Fuel for Thought

...Or why being a nation of oil junkies could alter the live landscape forever

By Julie Simmons | Music Journalist

This story was originally published in the July / August 2006 issue of Harp magazine.

Oil prices have surpassed $72 a barrel -- that's an incredible 38% rise over the past 12 months. Even if Wall Street reports today that the cost of America's most addictive commodity has stabilized in the past week, economic soothsayers predict that there's no sustainable relief in sight. Despite the bleak forecast, our beloved artists continue to tour and tickets remain reasonably priced. But what if the cost of crude oil continues to rise and the bands we love can't afford to play in your city or at popular festivals?

Chicago's legendary Tommy Edwards was a deejay at WLS-AM during our last major oil crisis in 1979. Edwards recollects, "The oil crisis created problems in all businesses. In particular, before CDs, vinyl records were made from a petroleum product. The cost to record companies spiked. The paints used in album art also cost more [petroleum-based petrochemicals]. Concerts and on-site promotions drew smaller crowds because of the cost of both the concert ticket and the fuel for fans to get there."

Granted, on an inflation-adjusted basis, we'd need to see hikes up to $90 a barrel in order to exceed the likes of 1979. Nevertheless, many artists today are facing similar touring constraints and implementing cost-cutting measures.

For example, the Badman label reports having to eliminate bands' lodging expenses, thus requiring musicians to literally set up camp or snuggle up beside their gear and sleep in their vans. California's dios (malos) recently converted their van to run on discarded fryer oil.

Not surprisingly, touring schedules have also been altered. Australian-born guitarist and vocalist Anne McCue reports, "No more Ottawa today, Austin tomorrow and Boise the next day. That kind of routing is now obsolete!" McCue went on to explain how some artists are being forced to cluster their shows and neglect the more isolated cities and college towns.

On the other hand, cost reductions have resulted in positive, short-term collaborations. L.A.'s Eleni Mandell testifies, "I just spoke to Lisa Germano about [soaring gas prices]. We were discussing the possibility of doing some shows together. I've also thought of looking into converting my van into the new vegetable-oil-fuel thing, but I'm not even sure that's possible or affordable. I suggested we'd have to charge more for CDs to make up for it. But that doesn't feel good. Maybe the prices will go down before I hit the road. I hope so."

Mandell is not alone. Every artist polled declared that while raising ticket prices has been seriously considered, squeezing the concertgoer's wallet at this point is not an option.

"We are kind of known for selling our shirts and CDs very cheaply at shows," explains Radio 4's Anthony Roman. "One suggestion from management and the label has been to raise prices. Of course, our answer is 'Get us more tour support.' No reason for the fans to suffer."

The infamous country-rock singer Chip Taylor echoes, "We could say we're adding a surcharge to the price of the tickets -- we aren't -- we need as many fans as we can get. The simple truth is the fans have to pay more gas money to get to the shows, and they're still coming. Since it's all about the music, we'll take the hit together and deal with it."

While the artists are aligned on sparing fans exorbitant ticket prices, for music festival organizers, the answer is simple: raising prices is inevitable.

David Singer organizes Chicago's Intonation Music Festival and explains, "If gas prices continue to rise, music festivals could be forced to pay significantly more for staging and sound, as it all needs to be trucked in, often from out of state. Additionally, the price of flights and ground transportation could increase, raising the cost of bringing in bands from far-flung places. Considering how slim our profit margin is to begin with, a large increase in the price of gas could force us to raise ticket prices -- or put us out of business altogether. Higher gas prices might also make fans think twice about driving from Milwaukee or Champaign to see a show in Chicago."

Chicagoan and avid concertgoer Lane Campbell admits to having second thoughts about traveling out of state to Twangfest, but for now, they're short lived on account of Megabus.com. Originating in the UK, Megabus is an intercity express-bus company that offers low fares between nine Midwest cities. In a March press release, the company announced internet fares for advanced reservations as low as $1.

Campbell explains, "I would definitely use Megabus to travel to music festivals, particularly when there's a single destination planned that offers comprehensive accommodations and wouldn't require too much mobility once there. Most concert events are relatively centralized and incorporate other activities. If I can use Megabus to get to Minneapolis for less than $50, where renting a car and paying for gasoline would cost me $200 to $300 -- that's a no-brainer."

Given the alternatives for both artists and fans, the overall impact oil has on the music industry's long-term survival seems relatively low for now. Professor of ethnomusicology at UCLA, Anthony Seeger, describes the resiliency of music during the Great Depression. "The entertainment industry has been considered somewhat 'recession proof' because people still wanted entertainment, even in hard times. During the Depression of the 1930s, many beleaguered record companies were saved by the growing popularity of juke boxes."

Edwards rationalizes our current condition: "Now there are so many ways to enjoy music without going to concerts. Music can be enjoyed via high-definition radio and satellite radio along with on-demand television and the Internet."

While technology may serve as an artificial ventilator for the industry by disseminating music during economic calamities, one wonders what the long-term effects are on the art of making music. Soloist Mark Mallman remains optimistic: "Rock is a folk art, which has been for some reason mistaken for a commodity. A good part about eliminating the commodification of it is that you weed out the insincere, which brings the quality of the music up. I'd love it if the economy would eliminate the ego-driven cello rockers."

From a macro perspective, Mallman is probably right. Music will never die; it will always be composed, recorded and dispersed. Furthermore, by removing the overhead that's been invested in marketing, we might just return to the fundamentals of skill and music appreciation. Nevertheless, a veritable oil crisis, let alone an economic recession or depression, could negatively affect even the purest of fans and musicians.

Seeger adds, "The rising price of gasoline, which may have an effect on Americans' way of consuming music, is only one of the many economic processes that shape the environment in which musicians live, create and perform."

A truncated tour schedule could mean that indie bands become extremely localized, thus preventing their sales and fan base from growing. Opening acts wouldn't have the opportunity to take tips from the masterful main acts. Some fledgling craftsmen and women might even have to quit the band in order to work more sustainable jobs. In essence, the need for our country to become less dependent on foreign oil is not only good for our safety and the environment, but for music as a whole.

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