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Post by bamafan on Dec 8, 2018 22:38:52 GMT -5
After Adam's IG story...I think I'll rewatch the whole IHeart show in 1080.
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Post by pi on Dec 8, 2018 22:50:47 GMT -5
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3ku1
Member
Posts: 3,009
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Post by 3ku1 on Dec 8, 2018 22:57:03 GMT -5
I think Single in March makes sense. And Album In May-June. I think the whole single release is passé. Msy Release a couple of singles on Spotify. May see him on US TV promoting new music. Than with the Album release in June. Than he’ll join Queen in July-August.
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Post by bamafan on Dec 8, 2018 23:10:35 GMT -5
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Post by bamafan on Dec 8, 2018 23:15:39 GMT -5
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Post by Q3 on Dec 8, 2018 23:50:05 GMT -5
Interesting, Tacoma has tons of seats left. I remember they sold poorly in Pacific Northwest with Paul Rodgers, but QAL sold well in Seattle last year. I'm sure it will sell well closer to the date. I looked last night also...as Tacoma would be my add on show if I think I can manage a second show after Vancouver. But....also, if I remember correctly, the Tacoma venue is considerably larger than many...which may account for the tickets still available. And...there are more than in a number of other places but it is still well over 80% sold on the first day so not that shabby. I did not do an extensive search as I have a lot going on the next few weeks [don't we all] but from what I saw, there are far fewer resale tickets available....which is awesome. Have others found that too? They sold well in Seattle but it was not the fastest-selling venue - in the end it did well. 1 July 2017, Seattle · KeyArena, 11,077 / 11,908, $1,138,564.
The Tacoma Dome can be configured in a lot of ways -- but it is a big venue. And it looks like it is really selling pretty well to me.
***
There are great seats available for Pittsburgh including on-stage seats.
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Post by DancyGeorgia on Dec 9, 2018 0:06:16 GMT -5
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Post by counselor on Dec 9, 2018 0:47:49 GMT -5
.i need one ticket for Columbus, Ohio, on August13. Message me. I may have to wait and try to pick up a ticket on August 13.
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Post by lurleene on Dec 9, 2018 0:48:42 GMT -5
I have no idea what is going on but I agree with you here. The music industry is so fast moving now that old models may not apply. Adam has never been a big album seller and his singles move very slowly up the charts (thanks to radio in US not making him a favorite and his label not pushing hard enough, imo) that he only gets one heavily promoted single and maybe a second thrown out there. If he waited too long to tour because he wants to see how it does, the album would be dead and radio play would have dried up. I really hope he has a label and they promote him in a different way this time. If he is Indie then it does not matter anyway. Radio in the US rarely touches Indie artists and they can tour whenever they want. But I am going to keep the faith that he does have a label behind him. Streaming is great and the future but the ones enjoying big success still need and get radio exposure in the US and internationally with label support. If Adam wanted to self-finance a tour he could do it anytime he wanted. However, I think Adam is more financially astute than this. He would want a tour promoter who will take most of the financial risk. To take that risk, a tour promoter needs to be convinced that an Adam tour would be profitable. A number of things would go into that risk assessment; how well the music is doing on radio and streaming sources in the US, past tour profitability, time since last tour, artist buzz, etc. We did not get a US tour for Trespassing while other parts of the world did. This suggests that no US tour promoter was willing to assume the financial risk of promoting a US Adam tour. Or that the contract they offered was not favorable/acceptable to Adam. The same thing could happen for A4 if the album and/or singles do not do well in the US. Or he knew he was leaving RCA (we just didn't know) and the album/singles were already dead and not being promoted so 12 or so one-offs in the US were all he wanted to do when he finished the international tour. We really don't know what happened or why. But things are changing. Adam may not be able to do things just as he did in the past. I don't think anyone is saying he won't follow the same model as he did before. But that there is a chance (maybe a slight one) with new management/label/industry changes, we can't be sure of the same model. Maybe they will come up with something that will work out better for him. I guess we will find out from him pretty soon what his release time/method will be and how/when he will tour.
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Post by Q3 on Dec 9, 2018 1:24:27 GMT -5
I‘m not that sure about that scenario. The music world keeps spinning faster and faster. My feeling is, that era 4 will unfold very different from the ones before. I don’t really know, but my impression is, that new singles are no longer promoted for such a long time. They either connect or they don’t. Streaming is a good sign to see, what works. Adam has 6 months until QAL. We don’t know, when the first single and the album are going to drop. But if they dropped early, a tour would be possible. The OH-tour lasted about 3 months on the whole (not counting the off-time in February 2016). I don’t say, it’s likely, but it would make more sense to me.Because I‘m sure, that QAL will go on touring the rest of the world after the US tour and strike as long as the iron his hot (after the success of the movie) with only short pauses. I think, it’s unlikely, that they would take a pause of half a year or so after that leg. It all comes down to the question: When will album number 4 be ready to go? I have no idea what is going on but I agree with you here. The music industry is so fast moving now that old models may not apply. Adam has never been a big album seller and his singles move very slowly up the charts (thanks to radio in US not making him a favorite and his label not pushing hard enough, imo) that he only gets one heavily promoted single and maybe a second thrown out there. If he waited too long to tour because he wants to see how it does, the album would be dead and radio play would have dried up. I really hope he has a label and they promote him in a different way this time. If he is Indie then it does not matter anyway. Radio in the US rarely touches Indie artists and they can tour whenever they want. But I am going to keep the faith that he does have a label behind him. Streaming is great and the future but the ones enjoying big success still need and get radio exposure in the US and internationally with label support. Streaming is not the future -- it is now. Musicians (and labels, publishing and licensing firms, management, etc.) make their money from streaming (and associated revenue streams), concerts, and merchandise.
September 20, 2018 The Recording Industry Association of America released a report today that details how the music industry has grown in 2018, and while the data isn’t surprising — the world still isn’t buying records — the specific numbers are still fascinating. Turns out, streaming makes more money than physical CDs, digital downloads, and licensing deals combined.
Streaming in this context includes paid subscriptions to services such as Spotify and Tidal, but also digital radio broadcasts and video streaming services such as VEVO. It’s a broad category that nonetheless has made $3.4 billion dollars in 2018 so far, a total that amounts to 75 percent of overall revenue for the record industry.
And to be fair, Adam sold a lot of albums and singles, and he also got huge radio support in the US (and other countries) for WWFM which was the #10 radio airplay song of 2010 in the US. US and Canadian commercial radio is now programmed based on targeted ratings and the old promo radio model is pretty much obsolete.
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