Introducing the King of Hip-Hop

Page 5 of 9

David Jacobs/ZUMA Press

Give Lil Wayne and Jay-Z credit – they have cracked the code when it comes to live hip-hop. Rap has long been a tough sell on the concert stage thanks to skittish promoters, weak stagecraft and indifferent audiences (save for the occasional touring festival like Rock the Bells, rock-oriented rap acts like the Beastie Boys or certain one-off shows by superstars). Only in the last half-decade, as hip-hop enters middle age, have rap tours begun to draw grosses comparable to and competitive with road-warrior rock acts.

For the past few years, Lil Wayne has been the biggest draw on the road among rappers, putting together eclectic packages that appeal to the full spectrum of his fan base. Supporting acts have ranged from T-Pain to Keyshia Cole to Gym Class Heroes, making the whole of a Weezy tour greater than the sum of its parts. Wayne's $51 million total gross since 2009 includes dates from his I Am Music tour (which kicked off in 2008, in the wake of Tha Carter III's blockbuster sales) and America's Most Wanted tours, which together played to some 724,000 fans across 68 concerts. Scarcity, perhaps, has also helped – Weezy's incarceration in late 2010 probably made his return to the stage in 2011 hotly anticipated, and a new tour with Rick Ross has been selling briskly.

Coming in second on our live tally, Jay-Z offers, in essence, the other model of hip-hop touring success: rapper as self-assured Chairman of the Board (Frank Sinatra allusion fully intended). A decade and a half into his career, Jigga has an enviable catalog of rap classics worthy of a two-hour showcase. And while his shows regularly draw impressive support acts such as Mary J. Blige, Jay has the authority to headline showcases as large as Coachella or Britain's Glastonbury festival on his own. The Blueprint 3 tour made Jay 2010's top hip-hop concert draw and one of the biggest acts on the road, period. When he does share the spotlight, it's with a fellow superstar. His four shows in 2010 with Eminem, two each in Detroit and New York, reportedly grossed $15 million by themselves. And the forthcoming head-to-head tour by Jay-Z and Kanye West following the release of their joint album Watch the Throne promises to be a blockbuster.

For our contenders who have served as opening acts, we've apportioned one-fourth credit, which in a couple of cases provides a solid boost. Nicki Minaj has just started headlining gigs on her own, but as an opener for Britney Spears and Lil Wayne she has played for thousands of people. Drake and Rick Ross have also opened for Wayne, and the former's participation in the blockbuster America's Most Wanted jaunt gives him a large lift in our tally (Ross has only started touring with Wayne this summer, so his grosses are smaller). Rookies like Minaj and Drake have made lots of new friends on the road as openers, setting themselves up to headline their own tours.

Speaking of making friends, let's take a look at how our contenders are doing on the social-media front.

Lil Wayne: A History in Photos

To read the new issue of Rolling Stone online, plus the entire RS archive: Click Here

Music Main Next

blog comments powered by Disqus
Around the Web
Powered By ZergNet
Daily Newsletter

Get the latest RS news in your inbox.

Sign up to receive the Rolling Stone newsletter and special offers from RS and its
marketing partners.


We may use your e-mail address to send you the newsletter and offers that may interest you, on behalf of Rolling Stone and its partners. For more information please read our Privacy Policy.

Song Stories

“Don't Dream It's Over”

Crowded House | 1986

Early in the sessions for Crowded House's debut album, the band and producer Mitchell Froom were still feeling each other out, and at one point Froom substituted session musicians for the band's Paul Hester and Nick Seymour. "At the time it was a quite threatening thing," Neil Finn told Rolling Stone. "The next day we recorded 'Don't Dream It's Over,' and it had a particularly sad groove to it — I think because Paul and Nick had faced their own mortality." As for the song itself, "It was just about on the one hand feeling kind of lost, and on the other hand sort of urging myself on — don't dream it's over," Finn explained.

More Song Stories entries »