By In the last 20 years, concerts have been less and less the work of small, local promoters and increasingly in the hands of large concentrated corporations. Big tours now routinely receive corporate sponsorship, promoters own venues outright, merchandising is outsourced to specialized companies, etc. In fact, the price of your ticket is becoming less and less important in the grand movement of revenue (despite prices skyrocketting): a concert goer will pay parking, buy merchandise, food and beverage, and will be subjected to publicity sold by the promoter. What used to be ancillary revenue streams is now the main focus, to the point that some promoters will give away hundreds of tickets to fill unsold seats. Because who cares if you haven’t paid your ticket, as long as you buy a few 10$ beers? There’s a saying that goes “if you’re not paying for the product, you ARE the product”. It’s increasingly true in the concert business.
Ticket scalping has also become a big business, with networks of legit resellers selling hot tickets at high premiums. Artists wanted in on these high priced tickets, and thus were born the fan packages. But also came the so called “paper-less ticketing”.
The principle is simple: when you buy your ticket (with a credit card), you’re not issued a ticket. You’re expected to show up to the venue with all the people coming with you, have your card scanned and be allowed entry. You’re simply handed a print out (so much for paper less) stating your seats.
Now there are several drawbacks to this: if you can’t go, you can’t resell your ticket (even if not for profit). You can’t meet up at your seats either: your entire party needs to show up at the same time. That friend that’s stuck in traffic and will miss the opening act? Well so will you!
While I appreciate the effort made to ensure that proper fans will have tickets, I must admit to hating this practice for two additional reasons:
- The last time I had paper-less tickets, the line up was so bad that even though I came in 30 minutes early I missed 20 minutes of the opening act, which I wanted to see.
- I collect ticket stubs.
Now, I know tickets have gotten uglier over the years, but I keep all my stubs in a box, to reminisce about the great concerts I’ve seen over the years. Promoters, instead of the cheap thermal paper print out, how about something that looks like this? The best concerts are not just commercial endeavours, they’re also amazing moments spent with amazing artists.
For additional reading on the rise of the big ticket companies & promoters, I strongly suggest the book “Ticket Masters: The Rise of the Concert Industry and How the Public Got Scalped”
Amazon: Ticket Masters: The Rise of the Concert Industry and How the Public Got Scalped
He's also a regular contributor at the excellent news site Montreal Rampage
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