Abhilash Nambiar’s Post

Lots of posts going around about the Live Nation/Ticketmaster DOJ lawsuit so I thought I'd chime in as someone who has either worked for or very close to TM and LN for 25+ years. I will preface this by saying that LNTM is a great company with lots of great people and personal friends and I hope for their sake that the company remains intact, but there are certainly some business practices the company uses or has used that I don't agree with personally. The business models of Live Nation as venues/promoter and Ticketmaster are very different. Their merger was a result of their core businesses being synergistic and in parallel. A good chunk of both companies' revenue was intertwined. It made sense. Smart business move. Not anti-competitive. However; the way Live Nation then proceeded to behave was by leveraging their promotion business against other venues and ticketing companies by only booking shows in TM-ticketed venues. New venues were "strongly" urged to use TM as their ticketing platform. I witnessed this first-hand. Anti-competitive? Remains to be seen. It's important to also understand that Live Nation views ticket sales as a wash on their bottom line. Because they own their venues (concession/merch/parking/suites etc) and the ticketing (fees), they don't need to rely on ticket sale revenue. They pay artists simply to put butts in seats. Thus, they have been able to give artists almost un-matchable offers to play their venues. Essentially, 95% to 100% of gross sales. Very difficult for other promoters/venues. Obviously, LNTM is highly motivated to generate maximum ticketing fee revenue. Anti-competitive? Remains to be seen. Also important to understand is that Ticketmaster is at it's core a for-profit commodities exchange/marketplace. The commodity is tickets. TM makes money on fees which are based on a percentage of the ticket price. The higher the sale price, the more TM makes in fees. And they receive incremental and re-curring revenue on fees when the tickets are re-sold on the platform. Essentially, the higher the ticket prices and the greater re-sale activity, the more money TM (and Live Nation) makes. As a profit-seeking business in a capital market, why would you do anything other than encourage this? Anti-competitive? Remains to be seen. Think about this: if the tickets are priced too low, they will likely be re-sold resulting in more fee revenue. The more re-sale of the same ticket, the more revenue. Further; when real fans get tickets in the primary onsale, they are more likely to NOT re-sell them. So doesn't it make sense as a business to want the tickets to get to people who DO want to re-sell them? Publicly-traded companies are beholden to shareholders to hit their growth projections and profit increases after all. Will breaking up LNTM result in lower ticket prices for fans? Remains to be seen. Will the DOJ win the lawsuit. I don't think so personally. But it remains to be seen.

Missed out on Coldplay tickets? You’re not alone!   The moment Coldplay tickets went live, BookMyShow’s app and website crashed, leaving thousands of fans frustrated and ticketless. This isn’t the first time India's ticketing giant has buckled under pressure during major events. But it does beg the question: Is Bookmyshow struggling to keep up with demand, or is India’s entertainment ticketing market crying out for a fresh challenger?   Founded by Ashish Hemrajani in 2007, Bookmyshow has grown into India's dominant platform for booking tickets to movies, concerts, sports events, and more. With 50% of the event ticketing market and a staggering 78% of movie ticket sales, Bookmyshow is practically synonymous with entertainment in the country. Exclusive tie-ups with multiplexes, artists, and brands have created a formidable barrier to entry for any new player looking to disrupt their reign.   But as movies offer thinner margins and fewer growth opportunities, the event ticketing market—with its massive potential—remains a goldmine. According to an EY report, India's media and entertainment (M&E) sector is expected to grow by 10.2%, reaching INR 2.6 trillion by 2024, and at a 10% CAGR, hitting INR 3.1 trillion by 2026. Sensing the opportunity, Zomato made a bold move with its ₹2048 crore acquisition of Paytm Insider, marking its entry into the "going out" space with Zomato’s Districts. This isn’t just another acquisition—it’s Zomato’s bid to reshape the ticketing landscape. With Districts, users can buy and resell tickets, creating a secondary market that offers more flexibility and solves the issue of sold-out events. Can Deepinder Goyal pull it off again? From turning Zomato into a food delivery giant to revolutionizing quick commerce with Blinkit, Goyal has a track record of transforming industries. His latest venture with Districts is a bold gamble that could redefine how Indians experience live entertainment. Will Goyal disrupt Bookmyshow’s reign, or is the giant too entrenched to fall? Is Bookmyshow’s dominance truly in danger? Or does the market need even more competition to benefit customers and artists? Only time will tell, but one thing is certain—the race for India's entertainment ticketing crown is just heating up! Let me know what you think?? #coldplay #bookmyshow #crashed #zomato

It's been a real joy putting together our Ticketing State of Play report alongside Bolster Group over the last few years. Witnessing its influence on the industry, especially as event organisers revamp their strategies based on our insights, has been very rewarding. A big shoutout to RISING Melbourne (who were key contributors to our AU report this year) for launching an exceptional 2024 program this week, enhancing fan experiences with flexible options that encourage early sales. Off the back of this success in Australia, we've now launched our Ticketing State of Play: UK & IRE edition! There's heaps in this, and I'd encourage my connections in aus/nz to take a look. We can learn a lot from how our friends on the other side of the world do things. Among the wealth of expertise featured, these quotes from Phil Hayes & John Rostron particularly resonated with what we're seeing in the market here in Australia: 'People ask for refunds in a way they never used to before. It almost felt like the social contract between customers and event organisers had broken down a little bit. Every day there's someone who's just changed their mind and who wants a refund, which is something they've learned from the pandemic.' Phil Hayes &&& 'One in six festivals never came back from COVID, so the impact is still felt. In 2023, there were steps forward but also steps back. There was economic pressure and consolidation, but there is also cautious optimism. The sector is resilient and shows signs of growth.' John Rostron I'm excited to see this edition making waves, with fantastic feedback already flowing in from UK organisers - if you take a look, feel free to hit my DMs to share what you thought!

"I’m gonna start a revolution from my bed" This could well have been what Oasis fans were thinking as they tried to get tickets for Oasis' reunion tour and encountered the dynamic pricing implemented by Ticketmaster. Dynamic pricing is a strategy where businesses adjust the prices of their products or services in real-time. Real-time pricing adjustments can help maximise revenue and manage supply and demand more effectively. Dynamic pricing is not new. You may have encountered dynamic pricing when booking airfares, hotel rooms or Uber services. Often the consumer experience of dynamic pricing is higher prices, however entering a loyalty code can be a form of dynamic pricing whereby the price is discounted based on a pre-determined algorithm that applies recognition of your prior purchase history. Price is critical in setting and managing expectations. During a transaction, a consumer has an expectation that an advertised price is what they will end up paying. If you see a product or service advertised for $150 and then you get to the checkout and are asked to pay $350 you would understandably be upset. Particularly in a highly stressful, time constrained transaction on limited inventory. This power imbalance is why authorities are likely to investigate further for "misleading claims about availability and pricing." Dynamic pricing strategies require careful mapping of the transaction path and how pricing changes are signaled so that your customers "don't look back in anger." #pricing #pricingstrategy #songlyrics https://lnkd.in/eDuUzFHy

We are thrilled to announce that iSPARX™ inVite™ Ticketing System has officially been acquired by GigBox, owned by Slang Social Media Inc. of Alberta, Canada! This acquisition represents a bold step forward for GigBox, showcasing its commitment to providing an inclusive yet exclusive service tailored for music lovers, bands, and venues. By integrating the powerful inVite™ ticketing system, GigBox is poised to redefine how fans engage with live music while simplifying event management for artists and venues. 🎤 What’s next? GigBox’s vision doesn’t stop here. With Slang Social Media’s continued interest in developing live streaming services, fans can look forward to immersive digital experiences alongside live events—bringing communities closer to the music they love. 🌎 Collaborative Strength This move highlights the synergy between iSPARX.group Limited (25% owner of Slang Social Media) and GigBox, reinforcing a shared goal to revolutionize how the world connects through music and technology. Stay tuned as we continue to innovate and build a platform that champions creativity, connection, and convenience for everyone in the music ecosystem. #GigBox #iSPARX #LiveMusic #TicketingInnovation #MusicTechnology #LiveStreaming >> https://lnkd.in/ge2Bkq26

𝐁𝐨𝐨𝐤𝐌𝐲𝐒𝐡𝐨𝐰 𝐅𝐚𝐜𝐞𝐬 𝐭𝐡𝐞 𝐌𝐮𝐬𝐢𝐜: 𝐅𝐫𝐨𝐦 ‘𝐘𝐞𝐥𝐥𝐨𝐰’ 𝐭𝐨 ‘𝐑𝐞𝐝 𝐅𝐥𝐚𝐠𝐬’ 🎟️ 𝐀𝐦𝐢𝐭 𝐕𝐲𝐚𝐬, Founder Partner of Vertices Partners, has taken center stage by filing a civil suit against 𝐁𝐨𝐨𝐤𝐌𝐲𝐒𝐡𝐨𝐰 & 𝐋𝐢𝐯𝐞 𝐍𝐚𝐭𝐢𝐨𝐧 𝐄𝐧𝐭𝐞𝐫𝐭𝐚𝐢𝐧𝐦𝐞𝐧𝐭. This case targets ticketing giant BookMyShow & its parent company, Live Nation Entertainment, accusing them of negligence in managing Coldplay concert tickets, including reselling at inflated prices & mishandling fan complaints. With consumer rights at stake, here’s a breakdown of the 5 key takeaways from this masterclass on digital-age ticket booking: ✅ 𝐁𝐫𝐞𝐚𝐜𝐡 𝐨𝐟 𝐂𝐨𝐧𝐬𝐮𝐦𝐞𝐫 𝐑𝐢𝐠𝐡𝐭𝐬 (𝐒𝐞𝐜𝐭𝐢𝐨𝐧 2(9) 𝐨𝐟 𝐭𝐡𝐞 𝐂𝐨𝐧𝐬𝐮𝐦𝐞𝐫 𝐏𝐫𝐨𝐭𝐞𝐜𝐭𝐢𝐨𝐧 𝐀𝐜𝐭, 2019): Vyas argues that BookMyShow failed to uphold its contractual obligations to provide fans with fair access to concert tickets, allowing ticket resellers to exploit the system, causing financial loss to genuine buyers. ✅ 𝐔𝐧𝐟𝐚𝐢𝐫 𝐓𝐫𝐚𝐝𝐞 𝐏𝐫𝐚𝐜𝐭𝐢𝐜𝐞𝐬 (𝐒𝐞𝐜𝐭𝐢𝐨𝐧 2(47) 𝐨𝐟 𝐭𝐡𝐞 𝐂𝐨𝐧𝐬𝐮𝐦𝐞𝐫 𝐏𝐫𝐨𝐭𝐞𝐜𝐭𝐢𝐨𝐧 𝐀𝐜𝐭, 2019): The suit highlights that BookMyShow permitted unauthorized resellers to engage in profiteering, constituting an unfair trade practice by creating an artificial scarcity of tickets & pushing up prices. ✅ 𝐃𝐞𝐟𝐢𝐜𝐢𝐞𝐧𝐜𝐲 𝐢𝐧 𝐒𝐞𝐫𝐯𝐢𝐜𝐞 (𝐒𝐞𝐜𝐭𝐢𝐨𝐧 2(11) 𝐨𝐟 𝐭𝐡𝐞 𝐂𝐨𝐧𝐬𝐮𝐦𝐞𝐫 𝐏𝐫𝐨𝐭𝐞𝐜𝐭𝐢𝐨𝐧 𝐀𝐜𝐭, 2019): BookMyShow allegedly did not provide adequate customer service to address grievances related to ticket availability & refund issues, violating the duty to deliver services efficiently. ✅ 𝐕𝐢𝐜𝐚𝐫𝐢𝐨𝐮𝐬 𝐋𝐢𝐚𝐛𝐢𝐥𝐢𝐭𝐲 𝐨𝐟 𝐋𝐢𝐯𝐞 𝐍𝐚𝐭𝐢𝐨𝐧 𝐄𝐧𝐭𝐞𝐫𝐭𝐚𝐢𝐧𝐦𝐞𝐧𝐭 (𝐒𝐞𝐜𝐭𝐢𝐨𝐧 166 𝐨𝐟 𝐭𝐡𝐞 𝐈𝐧𝐝𝐢𝐚𝐧 𝐂𝐨𝐧𝐭𝐫𝐚𝐜𝐭 𝐀𝐜𝐭, 1872): As the parent company, Live Nation could be held vicariously liable for BookMyShow’s mismanagement & misconduct, as they are financially benefiting from the ticket sales while failing to ensure proper distribution. ✅ 𝐈𝐦𝐩𝐚𝐜𝐭 𝐨𝐧 𝐭𝐡𝐞 𝐂𝐨𝐧𝐜𝐞𝐫𝐭 𝐈𝐧𝐝𝐮𝐬𝐭𝐫𝐲 (𝐃𝐨𝐜𝐭𝐫𝐢𝐧𝐞 𝐨𝐟 𝐏𝐫𝐨𝐩𝐨𝐫𝐭𝐢𝐨𝐧𝐚𝐥𝐢𝐭𝐲): This case could set a precedent for how online ticketing platforms handle large-scale events, balancing the rights of consumers with the commercial interests of platforms. It will force a re-evaluation of existing policies governing ticket sales & resales. But wait, there's more! In a twist, 𝐁𝐨𝐨𝐤𝐌𝐲𝐒𝐡𝐨𝐰 𝐡𝐚𝐬 𝐧𝐨𝐰 𝐟𝐢𝐥𝐞𝐝 𝐚 𝐩𝐨𝐥𝐢𝐜𝐞 𝐜𝐨𝐦𝐩𝐥𝐚𝐢𝐧𝐭 against unauthorized ticket reselling. How will this new development harmonize with the ongoing legal melody?

Ticketmaster Faces Backlash Over Oasis Reunion Tour! The recent Oasis reunion tour ticket sales have ignited new outrage against Ticketmaster. Fans reported hours-long waits, constant error messages, and skyrocketing prices as they tried to secure tickets for U.K. shows. This comes on the heels of similar criticisms during Taylor Swift's Eras Tour, where Ticketmaster and Live Nation faced a lawsuit over price hikes and competition issues. With the U.K. government now considering an investigation into "dynamic pricing," it’s clear that the ticketing industry is under the microscope. Many fans experienced the frustration of being stuck in endless queues or encountering errors once they reached the front. It’s evident that Ticketmaster's current system struggles under high demand, revealing a pressing need for a better solution. Join the conversation and share your experiences. What changes do you think are necessary in the ticketing world? Stay updated on the latest news and more by joining our newsletters and groups: For new job openings: [New Job Openings](https://lnkd.in/e9cPAiyM)   For motivational content: [Spark of Brilliance](https://lnkd.in/eXDcCJ3F)   For supply chain insights: [Supply Chain Management](https://lnkd.in/ewtdhtQf)   For CSWIP preparation: [CSWIP Prep Group](https://lnkd.in/eYB_Q7sS)   For trending news: [TrendPulse with Syed](https://lnkd.in/exBHU_eG) Share your thoughts below and follow our page for the latest updates! Source: Reuters, The Guardian #Ticketmaster #OasisTour #ConcertTickets #DynamicPricing #LiveNation #EventTicketing #CustomerExperience #TicketingIssues #ConcertFiasco #LiveEvents #MusicNews #Entertainment #TicketingProblems #FanFrustration #MusicIndustry #EventManagement #TicketSales #UKEvents #PriceHikes #MarketMonopoly #EventPlanning #TechInEvents #ConcertFans #TicketScalping #IndustryNews #TrendingNews #NewsUpdate #CustomerService #EventTicketing #MusicIndustryNews #TicketingReform #EventTicketProblems #EntertainmentNews #ConcertQueues #TicketingChallenges #DynamicPricingIssues #MusicFans #ConcertTicketing #NewsAlert #CustomerJourney #TicketingTech #EventMonopoly #IndustryInsights #EventTicketSales #LiveEventNews #TicketingUpdate #FanExperience #MusicEvents #EventIndustry

Oasis Live ‘25: A lesson in Dynamic Pricing & Inadequate Regulation. The recent Oasis reunion tour has sparked widespread excitement, but also highlighted significant issues in the ticketing industry, particularly around dynamic pricing. What should have been a moment of joy for fans quickly turned into frustration, with many feeling that they were misled and, ultimately, fleeced. When tickets went on sale, fans were met with a pricing model that seemed to be designed more for profit than for accessibility. Dynamic pricing led to ticket prices skyrocketing by up to 300% within minutes. Seats that were initially advertised at £150 rapidly jumped to £800 or more as demand surged, leaving many loyal fans priced out of the experience. This model has been particularly controversial because it lacks transparency—fans were left in the dark about why prices were increasing so dramatically and so quickly. This lack of transparency is reminiscent of the issues that have plagued the financial services sector in the past. In financial services, there are strict regulations requiring transparency and clarity to ensure that consumers are not misled. This kind of regulation is sorely needed in the ticketing industry. If dynamic pricing is to be the norm, then customers deserve to know how it works, what to expect, and why prices might change so drastically—just as they would expect clear advice and fair treatment when making a financial investment. The aftermath of the Oasis ticket sales has also highlighted a significant issue: buyer's remorse. Fans who managed to secure tickets at these inflated prices are now questioning whether it was worth it. As the hype begins to fade, the secondary market might force ticket touts to lower prices, leading to even more dissatisfaction among those who feel they overpaid. This mirrors the experience of investors who feel misled about the risks of a financial product, only to watch its value plummet after the initial excitement dies down. This situation underscores the need for regulatory intervention. Just as financial advisers are required to act in the best interest of their clients, ticketing platforms should be required to offer greater transparency and fairness. Fans deserve to know exactly how prices are determined and to feel confident that they are not being taken advantage of. Without these safeguards, the bond of trust between artists, ticketing platforms, and their fans will continue to erode. The Oasis ticket saga should serve as a wake-up call to the entire entertainment industry. Dynamic pricing, while potentially lucrative, carries significant risks—especially when it's shrouded in secrecy. To protect consumers and maintain fan loyalty, we need clear regulations to ensure that all pricing is transparent, fair, and fully explained. Only then can we prevent a repeat of this debacle and ensure that fans are treated with the respect they deserve.

"TixSuite – a new subscription ticketing service launched in April by Eventfinda – has published its inaugural Ticketing Sentiment Report, chronicling the opinions of Australian concertgoers and their ticket-buying habits... So what drives most punters’ ire towards ticket pricing? According to TixSuite’s findings, it’s the “junk” fees tacked on by the aforementioned platforms after the cost of the ticket itself – many of which are added to the price without clearly defined purposes. Only 40 percent of respondents said they understand why vendors like Ticketmaster and Ticketek charge additional fees in the checkout process – and those that don’t would appreciate more clarification, with 72 percent saying they’d be more accepting of the fees if vendors were more transparent with the reasons for them." Read the full article below. #TixSuite #NoMorePerTicketFees #SaaSTicketing #AUEvents #AustralianEvents #EventsIndustry #Ticketing #TicketingSoftware #TicketingPlatform #TicketingSoftware