Article - Phil - Ultimate Classic Rock - 20Aug2019
Aug 20, 2019 10:52:46 GMT -8
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Post by Greta on Aug 20, 2019 10:52:46 GMT -8
Are Opening Acts Becoming a Thing of the Past?
By Martin Kielty
Part of a larger interview with assorted musicians:
The concept of the package tour, where a roadshow features several well-known artists appearing alongside each other, is nothing new; but in recent years many classic-rock groups have brought the idea back. Starting with experimental “mini festivals” in the early ‘00s, Def Leppard reached a position where it’s almost expected that every tour announcement will be made in association with another band with a similar fan demographic. Or a different one.
“Late ‘80s, early ‘90s, a promoter got the idea to put Bob Dylan and Willie Nelson together and everyone was like, ‘Oh, my God, it's going to die, it’s going to be terrible,'” Def Leppard guitarist Phil Collen says. “It went out and it was the most successful big-theater, small-amphitheater tour – all sold out and everyone loved it. You wouldn't really put them in the same kind of basket. But everyone stayed for both artists and just loved it; there was a union, a camaraderie about it that was really special. So that's why we started doing that.
“You had these tours, Lollapalooza, and massive festivals like Glastonbury in England, where you'd have someone like Tom Jones or David Bowie and Snoop Dogg or Beyonce, all of these artists would be on at the same time. People really dug it – there's a reason why they’re popular and successful: because they’re really good, they have something to offer."
Collen says the concept is "great from the point of view of someone who wants to be entertained, as opposed to someone who just wants to hero-worship a band. I like the diversity; I think it's a really healthy, positive attitude and it's something different, not just the same old same old. Back in the ‘70s, you had all sorts. You'd have the Grateful Dead, Santana, Jimi Hendrix, Janis Joplin … . I know they’re all kind of classic rock, but they’re quite diverse.”
Collen argues that modern accounting systems make it easy to ensure there’s minimal financial risk in their multi-header tour approach. “It always seems to work out pretty well, pretty black and white," he says. "Promoters and bands now, they can look at how much someone’s earned or how much people get into a venue and they go, ‘This band is worth 1,800 tickets. This band would get 10 percent … .’ It's all right in front of us, it's right there, you know.”
Safe in the knowledge that every band on the bill is adding value, Def Leppard can get on with facing another issue Collen feels has become more prevalent: It’s become important to offer greater contrasts than ever before.
“People want more because we have a very limited focus range these days," he argues. "All of us do; I struggle with focusing on stuff. Metallica, they got a comedian out – how cool is that? That's great. You’re not bludgeoning the audience with another band, then Metallica come on and have to out-bludgeon the band that has just been on. I think that's a great move. It’s sophisticated, it's civilized and it's even more entertaining – especially in an era when we struggle to focus.”
Collen says of his own first opening experience was with the band Girl. "We opened up for UFO in Europe," he recalls. "That was our first tour, first travel and everything, and UFO were so great to us. We’d all share the same dressing rooms. Paul Chapman was the guitar player; he was always lending me guitars and amps, and we’d be jamming every night. My very first experience was like being at school with your big brother or your favorite guys – really cool guys letting me into their little club!”
Collen wonders if the ever-evolving industry has a new method of climbing the ladder. “I always use the Ed Sheeran thing,” he explains. “When he came out, I remember he used to play like down the subway, then do an open mic later on. I remember seeing interviews with this redhead kid – he's a songwriter and he didn't look like an obvious star. But he persisted; he had such a drive, and ultimately his talent came through. I do think it is hard, it's different, it's just different. I know in L.A., a lot of the clubs you have to pay the club to go and play, which was the case a lot of the time even back when. Support bands would go, ‘We have to pay the label,’ or the label was paying the tour to get their band on. That's always been the case.”
SOURCE
By Martin Kielty
Part of a larger interview with assorted musicians:
The concept of the package tour, where a roadshow features several well-known artists appearing alongside each other, is nothing new; but in recent years many classic-rock groups have brought the idea back. Starting with experimental “mini festivals” in the early ‘00s, Def Leppard reached a position where it’s almost expected that every tour announcement will be made in association with another band with a similar fan demographic. Or a different one.
“Late ‘80s, early ‘90s, a promoter got the idea to put Bob Dylan and Willie Nelson together and everyone was like, ‘Oh, my God, it's going to die, it’s going to be terrible,'” Def Leppard guitarist Phil Collen says. “It went out and it was the most successful big-theater, small-amphitheater tour – all sold out and everyone loved it. You wouldn't really put them in the same kind of basket. But everyone stayed for both artists and just loved it; there was a union, a camaraderie about it that was really special. So that's why we started doing that.
“You had these tours, Lollapalooza, and massive festivals like Glastonbury in England, where you'd have someone like Tom Jones or David Bowie and Snoop Dogg or Beyonce, all of these artists would be on at the same time. People really dug it – there's a reason why they’re popular and successful: because they’re really good, they have something to offer."
Collen says the concept is "great from the point of view of someone who wants to be entertained, as opposed to someone who just wants to hero-worship a band. I like the diversity; I think it's a really healthy, positive attitude and it's something different, not just the same old same old. Back in the ‘70s, you had all sorts. You'd have the Grateful Dead, Santana, Jimi Hendrix, Janis Joplin … . I know they’re all kind of classic rock, but they’re quite diverse.”
Collen argues that modern accounting systems make it easy to ensure there’s minimal financial risk in their multi-header tour approach. “It always seems to work out pretty well, pretty black and white," he says. "Promoters and bands now, they can look at how much someone’s earned or how much people get into a venue and they go, ‘This band is worth 1,800 tickets. This band would get 10 percent … .’ It's all right in front of us, it's right there, you know.”
Safe in the knowledge that every band on the bill is adding value, Def Leppard can get on with facing another issue Collen feels has become more prevalent: It’s become important to offer greater contrasts than ever before.
“People want more because we have a very limited focus range these days," he argues. "All of us do; I struggle with focusing on stuff. Metallica, they got a comedian out – how cool is that? That's great. You’re not bludgeoning the audience with another band, then Metallica come on and have to out-bludgeon the band that has just been on. I think that's a great move. It’s sophisticated, it's civilized and it's even more entertaining – especially in an era when we struggle to focus.”
Collen says of his own first opening experience was with the band Girl. "We opened up for UFO in Europe," he recalls. "That was our first tour, first travel and everything, and UFO were so great to us. We’d all share the same dressing rooms. Paul Chapman was the guitar player; he was always lending me guitars and amps, and we’d be jamming every night. My very first experience was like being at school with your big brother or your favorite guys – really cool guys letting me into their little club!”
Collen wonders if the ever-evolving industry has a new method of climbing the ladder. “I always use the Ed Sheeran thing,” he explains. “When he came out, I remember he used to play like down the subway, then do an open mic later on. I remember seeing interviews with this redhead kid – he's a songwriter and he didn't look like an obvious star. But he persisted; he had such a drive, and ultimately his talent came through. I do think it is hard, it's different, it's just different. I know in L.A., a lot of the clubs you have to pay the club to go and play, which was the case a lot of the time even back when. Support bands would go, ‘We have to pay the label,’ or the label was paying the tour to get their band on. That's always been the case.”
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