Home Blog Page 284

Explosive Tech-Metal Force Djentrified Unleashes Fierce New Single “Harbinger”

0

Southern California’s Djentrified, the one-man project of Cousteau Bix Christopher, has recently released their latest single, “Harbinger.” Built on technical ferocity and sharpened conviction, the track cements Djentrified’s position as one of heavy music’s most uncompromising new forces. At a time when most metal bands claim to be fearless, Djentrified puts their money where their mouth is and doesn’t back down from calling out the uncomfortable truths and bringing the listener face to face with harsh realities.

Christopher’s emergence in 2025 has been fast and striking. His debut single, “THIS SONG SHOULDN’T EXIST,” was released in April as a fundraiser with all proceeds donated to Palestinian relief efforts, and it went viral almost immediately. One of the track’s first clips surpassed 500,000 views and drew more than 135,000 likes on TikTok, propelling his account from zero to 16,000 followers in just two months. He followed with “Welcome to the Abyss” in June and “Harbinger” in August, then ran a radio push that landed the song Most Added at #2 on Metal Contraband, charting their top 20 list, and #3 on NACC Heavy – a rare feat for a brand-new artist.

That momentum came to a sudden halt when TikTok banned Christopher’s account in early September, without explanation or recourse. The platform’s silence cut short a rapidly growing community of over 16,000 followers who had rallied around his work. For an independent artist using digital platforms as their lifeline, the decision underscored just how fragile visibility can be in a system where policies remain opaque and unaccountable.

Djentrified melds the polyrhythmic latticework of tech-metal (the serrated, staccato chug of “djent” pioneered by Meshuggah) and the seismic breakdowns of metalcore acts such as Polaris and After The Burial. But where many deathcore acts lean on spectacle, Djentrified finds a different register: riffs that spiral inward like gravitational collapse. Like a slow implosion, bending weight until songs land squarely in the gut.

The TikTok ban has only sharpened the urgency behind “Harbinger,” and followers quickly gathered to amass their support behind Djentrified’s freshly thrown-together second TikTok account. If the song was already written as a call against fear and resignation, the platform’s decision has turned it into lived reality: an artist refusing to be silenced, even when stripped of one of his primary platforms. Christopher channels that frustration into resolve, turning industry gatekeeping into further proof of why his message matters.

There’s no reprieve in “Harbinger.” Its closing passage swells with raw urgency, guided by Christopher’s impassioned vocal performance, less a scream into the void than a voice of resistance breaking through the noise. The track is designed as a wake-up call: open your eyes, resist fear, refuse helplessness. Every measure carries the same imperative.

With “Harbinger,” Djentrified carves out a line in the sand. It’s music that insists chaos can be sharpened into truth and intensity can be wielded as defiance. And in the wake of TikTok’s unexplained removal, it doubles as a demand for accountability in the platforms that shape music discovery today. The echoes may fade, but the warning remains.

Caicos Shares New Single “Behemoth” With Rozalina Burkova Video Ahead of EP ‘Behemoth / Chain Reaction’

0

Caicos, the moniker of indie-pop maestro Alex Frenkel (Gospels), has shared his enveloping, breezy new single “Behemoth” from his new EP/7” Behemoth / Chain Reaction, out October 24th via Very Jazzed. “Behemoth” is accompanied by a Rozalina Burkova-directed video and follows his 2023 LP Ascension Intention, which earned support from The Line of Best FitThe Big TakeoverChorus.fm, and more.

Behemoth / Chain Reaction is a new release from Caicos that brings together old friends and new collaborators from around the world to explore the psychological toll and potential restitution that can come with participating in new relationships. Mike Gordon provides his signature backbone and backbeat on the drums, and Phil Joly once again lends his sagacious mind to skillfully mix and inspiredly expand the Caicos sound.

Joining for this record on piano is Sarah Goldstone, the keyboardist, vocalist, and composer who can be seen on tour with boygenius, Lucy Dacus, and Hurray for the Riff Raff. A gospel choir from Nigeria, under the direction of Itunu Joe, and a string orchestra from Serbia, arranged and conducted by Djordje Milanovic, both take the compositions to new heights. NYC-based sonic wizard Heba Kadry takes the helm of mastering for the project.

Hellfox Unveil Haunting New Video for “Water On The Ceiling” From Album ‘The Spectrum Of Human Gravity’

0

talian all-female metal band Hellfox have unveiled the brand new official video for “Water On The Ceiling,” one of the standout tracks from their latest album The Spectrum Of Human Gravity, released last June 6th, 2025, via Rockshots Records.

A song born from the suffocating sensation of insomnia, “Water On The Ceiling” captures the eerie stillness of endless nights when eyes remain wide open as reality blurs into a waking dream. The track blends haunting melodies, distorted synths and Hellfox’s trademark dual female vocals to convey the claustrophobic feeling of staring at a ceiling that turns into water—suffocating, oppressive and inescapable.

The video adds a new visual dimension to the song’s atmosphere, portraying the emotional weight of sleeplessness and the surreal imagery that inspired the lyrics. It represents yet another chapter in the band’s journey of exploring the depths of human emotion through music and imagery.

The Spectrum Of Human Gravity has already gained recognition for its unique fusion of Nordic melodic death metal roots, pop-inspired clean vocals, and modern electronic textures. With singles like “Seaweed Braids” and “Atlas,” Hellfox set the stage for an album that confronts loneliness, mental struggles, and the search for identity without resorting to clichés. “Water On The Ceiling” continues this narrative, offering a vivid metaphor for psychological weight and restless nights.

Recorded at Eden Studio by Alessio Lucatti and mixed/mastered by Simone Mularoni at Domination Studio, the album showcases the band’s fearless approach to songwriting and their growth since their 2022 debut.

For fans of AmorphisIn Flames, and Dark Tranquillity, Hellfox’s new video is not just a performance but a visceral dive into the emotions that define The Spectrum Of Human Gravity.

Toronto Cold Wave Duo TRAITRS Release New Single “Burn In Heaven” Ahead of 2026 Album ‘Possessor’

0

Toronto-based cold wave duo TRAITRS unveil their latest single, “Burn In Heaven,” now available across all major music platforms. This track serves as the lead single from their forthcoming album, Possessor, slated for release in early 2026.

“Burn In Heaven” showcases TRAITRS’ signature blend of atmospheric synths, driving rhythms, and emotionally charged lyrics. The song delivers a powerful and anthemic sound that marks a bold evolution in the band’s sonic landscape.

To complement the single, TRAITRS are releasing an exclusive b-side titled “This Sick Kiss,” available only on limited edition 7” vinyl and CD formats.

TRAITRS have established themselves as a formidable force in the alternative music scene, captivating audiences worldwide with their electrifying live performances and distinctive sound. “Burn In Heaven” reaffirms their position as one of the most compelling acts in contemporary cold wave and post-punk music.

With their cinematic blend of horror-based imagery, anthemic choruses, motorik drum loops, atmospheric synths and angular guitars, Canadian cold wave duo TRAITRS stare unflinchingly at our dystopian present while paying homage to artists from the post-punk past. In the decade since their debut record to now, the Toronto-based TRAITRS went from bedroom artists selling cassette tapes on a small boutique record label to accumulating millions of streams worldwide and performing hundreds of shows on massive stages across multiple continents.

With their much-anticipated new album Possessor, produced by long-time collaborator Josh Korody (The BeachesThe Dirty NilJapandroidsTanya TaqaqF*cked Up) and mastered by Matt Colton (The CureDepeche ModeFontaines D.C.Wet LegDua LipaBlur, etc), TRAITRS continue to develop their melancholic sound and imagery with the emotional follow up to 2021’s critically acclaimed LP Horses in the Abattoir.

Helen O’Shea Announces New Single “Chaos” and Upcoming Album ‘Songs In The Key of O’ Honoring Sinéad O’Connor and Dolores O’Riordan

0

Limerick-born, New Jersey–based roots artist Helen O’Shea is set to release her new single “Chaos” on October 10 — the third single from her highly anticipated album Songs In The Key of O, which pays homage to Sinéad O’Connor and Dolores O’Riordan (The Cranberries), and is due for release on March 6, 2026.

Announcing the album in July with a special Jersey-girls cover of Sinéad O’Connor’s “Dense Water Deep Down,” O’Shea earned strong international support from Hot PressFront View MagazineVents Magazine and more, launching the highly collaborative LP with flair. Following this was the August release of “Rock and Roll Angel (feat. Barry Murphy),” a delicate original track penned with two-time GRAMMY Award-winning producer Marc Swersky in honor of Dolores O’Riordan.

For many songwriters, the saying goes that one writes what one knows, and Helen O’Shea admits to living in “Chaos” for a period of time before channeling her emotions into this third single release and second original song from the album.

She explains, “‘Chaos’ describes the inside of a mind full of to-do list items competing with each other, leading to complete overwhelm, but with a resounding note of hope at the end…,” an air of positivity that defines much of her discography.

O’Shea’s longtime producer, Marc Swersky, infuses the single with the atmosphere of modern times — hustle, bustle, distractions and urgency — while evoking the feel of the 1990s with a nod to the great artists of the Lilith Fair era. The track features technical guitar work by Andrew Carillo (Joan Osborne, James Maddock), sublime keys from Rob Clores (The Black Crowes, Jesse Malin), and dynamic drums and percussion from Aaron Comess (Spin Doctors).

The upcoming album Songs in the Key of O (out March 6, 2026) features a stellar list of collaborators, including Nathan Bishop, Nicole Scorsone, Brielle Brown, Michelle Moore (Bruce Springsteen & The E Street Band – E Street Choir), Fiona Tyndall, and Lauren O’Shea. The LP was engineered by Jack Daley (Spin Doctors), mixed by Seth Von Paulus (Linda Perry), and mastered by Leon Zervos.

With the heart of a healer and the grace of grit, Ireland-born, New Jersey-based artist Helen O’Shea is trailblazing a path of hope and possibility, sharing her unguarded story so others may step fully into their power. Her journey from medicine to motherhood to music embodies resilience, reinvention, and the power of healing. Blending Americana and Celtic influences into her signature sound, which she calls AmeriCeltiCana, her music resonates deeply with women and mothers rediscovering themselves later in life.

Before music, Helen dedicated years to a distinguished medical career as an obstetrician/gynecologist. She attended University College Galway, where she met her husband Paul O’Shea, PhD, then served as an Assistant Professor at McGill University in Montreal, becoming a leader in perinatal research and medical education. She created Healing in Medicine, a groundbreaking course teaching physicians how to navigate the complexities of caring for vulnerable patients and families.

Her return to the U.S. in 2011 brought change. At her children’s request, she stepped away from medicine to be at home, a transition that opened the door to her long-suppressed passion for music. Helen quickly became a force in the independent music scene, collaborating with Swersky, winning Best Americana Song for “Sturdy Soul” at the Global Music Awards, and earning nominations at the 2024 Josie Awards and International Singer-Songwriter Awards.

Song Credits:
Writer: Helen McNamara
Producer: Marc Swersky
Vocals: Helen O’Shea
BGVs: Brielle Brown, Michelle Moore, Lauren O’Shea
Acoustic & Bass Guitars: Marc Swersky
Electric Guitars: Andrew Carillo
Piano/Keys/Accordion: Rob Clores
Drums/Percussion: Aaron Comess
Engineer: Jack Daley
Mixing: Seth Von Paulus
Mastering: Leon Zervos

The story behind Songs In The Key Of O is simple: it is a love letter to two of Helen’s greatest influences, Sinéad O’Connor and Dolores O’Riordan. Growing up in Limerick, Helen longed for a life in song, though her father directed her toward medicine. After his tragic death in a car accident, she felt him guiding her back to singing from beyond the grave.

As a medical student, Helen was transfixed by Sinéad’s debut on the Irish Late Late Show, and later inspired when her brother brought home a mixtape featuring Dolores’ “Linger.” These moments stayed with her, shaping her musical journey decades later. With Songs In The Key Of O, Helen honors their legacies and the cultural spirit they represent.

Album Running Order:

  1. “Caged Birds” – Original (feat. Liam O’Maonlaí)
  2. “Rock And Roll Angel” – Original (feat. Barry Murphy)
  3. “Chaos” – Original
  4. “Dense Water Deeper Down” – Cover (Sinéad O’Connor) feat. Brielle Brown, Sharon Lasher, Fiona Tyndall, Jo Wymer
  5. “Dreaming My Dreams” – Cover (Dolores O’Riordan)
  6. “If U Ever” – Cover (Sinéad O’Connor) feat. James Maddock
  7. “Saving Grace” – Cover (Dolores O’Riordan)
  8. “Last Day Of Our Acquaintance” – Cover (Sinéad O’Connor) feat. Brad Butcher
  9. “Lost” – Cover (Dolores O’Riordan)
  10. “Unbecoming (KO Version)” – Original (feat. Fiona Tyndall)
  11. “Shine” – Original (feat. Michelle Moore)
  12. “There Will Be Days” – Original (feat. Caroline Carlile and The Carlile Family Band)

Kenny Wayne Shepherd Announces 2026 ‘Ledbetter Heights 30th Anniversary Tour’ With Special Guests

0

Platinum-selling, five-time GRAMMY-nominated blues-rock icon Kenny Wayne Shepherd has announced a major new tour to celebrate the 30th anniversary of his groundbreaking debut album, Ledbetter Heights. The “Ledbetter Heights 30th Anniversary Tour” will launch February 19th, 2026 in Dallas, TX, and will bring Shepherd and his band to theaters and performing arts centers across the country through spring 2026. Joining Shepherd in Austin, TX and Nashville, TN will be very special guest Jimmie Vaughan and in Jacksonville and Fort Lauderdale, Florida he will be joined by special guest Eric Johnson.
 
The tour will feature songs from Ledbetter Heights, performed in its entirety as well as songs highlighting Shepherd’s remarkable 30-year career. This anniversary celebration marks a new chapter for Shepherd – one that revisits the fire and grit of his 1995 debut while showcasing his evolution as one of modern blues’ most vital and enduring voices.
 
Tickets will go on sale with a special artist pre-sale tomorrow, Tuesday, September 30th, followed by venue pre-sales on Wednesday, October 1st, and general on-sale Friday, October 3rd at 10am local time. For more information, visit KennyWayneShepherd.net/Tour
 
Thirty years ago, a young Kenny Wayne from Shreveport, Louisiana – armed with a Fender Strat – brought the blues roaring back into the mainstream. With fiery fretwork, pop-rock hooks, and a deep reverence for the genre, Shepherd’s debut album, Ledbetter Heights, became a breakout success – going Gold within months, Platinum by early 1996, and eventually landing the guitarist at No. 3 on Guitar World’s list of top blues artists, behind only B.B. King and Eric Clapton.
 
“In a lot of ways, this is the album that gave me everything,” says Shepherd. “Revisiting it put me back in touch with the wonder and excitement of those days. I didn’t know what lay ahead. I just knew I loved playing the blues.”
 
Originally recorded while Shepherd was still in high school, Ledbetter Heights was the culmination of years spent absorbing Stevie Ray Vaughan and Jimi Hendrix licks on cassette, then translating them into a sound all his own. He wrote or co-wrote nearly every track on the record – uncommon for a teenage blues guitarist at the time – and named the album in honor of an historic neighborhood in his hometown, paying tribute to local blues legend Huddie “Lead Belly” Ledbetter.
 
The album catapulted Shepherd into the national spotlight and set the tone for a career that’s seen him tour with the likes of Bob Dylan, Van Halen, The Rolling Stones, and Lynyrd Skynyrd; earn five GRAMMY nominations; and release a string of chart-topping albums that bridge blues tradition with modern rock swagger.
 
Far from resting on early success, Shepherd has remained one of the genre’s most restless and respected innovators. His 12-album discography (plus two albums with supergroup The Rides, alongside Stephen Stills and Barry Goldberg) reflects a deep commitment to blues history – and a refusal to stand still. His recent collaboration with 91-year-old blues icon Bobby Rush (Young Fashioned Ways) and the genre-busting double album Dirt on My Diamonds Vol. 1 & 2 are proof of an artist still stretching, still growing, still listening.
 
This 30th anniversary chapter promises to bring things full circle, especially for longtime fans who will finally get to hear vocalist Noah Hunt perform the Ledbetter Heights material live. Hunt has appeared on every other Kenny Wayne Shepherd album since his debut, but never sang on the original release – making this tour a meaningful and long-anticipated moment. As Shepherd puts it, “That’s always been the missing piece – and now the circle feels complete.”

2026 LEDBETTER HEIGHTS 30TH ANNIVERSARY TOUR
Thursday, February 19th – Majestic Theatre – Dallas, TX
Friday, February 20th – ACL Live – Moody Theatre – Austin, TX*
Saturday, February 21st – House of Blues – Houston, TX
Tuesday, February 24th – The Criterion – Oklahoma City, OK
Thursday, February 26th – Graceland Soundstage – Memphis, TN
Friday, February 27th – Atlanta Symphony Hall – Atlanta, GA
Saturday, February 28th – Ryman Auditorium – Nashville, TN*
Friday, March 6th – Wind Creek Event Center – Bethlehem, PA
Saturday, March 7th – Chevalier Theatre – Medford, MA
Sunday, March 8th – The Paramount – Huntington, NY
Tuesday, March 10th – Bergen PAC – Englewood, NJ
Wednesday, March 11th – Garde Arts Center – New London, CT
Thursday, March 12th – Mayo PAC – Morristown, NJ
Friday, March 13th – Paramount Hudson Valley – Peekskill, NY
Saturday, March 14th – Fallsview Casino – Niagara Falls, ON
Friday, April 10th – Joe Bonamassa’s Beach Vacation – Miramar Beach, FL
Saturday, April 11th – Tampa Bay Blues Festival – St. Petersburg, FL
Sunday, April 12th – Hard Rock Live – Orlando, FL
Tuesday, April 14th – Broward Center @ Au-Rene Theater – Ft Lauderdale, FL**
Wednesday, April 15th – Florida Theatre – Jacksonville, FL**
Thursday, April 16th – Charleston Music Hall – Charleston, SC
Saturday, April 18th – Hollywood Casino – Charles Town, WV
Sunday, April 19th – Palace Theatre – Greensburg, PA
Wednesday, April 22nd – Brown County Music Center– Nashville, IN
Thursday, April 23rd – Taft Theatre – Cincinnati, OH
Friday, April 24th – Hard Rock – Gary, IN
Saturday, April 25th – MGM – Northfield, OH
Sunday, April 26th – Hollywood Greektown Casino / Music Hall – Detroit, MI
Wednesday, April 29th – Grand Rapids, MI – GLC Live @ 20 Monroe
Thursday, April 30th – Milwaukee, WI – Pabst Theatre
Friday, May 1st – Blue Gate PAC – Shipshewana, IN
Saturday, May 2nd – Hard Rock – Rockford, IL
Sunday, May 3rd – Hoyt Sherman Theatre – Des Moines, IA
Tuesday, May 5th – Virginia Theater – Champaign, IL
Thursday, May 7th – Uptown Theatre – Kansas City, MO
Friday, May 8th – Walker’s Bluff Casino – Carterville, IL
Saturday, May 9th – St. Louis, MO – The Factory
Saturday, June 13th – Paradise Theater @ Margaritaville Resort Casino – Bossier City, LA

*With Special Guest Jimmie Vaughan
**With Special Guest Eric Johnson

Collective Soul Announces Three-Night Big Game Weekend Residency at The Venetian With Edwin McCain

0

Collective Soul is set to return to The Venetian Theatre inside The Venetian Resort Las Vegas for a three-night run in 2026 over Big Game Weekend with special guest Edwin McCain.

They’ll be performing their classic hits, including “December,” “The World I Know,” and their #1 smash “Shine,” which stayed at the top of the Billboard “Album Rock Tracks” chart for eight weeks in 1994.

The shows will take place on Wednesday, Feb. 4, Friday, Feb. 6 and Saturday, Feb. 7, 2026, at 8:30 p.m. Citi cardmembers will have access to pre-sale tickets beginning Tuesday, Sept. 30, at 10 a.m. PT until Thursday, Oct. 2, at 10 p.m. PT through the Citi Entertainment program.

Additional pre-sales run will throughout the week ahead of the general on sale beginning Friday, Oct. 3, at 10 a.m. PT. Tickets starting at $45, plus applicable fees, will be available for purchase at Ticketmaster.com, VenetianLasVegas.com, any box office at The Venetian Resort, or by calling 702.414.9000 or 866.641.7469.

Dean DeLeo and Pete Shoulder Release ‘One More Satellite’ With Vinyl & CD via Deko Entertainment

0

Dean DeLeo of Stone Temple Pilots and Trip The Witch, along with vocalist Pete Shoulder, released their latest collaboration, One More Satellite digitally July 18, 2025 via Symphonic. Now they are expanding their distribution with a worldwide release of the Vinyl and CD through Deko Entertainment (ADA/Warner Music Group).

One More Satellite presents a diverse collection of songs. “I was simply sitting on some songs I wanted to record,” says DeLeo. “What started out as an instrumental album, quickly changed soon after Pete and I chatted. He was going to sing on a song or two, then wound up singing on eight of the ten on the record.”

The collaboration with UK-based vocalist and lyricist Pete Shoulder and DeLeo went quite well and voila, through a transatlantic workflow…One More Satellite was born. “I was excited to hear the new music Dean wanted to collaborate on,” says Shoulder. “We’ve worked together in the past and it’s always been an absolute pleasure making music with him. The stuff he comes up with is so interesting, with so many beautiful, unexpected, twists and turns. It’s very inspiring to write to and pushes me into realms that I would never usually think of exploring. I’m very proud of the album we’ve made.”

DeLeo’s son Rocco drums on “Drowning Out The Sun,” “Willow Mae” and “Spit It Out.” Stone Temple Pilots drummer Eric Kretz plays on “Serenade” and Brian Tichy drums the rest. Daughter June DeLeo lends a lovely “aaah”…vocal on “Your Call,” and long-time collaborator, Ryan Williams co-produced and mixed the album.

The band has just announced the following shows:

November 17 – Los Angeles, CA – The Peppermint Club:

November 19 – Pioneertown, CA – Pappy & Harriet’s

November 21- Santa Ana, CA – Constellation Room

Michael Rapino Thinks Concert Tickets Are “Underpriced.” Here’s Why He Might Be Right.

0

Michael Rapino, the CEO of Live Nation, has reignited one of the music world’s most divisive debates: are concert tickets too cheap, or are they already breaking the bank? Speaking at CNBC’s Game Plan conference in Los Angeles, Rapino argued that live music remains “underpriced” compared to sports and other entertainment. “Music has been underappreciated,” he said. “In sports, I joke it’s like a badge of honor to spend 70 grand for a Knicks courtside [seat]. They beat me up if we charge $800 for Beyoncé.” His comments sparked immediate backlash online, with fans saying he’s out of touch with financial realities. Still, Rapino’s point deserves a closer look. Here are five reasons why he might actually be right.

1. The resale market shows demand is sky-high.

Look at StubHub or Ticketmaster’s own resale exchange the morning after tickets drop. Prices jump to two, three, even five times the original value. Fans still buy them. This isn’t just anecdotal; Live Nation president Joe Berchtold has said more than a billion dollars in annual “price arbitrage” is siphoned into scalpers’ pockets. If the true market value of a Beyoncé or Taylor Swift ticket is $800 but the box office price is $200, who’s really winning? Not the artist. Not the crew. The scalpers do. Rapino’s argument is that raising prices up front would redirect that money back to the music ecosystem instead of the resale Wild West.

2. A concert isn’t a seat—it’s an experience.

Live music is unlike anything else in entertainment. A ticket is a gateway to shared catharsis: the lights, the sound, the sweat, the singalongs with 20,000 strangers. Compare that to the $15 movie ticket or $10-a-month streaming subscription. The concert memory lasts years, maybe even decades. In today’s “experience economy,” where people willingly pay a premium for travel, dining, or immersive art shows, concerts are arguably undervalued. When fans drop $200 on a single night of unforgettable energy, they’re buying more than music—they’re buying history. That’s part of Rapino’s point: the experience outweighs the price tag.

3. Sports already normalize higher spending.

Rapino’s most controversial comparison is also his sharpest. Courtside NBA tickets? $10,000 and up. NFL playoff seats? Thousands. Baseball luxury boxes? A small fortune. And yet, those prices are accepted—even celebrated. They become a badge of status. By contrast, the average concert ticket for the top 100 tours in 2024 was just $130, even after a 30% rise. If fans treat live sports as worth splurging on, why not music? Both are cultural events. Both offer exclusivity and emotional highs. Rapino’s argument is that music, which touches lives on a deeper level, has never demanded the same respect in pricing that sports take for granted.

4. Touring costs have skyrocketed.

Putting on a tour today is closer to running a Broadway show than a rock gig. The lasers, LED walls, choreography, inflatables, costumes, special effects, crews of hundreds—it all costs millions. Transportation, insurance, venue rentals, and even fuel add to the expense. Artists from The Weeknd to U2 invest heavily in cutting-edge production to create a once-in-a-lifetime spectacle. Yet, ticket prices haven’t climbed in proportion to those costs. When Rapino says concerts are underpriced, part of what he means is sustainability. To keep these massive productions alive without bankrupting artists and promoters, prices may need to rise to reflect the true cost of what fans are seeing onstage.

5. Higher prices can empower artists.

Right now, billions of dollars evaporate into the resale economy. Artists see none of it. By charging closer to market value initially, that money could go where it should: into the pockets of the musicians, songwriters, dancers, roadies, and tech crews who make the shows happen. More revenue also means more room for innovation—bigger ideas, bolder risks, and better pay for everyone behind the scenes. Rapino’s case is simple: if fans are already spending the money, it should flow back into the music rather than vanish into scalper profits. Raising prices doesn’t just help the bottom line; it ensures the long-term health of the live music ecosystem.

Of course, I understand the fans’ perspective. Ticket prices have already jumped 30% in the past year, and many are struggling with inflation, rent, and everyday expenses. For some, concerts are the one escape, and the fear is that higher prices will turn them into a luxury for the elite. That tension—between accessibility and sustainability—is exactly where this debate lives. But Rapino’s comments force us to confront a tricky reality: fans are paying either way, whether it’s to Ticketmaster, to resellers, or to scalpers. The real question is who should benefit from that money: the scalper on the corner, or the artists who pour their lives into the stage.