First Published July 2014
FOR BROOKS SAKE
Firstly, as the last chance of any possible resolution to the GARTH BROOKS concert fiasco finally fades away into an epic failure of Craggy Island proportions (minus any funny side!), and the nightmare scenario of complete cancellation begins to unfold, let me be straight up about the fact that I still write this piece as a Garth Brooks fan.
Have always been one and will always be one.
Secondly, let’s be clear about this, also: no-one in their right mind is suggesting that this is a disaster such as the Stardust tragedy say, or a wrongdoing akin to Bloody Sunday. Of course not.
However, in the context of what this could have been, what it was planned to be, and what it has now become, this certainly is an unmitigated disaster and a mess-up of unrivaled folly.
A shortage of time and space mean I can only touch on some aspects of this crazy episode today, but as the fall-out begins there are some points which, I for one, feel must be made.
From the moment this shambles of a century first blind-sided our summer, far too many people have been quick to take aim and open fire on both Brooks and Aiken Promotions, painting them as everything from greedy to petulant to irresponsible. Exactly the kind of outbursts you’d expect when people engage their mouths before involving their heads – or enough of the facts – in any part of their thought construction process.
One ‘ramble’ worth dismantling is the notion that Brooks should somehow have been happy to play three shows and just get on with it, because it was only two to begin with anyway.
Listen folks, Garth Brooks didn’t ride into town and demand Croke Park for five nights. Tickets went on sale for two and when he heard that those had sold-out but there were still many more fans that had missed out on tickets, he simply said, well, let’s play for those guys too! And that’s what happened with shows four and five as well. The fans wanted to see him, and as long as they did, he wanted to play for them. Simple.
Brooks wasn’t making demands, he was in-demand. Big difference. Famously, Brooks spent twenty-three hours shaking hands and signing autographs for fans at Fan Fair in Nashville in 1996. He waited until every last fan who had queued up to see him and say hi had done just that. Brooks, you see, doesn’t just talk about taking care of his fans, he follows through. Hence his problem with not being able to treat all ticket holders for these shows the same way.
Remember too, that this was not Peter Aiken’s first rodeo. He has, working within the constraints of the licensing system as it stands, brought stars like Springsteen, Young, Dylan and more to our shores. The man is a professional whose reputation for doing things right has been hard-earned and is well deserved. To always wait for a license to be granted before putting tickets on sale would have one sure and certain result, that of Ireland fast becoming a venue of little interest to big acts. Big acts need to plan ahead. You can’t plan ahead if you have to have every last i dotted and t crossed before the wheels start turning. Not as things stand at the moment. If no big acts were able to work Ireland into their plans, you’d have the very same people now hollering that no tickets should have been sold without a license, screaming for an element of flexibility so that Irish fans wouldn’t miss out.
This has never happened to Garth Brooks before. It’s never happened to Aiken Promotions before.
So, what other variables are involved here? The G.A.A. (who knew they had an agreement with local residents), Dublin City Council (fronted by a man who once sanctioned the build of a cycle track around a roundabout!), and the residents groups (whose complaints have now been determined to include up to 40% forgeries).
Looking for someone to blame for the shambles of a century? Don’t look at Garth Brooks or Peter Aiken, folks.