Gamers Have Scared EA Away From An $80 ‘Battlefield 6'
In yet another example of this happening, gamer pushback appears to have forced EA's hand to not raise prices of its new games, including Battlefield 6, to $80 instead of $70. This comes from Andrew Wilson in a Q1 earnings call:
This is yet another example of consumer pushback to the Nintendo-driven $80 price point, which began with Mario Kart World at the launch of the Switch 2. It seemed likely that once that dam broke, it would quickly become the standard. But that has not happened, despite some publishers attempting to dip their toes in the water (and finding its scalding):
All of this means that right now, there are no big games approaching with confirmed $80 price points despite Nintendo's move with Mario Kart World. Nintendo may be at trend-setter, but other publishers may realize that a 15% price hike on games is not exactly what players want to see in the current state of the global economy. How long this lasts, however, is anyone's guess.
We will earn more about Battlefield 6 today, including possibly confirmation of its price and release date. My colleague Erik Kain will be covering that reveal.
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(Unfortunately, I arrived too late to see opening act Waylon Payne, but I caught him later when he played with Willie Nelson. Jones Beach is a beautiful amphitheater directly on the water, but the mass transit options from New York City are less than ideal.) Williams no longer plays guitar due to a stroke she suffered in 2020, but she made the excellent decision to bring former Black Crowes guitarist Marc Ford into her band to compensate, and her singing voice retains much of its power. The set began with back-to-back songs from her 2023 LP Stories from a Rock n Roll Heart, 'Let's Get the Band Back Together' and 'Stolen Moments,' before dipping back to Car Wheels on a Gravel Road for 'Drunken Angel.' Midway through her set, Williams broke out Memphis Minnie's 'You Can't Rule Me,' dedicating it to the 'so-called king of the United States.' She didn't speak Donald Trump's name once, but it wasn't necessary. 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Unlike his indoor theater shows of the past few years, which focus heavily on material from 2020's Rough and Rowdy Ways, this was Dylan's version of a crowd-pleasing set that drew from all eras of his career. That doesn't mean he played any actual hits besides a radically re-worked 'All Along The Watchtower' that stripped out every bit of Jimi Hendrix's influence, but it did mean we heard 'To Ramona,' 'Desolation Row,' 'Gotta Serve Somebody,' and 'Love Sick' from his back catalog. More importantly, he was once again in remarkably clear voice, even if he occasionally slurred lines in wordy tunes like 'Desolation Row.' Many people were forever turned off to Dylan shows after witnessing 'wolfman' era gigs about a decade back, but they need to give him another chance. Somehow or another, at age 84, his voice has been rejuvenated. It's a minor miracle. If you're only seen Dylan at a theater these past few years, the atmosphere of the Outlaw Festival will be quite jarring. At the theaters, phones are taken away, the houses are completely dark and silent, and ushers roam the aisles with flashlights to pounce on anyone violating the rules. At the Outlaw shows, people are eating chicken fingers, spilling ketchup on themselves, chugging beers, loudly talking with their friends, scrolling through their phones, and taking selfies with Bob in the background. It's the opposite vibe in nearly every imaginable way. As always, practically every song in Dylan's set was rearranged not just from its original version, but the live rendition we heard as recently as last summer. ''Til I Fell In Love With You' is now practically a spoken-word track with sparse instrumentation, 'Gotta Serve Somebody' has a rollicking groove, and 'Blind Willie McTell' has rarely sounded so loose and playful. 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