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Maroon 5's Las Vegas residency is on a break, but the band's performances continue on an international scale. Tickets are going fast as concert dates fill up. In addition to securing passes for their festival appearances this year, we've broken down how to buy Maroon 5 tickets for their concert tour below.

Originally formed in 1994, Maroon 5 is celebrating 30 years together as they kicked off their Las Vegas residency in summer at the Dolby Live at Park MGM. The new tour, referred to in shorthand as "M5LV: The Las Vegas Residency," is an extension of their 16-show residency last year.

Maroon 5's residency began on May 17 with the final show taking place in October. Now, the band will do a couple final year-end shows in Florida before beginning the international leg of their tour, visiting major cities across Asia. After eight shows across countries like Japan, the Philippines, and Taiwan, Maroon 5 will return to the Dolby Live at Park MGM to resume their residency through the spring.

We've got you covered if you're looking for how to get tickets to Maroon 5's concert tour. Here's our breakdown of Maroon 5's residency and tour schedule, purchasing details, and original and resale ticket price comparisons. You can also browse ticket specifics at your leisure on StubHub and Vivid Seats.

• See also: Coldplay tickets | Dua Lipa tickets | Zayn Malik tickets | Sabrina Carpenter tickets | Shakira tickets | Bruno Mars tickets

Maroon 5 2025 tour schedule

Maroon 5 is briefly stepping away from their Las Vegas residency to visit Florida and countries across Asia for the winter and early spring of 2025. They'll return to the Dolby Live in March, currently scheduled to perform eight dates while there.

Below are all of the remaining concert dates for Maroon 5's tour. All concert times are listed in local time zones.

If you're planning to travel for Maroon 5's residency, be sure to check out our roundup of the best Airbnbs in Las Vegas for securing your stay.

How to buy tickets for the Maroon 5 2025 concert tour

You can buy standard original tickets for Maroon 5's 2024 and 2025 concert tour on Ticketmaster and Live Nation. Both their Las Vegas residency and outside tour dates still have options available. However, the quantity of remaining original tickets continues to decrease as each concert date approaches.

Passes to see Maroon 5 in their 2025 concert series are also available for purchase through verified ticket resale sites such as StubHub and Vivid Seats. You may find better luck with more variety in seating availability through these resale vendors.

How much are Maroon 5 tickets?

Maroon 5 tickets for their 2024 concerts are generally less expensive than similar big-name acts on tour this year. Of course, original ticket prices for Maroon 5's 2024 tour vary depending on date, location, and demand for each show.

Maroon 5 is also offering VIP packages for their 2024 concert tour. Their Las Vegas residency dates offer a Premium VIP Banquet package beginning at $495, but these tickets must be sold in multiples of two. The band also offers three VIP packages for their tour dates elsewhere: Diamond Premium Seat (starting at $685), Gold Premium Seat (starting at $435), and Silver Hot Seat (starting at $410).

Who is opening for Maroon 5's tour?

Maroon 5 doesn't have any opening acts for their Las Vegas residency concert dates. The band has not announced any opening acts for their international tour dates.

Will there be international tour dates?

Maroon 5 will be visiting a handful of cities across Asia in 2025. Here are the locations they're set to perform at internationally:

• Manila, Philippines - January 29, 2025
• Jakarta, Indonesia - February 1, 2025
• Bangkok, Thailand - February 3, 2025
• Tokyo, Japan - February 6, 8, and 9, 2025
• Kuala Lumpur, Malayasia - February 12, 2025
• Kaohsiung City, Taiwan - February 14, 2025

• Taylor Swift's Eras Tour raked in over $2 billion, more than any tour in history.
• One of the reasons: She capitalized on some of her most popular spots with "mini-residencies."
• Here's a look at Swift's touring strategy and how it's made her so rich.

Taylor Swift wrapped up her Eras Tour in Vancouver last week — and it grossed more than any tour in history.

With 149 dates across 21 countries, the Eras Tour earned more than $2 billion, according to Pollstar. While that 10-figure sum is in large part due to the sheer number of shows she played — she said the tour was attended by over 10 million people — there was a strategy to her touring that helped her maximize the profits from each stop.

Swift spent eight nights in London and six in cities like Toronto, Los Angeles, and Singapore. Meanwhile, she skipped nearby cities that she visited on past tours, like Ottawa and Pasadena.

These mini-residencies likely added millions of dollars to her personal bottom line. 

The underlying business assumption was that Swifties would travel and pay big bucks for tickets, no matter where she performed. It turned out to be correct: All of her shows were sold out. Playing in fewer cities meant less money spent on production, travel, and labor — which in turn meant more profit for Swift and her team.

"It significantly reduces the overhead of a tour," Nathan Hubbard, the former CEO of Ticketmaster who founded the management firm Firebird, told Business Insider. "Think about the cost of taking down an entire stage, packing up 50 trucks, moving it all to another town. Every night you can avoid striking the set saves millions of dollars."

Swift's representatives did not respond to a request for comment.

Swift isn't the first performer to employ this strategy.

Harry Styles tested it with his 15-night runs at New York's Madison Square Garden and Los Angeles' Kia Forum, an extension of the Las Vegas residencies that have long minted millions for stars.

"Coming out of Covid, the largest artists understand that their fan bases will travel to be with them," Hubbard said. "Previously, this was just happening in Las Vegas. But so many of these cities can be a fun excursion for a fan and their friends. That's driving a lot of what we're seeing in the evolution of touring right now."

BI spoke with several fans who said they traveled out of state to see and across the Atlantic to see Swift perform.

"I probably would've come to Scotland at one point, but it was the concert that got me here," one Swiftie from Minneapolis told BI.

"We said to ourselves, 'Let's just go and have an adventure," her friend added. "Tickets are outrageously expensive in the US, and this entire trip for both of us was cheaper than our friends back home paid."

Of course, it's a delicate balance. Swift is considered among the pop stars most in touch with her fans and wouldn't want to alienate anyone by skipping over their local venues. But with nearly 150 shows in 50-plus cities, it would be hard to complain about her doing a few extra nights in one place and passing over another.

Plus, she's charged less — an average of about $219 per ticket, per Pollstar — than she could have. The average resale price for the North American leg of her tour was $3,801, Pitchfork reported.

And she's not the only one profiting.

The Common Sense Institute said that "the totality of Taylor Swift's US tour could generate $4.6 billion in total consumer spending, larger than the GDP of 35 countries." In Europe, the total figure will surely be impressive as well.

Turns out that she's an industry disruptor — if not the smooth-talking huckster — after all.

• I attended Art Basel Miami Beach for the first time from December 6 to 8.
• During the weekend, I viewed several exhibitions, spoke to artists, and went to a party and concert.
• This article is part of BI's 2024 Art Basel series, taking you inside the art fair's global scene.

On the second level of the expansive Miami Beach Convention Center, I sat on a chair and rummaged through my tote bag.

It was my first day at Art Basel Miami Beach, and after trekking from the main entrance to the media center, where I picked up my press pass, I was already weary from walking in heels. Thankfully, I packed a pair of flat sandals.

Based on my research, I knew that Art Basel Miami Beach would be equal parts exciting and overwhelming. So, as a first-timer, I went with a plan: "Bring extra shoes, grab a map, have an idea of which exhibitions to view, appreciate the art, talk to the artists … and have fun."

I was able to do all of that and then some. Throughout the weekend, I enjoyed the various multicultural exhibitions presented by 286 galleries from all over the world. Bridget Finn, the director of Art Basel Miami Beach, previously told me that she believes this event is "often the platform where new trends in art appear." Based on the works I saw, I'm inclined to agree.

From cool installations to lively social gatherings, here are some of the top highlights from my weekend at Art Basel Miami Beach.

I arrived on Friday and was eager to dive in.

I arrived at the fair in the early afternoon on Friday, bright-eyed and bushy-tailed. I was keen to see all the different artworks, but my main goal was to find some of the most alluring activations and exhibitions and speak with the artists behind them.

An activation at the UBS Art Studio caught my eye right away.

I was immediately drawn to an interactive setup suffused with bold red hues and pillars covered in yarn. The UBS Art Studio was showcasing a collaboration between Sarah Zapata, a Peruvian-American fabric artist, and Larry Ossei-Mensah, the curator and cofounder of the nonprofit art organization Artnoir.

The installation, called "Upon the Divide of Vermilion," allowed attendees to make mini pom-poms using yarn. Zapata and Ossei-Mensah said the goal was to make art feel fun and accessible to anyone.

"This is my first time showing at Art Basel, so I feel so thankful," Zapata told me while showing me how to use a pom-pom maker.

Ossei-Mensah hadn't made his own pom-pom yet, so he sat down to craft with me and talk about his career journey in the art world. "I started out doing photography and then expanded into writing about artists of my generation," he said while picking out his yarn. "Then I realized there weren't enough platforms for them to be seen, so I started curating."

He cofounded Artnoir in 2013 to create "community and connectivity for Black and brown folks, queer folks, and folks who have always felt in the margins," he said.

Crafting made me feel relaxed even though my creation didn't last very long.

My pom-pom featured soft pink and dark purple yarns. Sadly, I didn't tie it together correctly, so it fell apart in my tote bag by the end of the day. I didn't get a picture of my pom-pom before its demise, but I had fun making it so that counts for something.

Zimbabwean sculptor Terrence Musekiwa's exhibition was one of my favorites.

I was excited to view Musekiwa's exhibition after researching some of the artists who would be in the Positions sector, which highlighted emerging artists. I saw some of his sculptures online, but studying his humanoid creations up close and personal was mesmerizing.

Musekiwa's sculptures were unlike anything I've seen before.

Musekiwa told me that he comes from a family of sculptors and likes to explore classical elements using discarded materials such as copper wires, brass, and artillery shells. "I have so much in my mind about how I can execute something," he said. "Sometimes, I try to choose materials, but I have to let the materials choose me."

His works clearly resonated with attendees: Catinca Tabacaru, the owner of the eponymous gallery representing Musekiwa, told me eight of his sculptures were sold that week. (VIP attendees received early access to Art Basel before the fair opened to the public on Friday.)

As I was speaking with Musekiwa, another sculpture was snapped up by a collector from Tokyo.

Sagarika Sundaram, an artist who uses raw, natural fibers and dyes in her works, had some of her stunning textiles on display.

UBS, the global lead partner of Art Basel, commissioned Sundaram to create a centerpiece for the UBS Lounge, and I got exclusive press access to view it. The final product, titled "Released Form," was a large, striking two-sided textile covered with colorfully dyed and meticulously layered wool. The installation, which was draped from the ceiling, opened on either side, revealing a three-dimensional quality.

I told Sundaram one side felt like a cosmic explosion of wool, and her eyes lit up. "Yes, it's controlled chaos," she said. She added that the other side was a "directional, pictorial abstraction." In the lounge, a large television played a short film shot by Ania Freer that showed how Sundaram brought the masterpiece to life with her team.

I saw captivating paintings created by the Brazilian artist collective MAHKU.

Finn told me MAHKU's exhibition was among the most exciting in the Positions sector. This particular work's bright hues and serpentine design had a charming energy.

On the second day of Art Basel, I gave myself a moment of stillness before jumping back in.

I was admittedly exhausted when I headed back to Art Basel on Saturday, but caffeinating with an iced chai latte helped. I also recharged a bit by taking some time to sit outside, soak up the sun, and enjoy the views before entering the venue.

I wanted to spend more time perusing as many exhibitions as I could.

I dedicated my second go-around to viewing Meridians, dedicated to large-scale projects, and Nova, which showcased works created within the last three years by one, two, or three artists, according to Art Basel's website.

Zhu Jinshi's oil paintings employed remarkable texture and color.

This piece, titled "This triptych is as gorgeous as the autumn in a scented room," featured thickly layered oil paints on a canvas that stretched nearly 16 feet wide.

A closeup of Zhu's work shows just how extraordinary it is.

Zhu's textural technique allowed qualities of beauty and heaviness to coexist.

Zhu's "Pathway" installation was another eye-catching display.

The colossal work was made from Xuan paper, cotton threads, steel frame structures, and bamboo.

Alice Aycock's "Goya Twister" created a dynamic illusion of movement.

Standing 15 feet tall, this structure — made from aluminum coated in white powder — was hard to miss and even harder to look away from.

Olafur Eliasson's "The galaxy of uncertainty," was made from beautiful glass spheres.

The reflections on the glass made this exhibit look different as viewers walked by it.

Art Basel Miami Beach also gave locals and visitors a chance to socialize at exclusive parties, including Nylon magazine's annual celebration.

The Nylon House party was an exclusive — albeit massive — bash. Celebrities such as Camila Cabello, who is Nylon's latest cover star, and Janelle Monáe attended the event.

Some VIPs were able to board a yacht.

A docked yacht behind the house added to the party's ritzy atmosphere — and allowed VIP guests to escape the larger crowd.

Hugel, a chart-topping DJ, performed a lively set.

A crowd full of celebrities, creatives, and influencers enjoyed mixes from the French-born DJ.

A dancer onstage also helped keep the energy up.

Hugel's set was entertaining, bringing good vibes and heart-thumping beats to the party.

Ludacris, the headliner at Nylon's party, came out and lit up the stage.

The Grammy-winning rapper performed hits such as "Stand Up," "Money Maker," and "My Chick Bad."

I also attended a Tribeca Festival concert hosted by Soul in the Horn at the Miami Beach Bandshell.

The concert kicked off with a set by L3NI, a DJ and producer. She's also the general manager of Soul in the Horn, a brand that unites music artists and creatives.

Luedji Luna, a Brazilian singer, took the stage in a stunning sequin dress and serenaded the audience.

Luna had a magnetic stage presence and connected with her band and the crowd as she sang and danced. I wasn't familiar with her music, but it didn't matter; I still had the most amazing time dancing and listening to her sultry vocals.

Natasha Diggs put on an electrifying set alongside a saxophonist and trumpeter.

Diggs, a Brooklyn-based DJ, brought her vibrant musical and sartorial style to Miami Beach. She mixed feel-good songs, including Chaka Khan's "I'm Every Woman" and Bill Withers' "Lovely Day."

• The post-pandemic concert frenzy has slowed, and mid-sized acts are feeling it.
• Fans are still willing to shell out for once-in-a-lifetime experiences, but mid-tier productions are undersold.
• Rising tour costs and social media influence are reshaping concert ticket pricing dynamics.

Jaylon Jackson decided it's time to slow down his spending on concerts.

The 21-year-old dog groomer estimated he spent roughly $5,500 on at least 12 shows over the past two years.

But when Hozier announced LA tour dates, with tickets selling for around $130, he decided to skip them.

"I'm very bummed out. I love his music dearly, but I really do want to value the amount of money I spend to see an artist," Jackson said. For him, that means saving his money for a top-tier production; seeing a Beyoncé tour would be his dream.

He's not the only concertgoer making that calculation. While Sabrina Carpenter concerts with their Broadway-level sets are still selling out and Taylor Swift's global Eras tour is wrapping up 18 months of sold-out shows, tickets for popular artists with mid-tier production value concerts are going unclaimed. Think of the canceled Black Keys and Animal Collective tours.

As the post-pandemic "revenge" spending frenzy cools, people are getting more selective with their disposable cash. Pressured by social media and overwhelmed with choice, they're choosing to save up for the most epic concert experiences possible. At the same time, midlevel artists are having to pay more and more for tour expenses, and can't lower prices enough to entice more fans.

"I spend a lot of time thinking about who I want to go see and how I want to make the most of what I pay for," Jackson said. And when it comes to what's worth splashing out on, "I want to see a good production, I want to see choreography, I want to see lights."

Taylor Swift or bust

Taylor Swift's Eras Tour tickets had an average face-value price of $254 in 2023 and a resale market price of $3,801.

Meanwhile, resale tickets on SeatGeek for a late November Kacey Musgraves concert in Texas are going for just $33, almost half the face-value price. Some tickets for a December Justin Timberlake concert in Arkansas are currently going for around $10 on SeatGeek. Later dates for both artists are going for more.

There's an entire Twitter account devoted to tracking falling show prices, showing how it pays to wait. Data provided to BI from ticket resale company Automatiq shows that artists like Post Malone and Morgan Wallen have seen thousands of resale tickets sell below cost for specific dates.

Chris Leyden, the director of growth marketing at SeatGeek, calls this a bifurcation in the market. Right now, some artists are seeing their highest demand ever for tours. On the flip side, there are more deals out there for fans who might want them.

Data shared with BI from SeatGeek shows that while the average price of a concert ticket has risen since 2019, there's been an uptick in tickets under $100 in the past year.

"It's sort of like the extremes have spread out as well, where we're seeing concert tickets sell for the most we've ever seen them," Leyden said. "But on the flip side, we're certainly seeing plenty of concert tickets that are still selling for a relatively good deal."

It wasn't clear it would be like this post-lockdowns, when Americans were spending billions to see live shows, and artists were eager to get back on the road and make some money.

Jonathan Bricker, an assistant music business and management professor at Berklee College of Music, said that post-pandemic, artists were booking tours further and further in advance, with a huge surge in touring. But they also encountered a double-edged sword of inflation: It costs much more for artists to buy gas or rent equipment — leading to higher ticket prices — as fans feel more pressure on their wallets from higher housing and food costs.

Mike Finn, the tour manager for Imagine Dragons and a professor at Berklee, said that many tour vendors, such as trucking or lighting companies, have drastically increased prices.

"They're pricing it for a one percenter of the touring industry," he said. That's making it "near impossible" for mid-sized acts and creating a chicken and egg situation, he said. Artists have to raise their prices to pay their vendors, but cash-strapped consumers want those higher prices to be worth their while. It's leading to some of those lower resale prices: Fans are making it clear that the higher price points aren't working for them.

After all, with ticket prices getting driven up, "the experience expectations are being driven up," Finn said. "They're going to want a night to remember."

Some of that might be a social media effect, where the biggest and flashiest shows get a ton of hype. Music lover Jackson pointed to examples like Charli XCX and Troye Sivan's Sweat tour, which seemed to go viral every week, or Sabrina Carpenter's Short n' Sweet tour. With social media, he said, there's a real influence to go see bigger artists — and post about it.

"In the past year or so, we've seen more people willing to spend a premium price on seeing their favorite artist live," Joseph Bocanegra, a StubHub spokesperson, said. "Fans view these types of events as a bucket-list item, like their team playing in the Super Bowl, rather than something to do on a Saturday night."

Music fans are acting more like sports fans

Automatiq's data showed that the average ticket price for the $50 to $200 range — the price point where many middle-size artists are likely residing — fell by nearly 23% from the first month that they were on sale to the last month that they were on sale. In the final month of being listed on resale sites, nearly 37% of tickets in that price range sold below cost.

"Nearly 40% of concert tickets in the U.S. for 2024 currently have an average price sold for under $50 on StubHub, including Ice Spice, Omar Apollo, and girl in red, and nearly 80% have an average price sold for under $100," Bocanegra, the StubHub spokesperson, said.

That might be good news for fans, who are waiting out ticket prices that might not be the right fit for their wallets. But for artists, the new volatility might be leading to their own reckonings.

Finn said he's working with one musician whose tour of amphitheaters and clubs sold out earlier this year in pre-sale. So for the next dates, they booked bigger rooms and charged higher prices — but tickets didn't sell as well.

"We were seeing 50, 60, 55% sold in the same areas that we blew out," Finn said. "And I think that's just because, again, of the oversaturation that's happening across the board in the touring industry."

He doesn't want to proclaim a grim future for mid-sized acts. Instead, he thinks there's some leveling out that needs to happen.

"Some of these lighting companies, can they offer discounts for certain size tours — or busing companies or trucking companies? How can they help the economy and the ecosystem of touring by lowering some of the prices?" Finn said.

In the meantime, these dynamics have led music fans to act like a different kind of live events lover: Sports fans. Leyden said that 40% of fans buying concert tickets on SeatGeek are buying them the week of the event — and 18% of that is happening the day of the event.

"Sports buyers historically have been much more last minute," he said. That makes sense: Baseball fans have so many games to choose from that they can afford an impromptu decision. With a multitude of concerts available — and prices tumbling — music lovers are starting to pick up on that same behavior.

"Right now maybe the sweet spot is to buy the day of the event," Leyden said, "but maybe three days out is actually the sweet spot in the future because there's so much demand of last-minute buying."

Have you gotten any good concert deals recently or changed your ticket-buying behavior? Contact this reporter at [email protected].