Ticketing
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A controversial California Assembly bill that would have forced Ticketmaster to share its ticketing inventory with resale sites StubHub and SeatGeek has been amended with anti-resale provisions that would allow promoters like Live Nation to ban Stubhub and SeatGeek from selling its concert tickets in California.
The whiplash legislative maneuvering is the result of the music industry’s successful effort to thwart Oakland lawmaker Buffy Wicks’ attempt to address long-standing consumer complaints against Ticketmaster, forcing her to significantly water down the legislation.
The original version of the bill was introduced on April 8, when Wicks held a press conference with the California Consumer Federation and members of several state Chamber of Commerce groups and unveiled a plan, endorsed by StubHub and SeatGeek, to “make the ticket market more competitive.” To accomplish this, the bill proposed to outlaw Live Nation’s use of exclusive venue contracts, which Wicks said gave the company an unhealthy 80% share of the concert market and had led to a steep price increase for tickets since the company’s merger with Ticketmaster in 2009.
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Wicks’ bill also included a clause — shocking to many in the live entertainment space — that would have required Ticketmaster to develop software integrations allowing rival ticketing companies and ticket resale sites to pull ticketing inventory from the Ticketmaster site and sell it on their own sites. Wicks said she wanted to create a Kayak.com-style marketplace for tickets, where sites like StubHub and SeatGeek, along with smaller primary ticketing companies like Dice and Tixr, sold the same concert tickets Ticketmaster was selling.
The proposal was immediately opposed by professional sports teams including the Golden State Warriors and the San Francisco 49ers, along with concert promoters, venue operators, arts groups and a number of live music industry organizations including the National Independent Venues Association, the Recording Academy and the Music Artist Coalition. Critics said the bill stripped California venues of their rights to monetize their ticketing contracts and transferred the power to control how tickets were sold from artists and venues to third-party technology companies without any safeguards.
Wicks explained that the bill would help consumers by making ticketing companies compete to sell tickets, but opponents said sellers would still be incentivized to raise ticket prices for major concerts when demand significantly outpaced supply. Others argued that giving resale sites direct access to primary tickets would push more tickets into the hands of scalpers and cause prices to skyrocket.
Booking agent Sam Hunt with Wasserman Music described the bill as problematic during an April 16 subcommittee hearing, warning that it “punished artists” and “established a dangerous system for fans.”
“Artists agree that the ticketing process is deeply flawed,” said Hunt, before adding that the blame lies with “unregulated ticket brokers” and “the secondary platforms that allow them to exist and flourish.”
Facing universal opposition from the live music industry and several members of the committee, Wicks vowed to make changes to the legislation.
On Tuesday (April 24), during a hearing of the Assembly’s Privacy and Consumer Protection Committee, Wicks introduced a new, partially completed bill that exempted professional and collegiate sports teams from the new rules. More notably, it included a clause stating that it would be an artist’s decision “to determine the terms and conditions related to the sale, pricing, distribution and transfer of tickets to their events.”
That new language, which mirrors that of legislation in other states as well as proposed federal legislation, was interpreted to mean that artists would be given the right to block resale sites from selling their tickets, potentially ending the resale of concert tickets in California — a sharp contrast with the original bill.
Wicks said the amendment resulted from a compromise with other legislators and was still being revised and amended. Lobbyists for secondary sites like StubHub and SeatGeek testified that they would pull their support for the bill if the new language remained.
Wicks isn’t the only politician tackling ticketing initiatives. Since the high-profile crash of the Taylor Swift Eras Tour ticket sale in November 2022, Ticketmaster has come under fire from members of both parties in Congress and is reportedly the subject of a DOJ investigation on antitrust charges. State lawmakers across the country have largely tried and failed to pass legislation curbing Ticketmaster’s power, but few have swung and missed quite like Wicks, who initially chose to align her efforts with the secondary ticketing market.
Today’s modern live music industry is a diverse cross-section of competing multinational corporations and independent businesses made up of venue operators, talent agencies, concert promoters, artists and their managers, and primary ticketing companies. The broad group of competing interests doesn’t agree on much, except for their universal opposition to the ticket resale business, which many believe caused the Swift ticket sale crash. The bot attack that preceded the temporary disruption of the sale had all the hallmarks of similar attacks utilized by ticket scalping groups.
In its defense, reps for the secondary ticketing business argue that sites like StubHub and SeatGeek provide a safe marketplace to buy and sell tickets that has been embraced by consumers and duplicated by Ticketmaster, which operates its own resale business.
The friction between the music industry and the secondary market involves access to high-demand concerts by artists like Swift and Olivia Rodrigo. Lobbyists for resale sites say Ticketmaster unfairly blocks ticket resellers from accessing high-demand tickets. Ticketmaster officials argue their artist clients want their tickets to be sold directly to fans and not marked up on resale sites.
Following the introduction of Wicks’ revamped bill in California, a new round of debate ensued. During the committee discussion of the legislation, Assemblymember Isaac Bryan said that Wicks’ logic that a Kayak.com site would push ticket prices down was flawed, noting that with hotels, “There’s no secondary market to sell a room for two, three or four” times what was originally paid to book the room.
Assemblymember Lori Wilson added that Wicks should focus her efforts on determining whether Ticketmaster held a competitive or unfair advantage. Committee chair Rebecca Bauer-Kahan said legislators needed to focus on putting consumers first, adding, “We as a committee don’t necessarily think the largest problem is the monopoly at the front end but the brokers in the middle who are buying up the tickets and leading to a lot of the problems” in the marketplace.
Despite these reservations, the new, radically different legislation will move forward. After a brief vote, the rewritten bill passed in the Privacy and Consumer Protection Committee and now heads to the Appropriations Committee, where Wicks serves as chair.
More than 250 artists including Billie Eilish, Lorde, Fall Out Boy, Diplo, Becky G, Green Day, Sia and many more signed an open letter on Thursday (April 25) to the Senate Committee on Commerce urging Congress to pass the Fans First Act. The artists argue that the bill advocating for consumer protections against bots and more transparency in ticket sales is vital to the survival of the live music business.
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“As artists and members of the music community, we rely on touring for our livelihood, and we value music fans above all else,” the letter opens. “We are joining together to say that the current system is broken: predatory resellers and secondary platforms engage in deceptive ticketing practices to inflate ticket prices and deprive fans of the chance to see their favorite artists at a fair price. Predatory resellers have gone unregulated while siphoning money from the live entertainment ecosystem for their sole benefit.”
The letter says that these predatory sellers use illegal bots, speculative ticket listings and deceitful advertising that causes real harm to consumers. “The relationship between artist and fan, which forms the backbone of the entire music industry, is severed,” the letter warns. “No one cares more about fans than the artists. When predatory resellers scoop up face value tickets ahead of fans in order to resell at inflated prices on the secondary market, artists lose the ability to connect with their fans who cannot afford to attend.”
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The Fix the Tix letter argues that fans are lured in by deceptive URLs and ads that “disguise resale and trick consumers into playing up to 20x face value” when face value tickets are still available from the venue, as well “predatory” resellers listing tickets for shows before they go on sale — before they even have tickets in hand — which often result in fans showing up to venues without a valid ticket.
“Predatory resellers do not invest in creating a great live experience or fostering the live musicecosystem – they simply profit off of the hard work of artists, venues and the crew,” it reads. “In fact, resellers and secondary ticketing platforms often profit more from the artist’s work than the artists themselves.”
The signees advocate for the bipartisan Fans First Act — introduced in December by Senators John Cornyn, Amy Klobuchar, Marsha Blackburn, Peter Welch, Roger Wicker and Ben Ray Lujan — which would ban fake tickets and deceptive marketing tactics, as well as requiring ticket sellers to show the full, itemized price of a ticket from the moment the transaction begins, with clear penalties and enforcement to back the bill up.
“We, as artists, as music lovers, and as concert attendees ourselves, urge you to support the Fans First Act to combat predatory resellers’ deceptive ticketing practices and the secondary platforms, which also profit from these practices,” the letter concludes. “Predatory resellers should not be more profitable than the people dedicating their lives to their art.” The letter was addressed to Sen. Maria Cantwell, the chair of the Senate Commerce, Science & Transportation Committee and the panel’s ranking member, Texas’ Ted Cruz, with Senate majority leader Chuck Schumer, minority leader Mitch McConnell, Cornyn and Klobuchar cc’d as well.
Among the other signees to the letter include: Aimee Mann, Finneas, Evanescence’s Amy Lee, Nile Rodgers, OK GO, Halestorm, Becky G, Graham Nash, Goose, Pixies, Particle Kid, Ben Folds, Rickie Lee Jones, Jason Mraz, the members of Duran Duran, Bright Eyes, Julia Michaels, Cyndi Lauper, Sylvan Esso, Major Lazer, MGMT, Yes and many more.
Online ticket resale platform StubHub is considering going public as soon as this summer if it can secure a valuation of more than $16 billion, according to media reports. The Information first reported on Friday (April 12) that StubHub is aiming for a valuation of $16.5 billion, or the valuation it received in 2021 during […]
Elected officials in Maryland are currently moving a ticketing reform bill titled SB0539 through the state legislature, with approval from both the House and Senate pending. The proposed law is a consumer protection bill aimed at the sale and resale of live event tickets that has been endorsed by the Recording Academy, National Independent Venue Association (NIVA), National Independent Talent Organization (NITO), Eventbrite and more.
The current iteration of the bill would ban speculative ticketing (the practice of listing tickets on secondary sites before a reseller owns a ticket), as well as require ticketers to present “all in” pricing for consumers, meaning the full price of the ticket — including all fees — must be present in the price first shown to fans. The bill would pertain to concerts, theater shows and live sporting events.
Based on the bill’s language, resellers will have to provide the zone and seat number for non-general admission events. This would eliminate the common practice of resellers listing an unspecified seat and procuring a ticket — for a lesser price — once a consumer has purchased the “unspecified” seat from a secondary site. It would also reduce resellers’ ability to list generic tickets on resale sites before on-sale for the actual event has occurred.
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Audrey Fix Schaefer, vp of the board of directors and communications director for the National Independent Venue Association (NIVA), tells Billboard that fans regularly search online for concert tickets for shows promoted by I.M.P. — where she also serves as communications director — and are directed to misleading secondary sites that mark up the price or offer tickets for events that haven’t yet gone on sale.
“It’s fraud,” she says. “It’s unregulated arbitrage that deceives fans into thinking that they have to overpay because they can’t get a ticket through us. They figure that it sold out when the tickets haven’t been put on sale.”
Fix Schaefer gives the example of Mitski’s upcoming tour, which will make two stops at I.M.P.’s Merriweather Post Pavilion in Columbia, Md., later this year. For those shows, $125 tickets were being advertised on secondary sites for $12,000 before the actual on-sale. “That’s obscene,” she says, and “there isn’t a single show [resellers] don’t do this on.”
The Maryland bill would also make it illegal for secondary ticketing platforms to provide a marketplace for the sale or resale of tickets that violate the law. If a consumer purchases a ticket that is counterfeit, canceled by the reseller or fails to meet its original description, the secondary platform would be responsible for paying the consumer back for the total amount paid, including any fees.
Making the platforms responsible for the refunds is “a huge win,” says Fix Schaefer, who notes that other consumer protection ticketing laws like the federal Better Online Ticket Sales (BOTS) Act tend to go after individual resellers who are harder to prosecute. Several states around the country are also looking to tackle unfair ticketing practices, including Arizona’s HB2040 (informally known as the “Taylor Swift bill”), which would make it illegal to use bots to purchase unauthorized amounts of tickets or circumvent electronic queues to skip lines ahead of waiting fans. But similar to the federal BOTS Act, the fines for violating these proposed laws would be borne by individuals — not the platforms.
Secondary ticketing platforms, Fix Schaefer adds, are “not going to want to take [the] hit for [resellers]…it’s like having a storefront where they know they’re selling illegal goods but they say, ‘Oh, I just rented that shelf out so somebody.’ No. You’re responsible.”
The Maryland bill would also mandate “all-in” ticket pricing — where consumers see the full price of the ticket, including fees, from the beginning of their transaction — and require those fees to be itemized so fans know where their dollars are going. Nathaniel Marro, managing director of NITO, explains that this portion of the bill will greatly benefit artists. “Artists have no capability of controlling the fees. They don’t make any money off those fees. They are going to the venue and the promoter and the ticketing company,” he says. “The artist wants those fees separated because when fans complain and get upset about how much tickets cost, the only people they are going to point to is the artist.”
Artists will also benefit from fans not spending their entire entertainment budgets on tickets alone. As Marro argues, most fans have a finite level of ancillary income and, if they are spending all or most of it on the ticket, that’s less money spent on music and merch, which goes directly to the performers they came to see.
While other measures, including a cap on resale prices and one that would have compelled secondary sites to identify resellers who are breaking the law, were stricken from the bill as it passed through the state legislature last month, a provision that remained was the commission of a study looking into ticketing practices. If the bill is passed, The Consumer Protection Division of the Office of the Attorney General will conduct a review of how resellers are procuring their tickets, the price difference for fans on the primary versus secondary market, fraudulent tickets, the use of bots, what measures other states have enacted to protect consumers during the ticket buying process and more.
Fix Schaefer predicts that the study, which would be produced by the end of 2024, would succeed in bringing legislatures back to the table on measures like resale caps. “As they are gathering the facts and the data to see what kind of consumer deception and gouging occurs,” she says, “they will be left with a mission to come back and do more.”
A bipartisan coalition of high-profile U.S. senators introduced a sweeping ticketing reform bill today that backers say would significantly improve transparency in concert and sports ticketing, better manage and enforce laws around ticket resale and ban deceptive sales tactics designed to trick consumers into overpaying for access to major events.
The Fans First Act, sponsored by U.S. Senator John Cornyn (R-TX) and co-sponsored by Amy Klobuchar (D-MN), Marsha Blackburn (R-TN), Ben Ray Luján (D-NM), Roger Wicker (R-MS) and Peter Welch (D-VT) is the most comprehensive ticketing industry reform package ever introduced in Congress. It could lead to needed reforms long championed by consumer rights groups, advocacy groups and live music companies including both Live Nation and Ticketmaster, as well as members of the Fix The Tix coalition: the National Independent Venue Association, the Recording Academy, the National Independent Talent Organization, the Screen Actors Guild-American Federation of Television and Radio Artists and the Association of Performing Arts Professionals.
“The current ticketing system is riddled with problems and doesn’t serve the needs of fans, teams, artists, or venues,” Sen. Cornyn said in a statement. “This legislation would rebuild trust in the ticketing system by cracking down on bots and others who take advantage of consumers through price gouging and other predatory practices and increase price transparency for ticket purchasers.”
Klobuchar added, “Buying a ticket to see your favorite artist or team is out of reach for too many Americans. Bots, hidden fees, and predatory practices are hurting consumers whether they want to catch a home game, an up-and-coming artist or a major headliner like Taylor Swift or Bad Bunny. From ensuring fans get refunds for canceled shows to banning speculative ticket sales, this bipartisan legislation will improve the ticketing experience.”
The Fans First Act boasts more than a dozen reform proposals aimed at protecting consumers, including requiring sites like StubHub and Ticketmaster to disclose the full price of tickets including fees at the beginning of the sale and detail if tickets are being sold by a primary seller or a reseller.
The bill would also strengthen the Better Online Ticket Sales (BOTS) Act, signed into law in 2016 by President Barack Obama, which prohibits the use of automated bots to purchase tickets online. It would additionally require sellers and resellers to provide proof of purchase to consumers within 24 hours of purchase and refund consumers the full cost of their tickets when events are canceled. If passed, the bill would also commission a Government Accountability Office study to investigate the marketplace and make recommendations.
Among other provisions, the Fans First Act would also ban the sale of a ticket that the reseller claims they possess but don’t acquire until they have already secured a sale for the ticket. Known as speculative ticket sales, the practice is often the subject of complaints from consumers who later learn they significantly overpaid for tickets.
Those who violate the law could face civil penalties and be added to a reporting website for fans to file complaints about illegal ticket sales tactics that would then be investigated by the Federal Trade Commission and state attorneys general.
“Fans have become increasingly frustrated with how difficult it has been to obtain affordable tickets to see their favorite artists perform,” said Sen. Blackburn. “Bots are snatching up tickets and selling them for exorbitant prices on secondary markets, while some ticketing companies are selling speculative event tickets that don’t even exist. This bipartisan legislation builds upon my work to safeguard artists and their fans in the online ticket marketplace.”
Sen. Luján stated that the “current ticketing system is limiting access to live entertainment,” adding, “That’s why I’m proud to join my colleagues in introducing the Fans First Act to ensure the sale of tickets is accessible to all consumers.” Sen. Wicker added, “Deceptive ticketing practices have become far too common. This bipartisan effort would result in more transparency and less price gauging.”
The Fan First Act is expected to be heard by the Senate Committee on Commerce, Science, and Transportation. Earlier this week, the U.S. House Subcommittee on Energy and Commerce passed a similar bill called the Speculative Ticketing Oversight and Prohibition (STOP) Act, which is now eligible for a vote by the full House.
The STOP Act also bans speculative ticketing, and like the Fans First Act, addresses a range of deceptive ticketing practices and pricing transparency issues. Live Nation and other groups have also expressed support for the STOP Act.
Earlier today, Live Nation officials issued a statement endorsing the Fans First Act.
“We support the Fans First Act and welcome legislation that brings positive reform to live event ticketing. We believe it’s critical Congress acts to protect fans and artists from predatory resale practices, and have long supported a federal all-in pricing mandate, banning speculative ticketing and deceptive websites, as well as other measures. We look forward to our continued work with policymakers to advocate for even stronger reforms and enforcement,” the statement reads.
Recording Academy CEO Harvey Mason jr. also came out with a statement supporting the bill on Friday. “With the introduction of the Fans First Act today, the Recording Academy applauds Senators Klobuchar, Cornyn, Blackburn, Luján, Wicker and Welch for taking this important step towards comprehensive ticketing reform,” he said. “As we work together to improve the ticket marketplace, we urge Congress to act on this bill quickly and continue its effort to protect both artists and fans by increasing transparency and limiting bad actors that take away from the joyous experience of live music.”
Buying concert tickets could become an easier, more straightforward process after the U.S. House Subcommittee on Energy and Commerce passed the Speculative Ticketing Oversight and Prohibition (STOP) Act on Wednesday (Dec. 6). The bill is now eligible for a vote by the full House.
The STOP Act, which Rep. Gus Bilirakus (R-Fla.) called the “biggest ticket reform in years,” does far more than prevent speculative ticketing, though. The bill also addresses a range of deceptive ticketing practices and transparency issues that perplex, aggravate and annoy consumers.
For starters, the bill requires ticket sellers to conspicuously show the final ticket price at the beginning of the purchase process rather than at check-out. “The first price that you see when you order the ticket is the price that you pay — not a penny more,” said Rep. Jan Schakowsky (D-Ill.) during Wednesday’s hearing.
The bill also ensures ticket buyers can get refunds when concerts are cancelled or postponed. Ticket buyers will have the option of receiving a full refund or, subject to availability, a replacement ticket if the event is postponed and rescheduled in the same or a “comparable” location.
“Consumers should not be left on the hook if an event is canceled or postponed and should have the option to receive a full refund or comparable ticket to a rescheduled show or game,” said Rep. Frank Pallone (C-NJ).
The STOP Act also helps consumers know if they’re buying a ticket from the primary seller or a secondary marketplace. The bill would require ticket sellers to provide buyers with a “a clear and conspicuous statement” that the provider is engaged in the secondary sale of the ticket. In addition, the secondary ticket marketplace cannot state that it is “affiliated with or endorsed by a venue, team, or artist” unless a partnership agreement exists.
Deceptive websites that could mislead ticket buyers are also banned. Ticket providers are prevented from using a domain name or subdomain that contains the name of a specific team, league, venue, performance or artist — including “substantially similar” and misspelled names — unless authorized by the owner of the name. Ticket sellers must also make their refund policies known up front.
Finally, as the name of the bill implies, the STOP Act bans speculative ticketing, in effect barringprimary and secondary ticketing marketplaces from selling tickets they do not possess.
For its part, Live Nation, owner of the country’s largest ticketing company, Ticketmaster, welcomes the new measures. “We’ve long supported a federal all-in pricing mandate, along with other measures including banning speculative ticketing and deceptive websites that trick fans,” the company said in a statement. “We’ll continue working with policymakers, advocating for even stronger reforms and enforcement to stop predatory practices that hurt fans and artists.”
Even if the STOP Act passes in the full House, the U.S. Senate must pass a version of the bill for it to become law. Two similar bills have already been introduced in the Senate. Like the STOP Act, the TICKET Act, introduced by Ted Cruz (R-Tex.) and Maria Cantwell (D-Wash.), would prevent hidden ticket fees, require upfront pricing and stop speculative ticket selling. The Unlocking Ticketing Markets Act, introduced by Sens. Amy Klobuchar (D-Minn.) and Richard Blumenthal (D-Conn.), would limit exclusive, multi-year ticketing contracts in live entertainment.
Each year dozens of primary ticketing systems hit the market, and rarely do any last long enough to generate significant attention or revenue to survive. Lyte is the likely exception.
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That’s because founder and CEO Ant Taylor has a proven track record of innovating the ticketing space, starting with its Lyte ticket exchange allowing fans to sell tickets to one another, directly driving the price of tickets down on the secondary market. In his new bid, Taylor is launching the Lyte Returnable Ticket, which allows buyers to return their tickets for a refund, funded by Lyte, along with tools for fair market pricing and simplified ticket buying tools integrated into the platform.
“Event creators equipped with data intelligence and pricing solutions don’t just increase their revenue potential—they also pave the way for more fans to have richer, more transparent ticketing experiences,” says Taylor. “With the Lyte Returnable Ticket, we’re putting fans first by providing a world-class experience, and generating more demand for creators.”
Lyte is the first platform to upend the industry standard policy of no refunds and no cancellations for ticket purchases. Fans gain early access, dedicated support lines, and exclusive tickets unavailable to other ticket holders.
Lyte’s current ticketing partners includes Australia’s music and arts festival Lost Paradise, Madrid’s MadCool Festival, the Association for Volleyball Professionals Pro Tour, and event powerhouse ReedPop, owner of PAX and numerous Comic Con events.
Lyte’s demand-first ticketing platform is powered by SmartPricing and SmartFulfillment, a powerful ecommerce engine with a history of outpricing scalpers and giving event creators total control of the sales experience for fans. Lyte’s SmartPricing feature dynamically prices tickets at fair market rates.
SmartFulfillment introduces an intelligence to who gets tickets by empowering event creators to decide which fans are fulfilled first. Fulfillment logic can prioritize group orders, repeat buyers, local fans and more, giving true priority treatment to event creators’ best customers beyond stressful, finite early access windows. Lyte’s platform also includes a Subscribe and Request buying interface, enabling fans to request tickets months in advance to avoid painful on-sales. The new experience helps creators sell out earlier, with 95.7% of requested tickets converting to tickets sold.
Sen. Marsha Blackburn (R-Tenn.) is planning to roll out new legislation to beef up the BOTS ACT and combat the growing use of automated software to attack high-demand online ticket sales for major concert tours.
In November 2022, unknown individuals attacked Taylor Swift’s ticket sale for her Eras tour, using automated software to overwhelm the Ticketmaster platform and prevent some fans from accessing tickets.
The BOTS ACT, co-authored by Blackburn at the end of 2016 and signed into law by then-president Barack Obama, outlawed the use of bots to attack ticket sales and jump the line to buy tickets ahead of consumers, but the law has only been enforced once in the seven years it’s been on the books. Blackburn is hoping to change that with the adoption of the Mitigating Automated Internet Networks for (MAIN) Event Ticketing Act, a bill she co-authored with Sen. Ben Ray Luján (D-N.M.) that would create new reporting requirements for online ticket sellers attacked by Bots and enact new security requirements for sites like Ticketmaster.
“A fan should be able to buy tickets to live events without bots stealing them and hiking the price,” said Sen. Blackburn in a press release provided to Billboard.
Under the BOTS Act, the Federal Trade Commission (FTC) has exclusive power to file suit against bot users and work with FBI and DOJ officials to bring criminal charges. Individuals caught intentionally breaking the law can face civil fines of $10,000 per violation.
“We have given the FTC the tools they need to help reduce ticket costs and protect consumers and artists from scammers,” Blackburn adds. “Now we must ensure they are enforcing it. This bipartisan legislation builds upon my work to safeguard artists and their fans in the online ticket marketplace.”
The new legislation would create a new forum for online ticket sellers have to report successful bot attacks to the Federal Trade Commission (FTC) and create a complaint database so consumers can also share their experiences with the FTC, and various state attorneys general. The bill also includes evolving data security requirements for online ticket sellers and requires the sharing of information between the FTC and law enforcement; as well as an annual report from the FTC to Congress on BOTS enforcement.
“Live entertainment is one of America’s greatest pastimes, and all Americans should be able to enjoy it without the fear of being scammed,” said Senator Luján. “I’m proud to join Senator Blackburn in introducing legislation to expand the BOTS Act. This bill will allow the FTC to enforce safeguards and set requirements to protect consumers from online ticketing schemes.”
Officials from Live Nation-owned Ticketmaster told Billboard they supported the legislation, saying in a statement: “We commend Senators Blackburn and Lujan for introducing this update to the BOTS Act. Ticketmaster leads the industry in fighting bots, and we see first-hand that scalper bot armies are only getting larger and more sophisticated. Scalpers make billions each year, and until there are real consequences, they will continue to rob fans of tickets at the onsale which is why we’ve long supported much stronger enforcement.”
The bill has also received the support of the National Independent Venue Association which issued a statement applauding Blackburn and Luján for “introducing the MAIN Event Ticketing Act to further crackdown on ticket-buying bots that rob fans of the opportunity to see their favorite artists. The Act builds on the BOTS Act of 2016, which put in place foundational guidelines to prevent ticket resellers from engaging in predatory ticketing practices. We believe in restoring trust in the ticketing experience for fans, and we stand ready to work with Senators Blackburn and Luján to ensure this legislation advances as part of critical comprehensive ticketing reform.”
Olivia Rodrigo is proving that artists don’t need expensive technology or a sprawling staff to make sure their lowest-priced tickets end up in the hands of fans — and not scalpers.
Ticket brokers were crawling around Rodrigo’s website on Wednesday (Sept. 13), assessing their odds of scoring tickets for the superstar’s freshly announced Guts World Tour, which kicks off in February at Acrisure Arena in Palm Springs, Calif. An early spring tour headlined by Rodrigo is a pretty good bet for ticket resellers based on the singer’s continued chart success: “Vampire,” the first single from her new album, Guts, is currently enjoying its 10th week on the Hot 100, while the set’s second single, “Bad Idea Right?”, debuted in the top 10 last month. Meanwhile, the album itself earned more than 126 million on-demand streams in its first four days of release. More importantly, her 2022 Sour trek was an underplay first run tour — Rodrigo had kept her ticket prices reasonable, averaging about $75 a ticket — that saw demand far exceed supply and drove prices into the stratosphere.
For Guts, Rodrigo is taking a simple, innovative step to protect what she is calling “Silver Star tickets,” a two-seat package she’s selling for $40 a pop to individuals her team can verify as fans.
Needless to say, scalpers will want to get in on that. A $20 ticket to a high-demand concert can generate a big markup and quick profits, especially compared to tickets priced between $50 to $200 — the price range for the Live Nation-booked tour. Tickets in the $50 to $200 range, meanwhile, will leave some room for markup on resale sites but make profitability less certain, especially on top-tier tickets.
To pull this off, like a game of cat and mouse, Rodrigo’s team must keep the Silver Star tickets out of scalper’s hands for the program to be a success. Few details about how this will work have been made public, but Rodrigo’s registration site hints that the singer’s team will directly select fans to participate. The real innovation, however, is a requirement that fans pick up their $20 tickets at will call on the night of the show; only then will they learn where their seats are located.
That’s not too different from how box offices used to use will call-only pick up to fight scalping, but where that strategy would typically aim to protect the most expensive tickets this time it’s being used on the cheapest. The limited number of tickets involved here will also help keep from overwhelming staff, whereas previously such a strategies became an unmanageable burden. Meanwhile, not knowing the section or row of a ticket makes it very difficult to sell it on secondary sales websites like StubHub, which requires scalpers to list tickets in the general vicinity of where they are located.
The plan isn’t fool-proof — when it comes to resellers, nothing is — but it places enough hurdles in front of scalpers that most will hopefully be deterred from taking advantage of a program that’s meant to get discount tickets into the hands of fans who otherwise wouldn’t be able to afford to see Rodrigo in concert. And if the strategy is successful, it’s easy to see it being duplicated by other artists, whose biggest frustration with ticketing tends not to be that their best seats are landing on the secondary market, but that seats affordable to their younger and less economically advantaged fans are ending up there too.
Ticketing company Dice raised $65 million from MUSIC, the holding company founded by music veteran Matt Pincus and LionTree, the company announced Wednesday (Aug. 23). Pincus, MUSIC’s CEO and a co-founder of SONGS Music Publishing, which was acquired by Kobalt in 2017, will join Dice’s board of directors.
Additional investors in the funding round include Structural Capital; Ahdritz Holding LLC, an investment vehicle for Kobalt Music founder Willard Ahdritz; Exor Ventures, a venture fund listed on the Euronext Amsterdam with a net asset value of €28.2 billion ($30.6 billion); and Mirabaud Lifestyle Fund, an investment fund of Mirabaud Asset Management that focuses on companies that address the needs of Millennials and Generation Z consumers.
While Dice is a relatively small player in a field filled with large competitors, Pincus considers Dice to be “a completely different business” than big platforms such as Live Nation’s Ticketmaster and AEG’s AXS. “Dice is a platform for fans,” he tells Billboard. Rather than create a standard ticketing platform, Dice built a platform used by those young consumers that attend concerts most frequently. “It’s a user-centric platform” people use to find shows, discover culture and lifestyle events in a new city and and compare activities with friends, says Pincus. “They made ticket-buying fun — which is really hard to do.”
“We’re investing heavily in building even more technology and this year alone we released over 60 new features for fans, venues and artists,” Phil Hutcheon, CEO and founder of Dice, said in a statement. “I’m excited that Matt (Pincus) has joined the board and we’re more focused than ever on our mission to get fans out more.”
The funding will help Dice launch in new cities and further its expansion in Europe and United States and support ongoing investment in product development. The London-based company believes it will serve more than 55,000 artists and over 10,000 venues, festivals and promoters this year across 30 cities in the United Kingdom, United States, France, Germany, India, Italy and Spain.
Ahdritz’s relationship with Hutcheon goes back to 2015. “Having started AWAL at that time, I needed so many more venues for all my acts to play,” Ahdritz said in a statement. “DICE delivers a transformative experience for all stakeholders – from fans to venues to artists and looked like the future for live music. DICE has come a long way on their vision, and today it’s even clearer that the live industry needs changing. I am excited to have the opportunity to be part of the company as an investor.”
“Structural Capital is very excited to be involved in helping DICE continue its success and future growth,” Kai Tse, Structural Capital co-founder and managing partner, said in a statement. “We believe DICE is a true industry innovator.”
Dice also announced the appointment of Ali Byrd as chief financial officer. Byrd was previously with healthcare technology company Olive and has held senior positions at Microsoft, Limewire and CoverWallet.