All Aboard Norwegian Cruise Line’s Mega-Popular Blues Music Voyage With Joe Bonamassa

Most cruise ships clear their top decks to fit as many passengers as possible in the pool, but on the Norwegian Gem, that valuable real estate is sacrificed for something a little more sacred: the blues.

That’s because the 965 foot-long vessel, part of the Norwegian Cruise Line (NCL) fleet, is currently the home of the Keeping the Blues Alive at Sea X cruise — a sold-out annual expedition for which the ship’s theaters, lounges and swimming pool are all repurposed for hi-fidelity performances of guitar-driven rock, rhythm and blues.

On the Norwegian Gem, what was once a swim-up bar and pool is now drained and filled with monitors, rigging and enough staging to accommodate a full-scale live show built for theaters and performing arts centers. On Keeping the Blues Alive, contemporary blues legend Joe Bonamassa headlines a lineup of more than a dozen artists that also includes Grammy-winning duo Larkin Poe; rock and blues veteran Big Head Todd and the Monsters; Grammy winner Christone “Kingfish” Ingram; and blues guitarist Eric Gales. Launching out of Miami with stops in Belize and Cancun, Mexico, the cruise is facilitated by the Atlanta-based company Sixthman, a subsidiary of NCL since 2009. This year, the five-night voyage is accommodating about 2,500 diehard Bonamassa fans who have spent approximately $2,500 per cabin to hit the seas with the blues legend and the rest of the lineup, curated by Bonamassa and manager Roy Weisman.

“Initially, I was not interested in doing a blues cruise — I had done one before and hated it,” explains Bonamassa, cigar in hand, speaking on the open-air deck of his top-level suite aboard the Gem. “And then I got a call from Sixthman in 2015 and was pitched on an experience that was more artist-friendly and didn’t require me to be in it so much. So we tweaked my schedule a bit, gave it a shot and I just saw how much fun everyone was having. Not just the fans, but the interactions with the other bands.” 

Each artist on the Keeping the Blues Alive cruises is paid a festival rate and contracted for three appearances: typically two large stage performances and then a smaller, more intimate engagement. For Bonamassa, that means two main stage performances and a live session of his podcast Welcome to Nerdville. 

This edition of Keeping the Blues Alive at Sea, a nod to Bonamassa’s non-profit of the same name, sold out months in advance. When the cruise hit the seas on March 20, the blues man already had two more sold-out Sixthman cruises on the books, including one to Alaska that departs from Seattle. 

“Our model is that we focus on passionate communities, and this is one of the most passionate communities out there,” says Jeff Cuellar, who has served as Sixthman’s CEO since Jan. 17. Prior to that, Cuellar worked at festival company AC Entertainment, founder of the famed Bonnaroo festival outside of Nashville. 

Bonamassa fans are on the older side, averaging ages 55 to 60. Besides an affinity for Bonamassa’s live performances, they are generally interested in blues, rock and guitar-driven music. However, Sixthman and NCL’s music business goes beyond Bonamassa; the company services more than 35 cruises annually, with upcoming voyages planned for Creed, Lindsey Stirling, Michael Franti, and Coheed and Cambria. Sixthman has also seen success with non-music themed voyages, including several chef-driven food cruises, a true crime podcast cruise and a recently launched cruise celebrating the Hallmark Channel, which sold out hours after going on sale, breaking a company record.  

Most cruises take off from Miami and by law are required to make one stop at a foreign port — for NCL, that typically means Nassau, Bahamas; Costa Maya, near Cancun; and Harvest Caye, a private island owned by NCL in Belize. Most cruises include all-inclusive food offerings — alcohol packages are sold separately, typically in advance — and a variety of amenities including outdoor basketball courts, rock climbing walls, full-service gyms, specialty restaurants and casinos with poker rooms that often feature appearances by talent. 

Cuellar says Sixthman operates much like a traditional promoter: “For the longest time, music has been the core of what we do and will always be the core, but we have started to diversify and look at other passionate communities, whether it be [for baseball team] the Savannah Bananas or Jay and Silent Bob,” the cinematic duo from Kevin Smith’s cinematic universe. Prices for most cruises start at $1,172 per person for interior cabins and run as high as $2,937 per person for high-end suites with meet and greets. The Norwegian Gem has a total of 1,197 cabins, while larger ships like the Norwegian Encore boast 2,043.

“It’s a lot of inventory to sell, and while we can have conversations about VIP sales and merch sales, we want to dig even deeper,” says Cuellar. “We want to know where fans are talking about the artist. Is it on Reddit? Is it Facebook? Where are other conversations happening?” 

That information becomes critical when it comes to selling and marketing cruises, Cuellar explains, noting that Sixthman heavily relies on the artist to help sell cruise packages. Drawing from data points like Spotify listens, merch and VIP sales, the Sixthman team creates an index for participating artists and then “put[s] out a couple of scores that we use for evaluation to determine how confident we feel that this engagement will be a success,” he says.  

“We’ll actually survey a section of their audience so that we know who would be willing to participate,” Cuellar adds. “Sometimes, you get great responses, and we decide to book it immediately, and other times we find it’s not the experience fans are looking for.” 

Sixthman’s success with Bonamassa is due to “his amazing connection to his fans,” Cuellar says. “When Joe talks about it, people respond. When he sends out an email, people respond because they know they’re going to get a top-quality experience.” 

It’s an experience that Bonamassa and Weisman, his longtime manager and business partner, have spent the last 26 years cultivating, evolving Bonamassa’s live show into a global touring brand with around 100 performances a year. Bonamassa began his career in 1989 as a 12-year-old guitar prodigy opening for blues legend B.B. King and spent his early 20s working the blues nightclub circuit. Weisman, a longtime music executive whose father was Frank Sinatra‘s manager for the last few years of his career, met Bonamassa in 1999 and worked with the bluesman to elevate his live shows to theaters and performing arts centers. 

Their company, J&R Adventures, is home to Bonamassa’s record label, artist management group and vertically integrated touring entities that promote, market and produce his live shows. Early on in their relationship, the men discovered the pathway to success “was super serving an underserved marketplace,” Weisman says. “The key was for us to approach the blues like we’re not afraid of it,” he adds. Instead of trying to mold Bonamassa into a AAA-radio-friendly artist, Weisman says he and Bonamassa had to “go into the blues like a house on fire. Walk right into it. Not be afraid or try to circumvent around it because there’s room as an independent to make a wave without being crushed by the majors.” 

That means owning and controlling every part of Bonamassa’s business, from his label to concert promotion. J&R Adventures books the venues for Bonamassa’s tours, takes the risk on each show and handles everything from production to marketing. For Sixthman, Bonamassa’s familiarity and understanding of his audience make him a natural partner, says Cuellar. Bonamassa’s team books all of the support talent and helps curate some of the artist-to-fan activities, like poker tournaments, cooking demonstrations, fireside acoustic performances and meet and greets.  

Neither Cuellar nor Weisman would say how much Bonamassa earns from the cruises, other than to note that the model is based on profit sharing and Bonamassa is one of the top-selling artists in the history of the company. 

“And they give us this amazing suite,” Weisman says of his accommodations on the top floor of the 14-deck sea liner that’s located inside NCL’s luxury penthouse complex called The Haven, which is equipped with high-end furnishings, private balconies and a 24-hour concierge service, all roped off from the rest of the cruise. 

“Norwegian makes it very easy for artists who are used to living out of a suitcase and a hotel room,” he continues. “Being on a cruise like this allows you to settle in a bit, even if it’s just for five days. The privacy and hospitality they facilitate makes a noticeable difference.”