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shelovescontrol91 · 3 years ago

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Shawn Mendes is putting his money where his fans are. The multiplatinum recording artist is investing in 237 Global, the fan engagement company that created and launched his ShawnAccess app, which has been downloaded more than 700,000 times.

Mendes and his management company, the Andrew Gertler-led AG Artists, are leading a funding round and have joined the advisory board for the tech, services and ticketing company founded by entrepreneur and former Warner Bros. Records exec Mark Weiss to superserve superfans of music artists, athletes and other influencers. Via its apps, 237 Global offers direct access to tickets, merch, exclusive livestreams and custom content; the company also provides paid in-person and virtual VIP experiences ranging from meet-and-greets to backstage tours to private Q&As.

Notably, 237 Global also provides clients with a magic bullet they don’t get when they connect with fans via most social media platforms: Access and control of their own data.

“Artists don’t own their own data on these social platforms,” Weiss says. “We don’t say to an artist, Stop using Instagram or Twitter and start using only an app. But we say make it part of your whole ecosystem. I have a passion for early-stage artists that are starting to buzz; it’s a great time to start collecting your own data.”

The conversation, he says, has grown more vigorous as the live music lockdown motivated both legacy and emerging artists to embrace their direct relationships with fans. At the same time, the company continues to prove its mettle and add features such as internal message boards, commerce opportunities and user-generated content.

Within the past year, 237 Global launched apps for Weezer, Barenaked Ladies, 24KGoldn, Tate McCrae and 311, among others. A New Kids on the Block app is in beta, and Avril Lavigne, Trippie Redd and Iann Dior apps are slated to drop shortly. The company has also provided interactive tour experiences for Justin Bieber and Panic! At The Disco, and is currently activating on the Hella Mega outing featuring Green Day, Fall Out Boy and Weezer, and on tour dates for Alanis Morissette and Lynyrd Skynyrd.

It’s also rapidly expanding to other verticals. Weiss just signed SmartLess, the podcast from Will Arnett, Jason Bateman and Sean Hayes, as a client and recently offered virtual meet and greets with Philadelphia Eagles’ newcomer Landon Dickerson and culture creator Maggie Lindemann. 237 Global is also working with athletes including Kansas City Chiefs defensive lineman Chris Jones to develop an app prototype for the sports arena—an area Weiss believes will soar.

“Athletes are interested in selling merch, building fandom and talking to fans outside of their franchise,” he says. “And they tend to have exposure for a long time, so they can really build their base.”

A Paradigm Shift

Weiss has been evolving what became the core DNA of 237 Global for decades as he iterated his fan engagement vision, most notably through Artist Arena, a company he launched and sold to Warner Bros. in 2011. The core thread has been consistent: Facilitating the ability of talent to connect directly with fans through widely adopted technology, and building out businesses around those connections.

“I saw the paradigm shift happening more than 20 years ago where artists could, in their own way, become their own media play. And then the question was, How do you monetize that,” Weiss says.

When he began working five years ago with former Artist Arena exec Gertler and Mendes, fresh off of Vines, everything coalesced. “Forward-thinking are the best words I can use to describe Shawn and Andrew and everybody in that camp. They’ve pushed the envelope for the live fan experience in terms of VIP for so long, and have been such a great partner for us,” he says. “For them now to show this vote of confidence to be investing in us is just incredible.”

“Mark’s dedication to providing incredible service to fans and artists is unmatched in the industry,” says Gertler. “I learned a great deal from working at Artist Arena and am excited to continue this longstanding relationship with Mark and 237 Global.”

Other seed investors include Bret Disend of Ozone Entertainment, Jonathan Gordon and David Ruttenberg of RGI, Matt Galle of CAA and Photo Finish Records, Steve Greenberg of S-Curve Records, Jeremy Levin and David Silberstein of Megahouse Music, business manager Phil Sarna and entertainment attorney Lisa Socransky. Weiss says 237 Global will be going into a series A funding round in the coming months.

Also coming are additional monetization plays. Aside from generating income from custom app creation and management—which Weiss says runs “in the six figures” per app—the company takes a cut of any income generated directly on the app, be it a VIP experience or merch sale. Artists are able to sell a portion of tickets through the app, Weiss says, via a longstanding arrangement with Ticketmaster based on the fan club model which enables them to directly sell a small allocation, usually 8 percent-10 percent depending on the venue.

Most often, though, fans are directed to promoter and ticketing company platforms for ticket sales, says Weiss. “One of the things we built into our apps is a very robust tour section, and we like to think we’re helping everyone in the ecosystem because we are here to help sell more tickets. And we want to drive more livestreams, we want to drive more audio streams, we want to drive more podcast listeners, more merch sales.”

To that end, he’s exploring an elevated marketing relationship with promoters around the apps’ ability to generate those sales. “We are having discussions around our own internal data and algorithms to see if there’s some kind of marketing arrangement that might happen should we start to prove we really are moving a lot of tickets,” he says.

A subscription model is also in the works. “We think subscription income will ultimately become a big game-changer,” Weiss says. “Download the app and get some level of first access to tickets or content or merch. We’ve experimented with that a bit and we’ve seen that this kind of first access drives memberships.”

#shawn mendes

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thepachanga · 5 years ago

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WASHINGTON—The Justice Department is preparing to take legal action against Live Nation Entertainment Inc. on allegations the company has sought to strong-arm concert venues into using its Ticketmaster subsidiary, according to people familiar with the matter.

The department believes the concert-promotion giant’s conduct has violated the merger settlement Live Nation and the dominant ticket seller reached with the government in 2010, the people said. Under that agreement, the department’s antitrust division allowed the companies to combine, but required them to abide by conditions designed to keep consumer prices in check by preserving competition in the music and ticketing industries.

As ticket prices have risen, critics have questioned whether the settlement has worked as intended. It is due to expire next year, but the Justice Department now plans to ask a judge to extend the restrictions by several years and prevent the alleged coercive conduct by Live Nation, the people said.

Live Nation’s chief executive has publicly denied that the company has violated its agreement. The company and the Justice Department have engaged in talks but haven’t settled their differences, people familiar with the matter said.

Details about the department’s specific concerns couldn’t immediately be learned.

The Live Nation-Ticketmaster merger consolidated two of the most powerful forces in the music industry. Ticketmaster holds an estimated 80% of its market, according to people in the concert industry. As the world’s largest concert promoter, Live Nation organizes live music events by booking talent, securing venues, setting ticket prices and marketing shows. It has also built a robust artist-management business.

The merger faced opposition at the time it was announced in 2009, and the decision by the Obama-era Justice Department to allow the deal with a settlement wasn’t well-received in some industry and consumer circles. Critics who say U.S. antitrust enforcement has been too lax often point to the merger as one where the government should have taken a harder line to protect consumers.

In the past decade, and particularly over the past few years, ticket prices have soared—increasing by nearly 50% since 2009 to $92.42 on average for the top 100 tours world-wide, according to Pollstar.

The settlement, known as a consent decree, forbid Live Nation from forcing venues that want to book the concert promoter’s tours to use Ticketmaster for those shows, and from retaliating when venues choose to use a ticketing competitor instead.

The deal also required Ticketmaster to license its technology to Anschutz Entertainment Group, the distant No. 2 concert promoter, to build a competitive ticketing platform. That ticketing service, AXS, has had limited success outside of AEG’s own venues.

Assistant Attorney General Makan Delrahim, the Justice Department’s antitrust chief, confirmed during a September Senate hearing that the department was investigating allegations that Live Nation had been violating the decree.

Typically, venues ranging from nightclubs and theaters to arenas and stadiums enter long-term contracts giving a ticketing provider the exclusive right to sell tickets to any event they host. Over the years, Live Nation’s competitors have accused it of using its market power as a concert promoter and artist manager to coerce venues into using Ticketmaster or risk losing out on lucrative bookings.

While in theory advances in new technology have made it easier for other ticketing companies to challenge Ticketmaster, in practice few venues have defected from their longstanding contracts with the giant, according to people in the industry. Almost 10 years since the decree was put in place, Ticketmaster has no serious competitor.

Live Nation previously dismissed the calls for investigation as based on a misunderstanding of the decree and ticketing-industry dynamics. Speaking at a conference in September, Live Nation Chief Executive Michael Rapino said the decree allows the company to make decisions that are “right for our business,” and that booking a Live Nation tour date at a venue that uses a ticketing provider other than Ticketmaster may not make economic sense for the company. He acknowledged that competitors have raised flags to the Justice Department, but said the company had never been found to engage in wrongdoing.

“We have no fear that we have any systematic issues. We’re very compliant,” he said.

The company has been facing fire from Congress as well as the Justice Department.

In August, Sens. Richard Blumenthal (D., Conn.) and Amy Klobuchar (D., Minn.) asked the Justice Department to investigate the state of competition in ticketing, focusing on the Live Nation-Ticketmaster merger.

“Live Nation’s dominance in the sector raises serious antitrust concerns. I’m glad that the Department of Justice is preparing to take action,” Ms. Klobuchar said Friday.

Earlier this month, four House lawmakers sent a letter to the department that expressed concerns about the merger, saying, “Our constituents are facing significantly increased live event prices and a lack of meaningful alternatives to purchase tickets to live events.”

The signatories were Reps. Ken Buck (R., Colo.), Matt Gaetz (R., Fla.), Lucy McBath (D., Ga.) and James Sensenbrenner (R., Wis.).

The Justice Department rarely has sued companies for alleged violations of antitrust consent decrees, but Mr. Delrahim has publicly voiced the need for companies to abide by their commitments. He has called for changes in decree language that would make it easier for the department to establish violations in court, and to force merged companies to pay the government’s costs in enforcing merger settlements.

The Live Nation decree has arisen recently in a second context with the Justice Department. The company has asked the department for permission to explore a transaction involving Rival, a ticketing company launched last year by former Ticketmaster CEO Nathan Hubbard, according to people familiar with the matter.

The decree requires Live Nation to give notice of any potential transactions with a ticketing company so the department can investigate the competitive effects of such a deal.

Mr. Hubbard led Ticketmaster for four years after the merger.

Mr. Hubbard, whose efforts attracted high-profile backers including top Silicon Valley venture-capital firm Andreessen Horowitz and Santa Monica, Calif.-based Upfront Ventures, envisioned that fully digitizing tickets could address inefficiencies in how live events operate and make them safer by connecting identity, payment and location data.

He built the aptly named Rival to be what he hoped would be a serious competitor in ticketing.

#YASSSSSSSS finally!!!!!!!!!!!!!#music industry #long post /#ticketmaster

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mrrightandmrbubble · 6 years ago

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Hi, have you listened to that podcast about LN? what do you think about it? especially the part 2 of it? the theory and the watch out final part about Dave?

Hey hey, sure did, both parts (here if anyone else is interested)! Rae’s a good mate of mine so I knew this was in the works. Re: The LN stuff, some of it is fairly well known to fans who have been wary of LN and their practices since they started going to gigs, while other info is new and well researched. The podcast isn’t saying anything that hasn’t been said in low murmurs in fan circles for the last few years, anyway - it’s just saying it out loud. So I think she recapped a lot of familiar points while presenting new information (eg. the hundreds of lawsuits against LN, Heather Parry) that paints a bigger picture for us. Splitting it into two parts was a wise choice because there is a loooooot to talk about.

The big thing, for me, is that FF can not make an honest effort to “Beat the Bots” while they’re with LN…because LN merged with Ticketmaster. Since this merger, especially in the US, getting tickets in a straightforward and fair manner has become that much harder. One-off shows for fans etc. won’t make up for them being in bed with the company/companies causing the problem to begin with.

Another problem is something that emerged from this Fillmore/parade mess: Their contract means having a certain obligation to LN, and that means opening LN-owned venues and appearing at whatever promotional side events they want to do. In this case, it was a parade that appropriated a long-running, non-profit NOLA organization without consent or consultation, and made it an exclusive experience for people who already pay a premium $5k membership to LN-owned venues. Even though Dave scheduled his arm surgery for those few days so it never went ahead, it’s the principle of the thing. Krewe du Vieux went around FF fan pages blasting FF for agreeing to do it. For a band that loved their time in NOLA and at least outwardly conveyed deepest respect for its residents and history, this was so uncharacteristic of them. This is representative of the big concern with FF/LN - how it puts them and their hard-earned good standing at risk for the almighty dollar.

I personally wouldn’t have kept that part about Dave’s health and wellbeing, because it’s only speculative. He looks exactly the way someone would when they’re turning 50 and on a world tour, traveling from one time zone to the next, screaming and running their way through three-hour shows most nights, and having to do dozens of the same banal interviews day in and day out. People bring up the period at the end of the SH tour, without taking into account that 1) he recovered, and 2) he is constantly identifying the protective factors in his life. Catastrophizing and drawing our own conclusions like that when we, in reality, have almost no information about how things are for him is generally mere projection. But I also understand why it’s in there - as part of a broader conversation about mental health in the music industry, which is/will be a feature on her Fan Ambassadors website. If you listen back, Dave was barely mentioned in the end as it quickly led to a more general call for vigilance for musicians’ safety.

All that said, I think focusing on that part allows all the important information about LN to fall away - FF were used as an example of the effect when we ought to be concerned about LN as the cause. Their monopoly on the music industry has far-reaching consequences.

#amatty65

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sconunoloth1974-blog · 6 years ago

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I know it goes against the frequent advice in this sub, but easy laundry is hugely important to me. I actively seek out clothes that can be washed with dozens of other mixed colors/towels/my husband mud caked work pants, left damp for three days in the machine, and then dried on high for an hour and a half. Anything that is hand wash only or dry clean is a big nope.. You welcome. It usually only gets to their investigators when it sent to them from customer service. So it a good idea to be open and "nice" to the customer service agent so he/she doesn think you an abuser. It is legitimately impossible to repair damaged hair. It's a huge myth. You can only stop more damage from happening. You could also consider keeping to iambic pentameter (one unstressed syllable followed by one stressed syllable). Think different accents when doing a tendu or dgage but for speaking. Shakespeare opening to Romeo and Juliet households, both alike in dignity uses iambic pentameter to lend a particular musicality to the spoken phrase, but also to emphasise words (houses both like). For these 남양주출장마사지 reasons, it fairly pointless to attempt to sleep in 90 minute intervals, even if you are a perfectly healthy sleeper. Apps and websites that claim otherwise (there are several offenders) are founded on bad science. As an illustrative example, if I attempt to sleep for exactly six 90 minute cycles, but my NREM/REM sleep cycles on that night average 100 minutes, I getting woken after 5.4 cycles.. Of course, part of the problem is that 양주출장마사지 ticketmaster/live nation has exclusive contracts with most of the venues of reasonable size, which makes it hard for another company to come in and compete. Unfortunately, the only competition i seen is just as shitty, just on a smaller scale. Ticketfly refused to refund me for a ticket after the band i got the ticket for pulled out of the show (this was about a month before the event, so it wasn an after the fact thing). Add on: I just went down to get my mail only have to have to deal with junk mail. This is another vein of my first world existence. I wonder if a small footprint camera can be used to "snap" what I see inside the mailbox, so if it just junk mail I leave it until it changes.. A few years ago I worked at a restaurant that had apartments above it. One day I got a call from a woman from Seattle (opposite side of the country) asking me to check on her younger sister who had recently moved in upstairs. The younger woman struggled with depression and it had been over a week since anyone had heard from her and they were desperate.. But Fortnite has as default language for a lot of places English, even though that country does not have English as a first language. So even if you get the option for english only, if the other parties do not change their preference, you still get paired up with a Spanish kid.So it would be a great option to have, but probably too much of a hassle for Epic to deal with since it took them a whole season to fix the airplanes. And it would probably only work for the NA servers who occasionally get a Spanish speaking kid on their team.For Europe this wouldn work because there are just too many languages on a relative small ground mass and in Asia the same applies.

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ear-worthy · 2 years ago

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“Spotify: Discover This” Dishes On The Live Music Scene

It’s become fashionable to take potshots at Spotify these days. But the streaming giant has developed and released some excellent home-grown podcasts. Spotify: Discover This is one of those indigenous shows that sparkles with intent, insight and information.

Spotify bills the podcast as: “a show aimed at sharing fresh insights on music, podcasting, cultural moments, and trends — amplified in a way only Spotify can.” I’m not sure about the last part after the hyphen, but the show does avoid clichés, redundancy of thought, and guests who blabber in bromides.

Last week, Spotify: Discover This host Lea Palmieri explored the state of live music post-pandemic from various perspectives, including the artist, the venue owner, the live venue preservationist, and Spotify.

You can listen to the full episode here.

Over the past year, the live music industry has seen a surge in activity with more artists returning to the stage since the COVID-19 pandemic and eager fans excited to resume life again, including seeing their favorite artists in concert.

Think of the recent Taylor Swift debacle with Ticketmaster. (Note: I think I now despise Ticketmaster more than Comcast, Spirit Airlines, and Exxon).

This episode of Spotify: Discover This goes backstage with notable artists like Harry Styles opener Ben Harper, Latin GRAMMY-nominated Bruses, EDM artists/producer JOPLYN, singer-songwriter emlyn, and 90’s rock band Sleater-Kinney to discuss the power of live music, hitting the stage for the first time since the pandemic and the creativity live music can harness. The episode also features some music industry insiders sharing more on the business and preservation of live music venues.

Lastly, Spotify Stages’ Renee Volker shares how the platform puts fans first by encouraging fans to purchase concert tickets while streaming their favorite artists.

Available to stream for free exclusively on Spotify, please see below for interview highlights in the episode

Ben Harper on playing his first live gig since the start of the pandemic.

“Absolutely not. But it was the first booking that looked like it might happen. They were one of the first venues outdoors and trying to open up with limited capacity and they asked if I would do one solo, and I jumped at it. And I have to say, I was from two years of doing nothing because, I don’t like to get ready, so I stay ready. So I had, I was so rehearsed. I went up there, I was just so ready. It felt and it’s such a release. And it was quite emotional, even just hitting the first few notes of the first song. I just took a deep breath and everybody, I think, exhaled with me in that moment. It was quite something.”

Ben Harper on opening for Harry Styles and playing one of Harry’s latest hits, “Boyfriends.”

“I wasn’t hesitant, but slightly nervous because it’s they when 20,000 people want to hear the person, the band they love do a song that is important to them. But having played the guitar part on it, I think did give me license possibly. And Harry knows. He knows. And so for him to give me license. If you want to do it in your set, why don’t you just go for it? And we worked tirelessly on arranging the harmonies that Harry arranged himself for the song. Harry heard us rehearsing it in the halls. And got really hyped.”

JOPLYN on the creativity live music allows her to have on-stage.

“And also I love being creative on stage. I actually like to not have too rigid of a plan of what I’m going to do. Like sometimes I’ll write a song on stage because you’re in this special state that you can’t really replicate in the studio. So I like to have fun with it.”

Bruises on emerging as a pandemic artist and performing for the first time.

“I love performing, man. It’s so much fun. I’ve always wanted to feel like a rock star. I grew up with the emo kids and I feel really powerful when I’m on stage and I really I was scared for a moment because, you know, we’re a pandemic artist, as some call us pandemic kids. I fell in love the moment that I went on that stage for the first time as Bruses. People f****** screaming your songs. And especially with my music, they connect on a deep level. I feel like this generation is going through so much. right now and the fact that there they feel like my music is helping them say what they want to say. It’s powerful.”

Emlyn on experiencing her first tour as a pandemic artist.

“…I mean, it’s been extremely rewarding to just see the immediate ticket counts, I’m like, Oh my gosh, this is so cool. People want to see me sing live? I thought, though, that when I would play songs, that the songs that would go off would just be singles. But people who show up to my shows know like my whole discography. So it’s always really shocking to see people sing back lyrics that like, haven’t necessarily been the most like massive song of mine. I’m always really moved by that.”

Carrie Brownstein from Sleater-Kinney on touring in 2022 as a member of a 90s rock band.

“I mean, of course, that’s your goal. It’s just this feeling of maintaining relevancy and having music be timeless and transcendent. And that’s something you write about can have the same meaning or even a different interpretation, or can be reinterpreted by a younger generation. So it’s really rewarding to play a show and have, you know, 15, 16-year-olds in the front. That’s who you want in the front. You don’t you don’t want people our age in the front. You want the dancers in the front, and you want just that unbridled enthusiasm and people that are unafraid to look silly up there. So we appreciate the fans of all ages, but it is really rewarding to see younger people at the shows.”

You can listen to the full episode here.

#podcast #music #live performance

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garudabluffs · 2 years ago

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Ticketmaster cancels Taylor Swift general sale ticket sales set for Friday NOV.17,2022

Surging demand overwhelmed a presale of tickets for the 2023 tour, and Ticketmaster said there wasn’t enough tickets left for the general public. Many fans have expressed outrage at the tour rollout.

“Tickets have been reselling for as much as $28,000, Reuters reported.”

READ MORE https://www.washingtonpost.com/business/2022/11/17/taylor-swift-ticketmaster-presale/

Comments 714

"...resulting in 3.5 billion total system requests” — four-times its previous web traffic peak."So almost half the earth's population tried to buy Swift tickets?

‘He said that a competitor promoted (?)) Swift’s show and chose Ticketmaster to sell the tickets because “we are, in reality, the largest and most effective ticket seller in the world.” ' Ummm, isn't that what a monopoly is?” Reply:”No, there are other ticketing companies they just don't have capacity to sell 2.5 million tickets.”

FYI - the Taylor Swift tour is not being promoted by Live Nation. Her promoter is Louis Messina, whose company is owned by AEG. AEG is Live Nation's largest competitor, and has their own ticketing company (AXS.com).

“Ticketmaster is the only DIRECT 1ST PARTY ticket sales company which makes it a monopoly. Their connection with/to LIVE Nation which bought up and continues to buy up most of the venues which after purchase only sells tickets through Ticketmaster makes it a monopoly. Unless tickets are sold directly by a venue ( and there are very few that still do) any ticket selling company other than Ticketmaster is a scalper ticket seller who is using algorithms to get the best seats and who in turn jacks up the prices to make a profit. Only way to resolve it is to STOP selling tickets online. Make people provide ID in person to buy the tickets and to show the same ID for the same tickets at show time.

Eric Church tried to play venues not connected to TM or LN he found it was impossible. Eddie Vedder and others tried yrs ago to stop the sale involving TM & LN and no one listened then.Hopefully this TS ticket mess will bust open the scam that is TM! “

“The venues have an exclusive contract with Ticketmaster. If you want to have a concert at a large venue, you must use Ticketmaster.”

“Taylor Swift is a well curated marketing initiative in which PR teams, publicists and make up artists seem to play a bigger role than music.”

“The company is the one who sold to the bots. I joined the verified fan list the minute it opened and was placed on a waiting list. The company is known for scalping it's own tickets and it's a problem when all of the large shows less than 10% are actually made available to fans. Now they are also using the dynamic pricing, when a Bruce Springsteen show the cheapest ticket was $5000 it's a monopoly that needs broken up. Tickets were being listed for $35,000 for this show and the company charges ridiculous fee's twice for every ticket. Anyone who thinks that she was the one getting all of this money is a fool.”

“I was lucky to get tickets during the verified fan and Capital One pre-sales, but d*mn, that dynamic pricing is brutal! Floor and pit seats in Chicago were like $500+! The nosebleed seats were going for $109! I get to spend the next year paying off my CC now for our tickets :/ Most of the decent seats are way too pricey for the average fan..... “

BAN THE BOTS “The president of Ticketmaster just said on CBS Evening News that they knew their queue was full of bots not just legitimate individuals and did and apparently do nothing to filter them out. This is where the super massive secondary market of tickets comes from. Authorized scalpers and price gougers should be ILLEGAL ! “

“ Bollocks.Most of the tickets were dumped onto Stubhub by TM (owned by TM) with the artist’s approval. She takes a cut off the upsell. Happens all the time.” Nonsense. StubHub is not owned by Ticketmaster.

Tix were $119 each...so $55 in fees on a $238 purchase. Ridiculous.

“What we were trying to say was: this could get worse if someone doesn’t fight it now,” Vedder told me in 2009, just as Live Nation and Ticketmaster were set to merge. “And apparently it looks like we predicted the future.” (Independent, 2019)

#Taylor Swift Eras Tour TicketMASTER

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harrytheehottie · 3 years ago

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Wait…does Harry actually benefit this

yes/no. Ticketmaster has exclusive contracts with a majority of venues across the US so they have no choice but to use Ticketmaster. but a lot of people get paid before harry(any artist) when it comes to touring and why merch is a huge part of touring because that’s where a lot of their $$ comes from. He definitely gets a % but it’s not all of the profit.

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keepingsecretstokeepyoutk · 2 years ago

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John Oliver did a great segment about how Ticketmaster deliberately allows insane resale prices, and how not using Ticketmaster is nearly impossible, and is flat out impossible if you are doing stadium shows:

youtube

He does however mention at the end that one possible solution was practiced by Pearl Jam about 20+ years ago, where they set up some system with Ticketmaster to allow fans to resell their tickets only at face value and otherwise made tickets non transferable, which theoretically could be a great solution.

However, that was set up through Ticketmaster, and seeing how they handled the Verified Fan fiasco, i don’t know how reliable that would be. Seeing as that was such a long time ago, I also wonder if Ticketmaster would even go for something like that now that they rely on so much of their income coming from the higher fees they can charge on higher priced scalped tickets.

(One self correction on what I said above: Ticketmaster isn’t the only place to sell tickets, but they do have an exclusive contract with most if not all major venues in the country, so artists would have to play very few and very obscure places to avoid using them, meaning less shows in less cities, not reaching as many fans, etc.)

Interesting take on something Taylor could do that Tegan and Sara did in 2019

#taylorswift #john oliver #taylor swift #eras tour #Youtube

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lookforthesilverlining · 8 years ago

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BTS Wings Tour Anaheim (4/1/17)

I know this is like 2 weeks late but I’ve been busy since the concert so anyway....

This will be an in-depth description of one of the best concerts of my life. Read more after the cut! (I even put some pictures I took!!!)

I’ll begin with the ticketing process. I was minding my own business on my way to work with my mother on November 18, 2016 when Big Hit decided to drop the Wings Tour video.

I was shocked!!! Amazed!!! Taken off guard. I was in the car and actually sat there and used up some of my data to watch this the first time. I had figured BTS was doing a world tour in 2017 but Big Hit is evil and I thought they would give some more warning. I thought wrong. Back to the trailer... I absolutely LOVE the remix of Interlude: Wings that was used. I watched that video repeatedly throughout the day. I’m still salty at Big Hit for only adding Outro: Wings to You Never Walk Alone vs. Outro Wings AND the remix. (I could also go into how Big Hit needs to release the MV teaser version of Blood Sweat & Tears but alas...). I had decided right then and there (actually before this) that I was going to try with all of my power and within a reasonable price range that I was going to make it to the Wings Tour. I was determined, KCON LA in 2016 was just not enough!!! I knew BTS would come to somewhere in California, be it Staples Center in downtown LA or Honda Center in Anaheim. I know they locations were settled by then but that DID NOT stop me from tweeting Big Hit hoping that they would be at Honda Center instead. (I experienced the evils of Staples Center and having to buy tickets via AXS. NEVER AGAIN TBH).

I waited for days and Big Hit finally started releasing tour dates and eventually days when tickets would go on sale. As expected, BTS was coming to Anaheim. I thanked Big Hit and the high heavens that it was Honda Center. I only had to deal with Ticketmaster, nothing else! I underestimated the amount of people that were hellbent on buying tickets for the Newark shows. After seeing people talk about how fast the first show sold out, I was highly worried I wouldn’t be able to get my Anaheim tickets. I was stressing! So I did the only logical thing, when Powerhouse released the second set of Newark tickets, I tried my hand and attempting to get a pair. I wasn’t going to be buying them, but I wanted to see how the process went. I had seen people talking about using the Ticketmaster app vs. the website so I had everything set up and ready to go. I’d like to say that I was extremely lucky because when those Newark tickets went on sale, I was actually able to snag two. I didn’t pay of course and let them go, but it quelled at least a little bit of my worries for when I had to buy my tickets later in December.

The day had come. December 14, 2016. I was prepared to buy my tickets. Unfortunately because of times zones, I was at work when the tickets went on sale BUT my supervisor is an angel. I had told her the week before that I needed to take my break earlier during my shift so I could focus on buying my BTS tickets. She agreed! So there I was, sitting at the desk nervously waiting for the time to tick down. I had already had a Ticketmaster account with my credit card connected so that just made everything that much easier. I did have my mom also log in on her computer and phone and wait just like me. I had read from a few people that within the last minute or so of waiting, they began refreshing the Ticketmaster page and actually got to buy their tickets about 20 seconds faster than the allotted time. I also had read that people going to the second to cheapest tier of tickets (P4) had issues getting what they wanted because the seats were more limited compared to other levels. I was aiming for P4 because that’s where I sat for BigBang’s MADE Tour and it was a good view. With this info in mind, I bit the bullet and decided that I would go for P2 tickets instead. A whole $100 more but I didn’t want to have to pay more from scalpers later for any other section. So there I was, sat at the desk refreshing the Ticketmaster page every 3 seconds until the time came to buy them. I benefitted from the tip of refreshing because just as another ARMY had stated, I got my two tickets right before the actual time came. I WAS SO HAPPY! I had gotten two P2 tickets that were four rows from the general admission standing area as well as close to the extended stage!!! My mom tried and actually got two more tickets but we didn’t end up buying them for obvious reasons (and they were the elusive P4 tickets!). In my excitement I think I just listened to Interlude: Wings (and the rest of Wings tbh) and danced around for the rest of the day, I was excited!!!

In the months leading up to April 1, we got everything else together...not in a timely manner though lol. I love my mother and she has taught me many things including how to procrastinate. We probably could’ve gotten slightly cheaper plane tickets but it’s all water under the bridge now. We got plane tickets and booked our car and hotel and we were set. In the week before the concert I began my normal ritual of listening to the group’s entire discography. I did go back and find the Wings Tour setlist and listened to that exclusively in the few days prior. I also played the tour specific playlist for my mom just to reacquaint her with every BTS song I’d already had her listen to previously.

Fast forward to Saturday, April 1, 2017. The day of the concert. I had wanted to take the day off of work, but my mom (who I work with) didn’t want to miss out on getting paid that day, so we went to work. We were the from 7:30 am to 2:00 pm. We had already preplanned everything and were already packed and ready to head to the airport. Flying with carry on only luggage is such a breeze AND we ended up getting TSA Pre Check so it literally took us about 5 minutes to get through everything and on to our gate. We flew into John Wayne Airport because duh it’s way closer and our hotel was literally down the street. We got to our hotel, changed our clothes, and headed out around 6:30-6:45? I had read that at the Newark and Chicago stops the doors were opened earlier so I didn’t expect there to be much of a line. My mother took this to mean that we could leave later, but whatever at this point. We were SHOCKED that there were still a bunch of lines around outside. I know there other cool stuff to do around the venue but I my precious time was running out! After waiting in line for about 20 minutes we finally made it in. My mom had drank some coffee before we left the hotel (bad decision tbh) and had to use the bathroom but I was worried that the concert was going to start. We decided to find our section then she would go back. We passed the life-sized BTS cutouts and I should’ve listened to my mom and taken my pictures then, but I was desperate ok! We found our seats at about 7:55 and the concert started at 8:05. Once I had gotten to my seat the kind ARMY volunteers were still handing out the bags for the Fire ocean and Rainbow ocean projects. I didn’t have an Army Bomb or buy one (I’ll keep that $60 for something else tbh) but I promised myself I’d actually participate and use my phone flashlight. My mom returned from the bathroom and once again commented on the fact that everyone was screaming at the music video (LMAO but I agree) and then... the lights went down!

From this point on I think I’ll make each song it’s own paragraph...

As previously stated I knew what song was coming anyway, but still. The first VCR came up with ensuing screams and then... Not Today! I have a love and less love relationship with this song. It sounds so noisy sometimes but then others I can’t get enough? And listen to it or watch the MV on repeat? Anyway, BTS started the concert on the main stage, which wasn’t like exceedingly far from me, but not the closest either. I liked the live performance etc etc. I was sufficiently whelmed at this point lol. Also this was the beginning of the assault on my eardrums. The screams were SO LOUD. My mom had randomly put some earplugs in her purse and she already had to use them.

Next was Am I Wrong. I actually really like this song, but didn’t like the choreography all that much. I had watched some of the music show performances but I was still meh. (Maybe it’s because I get tired of music shows and watching the same choreo in different outfits for 4 weeks lol). Anyway I didn’t now what I was expecting buy actually seeing the choreo made me love it soooo much! I’m sorry for distrusting you Son Sungdeuk, it’s great!

On to Baepsae/Silver Spoon/Crow Tit/what have you. One of my favorites! I will just say that I love this song and the choreo... so many hip thrusts but I love. If you didn’t know, my absolute, unwavering, all time favorite is J-Hope aka Dance King Jung Hoseok. He was being very rude during this song and I don’t appreciate it!!! I felt so attacked! He killed his end segment, I need to find a video of his gloriousness.

It was Dope when I realized that BTS was using live band audio. And for that I am eternally grateful. I figured there wouldn’t be a live band but I’m glad they used the recording from the Seoul concerts because BTS + live band is better than any studio recording (for the most part) and I love. I absolutely love the guitar in this and I was not disappointed. Anyway, Dope was dope. I had already seen them perform this at KCON and seeing it a second time live was just as good as the first. After writing about Baepsae I’d just like to say that Jung Hoseok was incredibly rude during Dope as well. He can’t just do a simple hip thrust. I had watched fancams from previous stops and during the hip thrust parts he did these really small controlled thrusts and man. I was dead! He’s gotten so bold since Blood Sweet & Tears came out and I’M SUFFERING!

After Dope was the second VCR. I need to find video of it and all of the VCRs because the music in this one was great! I hope and pray that Big Hit uses the music from the VCRs in actual BTS music but I won’t hold my breath. I’ll just tweet at Big Hit and Hitman Bang with my wishes which will go unheard.

After the VCR ended, it was time for the solos to begin (no pun intended lol). It started off with Begin, Jungkook’s solo. I love this song and it’s actually one of my top favorites from Wings. I wanted to be at least a little surprised about some of the performances since I had already spoiled the setlist for myself, so I didn’t watch any fancams of the member solos. I knew Jungkook was going to dance the whole time but I was still blown away? The footwork was so intricate and he was doing all of that AND singing live. He was wonderful. I honestly stood there and had THE BIGGEST smile on my face the whole song. I don’t really have a bias list for BTS but after the concert he’s definitely in my top favorites with Hoseok and Yoongi now.

Lie. Oh Like. Jimin did such a good job. I had actually seen little snippets of it, but I wasn’t ready. After seeing his outfit, I was offended. That low cut shirt and his collarbones were too much!!! Lie was great. I particularly loved the part where the backup dancers lifted him up. I had promised myself I wouldn’t take too many pictures/video because what’s the point of enjoying a concert through a phone screen (I am a terrible multi-tasker ok) but I tried to get a picture of when they lifted him up. I don’t think it turned out that well but whatever. At the end of the song my mom told me that she had really liked Begin and Lie. Success!!!

Next was Yoongi and First Love. I know it’s more of a chill song so I was wondering what he’d do for his solo stage. I expected Yoongi to come out and stand while rapping and there would probably be a piano. What I wasn’t expecting was for the stage platforms to rise with 4 string instrument players!? I was shocked!!! Yoongi did fantastic and I really loved the strings. I was watching someone’s fancam later and they pointed out that towards the end it was either the strings or the recording but So Far Away’s music was playing in the background. How perfect tbh. I enjoyed it!

The next few songs are part of my favorite parts of the concert! (I’m not kidding. Lost, Save Me and I Need U are some of my top BTS songs). It was finally time for the extended stage to be used in all of it’s glory. Our seats were on the side of our section closest to the extended stage so we could see when the platform would lower for BTS to get ready for their next performance. The platform rose again and out popped Jin, Jimin, Taehyung, and Jungkook to bless us with Lost. Once again, I didn’t watch fancams minus a few seconds so I didn’t really see all of their choreo. I love Lost and the choreo for it was cute and not overly taxing, which I liked.

Save Me. My ultimate favorite BTS song. I was blessed with being able to see Save Me at KCON but this time it was on the extended stage so I was so close. I about died at this point. My favorite song with them only 50 feet (I don’t know really I’m just making this up ok) in front of me where I can actually see their facial features etc. Magical. I, along with most other people in the venue, sang our hearts out. It was great.

I Need U was next. If I say that Save Me is my ultimate favorite, I Need U is next. It only got bumped to second because of Save Me tbh. For some reason I had read the setlist wrong at first and had left I Need U out of my tour setlist playlist and I was bumming myself out for no reason lol. Like I was sitting there thinking how could life go on with me seeing BTS in concert but them not doing I Need U. Then I looked it up again and got myself together lol. I know the crowd was hype for the whole concert but there was just something about I Need U that seemed really special. I have watched so many videos of I Need U performances but it took this concert with the extra backup dancers to really understand one part of the choreo. Towards the end when Jungkook I think is in the middle and everybody falls down around him. It really looks like a flower opening up/blooming. How I managed to not notice this before, I’m not sure but I thought that part was especially awesome. Once again, thank you Son Sungdeuk for you superior choreography.

I feel like there as a VCR at this point. I was trying to keep a note open to keep track of stuff like this but I gave up after Dope lol. Anyway if this is correct VCR that I’m thinking of, it has Namjoon in it but THE BEST part about it is that the music in the VCR ends up being part of their hidden track from 2Cool4Skool, Path (Road, Gil, whatever you want to call it). I was really touched. That song totally pertains to the tough journey of youth themes but it’s shocking they used it considering they’ve been paying it dust is fiveever. So the VCR is of Namjoon and his Wings short film and lo and behold, the telephone booth makes an appearance which segues into his performance.

For Reflection, Namjoon’s solo, the platforms on the stage rose and what else but the phone booth. It wasn’t until this solo that I began to realize that for every solo before and after Namjoon’s, the members got to wear these really pretty sequined blazers. I feel like Namjoon’s outfit was from the Japanese designer that he’s really into right now, but I can’t be certain. So Reflection. I liked it well enough but it’s grown on me even more and the live performance made me love it even more. I knew people were going to do some fanchants and they were so loud! It was during the part where he repeats, “I wish I could love myself.” He said that and the crowd chanted, “We love you.” I guess since Chile he’s been changing the lyrics to “I wish we could love ourselves” after the chants and he did the same for this performance. At the end of him performance, Namjoon went back into the phone booth which was a great transition into Taehyung’s solo.

Sitgma. So the lights on the stage dimmed as Namjoon went into the phone booth and of course he went below stage is Taehyung came up and out Taehyung came from the same phone booth. I really love Stigma and I’m so glad he pulled it off. I know from the first Seoul concert Taehyung struggled a little bit with the high notes in it but not that day. He did such a great job.

Now time for THE BEST solo performance of the night. Every other solo wishes! Jung Hoseok and his solo MAMA. It may not be my favorite solo musically but Hoseok’s whole stage/performance/everything >>>> the other solos. His stage presence alone is out of this world. People say it all the time and he knows, he was born to perform on stage. Where’s that Lady Gaga gif. He’s talented, brilliant, incredible, amazing, show-stopping, spectacular. I was blessed because Hoseok’s solo was the only solo that got performed on the extended stage. I was just that much closer to perfection. He came out from under the stage and sang/rapped/did the choreo with his backup dancers. The choreo isn’t difficult at all but I enjoyed it! He’s so expressive and such a great dancer. Once it got to his adlib part he ran to the runway between the extended and main stages and sang his little heart out before he made it to the main stage. I know it was just the backup dancers but I wished he could’ve had the choir like in Seoul. Anyway, Hoseok was great, everything was perfect. I love him soooo much!

Finally, the last solo! Jin with Awake! Awake is another one of my favorite solos from Wings. I listen once then keeping replaying. So I hadn’t even watched a fancam of Jin’s at all so I didn’t know what I was expecting stagewise. I honestly really liked how they did his. The stage had 5 platforms that could change in height and they put Jin in the middle platform. The strings from Yoongi’s solo made another appearance on the other four platforms. At one point during the song Jin’s platform was elevated above the others and then later on it went in the reverse with the strings being elevated above Jin. I also enjoyed the screen in the background using graphics from HYYH Pt 1&2 album covers. Jin did fantastically and hit his high notes with ease. Perfect tbh!

Next is the most hype performance of the night! Cypher Pt 4. Was I ready for this? I don’t know but I loved it. God bless the performance director for putting the subunits/Hoseok/Cypher on the extended stage, it makes everything better. I saw Namjoon, Yoongi, and Hoseok get their water bottles ready and the water went flying. Thank goodness I was just out of range of water hitting me. Their outfits during Cypher make me cackle but they looked so cute and totally into the song. I think my favorite part besides the song was watching them walk around the stage and hype up the crowd. Namjoon had me laughing so hard trying to do some type of dancing during part of Hoseok’s? part. It was so funny. I also love Yoongi for modifying his lyrics outside of of Korea and saying, “Click clack to the bang bang fuck you and you.” I had to sing along and laugh about it. I haven’t mentioned my mom too much because it was hard to talk to her with the headphones in but she really enjoyed this performance. I think it was her favorite from the night. She doesn’t always stand up during concerts (especially the kpop ones we’ve been to) but she stoop up for the end of cypher. She even clapped!

Next was Fire. I love Fire. This where the preplanned Fire ocean fan project came in. I had my bag ready!!! The Fire ocean ended up working out really well. The upper bowl had red bags while the lower bowl had yellow bags. It was really pretty! I got some pictures too. I know it would’ve been too difficult but I kind of wish the yellow and red were alternated between sections versus upper and lower. I can’t really complain though. It was my second time seeing it, the first being at KCON. It was great. I only wish that they had done the special ending choreo for Fire at these concerts but that is but a minor gripe in the big scheme of things. ALSO. I feel like Fire had some kind of remix plus live version going on and I hate Big Hit for not releasing it at all. It was fire lol. We’re all missing out and being deprived.

I’m pretty sure there was a ment here but I can’t remember. Shame on me. After the ment they segued into their older song medley. These songs are some of my favorites with respect to live versions. I won’t do a paragraph per song because they didn’t even do the whole song but I’ll say that I really enjoyed watching them just freestyle to the music. I think it was during Boy In Luv? that they did a bit of choreo but other than that I loved watching them work the stage. They did shortened versions of N.O, No More Dream, Boy In Luv, Danger, and Run. I died many times when Jung Hoseok and his rude self stayed on my section’s side of the extended stage and did dance moves from some of the various songs. It’s NOT FAIR!!!! I noticed that the setlist for the US Wings tour stops were void of War of Hormone for some odd reason. I’m not complaining though because it’s my least favorite BTS song EVER! Also, I was happy to see Run in the setlist. That song has been disrespected! It didn’t do as well digital downloadwise vs. I Need U, Fire, BST but it’s still so good! I was happy to see its inclusion.

On to 21st Century Girls. I enjoy this song, the choreo is adorable, I love it! I only have one complaint. As stated, I love the live versions of BTS songs, with two exceptions. This being one of them. I didn’t particularly care for an instruments in this live version. Like the song is still nice, but...eh. The prechorus and chorus seemed so bare? I don’t know the word. But there’s some horn sound or whatever and that get’s replaced with who knows what and I wasn’t exactly feeling it. I loved everything else though so they get a slight pass.

Ok, I know there was a talk here! They asked if we were enjoying the concert and tried to bluff and say they were at the last song. THESE BLATANT LIES. I had noticed there were only 6 out of 7 on stage and Hoseok was missing. I was internally freaking out and hoping he wasn’t hurt until I realized that Intro: Boy Meets Evil was next!

I knew it was coming but it just warms my heart that Hoseok got to do MAMA and his Boy Meets Evil intro even if it was only half. I was getting into it and EVERYTHING and then he stopped right at the part where he’s supposed to do that butterfly kick, I think that’s what it’s called. Either way, I was blessed to see him do that live, I was so happy!

The Boy Meets Evil cutoff turned into Blood Sweat & Tears. I always think it’s cute when this transition happens because Namjoon is standing there in the dark helping Hoseok put on his blazer for BST. This song is another one in the setlist that got the superior concert remix. I HATE Big Hit and wish this version was also released. It sounded great with the band and I’m sure the studio would sound fantastic as well.

Last before the “encore” but certainly not least was Outro: Wings. This song is actually my 3rd all time favorite BTS song after Save Me and I Need U. The rainbow ocean was supposed to happen after Outro: Wings and right before 2!3! but people got their bags out early including me. I had the bag over my phone but then I realized I needed some pics or video of this legendary song. Not like I hadn’t been singing along to everything the whole concert but I was jumping up and waving my phone around and having sooooo much fun. It’s such a great song to play at concerts. Everyone was on their feet having a great time. I was in heaven!! Because this was Outro: Wings and not it’s shorter counterpart Interlude: Wings, we got Hoseok rapping his piece. It was so cute because everyone was crowded around him hyping him up. I literally only have one gripe with this live version. It’s a hip-house song with great house elements but the house beats are weakened by using the live instruments and I felt part of the instrumental was lacking, other thank that, this song and performance were perfection.

This is were the alleged encore comes in although if you’re stupid enough to leave at this part, I worry about you. The lights went down and then started the BTS chants. They were only gone about 2-5 minutes then the screens showed the last VCR. It was a nice really touching one about how they’re making their way through life, supporting each other. Seven boys but one goal, etc etc. Really sappy, lovely stuff.

Now everyone was ready and the rainbow ocean was in full effect. It looked soooo pretty! They started singing 2!3! and the whole crowd sang along. It’s a really heartfelt, personal song and you could really feel the sincerity in it. My mom later asked me what the song was about and after I explained it to her she said that she could definitely tell that this song in particular was super important and comforting. I think that says a lot for a woman that only listens to kpop because I make her and has no idea what’s going on besides that. Back to the song. I know the goal was for the fans to sing that last part of the chorus without BTS and we did such a great job? Everyone was so loud and I was so proud, we did well! I got a little video of at least the rainbow ocean because it was so pretty!

Finally and unfortunately, the last song of the night, Spring Day. I actually really love Spring Day after a few months. When it came out I knew some would find it a bit boring but I really enjoy chill BTS music. I wasn’t that enthused with the choreo, like it’s really great and I see people gushing over it and I’m just sitting here like yeah ok. But once again, the live performance reeled me in, I have a newfound appreciation for it. I didn’t want the song to be over.

I think this is where this happened but if it didn’t, oh well. All of BTS gave a little spiel about enjoying the concert, etc etc. I should’ve listened better but my mom kept asking me what they were saying, she should’ve taken out the earplugs lol. I was especially touched when Jungkook said his ment in English. I know Namjoon had gone on the V+ chat a few days prior mentioning how much Jungkook had practiced this part. They all ended up holding hands and bowing to the crowd multiple times.

After all was said and done the lights came up and I’m pretty sure it was the Interlude: Wings instrumental? I don’t remember was played as BTS walked around the stage waving and thanking fans. It was all very cute. I loved when people threw a bunch of Pokemon on stage and Taehyung only picked up the Eevees and held them in his arms/put them on his head. Also cute was Yoongi and Hoseok picking up the Minnie ears and doing the Nae Nae around the stage. Everything was adorable. I didn’t want it do end, they looked like that had so much fun. Finally they slowly made their way from the extended stage to the main stage, messed around a lot more then did one big bow with the backup dancers and made their way offstage. Before everything was officially over a concert practice video ran during the credits of the Wings tour stuff. And then, that was it. I couldn’t hear properly but I had the time of my life. I only wish BTS/Big Hit can get bigger and even richer and then they’ll actually take a live band on tour with them. How awesome would that be!

I LOVED LOVED LOVED Wings Tour sooooo much and I shall wait patiently until BTS comes back again because I had such an incredible time!

#BTS #BTS Wings Tour #Wings Tour #Bangtan #Fan account #My life #Kim Seokjin #Min Yoongi #Jung Hoseok #Kim Namjoon #Park Jimin #Kim Taehyung #Jeon Jungkook

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katiecad · 5 years ago

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FOR IMMEDIATE RELEASE

Rising Star Dermot Kennedy Launches His Most Expansive U.S. Tour With a Stop at The Pearl at Palms Casino Resort

Friday, Feb. 7, 2020 at 8 p.m.

Tickets on sale – Friday, Sept. 27 at 10 a.m.

LAS VEGAS – Sept. 23, 2019 – Dermot Kennedy’s rapid rise is nothing short of astounding. In two short years, he has gone from playing his first U.S. club show at Baby’s All Right in Brooklyn, NY to announcing his debut at New York City’s Radio City Music Hall, along with his longest North American tour to date. The 2020 tour includes a stop at the Pearl Concert Theater at Palms Casino Resort on Friday, Feb. 7, 2020 at 8 p.m. The 2020 North American tour is produced by Live Nation and takes place in 33-cities.

Kennedy’s debut album, WITHOUT FEAR, is set to be released on Oct. 4, 2019. His global streaming numbers continue to rise with more than 600 million across all platforms and 9 million+ monthly listeners on Spotify alone. Recent praise comes from the likes of the Los Angeles Times, TIME Magazine, The New York Times, NPR, Complex and Billboard.

Dermot recently appeared on The Late Show with Stephen Colbert for his debut U.S. television performance, quickly followed by an appearance on one of America’s top talk shows The Ellen Show, wowing both crowds with a performance of “Power Over Me” which has reached No. 1 in the airplay charts in France, Germany and Belgium and achieved Double Platinum in Ireland, Platinum in the Netherlands and Switzerland and Gold in Canada. His latest single “Outnumbered” is now sitting on BBC Radio 1’s A-list and has been steadily climbing the U.K. charts since its release, currently sitting at No. 20 in the Official Chart—proving him to be one of the most exciting global stories of 2019.

Tickets for Dermot Kennedy are $35, $39.50, $69.95 and $79.95, plus applicable fees and go on sale Friday, Sept. 27 at 10 a.m. Doors open at 7 p.m. and guests under 21 must be accompanied by an adult. Tickets can be purchased at the Pearl Concert Theater box office, any Station Casinos Rewards Center or online at Ticketmaster.com. For more information, please visit www.stationcasinoslive.com or www.palms.com. For exclusive ticket pre-sale information connect with Palms Casino Resort and the Pearl on Twitter @Palms and @PearlatPalms, Instagram @Palms and Facebook.

About Pearl Concert Theater With a state-of-the-art LED wall spanning the length of the stage and a brand new multi-million dollar sound system, The Pearl is a marvel of modern concert venue design boasting accommodations for up to 2,500 ticket holders. In 2018, the venue underwent a design renovation as part of a more than $690 million property overhaul, complete with upgraded private and semi-private skyboxes and throughout the venue, a showcase of art from multiple artists, including a Felipe Pantone mural which greets guests upon arrival. With the stage positioned just four feet from the floor, and the farthest seat a mere 120 feet back, The Pearl is one of the most intimate concert venues featuring some of the world’s hottest acts. Hard wired to Studio at the Palms, The Pearl allows artists to create a cost-effective live album with efficiency. For more information, please visit www.palms.com.

About Live Nation Las Vegas Live Nation Entertainment (NYSE: LYV) is the world’s leading live entertainment company comprised of global market leaders: Ticketmaster, Live Nation & House of Blues Concerts, LN Media and Artist Nation Management. Live Nation Las Vegas produces residency shows from Mariah Carey, Journey and Sting at The Colosseum at Caesars Palace; Janet Jackson, Lady Gaga, Aerosmith and Bruno Mars at Park Theater at Park MGM; Blink 182, Billy Idol and Lady Antebellum at Pearl Concert Theater at the Palms; Tony Bennett, Willie Nelson, Steely Dan and Anita Baker at The Venetian Theatre at The Venetian Resort Las Vegas; and Shania Twain, Christina Aguilera, Gwen Stefani, Def Leppard and Florida Georgia Line at Zappos Theater at Planet Hollywood Resort & Casino. Live Nation Las Vegas also brings other world-famous artists to many of the city’s other premier concert venues including T-Mobile Arena, Mandalay Bay Events Center, MGM Grand Garden Arena, House of Blues, Downtown Las Vegas Events Center, The Joint at Hard Rock Hotel & Casino Las Vegas, and more. For additional information, visit www.livenation.com. Find Live Nation Las Vegas on Facebook, Instagram and follow us on Twitter.

About Station Casinos Entertainment Station Casinos’ concert and entertainment lounge venues include: The Railhead at Boulder Station, a 650-seat venue; Grand Events Center, a 2,000-seat venue, and The Backyard, a poolside venue accommodating up to 4,000 guests, at Green Valley Ranch; Club Tequila at Fiesta Rancho, a 380-seat venue; Rocks Lounge, a 350-seat venue, The Sandbar, a poolside venue accommodating 4,000 guests at Red Rock Resort; Chrome Showroom at Santa Fe Station, a 550-seat venue; Club Madrid, a 500-seat venue, and Sunset Amphitheater, an outdoor venue accommodating up to 5,000 guests, at Sunset Station; Dallas Events Center, a 1,800-seat venue and South Padre, a 300-seat venue, at Texas Station and Pearl Concert Theater, a premier concert theater accommodations for up to 2,500 ticket holders, and The Lounge at Palms Casino Resort. For up-to-the-minute news, connect with Station Casinos on Facebook or follow on twitter @stationcasinos.

UPCOMING EVENTS AT THE PEARL 2019

Sept. 28 – UB40 Featuring Ali Campbell and Astro with special guest Shaggy Tickets start at $49 Oct. 4-5, 9, 11-12 – Billy Idol: Las Vegas 2019 Presented by SiriusXM Tickets start at $34.95 Oct. 19 – J Balvin Tickets start at $59.95 Oct. 31 – Marilyn Manson Tickets start at $59.95 Nov. 15 – Melanie Martinez Tickets start at $35.95

UPCOMING EVENTS AT THE PEARL 2020

Feb. 7 – Dermot Kennedy Tickets start at $35 March 6-7, 11, 13-14 – Billy Idol: Las Vegas 2019 Presented by SiriusXM Tickets start at $39.50 March 15 – Il Volo Tickets start at $49.95

The post Rising Star Dermot Kennedy Brings 2020 U.S. Tour to The Pearl at Palms Casino Resort Feb. 7 appeared first on PR Plus.

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hootywhom · 5 years ago

Link

FOR IMMEDIATE RELEASE

Rising Star Dermot Kennedy Launches His Most Expansive U.S. Tour With a Stop at The Pearl at Palms Casino Resort

Friday, Feb. 7, 2020 at 8 p.m.

Tickets on sale – Friday, Sept. 27 at 10 a.m.

UPCOMING EVENTS AT THE PEARL 2019

UPCOMING EVENTS AT THE PEARL 2020

Feb. 7 – Dermot Kennedy Tickets start at $35 March 6-7, 11, 13-14 – Billy Idol: Las Vegas 2019 Presented by SiriusXM Tickets start at $39.50 March 15 – Il Volo Tickets start at $49.95

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sheminecrafts · 5 years ago

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The Ticket Fairy is tech’s best hope against Ticketmaster

Ticketmaster’s dominance has led to ridiculous service fees, scalpers galore, and exclusive contracts that exploit venues and artists. The moronic approval of venue operator and artist management giant Live Nation’s merger with Ticketmaster in 2010 produced an anti-competitive juggernaut. It pressures venues to sign ticketing contracts under veiled threat that artists would otherwise be routed to different concert halls. Now it’s become difficult for venues, artists, and fans to avoid Ticketmaster, which charges fees as high as 50% that many see as a ripoff.

But The Ticket Fairy wants to wrestle control of venues away from Ticketmaster while giving fans ways to earn tickets for referring their friends. The startup is doing that by offering the most technologically advanced ticketing platform that not only handle sales and checkins, but acts as a full-stack Salesforce for concerts that can analyze buyers and run ad campaigns while thwarting scalpers. Co-founder Ritesh Patel says The Ticket Fairy has increased revenue for event organizers by 15% to 25% during its private beta focused on dance music festivals.

Now after 850,000 tickets sold, it’s officially launching its ticketing suite and actively poaching venues from EventBrite as it moves deeper into esports and conventions. With a little more scale, it will be ready to challenge Ticketmaster for lucrative clients.

Ritesh’s combination of product and engineering skills, rapid progress, and charismatic passion for live events after throwing 400 of his own has attracted an impressive cadre of angel investors. They’ve delivered a $2.5 million seed round for Ticket Fairy adding to its $485,000 pre-seed from angels like Twitch/Atrium founder Justin Kan, Twitch COO Kevin Lin, and Reddit CEO Steve Huffman. The new round includes YouTube founder Steve Chen, former Kleiner Perkins partner and Mark’s sister Arielle Zuckerberg, and funds like 500 Startups, ex-Uber angels Fantastic Ventures, G2 Ventures, Tempo Ventures, and WeFunder. It’s also scored music industry angels like Serato DJ hardware CEO AJ Bertenshaw, Spotify’s head of label licensing Niklas Lundberg, and celebrity lawer Ken Hertz who reps Will Smith and Gwen Stefani.

“The purpose of starting The Ticket Fairy was not to be another EventBrite, but to reduce the risk of the person running the event so they can be profitable. We’re not just another shopping cart” Patel says. The Ticket Fairy charges a comparable rate to EventBrite’s $1.59 + 3.5% per ticket plus payment processing that brings it closer to 6%, but Patel insists it offers far stronger functionality.

Constantly clad in his golden disco hoodie over a Ticket Fairy t-shirt, Patel lives his product, spending late nights dancing and taking feedback at the events his clients host. He’s been a savior of SXSW the past two years, injecting the aging festival that shuts down at 2am with multi-night after-hours raves. Featuring top DJs like Pretty Lights in creative locations cab drivers don’t believe are real, The Ticket Fairy’s parties have won the hearts of music industry folks.

The Ticket Fairy co-founders. Center and inset left: Ritesh Patel. Inset right: Jigar Patel

Now the Y Combinator startup hopes its ticketing platform will do the same thanks to a slew of savvy features:

Earn A Ticket – The Ticket Fairy supercharges word of mouth marketing with a referral system that lets fans get a rebate or full-free ticket if they get enough friends to buy a ticket. 30% of ticket buyers are now sharing a Ticket Fairy referral link, and Patel says the return on investment is $30 in revenue for each $1 paid out in rewards, with 10% to 25% of all ticket sales coming from referrals. A public leaderboard further encourages referrals, with those at the top eligible for backstage passes, free merch, and bar tabs. And to prevent mass spamming, only buyers, partners, and street teamers get a referral code.

Creative Payment Options – The startup offers “FreeFund” tickets for free events that otherwise see huge no-show rates. Users pay a small deposit that’s refunded when they scan their ticket for entry, discouraging RSVPs from those who won’t come. Buyers can also pay on layaway with Affirm or LayBuy and then earn a ticket before their debt is due.

Anti-Scalping – The Ticket Fairy offers identity-locked tickets that must be presented with the buyer’s ID on arrival, which means customers can’t scalp them. Instead, the startup offers a waitlist for sold out events, and buyers can sell their tickets back to the company which then redistributes them at face value with a new QR code to a specific friend or whoever’s at the top of the waitlist. Patel says client SunAndBass Festival hasn’t had a scalped ticket in five years of working with the ticketer.

Clever Analytics – Never wasting an opportunity, The Ticket Fairy lets events collect contact info and demand before ticket sales start with its pre-registration system. It can ceate multiple variants of ticketing sites designed for different demographics like rock vs dance fans for a festival, track sales and demographics in real-time, and relay instant stats about checkins at the door. Integration of email managers like MailChimp and sales pixels like Facebook plus the ability to instantly retarget people who abandoned their shopping via Facebook Custom Audience ads makes marketing easier. And all the metrics, budgets, and expenses are automatically organized into financial reports to eliminate spreadsheet busywork.

Still, the biggest barrier to adoption remains the long exclusive contracts Ticketmaster and other giants like AEG coerce venues into in the US. Abroad, venues typically work with multiple ticket promoters who sell from the same pool, which is why 80% of The Ticket Fairy’s business is international right now. In the US, ticketing is often handled by a single company except for the 8% of tickets artists can sell however they want. That’s why The Ticket Fairy has focused on signing up non-traditional venues for festivals, trade convention halls, newly built esports arenas, as well as concert halls.

“Coming from the event promotion background, we understand the risk event organizers take in creating these experiences” The Ticket Fairy’s co-founder and Ritesh’s brother Jigar Patel explains. “The odds of breaking even are poor and many are unable to overcome those challenges, but it is sheer passion that keeps them going in the face of financial uncertainty and multi-year losses.” As competitors’ contracts expire, The Ticket Fairy hopes to swoop in by dangling its sales-boosting tech. “We get locked out of certain things because people are locked in a contract, not because they don’t want to use our system.”

The live music industry can brutal, though. Events can have slim margins, organizers are loathe to change their process, it’s a sales heavy process convincing them to try new software. But while record business has been redefined by streaming, ticketing looks a lot like it did a decade ago. That makes it ripe for disruption.

“The events industry is more important than ever, with artists making the bulk of their income from touring instead of record sales, and demand from fans for live experiences is increasing at a global level” Jigar concludes. “When events go out of business, everybody loses, including artists and fans. Everything we do at The Ticket Fairy has that firmly in mind – we are here to keep the ecosystem alive.”

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