Post Malone has officially postponed all his 2026 Australia, New Zealand and Asia tour-dates. Posty's 2026 Big Ass World Tour had been due to head through Asia in September before arriving in Australia in October for stadium shows in Melbourne, Brisbane and Sydney, three Strummingbird festival appearances and a final date in Auckland. Post himself has yet to comment publicly on the decision.

But when an entire run disappears from the calendar, ticket sales are always going to be questioned. Particularly when Post faced exactly the same speculation earlier this year.

The opening stretch of his North American Big Ass Stadium Tour Part 2 was pushed back in May, with reports pointing towards slower sales in some markets. Post gave a different reason.

“I promised y’all beautiful people new music, and I don’t have the time to finish it before tour starts,” he told fans.

When the tour began in Charlotte on 9th June, he pushed back against those sales rumours himself while looking out at a packed stadium, before telling fans his new record was “99%” finished.

Nearly three months later, it still isn’t here. So, it’s probably worth looking a little deeper than just “ticket sales”...

All 26 reported North American dates from Post’s 2025 Big Ass Stadium Tour with his buddy Jelly Roll were recorded at 100% capacity, selling more than one million tickets between them. The full tour eventually sold 1.37 million tickets and grossed $197.8 million, while demand in London was so strong that a second Tottenham Hotspur Stadium date was added due to “exceptional demand”.

His audience hasn’t exactly got smaller since either. The fans who came through his ‘White Iverson’, ‘rockstar’ and ‘Sunflower’ era have now been joined by a huge, and ever growing, country audience through F-1Trillion, ‘I Had Some Help’ and collaborations with everyone from Morgan Wallen and Luke Combs to the late Dolly Parton and Chris Stapleton.

So perhaps the fairer question is how much Post is trying to fit in?

Let’s put it in perspective. From the beginning of 2023 to now, he’s made around 180 live appearances across tours, festivals and one off shows. That works out at roughly one performance every week for more than three and a half years, before you add the travel, rehearsals, promo, sound-checks and recording around them.

He has had breaks. The biggest recent one was roughly six months away from major touring after the first Big Ass Stadium Tour finished in Europe last September. But six months without a stadium tour isn’t necessarily six months free to make an album. Especially a 40 track one.

Post has proven before that he can write around touring. F-1Trillion was largely put together through dedicated writing blocks in Nashville, sometimes working until six in the morning. But writing songs between shows and actually finishing what now appears to be a Big Ass double album are two different things, particularly when your audience now stretches across hip hop, pop and country.

He had already spoken about having around 35 songs for his F-1Trillion follow-up before teasing The Eternal Buzz, and earlier this year was even talking about releasing two albums in 2026.

There’s also the scale of this latest tour to consider.

When Post last properly toured Australia and New Zealand in 2023, he played sold-out arenas. This time he was returning for his largest headline shows in the region to date, moving into stadiums and offering Australian fans six chances to see him in little over a week, once the three Strummingbird appearances were included.

So even if sales were softer than hoped, that doesn’t automatically mean fewer people wanted to see him. You can sell considerably more tickets than you did three years ago and still have empty seats when the venues have suddenly got considerably bigger.

Then there’s the side we don’t always get to see. Could there be some pressure to get the album finished?

Post remains signed to Republic/Mercury and, while the details of his contract and any deadlines aren’t public, we know album timing has caused tension before.

In 2022, his then-manager publicly claimed Twelve Carat Toothache was finished but being held back by Republic and Universal. Post later revealed the label had wanted the relatively short album to be longer, because more songs could generate more streams, something he pushed back on because he didn’t want to compromise the music for numbers.

There’s nothing to suggest the label is behind these latest postponements. But with F-1 Trillion now two years old, a huge new record still unfinished and country arguably more mainstream than it has been in years, there are understandable commercial reasons for everyone involved to want the next era moving while the iron is hot.

Could ticket sales have played a part? Absolutely.

But Post has also just come off the biggest tour of his career, played around 180 live dates since 2023 and is still trying to finish an enormous record he already delayed one tour for earlier this year.

And maybe there’s a slightly more human side to all of this too: exhaustion.

Maybe it isn’t one thing.

Maybe ticket sales are softer in some of the much bigger venues. Maybe the album genuinely needs more uninterrupted time. Maybe there’s pressure to finally get the next era moving. Or maybe, after four years of being a near-constant presence on the road, Post simply needs a bit of space to do it properly.

Until he comments, we don’t know.

But with a sizeable chunk of his Autumn suddenly cleared, there’s one thing Post Malone definitely has a little more of now…time.