Despite having a substantial footprint in the Irish entertainment market, Live Nation, the American titan, is largely unrecognised by many. The company not only owns Ticketmaster, responsible for nearly 90% of ticket sales in Ireland, but it’s also the proprietor of MCD, Ireland’s prime concert promotor, who will be bringing Oasis to Dublin next year.
In addition to this, Live Nation operates various venues such as the 3Arena, the Bord Gáis Energy Theatre, the Gaiety, and the Olympia, and organises high-profile events like Electric Picnic and Longitude. Furthermore, through its subsidiaries, it has influential ties with the GAA, the IRFU, and the FAI.
However, the recent ticketing scandal which has swept the nation has not pinned blame on Live Nation or MCD. The party in the spotlight is Ticketmaster. Outrage has been sparked amongst the hundreds of thousands of music enthusiasts who either missed out on the Oasis tickets in Dublin next August or who were forced to pay exorbitant prices.
Worry regarding the implementation of dynamic or “in-demand” pricing, resulting in a sharp increase in tickets cost throughout one Saturday, is growing. Prices even sky-rocketed by hundreds of euros during the frenzied sale, leading to Micheál Martin, the Tánaiste, branding these prices as “rather appalling”. He suggested that the competition and consumer authority should investigate this issue.
Even though the Competition and Consumer Protection Commission (CCPC) initially dismissed the probability of an investigation on Sunday, stating that customers need only to be given clear full price information before making a purchase under Irish law, Monday brought a different tone. The CCPC admitted that there were valid worries relating to the purchase experience of consumers. As a result, the situation is currently being reviewed and all potential actions are being considered to ensure consumer protection law compliance.
The UK government has announced an inquiry into the issue of exorbitantly priced tickets on retailer websites, a move spearheaded by Minister for Culture, Lisa Nandy. She expressed her dismay at the situation, describing the escalation in prices as disheartening. The probe will interrogate the clarity and application of fluctuating ticket prices. Nandy emphasised the need for collaboration between artists, fans, and the industry to put an end to unfair practices such as resale scams and unfair pricing, ensuring a more equitable scheme for ticket sales.
[Dispute over Oasis Tickets: Is fluctuating pricing superior to ticket touting? Opens in a separate window]
There have been repeated requests for an inquiry into Ticketmaster’s operations in the UK. Although the onus of ticket pricing largely falls on MCD and Oasis, Ticketmaster is often criticised due to its reputation. The company first emerged in the mid-90s and has been a target of public displeasure ever since.
Tommy Higgins, the former managing director and head of their European operations, remains composed despite the controversy surrounding the business. He points out that Ticketmaster sells millions of tickets for Irish shows annually with only a minuscule number causing unrest. He argues that the contentment of the substantial majority of the 160,000 Oasis ticket owners tends to be overlooked.
Higgins asserts that Ticketmaster is not monopolistic and will continue to be favoured due to its capacity to manage significant volumes. He highlights the risk undertaken by promoters investing millions into a show with a slim margin of profit, necessitating a reliable ticketing agency.
He recounts a different scenario in his initial days at the helm, selling tickets at £6.50 to a crowd of 700 for an Oasis gig in Tivoli in 1994. Higgins grimly recalls the subsequent surge of fans on Grafton Street lining up for tickets to watch Oasis perform at the old Point Depot. Contradicting the nostalgic perception of better times in the past, he values the convenience of online ticketing from the comfort of one’s home in the present day.