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Home » Inspirations » Fair Ticketing Systems in the Live DMA Network
  • Fair Ticketing Systems in the Live DMA Network

    First concrete contact between a venue and its audience, concert tickets were originally used to count the number of people attending a gig and serve as justification of the income of a concert. Nowadays, tickets have become a powerful marketing tool and an efficient way of collecting audience data.

    As online ticket sales become more and more common in the live music sector, the resource needed to sell tickets online becomes more and more complex. Live music venues delegate these tasks to private companies. For many concerts, the tickets are not sold directly by the venue hosting the concert but by big private companies whose objective is mainly profit.

    These companies have a monopoly on the ticket sales and on the data they gather thanks to the ticket sales. They increase the cost of the tickets to take a commission on them: this money is not reinjected in the live music sector but goes to the companies, which have a control over the amount of the commission money they receive.

    This situation threatens the live music scene as venues, clubs and festivals cannot perform what constitutes the core of their activity (sell concert tickets). As they delegate this task to external companies, the music venues do not own their data and often have trouble keeping track of their ticket sales. They have become dependent of ticketing monopoly companies.

    To counter this, three organisations from the Live DMA network developed their own fair ticketing systems, which empowers the live music venues, clubs and festivals. Such systems give the venues more independence as they can have a better grasp on their ticket sales and the data they collect thanks to it. These systems inscribe themselves in the circular economy as the commission taken by the fair ticketing system goes directly into the live music scene.

  • SOUND REGULATIONS IN EUROPE

    In February 2019, Live DMA organized a Working Group on the topic of sound regulations in Europe. The aim of this Working Group was to achieve an inventory of the various sound regulations ruling the European live music scenes and exchange on the various difficulties these regulations bring to the live music sector. This Working Group highlighted…

  • White Paper – Music is not Noise

    Any future environmental noise regulation must safeguard the cultural rights to live music and artistic freedom. This paper provides guidance for the drafting of a good urban policy in relation to live music. The recommendations come from a working group comprising live music experts from across Europe who worked together in Antwerp and Madrid to…

  • Feasibility study for the establishment of a European Music Observatory (EMO) – Summary

    Together with 11 other European music organisations, Live DMA is part of the advisory board of the feasibility study investigating a possible future full-scale establishment of a data collection organisation called The Observatory as a core strategic resource to drive relevance and value for future policy actions in the music portfolio and across the sector. This feasibility study in conducted by KEA and Panteia.…

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