Crude prices have been at three-year lows this week as the world appears to be awash with supplies. With OPEC apparently not willing to defend higher prices by reducing their output, attention has turned to the likely impact on U.S. shale production of a lower price regime. Today we explore why shale production is unlikely to slow down rapidly and may even increase as producers move rigs to plays with higher returns.
CME Nymex West Texas Intermediate (WTI) crude prices were down 28 percent from their June high of $107/Bbl to $77/Bbl on November 4, 2014. This price fall to three year lows has been prompted by a perceived oversupply of crude in world markets versus demand. Driven by new technology and oil extracted from tight shale formations, U.S. crude production has risen by 1 MMb/d during each of the past three years – pushing out imports into the world market. With more barrels chasing lower demand for oil, prices have fallen. The pricing weakness is compounded by a perceived lack of discipline to reduce output by the traditional swing producers within OPEC – including Saudi Arabia. As we discussed in a recent blog, the actions of that nation appear to indicate a strategy to retain market share at the expense of higher prices, at least for the moment (see Crude falls To Pieces).
Lower crude prices here in the U.S. have focused attention on how the new price levels will impact continued shale production. Market conspiracy theorists speculate that Saudi Arabia is sitting on its hands as prices fall until U.S. shale producers “feel the pain” of lower rates of return and shut in production. The assumption is that lower oil prices will push the economics of U.S. shale production under water. And if U.S. producers stop drilling (so the theory goes) then conventional producers like the Saudi’s will benefit as prices increase again once crude supply and demand are back in balance.
The trouble with this theory is that it relies on U.S. shale producers collectively feeling the pain, raising their hands in surrender and shutting in production in short order. But as we shall see, that outcome is highly unlikely, given the nature of shale production economics. In fact rates of return for some producers in some basins would allow them to continue drilling profitably even if oil prices fell below $50/Bbl. And another important feature of shale production economics is the way in which producers have successfully shifted drilling rigs away from less profitable plays towards locations with higher returns as market circumstances changed. Producers have also continued to benefit from improvements in productivity that bring down costs and increase rates of return – even at lower market price levels. In this post we review these strengths of U.S. shale production economics. In later episodes we will look more closely at the sensitivity of rates of return in particular basins to changes in crude prices.
Shale Production Economics
We have previously covered the unique production economics of U.S. shale wells in RBN blogs. Just over a year ago we provided a detailed description of shale gas production economics in the Haynesville in our blog series “The Truth is Out There”. A more comprehensive guide to shale oil, natural gas liquids and natural gas production economics was contained in our recent blog and drill down report describing superior drilling economics in the Permian Basin of West Texas (see Stacked Deck – Why Producers Like Their Odds in the Permian). Shale production involves horizontal drilling and hydraulic fracturing techniques that are relatively expensive compared to traditional vertical drilling (see Tales of the Tight Sand Laterals) so drilling and completion costs are high. But this higher up-front investment is rewarded by typically higher initial production (IP) rates from shale wells that pay back the producer’s investment rapidly. Shale producers typically drill more wells but extract more hydrocarbons more rapidly than their conventional counterparts. The trick to improving rates of return is to drill as efficiently as possible where IP rates are highest – reducing costs at the same time as you increase output, which has a double edged impact on the per unit cost of production (lower costs, higher volumes = lower per unit costs). To that end techniques such as starting multiple wells from the same drilling pad to reduce drilling costs and improve returns have evolved as producers increase productivity. Once infrastructure is in place to transport output to market, the overhead cost of new wells is further reduced.
About the song
“Stop! In the Name of Love” was written by the team of Holland-Dozier-Holland and appears as the fourth song on side one of The Supremes’ sixth studio album, More Hits by The Supremes. Motown bassist James Jamerson’s bass lines in the song subtly propel and move the song in unexpected directions while Ross’ vocals deliver the tune’s message with aplomb and authority. The Supremes’ appearance on the Shindig! television show in February 1965, with its choreographed “stop” hand gestures, helped set up the song to become a smash hit. Produced by Brian Holland and Lamont Dozier, it was released as a single in February 1965 and went to #1 on the Billboard Hot 100 Singles chart. It has been certified Gold by the Recording Industry Association of America. Personnel on the record were: Diana Ross (lead vocals), Florence Ballard, Mary Wilson, The Andantes (backing vocals), James Jamerson (bass), Benny Benjamin (drums), Joe Messina (guitar), Johnny Griffith (organ), Jame Gittens (piano), Jack Ashford (vibraphone), and Mike Terry (baritone saxophone).
More Hits by The Supremes contains music by The Supremes recorded between 1964-65 at Hitsville U.S.A. in Detroit. it includes the two #1 hits, “Stop! In the Name of Love” and “Back in My Arms Again.” Released in July 1965, it went to #2 on The Billboard Top R&B and #6 on the Billboard 200 albums charts. Three previously released singles were included on the LP.
The Supremes were an American R&B girl vocal group and one of the most popular Motown groups of the 1960s. The group was formed as The Primettes in 1959 with Diana Ross, Florence Ballard, Mary Wilson and Betty McGlown. The girls met while living at the Brewster-Douglas public housing project in Detroit. They signed with Motown Records in 1961 and became a trio with Ross, Ballard and Wilson in 1962 for their first recordings. They have released 29 studio albums, four live albums, 32 compilation albums, two soundtrack albums, and 66 singles. They have a Grammy Lifetime Achievement Award, are inductees of the Rock and Roll Hall of Fame, Vocal Group Hall of Fame, and have a star on the Hollywood Walk of Fame. Diana Ross left the group in 1970 to pursue a solo career and was replaced by Jean Terrell. The Supremes have had 10 singers pass through the group since its formation. They officially disbanded in 1977 when the last original member, Mary Wilson, left for a solo career. Florence Ballard died in 1976, Mary Wilson died in 2021. Diana Ross continues to act, record and tour. Her last live performance was at London’s Royal Albert Hall in April. She begins her Beautiful Love Performances — Legacy Tour 2024 in Denmark in August.
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Good article