The Rise of Geese and the Power of Underplays
Within the indie rock scene, the Brooklyn-based band Geese has emerged as a standout success story. Following the release of their critically acclaimed album Getting Killed, the young band embarked on a national tour, selling out shows in midsize venues across the United States. Their frontman, Cameron Winter, became a focal point of attention, leading to soaring resale prices on platforms like StubHub and SeatGeek, with tickets reaching up to $2,000 in some cities. This surge in demand highlighted how unpredictable it can be to plan tours, especially when an artist’s popularity is still growing.
The phenomenon surrounding Geese has sparked discussions about the music industry’s strategies for managing demand and maximizing exposure. One such strategy is the use of underplays — a term used to describe booking an artist at a venue with a smaller capacity than what they could reasonably expect to sell. Historically, underplays were used to avoid certain restrictions or to test new material in a more intimate setting. However, in recent years, they have become a key tool for artists and their teams to build hype and create a sense of exclusivity.
The Evolution of Live Music Booking
The pandemic significantly altered the dynamics of live event bookings. When artists resumed touring after lockdowns, there was uncertainty about how quickly the market would recover. Some high-profile acts, like Santigold and Animal Collective, canceled tours due to increased costs and concerns over audience health. Others opted for safer choices, selecting venues they had previously filled, even if larger spaces might have been available.
This cautious approach also extended to emerging artists who had gained popularity online but lacked experience performing in large venues. With many performers needing to reacclimate to live shows, the focus shifted toward ensuring that each show sold out. As Ric Leichtung, a longtime music promoter, explains, “When you put the ceiling really low on the capacity of a show, it kind of becomes speculative.”
The Strategic Value of Sold-Out Shows
Creating a sense of urgency around ticket sales is crucial for artists aiming to maintain momentum. Zachary Cepin, a booking agent at High Road Touring, notes that sold-out shows on social media can drive interest in other markets. Filming performances in small, packed rooms and sharing the footage online further amplifies this effect.
Dylan Baldi, lead singer of Cloud Nothings, recalls a different era when touring was less focused on selling out every show. “We’d just go out and play a bunch of shows. Some of them were sold out, which was great, but it was never like, ‘If this doesn’t sell out, the tour’s ruined,’” he says. Back then, events like South by Southwest and CMJ Music Marathon served as important platforms for emerging artists to gain industry attention. Today, these events have diminished in significance, forcing artists to rely on strategic showcases in major cities.
Manipulating Venue Capacities
Some venues are now using creative methods to control their capacity. For example, places like Brooklyn Steel and Union Transfer have installed retractable stages and used curtains and other visual tricks to make spaces appear smaller. This allows them to declare a show “sold out” even if demand hasn’t fully met expectations.
However, this practice can create misaligned incentives between artists and venues, particularly those owned by large corporations like Live Nation. While Live Nation CEO Michael Rapino argues that concert tickets are undervalued compared to sporting events, recent legal actions have raised concerns about monopolistic practices within the industry.
Balancing Art and Business
Despite the complexities, underplays can still offer benefits for both artists and audiences. Zachary Cepin highlights an example where he booked multiple dates for Jonathan Richman at Baby’s All Right in Brooklyn. By revealing additional shows only after the initial ones sold out, Cepin ensured that the artist maintained relevance while maximizing revenue.
In an era where digital metrics can be easily manipulated, the authenticity of a live performance remains a powerful indicator of an artist’s appeal. As Baldi humorously notes, “The whole thing is fake in a way. But at the heart of it, people are playing music and other people are enjoying it.”
