the honeymoon tour

the jump

eleven shows in 2013 on the listening sessions. eighty-eight in 2015, across four continents, inside a single year. that is the scale of what my everything did: four top-ten singles in twelve months turned a nickelodeon graduate with an r&b record into somebody who could fill an arena anywhere in the world.

what the show was

built around the album's edm-pop spine, with the ballads used as breathing space between. problem, break free, love me harder, one last time and bang bang carried it, which is a considerable amount of hit material for a second album.

what the number actually set up

808,667 people matters less than what it proved: by the end of the run she could be routed anywhere on the assumption an arena would sell. every tour since has been booked on that basis, including the 2026 run after a six-and-a-half-year gap.

there is also a song on this tour that outgrew it entirely. one last time was a modest 2015 single and is now one of the largest songs in her catalogue, for reasons that had nothing to do with 2015 — the manchester piece has that story.

what is documented

almost nothing officially. there is no concert film of this tour and no authorised broadcast — a gap that applies to every run of hers except the 2019 one. the tour archive carries search links for the fan-shot footage, which is what exists.

the support acts

rixton and prince royce, which is a pairing that makes no sense on paper and made complete sense commercially — a british pop band for the european leg and a bachata star for latin america. it is the first sign of a routing philosophy that treats each continent as a separate audience rather than as a single tour with different postcodes.

that approach has held. the 2026 run is routed the other way — three countries, eleven cities, ten of the forty-one nights in one building — because the economics of touring have inverted since 2015. depth in fewer markets now beats breadth across many.