“Ever get the feeling you’ve been cheated?” – John Lydon
“They’re just a band.” – Scroobius Pip
If you’re remotely interested in live music (or just fucked off when you can’t get tickets for a show without paying double face value) then last night’s Dispatches programme was essential viewing (watch it on 4OD). It exposed the reality of ‘fan-to-fan’ ticket reselling websites like Viagogo and Seatwave; that they’re actually just online touting; regardless of any stated business model, they primarily cater to professional touts and promoters of major shows, such as SJM, LiveNation and Metropolis, who collude by allocating them batches of prime tickets, to make more money than face value.
Grim stuff, yet it was nothing one couldn’t expect or predict if one thinks about it for more than a few seconds.
However the investigation left out three points that I think could’ve been covered with equal vigour:
First, because Dispatches approached the issue solely from a consumer point of view, they failed to follow the money and investigate bands and their agents’ relationships with those promoters who’ve bumped up profits by re-selling. A fascinating (and potentially explosive) question is: do bands and their agents get a share of that extra profit, or not? Promoters and artists split profits of a sold out show, based (presumably) on number of seats times ticket price equals overall gross income. How is that calculated? Are the big artists being diddled, or are they complicit?
I ask because it will be terrific fun to watch, if it turns out promoters have ripped off some of the biggest names in music by reselling their tickets above the agreed sums, without passing on any of the profit. Unlike us humble punters, these bands have the resources and wherewithal to fight back, if they so choose. Or, if they’re complicit, they would make a much more effective target for consumer groups to attack, by publicly shaming the likes of Coldplay or Rihanna or Will Young, rather than the comparatively anonymous promoters.
Secondly, Dispatches should’ve investigated the perfectly legal and now almost universal, yet immensely damaging, exclusive closed pre-sales to owners of certain mobile phones or users of other services that have a relationship with the venue but no connection to the artist. By giving a specific group of people priority access to tickets, regardless of whether they’re a fan, surely the secondary market is being massively further nourished, while real fans are locked out in the cold. Arguably these pre-sales are actually worse for fans than plain touting, since they normalise the reselling process and turn otherwise normal ticket buyers into touts, for the bands they didn’t want to see but felt obliged to ‘take advantage of an offer’ on.
(I don’t mean pre-sales to artists’ own mailing lists or fan clubs, by the way, that would seem to me to be a perfectly logical and reasonable process.)
Finally, I would’ve loved to see Dispatches widen the investigation to look at the whole process of brand sponsorship of elements of the entertainment industry. If you’re an artist playing to 2,000+ people in the UK right now, it’s almost impossible to do that without becoming a tacit advertiser of O2. It’s not the Brixton Academy anymore, it’s the O2 Academy Brixton. Even smaller venues are increasingly branded. Yet did you know that if you purchase a t-shirt at a gig, the band aren’t getting all the money – the venues take as much as 25% of all income from merchandise, despite being supposedly ‘supported’ by a brand sponsor? Almost no bands are able to fight this – even the ‘guaranteed sellout’ bands who know they’ll fill a venue, make a venue and promoter a heap of money in drink sales as well as their share of ticket revenue, still are unable to work out individual deals to keep all the money from their merch sales. So one solution you increasingly find happening is artists and their management quietly supporting and supplying the ‘bootleg’ merch sellers outside the venue, to claw back some of that revenue…
and da-dah! …the system gets even more fucked and corrupted.
I have mixed feelings about this Dispatches. Although touting is fucking irritating and further snags up an already messy business, if punters weren’t so obsessed by certain hyped huge shows that they pay ridiculous amounts over the odds, it simply wouldn’t happen. Moaners seem to be calling for some kind of legislation to regulate an industry over and above other industries, simply on the basis of an annoyance factor. I hate it when otherwise-happy Capitalists do that, it’s one of the worst, nimby-est bits of liberalism. Last night on Twitter I called it a #sheeptax but nobody reacted (probably for the best!).
Anyway, there’s an economic case for saying it is proof that these shows are under-priced (ha! This isn’t something I actually believe, by the way) – a secondary market only exists while fans are willing to pay. So Madonna took a shit-load of heat recently (including from me) for saying her tickets should be £180, yet once you average the touted price with the official £60 face value Coldplay tickets, they actually came out at roughly the same figure. Many, many people paid £200+ to see Coldplay at the O2. Well, ultimately, do they really want my sympathy? Who’s the bigger fool?
So yes, it’s an appalling practice. But if people resolved tomorrow that they wouldn’t pay above face value, even if that means sometimes missing a show they wanted to see, pouf! the trade vanishes in a cloud of smoke.