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louisupdates · 2 days

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Louis Tomlinson, The Greatest: LIVE From London (17.11.2023)

videos courtesy of elillyats IG and Joshua Halling, edit by @louisupdates

FULL SONG ON SPOTIFY:

MASTERPOST

#the greatest: live #fitfwt23: london #louisupdates #louis tomlinson live #27.4.2024 #louis tomlinson

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seasurfacefullofclouds1 · 4 months

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Is this ineffectual management in the room with us? Louis and Matt Vines have been hamstrung at every turn: being blacklisted by radio, festivals and reviewers in the UK and US, being saddled with a Sony selected PR agent who seems more interested in Louis’s ability to wipe Harry Styles ass whenever he shits himself in public than providing opportunities to promote Louis. P op Despite that they have steadily built Louis career. They have had to think outside the box and outside traditional markets to do it. But they have done it, increasing his sales (not streams but then streaming is unlikely to make them money anyway) and the crowd sizes at his shows. There is also a high standard to everything they do. There will probably be an upper limit to what they can achieve that way but it’s still a creditable performance.

I’m sorry but Matt Vines and Louis have squandered so many opportunities that his fandom handed to them on a plate.

They did nothing to encourage streaming of Walls music videos, nothing to promote Walls after the album was released, nothing to promote Faith In The Future after it was released except a digital album to increase sales to existing fans.

Louis was invited to livestream Walls with Tim Burgess in April 2020. Nothing happened.

The fandom brought Walls to iTunes #1 worldwide in October 2020. Did LTHQ hold any streaming parties or promote the album in any way? They let the opportunity go. Nothing was written about it. No interviews. No media releases.

Project Defenceless— fans got iHeart to play Defenceless eight Saturdays in a row. There was absolutely no follow-up and no acknowledgement.

I’m not even going to regurgitate LTHQ’s screw-ups with 1. Telling UAs to tell followers to stop streaming Walls in the middle of release week, 2. Not knowing Billboard’s bundling rules days before Walls released, and having to change fans’ pre-orders so they wouldn’t be invalidated (a UA spotted the mistake), 3. Causing all Amazon and Googleplay Walls pre-orders to be canceled merely days before Walls was released, 4. Not having enough hard copies of AOTV DVD on hand to get FITF charting when it was released, 5. Not publicizing either Live From London or AFHF 2021 in any music publications, 6. Announcing AFHF 2023 two months before the festival, with hardly any time to plan airfare and accommodations, 7. LTWT22: Asia— no lithos, no merch, nothing acknowledging this leg even exists on Louis’ merch site, 8. Rinse and repeat the terrible treatment of Asian fans… FITFWT23: Asia— what the fuck happened? Why did Louis even go to Japan only to cancel tour, and give no explanation to thousands of fans who had booked plane tickets and hotel rooms? They deserve an explanation. 9. The potential for Written All Over Your Face to be a viral single?? To take off on Instagram and Tiktok? And they just let it die.

As for Simon Jones… I have no idea why he’s still around, but how do you know that the reason is Sony? And if not Sony, Jones is possibly the worst person for Louis’ brand— so why does Louis keep him? Louis does feel comfortable with “the devil you know,” but this is a bad reason to keep Jones’ smirking face around. The best thing Louis and Matt Vibes did in terms of marketing is to assign 28 Clothing to a different company.

I do agree that Matt Vines is the cautious naysayer who balances out Louis’ unbridled optimism, and he has applied the strategy he uses for Hurts to Louis— but Hurts and Louis are not the same type of artists, and Louis isn’t going to tour to 30-something guys who think they’re into niche music. If he aspires to music management or a music label, how will Matt Vines get him industry street credit?

One way is what we’re seeing right now— Louis playing festivals. Louis needs to earn that respect from fans on a one-to-one level. Media are already biased against Louis in most markets. He’s not headlining every festival, which (I think) is a good thing. He needs to prove himself, to prove that he put in the time, put in the work, and deserves those Rolling Stones or Brits or MTV nominations and awards. In a way, playing festivals is a bigger challenge than touring, and Louis is much more ready now compared to when he played iHeart in 2017, or Hits Live or CCME or Telehits in 2019. He is up to the challenge.

I will also agree that Matt Vines has ensured that Louis’ work is always presented with beautiful aesthetics and high production value. His albums will always sound gorgeous. His tours look meticulous. Louis himself is extremely disciplined. But I attribute this more to Louis’ eye and perfectionism than to Matt Vines.

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zainmalik · 6 months

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you tagged me somewhere but I can't see it 😭😭😭

!!!!!!!!!

#ask #answered

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louisupdates · 6 months

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