Olivia Rodrigo photographed on April 16, 2021 at Smashbox Studios in Los Angeles.

David Needleman
The 40 dates span across North America and Europe, with support from Gracie Abrams, Holly Humberstone and Baby Queen.

Olivia Rodrigo is heading on the road next year for a full tour. On Monday (Dec. 6), the singer took to Twitter to release a full list of concert dates in support of her debut album Sour, spanning from North America to Europe.

“SOUR TOUR IS FINALLY HAPPENING!!!” the 18-year-old wrote alongside the tour’s official poster, which features her hair suspended mid-air by helium balloons. “tix on sale Friday!!!!”

Supporting Rodrigo during her 40-date run will be Gracie Abrams, Holly Humberstone and Baby Queen — Abrams will be joining the singer in the North American leg from Apr. 2 to Apr. 23, while Humberstone will join Apr. 26 to May 25. Queen will be the sole support for the European leg of the tour.

Per Rodrigo, tickets to the tour go on sale on Friday, Dec. 10. A Ticketmaster verified fan sale is currently open until 12 a.m. PT on Tuesday. Fans that sign up for the verified presale will be provided with a unique code on Thursday to purchase their tickets the following day.

The Sour tour announcement comes at the end of a successful year for the 18-year-old. Rodrigo was recently nominated for seven awards at the 2022 Grammy Awards, including nods in the Big Four categories — best new artist, song and record of the year (“drivers license”) as well as album of the year. Sour charted in the top spot on the Billboard 200 chart following its release in June, with all tracks from the album charting within the top 30 of the Billboard Hot 100 chart upon its release.

See Rodrigo’s tweet and the full list of concert dates below.

 

Apr. 2:  San Francisco, CA — Bill Graham Civic Auditorium

Apr. 5: Portland, OR — Theater of the Clouds

Apr. 6: Seattle, WA — WAMU Theater

Apr. 7: Vancouver, BC — Doug Mitchell Thunderbird Sports Centre

Apr. 9: Salt Lake City, UT — UCCU Center

Apr. 11 & 12: Denver, CO —  Mission Ballroom

Apr. 14: Minneapolis, MN — Armory

Apr. 15 & 16: Chicago, IL —  Aragon Ballroom

Apr. 19: Milwaukee, WI —  Eagles Ballroom

Apr. 20: Chesterfield, MO —  The Factory

Apr. 22: Cincinnati, OH —  The Andrew J Brady ICON Music Center

April 23: Detroit, MI — Masonic Temple Theatre

Apr. 26 & 27: New York, NY -0 Radio City Music Hall

Apr. 29 & 30: Toronto, ON —  Massey Hall

May 3: Boston, MA — Roadrunner

May 4: Washington, DC — Anthem

May 6 & 7: Philadelphia, PA  The Met Philadelphia

May 9: Atlanta, GA —  Coca-Cola Roxy

May 10: Nashville, TN —  Grand Ole Opry House

May 13: Austin, TX — Moody Amphitheater

May 14: Irving, TX —  Pavilion at Toyota Music Factory

May 17: Phoenix, AZ — Arizona Federal Theatre

May 18: San Diego, CA — The Rady Shell at Jacobs Park

May 20: Las Vegas, NV — The Chelsea

May 21: Santa Barbara, CA — Santa Barbara Bowl

May 24 & 25: Los Angeles, CA, Greek Theatre

June 11: Hamburg, Germany —  Stadtpark

June 13: Berlin, Germany — Verti Music Hall

June 15: Zurich, Switzerland — Halle 622

June 16: Milan, Italy —  Fabrique

June 18: Cologne, Germany — Palladium

June 19: Brussels, Belgium — Forest National

June 21: Paris, France — Zénith

June 22: Amsterdam, Holland — AFAS Live

June 29: Cork, Ireland —  Live At The Marquee

June 30: Dublin, Ireland — Fairview Park

July 2: Glasgow, UK —  O2 Academy Glasgow

July 3: Manchester, UK — O2 Apollo Manchester

July 4: Birmingham, UK — O2 Academy Birmingham

July 6 & 7: London, UK —  Eventim Apollo

NoLifeShaq, Zias & B.Lou, ScruFaceJean, and many more have turned on The Boy.

No matter what you thought of the Kendrick Lamar and Drake battle, there was only one undisputed winner by the end of it all: the reaction community in the worlds of streaming and YouTube. Your favorite content creators broke down the bars, reacted to all the most shocking moments, and helped this showdown become one of hip-hop's most culturally significant and resonant moments in a long time... For better or worse. See, the battle's technically not over yet, but only because the 6ix God's idea of victory is clearly quite different. In his federal defamation lawsuit against Universal Music Group – his label – for releasing K.Dot's "Not Like Us," he named various content creators who allegedly helped boost the track's widespread popularity and, as a result, its supposedly defamatory nature.

 

Furthermore, the specific allegation that Drake brings up in this highly controversial lawsuit is that UMG "whitelisted" copyright claims for YouTubers, streamers, etc. concerning "Not Like Us." This means that they would be able to monetize their content without facing a copyright claim from UMG over "Not Like Us," and this isn't really an allegation because various creators have backed this up. But a few important (alleged) caveats that people are talking about online need to be clear. First, "whitelisting" supposedly happens on behalf of a record label behind a song like the West Coast banger, and UMG is instead the distributor of that track. Secondly, as rapper and online personality ScruFaceJean brings up as seen in the post below, tracks like "Push Ups" were also "whitelisted" by its team.

The Reaction Community Drags Drake's Lawsuit Through The Mud

Along with Jean, many other of your favorite content creators spoke out against this Drake lawsuit. Zias! and B.Lou, for example, spoke with their lawyer about the possibility of countersuing for emotional distress, as they found the Toronto superstar's accusations and his implication of them very disturbing and misguided. NoLifeShaq also dragged The Boy through the mud, calling him "soft" and positing that, whether "whitelisting" happened or not, they would react to "Not Like Us" accordingly as they did to his own tracks.

In addition, it's important to bring up that many others fans have pointed to how Drake excitedly used streamers to generate hype and reaction clips for his own diss tracks against Kendrick Lamar. The most direct example is with Kai Cenat, whom he texted to "stay on stream" before dropping "Family Matters." Ironically, the Twitch giant appears in this clowned-upon defamation lawsuit as an example of what the OVO mogul's accusations and implications are. And one more thing: there is no direct link between monetization and algorithmic boosting on sites like YouTube. With all this in mind, content creators seem to feel almost insulted at the idea that they only reacted to the two biggest rappers in the world beefing with each other because one of them would allow them to make money. If Drizzy knew the first thing about the reaction community, maybe he wouldn't have included this...

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