Ticketing
LONDON — The British government has launched a public consultation into the ticketing industry, including the heavily criticized use of dynamic pricing for popular tours, as part of wider efforts to stop music fans from “being fleeced” by “greedy ticket touts.”
The 12-week consultation was announced by the Department for Business and Trade and Department for Culture, Media and Sport on Friday (Jan. 10). It sets out a range of measures to transform the U.K.’s secondary ticket market, including a proposed cap on the price of ticket resales and new legal regulations for ticket platforms around transparency and the accuracy of information they provide to fans.
“From sports tournaments to Taylor Swift, all too often big events have been dogged by consumers being taken advantage of by ticket touts,” said business secretary Jonathan Reynolds in a statement. “These unfair practices look to fleece people of their hard-earned income, which isn’t fair on fans, venues and artists.”
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Government ministers are additionally reviewing pricing practices across the entire live events business, including the use of dynamic pricing by primary vendors whereby prices surge based on demand.
The use of dynamic pricing for concert tickets came to the fore in the U.K. in September when it was used on the U.K. and Ireland legs of Oasis’ Live ‘25 reunion tour, prompting hundreds of complaints from fans after tickets unexpectedly soared from around £150.00 ($200) for standard admission to £355.00 ($470) without prior warning.
The angry consumer backlash was accompanied by fierce condemnation from British politicians, including the Prime Minister, Sir Keir Starmer, and culture secretary, Lisa Nandy, who called the “vastly inflated” prices “depressing to see.”
Soon after, the U.K. competition regulator launched an investigation into Ticketmaster examining whether the Live Nation-owned company broke consumer protection laws and engaged in “unfair commercial practices” by failing to notify ticket buyers in advance about the price rises. Ticketmaster has consistently stated that ticket prices are set by the artist team and event organisers, not itself.
Starmer had previously vowed to cap resale prices on secondary ticketing platforms, such as Viagogo and StubHub, in the run up to July’s election win.
According to the Competition and Market Authority (CMA), around 1.9 million tickets were sold through secondary platforms to British consumers in 2019, accounting for between 5% and 6% of all tickets sold that year. Tickets sold on secondary sites are typically priced more than 50% higher than their face value, reports CMA, which estimated the U.K. secondary ticketing market to have been worth around £350 million ($430 million) a year pre-pandemic.
“For too long fans have had to endure the misery of touts hoovering up tickets for resale at vastly inflated prices,” said Nandy announcing the three-month-long consultation, which closes April 4.
The government said it was seeking views from live industry stakeholders and music fans on a number of proposed measures designed to make ticket resales fairer and more transparent.
They include capping the price of resale tickets at up to 30% above face value and banning resellers from listing more tickets than they can legally buy on the primary market. These measures would disincentivise industrial scale touting, said the government.
Ministers are also proposing to pass tougher regulations for ticket resale companies and issue tougher fines for offenders. At present, the maximum fine that can be issued by Trading Standards against companies that breach ticketing sale rules is £5,000 ($6,100). The consultation will investigate whether this cap should be increased.
The primary ticketing market is also under scrutiny with ministers calling for evidence on whether fans are protected from “unfair practices,” including the use of new technologies and dynamic pricing.
Rocio Concha, director of policy and advocacy at consumer protection organization Which?, said the government must use the consultation “to regulate the industry properly, ensure ticket resales don’t exploit fans and decide when the use of dynamic pricing is unfair and shouldn’t be allowed.”
As in other countries, the practice of dynamic pricing is commonly used in the U.K. by travel companies, taxis and hotels, but it has only been fleetingly used in the British touring market with Oasis’ comeback tour – which is being jointly promoted by Live Nation, SJM Concerts, MCD and DF Concerts – marking its most high-profile roll out for live music concerts in the United Kingdom and Ireland so far.
The British government’s probe of the ticketing business is the latest attempt by authorities to tackle the persistent issue of large-scale ticketing touting in the U.K.
In 2021, watchdog the Competition and Markets Authority (CMA) concluded its long-running investigation into secondary ticketing platforms by making a series of recommendations to government on how to fix the sector. Those recommendations were rejected by the then Conservative government, but now form the basis of the Labour Party’s proposals.
There has also been a number of investigations by the Advertising Standards Authority (ASA) into secondary sites, with a particular focus on Viagogo.
When reached for comment, a Viagogo spokesperson insisted the company will “continue to constructively engage with the Government and look forward to responding in full to the consultation and call for evidence on improving consumer protections in the ticketing market.”
Responding to the public consultation, a spokesperson for Ticketmaster U.K. said the company was “committed to making ticketing simple and transparent” and supported plans to introduce an industry-wide resale price cap.
“We also urge the government to crack down on bots and ban speculative ticket sales,” said the U.K. arm of Ticketmaster, which has capped resale prices to face value on its platform since 2018. StubHub did not respond to a request to comment.
Adam Webb from U.K. campaign group FanFair Alliance called the government’s proposed measures “potentially game-changing” and highlighted the success of other countries, including Ireland, in passing legislation that has effectively banned ticket scalping. “The U.K. simply needs to follow their example,” said Webb.
Two independent music festivals that had hoped to generate approximately $70,000 in revenue by quietly scalping their VIP tickets through the since-shuttered ticketing company Lyte now each face more than $300,000 in losses, court records show.
The festivals are represented in two lawsuits — one filed by organizers of Chicago’s North Coast Music Festival in New York court and the other, Ohio’s Lost Lands Festival in Los Angeles court. The suits provide the first insights into the collapse of Lyte, which suddenly ceased operating earlier this month.
The sudden closure of the company, without any warning to its hundreds of clients, revealed that Lyte CEO Ant Taylor, a Princeton graduate and former media executive, had quietly shifted the business into large-scale ticket scalping in recent years. Lyte was marketed to the public as a fan-to-fan ticket exchange, but documents from recent lawsuits show that Lyte’s main source of revenue came from working directly with promoters to scalp hundreds of thousands of dollars’ worth of VIP tickets for their events to Lyte, which would then resell those tickets at large markups, splitting the upside between the promoter and itself.
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According to one court document, of the 3,064 tickets listed on Lyte for the North Coast Music Festival in Chicago (Aug. 30-Sept. 1) only 89 tickets came from fan listings. Lyte would use those fan listings to drive traffic to an additional 2,975 tickets posted directly on Lyte by the event’s promoters, with a collective face value of approximately $287,750.
Lyte was able to scalp those tickets on its own marketplace and generate $426,912 in revenue — a price lift of nearly 48%, or approximately $139,162 total — which it would then split 50-50 with the promoters. North Coast Music Festival’s cut of the action was to be $69,581, which represents a 24% increase in revenue over their original allocation.
But none of the above mentioned revenue was paid to the dance-centric NCMF festival and the festival was also never paid back for the $287,750 in revenue from tickets it listed on Lyte.
The team behind Lost Lands Music Festival, which takes place each September in Legend Valley, Ohio says its owed $330,000 for the tickets it sold on Lyte, plus the upside it generated from the markups. According to the Lost Land’s lawsuit (filed under its corporate name of APEX Management), Lyte paid APEX a $100,000 advanced fee for using the ticketing platform, which APEX repaid by early September.
Much of Lost Land’s lawsuit is heavily redacted, although the suit does provide some clues about the timeline surrounding Lyte’s collapse.
According to a court filing, APEX’s consultant for Lost Lands, concert giant AEG Presents, had learned that Taylor had resigned as Lyte’s CEO on Sept. 12, and “that Lyte had ceased virtually all of its business operations and laid off virtually all of its employees,” attorney Eric Levinrad writes in a recent court filing.
The lawsuits states that two days later, officials with AEG made contact with Lyte’s CFO Lisa Bashi and learned “she could not commit to the timing of any payment or even that there would be a payment,” for money owed to Lost Lands. “Ms. Bashi further stated that this was an unfortunate scenario, and that defendant was hiring an outside company to help consult on how to wind down operations (Id.), making it clear that Defendant had become insolvent.”
On Sept. 18, an LA Superior Court judge overseeing the Lost Lands case approved the festival organizers’ request for a writ of attachment, allowing organizers to seize Lyte’s property before a judgment is entered, ensuring that Lyte’s assets are available to pay Lost Lands the $330,000 it is owed.
The failed payments come with significant risk for festivals, managing director of APEX Event Management Brett Abel said in a declaration filed in LA court, writing, “APEX will have to urgently find alternative sources of revenue to pay the vendors and artists who will be working at the festival, to make up for its planned share of the secondary market ticket sales,” increasing the risk that APEX would “suffer a loss from the festival rather than break even or to make some profit.”
The Federal Trade Commission is being urged to investigate technology companies that create tools for ticket scalpers that violate existing laws and drive up the price of concert tickets.
The warning and call to action comes by way of a letter signed by National Independent Talent Organizations president Jack Randall and executive director Nathaniel Marro, taking aim at the World Ticket Summit. Held in Nashville earlier this month, the annual conference is organized by the National Association of Ticket Brokers, the country’s largest member organization for professional ticket resellers and individuals who list and resell tickets on sites like StubHub and SeatGeek.
At this year’s summit, members of NITO – which represent independent talent agencies and management companies including Arrival Artists, High Road Touring, Paladin Artists, Q Prime, Red Light Management and TKO – “observed a sold-out exhibition hall filled with vendors selling and marketing products designed to bypass security measures for ticket purchases, in direct violation of the BOTS Act,” a Sept. 9 letter to Federal Trade Commission chair Lina Khan reads.
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That technology includes web browser extensions that set up multiple tabs masking a user’s IP address, proxy services that allow users to be logged in to multiple ticketing accounts from one location and virtual credit card services that bypass geographical restrictions on ticket sales, which are often put in place by event organizers to ensure fair access for local fans.
According to the letter, the use of this type of technology to procure concert tickets is a violation of the Better Online Ticket Sales (BOTS) Act of 2016 which prohibits scalpers from using technology that circumvents “a security measure, access control system, or other technological measure used to enforce ticket purchasing limits for events with over 200 attendees.”
Put more simply, most ticketing companies place a cap on how many tickets a fan can buy for a concert and the use of automated bots, proxy servers, VPNs and phantom credit cards to exceed purchase limits is a violation of the BOTS Act.
“The presence of these vendors at a conference specifically for ticket brokers strongly suggests that a substantial portion of attendees either currently use these services or are likely to do so in the near future,” the letter reads. “This widespread availability and apparent demand for tools that can circumvent ticket purchasing limits indicates that many, if not most, scalpers are operating in violation of the federal BOTS Act.”
The NATB’s executive director Gary Adler issued a lengthy statement in response to NITO’s letter, writing “The vast majority of technology exhibitors at the conference were inventory management systems that help ticket companies organize their tickets, offer them for resale, and help with pricing.”
“There are many friction points in ticketing,” Adler continued “and high-tech ways that players in the system try to monopolize every dollar spent on ticketing and to prevent the resale of tickets. For more than half of events there are lower cost options on the secondary market and some in the primary market don’t like seeing their previously sold tickets being offered for resale at deep discounts. Artists, venues, and primary ticketers abuse technology every day to create fake scarcity and deceive consumers into paying higher prices when really, they are secretly holding back tickets to slowly drip more on sale over time to cheat and fool the fan. This is most likely an illegal deceptive marketing and advertising practice, driven by artists, venues, and primary ticketing companies, that the FTC should immediately investigate.”
Adler notes that the NATB “advocated for the passage of the BOTS Act in 2016 as we fully support the banning of bots. There is no place in the system for illegal bot use. We stand for doing resale the right way and passing strong laws to protect fans and competition across the ticketing industry. If any exhibitors were offering technology that violates the BOTS Act, we want to know as they will not be welcomed back.”
Since its passage in 2017, the BOTs Act has only been enforced one time, in 2021, when three New York-based ticket brokers were charged with violating the law. The government’s enforcement of the BOTS Act has been an “abysmal failure” writes songwriter and music industry analyst Chris Castle, noting that StubHub’s scheduled IPO this fall was a tell-tale sign that the BOTS Act was “under-enforced.”
“Let’s face it – if there were no bots and no boiler room operations, StubHub probably wouldn’t have much of a business,” Castle wrote. Lawmakers including Sen. Marsha Blackburn (R-Tenn.) have introduced legislation like the Mitigating Automated Internet Networks for (MAIN) Event Ticketing Act of 2023 which would force ticketing companies to be more proactive about reporting BOT usage, but those efforts have largely stalled in Congress.
NITO’s letter includes eight recommendations for rights holders and the FTC, calling for the regulator to subpoena the customer lists of “companies offering services that fall into the categories likely to facilitate BOTS Act violations” as well as increased enforcement actions, prioritizing “investigations into large-scale ticket reselling operations, focusing on those using multiple technologies to circumvent purchasing limits.”
By implementing these recommendations, the letter explains, “rights holders and the FTC can take significant steps towards curbing BOTS Act violations and ensuring fairer access to event tickets for consumers.”
Ticketing company Lyte appears to have gone out of business, shutting down its website, laying off its staff and leaving a number of concert promoters unpaid for hundreds of thousands of dollars’ worth of tickets sold on the platform.
Lyte founder and chief executive Ant Taylor has resigned from the company, according to multiple sources, with an emergency board/creditors effort underway to try to identify a potential buyer that could repay the fans and promoters affected by shutdown, which one source said felt akin to being “ghosted.” Currently, the company’s website is offline and has been for days, having been replaced by an image that says “Be Back Soon,” with smaller text reading, “Our website is currently undergoing scheduled maintenance. We should be back shortly.”
Having launched the company in 2014, Taylor raised about $53 million in four major funding rounds, with his biggest investors believed to be Chamath Palihapitiya from Silicon Valley VC Social Capital and New York hedge fund manager Joseph Edelman. Neither Taylor nor representatives for Lyte responded to requests for comment.
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Lyte billed itself as a fan-to-fan ticket exchange where fans could list tickets to events they couldn’t attend and ethically resell those tickets to other fans wanting to attend a concert. But Lyte’s own clients say the company’s business model had changed and that the company helped promoters scalp their high-end tickets and VIP festival tickets — quietly splitting the profits with event organizers.
It wasn’t uncommon for a major indie festival promoter to have several hundred thousand dollars’ worth of ticketing inventory listed on the Lyte system, explained one attorney representing potentially more than a $1 million in cumulative claims against Lyte. High profile clients for Lyte included Baja Beach festival, the Lost Lands festival in Ohio, Pitchfork Music Festival and Newport Folk Festival, although it’s unclear which events are owed money by Lyte.
A worse fate potentially awaits clients who signed up for Lyte’s primary ticketing platform. As recently as Sept. 9 the Lyte blog was announcing new clients for that initiative, including Digilogue Days, an October event in Brooklyn that billed itself as a meeting point for “music executives, artists, creatives, students and aspiring professionals with the tools and knowledge to shape the future of the music industry.” Today, Digilogue Days’ ticketing page has the same “be back soon” message that has come to replace nearly all of Lyte’s known web footprint.
The worst-case scenario for any primary ticketing clients would be if Lyte went out of business without paying its clients any of the revenue from tickets it had sold on their behalf. For small event organizers, that could equal nearly all of an event’s revenue.
If Lyte has to file for insolvency protection, it would fall into the hands of a bankruptcy trustee to sort through the details. But attorneys for several festival clients are hoping to pull their clients’ money out of the venture before it goes into administration.
“It would be totally unacceptable if any of my clients’ money was co-mingled with Lyte’s operational funds,” said one attorney who did not wish to speak on the record. “If that happened, the board of directors will be forced to account for those funds, even if that means piercing the corporate veil and going after their ability to raise money.”
Scalpers hoping to earn a big payout flipping Chappell Roan tickets likely just watched their profits vanish after the singer announced she was shutting down resellers charging outrageous markups for her Oct. 1 show in Franklin, Tenn.
The news was greeted with praise by fans who have watched the “Good Luck, Babe!” singer’s star rise to new heights this summer — as well as by questions from ticket buyers wondering how the singer was able to call a mulligan on tickets she’d already sold to ensure actual fans get to attend her show instead.
The answer isn’t totally clear — Roan’s reps did not respond to Billboard‘s requests for comment — but there’s enough information already available about the Franklin show to tell part of the story. It’s also worth noting that Roan isn’t the first artist to deal with scalpers trying to mark up fan-friendly $30 lawn tickets to as high as $900; in years past, major artists like Ed Sheeran and Eric Church, among others, have utilized the same strategy. And while not a perfect system, it’s still an impactful way to ensure that more fans have access to affordable tickets.
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In many ways, for a breakthrough artist like Roan, there are worse problems to have. Over the last year, thanks to the success of her 2023 album The Rise and Fall of a Midwest Princess, her work as a supporting act on Olivia Rodrigo‘s Guts World Tour and her breakout performances this summer at Lollapalooza and Coachella, Roan, as some say in music business parlance, is the blowing the f— up. Now, as with any big star, scalpers are taking advantage.
In one less extensive example of this, tickets for Roan’s Oct. 2 show at Walmart Amphitheatre near Rogers, Ark., were originally priced between $30 and $80 when they went on sale in June. Now, they’re selling for $300 to $1,200 on StubHub and other secondary sites — though in that case, only a couple dozen tickets, out of 11,000 total capacity, appear to be listed on StubHub.
But in Franklin, there were dozens, maybe hundreds, more resale tickets on sale for the show at the 7,500-capacity FirstBank Amphitheater. Located just 20 miles south of Nashville, Franklin is a much bigger music market than Rogers, and the price gouging for tickets apparently prompted someone from her team to work with reps from Ticketmaster to find out who is scalping those tickets and take them away from those responsible.
Catching scalpers on Ticketmaster, especially after a sale has been made, isn’t particularly complicated. While there are laws governing ticket ownership and rights, in most cases ticketing companies treat tickets like revocable licenses, meaning they have the right to disable tickets that a fan purchased and refund them their money if they are caught violating Ticketmaster’s terms of service.
For example, many scalpers will try to buy up as many tickets as possible using multiple credit cards. That’s a violation of Ticketmaster’s “limit per order” policy, which limits the number of tickets that can be purchased per order based on the event and demand for tickets.
Ticketmaster prohibits users from using multiple IP addresses or email addresses when buying tickets, so if someone successfully completed a purchase of a Chappell Roan ticket but was later found to have used multiple email addresses or a VPN to hide their IP addresses, that could be grounds for their tickets to be canceled and refunded. It wouldn’t take long for a couple of Ticketmaster executives to comb through the transactions for a 15,000-capacity show and find purchases tied to bots with no IP addresses, or large purchases from newly-created accounts linked to free email services.
Once those transactions are identified, most are investigated and the purchases canceled. In Roan’s case, the canceled tickets were pooled and sold via lottery to fans who had to register in advance for a shot at buying them. Though it’s unclear how many tickets were canceled and reissued to fans, it’s unlikely that more than a few hundred tickets were involved.
While this practice is popular with fans and punishes amateur scalpers, there is an argument to be made that, in some cases, it enriches professional scalpers who are better at avoiding detection by reducing the number of tickets available on resale sites and in turn driving up the price for those tickets that aren’t taken down.
But the effort isn’t specifically aimed at eliminating all ticket scalping. Instead, it’s about randomly disrupting the predatory practices of scalpers targeting vulnerable shows by rising artists like Roan who don’t want to charge fans hundreds of dollars to see their concerts. And by focusing on high-margin shows where scalpers are set to make big paydays, artists like Roan really can impact the pocketbooks of professional ticket resellers and help keep more of their tickets affordable for fans.
Sturgill Simpson is keeping it simple for his Why Not? Tour this fall.
The country artist announced on his website in July that although he and his team were “doing everything in our power to keep tickets in the hands of fans and out of the hands of scalpers,” they were opting out of using dynamic pricing for the 37-date run.
Although dynamic pricing is one of the concert business’ most effective tools for keeping tickets off the secondary market, it’s also a major factor in the sharp rise of ticket prices, and Simpson was taking his fans’ wallets into account.
For years, promoters put tickets on sale at a handful of price points, then watched them sell out and get listed with huge markups on the secondary market — revenue that would not accrue to them.
Since then, scalpers have hacked most efforts to foil them, including one of the strategies Simpson is employing: vetting presale buyers. The only proven deterrent has been dynamic pricing: charging what the market will bear during the initial on-sale in hopes of curbing secondary markups.
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In the early days of the music industry’s post-pandemic return to live shows, when pent-up demand led to robust sales, dynamic pricing became the go-to strategy for major acts. The move helped lead to a 30% rise in ticket prices from 2019 to 2024, however, according to Billboard Boxscore, with the average ticket price of a top 40-grossing tour jumping $111 to $144 at midyear 2024 — 6.6% in the past six months.
With the pandemic in the rearview mirror, many in the industry express concern about the sustainability of this upswing. In recent weeks, The Black Keys, Jennifer Lopez and other high-profile artists have canceled tours due to backlash over ticket prices. (The Black Keys fired their management in the aftermath.)
According to Billboard Boxscore, only a handful of acts can charge more than $200 a ticket and sell out, and yet more artists are pushing the boundaries on ticket price and quickly approaching average ticket prices between $150 to $200, getting very close to the ceiling of what fans can or will pay.
“Patronage is up — we are seeing more fans come out to shows, but our costs are eating into the increase in volume,” said Morgan Margolin, CEO of Knitting Factory Entertainment, who says agents and managers are charging 30% to 40% more for acts than they did prior to the pandemic.
“It’s getting more difficult to do business in the major markets, especially with minimum wage increases, insurance, rent, and other costs,” he added. “If artists and managers and agents keep escalating on top of those fees, where is the tipping point?”
The Black Keys successfully played U.S. arenas in the past but only a handful. Most of their dates were either festival slots or amphitheater and theater shows. In 2019, they grossed $28 million on their co-headlining Let’s Rock run with Modest Mouse. Tickets for that tour started at $36.50, with four price points under $100. For the band’s canceled International Players Tour, some tickets were priced at $59.75 and $89.75 but others were listed for $119.75, $159.75 and $199.75. In comparison, the bulk of Simpson’s tickets are selling in the $53 to $72 range.
Pricing tickets based on how much scalpers might profit is difficult and risky. If they are overpriced and the tour flops on the initial on-sale, it’s almost impossible to save. Reducing the price can alienate fans who paid the full cost. Stay the course, and if the tour is deemed a loser, fans will avoid it.
“I think a lot of these artists are getting bad advice and not thinking through the long-term consequences of chasing big bucks,” one arena booking executive says. “And that’s going to hurt them in the long run.”
A version of this story will appear in the Aug. 31, 2024 issue of Billboard.
TickPick has raised $250 million from Brighton Park Capital and golfer Rory McIlroy’s investment partnership Symphony Ventures, it was announced Thursday (Aug. 22). TickPick was founded in 2011 by co-CEOs Brett Goldberg and Chris O’Brien as an independent ticketing marketplace. Since launching, TickPick has been downloaded 14 million times and transacted more than $1 billion […]
As the nation focuses on Tim Walz, the newly named vice presidential running mate of Democratic presidential nominee Kamala Harris, a look into his record as Minnesota’s governor reveals that he recently signed a bill designed to protect concertgoers from junk fees and fraud. This past May, Walz signed a bill that increased transparency for […]
VAI Resort, metro Phoenix’s new $1 billion hotel, culinary and live entertainment destination opening later this year, has partnered with Tixr, the privately-held primary ticketing and live event company. Tixr will exclusively ticket events and experiences for the property’s amphitheater, poolside area and nightclub.
The $50 million, 11,000-capacity VAI Amphitheater in Glendale anchors the 60-acre property with 1,100 guest rooms offering a number of views of the concert venue. From hotel room balconies, to sky boxes, VIP booths and high-end reserved seats, the property offers a number of unique vantage points to see performances. The property will also feature a dayclub, as well as regular programming at its nightclub, with Tixr powering all live event commerce.
“Everything we’re building at VAI Resort, from the property itself to the guest experience, is unique, bigger, bolder, and first-of-its-kind. That ethos is reflected in the technology partners we’ve chosen like Tixr and the innovative feature set they bring to the table,” said Howard Weiss, VAI Resort’s senior v.p. of Entertainment & Sponsorships. “After a long vetting process, there’s no question that Tixr was the right choice for us,” Weiss added, noting, “it’s a true partnership, and every day we’re reminded of why we chose them.”
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“VAI Resort is not just a world-class destination; it’s unlike anything you’ve ever experienced. With its diverse venues and experiences on property, each with their own tech needs, VAI is the forward-thinking kind of partner Tixr is uniquely suited for,” said Robert Davari, co-founder and CEO of Tixr. “We can power sales for the entire resort, from complex reserved seating to bottle service, hotel packages—virtually anything—which hasn’t been possible before on a single system. And we do it in an visual, elegant way that feels nothing like traditional ticketing. We’re working closely with the VAI team to bring their vision to life and can’t wait to get operational.”
Tixr powers more than 500 live entertainment brands in 40 countries. The Los Angeles-based company said that since its inception, it has processed nearly $2 billion in transactions through its unified commerce platform, designed for sales beyond admission tickets.
The beach-style resort is located near State Farm Stadium — home of the NFL’s Arizona Cardinals — and a soon-to-be completed theme park from Mattel — VAI is set to open in 2025. In February, hotel officials announced they had inked a partnership with Live Nation and C3 Presents to book the amphitheater.
Ticketmaster announced Wednesday (July 24) that the company is expanding its presence in Africa with the acquisition of Quicket, described in a press release as “a major player in Africa’s general admission event and festival ticketing.” Quicket, which was founded in South Africa in 2011, is known for its self-service platform and event organizer […]