Some people are also wondering why an exclusive contract for a city-owned venue was even discussed without input from competing businesses or the public.
"I think in a city venue that everyone pays for -- and one that everyone is about to pay a lot more for, with the construction projects coming up -- it does not seem right to just take it away and give it to one company without even giving the others an opportunity to bid," says Jesse Morreale of, yes, Nobody in Particular Presents.
If Clear Channel's deal goes through, it will mark the first time that a promoter has officially enjoyed preferential booking at Red Rocks. (Clear Channel has a similar arrangement with the Pepsi Center.) During the '80s, Barry Fey's Fey Concerts laid virtual claim to Red Rocks simply by dint of being the only promoter in town with the muscle to move major acts through the venue on a regular basis. But while Fey certainly used Red Rocks as a weapon against then-rival MCA -- which built Fiddler's Green, a venue comparable to Red Rocks logistically, if not aesthetically -- he never had a contract with the city that guaranteed exclusivity at Red Rocks.
"I think there was a general feeling and belief throughout the industry that Red Rocks was Barry's, and I think Barry kind of fueled that," says Morreale, who worked for Fey Concerts for two years. "There were deals in place that were available to any promoter who brought a lot of shows through. Kind of like volume discounts. Like, if you do ten shows, you might get a rebate on some of your rental costs. If you do twenty, the amount of the rebate goes up. But it was never an exclusive arrangement at all."
Clear Channel and the Denver Division of Theaters and Arenas reportedly brokered the deal after city officials became worried that the City Lights Pavilion, the tentlike structure scheduled to open in the parking lot of the Pepsi Center next spring, would suck business from Red Rocks -- both in terms of bookings and ticket sales. (Although the Pepsi Center is located inside Denver city limits, it isn't owned by Denver; despite its Morrison address, Red Rocks is a Denver asset.) To make sure the city doesn't suffer (and also doesn't oppose City Lights), Clear Channel will agree to book X number of shows per year at Red Rocks -- around thirty to forty, according to statements made by Chuck Morris, senior vice president of Clear Channel Entertainment for the Rocky Mountain Region.
Without question, it must seem like a fine deal to both parties: The city ensures that the beautiful amphitheater has plenty of music-loving bodies coming to warm its ruddy sandstone seats, while Clear Channel makes certain it can book an artist into the venue anytime it likes. (Other promoters can request Red Rocks dates, but they must give the city -- and Clear Channel -- 48 hours to exercise a first right of refusal.)
But for anyone outside of those two parties, especially NIPP and House of Blues, it looks like a raw deal. While neither promoter currently uses Red Rocks nearly as often as Clear Channel, they both want the opportunity to do so without first gaining the approval of their sworn foe.
Fortunately, it is not a done deal: City officials, including Councilwoman Elbra Wedgeworth, have promised to look into whether other promoters should have been allowed to vie for a similar contract. Often when a city department enters into a business arrangement with the private sector, it requires approval by the Denver City Council and at least some discussion among its members, if not a public hearing; there is certain to be plenty of discussion over this.
At the very least, the city should consider what effect this arrangement will have on its own entertainment calendar: Theaters and Arenas currently books a fair portion of the fare at Red Rocks, including the great Film on the Rocks series and the Mayor's recent Jazz on the Rocks event. Technically, Clear Channel may have the ability to bump the city from its very own venue. Maybe someday Clear Channel can program the carillon high above the City and County Building, too.
Speaking (at length) of Red Rocks, those who heeded a warning that it would be reduced to rubble following Tenacious D's performance last Friday (with Robert Walter's 20th Congress, Galactic and Ween) will be pleased to know that the place is still standing. But it might be forever changed. At the conclusion of their set, Jack Black and partner Kyle Gass offered the audience one last glimpse before sauntering off stage: To the encouragement of a banner-waving crowd, they dropped their drawers to reveal ample, appreciative asses. It wasn't pretty, but it was a thing of beauty in its own way. (And yes, I'm aware I flubbed last week: Tenacious D was on HBO, not Comedy Central. Sorry. I haven't had cable since the '80s, and most of my D viewing has been during Manilow moments in front of friends' VCRs. Can someone please pass the Doritos?)
The annual Rock Out Aids! benefit often amounts to one of the calendar year's more exhaustive local music events. This time, the Soiled Dove's Sharon Rawles has squashed some of the city's pluckiest rock and pop bands into two nights of music. The lineup for Friday, August 31, includes Carolyn's Mother, Matthew Moon, Rubber Planet, Bushtic, Liz Clark and Battery Park. (That last band competed in, but, alas, did not win the Jim Beam Rock Band search at the Gothic last Friday night; the title went to Milwaukee's Green Scene.) The following night, Westword Music Showcase winner Ryan Tracy Band, as well as Tinker's Punishment, You Call That Art?, Xiren, Newcomers Home, Kristina Ingham, Book of Runes and Lauren Bromberg, take the stage during the charity event.