Lady Gaga reached the top of Billboard’s monthly Top Tours ranking in March for the first time, capping the final dates of her The Mayhem Ball run and underscoring how live music revenue continues to reward sustained, high-demand acts. The milestone has broader significance for touring — especially for women and for arena-level grosses — as Gaga joins a small group of female-led acts to headline the chart since it began in 2019.
Gaga’s rise to No. 1 follows a steady climb: she first appeared on the chart when it launched and repeatedly moved into the upper reaches over subsequent years. This month’s summit came as The Mayhem Ball wound down in April, and the tour’s totals place it among the biggest pop tours in recent Boxscore history.
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- Lady Gaga — Topped the March Top Tours ranking as The Mayhem Ball completed its run. The tour grossed about $362.9 million and sold more than 1.6 million tickets during its primary legs; including additional early shows in Mexico City and Singapore, Gaga’s haul rises to roughly $419.5 million and just under 2 million tickets across a 12‑month period.
- Cardi B — Held the No. 2 slot after her Little Miss Drama Tour, which grossed $32.8 million in February (210,000 tickets across 16 shows) and finished with roughly $70 million from 453,000 tickets over 35 dates. Cardi B is the first female rapper to reach this level on the monthly list.
- Peso Pluma — No. 3 in March with $29.3 million and 218,000 tickets sold across 17 shows; his Dinastía Tour continues through May.
- Other March standouts: South Korea’s SEVENTEEN posted $27.3 million from Asian stadium dates; composer Hans Zimmer pulled in $26.1 million from European arenas; and Linkin Park earned $21.9 million from shows in Australia and New Zealand.
The chart’s movement this month also reflects a few unusual trends. It is uncommon for an arena-based act to top the monthly list — arenas have led only a minority of monthly tallies — and Gaga’s No. 1 is one of just a handful of such instances in recent seasons. Back-to-back monthly leaders from pop artists are also rare; Gaga follows Ed Sheeran, who led February’s ranking, and the last stretch of consecutive pop No. 1s dates back several years.
New York proved a lucrative market for Gaga in March: shows there on March 23–24 generated about $9.1 million and sold roughly 27,300 tickets, making it the tour’s highest-grossing stop for that leg. The Mayhem Ball’s overall performance cements the tour as Gaga’s biggest to date and places it among the top-grossing women’s tours in Boxscore records.
What the wider numbers show
Beyond individual artists, March’s charts highlighted strong regional and genre diversity. Latin and festival promoters made a notable impact on the Boxscores listings.
- OCESA, Mexico’s leading promoter, dominated the Top Boxscores list: Monterrey’s Tecate Pal Norte, Bogotá’s Festival Estéreo Picnic and Mexico City’s Vive Latino combined for nearly $45 million — more than half of the promoter’s approximately $76.1 million monthly take.
- Festival and stadium legs continued to drive outsized grosses for acts who can mobilize international legs, while arena-heavy runs showed they still compete at the top when demand remains high.
Industry implications are clear: a diversified touring ecosystem now rewards artists across genres and geographies. Female headliners remain prominent among the highest earners, but the mix also includes Latin acts, rosters from K-pop, legacy composers and rock bands — a sign that global touring revenue is increasingly pluralistic.
For fans and the live-business community, this month’s chart underscores two realities: sustained, well-promoted runs still produce the largest financial returns, and marquee returns by women — from Gaga to Beyoncé to P!nk — continue to shape the market’s upper tier.
Looking ahead, the remaining festival season and international stadium legs will test whether arena-based winners like Gaga can keep pace with artists who push into larger outdoor venues. For now, March’s Top Tours chart is a reminder that careful tour planning and persistent demand can elevate an artist to new commercial peaks.
