<p>I'm very grateful for this thread and discussion, as this has been weighing heavily on my mind as I dabble with BCG prior to what I hope to be a long-term save. My first take was that the mechanics of the touring schedule, as is, with tons of tour shows that aren't financially viable combined with no extensive breaks in the schedule, seemed like sabotage. That said, I'm reluctant to make choices that feel like "cheat codes," either, making it too easy to make money and grow. I'm still not sure where I stand after reading and considering everyone's points of view, but it certainly won't be leaving the schedule as is. I'm probably going to completely re-do it on my own to resemble the way I played BCG in 2016, with tons of shows per month and the traditional break-period months between tours. I'll run a higher percentage of "normal" shows to counter what feel like unrealistic economic burdens, although I'm not sure if I'll completely abandon "tour" shows, so as not to make it too easy to prosper. For example, the grand prix will probably be all "normal" shows. </p><p> </p><p>
I have no qualms with any perspective voiced here. People can and should play to their preferences and priorities. I do think it is possible to bridge the gap with booking choices regardless of which path you take--you can develop talent fine without tour shows; most companies can survive with tons of tour shows, albeit with a stern degree of difficulty, etc.</p>