Bands Who Call Off Live Shows Deserve Support, Not Condemnation

The lightning-quick spread of omicron has taken almost everyone by surprise. The new variant has exploded throughout London, with many members of the Clash family and beyond struck down by its effect. For musicians, this is literally a nightmare scenario: after an incredibly tough 18 months, many had been looking forward to festive shows, and putting an end to lockdown’s icy grip. Without government assistance, however, your favourite artists are being put in an impossible position, choosing between their livelihoods and the health both of themselves, and their fans.

As a result, the call-offs have already begun. Some have opted to continue – which currently is their right – but many have decided to shelve touring plans, out of consideration to themselves, their crew, and most important their fans. Often, ticket holders will travel a considerable distance to catch the show – the knock-on impact for contagion is huge.

The Charlatans were amongst the first to postpone live shows, calling a premature halt to their massive December tour. In a note, the band said “we feel it is unfair for our audience to have to choose between exposure to the virus or to avoid the show”.

pic.twitter.com/uB7UDORpEU

— The Charlatans (@thecharlatans) December 16, 2021

Other bands, songwriters, and musicians have followed suit, often after days of soul-searching. With their incomes reduced almost to zero by the pandemic, and with the emotional pull of re-connecting with their audience after prolonged periods of solitude, these aren’t decisions that have been made lightly.

This is why it’s particularly depressing to see fans – no matter who strongly they feel – push back against these announcements. Yesterday (December 20th) Creeper called a halt to their UK tour, saying: “it absolutely devastates us to be letting our fans down like this , though everyone is still testing negative in our tour bubble we feel like this is the right thing for all of us…”  

The note finishes: “we love you and hope you understand and respect our decision…”

important update regarding tonight’s show and the rest of this tour pic.twitter.com/axlcUQfLpS

— C R E E P E R (@creepercultuk) December 19, 2021

While the over-riding tone was one of support, many of the replies were uncharitable to say the least. One aggrieved ticket-holder accused them of “utter contempt” while the backlash caused frontman Will Gould to de-activate his Twitter account.  

A follow up post from Creeper called the decision “an incredibly tough day”, while in an attempt to work with the requirements of fans a brand new tour merch web-store has been launched so fans can claim their items ahead of the 2022 shows. In the post, Creeper said “we appreciate your support more than you could know”.

It’s disheartening – and more than a little soul-destroying – to see a band pushed into the corner like this. The government has made no provision for night-life, with many venues, clubs, and bars reporting “cataclysmic” losses as COVID-worried customers opt to stay home ahead of Christmas.

In the absence of support, decisions are being made in a day to day basis, taking into consideration all factors. Creeper’s announcement has a knock-on impact far beyond the band itself – there are tour managers, sound technicians, staff at the venues, and more to take into consideration. During the first and second lockdown, much was made of the digital bond between musicians and fans, the way in which IG Live and other online events could engineer a form of camaraderie, a feeling that we could get through this if we all stuck together. With venues doors swinging open, there was a hope that this could be replicated in real life – clearly, some of the old traits of fan entitlement and toxicity remain.

Let’s be clear: these are some of the toughest times anyone in live music has ever faced. Creeper deserve support, not condemnation – as a band, they more than anyone have tried to be their for their fans, building a rare sense of community within British music.

Perhaps it’s apt to end with the words of Michael Kill – CEO of the NTIA – who said just a few hours ago:

“The Government have had twenty months to learn how our sector operates; it is beggars belief we stand here again, as if back in March 2020, imploring the Government to listen to us, to understand how businesses work and to realise that inaction is a death sentence for our industry. It really is a Cataclysmic Christmas.”

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