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Tag: ticketing industry

  • Biden proposes ‘junk fee’ bill to cut hidden fees for credit cards and concert tickets | CNN Business

    Biden proposes ‘junk fee’ bill to cut hidden fees for credit cards and concert tickets | CNN Business

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    CNN
     — 

    President Joe Biden announced new progress Wednesday on his administration’s “competition agenda,” specifically taking aim at junk fees while calling on Congress to pass legislation targeting hidden fees across multiple industries.

    These costs can “drain hundreds of dollars a year from the pockets of hardworking American families, especially folks who are already struggling to make ends meet — but not anymore after today,” Biden said at the fourth meeting of the Presidential Competition Council on Wednesday.

    The proposed legislation in partnership with the Consumer Financial Protection Bureau, called the Junk Fee Protection Act, would target four types of excessive fees:

    • excessive online concert, sporting event and entertainment ticket fees
    • airline fees for families sitting together on flights
    • exorbitant early termination fees for TV, phone and internet services
    • surprise resort and destination fees

    In brief remarks before the meeting, Biden had called out credit card late fees in particular as “a junk fee if there ever was one,” saying the new guidance from the CFPB would reduce these fees.

    “Today’s rule proposes to cut those fees from $31 on average to $8,” he added. “That change is expected to save tens of millions of dollars for Americans, roughly $9 billion a year in total savings.”

    Biden called on Congress to pass the junk fee legislation, saying it would give “hardworking Americans just a little bit more breathing room.” It’s part of a plan, he added, to build “an economy that’s competitive and an economy that works for everyone.”

    Rohit Chopra, director of the CFPB, noted before the announcement that “over a decade ago, Congress banned excessive credit card late fees.”

    “But companies have exploited a regulatory loophole that has allowed them to escape scrutiny for charging an otherwise illegal junk fee,” he added in a statement to CNN. “Today’s proposed rule seeks to save families billions of dollars and ensure the credit card market is fair and competitive.”

    Another fee category that frustrates many customers is event tickets sold online, for which additional fees are frequently high — and typically appear late in the checkout process when a customer is about to make the purchase.

    For example, earlier this year, lawmakers grilled Live Nation president and CFO Joe Berchtold following a ticket sales debacle over exorbitant ticketing fees. Although the company said Wednesday it supports reform, it also said it opposes the proposed legislation.

    “We stand ready to work with the President and Congress on many common sense ticketing reforms, while also speaking out against proposed legislation that would benefit scalpers over artists and fans,” the company said in a statement.

    Biden’s Transportation Department also took steps last fall during the previous meeting of the Competition Council to reduce “unnecessary hidden fees,” from airline and travel sites that the the President warned were “weighing down family budgets.”

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  • Ticketmaster gets grilled: 6 takeaways from hearing over Taylor Swift concert fiasco | CNN Business

    Ticketmaster gets grilled: 6 takeaways from hearing over Taylor Swift concert fiasco | CNN Business

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    CNN
     — 

    Lawmakers grilled a top executive of Ticketmaster’s parent company, Live Nation Entertainment, on Tuesday after the service’s inability to process orders for Taylor Swift’s upcoming tour left millions of people unable to buy tickets late last year.

    During the three-hour hearing, senators pressed Live Nation president and CFO Joe Berchtold and some other witnesses on whether his company was too dominant in the industry, thereby harming rivals, musicians and fans.

    “I want to congratulate and thank you for an absolutely stunning achievement,” Sen. Richard Blumenthal said to Berthtold. “You have brought together Republicans and Democrats in an absolutely unified cause.”

    Here’s a look at the big takeaways from the hearing:

    When tickets for Swift’s new five-month Eras Tour went on sale on Ticketmaster in mid November, heavy demand snarled the ticketing site, infuriating fans who couldn’t snag tickets. Unable to resolve the problems, Ticketmaster subsequently canceled Swift’s concert ticket sales to the general public, citing “extraordinarily high demands on ticketing systems and insufficient remaining ticket inventory to meet that demand.”

    In his testimony Tuesday, Berchtold partly blamed the Swift ticketing incident on the bots.

    Ticketmaster, he said, was “hit with three times the amount of bot traffic than we had ever experienced” amid the “unprecedented demand for Taylor Swift tickets.” The bot activity “required us to slow down and even pause our sales. This is what led to a terrible consumer experience that we deeply regret.”

    Berchtold also went on defense more broadly about his company. He emphasized that Ticketmaster does not set ticket prices, does not determine the number of tickets put up for sale and that “in most cases, venues set service and ticketing fees,” not Ticketmaster.

    He also rejected suggestions that its dominance has allowed for soaring fees, citing data from the market intelligence firm Pollstar showing that Live Nation controls about 200 out of approximately 4,000 venues in the United States, or about 5%.

    The venues controlled by Live Nation set fees that are “consistent with the other venues in the marketplace,” he said.

    Members of the entertainment industry and one rival spoke out against Ticketmaster’s dominance in the industry.

    Jack Groetzinger, CEO of SeatGeek, alleged that many venue owners “fear losing Live Nation concerts if they don’t use Ticketmaster” and its services, and argued the company must be broken up.

    “Live Nation controls the most popular entertainers in the world, routes most of the large tours, operates the ticketing systems and even owns many of the venues,” he told lawmakers. “This power over the entire live entertainment industry allows Live Nation to maintain its monopolistic influence over the primary ticketing market.”

    He continued: “As long as Live Nation remains both the dominant concert promoter and ticketer of major venues in the US, the industry will continue to lack competition and struggle,” he said.

    Bandmate Jordan Cohen, right, listens as singer-songwriter Clyde Lawrence, left, testifies before a Senate Judiciary Committee hearing to examine promoting competition and protecting consumers in live entertainment.

    Clyde Lawrence, a singer-songwriter on the witness panel, explained how the company acts as a promoter, a venue and the ticketing company, which eats into performing artists’ revenues. Artists, he said, have no leverage over Live Nation.

    “Since both our pay and theirs is a share of the show’s profits, we should be true partners aligned in our incentives — keep costs low while ensuring the best fan experience,” he said. “But with Live Nation not only acting as the promoter but also the owner and operator of the venue, it seriously complicates these incentives.”

    Lawrence also said with Ticketmaster, “we’ll see a 40%-ish or closer to 50% fee added on top” of the base ticket price.

    The fallout from the ticketing fiasco once again cast a harsh spotlight on Ticketmaster and its power in the industry, more than a decade after it completed its merger with Live Nation despite concerns the deal would create a near monopoly in the ticketing sector.

    “To have a strong capitalist system, you have to have competition,” Sen. Amy Klobuchar, a Democrat from Minnesota, said during her opening remarks. “You can’t have too much consolidation — something that, unfortunately for this country, as an ode to Taylor Swift, I will say, we know ‘all too well.’”

    Kathleen Bradish, vice president for legal advocacy at the American Antitrust Institute, called Ticketmaster “a very traditional monopoly” and told lawmakers the lack of competition in the live entertainment industry results in consumers having to pay higher prices.

    “Its dominance in markets up and down the live entertainment supply chain creates the incentive and the ability to limit competition and protect its market position,” she explained. “Customers pay the price for these monopolistic acts with higher ticket prices and fees, lower quality, less choice and less innovation.”

    On the concert side, the company excludes “smaller or independent concert promoters and venues. In digital ticketing, it includes excluding ticket resellers and brokers who provide important competition via the secondary ticketing market,” she said.

    Lawmakers repeatedly questioned the US government’s past handling of the Live Nation merger with Ticketmaster. It involved a legally binding consent agreement that allowed the company to merge with Ticketmaster so long as the combined company abided by a number of behavioral conditions.

    A 2019 Justice Department review found that Live Nation was not meeting its commitments under the order, but instead of suing, the Department modified the agreement and extended it for another five years, according to Bradish at the American Antitrust Institute.

    “DOJ should pursue new enforcement action to obtain effective structural relief,” said Bradish, calling for a breakup of Live Nation under either Section 7 of the Clayton Act or Section 2 of the Sherman Act.

    A Senate Judiciary Committee hearing on Tuesday examined promoting competition and protecting consumers in live entertainment on Capitol Hill

    Sen. Mike Lee said the way that history has unfolded since the Live Nation merger raises “very serious doubts” about the usefulness of consent agreements imposed by the federal government.

    If the current Justice Department concludes that the consent decree has been violated, “unwinding the merger ought to be on the table,” Blumenthal said.

    In response to Berchtold’s explanation about the bot problem, some lawmakers questioned the company’s security practices, noting many small businesses can determine when bad actors are infiltrating their systems.

    Republican Senator Marsha Blackburn suggested Berchtold strengthen its cyberprotections, get better advice and hire new IT workers to better protect its systems. (Berchtold said the company has poured billions of dollars into security to protect its systems over the years.)

    Another Republican, Sen. John Kennedy, went further in criticizing the company over the Swift ticketing issue. He said whoever at Live Nation was in charge of the incident “ought to be fired.”

    In the back half of the hearing, some of the focus shifted to possible solutions – but there were no easy answers.

    Some lawmakers focused on the ability to resell tickets. While this option can be useful for customers who need to change plans, it can also help prop up the scalping market.

    When senators discussed whether restricting the ability to transfer tickets would help, Live Nation’s exec was in favor of it. But the SeatGeek CEO said this might only entrench Live Nation’s dominance, as it holds the kind of market share that would force consumers to solely transact there in the absence of other resale market options.

    – CNN’s Brian Fung and Aditi Sangal contributed to this report

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  • Opinion: There’s a reason AOC and Amy Klobuchar are getting loud about this | CNN

    Opinion: There’s a reason AOC and Amy Klobuchar are getting loud about this | CNN

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    Editor’s Note: Amy Bass (@bassab1) is professor of sport studies at Manhattanville College and the author of “One Goal: A Coach, a Team, and the Game That Brought a Divided Town Together” and “Not the Triumph but the Struggle: The 1968 Olympics and the Making of the Black Athlete,” among other titles. The views expressed here are solely hers. Read more opinion on CNN.



    CNN
     — 

    In the midst of the Taylor Swift ticket mania that has dominated my life – and the lives of millions of others – for the past week or so, I keep thinking about how my mother, when I was just 15 years old, lied to get me into a Ramones show at a theater in Albany, New York, so many years ago.

    She drove me and my friend to the show with the intention of reading a good book in the parking lot, but ended up coming in with us when we got stopped at the door for being underage and without ID. After we finally got in, a lovely bouncer took one look at us and said to my mother, “You can go back there and hang out – I’ll keep my eye on them.”

    While I remember every detail of that epic show, perhaps especially the moment when Joey Ramone handed me a guitar pick, more important to me now is the heroic example of parenting set by my mom.

    Now, flash forward more decades than I am willing to admit, I’m the mom of the 15-year-old concert-goer, navigating the world of tickets, transportation, and “merch,” and advising on how best to spend hard-won babysitting money. I am lucky that I am not alone in this endeavor, as my lifetime bestie, the one I’ve seen more shows with than anyone, has her own high school girl. The four of us, together, are now concert buddies.

    It has been an amazing experience. I loved every second of watching our girls battle for position in the pit at Harry Styles’ show while we watched from the bar (pro tip: there is no line at the Madison Square Garden bar at a Harry Styles concert). Eventually we, too, joined the cacophony of feather boas and sequins that comprise Harry’s House, marveling at his connection with his audience and the diversity and strong community that is his fan base.

    Indeed, just as we once joined the thousands of voices walking out of a U2 show singing “40” long after the band had left the building, our girls are part of a generation of fans that seems to look out for one another, with special shout outs to the young woman who entered the MSG bathroom and announced that she was at “Harry’s House” by herself and the legion of folks who instantly yelled, “Hang with us!” – no questions asked.

    While all of it feels worth it, none of it is easy, exemplified by the legions of parents and fans who are unable to get tickets to these shows, whether because of exorbitant pricing strategies or limited and unfair access.

    When Taylor Swift dropped “Midnights” on October 21 at, well, midnight, and then provided another version, “Midnights (3am Edition),” three hours later, I knew that school was not going to be easy for millions of kids the next day. Indeed, midnight album drops – especially when there is a test the next day – are a virtual party for our kids, making me hope that Swift’s next album might be entitled “Saturday Afternoon,” or something to that effect.

    When Swift announced the Eras Tour on November 1, a pit of apprehension grew in my stomach. Her first tour since 2018, her oeuvre now includes so much material that she has never played live, with so many fans who have never really had a chance to see her. My one experience with Ticketmaster’s “verified fan” process, designed, allegedly, to keep out scalpers, had gone badly; I got the email telling me I was chosen, but I never got the text with the code.

    My experience the week before Taylor Tuesday furthered my doubt in the system: Ticketmaster crashed twice in my attempt to get tickets to Louis Tomlinson, a star with nowhere near the kind of fanbase to rival “Swifties.” Each time I threw “general admission” tickets into my cart – no seat assigned – it told me that another fan had “grabbed” them and I needed to try again. How could that be, I wondered, if the tickets were general admission?

    Alas, it didn’t matter: for Taylor Swift, I got waitlisted, whatever that means. My sister got waitlisted. My niece got waitlisted. But, lo and behold, my bestie came through.

    “I got a code,” she texted. “I got a code.”

    We knew it would still be hard. Really, really hard. But we have been doing this, together, for so long. Back in the day, it wasn’t online codes – we slept out in front of record stores and in parking lots, getting precious wristbands to keep our place in line while hoping for the best seats we could grab for Prince, U2, and Def Leppard. Once, on a particularly cold morning, my social studies teacher showed up with doughnuts for all of us; he cheered once we had tickets in hand.

    Getting tickets today is a far more solitary experience that revolves around laptops and phones – computerized and mechanized with virtual waiting rooms and queues, and the so-called dynamic pricing system that Ticketmaster uses to vary ticket prices according to demand. We combed Tik Tok and Twitter for tips and hacks, appreciating the posts by those who expressed stress over being the only member of a friend group who got a code. We had already cleared our Tuesday morning calendars, and we were prepared to battle, knowing that an online bookie site had estimated approximately 2.8 million Eras tickets would be sold, which gave us a marginally better but still miniscule shot at getting tickets.

    “Good luck – don’t hesitate but also take ur time but also be super quick. I believe in you,” her daughter texted a few minutes before the presale went live.

    No pressure there. No pressure at all.

    In short, she got them. They aren’t great seats, they aren’t on the night we wanted, and she had to deal with a “sit tight, we’re securing your Verified Tickets” message uncountable times before finally getting an email confirmation in her inbox. But as news emerged at what transpired across the day, we felt as lucky as mothers could feel, especially as heartbroken fans and their parents began to share their experiences – tickets snatched out of their carts, the website crashing, and error code after error code flashing on people’s screens.

    “I’m officially done telling anyone I have tickets to Taylor Swift,” a neighbor – the only other person I know who got tickets – texted me. “I feel like I might get mugged in the street.”

    While Ticketmaster shrugged off initial outrage on Tuesday by declaring “unprecedented historic demand” and thanking fans for their “patience,” people began to ask questions. Why issue more codes than tickets? Why create more entry points than capacity?

    So as I plan on staying in the trenches with my kid, trying to support her love for music the way my mother did for me, change has to be on the horizon for the unrestrained monopoly that sells concert tickets to teenagers. With “Swifties” getting increasingly angry at the star herself – a generational artist, indeed, who has already had such an impact on the industry as a whole – on Tik Tok, often quoting “I’ve never heard silence quite this loud” from the song, “The Story of Us,” some legislators, from Rep. Alexandria Ocasio-Cortez to Sen. Amy Klobuchar, are getting loud about the problem.

    “Ticketmaster’s power in the primary ticket market insulates it from the competitive pressures that typically push companies to innovate and improve their services,” Klobuchar, who chairs the Senate Judiciary Subcommittee on Competition Policy, Antitrust, and Consumer Rights, wrote in an open letter to Michael Rapino, CEO of Live Nation Entertainment (which oversees Ticketmaster). “That can result in the types of dramatic service failures we saw this week, where consumers are the ones that pay the price.”

    That price just went up, way up. When Ticketmaster announced the cancellation of the scheduled public sale for the Eras Tour on Thursday, claiming “insufficient inventory” after a “staggering number of bot attacks” during the presale, my heart broke for the thousands upon thousands of fans now officially left empty-handed, and the parents and grandparents and friends who tried so hard to get them there.

    I had those days, too – returning home because spending a night in a parking lot wasn’t enough to get me a ticket to the show.

    We have to do better.

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