Shane Mansfield: The Future Of Ticketing Is In Your Hands

09 Jan 2013

The ticketing industry, alongside the music industry in general, is in constant flux. From the days of ticket lists on club doors, to the advent of digital tickets encased in mobile phones, innovation and creativity is always on the move. Paradoxically, despite this innovation, it is still common to see both the old entrance lists and more modern methods in use across a whole spectrum of events.

Rebalancing The Ticketing Market: Sharon Hodgson, MP

19 Dec 2012

There are many points on which I would agree with the contribution to the secondary ticketing debate from StubHub's Navin Kekane, particularly on the need for greater transparency of primary allocations – letting fans know how many tickets are available on the onsale date, and how many are channelled elsewhere.

Face Value - The Secondary Market Conundrum: Navin Kekane, StubHub

11 Dec 2012

This week’s debate ‘Ticket To Ride: Getting Primary Tickets Back Into The Hands Of Fans’ at Music Tank made it clear there is still much we can do together to identify and address the true issues within the live music industry. For StubHub, as a technology company dedicated to providing a great fan experience, there are clear opportunities to work with willing partners to progress this...

Ticketing: A Statement From Live Nation's COO Paul Latham

04 Dec 2012

Promoters have argued for several years that secondary ticketing needs legislation. The rampant proliferation of the secondary market has created a parasitic business for profiteers who have no investment in the music industry. This creates a huge problem for those who have long-term interests in the financial stability of the business...

Keith Harris: Power To The People

27 Nov 2012

I was in Norway last week, and a chance comment made to me by one of the Kristiansand locals got me thinking. I was complaining that I had just had to buy yet another 4-way plug board at my house to accommodate the latest electrical gadget, and remarked on what the electricity must be costing me. Norway being easily the most expensive place that I have been this year, I was somewhat taken aback by his reply, “that’s not such an issue because we’ve got hydro-power”...

Newsletter #93 November: 2012 - Ticketing’s Annus Horribilis?

27 Nov 2012

The issues around ticketing are among 2012’s most contentious. This, of course, was mainly due to an edition of Channel 4’s Dispatches that brought to wider public attention what many working in the music industry knew and feared: that the primary and secondary markets for major live events are becoming inherently dysfunctional, and true music fans were being royally ripped off.

Rebecca Lammers: 4 Steps To Help You Find A Job In The UK Music Industry

20 Nov 2012

Getting a job in the music industry is difficult, no matter what country you live in at the moment. Given the economy and the fact that digital music sales aren’t compensating for the decline in physical music sales, the music industry has been suffering from a double whammy for a while now. But fear not, it’s not impossible to get a job in the UK music industry and in particular London...

How Google Play Can Forge A New Music Industry

13 Nov 2012

Yesterday Google Play launched in the UK, Germany, France, Italy and Spain. The music industry will be overjoyed to see a player of Google's size enter the market, hoping they’ll sell music to a whole new demographic just as iTunes did a decade ago. However, this will be a different beast entirely, with new lessons to learn at a far faster rate...

Rebecca Lammers: 3 Steps To Help You Find A Job In The US Music Industry

06 Nov 2012

As an American living in the UK I get asked A LOT about how to get a work visa in the US. My reply is always, “I don’t know! I don’t need a visa to work in the US!” But, I do know how to get a job in the US so here’s some practical information to help you on your career path to work in the US music industry...

#92 Newsletter Editorial: Can Fans Get No Satisfaction?

24 Oct 2012

Revelations broadcast by Channel 4’s Dispatches back in February 2012 have failed to dent public confidence in the online secondary market although technological innovation will continue to help the primary (and secondary) market to operate more effectively - allowing artists to communicate directly with their audience and ensure, at least to some degree, that tickets end up in the hands of genuine fans.

Keith Harris: Has The Record Industry Gone Full Circle?

23 Oct 2012

The confirmation of the sale of EMI Records to Universal reinforces my long held belief that the record industry, at least on this side of the Atlantic, has gone nearly full circle. In the late 1950's there were just two sizeable major labels - EMI and Decca...

PPL/ PRS: Silence Is Not Golden In The Workplace Say Business Owners

18 Oct 2012

Research released from music licensing organisations PPL and PRS for Music suggests that silence in the workplace is far from golden, with over one in five (22%) businesses admitting they would go out of their way to avoid it, preferring to lose a day’s trade than operate in a silent environment.

Response From UK Music And The Musicians’ Union

10 Oct 2012

We want to thank Andy Inglis for his comments on the Music Tank blog around the Live Music Act. He articulated valid points which are central to the thinking around the Act; we all must consider its implementation.

Andy Inglis - Wanted: Nine Million, Affluent Gig-Goers

03 Oct 2012

Just the other day The Live Music Act 2012 became law in England and Wales, which ushered in the deregulation of live performance in rooms of no more than 200 people capacity. I’ve followed its progress for some time, attended debates, and been invited to give my perspective on it...

John King - Live Music Act Guidance: The Devil In The Detail

26 Sep 2012

The Licensing Act 2003 created three categories of music: live music, recorded music, and entertainment similar to live and recorded music. The Act itself offers little explanation of the first two categories, and no hint of what could be included in the last, which has led to local authorities enforcing differing interpretations. This matters because their purpose is surely to promote the objectives of the Licensing Act, by guiding the accurate targeting of licence conditions.

Digital Sustainability?

19 Sep 2012

The recordings business has at times been an uneasy bedfellow with technology, never more so than during the last decade which has been dominated by the disruptive and transformative power of the Internet and developments in digital distribution...

#91 Newsletter Editorial: The Dark Side Of The Tune - The Hidden Energy Cost Of Digital Music Consumption

13 Sep 2012

The Dark Side of the Tune reviews current research on the costs of data traffic and highlights some of the energy costs inherent in a range of existing digital music services. These costs are both startling and surprising...

Keith Harris: To Fee Or Not To Fee?

02 Aug 2012

I don't want to dwell too much on the Olympics, but let's face it if you live in Britain it's hard not to. Having watched the much praised and rightly praised opening ceremony, it put me in mind of a conversation that I had a couple of weeks ago, when a prospective student approached me about the idea of doing a University music course. They said that they were very keen to do it, but wondered about whether they would get a job in the music industry afterwards...

Keith Jopling: Is It Worth Innovating With Physical Music?

12 Jul 2012

In the last of this series on music formats innovation I want to briefly look at physical formats. That’s the CD, I suppose. Though luxury Box Sets and Vinyl – both in the ascendancy – are much more the objects of desire that play to the strengths of the word ‘physical’...

Keith Harris: Please, Sir, Can I Have Some More?

12 Jul 2012

The more I hear about what is going on with music at the Olympics, the more the words “snouts” and “troughs” come to mind. I know that the Olympic ideal is more about the taking part than the winning, but very few participants go in knowing that the odds are rigged for them to lose every time...

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