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RollingFreak
I'd genuinely be curious if there was a way to fix the system, just to tweak it so that there's a new "normal". You can't stop bands from charging a lot to see them, nor honestly should you. Yes, the norm was set by the Eagles and the Stones but the concert business changed and, as many mentioned, artists don't make money off their music anymore so I get why it meant higher ticket prices. I feel there's 4 tentpoles that either need to be addressed or acknowledged with the concert business today:

1. It should be fair for everyone. That's probably the only bit of "fairness" I would put into the system, but the whole Verified Fan and other things Ticketmaster does and scalper impede on... that should be stopped. If 10 million people want 2 million available Taylor Swift tickets, everyone is NOT going to be able to get in. But to gate it off so only certain people even got the code to access I disagree with. I don't know how to do it better than the clusterfuck that just happens on TM for an onsale if everyone is let in at once, but that meant everyone had the same shot at tickets as everyone else and that was better than not even being given the opportunity, IMO.

2. There shouldn't be dynamic prices. You set the prices and you don't upsell as the tickets are onsale to cause panic buys. If you want to set tickets for $800, do that, but don't have them start at $500 then 10 minutes later that ticket is $800 due to "demand". You can generally expect demands for people these days. If you wanna sell it for $800, do it from the start. How you deal with lowering later to move unsold inventory? Yeah, I don't know. I wanna say thats just bad luck for those that bought onsale and didn't know better but maybe thats not the answer. Either way, the dynamic pricing should go.

3. Artists should charge what they want and stand by that price. They need to own what their ticket is worth and not bitch about it or punt the blame elsewhere like Ticketmaster. They control their worth, TM is going to sell them and tack on a fee. Taylor Swift or anyone shouldn't be FORCED to charge say $250 a ticket if she is much more in demand than that. If she does that, those tickets will be bought and sold for much higher prices online. And if thats the case, Taylor deserves to sell them for that amount from the start. And she shouldn't feel bad about it. They're expensive, but thats supply and demand. Unless you want to lose money as a big time artist, they should charge what they want and have to acknowledge "yes, those $500 platinum seats" I signed off on, not say "we had no idea this was being done."

4. You gotta fix the secondary market and the bots. The robotic buying of tickets solely to scalp them needs to end. There is always going to need to be an outlet for people to sell tickets they can no longer use, you can't force someone that bought a ticket to go to a show. There are extenuating circumstances, and they should be able to sell tickets if they need to. But thats very different than a scalper market that is just there to make money for themselves at the expense of others and the band. Figuring that out is easier said than done, but the bots should end and the ability for people to just gather up a bunch of tickets and try to make money off them is wrong/unnecessary. If that's your livelihood, get another job, but I just don't see how that helps. Either ticketmaster should incorporate a better way of doing that than they have now where you can sell things for face or less, and they add whatever fee they have to, or you regulate how the scalper market currently is. I don't know if paperless tickets being specific to your account is the answer, cause again you'll always have less minute cancellations, but it does feel you can cap the limit on the scalping of things.

I'm sure thats all very wishful thinking but it doesn't seem like it couldn't happen. The top half needs to own what things cost these days and they need to regulate and fix the rest that's just gotten so out of control. Tickets to see the Rolling Stones sadly won't be $5 anymore, thats no longer the business, but they could fix the growing problems there are and set that new standard which is long overdue.

your items 2 and 4 are basically market manipulation, and that should be illegal. It's a noncompetitive practice and is problematic in what is supposed to be a free market economy.

Ahem….will it last

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Dan

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RisingStone
Dan —

Over the years, having read your posts concerning the price hike of concert tickets in these times and your generally defending, even supporting stance on the musicians/management/agencies/promoters/ticket companies, whatever, price-gauging or profiteering (dynamic pricing being part of it), I sometimes cannot help but wonder if you are connected to or even belong to the exploiting side of the business, rather than the consumers’ side.

Am I reading too much or missing something?
Sorry if my guesswork is off the mark.

I am am American who believes in freedom.

I have flipped tickets in the past. I am of the belief if I buy a ticket, it's mine to do whatever I want with.

I agree but it works both ways. Being a very young 16 year old and wanting to see Pearl Jam in the early 90s and only being able to afford a face value ticket that sold out quickly what does one do? I arranged to meet a tout a week before the gig who wanted £50 each for 3 £16 pound tickets, brought along my 2 mates and he got £50 and not beaten. Screwing people who actually love music and want to see a band is a disgrace in my opinion. I’ve handed people tickets for face value I could have sold for 400-500 pounds euros dollars or whatever over the years. Without some regulation or provision for fans of a band it’s open season on touts and buyers.

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Paddy

Quote
Dan

Quote
RisingStone
Dan —

Over the years, having read your posts concerning the price hike of concert tickets in these times and your generally defending, even supporting stance on the musicians/management/agencies/promoters/ticket companies, whatever, price-gauging or profiteering (dynamic pricing being part of it), I sometimes cannot help but wonder if you are connected to or even belong to the exploiting side of the business, rather than the consumers’ side.

Am I reading too much or missing something?
Sorry if my guesswork is off the mark.

I am am American who believes in freedom.

I have flipped tickets in the past. I am of the belief if I buy a ticket, it's mine to do whatever I want with.

I agree but it works both ways. Being a very young 16 year old and wanting to see Pearl Jam in the early 90s and only being able to afford a face value ticket that sold out quickly what does one do? I arranged to meet a tout a week before the gig who wanted £50 each for 3 £16 pound tickets, brought along my 2 mates and he got £50 and not beaten. Screwing people who actually love music and want to see a band is a disgrace in my opinion. I’ve handed people tickets for face value I could have sold for 400-500 pounds euros dollars or whatever over the years. Without some regulation or provision for fans of a band it’s open season on touts and buyers.

Wow, a tough guy and extortionist. How nice for you. Maybe someone will have a chance to return the favor on some other avenue.

I mean I know you're full of shit but I hope it felt good to type that.



Edited 1 time(s). Last edit at 2024-09-14 05:26 by Dan.

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Dan

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Paddy

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Dan

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RisingStone
Dan —

Over the years, having read your posts concerning the price hike of concert tickets in these times and your generally defending, even supporting stance on the musicians/management/agencies/promoters/ticket companies, whatever, price-gauging or profiteering (dynamic pricing being part of it), I sometimes cannot help but wonder if you are connected to or even belong to the exploiting side of the business, rather than the consumers’ side.

Am I reading too much or missing something?
Sorry if my guesswork is off the mark.

I am am American who believes in freedom.

I have flipped tickets in the past. I am of the belief if I buy a ticket, it's mine to do whatever I want with.

I agree but it works both ways. Being a very young 16 year old and wanting to see Pearl Jam in the early 90s and only being able to afford a face value ticket that sold out quickly what does one do? I arranged to meet a tout a week before the gig who wanted £50 each for 3 £16 pound tickets, brought along my 2 mates and he got £50 and not beaten. Screwing people who actually love music and want to see a band is a disgrace in my opinion. I’ve handed people tickets for face value I could have sold for 400-500 pounds euros dollars or whatever over the years. Without some regulation or provision for fans of a band it’s open season on touts and buyers.

Wow, a tough guy and extortionist. How nice for you. Maybe someone will have a chance to return the favor on some other avenue.

I mean I know you're full of shit but I hope it felt good to type that.

I was a kid and dumb and I’m certainly not a tough guy at this hour of my life, but I’m sure there is a few out there that would still do the same. Like I said these things work both ways. Paying face value to someone who’s trying to extort me wasn’t really a problem for me nor the two guys, the guy got paid. Just not the greedy f**k amount he wanted to be. If you want to flip a ticket and make a profit for doing nothing that’s fine, it just works both ways if you want it to.

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Paddy

I was a kid and dumb and I’m certainly not a tough guy at this hour of my life, but I’m sure there is a few out there that would still do the same. Like I said these things work both ways. Paying face value to someone who’s trying to extort me wasn’t really a problem for me nor the two guys, the guy got paid. Just not the greedy f**k amount he wanted to be. If you want to flip a ticket and make a profit for doing nothing that’s fine, it just works both ways if you want it to.

What a crock and laughable as a "threat" considering you be would more likely to end up in jail or the hospital if not both if you pulled that on the wrong person, friends or not. Far more dangerous working regular cash retail.

If you tried that here, you would find out your ticket doesn't work and still be out $50 or run into 6 of his friends at the show and get stomped. Possibly both. Most of the scalpers here are good guys but I have seen some bad actors get their commupance.

Now my sold out Pearl Jam show in 1991 (with Soundgarden, Alice In Chains and Temple Of The Dog) I merely stood outside asking people until someone met my price. I was 17 and my friends already had their tickets. Oct 6, 1991 at the Hollywood Palladium if you wanna look it up. Think I paid $5 over which now that I think about it I could have done a lot better. The next time I saw Pearl Jam in 2022 I paid $26. Sure glad someone at least thought they might make a profit when they laid out the $150.

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Dan

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Paddy

I was a kid and dumb and I’m certainly not a tough guy at this hour of my life, but I’m sure there is a few out there that would still do the same. Like I said these things work both ways. Paying face value to someone who’s trying to extort me wasn’t really a problem for me nor the two guys, the guy got paid. Just not the greedy f**k amount he wanted to be. If you want to flip a ticket and make a profit for doing nothing that’s fine, it just works both ways if you want it to.

What a crock and laughable as a "threat" considering you be would more likely to end up in jail or the hospital if not both if you pulled that on the wrong person, friends or not. Far more dangerous working regular cash retail.

If you tried that here, you would find out your ticket doesn't work and still be out $50 or run into 6 of his friends at the show and get stomped. Possibly both. Most of the scalpers here are good guys but I have seen some bad actors get their commupance.

Now my sold out Pearl Jam show in 1991 (with Soundgarden, Alice In Chains and Temple Of The Dog) I merely stood outside asking people until someone met my price. I was 17 and my friends already had their tickets. Oct 6, 1991 at the Hollywood Palladium if you wanna look it up. Think I paid $5 over which now that I think about it I could have done a lot better. The next time I saw Pearl Jam in 2022 I paid $26. Sure glad someone at least thought they might make a profit when they laid out the $150.

I’m not sure what your angst or perceived threats are, I’ve explained my point and I think regulation and some ownership on behalf of the artist to get tickets to fans at a fair price is the better option. I don’t think flipping tickets for profit is ok and why should I? I grew up looking at the touts bully their way en masse to the top of queues and buy up the max allowed while the rest of us waited and hoped something would be left. Same with sporting events. I was a kid, that’s what I did, I wasn’t alone in my thinking or approach and I did other dumb kid stuff back then too. I never said it was right or clever, I meant no offence or challenge. It’s just what happened back then and I’ve seen it done since.

Again I think the Lucky Dip thing while not perfect is still a great way for fans to have access to Two affordable tickets.

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Paddy

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Dan

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Paddy

I was a kid and dumb and I’m certainly not a tough guy at this hour of my life, but I’m sure there is a few out there that would still do the same. Like I said these things work both ways. Paying face value to someone who’s trying to extort me wasn’t really a problem for me nor the two guys, the guy got paid. Just not the greedy f**k amount he wanted to be. If you want to flip a ticket and make a profit for doing nothing that’s fine, it just works both ways if you want it to.

What a crock and laughable as a "threat" considering you be would more likely to end up in jail or the hospital if not both if you pulled that on the wrong person, friends or not. Far more dangerous working regular cash retail.

If you tried that here, you would find out your ticket doesn't work and still be out $50 or run into 6 of his friends at the show and get stomped. Possibly both. Most of the scalpers here are good guys but I have seen some bad actors get their commupance.

Now my sold out Pearl Jam show in 1991 (with Soundgarden, Alice In Chains and Temple Of The Dog) I merely stood outside asking people until someone met my price. I was 17 and my friends already had their tickets. Oct 6, 1991 at the Hollywood Palladium if you wanna look it up. Think I paid $5 over which now that I think about it I could have done a lot better. The next time I saw Pearl Jam in 2022 I paid $26. Sure glad someone at least thought they might make a profit when they laid out the $150.

I’m not sure what your angst or perceived threats are, I’ve explained my point and I think regulation and some ownership on behalf of the artist to get tickets to fans at a fair price is the better option. I don’t think flipping tickets for profit is ok and why should I? I grew up looking at the touts bully their way en masse to the top of queues and buy up the max allowed while the rest of us waited and hoped something would be left. Same with sporting events. I was a kid, that’s what I did, I wasn’t alone in my thinking or approach and I did other dumb kid stuff back then too. I never said it was right or clever, I meant no offence or challenge. It’s just what happened back then and I’ve seen it done since.

Again I think the Lucky Dip thing while not perfect is still a great way for fans to have access to Two affordable tickets.

The implicit threat is that I am at risk of violence for charging what I want for my property when the fact is I am at a greater risk just sitting behind a counter at a liquor store performing "legit" commerce. I did very few face to face transactions but if anyone started getting weird I would probably just walk away and refuse to sell or hand over the tickets and report them lost / stolen later. And you are just as likely to get jerked around by potential customers selling face value or bargain tickets. I certainly never bullied anyone in pursuit of tickets to resell (actually the commupance I referred to was a well known scalper bullying my friend out of a ticket he was trying to sell and my friend making some moves that had him in cuffs - 5 years later).

Naturally I cast no moral judgements as to what is or isn't OK. At least not to the degree I would attempt to use the full force of the law to supress that behavior.

I am thankful for the Rolling Stones model but not sure if it would work for other bands. It stopped working for me in 2024 when it was less of a secret and I started striking out. Also not sure if it would work in a band's favor playing 100 shows a year instead of just 15 where there is a lot less urgency to fill every seat and sell every T shirt.

Back to topic, I am dead proud to have shaken the hands of
Keith Richards,
Charlie Watts,
Pete Townshend,
James Burton
Steve Cropper,
Zak Starkey,
Noel Gallagher and
Liam Gallagher.

These are proper LEGENDS, after them there is NISH.

Yesterday we buried Sven-Göran Eriksson. What a legend along with Best, Maradona and Rocastle. And that's only football!!!

These could be the best days of our lives fellow IORRians

Soon we will be alone and missing our boys.

Björnulf, I am so grateful that you've put up with us these 30 odd years.
You are the Man!

And all fellow IORRians,
Bless You all



Edited 1 time(s). Last edit at 2024-09-14 21:11 by MadMax.

All the debate on TM is like discussing politics. Price caps versus freedom. My take is the secondary market will exist regardless. What is wrong is selling tickets they do not have and the non transparent dynamic pricing that TM does. Tricking people into the upsell should be illegal and the fees should be "reasonable". Making transfer difficult and playing games just raises prices further for tight tickets by further restricting supply. Then the "hold" are sold for more. U2 at the Sphere this occurred with floor seats.

The real reason I came to the thread though was to comment on the Jane's Addiction show. What are the odds Liam and Noel pull a Perry Farrell and Dave Navarro moment. This one is wild.


[www.nj.com]

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daspyknows
All the debate on TM is like discussing politics. Price caps versus freedom. My take is the secondary market will exist regardless. What is wrong is selling tickets they do not have and the non transparent dynamic pricing that TM does. Tricking people into the upsell should be illegal and the fees should be "reasonable". Making transfer difficult and playing games just raises prices further for tight tickets by further restricting supply. Then the "hold" are sold for more. U2 at the Sphere this occurred with floor seats.

The real reason I came to the thread though was to comment on the Jane's Addiction show. What are the odds Liam and Noel pull a Perry Farrell and Dave Navarro moment. This one is wild.


[www.nj.com]

What's even more wild is Eric Avery putting Perry in a headlock and gut punching him 3 times. He DGAF and will just walk away. When he rejoined for the 2009 tour with Nine Inch Nails it was Trent Reznor who made the call.

I one hundred percent agree on spec tickets. Not only that there should be real consequences that benefits the customer when Stubhub strings along a customer until the last minute and fails to deliver. Regardless of if they are only the middleman and Ticketmaster delays transfer. This happens constantly. It can and does happen on any exchange but I think it's really endemic to Stubhub as they let just anybody list and fining sellers for failure to deliver is it's own profit point. The fact that people booked flights and hotel and may not even realize they are buying resale tickets and taking the fan protect guarantee at "face value" is besides the point.

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daspyknows
The real reason I came to the thread though was to comment on the Jane's Addiction show. What are the odds Liam and Noel pull a Perry Farrell and Dave Navarro moment. This one is wild.

[www.nj.com]

Perry Farrell's wife Etty Lou posted her take on the Boston incident:

[variety.com]

__

Liam Gallagher responded to a post on X - "You and Noel by night 3"

I don’t think so we’re very professional these days we’re go blow your minds

[x.com]

From today’s Toronto Star

Opinion | I’ve been an Oasis superfan since the 90s. This is why the reunion is about way more than nostalgia or cash

By Jonathan Dekel
Jonathan Dekel is Toronto-based arts and culture writer.

I’ve been following Oasis since the late 1990s, not just as a fan but as a journalist. I’ve had the privilege of interviewing both Liam and Noel Gallagher more than once. I’ve watched the band evolve — and implode — through dozens of shows, from the heights of bravado at Maple Leaf Gardens to the chaos of Virgin Fest in Toronto Island Park. But when I heard the Gallaghers were finally reuniting, the first thing that came to mind wasn’t the music or even the astronomical payday. It was the inevitability of family.

Sure, Oasis is a cultural artifact of the ‘90s, a band that soundtracked an era of post-recession euphoria. But at its core, the brothers’ story is a family drama. It’s a testament to bonds that don’t break, no matter how much bad blood runs between them.

Noel Gallagher, the band’s lead songwriter, has always been up front about his motivations. When I interviewed him in 2016, he was candid about the possibility of getting the band back together. “I don’t think there’ll ever be an Oasis reunion” he said, before immediately contradicting himself. “I’d do it for the money.”

It was classic Noel — brash and funny — but there was a grain of truth beneath the cynicism. For all the bravado, he knew what everyone else knew: no matter how bitter the feud, the idea of a reunion was never off the table. It was just a matter of when, why and how much.

Noel’s younger brother Liam, the band’s lead singer, on the other hand, has always wanted Oasis to reunite. The band is his life’s work (no offense to Beady Eye), and the fact that it fell apart was a wound that never fully healed. The planned mega reunion, worth a reported £400 million, is a chance to make things right, not just with his brother but with the legacy they built together.

For old school fans, like me, part of the frenzy surrounding the reunion is pure nostalgia. If you came of age in the ‘90s, Oasis was a symbol of youthful defiance, a correction to the disconsolate grunge of Nirvana and Alice in Chains. The band’s music was a celebration — loud, aspirational, and full of swagger. The Gallaghers were the soundtrack to Tony Blair’s New Labour Britain. As Britain once again welcomes a new Labour government, there’s a rush in knowing the melodies of Oasis will once again ring out in Wembley Stadium.

But nostalgia alone doesn’t explain the mania we’re seeing today. Gen Z, which never experienced the band in its prime, is discovering Oasis in droves. A recent study found that nearly 70% of Gen Z respondents had recently “rediscovered” ‘90s music. For many of them, Oasis embodies a window into a simpler era, a carefree time before social media and the existential dread of endless global crises.

But for those of us who have been following the Gallaghers for decades, the real story here isn’t about money or cultural revival (or ignoring climate change and our phones for two hours). It’s about the singularity of familial bond. While I’m excited to belt out “Rock ‘n’ Roll Star” alongside tens of thousands of fans again when and if the reunion makes it to Canada, the appeal for me runs deeper. It’s the fact that despite everything — the fights, the walkouts, the years of root vegetable-based insults — these two brothers are reuniting. Because they have to.

As Noel told me back in 2016: “Family is family. You don’t have to patch it up. It’s just there. You’ve still got the same parents, all that kind of s—-. Blood is thicker than mud, as they say.”

There’s a beauty in that — a kind of fraternal fatalism. They can’t escape it, even if they wanted to. And that’s why this reunion matters. Not because of what it says about the ‘90s or because it’ll be a cash cow, but because at the heart of it, Oasis has always been about family.

It’s a reminder that, in the end, we are defined by the bonds we can never break, no matter how many times we call each other potatoes online.

[www.thestar.com]

Quote
SomeTorontoGirl
From today’s Toronto Star

Opinion | I’ve been an Oasis superfan since the 90s. This is why the reunion is about way more than nostalgia or cash

By Jonathan Dekel
Jonathan Dekel is Toronto-based arts and culture writer.

I’ve been following Oasis since the late 1990s, not just as a fan but as a journalist. I’ve had the privilege of interviewing both Liam and Noel Gallagher more than once. I’ve watched the band evolve — and implode — through dozens of shows, from the heights of bravado at Maple Leaf Gardens to the chaos of Virgin Fest in Toronto Island Park. But when I heard the Gallaghers were finally reuniting, the first thing that came to mind wasn’t the music or even the astronomical payday. It was the inevitability of family.

Sure, Oasis is a cultural artifact of the ‘90s, a band that soundtracked an era of post-recession euphoria. But at its core, the brothers’ story is a family drama. It’s a testament to bonds that don’t break, no matter how much bad blood runs between them.

Noel Gallagher, the band’s lead songwriter, has always been up front about his motivations. When I interviewed him in 2016, he was candid about the possibility of getting the band back together. “I don’t think there’ll ever be an Oasis reunion” he said, before immediately contradicting himself. “I’d do it for the money.”

It was classic Noel — brash and funny — but there was a grain of truth beneath the cynicism. For all the bravado, he knew what everyone else knew: no matter how bitter the feud, the idea of a reunion was never off the table. It was just a matter of when, why and how much.

Noel’s younger brother Liam, the band’s lead singer, on the other hand, has always wanted Oasis to reunite. The band is his life’s work (no offense to Beady Eye), and the fact that it fell apart was a wound that never fully healed. The planned mega reunion, worth a reported £400 million, is a chance to make things right, not just with his brother but with the legacy they built together.

For old school fans, like me, part of the frenzy surrounding the reunion is pure nostalgia. If you came of age in the ‘90s, Oasis was a symbol of youthful defiance, a correction to the disconsolate grunge of Nirvana and Alice in Chains. The band’s music was a celebration — loud, aspirational, and full of swagger. The Gallaghers were the soundtrack to Tony Blair’s New Labour Britain. As Britain once again welcomes a new Labour government, there’s a rush in knowing the melodies of Oasis will once again ring out in Wembley Stadium.

But nostalgia alone doesn’t explain the mania we’re seeing today. Gen Z, which never experienced the band in its prime, is discovering Oasis in droves. A recent study found that nearly 70% of Gen Z respondents had recently “rediscovered” ‘90s music. For many of them, Oasis embodies a window into a simpler era, a carefree time before social media and the existential dread of endless global crises.

But for those of us who have been following the Gallaghers for decades, the real story here isn’t about money or cultural revival (or ignoring climate change and our phones for two hours). It’s about the singularity of familial bond. While I’m excited to belt out “Rock ‘n’ Roll Star” alongside tens of thousands of fans again when and if the reunion makes it to Canada, the appeal for me runs deeper. It’s the fact that despite everything — the fights, the walkouts, the years of root vegetable-based insults — these two brothers are reuniting. Because they have to.

As Noel told me back in 2016: “Family is family. You don’t have to patch it up. It’s just there. You’ve still got the same parents, all that kind of s—-. Blood is thicker than mud, as they say.”

There’s a beauty in that — a kind of fraternal fatalism. They can’t escape it, even if they wanted to. And that’s why this reunion matters. Not because of what it says about the ‘90s or because it’ll be a cash cow, but because at the heart of it, Oasis has always been about family.

It’s a reminder that, in the end, we are defined by the bonds we can never break, no matter how many times we call each other potatoes online.

[www.thestar.com]

Nice one, beautiful piece!

Do any of my fellow Oasis fans’ have any thoughts regarding the set-list?

I hoping it’ll be a career-retrospective, featuring performances from all chapters of their career. We all know that there are the ‘staples’, that will inevitably be performed each night; yet it would be nice if they delve a little deeper. In the decade following the release of Be Here Now, for instance, they barely performed any numbers from the album; some of the B-sides from the Be Here Now singles were particularly good.

If there is not to be a ‘new’ Oasis album to coincide with these forthcoming, monumental shows’, then let’s all hope we get a good and varied selection of numbers; from Supersonic, to Shock of The Lightning.

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Big Al
Do any of my fellow Oasis fans’ have any thoughts regarding the set-list?

I hoping it’ll be a career-retrospective, featuring performances from all chapters of their career. We all know that there are the ‘staples’, that will inevitably be performed each night; yet it would be nice if they delve a little deeper. In the decade following the release of Be Here Now, for instance, they barely performed any numbers from the album; some of the B-sides from the Be Here Now singles were particularly good.

If there is not to be a ‘new’ Oasis album to coincide with these forthcoming, monumental shows’, then let’s all hope we get a good and varied selection of numbers; from Supersonic, to Shock of The Lightning.

I'd love to get the two Rock n Roll monsters of Be Here Now again,
My Big Mouth and It's Getting Better (Man!!). I had MBM once in '96 and IGBM twice, in 96 and 97. They deserve to get played at every show. Also the Delta Blues-inspired Fade In-Out is a song I've missed since 97. Stay Young slipping into The Fame would be a cool medley with Liam walking off stage as Fame kicks in and Noel start singing.
Hopefully they open up with Acquiesce, just imagine the chaos errupted as the song starts....

+ ONLY they can open up the first show in 15 years with a B-side....





Edited 1 time(s). Last edit at 2024-09-19 12:52 by MadMax.

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MadMax

Quote
Big Al
Do any of my fellow Oasis fans’ have any thoughts regarding the set-list?

I hoping it’ll be a career-retrospective, featuring performances from all chapters of their career. We all know that there are the ‘staples’, that will inevitably be performed each night; yet it would be nice if they delve a little deeper. In the decade following the release of Be Here Now, for instance, they barely performed any numbers from the album; some of the B-sides from the Be Here Now singles were particularly good.

If there is not to be a ‘new’ Oasis album to coincide with these forthcoming, monumental shows’, then let’s all hope we get a good and varied selection of numbers; from Supersonic, to Shock of The Lightning.

I'd love to get the two Rock n Roll monsters of Be Here Now again,
My Big Mouth and It's Getting Better (Man!!). I had MBM once in '96 and IGBM twice, in 96 and 97. They deserve to get played at every show. Also the Delta Blues-inspired Fade In-Out is a song I've missed since 97. Stay Young slipping into The Fame would be a cool medley with Liam walking off stage as Fame kicks in and Noel start singing.
Hopefully they open up with Acquiesce, just imagine the chaos errupted as the song starts....

+ ONLY they can open up the first show in 15 years with a B-side....

Cheers to all that!

I'm sure Acquiesce will be performed. I do think it'll be Rock n' Roll Star, though. Cigarettes & Alcohol will surely be one of the encores.

In my opinion, these are the songs that'll definitely be performed every night:

Supersonic
Rock 'n Roll Star
Cigarettes & Alcohol
Live Forever
Some Might Say
Don't Look Back in Anger
Wonderwall
Champagne Supernova

There will undoubtedly be a few more that will also be performed each night, plus - hopefully! - a fair bit of rotation. I've only selected that are - for me - the absolute no-brainers.

I reckon Little By Little, The Importance Of Being Idle - a pretty successful latter-Oasis tune - will get performed, too. Oh, there's so many to choose from. No doubt, Noel will have an acoustic-set; so we can expect Married With Children, or - even better! - Sad Song!

I certainly tried and saw them 2001/2005/2008 but other than maybe Gas Panic my mind's ear can't pull anything up other than the first 2 + Masterplan.

"Fade in out" would be great to hear, they did brilliant versions in 1997.

F**king in the Bushes
Swamp Song
Acquiesce
The next 25 tunes
I Am The Walrus

Quote
Paddy
F**king in the Bushes
Swamp Song
Acquiesce
The next 25 tunes
I Am The Walrus

Yeah, I had forgotten that F**king in the Bushes is often the intro! I Am The Walrus would be an ideal final encore, I agree. At the Wembley show I attended in '09, however, they finished with Whatever - a rarely performed track!-, with Gem on harmonica, and Noel on acoustic. They were the only two left on stage. I'm not sure if Liam pulled a strop, but - pretty much - every other show on that tour ended with Walrus.

Quote
Big Al

Quote
Paddy
F**king in the Bushes
Swamp Song
Acquiesce
The next 25 tunes
I Am The Walrus

Yeah, I had forgotten that F**king in the Bushes is often the intro! I Am The Walrus would be an ideal final encore, I agree. At the Wembley show I attended in '09, however, they finished with Whatever - a rarely performed track!-, with Gem on harmonica, and Noel on acoustic. They were the only two left on stage. I'm not sure if Liam pulled a strop, but - pretty much - every other show on that tour ended with Walrus.

Yeah sounds like you might have caught a night where Liam or his throat decided not to do the Walrus encore. Sucks.

Back then it seemed audacious to cover that song, of all The Beatles songs to cover that took some balls. It was like messing with some holy thing. They always nailed it though. The ending was always cool.

Looks like Coldplay have taken the Stones option of some LD type tickets for their coming tour, I mentioned earlier I think this is at least one thing an artist can and should do. It’s not a solution but at least it’s tickets at an available price for some.

Quote
Paddy

Quote
Big Al

Quote
Paddy
F**king in the Bushes
Swamp Song
Acquiesce
The next 25 tunes
I Am The Walrus

Yeah, I had forgotten that F**king in the Bushes is often the intro! I Am The Walrus would be an ideal final encore, I agree. At the Wembley show I attended in '09, however, they finished with Whatever - a rarely performed track!-, with Gem on harmonica, and Noel on acoustic. They were the only two left on stage. I'm not sure if Liam pulled a strop, but - pretty much - every other show on that tour ended with Walrus.

Yeah sounds like you might have caught a night where Liam or his throat decided not to do the Walrus encore. Sucks.

Back then it seemed audacious to cover that song, of all The Beatles songs to cover that took some balls. It was like messing with some holy thing. They always nailed it though. The ending was always cool.

Looks like Coldplay have taken the Stones option of some LD type tickets for their coming tour, I mentioned earlier I think this is at least one thing an artist can and should do. It’s not a solution but at least it’s tickets at an available price for some.

Coldplay= Plant Pots

Oasis should either start or finish with ACQUIESCE

It's their Street Fighting Man

The Sun reports that US dates will be announced next Friday (September 27)

[www.thesun.co.uk]

Friday ...... fish & chip day



ROCKMAN

Quote
bye bye johnny
The Sun reports that US dates will be announced next Friday (September 27)

[www.thesun.co.uk]

Great news! 2025 is going to be all about OASIS!

This is going to be THE thread for a little while longer!

NME "exclusive" on the additional cities/countries Oasis will play in 2025.

Toronto
Chicago
East Rutherford NJ
Boston
Los Angeles
Mexico City
Seoul, South Korea
Tokyo, Japan
Melbourne, Australia
Sydney, Australia
Sao Paulo, Brazil
Santiago, Chile
Buenos Aires, Argentina

The exact venues, dates and ticket sale details will be announced soon.

Full article:[www.nme.com]



Edited 1 time(s). Last edit at 2024-09-26 21:15 by bye bye johnny.

The Toronto concert referenced by BBJ above may be very interesting. Local story broke today that a new, temporary outdoor stadium seating 50,000 people is going to be built at the site of the old Downsview airfield - which was the site of the 2003 SARS concert (embarrassingly…my first Stones gig). The land is slated for development in about 5 years so they have apparently decided to build this temporarily, and it would be the biggest concert venue in the area, and Oasis are rumoured to be the inaugural concert.

Edit - found an article…

Live Nation to build concert venue at Downsview — with a name that bears striking resemblance to another stadium

Rogers Stadium, billed as Toronto’s largest purpose-built outdoor concert venue, is slated to open next year.

By Joshua ChongCulture Reporter

Toronto is getting a new stadium that will soon host some of the world’s biggest music acts — and its name bears an uncanny resemblance to another major venue in the city.

Live Nation Canada announced Thursday that it’s constructing Toronto’s largest purpose-built outdoor concert venue at the former site of Downsview Airport. The open-air facility, which will host up to 50,000 attendees when it opens next June, will be called Rogers Stadium.

The ambitious project is meant to offset pressure from other venues that host Live Nation events, particularly the Rogers Centre, and comes as the city is witnessing a surge in demand for live entertainment.

“We already consider ourselves a top-tier market in North America, but things have changed in the last couple of years,” said Erik Hoffman, president of music at Live Nation Canada, in an interview with the Star earlier this week. “There’s an unprecedented number of stadium-level productions on the road, and while we still intend to use the Rogers Centre, they have a very full baseball schedule, so it made sense to ideate a purpose-built concert venue.”

Rogers Stadium, located on 44 acres of land at the north end of the former airport, won’t be a permanent structure. Live Nation expects the venue to operate for approximately five years before the site’s developer, Northcrest Developments, transforms the industrial land into new neighbourhoods.

”(The project) aligns with the broader vision we have for what we want to do with the site prior to development,” said Derek Goring, CEO of Northcrest, in an interview with the Star. “We have this very large site, and there are some really ambitious development plans, but we also recognize that those plans are going to take many years to materialize, and we didn’t want the land to just sit there empty while that’s happening.”

The new stadium will be entirely financed by private funds. While Hoffman would not disclose the exact cost of the project, he said it’s in the “tens of millions of dollars.” Rogers is the naming rights partner and exclusive telecommunications sponsor for the venue.

Live Nation plans to host between 12 to 15 concerts annually at the venue, from June until to the end of September, though artists have yet to be announced.

Though the facility has a capacity similar to the Rogers Centre’s, it will provide a unique concert experience, Hoffman said. The venue itself will be a horseshoelike structure with seats wrapping around the stadium floor, which can be reconfigured depending on the needs of individual events.

The facility will also feature an open-air concourse offering “elevated” food and beverage offerings, Hoffman said. “We’re going to invite people to get there early so it breaks up transportation to the site,” he added, noting the venue will host other programming before and after concerts.

Discussions between Live Nation and Northcrest only began around eight months ago, but the proposal has advanced relatively quickly compared to other projects of a similar scale.

The idea was born out of a need for a purpose-built concert space to host A-list international artists. At the time, Live Nation was facing challenges scheduling performers at the Rogers Centre during the Blue Jays’ busy summer schedule. Without this venue, Hoffman said, “we were going to have global-level artists skip over Toronto.”

Thursday’s announcement comes as a slew of major artists are expected to perform in Toronto over the coming months. Taylor Swift is slated to perform six concerts at the Rogers Centre in November. Last week, Metallica announced it will play two concerts there next April.

The proposed Rogers Stadium is one of several programming initiatives that Northcrest has announced for its 370-acre property, which it took control of earlier this year. In June, the site hosted an immersive dance and theatre hybrid show as part of the 2024 Luminato Festival. The development firm also announced in April an open call for artists and programmers to reimagine some 600 metres of taxiway, activating the space with creative projects and other events.

Northcrest plans to ultimately develop the site over three decades. It’s all part of a $30-billion project to transform the land into 15 transit-oriented communities. The northern part, where the stadium will be located, will be one of the last portions of the land to be developed. Site work on the first community is expected to begin next year with major construction commencing in 2026.

[www.thestar.com]





Edited 1 time(s). Last edit at 2024-09-27 02:19 by SomeTorontoGirl.

[x.com]

--



[x.com]

Quote
SomeTorontoGirl
The Toronto concert referenced by BBJ above may be very interesting. Local story broke today that a new, temporary outdoor stadium seating 50,000 people is going to be built at the site of the old Downsview airfield - which was the site of the 2003 SARS concert (embarrassingly…my first Stones gig). The land is slated for development in about 5 years so they have apparently decided to build this temporarily, and it would be the biggest concert venue in the area, and Oasis are rumoured to be the inaugural concert.

Edit - found an article…

Live Nation to build concert venue at Downsview — with a name that bears striking resemblance to another stadium

Rogers Stadium, billed as Toronto’s largest purpose-built outdoor concert venue, is slated to open next year.

By Joshua ChongCulture Reporter

Toronto is getting a new stadium that will soon host some of the world’s biggest music acts — and its name bears an uncanny resemblance to another major venue in the city.

Live Nation Canada announced Thursday that it’s constructing Toronto’s largest purpose-built outdoor concert venue at the former site of Downsview Airport. The open-air facility, which will host up to 50,000 attendees when it opens next June, will be called Rogers Stadium.

The ambitious project is meant to offset pressure from other venues that host Live Nation events, particularly the Rogers Centre, and comes as the city is witnessing a surge in demand for live entertainment.

“We already consider ourselves a top-tier market in North America, but things have changed in the last couple of years,” said Erik Hoffman, president of music at Live Nation Canada, in an interview with the Star earlier this week. “There’s an unprecedented number of stadium-level productions on the road, and while we still intend to use the Rogers Centre, they have a very full baseball schedule, so it made sense to ideate a purpose-built concert venue.”

Rogers Stadium, located on 44 acres of land at the north end of the former airport, won’t be a permanent structure. Live Nation expects the venue to operate for approximately five years before the site’s developer, Northcrest Developments, transforms the industrial land into new neighbourhoods.

”(The project) aligns with the broader vision we have for what we want to do with the site prior to development,” said Derek Goring, CEO of Northcrest, in an interview with the Star. “We have this very large site, and there are some really ambitious development plans, but we also recognize that those plans are going to take many years to materialize, and we didn’t want the land to just sit there empty while that’s happening.”

The new stadium will be entirely financed by private funds. While Hoffman would not disclose the exact cost of the project, he said it’s in the “tens of millions of dollars.” Rogers is the naming rights partner and exclusive telecommunications sponsor for the venue.

Live Nation plans to host between 12 to 15 concerts annually at the venue, from June until to the end of September, though artists have yet to be announced.

Though the facility has a capacity similar to the Rogers Centre’s, it will provide a unique concert experience, Hoffman said. The venue itself will be a horseshoelike structure with seats wrapping around the stadium floor, which can be reconfigured depending on the needs of individual events.

The facility will also feature an open-air concourse offering “elevated” food and beverage offerings, Hoffman said. “We’re going to invite people to get there early so it breaks up transportation to the site,” he added, noting the venue will host other programming before and after concerts.

Discussions between Live Nation and Northcrest only began around eight months ago, but the proposal has advanced relatively quickly compared to other projects of a similar scale.

The idea was born out of a need for a purpose-built concert space to host A-list international artists. At the time, Live Nation was facing challenges scheduling performers at the Rogers Centre during the Blue Jays’ busy summer schedule. Without this venue, Hoffman said, “we were going to have global-level artists skip over Toronto.”

Thursday’s announcement comes as a slew of major artists are expected to perform in Toronto over the coming months. Taylor Swift is slated to perform six concerts at the Rogers Centre in November. Last week, Metallica announced it will play two concerts there next April.

The proposed Rogers Stadium is one of several programming initiatives that Northcrest has announced for its 370-acre property, which it took control of earlier this year. In June, the site hosted an immersive dance and theatre hybrid show as part of the 2024 Luminato Festival. The development firm also announced in April an open call for artists and programmers to reimagine some 600 metres of taxiway, activating the space with creative projects and other events.

Northcrest plans to ultimately develop the site over three decades. It’s all part of a $30-billion project to transform the land into 15 transit-oriented communities. The northern part, where the stadium will be located, will be one of the last portions of the land to be developed. Site work on the first community is expected to begin next year with major construction commencing in 2026.

[www.thestar.com]

When I used to work in construction, there was a saying. 'Nothing is more permanent than a temporary installation'.