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I'd rather get a lineup drop next week...you know, after Jason Isbell and Dawes have both played Boston this Saturday night and, if either was booked for Boston Calling, could then be announced.
I'm expecting some sort of Americana artist on Blue playing while RTJ is on Green before RATM headlines. Maybe also on the night when the unannounced headliner plays, too, if that headliner is rap or pop, and the Green closer that night is stylistically similar to the headliner.
So far, all of the nine announced acts sound to me like they're worth checking out and I'm sure that I'll enjoy any of them that I catch to one degree or another, but still no acts announced that would have me up and dancing around the room upon hearing the news that they're appearing.
1. That Killers show at the Garden the year they headlined Calling
2. The Tool show sold out with the quickness
3. If they're possibly around for Roo, they could be around for Calling
You may be right on all counts, but I'm now utterly convinced that the third spot is going to be where they shine a bright spotlight upon their diverse 2022 bookings. It's going to be a female-fronted act in the third spot. They've been criticized for having never booked a female headliner since the move to Harvard, and they catch grief for it on social media, regardless of how many female-fronted acts are in the lineup, overall.
Considering the emphasis that they've placed upon diversity in bookings so far, and how their critics seem to look only at the top line when judging Boston Calling lineups, it would make perfect sense for them to book a female artist (or a female-fronted band...for example, if No Doubt reunited for the festival circuit next year, I could see them getting the spot.)
Last Edit: Oct 4, 2021 16:14:36 GMT -5 by tw12 - Back to Top
1. That Killers show at the Garden the year they headlined Calling
2. The Tool show sold out with the quickness
3. If they're possibly around for Roo, they could be around for Calling
You may be right on all counts, but I'm now utterly convinced that the third spot is going to be where they shine a bright spotlight upon their diverse 2022 bookings. It's going to be a female-fronted act in the third spot. They've been criticized for having never booked a female headliner since the move to Harvard, and they catch grief for it on social media, regardless of how many female-fronted acts are in the lineup, overall.
Considering the emphasis that they've placed upon diversity in bookings so far, and how their critics seem to look only at the top line when judging Boston Calling lineups, it would make perfect sense for them to book a female artist (or a female-fronted band...for example, if No Doubt reunited for the festival circuit next year, I could see them getting the spot.)
Only happening if there's a large female headliner that can be booked. BC is too reliant on headliners to make a gamble on these matters, just to please some annoying people on social media.
Post by dreadpirateroberts on Oct 4, 2021 18:26:43 GMT -5
So, The Strokes and King Princess are apparently opening up for RHCP on their stadium tour next year. Dates should be announced very shortly. Since BC didn’t announce RHCP’s return, I’m gonna assume that they and the openers will be out for BC next year, but we’ll see.
1/16: L'Impératrice 1/30: Jamie xx 2/1: DJ Seinfeld 2/7: Mild Minds* 3/1: Father John Misty* 3/4: knock2 3/7: Inhaler* 3/19: Confidence Man 3/23: DARKSIDE 5/8: Rüfüs Du Sol
So, The Strokes and King Princess are apparently opening up for RHCP on their stadium tour next year. Dates should be announced very shortly. Since BC didn’t announce RHCP’s return, I’m gonna assume that they and the openers will be out for BC next year, but we’ll see.
Based on the leaked dates, looks like RHCP will be Gillette and not Fenway, which SUCKSSSSS and means I probably won't go.
I agree that BC probably tried (and potentially succeeded) in getting a female-fronted third headliner. But i also think they've probably tried plenty of times in the past and nobody was available based on schedules and whatnot. I don't want it to be, but I think it's going to be Miley Cyrus. She generally appeals to the younger crowd, but also plays a handful of classic rock covers that would keep some of the older people happy enough. I also think she's probably a bit cheaper to book than RHCP was a couple years ago, and this undercard (even though there's only a couple groups announced) already looks better (aka more expensive) than the one they took a lot of criticism for in 2020. The puzzle piece fits, but ultimately who knows. We'll find out soon enough.
You may be right on all counts, but I'm now utterly convinced that the third spot is going to be where they shine a bright spotlight upon their diverse 2022 bookings. It's going to be a female-fronted act in the third spot. They've been criticized for having never booked a female headliner since the move to Harvard, and they catch grief for it on social media, regardless of how many female-fronted acts are in the lineup, overall.
Considering the emphasis that they've placed upon diversity in bookings so far, and how their critics seem to look only at the top line when judging Boston Calling lineups, it would make perfect sense for them to book a female artist (or a female-fronted band...for example, if No Doubt reunited for the festival circuit next year, I could see them getting the spot.)
Only happening if there's a large female headliner that can be booked. BC is too reliant on headliners to make a gamble on these matters, just to please some annoying people on social media.
Phoebe Bridgers sold out close to 11K tickets to two pavilion shows in minutes. Stevie Nicks has been all over the festival circuit. Miley Cyrus does seem like more of a City Hall Plaza closer, but she's managed to cultivate a large audience through Hannah Montana, The Voice, and musical projects which have ranged from pop to Americana to indie rock. (If they booked Jack Black's crappy band, they'd certainly book Miley Cyrus. Imaging the pop culture cred that Haim -> Miley Cyrus would deliver, especially coming off the inevitable Oscar nomination for Alana Haim. When you're trying to sell tickets to casual music fans who live in the area, this sort of thing helps.)
That's three right there. I could easily see them going for someone like Ariana Grande or P!nk, should either do the festival circuit next year, as well.
As far as not booking to "please some annoying people on social media," there's a tangible concern in the entertainment industry that if you're perceived as being on the wrong side of the fence on diversity, #MeToo, or Black Lives Matter, sponsors will flee in a heartbeat. I don't think that festivals are concerned about losing the very small percentage of ticket sales from people offended by someone who's in a lineup or what's missing from a lineup, but festivals make a huge chunk of their profits from stage naming rights, beer and soft drink companies, and other corporate sponsors with a presence on the festival grounds. Think about that area between the main gates and the food vendor stalls. Nothing but a dozen or more big companies like Coca Cola, the PepsiCo-owned Kevita, etc.
Only happening if there's a large female headliner that can be booked. BC is too reliant on headliners to make a gamble on these matters, just to please some annoying people on social media.
Phoebe Bridgers sold out close to 11K tickets to two pavilion shows in minutes. Stevie Nicks has been all over the festival circuit. Miley Cyrus does seem like more of a City Hall Plaza closer, but she's managed to cultivate a large audience through Hannah Montana, The Voice, and musical projects which have ranged from pop to Americana to indie rock. (If they booked Jack Black's crappy band, they'd certainly book Miley Cyrus. Imaging the pop culture cred that Haim -> Miley Cyrus would deliver, especially coming off the inevitable Oscar nomination for Alana Haim. When you're trying to sell tickets to casual music fans who live in the area, this sort of thing helps.)
That's three right there. I could easily see them going for someone like Ariana Grande or P!nk, should either do the festival circuit next year, as well.
As far as not booking to "please some annoying people on social media," there's a tangible concern in the entertainment industry that if you're perceived as being on the wrong side of the fence on diversity, #MeToo, or Black Lives Matter, sponsors will flee in a heartbeat. I don't think that festivals are concerned about losing the very small percentage of ticket sales from people offended by someone who's in a lineup or what's missing from a lineup, but festivals make a huge chunk of their profits from stage naming rights, beer and soft drink companies, and other corporate sponsors with a presence on the festival grounds. Think about that area between the main gates and the food vendor stalls. Nothing but a dozen or more big companies like Coca Cola, the PepsiCo-owned Kevita, etc.
I love Phoebe but she's not yet headliner-level for a 50k+ capacity festival. Stevie and Miley are certainly contenders, though I wonder how many tickets the former will sell (since people would mainly come for her Fleetwood Mac songs, and not her dated solo-work).
I concur that diversity optics matter, and booking more women to hit a 50-50 ratio should be easy enough. My point was specifically about booking female headliners.
Someone on the subreddit is teasing that it's an indie rock band from the northeast
I'd be *very* happy if that turns out to be the case. There aren't many still-active bands that I've never seen, but really want to see, and The Strokes are at the top of that list.
Phish are hardly indie. They're in bed with consumer products giant Unilever, owners of Ben & Jerry's ice cream.
I love Ben & Jerry's ice cream, although they really need to create ice cream flavors tied to better bands than Phish (excellent musicians, but they couldn't write a halfway decent song if their lives depended upon it, and their singing is absolutely horrendous. My theory is that a lot of bands which probably wanted to be Weather Report or Mahavishnu Orchestra in their heart of hearts figured that they needed to write songs with vocals in order to make a lot of money. With Phish, anything other than the instrumental component of their music sounds like an afterthought and a very poor one, at that.)
I love Ben & Jerry's ice cream, although they really need to create ice cream flavors tied to better bands than Phish (excellent musicians, but they couldn't write a halfway decent song if their lives depended upon it, and their singing is absolutely horrendous.
Who is going to a Phish show for the lyrical content? I'm not.
