The experience of concert-going has faced a major shift in recent years. Platforms like TicketMaster and their dynamic pricing system, whereby the price of tickets increase depending on the demand, have negatively impacted fan culture. Many fans who have followed, supported and enjoyed their musical idols for years may feel possessive or entitled to tickets which are becoming harder to obtain. This creates conflict between hardcore fans who know every lyric to every song, newer fans or just the casual concert goer. Appreciating music and attending concerts is no longer a shared experience where strangers unite under the mutual love for the artists, but rather an exclusive, and oftentimes pressurising event.
Appreciating music and attending concerts is no longer a shared experience where strangers unite under the mutual love for the artists, but rather an exclusive, and oftentimes pressurising event.
Live performances completely heighten the listening experience. The excitement of seeing your favourite artists in person is unmatched. Although, the competitive nature of ticket-buying and increasingly unaffordable prices are turning it into an event that requires saving and preparation rather than a spontaneous, fun activity. It is unrealistic to just splash out hundreds of pounds, when less people have disposable income than they did in the past, due to the cost of living crisis in the UK.
Concerts were more accessible in the past, and the recent Oasis reunion for their 2025 tour, highlights the stark contrast between the UK’s contemporary live music scene compared to 30 years ago, when Oasis were at the height of their fame. After dominating the Britpop era of the 90s, and subsequently 15 years of feuding, the band have built up a huge fan base spanning two main generations. Many of these fans are “looking back in anger” after the chaos that ensued on TicketMaster when tickets were released. Prices ranged from £73 to £206, and with dynamic pricing, they had risen up to £355. Many had queued for up to 8 hours, in hopes of securing tickets, only to find the price had more than doubled. In other cases, fans were kicked off the site and accused of being bots when finally reaching the front of the queue.
This fiasco would have been unheard of in 1996, when standing tickets for their concert in Knebworth Park were priced at £22.50. Similarly, their 2009 Wembley performance saw ticket prices at £38.10, reflecting their image as a band who represented British 1990s working class culture and their desire to create an inclusive music community through affordable concerts.
Fighting frustrating battles and navigating complicated systems, including scammers and resellers, to attend a concert, is becoming the norm
Likewise, Taylor Swift’s UK, Europe and Asia 2024 tour created an unprecedentedly high demand for tickets, which completely overwhelmed Ticketmaster’s site and led to them eventually cancelling the general sale. This left thousands of Swifties unable to secure seats and those who were lucky enough often had to compete via pre-order album sales and pre-sale access codes. Fans were promised early access to tickets if they pre-ordered Swift’s 10th studio album ‘Midnights’, which calls into question the significant influence of capitalism over the music industry. The growing emphasis on sales, streams and product marketing has overshadowed the authenticity of musical artistry. It has become commercialised, affecting the integrity of producing and enjoying music.
On a more positive note, Oasis responded to this widespread criticism and have ditched the dynamic pricing model for their North American leg of their world tour. Furthermore, Taylor Swift herself expressed her disappointment at Ticketmaster’s handling of her ticket sales, and they have since faced public criticism and political scrutiny.
Fighting frustrating battles and navigating complicated systems, including scammers and resellers, to attend a concert, is becoming the norm. Thousands of fans are continuously left distraught after missing out on unique opportunities, such as seeing Oasis perform live after a reunion was previously unthinkable, or experiencing the grandiose of Taylor Swift’s concert productions. It also divides fans and fosters animosity towards newcomers to the fanbase, distorting what it means to be a lover of music and undermining the beauty and joy in discovering new artists.
It’s important that we prioritise connection between artists and their fans and ensure that the concert experience remains a celebration of shared passion and creativity.
JESSICA WARREN
Featured image one courtesy of Yvette de Wit on Unsplash. Image use license found here . No changes were made to this image.
Featured image two courtesy of David Field on Unsplash. Image use license found here . No changes were made to this image.
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