It’s both a curse and blessing for fans as Singapore’s entertainment scene heats up. Fans were thrilled when big-name acts like Coldplay and Taylor Swift recently announced concerts within days of each other. But the worry also set in almost immediately: Will I get tickets?
It is no secret that snagging concert tickets has become a tricky affair. UOB cardholder presales for Taylor Swift shows in March 2024 started at 12pm on Wednesday (Jul 5), ahead of general sales on Jul 7. Queue numbers reportedly reached a million within 10 minutes of opening and all presale tickets were snapped up by 3pm.
After patiently waiting in virtual queues that seemed to stretch for eternity only to see the dreaded “sold out” sign, determined fans now brace themselves for exorbitant prices from resellers and potential scams.
Cue the villains of the story: Ticket scalpers. Based on a check on the ticket resale site Viagogo, a Category 1 seated ticket for Coldplay had an asking price of S$1,217 (US$900) – more than four times its original price of S$268. A Category 1 ticket for Taylor Swift was going for as much as S$3,487, compared with its original price of S$348.
Why does scalping seem to be more prevalent nowadays? For one, the rise of online platforms has made it easier for scalpers to make a quick profit with just a few clicks.
There is also the massive demand from a regional pool of potential customers. Coldplay will play six shows in January 2024, more than in any other Asian city. Taylor Swift will make Singapore her only stop in Asia apart from Japan for six nights.
But some experts argue that this is just the natural course of the market, the secondary market reflecting the true value of concert tickets.
There is some truth in that market forces influence ticket prices. But it’s more complicated because scalpers disrupt the system, swooping in with bots to snatch tickets before fans get a decent shot.
But buying concert tickets shouldn’t be a nightmare for genuine fans looking to catch our favourite artistes at a fair price. The reality is they need not be.
The technology helps ensure fans can watch their favourite acts at fair prices, if they are willing to do so.
Some concert organisers have placed the responsibility of scalping prevention on ticketing sites, starting by making it more difficult to sweep up tickets with bots. By implementing these measures, organisers hope to create a more equitable ticket-buying experience for everyone.
Next is making it harder for dishonest resellers. Why not empower these platforms to regulate ticket resales themselves?
By taking control of the process, ticketing websites could ensure secure transactions and keep prices in check. Look to the London-based ticketing software company DICE for inspiration.
DICE uses e-tickets with QR codes that cannot be duplicated easily. They are only activated two hours before the event, and cannot be captured by screenshots.
Tickets can only be resold within DICE’s platform, capped at face value. Another platform, AXS Official Resale, has a cap on the resale price of tickets at no more than 10 per cent above what was originally paid.
By regulating resales and investing in anti-bot technology, ticketing companies can protect the integrity of ticket sales, prevent scalping, and ensure a fair and transparent ticketing process.
Real-name registration has also been mooted to discourage ticket scalping by linking tickets to specific individuals. Pop band Mirror implemented this for their 2022 Hong Kong shows, though this reportedly contributed to longer waiting times to access the website.
Online scalping also persisted, as some tickets were obtained through channels like a lottery that did not require real-name registration.
Still, why not a similar system in Singapore or one using Singpass for verification? It could, in theory, help verify ticket purchases and prevent scalping bots from running amok. But making it difficult for non-residents and visitors to get tickets could backfire if it makes Singapore less attractive as a regional concert hub, drawing fewer acts or having fewer shows.
The crucial role of enforcement has also been thrown into the spotlight, with calls for national anti-scalping laws in Australia and Brazil (where a Bill nicknamed the Taylor Swift law was introduced in June). But there are downsides to legislation against scalping, which we need to consider.
Legislation may not only be seen as interfering with the free market, but it can also be resource intensive as it requires close cooperation between authorities, ticketing platforms, and event organisers. Worse still, it may drive the market underground or push scalpers to adopt more sophisticated methods, making it harder to detect.
Besides safeguarding supply, the future of the ticketing industry and its combat against scalping also lies in managing demand.
Building direct relationships with fans and providing them unique experiences can reduce fans’ reliance on secondary market platforms and scalpers.
One strategy with potential is the implementation of loyalty programmes. They could identify fans who consistently support their favourite artistes or attend multiple events to be offered a range of benefits, such as exclusive behind-the-scenes content or special merchandise.
But there will still be challenges if crafty scalpers also sign up for loyalty programmes or consistently deploy bots to multiple events.
Another approach to consider is to cool the demand for physical tickets, making it more challenging for scalpers to exploit the system. Why not offer livestream concert options – even with virtual or augmented reality technology to provide an immersive concert experience from the comfort of fans’ homes?
Fans may crave the live concert experience among fellow supporters, but that also means the possibility of paying to watch Coldplay or Taylor Swift through outstretched arms recording on their smartphones – just look at the recent Blackpink concert. A livestreamed concert could offer the best perspectives of the stage, not just the section and row fans hurriedly clicked on.
It also caters to customers who would otherwise be lost – those unable to attend in person or more casual fans who didn’t want to jump through the hoops of buying tickets.
Ultimately, organisers, artistes and ticketing platforms must collaborate and create a united front against scalpers and the secondary market.
By taking a fan-centric approach, organisers can ensure that genuine enthusiasts have fair access to tickets and a memorable concert experience. It is time to beat the scalping hustle and put fans back in the spotlight where they belong.
The article first appeared on CNA.