Soaring costs, sparse crowds, and climate guilt—is this the end of the road for outback tours?
Australian musicians are sounding the alarm on regional touring’s unsustainable future—where last-minute ticket surges barely offset the financial gamble of playing remote shows.
Folk artist Kim Churchill recently risked losing $5,000 on a Cairns gig, only to break even two hours before doors.
Meanwhile, punk veterans Frenzal Rhomb and indie stars like Thelma Plum juggle gruelling logistics, climate concerns, and sparse crowds—all for the rare magic of connecting with fans outside cities.
Despite high-profile tours (Amy Shark, Northlane) and festivals like Spilt Milk landing Kendrick Lamar, artists face a broken model: presales are dismal, costs are soaring, and audiences increasingly wait until the final hour to commit.
“It’s gambling,” admits DZ Deathrays’ Simon Ridley, whose Bundaberg show sold out last-minute—while Albury cancelled entirely.
Yet for artists like Thelma Plum, the payoff—like inspiring young Indigenous fans—makes the risk worth it.
As festivals pivot to DIY sustainability and algorithms drown local music, one truth remains: regional touring is both a lifeline and a leap of faith.
