The Rolling Stones in the Berlin Olympic Stadium for just over 70 euros? That’s not so long ago. In 2003, this sum had to be paid for standing room. The best seats were available for just under 94 euros. Sounds like it’s from another dimension compared to today’s prices. Up to 500 euros are now being asked for tickets just meters in front of the stage, and VIP packages are part of the deal for most big bands in order to lure people into the halls and stadiums.
But who can still pay for all this, especially in times of inflation? Numerous price segments are now being called up for concerts, in which the price ranges are becoming ever more divergent. In theory, there is only good visibility for higher earners. Or just those who only want to afford a concert visit with selected musicians and bands – maybe once a year. And possibly always with the same old warriors.
Prices go up when demand increases
But it could get even crazier: The US ticket seller Ticketmaster now ties prices for certain tickets to demand. If you want to see Bruce Springsteen, you sometimes have to pay up to 5000 US dollars. Usual prices for top acts, as the company clarifies in a statement. It is only a small segment of a tenth of all cards. And people are willing to pay for it.
The business model behind it is similar to what is now known from the travel industry. The prices for plane tickets and hotel accommodation vary almost every hour, adjusted to the demand (in some cases it is enough for a customer to search the same offer several times on a website for the price to increase) and criteria that are not disclosed to the customer will.
If you’re quick, you get it cheaper – if you hesitate, you pay heavily
Of course, this system also has advantages for buyers on vacation and business trips. If you book quickly, you can sometimes get it much cheaper. If you come late, you pay extra, sometimes significantly. Should this also become the norm for concerts, people who cannot afford so much would be severely prevented from experiencing music live. But even so, it is deplorable that there are so many different price categories, in some large halls sometimes up to 10 different ones, although the view often does not differ much at all.
To put it polemically, in the first rows there were actually only managers and lawyers – and perhaps no longer the most ardent fans. That would be a pity and, via a market that has lost its rhythm for many reasons, would undermine a democratic ideal that such events have always upheld: art and music in particular should be there for everyone. And not only for those who can invest at will.
It remains to be hoped that this system will not also establish itself in Germany, where this model has not even been considered, despite the sometimes significantly increased prices.