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After a pandemic period marked mostly by retrospective projects, U2 is moving forward once again.
On Friday (March 17 – St. Patrick’s Day, appropriately enough), the Irish quartet brought forth Songs of Surrender, its first new album in six years — a companion of sorts to frontman Bono’s 2022 memoir — that finds the band reimagining 40 songs from throughout its career. It is accompanied by Bono & The Edge: A Sort Of Homecoming, With Dave Letterman, a documentary that is now streaming on Disney+. U2 also unveiled a U2SOS40 video series that will eventually feature 60-second clips, by different creators, for each of the songs, while the band’s return to live performing will take place this fall as the inaugural concerts at the MSG Sphere in Las Vegas.
And if that isn’t enough, bassist Adam Clayton has also partnered with Fender for a new amplifier, the ACB 50. “It feels like a bonus the whole way, just because this is at a time in your life where you don’t expect to be this busy,” Clayton, who turned 63 last week, tells Billboard via Zoom from Dublin. “I guess we’re very lucky that we get to do the thing that we’ve always loved doing and we’re still doing it, and somehow we’re still getting better at doing it. At some point I suppose the arc changes, but I don’t feel like we’re at that point yet. I think we’ve got a lot of extra knowledge along the way that we’ve picked up and we can make better and better records from here on out.”
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Songs of Surrender is certainly a project that came as a surprise. That album, according to Clayton, was spurred directly by Bono’s best-selling Surrender: 40 Songs, One Story, in which the singer used 40 U2 songs as a narrative vehicle for his story. The album, according to Clayton, “was one of the more organic processes that U2 engaged in. We started to talk about what we could be doing while (Bono) was busy making this book. Edge said, ‘Let me have a look at those titles. Let me see if I can come up with a different space for those songs so we can present them in a way where the narrative of the song in some way is associated to the arc of the book.’” The Edge began creating drastically different arrangements, mostly stripped down and more intimate, sometimes changing lyrics and even vocalists; The Edge, in fact, stepped up to sing several of the tracks himself.
“We started to see that a lot of the early songs that had felt incomplete or unfinished or naive, when one looked at them now, those were songs with a lot of DNA and intuition on them,” Clayton explains. “From the position of being in our sixties, those lyrics and those songs meant something, and it meant Edge could slow them down. He could bring the key down. Bono could deliver the vocals in a different way. And suddenly there was a personality that had much more of the gravitas of a story that Johnny Cash or Willie Nelson might tell. It engaged with you in a different way. It stopped you thinking about that big ol’ 80s rock band that had this big, stadium-filling sound.”
The bassist has some favorites amongst the 40, including “Stories For Boys,” which Clayton calls “a beautiful insight into Edge as an artist and a singer,” and “All I Want Is You,” which allowed him to do some acoustic bass playing where “I can really hear the air moving and I can hear my fingers on the strings, and I just like that intimacy.”
While each grouping of 10 songs is consigned to one member of the band, that’s more of a packaging element than anything symbolic, he says. “It was after everything was recorded,” he says, “so it wasn’t that I curated the tracks that were gonna be on my (side of) the record. I’m not gonna say it’s random, but it’s not premeditated as such. It’s open to whatever interpretation the listener might want to make. But I think I made out pretty well because I have a lot of good, melodic material but I also have some of the heavy-hitting rock tunes. And I get ‘Electrical Storm,’ which is one of my favorites, I have to say. And I think the version of ‘The Fly’ that makes it onto my record is interesting as well; it shows that we weren’t averse to using a little bit of electronica whenever the color demanded it.”
The big surprise in his batch, Clayton adds, is spectral “Desire” from 1988’s Rattle and Hum, sung by The Edge in falsetto. “It’s quite odd and challenging, and I accept that, because it’s got a very, very heavy keyboard bass, which is nice. It’s not really the way I would’ve expected to hear ‘Desire,’ but I’ll certainly take that bass keyboard part. I loved that.”
Songs of Surrender and the Disney+ documentary were generated by U2’s prominent frontline, Bono and The Edge, In fact, a note during the end credits of A Sort of Homecoming finds them thanking Clayton and Mullen for “letting us go rogue” with that project. Clayton says he has no objections to them taking the reins. “How can you be pissed off with people that you’ve done really well by for such a long time,” he explains. “I’m a big fan of Bono and Edge, and of Larry. I love to see Bono and Edge do interesting things.” He proclaims “big respect” for Bono’s book and for the series of solo concerts he’s been performing around it, and for The Edge taking the reins with Songs of Surrender. “I’m grateful to be in a band with those two extraordinary talents and hard-working people. They’re great songwriters, great artists but they’re great humanitarians and they’re really great people. I need to be inspired and I need to be led by that kind of thinking. I believe in music as a higher art, a higher form, and you don’t have to be dumbed down by it. You can change the world with a guitar — that’s what I signed up for.”
U2 will be looking to do just that later this year in Las Vegas. Dates have not yet been announced but rehearsals will be starting soon, and while the shows will feature 1991’s Achtung Baby album in its entirety, Clayton says “that’s only gonna be about an hour of the show, so we’re gonna have to find a way of going other places as well.” The shows will also be the first U2 has performed without Mullen, who’s taking the year off to treat and recuperate from various injuries he’s accumulated over the years; Bram van den Berg from the Dutch band Krezip will be filling the void.
“I don’t know what it’s going to be like,” Clayton says. “I haven’t played with anyone else before. I know playing with Larry Mullen, he always made me sound good, and that was half the job done. So it might just keep us on our toes. I’m sure we’ll find our groove. I think Bram is a great player. He’s got a great reputation. He’s a lovely man. If the musician’s heart is in the right place, the music follows without too much difficulty.”
There’s plenty on the U2’s agenda as well. The band members have recently spoken about new music, and that they’ve put a planned Songs of Ascent on the back burner in favor of something louder and more aggressive. “That’s the intention,” Clayton acknowledges. “I think we’re feeling that music has kind of got stuck a little bit. We’re feeling that probably with modern processing and modern production techniques and the use of digital that it’s lost some of its spontaneity and some of its rawness, and I think we’re hoping that we can kind of connect back to that rawness that we were excited by as teenagers.” That said, Clayton adds that only “some very, very minimal” recording has been done so far.
“Edge is always working on stuff,” Clayton notes, “but until we get the Sphere shows out of the way and we know what’s going to be happening with Larry, it’ll be very hard to organize what we’ve got and figure out what the plan will be.”
Also on U2’s plate is some archival documentary work. “We’re amazed by the amount of out there on the Beatles or whatever, and there’s some real value to that material,” Clayton says. “During this whole lockdown period we kinda started to go back through our archive and develop some stuff…and put together some sort of a narrative on the history of the band. It will tell a different story of U2. I think everybody thinks they probably know the U2 story reasonably well at this point…and of course it’s only one version of the story. There are other things to our story that we’re excited to be bringing to people.”
As for his new amplifier, Clayton considers it “another one of those once in a lifetime experiences.” He was inspired to pursue it when Fender did a signature guitar amp with The Edge — “I got a little jealous, I guess. I thought, ‘Well, if Edge can have an amp, I’m gonna have an amp!’” — and took the idea to the company, which has not routinely done signature bass amps. He worked with technicians to develop an all-in-one combo amplifier he describes as “the loudest 50 watts you’re ever gonna need,” noting it also has more mid-range than Fender bass amps had previously produced. “You can fit it in a smart car and carry it up the stairs on your shoulder as well,” he notes. “It’s the kind of amp you can take anywhere. You can do anything with it, and it just keeps on giving.” Clayton plans to use several of the ACB 50s during U2’s live dates, positioned under the stage. Details about the amp can be found via fender.com.
Linkin Park reaches No. 1 on Billboard’s Alternative Airplay chart for the first time in more than a decade with “Lost,” which lifts to the top of the March 25-dated survey.
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“Lost” is the band’s 12th No. 1 and first since “Burn It Down,” which ruled for a week in August 2012. In between “Down” and “Lost,” the group charted eight titles, paced by the No. 7-peaking “A Light That Never Comes,” alongside Steve Aoki, in 2013.
The act first led in 2001 with “In the End,” kicking off a run of toppers that included six in a row in 2003-07.
With 12 No. 1s, Linkin Park ties Green Day for the second-most leaders in the Alternative Airplay chart’s 35-year history. Red Hot Chili Peppers lead all acts with 15.
Most No. 1s, Alternative Airplay:
15, Red Hot Chili Peppers
12, Green Day
12, Linkin Park
10, Cage the Elephant
10, Foo Fighters
10, Twenty One Pilots
8, U2
8, Weezer
7, Imagine Dragons
The song marks a return to the top of the charts for Linkin Park, whose frontman Chester Bennington died in 2017. “Lost” is the first posthumous No. 1 on Alternative Airplay for a lead vocalist since Nirvana‘s “You Know You’re Right” in 2002.
Concurrently, “Lost” leads Mainstream Rock Airplay for a second week. On the all-rock-format, audience-based Rock & Alternative Airplay chart, the song is No. 1 for a fifth week, with 9.7 million audience impressions, up 5%, according to Luminate.
On the most recent, March 18-dated multimetric Hot Hard Rock Songs tally, “Lost” led for a fourth week. In addition to its radio airplay, the song earned 2.8 million official streams and sold 1,000 downloads in the United States March 3-9.
“Lost” was recorded during the sessions for Linkin Park’s Meteora, a two-week No. 1 on the Billboard 200 in April 2003. Released at last in February, it will be on the 20th-anniversary reissue of the album, due April 7.
All March 25-dated Billboard charts will update on Billboard.com on Tuesday, March 21.
Add Pretenders leader Chrissie Hynde to the list of artists who aren’t interested in Rock & Roll Hall of Fame enshrinement. On the heels of a scathing op-ed from Hole leader Courtney Love on Friday (March 17) lambasting the Rock Hall for its lack of female representation, Hynde posted a similarly dismissive Facebook note offering up her pointed opinion on the Hall.
“I don’t even wanna be associated with it. It’s just more establishment backslapping,” Hynde wrote. “I got in a band so I didn’t have to be part of all that.” The legendary singer said she was living a happy life in Rio De Janeiro when she was informed that the long-running band had been inducted in 2005. Hynde attended the event and performed two songs after being inducted by Neil Young.
She has since, however, thrown dirt on the idea of what she calls the Hall of Fame’s music-as-sport posture and in the FB post said that when she got the news that her band had been tapped her “heart sank because I knew I’d have to go back for it as it would be too much of a kick in the teeth to my parents if I didn’t. I’d upset them enough by then, so it was one of those things that would bail me out from years of disappointing them. ( like moving out of the USA and being arrested at PETA protests and my general personality).”
In fact, other than Young’s generous induction speech, she said the whole thing was, and is, “totally bollocks. It’s absolutely nothing to do with rock ‘n’ roll and anyone who thinks it is is a fool.”
Love’s Guardian op-ed was a continuation of a thread from earlier in the week in which she criticized the Hall for its lack of female representation, repeating the stat that just 8.48% of inductees are women and that there are only 9 women on the organization’s nomination board. She also noted the length of time it’s taken for some legendary women to be nominated, or inducted, as well as some glaring omissions that she says call into question what she dubbed the “ol’ boys club.”
A spokesperson for the RRHOF had not returned Billboard‘s request for comment at press time.
Check out Hynde’s post here.
Courtney Love is legendarily allergic to holding her tongue. The former Hole singer proved it again on Friday (March 17) with yet another broadside aimed at the Rock and Roll Hall of Fame in an op-ed in the Guardian, a follow-up to an Instagram missive earlier this week in which she said she was “so over these ole boys #fixtherockandrollhalloffame.”
The piece, titled, “Why Are Women So Marginalised by the Rock & Roll Hall of Fame?,” opens with Love describing her lifelong obsession with rock n’ roll by stating, “I got into this business to write great songs and have fun.”
But, she writes, “What no magazine or album could teach me or prepare me for was how exceptional you have to be, as a woman and an artist, to keep your head above water in the music business.” She cites the pioneering work of Big Mama Thornton (“Hound Dog”), who paved the way for Elvis, and, later, Sister Rosetta Tharpe, saying that their songs, and the latter’s “evangelical” guitar playing, changed music forever and helped create rock ‘n’ roll.
She then notes Tharpe didn’t make it into the RRHOF until 2018 — following what she terms a public shaming — more than three decades after 1986’s, all-male group of initial inductees: Chuck Berry, James Brown, Fats Domino, Ray Charles, Little Richard, Sam Cooke, the Everly Brothers, Buddy Holly, Jerry Lee Lewis and Elvis Presley.
For the record, she adds, Thornton is still not in today, when just 8.48% of inductees are women and only nine women are on the organization’s nominating board. Love also quotes music historian Evelyn McDonnell, a Rock Hall voter, as saying that among the musicians and music industry members on the voting committee, 90% are male.
“If so few women are being inducted into the Rock Hall, then the nominating committee is broken. If so few Black artists, so few women of color, are being inducted, then the voting process needs to be overhauled,” Love writes. “Music is a life force that is constantly evolving – and they can’t keep up.”
Love says this year’s nominations provided another reminder of “just how extraordinary a woman must be to make it into the ol’ boys club,” noting that more women were nominated this year than at any time in the organization’s 40-year history. That group includes Kate Bush, Cyndi Lauper, Sheryl Crow and Missy Elliott, as well as the White Stripes’ drummer Meg White and New Order keyboardist Gillian Gilbert.
However, Love wrote, visionary pop iconoclast Bush is on her fourth nomination (after first becoming eligible in 2004), despite being the first female act to hit No. 1 on the U.K. charts with a song she wrote at 19, “Wuthering Heights.” She didn’t make it onto a ballot until 2018, after the Hall of Fame’s co-founder and then-chairman, Rolling Stone magazine founder Jann Wenner, was inducted in 2004.
“Never mind that she was the first woman in pop history to have written every track on a million-selling debut,” Love wrote of 1978′s The Kick Inside. “A pioneer of synthesisers and music videos, she was discovered last year by a new generation of fans when ‘Running Up That Hill (A Deal With God)’ featured in the Netflix hit Stranger Things. She is still making albums.”
The list goes on: 30 years to induct Nina Simone, the 2014 crowning of Linda Ronstadt, who released her debut album in 1969 — acts are eligible 25 years after the release of their first record — and was the first woman to headline stadiums, not to mention Tina Turner finally being ushered in as a solo act 30 years after her first induction with former husband, bandmate and abuser, Ike Turner.
“You can write the Rock Hall off as a ‘boomer tomb’ and argue that it is building a totem to its own irrelevance,” she writes. “Why should we care who is in and who is not? But as scornful as its inductions have been, the Rock Hall is a bulwark against erasure, which every female artist faces whether they long for the honour or want to spit on it. It is still game recognising game, history made and marked.”
Calling the Rock Hall a “king-making force” in the global music industry that can impact an artist’s concert ticket prices, performance guarantees and quality of their reissue campaigns, Love says getting enshrined can be a “life-changing” experience. “The Rock Hall has covered itself in a sheen of gravitas and longevity that the Grammys do not have,” she adds. “Particularly for veteran female artists, induction confers a status that directly affects the living they are able to make. It is one of the only ways, and certainly the most visible, for these women to have their legacy and impact honoured with immediate material effect.”
Love ticks off seven-time nominee funk icon Chaka Khan as another “tragic” miss in the Hall’s induction history and claims that, “The Rock Hall’s canon-making doesn’t just reek of sexist gatekeeping, but also purposeful ignorance and hostility. This year, one voter told Vulture magazine that they barely knew who Bush was – in a year she had a worldwide No 1 single 38 years after she first released it.”
A spokesperson for the RRHOF had not returned Billboard‘s request for comment at press time. Billboard has not independently confirmed the statistics or numbers cited by Love in the piece.
“If the Rock Hall is not willing to look at the ways it is replicating the violence of structural racism and sexism that artists face in the music industry, if it cannot properly honour what visionary women artists have created, innovated, revolutionised and contributed to popular music – well, then let it go to hell in a handbag,” Love concludes.
Lynyrd Skynyrd’s catalog gained in streaming and sales following the death of founding guitarist Gary Rossington March 5.
In the March 3-9 tracking week, the Southern rockers drew 16.4 million official U.S. streams, according to Luminate. That’s a 16% jump over the previous period of Feb. 24-March 2 (14.1 million).
Pacing the group, which was inducted into the Rock & Roll Hall of Fame in 2006, in overall volume for its songs was “Sweet Home Alabama,” from 1974’s Second Helping. The classic track, Lynyrd Skynyrd’s lone top 10 on the Billboard Hot 100 (No. 8 peak, October 1974), earned 4.5 million streams March 3-9, up 7% from 4.2 million.
The song is followed by “Simple Man,” from 1973’s (Pronounced ‘Lĕh-‘nérd ‘Skin-‘nérd), at 3.9 million streams, a 5% boost. Next up, “Free Bird” from the same album, with a 11% jump to 3.1 million streams. The latter sports a slightly larger bump than the other songs, unsurprisingly: Rossington was the architect of the hit’s signature slide guitar riff.
A fourth Lynyrd Skynyrd song impacts the week’s top 2,000 streams in the U.S.: “Gimme Three Steps,” also from the 1973 LP, with 1.6 million streams, up 8%.
Those gains are enough for “Alabama,” “Simple” and “Bird” to hit Billboard’s Hot Rock & Alternative Songs and Hot Rock Songs charts (where older songs are eligible to appear if in the top half and with meaningful reasons for their resurgences). “Alabama” leads at No. 17, followed by “Simple” (No. 21) and “Bird” (No. 24). (“Simple” is in its third consecutive week on the ranking, having re-entered thanks to a viral American Idol audition with the song.)
All three titles also enter Rock Digital Song Sales, each with 1,000 downloads sold. In all, the band’s catalog moved 6,000 song downloads March 3-9, a vault of 103%.
The group’s All Time Greatest Hits concurrently scales Top Rock & Alternative Albums, bounding 28-15 with 11,000 equivalent album units earned, up 19%.
Rossington died March 5 at age 71. His cause of death has not yet been revealed. He had been the final surviving original member of Lynyrd Skynyrd, whose origins date to 1964.
The man who allegedly assaulted Def Leppard drummer Rick Allen outside a luxury Florida hotel has posted bond in the bizarre incident that took place in Fort Lauderdale earlier this week. According to WSVN, Allen was standing outside the Four Seasons hotel having a smoke after his band performed at the Seminole Hard Rock Hotel and Casino on Sunday with Mötley Crüe.
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A police report notes that Ohio resident Max Edward Hartley, 19, hid behind a pillar outside the hotel entrance while Allen smoked and then allegedly rushed at the drummer at full speed and knocked him to the ground. The report says that Allen “hit his head on the ground causing injury” and that when a woman ran out to help Allen Hartley allegedly attacked her as well.
“While she is on the ground, the defendant continues to batter her by striking her,” the police report says. “[She] attempts to escape by running into the hotel. The defendant then grabs [her] by her hair and drags her out of the lobby and back onto the sidewalk before fleeing the area.”
The 911 calls included one from another caller who said Hartley was attempting to break into the Wine Garden restaurant near the Four Seasons, urging, “Send the police here right now! I’m sitting on a f–king suspect!”
Hartley was arrested a short time later after police found him at another hotel allegedly breaking car windows and then charged him with two counts of battery, four counts of criminal mischief and abusing an elderly or disabled adult; Allen lost his left arm after a 1984 car accident.
Hartley reportedly posted bail on Tuesday and was released from Broward County Jail. Allen, who suffered a head injury in the incident, has reportedly provided a sworn statement and told police that he wants them to prosecute Hartley.
At press time a spokesperson for Def Leppard could not be reached for comment on the incident or for an update on Allen’s condition. At press time it also did not appear as if Allen or the band had responded to the attack on their social feeds.
The Florida show came just before a break in the band’s touring schedule, with the next date scheduled for May 22 in Sheffield, England.
Listen to the 911 calls below.
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Calling all collectors! Walmart Collector Con kicks off on Thursday (March 16) and continues until Friday (March 17).
The two-day event features dozens of epic figurines and other collectibles for fans of Star Wars, Marvel, Funko, LEGO, Barbie, Pokemon, WWE and more, including pre-orders, new releases and Walmart Exclusives.
For LEGO lovers, Walmart Collector Con curated a list of affordable and splurge-worthy building kits such as LEGO Stars Wars and Marvel items ranging from around $15 up to $600.
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The lot of collectibles featured on the first day includes LEGO Marvel Thanos Mech Armour Avengers Set ($14.90), Star Wars The Razor Crest Ultimate Collector’s Series Starship Model Kit ($599) and LEGO Marvel Black Panther T’Challa Model Building Kit, which is on sale for $299 (regular $349.99).
Music fans can get their hands on cool exclusives such as the Funko! Pop Album Deluxe: Def Leppard Vinyl Set and the Blink-182 Funko Pop! Album Deluxe: Blink-182 Enema of The State Vinyl Figures (2022 Limited Edition Walmart Exclusive), which are on sale for $25.
Other music-related collector’s items include the best-selling Tina Turner Barbie ($109), the Barbie Signature Elvis Presley Doll ($46.99) and a Barbie Rewind ’80s Edition Doll ($26.10), which comes complete with a hot pink boom box, translucent keytar and microphone.
Purchase the Walmart exclusive, Blink-182 and Def Leopard Funko Pop! collectible sets below. Click here for additional product recommendations.
Walmart
Funko Pop! Album Deluxe: Blink-182 Enema of The State Vinyl Figures (2022 Limited Edition Walmart Exclusive)
$25 $49.88 50% off% OFF
The Enema of the State Pop! Albums Deluxe collectible commemorates the 1999 release of Blink-182’s chart-topping album and features mini figurines of band members Mark Hoppus, Travis Barker and Tom DeLonge. The vinyl figurines measure approximately 4-inches tall and stand on platforms around a record-backdrop next to a replica of the Enema of the State album cover. This collectible comes in a prepackaged case (measuring 23.5 wide x 12.25-inches tall and a 3.75-inch depth) that can be hung on the wall or displayed in your music collection.
Walmart
Funko Pop! Album Deluxe: Def Leppard Hysteria Vinyl Figures (2022 Limited Edition Walmart Exclusive)
$25 $49.88 50% off% OFF
Rock out with this collection of Def Leppard Pops! Joe Elliott, Rick Allen, Rick Savage, Steve Clark and Phil Collen are featured in the Hysteria Pop! Albums Deluxe collectible honoring the 1987 release of the best-selling Hysteria album. The 4-inch figurines stand on platforms centered around a record-backdrop and a recreation of the Hysteria album cover. Like the Blink-182 collectible, Def Leppard Hysteria vinyl figures are designed to hang on the wall or display on a bookshelf, table, desk and other flat surfaces.
David Byrne is getting the enormous suit out of storage. The Talking Heads frontman stars in a new promo video from studio A24 revealing that director Jonathan Demme’s landmark 1994 concert film, Stop Making Sense, is getting a reboot via 4K technology.
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In the trailer, Byrne, 70, visits his neighborhood dry cleaners with a wrinkled ticket — number A24, naturally — to see if they still have his signature gigantic outfit from the film that many consider to be one of the most eye-catching and important concert movies of all time.
“Hi, I’m picking up. It’s been here for a while,” he tells the cleaner’s owner. “Yeah that’s it!” Byrne enthuses when the plastic-wrapped outfit is pulled from the back. After riding his bike through the New York streets to get his prize home, Byrne slips back into the enormous suit originally built by costume designer Gail Blacker and practices some bendy choreography in a mirror to the strains of “This Must Be the Place (Naive Melody)” from the band’s 1983 Speaking in Tongues album.
The scene then splits to the original, in which the singer does some of his patented herky-jerky dance moves on stage before the camera seamlessly pans back to his well-lit apartment and the screen reads, “Stop Making Sense 2023.” The original was shot over three nights during four shows at the Pantages Theater in Los Angeles in December 1983 and has since been added to the National Film Registry by the Library of Congress.
It features the group — including bassist Tina Weymouth, drummer Chris Frantz and guitarist/keyboardist Jerry Harrison — performing such now-classics as “Psycho Killer,” “Slippery People,” “Burning Down the House,” “Life During Wartime” and “Once in a Lifetime,” as well as Frantz/Weymouth side project Tom Tom Club’s oft-sampled “Genius of Love” on a spare stage.
A24 celebrated the success of its multiverse dramedy Everything Everywhere All At Once at last weekend’s Academy Awards.
Check out the Stop Making Sense 2023 trailer below.
After warning fans in a tweet spree earlier this week that Ticketmaster’s “Verified Fan” system was “far from perfect,” The Cure singer Robert Smith continued his Twitter rant on Thursday after his band’s 30-date Shows of a Lost World North American tour went on sale.
“I AM AS SICKENED AS YOU ALL ARE BY TODAY’S TICKETMASTER ‘FEES’ DEBACLE,” Smith raged in his latest all-caps broadside against Ticketmaster. “TO BE VERY CLEAR: THE ARTIST HAS NO WAY TO LIMIT THEM. I HAVE BEEN ASKING HOW THEY ARE JUSTIFIED. IF I GET ANYTHING COHERENT BY WAY OF AN ANSWER I WILL LET YOU ALL KNOW.”
Smith’s tweet came as fans complained that despite the band offering reasonably priced tickets for the outing and making sure the tickets will be non-transferable to minimize resale and keep prices at face value, in some cases the added-on service fees, facility charges and order processing fees added up to more than the cost of entry.
By making the tickets non-transferable, scalpers will be unable to purchase tickets and then resell them for a profit since the original owner will have to be present to enter the venue. For fans who purchase tickets but can’t make it to the event, they will be able to resell the ticket on a face-value ticket exchange.
Before the VF onsale, Smith assured fans that he was doing everything he could to alleviate ticketing pain points, including avoiding platinum packages and dynamic pricing, referring to those practices as “a bit of a scam.” But when he saw the complaints about the service charges during Thursday’s onsale, the singer could not hold back; at press time a spokesperson for Ticketmaster had not returned Billboard‘s request for comment.
Following up on his “scam” tweet, on Wednesday (March 15), Smith explained, “I HAD A SEPARATE CONVERSATION ABOUT ‘PLATINUM’, TO SEE IF I HAD MISUNDERSTOOD SOMETHING… BUT I HADN’T! IT IS A GREEDY SCAM – AND ALL ARTISTS HAVE THE CHOICE NOT TO PARTICIPATE… IF NO ARTISTS PARTICIPATED, IT WOULD CEASE TO EXIST.”
If nothing else, Smith implored his fans to avoid buying tickets secondhand from scalpers, writing, “I HAVE BEEN TOLD: StubHub has pulled listings in all markets except NY, Chicago, Denver (IE. CITIES IN STATES THAT HAVE LAWS PROTECTING SCALPERS). PLEASE DON’T BUY FROM THE SCALPERS – THERE ARE STILL TICKETS AVAILABLE – IT IS JUST A VERY SLOW PROCESS… I WILL BE BACK IF I GET ANYTHING SERIOUS ON THE TM FEES… IN THE MEANTIME, I AM COMPELLED TO NOTE DOWN MY OBVIOUS RECURRING ELEPHANT IN THE ROOM THOUGHT… THAT IF NO-ONE BOUGHT FROM SCALPERS… THEN.”
The Cure’s efforts to combat resale ticketing comes after a season of in-demand tours facing astronomical price increases due to dynamic ticketing and scalpers. Ticketmaster is currently facing government inquiries into its handling of the disastrous Taylor Swift Eras Tour presale, which left many fans outraged when service delays and website crashes (caused in part by bots) prevented many of them from securing tickets.
See Smith’s tweets below.
I AM AS SICKENED AS YOU ALL ARE BY TODAY’S TICKETMASTER ‘FEES’ DEBACLE. TO BE VERY CLEAR: THE ARTIST HAS NO WAY TO LIMIT THEM. I HAVE BEEN ASKING HOW THEY ARE JUSTIFIED. IF I GET ANYTHING COHERENT BY WAY OF AN ANSWER I WILL LET YOU ALL KNOW. X— ROBERT SMITH (@RobertSmith) March 16, 2023
WHAT I MEANT BY THIS BIT WAS… I HAD A SEPARATE CONVERSATION ABOUT ‘PLATINUM’, TO SEE IF I HAD MISUNDERSTOOD SOMETHING… BUT I HADN’T! IT IS A GREEDY SCAM – AND ALL ARTISTS HAVE THE CHOICE NOT TO PARTICIPATE… IF NO ARTISTS PARTICIPATED, IT WOULD CEASE TO EXIST X https://t.co/Kj7hjkRGn1— ROBERT SMITH (@RobertSmith) March 15, 2023
I HAVE BEEN TOLD: StubHub has pulled listings in all markets except NY, Chicago, Denver (IE. CITIES IN STATES THAT HAVE LAWS PROTECTING SCALPERS). PLEASE DON’T BUY FROM THE SCALPERS – THERE ARE STILL TICKETS AVAILABLE – IT IS JUST A VERY SLOW PROCESS… X— ROBERT SMITH (@RobertSmith) March 16, 2023
Jack White often prefers the inscrutable, twisty gesture over the obvious, spell-it-out one. Which is why the singer/guitarist’s seeming counterpunch to a blow-up about his former White Stripes bandmate Meg White’s drumming skills is a chef’s kiss “nothing to see here, and, by the way, you are wrong” response.
In case you haven’t been paying attention, earlier this week political journalist Lachlan Markay opined in a since-deleted tweet that “the tragedy of the White Stripes is how great they would’ve been with a half decent drummer… I’m sorry Meg White was terrible and no band is better for having a sh—y drummer.”
That unprovoked broadside against the timekeeper who has all-but-vanished from public view since the dynamo duo called it quits in 2011 drew a torrent of support for Meg from, among others, Roots drummer Questlove, Against Me’s Laura Jane Grace, Jack White’s ex-wife singer/model Karen Elson and many others; Markay has since apologized for the comment he said was “petty, obnoxious, just plain wrong.”
But it was Jack White’s pointed, subtle rejoinder on Wednesday night (March 15) — in the form of a poem, of course — that shut it down in an artful manner. Check out the text of White’s poem below.
“To be born in another time,any era but our own would’ve been fine.100 years from now,1000 years from now,some other distant, different, time.one without demons, cowards and vampires out for blood,one with the positive inspiration to foster what is good.an empty field where no tall red poppies are cut down,where we could lay all day, every day, on the warm and subtle ground
and know just what to say and what to play to conjure our own sounds.and be one with the others all around us,and even still the ones who came before,and help ourselves to all their love,and pass it on again once more.to have bliss upon bliss upon bliss,to be without fear, negativity or pain,and to get up every morning, and be happy to do it all again.”
The poem was accompanied by an image of Meg White peeking out from behind a curtain of hair while thwacking a kit featuring the duo’s signature peppermint swirl color scheme. The White Stripes are among the nominees for this year’s Rock and Roll Hall of Fame.