Submitted 3 months ago by Substance_P@lemmy.world to videos@lemmy.world
Ticketmaster and Live Nation have destroyed the concert experience. But it didn’t use to be this way. Today, Oasis and Taylor Swift tickets might go for thousands of dollars, but back in 1955, you could see Elvis Presley in concert for less than the modern-day equivalent of $20.
I just go support smaller artists that have below $50 shows
The joy of niche music taste: cheap live tickets to small venues, and cool merch. Multiple times I could have touched their instruments from the floor section.
The pain of niche music taste: Depending upon their genre and your city’s size, they may never come nearby you. New York and LA get everything, Kansas City folk better like country and speed-rap.
Depending upon their genre and your city’s size, they may never come nearby you
The joy of living in a central, densely populated area of Europe … I’ve been able to see almost all niche bands that I’m into live.
Here in Greece concert performances of foreign bands/artists cost around 30€ to 90€ (depending on how well known the artists are) and many times it is a festival with more than one band performing.
I think Greek bands/artists charge around 0€ to 30€ for concerts (0€ because some do it out of charity, to help a cause)
Btw I think I’ve never used ticketmaster, we have a viva.com which handles many of the tickets (and it too is an annoying service).
Capitalism is doing capitalism things, weird
It’s a feature not a bug
Albums and singles make next to no money for the majority of musicians.
The only way to make money through music nowadays is touring and merchandise.
Yeah, poor Taylor swift :'(
I don’t think it’s the normal artist we are taking about here. We are talking about concerts going for a thousand bucks.
I paid £22.50 for my Knebworth ticket to see Oasis in 1996. Beer was expensive but the lines were so long that two or three was all that was feasible. Instead I got stoned off my face and zoned out on a little hill behind the vip area. It was amazing but I was so smashed that my memory is fuzzy. Ah well. My sister just paid over £1000 for four tickets to oasis. I think I got a rather better deal than her.
Haha nice. That’s a damn good deal to be fair, cos if not confused then 1996 was more or less the peak of their career, so not like it was an early one where they would be cheaper.
I always hear of the Knebworth place and understand it’s pretty famous so I suppose that should be a clue that they were big then. Cos assuming it’s a big area (field if I’m not mistaken…).
£250 a ticket is pretty crazy. That’s gotta be close to a weekend ticket at Reading and Leeds I would think and you’d see loads of big bands there for that price, including the camping.
Heh. My reading 1996 ticket was less that £50. I can’t remember exactly now, but it wasn’t super expensive. Saw the last? live performance of the stone roses after their brief reunion. Also saw the weddos that day, by far the most fun. The smosh pit for it was amazing.
Knebworth was kinda legendary in the 70s and 80s, lots of huge bands did a “festival” there on occasion. And yeah, 1996 Oasis was by far their tiptop peak. Weirdly I actually saw Oasis once before, they were touring small(ish) pub venues a few weeks before cigarettes and alcohol was released, at the Cambridge boat race. Quite the show. They played a bunch of songs that’d be on definitely maybe.
I saw Metaliica for around $24 in 2004. From then on, I was on every gig of theirs in my country, until this year. This year I couldn’t afford to see them. It was fucking ~$320 (without the road to the venue, hotels, food and stuff)! It’s depressing.
They weren’t exactly new at the time, but I still paid less than $20 to see both P. Funk and They Might Be Giants in the 90s.
I saw King Missile for free because they said anyone who brought a vegetarian potluck dish could come to the show for free.
I remember buying tickets for all day event concerts in the 90’s that were absolutely amazing for between $20 and $50. Went to every Ozzfest from 94-99 and the most I spent on a ticket was $35.
Now those lineups would cost $500+, and for what? Some added light shows? There is less equipment needed now than ever before. Audio modeling is incredible. What once required a massive pedal board and post processing done in a huge computer can be accomplished by a Helix stomp and a competent audio engineer with a laptop and a few other systems. FRFR speakers are cheaper than ever and sound better as well. The “this has gotten more expensive” line is a crock of shit.
Tickets should have scaled with inflation. This is just the next iteration of record company greed. We knew it was happening with physical music sales but now with Spotify and Apple Music they can’t gouge at that level. Line must go up, so it’s happening with concerts.
This is why they’re getting sued by the DoJ. And why Harris needs to win if you guys don’t want Trump to immediately quash the suit.
I mean I’ve seen more than a couple of shows at my local waterhole, and the price has been between free and $20. The $20 one was Moonhooch and absolutely worth it!
If you like listening to live music, it’s there, but it’s not T-Swizzle.
I know it’s a relatively niche genre but I almost exclusively go to folk punk shows. They’re usually $15-20 or “meh, pay what you can just have fun”
Folk punk sounds like a really interesting genre. Do you have any recommendations?
Would pay 20 bucks to see moonhooch for sure. Came upon too many zooz while they were still playing in the subways. I’d probably pay more than 20 bucks to see moon zooz
I think Ticketmaster and Live Nation absolutely are to blame for hyperinflated ticket prices.
The fact that scalpers also operate is reprehensible.
I will however say that production values of a modern gig are many factors higher than they were decades ago.
Safety standards are much higher, requiring more crowd control, more planning, more specialised equipment (both for the venue, and for the production).
It’s no longer “a stack of speakers and a mixing desk with 8 channels”. PA design and installation is both a science and an art in itself to achieve an even frequency response throughout as much of the venue as possible. Never mind the production of the actual music.
It’s no longer “120 par cans over the stage and a bunch of power”, it’s a huge quantity of intelligent lighting fixtures with months of planning and days of programming.
Never mind the video side of things requiring months of preproduction with kit that would make the lighting or sound budget look like fisher price.
And all of this has to be built and run with redundancy, so the equipment list is essentially doubled, and likely a lot of spares.
Venue costs are also higher. So all of that production has to be orchestrated to go in and come out in as fast a time as possible. And packed on and off trucks in specific ways to facilitate this. Logistics of a tour are intimidating.
There are also entire university degrees based around these roles in production, people want and make a career out of touring. Places on tours are highly sought after.
Gigs are no longer just a band playing. There is a lot more show to it.
Whether this is actually what fans want is up for debate. And if it actually makes the experience better is also up for debate.
Ticket prices are obscene, and I don’t think they are inline with the production provided.
However, if the live music is in demand then there will be people that pay. A band can only play so many gigs, and venues are limited.
Some of the increased cost can be attributed to making the job easier and safer for all the crew, staff and fans.
Some of the increased cost can be attributed “putting on a better show”.
Some of the cost can be attributed to some of these jobs moving from the “passion and hobby” to “a career”.
Some of these costs can be attributed to the increased skill level required to put on these gigs.
Some of these costs can be attributed general cost of living & inflation increases.
But I think most of the costs can be attributed to the exploitative behaviour of Ticketmaster etc.
Mixing now requires phenomenally less equipment. We went from massive mixing boards to a collection of individual dials and now we are on very powerful digital modeling systems with a laptop interface.
Sure, these need to be dialed in at every venue, but most of the settings are staying close to the same to recreate a studio type sound with autotune turned slightly down and letting the chord change strum be left in.
Yeh, consoles and generally the engineering side has (somewhat) come down in price. But it is more expensive to actually use it in a live gig.
I don’t know anyone that would mix on a laptop for a live music gig (as opposed to a band at a conference/function) any larger than solo acoustic for 50-100 people.
It’s not that a physical control surface would make it sound better (well, especially with preproduction), but that a physical control surface allows you to react to the music faster. Anything more than 2 button presses away is too far for a live gig with any stakes.
Yes the technology is there, and it is doable. But just because you can, doesn’t mean you should. You are introducing massive disadvantages before you even start the gig.
Some comments on the increased complexity…
Wireless systems are more prevalent, along with IEMs. An 8 way stereo IEM system is a lot more than an 8 way monitor system. More expensive , and a lot more planning.
These days, it is much more common to have DSP amps, a channel (or even multiple channels) per box in an array, arrays are much bigger with additional fills and delays.
I’ve seen some of the daddy racks used in tours, they will be 2 or 3 x 30-40U racks of amps and systems per PA hang.
The rigging for the PA is more precise, requires precise measurements (both physical and spectral), and it needs someone to actually run the PA.
All of this allows an install closer to the ideal PA for the gig, with tooling and simulation to plan it in advance. Which requires a lot broader skill set and planning than throwing in whatever PA you could hire and walking around until it’s good enough.
I’d say a tour 30-40 years ago was unlikely to have a dedicated systems tech dealing only with the PA. They’d likely supervise the install and some tuning, then be a patch monkey or monitor engineer or something. Or maybe just chill out until the derig.
These days, it’s not uncommon to have someone continually monitoring the PA, amps, desk racks etc. and it is as much a skill as engineering the actual band.
20,000 people in a stadium having paid $20 a ticket is $400k budget per show. Seems like a lot, but a venue is going to cost anywhere between $100k and $500k per night.
100 crew/techs for the in, show & out is going to be $25k to $50k. Equipment hire is going to be anywhere from $50k to $500k.
Never mind rehearsal and pre-production costs.
There will be discounts for multiple nights and longer term hires, however anything like an actual tour has a lot of additional accommodation, travel and logistics costs & planning.
Audience members going to a gig at a large stadium will have certain expectations, regardless of cost.
Tech crew are going to have certain expectations working at a stadium level gig. These are professionals at (most of the time) the peak of their career.
While the equipment cost might be somewhat comparable (purchasing a couple Midas, outboard, splits, snakes would’ve been $100k to $250k. A redundant SD10 system with a monitor desk might be $150k to $350k and a hell of a lot more capable - analogue Vs digital sound arguments aside), it generally needs more people and more skill to be able to use and run these systems (analogue splits can be used drunk/hangover. Dante or madi have many layers of complication).
I’d say digital desks are a bit more fragile than analogue - when digital dies it’s dead, when analogue dies it sounds shit - which will increase the hire cost.
And by the time you have a desk that can make a live performance sound like a studio album, you also need a PA to back that up, and you need the kit to make sure the band is comfortable playing to that level.
Also, to attract reliable talent to actually work the gigs (not just the band and their requirements), a certain level of equipment is expected.
Hell, I’ve been on gigs with dedicated coms techs. All they look after is networking and voice coms systems, and the kit they are deploying makes a video engineers eyes water (you know it’s a good gig when you see anything Riedel)
Modern gigs are on another level of complexity compared to the $20 gigs of Elvis’ time.
Even $40 a ticket in a 20k stadium doesn’t leave much wiggle room.
Then you have profits for the band and organisers. And the demand will drive up prices.
Like I said, I think current big gig prices are exploitative.
But the comparison to gigs from decades ago isn’t a good one. Production capabilities are much higher, expectations are much higher, abilities and tech is much more refined.
You have to remember bands like The Beetles, Queen and Pink Floyd would be drowned out by the fans. Pretty shitty gig if you can’t hear the band.
And that’s nothing to speak to lighting, video, production and artist management departments.
Sorry for the ramble. Halfway through a bottle of wine!
As much as I love working a GOOD budget gig, I’d rather have the equipment to be able to operate at the level I’m capable of - to the point that I no longer work the shitty gigs.
I went to a bunch of shows in the 80s and 90s for $20-25. I rarely go anymore, the prices are out of hand.
Feel sorry for y’all missing out. I’ve gone to so many concerts for headliner bands, for $50-$100. Not in decades, though.
The only time I paid hundreds to see a band was y2k new years party at Paradise Island …. And that was three bands and a full day
Just off the top of my head, some of the bands I’ve seen live before moving to the US: Iron Maiden, Manowar, Megadeth, Anthrax, Metallica, Rammstein, Uriah Heep.
All the bands I’ve seen live after moving to the US: Laibach, Trans-Siberian Orchestra. Both were a decade ago.
Rush, blue oyster cult, queen, Billy Joel, bob dylan, Tom petty, Grateful Dead, Hootie and the Blowfish, Black Eyed Peas, huey Lewis, Foreigner
… and The Wiggles
Source/disclaimer: I work for an LN-partnered independently owned venue, so I’m likely to be very biased.
Live Nation/Ticketmaster is definitely a monopoly AND ticket prices are definitely gouged.
However, from what I’ve heard with many people in the industry, the current antitrust suit isn’t likely to change anything. Partnered/independently owned venues will still use Ticketmaster. Live Nation venues will still use Ticketmaster (unless they’re forced not to).
Additionally, most people that are complaining about prices don’t know that Live Nation typically has little say in the set ticket prices. The artist and/or their tour management sets them. And if people buy them, the prices stay the same (or go up, with the recent dynamic pricing fiasco). If not, the price is discounted.
Tickets aren’t even LN’s primary source of revenue. It’s food and beverage sales, which are also gouged. (Profit margins of 80-90% per item)
LN will continue to blame scalpers (or brokers, the politically correct industry term), which is partially the truth. While this is something I’m not fully aware of, LN has done some things to bring the prices down brought on by brokers. One of them is platinum seating. The most expensive tickets that get resold on ticketmaster are typically purchased by LN and then resold at the “normal” price. Yes, LN is losing money doing this, but it’s something they can use to cover their ass in the DOJ suit.
Another thing that several people have already mentioned is the cost of production is MUCH higher than it used to be, especially for stadium shows.
I don’t even go to shows myself anymore because of how ridiculous the prices are. We can only hope the DOJ suit does something.
The most expensive tickets that get resold on ticketmaster are typically purchased by LN and then resold at the “normal” price. Yes, LN is losing money doing this.
I don’t think LN are losing money doing this. They are artificially rasing prices for the real people buying platinum tickets without any additional costs.
If this is true, they’re effectively creating demand by removing a large set of seats from the initial offering pool. This means they can say “tickets are selling fast”, without lying if you include that they’re just referring to the set on sale right now, not the total number of tickets.
This does smell like false advertising though, but I wouldn’t put it past the cracked US legal system for this to be totally legal.
This is an interesting perspective, thank you. I definitely learned where Live Nation was getting most of their profits from when the water fountains were hidden on the other side from the food and drink vendors, and wanted $8 for a bottle of water (or $16 for a PBR!)
I do think that part of the Ticketmaster hate is them being the bad guy for the venues or artists with the prices etc, but they can definitely be doing more. My main issue is that venues can either exclusively use Ticketmaster or not at all, and all the hidden fees. Granted, if the artist chooses “all-lin” pricing it includes the fees, but it feels manipulative that I have to mentally add 30% to the price of tickets when I’m looking.
Obligatory FUCK TICKETMASTER!
As people have already noted, the $20-$25 shows were different than a modern arena show, I saw Soundgarden with Voivod for $25ish at a local outdoor small venue in the 1990s, and have seen other acts there recently for between $50-$75 (the Alabama Shakes, Cimafunk), that seems like normal inflation.
Arena shows I honestly don’t remember what we paid for tickets to see big bands, but I sure remember general admission, running to get to the front, not being able to move once there, and the random groping that always happened. I don’t go much to big shows now (or even back then) and have never been to a stadium show.
I don’t think it’s unreasonable for artists to make money on performance, rather than on sales of recorded music. Not sure what the value of a show like that is, but probably more than it was back when tours were done to promote album sales.
My favorite band of all time is ELO. I found out the other day that they are still active. I saw some video and they still sound pretty good. So I looked for a venue nearby. Tickets were $280 +fees. But it’s also an hour flight and a hotel plus incidentals. Technically I CAN afford this. I just don’t want to. Guess I’ll just watch the videos. I can’t imagine paying $3000 to see Taylor Swift. I feel sorry for all the lower income Swifties out there. But I guess this won’t change since these concerts are still selling out.
Given how accessible music is, how accessible musicians are on social media, the fact that you probably have to travel to the venue, shit like COVID, eardrum shattering PA systems that make ear plugs a requirement, what is the appeal today even? And then it costs a thousand bucks?
I understand fun, but I feel like you could get a better deal if you’re just looking for a good time.
I don’t care about social media, I live in a big city so I rarely travel for a concert, sometimes I get sick sometimes I don’t and ofc it sucks when I do, I agree having to wear earplugs sucks…
The appeal is that I’m a metalhead and I feel like a metal concert is one of the only places where, within some rules, I can go batshit crazy. It’s cathartic. I don’t even have to get in the pit necessarily, it’s enough that I can scream until I have no voice.
I can still get the occasional 30-40 euro concert ticket for a smaller band, but that’s rare.
It was still more than we wanted to pay, but we just paid $80 apiece to see Squeeze on their 50th anniversary tour and it was worth every penny. Squeeze is one of my all-time favorite bands and I have never seen them live before. They were close to as good as they were originally.
Boy George opened for them with no introduction and no name on the marquee. I had to look up who it was. Suddenly it made sense why there was this guy who alternated between bitching about the sound mix and talking about how amazing the 1980s was in between reggae songs opening for Squeeze. I could have lived without that. His hype man was good though. No idea why neither of them bothered to say who the front man for their band was though.
Anyway, Boy George aside, it was a great show and I do not regret it at all.
I call shenanigans, flying squid generally only live 1 year in the wild.
I would never consider today’s ticket prices.
How many albums have you bought? How are you supporting the musicians you love?
That’s kind of the issue. Ticket master is killing the industry with a service problem.
This is same issue with gaming or shows. To quote the god of service “Piracy is a service problem”
I saw Van Halen with David Lee Roth on their first time touring in like 20 years or something. I paid $25 and this was I wanna say '07 ish?
I was at the Ozzfest where Black Sabbath did a reunion tour. Think the tickets were $25.
I was at that one too. Good times
Seriously? Those of us who grew up with that music would have paid top dollar for that, even if their voices were shot
Even in the ‘80s you could see big-time bands for less than $20.
Well not worth thousands of dollars Taylor Swift is a objectively different show than Elvis Presley was.
There was some decoration on stage Presley came out he was the bee’s knees everyone wanted to see him, but you were paying to see him and for his roadies toship, roll out and hook up his gear.
It probably cost $100,000 in labor just to haul Swift’s stage out and build it an arena. They probably need the arena for a week before the concert starts.
I’m not saying her stuff is worth $1,000 a ticket we should get economy at scale for that number of people. But it’s probably worth 300-500.
Unless you’re doing the insane level of football field sized stages with embedded screens and catapults, your average couple hour show at your average decent size venue really should realistic beatly be in the $100 to $200 range, You’ve got to pay the artist You’ve got to pay their crew and while the ticketing system does deserve to make some money on it, they shouldn’t be getting absolutely still filthy stinking lobbying rich off of it.
While they most certainly suck, so do most other people. As long as there will be a secondary market online someone will scalp tickets. Whether that’s some random asshole or these organized assholes hardly matters in most cases.
Of course with random assholes doing the scalping there is still a chance to get a cheap one by being faster, albeit a very slim one.
The LiveNation app has tickets being resold right in it.
They need to stop bots and stop people buying over certain amount of tickets each (I’m sure they do already usually limit tickets per person but people are obviously getting around it somehow). Because if you were only up against other fans who had a genuine interest in actually going to the gig themselves, not selling the tickets on, then you would be up against much much less people and you would get lucky a lot more often. Right now (or at least the last time I tried to buy tickets for something a few years ago) there was just no chance and the tickets were being resold in abundance within minutes, meaning it wasn’t genuine fans getting lucky over me.
The experience could be somewhat tamed by a lottery process.
Accept a token deposit for a week or two, and then draw from people contending for a given seat, then give them another week to pay the balance. Any unclaimed seats are put up at will call night-of-the-show. Limit the number of deposits taken from any given card to prevent “I’ll claim 30 seats and only buy 1” gaming of the lottery.
There’s probably some more complexity about it (if you want N seats together), but I think that would dramatically cut back on the frustration for “the tickets were only available for 14 seconds and the server was being DDOSed by scalper bots.”
Having to put down a deposit with no guarantee of a ticket also makes “buy All The Seats” scalping theoretically impossible and economically riskier. If there’s 5/1 contention for a ticket, you’d have to find a way to get 3 lottery slots for a better than even chance of getting it. If the deposit was $10, you’re spending $30 for the chance to buy a $50 ticket-- so if you can’t resell the ticket for at least $80, you lose. Under current policies, if you can sell that $50 ticket for $51, you’re ahead.
Make tickets non-transferable, boom no more scalpers.
Thankfully, my favorite group, the acappella group Home Free is still inexpensive and even cheap - I paid $30 a seat to see them last year. I could have had a $15 seat in the balcony if I had wanted.
I saw Dave Matthews in Austin for 20 bucks fifteen ish years ago. Great show. Tickets can still be affordable if you don’t go to arena shows.
From what I understand though, this is actually more about people not purchasing albums anymore, so now artists have to basically make the bulk of their money from concerts.
Ticketmaster doesn’t force dynamic pricing for instance; that’s a choice the artist has made in order to maximise their profit from the ticket sales.
I don’t know if the tickets need to be quite as expensive as they are, for artists to make a profit - likely not. But they certainly are making a lot less money from the likes of Spotify than they used to make from albums sales, so it has to be a big part of the problem.
People like Oasis take the piss to be honest, because I doubt they’ve actually run out of money (according to this YouTube channel that was talking about them, they seem to think the brothers both still have plenty of 90s money, I dunno how you check this stuff… but yeah. Makes sense that they shouldn’t have spent it all unless they were really fucking stupid with their investments or lack thereof). So they really don’t need to be making this much money from the ticket sales, but for newer bands the Spotify thing should apply.
I thought that most artists never made much from record sales, it was always live performances. The label gets record sales.
AFAIK merch is often bigger than concerts for the non big names.
Well they definitely made significantly more than they do from Spotify cos Spotify is so cheap for the end user that they can’t possibly be paying the bands much of anything at all.
Of course the record companies would take a negotiated slice which I should imagine would be larger for the first album but probably the band can negotiate better terms for the second album if the first is popular. They wouldn’t agree to a contract for a stupidly low amount at least not for consecutive albums when they gain popularity and therefore bargaining power.
But even 100% of Spotify proceeds is shitty. 100% of fuck all is still fuck all as they say. Physical albums always made a much larger “pie” to start with. So everyone’s share is much more generous.
I’m talking like the I know the music industry and shit lol but I’m just making most of this up or repeating it from other people’s comments I’ve seen before about how it works but I’m pretty sure this is more or less accurate.
They charge as much as they can and have for a long time. They would still do it if they made lots of money from albums and streams.
What’s changed is the secondary market is controlled by the primary ticket sellers and they have better awareness of how much they can charge. People expectation of ticket prices has slowly changed and the prices always push at that.
Dynamic pricing exists now because it’s easier to implement. Not because the artists don’t have enough money.
I suspect people now just go to see their, one, most favourite artist, maybe once every 5 years or something. As opposed to going to see one or two artists per year before. Or for people who want to be able to continue to go once or more a year, they just see newer artists who have reasonable prices.
I mean any real music fan these days, who doesn’t have a massive budget, should be going to festivals instead of individual gigs as these are massively better value for money.
i saw phish in the 90’s over 30 times for ~$27 a show. i don’t go to shows any more.
scrubbles@poptalk.scrubbles.tech 3 months ago
I just saw an article about how ticket sales are slumping, and that people aren’t willing to spend 600 per ticket anymore. The poor Ticketmaster CEO said that people just don’t want to.
Yep my dude, can’t be that you’ve changed concerts from “we should go see _______!” To “I guess it’s the one time in my life I’ll ever see them, I’ll go one time and then never again” level of special occasion. Seriously 600 dollars per person is nearing Disney level vacation money.
So yeah, of course money isn’t infinite. You hit the ceiling. Taylor and oasis may gather that much, but your other artists are going to suffer. I’ll be honest I paid 600 for Taylor. It was a once in a lifetime experience. But now they want me to pay something like 400 for any random music act that comes to town. No, Ticketmaster, she was my favorite, that was a one time thing. I’m not paying 400 to see like, Weezer.
swab148@lemm.ee 3 months ago
Say it ain’t so!
Crackhappy@lemmy.world 3 months ago
The one concert that is on my life long bucket list, for over 40 years, is to see Billy Joel live. He came to my local venue but I did not buy tickets because nose bleeds were over $400 and because I will not do business with Live Nation, period. It makes me sad but resolute.
crank0271@lemmy.world 3 months ago
I have saved a lot of money by just not being at all into Billy Joel.
AA5B@lemmy.world 3 months ago
You’re going to have to decide if it’s worth it, and soon. How puts in a great show but he won’t be in your forever. Billy Joel is the artist I’ve seen in concert most, maybe 4-5 times and I always love it. However I think the last time was like $120 and that’s just getting too much
militaryintelligence@lemmy.world 3 months ago
Just saw Green Day. 4 people in the pit, 1400 bucks
FarFarAway@startrek.website 3 months ago
Saw them in the early 2000s at a medium sized, indoor venue that had no seating. $25 / ticket. They stopped in the middle of a song to make sure someone was ok and a guy even jumped from the (not super high) balcony, crowd surfed to the stage, and played guitar with them for a song.
You got ripped off. :/
gencha@lemm.ee 3 months ago
WTF. That’s vacation money. Thanks for providing some reference.
2pt_perversion@lemmy.world 3 months ago
Yup, I don’t go to any price gouged concerts period. I can afford it but I refuse on principle because more than $50 just isn’t worth it for me to see any artist so I mostly just see moderately big names when they play open stages at festivals. On the other hand traditionally “high class” music like symphony orchestras still have tickets in the $20 dollar range.
Oxymoron@lemmy.world 3 months ago
Yeah to be fair if I were a big Taylor Swift fan and knew that she was actually going to be decent live, like could actually sing well and put on a good show, then this latest “Eras” tour does sound like a pretty good experience, since you’re getting music from her whole career which I’m assuming you wouldn’t get from her other standard gigs for like individual album releases (I guess you would to an extent but probably not to the same extent as this eras tour?)
However I actually still wouldn’t be able to go see her in that situation, cos I literally don’t have enough money for it, but I get the appeal. But it is insane that it has to cost so much for everyone.
I saw Eminem at Reading Festival a few years ago and because it was a festival, I suppose that makes up for it as I saw some other alright bands on the same day, but it was actually a shit performance from him. Well not him, but the sound was fucked up the entire time. The music was basically too loud so you could barely hear him rapping over the top. That would have been a truly shocking fucking experience if I had been paying £600 for a ticket though! I actually think you should be able to get a refund in cases like that. When there are clear technical faults going on. You hear it happen shockingly often, like you’d think they’d be able to work out how to at least get the sound sorted out for a gig!? That’s surely the equivalent of a faulty product where you would be able to take it back to shop for a full refund.
Yet I’ve never heard of anyone getting refunds for stuff like that, even when sound issues have been widely reported so were clearly a problem, not just someone’s individual opinion.
Anyway, that was a bit of a tangent but yeah…haha.
scrubbles@poptalk.scrubbles.tech 3 months ago
But that’s basically my point, is that they changed concerts from a casual affair to a once in a lifetime experience, where we have to choose our favorites we actually want to see, and can’t go see people we only casually like.
And yeah I totally get the risk aspect, because at that cost in the back of my head was “is this worth it? Was it worth the price?”
idiomaddict@lemmy.world 3 months ago
I went to see Green Day in 2010 because I guess the tickets didn’t sell well and my friends and I got them for like $10 each the day of. I’m not a super fan or anything, but I was young when they were big and probably really enjoy ~10-15 Green Day songs, so I totally thought it would be worth $10.
It was fucking awful. The music was rough, Billie Joe told the arena full of twelve year old girls about how he was so wasted that morning he pissed in his own luggage, and it was just a bad vibe.
person420@lemmynsfw.com 3 months ago
I’ve seen Green Day and Weezer in concert so many times when I was younger. Then they did the tour with Fallout Boy a few years back and I just couldn’t justify the cost. Which is a shame but it is what it is.
Oxymoron@lemmy.world 3 months ago
I think I might have gone to that… weird I can’t remember but I was an alcoholic so didn’t remember much of those times!
Not sure if it was a tour as such though, well it was British Summer Time Festival in I believe Hyde Park. I deffo saw at least one of them there anyway but I have a feeling it was not actually which would be a pretty damn strong gig for the UK. (I know in America they get a lot more of tours/gigs with lots of big names but it’s quite rare in the UK really).
Kalysta@lemm.ee 3 months ago
I almost bought tickets to that since they were gonna be in town on my birthday but decided to wait.
Covid hit a month later. Was so glad I didn’t get those tickets. Was gonna be $250 a pop for the cheap seats.
realcaseyrollins@thelemmy.club 3 months ago
I follow CHH, and some of the bigger Christian rappers and their labels run the entire tours themselves. Indie Tribe’s Holy Smoke Festival, which is pretty big, sells some tickets for like ~$100. Still a lot, but considering their popularity it’s not bad, and way more attainable than those Taylor Swift tickets lol
Deceptichum@quokk.au 3 months ago
Christian Rapers?
Wow that sounds as riveting as Christian Rock was.
idiomaddict@lemmy.world 3 months ago
That’s a great festival name for the genre