I just had a killer idea for selling advance tickets to concerts online – a way of migrating ‘pay what you want’ across to the live music world, without having to do loads of gigs for £1.50. I think someone needs to build this app (or Eventbrite and other online sellers need to add it as an option). By the way, if this is already happening somewhere and I just missed it, I’ll happily stand corrected.
The ‘pay what you want’ model (popularised by Radiohead I guess) is now widely used by artists to sell downloads. It’s available as an option on Bandcamp for example; I tried it myself for 2010’s Christmas download and it worked beautifully. But to my knowledge nobody has set it up for gigging in a way that works: Eventbrite does have a ‘donation’ based ticketing option but it has two deal-breaking flaws: 1) they still charge a booking fee on the donation (!) and 2) if you reach capacity mainly from people who donated nothing, you can’t then prioritise those people who donated more. You get a room full of people who valued the experience at zero and turned away some folks who were willing to donate a chunk. So here’s a simple twist on the system that would make it beautiful:
Pay-what-you-like but the promoter can keep offering tickets after capacity has been reached. At close of sale (based either on a fixed point in time, or on a total amount of money donated), the highest offers (bids/donations) are the people who get the tickets and have their money taken.
The promoter can even set a cut-off point, so they want to earn a fixed amount and (once capacity has been reached) the system keeps prioritising higher offers (bids) until that amount is reached, then cuts off – which will still allow some lower bids access to the show. Meanwhile punters can keep checking back on a gig’s popularity and raise their bid / donation if they start worrying they won’t get it. It needs to be open to be fair, I guess.
*EDIT* and I guess it needs a reserve amount too, below which the gig doesn’t happen!? Hadn’t thought of that…
I bet this would be a relatively simple add-on for an advanced system like Eventbrite or The Big Cartel. (Not to even mention good old WeGotTickets, because they’ve got some catching up to do)
*EDIT* Luke Beesley (@LukeTotD) has found a catch: it makes life tricky for people who travel to gigs via public transport, since there’s an element of risk involved, yet you get much cheaper public transport bought in advance. And you’re more likely to want to donate *less* if you have to travel, because of the total cost involved. Yes, this is a problem.
I wonder if you could include in the model an option for a ‘secure it now’ price, for people who don’t like the risk. This would have the added bonus of encouraging gig prices upwards (from my point of view that’s a bonus since I fundamentally believe most non-‘heritage genre’ or ‘tribute’ small live music events are currently underpriced), while taking the risk out for those willing to pay a little more. It’d also be fun and perhaps, with a forum-style comment space under the ticket thing, create more of a community out of gig goers?
Am I now over-thinking it all? Comments welcome below, as always…
*BIG EDIT* Rhodri Marsden made a strong critique of the idea on ideological grounds on Facebook, and he’s agreed I can add our conversation in below:
I thought “Wow! that’s a good idea!”. And then I thought, no, it’s not. The reason it works for music is that there isn’t a finite number of products. If people want to pay more, then they can. That’s fine. But excluding people from gigs because people with more disposable income pushed ahead of them in the queue just seems a bit crap.
Gigs shouldn’t be about exclusivity. Certainly not in our world. Part of the reason it’s nice is cos everyone has paid a tenner to be there. Except the freeloaders, but I don’t believe in freeloading either and always pay even if I’m on the guest list. (I’m rambling now. I also appear to have become more left-wing in the last 3 minutes than I thought I was.)
my starting position (which you may disagree with) is that most small gigs (discounting ‘heritage genre’, ‘tribute bands’ and ‘lineup of local hopefuls’) are currently underpriced. Secondly, surely this system is no more exclusive than setting a fixed price in the first place? I believe a key to the gig industry is the disconnect between what promoters and artists believe people will / can pay for live music and reality. The myth is: people won’t pay £10 for a evening of live music but they’ll pay £8.50 for the cinema. To counter your ‘exclusivity’ issue, you can still run the ‘auction’ but stick in a ‘buy it now’ price.
Oh right. Yes. For some reason in my head we were talking about a room full of people who’d paid £20 squeezing out those who could only afford a fiver. If it’s a roomful of people paying a tenner squeezing out those who are only paying a measly quid, somehow it becomes more palatable.
In many places in the country a glass of wine in a bar costs almost £5. I’m not feeling bad about people only prepared (able) to pay that, perhaps (sometimes) getting edged out. But fundamentally, folks would set their own levels.
But doesn’t supply & demand economics set gig pricing levels in any case? Popular gigs cost more money, less popular gigs don’t. I don’t think there’s going to be a rush of people (say) desperate to pay £15 to watch something at the Buffalo Bar.
Today I’m sifting through piles of old songwriting notebooks, piecing together best bits of lyrics, looking for new songs and ways to complete nearly-done songs. The main job is juggling all these incomplete bits til they become ‘finished’ (whatever that means). For me it’s the toughest part of songwriting: in my opinion it’s not (mostly) ‘art’ because the art already happened when we had the ideas in the first place, so it’s more ‘craft’ – the bit that takes effort and experience. And it’s boring. And you come out with far less than you go in with.
Not moaning though, it’s not like an actual job or anything.
Anyway, I just uncovered the original first verse of ‘Elephant In The Room’ from Love Is Not Rescue and I like it as an example of how far a lyric might need to travel. So, shared with a red face, I swear my first written version was this:
I forgot how to ride a bike
I forgot how to swim
Put me in the Guinness Book of Records for being the most forgetful
Oh, I forgot, y’already put me in.