SortUccede every day under everyone’s eyes, yet few really talk about it. Sold out concerts announced with enthusiasmpost -celebratory posts, artists in ecstasy and delirium fans. But what is hidden behind those posters with the “sold out” red stamp? Federico Zampaglionevoice and pen of the Tiromancino, he decided to break the silence and tellwith one Pungent screenplay published on Facebookthe truth that many prefer to ignore. His post is one Ironic and ferocious denunciation at the same time, which dismantles the myth of the live always full and reveals a far from transparent mechanism.
Federico Zampaglione unmasks the fake concerts sold out
No figures, no reports, just a story. Federico Zampaglione chooses the narrative form, that of a script To explain how the concert machine really works. A dialogue between emerging artist and promoterwhich begins with bombastic promises: «Bro, after the viral success of your single We have to make the big leap». The young singer, excited, accepts the dream offered on a silver plate. “Place fixed on social media and announce triumphant that your dream will finally go to crownI think of the rest », the promoter incites him. But When tickets are not soldthe awakening is bitter.
Employed tickets and empty stadiums: so the fake sold outs are built
The proposal, passed off as a “solution”, comes punctual. The promoter reassures: “I fill it on it (or the forum).” As? With free or overwhelmed tickets, distributed en masse to employees of companies, bankswith spending on the supermarket or through contest with influencers. A questionable strategy that serves to save the artist’s face, while the expenses – and earnings – remain in the hands of the manager: «A good part of the costs to fill the stadium you welcome them, Bro “.
The “blackmail” of the promoters according to Federico Zampaglione
But if the artist hesitates, the pressure increases. The promoter threatens: “Let’s cancel!” He says, knowing well that for the artist he would mean exposing himself to the public play. After months of announcements, posts, enthusiasm and hype, canceling a tour would be a media disaster. The risk? Be labeled like a flop. “The face is still yoursafter your concert, I have 3 other events with the real sold out », reiterates the promoter, leveraging the fear of seeing his dream live on social media. A psychological blackmail disguised as pragmatism.
The real price of visibility in the concert market
Behind the golden patina of success there is a bitter reality: The young artist finds himself a prisoner of Draconian agreements, where a large part of the profits ends up in the pockets of those who organize the tour. Zampaglione tells with frankness that the organizer warns: «Everything you earn for a good 85% is mine, because I have to return and mind the costs I have them in my hand… not you ». In return, the artist gets full stages, but of “plastic”: an image to be blocked, but without economic substance. And if something goes wrong, the definitive weapon of the Promoter starts: the threat of erase everything, with a devastating effect on the ego and the singer’s career.
Federico Zampaglione denounces the system: “A diabolical mechanism”
Federico Zampaglione does not spare criticism. Defines this stratagem as a “diabolical mechanism” that “is destroying the mechanism of concerts and many careers”. The heart of his complaint speaks of the fictitious inflation of success: tickets for 1 or 10 euros, Giveaway, contest influencer, raised in the premises – all orchestrated to simulate a sold out, while the real artificant of the system turns the back to the artist, making on the illusion. “Some of someone’s ego (better if naive or megalomaniac) … and then … eat it above life”writes, denouncing the paradox of success built on the artist’s skin.
Fake sold out: a criminal crisis for the whole sector
The result? An intoxicated ecosystem. The fake sold outs not only affect a single artist, but the whole supply chain: The public loses confidence, the media are deceived, the value of music is debased. It is not an exaggeration: SIAE data demonstrate a 70% growth of live events compared to 2019but this boom hides fragility and facade strategies. In this spiral, the triumphant image can become a boomerang. And if the appearance is more worth the merit, to have the worst will not be only a naive artist, but all live music, deprived of authenticity and credibility.
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