Post Malone Cancels First Few Weeks of ‘Big Ass Stadium’ Shows With Jelly Roll, Citing Need to Finish New Album: ‘We Ain’t Ready for Tour Just Yet’

Post Malone has dramatically reshaped the itinerary for his "Big Ass Stadium Tour Part 2," taking to social media on Friday evening to announce that the opening stretch of the trek—originally featuring Jelly Roll—will not proceed as planned. The Grammy-nominated artist, known for his genre-blending hits like "Rockstar" and "Circles," explained that the delay is necessary to finalize work on his forthcoming album. This alteration impacts the first six performances of the Live Nation-produced tour, accounting for roughly one-third of the scheduled North American leg. The postponed dates, which were set to kick off on May 13 at El Paso's Sun Bowl Stadium—a historic venue that has hosted events ranging from college football championships to concerts by The Rolling Stones—also included stops in Waco, Baton Rouge, Birmingham, Tampa, and Oxford, Mississippi. While Malone intends to honor three festival appearances during this interim period, the joint tour with Jelly Roll will now launch on June 9 in Charlotte, North Carolina, pushing the start back by approximately three and a half weeks.

Although industry chatter has suggested that sluggish ticket sales might have influenced the decision, Malone firmly stated in his announcement that the postponement stems from a creative imperative to complete a major album project. "Looking at the upcoming schedule after Stagecoach," the artist wrote to fans, "I came to the realization that what we’re trying to do, and what’s possible, isn’t really lining up. The truth is, I promised y’all beautiful people new music, and I don’t have the time to finish it before tour starts. We ain’t ready for tour just yet, so I’m making the decision to push the tour back about 3 weeks to get this music done." Malone has been teasing a 40-track project titled "The Eternal Buzz," though no release date has been confirmed, and details remain scarce beyond the title. His message implies the record still demands significant effort. In an interview with Billboard at Stagecoach last weekend, Malone revealed he had recorded "probably 35 songs" for the project but had only completed scratch vocals. "That being said," his statement continued, "I’m so sorry to the folks who were planning on coming to the few canceled shows. I was looking forward to going nuts with y’all. That THAT being said, we been making some badass shit for this double album… and I can’t wait to perform for y’all again." This emphasis on creative output mirrors a broader trend among major artists who are increasingly willing to adjust tour schedules to prioritize album quality. Sarah Jenkins, a music industry analyst at Music Metrics Weekly, characterizes this as "a calculated risk that prioritizes long-term artistic legacy over short-term revenue," adding that such moves can strengthen fan loyalty when executed transparently.

The delay follows widespread reports of underwhelming ticket sales for many dates on this tour, a stark contrast to last summer's initial "Big Ass Stadium Tour" with Jelly Roll, which sold out every performance and generated an estimated $170 million in revenue. This disparity was highlighted in a Lefsetz Report newsletter circulated to music industry insiders shortly before Malone's announcement. Notably, neither Malone nor Jelly Roll has released an album since 2024, a gap that may be dampening consumer enthusiasm. Industry observers speculate that getting "The Eternal Buzz"—or a hit single from it—into the market sooner could boost ticket demand for the remaining shows, similar to how the popularity of "F-1 Trillion" a year and a half ago fueled a rush for the sold-out 2025 tour. Most of this year's performances are in different cities than last year's, so market saturation is unlikely to be a factor. Some attribute the slower sales to uncertainty over whether Malone will emphasize his country or hip-hop/rock side—a debate visible in fan comments—though this did not hinder the 2025 tour. Malone may be aware of this speculation, as he has indicated "The Eternal Buzz" will split its 40 songs across two parts (evenly divided on two CDs), leading some to wonder if it will span genres rather than adhere to the strict country focus of "F-1 Trillion." A cryptic comment at the end of Friday's social media post may hint at a return to his roots: "And to a lot of little stinkers that think I’ve forgotten about old Stoney, I haven’t," referencing his 2016 debut album. "I love you, and can’t wait to see you crazy motherfuckers soon," he concluded. This nod to "Stoney," which spawned hits like "Congratulations" and "White Iverson," suggests Malone may be signaling a return to his early blend of hip-hop and pop, potentially broadening the album's appeal and re-engaging fans who drifted during his country phase.

Once the Malone/Jelly Roll tour belatedly gets underway in June, it will encompass 13 North American shows, with Carter Faith serving as the opening act, replacing last year's support, Sierra Ferrell. Following a six-week hiatus starting in mid-September, Malone will take the "Big Ass" tour to Asia, where hip-hop star Don Toliver will replace Jelly Roll on the overseas bill. Canceling roughly a third of his U.S. stadium shows is relatively mild compared to a recent wave of tour cancellations, most officially attributed to personal reasons rather than economic headwinds. Earlier on Friday, Zayn canceled his entire U.S. arena tour—though international dates remain—citing unspecified health issues. In mid-April, Meghan Trainor also called off her full arena tour, stating a desire to spend time with her young children. These moves underscore a broader shift in the live music industry, where artists are increasingly prioritizing personal well-being and creative deadlines over immediate touring commitments. For context, the live music sector has seen a 12% increase in tour postponements and cancellations in 2025 compared to the previous year, according to data from Pollstar, driven by factors ranging from mental health concerns to logistical challenges in a post-pandemic landscape. This trend suggests that Malone's decision, while disruptive, aligns with a growing recognition among performers that sustainable careers require balancing artistic integrity with audience expectations.