Ariana Grande has reached a settlement with a photographer to end her $50,000 legal battle.
According to court documents obtained by The Blast, photographer Robert Barbera has dismissed all claims against Grande. His lawsuit is officially settled and over.
The court documents note, “The Court having been advised that all claims asserted herein have been settled in principle, it is ORDERED that the above-entitled action be and is hereby dismissed and discontinued without costs.”
Earlier this year, Barbera sued Grande accusing her of using his work to promote her album “Sweetener” without paying him a dime.
Barbera took a photo of Grande exiting a building in New York. He said Grande took that photo and posted it on her Instagram, the same day her album came out.
After Ariana Grande wrapped the final day of Lollapalooza 2019 at Chicago's Grant Park on Sunday (Aug. 4), she took to Twitter to express her gratitude.
"Damn i really got to headline the two biggest festivals of the year," she wrote. "How tf did this happen. i feel so grateful & i thank u from the bottom of my heart. i dunno when i got here. but. thank u."
At Lolla, the star performed her latest song, "Boyfriend," with Social House live for the first time since its release last week. Additionally, she pleased fans with "7 Rings," "No Tears Left to Cry," "Dangerous Woman," and closed out the set with "Thank U, Next." (Of course, Coachella is the other major festival she is referring to.)
After headlining Lollapalooza this past weekend -- her second major festival gig of the year -- Ariana Grande has shared a super fun behind-the-scenes recap video.
The video features her latest single "Boyfriend" (with current tourmates Social House) in its entirety, as we see footage of the two rehearsing the song before the show. Grande is seen in an oversized sweatshirt and thigh-high heels, playing with her pup, running through choreography, and having an overall great time with the whole crew.
The clip also shows Grande and Social House as they take photos backstage at Chicago's Grant Park before performing to a roaring crowd at the fest. She capped off the night by waving rainbow flags on stage and setting off celebratory fireworks.
Grande’s North American leg already surpassed her previous tours’ worldwide totals.
On July 13, Ariana Grande played the last of 48 dates of the Sweetener World Tour’s first leg. The trek’s last six shows hit the Hot Tours recap dated Aug. 17, 2019 at No. 6. At the close of the tour’s North American leg, Grande has earned $78.8 million and sold 659,842 tickets in 2019, according to figures reported to Billboard Boxscore.
Grande picked up the pace on the Sweetener trek, posting the best figures of her career. Her four-show run in New York (two shows at Madison Square Garden and two at Brooklyn’s Barclays Center) marked both the highest-grossing and best-selling North American engagements of her career, but on opposite sides of the coin. The MSG double-header is now Grande’s biggest earner on the continent, with receipts of $5.5 million (28,576 tickets). Separately, her Barclays Center shows became her best-selling North American engagement, with 28,972 tickets ($4.4 million gross).
Further, out of Grande’s 40 best-grossing engagements across her career, 32 come from the Sweetener World Tour’s first leg, an overwhelming figure considering the tour isn’t even at its halfway mark yet. The trek’s $78.8 million North American total towers over that of 2017’s Dangerous Woman Tour ($33.2 million) and 2015’s Honeymoon Tour ($22.8 million). That means that Grande’s current tour is up 137% from her previous continental sweep, with more dates in the U.S. and Canada scheduled for November and December.
Ariana Grande tweeted a message of thanks while in rehearsals for the three London dates on her European tour. “I can’t express how free and full singing makes me feel,” she wrote. “I’ve been feeling so anxious lately and it all kinda lifts off when I sing.
I’m grateful for this gift... it’s comforting because no one can take it away from me.” For Grande, currently the biggest pop star in the world, music has been therapy more than most, providing shelter from a number of traumas in recent years, each serving as a tragic backdrop to what has been a creative and commercial flourishing.
Attention is focused on Grande herself, which is quite a gamble. As pop stars go, she’s not a particularly charismatic figure. It’s something she’s been smart enough to paper over with a series of easily identifiable and copyable looks, an old trick that has been largely forgotten in pop’s latterday stampede towards girl/boy-next-door “relatability”. Tonight, though the rabbit ears that were once her trademark are long gone, the high ponytail is more immense than ever and her fans scream every time she flicks it with her fingers.
Anyone not fully obsessed with Grande’s tonsorial arrangements might find that there are moments where the show lags, at least at first: the vast majority of her party anthem hits are shunted towards the end of the set, while the opening concentrates on tracks from 2018’s Sweetener and this year’s Thank U, Next. There’s nothing wrong with this material, but the soupy acoustics of a venue this size don’t do a great deal for the subtleties of REM or Needy. Nevertheless, Grande can really sing.
The show opens with her performing The Four Seasons’ doo-woop-y 1961 hit An Angel Cried a capella. She posseses a falsetto that she can turn up to full Minnie-Ripperton-doing-Lovin’-You levels, a sound that’s simultaneously hugely impressive and nerve-jangling enough to make you grateful she deploys it quite sparingly. It says something about arena-sized pop shows that the sound of someone singing live feels striking.