I landed at Newark yesterday after three weeks in Asia, and let me tell you, I was not expecting the first thing I smelled on American soil to be smoke. It wasn’t the good kind; nothing like a late-night barbecue spot on a side street in Tokyo, which, by the way, is one of those great smells on earth. This was thick, heavy, the kind that settles in your chest and makes you think twice about every breath you take outdoors. By the time we cleared customs and were waiting on the train platform to head into the city, the skyline of Manhattan was sitting behind a wall of orange haze. The social media posts on my phone were running wall-to-wall coverage of what Canadian wildfires were doing to the entire eastern half of the United States.
I want to pause for a second before we get into what this means for our industry, because the story behind the smoke matters. Just four weeks ago I was standing in the woods of northern Ontario with my family on our “Canadian Moose Hunt Tour”. We were breathing in some of the freshest air I have ever tasted, searching for moose and finding the kind of peace and quiet that the road rarely gives you. The people we met up there were warm, the land was beautiful, and nothing about what is happening right now was even on the radar. Now those same woods are burning. Entire communities in northwestern Ontario have been evacuated and families have lost homes and in some cases everything they spent a lifetime building. To everyone we met on our Canadian trip, we are thinking about you and hoping you are safe.
Now, back in New York City, I had about 24 hours stuck inside my hotel before the air improved enough to move around. So I caught up on work, caught up on sleep, and started readjusting to a time zone that does not involve the sun coming up at 4:30 in the morning. We had a day of walking and sightseeing planned, but the unsafe air derailed the plan. It wasn’t that I had to see New York City; heck, I was born here. The Lower East Side is (sort of) where my whole career started, and there is something about being back on those streets that hits different every time.
When finally safe to venture out, we wound up at Katz's Delicatessen on Houston Street for what I will unscientifically but very confidently call the greatest meal on earth. Corned beef sandwich, fries, a knish. If you know, you know. If you do not, fix that immediately. After dinner I walked past Mercury Lounge just down the block, and there was a line of ticketholders already snaking down East Houston waiting to get in. And I stopped. Because I have stood outside that room and rooms just like it for the better part of 30 years, and that line still does something to me. It reminded me of who I was before I had any bit of success in this dogfight of an industry.
Around the corner from the club line, something cool occurred. I ran into a group of young guys in the parking lot, clearly a band with guitars and cases sprawled about. Watching them while waiting on our car, it was obvious that they had just finished a set somewhere on the block. I asked them half-jokingly if they could use a TM (a “tour manager”). They laughed, and it opened up a whole conversation. Turns out they are called Ceviche With The Boys, a Long Island-based comedy pop punk band trying to find their footing in the scene, playing the kind of small rooms that shaped me as a booking agent, hustling the same way every act that has ever made it in this business has hustled. I told them what I did, where I came from, and how I used to hop from club to club on these same streets showcasing my artists and signing new ones just like them. Wearing my typical Degy t-shirt, we exchanged information. I still have their card somewhere in my pants pocket and intend to give them a follow.
The Mercury Lounge, the Bowery Ballroom a few blocks away, the famed Bitter End on Bleecker, the now-closed Lion’s Den, and Arlene’s Grocery, these rooms are not just bars with stages. They are a cornerstone piece of my first chapter in this music business. Did you know that Sara Bareilles played Rockwood. Mumford and Sons came through these rooms before most people outside of the UK knew who they were. And how many superstars made a stop in The Bitter End? The pipeline that runs from a 250-capacity club on the Lower East Side to an amphitheater, a fair stage, a military base, or an arena has not changed in my 30 years in the biz. It still starts here, with a line of ticketholders on a Friday night and a band loading their own gear through the back door. I needed that reminder after three weeks on the other side of the world, and New York delivered it.
Speaking of cues, it turns out the week I flew home may have been one of the most consequential weeks of the year for outdoor live events in the Midwest and Northeast. Let's get into it.
Let's pick up right where Edition 6 left off, because last week we spent a lot of time talking about what extreme weather does to live events. We covered stage collapses, typhoon protocols, heat cancellations, and evacuation procedures. We talked about lightning and rain and wind. What we did not talk about was smoke. And this week, smoke is a big part of the story.
By Thursday, July 16th, more than 100 million people across 18 states were under air quality alerts stretching from the upper Midwest through the Northeast and into Virginia. Michigan got the worst of it; and you know where I’m heading this weekend?!?! You guessed it; to prep for two Morgan Wallen stadium shows next weekend at the Big House. Detroit recorded an AQI reading of over 700 at one point Thursday morning, which the Detroit News reported as the highest level in the state since the monitoring began in 1999. I’m not a scientist or weather guy but putting that level into context: anything above 300 is classified as "hazardous." Detroit was more than double that, while Toledo and Milwaukee were also above 500. The air was flat out, dangerous.
Pine Knob Music Theatre in Clarkston, Michigan had two consecutive nights wiped out. John Mellencamp's Dancing Words Tour date on Wednesday night was called off after public health authorities weighed in and the venue shut everything down. The following night, Hank Williams Jr. was rescheduled from July 17th to August 13th. Two nights in a row at one of the best outdoor sheds in the country, gone, not because of rain, or a tornado, but because the air itself was a health hazard. Last week we spoke about talent buyers, promoters, and the industry needing to be ready for the unexpected, and here we go again.
The cancellations spread outward from Michigan across the region. Alanis Morissette's date at Soaring Eagle Casino in Mount Pleasant got pushed. Creed's sold-out night at Mystic Lake Amphitheater in Minnesota moved to September. Shakey Graves at Frederik Meijer Gardens in Grand Rapids was backed up to September 18th, with the venue citing "unprecedented air quality levels." The Detroit News coverage documented the full scale of what smoke did to concerts, festivals, and outdoor programming across the state, and it was not a short list.
This week adds to what we talked about in Edition 6: the list of natural disruptions capable of shutting down an outdoor show is longer than almost anyone's standard contract language reflects. We have been building playbooks for lightning, rain, extreme heat, and wind. Now add smoke.
While the Midwest dealt with hazardous air, the touring calendar kept moving. Hudson Westbrook announced his first headlining run, the "Hits Me Tour." Westbrook crossed 1.5 billion global streams in under two years, became the youngest male country artist to earn a solo number one on the Mediabase country chart with "House Again," and was nominated for ACM New Male Artist of the Year in 2026. The fair and festival programmers are hopefully tuned into this artist.
On the pop side, Shania Twain (remember her?) dropped her seventh album "Little Miss Twain" this week. She tied the rollout to a one-night-only, 500-capacity show at the Horseshoe Tavern in Toronto on July 17th, a nod to her Ontario roots and bar-band beginnings. For those booking corporate events, casinos, or outdoor fairs, let’s hope Shania is willing to come back out for some of her renowned live appearances.
And then there is the return that hip-hop has been waiting on. Young Thug, after 900+ days in custody, announced the "New Generation Tour," his first headline run in over six years. It runs for 19 North American dates before heading to Europe. Whatever you think about the years between his last tour and this one, the demand is real and the routing is ambitious.
The first act I want to flag this week is Mitchell Tenpenny. He just extended his “Speed of Light Tour” into fall with new dates announced this week, and if you are a talent buyer who has not seen his live show, you are sleeping. Tenpenny is one of the most electric performers working mid-level country touring right now. His fanbase is loyal, his ticket sales are consistent, and he plays with an energy that translates from a House of Blues to a fair stage to a casino amphitheater without losing anything.
The second artist I want on your radar is Ingrid Andress. Her “Nowhere Else To Go Tour” was announced this week, and the routing tells you everything about where she is right now: club-to-theater level, with a Mercury Lounge date in New York City on the schedule. That is not an accident. That is an artist rebuilding with intention, playing the same kind of rooms I was standing outside of Thursday night, earning every audience she gets. Andress is one of the most gifted songwriters in Nashville and her voice translates live in a way that a lot of acts with big streaming numbers cannot match. PAC programmers, corporate event planners, and college buyers should be taking a close look while the routing is still accessible.
We have covered a lot of ground in this blog, from Pine Knob smoke cancellations to NYC club culture to a Young Thug comeback tour. But the Top 5 is reserved for artists who have not appeared anywhere else in this edition, acts that are ready right now and deserve to be on your booking shortlist for fairs, festivals, colleges, corporate events, and military shows. Here they are.
Number one is Thomas Rhett. I will be heading to Ann Arbor shortly to support Michigan Athletics at the Big House, where Thomas Rhett is opening for Morgan Wallen at one of the biggest stadium shows of the summer. That is the kind of co-bill that reminds you why TR belongs in every serious fair, festival, and amphitheater conversation. His Soundtrack to Life Tour is actively routing through the fall. Diamond-certified, eight ACM Awards, one of the most polished live productions in mainstream country. If you have been sleeping on this booking, the Ann Arbor stage will wake you up.
Number two is The Chainsmokers. We just locked them in for a major Texas college show this October, and if you have been watching what is happening with their audience right now, you know why. The Chainsmokers are in the middle of a real resurgence with the college demographic, reconnecting with the crowd that first made them a phenomenon a decade ago. EDM-leaning colleges, Greek life events, corporate buyers, and outdoor festivals should all have them back in your programming conversation.
Number three is Alana Springsteen. She will be supporting Fitz and the Tantrums at an upcoming Degy Navy show, and if you have not caught her live yet, that is your cue to pay attention. Springsteen is one of the most compelling young voices in country and Americana right now, and the combination of her songwriting depth and stage presence makes her a natural fit for college shows, fairs, outdoor festivals, and military programming.
Number four is Kashus Culpepper. We just had him overseas performing in Germany for service members at an Independence Day event, and he delivered exactly what you want from an artist in that setting: connection, energy, and a show that felt personal for every person in the crowd. Culpepper is a rising country artist with real touring momentum as part of the Thomas Rhett Soundtrack to Life support lineup, and his price point makes him accessible for bookings at colleges, fairs, and military events.
Number five is Parker McCollum. He is also running on the Thomas Rhett support bill this summer, which means he is actively in front of some of the largest country audiences in North America right now. McCollum is already one of the most respected live performers in his price range and his traditional-leaning Texas country sound plays everywhere from fairs to casinos to outdoor amphitheaters. He doesn’t come cheap these days, but the price rightfully just keeps going up.
Japan has permanently won a piece of my heart. I love the USA, and I am profoundly and unapologetically proud to be American. But I have opened my heart to loving another country too.
Japan will now always have a piece of it. The culture, the people, the food, the quality of life that shows up in every small detail on every street in every city. My Japanese is getting better. The McDonald's and 7-Eleven receipts still tell a different story, but we are making progress. See you next weekend!
Degy Entertainment has been connecting artists and audiences for more than 25 years. Based out of the New York metropolitan area, Degy operates as both a talent buyer and a middle buyer, executing close to 3,000 events every year across 30 countries. From college shows to county fairs, from corporate galas to military bases in the Pacific, Degy has built its reputation on knowing the market, knowing the artists, and knowing how to put the right act in front of the right crowd. Whether you are programming a festival stage, a university homecoming, a casino amphitheater, or a base on the other side of the world, the Degy team has done it and can help you do it right. Reach out to Ari directly at ari@degy.com or visit www.degy.com.
What air quality index (AQI) reading should trigger an outdoor event cancellation?
The EPA classifies AQI above 300 as "hazardous." Most venues and promoters consider AQI readings above 300-350 as grounds for serious cancellation discussion; above 400 typically triggers automatic postponement. However, vulnerability varies by attendee population—events targeting children, elderly, or immunocompromised individuals should use lower thresholds (200-250). Consult with local health departments for jurisdiction-specific guidance.
How does wildfire smoke differ from other weather threats requiring cancellation protocols?
Wildfire smoke creates health hazards without traditional weather elements (lightning, high winds, hail). It's invisible on radar, unpredictable in duration, and affects air quality over multi-state regions. Unlike thunderstorms with localized impact, smoke events can persist for days affecting entire touring circuits. Existing weather protocols must expand to include air quality monitoring and AQI thresholds.
Should contracts now include air quality contingencies?
Yes. Forward-thinking promoters and talent buyers are adding air quality clauses to 2026+ contracts. These clauses should specify: AQI threshold triggering cancellation/postponement, who monitors air quality (venue, promoter, or third party), notification procedures, postponement date options, refund policies, and force majeure considerations. Ambiguous language creates disputes when cancellation becomes necessary.
Can you partially proceed with outdoor events during poor air quality?
Potentially, depending on AQI severity and attendee vulnerability. Low-risk modifications include: reducing event duration, increasing shade/tent coverage, providing masks or air filtration stations, and limiting outdoor time. However, at hazardous levels (AQI 300+), outdoor activities should cease entirely. Public health guidance should drive decisions; revenue preservation should not override health and safety.
What's the difference between air quality alerts and air quality emergencies?
Air quality alerts (AQI 150-250) warn vulnerable populations to limit outdoor activity. Air quality advisories (AQI 250-350) recommend all groups reduce outdoor exertion. Hazardous conditions (AQI 350+) suggest all outdoor activity poses health risk. Air quality emergencies typically involve health department warnings urging public to shelter indoors. Event cancellations are appropriate at advisory level and mandatory at emergency level.
How should event organizers monitor air quality in real time?
Use EPA AirNow (airnow.gov) for real-time AQI by location, or subscribe to specialized services like BreezoMeter or Purple Air for continuous monitoring. Many venues now employ air quality monitoring stations providing live updates. Establish monitoring 1-2 weeks pre-event and assign a staff member to track conditions and alert decision-makers when thresholds approach.
What insurance covers air quality/wildfire smoke event cancellations?
Event cancellation insurance typically covers smoke/air quality disruptions if linked to documented weather events (wildfires, extreme smoke). Non-performance insurance may cover artist cancellations due to air quality health impacts. Coverage varies significantly; review policy language carefully. Many policies specifically exclude "air quality" as separate category, so request clarification from brokers about wildfire/smoke coverage.
Can artists cancel shows due to air quality concerns?
Yes, and increasingly do. Professional touring artists prioritize crew and personal health; many have asthma or respiratory conditions. Tour riders increasingly include air quality provisions allowing cancellation if AQI exceeds specified levels. Promoters should expect artist cancellation requests and have contingency plans rather than resist them.
How should audiences be notified of air quality cancellations?
Communicate immediately and transparently via: official social media, email to ticketholders, press release, venue website, and call-in information line. Explain health rationale, provide rescheduled date (if available) or refund policy, and acknowledge disappointment. Transparent communication preserves audience trust despite cancellation frustration. Silence or delayed communication damages relationships.
What's the financial impact of air quality-related event cancellations?
Full cancellation costs typically include: artist guarantee (50-100% depending on contract), venue rental fees, production equipment deposits, insurance deductibles, marketing expenses (if reimbursable), refund processing, and reputational damage. Costs range from $50,000+ for mid-tier events to $500,000+ for major productions. This is why event cancellation insurance is essential in regions vulnerable to wildfire season.
How do regional wildfire seasons affect outdoor event scheduling?
Wildfire seasons (typically July-October in North America) increase cancellation risk for outdoor programming. Forward-thinking promoters adjust scheduling to avoid peak wildfire season or build in contingency dates. Alternatively, contracts include air quality force majeure clauses allowing postponement without penalty. Tourism boards in fire-prone regions should coordinate with event organizers on contingency planning.
Can indoor venues be used as backup for outdoor events during air quality crises?
Rarely practical. Securing backup indoor venues with adequate capacity requires advance coordination and significant cost. More realistic approach: pre-negotiated rescheduling dates (within 48-72 hours) included in contracts, allowing audience flexibility to attend alternate date without venue change. Same-day indoor pivots are logistically complex and usually unrealistic.
Should air quality monitoring be included in event insurance requirements?
Yes. Insurers increasingly require documented air quality monitoring protocols as condition of coverage. This includes: designated monitoring source, decision-maker authority, AQI threshold documentation, and notification procedures. Policies may deny claims if organizers fail to demonstrate due diligence in monitoring and decision-making.
How should production teams prepare for air quality challenges?
Preparation includes: air quality monitoring setup 1-2 weeks pre-event, established AQI thresholds in writing, designated decision-maker with authority, communication protocols for notification, backup rescheduling dates pre-negotiated in contracts, insurance verification covering air quality scenarios, and staff training on air quality health impacts. Documentation is essential if disputes arise.
What's the industry conversation about long-term air quality trends?
Growing consensus recognizes increasing wildfire frequency and severity creating new normal for outdoor events. Industry leaders advocate for: standardized air quality protocols, updated contract language addressing smoke/air quality, expanded insurance coverage options, and collaboration between regions on seasonal scheduling. Some are shifting major outdoor events away from peak wildfire seasons.
Can artists demand higher fees for air quality-impacted dates?
Possibly. If an artist's tour is disrupted or rescheduled due to air quality cancellations, they may seek compensation for lost earnings or routing inefficiency. Promoting liability should be clarified in advance through clear force majeure language and communication about air quality risk during booking.
What role do local authorities play in air quality-related event decisions?
Significant. Health departments and local governments may issue guidance or mandates regarding outdoor activities during hazardous air quality. Some jurisdictions prohibit outdoor gatherings above certain AQI levels. Event organizers must coordinate with local authorities before events and respect guidance/mandates when issued.
Should college and corporate events have different air quality thresholds?
Yes. College events may target healthy young adults with lower vulnerability; corporate events may include older attendees or employees with respiratory conditions. Family events should use lower thresholds protecting children. Customize thresholds based on attendee demographics and health vulnerability rather than applying universal standards.
How can outdoor venues improve resilience to air quality events?
Improvements include: investing in air filtration systems for covered areas, constructing permanent or semi-permanent structures providing weather/smoke protection, installing air quality monitoring stations, and developing documented protocols addressing air quality contingencies. Infrastructure investment reduces cancellation risk and demonstrates commitment to attendee safety.
Is air quality event cancellation insurance affordable?
Premiums typically range 3-8% of insured event cost, comparable to standard weather insurance. Cost depends on event size, location, seasonality, and coverage limits. For events in regions vulnerable to wildfires, cost is justified by potential cancellation losses. Most insurers now offer dedicated air quality coverage making it mainstream product rather than rare add-on.