The study by the V Ticketmaster Observatory, the largest ticket sales company in our country and in the world, once again highlights the problem of high concert prices.
“The live fever is spreading,” said the general director of Ticketmaster Spain, Ana Valdovinos, this Tuesday during the presentation of the study at the SGAE headquarters in Madrid, with special emphasis on urban music represented by Dellafuente, Morad , Duki or Feid, driven by factors such as the Cultural Bonus and which has experienced an increase of 82% compared to the previous year. It is followed by Latin music, which grows 25%, driven by Karol G or Luis Miguel.
Based on data ranging from September 1, 2023 to August 31 of this year, the results show that the majority of live event buyers reside in the Community of Madrid (39%), followed by those from Catalonia (17%) and Andalusia (9%). They are between 45 and 54 years old (26%), followed by the age group between 25 and 34 years old (24%).
The average spending per ticket amounts to 84 euros, while last year the figure was 80 euros, and per transaction, buyers spend an average of 184 euros, 3% more than in 2023. Ticketmaster has sold more than 620 million entries worldwide in the last year.
Valdovinos, during the round table that took place after the presentation of the data, stressed that the role of ‘ticketing’ companies is to serve as a platform for artists, promoters and managers, they do not “intervene” or determine the ticket price. “At Ticketmaster we always tell artists that we must give maximum information to fans,” said Valdovinos.
In parallel, VIP tickets represent 4% of tickets sold, while in 2023 they were purchased by 1.6% of the public. An upward trend, according to Ticketmaster’s marketing director, Reyes Sáenz de Juano, since fans are willing to invest more money to enjoy an experience with greater added value, as she highlighted.
Live event tourism also continues to grow, and now represents on average 12% of show capacity. According to origin, the majority come from the United Kingdom (16%), France (15%) and the United States (12%).
The V Ticketmaster Observatory determines that ‘fan to fan’, activated in 95% of events, is a tool that is being consolidated. During 2024, artists such as Taylor Swift, Ed Sheeran or Metallica have enabled the ticket exchange platform between fans with “great reception” among users.
The ‘Smart Queue 2.0’ virtual queue has been updated, as highlighted during the presentation, to improve the shopping experience at times of high demand, with the incorporation of the time left for the sale to start or its real position in the line at all times.
An initiative to create “more tranquility and transparency”, since in high-demand events there can be more than 150,000 users waiting to buy tickets.
Regarding donations from ticket buyers, who have the option to contribute at the end of their purchase, 66,000 euros have been raised throughout this year to implement various solidarity projects. Part of these donations has been allocated to entities such as the Red Cross to help people affected by DANA.
Since the end of 2017, Ticketmaster Spain has been working together with Worldcoo to offer its customers the possibility of making solidarity micro-donations when purchasing their tickets. Since then, more than 240,000 euros have been raised in donations.
**How do the rising costs of live music tickets, coupled with a surge in popularity for certain genres, impact the ability of diverse audiences to engage with live entertainment, and what solutions can be implemented to ensure wider accessibility?**
## World Today News – Interview: The Rising Cost & Changing Landscape of Live Music
**Introduction**
Welcome to World Today News, where we delve into the stories shaping our world. Today, we’re discussing the fascinating insights from Ticketmaster Spain’s V Observatory study, which throws light on the booming live entertainment market and the challenges it presents.
Joining us are two distinguished guests:
* [Guest 1 Name & Title] – a music industry expert with extensive experience in artist management and concert promotion.
* [Guest 2 Name & Title] – a consumer advocate focused on ensuring fair pricing and accessibility in the entertainment sector.
**Section 1: The Fever for Live Music**
* **Host:** The study highlights a “live fever” sweeping the nation. Urban and Latin music are leading the charge. Could you both elaborate on the factors driving this surge in popularity for these genres, and what does this mean for the future of live music?
* **Host:** [Guest 1 Name], from your experience, how have artists and promoters adapted to this growing demand? Are there any concerns about potential bubbles or oversaturation in certain genres?
**Section 2: Ticket Prices & Accessibility**
* **Host:** The average ticket price continues to climb, reaching 84 euros. [Guest 2 Name], how do you see this trend impacting the accessibility of live music for average fans, particularly young people and those living with tighter budgets?
* **Host:** [Guest 1 Name], Ticketmaster emphasizes its role as a platform facilitating the transaction between artists and fans. Do you see the need for more transparency in ticket pricing models, perhaps including a breakdown of fees and commissions involved?
**Section 3: VIP Culture & Emerging Trends**
* **Host:** The study shows a rise in VIP ticket purchases. What are the implications of this trend? Is it creating a two-tiered system in concert experiences, and how do we ensure inclusivity while acknowledging the growing desire for premium experiences?
* **Host:** [guest 2 Name], what are your thoughts on the role of technology, like Ticketmaster’s ‘Smart Queue’, in improving the ticket buying experience? Do these tools address the concerns of frustrated fans facing long wait times and technical issues?
**Section 4: Socially Conscious Ticketing**
* **Host:** It’s encouraging to see Ticketmaster’s partnership with Worldcoo, allowing fans to donate to various causes during the ticket purchase process. [Guest 2 Name], how effective are these initiatives in promoting social responsibility within the entertainment industry?
* **Host:** [Guest 1 Name], how important is it for artists and promoters to actively engage in philanthropic efforts and use their platforms to advocate for social causes?
**Conclusion**
* **Host:** As the world of live music continues to evolve, what are your predictions for the future? Will prices stabilize, or will technology reshape the concert experience further?
* **Host:** Thank you both for sharing your valuable insights. We hope this discussion sheds light on the complex landscape of the live music industry and prompts further conversation about responsible growth and accessibility for all.
