In recent years it has become increasingly common to see announced concerts such as “Sold out”that is, with all the tickets sold out, but often the reality is different. Shortly before the event, in fact, it happens to find tickets still available, often at much lower prices than normal, or even given to groups of people related to sponsors or companies. This practice, even if not very well known to the general public, is very popular in the world of live music and mainly serves to create the image of a success that in reality may not be – and to prevent photos of empty stands on social media.
For many artists, especially after the pandemic, filling large stadiums or palazzetti has become increasingly difficult, despite the success on social networks and streaming platforms. However, being able to declare a “sold out” remains fundamental for their public image: A full concert makes curriculum, attracts the attention of the media, sponsors and helps to sell new tours. For this reason, behind those signs of “sold out”, a well -studied strategy is often hidden, which passes through the last minute sale of discounted tickets or the distribution of free entrances.
This practice is also made possible by the strong control that some large agencies have concerts on the market, thanks to contracts with important advances that artists must then “equalize” with the sales of tickets. When real sales are not enough, we thus try to save at least the appearance, limiting the economic losses and protecting the artist’s reputation.
In recent years, Also because of the low gains of streamingthe concerts have become the main source of income for singers and bands. But after the pandemic something broke: there was an explosion of live events, often too ambitious, and the public can no longer be behind us.
Many artists, thanks to millions of followers and listening online, have started to aim directly at Stadi and Palazzetti, even when their real audience is not so large. The result? Too many dates, too large locations and tickets that remain invented. Yet, showing that we are “sold out” has now become a status symbol: it makes news, makes the artist seem on the crest of the wave and helps to sell better all the rest. For this reason, appearance often counts more than the substance.
This happens that a few weeks before the concert, the agencies decide to empty the latest blocks of tickets through sales reserved at very low prices, addressed to sponsors, companies, associations and organized groups. The goal is not to earn, but fill the empty areas and make it seem that the concert it was a great success.
Tours canceled, fake sold outs and concert bubbles: what is really happening in the world of live music
It is no mystery: large concerts, those in the stadiums or in the buildings, often do not fill up as you would expect. In recent times, controversy has exploded on the “fake sold outs” and canceled tours. But has the much feared bubble of concerts really broke out? No, the data say more. In 2023, the live music sector in Italy reached a record turnover of Almost a billion euroswith a growth of 33.5% compared to the previous year. More and more often, streaming and social numbers give an illusion: millions of plays on Spotify They do not automatically mean files to the box office. Going to a concert requires time, money and true passion: it is not enough to click “play”.
Behind the “fake sold outs” and discounted prices that often circulate, there is a precise strategy: to promote the event as a success to keep the artist’s image high and justify large investments by agencies and sponsors. Promoters must fill the stands at any cost, also by resorting to tickets given or sold for a few euros to groups of employees, “guests” fans or through confidential offers.
Because concerts cost a lot and tickets often end up discounted or given
Tickets for big concerts often cost a lot, and it is no coincidence. Behind that high price there is a complex mechanism: rental of locations, lights, safety, staff, technicians, transport, marketing, and above all the advances that agencies pay to artists. Many of these expenses are fixed and do not even reduce themselves if the public is less numerous. These advances are large sums that the artist must “repay” with the sale of tickets; Until this happens, the earnings from the live are practically null.
When sales are not enough, here the plan B: Tickets sold at bargain prices or even givenoften through links reserved for sponsors, companies or employees. This serves to fill the stands and give the impression that the concert is a total success. It is not a question of scam, but a well -designed marketing strategy for save the artist’s imagekeep the reputation high and attract new sponsors and investors.
The pandemic has further complicated things. During the Lockdownlive music has practically stopped, and many concerts have been canceled or postponed. Instead of reimbursement in cash, tickets have often been converted into voucher To be used in the future, leaving an important liquidity in the hands of the agencies even in a moment of crisis. This has strengthened the power of large agencies, which now control a large part of the market and can afford even higher advances. But this also means greater pressure on the artists: they must organize many concerts to repay the advances and often find themselves having to resort to strategies such as the sale of discounted tickets or the distribution of free entrances to fill the stands.
In this way, even events that look like cheap flops manage to maintain a successful facade. And while spectators pay high prices, complex balances are moved behind the scenes, linked to an increasingly centralized and structured business, where appearance is almost as much as the real numbers.
