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jerryking : live_performances   25

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
Ticketmaster’s New Challenger: Your Face - WSJ
By Anne Steele
Updated May 4, 2018

The industry is ripe for disruption. People are spending more than ever on experiences, even as concern is rising about security at crowded live events. At the same time, artists and teams today have little control over how, to whom or for how much their tickets are sold.
entrepreneur  start_ups  disruption  Live_Nation  live_performances  facial-recognition  sports  arenas  Ticketmaster  Rival  Andreessen_Horowitz 
may 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
Oak View Group – We are here to be a positive disruption to business as usual in the sports and live entertainment industry.
Messrs. Irving Azoff and Tim 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.
disruption  back-office  sports  live_performances  sponsorships  events  arenas  Tim_Leiweke  entertainment_industry 
april 2017 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
Gord Downie, Frontman for the Tragically Hip, in His Final Act - The New York Times
By MELENA RYZIK AUG. 21, 2016

Since its first studio album in 1989, the Hip, as the band is widely known, has risen from a riff-driven bar band to one whose dense lyrics, touching on hockey players and heroes of the Canadian wilderness, now invite close reading — “a proletarian group with an intellectual sensibility,” as the Canadian cultural essayist and novelist Stephen Marche wrote in The New Yorker. “Small-town hockey fans howl their biggest anthems in parking lots after games; assistant professors of Canadian literature listen to their later work while jogging.”
Tragically_Hip  music  farewells  Canadian  Canadiana  live_performances  Gord_Downie 
august 2016 by jerryking
5 Spectacular Marketing Insights From Cirque du Soleil On Customer Intimacy | momentology
By Lisa Lacy, 21st of April 2016 at 14:05 PM.

So how does Cirque du Soleil use get closer to its fans? Here are five marketing insights from Derricks.

1. Be Ready To Ask & Re-Ask Questions

the live entertainment brand isn’t the new kid on the block anymore....undergoing a huge transformation as a result in part of private investment firm TPG acquiring a majority stake last year.

“And what’s fascinating is this inflection point is a chance to re-ask all the questions,” Derricks said. “Everything is back on the table again. Our brand is incredibly strong on stage, but where we’re challenged is what happens beyond the lights and how to interact with you.”

2. Don’t Miss The Marketing Basics
it’s hard for a brand like Cirque du Soleil to simply deliver an app or the like, so “given the crowded market, there’s a lot of basic blocking and tackling as much as finding the next brand new thing. Sometimes it’s about being in the right place at the right time.”

That means Cirque du Soleil capitalizes on traditional out-of-home tactics like taxi toppers and marquis ads, as well as videos in taxis to create awareness and buzz.

3. Have Smaller Conversations & Tell Stories

Derricks said the brand is hearing from its fans that they want to know more about the performers and what goes on behind the scenes.

“Where we’re challenged is selling the concept of the show itself,” Derricks said. “The most radical thing we can do is to be more intimate. I don’t know if we can be louder, but we can be more intimate and [and bring you] behind the curtain, which is a fascinating new adventure for Cirque du Soleil.

4. Bring People To You

Another part of Cirque du Soleil’s marketing strategy involves breaking down the shows into their component parts and connecting with audiences from there....As a result, the brand has begun experimenting with master classes in fields like makeup and dance.

5. Conduct Team Building Activities

What’s more, noting the circus itself has changed drastically as traditional circuses included acts in which performers were related by blood and were therefore very tightly knit, Derricks said Cirque du Soleil, which includes groups of performers without family ties, had to conjure up its own unique methods of fostering trust....As a result, Cirque du Soleil created Spark Sessions, or corporate experiences for networking, business development and/or milestones, to get other companies involved and to help teach what it has since learned about trust and leadership, "
private_equity  TPG  Guy_Laliberté  entrepreneur  fascination  Cirque_du_Soleil  customer_experience  storytelling  customer_intimacy  LBMA  out-of-home  teams  trustworthiness  brands  insights  outreach  live_performances  corporate_training  inflection_points 
april 2016 by jerryking
Cirque, Sid Lee team up to create marketing ‘events’ - The Globe and Mail
Jun. 20 2013 | The Globe and Mail | SUSAN KRASHINSKY - MARKETING REPORTER.

Cirque du Soleil is bringing its sense for spectacle to the marketing world, teaming up with Montreal ad agency Sid Lee to launch a branded entertainment company. The joint venture will aim to help brands create experiences that people actually want to watch, listen to, and experience. The joint venture, Sid Lee Entertainment, has been a year and a half in the making, and is an attempt to address a fundamental shift in advertising: away from pushing messages to consumers, and toward creating engaging content....Marketers have been approaching Cirque for years to develop entertainment projects, Mr. Lamarre said, but the company was unable to figure out how to do that without having it conflict with its own brand.

The goal is to create events engaging enough that the brands behind them can sell tickets, Mr. Cesvet said – and to potentially create a new economic model for an industry in flux.

“With advertising, we’re still selling hours,” he said. “What we want to do with this entertainment division is transform the revenue stream of our business … what clients expect from agencies is a lot more complex. You have to do an app, you have to do interactive experiences. I don’t think the value is recognized.”
marketing  branding  brands  Cirque_du_Soleil  Montreal  advertising_agencies  partnerships  joint_ventures  events  event_marketing  ideaCity  product_launches  customer_experience  experiential_marketing  content_creators  live_performances  interactivity  inbound_marketing  entertainment  Sid_Lee  Susan_Krashinsky  creating_valuable_content  fascination 
june 2013 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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