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Ticketing

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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.

A whole generation of live music fans is being trained to expect the worst when it comes to purchasing tickets for concerts, according to National Independent Venue Association (NIVA) president Dayna Frank.

“It’s imperative to the future of live music, especially for the emerging class and the emerging artists, to be able to make buying a ticket and going to a show at even club level venues easy and simple,” Frank said at the NIVA ’23 conference in Washington, D.C. “It’s devastating what we’ve trained young people to expect when they go buy a ticket: how hard it is, you’ve got to be online at a certain time, you might not get it, you might pay $85 when there are $25 tickets available.”

Frank was speaking on the panel “Fix The Tix: How We Stop Predatory Ticketing Practices from Harming Fans and Artists,” which was held at The Anthem on July 10. Appearing alongside her was Lyte CEO Ant Taylor, who agreed with Frank’s assessment of the bleak ticket-buying process for music fans in 2023.

“The thing that we forget about or that we frequently don’t talk about is that on the other side of all this bulls— is the fan,” said Taylor. “How many fans aren’t even coming to an onsale anymore because they’ve given up because of all the points of friction?”

Since concerts restarted following COVID-19 lockdowns, obtaining tickets for high-profile artists like Taylor Swift and Beyoncé has become a game of uncertainty and chance due to factors including bots, unscrupulous brokers and high demand from fans who have waited years to see their favorite artists. And while neither of those superstars will have their livelihoods affected by ticketing issues, smaller artists, venues and promoters in the live music ecosystem can be severely impacted, particularly by brokers who scoop up tickets and place them on the secondary market at markedly higher prices. Because fewer fans are willing to buy tickets at those higher prices, post-pandemic “no-show” rates — or the percentage of people who buy tickets but don’t attend a show — have remained frustratingly high.

“I don’t know how many folks are tracking how many of their tickets are on the secondary markets the day of the show, but we’ll easily see 20-30 tickets just sitting there, unsold,” said Frank, who also owns famed independent venue First Avenue in Minneapolis.

Frank stated that a common no-show rate was around 7% prior to the pandemic. Now, even though no-shows have gone down from their pandemic high, independent venues are continuing to see rates of 12-15% regularly. That means fewer bar and merch sales, which can often be the revenue that makes or breaks a show for small artists and venues.

The current state of concert ticketing in the United States was a major concern for attendees of the second annual conference that hosted independent venues, promoters, agents and ticketers from July 9-12 in the nation’s capital. The “Fix the Tix” panel focused on issues facing the ticketing industry and possible solutions – many of which can be found in the Fix the Tix Act NIVA is lobbying for the federal government to pass. The legislation would ban the sale of speculative tickets (tickets that brokers don’t have in their possession) and the use of bots, as well as require up front pricing and caps on resale prices while providing funds for enforcement.

“The Fix the Tix proposal says that promoters and artists should be able to put terms and conditions on the tickets as they transfer hands,” said Frank, who added that brokers have been lobbying the federal government to make non-transferable tickets illegal for well over a decade. The brokers’ argument, according to Frank, is that they own a ticket and have the right to do anything they want with it — but live music professionals believe the ticket is actually a license, she says.

“That ticket can change hands 25 times, but ultimately the product is the show that we’re responsible for,” Frank continued. “As the people responsible for the product, we should be able to have terms and conditions on this license…Our product involves people coming into our houses which we are legally responsible for. We have to have oversight of how those tickets are transferred.”

Fellow panelist Frank Riley of High Road Touring agreed. “The only way to put this genie back in the bottle is to regain control of who’s in charge of the ticket, and that’s been the artist and the promoter,” said Riley. “Any other solution that’s out there will not work.”

Riley said that putting a cap on how much a ticket can be resold for would be a major hit to brokers on the secondary market. “If you eliminate the profit motive out of the secondary market [as we know it], it will disappear,” he said.

As NIVA, the National Independent Talent Organization, Universal Music Group and many other music industry entities who have signed on to the Fix the Tix legislation are fighting for federal regulation over ticketing, University of Chicago Booth School of Business professor of economics and entrepreneurship Eric Budish suggested that transparency about where the funds go could bolster those efforts.

“Congress or somebody else should figure out who made how much money on the Taylor Swift tour. Taylor Swift made a lot of money and good for her,” Budish said. “But if a ticket got resold for $2,000, there’s 35% fees on that, give or take, so the resale platform probably made more on that ticket than Taylor Swift did. The broker made more money on that ticket than Taylor Swift did. The search engines made a bunch of money in aggregate on those tickets. I’d love to see that money added up. I think that could be really persuasive to a large number of consumers.”

Another approach to tackling the issue came from panelist Neeta Ragoowansi, executive director of Folk Alliance International and president of Music Managers Forum in the United States. Ragoowansi explained that selling fake tickets or listing tickets that a seller does not actually own constitutes copyright infringement, since the seller is using the name of an artist and/or venue to sell an item without permission. She suggested taking legal action against brokers or search engines who are allowing them to operate these illegal practices, similar to how the National Music Publishers’ Association filed suit against Twitter for copyright infringement over its failure to license music.

Naming NIVA, NITO, Music Managers Forum and the Recording Academy, Ragoowansi said, “There’s a variety of interested parties that have members who have standing to file suit there. File suit on mass, class action or even just 15-20 parties who have a variety of causes of action.”

A class action against the brokers or search engines could make substantial headlines, says Ragoowansi, adding it would “allow for the parties to come to the table and start talking about settlement and creating a precedent so that others don’t come in.”

Ticketmaster owner Live Nation’s push for legislative ticketing reform earlier this year has actually slowed down progress on those issues, sources tell Billboard, stalling a long-in-the-works bill that addresses nearly identical concerns about the ticketing business.

Last year, even before Taylor Swift’s Eras Tour presale fiasco inspired a flurry of ticketing reform bills, the National Independent Venue Association (NIVA) had been working on a wide-reaching piece of legislation in cooperation with Sens. Amy Klobuchar (D-Minn.) and John Cornyn (R-Texas) to “combat predatory and deceptive ticketing practices,” according to sources close to the issue. The bill included bans on deceptive practices and speculative listings, enforcement of existing anti-bot laws and new tools for countering ticketing fraud. Its most substantive change took aim at the secondary ticketing industry, granting artists and tour promoters sweeping power to reduce ticket scalping by allowing artists to set legally binding rules on how and where their tickets are resold, according to a November 2022 memo reviewed by Billboard. Besides NIVA, Universal Music Group, Wasserman Music, Dice and See Tickets were all among the broad coalition of music companies supporting the effort under the coalition name Fix the Tix.

But, for months, the bill has languished — even as attention around ticketing has grown considerably following a Senate Judiciary Committee hearing in January on competition within the ticketing industry. That’s because of increased lobbying by pro-scalper groups and a decision in February, by Ticketmaster owner Live Nation, to unveil the FAIR Ticketing Act, a five-point proposal with a list of legislative fixes — and the recommendations were very similar to the fixes NIVA had been quietly lobbying for.

With NIVA representing thousands of independent venues and Live Nation representing its huge corporate portfolio, the two entities often have opposing agendas, and some NIVA members theorized that Live Nation was attempting to sabotage their bill. Worried that supporting a similar proposal would look like politicians were rewarding Ticketmaster at a time when outrage at the company was growing, momentum around the NIVA bill waned. Klobuchar’s office, which had planned to announce a bi-partisan bill with Cornyn in the spring, delayed its announcement amid new concerns that the bill might strengthen Ticketmaster, sources close to both Live Nation and NIVA tell Billboard. They add that the FAIR Ticketing Act was neither a clone of the proposed NIVA bill nor a poison pill.

“Live Nation and Ticketmaster have been the target of the Senate since the two companies merged in 2010,” says one NIVA member speaking on the condition of anonymity. “There’s an appetite in D.C. to punish Ticketmaster, but the reality is that there’s no way to pass a law that would both punish Ticketmaster and bring about the types of reforms needed to clean up the ticketing business.”

Case in point: On April 28, Klobuchar’s office introduced legislation with Senator Richard Blumenthal (D-Conn.) that would have banned ticketing companies like Ticketmaster from signing venue clients to long-term exclusive contracts. The proposal has faced opposition from some members of NIVA, who argued it would hurt small venues that relied on the payments from those contracts, and that fans would likely have to make up for the loss through higher ticket prices. A representative for Live Nation previously told Billboard the proposal wouldn’t “have a material impact on our business as we historically add clients in competitive marketplaces.”

As for similarities between the NIVA-backed bill and Live Nation’s proposal, “It’s not surprising that the two groups that spent the last six months thinking about legislative fixes [to] the same issue came up with similar solutions,” said one source close to Live Nation, noting that much of the friction between NIVA and Ticketmaster has subsided.

Ticketmaster officials appear to have gotten the message and have toned down the rhetoric around their political efforts. Many of the campaign efforts have been picked up by NIVA, which successfully lobbied for $15 billion in federal aid for venues negatively impacted by the coronavirus pandemic in 2021. Now, sources say, the Fix the Tix bill is expected to be proposed in the next couple of weeks.  

Leading the charge at NIVA is the organization’s executive director, Stephen Parker. A longtime D.C. insider who worked with Sen. Tim Kaine when he was the governor of Virginia, Parker spent a decade at the bipartisan National Governors Association and has served on the board of the Country Music Association.

Parker confirmed to Billboard that neither Live Nation nor Ticketmaster has signed on as official supporters of the Fix the Tix coalition, while he and others are being extra cautious not to make their legislative package a referendum on Ticketmaster. Still, the Live Nation-owned company will play an outsized role in the Fix the Tix plan, as opponents are getting ready to paint the proposal as a major power shift to Ticketmaster and away from scalpers.

The Fix the Tix proposal would “make it illegal for resellers, professional ticket brokers, and ticket platforms to violate the artists’ and venues’ ticket terms and conditions, including restrictions that prohibit price gouging of fans through the resale of tickets above face value,” according to an early draft obtained by Billboard. That means artists, venues, or promoters could place ceilings on how much tickets are allowed to be marked up or restrict ticket resale until after all primary tickets have been sold. Since Ticketmaster and AEG are the only two companies on the market with technology that can track tickets after they’re sold to see if they are being resold and for how much, however, critics say this sort of law would create an even greater dependence on their services.

That’s far more power than Ticketmaster should have, says John Breyault, vp of public policy at the National Consumers League and a founding board member of the Fan Freedom Project, an advocacy group fighting restrictions on resale that receives funding from StubHub and Vivid Seats. “Ticketmaster does not want to eliminate resale; they want to control resale,” Breyault says. The current proposals by Ticketmaster and NIVA could bankrupt major secondary resale sites, especially if most tours decided to make their tickets non-transferable. Once Live Nation “got rid of its competitors,” Breyault says the company could convince the artist it works with to lighten up on ticket transferability and effectively “own the resale market.”

To a degree, Fix the Tix is a response to the dozens of pieces of pro-scalping legislation and lobbying that have been proposed at the state and federal levels over the past six months. This Fix the Tix bill would seek to overrule any state-level legislation that exists; there are currently over a dozen states with laws that outlaw restrictions on ticket transferability, meaning anyone can resell tickets at any price they want.Others, like Rep. Bill Pascrell’s (D-NJ) BOSS and SWIFT Act — which Breyault supports and the Fix the Tix coalition opposes — would permanently legalize scalping by making it illegal for ticketing companies to restrict ticket transferability.

Last year, the American Economic Liberties Project, which is funded by Pierre Omidyar — former chairman of eBay and owner of Ticketmaster rival StubHub — announced the “Break Up Ticketmaster,” campaign, aimed at pressuring the DOJ “to investigate and unwind the 2010 Live Nation-Ticketmaster merger,” according to the group’s website.

Opponents of scalping say the BOSS Act would make it impossible for artists to keep their tickets off secondary sites and would allow all scalping sites to sell any tickets they wanted without restriction. Proponents, however, believe that outcome is better for fans than allowing Live Nation and the artists it works with to make these decisions.

While the scalpers and the concert promoters are far apart on most issues, the rival bills do share consensus on a number of practices in ticketing that have long drawn the ire of fans. Those include speculative ticket listing, drip pricing and misleading marketing campaigns — all of which would be banned by both NIVA’s proposal and the BOSS and Swift Act.

Editor’s note: Billboard has updated this story to more accurately describe the work performed by the American Economic Liberties Project.

President Joe Biden announced a major accomplishment in his battle against ticketing junk fees Thursday (June 15), but the impact is likely to be minimal.

After meeting with executives at Ticketmaster, SeatGeek and Dice, among others, those companies agreed to adopt all-in ticket pricing for their sales. For Ticketmaster, that will specifically impact shows at the more than 250 venues owned by parent company Live Nation in the United States — not all its ticketing clients.

The companies’ commitments to all-in pricing are part of a larger effort under the Biden administration and the Federal Trade Commission to reign in billions of dollars in junk fees charged to consumers by banks, hotel companies and entertainment groups. And while the buy-in from some of the world’s largest ticketing companies is an important milestone, the voluntary change will likely only impact a small percentage of tickets and give ticket sellers who conceal add-on fees to consumers until the end of the checkout process a competitive advantage over firms who display the full price at checkout.

The limited impact of Thursday’s announcement underscores the challenges lawmakers face as they attempt to come up with legislative fixes for the ticketing industry in the wake of disruptions to Taylor Swift’s high profile Eras tour. While politicians like Senator Amy Klobuchar (D-Minn.) have pointed the finger at Ticketmaster’s dominant market share, a growing coalition of music industry insiders under the #FixTheTix banner have blamed scalpers for the disruptions to the Taylor Swift sale and continued bot attacks on the ticketing industry.

While much of the battle between Ticketmaster and secondary sites like Stubhub and SeatGeek comes down to fundamental disagreements over artists’ rights to control their tickets and consumers’ rights to buy and sell tickets at whatever price the market will bear, the elimination of last minute fees added to tickets at checkout — sometimes as high as 25% to 35% of the face value of the ticket — had support from both primary and secondary ticket sellers.

In order for the all-in pricing to work, however, most experts agree that it must be mandated by law. Otherwise, many ticketing companies, sports teams and venues are unlikely to voluntarily change their pricing policy out of concern it could be a competitive disadvantage for their facility.

Even Thursday’s commitment from Ticketmaster has no impact on the hundreds of sports venues that sell millions of tickets to games and concerts each year. That’s because Ticketmaster cannot force teams within National Hockey League, National Basketball Association and National Football League to adopt all-in pricing at their stadiums and arenas, despite holding the exclusive ticketing rights to approximately 80% of the teams within those three leagues.

The same goes for the hundreds of independently owned venues for which Ticketmaster provides ticketing services.

Looking at the top 40 venues on Billboard‘s midyear Boxscore charts, while most are ticketed by Ticketmaster, none are owned by parent company Live Nation and none of the facilities will initially offer all-in pricing on their websites or ticket sales pages under the new commitment. The same goes for the hundreds of tours Live Nation promotes as well. That’s because standard ticketing contracts allow venues — and not Ticketmaster or other ticketing companies — to decide how tickets are sold, how much money in fees is added to a ticket, and how and when the breakdown between face value and add-ons like facility fees are displayed to consumers.

Studies show that ticketing companies that don’t use all in pricing have a competitive advantage over companies that show the full price of a ticket upfront. A consumer study by Stubhub in the 2010s shown that fans were more likely to purchase a ticket, even if it had a higher checkout price, if the initial price they were shown was lower than comparable tickets on other websites prices

“Live Nation’s promise today to give Americans price transparency at their venues is encouraging, but we need all-in pricing at all venues, for all live events, and on all ticket selling services now,” Rep. Bill Pascrell (D-N.J.) wrote in an email to Billboard, noting his bill, the BOSS and SWIFT ACT legislation would “mandate in law all-in pricing for true transparency.”

“Not until every seller offers all-in pricing can consumers get the comparison shopping experience for tickets that they deserve,” he wrote.

Critics of the BOSS and SWIFT ACT argue that while the legislation does improve transparency, it includes protections for ticket scalpers that would make it impossible for artists to protect their concert tickets from price gauging.

“Live Nation is proud to provide fans with a better ticketing buying experience,” said Tom See, president of Live Nation’s Venue Nation, in a statement. “We have thousands of crew working behind the scenes every day to help artists share their music live with fans, and we’ll continue advocating for innovations and reforms that protect that amazing connection.”

Stephen Parker, executive director of the National Independent Venue Association, told Billboard in an email, “Up-front pricing should be the start of comprehensive ticketing reform that protects consumers from price gouging and deceptive practices by predatory resellers.”

“We applaud the President for today’s meeting and look forward to working with his Administration and Congress to make comprehensive, bipartisan ticketing reform a reality,” Parker continued.

The National Independent Talent Organization, a group representing independent talent booking agents, applauded the voluntary change at Ticketmaster, but noted the change was “an important first step.”

“Until Congress acts to eliminate excessive fees and secondary ticketing is carefully regulated,” the organization said in a statement, “millions of consumers will still be the victim of predatory ticketing practices.”

Sen. Ted Cruz (R-Texas) and many liberal Democrats have two things in common, and perhaps only two: They hate the way concert and sports ticket sales work — specifically the company selling most of them, Ticketmaster — and they love Taylor Swift. Or, at least, they acknowledge that ingratiating themselves to Swift’s fan army as she sells out stadiums in their states is an efficient way to build up constituent support. 

Over the past couple of months, Cruz, Sen. Amy Klobuchar (D-Minn.), Massachusetts Sen. John Velis (D-Hampden and Hampshire) and others have presented a variety of bills intended to reform the ticket-selling business, invoking Swift and fans’ displeasure with Ticketmaster’s Eras Tour on-sale fiasco in November, when more than 100,000 fans were kicked out of the online sale queue. Following a Senate subcommittee hearing focused on Ticketmaster in January, politicians clearly see positioning themselves against the ticketing giant and attaching themselves to Swift’s millions of passionate fans as a winning combination. They’re even naming their bills after her. 

“There’s a growing awareness of the problem, and the Taylor Swift concert debacle played a part in focusing a lot of attention on the issue,” Cruz tells Billboard, adding that his 12-year-old daughter recently attended an Eras Tour show.

That debacle, Ticketmaster declared at the time, was due to unprecedented levels of illegal bots attacking the online sale. But that claim did little to satisfy fans and politicians, who during a January Senate hearing instead chose to focus on monopolistic behavior by Ticketmaster and its owner, promoter Live Nation, often referencing Swift lyrics between swipes at the company. Since then, the rhetoric has changed slightly. While politicians continue to scrutinize the concert giant — Klobuchar says the Department of Justice is investigating Live Nation and Ticketmaster for possible violations of their 2010 consent decree — senators and congresspeople at federal and state levels are proposing solutions to potentially more manageable issues.

In Massachusetts, Velis and his co-sponsor, Rep. Dan Carey (D-Easthampton), have introduced what they nicknamed the “Taylor Swift bill,” which aims to abolish hidden ticket fees and require sellers such as Ticketmaster and SeatGeek to disclose service charges and costs upfront. A similar law already exists in New York state, and Live Nation actually supports the issue — including it in the company’s own proposed legislation outline. “Taylor Swift obviously sells out every concert,” Velis says, “but she’s also got this support ecosystem that lends itself to, ‘If you want to do something about this, why not use something that’s absolutely going to get the public’s attention?’”

But at a time when opposing Ticketmaster is good politics, one source in touring suggested politicians do not want to be seen aligning with the corporate giant. That political strategy may even be holding back legislation on other subjects where there’s popular consensus. Other bills, like the one Klobuchar and Sen. Richard Blumenthal (D-Conn.) introduced in April, limit exclusive deals with venues and therefore more directly target Ticketmaster.

Velis said he and Carey plan to meet with Ticketmaster executives in the coming weeks to discuss their bill. “The more you can firm up a piece of legislation to get rid of unintended consequences, you’re better off,” Velis says. “That being said, as it relates to just telling a consumer, ‘This is what you’re going to spend if you want to go to this concert’ — I can’t think of anything remotely close to approaching how someone can convince me that’s not a good idea.”

To help wade through the many different pro-Swift, Ticketmaster-targeting bills out there, here’s a rundown of what they each intend to achieve — and what each legislator gets out of sponsoring them:

Unlocking Tickets Markets Act, in the U.S. Senate

WASHINGTON (AP) — President Joe Biden is hosting executives from Live Nation, Airbnb and other companies at the White House on Thursday to highlight his administration’s push to end so-called junk fees that surprise consumers. Biden prioritized the effort to combat surprise or undisclosed fees in his State of the Union address and has called […]

German television personality Jan Böhmermann appears to have single-handedly knocked more than 1 billion euros ($1.15 billion) from the market value of CTS Eventim after he criticized the concert promoter and ticketing company on his late-night talk show ZDF Magazin Royale on German public television on Friday.
According to various media reports, Böhmermann, in a 23-minute news-styled feature, bemoaned the company’s dominant market position in promotion and ticketing and a lack of transparency about the fees added to tickets. “Eventim is practically the German event industry,” the satirist said (as translated to English) He singled out the company’s re-sale platform, fanSale, which allows ticket holders to sell tickets at a premium to their face values. “Why fight the black market when you can earn money yourself?” he asked.

Böhmermann also said that CTS Eventim received 15 million euros ($16 million) of COVID-19 economic aid from the Federal Government Commissioner for Culture and the Media. In total, the company received 272 million euros ($295 million) in economic aid from Germany and elsewhere from 2020 to 2022, according to the company’s financial statements. He noted that a director, Juliane Schulenberg, is the daughter of CTS Eventim founder and chairman Klaus-Peter Schulenberg. She has been a member of the CTS Eventim’s supervisory board since May 2016, according to the company’s website.

“Unfortunately, many facts are twisted and not the truth,” a CTS Eventim spokesperson told Billboard in an email. While Böhmermann suggested Juliane Schulenberg influenced COVID-19 aid received by CTS Eventim, the company’s spokesperson says she “had no professional position in this regard and therefore no influence.”

ZDF Magazin Royale made a significant impact when the market opened after the weekend. Shares of CTS Eventim fell 8.9% on Monday and another 7.5% on Tuesday, bringing the two-day decline to 15.7% — a 1.07 billion euros ($1.15 billion) decline in market capitalization. After a 0.8% gain on Wednesday, shares of CTS Eventim were up 1.3% year to date.

CTS Eventim is the largest concert promotion and ticketing company in Europe and had revenues of 1.9 billion euros ($2 billion) and sold 69 million tickets online in 2022. Its portfolio includes EDM promoter ALDA Germany; the Rock am Ring and Rock im Park festivals; numerous ticketing brands; EMC Presents, a partnership with U.S. tour promoter and producer Michael Cohl; and Eventim Live Asia, a partnership with former Live Nation executive Jason Miller based in Singapore.

U.S. audiences will recall a similar segment about the country’s dominant ticketing company, Ticketmaster, by comedian John Oliver on his HBO show Last Week Tonight in 2022. Oliver touched on the same themes brought up by Böhmermann: market dominance, rising ticket fees and ownership of a secondary market that profits from in-demand tickets’ re-sale values. Oliver had a negligible effect, however, as the share price of Ticketmaster’s parent company, Live Nation, dropped just 0.5% the day after the episode aired. A chance of government intervention has given Live Nation investors pause on numerous occasions, however, such as politicians’ criticism of Ticketmaster’s Taylor Swift pre-sale in November and a 2018 New York Times article about Live Nation’s alleged anticompetitive business practices.

Just as Live Nation and Ticketmaster are under constant scrutiny in the U.S., CTS Eventim routinely falls into the crosshairs of consumer advocates and government regulators. In February, more than 1,500 consumers in Germany had joined a model declaratory judgment against CTS Eventim filed by the Federation of German Consumer Organizations. The consumer advocacy group alleges the company did not refund ticketing fees for cancelled events. In 2018, CTS Eventim’s share price fell as much as 10% after Germany’s Federal Supreme Court ruled the fees charged for printing out tickets ordered online were illegal. Also in 2018, the German Federal Cartel Office banned CTS Eventim from having exclusive ticketing agreements with promoters and box offices. In 2017, the Cartel Office blocked CTS Eventim from acquiring promoter and booking agency Four Artists, which a German court upheld the following year.