Wrestling with this too. On some level, from a financial standpoint it makes total sense. Like Thinny said, Sirius is footing the bill for rights and taking all the financial risk out of it for the organization.

That being said, an annual subscription to Sirius isn't far off from what the Experience is charging and actually delivering on what Experience said they'd do, so why are so people trying to find a way to get it for free? Hear me out, if people pay for this stuff it's showing there's an audience, leading to interest in future stuff and an audience that will actually financially support it.

I'll tell you why, there is no guarantee that that will happen. I have already lived that way with the JBJ Experience, and it is not pleasant to pay for a year and not use it, because there is nothing interesting beyond some good launch at the beginning.

I have a feeling that OBie is only going to dust off 4 shows, and maybe some demo. But that will be it. I don't see Obie regularly put shows on Bon Jovi radio.

And Even if I wanted to pay it, I can't access it from Spain.

Sirius has the added bonus of cancelling after a month though, the Experience does not.

We're looking at a completely different profit margin and audience for this. More so my point was look at how many people are asking how they can get what's being played for free and people honestly want to tell me there's an audience willing to pay for rare stuff? Do you see where I'm going with this?

I don't know if the people asking just can't get it from their area as well but it's a point worth making.

In my country I would need to access Sirius with paid vpn, and I would have to make that extra expense, and I am not sure that the transmission is going well to be able to capture the signal. It's just one headache after another.

I want those shows? of course.

would I pay for them? Hell yes! As long as it is a fair price.

But when we talk about paying for a radio streaming, it should be affordable and accessible ... because the sound quality of the online broadcast will have compression, and then you will have to capture the audio with a program, and the capture quality It will be based on your sound card.

If JBJ Experience had done it right, these shows would be a download link in mp3 or iTunes (320kbps) for silver users and FLAC or ALAC for Gold users.

Even so I do not give up, I hope to find a solution to be able to capture those shows in the best possible way.

How does JBJ experience doing it right = them uploading files that can be easily shared though? That just makes it even easier for them to be shared.

I'm not picking on you and your situation SPECIFICALLY, I'm making the point that we are the last people that want stuff like this barring a complete overhaul of how the band puts stuff out. I wish there was a way to do it so everyone had access to it, the price was fair and it was stuff the diehards wanted. It's so stupid it's come to this.

U2, Metallica, Pearl Jam do these things well, they offer shows for the annual subscription in FLAC quality, and in the case of the latter two they have a large archive of live shows to download, at affordable prices.

Bon Jovi did something similar in 2017 in the first stage of THINFS. I don't understand why he can't do something similar with shows from other times.

Paying $ 80 to get more videos from the band's photographer than from the band itself or Jon seems ridiculous to me. And having to settle for all this Sirius stuff is sad in a way... a streaming that is far from a high quality file.

U2 and Metallica both own the rights to their own music. Those two plus Pearl Jam's audience actually wants this stuff.

They probably stopped after 2017 because it undersold because, again, it hasn't been about the music for the band's fan base in a long long long time. Can you really not understand why they're spending top dollar to market and put out something with a dwindling audience that goes nuts for wine and spice packs? Like, it has to be shockingly obvious the stuff we want won't sell, right?

I'm sure if they released a collection of digital EPs with unreleased songs or some legendary shows from the eighties, nineties, 2000s, they would have their niche. But to do this, you have to educate your fans, you have to make an effort to speak up and promote this whole thing a bit. There is nothing cheaper than releasing digital music. I don't know how much it can cost to pay the royalties, but if done right, there will be an interest there.

The failure of NJ deluxe 2014 was because it felt like an incomplete launch for the fans, which some of us bought despite everything, but the rest of the casual people already had the ultimate edition 2010 on the market even as something recent and with lower prices. The promotion was also very poor, a launch of these characteristics is not launched in the middle of July, if you want to make the sales resonate, you have to make a great package for the fans, and launch it in style on designated dates. September - October - November are the best dates for anniversary launches.

In the end, it is about educating your fans (or your potential audience) to the product you intend to sell.

I don't have to feel guilty for not being able to buy these shows live on iTunes or on their own website. Jon gets it wrong with this way so crude of throwing legendary gigs like Wembley Arena 88. This show deserved a release with a little more pampering... you know, a good mastering, physical and digital release, I'm sure it would be better received than Live From London Palladium or Inside Out. Educating your audience with these types of releases from time to time makes it work. If you never release anything from the vaults, and when you do, you do it poor and bad, it is not the fault of the audience or the fans.

I've paid $ 80 for get Never-Heard-Before Tracks, and unreleased shows, however, there's nothing like that, but hey, you can subscribe to sirius for several months or a year and you listen to some shows in streaming quality. **** YOU JON.

My hope is that perhaps, this broadcast on sirius is the excuse to later share these shows in JBJ Experience, which is based more on previously seen releases.

I think their US-centric marketing is a big issue here.

Without meaning to generalize I think the US fanbase is quite different from the fanbase outside the US, and with decent promotion and accessibility in places like Europe stuff like anniversary boxsets would probably sell fairly well, but they constantly just put out US-exclusive content (like this SiriusXM thing), even though a significant portion of the US fanbase seems to be more interested in wine and boxes full of cheap merch to wear in the kitchen than in actual music-related content.

2020 charted much higher in several European countries (as well as Japan and Australia I believe) than it did in the US, so it seems like there's still a much bigger interest in music-related content in other parts of the world than in the US. They should try to capitalize off of that instead of desperately trying to push the band in the US all the time.

Really good point. Had the band had more critical relevance and maybe more albums that was UNIVERSALLY loved across all regions I think they'd have more chance of success. Slippery and New Jersey are easy wins. You dip into the 90's and KTF and TD are aimed everywhere but America. Anything post 2000 had a few hit singles but no one is clamouring for anything past that.

Frankly the band shot itself in the foot chasing after trends and new audiences to appeal to America. If they were willing to expand who this was for....it's just so damn late in the game to "try".