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Hire Styx for Your Event
We Help You Hire, Book and Produce a Styx Performance
Celebrity Direct Inc. will help you select, book and hire Styx to perform at your corporate event, nonprofit event or private performance. We are always uniquely positioned as your advocate throughout the hiring process and we won’t let you overpay.
Contact us for availability, price and other production details at:
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Styx Songs
- “Mr. Roboto”
- “Renegade”
- “Come Sail Away”
- “Boat On a River”
- “Too Much Time on My Hands”
- “Babe”
- “Blue Collar Man”
- “Lady”
- “Fooling Yourself”
- “Lorelei”
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Styx Bio
Although they began as an artsy prog rock band, Styx would eventually transform into the virtual arena rock prototype by the late ’70s and early ’80s, due to a fondness for bombastic rockers and soaring power ballads. The seeds for the band were planted in another Chicago band during the late ’60s, the Tradewinds, which featured brothers Chuck and John Panozzo (who played bass and drums, respectively), as well as acquaintance Dennis DeYoung (vocals, keyboards). By the dawn of the ’70s, the group had changed its name to TW4, and welcomed aboard a pair of guitarists/vocalists, James “JY” Young and John Curulewski — securing a recording contract in 1972 with Wooden Nickel Records (a subsidiary of RCA). Soon after, the group opted to change its name once more, this time to Styx, named after a river from Greek mythology that ran through “the land of the dead” in the underworld.
Early on, Styx’s music reflected such then-current prog rockers as Emerson, Lake & Palmer and the Moody Blues, as evidenced by such releases as 1972’s self-titled debut, 1973’s Styx II, 1974’s The Serpent Is Rising, and 1975’s Man of Miracles. While the albums (as well as nonstop touring) helped the group build a substantial following locally, Styx failed to break through to the mainstream, until the track “Lady,” originally from their second album, started to get substantial airplay in late 1974 on Chicago radio station WLS-FM. The song was soon issued as a single nationwide, and quickly shot to number six on the singles chart, as Styx II was certified gold. By this time, however, the group had grown disenchanted with its record label, and opted to sign on with A&M for their fifth release overall, 1975’s Equinox (the band’s former label would issue countless compilations over the years, culled from tracks off their early releases). On the eve of the tour in support of the album, Curulewski abruptly left the band, and was replaced by Tommy Shaw (sadly, Curulewski would pass away from an aneurysm in 1988). Shaw proved to be the missing piece of the puzzle for Styx, as most of their subsequent releases throughout the late ’70s earned at least platinum certification (1976’s Crystal Ball, 1977’s The Grand Illusion, 1978’s Pieces of Eight, and 1979’s Cornerstone), and spawned such hit singles and classic rock radio standards as “Come Sail Away,” “Renegade,” “Blue Collar Man,” “Fooling Yourself,” and the power ballad “Babe.”
Despite the enormous success of “Babe,” it caused tension within the group — specifically between Shaw and DeYoung (the latter of whom was the song’s author), as the guitarist wanted Styx to continue in a more hard rock-based direction, while DeYoung sought to pursue more melodic and theatrically based works. This led to DeYoung’s brief ouster from the group (although it was kept completely hush-hush at the time), before a reconciliation occurred. The band members decided that their first release of the ’80s would be a concept album, 1981’s Paradise Theater, which was loosely based on the rise and fall of a once beautiful theater (which was supposedly used as a metaphor for the state of the U.S. at the time — the Iranian hostage situation, the Cold War, Reagan, etc.). Paradise Theater became Styx’s biggest hit of their career (selling over three million copies in a three-year period), as they became one of the U.S. top rock acts due to such big hit singles as “Too Much Time on My Hands” and “The Best of Times.” But the behind-the-scenes bickering only intensified in the wake of the album’s success, as DeYoung was now convinced that a more theatrical approach was the future direction for Styx. Shaw and the rest of the group begrudgingly went along, and while the resulting follow-up was another hit, 1983’s sci-fi-based Kilroy Was Here (which told the story of a future where rock & roll was outlawed, almost a carbon copy of the story line of Rush’s 2112), the album would eventually lead to the group’s breakup — as the ensuing prop-heavy tour seemed to focus more on scripted dialogue and lengthy films than good old rock & roll.
A forgettable live album, Caught in the Act, was issued in 1984, before Styx went on hiatus, and the majority of the bandmembers pursued solo projects throughout the remainder of the decade. DeYoung issued 1984’s Desert Moon (which spawned a moderate hit single with its reflective title track), 1986’s Back to the World, and 1988’s Boomchild, Young released 1986’s City Slicker, while Shaw put forth several solo sets — 1984’s Girls with Guns, 1985’s What If?, 1986’s Live in Japan, and 1987’s Ambition. Shaw then formed Damn Yankees along with former Night Ranger bassist/singer Jack Blades, guitarist Ted Nugent, and drummer Michael Cartellone, a group that enjoyed commercial success right off the bat with its self-titled debut in 1990 (due to the hit power ballad “High Enough”), before issuing an unsuccessful sophomore effort two years later, Don’t Tread. During Shaw’s tenure with Damn Yankees, Styx had re-formed with newcomer Glen Burtnik taking the place of Shaw — issuing a new studio album in 1990, Edge of the Century, which spawned yet another hit power ballad, “Show Me the Way.” But the Styx reunion was a fleeting one, as the group’s members went their separate ways shortly thereafter — with DeYoung going on to play Pontius Pilate in a revival of Jesus Christ Superstar (and issuing an album of Broadway show tunes, 1994’s 10 on Broadway), while Young issued a pair of solo discs (1994’s Out on a Day Pass and 1995’s Raised by Wolves), and Shaw teamed up with Jack Blades for the short-lived outfit Shaw Blades (issuing a lone recording in 1995, Hallucination).
A re-recording of their early hit “Lady” (titled “Lady ’95”) for a Greatest Hits compilation finally united Shaw with his former Styx bandmates, which led to a full-on reunion tour in 1996. But drummer John Panozzo fell seriously ill at the time (due to a long struggle with alcoholism), which prevented him from joining the proceedings — and he passed away in July of the same year. Although grief-stricken, Styx persevered with new drummer Todd Sucherman taking the place of Panozzo, as the Styx reunion tour became a surprise sold-out success, resulting in the release of a live album/video, 1997’s Return to Paradise, while a whole new generation of rock fans was introduced to the grandiose sounds of Styx via a humorous car ad which used the track “Mr. Roboto,” as well as songs used in such TV shows as South Park and Freaks & Geeks. The group even stuck around long enough to issue a new studio album, 1999’s Brave New World, before friction within the band set in once again.
With the other Styx members wanting to soldier on with further albums and tours, DeYoung was forced to take a break when he developed an uncommon viral ailment, which made the singer extremely sensitive to light. DeYoung was able to eventually overcome his disorder, but not before Shaw and Young opted to enlist new singer Larry Gowan and issued a pair of live releases in the early 21st century — 2000’s Arch Allies: Live at Riverport (split 50-50 between Styx and REO Speedwagon) and 2001’s Styx World: Live 2001. DeYoung began touring as a solo artist at the same time, and eventually attempted to sue Shaw and Young over the use of the name Styx (the lawsuit was eventually settled in late 2001). Around the same time, Chuck Panozzo confirmed rumors that he had contracted AIDS (but was battling the virus successfully), while the turbulent career of Styx was told in an entertaining episode of VH1’s Behind the Music.
In the spring of 2003, a new studio album featuring Gowan arrived in stores. For Cyclorama, Styx consisted of Shaw, Young, Burtnik, Sucherman, and Gowan. The album also featured guest appearances from John Waite, Brian Wilson, and actor Billy Bob Thornton. By the end of the year, Burtnik was out of the band and replaced by former Bad English and Babys member Ricky Phillips, although Panozzo did play with the group on selected live dates. The two-CD Come Sail Away: The Styx Anthology from 2004 did an excellent job representing the band’s career, while 2005’s double-disc The Complete Wooden Nickel Recordings collected the band’s first four albums. That same year, Styx released the cover version-filled Big Bang Theory, featuring some of their favorite picks from the Great Rock Songbook.
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How do I hire Styx for a private event, corporate event, nonprofit gala or convention?
To hire Styx for a private or corporate performance, the event buyer must first determine whether the artist is available and interested in the proposed engagement and then submit an offer through the appropriate authorized representative. The offer typically includes the event date and location, type of event, proposed performance format and fee.
Celebrity Direct represents event buyers throughout this process, including availability inquiries, offer strategy, negotiation, contracting, rider review and production coordination.
How much does it cost to hire Styx for a private or corporate event?
There is no single published fee to hire Styx for a private or corporate event. The performance fee is negotiated for the specific engagement and can vary based on the date, location, event type, performance format, travel requirements, current touring activity and other circumstances surrounding the event.
Celebrity Direct can obtain current availability and pricing from the appropriate artist representative for a specific event.
What total budget should I expect when hiring Styx?
The total cost of presenting Styx can be higher than the negotiated artist performance fee. Depending on the engagement, additional expenses can include airfare or private aviation, hotels, local transportation, sound, lighting, staging, backline, labor, hospitality and other requirements contained in the artist’s rider.
For this reason, event buyers should evaluate the all-in cost of the performance, not simply the artist fee, before making an offer.
How can I find out if Styx is available for my event date?
Styx’s availability for a private or corporate event must be confirmed through the appropriate authorized representative. Availability can depend on touring and recording commitments, personal scheduling, event location, travel requirements and whether the artist is interested in the particular engagement.
Celebrity Direct can submit the event details, check availability and determine whether an offer is appropriate.
How do I contact Styx’s booking agent about a private performance?
A corporate, nonprofit or private-event buyer generally does not need to locate Styx’s booking agent personally. An experienced talent buyer can identify the appropriate authorized representative, present the event professionally and manage the inquiry and offer process on the buyer’s behalf.
Celebrity Direct handles this process for its clients and represents the event buyer rather than the artist.
How do I contact Styx’s manager about hiring them for an event?
Artist management is not necessarily the appropriate first contact for negotiating a private performance. Celebrity engagements are generally handled through the artist’s authorized booking representation, management or another designated representative depending on the circumstances.
Celebrity Direct determines the appropriate contact for the proposed engagement and handles the communication and negotiation for the event buyer.
Will Styx perform at a corporate event, convention, nonprofit gala or private party?
Whether Styx will consider a particular private or corporate performance depends on their availability, the nature and location of the event, the proposed performance, the financial offer and artist approval. Celebrity artists are not simply available for every event at a published price.
A legitimate inquiry should therefore include enough information about the event for the artist’s representatives to evaluate the opportunity.
What information do I need before asking about hiring Styx?
Before requesting availability or pricing for Styx, an event buyer should ideally know the event date, city and venue, type of event, expected attendance, desired performance format and approximate entertainment budget.
Providing these details allows the artist’s representatives to evaluate the engagement and allows an experienced talent buyer to recommend the most effective offer strategy.
Does the quoted artist fee include travel and production?
Usually, the artist’s performance fee should not be assumed to represent the complete cost of the engagement. Travel, hotels, ground transportation, production, equipment, labor and hospitality requirements may be additional obligations of the buyer depending on the negotiated contract and rider.
The contract and rider should be reviewed before the event buyer determines the final entertainment budget.
Can Celebrity Direct handle the complete Styx booking and production process?
Celebrity Direct can represent the event buyer throughout a celebrity entertainment engagement, including determining availability, developing the offer, negotiating with the artist’s authorized representative, reviewing contracts and riders, coordinating production requirements and assisting with the performance through event day.
Unlike an artist’s agent or manager, Celebrity Direct works on the buyer’s side of the transaction, helping the event planner understand the financial, contractual and production obligations involved in presenting celebrity talent.
The Celebrity Booking Process
How Do I Hire a Celebrity for a Corporate or Private Event?
Submit a request
Submit our website form. We’ll ask you to provide a few key event details and budget goals
Consultation call
We’ll schedule a call to discuss your event goals, offering our expert guidance on expectations
Talent Curation
We Identify a shortlist of available talent, factoring in tour schedules, to ensure accurate recommendations
Narrow it Down
We’ll help you rank and narrow down your top 3 priority picks
The Firm Offer
We craft a formal offer and present it to the Artist
Contract + Deposit
If the offer is accepted, we issue your agreement. If declined, we move to your next preferred choice.
Why Work With Us
Not Just a Booking. A Full-Scale Production.
Booking a celebrity is only part of the equation. We build the entire experience around it.
We handle:
- Artist negotiation and contracting
- All production: staging, lighting, sound, technical riders
- Event logistics and show advancement
- VIP coordinators, security, and confidentiality
You get:
- A seasoned producer and booking advisor in one
- A direct line to the decision-makers behind the artist
- A one-stop solution from inquiry to showtime
- Peace of mind knowing every detail is managed