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Opening act

An opening act, also known as a support act or warm-up act, is an entertainer, musician, comedian, or other performer who takes the stage before the headlining act at a concert, music festival, or live event to energize the audience and generate excitement for the main performance.^[1]^[2]^[3] These acts typically deliver shorter sets lasting 30 to 45 minutes, allowing time for stage transitions while priming the crowd with complementary music or entertainment that aligns with the headliner's genre and fanbase.^[3] Selection often falls to the headliner or their management, prioritizing artists who can enhance the overall event atmosphere without overshadowing the star attraction.^[3] Opening acts play a crucial role in the live music ecosystem by providing emerging talent with valuable exposure to large audiences, sometimes launching careers—such as Guns N' Roses' breakout performances supporting Aerosmith in 1988.^[4] In addition to music concerts, the format extends to comedy shows, theater productions, and corporate events, where the opener sets the tone and fills logistical gaps before the primary draw arrives.^[5]^[6]

Definition and Purpose

Core Definition

An opening act is a performer, band, or group that takes the stage before the main or headlining act at a live event, such as a concert, festival, or theatrical performance.^[3] This role involves delivering an initial performance to engage early arrivals and prepare the venue atmosphere.^[7] The term "opening act" is often used interchangeably with synonyms like "support act," "warm-up act," "supporting act," and the informal shorthand "opener."^[8] All denote the preliminary entertainer in a multi-act lineup.^[8] Structurally, an opening act typically occupies the first or early slot in the event schedule, lasting 30 to 45 minutes to allow sufficient time for setup, performance, and transition to subsequent acts.^[3] This duration fits within the broader show format, ensuring a smooth progression from audience entry to the primary attraction.^[7] In this capacity, the opening act contributes to audience engagement by building energy, as explored further in related performance functions.^[3]

Functions in Live Performances

In live performances, opening acts primarily serve to warm up the audience, transitioning early arrivals from passive waiting to active engagement and priming the crowd for the headliner's appearance. By delivering energetic performances, they elevate the venue's atmosphere, fostering a sense of communal excitement that enhances the overall event experience.^[9]^[10] This role is particularly vital in large-scale concerts to help fill the time before the headliner.^[11] A key function involves building anticipation for the headliner, often through sets that create a narrative arc leading to the main event. Opening acts achieve this by generating hype via crowd interaction, such as call-and-response elements or shared encores with the headliner later in the night.^[9] For instance, in country music tours, support acts like those chosen by Chris Stapleton energize audiences in ways that align with the genre's communal spirit, heightening expectations without overshadowing the primary performer.^[9] Opening acts also provide a logistical buffer, performing during the final adjustments to stage setups for the headliner. This includes conducting real-time tests of sound systems and lighting rigs, allowing technicians to refine elements like audio levels and visual cues without delaying the main set.^[10] By handling these transitions, they ensure seamless flow, accommodating variables such as venue acoustics or equipment swaps.^[9] To engage audiences effectively, opening acts employ tactics like high-energy performances that match or contrast the headliner's style, such as blending genres to broaden appeal—exemplified by hip-hop artists supporting country tours to introduce diverse sounds.^[9] Thematic alignment, where the opener's material echoes the headliner's motifs, builds rapport and cohesion, while contrasting styles add variety to prevent monotony.^[10] These strategies not only captivate early attendees but also encourage broader participation.^[11]

Historical Development

Origins in Early Entertainment

The concept of the opening act traces its roots to 19th-century entertainment forms such as vaudeville, minstrel shows, and circus performances, where preliminary acts served to engage audiences as they arrived at venues. In minstrel shows, which emerged in the 1840s as an American-born theatrical tradition, the structure typically began with an opening segment featuring the full cast in song, dance, and comedy to draw in early attendees before transitioning to the main semi-circle formation of performers.^[12] Similarly, vaudeville bills, evolving from earlier variety formats in the late 1800s, incorporated introductory acts like jugglers or singers to entertain staggered crowds while building anticipation for the headline attractions.^[13] Circus spectacles of the era, including those by British showman Philip Astley and American promoters like P.T. Barnum, often started with equestrian tricks or clowning routines to accommodate latecomers entering the tent.^[14] Key milestones in the development of opening acts appeared in European theater revues and music halls during the 1800s, where short performances preceded the primary program. In London's music halls, which originated from 18th-century tavern entertainments and flourished by the mid-19th century, bills featured a sequence of acts—beginning with singers or comedians—to maintain audience interest amid continuous arrivals and departures.^[15] The practice of "curtain-raisers," brief one-act plays or sketches that opened the evening, became standard in both British and American theaters, as seen in burlesque troupes like Lydia Thompson's British Blondes, who arrived in New York in 1868 and integrated introductory variety segments into their satirical revues.^[16]^[17] These openers, often light farces or musical interludes, directly preceded full-length dramas or main events, setting the tone for the night's entertainment.^[18] This tradition was driven by practical necessities, including the accommodation of audiences with staggered arrival times due to limited transportation and urban schedules, as theaters shifted from afterpieces to curtain-raisers in the early 19th century to better suit late entrants.^[19] Economically, multi-act bills maximized venue revenue by extending performance durations, attracting diverse crowds to fill seats, and allowing promoters to showcase emerging talent alongside stars, a strategy that proliferated in the burgeoning entertainment industry of the Victorian era.^[20]

Evolution in 20th-Century Music and Theater

In the mid-20th century, the rise of rock concerts in the 1950s and 1960s marked a significant shift toward formalized package tours, where multiple bands performed short sets on a single bill, effectively creating a series of opening acts to build audience energy before a headliner. Pioneered by promoters like Alan Freed, these tours began with events such as the 1952 Moondog Coronation Ball, featuring R&B acts like Paul Williams and Tiny Grimes, and evolved into larger productions like the 1957 Biggest Show of Stars, which included Chuck Berry, Fats Domino, and the Everly Brothers as rotating openers and closers.^[21] This format allowed emerging rock performers to gain exposure while catering to the era's demand for variety in live entertainment, transitioning from smaller venue gigs to arena-scale events that emphasized rapid succession of acts.^[21] In theater, Broadway musicals have long featured orchestral overtures as pre-show entertainment since the early 20th century, serving to set the mood for arriving audiences with medleys of the show's themes.^[22] The 1960s British Invasion further standardized opening acts in rock tours, as exemplified by The Beatles' 1964 North American tour, which featured support from acts like Clarence "Frogman" Henry, known for his distinctive R&B vocals on hits such as "Ain't Got No Home," alongside The Righteous Brothers and Jackie DeShannon, who performed amid growing Beatlemania crowds. These slots provided crucial visibility for diverse genres, blending pop, soul, and rock to warm up audiences for the headliners, and helped establish the expectation of curated openers in major international tours. In the punk and new wave scenes of the 1970s and 1980s, club-based multi-band bills at venues like CBGB—featuring acts such as the Ramones and Patti Smith Group—evolved into a de facto standardization of opening performances, where lesser-known bands kicked off evenings to foster an underground community ethos before established groups closed. The format of opening acts transitioned from often unpaid or low-compensation favors in early package tours to paid professional positions by the late 1960s, influenced by the multi-act festival circuits exemplified by Woodstock in 1969, where performers like Jimi Hendrix received up to $18,000 and lesser-known acts like Santana earned $750, setting precedents for equitable billing and compensation in large-scale events. This shift professionalized support roles, as festivals demonstrated the viability of diverse lineups driving ticket sales and influencing subsequent arena tours to include compensated openers for sustained career development.^[23]^[24]

Selection Process

Criteria for Selection

The selection of an opening act involves evaluating several key factors to ensure the overall concert experience aligns with the headliner's vision and the event's commercial goals. Primary criteria include genre compatibility, where the opener's musical style complements the headliner without clashing, allowing for a cohesive show that maintains audience engagement throughout. Fanbase overlap is another critical consideration, as acts with similar demographics help build excitement and encourage ticket purchases by appealing to shared listeners. Energy level match ensures the opener energizes the crowd without exhausting them prematurely or disrupting the headliner's performance dynamic, often favoring high-energy sets that warm up the venue effectively.^[25]^[26] Rising popularity of the opening act is also prioritized to provide exposure to emerging talent while avoiding any risk of overshadowing the headliner, who remains the focal point of the event. Promoters and headliners often collaborate on this, with promoters emphasizing acts that enhance ticket sales synergy through complementary appeal, such as regional favorites that draw local crowds and boost overall attendance. In contrast, headliners typically seek non-competitive openers that align with their artistic preferences, focusing on mutual respect and long-term industry relationships to foster enjoyable, non-rivalrous pairings.^[27]^[25]^[26] Diversity considerations play an increasing role in selections, with efforts to include local talent or underrepresented artists to broaden appeal and support community engagement. For instance, initiatives like Australia's "Michael's Rule" advocate for mandatory inclusion of domestic acts on international tours, promoting cultural representation and providing platforms for emerging voices from varied backgrounds. This approach not only enriches the lineup but also aligns with broader industry pushes for inclusivity, ensuring opening slots contribute to equitable opportunities in live music.^[28]^[27]

Contracts and Logistics

Contracts for opening acts in live performances, particularly in music tours, typically outline payment structures that balance financial compensation with promotional opportunities. Common arrangements include flat fees, where the opening act receives a fixed amount regardless of ticket sales, such as $1,000 to $2,000 per show depending on the venue size and market.^[29] Alternatively, payments may be structured as a percentage of the gate receipts, often a smaller share like 10-20% of net profits after expenses, to align incentives with the event's success.^[30] In some cases, especially for emerging artists, compensation takes the form of exposure trades, where no monetary payment is provided in exchange for the promotional value of performing before a larger audience, though this is negotiated to avoid exploitation.^[30] Deposits, usually 50% of the total fee, are standard upon signing, with the balance due on or before the performance day.^[29] Rider requirements form a critical part of these contracts, specifying technical and hospitality needs to ensure a smooth performance. Technical riders detail sound and lighting equipment, stage setup, and load-in times, often requiring the promoter to provide qualified engineers and a minimum of four able-bodied crew members for handling gear.^[31] Hospitality riders address accommodations, such as hotel rooms (e.g., three per act), per diem allowances (around $100 per day), and catering with dietary specifications, all covered by the promoter to support the artist's team.^[29] These elements are attached to the main contract and must be approved concurrently to avoid disputes.^[32] Cancellation clauses protect both parties from unforeseen disruptions. If the promoter cancels with less than five days' notice, they typically forfeit the deposit; with under 48 hours, the full fee is due.^[29] Artists may cancel if the promoter's financial stability is compromised, often verified through credit checks, while force majeure provisions excuse non-performance due to events like natural disasters.^[29] Logistical planning in opening act contracts emphasizes coordination to fit within the headliner's schedule. Soundchecks are usually allocated up to three hours before doors open, with precise timing to allow setup without overlapping the main act.^[29] Travel accommodations, including airfare, ground transport, and lodging, are often provided by the promoter, especially for multi-city tours.^[29] Merchandise setup is coordinated separately, granting the opening act exclusive sales rights at a designated area, though venues may impose a 10% fee for staffing if not self-managed.^[29] These details ensure efficient operations, with load-in and strike times clearly defined in the rider.^[31] Legal aspects include non-compete clauses, commonly known as radius clauses, which restrict the opening act from performing within a specified geographic area—such as 25-50 miles—and time frame, like 30 days before or after the event, to protect ticket sales.^[33] These clauses are negotiable but standard in tour contracts to prevent market saturation.^[34]

Roles and Responsibilities

Performance Expectations

Opening acts are expected to deliver a concise, energetic performance that warms up the audience and generates excitement for the headliner without overshadowing or fatiguing the crowd. Typically lasting 20 to 30 minutes, their setlist should consist of five to six original songs to showcase their unique style and build genuine interest, with minimal banter to maintain momentum.^[35] Covers are generally discouraged, particularly of the headliner's material, unless explicitly approved, as they can disrupt the main act's emotional narrative and violate performance etiquette.^[35] The focus remains on high-engagement selections that escalate energy levels progressively, ending on an uplifting note to prime the audience without causing exhaustion.^[36] In terms of stage presence, opening acts must pace their delivery to cultivate hype through dynamic movement, direct eye contact, and crowd participation, such as encouraging claps or sing-alongs, while avoiding prolonged pauses or jams that could dilute the intensity.^[37] This interaction fosters a communal atmosphere, transforming passive attendees into an enthusiastic crowd ready for the headliner.^[38] A smooth handoff is crucial, achieved by concluding one minute before the allotted time—such as playing 44 minutes in a 45-minute slot—and promptly exiting the stage to allow seamless transition.^[39] Technically, opening acts must adhere strictly to venue specifications by submitting detailed tech specs and stage plots well in advance, including channel listings for instruments, microphone preferences, power requirements, and monitor mixes to ensure compatibility with the production setup.^[40] This involves coordinating with sound engineers on lighting cues, sound levels calibrated to venue standards, and precise timing to avoid delays, while efficiently clearing gear post-performance to respect the overall schedule.^[40] Such professionalism upholds the event's technical integrity and demonstrates reliability to promoters.^[35]

Interaction with Headliners

The interaction between opening acts and headliners is shaped by a mix of professional collaboration and relational dynamics, often beginning with the headliner's direct involvement in selection. Headliners frequently choose opening acts based on personal connections, mutual admiration, or stylistic compatibility to ensure a cohesive tour experience, which can include joint rehearsals to align performances. For instance, Brandi Carlile has selected openers like Lake Street Dive and Celisse to enhance audience enjoyment, reflecting her endorsement and collaborative intent. Similarly, Ben Platt chose Aly & AJ due to a shared childhood theater background, fostering a supportive environment. This selection process grants headliners substantial approval rights over openers, allowing them to veto choices that do not align with their vision, as is standard in live performance agreements where the headliner prioritizes tour synergy.^[26]^[29] Collaborative opportunities often extend to onstage guest appearances or endorsements, strengthening the bond between acts. Nile Rodgers, for example, opened for Duran Duran leveraging their prior production collaborations, contributing to a unified "party vibe" as described by Duran Duran's Simon Le Bon. In another case, Darius Rucker invited opener Caylee Hammack for a duet during his set, highlighting how such moments build rapport and shared stage presence. These interactions can also involve post-rehearsal networking, where headliners provide guidance to emerging artists, though they remain secondary to the main performance.^[26] Despite these positives, conflicts arise from risks such as stylistic clashes or the potential for openers to overshadow the headliner, leading to tension in tour dynamics. A notable example is the 1992 feud between Guns N' Roses and Nirvana, where Nirvana declined an offer to open for Guns N' Roses and Metallica due to ideological differences—Kurt Cobain viewed Axl Rose as antithetical to grunge values—escalating into public mockery and canceled appearances that highlighted genre mismatches. Overshadowing concerns can prompt headliners to limit openers' stage resources, like sound levels or set length, to maintain focus on their performance, sometimes straining post-show interactions. In co-headlining scenarios, egos further complicate matters, as seen when Journey and Def Leppard negotiated billing based on fan bases to avoid perceived slights.^[41]^[26] Mutual benefits underscore the value of these relationships, including networking opportunities that propel careers and shared promotional billing that boosts visibility for both parties. Openers gain access to larger audiences and industry connections, as exemplified by Lizzo's breakthrough after opening for Sleater-Kinney, while headliners benefit from preparation time and crowd warm-up. Shared billing on posters and marketing materials amplifies promotion, creating a symbiotic exchange where headliners endorse rising talent to cultivate future collaborators.^[26]

Impact on Careers

Opportunities for Emerging Artists

Opening acts provide emerging artists with unparalleled visibility by exposing them to audiences far larger than they could typically attract independently. Performing before a headliner allows newcomers to showcase their talent to thousands or even tens of thousands of fans who may not have otherwise encountered their music, often leading to immediate spikes in social media follows and streaming numbers. This exposure is amplified by media coverage, as opening performances frequently garner reviews, interviews, and social buzz from outlets covering the main event. Industry scouts, including label executives and booking agents, regularly attend major tours specifically to identify promising openers, turning these slots into high-stakes audition opportunities.^[42] Strong performances as openers can accelerate career trajectories, paving the way for record deals, subsequent tours, and eventual headlining status. Artists who captivate the crowd during their set often secure invitations for future collaborations or support slots on larger tours, building momentum through word-of-mouth within the industry. For instance, a compelling opener can lead to direct offers from promoters or managers who witnessed the show, facilitating transitions from local gigs to national exposure. Emerging artists opening for Taylor Swift's Eras Tour (2023-2024) experienced streaming boosts of around 18% during the run, contributing to sustained audience growth for acts like Gracie Abrams and Sabrina Carpenter.^[43] This pathway has historically evolved alongside the growth of touring circuits in the 20th century, where openers became key entry points for unsigned talent. Statistical trends underscore these opportunities, with studies showing that emerging artists opening for major tours often experience 20-50% growth in their fanbase metrics, such as Spotify listeners or ticket sales for their own shows, in the months following the run.^[44] Industry reports indicate that a notable portion of openers on mid-tier tours convert their exposure into measurable career advancements, like signing with a label or booking their first solo headline date. These gains highlight the role of opening acts as a strategic launchpad, particularly in an era where live performances drive digital discovery.

Challenges and Risks

Opening acts in the music industry frequently encounter financial challenges, as compensation is often modest compared to the significant exposure provided by sharing the stage with headliners. Arena-level openers typically receive flat fees ranging from $15,000 to $30,000 per show (as of the mid-2010s; figures have likely increased with inflation and market growth by 2025), yet they must cover substantial production costs such as travel, crew, and equipment, resulting in limited net earnings relative to the promotional value gained.^[45] This disparity can strain emerging artists, who may invest more in touring logistics than they recoup, exacerbating the precarious nature of early-career finances. Audience indifference poses another prevalent issue, with openers often performing to distracted crowds in large venues where fans arrive late, chat among themselves, or focus on securing spots for the headliner. Such disengagement can diminish the emotional impact of performances and hinder immediate fan conversion. Technical glitches further compound these difficulties, including inadequate sound checks, reduced access to production resources like partial PA systems or lighting, and equipment failures that disrupt short sets and amplify performance stress. Among the key risks, opening acts face the possibility of being dropped mid-tour due to factors such as illness, misconduct, or headliner dissatisfaction, which can abruptly end promotional momentum and lead to financial losses from sunk costs. For example, Limp Bizkit was dropped from a tour after incidents involving their fanbase. Poor reception may also cause reputational harm, with negative word-of-mouth or social media backlash reinforcing perceptions of inadequacy and complicating future bookings. Additionally, over-reliance on a headliner's success creates vulnerability, as the fleeting visibility from tours—often yielding temporary streaming boosts of 18-20% that drop 6-10% post-tour—rarely translates to sustained career growth for most acts.^[43] To mitigate these challenges, opening acts can prioritize building independent promotion through targeted social media campaigns, email lists, and pre-tour releases to cultivate a dedicated fanbase beyond tour exposure. Developing resilience in short sets involves honing engaging live performances that foster emotional connections, such as interactive elements to draw in crowds and transform skepticism into enthusiasm, thereby maximizing limited stage time.

Variations Across Genres

In Music Concerts

In music concerts, opening acts serve to energize the audience and build anticipation for the headliner, often performing shorter sets with limited resources such as reduced stage space, lighting, and sound volume compared to the main performer.^[46] These acts are typically selected by the headliner or their management to complement the overall show, providing exposure to emerging talent while filling the time gap before the primary performance begins.^[25] In rock concerts, particularly at festivals, multi-band bills are common, where opening acts occupy early slots in a lineup of several performers across multiple stages, allowing for diverse genre representation and extended event durations that can span an entire day.^[25] For instance, historical rock bills in the late 1960s often featured four or more acts. Genre-specific adaptations shape the structure and expectations of opening acts. In pop and hip-hop concerts, openers frequently include DJ sets or acoustic performances to align with the event's vibe, warming up crowds through rhythmic builds or intimate interpretations rather than full-band spectacles.^[25] A notable example is producer Mustard delivering DJ sets to open stadium shows for Kendrick Lamar and SZA's Grand National Tour, setting an energetic tone with hip-hop tracks before the headliners take the stage.^[47] This contrasts with arena tours in rock and pop, where opening acts may perform standalone sets of 30-45 minutes, whereas festival openers often have briefer slots amid rotating lineups to maintain momentum across the day.^[25] Encore potential for openers is rare in structured tours but more feasible in festival environments if an act generates exceptional crowd response. Cultural norms in heavier genres like metal underscore high volume and intense energy as core elements, even for opening acts, which must match the headliner's aggressive sound to sustain audience immersion.^[25] Metal openers often push decibel levels exceeding 120 dB to evoke the genre's visceral impact, mirroring headliners' traditions of extreme loudness—such as Motörhead's 130 dB performances that caused structural vibrations.^[48] However, openers in these settings typically receive lower initial volume allocations to avoid overshadowing the main act, requiring them to maximize intensity within constraints while adhering to etiquette like punctual load-ins and avoiding the headliner's material.^[46] This emphasis on raw power differentiates metal openers from the more vibe-focused approaches in pop and hip-hop, where subtlety in building atmosphere is prioritized over sheer decibel force.

In Theater and Comedy

In theater, opening acts historically took the form of curtain raisers, which were short plays or dramatic pieces performed immediately before the main production to engage the audience and set the evening's tone. These one-act works, often lasting 20 to 45 minutes, originated in the 19th century as a means to fill time while gaslights were adjusted or to provide preliminary entertainment in an era when theater programs featured multiple pieces. A seminal example is Cox and Box (1867), a comic one-act opera by F. C. Burnand and Arthur Sullivan, which served as a curtain raiser and exemplified light, accessible adaptations that complemented fuller dramatic headliners without overshadowing them.^[49]^[18] In comedy, particularly stand-up and sketch formats, opening acts adapt through brief sets of 5 to 15 minutes featuring short sketches, improvised routines, or monologue openers designed to acclimate audiences in club settings. These performances, often delivered by emcees or feature acts, prioritize quick rapport-building in environments like comedy clubs, where improvisational elements allow for spontaneous audience interaction to ease into the headliner's material. Unlike more scripted theater openers, comedy adaptations emphasize punchy, relatable content to transition smoothly into longer sets, as seen in routines that riff on crowd energy before escalating to narrative-driven humor.^[50]^[5] A key distinction in these non-musical contexts lies in how opening acts cultivate specific emotional arcs: in dramatic theater, curtain raisers build subtle tension or atmospheric immersion to prime viewers for the headliner's narrative depth, fostering anticipation without resolution. In comedy, they generate laughter momentum by securing initial responses that snowball into sustained engagement for the main act, ensuring the audience's receptivity peaks progressively. This momentum-building is essential, as early laughs establish rhythm and confidence, preventing a cold start that could disrupt the overall flow.^[51] Venue scale profoundly influences these dynamics, with intimate comedy clubs—typically seating 50 to 200—favoring interactive, low-stakes openers that thrive on proximity and immediate feedback, contrasting larger theaters where formal one-act plays demand precise staging to reach distant seats. Timing is critical, as openers in both formats conclude 10 to 20 minutes before any intermission, aligning with program structures that allow for set changes or audience refreshment without fracturing the built energy; in theater, this ensures seamless progression to the main curtain rise, while comedy clubs use it to maintain pacing across multiple acts.^[52]^[53]

Notable Examples

Breakthrough Opening Acts

One notable example of a breakthrough opening act occurred in 1982 when U2 supported the J. Geils Band on the U.S. leg of their Freeze-Frame Tour, performing 14 dates across arenas in March.^[54] This exposure to large American audiences, where U2 played a mix of songs from their October and Boy albums, helped build their initial U.S. fanbase despite mixed receptions.^[55] Following the tour, U2's subsequent album War (1983) marked a commercial leap, peaking at No. 12 on the Billboard 200 and selling 10.9 million equivalent units worldwide (as of 2025), compared to October's 3.6 million—a more than threefold increase that solidified their path to global stardom.^[56] Another pivotal case was Guns N' Roses opening for Aerosmith on the latter's Permanent Vacation Tour in summer 1988, spanning over 30 North American dates. During this run, the band's performance of "Sweet Child o' Mine" as their set closer generated significant buzz, propelling the single to No. 1 on the Billboard Hot 100 on September 10, 1988, for two weeks.^[57] The tour's visibility contributed to Appetite for Destruction's explosive sales, exceeding 18 million copies in the U.S. by 2018, transforming Guns N' Roses from a rising Sunset Strip act into arena headliners.^[57] These breakthroughs often share patterns, such as leveraging high-energy sets to captivate headliner crowds and capitalizing on timely hits or endorsements for post-tour spikes in media attention and sales. For instance, both U2 and Guns N' Roses experienced viral word-of-mouth from standout performances, aligning with broader opportunities for emerging artists to gain visibility through shared billing.^[4]

Controversial or Memorable Cases

One of the most infamous incidents involving an opening act occurred at the Altamont Free Concert on December 6, 1969, headlined by the Rolling Stones at Altamont Speedway in California. During Jefferson Airplane's mid-afternoon set, singer Marty Balin was punched and knocked unconscious by a Hells Angel acting as security, halting the performance amid escalating crowd violence that included fights and bottle-throwing.^[58] The Flying Burrito Brothers faced similar hostility earlier, with audience members pelting them with bottles, contributing to the day's chaotic atmosphere that foreshadowed the fatal stabbing during the Stones' headline set.^[59] The Grateful Dead, scheduled later, refused to perform due to the mounting unrest and withdrew entirely.^[60] Mismatched genre pairings have often led to controversies, particularly when heavy metal or hard rock openers clashed with pop headliners, resulting in boos and early exits. In 1967, Jimi Hendrix's psychedelic rock set as opener for the Monkees' U.S. tour shocked the young, pop-oriented audience expecting lighthearted tunes; after just a few songs at shows like the one in Jacksonville, Florida, Hendrix faced boos and confusion, leading to his departure from the tour after eight dates.^[61] Similarly, in 1981, Prince's funk-infused performance opening for the Rolling Stones at the Los Angeles Memorial Coliseum drew jeers from the hard rock crowd, who threw bottles and booed him offstage after about 30 minutes, highlighting the stark stylistic disconnect.^[62] Memorable cases of opening acts bombing spectacularly underscore the risks of poor bookings, while some upstaging moments created lasting notoriety. Prince's 1981 debacle, where his androgynous style and high-energy guitar work alienated the 94,000-strong Stones audience, ended with him fleeing the stage in frustration, though it later became a pivotal anecdote in his rise to fame.^[63] Conversely, in 1973, Bob Marley's reggae set opening for Sly and the Family Stone overshadowed the funk headliners with its infectious energy, prompting the tour promoters to drop him amid complaints of upstaging, despite positive audience reactions to his performance.^[64] These incidents illustrate how audience expectations can turn an opener's slot into a flashpoint for debate and disruption.

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Aug 8, 2019 · The American rock festival was dying out, even as it blossomed in Europe. With top acts pursuing their own large-scale tours, where they ...
[25]
The Booking and Etiquette of Being an Opening Band - LiveAbout
Oct 25, 2019 · Becoming a warm-up band or an opening act requires some legwork, but also some basic etiquette once you've landed the gig. Here are tips for doing both ...
[26]
Who's that band? Musicians reveal how opening acts get their gigs
giving the fans their money's worth and giving ...
[27]
Go Pro: How The Live Music Biz Is Developing Artists - Pollstar News
Jun 6, 2018 · While agencies, management companies, promoters and record labels to some degree all deal with artist development, Berklee College Of Music is ...
[28]
Australia's Music Biz Supports Touring Initiative 'Michael's Rule'
May 7, 2024 · A new campaign that would ensure Australian artists are included on all tours by international acts in these parts has been widely supported by the music ...Missing: criteria | Show results with:criteria
[29]
A Brief Look At Live Performance Agreements - The Jacobson Firm
A Brief Look At Live Performance Agreements including some key clauses included in many musician live performance deals.
[30]
How Much the Opening Band Should Make at a Gig - LiveAbout
say $100. So ask around and get some feel for what others in your town ...
[31]
[PDF] BAM! Complete Guide to Contract Riders - Baird Artists Management
Restrictions on opening act (usually requires main artist's approval); b ... The Technical Rider will detail load-in and stage/risers set-up, rehearsal ...
[32]
The Contract Rider for a Concert Tour - An Example
Dec 17, 2024 · Approval of a rider is required simultaneously with contract signing. ... Listing all the transport being used by the music act is a good idea.
[33]
Radius Clauses in Music Performance Contracts - Morgan Lewis
May 7, 2025 · A radius clause is a contractual exclusivity right limiting where a band or artist can perform within a certain geographic area and time period.Missing: non- | Show results with:non-
[34]
Circling radius clauses in performance agreements - Gowling WLG
Mar 13, 2024 · Radius clauses are a form of non-compete obligations commonly found in live music performance agreements.
[35]
The Defining Characteristics of the Perfect Support Set - Flypaper
Feb 13, 2019 · Support slots are typically between 20-30 minutes, giving most artists time for about five or six songs including banter, which you should keep to a minimum.
[36]
In Defense of Opening Acts - PopMatters
Feb 13, 2013 · But opening acts aren't just an annoying sideshow designed to give an unknown label-mate 15 minutes in front of an audience, anymore. Now more ...
[37]
6 Stage Hacks to Engage a Crowd - Sonicbids Blog
Jan 19, 2016 · 1. Use mirroring (do it, and they'll do it back) · 2. Create the illusion of direct eye contact · 3. Even if you're not singing, learn the lyrics.
[38]
How to Engage an Audience at a Concert - Dave Ruch
Mar 17, 2021 · Many entertainers have stage fright like Elvis or Cher. Stage presence begins when you enter the building or room, not when you get on stage.
[39]
How To Be A Great Opening Act - Ari's Take
Jun 20, 2012 · The number one rule about opening is to play a set one minute less than your allocated time slot. Meaning, if you get a 45 minute set, play 44 minutes, pack up ...Missing: definition | Show results with:definition<|control11|><|separator|>
[40]
Tech Specs & Stage Plots for Live Musicians | The MU
Here's some advice on putting together a tech spec before an event, when to send it, what to include, and other technical aspects of your performance.
[41]
Guns N' Roses vs. Nirvana: A Beef History - Rolling Stone
Apr 11, 2016 · We chart the once-bitter feud between the Guns N' Roses and Nirvana camps, which seemed to reach to a peaceful conclusion in Las Vegas on Friday.
[42]
The business of opening acts
Opening acts are typically given shorter sets, less stage space and lighting and lower volume than the headliner, which can make their performance seem shabbier ...<|separator|>
[43]
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[44]
Mustard Joins Kendrick Lamar & SZA's Grand National Tour - Billboard
Apr 1, 2025 · Mustard Is Opening for Kendrick Lamar & SZA on Their Grand National Tour. Mustard will kick off each of the upcoming stadium shows with a DJ set ...
[45]
The Loudest Bands In History: 10 Ear-Splitting Acts - uDiscover Music
Here's our guide to the musicians who have broken down the sound barriers to be rightfully hailed as the loudest bands in history.
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CURTAIN RAISER Definition & Meaning - Dictionary.com
This term literally refers to a short play or skit presented before the main theatrical production. It began to be transferred to other preliminaries about 1940 ...
[47]
To be a warm-up comic is to be a world-class - Backstage
Nov 5, 2019 · To be a warm-up comic is to be a world-class carnival barker. Your job is to convince a crowd that the show they are about to see is the most entertaining and ...
[48]
Why The Opening Stand-up Comedy Act Has The Hardest Job
Oct 16, 2025 · Learn how to succeed as an opening act in stand-up comedy with tips on breaking the tension and engaging a cold audience effectively.
[49]
The Art of the Opening Line in Stand-Up Comedy - Ali Mehedi
Aug 28, 2025 · 4. It Builds Momentum. A quick laugh up front creates rhythm and confidence—for both you and the crowd. Strategies for Writing Great Opening ...
[50]
Comedy Venues vs. Traditional Theaters - comedydotcom.com
Jan 3, 2025 · They tend to be smaller, with a more intimate layout. Seating arrangements are typically closer to the stage, allowing for better audience ...
[51]
Know Before You Go - The Kennedy Center
Intermission: There's a break about halfway through most theater productions. ... There may be an opening act—that is, someone who performs before the main act.
[52]
THE J. GEILS BAND: Tour Dates 1978 – 1984
03/03/82 – Lee County Arena – Fort Meyers, FL – w/ U2. · 03/04/82 – West Palm Beach Auditorium – West Palm Beach, FL – w/ U2. · 03/05/82 – Curtis Hixon Hall, ...
[53]
October Tour - u2songs |
Freeze Frame Tour [Opening for the J. Geil's Band, United States]. In March 1982, U2 joined the J. Geil's Band for a number of shows in the USA. The band ...
[54]
U2 albums and songs sales - ChartMasters
War gets a massive 7,8 million from Under A Blood Red Sky, their live album released during 1984. This latter release managed 9,6 million as an album, with ...TL;DR · U2 original albums sales · U2 physical singles sales · U2 streaming sales
[55]
Permanent Vacation Tour - Wikipedia
Guns N' Roses, notorious for drug abuse at the time, was the supporting act for part of the tour, primarily during the summer of 1988. Aerosmith asked Guns ...
[56]
The story of how Guns N' Roses usurped Aerosmith
Nov 21, 2022 · During the tour, Guns N' Roses began getting attention for 'Sweet Child O Mine', a song which helped propel the band's fortunes. Each night, the ...
[57]
The Rolling Stones Disaster at Altamont: Let It Bleed
Jan 21, 1970 · With four dead and a mess at Altamont, Rolling Stone tries to get to the bottom of what really happened at the festival.
[58]
55 Years Ago: Tragedy at the Rolling Stones' Altamont Concert
Dec 6, 2019 · Their set was plagued by turmoil from the very start. Mick Jagger had been punched by a fan upon disembarking from the band's helicopter, and in ...
[59]
The Chilling Story Behind The Altamont Concert That Killed The ...
Dec 6, 2015 · On this day in 1969, an overcrowded, poorly-managed concert at Altamont wound up putting a major strain on the 1960's counterculture.
[60]
Jimi Hendrix drops out as opening act for The Monkees - History.com
Hendrix himself appears to have had no direct input on the decision, though he'd made his opinion of the Monkees clear several months earlier in an interview ...
[61]
On This Day: A Future Rock Icon Opened for the Rolling Stones ...
Oct 9, 2024 · When future rock icon Prince opened for the Rolling Stones in L.A. in 1981, he got booed offstage before he finished his set.
[62]
TBT: When relatively unknown Prince was booed off LA Coliseum ...
Apr 21, 2016 · Prince, who would release his fourth studio album 'Controversy' just days later, did not fare well. Within 15 minutes, he was booed off stage.
[63]
10 Unbelievable Times Opening Acts and Headliners Shocked Us All
Dec 20, 2024 · These surprising opening act and headliner combinations remind us that music is an ever-evolving tapestry of sounds and styles.