> Ticketmaster has a number of competitors (StubHub, Eventbrite, AXS, Seatgeek).
Those are reseller platforms (StubHub, Seatgeek) and independent entities (Eventbrite & AXS) that aren't associated with the venues/rooms they're playing in.
So your examples either:
1) Resell tickets from Ticketmaster + the list you mentioned + all other providers, or
2) They don't have the ability to flex on people because they don't own & operate the rooms across the entire planet, and in turn can't hit them with exclusivity clauses in their contracts the second they step foot into one of XXXXX rooms they'd like to play.
> Nevertheless, artists do seem to always gravitate to companies like Ticketmaster, even when neither they nor their venue have any affiliation.
Are you sure those non-affiliated venues don't have 10+ year exclusive ticketing contract that came with a fat lump sum when the ink dried in order to modernize & sustain their business?
I'd also question which rooms are slanging TM tickets without being owned by the overarching entity? I don't think I've ever seen that and I'd appreciate you presenting some examples of this.
> What we should ask is what problems a naive artist would face selling their tickets like any other commodity:
So anyone outside the TM system is naive? Wow... 0k... proceed...
> - They overprice it: No one shows up, people are angry at the artist, the artist is in debt to the venue for overbooking.
Please explain to me how the artist is in debt to the venue? There isn't a promoter in between the two? The artist is signing loan agreements and going into debt to the venue? Tell me you have zero clue what you're talking about without telling me you don't know a single thing about this industry...
> - They underprice it: The tickets are hoovered up by scalpers who capture most of the ticket's true value, fans are disappointed they can't attend because finding a ticket is much harder.
Again, no idea what you're talking about.
1) TM is GASSED UP when scalpers hoover up. They have multiple reselling platforms for exactly this scenario, including one that's TM branded. They _love_ this.
2) In reality, the promoter/venue is totally fine with this. They build offers against the proposed ticket price & sellable capacity, and a sell out is a sell out. Sure, hindsight is 20/20 and they'll reference historicals and adjust accordingly when the agent hits them up for the next play, but nobody is mad at a sell out.
> and package the event wholesale for the venue and artist. Both parties are can be guaranteed of some portion of the event before tickets even go on sale and the risk for them both is diminished.
They own & operate the venues. The artists are paid cash up front to sign the exclusive tour contract. They're not working for _anyone_ other than Ticketmaster... you're tripping my guy...
> Obviously I'm not trying to say Ticketmaster is all sunshine and lollipops
Ayyyyy no worries anyone with any exposure to this industry and half of a brain has already determined you have no idea what you're talking about, you're wrong & confused & way out of pocket, and we already know TM isn't sunshine & lollipops... back into your text editor you go (please)...