No one goes to a movie for the theatre, and all the innovation and investment has been on the exhibition side of the film business for the past two decades. And now the industry is paying the price.

Also for being out of touch with the changing world. In all verticals, it’s about niches. Narrower products appealing greatly to smaller groups. Instead, the film companies are making generic, broad-based films hoping to reach everybody, and when you try to appeal to everybody, you appeal to nobody.

The world keeps changing and the film studios have not kept up. Not only did they miss the Netflix/streaming tsunami, they have not kept up with the viewing habits of customers. The studios have to provide something that can’t be seen at home, something so important that it gets people to leave their houses and go to the theatre just so they can experience the film and have the right to intelligently discuss it thereafter.

However, most of the films being released are not worthy of discussion. Movies as religion has been on the decrease ever since “Jaws.” “Jaws” and “Star Wars” showed the riches that can be rained down by a blockbuster, and then the studios only wanted to make blockbusters. This is hurting the major record labels right now. They’re releasing fewer records trying to appeal to everybody via marketing and promotion that is no longer as effective as in the past and their market share keeps being eaten by indies. This is a recipe for death. There will always be a couple of big acts, but if you’re not in the process of cultivating and releasing high quality, niche product, you’re on the road to death.

How come Netflix realizes this and no one else does? Competitors keep criticizing Netflix for its plethora of product. And, of course, not all of it is good, far from it, but it gives the subscriber options, and what I love, that may keep me subscribing, 98% of other Netflix viewers might hate. But that one show for me, and that one show for others, is enough to get us to keep laying down our cash.

Which is different from the film business/theatre exhibition. Look at software, it’s gone from a sales model to a subscription model. The transition was wrenching, but Adobe now makes more money, even Microsoft sells its software via subscription. I’m not saying subscription is the right way for film, but I am saying every flick is a heavy lift, getting people off the couch to buy tickets and see movies at set times in an on demand world. In the rest of commerce it’s all about knowing your customer and having an ongoing relationship with them, and here film has failed miserably. I go and I’m gone.

And Hollywood believes fads never fade. Just like the music business. Remember when they thought “Guitar Hero” was forever? No, you get in and ride the wave and then get out. Anybody who thought superheroes were forever is just plain dumb. Just like the people who believe since sequels have a built-in audience it’s best to pursue that angle. Traditionally sequels do less business, and only a handful of sequels was ever better than the original. Sheeple go to see sequels, and they’re dissatisfied after the experience, and therefore less eager to go to a movie in the future.

There’s no excitement around movies anymore. It’s seen as a business as opposed to an art form. There’s not a person in the world who respects David Zaslav, who is so busy cutting to make his numbers that he’s undercutting future revenue. And let’s not get started with Paramount.

Films sustained after the advent of television because they provided something TV did not. Grit, authenticity, dangerous topics. But then you could get nudity on HBO and then “The Sopranos” was better than anything released in the theatre. And it was a series. Who said filmed entertainment must be a one shot, two hour thing? If you truly hook your audience, you can go on forever. And “The Sopranos” ended. That’s the mantra of modern TV, you do it until there are no more storylines. In film, you do it until no one is willing to go to the theatre, long after creativity has left the building.

But it was Covid that put the movies in the dumper. We’re never returning back to normal. Covid killed the magazine and the movie. Quick, does your favorite magazine even exist anymore? I’ve stopped renewing because every time I do the title goes out of business. And the very few that sustain have changed their business model. Used to be you amped up circulation to charge advertisers, in other words you wanted a larger base to get more ad revenue. But that paradigm died. Now the title has to stand on its own, based primarily on subscription revenue. If you want “The New Yorker,” it will cost you a minimum of $149.99 a year, prohibitive for the casual reader/fan. Today it’s all about finding the dedicated fan and superserving them and charging them for the experience. Who are the dedicated fans of the movie business?

Well, there’s a cohort of youngsters who need somewhere to go without supervision. And dying baby boomers who got into the habit in the sixties and seventies. But other than that…

The movies have no vibe, they don’t connect overall, which is one reason the Oscars are a poorly rated joke. But it’s not only the film business, but the film business infrastructure, i.e. the media hype machine. Do we really care about this competition? The young audience is much more interested in social media influencer culture, but big media abhors it, thinks the smartphone is the devil, and studio heads all think they’re Samuel Goldwyn, who’s been dead for fifty years, never mind Robert Evans.

Everybody in L.A. used to know the heads of the studios, they were royalty. Today everybody knows Ted Sarandos. An innovator, not riding on fumes, but continuing to innovate, because in tech if you don’t, you die.

But studios keep generating more of what came before. As for last summer’s “Barbenheimer”…that was a one-off, nearly impossible to replicate. Netflix was built on giving auteurs cash to make their pet projects, ironically the ones studios refused to greenlight. Whereas making a movie for a studio… All you get is interference, if you get the budget to begin with. You’ve got to change it, as if the brass knows better than the creator.

All to say we are never going back to the past. Many things are not forever. Or if they come back, they do so with a twist. In order to thrive, films must be different, unique, must-see. And they must have legs in conversation. If you want to break a movie today you should platform it, build excitement as it goes from city to city as opposed to opening in thousands of theatres on Friday and being gone in a matter of weeks. Today everything is here today and gone tomorrow. To succeed film must go a different way. Evanescence is anathema to film. Sure, there’s anticipation for some movies, but most need marketing, and the best way to do this is to get the audience excited about it and let word of mouth flourish. Stop railing against RottenTomatoes. What next, get rid of the star system on Amazon? It too is imperfect, but eliminate it and business tanks. You’re asking people to lay down their money, they’re supposed to do so blind? That ship sailed with the advent of the internet.

So in order to survive, theatrical distribution requires many more movies with ever narrower appeal. This doesn’t mean that every film will do minor box office. You never know when something niche will blow up wide. Like “March of the Penguins,” or “My Octopus Teacher.” If you get it right on a narrow basis people who are otherwise uninterested are intrigued. People are looking for excellence, credibility, heart, that’s what gets people off the couch, not what they’ve seen before.

But that formula has been lost. Just like the worldwide success. Native films now do better in mainland China than Hollywood blockbusters, and if you’re not following the explosion of electric cars in China… A broad choice of product, constantly refreshed. There is excitement about electric cars in China whereas in America not only is half the population against them, “The Wall Street Journal” relishes negative news. But anybody who studies the sphere knows that electric is the future, and without tariffs, Chinese cars would wipe the so-called Big Three off the map nearly instantly. Stay locked in the past to your detriment.

Innovation is always around the corner, which is why you have to see the future and disrupt yourself. But we’re not seeing this with the movie studios, not at all.

You can only rip off the public so many times before there is a backlash. Wasn’t that one of the drivers of Napster, overpriced CDs with only one good track? People felt entitled to steal, they were sticking it to the man.

And as Howard Stern famously learned in therapy, everybody else doesn’t need to lose in order for him to win. Howard now has friends, he’s living a happier life, maybe Taylor Swift needs intensive therapy too.

How many weeks has “Tortured Poets Society” been number one? I’ve got no idea. Only Swift and her minions are aware of this number. Not even her fans know. But Swift needed to deny Billie Elish’s new album number one status because..? I can’t figure out a reason why.

And is it an album or a collection of streams? In other words, in the old days of sales, an album was an album was an album. But that’s not true anymore. Students of the chart realize that the longer an album is, the more tracks it contains, the larger the total number of streams and therefore the higher the chart position, because true fans play the album throughout, and then again. And Swift’s album has 31 tracks and Eilish’s 10. In other words, we’re incentivizing longer albums in most cases for no other reason than chart position and revenue. It’s no longer an artistic statement, it’s about money, pure and simple.

Maybe you’re unaware of this. As many should be. It’s inside baseball. How there are umpteen versions of an LP so brain-dead fans caught up in the mania will purchase the same damn record over and over again. You can only listen to one song at one time, no one needs multiple versions of an LP, NO ONE! But now the business is based on selling these items and of course there is money involved, but frequently the main goal is chart position and bragging rights.

And number one doesn’t mean what it used to anyway. Number one used to represent ubiquity, the greatest exposure to the most people, you were world-dominant. Not anymore. Today it just means in the plethora of diversions you got the most manipulated attention. The biggest success of the past plus year is Morgan Wallen’s “One Thing at a Time,” which is still number three all these weeks after release. Showing pure demand, no shenanigans necessary. Then again, “One Thing at a Time” has 36 tracks, if the old system were still in place, where an album was an album was an album would “One Thing at a Time” include so many? OF COURSE NOT!

The business has lost touch with the consumer. Everybody’s trying to game the system. The advantage to the customer is nil, you risk backlash. But backlash be damned, I’ve got to be number one!

And then you’ve got the outsiders complaining that they can’t get paid by Spotify and other streaming outlets, that they must be helped by the government. This is like believing breaking up Live Nation and Ticketmaster will lower ticket prices. Of course it will not, because it’s a matter of supply and demand. And the truth is there are a few acts, well, more than a few, but a limited number, who stream in prodigious numbers and then the rest. But the rest can’t accept this. But let me ask you, do you know what Fox News said today? Or in the alternative, MSNBC? For most people it’s one or the other. Just like most people are not listening to Taylor Swift whatsoever. And cable news outlets have been decreasing in viewership. You can’t have it both ways, reach fewer people and get paid more. Sure, to the winner goes the spoils, but you don’t have to be a winner to be successful these days, artistically or financially, but if you’re inured to old thinking, locked in the pre-internet era, you refuse to admit this to yourself.

Think of politics. In the old days a heroin addict would have no chance of becoming President, i.e. RFK, Jr. And Trump’s court losses would make it impossible for him to win. And the thought that only Biden can beat Trump is a fiction that no one would have gone for previously. But true believers can’t be swayed. And today we have great swaths of true believers, and even greater swaths of those who have tuned out and don’t care.

Weekly chart numbers are not like Presidential elections. There are no consequences. It’s little better than winning your hometown Little League championship. It only matters to those who are paying attention, and those are very few.

And there are a lot of things competing for your attention. And science tells us multitasking is a myth. Everybody can truly do only one thing at one time and there are only twenty four hours in a day. They can’t watch sports, listen to music and tune in Netflix simultaneously, something has got to give, but everybody’s operating like nothing has changed.

Kudos to Billie Eilish for only including 10 tracks on “Hit Me Hard and Soft.” And if you analyze the numbers, Eilish won by a mile. Each cut on her album was streamed 19 million times to Swift’s 7. If we say an album is an album is an album, Eilish trounced Swift.

What we need is a consumption chart, especially since most of the vinyl purchases are souvenirs anyway. And we can have total consumption for the week, of all tracks by an artist, or of an album in its entirety, i.e. how many times the complete album is listened to.

But this would veer closer to reality.

Used to be charts impacted sales. Because retailers would order and feature more product. Now that paradigm is dead. What is the chart even for?

Oh, that’s right, to stroke the egos of the artists and teams involved. Period.

Except for publicity value. Which means less than ever before. Unless you’re in the business you’re unaware of this chart nonsense. And who needs more disinformation in their feed anyway? 

“Taylor Swift Prevails Over Billie Eilish for a Fifth Week at No. 1”

Free link: https://t.ly/S9udW

Re: Bottlerock-Day 3

Had to take a second to comment about the band Cannons (who I am not aware of) and their “live” performance not being entirely live as you mentioned in your Bottle Rock review.
Thank you for calling that out. I have been on a soap box now for years about the massive epidemic of bands playing to tracks. Live shows not being live at all. It floors me how many look the other way at this or are just plain ignorant. In pop the ship has sailed. Remember the outrage when Ashlee Simpson was exposed on SNL? Now today’s biggest acts charging thousands for their “live” shows are blatantly lip synching and way more. And most don’t even care if they are caught because nobody says anything. It’s just the new accepted norm for a live performance to be anything but.   How on earth can people spend so much money on a live show only to actually hear a pro tools playback?? What is the point of going to hear a band sing and play live if it’s not live and will be exactly the same every single night ?

I deal almost exclusively in the world of rock, where thankfully there are still many truly all live bands. But that genre is also starting to be inundated with track acts. Make no mistake I am not talking about a keyboard or orchestra part in one song. Or some effects, samples or loops. I have no issue with that. But now tons of bands in rock are doing way way more and it blows my mind how people talk about how great they sound. I’d sound great too and I can’t play or sing! Also makes me crazy when I hear people say “well everyone does it”. WRONG! You know how many acts I talk to who put the work in to play totally live, then on a festival watch a band play to tracks before or after them and have to hear how good they were. It’s true madness and why some of the real live bands are starting to speak out. Or at least proudly state there are no “tapes” in their show. Promoters don’t seem to care as long as seats are filled. So the only line of defense left is fans and media caring. Someone has to draw a line in the sand with this nonsense. If they don’t the beauty of a truly live warts and all concert is going to be quickly behind us. In pop it pretty much is. In rock maybe 50% – 60% gone. And growing. There is absolutely nothing that beats the experience of a truly live rock show. But if people don’t start taking a stand it will soon be a rarity and that is truly sad. Let’s keep live shows actually LIVE! Seems ridiculous to say but sadly where we are these days.

Eddie Trunk
TrunkNation SiriusXM

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From: Charlie Brusco

Subject: Re: Bottlerock-Day One

Stevie is the Real Deal

…. I remember that every day when I talk to my daughter Rhiannon

Still kind of funny as big as that song is that so many of my daughters teachers could never pronounce her name

Probably same for kids born in the 70’s whose parents named them Aja.

Cheers,

Charlie

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Subject: Stephen Sanchez

Morning Bob,

Just read your letter regarding Bottlerock, great festival.

I just Tour Managed Stephen’s Australian tour last month, where every single show sold out. He is a generational talent, 21 years old and literally the absolute nicest young man you could ever meet.

I sat and watched him perform every single night and it reminded me of watching Roy Orbison, Jerry Lee Lewis and Elvis all in one. If he smashes album two out of the park, he will be in another stratosphere.

I have never seen anything close to Beatlemania, but after and before every show, that is what it was like, the fans adore him and know how true the talent is.

I’m watching on, hoping that we get to see him take off, as true talent like that is as rare as hens teeth.

Thanks Bob,

TB

Todd Burman

TOUR MANAGEMENT

RIVAL SONS | Ian Munsick | Stephen Sanchez | Morgan Evans

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Subject: Re: Bottlerock-Day 3

Bob,

Really loved reading these daily wrap ups, as I feel the same about the festival itself and every act as you did. You described it perfectly. They do the VIP and Platinum levels brilliantly, but if you’re GA, it’s still an incredible place to be and watch music. Outside of the music, there are so many other things to do and see to captivate you.

And the food and drinks are levels above the other festivals, because…well, it’s Napa. My wife pointed out how friendly and helpful each and every person working there was, and that translated to the attendees as well. And the Culinary Stage is such a great pairing of musicians, chefs, athletes, and other celebs, that it is pretty captivating as well.

Every year I leave that festival, I feel like I just had an incredible experience that you just can’t get at any of the others. Bourbon & Beyond comes close though.

Glad you had fun there.

Danny

Danny Cooper

88 Vines Entertainment

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From: John Brodey

Subject: Re: Re-Bill Maher/Television

I didn’t think it was just me. I ran into him at Arianna Huffington’s house in W. Hollywood during a fundraiser for Barbara Boxer way back. Not a huge gathering. He was alone/ I introduced myself and asked a fairly provocative political question. He looked at me for two seconds, turned around and walked away without a word. An arrogant, self absorbed asshole, as the crowd said.

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From: Romy Glazer

Subject: Community Story — do you believe in Joe Hendry?

Here’s a fun one for you Bob re: community and going deep with your audience.

I’m working with a professional wrestling organization, Total Nonstop Action (TNA – yes, TNA), and we have a Scottish wrestler Joe Hendry whose gimmick is a quasi whitemeat rock star. He writes songs making fun of his opponents. Classic.

His character is a little goofy in-good-fun. When he comes to the ring, his theme is “I believe in Joe Hendry” ::clap, clap:: which gets the fans into it before it turns into a Queen-style ballad.

The song starts with “…say his name and he appears…” so we have often had him pop up randomly on screen when this happens to make the audience crack up. Of course now they’ve been meme’ing Joe’s face into unexpected situations on TikTok, which has turned into a viral moment.

Trying to figure out what to do with this success, Joe released his theme as a single, and rallied his fans to push his theme to the Charts. It’s cooled off in the past week, but I think he hit as high as #4 — ahead of Sabrina Carpenter, Beyonce and more. And now a profile in NME and on the BBC. Proud of the guy.

100% all about getting a groundswell going, and feeding into it.

It may surprise you, but professional wrestling is scripted — and I wouldn’t be surprised if this is the thing that convinces our creative team to put the belt on him, leading to more career success and fun for everyone.

Thanks for all the great insight.

-Romy

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Re: Bottlerock-Day 3

I saw Ed Sheeran at Boston Calling on Friday night with my daughter. She loves him and knows every song.

I was not as familiar with his material. But, after seeing him live, I’m now a fan.

Ty Velde

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Re: Bottlerock-Day 3

Love Cannons, I’ve listened to that more than any other act this year.  Check out some of the music videos on YouTube. They’re fun 🙂 I look forward to them!!

Michael Graham

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From: John Hamilton

Re: Bottlerock-Day 3

He Bob –

Appreciate your honest take on things. I probably agree about 60% of the time. But, I appreciate your approach. Digging your take on BottleRock (again, even if I don’t agree).

Some of my thoughts:

1.This is my 4th BottleRock with my son (now 11). We took him when he was 3, but this was his first time going all three days. He was a trooper. And had a blast. I refer to BottleRock to my friends as the anit-festival. It’s not like any other music festival. Super family friendly. Super chill. I almost wouldn’t want to play this festival if I were an artist. I suspect they are paid super well for this festival though. The only I’ve met a more disinterested crowd at a festival is at Hardly Strictly Bluegrass, which is free, so people just show up and sorta listen to music while they play Worldle. It’s better than that, but not much better. Still, it’s a pretty chill festival as festivals go and it’s a great way for me to experience a passion of mine with my son.

2. I hear you on Ed Sheeran. Man, that dude is talented. First time seeing him. My son will tell you his favorite artist of the weekend was his favorite artist, The Kid Laroi. But, he grooved to Ed Sheeran. He was dancing the entire time. And as Eddie Vedder says, “all that’s sacred comes from youth.” Follow the kids like. And, I love Ed Sheeran’s whole vibe. He’s an entertainer. He puts on a show. I left a fan and super impressed. I will take my son to see him again, I am sure of it.

3. As you say, Pearl Jam are gods to a certain demo. And I am that demo. If you are a white male gen-xer, you are likely in that demo. And man do they have the crowd feeding from their hand. You probably left in the midst of playing their newer stuff. I love the new album, but it’s not Ten for sure. Still, it’s the album I needed this year (wreckage and setting sun crush me). It was my son’s first time seeing Pearl Jam and it was a highly emotional experience for me. I don’t want to push Pearl Jam on anyone. But, it was really the highlight of my weekend to experience singing along to Porch with my son. We sang these words to each other: “Take a good look. This could be the day. Hold my hand. Walk beside me. Oh. I just need to say: I could not take, a-just one day, knowing I would never touch you, hold you, feel you in my arms. Ever again! Again!” I am tearing up just writing that. It was awesome. But, I get it. I think Pearl Jam distinctly speaks to Gen X in a way that only Gen X can possibly get. They don’t play for the masses, they play for the fans. For instance, that was a pretty typical festival set. But, they kicked off with Lukin, a hard charging, punk influenced song that is not a hit or even a b-side. They typically open with a few slow songs. In fact, my son was like, “I think they will open fast.” And, I was like, “no, they always open slow, unless they are trying to make it special.” That’s the first time ever they’ve opened with Lukin. My son’s 3rd favorite PJ song. He loved it. And fans loved it. But, I get they are not for everybody. But they were for me and it was awesome.

4. MMJ. I am so glad you got to see them. I never got them until I saw them live at Lolla 2007 (the slot before Pearl Jam actually). They were awesome. And I’ve been a fan ever since. I hope you got to see Phone Went West. That was a highlight for me. MMJ was the highlight for the weekend for me. And I am a huge Pearl Jam fan.

5. Stevie Nicks was great. I love Stevie. I love Rumours. I am of the belief that Rumours is the best pop album ever made. I love the conversation between Stevie and Lindsay throughout the album. But, Bella Donna makes it clear that Stevie is the star. She is so awesome. I dug her set.

6. My son got to see his favorite artist The Kid Laroi. He is not really my music. But, if you’ve ever seen someone you loved experience the first time seeing their favorite artist live….well that is just an experience that is worth having regardless of how you feel about the band itself.

7. Nelly was so packed. So so so packed. it was crazy in there.

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From: Peter Clare

Re: Bottlerock-Day 2

Your going to get trashed by Pearl Jam fans, and deservedly so, however, the one thing you are right about is the stache. 😉

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From: Wyllys Ingersoll

Re: Bottlerock-Day 2

You’re gonna hear a ton of grief from the Pearl Jam die-hards about this one…

They did indeed play a bunch of crowd pleasers in the Bottlerock set – small town, daughter, given to fly, wishlist, even flow, black, crazy mary, alive. Last Kiss is drek to most of the hard core, btw.  It’s really off-brand for them, I know it went to #1 (their only #1), but it blows.

You are right about Mike M being the stick that stirs that drink, especially the live shows, but it’s not fair to tarnish Mother Love Bone – they failed because their singer OD-ed, not for lack of talent.

Your opinions of EV and his facial hair or whatever he was in high school are what they are, your opinions, but you seem to have a special personal dislike for the guy that seems unearned unless there is a story you aren’t sharing that would shed light on your animus for the man.

Anyway, as always, I appreciate your writeups even when I don’t agree.

Cheers.

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From: Jarred Arfa

Re: Bottlerock-Day 2

Don’t work with PJ (wish we did)  but when you ask where are the songs ? Just checked setlist they played alive , even flow, black, caught up (all ubiquitous songs for anyone listening to music in the 90s) not to mention classic live songs like elderly women, given to fly and courdoroy. My generation didn’t get plant, Morrison or Freddy but Eddie is the closest thing we got…

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From: Russ Dugoni

Re: Bottlerock-Day 2

Bob–   I was right there with you on Day 2. My Morning Jacket is a band that must be experienced live to “get it”.  I first saw them in 2007 at the annual Bridge School Benefit and I was really impressed with Jim James.  This coming week they are recording their Fillmore shows — keep am eye out for the finished product.

I too left Pearl Jam early to see Tower of Power with my 2 sons. Tower of Power played my bay area high school in 1971, and I’ve gone on to see them dozens of times.  Their Bottlerock stage was a party!

Pearl Jam is not a band in my wheelhouse, I was not into Grunge.  I was born in 55 so perhaps I was too old when Grunge was popular.  Keep up the great newsletter!     -Russ

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From: Patti Martin

Re: Bottlerock-Day 2

Your Eddie Vedder comment…. I could NOT agree more.   It’s a relief that I’m not the only one.  (And we appear to be the same age)

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From: Bob Davis

Re: Bottlerock-Day 2

PJ never really had any songs worth a repeat listen.

And Vedder’s no more than a mumbler.

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From: Bob Davis

Re: Bottlerock-Day One

L&L comes on the sonos or pandora or whatever (dopamine hit) … i stop what i’m doing and let it wash through me entirely before resuming.

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Re: Bottlerock-Day One

Agree Pete Yorn has largely been disappointing since his great debut over 20 years ago . The material just hasn’t been there and it was telling that the covers album he did a couple of years back has the worst version of “Lay Lay Lay” ever recorded. So his choices are questionable.

I can’t separate Stevie Nicks from Lindsey Buckingham , he took the raw material and turned it into timeless classics.

Enjoy the rest of the fest

Blair Morgan

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From: Gary Mendel

Re: Bottlerock-Day 2 (Jerry Lee Lewis)

I remember reading that article at the time and being totally shocked. It rang so true. Over the years I’ve mentioned it to many people but NO ONE seemed to have heard about it/read it. Only recently I spoke about it again, which prompted me to search online for it. It’s there alright, so now I have it bookmarked for easy access. A great piece of writing/journalism. It still reads like a horror story… the story of a man who got away with murder.

https://www.rollingstone.com/culture/culture-features/the-strange-and-mysterious-death-of-mrs-jerry-lee-lewis-179980/

Peace

Barry

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From: Alan Childs

Re: Bottlerock-Day 2

In your embarrassment upon realizing it was Josė Andrès , this triggered a memory.

Back in the 90’s while on tour, friends & I went to the China Club in L.A. on our night off. I believe it was a Monday & a Jam session night. When we walked in, Rick James was singing and some of my fellow New York musician friends were onstage as the house band.

Having a drink enjoying the music, I looked around and noticed two attractive women & a guy sitting between them. I’m thinking I know the guy. Maybe he’s an engineer I worked with at a recording studio. I just couldn’t place where we met. After about 15 minutes I walked over to him and introduced myself and asked him if we’ve ever worked together. He eyed me up & down and said “ I don’t think so, I would’ve remembered you.” He stood up to shake my hand and said “Nice to meet you, I’m Ron Jeremy.” OMG !!!!!! hahahaha.

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Subject: RE: Me On CNBC

Bob

 

Spot on re your criticism on CNBC of shows in the UK where multiple ticket agencies are selling tickets on the primary market to the same show and have their respective allocations. From a consumer perspective, it’s a complete pain in the arse (or “ass” if you prefer on your side of the pond!) to jump through the hoops of going from one agency website to the next in search of the ideal seats. And, entirely unsurprisingly, the ticketing fees borne by the consumer are much of a muchness as between the different agencies. The ticketing grass is not necessarily greener on this side of the Atlantic. 

 

Best wishes

 

Nick Shilton

Kingmaker Management, London, UK

Now THAT’S a headliner!

Bottlerock is so civilized, such a good experience, that you believe it’d be headliner independent. But it is the acts that make the difference, sans known names that appeal to many, you can’t sell out. And you need to sell nearly every ticket to make the economics work.

Pearl Jam? To a certain demo they’re god,

Stevie Nicks? Truly a legend. A hero to both the young and the old.

Ed Sheeran? Despite all the press, the chart-topping records, today’s world is very different from yesteryear, when Pearl Jam and Nicks made their bones. Everyone alive knew their hits. Whereas nothing today is ubiquitous, despite what the press would have you believe. Meaning, how many of these mostly middle-aged attendees are interested in seeing this one man band? ALL OF THEM!

Sheeran is an amazing performer. His personality is such that you like him from minute one, and as the set unfolds you think he’s a friend, and by time he’s done you feel like you know him. Ed is personable without being cloying. And he calmed down a minor kerfuffle so expertly. Saying this was a mellow festival. Which worked, I mean that’s the Bottlerock vibe, no one is elbowing each other, people are apologizing when they bump into you or spill something on you, you’d almost be embarrassed to get your dander up.

And I’m thinking maybe it’s because it’s dark out. But by time he’s done, it’s clear that Sheeran’s act would even work in the light. You’re drawn to him. He’s not selling status, there’s no wall between him and you, it’s all about the experience, the music.

Ed’s creating once in a lifetime loops. He explains this…here right now, and then gone forever. And he sings his songs and you don’t have to know them to get them. And they are songs in the traditional sense. With verses and choruses… You might see Ed in the Spotify Top 50 but it’s not one chord numbers, it’s not one voice and machines, it’s a guy singing songs in the tradition that has existed since the beginning of time, on an acoustic guitar to boot.

I wandered over to see Queens of the Stone Age in the middle of Ed’s set, and there was almost no one there. Must have been disheartening for the band, which was firing on all cylinders.

Stephen Marley was laid back and good, but I couldn’t wait to get back to the garden, to Ed’s stage. And I started off at the back, and the lawn was completely full. People weren’t leaving, he had them in the palm of his hand.

Normally they beat you over the head. And barely speak. You can feel the distance between them and you, the scrim, the untouchability. But not Ed.

Norah Jones? Not dynamic enough to keep your attention. More of a nighttime act. With the sun out your eyes and ears wandered.

I saw this great act Cannons. But it was just a bit too good. So I Shazamed and the tunes came right up, meaning most of the set was on hard drive. The lead singer was live, and had a good voice and some charisma, but come on, they call it LIVE ENTERTAINMENT, can’t you live up to the moniker?

Stephen Sanchez was magical. With the right material, he could become a superstar.

But I must mention the Offspring. Rock and roll might not be forever, but punk is. The audience loved them, it was a victory lap. These guys have sustained, they’ve got a sense of humor, they know their roots, they did “Blitzkrieg Bop,” and Ed Sheeran came out to do a number with them to boot. Fine in the daytime. It was a party. It wasn’t about gravitas, but joy.

And I ate more oysters than you ever do at a restaurant. That was an absolute highlight of my experience at Bottlerock.

If you’re looking for civilized, upscale if you want it, if you want to go to a festival that is truly more than the music, Bottlerock is your place. Everybody who goes knows. I’m just letting you in on the secret.