playAWARDS’ Post

NEW on ProMarket: The U.S. Department of Justice is rumored to be planning to sue Live Nation - #Ticketmaster for monopolizing markets for live events. Diana Moss (Progressive Policy Institute) explores what potential remedies the government might pursue to address competitive harms in markets such as ticketing for concert venues and sports arenas, and ticket resale, including the viability of breaking up the company. https://lnkd.in/dRrKATJ6

Trick or Treat!🎃 In this fictitious focus group, Ticketmaster chose "Trick". Focus groups are a great way for brands to gain consumer insights on the latest market trends, marketing campaigns, and new product development - even the fake ones😂 While we would never condone actually "tricking" your customers, keep watching to see how Ticketmaster amusingly tricked this group of festival-goers into providing feedback on the newest "festival products." How would you react if you were one of the participants in this focus group? Would you have been able to keep a straight face? Or would you have been skeptical? #ticketmaster #focusgroup #famousfocusgroups #workprank #prank #funnyprank #focusgroupparticipants #festivaltrends #musicfestival #marketresearch #marketresearchstudy #consumerinsights

BookMyShow: Revolutionizing Entertainment Ticketing In an age where convenience is king and experiences reign supreme, BookMyShow has emerged as the quintessential platform, revolutionizing the way we book and experience entertainment. With its user-friendly interface and unparalleled selection of events, BookMyShow has become synonymous with seamless ticketing experiences, catering to the diverse tastes and preferences of millions worldwide. BookMyShow operates on a simple yet powerful business model, leveraging technology to connect entertainment seekers with a myriad of events, ranging from blockbuster movies to electrifying concerts, captivating plays, thrilling sports matches, and beyond. In essence, BookMyShow's business model embodies the perfect marriage of technology, innovation, and customer-centricity. #bookmyshow#entertainment#movienight#theatre#businessmodelseries#ecell#cca

𝗪𝗵𝘆 𝗶𝘀 𝗧𝗶𝗰𝗸𝗲𝘁𝗺𝗮𝘀𝘁𝗲𝗿’𝘀 𝗹𝗮𝘄𝘀𝘂𝗶𝘁 𝗶𝗺𝗽𝗼𝗿𝘁𝗮𝗻𝘁 Live Nation Entertainment, the parent company of 𝗟𝗶𝘃𝗲 𝗡𝗮𝘁𝗶𝗼𝗻 𝗮𝗻𝗱 𝗧𝗶𝗰𝗸𝗲𝘁𝗺𝗮𝘀𝘁𝗲𝗿, has recently been sued by the U.S. Department of Justice and 30 state attorneys. The allegations involve monopolistic practices that enable Ticketmaster to engage in price gouging using dynamic pricing tools. Since the merger of the two brands in 2010, they have become the dominant player in the entertainment ticketing industry, spanning theaters to festivals and music to sports. 🎟 ⚽ 🎭 🎸 🥁 The plaintiffs aim to break up Live Nation. The core of the problem is that Live Nation controls 60% of the top amphitheaters in the U.S. and, through Ticketmaster, controls at least 80% of major venues' primary ticketing for concerts. 🎫 On the other hand, Live Nation argues that the real causes of higher ticket prices include unexpected inflation, increasing production costs, very active ticket scalping in the secondary market 📈 , and the extreme popularity of superstar artists. It will be very interesting to follow the lawsuit and see the outcome. Nevertheless, a forced breakup could significantly help ticketing and pricing startups, such as DynamO Pricing, gain a share of the ticketing income pie. Additionally, it’s important to emphasize that 𝗱𝘆𝗻𝗮𝗺𝗶𝗰 𝗽𝗿𝗶𝗰𝗶𝗻𝗴 𝗶𝘀 𝗮 𝘁𝗼𝗼𝗹—a knife that can be useful or lethal depending on the user's purpose. #dynamicpricing, #ticketing, #dynamopricing, #ticketmaster, #livenation

Why is Ticketmaster's lawsuit significant? Discover how this case could reshape the ticketing industry and create new opportunities for innovative startups. Dive into the key issues and potential impacts in our latest post. 🎟️⚖️💡

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

#DICE ’s mindset of creating a fairer, barrier-free experience between fans and #artists, fighting bots and scammers, has been incredibly attractive in today’s ticketing industry. Now, the ticketing and live-streaming platform has introduced the first of many products of the incoming in-app marketplace, which is supposed to help artists increase their revenue from events. Find out more in our article 👇 Martina Avramova #iMusician #MusicIndustryNews

Elevate your professional and personal life with unique access to curated events—only for #FestivalPass NFT holders. Imagine owning a pass that opens doors to an array of handpicked, exclusive events every quarter. With the FestivalPass NFT, that's exactly what you get. Each event is tailored to offer something unique, whether it's a private concert for a few hundred fans, a gourmet meal cooked by a top chef for just fifty guests, or a chance to watch a major sports game from the best seats in the house. But it doesn't end there—post-event activities like meeting the athletes make these gatherings truly one-of-a-kind. This NFT is more than access; it's a community of like-minded individuals who enjoy the finer aspects of live entertainment. Secure your lifetime access and become part of a select group who experiences the pinnacle of live events. #BusinessNetworking #LiveExperiences

Customers are fans first, not a revenue source "When it comes to passions such as music and sport, we need to think about the lifetime value of a fan. […] For example, technology can be employed to reward fan loyalty, offer complementary services such as discounted travel and accommodation and improve fan engagement programmes." #mustread #fandom #ticketing #reydix

In an environment where there are multiple independent/mid-market and venture-funded ticketing companies, is competition between them leading to lower service fees for fans, or at least to lower service fees for venues and promoters who are capturing margin by marking the fees up? Set the large, vertically integrated, corporate ticketing/promotion companies aside. They are in a different business. Just pure play ticketers - what’s the current state of play? In the time that I have not been paying attention I lost my feel for the market dynamic.