50 Cent is embarking on a mammoth global tour to mark 20 years of his seminal debut studio album, ‘Get Rich or Die Tryin’’.
The rap icon – whose real name is Curtis Jackson – will kick off the jaunt with a North American leg, beginning on July 21 in Salt Lake City.
The European leg commences on August 28 in Amsterdam, and the UK dates include Glasgow, Manchester, London, and Birmingham in November.
He will have hip-hop legend Busta Rhymes join him for the entirety of the run. Jeremih is opening the North American shows, with more special guests to be announced.
Fans can expect to hear songs Curtis hasn’t performed live in “decades”.
At the dates where it’s legal, the ‘Candy Shop’ hitmaker will be selling his very own Curtis ’50 Cent’ Jackson’s Sire Spirits brands, Branson Cognac and Le Chemin du Roi Champagne, at select Live Nation venues.
The ‘Just a Lil Bit’ hitmaker is also set to add further concerts in Australia, New Zealand, Asia and Europe.
Head to 50cent.com for ticket details.
Meanwhile, the ‘In da Club’ hitmaker recently admitted he would love to “offer new music” to fans.
The rapper’s last studio album was 2014’s ‘Animal Ambition’, and while he has achieved everything he could dream of in music, he admits it would be nice to perform new tunes for fans at his concerts.
He told Billboard: “I get the attention that I want from music when I want it.
“I just went out and toured 45 countries, and everywhere was sold out. That made me want to offer new music that I could integrate into everything now. I’ve done what I wanted to do in the [sales] capacity. I’ve sold over 35 million records. Not singles — albums.”
Reflecting on the 50th anniversary of hip-hop, the star admitted he found his experience within the community “uncomfortable” as he made lots of rivals on his way to the top.
He said: “My run was so uncomfortable that everyone would like to forget that it happened. That’s just the way it is with the artist community.
“I didn’t come in being friendly because I had to find a way into it — not find a way to be good enough to work in the community. The biggest compliment in the early stages was that artists felt like they’d made it when they got the deal. You had to earn the right to have the deal.”
