Born This Way Ball
|Born This Way Ball|
Promotional poster for the tour
|Tour by Lady Gaga|
|Associated album||Born This Way|
|Start date||April 27, 2012|
|End date||February 11, 2013|
|Box office||$181.1 million ($183.35 in 2014 dollars)|
|Lady Gaga concert chronology|
The Born This Way Ball was the third concert tour by American recording artist Lady Gaga, in support of her second studio album Born This Way (2011). The tour visited all continents, except Antarctica, and was ranked as the fifth highest-grossing tour of 2012 by Pollstar. The tour grossed $19.7 million in 2013 according to Pollstar's mid-year chart from the 18 dates played, bringing the Born This Way Ball Tour's total gross to $181.1 million from 98 dates. The tour has received critical acclaim with the tour being praised by critics of different continents, who praised the stage design, Gaga's vocal abilities, different expressive messages and the great production team.
On Wednesday, February 13, 2013, after already announcing the postponement of shows in Chicago, Detroit, and Hamilton two days earlier due to an injury, Live Nation and Lady Gaga announced the cancellation of the remaining concert dates due to the singer's development of a break and a labral tear of the right hip caused by strenuous repetitive movements involved in the shows. The singer went through surgery to fix the damage caused.
Background and development
During the release of "Judas", the second single from Born This Way, Lady Gaga confirmed in an interview that she would embark on a concert tour in 2012, which would visit Latin American countries for the first time, like Brazil, and would return to Mexico. In November 2011, producer DJ White Shadow asserted that Gaga was "doing [preparations] for the next round of touring", adding that the singer's main objective in the following year was to continue preparing for the Born This Way Ball, as well as create new songs for her next studio album. Fernando Garibay, who began collaborating with Gaga in The Fame Monster (2009), felt that Born This Way was one of his most personal moments. He opined, "This album was the most personal [because of] the amount of detail that went into this record, the amount of passion [and] emotion from her and the team. Every song was a story towards the Born This Way theme. We're excited now, putting that into the tour and expressing that on a live performance level." In contrast to her previous tour, Garibay affirmed that the shows of the Born This Way Ball would be more exaggerated. A promotional poster of the tour was released on February 7, 2012, which was described by Billboard 's Ray Waddell as a "bizarre poster that portrays the ball as a campy, medieval-meets-the-80's kingdom." It features Gaga's face hovering over dark clouds looking down from the sky, and includes touches of neon purple and turquoise coloring. She is also fused into a keytar, standing near her dancers in front of a medieval castle. The first and second legs for the Born This Way Ball were announced the following day, revealing that Gaga would perform concerts in countries such as South Korea, Hong Kong, and Singapore. Additional dates as part of the Australasia leg were added on February 15, 2012. Live Nation Global Touring CEO Arthur Fogel and his team will steer around the tour, as they did the bulk of the Monster Ball tour of 2010–11. Fogel explained that "The last tour established [Gaga] as a major act worldwide and I believe this tour will be an extension of that, particularly considering we're going to territories she's never been in, like Southeast Asia and Latin America."
A European leg was announced in March 2012, which consisted of twenty-one dates over a period of two months, initiating in Bulgaria while concluding in Spain. Subsequently, German electronic musician Zedd was declared as an opening act for the Asian leg of the tour, while longtime collaborator Lady Starlight and British glam rock band The Darkness were approached as opening acts for the European portion of the Born This Way Ball. In their website, the band stated that they were "honoured to announce their addition to the bill as main support for Lady Gaga's Born This Way Ball tour 2012."
Gaga evaluated the tour as an "electro-metal pop-opera"; "the tale of the Beginning, the genesis of the Kingdom of Fame. How we were birthed and how we will die celebrating." Dance rehearsals occurred for approximately one month. In February 2012, she revealed that she would release stage designs for the Born This Way Ball via Twitter. Gaga unveiled a sketch of the stage design, which was designed by the singer herself and her creative team Haus of Gaga. Gaga tweeted: "I'm so excited. The Haus has been working so hard, we can't wait for you to see it!! Love you Little Monsters, have the time of your life." The stage was completed over a period of a few months, and was modeled after a medieval Gothic castle, featuring viewing towers, intricate carvings and a large catwalk to interact with the audience. It took over fifteen trailers—which measured fifty-three feet in length—to move the castle onto the stage. The area enclosed by the catwalk was described by Gaga as "The Monster Pit". "The Monster Pit is General Admission only, and Little Monsters [...] unlock it when they arrive to the arena or stadium. Entry to The Monster Pit is relegated [...] to the fans who have arrived first, waited all night, [...] dressed to 'Ball.' Every night Haus of Gaga will choose fans from The Monster Pit to come back stage and meet me! These tickets are not more expensive. No dress code requirement. Born This Way means anything goes."
As part of an advertising campaign in the weeks proceeding to the tour, sketches of four costumes designed by Giorgio Armani were released to the press. Armani previously contributed attires to Gaga at the 52nd Grammy Awards, and again during her endeavors on the Monster Ball Tour.
The Born This Way Ball was divided into five acts and was imbued with political and social themes such as discrimination, self-love and government control. The show began with "Highway Unicorn (Road to Love)" accompanied by an extended intro, which Gaga performed while atop a fully puppeteered horse, with a mechanical look, built by The Jim Henson Company, out of the three-story medieval castle prop. The dancers and Gaga walked around the catwalk, or the "Monster Pit". Metaphorically, the scene alluded to the assertion that "everyone is entitled to love, no matter what their sexual orientation". After the song, the stage went dark. Spotlights were shone across the stage with a helicopter sound being played. The audience then hears "Mother G.O.A.T." speak for the first time stating that "alien fugitive Lady Gaga has escaped", and that "Operation: Kill the Bitch", is in order. We then see Gaga dressed in an alien costume coming out from the castle and singing "Government Hooker", in which she "seduces" a dancer who is dressed in a suit before killing him and leaving the stage. Following the conclusion of "Government Hooker", Gaga's dancers reenacted the birth scene akin to that in "Born This Way" along with an extended intro of the song. Coinciding with the routine, Gaga moans and simulates giving birth. The singer then performs the song after coming out of the zipper-like vagina of a large, inflatable body. After "Black Jesus + Amen Fashion", Gaga sings "Bloody Mary" in a hovering Aliens-esque costume featuring a mask that obscured her face.
The Mother G.O.A.T. Manifesto I, an interlude accentuating Gaga's alter ego Mother G.O.A.T, soon commences and recites the opening dialogue of the music video of "Born This Way". For "Bad Romance", Gaga arrives to the stage inside a vessel (similar to the one she arrived in during the 53rd Annual Grammy Awards) wearing a plastic white dress topped with a ram-horned headpiece. She then delivers a speech about her identity and her 'imprisonment' before being taken away, screaming, by guards, representing government restriction and 'betrayal'. After being taken to the top of the castle, Gaga performs "Judas", before escaping. She then performs "Fashion of His Love" in the castle, followed by "Just Dance", including a remixed-outro. "LoveGame" is then performed in a clear bathtub built on the stage, while on dates with the Monster Pit, it is performed on the runway. After a speech from Gaga, thanking the audience for coming to her show, "Telephone" is performed with the original choreography. An interlude follows, with Mother G.O.A.T. describing "Gaga's take over of planet earth". "Heavy Metal Lover" is performed next and Gaga appears in a "Giorgio Armani" fringed sleeve top laying on across the body of a motor-"tricycle" with her arms in two slots, making her look as if she is a part of the vehicle. This is a recreation of the Born This Way album cover. Gaga drives around the Monster Pit followed by choreography for the last chorus of the song. After "Heavy Metal Lover", Gaga has a small chat before asking several of her dancers and the audience "Do you give a fuck!?", before going into "Bad Kids". She then performs acoustic songs, such as "Hair" and "Princess Die", and the album version of "You and I". During "Princess Die" she usually invites a fan on stage who then sits next to her on the motorcycle-piano. "Electric Chapel" is played on a guitar with a display of flashing lights before Gaga leaves the stage.
After a Spanish guitar intro, she then returns in a recreation of the meat dress and performs "Americano" exclaiming "Let's give a big round of applause for the very unhappy couple." At the end of the song, she sings, "In 1978 Larry Flynt (Larry Flynt sometimes replaced with the country Gaga is performing at) declared that women will no longer be treated as meat. On the cover of Hustler magazine or at the Born This Way Ball, meat is precisely how we treat women." "Poker Face" is performed next and at the end of the song Gaga is lowered into a meat grinder. A moment later she emerges from the stage sitting on a meat couch and performs "Alejandro" with her gun bra and green trousers. The castle closes along an interlude and blue lights. Mother G.O.A.T. flies around the castle lip-syncing the words to the first verse of "Paparazzi" until Gaga returns to kill her with her new disco stick. Gaga then gives a speech about how there are no boundaries in music, and then performs "Scheiße" saying "this is the last song." She performs the song wearing a black two-piece outfit. After the song the stage goes black. Moments later she returns in a tower playing an acoustic version of "The Edge of Glory" followed by its album version. For the last number, Gaga performs "Marry the Night" and usually brings some of her fans on stage to walk the Monster Pit with her. When the song ends, she and her dancers are lowered off stage and the castle goes dark.
The show is set in and around a large medieval style castle, known as the "Kingdom of Fame" which rotates and manoeuvres throughout the show. A classical score accompanies the show's interludes, tying in with the show's dark, operatic theme.
The Born This Way Ball has received general acclaim from critics. The Asian and Oceanic legs were met with praise. Commenting on Gaga's performance in South Korea, The Korea Herald journalist Cho Chung-un opined that she captivated the audience with what he described as an "innovative and breathtaking stage installations and ideas". Writing for the same publication, Emma Kalka complemented Gaga's wardrobe, and cited several segments such as her "Americano" performance as highlights of the concert. To Kwaak Je-yup of The Korea Times, the performance demonstrated Gaga's abilities as a performing artist. "Friday night was Lady Gaga at her best, fusing fashion and designs with great melodies and dance moves. Despite a few hiccups, it was a powerful lesson to the K-pop stars who dotted the arena." Philippine Daily Inquirer stated that the singer "wowed tens of thousands of South Koreans at the opening show of her global tour Friday with signature flamboyant outfits and a provocative performance". MTV noted the elaborate visuals of the show with its "Gothic castle backdrop and myriad costume changes" concluding that it is "clear that Gaga has outdone even her own Monster Ball in terms of spectacle." Elizabeth Soh of Yahoo! Singapore gave a positive review of the Singapore concert describing it as "at times shocking, raunchy, mellow and just plain bizarre." The New Zealand Herald felt that it was "obvious Gaga believes in her message, you can feel it in her voice. [That] Behind all the lights, glitz, meat, guns and exploding bras is a singer of exceptional talent". Regarding her first show in Brisbane, the Brisbane Times gave the show five stars, writing that it was "pure pop theatre" and that "the crowd was simply lost in the Gaga experience. Sean Sennet of The Australian commented that the show was "An extravaganza in every sense" and will be "remembered as a benchmark tour."
Shows in Europe have also been very well received. Sofia's largest news agency, novinite.com, believed that "The magic of The Born This Way Ball concert, [was] said to be something until now unseen in Bulgaria, and a show that even outperformed the one Madonna staged in Sofia several years back". The Born This Way Ball was labelled as the "best show of the year" and "one of the most amazing events in years in Lithuania" by Lithuanian publication ATN, who also praised Gaga's costumes, stage design and the themes that were explored in the show. Neil McCormick of The Telegraph awarded the Born This Way Ball in Helsinki four stars, writing that the show "is quite spectacular ... and quite spectacularly bonkers", mentioning that Gaga "occupies pole position as the 21st centuries ultimate pop star". He also thought "The real highlight of the show is when she drops the big production, chats engagingly with her fans and sings songs solo at her piano. That's where you see and hear what an undeniable talent she is". However, he criticised the restrictiveness of several costumes and felt that the show's premise was a little over-extravagant and became diluted. Swedish news corporation Expressen gave the show five stars, believing that "her two and a half hour show is by far the most lavish and eccentric [they'd] ever seen", complementing Gaga's "flashes of humour... and smart political digs", and the show's intimacy and promotion of self-expression and love. Shows in the UK were also embraced by the media. The Guardian gave the show four out of five stars, stating that "The tightly choreographed hits sound terrific, but it's when this curious star sabotages the slickness that she seems most herself", while The Independent praised her performance at the Twickenham Stadium, writing that "she remains the only modern pop star worthy of being talked about in the same breath as Bowie, and her rivals – Rihanna and Beyoncé – aren't fit to lick Gaga's studded six-inch heels". Regarding her performance at the O2 World in Berlin, morgenpost.de reported that "unlike Madonna, whose artificial spectacle you could experience at the same place, the younger rival is cheeky, fresh, uncompromising. She is closer to her audience, is snotty, rough and direct, and makes up for in charm and chutzpah, and does not lack in musical genius. That is impressive". After her performance at the Stade de France in Paris, Puretrend.com also gave a positive review of the show, commenting that "Attached to a unicorn for her triumphant arrival, she does what she does so well in front of nearly 71,000 people. Better than Madonna and her debacle Olympia, Mother Monster gave fans their money's worth." Norwegian newspaper Verdens Gang gave it a mixed review, admiring her voice, but saying that "if we are going to talk about content, it is similar [to Madonna's]. Gaga hardly says anything Madonna didn't say 25 years ago" adding that "But I have a feeling that she is a less interesting pop-artist than many of us had hoped for. Lady Gaga so often praised for being “original”, is mostly very un-original."
Simon Sweetman of New Zealand's Stuff.co.nz praised the tour's Auckland date as the best pop concert since Janet Jackson's Velvet Rope Tour. South African publication The New Age gave Gaga's performance in Johannesburg five stars, stating that "Gaga’s energy teamed with a bevy of spectacular dancers made for an electric show". National newspaper The Times's Nikita Ramkissoon shared this praise, writing that she "was really taken by was her natural talent... From arriving on stage on a horse, birthing herself, dancing dripping with sex and magnificence, Black Jesus and legs splayed open on an armchair made of meat, this performance was nothing short of spectacular. Every minute of it... Everyone [she] know who was there was blown away. You just had to be there to see how impressive it was".
Reviews of the North American leg were mostly positive. The Vancouver Sun's Francois Marchand praised the show, writing that "Unlike Madonna, whose latest Vancouver appearance was dominated by violent imagery and a borderline bullying attitude toward her longtime fans, Gaga continued to carry her trademark message of empowerment and self-love, which also appears in the form of her many charitable endeavours aimed at LGBT groups", claiming that "the near-sold out concert simply swept you off your feet". Marchard also felt that "With almost as many costume changes as songs performed, Gaga's Born This Way Ball concert was essentially a big piece of performance art... And in front of her giant castle she staked her claim as the queen of the pop scene once again". Jeva Lange of the Seattle Weekly's review of the Tacoma show paralleled the praise given to the Vancouver shows, believing that "her voice, costumes, and lyrical honestly were not only completely unforgettable, they were inspiring". Rich Lopez from Dallas Voice praised the show and Lady Gaga's "relentlessness in giving a dynamic performance", saying "She shocked, she touched, she served diva realness, and like those four fans onstage (as well as the ones who joined her in the “Marry the Night” finale), she made everyone feel special." The Arizona Republic's Joe Golfen also gave the Phoenix show a positive review, stating that "The nearly two-and-a-half hour show, a stop on her worldwide Born This Way Ball, highlighted everything that has made Lady Gaga such a phenomenon. There were outrageous outfits, elaborate set pieces, sexy dance numbers, and messages of self-respect and gay rights. Plus, all those hit songs.", and noting "that packed arena of screaming fans made it clear that her star wasn’t going to be fading away anytime soon." Rob Duffy from National Post praised Gaga's performance in Toronto at the Air Canada Centre, writing: "Anchoring it all is one of the best arena show stage designs you’ll ever see: a giant medieval castle, packed with gangways and trapdoors, leading out to a round catwalk ingeniously designed to allow a few hundred of the most rabid little monsters access to the front and centre Monster Pit." Once referring to her fans, he states that "As they march together to rapturous applause, it’s impossible not to notice that Gaga is leading the way, and her devout followers are struggling to hold back the tears."
Other North American reviews were more critical. Emily Zemler of The Hollywood Reporter gave the Los Angeles show a mixed review, writing: "The music was, at best, secondary to the grab-bag, highly produced performance....It was almost as though the singer decided to indulge every possible idea anyone ever had for her live show simultaneously, oversaturating the stage in a way that her previous Monster Ball happily didn’t." Jim Harrington from Oakland Tribune gave the San Jose concert a negative review, saying that the "production is so over-the-top that it completely buries the music", adding that "the level of enthusiasm [of the fans] definitely seemed to peak early in the concert." Jon Bream of Star Tribune criticised the production, saying that "She talked plenty, about herself and self-love. But it felt more self-aggrandizing than self-empowering. Even when she tried to explain the concept of her set-in-a-medieval-castle show -- something about government-owned alien territory -- it was incomprehensible" finishing by saying "even though she's no longer hot, [she] still matters to her Little Monsters". Bernard Perusse from Montreal Gazette gave Gaga's Montreal concert a mixed review, criticizing the confusing storyline and her long speeches: "There was, in fact, a bit too much talking. Not that Gaga's mission of inclusion, tolerance, love and empowerment is anything but positive and necessary - but a drawn-out monologue repeatedly making the point that no one should give a f-k in the face of criticism only restated what is already in the lyrics. Much of the motivational speaking with `tude - she is the same as us, apparently - was overkill", but also praising the general concert and saying "The overall package has captured hearts. Just ask almost 14,000 delirious fans who could have stayed all night - many of them to keep getting their feelings validated and find their future looking brighter than it did Monday morning."
Tickets for the tour ignited tremendous commercial success in several Asian and Australian markets. Tickets for the Australasian leg of the Born This Way Ball became available on February 17, 2012 through Ticketek and Ticketmaster. Shortly after availability, tickets for the initial two Auckland shows were sold out. In response to positive ticket sales in New Zealand and Australia, nine additional concerts were scheduled as part of the Australasia leg. In Hong Kong, an estimated 6,000 presale tickets became available on February 24. Tickets were sold out within three hours, prompting Live Nation to add three extra concerts in the city in five days. Additional sellouts and positive commercial results were reported for the successive performances in Hong Kong, as well as in Taipei, Tokyo, Bangkok, Singapore, Seoul, and Jakarta, with the latter having sold out within two hours.
Similar successes were echoed in European markets. Several British publications indicated that presale tickets in the United Kingdom were selling beyond the demand. Industry analysts suggested that based on internet searches that an estimated two million people could attempt to purchase a ticket out of the 75,000 that were issued for the London and Manchester dates. Tickets became available for general sale on April 13, 2012; the London event sold out in a record-breaking 50 seconds, while the Manchester concert sold out under ten minutes. Several European ticketing sites crashed when the tickets went on sale, including Sweden, Finland and Spain, where the Barcelona pre-sale fastly sold out; more than 22,000 people attended her outdoor concert in Bucharest, Romania. Both Russian dates sold out in hours. So far the biggest crowd on the tour has been in Paris at the Stade de France on September 22, 2012, when Gaga, with 71,000 people in attendance, became the youngest artist to ever grace the stadium until Rihanna scheduled a date at the Stade de France on her Diamonds World Tour for June 2013.
The high demand for tickets continued in Africa. When tickets went on sale for the two dates in South Africa, the ticket retailer Computicket's online ticketing servers crashed under the pressure from the high volume of fans trying to buy tickets to the concerts. Before the crash, some fans experienced extremely long waiting times in online queues, up to two hours, and at one point it was reported that over 26,000 people were still waiting to purchase tickets online. As a result, Computicket decided to cease online ticket sale until the following morning.
Despite the worldwide commercial success of the tour, it was not very well received by the South American market. In Colombia, some tickets were sold at half of their original price to increase ticket sales. This generated a wide criticism from fans who bought tickets at the original price; the production company also made an offer to fans who bought tickets at their original price, so they could get another free ticket in the same location and a price adjusted refund, or a full refund. To increase ticket sales of the three concerts in Brazil, special offers were made, one of to include a two for one in some stand locations, and a 10 installments with no interest payment for tickets. In Chile, ticket sales were higher than in the rest of the South American countries. However, the show wasn’t able to sell all the locations immediately, and the production company for the concert had to make special offers 2 weeks before the show to sell more tickets. This included a 2x1 offer in stand locations, and reducing the price in most of the tickets. In Peru, tickets were sold in the original price.
The North American leg of the tour additionally experienced strong ticket sales. By the time the final 21 dates of the tour had been canceled on February 13, the entire leg had been nearly sold out. Had the entire leg been completed, the tour would have topped $200 million in ticket sales and finished as one of the top fifteen highest-grossing tours of all time. The cancellation of the last 21 dates resulted in refunds of over $25 million and 200,000 tickets. With more than twenty dates left, Gaga was forced to cancel the remaining tour dates due to sustaining a hip injury that required surgery. With the dates of the tour that were successfully completed, Gaga grossed more than $160 million.
The South Asian part of the tour was the subject of some controversy due to its denunciation by social conservatives. Gaga's support for LGBT rights, the supposed indecency of her shows, and religious content in her lyrics led some conservative Christian and Muslim groups in South Korea, the Philippines, and Indonesia to call for the cancellation of the concerts. Most went on as scheduled, although one, in Indonesia, was canceled due to threats, the cancellation being seen as an indicator of the growing influence of conservative groups like the Islamic Defenders Front.
Several conservative political commentators denounced The Born This Way Ball shortly after the conception of the tour. In May 2012, Gaga sparked an online uproar, particularly in the city of Bangkok when she tweeted: "I just landed in Bangkok baby! Ready for 50,000 screaming Thai monsters. I wanna get lost in a lady market and buy fake Rolex." Several of Gaga's fans felt that the tweet was racist and viewed it as a negative stereotype. The following month, weeks after her concert in Thailand, several members of the country filed a public lawsuit against Gaga for misuse of the Thailand flag. The complaints came from when Gaga while wearing an accessorized and provocative bikini costume with and a traditional Thai headdress, rode a motorcycle across the stage with a Thai flag tied to it. Government officials in the country deemed the act as "not appropriate" and felt that it "hurt the feelings of Thai People".
Gaga caused more controversy after her June 27 performance in Melbourne, where she debuted a new song called "Princess Die", about suicide and mental illness. The song's lyrics, including lines such as "I wish that I was strong/I wish that I was wrong/I wish that I could cope/but I took pills and left a note" were slammed as "distasteful" by suicide charities, who feared the message about the suicide that the song portrayed. Chris Wagner of Lifeline, an international crisis support service, stated, "Lifeline is very concerned about the nature of the song, particularly as it clearly describes the method of suicide and talks in depth about suicide. It doesn't actually have any message of hope, of help seeking, or anything of a positive nature whatsoever." The song's references to Princess Diana and her death also caused offense and outrage, despite Gaga attempting to distance herself from such controversy by clearly spelling out the name of the song during her concert.
This set list is representative of the first show in Los Angeles. It does not represent all dates throughout the tour.
- "Highway Unicorn (Road to Love)"
- "Government Hooker"
- "Born This Way"
- "Black Jesus + Amen Fashion"
- "Bloody Mary"
- "Bad Romance"
- "Fashion of His Love"
- "Just Dance"
- "Electric Chapel"
- "Heavy Metal Lover"
- "Bad Kids"
- "The Queen"
- "Yoü and I"
- "Poker Face"
- "The Edge of Glory"
- "Marry the Night"
- On select dates, Gaga performed her unreleased song, "Princess Die".
- During the two performances in London, Lady Gaga performed a cover of John Lennon's "Imagine".
|April 27, 2012||Seoul||South Korea||Olympic Stadium||Zedd||51,684 / 51,684||$3,084,172|
|May 2, 2012||Hong Kong||Hong Kong||AsiaWorld-Arena||51,613 / 51,613||$7,893,195|
|May 3, 2012|
|May 5, 2012|
|May 7, 2012|
|May 10, 2012||Saitama||Japan||Saitama Super Arena||96,550 / 96,550||$18,339,701|
|May 12, 2012|
|May 13, 2012|
|May 17, 2012||Taipei||Taiwan||TWTC Nangang Exhibition Hall||22,173 / 22,173||$4,274,243|
|May 18, 2012|
|May 21, 2012||Pasay||Philippines||Mall of Asia Arena||18,915 / 18,915||$1,275,387|
|May 22, 2012|
|May 25, 2012||Bangkok||Thailand||Rajamangala National Stadium||41,478 / 41,478||$4,299,376|
|May 28, 2012||Singapore||Singapore||Singapore Indoor Stadium||30,952 / 30,952||$4,744,331|
|May 29, 2012|
|May 31, 2012|
|June 7, 2012||Auckland||New Zealand||Vector Arena||Lady Starlight||34,367 / 34,367||$3,669,324|
|June 8, 2012|
|June 10, 2012|
|June 13, 2012||Brisbane||Australia||Brisbane Entertainment Centre||31,326 / 31,326||$4,289,453|
|June 14, 2012|
|June 16, 2012|
|June 20, 2012||Sydney||Allphones Arena||54,774 / 54,774||$7,563,088|
|June 21, 2012|
|June 23, 2012|
|June 24, 2012|
|June 27, 2012||Melbourne||Rod Laver Arena||60,031 / 60,031||$8,169,642|
|June 28, 2012|
|June 30, 2012|
|July 1, 2012|
|July 3, 2012|
|July 7, 2012||Perth||Burswood Dome||32,046 / 32,046||$3,696,277|
|July 8, 2012|
|August 14, 2012||Sofia||Bulgaria||Armeets Arena||The Darkness
|8,705 / 8,705||$489,708|
|August 16, 2012||Bucharest||Romania||Piaţa Constituţiei||22,602 / 22,602||$627,303|
|August 18, 2012||Vienna||Austria||Wiener Stadthalle||13,826 / 13,826||$1,213,814|
|August 21, 2012||Vilnius||Lithuania||Vingio Parko Estrada||14,853 / 14,853||$1,004,182|
|August 23, 2012||Riga||Latvia||Mežaparka Lielā Estrāde||12,974 / 12,974||$587,997|
|August 25, 2012||Tallinn||Estonia||Tallinn Song Festival Grounds||16,191 / 16,191||$1,011,992|
|August 27, 2012||Helsinki||Finland||Hartwall Areena||19,793 / 19,793||$2,043,247|
|August 28, 2012|
|August 30, 2012||Stockholm||Sweden||Ericsson Globe||27,447 / 27,447||$2,848,530|
|August 31, 2012|
|September 2, 2012||Copenhagen||Denmark||Parken Stadium||27,819 / 27,819||$2,223,471|
|September 4, 2012||Cologne||Germany||Lanxess Arena||25,123 / 25,123||$2,312,695|
|September 5, 2012|
|September 8, 2012||London||England||Twickenham Stadium||101,250 / 101,250||$10,714,991|
|September 9, 2012|
|September 11, 2012||Manchester||Manchester Arena||15,543 / 15,543||$1,795,795|
|September 15, 2012||Dublin||Ireland||Aviva Stadium||37,005 / 37,005||$3,523,340|
|September 17, 2012||Amsterdam||Netherlands||Ziggo Dome||26,375 / 26,375||$2,462,977|
|September 18, 2012|
|September 20, 2012||Berlin||Germany||O2 World||11,968 / 11,968||$1,138,313|
|September 22, 2012||Paris||France||Stade de France||70,617 / 70,617||$6,367,305|
|September 24, 2012||Hanover||Germany||TUI Arena||10,816 / 10,816||$1,075,831|
|September 26, 2012||Zurich||Switzerland||Hallenstadion||26,626 / 26,626||$3,035,010|
|September 27, 2012|
|September 29, 2012||Antwerp||Belgium||Sportpaleis||33,539 / 33,539||$2,948,685|
|September 30, 2012|
|October 2, 2012||Milan||Italy||Mediolanum Forum||10,753 / 10,753||$1,119,536|
|October 3, 2012||Nice||France||Palais Nikaia||13,169 / 13,169||$1,088,012|
|October 4, 2012|
|October 6, 2012||Barcelona||Spain||Palau Sant Jordi||16,934 / 16,934||$1,705,685|
|October 26, 2012||Mexico City||Mexico||Foro Sol||The Darkness
|37,260 / 37,260||$2,666,769|
|October 30, 2012||San Juan||Puerto Rico||José Miguel Agrelot Coliseum||21,262 / 21,262||$2,242,937|
|October 31, 2012|
|November 3, 2012||San José||Costa Rica||Estadio Nacional de Costa Rica||29,014 / 29,014||$1,661,029|
|November 6, 2012||Bogotá||Colombia||Estadio Nemesio Camacho El Campín||The Darkness
|30,546 / 36,335||$2,465,994|
|November 9, 2012||Rio de Janeiro||Brazil||Parque dos Atletas||26,167 / 26,167||$2,218,846|
|November 11, 2012||São Paulo||Estádio do Morumbi||43,137 / 43,137||$4,293,859|
|November 13, 2012||Porto Alegre||FIERGS Parking Lot||9,918 / 9,918||$923,379|
|November 16, 2012||Buenos Aires||Argentina||River Plate Stadium||45,007 / 45,007||$3,988,565|
|November 20, 2012||Santiago||Chile||Estadio Nacional Julio Martínez Prádanos||42,416 / 42,416||$2,849,707|
|November 23, 2012||Lima||Peru||Estadio Universidad San Marcos||36,163 / 36,163||$1,732,732|
|November 26, 2012||Asunción||Paraguay||Jockey Club||26,481 / 26,481||$1,107,371|
|November 30, 2012||Johannesburg||South Africa||FNB Stadium||The Darkness
|56,900 / 56,900||$3,270,764|
|December 3, 2012||Cape Town||Cape Town Stadium||39,527 / 39,527||$2,285,389|
|December 6, 2012||Oslo||Norway||Telenor Arena||The Darkness
|14,566 / 14,566||$1,748,812|
|December 9, 2012||Saint Petersburg||Russia||SKK Peterburgsky||11,127 / 11,127||$1,434,499|
|December 12, 2012||Moscow||Olimpiyskiy||19,522 / 19,522||$4,022,660|
|January 11, 2013||Vancouver||Canada||Rogers Arena||Madeon
|30,054 / 30,054||$2,891,441|
|January 12, 2013|
|January 14, 2013||Tacoma||United States||Tacoma Dome||14,185 / 14,185||$1,258,450|
|January 15, 2013||Portland||Rose Garden||8,853 / 8,853||$791,496|
|January 17, 2013||San Jose||HP Pavilion at San Jose||11,465 / 11,465||$1,498,246|
|January 20, 2013||Los Angeles||Staples Center||N/A||N/A||N/A|
|January 21, 2013|
|January 23, 2013||Phoenix||US Airways Center|
|January 25, 2013||Las Vegas||MGM Grand Garden Arena|
|January 26, 2013|
|January 29, 2013||Dallas||American Airlines Center|
|January 31, 2013||Houston||Toyota Center|
|February 2, 2013||St. Louis||Scottrade Center|
|February 4, 2013||Kansas City||Sprint Center|
|February 6, 2013||Saint Paul||Xcel Energy Center|
|February 8, 2013||Toronto||Canada||Air Canada Centre|
|February 9, 2013|
|February 11, 2013||Montreal||Bell Centre|
|Total||1,643,407 / 1,649,196||$180,523,559|
|June 3, 2012||Jakarta||Indonesia||Gelora Bung Karno Stadium||Security measures|
|February 13, 2013||Chicago||United States||United Center||Hip injury|
|February 14, 2013|
|February 16, 2013||Auburn Hills||The Palace of Auburn Hills|
|February 17, 2013||Hamilton||Canada||Copps Coliseum|
|February 19, 2013||Philadelphia||United States||Wells Fargo Center|
|February 20, 2013|
|February 22, 2013||New York City||Madison Square Garden|
|February 23, 2013|
|February 25, 2013||Washington, D.C.||Verizon Center|
|February 27, 2013||Boston||TD Garden|
|March 2, 2013||University Park||Bryce Jordan Center|
|March 3, 2013||Uncasville||Mohegan Sun Arena|
|March 6, 2013||New York City||Barclays Center|
|March 7, 2013|
|March 10, 2013||Nashville||Bridgestone Arena|
|March 11, 2013||Atlanta||Philips Arena|
|March 13, 2013||Tampa||Tampa Bay Times Forum|
|March 15, 2013||Fort Lauderdale||BB&T Center|
|March 16, 2013||Miami||American Airlines Arena|
|March 18, 2013||Greensboro||Greensboro Coliseum|
|March 20, 2013||Tulsa||BOK Center|
Credits adapted from the tour's official program.
- Visual Director - Richard Jackson
- Art Director - Marla Weinhoff
- Production Executive - Mo Morrison
- Stage Architect - Mark Fisher
- Fashion Director - Nicola Formichetti
- Costume Design - Haus of Gaga, Christian Dada, Armani, Versace, Moschino, and Void of Course
- Creative - Haus of Gaga, Lady Gaga, Josh Thomas and Richard Jackson
- Choreographer - Richard Jackson
- Wardrobe - Perry Meek and Tony Villanueva
- Stylist - Brandon Maxwell
- Hair Stylist - Frederic Aspiras
- Make Up - Tara Savelo and Sara Nicole Tanno
- Video Director - Steven Fatone
- Lighting Director - Calvin Mosier
- Management - Troy Carter
- Stage Director - Richard Jackson
- Stage Fabrication - Tait Towers
- Promoter - Live Nation Global Touring
- Dancers - Amanda Balen, David Lei Brandt, Graham Breitenstein, Montana Efaw, Kevin Frey, Knicole Haggins, Asiel Hardison, Jeremy Hudson, Mark Kanemura, Ian McKenzie, Sloan-Taylor Rabinor, and Victor Rojas
- Lady Gaga - Lead vocals, piano, keytar, guitar
- Lanar "Kern" Brantley - Bass, Band Leader
- George "Spanky" McCurdy - Drums
- Brockett Parsons - Keyboards
- Tim Stewart - Guitar
- Ricky Tillo - Guitar
- Joe Wilson - Musical director
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- "LADY GAGA EN CONCERT À PARIS, ELLE DÉCHAÎNE LA CAPITALE ET PROVOQUE LE PAPE" (in French).
- "Konsertanmeldelse: Tja-tja, Gaga" (in Norwegian).
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- Asia box score:
- "Billboard Boxscore". Billboard (New York City, New York) 124 (18). May 26, 2012. ISSN 0006-2510. Archived from the original on May 13, 2012. Retrieved May 13, 2012.
- "Billboard Boxscore". Billboard (New York City, New York) 124 (22). June 23, 2012. ISSN 0006-2510. Archived from the original on June 17, 2012. Retrieved June 17, 2012.
- Oceania box score:
- "Billboard Boxscore". Billboard (New York City, New York) 124 (26). July 21, 2012. ISSN 0006-2510. Archived from the original on July 16, 2012. Retrieved July 16, 2012.
- "Billboard Boxscore". Billboard (New York City, New York) 124 (27). July 28, 2012. ISSN 0006-2510. Archived from the original on July 21, 2012. Retrieved July 21, 2012.
- Europe box score:
- "Billboard Boxscore". Billboard (New York City, New York) 124 (38). October 13, 2012. ISSN 0006-2510. Archived from the original on October 7, 2012. Retrieved October 7, 2012.
- "Billboard Boxscore". Billboard (New York City, New York) 124 (45). December 1, 2012. ISSN 0006-2510. Archived from the original on November 25, 2012. Retrieved November 25, 2012.
- North American box score:
- "Billboard Boxscore". Billboard (New York City, New York) 124 (45). December 1, 2012. ISSN 0006-2510. Archived from the original on November 25, 2012. Retrieved November 25, 2012.
- "Billboard Boxscore". Billboard (New York City, New York) 124 (51). January 5, 2013. ISSN 0006-2510. Archived from the original on January 7, 2013. Retrieved January 7, 2013.
- "Billboard Boxscore". Billboard (New York City, New York) 124 (51). January 5, 2013. ISSN 0006-2510. Archived from the original on January 7, 2013. Retrieved January 7, 2013.
- "Billboard Boxscore". Billboard (New York City, New York) 125 (4). February 2, 2013. ISSN 0006-2510. Archived from the original on January 26, 2013. Retrieved January 26, 2013.
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- Born This Way Ball Official Program. USA: Streamline, Interscope, Kon Live. 2012.
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