SPECIAL REPORT TICKING
Begin transmission: Ticketmaster introduced digital ticketing at this year’s Trnsmt festival in Glasgow
It has been a transformative year for the UK’s ticketing business, with major developments across the board. Here, in this special report, we speak to some of its leading fi gures to check the pulse of a hugely innovative sector...
------ BY JAMES HANLEY ------- T
musicweek.com
he last 12 months in ticketing are best summed up by an Elvis Presley lyric: “A little less conversation, a little more action.” With genuine progress made behind the scenes, for the first time in years the contentious secondary market hasn’t been the sector’s dominant talking point.
The seeds were sown in late 2018 when market leader Ticketmaster ditched its Seatwave and Get Me In! resale sites in favour of a new fan-to-fan ticket exchange, enabling fans to buy and
sell tickets at the original price or less.
“This was a big change for the business and the feedback from fans has been overwhelmingly positive,” Ticketmaster MD Andrew Parsons tells Music Week. “Creating a seamless experience for fans to resell tickets they can no longer use has meant we’ve seen great uptake so far which has exceeded our expectations and only continues to grow.”
But perhaps the most crucial shift occurred in July, when Google suspended
25.11.19 Music Week | 31
PHOTO: Bazza Mills
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