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Aspen Live, the annual live music industry conference, is returning to Aspen, Colo., Dec. 4-6. Capped at an attendance of 150 people and scheduled around Colorado’s winter activities, the event is the brainchild of longtime touring and event producer Jim Lewi, who heads up production and business development for Embarc Events.
“The first year we did it in 1996, everybody who came was a skier or snowboarder,” says Lewi. “It was dumping snow, and everybody wanted to go out and ski. So I said, ‘Okay, no meetings until after the lifts close.’”
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That philosophy continues today, even though only half of the attendees ski or snowboard, according to Lewi. Mornings feature a group breakfast, followed by activities — skiing, cooking classes, nature walks — that are designed to keep attendees networking. Panel discussions happen in the afternoons, followed by cocktail parties and dinners around town.
The conference’s most anticipated panel brings together Dave Marcus from Ticketmaster, Dean DeWulf from AXS and Sean Stewart from StubHub, moderated by manager Randy Nichols. It’s a lineup that Lewi acknowledges could get contentious.
“I warned StubHub before they said yes that it could get rough with people in the room,” Lewi says. “But this is part of our distribution network now. We can fight it, or we can do business with them and try to get rid of the bots.”
Lewi sees the secondary market as an opportunity for rights holders to capture upside they’re currently missing. “If you’re gonna charge more money for my ticket, I want to get paid on the upside,” he explains. “That’s Sean’s job — to have that direct relationship with the rights holders.”
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Aspen Live’s programming reflects Lewi’s belief that the live music industry can learn from adjacent sectors. One panel focuses on Latin music, exploring how that market has grown beyond border states to continually expand its audience. Another panel brings together performing arts center executives with venue operators and artist managers.
“How do we utilize their models?” Lewi asks. “They have subscribers, they have mailing lists, they book further in advance. What can we learn from them?”
Perhaps most intriguing is a session featuring representatives from minor league baseball team the Nashville Sounds. “They sell more tickets than Major League Baseball, without the names, without the money,” Lewi says. “How are they so good at engaging fans? They’re selling the same product over and over again.”
What distinguishes Aspen Live is its commitment to honest discourse in an intimate setting. “We want it to be more of a discussion and a dialogue than a monologue,” Lewi says. “People yell out their own thoughts throughout the meetings.”
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Lewi notes with pride that the conference has spawned numerous business relationships and partnerships over the years: “A lot of people have created their whole business out of Aspen,” he says.
As the live music industry faces mounting challenges — from affordability concerns to changing consumer behavior — Aspen Live’s intimate, problem-solving approach feels increasingly relevant. As Lewi puts it, the goal is for the industry to find sustainable models in an increasingly difficult market.
“The theme is always, ‘Solve problems and try to learn from each other,’” Lewi says. “I’ve always been very dreamy. I dream that Aspen becomes a place where problems can be resolved.”
Learn more and register at AspenLive.com.
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THE BIG STORY: Taylor Swift’s Eras Tour was so big that it has developed its own legal system.
With a record-shattering haul of more than $2 billion face-value ticket sales — and many times that in the secondary market — it’s not surprising that legal disputes have broken out. Don’t forget the old adage in the music industry: “If you write a hit, you get a writ.”
It started immediately after the chaotic pre-sale, when Swift fans filed class actions against Ticketmaster, accusing the company of causing the “disaster” rollout. In August, the Federal Trade Commission sued a ticket broker for allegedly using bots to buy thousands of Eras tickets that it resold for more than $1 million in profit. Just this month, an angry Swiftie sued StubHub for giving her “inferior” seats after she dropped $14,000 on Eras tickets.
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The latest fallout came last week in a criminal case — over a “cybercrime crew” that allegedly stole Eras tickets from StubHub and resold them for a windfall. For more, go read our full story here.
Other top stories this week…
BAND V. LABEL – Powerhouse regional Mexican label Rancho Humilde is locked in a bitter legal dispute with one of its fastest rising acts, the California-based band Fuerza Regida, with allegations of unpaid royalties, unapproved touring deals and “sabotage.”
DIDDY RELEASE DATE – Weeks after Sean “Diddy” Combs was sentenced to over four years in prison on prostitution convictions following a sweeping sexual abuse case, inmate records now show when he’s expected to be set free — but a lot could change before then.
MUNI LAWSUIT – Muni Long’s former managers, Chaka Zulu and Jeff Dixon, are suing the singer for allegedly refusing to pay more than $600,000 worth of promised fees; the Grammy-winning R&B star’s team calls the claims “unfounded.”
BEER BATTLE – Country singer Jameson Rodgers allegedly hurled a “full, unopened beer can” into a concert crowd and hit a fan in the face, resulting in “severe and permanent injuries.” Now, an appeals court says Sony Music can’t escape the ensuing lawsuit.
THE FIGHT GOES ON – Even after A$AP Rocky was acquitted on charges of shooting A$AP Relli on a Hollywood street, the former friends and collaborators continue to battle in a pair of civil lawsuits filed by Relli.
ANTITRUST CASE – Former Oak View Group chief Tim Leiweke, now facing federal bid-rigging charges, is asking a judge for permission to travel to Canada for business next month — a routine motion on paper that underscores how sharply life changes under indictment.
IMPERIAL MARCH – A Washington, D.C., man was allegedly detained after playing John Williams’ legendary “Imperial March” — aka Darth Vader’s music from Star Wars — to protest National Guard troops sent to the city by President Donald Trump, according to a new lawsuit filed by the ACLU.
SAMPLE SPAT – Lizzo is facing a copyright lawsuit over a track she teased on social media to poke fun at Sydney Sweeney’s American Eagle ad controversy, even though she never actually commercially released it.
Trending on Billboard On a late-spring night, Downtown Miami was a place out of time. Thousands of people gathered dressed to the nines, the women rocking sequined gowns and kitten heels, the men wearing tailored suits and polished dress shoes. Their attire fused Puerto Rican culture and Mafia fantasy and seemed beamed in from decades […]
On Thursday, March 6, Hamilton Leithauser kicked off his annual residency at Cafe Carlyle, the intimate posh supper club known primarily for its Marcel Vertès murals, martinis and cabaret and jazz performances by Peter Cincotti, Jeff Goldblum, Sandra Bernhard and others. The residency, which The Walkmen frontman began as an against-the-grain lark — he skipped 2020 because of the pandemic — has grown into a hot ticket. This time around, Leithauser will perform 15 dates through March 29 (his most ever), and unveil some surprises along the way.
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Opening night took place on eve of the release of Leithauser’s new album, This Side of the Island, a hook-heavy pop-rock record that he co-produced with his wife Anna Stumpf (who also plays keyboards in the band), and an assist from his friend, The National’s Aaron Dessner. This Side of the Island is a more concise and conceptual effort, compared to his last full-length, 2020’s The Loves of Your Life, which is a masterpiece of musical storytelling. And initial chart results for the single, “Knockin’ Heart,” indicate the new music is resonating: The song is currently No. 16 on Adult Alternative Airplay chart for a second week — Leithauser’s highest peak yet on the chart. “Knockin’ Heart’ also debuted at No. 42 on Rock & Alternative Airplay, Leithauser’s first time on that chart.
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If the crowd’s response to Leithauser’s opening-night performance is any indication, “Knockin’ Heart” won’t be the only song from This Side of the Island to chart. Here were some of the evening’s highlights.
More New Songs (And They Didn’t Come Easy)
Leithauser previewed three new tunes on This Side of the Island at last year’s residency: “Fistful of Flowers,” “What Do I Think?” and “Ocean Roar,” an ode to his late friend, the singer-songwriter and producer Richard Swift. This time, the audience got to hear all nine of the album’s songs, along with music from his past albums, such as “In A Blackout,” “A 1,000 Times” and “The Garbage Men.”
Leithauser says the album’s title was sparked when his two daughters read Jean Craighead George’s young adult novel, My Side of the Mountain — about a boy who runs away from his parents home in New York City and learns to survive in the Catskill Mountains. “It’s another way of saying, ‘From my perspective,’” he explains, adding he was “very isolated” when he was writing and recording This Side of the Island at his studio, the Struggle Hut. It’s an appropriate name given the length of time he wrestled with the music. “I literally recorded the piano and guitar “Fist of Flowers” when Barack Obama was president. This was at my old apartment, which I sold in 2017.”
Leithauser has no explanation for his delays. “If I knew, I would be so happy to know how to avoid it next time,” he says. “I had been working by myself for so many years, and I didn’t know what I had. When you’re really trying to finish something and you can’t it’s so frustrating. It gets kind of scary because your livelihood depends on it. You’re like, ‘What am I doing with myself? I’m wasting my life here.’
“I fought through it,” he continues, “and at the very end went upstate to work for one and a half days with my friend Aaron Dessner. He was the only outside person I had ever played anything for — even my wife. It could have been one of those moments where he could be like, ‘Dude, this ain’t happening. Just go to law school.’”
Instead, Dessner “was so complimentary, excited about it, and he wanted to play on some of it,” Leithauser says. “I was like, ‘Please, anything to change my perception, change my idea of what it is.’ He started putting little things on it and added a modern sound.” Leithauser left Dessner’s studio confident that This Side of the Island was ready to be released. “I was like, ‘Man, I want people to hear this.’”
Leithauser Goes Electric
An electric guitar has always featured in Leithauser’s Carlyle shows, but it’s usually played by one of his band members — most recently by master of subtlety Larry Oliver – while the man himself strummed an acoustic six-string. On this run, Leithauser’s breaking out his black 1961 Fender Jazzmaster and 1960 mapleglo natural Rickenbacker Capri 360 to reproduce the bright rock sound of This Side of the Island. Although he told the crowd that ear plugs were available, the volume was suited to the room, and it was a gas to see the packed crowd rocking out in sportcoats and evening wear as they sipped their martinis and goblets of wine.
A Rockin’ Wedding Standard?
“Knockin’ Heart”‘s lyrics and Leithauser’s full-throttle performance of it on the record makes it sound like fervent pledge of unconditional love: “From the courtship to the chapel, from the branches to the apple, to the elegy in the bone yard — you’ll be knockin’ in my heart.” Told that the song could be a wedding-reception staple, given the right band or DJ, Leithauser laughs. “I’d love to go to that wedding,” he says, adding that while the song’s message is, “I’ll love you through time. Actually, the person in the song can’t get through to the person they’re looking for. The idea is there’s a guy driving home from the party. He’s stoned and drunk and wishing he can say this to the person. But the person is not there.”
A (Psycho) Killer Cover
Leithauser’s Carlyle sets always include at least one cover, and on March 6, he chose the Talking Heads classic “Heaven” — which, he says, is one of his all-time favorite songs. (He also said elsewhere that he listened to Fear of Music, which includes that song, a lot while making This Side of the Island.) The choice was all the more appropriate, because former Heads frontman David Byrne has recruited Leithauser for his latest project. “It’s crazy,” Leithauser says. “When he contacted me, I thought I was being punked.”
Surprise Guests
Opening night belonged solely to Leithauser — as an ad-hoc record-release show should be — but he says that “a lot of well-known musicians are going to be coming out over the course or the four weeks” to join in on the fun. He’s keeping the names under wraps, “Because I want them to be surprising.”
Leithauser is the Kevin Bacon of indie rock, with a deep network of friendships with other musicians, so the surprises should be genuinely surprising. At his March 8 show, J Mascis was Leithauser’s special guest, and imagining the Dinosaur Jr. frontman at a strait-laced place like Cafe Carlye is mind-blowing on its own.
The National Independent Venue Association (NIVA) is set to collect data on the economic impact of the independent live sector with the launch of its State of Live survey, the organization announced Tuesday (Jan. 7). The initiative will seek to capture the economic contributions and operational challenges of independent venues, promoters, performing arts centers and […]
A bill to create a new statewide live music fund in Tennessee has passed in the state’s Senate and House. It will now head to the desk of Governor Bill Lee, who is expected to sign it into law.
SB2508/HB2712 — composed of identical companion bills carried by Senate Majority Leader Jack Johnson and House Majority Whip Johnny Garrett — was introduced as a collaboration between the Music Venue Alliance Nashville, the National Independent Venue Association and the Broadway Entertainment Association. The bill creates the structure of a live music fund that will one day provide grants to live music and performance venues, promoters and performers.
The legislation also defines elements of the live music industry in code for the first time, marking a fundamental step toward directing future support. The fund is set up to be administered by the Tennessee Entertainment Commission under the Department of Economic and Community Development.
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Though the bill does not allocate any government money to the fund during this fiscal year, it does allow it to receive donations and grants from individuals and the private sector. The opportunity for government-appropriated funds remains on the table for future years. Stakeholders will also soon come together to evaluate revenue streams flowing into similar funds in other states and determine if any opportunities exist that might be a good fit for the Tennessee fund.
“We are truly excited by the unanimous and bipartisan support for our independent venues,” said Chris Cobb, board president of the Music Venue Alliance Nashville, in a statement. “It has become increasingly difficult to own, operate, or grow an independent venue in today’s climate, and a fund like this will be a difference maker to ensure that independent venues across Tennessee not only survive, but thrive.”
“The Live Music & Performance Venue Fund creates a massive opportunity for us to protect and preserve Tennessee’s live music industry for years to come,” said Bob Raines, executive director of the Tennessee Entertainment Commission, in a statement. “Independent venues and performers across the great state of Tennessee are the foundation of our complex and vibrant ecosystem and we know their success is directly tied to the vibrancy and growth of our communities across the state.”
While Tennessee is only the second state in the nation to define a live music and performance venue in the state code, similar funds have been created in cities and states across the United States. Texas provided over 650 micro-grants to individual creatives in 2023 through a similar fund and also provided a grant to the historic Austin, Tex., independent venue Hole in the Wall that enabled it to secure a 20-year lease extension.
“We applaud Leader Johnson and Representative Garrett for their leadership, and thank the entire Tennessee General Assembly for their unwavering support of independent venues, promoters, and the entirelive entertainment sector in Tennessee,” Stephen Parker, executive director of the National Independent Venue Association, said in a statement. “Whether investment to bolster the fund comes from the live community, the private sector, or government, we look forward to rallying support and growing this fund in the years ahead to ensure the preservation of Tennessee’s legendary live music economy.”
BMG is getting out of the live music business. The German music company agreed to sell its stakes in two live music companies, Undercover and Karo, to the minority shareholders, the company announced Friday (Dec. 22). The move comes less than a month after the company said it would focus on its core recorded music […]
Apple-owned Shazam has introduced a new feature into its music identification app that will allow users to find nearby shows through recommendations based on their Shazam histories, it was announced on Wednesday (Oct. 25). The new feature, called simply Concerts, is already available to users in the Shazam app on iOS within the “My Music” […]
Pride Month may be a few months away, but Mariah Carey and Megan Thee Stallion are ready and waiting to celebrate.
On Tuesday (March 28), L.A. Pride announced that the two superstars would serve as the headliners for 2023’s L.A. Pride in the Park event. Taking place at Los Angeles State Historic Park over two days, Pride in the Park will feature the “WAP” rapper leading the show on Friday, June 9, while the Elusive Chanteuse will receive top-billing for Saturday, June 10. Additional artists have yet to be announced for the concert.
In a statement posted to her Instagram, Carey celebrated the news under a poster of herself and Megan. “I’m thrilled and honored to be a part of LA Pride 2023,” she wrote. “I am happy to be back in-person celebrating with the LGBTQIA+ community here in Southern California and throughout all of the lands!!! Let’s come together to celebrate love, inclusion, and Pride.”
The “Savage” rapper also put out a statement, writing, “I can’t wait to headline LA Pride in the Park and celebrate the phenomenal LGBTQIA+ community. This incredible event advocates for diversity, inclusivity and equality, so I’m honored to perform and have a blast with all of the Hotties in attendance.”
Along with announcing the pair of artists as this year’s headliners, L.A. Pride also shared that the official theme of the festivities this year is “All Out With Pride,” aiming to celebrate “the LGBTQIA+ community’s diversity, resilience, and joy,” according to a statement.
“Mariah Carey and Megan Thee Stallion are the perfect artists to headline L.A. Pride in the Park this year as we expand to two days,” L.A. Pride’s board president Gerald Garth said in a statement. “These empowering and iconic women are sure to take the stage by storm to celebrate the LGBTQIA+ community and will undoubtedly make this year’s L.A. Pride in the Park an unforgettable experience.”
Last year’s L.A. Pride festivities culminated in a headlining Pride in the Park set from Christina Aguilera, which featured guest appearances from stars like Mya, Kim Petras and Paris Hilton. “I’m so proud to call you my family,” Xtina said during her set last year. “You are a part of me and I’m so happy to bring this to you.”
Tickets for 2023’s L.A. Pride in the Park are now available to purchase on the L.A.Pride website. Check out Mariah’s Instagram statement below:
With states such as Tennessee and Florida taking aim at drag queens through controversial legislation, Trixie Mattel, Bob the Drag Queen and a troupe of other queens and performers are ready to fight back.
This week, Producer Entertainment Group (PEG) announced “Drag Isn’t Dangerous,” a new campaign in partnership with other LGBTQ media organizations (including GLAAD, Q.Digital, Trixie Cosmetics and more) to combat anti-LGBTQ legislation around the country through awareness and fundraising.
Kicking off as an online information campaign, “Drag Isn’t Dangerous” is set to lead up to a livestreamed, one-night-only telethon featuring dozens of artists in a series of live and pre-taped performances. The initiative has confirmed Trixie Mattel, Bob the Drag Queen, Jinkx Monsoon, Katya, Eureka O’Hara, Ginger Minj, Monét X Change, Peppermint and more as performers, with “many more names to be announced,” according to a press release.
Mattel, who recently completed her world tour with Katya, made her feelings about the state of anti-LGBTQ legislation very clear in a statement released with the news. “The only place where men in dresses sexualize children is church,” she wrote.
Bob the Drag Queen, who’s currently preparing to join Madonna on her world tour, added, “The most traumatizing thing about drag isn’t harming kids, it’s getting sent home first on Drag Race … but I can’t relate.”
Jacob Slane, a partner and talent manager with PEG, said in a statement that the organization was “sick” of the continued attacks on the LGBTQ community from state legislatures. “These bans are not just about trans people or drag performers. It is a systematic subjugation of LGBTQ people,” he wrote. “Through the ‘Drag Isn’t Dangerous’ campaign, we want to show that drag performers are not dangerous groomers, sexual deviants, criminals or whatever is the latest evangelical slur du jour. We want to raise awareness and funds to make a difference in the lives of LGBTQ people who are under attack.”
The “Drag Isn’t Dangerous” telethon will take place on Sunday, May 7. For tickets and more information, click here.
