Black Promoters Collective projects first $100m year

The Black Promoters Collective (BPC), the US’ largest Black-owned live entertainment company, is projected to surpass $100 million (€86m) in year-end revenue for the first time following a banner first half of 2025.

This achievement follows blockbuster sales for Brandy and Monica’s 24-date co-headline arena run, The Boy Is Mine Tour, which kicks off this October at Cincinnati’s Heritage Bank Center (cap. 17,756) and runs through stops including Memphis’s FedExForum (19,000), Los Angeles’s Kia Forum (17,500), St. Louis’s Enterprise Center (22,000), Washington D.C.’s Capital One Arena (20,000), and Houston’s Toyota Center (19,000).

“We’re building a movement rooted in authenticity and excellence,” said Shelby Joyner, BPC president, in a statement. “The Boy Is Mine is the latest proof of how powerful our culture is when it’s centred, protected, and celebrated.”

Kelly Rowland, Muni Long, and Jamal Roberts will also be featured on the US outing.

A coalition of six of the nation’s top independent concert promotion and event production companies, the BPC has consistently ranked among the top-performing promoters in the US and worldwide since its formation in 2021. BPC is currently ranked 39th on Pollstar’s Global Top 100 Promoters list, and is the only wholly Black-owned company on that ranking.

Alongside the tour, the BPC is celebrating its break into the festival scene, “a natural evolution of our mission to create unforgettable cultural experiences at scale,” said CEO Gary Guidry in a statement.

In March, BPC produced Miami’s Jazz in the Gardens, drawing over 35,000 attendees to see performances by Lauryn Hill, New Edition, Toni Braxton, and Busta Rhymes.

“We’re building platforms that celebrate Black excellence and drive real economic impact”

That success helped pave the way for the Hampton Jazz and Music Festival, in partnership with Virginia’s Hampton University, a historically black university (HBCU), and the Hampton Coliseum (13,000). The event featured Anthony Hamilton, Keith Sweat, Lucky Daye, and SWV.

“From Jazz in the Gardens to Hampton to [LL Cool J’s] Rock the Bells Festival, we’re building platforms that celebrate Black excellence and drive real economic impact,” Guidry added.

The BPC is also behind a handful of high-performing collaboration tours, including The Queens Tour (Patti LaBelle, Gladys Knight, Stephanie Mills, and Chaka Khan); the Millennium Tour (Bow Wow, Trey Songz, and Omarion); and October Nights: Calling All Lovers Tour (October London, Tamar Braxton, and Ro James).

“Our marketing approach is rooted in precision and purpose,” said CMO Troy Brown. “We’ve demonstrated that when campaigns center on cultural authenticity, they not only drive ticket sales but also foster brand affinity and measurable community impact.”

“The first half of 2025 is proof that brands who align with culture-forward experiences gain more than impressions; they gain trust.”

Remaining community-oriented is important for the BPC, despite being a national force. SVP Sulaiman Mausi shared their strategy with IQ for the Global Promoters Report 2024.

“With inflation picking up, things have gotten a bit tighter, and we as concert promoters need to be cognisant of that and make sure we’re not blind to the fact that the economy is changing.”

“For us from a BPC level, and personally, it’s making sure we’re still out there and have representatives in the community, making sure we’re in the barber shops and the beauty salons,” he says. “We still have to not forget where we came from and engage in the community and stay in touch with our consumers, because without that, we’d be out of business.”

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