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Tag: ticketmaster entertainment inc

  • Taylor Swift sets summer’s hottest dress code: Sequins, boots, cowboy hats | CNN Business

    Taylor Swift sets summer’s hottest dress code: Sequins, boots, cowboy hats | CNN Business

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    New York
    CNN
     — 

    What’s the dress code of Summer 2023? Call it TikTok-approved coastal cowgirl aesthetic. Or, in other words, the Taylor Swift look.

    With the superstar entertainer pulling in record-breaking crowds for “The Eras Tour,” retailers across the country are marketing to “Swifties,” aggressively and inventively, as her 52-stadium tour hits their towns.

    Women’s clothing-company founder Taylor Johnson said that, from one Taylor to another, she owes Swift a big “Thank You” for going on tour again and making sparkly sequined dresses, cowboy hats and rhinestone boots massively saleable. “This has become a wild year already for us because of Taylor Swift,” said Johnson, CEO of Hazel & Olive.

    One of their dresses in particular, called aThe Eras Sequin Fringe Dress, which retails for $129, is on fire. “Our phones have been blowing up and we’ve been getting hundreds of calls and Instagram messages about that dress,” she said.

    Francesca’s, a fashion chain with 454 boutiques nationwide, expected Swift’s tour to have an impact. But ruffle, prairie, babydoll and bow-back style dresses get a 30% jump in sales at the stores when Swift is in town, said Leanne Neale, vice president of concept and creative with the Houston company.

    Trendy clothing chain Altar’d State has proactively gone all-in on Swift mania by curating looks from its collection for every one of the Swift albums. “Enter your Era,” it invites.

    Swift’s “The Eras Tour,” was infamous before it even began. The concerts were so wildly anticipated that ticket presale on Ticketmaster became a highly publicized debacle. Ticketmaster blamed extraordinary demand for crashing its website and eventually canceled ticket sales to the public. Many were left without a ticket even after purchase.

    The mess drew the ire of lawmakers, leading to a Justice Department investigation and a congressional hearing.

    Taylor Swift performs onstage during night one of Taylor Swift | The Eras Tour at Nissan Stadium on May 05, 2023 in Nashville, Tennessee.

    Ticketmaster apologized to Swift and her fans for the “terrible experience” and said it would work to “shore up our tech for the new bar that has been set by demand” for Swift’s tour.

    That was too little too late for some fans who took Ticketmaster (and parent company Live Nation) to court.

    But the show must go on, and it did, with Swift headed to New Jersey’s MetLife Stadium (seating capacity: 82,500) for shows into and over the Memorial Day weekend.

    At Altar’d State, “We’ve never prepped stores this way but we’re calling it Taylor week,” said Callie Lewis, chief merchandising officer. Mannequins wearing Swift-inspired looks are placed front and center in their stores along with other concert-friendly merchandise such as clear handbags that meet security protocols at concert venues.

    What’s moving? Everything from sundresses and metallic boots to romantic, breezy long dresses, tulle tops, daring red gowns and lots and lots and lots of fringe. “We can’t restock fast enough,” said Lewis. Hot sellers include lavender-colored clothing (inspired by Swift’s song Lavender Haze.)

    Altar'd State stores have curated Taylor Swift looks for concert goers.

    Swift isn’t the only hot concert tour influencing the fashion business in 2023. Neale at francesca’s said she’s looking to Beyonce’s “Renaissance” tour firing up demand for concertwear, too. Francesca’s stores, she said will also curate looks that appeal to the BeyHive.

    Retailer Johnson admits that all this mad dash for product is a good problem to have, given that as much as 80% of Hazel & Olive’s monthly orders currently are for concert looks. (She declined to disclose her annual sales but said she operates a multimillion-dollar-a-year small business.

    Beyonce fans queue to enter to the Friends Arena to watch her first concert of the World Tour named

    Johnson said she’s been ordering the maximum quantity of the most in-demand concert styles from her supplier, but even that’s not enough, lately.

    “As soon as I get more inventory in, it sells outs quickly,” she said, adding that she’s even flying in merchandise at a higher cost from her suppliers in China, instead of shipping it via sea as she usually does, in order to speed up delivery. As for the Taylor Swift bump to business, Johnson said she’s grateful for it.

    “This is crazy. I need Taylor Swift to go on concert year-round because we’re now on pace to have our biggest sales year yet,” she said.

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  • The agony and ecstasy of scoring last-minute face value Taylor Swift tickets | CNN Business

    The agony and ecstasy of scoring last-minute face value Taylor Swift tickets | CNN Business

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    CNN
     — 

    When Julia Thomas woke up at her home in Cleveland last Saturday, she spontaneously decided to drive 15 hours to the Taylor Swift concert that night in Nashville, picking up her sister in Cincinnati along the way. But they were missing one thing: tickets.

    Like so many Swift fans, she couldn’t get tickets on Ticketmaster when they went on sale last fall, nor could she afford the four-figure price tag listed for them on resale sites. About halfway through the drive, however, her sister found $350 floor seats after refreshing various Swift-focused Twitter accounts: Ticketmaster had just dropped a handful of last-minute tickets at face value on its website.

    “We seriously just got super lucky,” she told CNN. “We made it to Nashville with about an hour to spare before the concert started.”

    Thomas is one of many devoted fans who closely monitor a mix of Twitter accounts dedicated to alerting fans when Ticketmaster releases a new batch of Swift tickets after the initial sale.

    Ticket drops are not new. They’re ostensibly due to additional seats being added to a venue, or if tickets are returned. But these drops have become an obsession among Swift’s most devoted fans, who are struggling to find tickets for the artist in the face of Ticketmaster’s broader ticketing snafus.

    Ticketmaster has been under scrutiny for fumbling the online sales to the mega-star’s latest tour, in an era where it already completely dominates the live event industry, leaving few, if any, alternatives. In November, “Verified Fans” were sent a presale code — but when sales began, heavy demand snarled the website and millions of Swifties could not get their hands on a ticket. Presale tickets for Capital One card holders brought similar frustration — and then Ticketmaster canceled sales to the general public, citing “extraordinarily high demand” and “insufficient remaining ticket inventory.”

    In testimony before Congress, Ticketmaster parent company Live Nation President and CFO Joe Berchtold partly blamed the ticketing incident on bots. He also 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.

    Ticketmaster and Live Nation are currently face a lawsuit from Swift fans across the country for “unlawful conduct,” with the plaintiffs claiming the ticketing giant violated antitrust laws, among others. A preliminary hearing was held in March; Ticketmaster has denied the allegations.

    Millions of fans are still unable to buy tickets. In recent weeks, however, Ticketmaster has been sending out more Verified Fan codes to people who were originally selected from the pre-sale to purchase from leftover tickets. For people without codes, Ticketmaster is also doing routine ticket drops ahead of shows.

    It’s not unusual, however, that thousands of fans are trying to secure the same tickets at the same time. Sometimes the seats are purchased by bots and scalpers, and reposted to third-party sites like StubHub within minutes.

    Ticketmaster did not respond to a request for comment about its ticket drops.

    But that’s not deterring Swift fans. Some are spending hours searching for tickets online and driving long distances to concert venues without a ticket in hand, even if it risks ending in heartbreak.

    Molly Ramsey, an 18-year-old fan from Bristol, Tennessee, said she recently stumbled across the Twitter account @erastourticks, which often tweets about Ticketmaster’s drops. “My family [last weekend] took the gamble to drive down the 5 hours to Nashville to see if we could get face value tickets,” she said.

    After nearly nine hours of refreshing Ticketmaster, she secured four tickets right before the show started. “We were sitting outside of the stadium while the openers were playing, but as soon as our payment went through, it was an out-of-body experience,” she said. “My sister started screaming and dancing.”

    In a nod to Swift’s hit song “Anti-Hero” and the rush to find drop tickets, the Twitter account – which has about 22,000 followers – recently tweeted: “It must be exhausting always rooting for the anti-hero aka @Ticketmaster.”

    Molly Ramsey, left, and her sister score last-minute Taylor Swift concert tickets

    A similar site, @concertleaks, has been connecting its 62,000 followers to last-minute Swift tickets. The account was originally set up years ago to post concert setlists, merchandise, and tickets for various artists, but has evolved to help connect followers with ticket drops, too.

    Another Twitter account called @ErasTourResell, which has 120,000 followers, has gained significant traction working with resellers who want to sell their tickets at face value. The account is run by longtime friends Courtney Johnston, Channette Garay and Angel Richards. The trio of twenty-somethings aim to make Swift tickets as accessible to fans as possible without them overpaying or getting scammed.

    “So far we’ve posted somewhere between 2,700 and 3,000 tickets, all for face value,” the trio said in a DM conversation on Twitter. “It’s truly so rewarding seeing these tickets go to real fans for face value when the resale market has insane prices with people making three times the profit. It’s also been amazing to meet people who follow the account at shows, especially if the only reason they were even able to attend was through our account.”

    They spend hours, in between working and going to school, sifting through daily submissions to make sure the tickets are real. The group encourages buyers to ask for video proof of tickets, to pay only via Paypal Goods and Services due to its protection plan and to never pay over the face value. (They also said they don’t make any money off the process, and do it only to help fellow Swifties, but they do have a Ko-Fi account where people can donate funds for food or coffee).

    “Surprisingly, the vetting process has gone immensely well and smoothly because by now we know what a sketchy screen recording looks like or what a forged or hacked email can look like,” the group said. “It’s all about being able to catch the super small details – what color an image is supposed to look like, what link is clickable, where that link has to take you, what message is supposed to pop up at any certain point.”

    But getting these tickets isn’t easy. After an alert for tickets is posted to their Twitter page, many users say they never hear back from sellers, and it’s unclear how they select a buyer from the hundreds of fans who reach out to them.

    “It has definitely gotten harder with our amount of followers increasing,” the friends behind @ErasTourResell told CNN. “Some [sellers pick] based off of the first direct message and mention, and others go for someone with a touching story so it truly varies. Having our notifications on helps as we tend to do a little warning and tease before posting most tickets.”

    Beyond Twitter, many fans are turning to sites such as Reddit, including the R/Taylor Swift page, for play-by-play details on Ticketmaster drops. Some say they’ve spotted them several times throughout the day but most frequently about 30 minutes before a show starts. (Tickets have even appeared an hour into the show.) Others suggest using Apple Pay to expedite the payment process and avoid losing tickets while typing in credit card information.

    Despite these massive efforts, not all fans find luck online.

    Katy Blackman, 33, from Birmingham, Alabama, said she spent all day in a Nashville hotel last weekend refreshing the site. Only once did she manage to get a single ticket into her online shopping cart, but it was gone before she could check out.

    Katy Blackman spent all day in her hotel room refreshing Ticketmaster looking for same-day Taylor Swift ticket

    Still, she headed to Nissan Stadium that night and stood in the parking lot alongside hundreds of other fans without tickets trying to get in. When the lights dimmed minutes before Swift took the stage, the crowds scattered; she was nearly the only one left, still refreshing Ticketmaster.

    “All my searching and combing Ticketmaster and resell sites was worthless,” she said. “But then all of a sudden, a random girl came running up to me truly seconds before she came on and said, “Hey, wanna come in with me?”

    The stranger had just scored last-minute tickets and had an extra to sell. “A miracle happened,” Blackman said. “My new friend and I sang every single song. We cried, danced, hugged. It was worth the absolute hell to get there.”

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  • Beyoncé is going on tour. Will Ticketmaster be able to handle it? | CNN Business

    Beyoncé is going on tour. Will Ticketmaster be able to handle it? | CNN Business

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    New York
    CNN
     — 

    Good news: Beyoncé’s Renaissance tour is happening. Bad news: Fans are already gearing up for a difficult time getting tickets, especially following Ticketmaster’s botched ticket rollout for Taylor Swift’s Eras tour.

    Beyoncé announced the tour — which had been previously rumored — on Wednesday. In an Instagram post, the superstar posted simply “RENAISSANCEㅤ ㅤWORLD TOUR 2023.” Her website shows tour dates from May to September. Beyoncé will perform in cities around the world, making several stops in the United States.

    Ticketmaster published a blog post on Wednesday with instructions on how to get tickets for the tour.

    People who want access to the North American leg of the tour have to be registered as Verified Fans, the post explained.

    “Demand for this tour is expected to be high,” the page said. “If there is more demand than there are tickets available, a lottery-style selection process will determine which registered Verified Fans get a unique access code and which are placed on the waitlist,” the company said, adding that the access code doesn’t guarantee a ticket.

    Fans have been eagerly awaiting news of the tour, but many are already bracing themselves for a Ticketmaster disaster, following the recent Swift ticket debacle.

    “Hey @Ticketmaster you better have you servers ready!!!” one person tweeted. “Don’t screw this up,” said another.

    The Swift concert drama started even before tickets officially went on sale. In mid-November, Ticketmaster’s site overloaded when fans tried to purchase pre-sale tickets for just a handful of dates. Demand was so high that Ticketmaster ultimately canceled the public sale of the tickets. Swift was furious, calling the debacle “excruciating for me.”

    Ticketmaster had to contend with more than just the ire of Swift and her fans. The fiasco prompted a US Senate Judiciary Committee hearing, designed to examine the lack of competition in the ticketing industry (and give senators an opportunity to quote their favorite T-Swift song lyrics.) The hearing gave members of the committee and others a chance to call out Ticketmaster’s power within the industry.

    Over a decade ago, the company merged with Live Nation, despite fears that the conglomerate would create a monopoly in the ticketing sector. In 2010, a court filing that raised objections to the merger said that Ticketmaster had over 80% share among major venues. Ticketmaster disputes that market share estimate, and says it holds at most just over 30% of the concert market, according to CFO Joe Berchtold, who spoke about the business on NPR.

    Today, it’s widely criticized for holding too much power in the sector — effectively barring fans and artists from buying or selling tickets through a competitor.

    Renaissance, which dropped this summer, has been widely acclaimed and was nominated for album of the year at the Grammys Feb. 5.

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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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  • Video: ‘Swifties’ take on Ticketmaster, new AI chatbot coming for your job and Apple sued for AirTag stalking on CNN Nightcap | CNN Business

    Video: ‘Swifties’ take on Ticketmaster, new AI chatbot coming for your job and Apple sued for AirTag stalking on CNN Nightcap | CNN Business

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    The AI chatbot coming for your job, ‘Swifties’ take on Ticketmaster, and Apple sued for AirTag stalking

    Nightcap’s Jon Sarlin talks to futurist Amy Webb about the implications for ChatGPT, the next-gen AI tool that’s blowing everyone’s minds. Plus, Morgan Harper of the American Economic Liberties Project on whether Ticketmaster has met its match in Taylor Swift and her legion of devoted fans. And CNN’s Sam Kelly on the lawsuit filed against Apple by two women alleging their exes used AirTags to stalk them. To get the day’s business headlines sent directly to your inbox, sign up for the Nightcap newsletter.


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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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  • Taylor Swift ticket snafu caused by Ticketmaster abusing its market power, Senate antitrust chair says | CNN Business

    Taylor Swift ticket snafu caused by Ticketmaster abusing its market power, Senate antitrust chair says | CNN Business

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    New York
    CNN Business
     — 

    Senator Amy Klobuchar criticized Ticketmaster in an open letter to its CEO, saying she has “serious concerns” about the company’s operations following a service meltdown Tuesday that left Taylor Swift fans irate.

    In the letter to CEO Michael Rapino, the Democrat from Minnesota and chair of the Senate Judiciary Subcommittee on Competition Policy, Antitrust, and Consumer Rights, wrote that complaints from Swift fans unable to buy tickets for her upcoming tour, in addition to criticism about high fees, suggests that the company “continues to abuse its market positions.”

    “Ticketmaster’s power in the primary ticket market insulates it from the competitive pressures that typically push companies to innovate and improve their services. That can result in the types of dramatic service failures we saw this week, where consumers are the ones that pay the price,” Klobuchar wrote.

    Ticketmaster and Live Nation, the country’s largest concert promoter, merged about a decade ago. Klobuchar noted that the company at the time pledged to “develop an easy-access, one-stop platform” for ticket delivery. On Thursday, the senator told Rapino that it “appears that your confidence was misplaced.”

    “When Ticketmaster merged with Live Nation in 2010, it was subject to an antitrust consent decree that prohibited it from abusing its market position,” Klobuchar wrote. “Nonetheless, there have been numerous complaints about your company’s compliance with that decree.”

    The letter includes a list of questions for Rapino to answer by next week. Ticketmaster did not immediately respond to a request for comment from CNN Business.

    On Tuesday, the company said “there has been historically unprecedented demand with millions showing up” to buy tickets for Swift’s tour and thanked fans for their “patience.”

    Klobuchar is the latest high-profile politician to openly criticize Ticketmaster for the ticketing disaster that left bad blood between Swift fans and the company.

    “@Ticketmaster’s excessive wait times and fees are completely unacceptable, as seen with today’s @taylorswift13 tickets, and are a symptom of a larger problem. It’s no secret that Live Nation-Ticketmaster is an unchecked monopoly,” Rep. David Cicilline, currently the chairman of the Antitrust Subcommittee, tweeted on Tuesday.

    “Daily reminder that Ticketmaster is a monopoly, its merger with LiveNation should never have been approved, and they need to be reined in,” tweeted Rep. Alexandria Ocasio-Cortez.

    Complaints about the company’s monopoly power go back long, long before Tuesday’s ticket problems, when the platform appeared to crash or freeze during presale purchases for Swift’s latest tour.

    In 1994, when Taylor Swift was only four years old and ticket purchase queues were in person or on the phone, not online, the rock group Pearl Jam filed a complaint with the Justice Department’s antitrust division asserting that Ticketmaster has a “virtually absolute monopoly on the distribution of tickets to concerts.” It tried to book its tour only at venues that didn’t use Ticketmaster.

    The Justice Department and many state attorneys general have made similar complaints over the years.

    Despite those concerns, Ticketmaster continued to grow more dominant. Pearl Jam’s complaint was quietly dismissed. The Justice Department and states allowed the Live Nation Ticketmaster merger to go through despite a 2010 court filing in the case raising objections to the merger. In the filing, the Justice Department said that Ticketmaster’s share among major concert venues exceeded 80%.

    – CNN Business’ Chris Isidore contributed to this report.

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