Engage and immerse: the allure of artist residencies
From Harry Styles to Adele and Hot Chip, residencies are becoming a favored choice – but what impact do they have on fans?
When you’re a megastar like Harry Styles, you possess the enviable option of sidestepping traditional tours, instead beckoning your audience to you. As part of his Love on Tour 2022 “tour,” he pitched his tent at Madison Square Garden in New York for 15 nights, then moved to the Kia Forum in Los Angeles for a fortnight.
Styles isn’t alone in this trend: this past summer, LCD Soundsystem took root at London’s Brixton Academy for five nights; Hot Chip followed suit with a four-night stint at the same venue in September. Next spring, Bono will anchor at New York City’s Beacon Theatre for eight nights in support of his memoir. (The trend extends to comedy as well: Peter Kay’s comeback involves a monthly gig at London’s O2 Arena until November 2023, with jaunts to national venues in between.)
And then there’s Adele’s much-anticipated Las Vegas residency, finally underway after postponements from the original January 2022 dates. The appeal of a Vegas residency for superstars has been evident since Céline Dion revitalized the concept in 2003, transforming it from a retirement plan for fading artists into a lucrative and convenient second act. There’s no need for travel between dates; performers either luxuriate in their accommodations or zip in and out via private jet to Los Angeles. Residencies offer artists the opportunity to seize creative and financial control. But now, smaller artists are also adopting this model in response to the challenges of today’s touring landscape.
Steve Homer, CEO of AEG Presents UK, was involved in LCD Soundsystem’s Brixton residency. He notes significant cost savings with multiple-night bookings. “When negotiating venue rent, a guaranteed set of nights is viewed more favorably than a single show,” Homer explains.
The economic advantages of residencies allowed Hot Chip to pass on savings to fans, capping ticket prices at £20. “We never wanted music to become elitist,” says Sam Denniston of Verdigris Management, the band’s representative. “We don’t want ticket prices to dictate who can attend.”
Some artists prefer a multi-night residency in a mid-sized venue to an arena show. “Brixton Academy provides a close, intimate experience,” says Denniston. “Regardless of where you are, you feel connected to the artists. This was crucial for Hot Chip.”
LCD Soundsystem’s James Murphy shares a similar sentiment. “He’s always avoided arena setups because he believes it doesn’t provide the experience he or the audience desires,” adds Homer.
In light of recent tour cancellations (Animal Collective) or for mental health reasons (Arlo Parks, Sam Fender, Justin Bieber), residencies are increasingly appealing. Kate Bush, for instance, limited her Before the Dawn live return to 22 nights at the Hammersmith Apollo in London in 2014, perhaps to avoid extensive travel.
“A residency feels like going to work from a familiar place, whether it’s a hotel or an apartment where you’ve created a family hub,” suggests Homer. “It’s like slipping into comfortable shoes.”
Extended runs of shows may reduce ticket scalping, as supply better meets demand. Additionally, artists enjoy the affirmation of performing multiple nights in a city. “It was a triumph for [Hot Chip], a reaffirmation,” says Denniston. “With each passing night, they grew more relaxed and enjoyed it more.”
Some artists embrace the creative challenge of a prolonged run. In the summer of 2008, Sparks took over London’s Islington Academy to perform their entire back catalog, one album each night for 20 nights, culminating in a finale at the Shepherd’s Bush Empire where they debuted their new album, Exotic Creatures of the Deep. A golden ticket granting entry to every night costs £350.
“We take pride in our entire catalog, even the albums that may have been overlooked,” says Sparks singer Russell Mael. “Presenting them in this context leveled the playing field.”
For Sparks, however, the residency didn’t bring cost savings; their upfront expenses were substantial, with four months of full band rehearsals. “Good economics have never been synonymous with Sparks!” says Mael with a wry chuckle. “We tend to prioritize creativity and then worry about the financial implications later.”
But what does this mean for fans? While residencies may boost profit margins for artists, these savings don’t always translate to cheaper tickets, especially if fans have to factor in additional costs for accommodation and travel. If the shows are in intimate venues, this trade-off might be acceptable, but in arenas or stadiums with high ticket prices, it could be seen as a stealth tax on fandom.
Residencies are no longer merely cash grabs for creatively stagnant musicians; they are strategic moves to maximize earnings and minimize touring discomfort while at the peak of market value. Abba Voyage hints at a new type of residency, where virtual pop stars perform in a custom-built venue for eternity, immune to aging or vocal decline.
Not every pop star may desire a permanent residency, but the live music industry certainly does. Identical shows daily, with no breaks, make for a highly profitable operation. It’s akin to a Groundhog payday.