Maybe just stay on the ground during your concerts

Remember the first time you saw Pink soaring through the arena, suspended high above the crowd, belting out her hits with breathtaking ease? I do. It was revolutionary. It was exhilarating. It was a “wow” moment that solidified her image as a fearless performer and left the audience buzzing. It felt groundbreaking, a true spectacle that elevated the concert experience to a whole new level.

Then came Kanye, then Timberlake, each embracing the aerial stunt in their own way. And now, seemingly, everyone is at it. Last weekend, the internet exploded (again) when Beyoncé, the queen herself, found herself temporarily stranded on a flying car during her Renaissance tour. She, ever the professional, handled it with grace.

Seemingly at the same time Beyonce was left hanging — literally — Katy Perry found herself trapped inside — and almost falling out of — some giant metal hamster ball at her concert. She, too, was suspended in the air and flying around for whatever reason.

The incidents, more than anything, underscore a growing sentiment: the flying stage stunt is losing its magic. It’s becoming, dare I say, predictable.

In my opinion, we’ve reached peak aerial performance saturation. What was once a genuinely innovative and awe-inspiring surprise is now feeling like a standard, almost expected, feature of the modern mega-concert. The problem isn’t necessarily the execution, although Beyoncé’s hiccup certainly raises questions about safety protocols. The real issue is the diminishing returns on the “wow” factor. When everyone is doing it, it’s no longer special.

Think about it. The initial impact of these aerial dances came from the sheer unexpectedness. We were used to seeing artists confined to the stage, perhaps venturing into the audience for a brief touch-and-greet. But to be whisked away into the rafters, defying gravity with every note, was a complete game-changer. It was a physical manifestation of the artist’s power, a visual metaphor for their ability to connect with and captivate thousands of people.

(And, honestly, if I were in the audience and saw the flying tonne-of-steel contraption flying in my direction, I’d be running from my seat to safer ground.)

Now, however, the effect is waning. The element of surprise is gone. We know it’s coming. We anticipate the moment the harnesses appear and the artist ascends. Instead of being drawn into the music and the performance, we’re now potentially more focused on the mechanics of the stunt, wondering if everything will go smoothly. The risk – and Beyoncé’s near-miss highlights the real risks involved – now arguably outweighs the reward.

Furthermore, the increasing prevalence of these stunts can detract from the artistry and musicality of the performance itself. Instead of focusing on the nuances of the vocals, the energy of the band, or the overall artistic direction, we’re distracted by the dangling artist. Is the aerial display truly enhancing the music, or is it simply a flashy distraction designed to compensate for a lack of genuine connection with the audience?

I’m not saying artists should abandon creativity and spectacle altogether. On the contrary, innovation is essential for keeping the concert experience fresh and exciting. But true innovation lies in finding new and unexpected ways to connect with the audience, not simply replicating a gimmick that has already run its course.

Perhaps it’s time for artists to ground themselves, figuratively and literally, and rediscover the power of raw talent, genuine emotion and innovative stage design that doesn’t rely on defying gravity. Let’s bring back the focus on the music, the lyrics and the connection between the performer and the audience. Let’s trade the predictable aerial acrobatics for something truly innovative, something that resonates with the heart and soul, not just the eyes.