John Oliver Rip Ticketmaster and Live Music Costs: “One of the Most Disliked Companies on the planet” | John Oliver

John Oliver delves into the exorbitant pricing industry for tonight’s live event last Sunday, especially the ticketmaster company, or what he calls “one of the most hated companies on the planet.” I did.

The average price of popular concerts has significantly exceeded inflation since the mid-’90s, more than tripled before the resale market. As the biggest player in the ticket market, Ticketmaster said: Fans are what we care most about, “Oliver explained.

It starts with a ticket price that “varies from annoying to completely ridiculous.” His research staff found tickets for the 2019 Kidz Bop concert at a price equivalent to 75% of face value. Tyler’s price reached 78% of face value at the Creator Concert in Florida next week.

Ticketmaster states that their fees are determined “to share some of the fees we collect” and “in collaboration with clients” – the venue, the promoter, and sometimes the artist himself. In 2010, the company merged with Live Nation, which owns or operates most of the top music venues in the United States. Since then, Oliver has explained to live entertainment that the company is “a little stumbling block,” pointing out a 2020 Justice Department memo. The company used Ticketmaster in a strongly armed venue to retaliate against the venue that refused service.

The survey also found that Ticketmaster often withholds most of the tickets from the general public for the resale market. There, most are purchased by professional ticket brokers with bots. Are you a robot? “The tests haven’t completely eliminated them all,” Oliver said.

Brokers flip through these tickets in the secondary market on sites such as SeatGeek, Stubhub, and Ticketmaster to earn huge markup. According to the 2018 Government Accountability Report, the “overwhelming majority” of ticket sales on these sites are done by professional ticket brokers, marked up from 49%. (Average) up to 7,000% (one-way concert).

“Ticket sales sites bring a lot of money, so it doesn’t get in the way of dealing with broker clients,” Oliver continued. For example, the company is not cracking down on ticket brokers with multiple accounts to avoid purchases. To quote one Ticketmaster representative asked by a secret reporter at the 2018 Ticket Brokers Conference, the number of brokers using multiple accounts is:

“Now Ticketmaster has to say that he’s spending millions of dollars on technology to get rid of bad behavior, and that employee comments claim that they don’t reflect that policy. Hmm, “said Oliver. Motivated-their entire system is designed to be opaque, “especially for secondary sellers who remain anonymous.

Finally, there is an “unpleasant fact” about what the ticket really is worth. “Economists will tell you that whatever people pay is worth it,” he explained. In the case of Adele’s ticket “-one current price to her Vegas residence-” it’s worth the total amount as it sounds, but if Adele doesn’t want to charge it, between the faces There is a gap in the value of the ticket and what someone can get for it, and the entire industry is trying to scramble to take advantage of it.

“To put it all together, the reason it’s so hard to get when tickets are on sale is that tickets are often not on sale and are expensive in the secondary market. Exorbitant fees for the platform. It means that you are paying and may be buying from a broker or, rarely, from the artist himself. “

The entire ticket-selling ecosystem “enriches many people who haven’t contributed anything to the actual show,” he added. “And at the heart of all this is Ticketmaster with a turbocharger. Many of these silly practices that are now the industry standard.”

What can you do? Oliver urged Congress to pass a policy that enforces transparency on ticket sales sites. “But the truth is that much of the power here is actually in the hands of the artist. As Pearl Jam did before the 2020 tour was canceled, non-transferable tickets and fans Weakens the secondary market, such as providing a platform where tickets can be resold without profit.

“But if regulators don’t act and artists don’t have the influence or tendency to require companies to install those guardrails, you as a fan may remain vulnerable to the worst. I’m worried about it, “he concluded. It is part of this system. “

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