We wrote it a few weeks ago, saying that the concerts, in Italy, cost too much and spectators’ money is not infinite – indeed, purchasing power is eroding. For heaven’s sake, there are (relatively) legitimate reasons behind the increase in prices: great attention to live music, in the wake of post-plays reopening, with live lives so crowded; The cachet of the artists, more or less exorbitant because, with the market crisis and the streaming that pay little, that remains their only way to really monetize; And the preparation, consequently, of increasingly avant -garde shows, for the sole fact that a high value needs – it is hoped, it is not always like that – of events up to par, which therefore involve high -level professionals in all sectors (and which are often paid before, that’s why the stadiums have the agendas already full for 2026). Yet we repeat it, the costs are often excessive.

Who has canceled the concerts

They are made of the last few weeks, a sign of a summer, the first since 2022, in which this system can really prove to be the bubble that is said. And burst. Among the last, Bresti and Rkomi. The first canceled the summer tranche of the tour, saying that he went long with the processing of the new album (he went out on June 6) and not to be able to set up a show up to par in time. Postilla, always him: “Some pre -pregnant dates were going well, others less”. Better to focus on the autumn buildings, already announced for some time and whose presale is not going badly: hopefully to “move” the summer audience there and avoid bloodshed. Rkomi’s choice is more radical, who brought the buildings in the autumn for “artistic choice”: since Decreasehis latest album, he is very intimate, he transferred the tour in the theaters, breaking with the agency that had booked the great arenas (Live Nation), which however is not that they were flying.

But it is a problem that concerns all generations. The CCCP, for example, have moved the start date of their farewell tour from the summer system of the Circus Maximus of Rome (up to 10 thousand seats) in the much smaller Cavea of ​​the Auditorium Parco della Musica (just 3 thousand places, not even sold out). Also at the Circus Maximus there will be Tony Effe, where he pulls an air: the presales do not seem to have gone well, the date of Milan has already been derubricated by the great event at Fiera Milano Live at the opening of J Balvin in the less capacious Carroponte. And then, The Kolors “anticipated” the autumn dates to summer – also here, in smaller places – while Benji and Fede have postponed them with the same logic. Or, again, parties such as Teenage Dream, who should have debuted in the buildings, on the eve of the debut had to pull the emergency brake.

The sale of the stadiums

Not to mention the stadiums: the news of the tickets for 10 euros has made a sensation to fill the parterre of the San Siro of Elodie, but a tour of TicketOne, on the dates of various Italian artists, is enough to realize that only Vasco Rossi and few others can afford real sold outs; For the others, click on the “choice of choice” option to observe how many and what places they remain available, and find out that there are often thousands. And the same is valid for the Palasport. And it is not even true that it is a problem only of pop: a group symbol of local alternatives, the theater of the horrors, fresh from Reunion, in the spring he canceled two dates in the clubs of Bari and Naples, for scarce presales. While last year it had already happened to the Negramaro, a back.

The point? Almost none of these artists – or their management, or live agencies – will tell you the truth. Of course, there is a reimbursement, but to arrange it so, under the term umbrella of “organizational reasons”, it is not much, also because fans often organize themselves months in advance, paying trips that nobody, in any case, will refund him.

Because the concerts are canceled

The fact is that, simply, the rope was pulled too much. With calendars – sometimes the gift of ubiquity is required – and the prices. But also with locations. The vicious post Pandemia circle, in fact, on the one hand increased the live economy, with concerts in the stadiums and the rest, but on the other hand has weakened all those intermediate places – clubs, medium or small festivals – which were left behind, because they no longer served, because suddenly, even at the level of communication, it had to do the stadium, the Palasport, the large arena. Well: this system today presents the account. There is no money and people to fill all the large spaces, to which the artists with a weaker historian are inevitably destined behind (and, but it is understanding now, it is not necessary to be a phenomenon of the moment to fill an arena, but an artist with a large and consolidated repertoire).

For a toxic dynamic of communication and opportunity, we are at the point where everyone they have to make certain numbers, forgetting that not everyone can make certain numbers. And the solution, as demonstrated by the silence of the great agencies, the anonymity of certain ads of steps back, is to hide only the dust under the carpet. Will it be enough? At all. In addition to the damage of image, there are those who will also hurt in life. On all the singers themselves, to whom the paying agencies usually pay – or in any case, they paid – wide advances, with the promise to return: since from a half -empty building you do not return, at the level of money, the consequence will be to play for a summer in the square, for free, where the agency decides, to repair the losses. Nothing good. Probably already from this autumn we will leave from the bottom, then. With a cut, perhaps, on the cachet. Always hoping that there are places to make medium -level concerts: concerts that, let’s repeat, have nothing wrong, indeed; It is only that many have forgotten that that, for now, is their size.