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Last week, it was reported that Madonna is facing a lawsuit from two fans in New York. The fans had purchased tickets to a show at the Barclays Center in Brooklyn, which was advertised to start at 10:30pm but actually began two hours later. The show also did not end until around 1am.
Michael Fellows and Jonathan Hadden filed a lawsuit stating that “a large number of individuals who purchased tickets and attended concerts on weeknights were forced to wake up early for work and/or fulfill family obligations the following day”. This news was met with skepticism in many circles, with the belief that it was just another example of overly litigious Americans taking advantage of the “blame and claim” mentality. However, the outcome of this case is uncertain, but it is possible that Fellows and Hadden have a valid argument.
Certain artists view their profession as a never-ending vacation, freeing them from any sense of obligation. Mundane matters like having to go to work the following day, returning home late at night, or arranging for childcare are considered trivial and beneath the concerns of rebellious superstars. Being punctual does not align with their lifestyle; being on time is not rebellious. (Note: I personally struggle with punctuality and do not believe it adds to my rockstar image.)
However, there is a limit to how much an audience is willing to tolerate. Experienced concert attendees are aware of the unofficial rule that 15 minutes are usually added to a scheduled performance time to allow everyone to find their seats. But when the delay exceeds an hour, it crosses the line from creative spontaneity to blatant disrespect.
The story of Madonna occurs during a time when society’s attitudes towards late nights are shifting. Both students and young adults no longer consume alcohol in the same manner, and this applies to older individuals as well. The nightclub industry has suffered due to a decreased desire to stay out until the early hours of the morning. A trend of earlier closing times is on the rise, as demonstrated by London’s well-known LGBTQ+ club Duckie hosting successful daytime events. Additionally, actress Vicky McClure and her husband, producer, actor, and writer Jonny Owen, have gained significant attention for their afternoon club, Day Fever, in Sheffield.
Reworded: The frustration of audiences with late performers is not a new issue. Axl Rose is infamous for his lack of concern for punctuality. In 2012, I went to a Guns N’ Roses concert in Newcastle where he did not begin until 10:45pm, likely preoccupied with getting his hair braided and eating pizza. He was met with boos upon his arrival and by the time the concert ended at 1:40am, many fans had already left.
I do not hold them responsible. I had once left a private performance by Prince at Bagley’s Warehouse in London at four in the morning, during a never-ending funk jam by musicians. I could hardly believe my actions – leaving in the middle of a performance by the Greatest of All Time – but I had to admit to myself that I was exhausted and uninterested. At least that concert did not try to be anything other than a late-night session.
Being late is one issue, but performances that are undeniably terrible are another valid reason for complaint. In 1995, I attended a show in Ilford that was falsely advertised as a Wu-Tang Clan performance, but in reality only featured Ol’ Dirty Bastard, who rambled aimlessly over a CD without the support of any other Clan members. He also made the mistake of hosting an open-mic rap battle, during which he was embarrassingly outdone by a young local rapper. Many audience members, myself included, were disappointed and frustrated after paying £12.50 for such a disappointing experience.
In certain situations, there may be mitigating factors. The unsteadiness could be a sign of a gradual and unfortunate event. In 2007, I attended an Amy Winehouse concert in Brighton that did not start until 10:10pm, with speculation that she had been drinking on the beach beforehand. (The concert, when it eventually took place, was fantastic.) And in 2010, I was at the Birmingham NEC for Whitney Houston’s infamous Nothing But Love tour, where she gave what appeared to be a partially lip-synced performance that caused a scandal nationwide. We are all aware of the tragic outcome of that situation.
Sometimes, there is no justification for their actions. In the documentary Supersonic, Liam Gallagher’s behavior is shown when he neglected to remember that he had two performances at Knebworth in 1996. He partied excessively after the first show, causing him to be unable to perform at his best for the second night.
Slick professionalism may not always be exciting. In fact, some of the most unforgettable performances are rough and imperfect. One instance is when Nicky Wire, aided by rosé, gave a charmingly disorganized solo show at the Hay Festival in 2006, which Manic Street Preachers fans still fondly remember.
Looking back, there can be a strange satisfaction in experiencing something terrible. Going to a terrible event can become a story to tell and a badge of honor. I was there at The Stone Roses’ disastrous performance at Reading in 1996, where Ian Brown’s singing was particularly off-key – even for his usual foghorn level. Oddly enough, I am happy that I witnessed it.
However, for those events to occur, the band must physically be present: I have been to at least two Pete Doherty concerts where he was not motivated to perform.
What are our expectations for performers? At the very least, show up and actually perform. And unless there are any unforeseen circumstances (rather than makeup-related delays), arrive at the expected time as advertised.
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Simon Price is a writer and journalist who specializes in music. His latest publication is Curepedia, which is an alphabetical guide to the band The Cure.
Source: theguardian.com
