By Bree Davies
By Emerald O'Brien
By Gina Tron
By Jon Solomon
By Drew Ailes
By Courtney Harrell
By Kyra Scrimgeour
So, to what do we owe the influx of warmed-over glam-metal and other mediocre shows that flooded the city all season long? Morreale says a contract the three promoters signed with the city -- a seven-year deal that requires each to place at least twelve shows into Red Rocks each year -- had something to do with it, as did a general climate of competition for competition's sake, in which promoters hesitated to leave a building empty when a rival's was full.
"I think every night there was at least one or more things to do, and that's just too much," he says. "You've got Clear Channel and the new building they had to put shows in, and Fiddler's, and the Fillmore, and we had our commitment to the city. That's a whole lot of stuff to bring in."
"Promoters don't like to say no to acts," Morris says. "There are so many interwoven relationships. I think we all got a little careless when it came to that. And I suspect, next year, everyone will be a little more careful. You have some artists who are bigger than life -- Bob Dylan, Tom Petty, Bruce Springsteen -- where you could be in a depression and we'll do well. But in this economy, unless a show is some kind of event, it's just not going to do as well as anyone would like."
Fair enough. But next year, gentlemen, please go easy on the cheese.