Ticketmaster New Zealand’s Post

My overwhelming observation of today’s Oasis on-sale is the gap in thinking between venues and promoters. In venue world, we obsess about delivering seamless, high quality customer experience at every single touch point. Almost certainly the most important touchpoint for customers is the point of ticket purchase. Today, many hundreds of thousands of people spent hours staring at computer or phone screens hoping they might be lucky. Some were, some weren’t. Either way everyone experienced a pretty terrible customer experience. Surely, as most major sporting events have done, it’s time to move massive concert and festival on-sales to a ballot format. Better customer experience. Way more labour and cost effective for promoters and ticketing companies. Lets put the fans first.

Stadium Provider ASM Global Selects Boldyn Networks for 5G, Wi-Fi and Private Network Solutions ASM Global and Boldyn Networks last Wednesday announced a partnership expansion to provide 5G, next-generation Wi-Fi, and private networks at their properties. With more than 350 venues worldwide, ASM Global’s premium portfolio ranges from brand new, state-of-the-art stadiums, a historic 100-year-old coliseum as well as convention centers and entertainment districts – each with their own unique attendee offerings and connectivity considerations. Boldyn’s neutral host distributed antenna system (DAS), Wi-Fi, and private network solutions will enable critical ubiquitous 5G connectivity throughout ASM venues, ensuring a fast and reliable experience for sports and entertainment fans, conference attendees, vendors, and operational staff. Boldyn’s public and private network solutions unlock a wealth of new capabilities for visitors, property owners and vendors. Their network solutions connect mobile point-of-sale devices, ticketing, digital screens, energy management systems, interactive installments, back of house operations, among other features. Boldyn’s private 5G networks and Wi-Fi are essential for enhanced security and to control devices such as locks, cameras, and alert systems—all these capabilities and more will now be available to ASM Global managed properties. This new multi-year deal marks a new chapter in the longstanding partnership, building on the work thus far to make ASM Global venues among the most technologically advanced in the world. Boldyn and ASM Global have already collaborated on iconic venues around the world, such as Puerto Rico’s Coliséo de Puerto Rico, the UK’s First Direct Arena, Italy’s Cantu Arena, and other marquee US venues, including Cowtown Coliseum, Desert Diamond Arena, Puerto Rico Convention Center, and many others. The partnership extends to ASM Global-operated stadiums, arenas, theaters, convention centers and other venues globally. By Ariana Lynn Principle Analyst and Senior Editor | IP Networks

Why should you want the make entertainment the destination? When you decide to make entertainment the destination and enhance your venue with live entertainment, it can have a profound effect on your business and allow you to see a fantastic return on your investment. Live entertainment automatically creates an energy in a venue that can't be replicated by recorded tracks or other forms of entertainment. It energises the space and engages the audience, making your establishment more appealing and memorable. If your entertainment is marketed correctly, it can lead to an increase in footfall. People are often drawn to venues that offer live entertainment, whether it's a band, comedian, or other performers. And this can also lead to longer stays and an increase in spend per head. So yes, while there are costs associated with booking live entertainment, venues can generate revenue through ticket sales, cover charges, merchandise sales, and increased food and beverage sales. Successful events can be financially lucrative and help sustain your operations. Overall, live entertainment adds value to venues by creating memorable experiences and these experiences create memories which are what will bring people back time and time again, increasing customer satisfaction, driving revenue, and differentiating your venue from your competitors. That's why we are so passionate about #makingentertainmentthedestination.

We have a core business proposition – but that does not mean we limit ourselves. FIVE is synonymous with entertainment. While we’re in the development and hospitality industries, what sets us apart are our famed, one-of-a-kind entertainment experiences – That give life to the signature 'Vibe at FIVE.' This is what our business is all about. But having a singular focus as a brand hasn’t stopped us from diversifying our portfolio and expanding our footprint. Every decision to build, develop or acquire has been motivated by our goal to create an immersive entertainment ecosystem at our properties. Most recently: ▶️ Our EUR 302.5 million acquisition of The Pacha Group strengthened our network and entertainment capabilities ▶️ FIVE Music is a dynamic music label that creates and captures the energy of our music-driven events through a partnership with global behemoth Warner Music Group ▶️ The soon-to-open FIVE LUXE offers remarkable hospitality alongside unique entertainment venues, like Playa Pacha We’ve built our business on our passion for crafting unforgettable moments for our customers as they lose themselves in the world of FIVE Hotels and Resorts – But we’ve strengthened it by exploring unique and innovative ways to push the boundaries and expand our horizons. #Entertainment #Success #Innovation

The DOJ's antitrust lawsuit against Live Nation and Ticketmaster highlights Oak View Group (OVG) 73 times, alleging collusion to stifle competition in the live entertainment sector. In fact, OVG which operates both London's Budweiser Gardens and is overseeing the upcoming 'Hamilton Arena Project' has its own line in the Department of Justice complaint/document. So why does this matter to smaller markets of independent venues such as Kitchener or those who do not use Ticketmaster or have a massive purchasing department for live entertainment? 1. OVG ceded the tour promotions business to Live Nation, and Live Nation returned the favour, ceding the arena development and consultancy business to OVG and its OVG (Arena) Alliance. In plain words - not our arena or venue, not your show to have. 2. OVG’s presence in the venue world enables it to steer Live Nation content to its venues, whether owned or merely operated, and impose the use of Ticketmaster on those venues through a 2022 deal between the two parties that made Ticketmaster the official ticketing provider of OVG. Although OVG is not directly sued, its close relationship with Live Nation raises questions about its role and potential indirect consequences from the case. Consequences that small communities with independent venues not using Ticketmaster (or its subsidiaries such as TicketWeb or FrontGate Tickets) feel directly (or indirectly) with re-routing tours or events away from such venues or communities drawing profits to the OVG, or Live Nation owned subsidiaries. #kitchener #ticketing #livenation #liveentertainment https://lnkd.in/gedb6JR7

A reckoning may be coming for the ticket sales & events conglomerate, Ticketmaster & Live Nation in the form of an antitrust lawsuit by the U.S. Department of Justice. But does the suit have merit and, if so, what are the implications?… In April 2024, the DOJ announced a major antitrust lawsuit against Ticketmaster’s parent company, Live Nation, following a 2-year probe investigating the company for evidence of a monopoly held over the industry. However, this news didn’t come as a surprise. While the Justice Department itself approved the merger between Live Nation and Ticketmaster in 2010 (on the promise from regulators that they would bring more competition into the ticketing business), critics at the time warned that the merger was bad news for the industry. Opponents of the merger stated that the stipulations would drive up ticket costs for consumers, while giving Live Nation (which owned or ran 135 international concert venues at the time) greater power to pressure venues into exclusively using its new ticketing arm… Today ticket prices are up nearly 450%, rising from $47 in 2001, to around $250 today for the average ticket. And yes, inflation is certainly a contributing factor, however, it’s not the ONLY factor at play. 5 major players influence ticket price fluctuation: Artists, Promoters, Venues, Ticketing Companies, Ticket Resellers Promoters officially set ticket cost, but it's big artists who typically control pricing (smaller artists are beholden to the venue). Then there are fees such as service, processing, delivery, and facility charges – all of which show up as you get ready to purchase tickets, causing the price to rise significantly. Though, whether or not they’re all valid charges (AKA junk fees) is another question entirely. Herein lies the issue – not only are tickets wildly expensive, but there’s few options to choose from if you want to shop around. Thanks in large part to the 2010 merger, Ticketmaster now controls between 70-80% of the market for ticketing and live events. Furthermore, because Live Nation & Ticketmaster essentially control the majority of the live events, they earn revenue on every aspect of the market, from ticket sales to artist promotion to venue management. Which brings us back to the pending lawsuit… In a statement to the Journal, a Ticketmaster spokesperson denied allegations of a monopoly, stating, “Ticketmaster has more competition today than it has ever had, & the deal terms with venues show it has nothing close to monopoly power.” Yet, in 2019, the Justice Department blocked Live Nation from coercing venues into using Ticketmaster and extended its 2010 consent decree to ensure the companies’ compliance. The lawsuit filing is set to happen within the coming weeks, but the DOJ has not given an exact date or details about the suit yet. So, in the meantime we’d like to call for speculation – do you think the DOJ has a case & if so, what’s next for the industry if they win? 💭

Coldplay’s overwhelming ticket demand, the addition of extra shows, and the economic ripple effect on hotels and flights offer valuable branding insights: 1. Consistent Value: Coldplay’s long-standing ability to deliver high-quality music and performances has built a loyal fanbase, driving sustained demand. Brands that consistently provide exceptional value build trust and long-term loyalty. 2. Scarcity & Exclusivity: The initial announcement of their first show heightened demand. When tickets sold out, adding another show played into the excitement. Creating scarcity and exclusive opportunities can make products or services feel more valuable. 3. Ecosystem Impact: Coldplay’s influence extends beyond concerts, driving business for hotels, airlines, and local economies. Strong brands create ecosystems of complimentary industries or services that thrive due to the brand’s success. 4. Leveraging FOMO: The quick sell-out and additional show triggered the fear of missing out (FOMO), pushing fans to act quickly. Brands can use limited-time offers or exclusive opportunities to increase engagement and urgency. 5. Emotional Connection: Coldplay’s live shows create emotionally charged, memorable experiences, fostering deep loyalty and community among fans. Brands that build emotional connections through shared values or powerful experiences can cultivate lasting customer relationships. 6. Adaptability: Coldplay’s ability to respond to demand by adding shows demonstrates the importance of staying responsive to customers. Brands that adapt quickly to customer needs or market changes strengthen trust and remain relevant. In summary, Coldplay’s strategy highlights how delivering consistent value, creating exclusivity, fostering emotional connections, and responding to market dynamics can help build and maintain a robust, long-lasting brand with broad market influence. #Coldplay #AbuDhabi #Dubai #UAE #Branding #Business #Strategy #Market https://lnkd.in/dSbNXGyt

Interesting read if you want to understand the true nature of the how the industry works and the role that Ticketmaster doesn't play. The best line that sums up the truth about ticket prices is, "What Beyoncé charges has nothing to do with whether Ticketmaster or SeatGeek serves the venues she chooses to play"

Valuable insights on brand building - A case study on Coldplay. Building a brand isn't just about selling—it's about creating unforgettable experiences, fostering loyalty, and adapting to meet demand. Coldplay's sold-out shows and the ripple effect across industries show the power of a brand that resonates. #Coldplay #Branding #Business #Strategy #Dubai #AbuDhabi #UAE

A new bill introduced by an influential California state senator takes aim at Ticketmaster, whose stranglehold on the entertainment industry has long vexed concertgoers with its fees and out-of-control pricing. Time to Tackle the Taylor Swift Ticketmaster Turmoil | TechModo Democrat Buffy Wicks, who currently serves as the chair of the Assembly Appropriations Committee, has introduced legislation that her office says would give event-goers substantially more options when it comes to purchasing tickets for events. Politico, which was first to report on Wicks’s new legislation, describes a policy that would “lift restrictions” on the resale of tickets while creating more options for consumers. Wicks envisions a future scenario more akin to the consumer experience of travel websites, where event-goers have a choice between a variety of different sellers, not just one omnipotent platform. Wicks legislation takes aim at “exclusivity” clauses, which have historically allowed platforms like Ticketmaster to lay claim to venues, barring them from contracting with other ticket sellers that would give consumers options. As some commentators have noted, Ticketmaster’s exclusivity contracts effectively put venues up against a wall, forcing them to accept the company’s draconian terms or risk being unable to book the massive stars that Ticketmaster keeps for itself. Wicks legislation, AB2808, was introduced in the California state legislature in February and would force ticket sellers like Ticketmaster to include an API that allows competing sellers to offer tickets for an event on their own platform. The bill would further make it “unlawful” for a ticketing provider or a venue “to provide [ticketing] services” on an “exclusive or discriminatory basis, as specified,” presumably referring to an exclusive arrangement in which companies like Ticketmaster hog all the ticket sales. The bill would also free up the ticket reseller market, allowing for greater options for consumers. Firms that were found to be in violation of the law’s stipulations would be ordered to pay fines. “We want to make sure that we have competition and choice for consumers so we don’t end up with situations like the Taylor Swift concerts—like ‘Lord of the Flies’ attempts to get tickets,” Wicks told Politico. Ticketmaster has been the de facto place to buy concert and sporting events tickets ever since it completed a $2.5 billion merger with Live Nation, a massive venue operator, in 2010. The merger thrust two industry giants into each other’s arms, thus creating what very much looks like and functions as a monopoly. Some projections estimate that the two companies jointly control 70 percent of the ticketed events market. Although Ticketmaster has been a pestilence on the American concert-goer for years, regulators really only started paying attention after the company massively flubbed the ticket sales for mega pop star