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    Ticketmaster Under the Magnifying Glass

    Subscribe to Popcast!Apple Podcasts | Spotify | Stitcher | Amazon MusicLast year, Ticketmaster was the object of a significant amount of consumer discontent. There was the confusing rollout of tickets for the upcoming Taylor Swift stadium tour. In Mexico City, countless people with valid tickets were denied entry to a Bad Bunny concert. And the rising roots-rock singer-songwriter Zach Bryan made Ticketmaster a focus of his public ire.If all of this sounds familiar, that’s because it is. Ticketmaster has long been the target of — or perhaps the cause of — widespread unhappiness. High prices and fees? Blame Ticketmaster. A resale/scalping market that’s even more financially taxing? Blame Ticketmaster. And so on, and so on. Artists as big as Pearl Jam and Bruce Springsteen have taken on the giant, and mostly been forced to stand down, owing to the company’s reach and power.On this week’s Popcast, a conversation about the recent spate of kerfuffles that have increased scrutiny of Ticketmaster, the artists who have pushed back against the ticketing giant and the seeming intractability of the issues plaguing the ticket marketplace.Guest:Ben Sisario, The New York Times’s music industry reporterConnect With Popcast. Become a part of the Popcast community: Join the show’s Facebook group and Discord channel. We want to hear from you! Tune in, and tell us what you think at popcast@nytimes.com. Follow our host, Jon Caramanica, on Twitter: @joncaramanica. More

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    Barclays Center Drops SeatGeek and Returns to Ticketmaster

    The Brooklyn venue replaced Ticketmaster, the industry leader, in 2021 in favor of SeatGeek, a competitor. It is not clear why it changed direction again.In 2021, Barclays Center in Brooklyn made a surprising announcement about its business: After nearly a decade with Ticketmaster, the industry leader, as its ticketing vendor, the arena was switching to SeatGeek, an aggressive upstart.Now, barely a year into what had been a seven-year contract, BSE Global, the parent company of Barclays — the home of the Brooklyn Nets and New York Liberty basketball teams, and a destination for major concert tours — is canceling its partnership with SeatGeek and returning to Ticketmaster.The change was revealed on Friday when Barclays announced a concert by the singer and producer Jackson Wang on May 11 with a link to Ticketmaster. SeatGeek, which remains the ticketer for many events already on Barclays’s calendar, will gradually be replaced by Ticketmaster in coming months as new concerts and sporting events go on sale.The abrupt switch, at a high-profile venue in one of the biggest markets in the world, is head-spinning news in the lucrative ticketing business, where Ticketmaster’s dominance has long been a matter of debate and scrutiny.“It’s very rare for such a cancellation,” said Larry Miller, the director of the music business program at New York University’s Steinhardt School of Culture, Education and Human Development.“Ticketing platform deals with venue owners are not of short duration,” Mr. Miller added. “I can’t think of a time over the last decade where a major venue has dropped a ticketing platform early on in the deal cycle.”The reasons for the change at Barclays were not immediately clear. Neither BSE Global nor SeatGeek would comment about whether there were any problems with ticketing that may have prompted a switch.In a statement, a spokeswoman for BSE Global said that SeatGeek “provided our fans with a first-class game day ticketing experience, and we’re appreciative of the time and energy they put into our work together.”The president of SeatGeek, Danielle du Toit, expressed no upset at Barclays’ change of direction. “It’s never easy to part ways with a client,” she said in a statement, “but as we look to the future, SeatGeek is grounded in our strategy and road map that are geared towards solving the challenges that plague the live entertainment experience.”Since its founding in 2009, SeatGeek has positioned itself as an industry disrupter. Initially just a resale platform, it has sought to challenge Ticketmaster’s dominance in the so-called primary market — sales directly from a venue’s box office, on behalf of sports teams or performing artists. When BSE Global announced its SeatGeek deal, which took effect in October 2021, the venue company praised its new partner’s “best-in-class mobile platform.”SeatGeek’s clients include major sports franchises like the Dallas Cowboys and the New Orleans Saints, as well as Jujamcyn Theaters, one of Broadway’s major theater owners.But SeatGeek, and other ticketing companies, all still lag far behind Ticketmaster, which sold 485 million tickets in 2019, the last year of business unaffected by the Covid-19 pandemic, an amount that swamps its competitors. Regulators have been monitoring Ticketmaster’s market share since it merged in 2010 with the concert giant Live Nation in a deal that critics suggested would damage competition in the ticketing industry, a consequence that Live Nation has denied.As a condition for its approval of the merger, the Justice Department entered into a regulatory agreement with Live Nation that, among other things, prohibited it from retaliating against venues that do not sign with Ticketmaster by withholding shows it controlled. The agreement, known as a consent decree, was extended by five years in 2020 after federal regulators found that Live Nation had “repeatedly” violated it. At the time, Live Nation did not admit to any wrongdoing, and said that extending the decree was “the best outcome for our business, clients and shareholders.”In an interview, Joe Berchtold, the president of Live Nation, acknowledged that the company is always under scrutiny for its actions in the marketplace. In recent weeks, for example, lawmakers have expressed concern over Ticketmaster’s botched ticket sale for Taylor Swift’s latest tour, and the company was widely condemned for its mishandling of a Bad Bunny concert in Mexico City.But Mr. Berchtold was unequivocal in stating that the company did not break any of its regulatory guidelines with Barclays Center.“I can absolutely confirm,” he said, “that there was no retaliation at Barclays for not using Ticketmaster, in terms of the routing of any concerts.”Tracking the blips and dips in tour dates for concert venues can be an inexact science. But data from Pollstar, a trade publication that covers the live music business, shows that Barclays Center received 13 Live Nation-promoted tours in the year after SeatGeek took over the venue’s ticketing business — a drop for Barclays, which in the years before the pandemic had tended to get about two dozen Live Nation events annually.However during the same period, from 2016 through 2019, the data also indicates the venue hosted fewer shows from independent promoters — those not associated with Live Nation or its major competitor, AEG Presents — from an average of more than 50 a year to less than 20 in the year after SeatGeek took over.SeatGeek and BSE Global declined to comment on the data.Barclays Center competes with Madison Square Garden, as well as the Prudential Center in Newark and the new UBS Arena in Elmont, N.Y., for major concert tours to fill out its schedule. Since 2019, BSE Global has been owned by Joseph Tsai, a Taiwanese-born tech billionaire, who bought out its previous owner, the Russian mogul Mikhail Prokhorov. More

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    Taylor Swift Fans Sue Ticketmaster’s Parent Company

    In a lawsuit filed on Friday in a California court, a group of 26 fans said Ticketmaster had engaged in anticompetitive conduct.A group of 26 fans of the singer-songwriter Taylor Swift filed a lawsuit on Friday accusing Ticketmaster’s parent company of anticompetitive conduct and fraud several weeks after a chaotic, glitch-filled sale of tickets for Ms. Swift’s upcoming tour left thousands of eager fans empty-handed and unhappy.The 33-page complaint, filed in the Superior Court of California in Los Angeles County, came after Ticketmaster canceled the public sale of tickets last month for Ms. Swift’s Eras Tour, 52 shows scheduled to begin in March. The resulting outcry from fans prompted calls from lawmakers to break up the 2010 merger of Ticketmaster and Live Nation.The complaint accuses Ticketmaster of anticompetitive conduct, saying the company has long perpetuated a “scheme” by forcing fans to exclusively use it for presale and sale prices, which are higher than what a competitive market price would be.Ticketmaster also “forced attendees to exclusively use” the platform that it operates for the resale of tickets, called the Secondary Ticket Exchange, to obtain fees and profits above what it could earn in a competitive market, the complaint states. That “anticompetitive behavior,” according to the lawsuit, harms fans and the ticket market.Fans who tried to buy tickets during a presale in mid-November reported waiting in queues for hours or being locked out of online sales. They had to preregister on Ticketmaster and be designated Verified Fans, but, for many, that didn’t help. Ticketmaster ultimately canceled its planned public sale of tickets amid the high demand.The Cultural Impact of Taylor Swift’s MusicNew LP: “Midnights,” Taylor Swift’s 10th studio album, is a return to the pop pipeline, with production from her longtime collaborator Jack Antonoff. Here is what our critic thought of it.Millennial Anti-Hero: On her latest album, Swift probes the realizations and reckonings of many 30-something women around relationships, motherhood and ambition.Fight for Her Masters: Revisit the origin story of Swift’s rerecordings of her older albums: a feud with the powerful manager Scooter Braun.Pandemic Records: In 2020, Swift released two new albums, “Folklore” and “Evermore.” In debuting a new sound, she turned to indie music.“Hundreds of thousands of people waited from four to eight hours and never got an opportunity to buy tickets, so they just want the system to change,” said Jennifer Kinder, a lawyer representing the fans.The lawsuit asks the court to stop Ticketmaster from engaging in similar conduct in the future and to fine the company $2,500 for each violation of a state code that governs unfair competition in California, where the parent company, Live Nation, is based.Even before the botched sale of Taylor Swift tickets, Live Nation, Ticketmaster’s parent company, had come under scrutiny for its power.Justin Lane/EPA, via Shutterstock“It has to be made fair,” said Ms. Kinder, who added that she and her 11-year-old daughter were Swift fans. “This is not a fair market. This is not supply and demand. This is a manipulated market that benefits Ticketmaster.”In 2010, Ticketmaster, a ticketing giant, merged with Live Nation, the world’s largest concert promotion company, becoming Live Nation Entertainment. The company, which says it processes 500 million tickets per year in more than 30 countries, did not immediately respond to a request for comment on Monday.Greg Maffei, the chairman of Live Nation Entertainment, said in an interview on CNBC last month that the company “could’ve filled 900 stadiums,” and he partly blamed Swift’s popularity for the problems. “The reality is, Taylor Swift hasn’t been on the road for three or four years, and that’s caused a huge issue,” he said.Ticketmaster apologized in November to Swift fans for the problems with its ticket sales for the Eras Tour.It said that more than two million tickets for the tour were sold on Nov. 15, the most for an artist in a single day. Ticketmaster said it had faced a “staggering number of bot attacks as well as fans who didn’t have codes” to buy tickets, resulting in 3.5 billion system requests, four times its previous peak.Even before the botched sale of the Swift concert tickets, Live Nation had come under scrutiny for its power and size. The Justice Department has in recent months been investigating its practices and whether the company maintains a monopoly over the multibillion-dollar live music industry, according to two people with knowledge of the matter.Ms. Swift called the situation “excruciating” in a sharply worded statement on Instagram last month that did not name Ticketmaster.Ms. Swift wrote that she was “extremely protective” of her fans and had brought “so many elements” of her career in house in order to improve fan experiences “by doing it myself with my team who care as much about my fans as I do.”“It’s really difficult for me to trust an outside entity with these relationships and loyalties, and excruciating for me to just watch mistakes happen with no recourse,” Ms. Swift added. “There are a multitude of reasons why people had such a hard time trying to get tickets and I’m trying to figure out how this situation can be improved moving forward. I’m not going to make excuses for anyone because we asked them, multiple times, if they could handle this kind of demand and we were assured they could.” More

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    Want Free Central Park Concert Tickets? Keep Trying.

    The first batches of free tickets to the “We Love NYC: The Homecoming Concert” are being released online this week. They can be gotten, with patience.Plenty of things require patience in life. Cobbling together a 1,000-piece jigsaw puzzle while in lockdown comes to mind, as does doing your nails — basecoat, color, topcoat.Now add to that list waiting in the virtual line for tickets to “We Love NYC: The Homecoming Concert.”Yes, they are free. Yes, there are more than four million fully vaccinated New Yorkers who qualify to attend. And the lineup for the Aug. 21 show — including LL Cool J, Bruce Springsteen and punk rock goddess Patti Smith — was sure to draw some interest.So perhaps it was no surprise that I found my first attempt a ticketless dead end, an exercise in frustration.It began at 10 a.m. Monday, when the free tickets first went up online. I learned quickly that to get a ticket you need a Ticketmaster account. So began a frantic scramble to remember my own.That was followed by a long wait in line, locked in a staring contest with a glowing white orb that represented my place in “The Queue.” I was told, with cold precision, that more than 2,000 people were ahead of me.But by 10:41 a.m. I was at the end of my road. Suddenly, the oval signifying the availability of general admission tickets faded from blue to gray.As in, No Longer Available.But New Yorkers wait online for a living. So on Tuesday, at 7 a.m., ready for Round 2, I clicked on the “We Love NYC” block on the Homecoming2021.com website. Sure enough, the previously gray, “unavailable” general admission block had been replenished with tickets and was now blue. At the edge of my seat, I selected two tickets and hit “Next.”“Sit tight, we’re securing your Verified Tickets,” the screen read. But then, as I refreshed, I began getting the same error message — “Sorry, we could not process your request, please try again later.” I tried for another hour and it did seem as if more tickets became available after the first batches were gone. But each time I got shut out.But there are success stories out there, people. I know early risers who had better experiences than I did. And all you have to do is go to Stub Hub to witness how many people have scored free tickets and now hope someone will pay dearly for them: A lot of those were on sale Tuesday, some as low as $48, general admission, all the way up to $12,789. Selling the free tickets is “violating the spirit of this historic concert,” a spokeswoman for the mayor’s office said on Tuesday.The city has not said how many tickets are made available each day. (Those interested can try again on Wednesday at 9 p.m., Thursday at 7 a.m., Friday at 10 a.m. or on Saturday at 9 p.m.) Clive Davis, the producer, has said he is looking for a crowd of about 60,000 on the Great Lawn and the mayor’s office has said that 80 percent of the tickets were going to be free.Now the good news for some is that if you fancy yourself a V.I.P., and are looking to spend from $399 to $3,450 or even up to $4,950 — tickets for those seats seem easier to get.The most expensive tickets — platinum V.I.P.s — promise seats right in front of the stage, entry into an exclusive backstage lounge featuring a “Complimentary Eclectic Selection of Hors D’Oeuvres,” an open bar and a special entrance.The gold V.I.P. tickets, price tag $3,450, include seating just behind platinum and all the comforts, food and drink of the backstage lounge, plus that special entrance.For $399, you still get a good ticket, but wave goodbye to that backstage lounge. Still, there will be a dedicated concessions area — and V.I.P. restroom facilities.Everyone — the free, the V.I.P.s and the V.I.P.s of the V.I.P.s — has to present proof of vaccination to enter the concert, either by showing up in person with their vaccination card or a photo of it, the New York City COVID SAFE App or the New York State Excelsior Pass. And if you can’t score a ticket, CNN will air the concert live.At an online news conference Monday morning, Mayor Bill de Blasio was excited that the tickets were being distributed.“This is going to be amazing,” he said, “and it’s going to be a great sign of New York City’s rebirth.” More