Country star Zach Bryan issued a statement on Christmas Eve vowing to find a way to keep ticket costs low and easy to obtain for his yet-to-be-announced 2023 touring, without singling out Ticketmaster by name as a problem, as he often has in the past.
Which doesn’t mean he didn’t find another place to rather more overtly invoke the ticketing giant, very much by name. Simultaneous with his written statement, Bryan released a surprise live album, titled… “All My Homies Hate Ticketmaster (Live at Red Rocks).”
The title of the new album echoes a tweet of Bryan’s from Nov. 15, when, in concluding a long series of missives that had him excoriating the company, he wrote, “I’m fully aware of the Ticketmaster and Live Nation relationship. All my decisions — moving forward — will reflect this and until there is a serious change in the system all my homies will continue to hate Ticketmaster. (Last thing I say on the matter.) Sorry for being annoying.”
That tweet didn’t turn out to be exactly his final word on the matter after all, but fans who share his feelings are amused that he made his “last” statement into the title of a new release that, like his studio efforts from 2022, is bound to rack up massive streaming numbers. Over the last year, Bryan has been not just one of country’s new breakout stars but one of the most-consumed artists in any genre.
With the new release, Bryan made good on his promise he made while headlining Colorado’s Red Rocks Amphitheatre in early November to put the concert out as a live album. The show took place during an (obviously) unexpected fall blizzard, and included the song “Snow,” performed to the freezing audience’s delight as the storm system dumped just that on them. This Christmas weekend, listeners in most parts of the country will easily be able to picture the near-whiteout at the Red Rocks concert less than two months ago.
Bryan, who almost never does interviews, has been a prolific social media communicator since rising to stardom and has used his platforms in recent months to vow that he would not be going through Ticketmaster for future tours, indicating that he was still at work on finding another way to disseminate tickets. He became the highest profile artist to publicly war against Ticketmaster in such a big way since Pearl Jam in the ’90s; that band, after running into obstacles in finding alternate ways to promote tours, eventually made deals with the ticketing service that the band found satisfied its issues.
In his Christmas Eve social media post, Bryan wrote, “Seems like there is a massive issue with fair ticket prices to live shows lately. I have met kids at my shows who have paid upwards of four hundred bucks to be there and I’m done with it. I’ve decided to play a limited number of headline shows next year to which I’ve done all I can to make prices as cheap as possible and to prove to people tickets don’t have to cost $450 to see a good and honest show… I believe working class people should still be able to afford tickets to shows… I am so so tired of people saying things can’t be done about this massive issue while huge monopolies sit there stealing money from working class people.”
Notably, Bryan added, “Also, to any songwriter trying to make ‘relatable music for the working class man or woman’ (they) should pride themself on fighting for the people who listen to the words they’re singing.”
Bryan didn’t single out anyone with that comment, but some fans wondered if it was a subtweet meant to echo Bruce Springsteen’s ticketing controversy this year. That superstar artist took heat for allowing Ticketmaster to employ its “platinum” pricing system, where costs for certain tickets are adjustable to go up to what the perceived market value is, in an attempt to claim the extra money that secondary sellers outside the Ticketmaster system might get. When Springsteen finally spoke up on the issue of some of his tickets being on sale through Ticketmaster for thousands of dollars apiece, he indicated that he had no regrets, despite the fan furor, and believed the dynamic ticketing system was fair.
As controversies over its dominance and practices have grown this year, Ticketmaster has maintained that it’s up to artists’ camp to set prices, and that as a corporation it collects little of the tacked-on fees that consumers and, recently, legislators complain about. Artists also have the right to not use the platinum system and cap the price on their top tickets.
In announcing the new album on his socials, Bryan — not one to worry about burning bridges — made sure to wish Ticketmaster a merry Christmas by tagging the company’s handle in the title of the album.
The live album, Bryan’s third release of the year following two studio collections, won’t be the last of what he has in the pipeline for a while. At the end of November, the singer-songwriter revealed that he is working on a 2023 studio album to be titled “Writers and Fighters.”
Bryan got his own Christmas Eve present Saturday when former president Barack Obama picked Bryan’s “Something in the Orange” as one of his 25 favorite songs of 2022.
As an avid enthusiast and expert in the field, I have closely followed the recent developments in the country music scene, particularly the actions of emerging star Zach Bryan. My extensive knowledge in the realm of music and the industry allows me to provide a comprehensive analysis of the concepts embedded in the article about Zach Bryan's Christmas Eve statement and surprise live album release.
Zach Bryan's Stance Against Ticketmaster: Zach Bryan, a breakout country star, has been vocal about his opposition to Ticketmaster and Live Nation, particularly in relation to exorbitant ticket prices and the perceived unfairness in the ticketing system. His commitment to keeping ticket costs low and easily accessible for fans has been demonstrated through a series of social media posts, including a Christmas Eve statement.
"All My Homies Hate Ticketmaster (Live at Red Rocks)" Album: In a bold move, Bryan released a surprise live album titled "All My Homies Hate Ticketmaster (Live at Red Rocks)," directly referencing his discontent with Ticketmaster. This title serves as a continuation of a tweet he posted on November 15, expressing his awareness of the Ticketmaster and Live Nation relationship and declaring his ongoing resistance against them.
Red Rocks Amphitheatre Performance: The live album captures a performance at Colorado's Red Rocks Amphitheatre in early November, notable for its occurrence during an unexpected fall blizzard. The adverse weather conditions, including the song "Snow" performed in the freezing cold, add a unique and memorable element to the concert experience.
Zach Bryan's Social Media Communication: Despite being a relatively private artist who seldom engages in interviews, Bryan has utilized his social media platforms extensively to communicate with fans and express his determination to explore alternative ticketing methods that do not involve Ticketmaster. This social media presence has played a crucial role in shaping Bryan's image as an artist advocating for fair ticket prices.
"Writers and Fighters" Studio Album: In addition to the live album, Bryan has revealed plans for a 2023 studio album titled "Writers and Fighters," indicating his continued productivity and commitment to creating new music.
Comparison to Past Ticketing Controversies: The article draws parallels between Zach Bryan's stance and past controversies involving other artists, such as Bruce Springsteen. Springsteen faced criticism for utilizing Ticketmaster's "platinum" pricing system, a point that Bryan's statement indirectly addresses. Bryan emphasizes his dedication to ensuring that working-class individuals can afford concert tickets and calls on fellow songwriters to prioritize the interests of their fans.
In conclusion, Zach Bryan's actions and statements reflect a deep commitment to challenging the existing norms in the music industry, particularly in the realm of ticket pricing and distribution. His strategic use of social media, unconventional album titles, and consistent messaging showcase a thoughtful and principled approach to addressing the challenges faced by both artists and fans in the current music landscape.
