“In my case, you have to present it like you’re a selecta—set up your songs. That’s the cheat code”- Shaggy on how he stays entertaining.
As multiple hip-hop acts, including Lauryn Hill, The Fugees, Sexyy Red, and Rock group The Black Keys, quietly cancel tours due to low ticket sales, U.S. concert promoters are turning to reggae music to boost their profits.
Live Nation records over 24 million tickets sold so far this year even amidst bomb threats and cancellations at Taylor Swifts | The Eras Tour Vienna Shows. Swift, Spotify’s second most followed artist is back on the road with inflation ready asking prices from $1,600 to $10,000 per ticket according to Forbes.
In the much smaller reggae market, artists such as Sizzla and Buju Banton, whose visas have been reinstated, are in high demand, with concert prices trending upwards. Both veteran and emerging artists are reaping the benefits of significant touring deals. Buju Banton, the only reggae act to do a 20,000 capacity venue tour, made headlines by selling out two consecutive concerts at New York City’s UBS Arena on July 13 and 14. His “Overcomer Tour” has additional dates, though five have been rescheduled and one cancelled.
Shenseea has been drawing max capacity crowds (2500) across the U.S. with her “Never Gets Late Here Tour”, performing to sold-out theater venues in Chicago, History Toronto, Montreal, Webster Hall in NYC, and heading to Maryland, Atlanta, Miami, Houston, Dallas, and Los Angeles before wrapping up in Jamaica at Plantation Cove in September.
Sean Paul also toured North America earlier this year with his “Greatest Tour,” hitting 22 cities before heading to Europe. Popcaan brought his Unruly Fest to London’s Crystal Bowl on July 28. The Marley brothers, both collectively and individually, are currently touring in the wake of the successful Bob Marley: One Love Movie. Meanwhile, Bob Marley’s legacy continues with a Hope Road Experience in Las Vegas, organized by Primary Wave and Fivecurrents.
Live Nation’s President and CEO, Michael Rapino, highlighted this success in the company’s second-quarter 2024 report, stating, “We continue to see strong demand globally, with a growing variety of shows attracting both casual and diehard fans who are buying tickets at all price points.” For example, tickets for Buju Banton’s Long Walk to Freedom concerts in New York sold for as much as $1,500 due to overwhelming demand, while tickets for his “Overcomer” tour range from $85 to $245.
Revenue for Live Nation is already up by 7% to over $6 billion and the company owns & operates venues across the US under its Venue Nation business. Rapino noted that “Venue Nation’s strategic investments in hospitality and infrastructure are driving strong returns as more attendees maximize their onsite experiences.” He expects “double-digit AOI (adjusted operating income) growth for the year” and looks forward to a busy 2025.
Grammy-winning reggae star Shaggy, who has been touring since 1993 when he revitalized the Folkes Brothers’ 1958 classic “Oh Carolina,” is currently performing across the U.S. at more accessible prices than Swift. Shaggy, now 55, shares stages with pop icons like TLC, Sting, and Boyz II Men in venues holding 3,000 to 5,000 people. These shows are promoted by Live Nation.
In an exclusive interview with World Music Views, Shaggy discussed his approach to performing, the evolution of live reggae music in America, and his thoughts on the touring industry:
When you are making a song, do you imagine yourself performing it?
I do sometimes make songs with the performance in mind, especially when choosing which key to record in. You want a key that is comfortable for the artist when performing it.
How has the live music scene evolved in recent years to become such a significant revenue generator in the music industry?
Live music has become the main source of income for many artists, especially legacy artists. With technology, it’s becoming easier to tour and present shows with lower overheads. I remember touring with the Backstreet Boys when they had over 30 dancers on stage. Now, there are no dancers. Technology has allowed screens to project dancers in 3D, creating the illusion of multiple dancers mimicking every move the artist makes. That’s a huge drop in expenses. They don’t even really need a band; everything these days is recorded in the box, and today’s audience accepts this because the truth is, they are only there to see the artist.
In your experience, what makes live performances more impactful for artists (reggae-dancehall and other genres) compared to digital music releases?
The audience is there to be entertained. An artist should know how to present an entertaining show and do whatever is needed to keep the audience engaged. This will ensure a good experience, and you’ll have a return audience and new fans.
How do live concerts help in building and sustaining a strong connection between artists and their fans?
The live show is the direct connection to your fans. That’s ultimately the presentation of your product. You can be on social media, and people might follow you for your day-to-day antics, which might be very entertaining, but it’s still going to boil down to the product you’re selling—your music—and how you present it will be important.
Nowadays, production value is everything. How have advancements in technology and production enhanced the appeal and profitability of live music shows?
Technology keeps production costs down, which enhances profit margins. With the use of 3D projection screens and other tech, the need for big production teams and live bands has decreased, while the visual experience has improved.
In the era of streaming and digital downloads, why do you believe audiences are still drawn to live music experiences?
Audiences are still drawn to live music because it remains a fan’s true favorite pastime. A good concert offers a place to connect with friends, as well as with their favorite artist, and have an emotional connection. A kid singing their favorite song out loud and buying a piece of merch becomes a part of the soundtrack to their lives and creates great memories. I can still remember where I was when my favorite artist played my favorite song live.
Can you discuss the economic benefits that live tours bring to local communities and businesses in the US, Jamaica, Europe?
Live tours bring significant economic benefits to local communities and businesses. Concerts attract tourists who spend money on accommodations, food, transportation, and local attractions. In Jamaica, for example, music events are a major draw for visitors, which in turn supports the economy. Similarly, across the US and Europe, live music events help drive business for local vendors and contribute to the cultural vibrancy of the cities.
You have an extensive catalog, but how do you keep your live shows fresh and engaging for diverse audiences around the world?
I’m lucky to have a catalog that spans over three decades with songs that resonate both locally and globally. The fact that these songs are spread out over multiple decades keeps me with fresh material that connects with a younger audience. Having timeless music that is recurrent is a plus. Now it just boils down to how creative you can be in presenting it. In my case, you have to present it like you’re a selecta—set up your songs. That’s the cheat code.
What advice would you give to upcoming artists looking to capitalize on the live music scene to advance their careers?
I would advise an artist to learn how to read an audience, just like how you read a room. You should be able to research the market you’re playing in and know which songs are popular and which songs work. Then, present those songs as entertainingly as possible to ensure your audience is engaged and has a great time. This will get you far.
