Last week, the Black Keys, a band best known for soundtracking car commercials and occasionally fistfighting fellow Nashville resident Jack White, canceled the entire North American leg of a scheduled arena tour without explanation. Why would a band without a major hit in years think it can sell out arenas in tertiary markets? No one can be sure, but the touring business is in trouble, and part of the reason is ego.
Going on tour used to be a non-negotiable part of a life in music—a way to interact with fans, make money, and see the world. But nowadays, artists either want to play arenas or stadiums or do a residency, playing multiple nights in one city at the same venue, à la Harry Styles and Adele. Every week, another artist goes viral on Twitter for low ticket sales, with a screengrab of a Ticketmaster seat map awash in blue.
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So, who do we blame? Is this the fault of corporate mega-promoters like LiveNation (which produced the Black Keys’ tour) booking artists into the biggest venues possible, then jacking the price of everything from tickets to parking to concessions, all regardless of what the market will bear, while tightening their grip on the marketplace to the point that the Department of Justice is preparing to sue them in federal court for antitrust violations? Is it agents and managers gassing up the artist? Is it just the artist's desire to sell out these giant venues? Maybe all of the above.
If you’re going out on the road and you’re big enough to even consider booking an arena show, why not do three nights in a prestigious venue like Radio City Music Hall or the Beacon Theatre instead? It provides fans with a more intimate experience, and every night will feel full. The Black Keys eventually released a statement. They didn’t blame anyone. They didn’t whine about how hard touring is. They just said they were recalibrating after a successful European run playing venues like Brixton Academy in London and the Zenith in Paris. It was the right approach. We all know it was ticket sales, but no artist should be ashamed of taking your lumps, switching things up, and selling tickets.
Big streaming numbers look great online but don’t necessarily translate to ticket sales. A touring business has to be built, returning to the same cities every year. A career cannot rely solely on the algorithm. Being great live will get people through the door and keep them coming back. These offline collective experiences are few and far between these days; buying tickets and going to shows is essential and valuable. They just don’t all need to be in arenas.
Full article here
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GWUH Sorry i went back on my word ,,, BUT 341 !!!! THAT IS 341 PEOPLE !!!
Now as promised (pt 2) I bring my followers marketable Narinder and he can be sold with marketable Kallamar!!
Dwdnsmdj even if no one sees these its still just fun to make to celebrate follower goals i get DAKJMNDAMF at 350 i will introduce marketable shamura to go with your marketable kally and nari !!
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OMG.I HOPE YOU HAVE THE BEST TIME AT USO!!!! 🩷🩷
GOD IT WAS SO FUN. carlitos was so damn cute and honestly??? so was Li Tu. Good vibes all round, had a blast, drank my annual honeydeuce!! soul restored to body!!
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The girls behind me in this coffee shop are going to Eras London and I wish I knew them (or had known them before this moment) because they’re talking about how much they all hate planning trips and I could have been a valuable asset to their friend group because I am a very good trip planner
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huoghh I love him
Even though there is nothing to go off of yet except for his design ( well except for articles on the real person I guess, which is what I do) Hee hee (•‿•)
(for those who don't know, art is not mine, for those who know that's obvious lol)
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