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| Born This Way Ball | |
|---|---|
| Concert tour name | Born This Way Ball |
| Artist | Lady Gaga |
| Album | Born This Way |
| Start date | April 27, 2012 |
| End date | February 29, 2013 |
| Number of shows | 98 |
Born This Way Ball The Born This Way Ball was a worldwide concert tour by Lady Gaga in support of her second studio album, Born This Way (album). The tour spanned multiple continents and featured theatrical staging, fashion collaborations, and high-profile appearances that connected music, performance art, and activism. It involved production teams and creative partners from across the entertainment industry and intersected with major media outlets and award ceremonies.
The tour was conceived after the commercial and critical success of Born This Way (album), following promotional appearances on programs like Good Morning America, The Ellen DeGeneres Show, and Saturday Night Live. Gaga collaborated with creative directors and designers from Haus of Gaga, Nicola Formichetti, Alexander McQueen, Versace, Hedi Slimane, and Dawn Ostroff-linked production networks to develop an arena-scale spectacle. Influences cited included stage auteurs such as David Bowie, Madonna, Björn Ulvaeus, and cinematic references tied to Guillermo del Toro aesthetics and Tim Burton visual motifs. Management involved teams associated with Live Nation Entertainment, Interscope Records, Streamline Records, and Kemosabe Records affiliates.
The itinerary covered North America, Europe, Asia, Oceania, and Latin America with legs announced through promoters like AEG Presents and regional promoters such as Cleopatra Entertainment-linked firms. Initial dates began in Seoul and included major arenas in New York City, Los Angeles, London, Paris, Berlin, Tokyo, Sydney, Rio de Janeiro, and Mexico City. The tour schedule intersected with international festivals and broadcasts including MTV Video Music Awards, BRIT Awards, NRJ Music Awards, and regional television specials in South Korea, Japan, and Brazil. Ticketing partnerships involved Ticketmaster and secondary marketplaces connected to StubHub.
Production fused theatrical design by creative teams associated with Jaime King-adjacent visual directors, engineering firms linked to Foster + Partners-style studios, and costume work from houses such as Chanel, Jean Paul Gaultier, and Maison Margiela. The set employed LED screens, hydraulic lifts, and runway extensions similar to productions used by KISS and U2; audio systems were provided by vendors akin to Meyer Sound and d&b audiotechnik. Choreography drew on methods from companies allied with Bob Fosse, Martha Graham, and contemporary choreographers who have worked with Beyoncé Knowles, Justin Timberlake, and Katy Perry. Production logistics required coordination with venues like Madison Square Garden, Staples Center, Wembley Arena, and Saitama Super Arena.
Typical set lists combined tracks from Born This Way (album), earlier singles from The Fame Monster and The Fame (album), and covers of works by Queen (band), David Bowie, Prince, and Madonna. Signature numbers included renditions of "Bad Romance", "Born This Way", "Judas", and "Edge of Glory". Notable performances featured guest appearances by artists such as Adele, Lady Starlight, Elton John, Tony Bennett, R. Kelly, and collaborations televised during events like the Grammy Awards and American Music Awards. Special moments occurred during concerts in Tokyo, Paris, Buenos Aires, and Seoul where local celebrities and political figures attended.
Reviews came from outlets linked to Rolling Stone (magazine), Billboard (magazine), The New York Times, The Guardian, Los Angeles Times, and NME. Critics compared the tour’s theatricality to the stagecraft of Madonna and the persona work of David Bowie, while praising production values reminiscent of U2 arena shows. Commercially, the tour placed on year-end tallies in lists compiled by Pollstar and Billboard Boxscore, contributing to awards recognition from MTV, Guinness World Records, and nominations at the BRIT Awards and Grammy Awards. Ticket sales reported strong grosses in major markets including New York City, Los Angeles, London, Tokyo, and Sydney.
The tour encountered controversies involving safety incidents, local regulatory disputes, and critical commentary from cultural institutions such as the Vatican-referenced media, conservative broadcasters, and national arts councils. Cancellations and rescheduling occurred for medical reasons tied to Gaga’s vocal health, prompting statements involving representatives affiliated with Cedars-Sinai Medical Center and teams of physicians connected to Mount Sinai Health System. Legal and labor disputes engaged promoters like Live Nation Entertainment and local unions linked to stagehands and technicians represented by organizations similar to IATSE. Security events prompted coordination with municipal authorities in cities including Paris, Buenos Aires, Seoul, and Tokyo.
The tour influenced performers and industries related to fashion week circuits including Paris Fashion Week, New York Fashion Week, and designers linked to Vogue (magazine), Harper's Bazaar, and Elle (magazine). It inspired museum and gallery exhibitions at institutions akin to The Museum of Modern Art, The Metropolitan Museum of Art, and retrospectives that discussed links to artists like Andy Warhol, Marina Abramović, and Yayoi Kusama. The tour’s fusion of activism and performance resonated with advocacy groups such as Human Rights Campaign, GLAAD, and cultural commentators on platforms including YouTube, Twitter, and Instagram (service), shaping conversations in pop culture, fashion, and performance art.
Category:Concert tours