(Credits: Far Out)
As humans, it’s in our nature to be self-centred. It’s why we often have to check ourselves before we say something overly privileged and why we feel bad when we suddenly realise how narrow our worldview is. This is, of course, a privileged view in itself and one that centres around the idea that our personal experiences are shared by all when, in reality, that’s far from the case. Just ask Nina Simone. Or anyone that’s ever been blindsided by what others deem a “world tour”.
“I’ll tell you what freedom is to me. No fear,” Simone once proclaimed, tapping into the notion that to be safe is to live in a world without threats. Real, legitimate ones, at least, where the focus is survival or immediate challenges where luxury runs water-thin. The point is, with our increasingly fragile and far-removed ideas of everyday life experiences, we often forget about the other half, the ones where accessibility isn’t a given and art comes at a higher price. Literally.
The concept of world tours—or their expansiveness, at least—probably isn’t something that’s been questioned or challenged all that much, especially for those of us living in places where residencies or frequent tour runs are accessible. If you’re in a major city or a Western country, it’s likely a given that, at some point, your favourite artist will announce a tour date somewhere near you. Sometimes, we even feel frustrated at the idea of having to travel more than an hour to see them.
Therefore, it’s easy to generally assume that a “world tour” encompasses the whole world because, for us, it does. In reality, however, most of the time, this only usually represents a handful of places, typically North and South America and Europe, and sometimes parts of Australia. More often than not, these areas take priority, leaving out entire regions like Asia and Africa.
From the privileged perspective, it’s easy not to care about this fact, especially if, as we’ve established, you’re from a country that regularly hosts tour dates. It’s easy to be aware of the different monopolies certain markets hold and feel indifferent or disconnected because that’s just the way the world works or because it never means we’ll be affected by such commercial ostracisation. But for those in overlooked places, it isn’t just about inconvenience but reflects how much live events are shaped by societal demand.
In that case, a “world tour” is rarely actually ever a world tour by definition and often leaves legions of fans feeling left out and only connected to their favourites through screens, rarely actually in person. There are also significant industry siloes that restrict certain communities to specific regions, like some of the biggest live ticketing organisations, which make it harder for promoters to bring certain acts to other parts of the world.
While this is not new and certainly doesn’t show signs of drastically changing any time soon, there have been some discrepancies in recent years, with more organisations looking to improve accessibility across the board. However, this remains more stringent among artists themselves, with the onus falling heavier on events like festivals when it comes to offering an array of talent in markets where such opportunities are more sparse.
For instance, Lollapalooza began expanding its international strand in recent years, reaching places like China, Brazil, and, more recently, India. The first-ever Lollapalooza India debuted in 2022 and drew in somewhere around 60,000 fans, many of whom experienced their first-ever live performances by some of their all-time favourite artists. This year, this number remained consistent, demonstrating its significance as a legitimate tour stop for major and emerging artists.
However, while some artists are independently bringing their shows to these places, the hurdles to getting them there remain intact, mainly concerning logistics and organisational control. After all, for some of these artists, there’s no denying the demand is there, but the need to roll out a smooth-sailing process sometimes outweighs the pull. That’s not to say that makes it OK. Rather, some artists prioritise profits and costs connected with more immediate markets with fewer potential pitfalls.
And then there are the added issues that come with broader, more culturally ingrained alienation. For instance, certain pockets of the Western world are trialling “no phones” policies at their shows, which, despite the obvious advantages, serve to push aside fans who will likely never get a chance to see their favourite artists live. Not only does it remove the ability to catch content online after the fact, but it also shoos them away from the conversation, leaving them disillusioned with figures who once brought them comfort.
Still, perhaps we’re heading somewhere more promising, especially considering the increased need for discussions around diversity and accessibility. We’re a way off ever calling most world tours a “world tour” and actually meaning it, but maybe one day, we’ll all be able to share our experiences as one and feel even more connected and aligned than we ever anticipated. Or maybe that’s just another short-sighted privileged statement in itself.
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