There was an interesting disturbance in the music world recently when Peter Gabriel announced his long awaited concert tour. Amongst the excitement and furious activity to obtain tickets, was inevitably the consternation about the prices..

I have to admit I was in that camp. With the average ticket price somewhere around the £200 mark, I just wonder what has happened in the music industry where this is an acceptable price for a gig, even one as illustrious as the return of Mr Gabriel to the stage for the first time in nearly a decade.

A friend on Facebook recalled that they saw Peter at Birmingham Arena in 1983, for the princely sum of £7. Accounting for inflation over 40 years, the equivalent price in today’s money would be £21… So how did we get from there to £200?. Is it just the built up demand to see this legendary artist? or are there other forces at work?

To examine that, I think we need to look at where the record industry is now. Technology, in particular the concept of streaming, has bent the traditional model of physical record sales so badly that an artist at Peter Gabriel’s level now is almost giving music away as a loss leader to promote ticket and merch sales. Peter is long past having a number one hit album and even further from becoming a streaming sensation with a single track, but he is at least blessed with an older demographic that have followed him since the early days of Genesis, and many have bought all the records along the way. But that model died when Spotify levelled the music industry as we know it and made the largest all you can hear buffet of music for the princely sum of FREE….

Imagine travelling back to 1980 and saying to your mate in the record store. “You know, one day someone will invent this thing called the internet, and then someone will put all the worlds music on it, and you’ll be able to listen to any song you want for nothing…” I think the response would be something like “Get out of here and stay off the drugs!”. But this is exactly what has happened.

Back in the day, artists sold millions of records and then toured the hell out of the album. These days you get to consume the record for nothing, with the hope that you’ll pay through the nose to see the artist on tour and buy a barrowload of merch whilst you are there.

For artists at the other end of the spectrum like me, we are to some extent trying to navigate our way through a sea of fog without a clear idea of where land is. In the modern progressive rock genre, we are at least blessed with a very high percentage of fans that still value the physical record. Somehow, we also still have record shops in 2022, and a new appetite for vinyl that the pressing plants are really struggling to satisfy. I’ve been waiting over 8 months now for my own latest album to be pressed.

But a world tour at anything like £200 a ticket is the pension benefit for the rock dinosaurs of another era. There’s nothing here for even moderately successful musicians in a marginalised and uncool genre of music. But I guess this is common whatever music is being played on the stage.

The most successful contemporary exponent of prog currently is the reformed Steven Wilson led, Porcupine Tree, selling out sizeable venues across UK, Europe and the US. The ticket prices are also much more reasonable £65. Still not cheap though.

As I said on Facebook it also boggles my mind that a lot of people in that Peter Gabriel audience have thought nothing about paying £200 for a ticket, but would baulk at the prospect of spending £10 on a record from a new band. This for me is where the danger lies…

The sad thing here is that there will never be another Peter Gabriel, Genesis, Yes, Floyd or King Crimson. And the reason for that is the fans of those bands won’t give them up… and they will always be willing to throw huge piles of cash at everything their record labels offer for sale. Yet another Floyd remaster packaged in in a fir lined case with a vellum parchment booklet? “Sir, take my money!” No one should have to give up their heroes of course, but equally people need to be aware that unless you support the small guys, there will never be anyone to fill their shoes. Maybe they don’t want anyone filling their shoes?…I still hear people saying good music died in the late 70s…The more informed of us know that there are incredible bands in modern prog that are making music the equal of anything produced then, and in all the same traditions.

But now the industry has unrecognisably changed, we are all struggling to come to terms with what success now looks like. One of my artist friends joked that he never foresaw that his band would actually effectively become a clothing brand, as the only money he made was from selling merch, mostly T shirts at gigs.

A successful artist now in the prog world sells a few thousand CDs per release and can probably get around 100 people in a room for a gig at £20 per ticket. It can take at least 10 years of endless work to get to that level too. I’ve always struggled with this protracted slog of effort with the reward of virtually no financial return and you might have noticed I regularly bleat on about it. In my previous life in the water industry it was possible to navigate an entire career and triple your salary over the same period, and I didn’t even work as hard as I do now. But then again, if I was back in 1973 too, I wouldn’t have been signed and none of my music would ever have been heard.

When you work through these modest numbers, it’s not difficult to understand why ‘successful’, critically acclaimed, and in some cases award winning artists are taking second jobs and struggling to pay their energy bills.

It’s a shit business….