The Death of the Vegas Headliner – Part 1: When the Marquee Lit Up the World
How Sinatra, Elvis, Celine, and Cirque Owned Vegas’s Biggest Stages
How Sinatra, Elvis, Celine, and Cirque Owned Vegas’s Biggest Stages
I was recently sitting at Rocks Lounge, sipping a whiskey and chatting with some folks about their favorite Vegas shows. The replies were a love song to the days when marquees meant magic, names like Sinatra, Elvis, and Celine that made the Strip a global stage.
It got me thinking: what happened to the Vegas headliner?
Everything’s residencies now, and if I’m being honest, I dig it. Vegas has to evolve; sometimes history should repeat, sometimes it needs to be ditched for something fresh, or better yet, blended into something new. I’m on record saying themed hotels like Circus Circus should lean in, turn it into a Haunted Circus with ghosts and clowns, and bring back free Strip performances; they don’t all need to be like Bellagio’s fountains to pull crowds. Wouldn’t you watch a New York street performance on the Brooklyn Bridge? Or anything pirate themed at TI?
Cirque du Soleil had its moment, but is it still headliner material, or are resorts just clinging to those theaters because they don’t know what else to do?
This free, two-part dive spills why marquees used to rule and what’s next.
Part 1 takes you back to the glory days.
The Marquee’s Golden Era
In the ‘50s and ‘60s, the Rat Pack, Frank Sinatra, Dean Martin, Sammy Davis Jr., turned the Sands’ Copa Room into a legend. They weren’t just singing; they were throwing a party, cracking jokes, slinging drinks, they made guests feel like everyone was backstage, hanging out and getting to know each other. It’s hard to imagine sometimes, looking at the Venetian, remembering the Sands’ old spot and thinking, “That’s where Frank made Vegas.” The Copa Room was electric, Hollywood stars in the crowd, waiters comping whiskeys for regulars. Those marquees didn’t just list names; they screamed, “You’re in for a night.”
Elvis stormed the International (now Westgate) from 1969 to 1976, selling out 837 shows for 2.5 million fans (Billboard). I saw his jumpsuit at a Westgate exhibit last year, all rhinestones and swagger. He tossed scarves, owned the room, made every seat feel like the front row. I’ve spoken to so many people who got to see him in the 70’s, they all brag about how everyone felt like they were a VIP, and they knew they were in the presence of history. If I had a time machine, this would be at the top of the list. (right after giving 18-year-old me some insider stock advice)
Then came Celine Dion, whose 2003-2019 Colosseum residencies grossed $681 million over 1,141 shows (Billboard). I caught her in 2015, voice like a jet engine, stage like a dream. My wife teared up during “My Heart Will Go On.” This was one of our first real headliner experiences, and I’m not sure that many have lived up to it since.
Those headliners made marquees a promise of something epic, and they delivered.
Cirque’s Meteoric Rise
By the ‘90s, Cirque du Soleil crashed the party, turning marquees into spectacle central.
Mystère, launched in 1993 at Treasure Island, brought acrobatics and whimsy, still running as Vegas’s longest Cirque show (and probably the best). I saw it over a decade ago, performers flipping in wild costumes, drums thumping, pure energy.
O at Bellagio (1998) turned a 1.5-million-gallon pool into a surreal waterworld. My first O show was interesting to watch, divers soaring, swimmers syncing, it felt more like synchronized swimming, but as one of the hottest shows back then, I had to be wrong.
Cirque’s six Vegas shows, Mystère, O, KÀ, Michael Jackson ONE, Mad Apple (formerly Zumanity), The Beatles LOVE, became headliners without a single star, drawing 9,000 fans nightly at their peak. Their mix of acrobatics, music, and storytelling filled the gap as solo acts faded.
I’ll be honest, I am not a huge Cirque fan. I think I’ve fallen asleep at most of their shows; it isn’t personally my thing, and they all seem to be the same kind of acts with different props. That being said, if you have never been to one, you certainly should check it out. In part two, I’ll certainly list some other acts as well.
Why Headliners Faded
Vegas swapped magic for money. By the ’80s, lounge acts turned into nostalgia tours, aging bands, and one-hit wonders. It felt like clicking on an email promising a deal and getting rickrolled.
The 2000s brought residencies, but not all hit like Celine. For every Britney Spears packing Planet Hollywood (2013-2017, $137 million, Billboard), or Elton John, you got acts phoning it in.
Donny & Marie Osmond’s 2019 residency at Flamingo fizzled with low sales and health issues, ending their 11-year run to half-empty crowds.
Mariah Carey: The Butterfly Returns at Caesars Palace struggled in 2018-2020, making me question the decision for her newly announced Christmas specials at Dolby Live
And now?
Jennifer Lopez is currently struggling with ticket sales, and Katy Perry’s 2022-2023 run also experienced soft ticket sales, along with controversy surrounding the compensation these “acts” received. Seems successful.
The current Mötley Crüe run at Park MGM is being met with criticism. I had front-row balcony seats moved because of it; great seats for Dolby Live, but not a good sign. I’m seeing it next week, so watch X for my take (@VegasUncomped).
Overall, show revenue dropped 3.2% in 2024 (Las Vegas Review-Journal), more proof that a focus needs to be brought back to who is living on the marquees.
What’s Next?
Cirque’s still kicking, but their headliner crown’s slipping, more on that in Part 2.
The Sphere’s 366-foot LED orb is stealing the show, with residencies like U2’s 2023 run redefining what a marquee can mean. Vegas needs to blend history with fresh ideas.
Part 2 will dive into the Sphere’s fire, killer residencies we need more of, veterans like Manilow keeping marquees lit, how Spiegelworld’s shaking things up, and what Vegas must fix to evolve with ideas like mine.
Your Turn
What’s the last show that blew you away in Vegas? Hit me on X @VegasUncomped, where the hot takes fly and the marquees get their flowers.
-Jason
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