
17 THE FAME
18 PAPER GANGSTA
19 I LIKE IT ROUGH
20 MONEY HONEY
21 BROWN EYES
22 SUMMERBOY
23 DISCO HEAVEN
24 AGAIN AGAIN
©2018 Official Charts Company. All rights reserved.

https://www.officialcharts.com/chart-ne ... 10__24752/

[theMathematician]

What a huge era that was in terms of success and impact on pop music history - impressive!

[OutlawTorn]

Lady Gaga's The Fame Monster 10X Platinum UK

Thanks - updated!

https://popularalbums.blogspot.com/p/20 ... nster.html
(https://popularalbums.blogspot.com/p/news-updates.html)
+
https://twitter.com/popularalbums/statu ... 3886382080

[Yoshie]

Total UK sales for The Fame as of the 16/9 chart are 3,000,717.

[ViviLittleM]

Tickets available / Total Tickets
28 DEC: 30 / 5,200 (99,4%)
30 DEC: 11 / 5,200 (99,8%)
31 DEC: 54 / 5,200 (99%)
17 JAN: 33 / 5,200 (99,4%)
19 JAN: 28 / 5,200 (99,5%)
20 JAN (J&P): 42 / 5,200 (99,2%)
24 JAN: 110 / 5,200 (98%)
26 JAN: 61 / 5,200 (98,8%)
31 JAN: 110 / 5,200 (98%)
2 FEB: 39 / 5,200 (99,3%)
3 FEB (J&P): 153 / 5,200 (97%)
30 MAY: 502 / 5,200 (90,4%)
1 JUN: 53 / 5,200 (99%)
2 JUN (J&P): 1,170 / 5,200 (77,5%)
6 JUN: 1,267 / 5,200 (75,6%)
8 JUN: 266 / 5,200 (95%)
9 JUN (J&P): 1,242 / 5,200 (76%)
12 JUN: 1,570 / 5,200 (70%)
14 JUN: 786 / 5,200 (85%)
17 OCT: 1,813 / 5,200 (65%)
19 OCT: 796 / 5,200 (85%)
23 OCT: 2,286 / 5,200 (56%)
25 OCT: 1,617 / 5,200 (69%)
31 OCT: 1,813 / 5,200 (65%)
2 NOV: 1,108 / 5,200 (79%)
6 NOV: 2,346/ 5,200 (55%)
8 NOV: 1,548 / 5,200 (70%)

Total:
Tickets available / Total Tickets
20,854 / 140,400 (85% sold out)

No resale tickets. Only tickets sold by ticketmaster counted.

11 first shows are basically sold out by now, months in advance, and will be 100% sold out.
14 shows/27 with at least 90% sold out so far. Only 5 shows, one year from now, below 70%.
I'm sure those dates will do fine as the date of the shows get closer.

An update before the start would be really cool

[thebigham]

https://radioinsight.com/ross/171086/a- ... lady-gaga/

A DECADE IN THE RADIO LIFE OF LADY GAGA
By Sean Ross Last updated Oct 25, 2018

In October 2008, it was clear that Top 40 music was on an upward swing that had begun a few years earlier with “Get the Party Started,” “Hollaback Girl,” and “Since U Been Gone.” On this day a decade ago, the supercharged hit music dubbed “Turbo-Pop” in this column was already pulsating across CHR radio — Pink, “So What?”; Britney Spears, “Womanizer”; Katy Perry, “Hot & Cold”; Rihanna, “Disturbia.”

On this week in 2008, Lady Gaga’s “Just Dance” was already six months old. I’d liked it enough to rip it into my iTunes right away. And for a while, it was just another song in my iTunes that should have been a hit.. But after becoming a hit in Canada, always friendlier to all things Euro-gummy, it was up 73-67 on the Billboard Hot 100 this week, while still waiting to make the radio airplay chart.

Then “Just Dance” exploded and touched off a string of seven hits over the course of an album (The Fame) and a half (The Fame Monster). The moment when a “Just Dance” is followed by a “Poker Face” — even better and bigger — is the real moment when a star is born. And it kept happening. It was almost like having Thriller as one’s debut album.

Top 40’s comeback was going to happen either way. But Gaga gave the genre a consumer press star of the sort that always marks an upswing for the format. She was playful in the way that Kelly Clarkson was earnest and Pink was angsty. And she made bubblegum okay. Americans might have caught the Abba reference in “Alejandro,” but who here caught that both “Poker Face” and “Bad Romance” both contained shout-outs to the ‘70s Eurodisco of Boney M?

If the first two years of Gaga’s career seemed effortless, the ensuing years were as frustrating as trying to follow-up “Thriller.” On “Born This Way,” Gaga seemed to want to do something more dignified but less delectable. Over the next decade, there were attempts to give radio what it wanted, there were other moments when that didn’t seem like a concern at all. Movie reviewers have expressed astonishment at the singer’s ability to leave “meat dress Lady Gaga” behind in A Star Is Born. I wasn’t in any way surprised. As a recording artist, she’d shown plenty of growth and versatility, even when it wasn’t the right thing for a radio career.

A decade after her initial splash, A Star Is Born has returned Gaga to the pop culture epicenter. The movie’s centerpiece duet with Bradley Cooper, “Shallow,” not even intended as a single a week ago, is now a force of nature. And now seems like a good time to talk about Gaga’s place at radio over the last decade, because where she fit (or didn’t) says a lot about the state of the format itself. So let’s flash forward at yearly intervals, starting with:

October 2009: Top 40 radio is exploding now, as second and third stations start to pop up in market after market, driven by a belief that PPM favors the format, but also by the availability of so many up-tempo hits. Gaga is on her fourth hit now, “Paparazzi.” The previous single was “Love Game,” even bolder, even gummier, even more suggestive than the first two. At another time, CHR might have blanched. Now it’s along for a ride on the disco stick. Kesha’s “Tik Tok” is a hit now as well. At first, it sounds like a Gaga copy, but the genre expands so quickly that you can’t keep track of who is influencing whom.

October 2010: The singles from The Fame Monster have already run their course, but haven’t disappointed. “Alejandro” was Gaga’s goofiest hit single yet. By any other act, without Gaga’s momentum or acknowledged playfulness, it couldn’t have been a hit. “Bad Romance” was received with no such hesitation. “Telephone” is on the charts at the moment, but by the Glee Cast. Turbo-pop is at its peak: “Dynamite,” “DJ Got Us Falling in Love,” “Only Girl in the World,” “I Like It.” Kesha is now an established artist herself with multiple hits — now just one of many having hits in the genre.

October 2011: The Born This Way album came out in May, and by October is already on its fourth single, “You and I.” That ballad should have been the clean-up hitter, but two of its predecessors, the title track and “The Edge of Glory,” have been perfunctory near-hits (regardless of chart peak), while “Judas” disappeared quickly. “Born This Way” is well-intentioned but bewildering. After becoming Madonna for a new generation on the last project, why does Gaga feel compelled to nod to the original, if it means going backwards musically? Besides, the competition is thick (“Moves Like Jagger,” “Last Friday Night [T.G.I.F.]”) and even teen punk has gone turbo-pop with Cobra Starship. “You and I” is visible now as a precursor of the versatile Gaga on display now, but at the time, it faced early PPM-era resistance to ballads, along with the second album’s loss of momentum.

October 2012: Gaga is between projects this October. Turbo-pop is, by turns, becoming meaner (Pink, “Blow Me One Last Kiss”), sludgier (Maroon 5, “One More Night”), and/or more EDM-flavored (Justin Bieber, “As Long as You Love Me”; Ellie Goulding, “Lights”; Psy, “Gangnam Style” — also the beginning of hit music as meme). The artists who helped revive CHR are starting to falter; Kelly Clarkson’s latest hit streak is fading, and her current single is “Dark Side.”

October 2013: “Applause” is up 11-7 at CHR this week. It is a return to a familiar sound for Gaga, but not quite a return to form. CHR radio deals with it dutifully, but without brio, and when controversy erupts over the follow-up duet with R. Kelly, “Do What U Want,” radio moves on quickly. And yet, one of the things that “Applause” contributes to the charts this week is tempo and energy, as pop music becomes more ethereal or meandering, depending on your viewpoint. Lorde, “Royals,” is No. 1 this week. Even bubblegum is becoming sludgy. Miley Cyrus, “Wrecking Ball,” is a hit this week. Katy Perry is still mid-to-up with “Roar” but “Dark Horse” is waiting to explode.

October 2014: The most Gaga-esque single at Top 40 this week is Charli XCX’s “Boom Clap.” That song has ties to a lot of the aggressive mid-tempo pop now populating radio, but it also recalls the early Gaga audacity. Lady Gaga herself is missing from the Mainstream Top 40 chart. If you want her, however, she’s topping the Billboard 200 with the Tony Bennett duets album, Cheek to Cheek.The Bennett LP seems more like a sidebar that shows the artist’s versatility rather than a forced retreat from the pop mainstream, but it’s interesting to note that when Linda Ronstadt did just that with What’s New, she was at roughly 15 years into her career — twice Gaga’s tenure. Taylor Swift’s “Shake It Off” is a hit this week, but the next group of female artists is represented, including Ariana Grande and Meghan Trainor.

October 2015: Gaga is away at the moment. The year has belonged to Taylor Swift, and her current hit is the airy “Wildest Dreams.” The No. 1 pop single is R. City f/Adam Levine, “Locked Away.” The No. 2 and 3 songs are by Selena Gomez and Demi Lovato. The No. 4 single is the Weeknd’s “The Hills,” and Lana Del Rey is a phenomenon as pop music is drawn further into the ether. Time and TV appearances will quickly prove that Del Rey is not Gaga, but they are, in a way, sisters in performance art, and when the up-tempo “Summertime Sadness” hits, it definitely has its Gaga-esque aspects.

October 2016: I’ve known from the first spin that it was going to be me against the world on “Perfect Illusion.” The month-old song is still climbing the charts this week, buoyed by the recent announcement of Gaga’s upcoming Super Bowl halftime show, but it’s about to peak at No. 20. The real hits at CHR are bouncy but dense mid-tempo EDM — “Closer,” “Cheap Thrills,” “Cold Water.” I appreciate “Perfect Illusion” for its energy and multiple climactic moments. Radio programmers hear only stridency, and besides Gaga used up her first-single goodwill at CHR on “Applause.” CHR ratings are not yet on an obvious downswing, and I’m finding myself wondering if maybe nobody misses tempo except cranky old guys. I like “Perfect Illusion” for its faint echoes of the Grass Roots’ “Midnight Confessions” — a propulsive legitimate candidate for my favorite “radio record” of all time. But that clearly couldn’t be a hit in this day and age either.

October 2017: By October, two more Gaga singles have run their course. The Super Bowl triumph has nudged “Million Reasons” to No. 15 at CHR in March. “The Cure,” not part of the original Joanne album, got to No. 20 in May. “Million Reasons” should have at least become an AC staple, but at this moment, the format is taking its cues from CHR; even an AC-sounding ballad struggles to become a real AC hit without making it to power at Top 40.

“The Cure” generated initial CHR excitement, then petered out, although as is now typical, it is now on its way back to power rotation at stations like WHTZ (Z100) New York. I have mixed feelings about “The Cure” — a clear attempt to give CHR what it wants after the willfulness of the previous two singles. A Star Is Born gives Gaga’s character several deliberately insipid hit songs that parody today’s pop. “The Cure” is a better-crafted song, but sonically, it’s of a piece with them. Meanwhile, even Taylor Swift is fighting her own battles with radio, which is grudgingly running “Look What You Made Me Do” to No. 1 on the way to dispensing with it as soon as possible afterwards.

A week before I first published this column, it seemed possible that “Shallow” might be just another one of those songs where Edison Research’s Larry Rosin and I bemoan radio’s unwillingness to seize a cultural moment. It landed at No. 1 on iTunes immediately, a few days ahead of the release of A Star Is Born. It was already known to people from an unavoidable movie trailer. And yet, there were only a handful of stations that recognized the event value in its first few days. That there are too few women programming pop music for a female audience is an article unto itself, but it’s worth noting that two of the early supporters were among the most prominent in those ranks, WTMX Chicago’s Mary Ellen Kachinske and WKSE/WTSS Buffalo, N.Y.’s Sue O’Neil.

On Friday of opening weekend, it was still “I’ll Never Love Again” that was being positioned as the emphasis track. Once A Star Is Born opened, it seemed unlikely that anything besides “Shallow” could be a single. At this writing on Wednesday night, “Shallow” is at the very beginning of a groundswell. Fifteen months ago, I wrote about Kesha’s “Praying” about two weeks into its development and turned out to be spectacularly wrong about the timing of its chart trajectory. But not the eventual outcome. And regardless of how the radio story takes shape, for the audience “Shallow” is a hit already, and likely to remain that way until Oscar time.

(Update: Two weeks later, “Shallow” is 25-17 Adult Top 40 and +1177 spins; the Greatest Gainer by more than a 2:1 margin over anything else. At CHR, it’s up 53-38, +830, which still makes it only the eighth fastest-growing song. It’s not Post Malone & Swae Lee. It’s not yet at a point of inevitability and even some supporters like Z100 New York are spinning it conservatively. But it’s an exceptional story for any song that is not typically what CHR 2018 plays. And there’s one especially meaningful story in San Francisco, where one Hot AC supporter has turned into both Hot ACs and both CHRs.)

At this time in pop music history, I don’t often find myself advocating for ballads. “Shallow” will not fix pop music’s tempo crisis. As Gaga succeeded Madonna a decade ago, the next artist who makes fun, up-tempo, provocative-but-playful records is going to have to do that. Gaga is still capable of making great singles. She might again have multiple hits, even from this movie. But all the evidence from A Star Is Born shows that she’ll never be frothy pop Gaga again. That’s okay. In the natural order of things, it’s time for a new Madonna/Gaga, and radio needs one.

Then again, “Shallow” doesn’t have to fix the tempo crisis. Like “Endless Love” in the doldrums of 1981, being a phenomenal, real hit is enough. “Shallow” address other problems—the song-to-song sameness and the lack of galvanizing “real hits.” If it changes the notion of what constitutes a hit single in 2018, that will be a significant accomplishment, too. And if the second weekend of A Star Is Born is anywhere near as buzzy as the first (update: it was), it also gives radio a chance to share another cultural experience with listeners, not just the Song of Summer.

[nympho]

Besides all the other chart placements that I posted on the A Star Is Born thread:

Billboard Year End Charts

Top Dance/Electronic Artists
#6 Lady Gaga

Top Dance/Electronic Albums
#4 The Fame

Top Dance/Electronic Albums Artists
#5 Lady Gaga

[nympho]

Tickets available / Total Tickets
28 DEC: 30 / 5,200 (99,4%)
30 DEC: 11 / 5,200 (99,8%)
31 DEC: 54 / 5,200 (99%)
17 JAN: 33 / 5,200 (99,4%)
19 JAN: .....


No resale tickets. Only tickets sold by ticketmaster counted.

11 first shows are basically sold out by now, months in advance, and will be 100% sold out.
14 shows/27 with at least 90% sold out so far. Only 5 shows, one year from now, below 70%.
I'm sure those dates will do fine as the date of the shows get closer.

An update before the start would be really cool

I’ll do a full update tomorrow, one day before it kicks off.

Little preview of the first shows:

28 & 30 Dec and 17 January shows completely sold out.
Only 20 tickets left for the 31 Dec show and the 19 January (all Platinum tickets for the General Admission Standing area for $525-$1,025).
44 tickets left for the first Jazz & Piano show on 20 January.

[beredy]

I look forward to seeing the stage production.

[nympho]

Tickets available / Total Tickets
28 DEC: - / 5,200 (100%)
30 DEC: - / 5,200 (100%)
31 DEC: - / 5,200 (100%)
17 JAN: - / 5,200 (100%)
19 JAN: 20 / 5,200 (99,6%)
20 JAN (J&P): 44 / 5,200 (99,2%)
24 JAN: 42 / 5,200 (99,2%)
26 JAN: 41 / 5,200 (99,2%)
31 JAN: 48 / 5,200 (99,1%)
2 FEB: 27 / 5,200 (99,5%)
3 FEB (J&P): 70 / 5,200 (98,7%)
30 MAY: 74 / 5,200 (98,4%)
1 JUN: 61 / 5,200 (98,8%)
2 JUN (J&P): 526 / 5,200 (89,9%)
6 JUN: 217 / 5,200 (96%)
8 JUN: 103 / 5,200 (98%)
9 JUN (J&P): 665 / 5,200 (87%)
12 JUN: 591 / 5,200 (88,6%)
14 JUN: 108 / 5,200 (98%)
15 JUN (J&P): 1,241 / 5,200 (76%) (New Date)
17 OCT: 995 / 5,200 (81%)
19 OCT: 241 / 5,200 (95%)
20 OCT (J&P): 2,010 / 5,200 (61,3%) (New Date)
23 OCT: 1,855 / 5,200 (64,3%)
25 OCT: 999 / 5,200 (81%)
26 OCT (J&P): 1,742 / 5,200 (66,5%) (New Date)
31 OCT: 1,440 / 5,200 (72,3%)
2 NOV: 579 / 5,200 (88,9%)
3 NOV (J&P): 2,218 / 5,200 (57,3%) (New Date)
6 NOV: 1,900 / 5,200 (63,5%)
8 NOV: 881 / 5,200 (83%)
9 NOV (J&P): 1,676 / 5,200 (67,8%) (New Date)

Total:
Tickets available / Total Tickets
20,414 / 166,400 (87,75% sold out)

No resale tickets. Only tickets sold by ticketmaster counted.

[ViviLittleM]

Tickets available / Total Tickets
28 DEC: - / 5,200 (100%)
30 DEC: - / 5,200 (100%)
31 DEC: - / 5,200 (100%)
17 JAN: - / 5,200 (100%)
19 JAN: 20 / 5,200 (99,6%)
20 JAN (J&P): 44 / 5,200 (99,2%)
24 JAN: 42 / 5,200 (99,2%)
26 JAN: 41 / 5,200 (99,2%)
31 JAN: 48 / 5,200 (99,1%)
2 FEB: 27 / 5,200 (99,5%)
3 FEB (J&P): 70 / 5,200 (98,7%)
30 MAY: 74 / 5,200 (98,4%)
1 JUN: 61 / 5,200 (98,8%)
2 JUN (J&P): 526 / 5,200 (89,9%)
6 JUN: 217 / 5,200 (96%)
8 JUN: 103 / 5,200 (98%)
9 JUN (J&P): 665 / 5,200 (87%)
12 JUN: 591 / 5,200 (88,6%)
14 JUN: 108 / 5,200 (98%)
15 JUN (J&P): 1,241 / 5,200 (76%) (New Date)
17 OCT: 995 / 5,200 (81%)
19 OCT: 241 / 5,200 (95%)
20 OCT (J&P): 2,010 / 5,200 (61,3%) (New Date)
23 OCT: 1,855 / 5,200 (64,3%)
25 OCT: 999 / 5,200 (81%)
26 OCT (J&P): 1,742 / 5,200 (66,5%) (New Date)
31 OCT: 1,440 / 5,200 (72,3%)
2 NOV: 579 / 5,200 (88,9%)
3 NOV (J&P): 2,218 / 5,200 (57,3%) (New Date)
6 NOV: 1,900 / 5,200 (63,5%)
8 NOV: 881 / 5,200 (83%)
9 NOV (J&P): 1,676 / 5,200 (67,8%) (New Date)

Total:
Tickets available / Total Tickets
20,414 / 166,400 (87,75% sold out)

No resale tickets. Only tickets sold by ticketmaster counted.

Thank you

[ViviLittleM]

Tickets available / Total Tickets
28 DEC: - / 5,200 (100%)
30 DEC: - / 5,200 (100%)
31 DEC: - / 5,200 (100%)
17 JAN: - / 5,200 (100%)
19 JAN: 20 / 5,200 (99,6%)
20 JAN (J&P): 44 / 5,200 (99,2%)
24 JAN: 42 / 5,200 (99,2%)
26 JAN: 41 / 5,200 (99,2%)
31 JAN: 48 / 5,200 (99,1%)
2 FEB: 27 / 5,200 (99,5%)
3 FEB (J&P): 70 / 5,200 (98,7%)
30 MAY: 74 / 5,200 (98,4%)
1 JUN: 61 / 5,200 (98,8%)
2 JUN (J&P): 526 / 5,200 (89,9%)
6 JUN: 217 / 5,200 (96%)
8 JUN: 103 / 5,200 (98%)
9 JUN (J&P): 665 / 5,200 (87%)
12 JUN: 591 / 5,200 (88,6%)
14 JUN: 108 / 5,200 (98%)
15 JUN (J&P): 1,241 / 5,200 (76%) (New Date)
17 OCT: 995 / 5,200 (81%)
19 OCT: 241 / 5,200 (95%)
20 OCT (J&P): 2,010 / 5,200 (61,3%) (New Date)
23 OCT: 1,855 / 5,200 (64,3%)
25 OCT: 999 / 5,200 (81%)
26 OCT (J&P): 1,742 / 5,200 (66,5%) (New Date)
31 OCT: 1,440 / 5,200 (72,3%)
2 NOV: 579 / 5,200 (88,9%)
3 NOV (J&P): 2,218 / 5,200 (57,3%) (New Date)
6 NOV: 1,900 / 5,200 (63,5%)
8 NOV: 881 / 5,200 (83%)
9 NOV (J&P): 1,676 / 5,200 (67,8%) (New Date)

Total:
Tickets available / Total Tickets
20,414 / 166,400 (87,75% sold out)

No resale tickets. Only tickets sold by ticketmaster counted.

According to this, the actual capacity is like 5400! we'll see https://pbs.twimg.com/media/DvjOaNWXQAAux9Q.jpg

[beredy]

The official capacity is 5,200 seats.

https://www.parkmgm.com/en/entertainmen ... eater.html

[ViviLittleM]

The official capacity is 5,200 seats.

https://www.parkmgm.com/en/entertainmen ... eater.html

Well I remember they added restricted view seats so... maybe that explain this

[Wayne]

Re: Lady GaGa :: Charts & Sales History

The highest per show capacity I've seen is Bruno Mars who performed to 5,252 people per show on a run of shows he had, so possible that the capacity might be as high as 5,400.

We'll have to wait and see for the first shows.

[ViviLittleM]

The highest per show capacity I've seen is Bruno Mars who performed to 5,252 people per show on a run of shows he had, so possible that the capacity might be as high as 5,400.

We'll have to wait and see for the first shows.

I hope we’ll get some already by mid January