Ten Years, Part Five: One Night

Ten years of work, and the plan is one show.

Not a tour. Not a residency. One night in San Antonio, with everything thrown at it, and then it is over.

Why one

Because I would rather do one thing properly than twenty things at the level I can currently afford.

I have played shows where the sound was bad and the lights were whatever the room had and the whole thing evaporated the second it ended. That is most independent live music and there is no shame in it. But after ten years I do not want the document of this record to be a phone video from the fourth row of a bar.

So: one night, built like it matters.

What that means

• A full prosthetic lion head, worn for most of the set.
• Costume changes, backup dancers, a choreographer, a set that moves.
• Real production — sound, lights, LED wall, crew who do this for a living.
• Cameras, so it exists afterwards instead of only in the room.
• Every feature on the record paid $300 in hand for showing up.

That last one is not a line item I will cut. I have been the guy who did somebody a favour. People should get paid.

The number

$72,727. The album comes out 07.27.27. A can of the coffee is $7.77. At some point you commit to the bit.

The entire budget is published, line by line, down to a $77 contingency for prosthetic materials. Not as a gimmick — so that anyone who puts money in can check the maths.

What it is not

It is not a pre-sale. There is no ticket, no shirt, no package. It is a donation, and all it buys is the show happening. Tickets go on sale separately when there is a date to sell.

And if it does not hit? Then whatever comes in becomes whatever it can buy, by album release, and I will tell you exactly what that was.