A serious one that hits close to come for me. I'm a huge fan of Ghost (Holy shit you could and should roast them to hell and back) and every year for the last 7 years, saw them at least once every leg of every tour the put on. Well, since "Mary on A Cross" blew up on TikTok, they now have "sellout power" (a double entendre it turns out) and can opt in to "demand ticket pricing," which has made their ticket prices shoot up from $80/general admission just last year to $400. You shouldn't have to sacrifice your summer vacation just to pay for a fucking concert.
cheers guys this is the best episode you have done. Ticketmaster/live nation is 98% of the reason i stopped going to concerts. It seems to have gotten alot worse since covid too as more venues are thirsty as fuck.
I made it to the end. I'm shocked it only has 3.7k views. I haven't been to a "major" concert in years because i'm one of those people who simply wouldn't pay hundreds of dollars to see my favorite band.
This was an informative and useful podcast. Thank You. I quit going to big and medium name concerts ten years ago because of the cost. If enough people stay home, prices will fall.
In my world, if you pay excessive prices for anything non vital, it doesn't make you special ,- it makes you a fool and a tool. Be it cell phones, sneakers, purses or tickets, such purchases mark you immediately as someone I don't need to know.They are the modern equivalents of dunce caps.
I bought tickets to an arena show late last year that had the dynamic pricing shit going on. It was wild to watch tickets that allegedly had a face value of $80 balloon to $150 out of nowhere. I think my FOMO reached a breaking point during that show. That and the fucked up behavior of people attending concerts these days.
Try a BTS concert ticket. Sell out stadiums in less than an hour demand is so high. Scalpers reselling on TM in excess of $1000 per ticket while the presale is still going it's that quick. Today Hybe have anounced all their artists (including BTS) will be going on dynamic pricing for all future concerts.
I’d say when it comes to Congressional action, follow the money as I guarantee LiveNation and other affiliated corporate entities have lobbyists that are deep with many in Congress.
I will not EVER go to another arena show. I’ve honestly never really understood why people like them anyway. You can see great bands in small venues and actually see the artists up close for under $20.
When Frank productions got bought out by Live Nation the scene in southern Wisconsin was destroyed. Up north here in Bonnie Bear country we're too small for them to care and we're in the shadow of the Twin cities market. Fortunately First Avenue kept them at bay in the club scene. AXS is a bit more tolerable for those clubs. The Live Nation club The Fillmore (how original) is a suck ass price gouging hell hole.
Tried to get those 2nd row skrillex red rocks tickets and the first 10 seats I clicked (the middle seats) were INSTANTLY gone and straight up resealed for thousands of dollars
I have resold a ticket because I had a legitimate conflict, but I didn't do it to make money. With no transfer tickets, you're looking at potentially hurting the venue -- which makes its money through concessions -- because there's a certain % of people who won't be able to make the show. It's in the venue's interest to pack the bodies in, and making tickets transferable means more people through the door. Even if they're not making the full price of the tickets, the venue's profits are made on the concessions.
Not true. Non-transferable tickets mean the tickets sell at face value, once. Scalpers aren't going to buy those as an investment to make more money because they can't resell them, so the people who are going to buy the tickets are fans who are exceedingly likely to be at the show. Will there be a few people who can't make it? Yes. But look around the arena at "sold out" shows and check out all the empty space from scalpers who bought up all the tickets thinking the show was certain to sell out or they were certain to be able to get 5x face value for the ticket, then it turns out they were wrong and now all those seats are empty. What you're saying is that selling a ticket is a gamble that a person will show up the night of the concert to attend the show through that ticket. Betting on a fan who paid face value for the ticket is a much safer bet than betting on a scalper setting the price correctly for *another* fan to buy the same ticket. Both ways you're betting on a fan showing up with that ticket, using transferable tickets just adds a bunch of extra steps and higher price tag in the middle. The only issue with non-transferable tickets for the venue is that it takes longer, maybe a minute or two per group, to move people through the door. So roughly every 60 people takes another hour. That sucks but does it suck more than $300 nosebleeds on the secondary market that still may not result in a person showing up for that seat?
If you're going to reduce capitalism to encompass basic human greed then there is no such thing as capitalism. Thev world isn't fair and it's not capitalism's fault.
1) Missing in the conversation is what the market will bear, if people will pay $300/tk, there's no reason they ought not to charge that. 2) I know I pay a lot less for monthly Spotify than I spent on my CD collection, by an order of magnitude. I expect the musicians have to make up the difference through higher live performance earning. I prefer the access to music we have now, compared to how it was pre-2000's.
Literally both of those things are addressed in the episode. Would people pay $300 ticket if that was the face value of the ticket determined by the artist, or do they only pay it because they think the artist has no control/the money is going to a "scalper"? That's in the episode. Artists started raising their ticket prices exponentially in the '90s, prior to Napster, and artist guarantees started hitting over 100% of the door in the '70s. That's in the episode.
@@YourFavoriteBandSucksPodcast > or do they only pay it because they think the artist has no control/the money is going to a "scalper"? People aren't that dumb. Fans of legacy acts like Pearl Jam are in their peak earning years, and would rather just pay the high prices for a once or twice in a decade experience. I'm speaking from experience on this one. > Artists started raising their ticket prices exponentially in the '90s, prior to Napster. That's in the episode. Legacy acts whose fanAs could afford it, like the Eagles did it first. Everyone else did it post Napster. I'm always hearing about how bands earn fractions of pennies from digital sales, I have to assume CD sales that been more lucrative back in the day.
I know this is on april 1st, but I hope this is more about music business and uh "Music Sociology" (If you puked reading that then I apologize). In fact I'd be down to listen to y'all talk about music business and other parts of how people listen to complete garbage. And I mean it, I'm an anthro major and things like what you guys talk about during the Gorillaz episode and the Jimmy Hendrix episode kinda fascinate me.
@@YourFavoriteBandSucksPodcast I do know what I'm talking about. Why don't you go back to trolling people instead of wasting an hour and a half telling what everyone knows?
