Live shows are back in full force — Nashville’s Bridgestone Arena, two years after the pandemic relegated it to hockey games in front of empty seats , is currently in a run of 12 shows in a 23-day period, including country concerts headlined by Keith Urban, Jason Aldean, Reba McEntire and Wynonna Judd on successive Friday nights.
But the live-show reboot has come with its challenges. The volume of acts has caused logistical problems, including a shortage of available tour buses and operators to drive them. The loss of some venues during the shutdown — particularly at the club level — has increased competition among touring acts for bookings in the remaining outlets, creating routing issues. And artists in smaller venues often encounter spotty attendance, thanks to the glut of concert options for a fan base that isn’t entirely back: 20% of American adults remain uncomfortable with the prospect of attending mass public events, according to a May survey by CivicScience.
It’s in that context that independent singer-songwriter Gretchen Peters — whose body of smart, emotional work includes hits with Martina McBride‘s “Independence Day” and Faith Hill‘s “The Secret of Life” — has announced that her current concert tour will be her last. She remains open to performing the occasional one-off concert, much like George Strait has since he quit doing full-fledged tours in 2015. The feedback from fellow artists has been mixed.
“A couple of them said, ‘Oh, no, you can’t stop,’ you know, as if ‘the show must go on’ is actually a rule,” Peters says. “I thought that was an interesting reaction. But then I’ve also gotten — and I won’t mention their names because this is something everybody needs to make public for themselves — but I’ve also gotten quite a few ‘I’m right behind you, girl.’ I’ve gotten a few of those.”
To observers who see only the glamorous, onstage part of touring, the idea of walking away might seem shocking. But the road is never easy — it’s a business in which employees navigate a different working environment on a daily basis, and the lifestyle itself is physically taxing. The costs of putting on a concert in an era of 8% inflation have increased across the board, and many of those expenses are significantly higher. Bus drivers, when they can be located, are sometimes getting double the daily rate they charged before the pandemic. And security costs, compounded by the volume of mass shootings in the 21st century, have risen as much as six times in the last five to eight years.
Those costs are borne by promoters and the acts themselves, who already pay their bands and crews, share commissions with business associates, rent transportation and cover volatile fuel costs. Outside of the top-tier acts, artists are facing a financial squeeze.
“They can’t go out and charge $125, $150 a ticket, so they either have to cut their operating costs [or] go out with less crew, or that cost gets passed on to the promoter. And the only way for the promoter to recoup is to keep their costs down, which is very difficult to do,” says Action Entertainment Collaborative partner Nick Meinema (Trace Adkins, High Valley) . “But the audience is not willing, or in some cases not able, to afford a higher ticket price. That becomes a conundrum.”
There are ways to combat the problem. Some of Meinema’s artists are cutting fuel costs by refusing to tour west of the Rocky Mountains unless they receive a superb contract. Others are declining Canadian offers, choosing to avoid customs issues on top of the fuel costs, or they are asking to book 10-day runs that cover two weekends and the days in between instead of traveling only on the weekend before driving back home. Additionally, some artists are booking fewer dates and discovering in the process that they create higher demand — and higher grosses — by becoming a little more scarce.
“Country music artists overplay at every level,” Meinema says.
During 2023, Reliant Talent artist David Nail will be doing more soft-ticket shows — fairs and festivals — where the income is more reliable.
Transportation has not been. Nail had an issue this past summer when Nashville coach companies ran out of buses. Two days before a Thursday getaway, his team finally located a vehicle in Indiana: Someone had to travel to pick it up and drive it back to Nashville, adding gas charges in the process. And it was only the morning of their departure that they were able to fly a retired driver who still had his license from Texas to man the wheel.
“A lot of that has to do, obviously, with everybody touring, but a lot of huge tours have 15 to 20 buses,” Nail says. “I can remember thinking, ‘Man, I might have to call Luke Bryan and just see if maybe he could double up on the buses and maybe throw me a bone.’”
In the face of that shortage, Meinema has a client who plans to tour strictly in the spring and fall in 2023, taking a summer vacation from the road for the first time in 26 years after a lackluster 2022 experience.
“The shows were great, the money was great, the merch was great, the travel — it was too much, not the level that that artist was accustomed to having,” he says. “It just didn’t feel worth it.”
While much of the fan base is acting as if the pandemic is over, the coronavirus remains an unpredictable issue. Nail has picked up some good money by subbing last minute for other artists whose teams suffered COVID-19 infections. But the artists who have to back out of the shows still have to pay their bands and crews. And the thought of losing dates to the virus is haunting.
“It’s impossible to not feel a little different, whether it’s the meet-and-greets or whatever,” says Nail.
Peters has thought at times during a performance — particularly when the reboot began — that working without a mask made her vulnerable in smaller, indoor venues.
“I was very appreciative of the audience members that masked up early on,” she says. “But just to think, ‘Boy, how much air am I sucking in here tonight?’ I mean, I can’t wear a mask because I have to sing. For somebody with asthma, it was surreal and a bit terrifying.”
By contrast, Peters is comfortable with her decision to back out of touring, ready to discover how her work/life balance will change when her schedule is a little more predictable. She’ll miss the shows, but that’s the smallest portion of the day.
“There’s a whole list of other things that I really won’t miss,” she says. “[Particularly] airlines — I mean, it’s a long list.”
Nail, on the other hand, is committed to slugging it out, even if touring remains unpredictable for the near future.
“I don’t have that plan B,” he says. “This has to work, one way or another.”
