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jerryking : concerts   17

Rolling Stone Ronnie Wood on the art of the set list
NOVEMBER 23, 2018 | Michael Hann | Michael Hann.

The nature of the set list — the selection of songs an artist chooses to perform in concert — is problematic. What is it for? To satisfy the performer’s artistic urges? To promote their latest release? Is it simply to provide people who might have paid a great deal of money for a ticket with the most satisfying entertainment possible?

In a new book, Rolling Stones guitarist Ronnie Wood has collected the set lists he handwrites for the band’s rehearsals, and then for shows. At first it was just for fun, Wood tells me; he had always loved calligraphy. But soon his artworks began to serve a practical purpose. “The next thing I know, I come into rehearsals and they’re going round the walls,” he says, “and the rest of the boys are going, ‘Have we played “Fool to Cry?” ’ ‘Yeah, we played it on Tuesday.’ The boys are starting to use it as a reference, which is great, because when I started doing it, Mick [Jagger] used to come up to me and go, ‘Ronnie, stop writing that bloody list, and get on with the songs.’ ”

The resulting book, The Rolling Stones Set Lists, captures the huge range of songs the Stones will bring to life during one of their tours — about 80 for a show of 19 or 20 songs. It also gives the rest of us some clues as to the rules of writing the dream set list.
books  concerts  lists  live_performances  music  songs  rollingstones 
november 2018 by jerryking
Review: Beyoncé Is Bigger Than Coachella
APRIL 15, 2018 | The New York Times | By JON CARAMANICA.

Beyoncé's Coachella performances this weekend and next are her only solo U.S. dates this year. “Thank you for allowing me to be the first black woman to headline Coachella,” she said midset, then added an aside that was, in fact, the main point: “Ain’t that ’bout a bitch.”

Big-tent festivals, generally speaking, are blithe spaces — they don’t invite much scrutiny, because they can’t stand up to it. But Beyoncé’s simple recitation of fact was searing, especially on the same night that, in Cleveland, the Rock & Roll Hall of Fame finally inducted Nina Simone and Sister Rosetta Tharpe, 15 and 45 years after their deaths, and also Bon Jovi, a band in which everyone is very much alive.
live_performances  music  Beyoncé  Coachella  superstars  celebrities  concerts  artists  music_festivals  women 
april 2018 by jerryking
Twilight of the Rock Gods -
March 25, 2017 | WSJ | By Neil Shah.

As rock ‘n’ roll loses its founding megastars—and sales juggernauts—the music industry faces pressure to revamp.....As rock's founding fathers and mothers get older, the music industry faces a problem: can younger artists replace their sales?

Of the 25 artists with the highest record sales in the U.S. since 1991, when reliable data first became available, just one—Britney Spears—is under 40, Nielsen data show. Nineteen of the 25 are over 50 years old.....In terms of concert-tour revenue, artists over 50 represent half of the $4.5 billion generated by last year’s top 100-grossing tours, excluding non-music acts and comedians, according to a WSJ analysis of data from Pollstar, the trade magazine. Of the top 10, five were over 50, including Bruce Springsteen (67), Guns N’ Roses (average age 53), Paul McCartney (74), Garth Brooks (55) and the Rolling Stones (73), Pollstar data show.......the number of celebrity deaths last year wasn’t exceptional, according to a study by researchers at the Massachusetts Institute of Technology, though the number of “mega famous” celebrity deaths was. Because of their penchant for hard living, rocker deaths are likely to stay consistently high. .....Rock has an outsize influence on music sales. It was responsible for 41% of total U.S. album sales last year, far higher than hip-hop and R&B (15%), country (13%) or pop (10%), according to Nielsen......Much of rock’s commercial success was possible because of the way the industry was structured. By the 1980s, cash-rich major labels were helping finance tours, throwing money at fledgling acts and investing huge sums in veteran stars even when their careers floundered.

Such investments—equivalent in spirit to the R&D expenditures of pharmaceutical firms—helped artists build enduring brands and transformed superstars into major corporations that overshadow young pop/rock acts even today.......WILL YOUNGER STARS FILL THE VOID?

Probably not. Because of the multiplicity of entertainment options today, reduced attention spans, personalized tastes and less record-label support, most of today’s artists will never be as big as yesterday’s rockers.

Radio used to have the power to make even a lower-quality rock release popular. However, the fragmentation of the music industry—fans using multiple formats and splintering across rock, hip-hop, country and electronic music—means most acts will never find the same big audiences......WHAT ABOUT CONCERTS?

Young megastars like Beyoncé, Taylor Swift and country acts like Carrie Underwood make most of their money on tour. And there will be a successive generation of touring veterans like Lady Gaga, Justin Timberlake and Nicki Minaj, along with unexpected reunions and area headliners.

But many acts today from rapper Future to rockers Japandroids don’t generate colossal sums compared with older stars.......WHAT HAPPENS NOW?

The concert business is going in two directions: diversifying into festivals and smaller venues, to focus on younger audiences, while continuing to squeeze every opportunity out of the boomer market.

Joe Edwards, a St. Louis music-venue owner, sees the industry shifting focus from big venues such as amphitheaters to the smaller 1,000 to 3,000-seat venues suited to today’s artists. “I see more acts loving those sizes,” he says, since the artists don’t have to wait to play bigger stages. “Smaller venues will be very popular,” he says.

To reach younger audiences, Live Nation, the country’s biggest concert promoter, has been on a music-festival-buying spree. Last spring, the company bought a majority stake in Founders Entertainment, which runs New York’s Governors Ball festival, part of a strategy that diversifies its business away from the 40-plus amphitheaters it runs.
aging  artists  attention_spans  celebrities  concerts  deaths  golden_oldies  legacy_artists  Live_Nation  live_performances  music  music_industry  music_festivals  music_venues  rock-'n'-roll  small_formats  small_spaces  superstars  touring 
march 2017 by jerryking
Why a Music Mogul Is Snapping Up Tiny Trade Magazines
March 19, 2017 | WSJ | By HANNAH KARP.

the music industry is mounting a comeback, one of the most powerful men in the business is snapping up some of its least flashy assets: trade publications.

Music mogul Irving Azoff and a business partner, Tim Leiweke, recently purchased Venues Today, and are in talks to buy Pollstar, people familiar with the matter said. Both outlets cover the live-music business.

Rather than simply trying to pry readers or advertisers from the music industry’s biggest trade magazine, Billboard, the two men are primarily interested in using the magazines to break into the conference business.....The surge of interest in music’s more obscure trades comes as the concert industry continues a long boom and the recorded-music business rebounds after years of declining sales. While magazines and newspapers across the board are generally struggling to compete for advertisers and readers with Facebook Inc. and Alphabet Inc.’s Google, industry trades are closely tied to the health of the businesses they cover, with the firms in those industries being their primary advertisers.

Billboard executives view the entrance of Mr. Azoff and Mr. Leiweke into music media not as a threat but as welcome validation of the music industry’s recovery, according to a person familiar with the matter, who added that Billboard’s revenue has increased 86% since 2013....Mr. Azoff is the former executive chairman of the country’s biggest concert promoter, Live Nation Entertainment Inc.; Mr. Leiweke is the former chief executive of Live Nation’s next-largest competitor, Anschutz Entertainment Group.

Messrs. Azoff and Leiweke could use conferences to help Oak View Group, their venue-management company, which collects annual fees from about two dozen arenas in exchange for sponsorships, event booking and other services.

Controlling the concert trades also allows Mr. Azoff to take on Billboard, a publication he has publicly criticized as it broadened its appeal to woo readers and bigger advertisers from outside the music industry.
music_industry  mergers_&_acquisitions  the_Eagles  M&A  trade_publications  back-house_opportunities  Tim_Leiweke  music  magazines  moguls  concerts  live_music  live_performances 
march 2017 by jerryking
Canada was joined at the Hip – thanks to the CBC - The Globe and Mail
Special to The Globe and Mail
Published Tuesday, Aug. 23, 2016

The CBC's decision to air the Tragically Hip's farewell concert Saturday was a stroke of public broadcasting genius. It demonstrated better than almost any event one could imagine the power of a national public broadcaster to bring a nation together to celebrate its shared values, to honour its prodigies, to's estimated by Numeris to have been 4.1 million Saturday night. According to media analyst Barry Kiefl, "four million is a big number, but it's in line with many segments of the Rio Olympics. .......What matters more is that we were able to watch it, from beginning to end, all three hours, without advertising. And without an announcer/host guiding us from one commercial break to the next.......The Hip concert may have been the most subversive program the CBC has ever aired. Subversive, because it has shown Canadians in their millions what public television can be when it's doing its job of serving the people rather than corporate advertisers – what it's like everywhere else in the industrialized world, with the sorry exception of the United States. Subversive, because it happened just as the broadcasting industry is about to enter into a period of basic restructuring........Saturday, we had a taste of what it feels like to live in a grown-up country where the public broadcaster lives up to its public service mandate.

The audience was huge; the ambience unforgettable; the experience unprecedented. Yes, ad revenue was sacrificed – perhaps as much as $5-million by one estimate. And the broadcast rights must have cost a bundle.

But it was an investment in the country's future, in its social infrastructure, in its cultural cohesiveness. And it could be a prologue to a future in which we join the rest of the industrialized world with a well-funded, commercial-free, public broadcaster that cares about who we are rather than where we shop and what we might be persuaded to buy.
Tragically_Hip  CBC  farewells  concerts  performances  music  public_broadcasting  cultural_touchpoints 
august 2016 by jerryking
Alejandra Ribera’s La Boca: an exotic and cosmopolitan second album - The Globe and Mail
Brad Wheeler

The Globe and Mail
Jan. 31 2014

Bad Again is bolder, with her earthy alto dipping and whipping around the chord progressions. The song concerns the picking up of old nasty habits.
concerts  CBC_Radio  music  Brad_Wheeler 
february 2014 by jerryking
Reviewed: New albums from the summer’s hottest concert headliners - The Globe and Mail

Hope in Dirt City
Cadence Weapon (Upper Class)
3 stars

If he would just stop being himself, Rollie Pemberton's dazzling rhymes and chameleonic flow would be lighting up the charts. But Cadence Weapon likes skronky saxophone solos, nerdy references (e.g. Louis Theroux on the subtly devastating Cheval) and skewering rappers' follies (Hype Man, where he dramatizes both sides of hip-hop’s favourite master-slave scenario) too much to consider dumbing down. For fans of more than one kind of hip-hop, Cadence’s third album makes for excellent one-stop shopping. Dave Morris

Cadence Weapon plays Lee’s Palace in Toronto June 23, 2012
hip_hop  concerts  live_music  fallacies_follies 
june 2012 by jerryking
Nov. 25, 1976 / The Band gives its farewell concert
Nov 25, 2010 | G& M. pg. A.2 | Brad Wheeler. The evening
at San Francisco's Winterland Ballroom that began with a Thanksgiving
feast ended with a sung-along I Shall Be Released . Billed as Robbie
Robertson and the Band's final show, The Last Waltz was more than that -
it was rock 'n' roll's Last Supper, attended by such stars as Neil
Young, Bob Dylan and Joni Mitchell, and another signpost for the death
of the Sixties. A mostly Canadian outfit with an American-music soul,
the Band was an inventive group that, by the mid-1970s, had run out of
ideas. Its era over, the Woodstock-spawned crew called it quits - a
uniquely noble act among tie-dyed types who would keep their seats on
the commercial-music gravy train. "Catch a Cannonball now, t'take me
down the line," the Band sang. "My bag is sinkin' low, and I do believe
it's time."
Band, the. Photograph. Encyclopædia Britannica Online.
ProQuest  music  The_Band  anniversaries  Brad_Wheeler  Bob_Dylan  farewells  country_rock  roots_rock  concerts  live_performances  Southern_rock  '70s 
april 2011 by jerryking

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