The Sphere is losing money because it's hard to make a profit from concerts. Artists like U2 take a large share of ticket sales, leaving little for the venue. Additionally, the cost of producing unique shows and movies for the Sphere is high, and the business model hasn't yet proven sustainable.
The Sphere has a seating capacity of roughly 18,000. This limits the type of acts they can book to those that can fill such a large arena. Additionally, artists need to commit to longer residencies to justify the cost of creating a custom performance for the venue.
Beyoncé wanted several weeks of rehearsal time, which would have meant lost revenue for the Sphere due to the scheduling conflicts with their movie screenings. This lack of flexibility contributed to the breakdown of negotiations.
Producing a movie for the Sphere can cost between $50 to $100 million. The challenge is that these movies are tailored for the unique venue, making them expensive to create and difficult to recoup costs through ticket sales alone.
The Sphere has explored hosting conferences and selling sponsorships. However, they have not yet secured a major sponsor, and the conferences have not proven to be a significant revenue driver.
The Sphere lost $117 million in the quarter ending September 30th, highlighting the financial challenges the venue is facing.
While some see the Sphere as an iconic and technologically advanced venue that delivers an amazing experience, others view it as a high-cost, low-profit venture that may not be sustainable in the long term.
The Sphere cost $2.3 billion to build, significantly more than the initial estimate of $1 billion.
Plans for a Sphere in London were rejected by Mayor Sadiq Khan, who cited concerns about light pollution as the reason for the rejection.
The UFC event at the Sphere generated $22 million in revenue, but the organization stated they would not return, indicating that the event, while financially successful, did not meet other expectations or criteria for a repeat performance.
The Las Vegas Sphere was supposed to be the future of live entertainment. But just over a year into its run, New York Post writer Josh Kosman explains why the math ain’t mathin’.
This episode was produced by Amanda Lewellyn, edited by Amina Al-Sadi, fact-checked by Laura Bullard, engineered by Andrea Kristinsdottir and Patrick Boyd, and hosted by Sean Rameswaram.
Transcript at vox.com/today-explained-podcast)
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The realistic eyeball that kept watch over Las Vegas was one of Sphere's early breakout hits. Photo by K.M. Cannon/Las Vegas Review-Journal/Tribune News Service via Getty Images.
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