TORONTO – JP Saxe, the Toronto-based singer-songwriter, is expressing concern over the potential cancellation of his upcoming concert tour due to disappointing ticket sales. The artist, who gained fame with his 2019 hit single “If the World Was Ending,” featuring Julia Michaels, took to social media to convey his message to fans, shedding light on the financial challenges faced by musicians who are not at the peak of commercial success.
Saxe is known for his consistent output of popular music, including tracks such as “Hey Stupid, I Love You” and “I Don’t Miss You.” However, he revealed that if he does not sell “20 or so thousand tickets” for his upcoming “Make Yourself at Home” tour within a 48-hour timeframe, the tour is likely to be scrapped. This candid admission reflects the harsh realities of the music industry, where even artists with established followings can struggle to maintain their touring schedules.
His original post has gained significant traction, amassing 1.5 million views on TikTok and over 10,000 likes on Instagram, indicating a strong level of engagement from his audience. JP Saxe is scheduled to perform at more than 25 venues across North America, with notable stops in major cities such as Toronto, Montreal, Ottawa, Edmonton, Calgary, and Vancouver. Ticket prices for the tour are set to start at approximately $50, aiming to make the shows accessible to a wider audience.
In a follow-up video shared on Tuesday, Saxe showcased a crowd enthusiastically singing along to his song “A Little Bit Yours,” bolstering his hope for the tour's future. In this post, he conveyed a message of optimism, suggesting that there remains a chance for the tour to be salvaged: “I thought it was impossible, but there’s a chance you’re saving this tour.” This sentiment highlights not only his appreciation for his fans’ support but also the critical role that audience engagement plays in the viability of live performances.
The situation underscores the broader issue confronting artists in the current music landscape, where ticket sales can fluctuate dramatically, affecting the overall sustainability of concert tours. While Saxe has garnered recognition for his songwriting and vocal talents, the pressure to sell a substantial number of tickets is a stark reminder of the competitive nature of the industry.
The Canadian music scene continues to evolve, and Saxe's candid approach to discussing his struggles offers a glimpse into the realities faced by many artists trying to connect with audiences and navigate the challenges of touring. With the ticket sales window narrowing, his appeal to fans illustrates the interconnectedness between artists and their supporters in the live music ecosystem.
