Business
Why Are So Many Rap Concerts Getting Canceled?
From a handful of Lil Baby concert stops to large events like the Made in America festival, rap concerts have been getting canceled quite frequently in recent years.
Dan Runcie
Lizzo at a concert in Minnesota (via Manitou Messenger)
Nicki Minaj’s NICKIHNDRXX Tour — canceled in North America. Chance the Rapper’s Big Day Tour — canceled everywhere. T-Pain’s 1UP DLC Tour — canceled. Cardi B’s Invasion of Privacy Tour— chose not to do one.
Touring’s traditional model needs work. Cancellations have happened for years, but this recent wave is different. Many hip-hop artists overestimate demand for ticket sales. We live in an era with endless data, but touring decisions still seem like the industry blindly throws darts. Meanwhile, artists who can sell out those same venues have proudly taken new approaches. These trends are connected.
The popularity of music festivals and concert residencies have added new variables to the live performance mix. Mainstream artists are on a quest to maximize each option. Some are farther along than others. But by the time the majority of rappers find the ideal balance, the touring business might be behind the curve.
Opportunity cost is higher than ever
When artists are on tour, they’re on the road day-in, day-out. It’s traditionally seen as a justifiable tradeoff since many artists earn a majority of their revenue from touring. But it’s still time-intensive, laborious, and costly.
Here’s what I wrote in 2018 in Why Choosing the Right Concert Venue Matters:
A few years ago, Beyoncé, like Drake, once played it safe with concert tours. In 2013 and 2014, The Mrs. Carter World Tour earned an impressive $230 million, but it took Queen Bey 132 shows and twelve months of touring to do so…
Had Beyoncé subjected herself to the same arenas for [On the Run Tour, The Formation World Tour, and On The Run II Tour], she would have needed to perform an additional 207 shows since 2014 to match the $565 million her concerts have grossed in revenue. It would have been impossible to do all those shows while pregnant with the twins, make Lemonade, and do all the other stuff Beyoncé does.
There’s only a handful of artists like Beyonce who can justify the jump to a stadium. For the rest, festivals and short-term Las Vegas residencies are a viable alternative.
But even Taylor Swift has moved on from stadium tours. This summer the 1989 singer will do a European festival run (like Cardi B did last summer), then launch her own festival, Lover Fest, in Boston and Los Angeles. It doesn’t get more 2020 than that.
In an August interview with Ryan Seacrest, she explained why she didn’t do a traditional tour:
“I’m not quite sure what we’re doing with touring. I don’t want to do the same thing every time because I don’t want my life to feel like I’m on a treadmill. There’s a lot that goes into touring that nobody knows about — like you have to reserve stadiums like a year and a half in advance, and that to me is a lot. With ‘Reputation,’ I knew that nobody would really fully understand the album until they saw it live, but this album is different because people are seeming to get it on the first listen.”
All that’s true, but let’s remember two things. First, Taylor is in a select group of artists who can sell out the Rose Bowl, Soldier Field, and MetLife Stadium on back-to-back nights. She wouldn’t forgo that opportunity unless it made financial sense. Second, she’s right about the challenge in reserving venues eighteen months in advance. It’s especially frustrating for those who rise quickly and can’t easily pivot. It’s a good problem to have, sure. But it’s still a problem.
Last year, Lizzo rose to stardom so fast that she outpaced her touring revenue. According to Billboard, last spring’s Cuz I Love You Tour was performed in front of crowds of less than 2,000 people, grossing just over $50,000 per night. To capitalize on her momentum, she came back in the fall with the Cuz I Love You Too Tour at venues that were twice the capacity. But by that point “Truth Hurts” was #1 on the charts and nominated for Grammys. She still couldn’t keep up.
My wife and her friends bought tickets for Lizzo’s October show in San Francisco. They bought tickets at face value back in May for $50. The week before her show they were selling on StubHub for $350! It was a scalper’s dream but an artist’s biggest frustration. All the value was captured by the secondary market. Sure, there’s a chance Lizzo pulled a Metallica-Live Nation and scalped her own tickets. But if that ever happened… whew buddy. The Lizzo hive (and the anti-Lizzo hive) would have burned the internet down by now.
Hip-hop has an uphill battle
The mentality required to succeed in hip-hop and touring is in direct conflict. Most mainstream rappers take pride in beating the odds. They had to bet on themselves to make it this far. Why stop now?
But touring requires far more pragmatism. It’s economics. When supply meets demand, everyone’s happy. Those economics can be especially challenging for hip-hop though, where its streaming popularity outweighs its touring performance.
In a 2018 Wall Street Journal article, Neil Shah broke down how hip-hop may rule the record industry, rock is still king on the road:
There are many reasons that rock remains so powerful on the road, including that, as an older genre, it had a head start on pop and rap. Giant tours by older rap icons like Jay-Z aren’t as common. Fans of newer hip-hop artists skew younger, including teens with less disposable cash, making festival gigs more economical than lengthy, sprawling tours.
“Drake can do four Madison Square Garden shows, but Phish can do 17,” says Peter Shapiro, a New York-based independent concert promoter. Especially in the day-to-day business of clubs and theaters, rock bands, he adds, “still have a huge impact.”
This can make it mistakenly easy for an artist who dominates on RapCaviar or SoundCloud charts to think they are ready for the biggest stages available. Of the top 10 global tours of 2019, none of them were hip-hop. In 2018, just one (Beyonce and Jay Z’s On The Run II). Genre plays a factor.
A good clip from The Joe Budden Podcast where they break down Chance’s canceled tour.
Artists bet on themselves, which is costly
Challenges arise when artists who were once the hot kid start to cool off and need to accept reality. They might not be DONE done, but their prime days are behind them.
That’s where Nicki Minaj and Chance the Rapper are at. Neither admitted that low demand drove their cancellations, but we can follow T-Pain’s humble advice and read between the lines. Several industry insiders believe that both Nicki and Chance couldn’t sell enough tickets to fill 25+ arenas across the US. (I also covered Nicki’s ticketing woes in the Globalization of Hip-Hop, Part I and Chance the Rapper’s in a recent Member Update.)
When both rappers first announced these tours, I thought to myself, “Who the hell gassed them up to think they can still command an arena tour? Who signed this off?” There are plenty of fingers to point, but honestly, neither rapper needed extra convincing.
Keep in mind, Nicki spent the past decade silencing doubters who never thought a female rapper could reach the heights she did. Chance proved the industry wrong as an indie rapper who won Grammys and did arena tours. Their brand is to stay resilient when projections told them otherwise. You wanna go back in time and try to convince them that the lackluster responses to “Chun-Li” and “Groceries” were signs of what’s to come? Yea, good luck with that.
Their mentality is understandable, but it distorts reality. And as more superstars like Taylor and Cardi consider alternatives to touring, promoters may be stretched to fill those same venues with artists who can’t compete in that weight class. It will inevitably lead to more cancellations.
There are levels to this
The traditional touring model is extremely linear. There are tons of venue options for rising rappers who want to perform for a few hundred or a few thousand people. But the leap to arenas (~15,000) is no joke. The jump up to stadiums (~50,000+) is even steeper. The artists at the in-between stages are more likely to leave money on the table or cancel because they couldn’t sell.
The popularity of festivals, residencies, and private events add more options to meet demand:
As AR/VR capabilities develop, more of them will be added to this mix too
I made a similar chart last year on how the traditional albums model has evolved with “mixtapes,” visual albums, podcasts, and more. The trend is similar here. Increased options lead to more experimentation and put artists in control.
Where is this all heading?
This trend should be top of mind for both Live Nation and AEG, which own and operate thousands of venues. It should also concern those who individually manage their venues.
I don’t expect arenas to shorten the timeline for advance booking or cancellation policies. That’s the nature of events in popular venues, whether it’s a wedding or a Migos concert. But they can lean into the trend by pitching themselves as locations for festivals, residencies, private events, or mixed reality experiences. It may be hard to compete against the machine of Coachella, but Rolling Loud and plenty of other festivals are more open to working with what’s available.
By now, every rapper with a big enough following has had at least wondered, “What if I launched my own Astroworld or OVO Fest? Should I do a Vegas residency too?” As I laid out in Why Rappers Started Running Their Own Music Festivals, artists want to leverage their power and run the show. They want the money from the highest profit margin areas of live performance, like sponsorship and concessions. It’s the same model that Floyd Mayweather uses in his boxing matches. He rents out the building and collects the revenue from everything else.
Touring will always be key for the up and comers who want to meet their day-ones. It worked for Meg the Stallion in the rooftop cypher days and Cardi B in the Love & Hip-Hop days. It will always be a core for the legacy artists who can draw crowds wherever—like Rolling Stones, Elton John, or Jay Z. But there’s a whoooole lot of artists between up-and-comers and Hov.
These artist want more options, and the market can offer them. The rest of the industry will be forced to adapt sooner or later.
READ MORE: https://trapital.co/2020/01/09/the-hip-hop-touring-business-is-broken/
Dan Runcie
Founder of Trapital
Business
“Jephte Bastien: Crafting Cinema, Challenging Norms, and Championing Authentic Stories”
Jephte Bastien, a multifaceted director, producer, creator, and editor, has carved a unique path in the film industry. From his humble beginnings in Haiti to his groundbreaking work in cinema, Jephte’s journey is a testament to resilience, creativity, and an unyielding passion for storytelling. In a recent interview, Jephte shared insights into his life, inspirations, and the challenges he has faced as a filmmaker.
Early Beginnings: A Childhood of Creativity
Jephte’s love for storytelling began in his childhood. Growing up in Haiti, he would cut out paper silhouettes, align them with thread, and use a flashlight to project characters onto a makeshift screen. This early form of shadow puppetry allowed him to mimic voices and create stories, laying the foundation for his future in filmmaking. Music also played a significant role in his upbringing. As the seventh of nine boys in a large Christian family, Jephte started singing in church at the age of five. His family’s tradition of entertaining one another—through poetry, singing, and dancing—fostered his creative spirit.
Haiti: A Source of Inspiration
Haiti holds a special place in Jephte’s heart. Despite the media’s often negative portrayal of the country, Jephte describes it as a paradise filled with vibrant culture, music, and natural beauty. His early memories of Haiti are filled with joy—playing games, eating mangoes straight from the trees, and forming lifelong friendships. When his family moved to Canada, Jephte struggled with homesickness and depression. Haiti became a recurring theme in his dreams, a place he would revisit mentally to find solace and inspiration. Even as an adult, he traveled back to Haiti frequently, using the trips to rejuvenate his creative energy.
The Church and Early Questions
Growing up in a religious household, Jephte was deeply involved in the church. However, he began to question the narratives he was taught, particularly the lack of representation of Black people in religious imagery. These early questions about identity and representation would later influence his work as a filmmaker. Jephte’s departure from the church was not a rejection of faith but a search for truth and authenticity in storytelling.
A Journey to New York and Beyond
Jephte’s pursuit of his passion led him to New York in the 1990s, where he studied theater despite his parents’ wishes for him to become a lawyer. This decision marked the beginning of his independent journey. He worked tirelessly to pay for his education, immersing himself in the arts and honing his craft. After returning to Montreal, Jephte faced the harsh realities of the film industry. Despite his talent, opportunities were scarce, especially for a Black filmmaker in the 90s. Determined to tell his own stories, Jephte enrolled in film school, where he began to develop his unique voice.
Breaking Barriers in Filmmaking
Jephte’s career is marked by a series of groundbreaking projects. One of his early successes was editing a music video for the song “Due to the Interest” by Garou. Despite the director’s inexperience, Jephte stepped in to manage the set, ensuring the project’s success. The video became a buzz clip, earning praise from industry heavyweights like Luc Plamondon. However, Jephte’s refusal to accept a $2,000 bonus from the director highlighted his commitment to integrity over financial gain.
In 2003, Jephte produced “Haiti Through My Eye,” a docu-series that showcased Haiti’s rich culture and history. The project was a critical success and opened doors for future opportunities, including funding for his feature film “Exit 67.” Despite the challenges of securing funding and navigating the industry’s systemic barriers, Jephte remained steadfast in his mission to tell authentic stories.
The Draft: A Powerful Vision
One of Jephte’s most ambitious projects is “The Draft,” a film about a young Black hockey player whose dreams are shattered by a brutal act of racism. The story follows his journey as he mentors his younger brother, offering a new paradigm for success. Jephte describes “The Draft” as the most powerful film he has ever written, a project that challenges the status quo and highlights the resilience of marginalized communities.
However, the production of “The Draft” was not without its challenges. Jephte faced significant obstacles, including interference from unions and a lack of support from industry institutions, except Telefilm and Harold Greenberg Fund, who supported the project from the beginning. Despite these hurdles, he remained committed to the project, pouring his own resources and energy into bringing his vision to life.
The Struggles of an Independent Filmmaker
Jephte’s experiences shed light on the difficulties faced by independent filmmakers, particularly those from underrepresented communities. In Canada, the film industry is heavily reliant on government funding, which often comes with strict quotas and limitations. Jephte has faced numerous rejections and setbacks, including being blacklisted by medias after an interview. Despite these challenges, he continues to create, driven by his passion for storytelling and his desire to challenge societal norms.
A Legacy of Resilience
Jephte Bastien’s journey is a testament to the power of perseverance and creativity. From his early days in Haiti to his groundbreaking work in film, he has remained true to his vision, using his art to challenge stereotypes and inspire change. As he continues to work on “The Draft” and other projects, Jephte’s legacy serves as a reminder of the importance of representation and the enduring power of storytelling.
Business
Jephte Bastien: The Visionary Filmmaker Behind Exit 67 and The Draft
Whether through his portrayal of gritty urban landscapes or his exploration of the human spirit, Jephte Bastien continues to push the boundaries of cinema. As we await the premiere of The Draft, one thing is certain: Bastien’s journey as a filmmaker is just beginning, and the best is yet to come.
Jephte Bastien, the award-winning filmmaker renowned for his gripping storytelling and raw cinematic style, is set to captivate audiences once again with his upcoming film, The Draft. Best known for his debut feature film Exit 67, which garnered critical acclaim and won numerous awards, Bastien has established himself as a powerful voice in the world of cinema.
From Haiti to Canada: A Unique Perspective
Born in Haiti and raised in Canada, Jephte Bastien brings a unique perspective to his work, combining the rich cultural heritage of his homeland with the multicultural influences of his upbringing in Montreal. This blend of experiences has given Bastien a distinctive voice in filmmaking, allowing him to explore complex themes of identity, belonging, and the immigrant experience with authenticity and nuance.
Breaking Ground with Exit 67
Bastien burst onto the scene with his first feature film, Exit 67. Released in 2010, the film tells the story of a young man named Jecko, who is caught between the world of street gangs and his desire for a better life. Drawing from his own experiences and the reality of many young immigrants in Montreal, Bastien crafted a gripping narrative that resonated deeply with audiences and critics alike. The film’s success earned Bastien a Genie Award, cementing his status as a filmmaker to watch.
The Draft: A New Chapter
With his latest project, The Draft, Bastien is poised to once again capture the imagination of viewers. While details about the plot remain under wraps, the film promises to explore themes of power, corruption, and the human condition—elements that have become hallmarks of Bastien’s work. Set against a backdrop of political intrigue and moral dilemmas, The Draft is expected to be another compelling addition to Bastien’s filmography.
A Filmmaker with a Mission
Beyond his artistic achievements, Jephte Bastien is a filmmaker with a mission. He aims to tell stories that reflect the realities of marginalized communities and challenge societal norms. His films often delve into difficult subjects, shedding light on issues such as crime, poverty, and the immigrant experience, all while maintaining a deep sense of humanity and hope.
Looking Ahead
As Jephte Bastien prepares for the release of The Draft, anticipation is building among fans and critics alike. With his track record of compelling storytelling and his commitment to exploring important social issues, Bastien is sure to deliver another thought-provoking film that will leave a lasting impact.
Whether through his portrayal of gritty urban landscapes or his exploration of the human spirit, Jephte Bastien continues to push the boundaries of cinema. As we await the premiere of The Draft, one thing is certain: Bastien’s journey as a filmmaker is just beginning, and the best is yet to come.
https://www.imdb.com/title/tt19799652
https://www.imdb.com/name/nm3904454
https://www.instagram.com/the_draft_movie
Business
“Spark Davidson: The Visionary Behind Montreal’s R&B Revolution”
THIS IS THE TRUE STORY OF SPARK AND HIS HUSTLE THAT NEVER STOPS AND NEVER SLEEPS AS HIS DREAMS BECOME REALITIES AND HAVE ALWAYS BEEN THE BIGGEST HE CAN IMAGINE.
“Jephte Bastien: Crafting Cinema, Challenging Norms, and Championing Authentic Stories”
Jephte Bastien: The Visionary Filmmaker Behind Exit 67 and The Draft
“Spark Davidson: The Visionary Behind Montreal’s R&B Revolution”
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