If we imagine a Black Keys live show, we immediately think of venues that are not very large, certainly smoky, certainly dark, certainly sticky. Yet, many thought that the choice was not so much about positioning, but rather about unsold tickets
It is 2010 when the World Cup is being played in South Africa, Wikileaks releases the first video entitled “Collateral Murder” and Black KeysMeaning what Dan Auerbach And Patrick Carneypublican Brothers, a record that everyone should have in their nightclub. Tracks that tell of the Akron duo’s passion for Hill Country Blues (HCB). A groove spins on the turntable that arrives immediately, from the first track, Everlasting Light (that unsettling falsetto, what an entrée). Brothers was also a commercial success, repeated with the following one El Camino (less appreciated than Brothers in these parts but ‘have’ these days). The Black Keys shoot the best cartridges with these two records and from then on it becomes a privilege to go and see them live. Repertoire question. It’s a shame that the duo suddenly canceled their entire North American tour. What happened? In the meantime, they assured that they are well and that they will return “to play in smaller places”. But that’s not all because Patrick Carney he said something quite loudly: “We got fucked”. “We were screwed.” And then: “I’ll let you know how, so it doesn’t happen to you too. Stay tuned”. Let’s wait.
Meanwhile, the band’s twelfth album was released a few months ago, Ohio Players, with several important collaborations, from Beck to Noel Gallagher. No, it’s not like Brothers (although the critical reception was positive). But let’s get back to the canceled North American tour dates (starting September 17th from Tulsa, Oklahoma) and the announcement about the intention to play smaller venues: no longer arenas, therefore, but clubs. “The tickets will be refunded,” the two immediately announced in mid-May. But what happened? If we imagine a Black Keys live show, we immediately think of venues that are not very large, certainly smoky, certainly dark, certainly sticky. Yet, many have thought that the choice was not so much about positioning, but rather about unsold tickets.
The live sector is increasingly less decipherable, with artists who they fill arenas thanks to a series of singles of which there will be no trace in the world and with improvisations in the stadiums from a one-night stand‘ (today a San Siro is not denied to anyone and only six Vasco can you show “who’s in charge” by doing seven practically in a row, to avoid any misunderstanding). This happens in Italy today.
And in the United States? The issue of ticket prices ballooning to the point of becoming unsustainable is changing things. The artists with less hype are the ones ‘cut’ first. Of course, even world-famous pop stars seem to have some problems, you see Jennifer Lopez who canceled the tour who knows if because of the love crisis with Ben Affleck or if because of empty seats. The dynamics of the United States are very different from ours and so are those of assigning ticket prices. The news dated May 23rd that the United States Department of Justice was suing Live Nation with the accusation that the multinational and its division Ticketmaster they illegally inflate concert prices and have harmed artists.
The question is therefore served: is the post-pandemic live boom slowing down in the United States, the first pawn to fall in the domino of countries? If you ask (among others) the NBC that he heard Dave Clarkan editor of Ticket News convinced that the growth of the live music sector post-pandemic was a bubble: people were more eager to return to live music and were financially ‘better off’, determined to go to as many shows as possible. Another stopping factor, again according to Clark, it could be too many artists trying to tour at the same time or too many times in a rowalso because the performance of record sales and music listened to on the platform has radically reduced. “Now they make records to sell the tour”.
As is true. And you might think, but maybe you’re wrong, that those who still make records to make records and not to sell the tour will end up like the Black Keys. Screwed.
