Showing posts with label concert ticket prices. Show all posts
Showing posts with label concert ticket prices. Show all posts

Wednesday, September 25, 2013

The Scalper Bots Get Banned

Ticket Scalper image
If you ever had the experience of being one of the first in line or online for concert tickets only to find that all the best tickets where already sold, then you've experienced what happens when ticket scalpers unleash their bots. These auto-ticket buyers electronically scoop up the best seats in the blink of an eye the second they go on sale, preventing real live people from ever having a chance at a great ticket.

The beginning of the end to that practice may be here, however, as Governor Jerry Brown signed into law a bill that bans the bots in California, beginning January 1st, 2014. This is a welcome development for consumer rights, since currently they're forced to pay far higher prices for those same tickets from that scalper who skirted traditional buying electronically.

For better or worse, California is in the forefront of so many things; let's hope that this catches on in the rest of the country as well.
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Tuesday, August 20, 2013

Top Concert Draws

Pollstar logo image
Here are the top concert draws as of last week, courtesy of Pollstar. The list indicates this weeks ranking, last week's ranking in parenthesis, total revenue, and average ticket price in the last column.

There are a couple of things to note here. First of all, most of the acts are decidedly "old school," although Taylor Swift, Justin Bieber and Bruno Mars are strong. Secondly, the prices for the country artists are very reasonable, costing between $31 and $40, although Bad Company/Lynyrd Skynyrd and Styx/REO Speedwagon/Ted Nugent are reasonable as well.

1. (1) The Rolling Stones; $7,772,849;                                    $345.49.
2. (New) Paul McCartney; $3,620,049;                                    $131.27.
3. (2) Taylor Swift; $3,021,717;                                                  $86.51.
4. (3) Kenny Chesney; $2,246,701;                                           $75.53.
5. (4) Fleetwood Mac; $1,427,403;                                             $110.90.
6. (New) Phish; $1,391,413;                                                         $48.76.
7. (5) Justin Bieber; $1,267,409;                                                  $80.71.
8. (6) Dave Matthews Band; $1,134,333;                                   $55.10.
9. (8) Bruno Mars; $1,029,608;                                                     $71.36.
10. (9) New Kids On The Block; $830,439;                                $65.06.
11. (New) Blake Shelton; $672,657;                                           $32.24.
12. (10) Tim McGraw; $586,428;                                                  $38.25.
13. (11) Brad Paisley; $569,683;                                                  $36.13.
14. (New) Rascal Flatts; $567,025;                                              $40.02.
15. (12) Carrie Underwood; $527,808;                                        $70.00.
16. (14) Barry Manilow; $377,596;                                                $67.98.
17. (13) Widespread Panic; $376,122;                                         $47.11.
18. (16) Bad Company / Lynyrd Skynyrd; $311,304;                  $31.44.
19. (17) The Postal Service; $249,253;                                         $41.27.
20. (18) Styx / REO Speedwagon / Ted Nugent; $225,939;       $35.27.
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Follow me on Forbes for some insights on the new music business.

You should follow me on Twitter for daily news and updates on production and the music business.

Check out my Big Picture blog for discussion on common music, engineering and production tips and tricks.

Thursday, August 15, 2013

Can Kid Rock's $20 Ticket Change The Concert Business?

Kid Rock image
Kid Rock has gone completely against the grain of the concert industry by touring behind the idea that a cheap ticket makes more money than an expensive one in the long run. While the average ticket price across the industry is almost $80, Rock has decided that $20 is more in range with what he'd like to see his fans pay.

Rock got promoter LiveNation to buy in after he agreed to revenue share 50/50 on the proceeds, rather than ask for a guarantee like most artists, and so far it's paid off, as every show has sold out and multiple nights have been booked at the same venues. And it gets better than just the low ticket price for fans.

  • Walmart offers the tickets with no additional fees. You pay a flat 20 bucks.
  • Parking is included in the price of the ticket
  • Beer is $4
  • Tour shirts are also $20 (they're usually at least $30 to 40 for most artists)
  • Free samples of Jimmy John's sandwiches at the venue
  • Free coffee available at the end of the show.

Now there are a thousand premium tickets available at higher prices, but they're also being sold directly to fans to keep the scalpers at bay.

This is a great idea because not only does it expose Rock to potential new fans who can afford to check him out because of the cheap prices, but it reenergizes his fan base as well. There's nothing like seeing a great live show to get your fans talking, and buying.

Not wanting to sound too old school here, once upon a time concerts were cheap enough that you could go several times a week and still have money left over. That exposed you to music that you'd have never seen otherwise, and allowed you to make a musical connection in the best way possible - from a live event. Unfortunately, as the prices began to soar, that several times a week became several times a month to today's once or twice a year. There's no way to gain new fans since the artists are only playing to their hard core fan base.

Kid Rock's lower prices have already caused a stir in the business, as Bon Jovi has added a $19.50 ticket to the current tour and other acts are considering something similar as well. This is a healthy trend and good for everyone involved, at least as long as the venues are full. Let's hope it continues.
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Follow me on Forbes for some insights on the new music business.

You should follow me on Twitter for daily news and updates on production and the music business.

Check out my Big Picture blog for discussion on common music, engineering and production tips and tricks.

Sunday, September 16, 2012

Even The Boss Has Trouble Selling Tix

Bruce Springsteen image from Bobby Owsinski's Music 3.0 blog
In what may be indicative of the new realities of the music business, it looks like there's some consumer push-back to high concert ticket prices once again. If you remember, this is a trend that began during the recession/depression days of 2008, but last year saw a bit less consumer resistance to the high ticket prices that have become the norm.

A great indicator of this is the fact that even Bruce Springsteen, The Boss himself, has had to discount tickets in order to get a sellout in his own back yard of New Jersey at MetLife Stadium. Bruce's promoter decided to use LivingSocial, a competitor to Groupon, to provide a special $59 ticket to its members (prices were $82). Despite the 28% discount, the offer only drew 65 buyers by the end of the first day.

Bruce isn't the only big act that's having ticket problems though. LivingSocial has also done deals with the Black Eyed Peas and the joint dates by Kenny Chesney and Tim McGraw, and many other acts like Madonna and even Eric Clapton are struggling to sell out.

But if there's one artist who isn't, it's former Pink Floyd bassist Roger Waters, who's "The Wall" tour has grossed over $160 million so far, which is about double of his closest competitor, who happens to be Springsteen.

So what does this mean? First of all, the economy isn't great and it's a real struggle to pay for a concert. With the average ticket going for around 60 bucks, it can easily double after the "convenience charges," parking, and beverages are added. What would you do if given the choice of putting gas in your car to go to work or buying a concert ticket?

The next thing is overexposure. Most acts make all of their money on the road, so if they want the revenue to continue, they better keep working. The problem is that you just can't come back to the same venue year after year and expect the same turnout, especially at those prices.

The recorded music side of the music business has undergone a paradigm shift that it still can't get its arms around. I predict that the next sector to see such a major change will be the concert business.

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You should follow me on Twitter for daily news and updates on production and the music business.

Check out my Big Picture blog for discussion on common music, engineering and production tips and tricks.

Thursday, May 17, 2012

String Cheese Incident Takes On Ticketmaster

String Cheese Incident image from Bobby Owsinski's Music 3.0 blog
We all hate paying convenience charges when buying concert tickets. It's hard not to feel ripped off when you're suddenly asked to pay as much as a 50% premium on the face value of your ticket. There is sometimes a way around that though; buy your tickets at the box office where sometimes those fees are waved, instead of from Ticketmaster.

That's what the jam band String Cheese Incident did recently at the Greek Theater in Los Angeles in order to supply their fans with the cheapest tickets possible. The band gave 50 friends about $20k in cash to each buy 8 tickets apiece (the maximum number allowed). The band then advertised those tickets online and sold them to fans for only the face value and the cost of shipping.

The fact of the matter is that most bands already get about 8% of the tickets that they can sell at face value or give away, but SCI wanted more and was refused, so they responded with a grass roots workaround.

But here's the thing about convenience charges, as Bob Lefsetz laid out so well in his newsletter (he's a skeptic of the situation, by the way); that's how both the venues and the promoters stay in business. With acts demanding 90+% of the gate, there's not much money left, and sometimes the superstar acts even demand some of those convenience charges as well.

While SCI could have just lowered it's guarantee in exchange for more face-value tickets, that's not the way the business is built these days. It would take the power of a Live Nation to change the current pricing policies, but we all know how unlikely that's going to happen. In the meantime, it's at least nice to see a band think about their fans a little.

You can read more about this in a New York Times article, and on the Lefsetz newsletter.
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You should follow me on Twitter for daily news and updates on production and the music business.

Check out my Big Picture blog for discussion on common music, engineering and production tips and tricks.

Sunday, July 31, 2011

The Concert Industry Is Feeling The Heat

The concert industry has always felt recession proof. The theory was that in bad times, people still purchase entertainment to take their minds off their troubles. This may be so, but last year the concert industry found that there's a limit to how much they can spend, regardless of the entertainment.
"2010... was the single largest year-over-year decline in the history of the live event business, straight up, in the 35 year history of Ticketmaster and I think anywhere else," said Ticketmaster CEO Nathan Hubbard in a recent  interview with Topspin CEO Ian Rogers.  "You have to take a step back and say, 'Why? What is the fan telling us that isn't right about the business?'"   
I guess Nathan hasn't purchased a ticket to an event lately. Not only are events of all types overpriced, but the extra "convenience" charges are a serious impediment to people purchasing. I know I personally won't buy any ticket that if I have pay a convenience charge on.
"We've got a fan experience problem, first and foremost. There are things about buying the ticket that suck.  There are things about going to the show that suck. Price is still an issue for fans."
OK, let's start by not charging for printing out your own ticket (this is such a ridiculous charge it defies logic). How about instituting paperless ticketing to keep the scalpers out of the business (none of the lame excuses of why it doesn't work hold water)? How about an all-in-one ticket that includes parking and beverages? How about a discount if you choose one of these?

It's great that Ticketmaster is aware of these problems, but let's see them finally do something about it. Don't hold your breath though, they don't care about you, only their shareholders. This is another example that proves that any company in the entertainment sector that goes public ends up being bad for the public. You can't dictate creativity in any part of the entertainment business from the boardroom.
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You should follow me on Twitter for daily news and updates on production and the music business.

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Wednesday, June 22, 2011

Could This Someday Be An Alternative To Ticketmaster?

I'm all for anything that can make concert or gig ticketing more fair and efficient. Just about everyone except Ticketmaster employees hates the current system, with the "convenience charges,"  the extra charge for printing your own tickets, and the general perceived contempt for the customer.

If there was an alternative, I bet it wouldn't take long for venues, promoters and artists to switch. Now maybe there is.

A company called Gigswiz is trying to build an alternative way to ticketing as they try to bring the process to social networks and reward artists for direct contact with their fans. Recently they even implemented a Fan Loyalty program with British band Human League, where the band was able to pass on ticket discounts to the fans.

The way it works is artists sign up to GigsWiz Backstage and connect the service to their Facebook and Twitter accounts. GigsWiz then automatically promotes all upcoming gigs with ticketing links, for which the artist or band gets credit. Event organizers can also create events on the GigsWiz Tickets service so that they can reach a band’s fan base.

In addition to those updates being pushed automatically to social media channels, GigsWiz provides embeddable widgets and Facebook apps for artists, promoters and venues that list upcoming gigs and link directly to a page to purchase tickets. The artist is awarded anywhere from 5 to 20% commission on the sales, which they can either keep or give back to their fans.

I'm sure Ticketmaster isn't shaking in their boots, but here's hope that Gigswiz gets a foot in the door and gives the market an alternative. We really need it.
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Help support this blog. Any purchases made through our Amazon links help support this website with no cost to you.

You should follow me on Twitter for daily news and updates on production and the music business.

Check out my Big Picture blog for daily discussion of music, recording, and production tips and tricks.

Thursday, December 30, 2010

Concert Revenue Isn't What It Used To Be

It used to be that a star or superstar act going out on tour was really going to cash in, but it looks like the good times are over, according to Pollstar magazine, considered by many to be almost the bible when it comes to ticket sales.

How about these for numbers?

  *  The revenue of the 50 biggest grossing tours in the world declined 12% last year from 2009.

  *  It was even worse in North America, as sales were down 15%.

  *  The number of tickets sold declined 7% world-wide and 12% in North America.

  *  Yet ticket prices increased by 4% despite last minute discounting by giant concert promoter Live Nation.

  *  The top 50 acts played 8% fewer shows than the year before.

  * Promoters slashed prices to as low as $10 for the Jonas Brothers, Maroon 5, Stevie Winwood and Santana, Creed, and the American Idol tours, among many others.

So who were the biggest grossing tours?

1) Bon Jovi - $201 million (U2 made $311 mil the year before)

2) AC/DC - $177 mil

3) U2

4) Lady Gaga

5) Metallica

What does this all mean? This was probably a healthy course-correction in the business. As a result, what we'll see next year is more reasonable pricing, fewer tours by acts who were out last year (you can't tour the same places with the same songs every year and expect big sales), and maybe some sanity returning to a business that never had to worry about a recession before.

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You should follow me on Twitter for daily news and updates on production and the music business.

Check out my Big Picture blog for discussion on common music, engineering and production tips and tricks.

Sunday, July 18, 2010

Anatomy Of A Concert Ticket Price


Ever wonder where all the money for that concert ticket goes? I'm not so sure that this chart will tell you, since it comes from LiveNation and it's obviously skewed to their needs. There might even be some truth to it from the standpoint that the real moneymaker at a concert has become the parking and concessions, since the act gets most of the door.

Here are some other figures (I don't know if I'd call them facts) from LiveNation by way of Digital Music News.
  • The average LiveNation ticket price in North America increased 3 percent to $49.80 in 2010. The talent percentage was 74%, down 1% from 2009.
  • Internationally, the average price was $54.30, and the talent percentage 55% (down 1%).
  • The drive to relax ticketing prices is on. LiveNation indicated that 10% of tickets will be discounted in some fashion this year, up from 6% in 2009.
  • Among the discounting weapons, 4-packs and $10 lawn seats were cited as the most aggressive sales drivers.
The concert business is in a tough spot this year, with many marquee acts having to cancel some shows for lack of sales (The Eagles and Christina Aquilera to name a couple). LiveNation is in the business of getting people in the seats, so they'd rather give the tickets away (or at least steeply discount them) to get the parking and concessions. But that just upsets the people that paid full pop for the ticket, which will make them less likely to buy the next time around. And people still hate the service charges (I personally won't go to a concert anymore if I have to pay them).

This situation is going to get a lot worse before it gets better.
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Follow me on Twitter for daily news and updates on production and the music business.

Check out my Big Picture blog for discussion on common music, engineering and production tips and tricks.


    Tuesday, June 8, 2010

    80% Of Concerts Don't Sell Out

    While the income from record sales has always been OK for top-selling artists, the real money has always been made on the road. In fact, most music industry insiders generally acknowledge that between 90 to 95% of an artist's income has been generated on the road. That's why the revelation that 80% of the shows the concert promoter Live Nation puts on don't sell out. What's more, 40% of all tickets are now going unsold!

    There are a number of reasons for the recent dive in concert attendance:

    1) The high ticket prices - Some say it's because of the high guarantees demanded by greedy artists while others blame it on the promoter and others blame the secondary ticket market (the legal scalpers), but whatever the reason, concert tickets are way too high. Once upon a time consumers would go to a couple of shows a month or more, but with prices for even the cheap seats now in the stratosphere, not many can afford it. In fact, most concert-goers now attend only a couple a year at most and reserve those times for special occasions.

    2) It's the service charges - Everybody hates the extra charges, especially when they add up to abut 1/3rd the face value of the ticket. Let's face it, any industry that charges a "convenience fee" because you printed your own ticket at home deserves to die, or at least have the offending company die a painful death. Add in a hefty parking fee and some overpriced beverages and you've just spent the month's rent on 2 1/2 hours of temporary happiness (at least you better hope so).

    3) It's the economy - Regardless of the ticket prices, if you don't have a job or are just getting by, there are a lot of other things to spend your money on rather than concert tickets.

    4) Over-saturated artists - How many classic artists are doing a "final tour" for more than a second time? How many major artists have visited the same territories in the last year. The thrill is gone if you've seen the show more than once, especially if it's been recently. We've heard of major artists giving 2 for 1 or $10 and $15 per ticket deals recently, a trend that threatens to continue (good for the consumer, as long as he holds out until just before the show).

    Once again this year, LiveNation is repeating its "no service fee June" by eliminating all service fees, but that's not going to solve the problem. Until we get some reasonable pricing back in the business, it will continue to suffer.

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    Follow me on Twitter for daily news and updates on production and the music business.

    Check out my Big Picture blog for discussion on common music, engineering and production tips and tricks.

    Wednesday, December 30, 2009

    7 Music Business Predictions For 2010


    Yesterday I posted a number of predictions for the musical instrument and pro audio industry on my Big Picture blog, so today I wanted to post a few pertaining to the music business. As with my other predictions, they're based on a bit of inside knowledge, a few rumors, and my ability to read the tea bags.

    1) Subscription music gains a bit more traction. Subscription service Spotify debuts but they'll be crippled due to oppressive licensing deals with the major labels and a cash flow problem. However, music lovers get more and more used to subscription - and they like it. 2010 is not the year subscription reaches critical mass though, because........................

    2) Apple waits it out. Apple now has the infrastructure to launch a subscription service since they bought LaLa, and they're just the 800 pound gorilla to push it over the top. Not in 2010 though, as they squeeze one more year of downloads out of the iTunes store. 2011 will be a different story altogether.

    3) Social media management becomes an issue. No artist has enough time in the day to adequately manage his social media strategy. Hell, most of them don't even have a social media strategy at all! But the demands of social media finally outweigh the demands of making music, and the artists rebel. As a result......

    4) A new class of social media company arises. In 2010, you'll see companies that are dedicated to managing all the social media of an artist so the artist can get back to making music. Sure, there are a few companies like that now, but most of them tend to specialize in PR, or site, MySpace and Facebook design. This new class of company will concern itself only with social media management, and will remove the burden from the artist for better or worse.

    5) Record labels get smarter. Let's face it, we like to paint these guys as stupid and out of touch. Sure, many of them are, but there are a lot of bright, passionate people still in the music business and they're learning fast what it takes to give the public and the artist what they need. Look for some surprisingly hip initiatives from labels big and small in 2010 (and a bunch of incredibly stupid ones too.)

    6) Concert ticket prices come back to earth. You can only soak the people so many times even in good times, but when times are tough the pocketbooks close quickly. Major artists begin to realize that fans just don't want to see them every year, especially when they could be paying the rent or the mortgage or putting food on the table with the money instead. In 2010, the whole concert industry begins to wise-up and understand that the only way it can survive is by offering tickets at Chevy prices instead of a Ferrari.

    7) Twitter takes a fade. It's happening already - there's more and more spam on Twitter and it's been hacked too. And more goofy, inane posts by people that should know better. Why would you think in your wildest dreams I'd be interested in the fact that you just bought a muffin at Starbucks? In 2010, the pushback begins.

    Let's see how these work out. Happy New Years and thanks for reading everyone!!

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