With the summer concert season not far away, event promoters and music fans alike face a growing challenge—the state of online ticket sales for live events. Fans are increasingly boxed out when tickets go on sale, and venues will often sell out to audiences that paid much more than the original price because they were forced to buy their tickets on the secondary market, through sites like StubHub or Craigslist. Essentially, it seems harder and harder for fans to access face-value tickets for certain types of events.read more
You might think a two-time Grammy-nominee more than once named America’s Best DJ by DJ Times would be immune to label pressures. But as DJ and producer Kaskade explained in a series of tweets last month, that’s not the case. The frequent festival headliner (real name: Ryan Raddon) announced he is “in between labels,” leaving behind former label/publisher/mangement company Ultra Music (part owned by major label Sony): read more
[This post authored by FMC Policy Fellow Daniel Lieberman]
We’ve seen this movie before: large media company enters growing, now profitable music scene. Large media company buys up all the smaller regional operations it can get its hands on. Now that smaller companies are together in one happy music pool, large media company presents pool to advertisers and marketers. Large media company soon cashes out of the conglomerate it created at handsome profit, walking off into the sunset.
Dear electronic dance music community: this is the situation at your breakbeat, bass-filled, trancy, dubstep-doorstep. Your community, your music, your culture — one that has been dismissed by corporate America for over twenty years and relegated to underground basements, clubs, and warehouses — has suddenly become, popular. Really, really popular.
Of course, this is not news to you. You already know that superstar DJs Skrillex, Tiesto, Deadmau5, David Guetta, Afrojack and the like now command million dollar fees and fuel an increasingly lucrative dance festival scene that spans from Brooklyn to Berlin. You’ve even heard the influence of the awkwardly-termed genre “EDM” creeping into top-40 playlists. What is news is who is suddenly paying attention: Wall Street.
Wow. We just wrapped up a panel here at SXSW called Creative Capitol: Music, Culture and Policy Under Obama, and it was amazing. Here's what the roster looked like:
Michael Bracy Policy Director, Future of Music Coalition Rachel Goslins President's Committee on the Arts & Humanities Austin Schlick General Counsel, Federal Communications Commission Tim Tuten Hideout/Department of Education Christine Varney Assistant Attorney General for Antitrust, Department of Justice read more
For those of you who have been following Ticketmaster's attempt to join forces with Live Nation (and even those who haven't), today has brought some major developments.
On Monday, January 25, the Department of Justice (DOJ) announced that it has placed some restrictions on Ticketmaster's proposed merger with Live Nation. Although it's too early to predict final outcomes, it's possible these conditions will have an impact on the entire live music ecosystem, from ticket sellers to venues to artists to concertgoers. read more
A recent development in the Live Nation antitrust saga hits close to home for those living here in the District of Columbia (that's Washington, folks). I.M.P. Inc., an independent DC/Maryland concert promotion and event production company, recently filed an antitrust suit against Live Nation. Owned by Seth Hurwitz and Rich Heinecke, I.M.P. Inc., operates the famous 9:30 Club in Washington, DC and Merriweather Post Pavilion in Columbia, Maryland. read more