“Let’s make this Saturday night a special one,” Rüfüs Du Sol’s Tyrone Lindqvist commanded five minutes into the group’s Rose Bowl show in Los Angeles last August. Then the singer giggled as he declared that “it already is.”
He wasn’t being glib. The show marked the biggest performance in the Australian electronic trio’s career, as the guys — singer-instrumentalist Lindqvist, drummer James Hunt and keyboardist Jon George — played for the 63,000 people (according to Billboard Boxscore) assembled in the football stadium.
“We were walking out kind of nervous,” Lindqvist says. “Seeing that many people takes your breath away in a really nice way. I remember we all agreed, like, ‘We could get used to this.’ ”
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This show was one of many peak moments during the historic tour behind the group’s Grammy-nominated 2024 album, Inhale/Exhale. In 2025, the run included 46 shows that sold 727,000 tickets and earned $64 million, making it the highest-grossing electronic tour of all time — and those figures will increase, as Rüfüs is currently on the road, with South American, European and U.S. dates lined up through this summer. The musicians found out about their achievement while on tour in their native Sydney last November, a full-circle moment as the band headlined the same city where it had cut its teeth playing local bars. “It was like, ‘That can’t be true,’ ” Lindqvist recalls. “Our favorite electronic acts were giant. They’re like gods to us.”
But ambitious routing and a show that adapted to myriad venue sizes, along with massive global popularity, made it reality. So too did the fact that unlike many electronic artists, Rüfüs is an album act that tours extensively behind each project. For the Inhale/Exhale show, the act took inspiration from Daft Punk’s vaunted live album Alive 2007, using it as a template for how to tease and weave together all the music from its five-album catalog that goes back to 2013.
“We’re testing ourselves and seeing how we can exist as a band that treads the line between a live rock act and an act that lives in a dance music space,” Lindqvist says.
Beyond the Rose Bowl, Rüfüs has been playing arenas and amphitheaters (the group is booked by CAA worldwide except for Europe and the United Kingdom, where they’re represented by Wasserman Music), with the guys and their team (which also includes manager Danny Robson of Leisurely and longtime creative director Katzki) working out how to adjust lighting and sound for venues with capacities ranging between 3,500 and 63,000. “It’s about creating the same impact visually and audiowise in smaller markets too,” George says, “and also finding the sweet spot between something gigantic but intimate enough to highlight what we do.”
Inhale/Exhale’s U.S. summer dates include two sold-out shows at Washington state’s Gorge Amphitheatre, a gig at Chicago’s Wrigley Field, a headlining set at Bonnaroo and four shows at New York’s Madison Square Garden, which will all provide more opportunities to figure out the Rubik’s Cube of audiovisual challenges while also boosting the numbers of an already historic run.
“We’re really driven to make the music we want, to get it out there to as many people as we can and to make that experience really exciting,” Lindqvist says, “but we’re probably not as driven in terms of numbers and stats. I don’t think any of us really had our sights on this.”
This story appears in the March 7, 2026, issue of Billboard.
