Rockbot’s Post

Funflation. A data analysis from Facteus for the Journal that examined credit-card spending at 16 common entertainment vendors, including Ticketmaster, StubHub, Vivid Seats and a host of theme parks and cinema chains from early 2019 through July, found that the share of consumer spending going to ticketed entertainment has essentially recovered to prepandemic levels. The percentage of cardholders who buy tickets to live events, however, has fallen more than 10%, suggesting that fewer people are spending on in-person events than in the prepandemic period.

Ticketmaster owner Live Nation Entertainment Inc (NYSE:LYV) tumbled almost 8% to $92.21 overnight on a report that the US Department of Justice is planning to open an antitrust lawsuit.  The DoJ lawsuit will claim that Live Nation has leveraged its dominant share of the live event ticketing market in a way that undermines competition, according to a Wall Street Journal report, citing people familiar with the matter. Ticket sales behemoth Ticketmaster and events promoter and venue operator Live Nation merged in 2010 and are estimated to now control 70% of the ticketing and live event venues market in the US. Last year, following strong criticism of Ticketmaster over its handling of Taylor Swift's 'Eras' tour, a Senate Judiciary Committee hearing saw the company slammed for a lack of transparency, fee structure and inability to block ticket purchases by 'bots'. When the merger was approved in 2010, it was... More at #Proactive #ProactiveInvestors http://ow.ly/OTw3105pL1J

🎟️ The Future of Live Experiences! As live experiences take center stage in the booming experience economy, platforms like Dice and Fever are leading the digital transformation of events and ticketing. 🌟 🔍 While Ticketmaster’s shortcomings frustrate consumers and governments alike, Dice and Fever are poised to revolutionize the industry with transparent, hassle-free ticketing platforms. ✨ What's particularly exciting? 🤔 Both companies are making bold moves into production: •Dice acquired Boiler Room, deepening their connection with clubbing events. 🎶 •Fever introduced its Originals format, creating, among others, the viral Candlelight Concerts. 🕯️ These strategic steps cater to what users truly want. And they have strong brand identities, outshining Ticketmaster and Ticketone alike. ⁉️Will they be able to make a dent in this monopoly? I guess we will see!

✨ Elevate Customer Experiences with Ingresso Group Limited's Live Entertainment Integrations ✨ Investing in live entertainment tickets goes beyond a transaction – it's an investment in unforgettable experiences. Picture witnessing the iconic Circle of Life in Disney's The Lion King, defying gravity at Wicked the Musical, or unveiling the mystery in the Mousetrap. At Ingresso, we understand that the customer journey begins long before the curtain rises. In the digital era, a seamless online experience is paramount. Our Ingresso API empowers distributors to offer the gold standard in ticketing services. Imagine your customers having the ability to choose their seats pre-purchase, ensuring not just a ticket, but the perfect seat for their unique preferences. With the Ingresso API, we provide distributors with comprehensive information – from the layout of the venue and seat availability to live pricing. No detail is too small when it comes to crafting the perfect experience. Our commitment extends to providing a Feather, a mobile-first seat plan widget that seamlessly integrates into distributors' platforms. Ingresso leads the market in Live Entertainment Integrations, ensuring that every aspect of the customer journey is exceptional. Join us in shaping the future of live events where every ticket is a gateway to a once-in-a-lifetime experience. 🎟️✨ #LiveEntertainment #CustomerExperience #IngressoAPI #TicketingSolutions #channelmanager #theatre #ticketing #api #ingresso

PVR Inox just had its best-ever quarter, with a steep jump in revenue and footfall. But the occupancy level remains well below the pre-pandemic highs of 36%. So, it launched a movie subscription plan at Rs 699/month to lure the audience. However, the plan has a long list of terms and conditions, which may bite back the multiplex operator. -Subscribers must enrol for a minimum of three months. -Valid only for weekdays (Monday-Thursday). -No recliner seats. -Premium formats such as Imax and Gold are excluded. -Doesn’t cover the movie-crazed region of southern India. Moreover, it can’t be used on festivals, special days, gazetted holidays or for any new movie released on a weekday. The list goes on. Passport—rolled out only for 20,000 users in the pilot phase—looks like a great initiative to bring back the audience to cinemas. However, if the original versions of subscription services of Swiggy and Zomato are anything to go by, T&Cs can spoil even well-laid plans. Also, OTTs have fared well, and cinematic content is not significant enough for people to watch in theatres. So the biggest question is - will subscribers even want to watch 5–6 movies a month, let alone 10? Read the full story only @The Ken: https://lnkd.in/df26JwQu

Hmmmmm. I agree with the sentiment of your post. I am an independent artist with less then 5000 streams on some of my tracks and less than 1000 on the majority. However... I dont think it is fair to slate the Deezer CEO for a factual comment. Quality is better than quantity. There are 100,000 tracks arriving on Spotify everyday. A significant percentage are badly mixed and poorly mastered. The listening fatigue involved when trying to find new music is also significant. I want to be able to press play and just immerse myself in music. If I am constantly having to interrupt my experience to click to the next track, I am not having the experience music is meant to bring. Until streaming platforms and download stores can find a way of filtering out poorly produced music, (and I include some of my early releases in that statement), then the user experience is going to be sub-standard. Not only that, the listener base is being educated to accept poorly produced music as the norm. It is a race to the bottom when there is no quality control. Look at platforms like Upwork and Fiverr, that have destroyed creative media as an income stream for many freelancers and educated an entire generation of entitled consumers to expect something for nothing. Do we want that for music, too? The Deezer CEO was fundamentally right in what he said. I feel like his words have been taken out of context for the purpose of clout, by a number of competitors. I hope your new platform sets a standard too. I am interested in what you have to offer, but if it becomes yet another platform that celebrates poorly made music, which ruins the LISTENERS experience, then I would see no value in putting my new productions there. It would not be long before they were drowing in a another sea of mediochrity - or even contributing to that sea, depending on your viewpoint - LOL. I am actively looking for a solution for my own distribution and networking. So I will check out Vocana with interest.

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"The latest retail-sales report on Tuesday showed spending at stores, online and at restaurants rose a stronger-than-expected 0.7% in September from a month earlier. The data show that consumers are still spending on goods and experiences, including cars and restaurant meals." And even though concerts are selling out, ticket prices of up to $250/average are forcing some consumers to either go without or save up for 1 or 2 live entertainment shows a year. #shopperbehavior #trends #consumerbehavior https://lnkd.in/gUXnbStn

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In an environment where there are multiple independent/mid-market and venture-funded ticketing companies, is competition between them leading to lower service fees for fans, or at least to lower service fees for venues and promoters who are capturing margin by marking the fees up? Set the large, vertically integrated, corporate ticketing/promotion companies aside. They are in a different business. Just pure play ticketers - what’s the current state of play? In the time that I have not been paying attention I lost my feel for the market dynamic.