Secondary Ticketing Market

Anneliese Midgley Excerpts

Thursday 24th October 2024 Westminster Hall

[Anneliese Midgley (Knowsley) (Lab)]

It is an honour to serve under your chairmanship, Mr Rosindell. I thank my hon. Friend the Member for Cramlington and Killingworth (Emma Foody) for obtaining the debate. I also pay tribute to my hon. Friend the Member for Washington and Gateshead South (Mrs Hodgson) for all the work she has done on this matter. The issues I want to address are dynamic ticket or surge pricing and the queuing system for major, once-in-a-lifetime concerts, which my hon. Friend the Member for Cramlington and Killingworth referenced in her opening remark and which other Members have spoken about.

I have a deep-rooted connection to the music industry. In my younger days, I worked as a promoter and DJ in Liverpool. I was a music journalist and did press for bands when Britpop was at its height, and I have been privileged to spend many years surrounded by some of our nation’s best musicians. If we are sharing stories about our first gigs, for mine I queued up—in simpler times—outside the Empire Theatre when I was eight with my dad to buy tickets for Cliff Richard. We were allowed to get six. When we got to the show and he came on stage, I burst into tears and asked my mum where the man with the leg and the lip was; I thought I was going to see Elvis, who had been dead seven years.

Music is not just entertainment. It brings people together. It lifts the soul, and lifetimes of relationships are formed because of people’s shared love of music. Live performances are a huge part of that. The ticket prices surge and the queuing system recently made headline news with the Oasis reunion concerts. Tickets were sold by the primary ticketing company well beyond the price they were advertised at. A reunion that was greeted with such joy quickly turned into misery for many, as people realised when they got to the checkout that the price they had budgeted for—a price that they felt they could afford—was no longer the price. Instead, a price that was two, three or even four times more was quoted. After hours and hours of waiting, with their hearts racing and the timer ticking down, they had a few minutes to decide whether or not they wanted the tickets to see their favourite band—a band they would have only a once-in-a-lifetime chance of seeing.

The writer and musician John Robb recently wrote:

“The ticket buying systems and companies are…exploiting people’s excitement in the worst possible way.”

When prices are inflated with little or no transparency, that becomes a barrier that shuts out fans who work hard, save up and simply want to see their favourite bands live. Based on recent testimonies of several musicians such as Paul Heaton, it is not just the fans who are kept in the dark but often the artists too. Many artists are disconnected from the commercial side of their business and do not always have the knowledge to protect their fans before it is too late. Greater transparency on surge pricing is essential both for artists and for fans. It is not fair for fans to queue up for hours expecting a face-value ticket price, only to be met with an over-inflated bill when it is time to pay.

Exacerbating the situation with the Oasis reunion was the queuing system, about which we all heard countless stories. One of my constituents got up at the crack of dawn to get in the queue for Oasis tickets, and at 9 am she was number 7,000 in the queue on the website. She was made up, thinking she was definitely going to get the tickets. When she got to the purchase page, she spent half an hour trying to place available tickets into her basket. Finally, the system kicked her out when she tried to pay, and she was put at number 180,000 in the queue. She waited all day until the news came that no tickets were left. Similar stories were all over people’s WhatsApp groups and social media feeds that day, so it was not a one-off IT glitch or problem. It is just not fair.

We cannot ignore the wider issue of the secondary market. Tickets are being sold at exorbitant prices, further driving up costs for consumers. The recommendations made by the Competition and Markets Authority in 2021, particularly around speculative selling, remain unaddressed. These issues deserve serious consideration, as they place further strain on fans who are already facing inflated prices at the primary level.

In closing, I welcome the measures introduced by the Digital Markets, Competition and Consumers Act to give the Competition and Markets Authority a few more powers to tackle the secondary market, but it needs more, as recommended in the private Member’s Bill from my hon. Friend the Member for Washington and Gateshead South. We must also act on dynamic pricing and the queuing lottery. We need a system that works for fans, artists and venues alike. Transparency must be at the heart of dynamic pricing, and we must address the broader issues within the ticketing ecosystem. Live music should be a shared experience and affordable for all. I look forward to continuing to engage with the Government on this issue.