Let's go with Eggo! Existentos tipos de personas en el mundo. Los caprifíren de sajuna dúl second fruitas dúl se de leche en hugo de naranja. Elos caprifíren un de sajuna salado con chorizo, weavos rancheros y uncafe, peros en importar que tipo de personar eres. Ay algo catoros les bagus táx. Mmm! Los crujientes y estonghosos eggo waffles. Jase a crite gusto de sajuna salado con weavos, ocels a picante en sima de dos waffles, ocels mas dúl sero. Elos perferas commente que jaimién, en cuentre nos en el pacigio de de sajuna con telados. Lago, with Eggo! Te co parto secrettito. La majoriadaras ofertas en smart phones son poco emosio nantes. Adesirper dada a penas y valle el a pena mensio narlas. En que le wego tienes ai tien tis sus mejores ofertas. Es a sic que sone emosio nantes. Son el tipo dofertas que bien valle el a pena platicarlas. Como la catean en el nel mebos samsen galaxy Z flip six. Cores esta grano ferta puedes a ser un intercambula de smart phone, qualquier año qualquier condision por un nuebos samsen galaxy Z flip six. De tues tambuena que pasa quier grittar la los quatrovientos. Pero mejor vajal el borumen y que noser como de vartel nuebos samsen galaxy Z flip six con ai tien t. Ai tien t. Conectar lo cambia todo. Recur intercambula un smart phone galaxy no eso zio ferta por tien polimitado. Toos y entos en cuentes es gigas por sero dolares. Sujito acargos alizionales ter mino ser es ticiones. Bizita ate te punto con de cona samsen ona tiena de AT&T para de tajes. This is Sound Up with Mark Goodman and Alan White, the only music podcast that matters. Hey, it's Alan White here. And I am producer Roger Coletti. Mark Goodman is still out, but expected to return on our next episode, which we are very excited for. Yeah, Mark is on the mend, but still needs a couple of days to get air ready. So we'll have him back soon. Meantime on this episode of Sound Up, we're talking about concerts and what the perfect length of the live concert is. Most of us have been the concerts that range from an hour to some going up to four hours, Springsteen fans. But what is too little for you? What is too much? And what are the factors that play into all this? Exactly, we definitely have our opinions. We have the results of our social media poll and we will hear from our listeners via social media comments and from those joining us live right now here in our virtual podcast studio. And remember, you can be a part of that studio. Come join our live tapings simply by going to sounduppod.com and signing up. And we have some music news on the Eagles, new post Malone music, Justin Timberlake in just a bit of hot water and apparently some country music festival fatigue. And that'll play into I think what we're going to talk about a little bit with the whole length of concert. Things made sure could be. But before we get to all of that, well, this is not a music story directly. A new documentary hit last week that a lot of Gen Xers have been talking about. And I know we have a lot of Gen Xers that listen to our. You've been talking about it nonstop, I can tell you. I have been. And I was really excited for this documentary. It's the documentary Bratz that is put together by Brat Packer, Andrew McCarthy. And it takes a look at how a New Yorker article written by David Blom changed or seemingly changed the careers of several young 80s actors, mainly the ones featured in the Breakfast Club and St. Elmo's Fire, simply by lumping them all together in this article under the clever moniker, the Brat Pack. - Was it that New York magazine piece that put the label on it? - It was, it was, you know. And I never felt it was a negative label for them, but then again, I'm not one of them. But apparently for Andrew McCarthy and for Emilio Estevas, who the article was really centered on, this was a whole big thing that apparently, in their minds, for worse, changed the course of their acting careers, meaning they were looked at a certain way, they couldn't get roles they wanted, they weren't taking seriously. So Andrew McCarthy goes on this kind of quest to get in touch with each of them and see if they felt the same way about this article and what happened afterwards as he did. He goes and he meets with Emilio Estevas, he goes and he meets with Demi Moore, he goes and he meets with a whole bunch of folks, Rob Lowe, and all of them kind of have similar reactions to this article, meaning that, oh, I hated it at the time, it bumped us into this category and blah, blah, blah, blah. I gotta say, it's kind of a one note thing that keeps repeating in this documentary and the thing that's odd about the documentary is two main characters, two of the main brat packers, Molly Ringwald and Judd Nelson, are not in it. Molly declines to be in it, but throughout the whole documentary, he's kind of trying to find Judd Nelson, which becomes like this second kind of through line of the dock where, will you get to Judd, will he find to get him, will he speak? And the documentary ends, spoiler for it, if you haven't seen it, with the phone ringing and he picks it up and he goes Judd, and then they show the last scene of Breakfast Club where Judd Nelson's walking across the ballfield with his fist up. And I'm like, really, that's this? I felt the dock did what you thought it was gonna do, which was have a bunch of people complain about that article and make it sound like that's the reason a lot of them don't go on and have the careers maybe they had hoped for, but some of them and some of these brat packages, folks like Rob Lowe had a great career, to me more had a fantastic career. Robert Downey Jr's got an Oscar. They go to-- - You said cut to John Cryer's house. - Who says he goes, I am not a member of the brat pack, but apparently he can buy the brat pack. It looked like he had quite the spread there and with two and a half men, he's done quite well. - It just seems from you talking about it, like it's almost this sort of personal, not vendetta, but justification for Andrew McCarthy's own frustrations. - I think it is, and I think that's fine that he did it, and I think it's a great idea. I think what it suffers from the most. I mean, he's really honest in it and cool, and it's fun to watch and see them all get back together. I just wish it wasn't him making the doc. I feel like if it was someone from the outside doing it and brought him in and the rest of them, it may have felt a little different, but this does feel more like his feelings and do his feelings match everybody else's. All right, so there you go. - Well, I remain way behind on my documentary viewing, but from what you say, this is not going to go to the top of my list. - No, go to the Jim Henson one first. - Yeah, that I might watch tonight. Hey, we got an email review here, and we love that. We want to hear from you about shows you're going to. You can email us either with voice messages or typing out words and sending them to us at connect@sounduppod.com. And our friend Gretchen weighed in. Gretchen writes, "Hey guys, went to a Frank Turner in store at end of an year records before his show in Austin on Friday. He did an acoustic five song set of songs that he didn't play at the show, took time to meet and talk to every person that was there, then went and did a killer two hour set at Emos. My highlight was him talking social distortion, descendants and dead Kennedys with me for a few minutes. Shout out to lovely Rita, who demanded go see Frank when I told her that I really didn't feel like driving the two hours to Austin. Have to go climb back under my heating pad now and take more ibuprofen, the show got wild, but it was amazing. Frank Turner, a powerhouse live, and he just did that crazy. He played like 15 shows in a day, some crazy Guinness Book of World record thing. I don't remember the details, but the guy crusades for the live show. - And Gretchen did send us a photo from the event, which we will put in our gallery at sounduppod.com. - Yes, send us please. We know you're going to see shows. Let us know your thoughts. Let us know what you're doing, especially special in stores, meet and greets, whatever. Connect at sounduppod.com. Keep us posted on your doings and your whereabouts. We're going to take a break here, but when we come back on soundup, we'll hit you with some music news. So don't go too far. - Let go with ego. Existento steppos de personas en el mundo. Los caprifíren de sajuna dúl second fruitas dúl se de leche un húgadaranga. Elos caprifíren un de sajuna salado con chorizo wepos rancheros y un caffe. Peros en importer que tippo de persono iris. Ay algo cateros les bagus tat. - Mmm! - Los crujientes y estong hosos ego waffles. Jazia cate gusto en de sajuna salado con húgados osel sappicanden sima de tús waffles. Oselas ma stul sero. Elos perfiras con mante que jaimien. En cuentre nos en el passigio de de sajuna scom hellados. Lego, with ego. - Te comparto secrettito. La majoria de la sovertas en smart phones son poco emosianantes. Adesir bardada a pena si valle la pena mensio narlas. An que el wego tienes aitien ti sus mejores overtas. Es a si que son emosianantes. Son el tippo do fertas que bien balle la pena platicarlas. Como la cateen en el mebos semsen galaxy Z Flip 6. Cone esta grando ferta puedes asir un intercambio el ejibla de smart phone. Cualquier año. Cualquier condision por un mebos semsen galaxy Z Flip 6. De tu estambuena. Que pas a career? Gritar la los crujientos! De romejor baja la bolumene, y ve a cono ser como je vartel mebos semsen galaxy Z Flip 6. Cone esti en ti. Conectar lo cambiatodo. Recier intercambio de un smart phone galaxy no eso zio ferta poutiempo limitado. To cinto cinta seis gigas por sero doleres. Sujeto a cargo salissionales termino cérestrixiones. Visita aete te punto com de gona el semsen un a tiena de eti en ti para de tages. All right, we're going to be talking with you live and via email about what is the ideal length of a live concert. Are you one of those hit it, quit it, festival set, give me an hour and keep moving. Are you one of those, you know, jam band play all night, go until your fingers fall off kind of a fan, what's the best experience for you. But before we get to that, we got some music news headlines to get into. And of course, the big story of recent days was Justin Timberlake and his arrest early on Tuesday in Sag Harbor in the Hamptons on New York's Long Island, 43 year old Justin Timberlake was arraigned and released without bail after being charged with one count of driving while intoxicated. His lawyer, Ed Burke says the charge was a single count because he refused the breath test. Mr. Timberlake was also charged with two other court citations running a stop sign and not traveling in the correct traffic lane. No further comment from Timberlake and his team. According to the police report, a sag Harbor officer spotted Timberlake's gray 2025 BMW. Mind you, that's the 2025 BMW, if you're paying attention. Because he's driving in the future, he is doing some back to the future, leaving out of a lane and going through a stop sign. The officer pulled over the car and noted that Timberlake had bloodshot and glassy eyes and a strong odor of alcohol on his breath and was unsteady on his feet. He asked the singer to undertake a series of field sobriety tests, including walking in a straight line and standing on what one leg in which he performed poorly, according to the report. Timberlake told the officer I had one martini and followed my friend's home. He refused three requests to take a breathalyzer test. The court date is scheduled for July 26th. Timberlake said to the officer, "This is going to ruin the tour, though a conviction could result in a year-long jail sentence. It seems more likely that he will be fined and have his driver's license suspended in New York state." Timberlake has no prior criminal record. Now, I don't know if you, I don't know which things that I've read that I believe. Did you read the report that said the arresting officer had no idea who Justin Timberlake was and didn't know what he was talking about when he said this is going to ruin the tour, which is just an interesting detail, if true. I mean, let's back up here. This is an officer working the Hamptons beat, which is kind of celebrity central, like you know pretty much everyone in there. You know whoever you're pulling over is either famous or rich. Exactly. Exactly. And it's not like Justin Timberlake is someone who, even in a disheveled state, you're not going to recognize. He never saw him on SNL, he knows, but maybe that's the point. Now, I'm only going to say, I'm going to say this is, I'm not saying I endorse this or I believe this theory, but have you seen the conspiracy theory online that said, that maintains that Justin did this intentionally as a way to gracefully bow out of a tour that isn't selling well? I did not see that. I am not saying that this is true lawyers. I am not indicating that this is what happened, but I have seen online people positing that it's a way to get some sympathy and, you know, go and play and I'll go get better card at a time where things are not going well in his career. And I don't, I haven't paid attention to how tickets are selling on this tour. As we've noted, certainly some recent stars have been facing an uphill battle with their ticket sales, so just saying this is a thing that is being sat online. I find that hard to believe. It's tough to believe. Your tour is selling poorly, possibly. I don't even know if it is, but you're going to concoct this whole scheme where you're going to have to go to rehab to make the scheme work and you're going to have to cancel your tour. That's a big stretch. It's a big stretch, but certainly there are those who are, you know, connecting the dots, including the officer saying, I don't know who you are, to say this is this indicative of, you know, just a bad patch in JT's working life. Right. And he's not the first celebrity to get pulled over in the Hamptons. No, we're going to talk about another one in just a minute. Yeah. So we can go in a couple of different directions off of that story. So we'll, from here, we'll go to ongoing consideration of what's going on in the ticket selling world and the announcement of a couple of country music festivals in California that were recently called off. The cork and jug jam in Paso Robles set for Memorial Day weekend with Midland and Tanya Tucker, canceled with less than a week's notice and a couple of days later, the Rebels and Renegades Festival in Monterey was scheduled for October, was canceled before even announcing a lineup. Wow. Thank you for your thoughtful consideration and an honest look at the festival market. We announced that good vibes will not host the Rebels and Renegades Music Festival after giving up our all for the past two years. We're having to take a step back and reassess how and where we can grow the brand. Now, story in Rolling Stone saying it's too soon to draw too much conclusion from two cancellations, but questions have continued to pop up around the, you know, sort of post-pandemic festival boom. And as we've seen with J.Lo and the Black Keys, the general touring explosion, is it starting to cool off out there? Are we seeing further examples that between oversaturation and continued high ticket prices that things are starting to back down a little bit? So I would say tough to call, you know, certainly interesting to observe a couple of cancellations of festivals a couple of days apart, definitely a keep your eyes on this space. Yeah, I mean this 2024 is going to be known as the year of cancellations. We've never seen anything like this outside of the pandemic where individual artists are canceling shows or scaling back shows and now festivals are doing it. And we've still got a bunch of the year to go. And I'm sure it's not over. Well, and even the, you know, Coachella got to the numbers that it wanted, but did not sell out immediately out of the gate at the speed that it had in recent years. And people started to look at that as maybe a sort of canary in the coal mine for where things were going to go this year. And indeed, it does seem like those things certainly have not slowed down. If you're Taylor Swift, things don't seem to have slowed down much if you're the Rolling Stones. But for a lot of others out there, we do keep seeing a bit of a slide and need to see where that's going to where that's going to lead. Yeah, I'm curious, but so I really haven't heard much on how the rock festivals are doing good, bad or otherwise, but I'm going to check that out and see what we can find out there. Yeah, all worth all worth keeping our eyes on, which, you know, and it gets into a lot of things gets into where they're where they these guys are setting their price points. It gets into what else is happening regionally. I mean, these were two festivals of a similar vein in a similar, you know, in a close part of the country, granted a month's apart. But you know, what is actually sustainable? We've seen, you know, after the big festival boom, a lot of these smaller regional festivals and is that something you can keep doing too many of them too close together? Right. There just seems to be so many of them. So we'll move to not a gracious thing to say, but speaking of guys who've gotten pulled over in the Hamptons in their day, we got some word out of Billy Joel. We were just talking last week about people you want to hear new music from and somebody brought up Billy Joel and how much they liked the new song and we're going to see an album. And Billy Joel has said, asked about a larger studio project by variety. His answer was nope. With an exclamation point, who makes albums anymore anyway? He said, I think the only person making new albums these days is Taylor Swift or Olivia Rodrigo. I don't know other people who make albums. I don't know what the marketing of that is like now. So he's already, you know, having shot his shot with the new song of showing up on the Grammys and playing it at the national broadcast of his hundredth show of his MSG residency. You know, is that the, those are the, those would be the big promo cards to play if there were a Billy Joel album and kind of done that now. I think he's really smart with what he's doing. I mean, this last song that he put out was very well received by Billy Joel fans and would wind up on a greatest hits. So, you know, if he's going to strategically just only put out songs, if he feels they're that good and can stand next to the other big songs, whether it seems from an Italian restaurant or my life or big shot, then that's great. It doesn't diminish the legacy. It doesn't diminish the catalog, which new albums can at this point. He did say in this variety interview that even though he got this one song done, that songwriting is a form of torture. He said, there's this big black beast with 88 teeth that wants to bite my fingers off while I'm writing. I drive myself nuts. It's just not as good as I want it to be. It's a great deal of torment. And I decided I don't want to put myself through that anymore. He said that the pressure of wanting to produce music and not producing it led to drinking problems and all kinds of self hate when I was writing, because I set the bar so high, it's not something I miss. So it really does continue to beg the question of how they got that one song done. When what must have gone into getting him to commit and getting him to actually agree to finish that thing off and release it. Well, I think part of it was he never, according to him, never really intended to sing it and record it. He was like, give it to Adele. And they were like, no, no, no, you're singing the song. So maybe that was part, maybe part of the pressure was it's not going to be for me anyway. Who knows? He's got to trick himself into it. And maybe that's true. Yeah. Speaking of the big classic rock artists, Las Vegas sphere has announced its next occupant. The Eagles will be swooping into Vegas in the fall for eight shows over four weekends. Yeah. Is what we're looking at. Shows will start on September 20th and run through October 19th, general on sale will begin on June 21st. And yet these are weekend spots, September 2021, September 2728, then a break, then October 1112 and October 1819. This will follow dead in company who are slated to keep their shows going through August the 10th. They started in May following you to end fish as occupants of the sphere. Any risk that the sphere is just going to be this, you know, I don't even want to say dad rock, but like legacy, legacy space, old, I mean, I understand there's probably tension between their expensive to mount. They've got to be expensive tickets who has an audience that can afford to pay for that and can do a destination to Vegas. But like, are they really betting on every, you know, it's got to be, you got to be 60 plus to get your stand in the sphere. That feels like a little bit of a dangerous game. It does. Or is it, you know, you need the catalog to pull off a show like this. The thing I'll say about, you know, at first I thought the Eagles was an odd choice, but having seen the Eagles fairly recently in the last like five or six years, they are so spectacular sounding live that being able to play and use that sound system in the sphere makes a lot of sense to me. It's the visuals that I'm kind of struggling with. Yeah, I never thought of. I mean, all those other the, you know, you two fish and the dead, you do associate with a certain sort of visual presentation, whatever that is, different in different cases. But that's part of the thing. The Eagles you just think of as that's a plant your feet and play sort of a ban. So somebody's really got to swoop in and come up with a very strong visual element to take advantage of what that space is. I agree. I worry about, you know, for everything that's gone into the sphere and for all of their hope of franchising this around the world, and he said they want to do dozens of them and, you know, we'll see what's actually viable. But if it just gets associated with that's a place that the Eagles and the dead play. I mean, those are obviously continually sustainable and popular touring acts in and of themselves, but like how much lane is there for that? I'm waiting for like, which DJ is going to take over and do some super crazy sort of a thing there or which big pop star or country star, you know, level up their game by doing something there. It just seems like at a certain point they've got to open that out some more. Right. And it seemed, you know, with you two first and then fish, it was bands where visuals and big stage shows were already a part of what they did. Right. So I think for like a pop star to come in who doesn't have that now you've got to create that for this thing. I will say though, the one thing that I find really impressive is the sheer outside of this building when they do that. Oh, sure. And when you see Eagles up on this globe or it just looks so spectacular. Seems like, you know, what they've been doing has been working. Right. All indications and ticket sales are doing what they want to deliver. But at a certain point, you know, the novelty of that wears off particularly, if you're talking about acts that appeal to a similar audience, I mean, you know, would a lot of the people who would go see the Eagles, are they the sort who would have gone to see the dead? And if so, did they just go and they're not going to go back two months later? So they're an interesting corner with that. Well, also too. It is in Vegas where you do have a lot of legacy acts do residency and a lot of tourists go for that reason. So you would run a real risk if I think maybe you do a very current pop act. Sure. But it's also a lot of more current pop acts or at least younger artists have been doing Vegas residencies. True. You know, as we've talked about endlessly this sort of sense of that's a, you know, that's a graveyard that you go to tack on at the end of your career, that's no longer the case. Right. I mean, clearly what Adele did just moving her whole operation there rather than touring or what our friend Miranda Lambert has done or somebody like that. Those are not legacy artists. Those are still, you know, young and very active artists who've made that a part of what their work is. Very true. But also I think the sphere is, and I could be wrong, but I think it's a bit bigger than most of those venues too. So you've got to be able to fill the seats. Yeah. Oh. All right. And one last note in music news, uh, which is announcement of the next recording from Mr. Post Malone, F one trillion will be coming on August the 16th, his sixth studio album following 2023's Austin. And I got to say, talk about coming off a hot streak. He is going into this album coming off of this huge number one collaboration with Morgan Wallen coming off of Fortnite as the opening single from the Taylor Swift album and coming off of his duet with Beyonce on her album. I mean, the guy has within just the last couple of months collaborated with arguably the three biggest stars in music right now, not that he wasn't already festival headliner, arena level, everything else, but he's, he is working with a hot hand right now, which I find super cool and super interesting. He is as big as he is. And maybe it's just me, but he seems to keep kind of a very low profile. Like there's not a lot of drama around him. Yeah. He's just kind of shows up and strategically does these really cool things. And I'm curious if we see the favors returned. And if any of those folks wind up on his record, well, and presumably this will be, uh, you know, a country leaning project because he did the Morgan Wallen song. He did the duet with Blake Shelton. He played at the ACM Awards. He played at Stagecoach. That's what this chapter of his work has been. And he announced the album after showing up on Monday at the Bluebird Cafe for a songwriters round. But the songway was him with Laney Wilson, Ernest and Ashley Gorley, huge Nashville songwriter, did acoustic versions of Circles and Sunflower and some of the biggest songs and, you know, and then dropped news of this album. So got to think this is going to be in the country lane, but right now he kind of can do no wrong. And going back a story like, would he be a person who can go play that sphere and bring a crowd for multiple nights? Could do multiple themed nights or multiple mixed, you know, could do a country night, could do a hip hop night can deal from, you know, different cards in his deck. That is true. So all right. Well, that is, uh, some music news for you to help close out the week here on sound up. And when we come back from a little break here, we will be talking about the perfect concert length with you, our beloved sound up audience. So stick with us. Let go with ego. [NON-ENGLISH SPEECH] [NON-ENGLISH SPEECH] [NON-ENGLISH SPEECH] Welcome back one and all it is sound up. Our good man still recovering a bit from some illness, but should be back with us by our next episode when we next gather early part of next week. And what we're talking about with you, we've got a bunch of email social media posts to read and a bunch of folks here who want to weigh in on this question that we posed was what is the ideal length of a concert? And Roger, I know you posted a survey on this. You got some poll results. You got a bunch of votes. Let's start with that to set the table and take the temperature here. The polls have closed and I can go to the big board and let you know exactly where we stand. So give the options, yeah? The options were, and I tried to make it about as broad as I could and as realistic as I could, the options were one hour, 30 minutes, two hours, two and a half hours, or go till you drop. So the winner on the poll was two hours with 56% of the vote. Coming in second was two and a half hours with 27% of the vote. Then it was almost a tie. Coming in third by just a percent was go to really drop and all the way at the bottom with 8% was an hour, 30. So that's how the poll came out. People took the middle pass. They did not go for the extreme short or the extreme long. Yeah. As you know, there are so many factors that play into this. For me personally, you know, is it an outdoor festival? Is it a band whose catalog I know really, really well? But in general, if it's me, I really do feel like concerts in general can go on too long if they go over two hours. I feel if you're able to take your catalog and really compact it into a powerhouse two hours set, that's a great show. Leave me wanting a little more. Don't exhaust me. Make me want to come back and see you. That's my personal feeling. If I'm going to be fully honest and fully keep it 100, mine is, you know, a little bit of a skewed answer to this because, you know, by and large, I'm not paying for tickets. I'm going because I'm working. So I'm not. It's not about value for your entertainment dollar. Right. And I'm going to stuff that not everything that I'm going to is this is a show I'm dying to see. So there are those and then there are obligated. I'm working. I feel like I should, you know, whatever it is. So certainly there are plenty of shows that I'm more than happy to have them come in on the shorter side. Right. As my age goes progresses, I'm not go maybe not going to as many as I used to go to. But I'm more than happy, as you said, to boil it down to the best you got. Let me get a sense of that and let me and let me keep on moving. I think it also depends on to, you know, a lot of the shows we go to vary in size. If I'm going to show where I have a seat, I might want to stay a little longer. If I have to stand in a crowded venue and be, you know, elbow to elbow with folks, I'm okay with the shorter set. And of course, your genre preference goes into it, right? If you're talking about a jam band, you're going over an hour set, you're going to get two or three songs. Right. If you're going to see a punk show and everything is two and a half minutes long, you don't want to be there for two and a half hours and hear them play 56 songs. Like, that's not what it's about. So, you know, as you said, there's a lot of different pieces in this, but we know all those qualities like we don't need you to go through all the different factors. If you've got a distill to an answer, which in some ways just boils down to do you want it to lean to the long side to the short side, would you rather be a little more exhausted or a little more tight and play the highlights and get the best stuff? So let me read one or two of the emails that we got or the posts that we got. And then we can start talking to folks about this. Julie wrote in, "It largely depends upon the extent of the headliner's catalog. For instance, a legacy act with a dozen or more albums to their credit has to mind much deeper than an artist out on their first headlining foray in support of their sophomore effort. That said, anything less than about an hour and a half and I leave feeling somewhat cheated, knowing that my drive home will take considerably longer than the show itself." So that is the question there of like going to see, if somebody explodes as a big star on a debut album, what do you want that show to be? Say when I went to see Olivia Rodrigo, not even this time, but on the first album, she had that album. She threw a cover or two in there. There's no way she's padding that out to more than an hour set. She ain't got it. Right. So you know going in, you know, that that's what your expectation is, then it was much more interesting to see what was she going to do with a new album when there's more to play? Do you stretch and do you do everything from everything or, you know, do you keep it focused like that? So you sort of have that information to a certain extent going in and set your expectations around that. True. And you know, you brought it up before and it is very true. A lot of times when we are going to shows, we are not paying. So ticket price doesn't play into our decision as much as it may, just a general concert goer. Yeah. Sure. I mean, again, I don't know that it's sort of like once I've paid, I just want as much as I can possibly get as, you know, we've talked about that even in recordings, right? And when everybody, when, you know, CDs got too long and everybody was like, yeah, I don't need 80 minutes. Give me the best 50 minutes that you got. Julie wrote, if it were CSN playing, I'd stay all night. Yeah. Well, first of all, CSN ain't playing cuz the C isn't around the end. I hope you listened to on our most recent show who is 82 years old and gave, we were saying one of our favorite answers to an interview question in recent months when he said, I feel great. I don't feel this age. When I look in the mirror, I see the 30, you know, you're old me, but I do know that I might die before this interview was done. So Karen went on to say, for the most part, it depends on the headliner, some, even though I love their music, 90 minutes can feel like three hours, others can play for three hours and it feels like they just started. So all right, shall we start to see what our gathered thought leaders have to say about this? Yep. Let's go first to Gretchen. I think for me, because all the shows I go to, I have to travel one way, two and a half, two hours somewhere in there, so logistics plays a part in it. And like two hours is kind of that sweet spot where the show can be done by 11. I can be home and comfortable in my bed by like 1 1 30 at the latest. But then again, when I took my daughter to see Alana Del Rey, I was ready for that to be over in like 45 minutes. But so yeah, two hours is pretty spot where I'm most comfortable and feel like I get my money for it. That was our survey leader. So you're in the majority. That feels like something, right? All right. That'll work. You're a steady concert goer. So what are you? I'm a steady concert goer, but I also, if it's a week night, I have to get up at 2 30 in the morning, every morning to go to work. So if it's a week night, I want it to be done by 11 o'clock. So I can get maybe two hours of sleep. But I actually air on the two hours is the minimum. I would like them to be longer, especially because concert prices are so expensive. I'm paying for everything I go to. So I prefer a longer show than a shorter show. And what's trying to think of things you've registered for recent, you know, checking in on recent shows, anything that's felt too long, too short, anything that comes to mind as you're thinking about concert length that's worked right or not lately? Not particularly in terms, I mean, I've kind of been happy with everything. But a lot of, like I said, my shows have been week nights. I saw, I think the most recent show I saw was Roger Daltrey at Wolf Trap. And his show was interesting. So I mean, that show could have gone on a little longer where it's part acoustic, part band, singing covers, singing his own songs, but I believe Wolf Trap has a curfew. So at those types of places, it doesn't matter. Right. Then, of course, there's the curfew issues. There's the curfew issues. There are those travel issues, too, you know, and the price issues. Or if you need to make a train, so all of it's all that's in play. Daviann wrote in concerts are so expensive these days, if I'm paying several hundred bucks a seat to see a legacy band or performer, I want to see a longer show and hear my favorite songs. There's a give and a take on that, right? Because if we're talking about legacy acts, we're talking about older artists. And we're talking about older audiences. So what's the reasonable expectation, or again, the desirable expectation from both ends, yes, there's a deeper catalog, but also how long can the artists go and also how much is everybody ready to get the hell out of there? But I think we've seen, you know, from certain legacy artists in recent years, whether it was Elton John or Bruce Springsteen or the Eagles, they put on fairly long shows. Part of it is because they've got such a catalog of bonafide hits that to leave songs out, people would be generally disappointed. Sure. You have those careers, you're not getting everything, but it's not the elephant in the room. But something that you have to deal with in this conversation is Springsteen, who is known for the duration of the shows and who on the tour before this one, taking us back to the pre-COVID tour, he was starting to break four hours on some of those shows. Yes. And everybody was all excited. These were the longest shows he'd ever played. He hit the four hour mark, he went a little past the four hour mark. The most recent tour, he's not even going three hours, he's doing like 245. I haven't heard people complaining about that as that's not enough for a Bruce show. Yeah. I mean, it's interesting because I asked my wife this question and she brought up that Bruce show because she was like generally, you know, two hours is kind of cool. She goes, but that was a show where we were dancing the whole night. I didn't want it to end. The show was fantastic. And it didn't feel like four hours, you know, so it's rare that I would say there's an exception to my two hour rule, but that was wonderful. Right. But I do think it's interesting that having gone up and, you know, peeked to it that and sort of gone into the red on length, that when he dialed it back, people weren't mad about that. There wasn't the, oh, we know you can do, you know, you could do more, you could give us more and, you know, you're holding back. I didn't hear really any of that around this tour. No, it seems like people are pretty happy and he is changing some of the songs up. So they're getting that aspect of it. But yeah, you know, it's interesting to be, you know, when he does do those longer shows, he can go really deep into the catalog. One of the things I think maybe people are liking about this is it's very hitch driven. Yeah. For him, this is a tighter show. Yeah. And look, you know that show is about the journey that you're going to go on. That's your, you're taking the ride in a different way. Like if you're going to see a dead and company show, you're taking the ride. You don't know where it's going to lead you. You don't know where you're going to wind up, but that's what you're there for. That's a certain sort of a thing. Gretchen wrote in the chat, forgot to mention, when the headliner has multiple openers, I stood for five hours on Friday night show started at six and was over at 11 and I was hurting. So yeah, there's the headliner set and then there's what's your whole evening? True. So. True. Let's bring Jim in on this who's been nodding his head. When I answered this on Twitter, I answered this two and a half hours and my logic was approaching this from the perspective of going to kind of a mainstream artist that I really, really like. And I'm expecting two hours of full hits and then like a 30 minute encore, right? That's kind of, that was kind of my, my approach here. But you know, I can't leave it farther than that. I'm, you know, I'm older. Yeah. I got shit to do, man. I got to get out of there. And here's the thing Gretchen had a great point here with the openers versus headliners, right, when, you know, I used to live within walking distance of mirror weather post and I could go to the thing. I could go wherever and I could leave early, get there late. All that good stuff. Nowadays, I live in the sticks. And so I have, it's a long deal to get somewhere. Then you have to park and then getting out of a concert is like the most miserable experience if you've driven a new park to car in a garage and you have all these people that won't let you out. It's, it's horrible. I mean, just by extension, right, my wife and my kids, they went to go see both Beyonce and Lizzo last year in DC. And I was just watching them on the map and they did not move after that show was done for at least an hour to get out of there, right? So that is kind of part of the calculus as well, right? There is one exception though. And this is, and I don't think he did go too, too, too much longer than this due to, like, I think, I think Rita, you mentioned the curfew is right. So Mary Weather has a curfew. Other places do. I was lucky enough to see Prince on his final tour before, you know, untimely passed away. And I, that I would have given anything for that concert to have gone forever. No, it was such a, such a great show. I love it so much. That was just, that was the piano and microphone show. No, that was with, um, that was what it was the, the pop up shows that he would do. You would kind of like announce a show like, you know, a couple of weeks before this, the show. But he had like, you know, a kind of a full band with him, but, you know, it was so good. What do you say when you're talking about some artists, so all bets are off and all rules go out the window. Absolutely. Literally with somebody like that, who has the catalog that they have, but also the sort of spontaneity and improvisational part that they have, right, where it's not so tight and super choreographed and, you know, everything is synced to the lights and whatever it is that he's just going to give you the show he's going to give you. All right. Stay in these Monica wrote to us saying, if I'm vibing and in the moment, I'm not tracking time. I'm there for however long the artist is having fun and maintaining their energy. I would rather a longer set than a shorter one going back to Jimmy. He brought up a good point with the travel back and forth to a show because if I could take mass transit to a show and know I can leave and just leave whenever that's one thing. If I'm at a stadium show at MetLife Stadium and I know it's going to take an hour to get out of the parking lot, I'm checking Setlist FM and going, all right, I'm leaving here before the encores and getting the hell out of here. No matter who it is. That leaves us a whole speaking of Roger Daltrey. We got to get into that again sometime. You saw the whole rant that Roger Daltrey went on that the fact that setlists are now posted has ruined concerts. Yes. That's another thing and how that weighs into this and do people use, you know, how do they use setlists and a round time, a round traffic, a round curfew, all of that stuff. That's another piece of it. I use it for traffic. Tom Halloran wrote in at my age two hours is enough. When I was younger and could afford to see Bruce, I was amazed and thrilled when he went at three plus, but last saw him on the board in the USA tour, so 40 years later, whether he's scared off from Bruce by the price point or the show length has not been back for more since then. Yeah, Rita writes in saying we're in NYC where transit is 24 hours and I was going to, you brought that up. That's another factor I think for us and the reason that I'm such an advocate for mass transit in urban centers and that my son is an obsessive follower of such things as Rita points out. DC Metro stops at midnight on weekdays, one on the weekends, Christine, same with Boston, when the tea is working, its own issues. So yes, having a functional mass transit system that can get you in and out does really affect some of your thinking about this, certainly for mine. I'm prepared to jump down to the garden and get on one end of the queue train and get off on the other and not have to think about how it's going to add hours to what the evening looks like. Right. All right, Christine, what do you, what do you got for us? Well, I actually was thinking about going in to see a show at Fenway this Friday last minute, but the Celtics parade is that day. So I don't think I'm going to brave the tea, but for the, I say about one and a half hours was what I said, but it also depends. I had this, my first point was the number of acts there. I went to see the violent fems once and they were, I didn't know at the time. I thought they were like, you know, the second act, but they were actually the third act out of four and foggy Molly came out late and it was down in Boston. So I think they had a curfew, but the doors open at six and violent fems didn't go on until like nine, 15, nine, 30. And by the time foggy Molly came around, like about, you know, it was getting past 10, 10, 30. I'm just like, I pieced out and left because I didn't want to be like, you know, getting out of there at midnight with everybody else. And so I also like standing up, I can't do that as long anymore either. Like I went to see Frank Turner in Harrisburg with Rita and Edra Zell and Dina. And the three of us, like they were smart. They got like a little like kind of cocktail table. So we had a couple seats so we kind of would rotate in so you could go out and dance and join the, you know, the mosh bit, the crowd, or you could come back and sit down and have a drink and have some where you can actually kind of take a break for a minute. And they actually, it was a really nice club because they actually had like another section where you could just sit and they had a big screen so you could watch it like just from like, you know, around the corner. I know that like one of the things that Peter Frampton in the book that you happened to write with and we read for book club, I'll plug the Volumatics book club again, that Peter Frampton said he always liked to be in the second slot because then you're not the, you know, you're not the warm up group, but then you're also not the closer. I'll said that our friend Vernon Reed has made that point and talked about how his favorite spot for for living color dates is that middle spot on a on a bill with three where you don't have to carry all the pressure and all the weight, but people are ready to listen and you can win them over. Exactly. They're not exhausted by the time you go on. So what is it? So you're going to stick with your, keep it to an hour and a half and uh, keep it tight? I mean, like I went to see Air Supply last month and they did every single hit. I mean, it was like, check, check, check and it just flew by and uh, you know, it was like probably hour, have two hours and they even had kind of like a poetry thing in the middle. But other ones, like I'm checking my set list and seeing if it's like where we are in the show, you know, kind of thing and like I saw madness, which I loved a couple of weeks ago, once again with Rita and with, and with Tera Slomanator and her husband, Joey, and I was like kind of halfway through, I was like, Oh, I'm like standing against the wall and all this kind of stuff. And they did have seating, but we didn't have, we had GA and I was kind of like, I wonder how many more songs there are. And then of course, like they don't do them in the same order. So it's just kind of like, you know, a guesstimation, but I enjoyed the concert. It's just my feet didn't after a while. And you know, maybe it's an, and it can also just be enough. I mean, that's whether it's air supply or whether it's madness, not really a comparison. Well, it's a comparison in that you were among the crowd at both within a, you know, certain period of time. The air supply one was completely seated. And like I said, I think I was at least 10 years younger than the majority of the people there. So I don't even think they would have had like GA. Not a huge Venn diagram between the air supply crowd and the madness crowd. I will say that though, though I'm curious about the poetry segment of the air supply show. Yeah, I guess he's doing Graham Nash is doing a section in the middle. And they interestingly call it G's spot and on the set list and they talk about, he does like a piece of poetry. So I think I talked about this one I called in like last month about it. But basically this one he talked about, he read a piece of poetry about a ferris wheel and how like you're either up on your career, you're down and if you just wait long enough, hopefully you'll go up again. But, but I guess he's doing a different piece of poetry. So if you look at the set list, there's actually like, it'll say different things on there as to what he does in between, but not to do the round robin thing. But Rita, you said you saw adultery was this one of the shows where he was doing a Q and A segment? Yeah, which was kind of really strange. How was that particularly at an outdoor like, that's one thing if he's doing a small theater, but you said you saw him outdoors, right? It wasn't exactly like people in the audience asking him a question. He had like slips of paper that maybe he on social media they might have asked for it. And he was just randomly answering questions and they were weird questions and, but it was still fun. It kind of made it spontaneous. So that was fun. Again, I can sort of imagine that in some of the settings that he's playing, but he's playing very different. Like he's playing the capital theater in portchester. I'm like, okay, I could sort of see that the Q and A thing, you know, would kind of fit what that space is and not feel too weird. But at an outdoor show, I don't know how like feels like the momentum would be really strange for the evening once you start doing that. It was super random. It was super random. And it wasn't very, I mean, he didn't do it much and then he'd come back to it and mostly singing, not a lot of question and answering. But with some of these artists, older artists who are going to want to give a full evening of a show, whatever are, whatever we settle on for the best time for that, but are going to be selective about their stamina, they're starting to do these other elements, right? I mean, there are some others who have been doing Q and A sections, poetry sections, readings, different things that sort of flesh out the evening without them having to do the work of singing that whole time. And I think we're only going to see more of that probably, you know, because there's only going to be, but so much that their body and their voice is going to be able to continue to handle. I think that's going to keep coming up. So for the band's listening, we want a two hour show. We want seats and it needs to be an air mass transit. Do that and you make us all happy. Who's going to fight with that? Who's going to fight with that? Final post from Lana, who wrote, "I am there till the needle slides off the record. Give me all you got and I still want more." But that's my problem. And there you go. I'm surprised we didn't hear more of that though. I mean, even within the post, there weren't a lot of like, just get out there and play till you drop. I'm there for the whole time. Didn't actually hear a lot of that. No, that's a show, I think. That's going to wrap us up. And you can go, if you want to be a part of our sound off podcast, like these folks who are today and make your voice heard, head on over to sounduppod.com and get all the necessary and relevant information. Email us with your concert reviews, your thoughts about anything that it is that we're talking about. Send us a voice message, write out whatever it is that you want us to read. Be in touch at connect@sounduppod.com. And a reminder to head on over and give us a five star rating on whichever platform you get your sound up on. And we will catch you next time, me, producer Roger Kaletti, and hopefully by next time the return of Mark Goodman here on Sound Up. Sound Up is hosted by Mark Goodman and Alan Light, produced by Roger Kaletti, distributed by the Revolver Podcasts. Get sound up on Pandora Podcasts, Spotify, Apple Podcasts, or wherever you get your podcasts to be a part of the show, email us at connect@sounduppod.com. Sound the theme music, advice, smile from Tokyo. We'll see you next time right here on Sound Up with Mark Goodman and Alan Light. Let's go with Eggo. Existentos tipos de personas en el mundo. Los caprefiran de sajuna dul second fruitas dul se de leche un huga de naranja. Elos caprefiran un de sajuna salado con chorizo, wevos ranchero simcafe, veros en importar, que tipo de personar eres. Ay algo catoros les bagu está. Mmmm. Los crujientes y estongosos, eggo waffles. Jacia que te gusto de sajuna salado con wevos. Osal sapicante en sima de tous waffles, ocea esmas dul seiro. Elos perfiras commente que jaimién, en cuentre nos en el passigio de de sajunos con hellados. Lego. With Eggo. Muchas o vertas, no emosción en. Pero un atiente, puede eso pener en muevo samps un galaxy, sea flip six, por su cuenta. Con intercambio el ejible, cualkir año, cualkir con disción. Una o vertas tamboena que es tarras. Grital dos cuatro vientos. Tescúbre como ob tener la con 18t, 18t, con nectaro cambiato. Criquing de cambio de unes marcón calaxi no ds oce. Ofeta por tiempo el mitado. Los intos un un de sajigabas por seiro doleres. Suquito a calico seiro doleres. Ser mino seiro el estrixiones. Visitáte de tépun to con té con nectar samps una tien de tien de para de tages. [BLANK_AUDIO]
On Episode #46 of "Sound Up! with Mark Goodman and Alan Light," we discuss the perfect length for a concert with our live audience members, The Sound Up Pod Squad. In music news, we cover Justin Timberlake's DUI arrest, Billy Joel's comments on not making another album, the cancellation of several country music festivals, The Eagles at the Sphere, and Post Malone's announcement of a new album. Plus, producer Roger Coletti reviews the "Brats" documentary and we get a Frank Turner live review from a listener.
