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Few bands in the world of contemporary Christian worship can match the rare combination of radio-friendly accessibility and profound spiritual depth that this Florida-born collective achieves. Since their 1999 formation, they have turned mobility-grounded singalongs into arena-filling anthems — that is, if you're lucky enough to even get a ticket to one of their concert tour performances.
The way the band crafts lyrically rich and theologically dense songs that address the common yet complicated spiritual struggles believers encounter, and their clever ability to pen messages that are as relatable as they are radiantly clear, rightly earns them a great deal of admiration. But way more to the point, between the charming raspy timbre of frontman Mark Hall's voice, the band's lush harmonies, and their always-precise instrumentation, the band just flat-out can play. Indeed, to borrow an old saw, you can take a Christian music fan to the Filene's Basement section of a local mall, leave the person in a dressing room with lyrics from a song (any song) the band plays, and if that fan is half-smart and three-quarters kind, the person will leave the mall with a ticket to the next Casting Crowns show.
And anyone who has been to a Casting Crowns concert... The production values have improved substantially. They now feature an intricate design of lighting and visual elements, which accentuates their spiritual message. Tour announcements send ripples of fevered anticipation throughout the Christian music community. When the dates come out, tickets often sell briskly. Casting Crowns are a major draw, even as many of their similarly popular peers in Christian music have eschewed traditional touring to become "destination concerts" at Disney World or similar retreat-type spaces. They've stayed on the road. And their particular act of connecting with an audience has not lessened one bit. Their so-called gathering happens just as it always did in the format of a "Praise and Worship Service." Yes, if you're someone who likes stage banter, maybe these guys do a bit too much of it. But it's all done with a sincere spirit, and with a substantial connective tissue called "family" and "faith."
Hall, in fact, turns this concert into something resembling a family conversation. The production balances technical intricacy with spiritual integrity, ensuring that the visuals — whether stage set or lighting — enhance rather than distract from the worship experience. The multiplicity of stages throughout a given stadium or other large venue very often will have been designed as if the steps of a multi-act play from the Old or New Testament, with meaningful lighting that also does the work of traditional visual art in rendering the appearance of deep space. The sound systems prioritize pure tones for reasons beyond that of the traditional rock concert: The sound system is rendering the lead voice and the band's instruments in concert for the benefit of many thousands or even tens of thousands of bodies. And the visuals, now rendered in three dimensions across the space of the stage, aren't just about making the words and the music more at home. They are about doing it with a heck of a lot more verisimilitude than a recording could ever achieve.
The marketplace operates on a fan-to-fan model, prioritizing not only security but also transparency — ensuring that if people shell out for tickets, they really do get in. Two words neatly covering this assurance: buyer protection. And when tickets sell out and people still wanna go, there's always the possibility of paying a premium in the third-party domain. Whenever that once vaguely disreputable domain was brought up, it used to be in an attempt to preview some sort of Biblical apocalypse — that's how bad it was painted by those who would have you and your iPhone in Launch Countdown mode for the next time money goes on sale. "You really don't wanna know what happens next, kids, in the realm of unauthorized ticket resellers" — that was the basic vibe. Now what if we reframe this fan-to-fan model with the marketplace a little bit? Or even the next time we feel like paying a visit to the semantic triangle (three terms: security, transparency, and... what's the third?). All this is in honor of live performance's integrity, okay?
Mark Hall's leadership goes beyond merely directing the music. It extends into the realm of the spiritual, where his background as a pastor influences both the songwriting and the performance. This pays off for the band, which remains stable — a miraculous development in this market, where change is the only constant. As divas, pop stars, and pure-rock acts retool to survive the celebrity onslaught, "ordinary" church folks can still depend upon Casting Crowns to deliver powerful music that speaks to their personal spiritual battles.
Indeed, Casting Crowns' discography has become a modern worship "greatest hits" collection, with anthems that get the faith put to music in ways that are both creative and penetrating. Songs like "Praise You in This Storm" and "Who Am I?" are so "across the board" in their expression of common, biblical themes that you could hear them in any number of churches. And with the clarity of Hall's sings-as-he-talks voice and an ensemble that blends their talents in such an accessible way, the Crowns go home while also taking the listener on the faith journey with them. The record showed off the group's skills at creating worship music that could function equally well in concert arenas and Sunday morning services — a rare kind of versatility that seemed to mark them out for an even wider sphere of influence.
In "Thrive," the group's most recent studio album, they explored the idea of living a fulfilled, spiritually vital life. With those kinds of themes, the sounds of the Crowns seemed to have a kind of appeal to lead one to the good, old-fashioned idea of living an honest, authentic Christian life. The kinds of songs on the album were the sort that journeyed right to the edge of emotional territory: challenging their listeners to make a deeper kind of commitment while also allowing for a patina of grace to cover the idea that the kinds of struggles we should have as humans in this life are also covered by the grace of God.
This assurance guarantees that your purchase is an actual increase in the total number of concert-goers and not an addition to the unfortunate recipients of the "Sorry, we're sold out" speech at the event's entrance. Fraudulent tickets affect both fans and performers. They create a ripple effect of "fake" shows held at the expense of both the real act and the real fan. The live music industry loses about $ 2.3 billion in value every year to counterfeit concert tickets, according to a 2011 study by the Digital Ticketing Association. "It's a dangerous game," says Michael Rapinoe, CEO of Live Nation, the largest global concert promoter. "You're messing with the passion of music fans and the intimacy of the live music experience because if you've got that many fake tickets, then you've got that many people using fake tickets and places [in the building] where those fans think they are." That's why the main platforms of the industry emphasize pay-to-play as a low-risk proposition for the act that will actually appear as advertised.
For performances in high demand, it's often preferable to get your tickets early if you want to go. The longer you wait, the less likely you'll have a legitimate chance of securing them (much less at a reasonable price). So when you see "On Sale" and "Selling Fast," my advice is to take it as a warning sign unless you're pretty certain you can hustle and beat the odds. On the other hand, if you're trying to get those tickets, you're already ahead of a lot of other people. Ticketmaster, of course, has been the go-to "official" source.
Generally, concerts held in large arenas (like those used for basketball or hockey) as opposed to theaters or concert halls, where seating is more limited, will have a larger number of low-cost tickets available since they must serve a large number of people. When it comes to seating, the places where fans are almost directly in front of the performer will be the most expensive, and these can cost hundreds of dollars more than the tickets located in seats that are far back or to the sides of the stage.
The tickets that have the highest average cost and the most resale value are those that are for the following few types of events: concerts by hugely popular bands, especially ones that are reuniting after being apart for a while; Cirque du Soleil shows; and fights featuring noteworthy top athletes in either boxing or mixed martial arts.