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Tag: Touring

  • Kiss rocker Gene Simmons recovering after crashing SUV

    Kiss rock star Gene Simmons is recovering after he fainted while driving along the Pacific Coast Highway in Malibu and crashed his SUV into a parked car, authorities said.Simmons, a co-founder and bassist for the legendary band, was evaluated at a hospital Tuesday before being released. He posted on social media that he was doing well.“Thanks, everybody, for the kind wishes. I’m completely fine. I had a slight fender bender. It happens,” he said on X.The 76-year-old’s SUV crossed several lanes before hitting a parked car along the highway, agencies that responded to the crash told several media outlets. Simmons was then transported to a hospital, the Los Angeles County Sheriff’s Department said.Kiss retired from a half-century of touring in 2023, but Simmons and his bandmates plan to play in November at a special event in Las Vegas. In August, President Donald Trump announced that Kiss will be among this year’s Kennedy Center honorees.

    Kiss rock star Gene Simmons is recovering after he fainted while driving along the Pacific Coast Highway in Malibu and crashed his SUV into a parked car, authorities said.

    Simmons, a co-founder and bassist for the legendary band, was evaluated at a hospital Tuesday before being released. He posted on social media that he was doing well.

    “Thanks, everybody, for the kind wishes. I’m completely fine. I had a slight fender bender. It happens,” he said on X.

    The 76-year-old’s SUV crossed several lanes before hitting a parked car along the highway, agencies that responded to the crash told several media outlets. Simmons was then transported to a hospital, the Los Angeles County Sheriff’s Department said.

    Kiss retired from a half-century of touring in 2023, but Simmons and his bandmates plan to play in November at a special event in Las Vegas. In August, President Donald Trump announced that Kiss will be among this year’s Kennedy Center honorees.

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  • 4Batz, a Newly Married Man, Is Going on Tour

    4Batz is going back on tour again, which we assume he’s putting his honeymoon on hold. The Dallas R&B singer is taking his marriage to Anycia seriously, dropping the video for “act xxiii: let’s press play,” the last song on his latest album Still Shinin…

    Eric Diep

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  • How to make touring possible & profitable for emerging artists – ReverbNation Blog

    How to make touring possible & profitable for emerging artists – ReverbNation Blog

    Touring is hard. That’s always been true. No matter if you’re Taylor Swift playing a sold-out stadium or a new band with only a few fans at a dive bar hours from home.

    But given the challenges of inflation and unpredictable attendance at live events today, touring might feel more difficult than ever. Especially if you haven’t built a reliable touring network and audience yet. You don’t want to take a leap of faith, play a bunch of empty venues, and go home broke.

    So if you’re an artist who wants to get on the road, here are some tips to help you make touring a profitable adventure that actually moves your music forward:

    Create a Killer Show

    There’s no use hitting the road until you can consistently create unforgettable moments for an audience of strangers. Don’t leave “inspiration” up to chance. Make your arrangements, banter, and movement as captivating as possible. And remember, your live set can differ from the recordings!

    Don’t Oversaturate a Market

    The key to booking good gigs? It comes down to demand. You don’t want to play too often in any particular city, because your potential audience will start to feel less urgency about your shows. Not too often, not too rare. Got it, Goldilocks?

    Only Approach Venues You Can Fill

    Filling a venue might sound like a tall order for an early tour when you’re hitting towns you’ve never played before. But the heart of the lesson is this: Don’t aim to book yourself in big venues too soon. Contact small venues that will seem crowded even with low attendance. You want every event to at least feel like a sellout show.

    Make an Irresistible Merch Offer

    Ticket sales, a bar percentage, tips, or a cover charge might not be enough on early tours. So always have one or two items for sale that fans need to take home with them. The more tour-specific and urgent the merch offer feels, the better.

    Start In Your Region

    Lean on local connections to hit the nearest cities. The same way you’d ask your neighbor to borrow some milk, not a stranger two states away.

    Seek Out Gig Swaps

    It all comes down to favors. Trade opening slots with out-of-town acts. This is one of the most timeless and effective ways to start touring.

    Build Slowly

    Don’t travel too far from home until you’ve proven you can be profitable on the way. Start with a long-weekend. Then add one more city with each tour.

    Be Selective

    Only play cities you suspect you’ll return to within 6-12 months. Otherwise you risk that audience going cold on you. It’s kind of the opposite problem as playing too often.

    Streamline Your Lineup and Gear

    Reduce as many costs as you can without hurting the quality of your show. And costs can mean money or time. Do you NEED four keyboards if one controller and a computer does the trick? Is your duo just as capable as your quintet? Playing with less gear means more venue options, quicker load-in, easier packing, smaller vehicle, less gas. Playing with fewer members can mean all those same things, PLUS fewer people to split the money.

    Limit Luxuries

    Can you crash on a couch instead of a hotel? Can you eat trail mix instead of sushi? The secret to touring on a budget is… the budget.

    Run Ads

    Create a marketing funnel to intro your music to geo-targeted audiences. Then run followup ads to sell tickets or drive event engagement. If you can work directly with the promoter or venue to get quick access to ticket sales and customer data, that can be a big benefit.

    Promote Every Date

    Do everything you can: posts, posters, DMs, calls, press, blog outreach, record stores, college and comunity radio. Because your music is depending on it.

    Supplement with Social

    Not every event has to be IRL. So explore livestreams, AMAs, and other ways to connect with fans you can’t meet in-person. Once you have a sufficient livestream or social audience in a particular town, it might be worth adding it to your tour itinerary.

    Repurpose Your Efforts

    Every show is a chance to capture photo and video content that helps you re-engage attendees afterwards. Don’t drive a thousand miles, play an incredible concert, and have nothing else to show for it.

    Make a Followup Plan

    Get fan emails. Meet everyone at the merch table. Be professional with venue staff. Befriend other acts on the bill. Then be sure to reconnect with those people so every tour can build upon the last.

    Do a “Tour Sprint Review”

    Meet with your bandmates, your family, or your team after every tour to assess what you can do better each time.


    Touring isn’t easy. But it’s doable.

    By taking the right steps, it can also be a profitable way to make lasting connections with your fans.

    Get industry access to book better gigs and festivals!

    Chris Robley

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  • How to fill the venue every time – ReverbNation Blog

    How to fill the venue every time – ReverbNation Blog


    Do you want your next concert to be a sell-out event?

    In “The key to booking better gigs” I discussed three of the best strategies to turn every show into a success:

    1. Don’t play too often in any given town
    2. Choose smaller venues that you can easily fill
    3. Make each gig special (album release show, tour kickoff, etc.)

    But those are all high-level decisions. There’s got to be more to the formula, right? Indeed.

    In this article I’ll discuss specific steps for effective concert promotion. 

    You won’t have to do ‘em all for every single show, of course. But the more items you can check off this list, the better your chances of selling out the venue. 

    Start early! 

    The earlier you can book a show, the more time you have to create interest in the event and work on your stage production. 

    Some gigs arise last-minute. But those should be the exception to the rule. 

    Try to book your shows anywhere from 3 to 12 months in advance

    Prestige venues, music festivals, and high-demand house concert series may be booking even further out than that.

    Curate a great lineup

    If you can’t sell-out the show on your own, team up! 

    Find one or two other acts with a reliable draw in that town. Work together. If you’re booking a tour through THEIR hometown, return the favor with a gig-swap when they travel through yours. 

    Make sure you coordinate your plans for promotion with the other acts on the bill. No need for three bands to work separately when you can pool your efforts and budget. 

    Choose the right ticket price

    You want to profit from the show, but not charge so much that you don’t fill the venue. It’s a balancing act, and there’s some trial and error, for sure.

    But lean on the venue or promoter’s expertise if you’re unsure of the right price.

    Also ask for their recommendation or options regarding ticketed events versus door-charge, and specific seats versus general admission.

    Get business buy-in

    The business that you want to see most invested in your show is the venue, of course. 

    So discuss with the promoter, the talent-buyer, or the venue management what they plan to do to make the night a success. What exactly are they running for promo (ads, posters, etc)? Who pays for what?  

    By getting detailed info, you’ll know how your efforts can complement one another, or plug holes. 

    Then ask yourself: Are there other businesses or charities that might invest in this show? An outside sponsor who can cover some of the costs and promote the event to their customers, in exchange for some branding, education, or product placement during the show?

    Prioritize amazing design

    Your event has to LOOK cool. In advance. 

    You want people — when they attend the show — to feel cool by association

    So make sure your concert posters, associated social posts, Facebook Event Page banner, and other web assets all have a striking visual appeal. 

    You can do a lot these days with Canva and AI design tools, but if you need a pro designer, allocate some promo budget. It’ll be worth the expense. 

    Update everything!

    Make a list of all the places that need quick edits or announcements, including:

    • Your concert calendar
    • Bandsintown
    • SongKick
    • ReverbNation profile
    • A Facebook event
    • YouTube Cards (if you’re in the YouTube Partner Program)
    • News-bars or popups on your website
    • And more

    Now go and add the relevant info about your show!

    Don’t neglect your email list either. Segment the list based on geography, and send an email to people in that town.

    Put up posters

    IRL posters are still important. 

    If you’re playing a different town, mail them directly to the venue, local record stores, and any other relevant place for public display, such as libraries, instrument stores, bookstores, coffee shops, etc. (call or email beforehand). 

    Or if a local band is opening, coordinate with them to hang posters. If you’re playing your own hometown, hang ‘em up yourself!

    Tease the mystery

    Will you have a special surprise guest? Get people guessing, but don’t reveal the answer.

    Will you debut a special song? Share a snippet from practice that sounds familiar, but not a dead giveaway. 

    Are you working on an interesting stage design, props, or costumes? Show some behind-the-scenes moments where those elements are just starting to come together, but aren’t quite ready for showtime. 

    Plant the seeds of curiosity.

    Create dedicated merch

    Tell your fans there will be a special merch item that can ONLY be acquired if they attend the show. 

    You could sell it at the merch table. You could give it away at the door. Or you can include it as part of a special ticket package. 

    The point is to create a sense of urgency and commemoration. 

    Make ticketing EASY! 

    You often won’t have a choice about how ticketing works, which platforms are used, etc. A lot of that is left to the venue’s existing processes. 

    But wherever you can, you want as few clicks as possible between your promo efforts and the final purchase.

    Don’t send someone from an Instagram photo to your website’s concert calendar to a venue site to a ticketing page to checkout, when you can probably remove a few of those steps. 

    Run digital ads

    If you have a great piece of social content (performance videos work well), run it as an ad to people who live within driving distance to the venue. 

    Use the caption to address the specific town and get them excited for your show. 

    Get retargeting info

    Is it possible to acquire retargeting data or customer contact info from the ticketing platform or venue? 

    This is another item that will often be out of your control, but if you have sufficient leverage, it might be possible to work with the venue or ticketing service to coordinate your online marketing efforts to enable things like:

    • Cart abandonment messages to follow-up with anyone who almost purchased a ticket
    • Bonus offers to existing ticketholders (discount code to bring a friend, etc.)

    Consider non-musical collabs

    The bill you put together doesn’t always have to include other musicians. 

    If for whatever reason you think it’d work better to partner with a comedian, a short-film premiere, a storyteller, a dance troupe… get creative with the lineup!

    Host a contest

    If fans think they might be recognized in some way during the event, there’s extra incentive to attend. 

    This could be a contest running AT the event: Best costume? Shoot a fan testimonial video at the door and we’ll pick our favorite for a prize? 

    Or something you run in advance of the show: Submit alternate lyrics to one of our songs and we’ll sing our favorite entry? Write your dream setlist and we’ll play our favorite? 

    Alert the local press

    Cover your PR bases! 

    Tell the local music critics and bloggers about your show, why it’s gonna be amazing, and that you’re happy to provide anything else they need. 

    Including interviews, comped tickets, etc. 

    Also, don’t forget chamber of commerce, local newspapers, neighborhood zines, and more.

    Post organic social content

    It can be a balancing act for touring musicians to create content that feels relevant to local audiences without ostracising the larger fanbase. 

    But given that TikTok and Instagram are now so algorithmically driven, you may consider creating geo-tagged content, as that type of stuff generally gets surfaced to relevant viewers, especially on TikTok. 

    You can also rely on more temporary formats like Stories to emphasize city-specific events. 

    Theme it up!

    Not every concert needs a gimmick. Not every kind of artist should have fans showing up in costumes. But if it’s appropriate, get your fans involved in creating the vibe for the night.

    If you have a theme, you don’t want it to be prohibitive. Costumes should be optional. And the theme should be open-ended enough that an average fan can easily put together a costume (80s night, favorite movie character, etc.)

    Offer different ticket packages

    Sometimes a little exclusivity goes a long way, so make sure to have a ticket tier for several types of fan: 

    • Casual fan / general admission / door charge / balcony seating
    • True fan / better seating / advanced admission / watch the soundcheck
    • Diehard fan / special treatment / VIP merch / backstage hangout

    Use all of the guest list

    I don’t know why, but many musicians feel embarrassed to actually fill up the guest list. 

    It’s there for a reason. We might as well put names on it!

    Just be sure you’re using those coveted free spots for people in the local industry like music journalists, or at the very least, fans and friends you can absolutely count on to show up if their name is on the list. 

    Do a ticket or prize giveaway

    I mentioned contests above, and ticket giveaways or merch prizes can be a good way to reward contest winners, but also include the local music industry or music media in your promotion.

    Offer tickets to be given away by local radio DJs, local businesses, or the venue itself. 

    Play an in-studio

    If you can perform at a community or college radio station on the morning of the show, it can sometimes be a good opportunity to sell those last remaining seats. 

    Either because people were impressed while listening, or because you capture cool social content that helps more people in town learn about the show last-minute. 

    Play an in-store (mayyyyyyybe)

    Playing in a local record store CAN be a good way to generate excitement for a show later that night or later that week. 

    But… these can sometimes turn into an event all their own, so you don’t want to risk people choosing the record store performance OVER the venue performance. 

    That’s why I wrote mayyyyybe above. 

    Special themed drinks

    This is a small thing, but can make the night a bit more fun, bring a few more people through the door, and boost bar revenue. 

    Work with the venue ahead of time to create a drink named after your act, or one of your songs. 

    Participation is key

    I’ve mentioned something similar a few times already, but you want your audience to feel like they can be a PART of the event, not just a witness.

    Find ways to include fans.

    Let them influence the setlist beforehand by editing a collaborative playlist or responding to a poll. Set aside a minute or two each show to bring someone from the audience onstage. Ask them questions, or let them sing a few lines. 

    You want to create a sense of both chance and agency for the crowd. 

    Tag accordingly!

    Before, during, and after the show — tag the other acts, the venue, the musicians in the photos, the designer, and any fans pictured. Set the location of the post. Find a relevant hashtag for that town’s music scene. 

    The same way you want to pack people into the club, you want (some of) your posts to feel like a party too.


    Conclusion

    As you can see, there’s a lot you COULD do to make your next show a success. 

    Major artists of course have teams to handle much of the work. For self-booking artists, most of the above will fall on your shoulders. If you want to get to the stage where others handle the booking and concert promotion for you, you’ve got to sell out your own concerts today. 

    No one promised it would be easy. But it is possible. And I hope the list of options above provides you with a good framework for success. 

    Here’s to many sell-out shows ahead! 



    Chris Robley

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  • The key to booking better gigs – ReverbNation Blog

    The key to booking better gigs – ReverbNation Blog


    Do you want to turn your next gig into an unforgettable show?

    In front of a packed crowd?

    In a cooler venue?

    The key to booking better gigs is right here in this apple…

    No, this isn’t an Adam & Eve reference.

    Instead, I’d like you to imagine you’re moderately hungry. 

    If I offered you this apple, you might eat it. You might not. 

    If it’s been months since you ate an apple (assuming you like apples), you might scarf it down. 

    Now what if I offered you two apples today? You might eat one and let the other go bad. 

    And if I promised I’d bring you free apples every Friday for the next year, you might think:

    “Well, what’s the point of even eating an apple today? There’s always next week.”

    Plus, maybe you’re in the mood for tacos tonight. 

    The economics of… apples?

    Yes, there’s an Economics lesson buried in here somewhere. About scarcity, demand, inflation, and — let it NOT go unaddressed — the Universal Law that tacos are better than apples. 

    But what does this story about apples have to do with gigs, you ask?

    Let’s do a little reverse engineering.

    Bigger venues need to trust you can fill ’em

    Advancement is partially about managing perceptions. 

    In order to book a better gig tomorrow, a talent buyer has to feel relatively certain that you’ll be able to recreate the success they’ve already seen you achieve today. 

    So let’s talk about how to manage perceptions that your gigs are successful events.

    Don’t “oversaturate” your market

    Audiences rally when opportunities are rare. 

    How do you guarantee your gigs look like a success? 

    It should feel like a special event. A rare occasion.

    Meaning: Don’t play too often in the same town.

    Maybe once per season. Once per year, even!

    Every concert should be a can’t-miss event

    Scarcity creates urgency.

    If you only play once in a while, your fans will have a deeper yearning to attend (or a bigger sense of obligation, if we’re talking about friends and family). 

    You want ALL your gigs to feel important enough for people to do the inconvenient stuff: trade work-shifts, hire babysitters, make the drive. 

    Even if that means overall you’re playing fewer gigs, the ones you do play will be more rewarding for both you and your fans. And any new downtime can be used to expand your tour circuit. Or produce better shows. (More on that below).

    Play venues that are too small

    Demand should outweigh supply. 

    Oh no. Supply & Demand? 

    Yep. In terms of your tour calendar, this means don’t play too often in any given region. 

    But you also should play in venues that are slightly too small to fit all of your likely attendees. This creates an atmosphere of exclusivity. We all want to feel special, right?

    So if you can get 400 people out on Friday, play a 300-cap room. 

    If you can rely on 50 people on Tuesday, play a tiny room that squeezes ’em in. 

    If you think 15 people will show up, bring your own PA to a bookstore or boutique or barber shop and host your own pop-up style concert. These can be incredible opportunities to provide an intimate experience that feels exclusive and rare. 

    Groupthink can be a good thing

    Buzz = Permission.

    The more tightly packed the place is, the more you’ll create the perception (or reenforce the reality) that you’re an exciting artist. 

    This can be a bit of a balancing act, of course. Because a line around the block to get into your show is great PR on the one hand. On the other hand, it would also be great to have those people as paying attendees INSIDE the venue. 

    So, just remember…

    Crowds stir excitement, and excitement grants permission to crowds.

    By packing the place, you’re removing psychological barriers for the entire audience. A big audience will often pay closer attention, go deeper into the music, and appreciate what you’re doing on stage all the more. 

    As opposed to a half-empty club. Or a theatre with a bunch of empty seats. Suddenly you’re introducing doubt. “Hmmm, I wonder why more people aren’t here? Is the band slipping? Have trends changed? Should I feel bad for them? Awkward!”

    Less gigs should mean better gigs 

    Redirect your resources to produce an unforgettable performance. 

    When you’re more selective about the shows you play, you can spend more time prepping for each show to make it truly special. 

    Dial in the production. Rehearse some crazy songs. Plan a secret collaboration. Pick a theme for the night. Get amazing outfits. Build props. Curate a must-see lineup. Promote, promote, promote. 

    The time you would’ve spent diluting your audience across too-frequent local shows can now be put to better use: Making the ONE show you do play feel like the event of the year. 

    Basically what I’m saying is: If people show up because you promised an apple, give them a taco! 


    Conclusion

    The point of this article was to introduce a little psychology and economics into your booking strategy.

    If you want to start playing more amazing shows, just remember:

    1. The power of rarity, scarcity, and urgency. Don’t play too often in a single town. More people will attend the gigs you DO play. 
    2. Choose smaller venues to create the impression of demand. Make each gig feel exclusive and exciting, and your audience will enjoy the show even more. 
    3. Spend the time to make each show feel like a special event. You want your fans to not only remember the concert, but to keep talking about it.

    If you do all those things, it won’t be long before bigger venues, notable talent buyers, and local promoters start approaching you. And once you’ve proven that all your local gigs are a success, maybe it’s time to partner with one of these entities to scale-up to bigger and better performances. 



    Chris Robley

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  • Why is the U.S. punishing foreign musicians with higher visa fees? This is going to hurt – National | Globalnews.ca

    Why is the U.S. punishing foreign musicians with higher visa fees? This is going to hurt – National | Globalnews.ca

    Back in the fall of 2020, when COVID-19 shut down the live music industry, the United States Department of Homeland Security quietly proposed increases in the cost of visas necessary for foreign musicians who want to tour America.

    The new asking price of a “P-3″ visa, the one needed by musicians who want to play live in America, would rise to US$690 from US$460, a jump of 67 per cent. Another document, the four flavours of the “O” visa (required by people with “extraordinary ability or achievement” or accompanying people/relatives of such people) also had a proposed increase.

    These proposals landed at a time when no one was on the road, so the timing suggests that the U.S. wanted the new fees to slip under the radar. Those who noticed expressed concern about the increased financial burden on any non-American act. There was some initial chatter about the situation, but with months of COVID lockdowns ahead, no one paid too much attention and the increases were never put into place.

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    But then earlier this year, the U.S. Citizen and Immigration Services (USIC) tried again. This time, the all-important “P” visa would jump to US$1,615 from US$460. That’s a bump of 250 per cent. Let’s break this down:

    • US$1,615 for a solo artist or a band (P visa)
    • US$1,615 for the road crew (P via)
    • US$190 (at minimum) per relative/accompanying person)

    Assuming a four-piece band, their road crew, a manager, and one boyfriend/girlfriend/spouse, that’s US$3,420 (nearly $4,600 Canadian) before you even get to the border — actually, you have to apply at least three months before you leave home. Sure, you can have your petition expedited and pushed through within five days or so, but that’s another US$1,440 (or roughly C$1,935). That means a grand total of C$6,535 before the band sees a dime from the tour. This, of course, is in addition to transportation, fuel, salaries, hotel rooms, and food.

    Those costs have also gone up, of course. With so much touring activity going on the cost of renting gear, trucks, and buses has skyrocketed. And because so many roadies left the business during COVID-19, their kind of labour and expertise is in short supply and costs more.

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    Homeland Security/USIC say that the increases in visa fees are necessary because they haven’t increased since 2016 when P visas went up to the current US$460 from around US$275, a bump of 42 per cent. That raised some red flags at the time, but for the most part, this became a normal cost of doing business.

    So why just a hike now? The revenue from new ultra-high fees will be applied (at least partly) to hiring more people to deal with the post-COVID backlog of requests for visas. Some of the money will also help pay for some U.S. asylum programs. In other words, the U.S. government is making foreign acts pay for its inability to get its bureaucratic act together when it comes to its borders.

    If you’re an act of a certain size, any new fee is just another annoying line item in the touring budget spreadsheet. But if you’re an emerging artist, an artist from a marginalized community, or even a solid medium-sized group, this kind of money doom any possibility of touring the biggest music market in the world.

    This is a disaster because staying home and touring through just Canada is very expensive. I’ve heard from some acts who have returned from a Canadian tour in debt. And if it becomes too expensive to tour the U.S. — well, you see the problem. More Canadian artists looking toward Europe instead, but that features its own financial hassles.

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    Let’s say you’re in a solid middle-class band that often ducks south to play a couple of border cities on short regional tours. Cities like Buffalo and Detroit get plenty of these shows. But if you’re in the hole by $4,600 to begin with, it’s just not possible. And imagine the panic of Mexican bands who want to head north for a tour.

    Fine. So let’s retaliate by hiking our visa fees for American bands who want to play shows up here. The crazy thing is that there’s nothing reciprocal about this. Depending on how many dates an American artist wants to play in Canada, the visa costs may be — wait for it — zero.

    And just in case you think that only Canadian musicians are being asked to pay for U.S. bureaucratic bungling, these proposed new fees will affect all touring acts from anywhere in the world. There’s a U.K. campaign launched by the Featured Artists Coalition called Let the Music Move. Its goal is to ask people “to call on the U.K. government to do more to support the future of the music industry, and to raise awareness of proposals in the U.S. to significantly increase the costs for performers seeking visas to perform in the country.”

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    There have also been calls by the Music Managers Forum for something to be done. It says that 84 per cent of the acts under the care of its member managers want to tour the U.S. but 70 per cent of them say they’ll abandon those plans if the fees kick in.

    (Britain has to be careful about pointing fingers. Since Brexit, it’s been very difficult for British bands to tour the continent and vice-versa. The recent plight of a German band called Trigger Happy is a case in point; they had a U.K. tour scuppered because of border bureaucracy. Meanwhile, it’s estimated that the post-Brexit cost of a U.K. band to tour the continent has increased by at least 40 per cent.)

    Even bigger acts are taking notice of the costs and hassles. Roger Daltrey of The Who recently told USA Today that it’s doubtful the band will ever tour America again. “[T]ouring has become very difficult since COVID. We cannot get insured and most of the big bands doing arena shows, by the time they do their first show and rehearsals and get the staging and crew together, all the buses and hotels, you’re upwards $600,000 to a million in the hole. To earn that back, if you’re doing a 12-show run, you don’t start to earn it back until the seventh or eighth show. That’s just how the business works.”

    The U.S. should tread carefully with this cash grab. Andrew Cash, the president and CEO of the Canadian Independent Music Association penned an op-ed for The Globe and Mail:

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    In the U.S., every $1 spent on a concert ticket has a ripple effect of $3.30 in the local economy, according to a study by Oxford Economics Group,” Cash wrote.

    “That multiplier includes concertgoer spending on things such as transportation, band merch, meals and drinks, lodging, retail, and recreation. And by some estimates, musicians touring the U.S. spend an average of US$3,000 a week on food, gas and lodging. In total, the Canadian Independent Music Association estimates that Canadian touring contributes more than $2 billion annually to the U.S. economy. Now include artists from the U.K., Europe and Asia to this list — not to mention Mexico and South America — and you’d think even the biggest music market in the world would want a piece of this action.”

    It’s insanity, really. How is this a win for anyone other than the USIC and Homeland Security?

    Entire careers are riding on the outcome. Ottawa needs to do something.

    Alan Cross is a broadcaster with Q107 and 102.1 the Edge and a commentator for Global News.

    Subscribe to Alan’s Ongoing History of New Music Podcast now on Apple Podcast or Google Play

    Alan Cross

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