With 14 shows having taken place or scheduled to take placed between August 2021 and April 2022, we can begin to examine the state of New Japan Pro Wrestling as a live event business in the United States in a coronavirus world.
If one were to examine only the tent pole events stateside, the conclusion may be "New Japan is fine". 2,240 attended the outdoor show at The Torch at the LA Coliseum drawing a capacity/near capacity at the beginning of the timeline and ticket sales are off to a very strong start in the Chicago market, with 1,687 (76%) of tickets distributed in a 2,198 setup and s ell out is very likely, perhaps within days. Both shows benefited from the promotional availability of Jon Moxley, per his interest and availability and potentially at the contract flexibility of All Elite Wrestling.
The event in Los Angeles appeared to be the biggest drawing non WWE/AEW show in 2021 in the United States (of course, with events of some scale really restarting the second half of that year). The show at the Odeum already appears to be a front runner for the most attended non WWE/AEW show in the first half of 2022 in the United States, if it can surpass that of GCW's Hammerstein Ballroom show, which drew a sellout of 2,025 in January, 2022.
Another show drawing an impressive number for a non WWE/AEW event but below previous attempts was NJPW running the San Jose Civic Center on November 13th, 2021. That event drew 1,548 (76% of its setup capacity). Running Riverside, California at the Municipal Auditorium yielded 858.
The promotion has shown struggles in touring various parts of the U.S. Shows in Garland, Texas on September 25th and 26th drew audiences of 903 and 841, a disappointment in a market that draws well for AEW. The 2300 Arena in Philadelphia was a popular, if not overbooked venue for professional wrestling promotions in the second half of 2021. New Japan ran a double shot on October 16th and 17th and only drew about 540 each night.
A small tv taping in Long Beach, California's Thunder Studio drew 114 reserved and a GA audience sellout. A show at the 1,200 seat Vermont Hollywood in Los Angeles on December 9th, 2021 had 1st row and 'lobby standing' sold out (with a waiting list) but other tickets available. As of this writing (with the show a week and a half out), a return to the Vermont Hollywood on February 17th shows even the 1st row still available.
A strategic team up with DEFY in Seattle's Washington Hall yielded 600 on January 15th, 2022, as would be expected.
A show under the Wrestlecon banner will be run on April 1st, 2022 at the Fairmont Hotel. The number of attendees yielded for the show will be best measured against attendances that weekend in the same venue for AAA, IMPACT and the Supershows.
A show at The Coliseum in St. Petersburg, Florida on March 20th, 2022 has moved 180 tickets thus far and is the biggest caution flag for the strength of New Japan Pro Wrestling as a live event brand in the United States.
So what does this all mean? When running a special event in the right U.S. towns with access to its own best talents and the contracted talents that are well known draws in the market, New Japan has proven that it can be the biggest non WWE-AEW draw when these opportunities align.
When it is just the name New Japan and is not in the most favorable market, the right mix of talents is not available or the market is over saturated, fans may notice but may not attend. This was clear in Garland, TX, Philadelphia, PA and will be clear in St. Petersburg, Fl. All Elite Wrestling has clearly taken the throne of the #2 U.S. promotion, which at one time was up for grabs between sometimes partners Ring of Honor and New Japan Pro Wrestling.
In this new reality (no pun intended), it is up to New Japan Pro Wrestling to determine the opportunity costs: When is it worthwhile to take talent from the primary market and send them to the United States to support shows that at best will sell out the 2,200 seats venues and at worst, will draw hundreds.
Credit: In addition to my own confidence to hand count maps and look at ticket sales pages, much of the credit goes to WrestleTix.
Note: At times, there are conflicting numbers from various sources such as the Wrestling Observer and Cagematch. Given WrestleTix's seat counting abilities, I lean on that resource first.
This article was written for entertainment purposes only and accurate information was provided to the best of my abilities and knowledge. If anything is known to be inaccurate, please reach out to me immediately and after vetting, will correct the article.
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Lavie Margolin is a pro wrestling analyst and podcaster. Follow him on twitter via @Laviemarg. Email him via [email protected]
