A blog post about Chinese ticket touts, known as ‘huangniu’ or yellow cows, and the reasons why concert tickets in China are selling through the roof.
This week’s blog post was written by music industries blogger, Bob Lefsetz, and originally published in the regular Lefsetz Letter. In it, he examines the live music and ticketing industries, and Adele’s attempts to beat the touts for her latest tour.
A repost of a piece by Martin Cloonan on the secondary ticketing market in which he discusses issues of fairness and ownership in relation to tickets, first published on the Live Music Exchange blog in February 2012.
Martin Cloonan offers some initial impressions of the potential policy implications of conducting research in to live music; the article examines issues of regulation, the black economy and sharp business practices, and developments in concert ticketing
A study that conducts a comparative life cycle carbon audit to examine the environmental burdens of ticketing options. It adopts a holistic perspective and models each activity involved in the ticketing life cycle – from ticket printing and email creation to delivery and processing.
In this addition to the ‘Live Music 101’ series of blog posts detailing the themes and ideas that developed over the course of our initial live music research project, Emma Webster offers a model of economic risk that includes the promoter, and also defines three broad ticketing (revenue) models the promoter can use in order to recoup their initial investment.
Blogger Mark Reed gives a ticking off to the Tate in an open letter over the Kraftwerk fiasco; in doing so, he puts forward the argument that ticket agencies can be the more efficient option.
A post by Kenny Forbes from Glasgow University, questions the drive towards streamlined venues and concerts. Will they ultimately make for less memorable gigs?
This Guide for New Promoters [is] aimed at all under-represented forms of music, jazz being first off the starting block.
The third of three books detailing the history of live music in Britain since 1950.