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Chicago $55.68      Dark Star Orchestra $27.45      Streetlight Manifesto $18.80      Pat Metheny Unity Group $61.53      Zeds Dead $31.36      Tegan And Sara $34.95      The Fresh Beat Band $39.21      Matt Nathanson $30.93      The Stray Birds $13.49      John Legend $68.78      Zappa Plays Zappa $45.34      Paper Diamond $20.09      "So You Think You Can Dance" $52.82      J. Cole $50.61      Blue October $26.40      Steve Aoki $37.27      Volbeat $35.05      The Mavericks $42.78      Switchfoot $23.73      Tobymac $31.92      Atmosphere $27.86      Alejandro Fernández $73.70      Justin Moore $32.85      Matt Wertz $18.73      Between The Buried And Me $20.34      B.B. King $56.68      Gavin DeGraw $36.86      Frankie Valli And The Four Seasons $70.41      Lady Antebellum $56.83      Michael Bublé $86.20      Greensky Bluegrass $19.56      Sleeping With Sirens $22.73      Reverend Horton Heat $21.37      Jake Bugg $22.48      Blake Shelton $38.57      SoMo $18.45      Salute To Vienna $73.49      Poliça $20.47      Karl Denson's Tiny Universe $25.85      Brad Paisley $45.87      Miranda Lambert $38.27      The Neighbourhood $22.92      Griz $23.09      Neon Trees $22.62      Frank Turner $25.10      Sarah Brightman $85.10      The Wild Feathers $13.95      Bruno Mars $76.57      Reel Big Fish $20.75      Hank3 $20.47      
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Tours de Farce: In The Mood

12:00 AM Sunday 9/21/03 |   |

Why do we do it?

Why do we spend each day riding the undulating serpent that is the concert industry as it writhes and slithers across the musical landscape producing dates for The Slip and A Perfect Circle?

It's not the pay, for we make a modest living at best, and no one is getting rich from joining fans of Jucifer or Sugar Ray with the tour dates that they crave and desire. Whether it's that morning lust for the Taylor Dayne routing or that unexpected release of dates for Prince and DJ Paul Van Dyk resulting in an afternoon delight, we are paid but a pittance for our efforts. Just enough to satisfy our needs and wants, resulting in an effervescent glow upon our faces come quitting time, followed by a quick smoke and well-earned slumber.

And it's not the perks that drive us each day as we thrust and move with the ebb and flow of concert data gushing into our offices, our fingers tap, tap, tapping the vital information of date, city, state and venue as we enter, and sometimes re-enter, the latest routings for the Eels, Runrig and Mushroomhead into our massive, pulsating database of joy and delight. Sure, we get a few freebies at times, maybe a Mickey D's gift certificate or a free car wash, but nothing can compare with that feeling of satisfaction one achieves after penetrating the inner threshold of concert bliss and pleasure.

And it's definitely not the chance to slap some skin with the stars of the concert world. Of course, all the big acts eventually find their way to our doors, their jaws often dropping in amazement as they observe us sitting erect in our cubicles fondling the new dates for Modest Mouse or stroking the additions for Killswitch Engage and Simon & Garfunkel, the hallways echoing with our screams of "Yes! Yes! Oh Yes!" until we collapse in the throws of our own ecstasy and elation, our inner essence spent and our spiritual thirst quenched.

Why do we do it? Why do we spend countless hours cuddling and caressing the concert industry in order to bring you fresh dates for artists like Guy Davis and bands like The Moody Blues and Red Hot Chili Peppers? Why, the reason should be quite simple if you have the vigor, stamina and staying power to keep up with this little missive.

And we'll tell you right after we take a cold shower. For some reason it's suddenly very warm in here.

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