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Spending a fair chunk on going to see your favourite big artist is not new – but it certainly feels like concert prices have entered a new stratosphere.

Fans of Bruce Springsteen have paid upwards of £120 for “rear pitch” standing tickets for his May 2024 tour, while some expressed disappointment recently over the £145 price tag of standing tickets for Billie Eilish’s 2025 UK leg.

And while you could have nabbed Beyonce or Taylor Swift tickets in the UK for £50 (before fees) if you took a “nosebleed” seat, these had limited availability and quickly sold out. General admission standing tickets for Swift’s Eras tour – which comes to the UK next week – started at £110.40 and those at the front had to shell out £172.25. It didn’t stop there – by the time many fans got to the front of the online ticket queue, the only tickets left cost upwards of £300.

So what’s behind rising ticket costs? The Money blog investigates some of the reasons…

Fans willing to pay for big spectacles

Simply put, ticket prices would come down if people voted with their feet.

Matt Hanner, booking agent and operations director at Runway, said prices at the top level had “risen considerably” – but the increase was partly being driven by demand.

“We’re seeing a lot more stadium shows, greenfield, outdoor festival-type shows which are now a staple of towns around the country,” he said.

“There’s a growing number of people that are happy to spend a large chunk of their disposable income on going to a major music event.”

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Jon Collins, chief executive of LIVE, the trade body representing the UK’s live music industry, had a similar view.

He said there were more large-scale shows and tours now than ever, and there was “massive appetite” among music lovers for “bigger spectacles”.

Fancy shows mean higher costs – with staffing, the price of the venue, transport, artists’ needs, insurance and loads more to factor in.

Of course, all these things are affected by inflation. Collins said ticket prices also factored in the rising costs that had hit every venue from the grassroots scene to major arenas.

“You’ve got a couple of different factors – you’ve got the spectacle of the show and the production cost and everything that goes into the ticket price. But then you’ve also got the fundamentals,” he said.

The cost of venue hire has increased “significantly” in the past couple of years due to electricity and gas price rises, he added.

“You’ve got the increase in the cost of people… very justifiable costs like increases in minimum wage and living wage. At every stage of the process we’ve got these cost increases that will all push through the pressure on the ticket price.”

Beyonce performing in Cardiff. Pic: Cover Images via AP
Image:
Beyonce performing in Cardiff. Pic: Cover Images via AP

Are artists being greedy?

How much money artists really earn off live touring is of interest to many – but the music industry is generally reluctant to release details.

The people we spoke to suggested it was not as simple as artist greed because, as we mentioned earlier, there’s a lot to pay for before anything reaches their bank accounts.

The Guardian spoke to anonymous insiders about this topic in 2017. Its report suggested that between 50-70% of gross earnings were left for promoters and artists. The piece also cited a commonly quoted figure that the promoter takes 15% of what is left and the act will get 85%.

It all depends on the calibre of the artist and how much work the promoter has had to put in – they could end up with a bigger share if it was a hard push to get the show sold.

The people we spoke to said music acts and their teams would discuss the ticket price, and the bigger the act, the more sway they have – but it’s ultimately set by the promoter.

Taylor Swift – arguably the biggest popstar on the planet right now – is personally earning between $10m and $13m (£8m – £10.5m) on every stop of her Eras Tour, according to Forbes. She is reported to take home a whopping 85% of all revenue from the tour.

But it’s worth pointing out, too, that she’s been known to be generous with her cash, having given $100,000 bonuses to the dozens of lorry drivers working on the tour.

What have other artists said?

Some artists have been critical of the high ticket prices being demanded by others.

Tom Grennan told ITV two years ago that he had seen “loads of artists putting tickets out that are way too expensive for the times that we are in”, adding that he wanted people to enjoy shows without worrying if they could pay their bills.

Singer-songwriter Paul Heaton was also praised for capping ticket prices for his tour with Jacqui Heaton at £30 in a bid to tackle music industry “greed” and help people during the cost of living.

British star Yungblud recently announced his own music festival, Bludfest – saying the industry was too expensive and needed to be “shaken up”.

“I believe that gigs are too expensive, festivals are too expensive, and I just wanted to work to create something that has been completely done by me,” he told Sky News.

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Meanwhile, frequent Swift collaborator Jack Antonoff has said “dynamic pricing” by ticket sale sites such as Ticketmaster was also an issue when it came to cost.

He told Stereogum that he wanted artists to be able to opt out of the system – which basically means ticket prices increase when a show is in demand – and be able to sell them at the price they choose.

On its website, Ticketmaster describes its “Platinum” tickets as those that have their price adjusted according to supply and demand.

It says the goal of the dynamic pricing system is to “give fans fair and safe access to the tickets, while enabling artists and other people involved in staging live events to price tickets closer to their true market value”.

The company claims it is artists, their teams and promoters who set pricing and choose whether dynamic pricing is used for their shows.

Coldplay's 2022 tour. Pic: PA
Image:
Coldplay’s 2022 tour. Pic: PA

Ticketing website fees

As well as dynamic pricing, “sneaky” fees by online ticket sites are also causing issues for live music lovers, according to the consumer champion Which?.

A report from the group last month said an array of fees that isn’t seen until checkout can add around 20% to the cost of concert and festival tickets.

Which? has urged a crackdown on the “bewildering” extra charges, which include booking, “delivery” and “transaction” fees, venue charges and sometimes charges for e-tickets.

The Cure lead singer Robert Smith tweeted that he was “sickened” after fans complained last year about processing fees on Ticketmaster that wound up costing more than the ticket itself in some cases.

Responding to the Which? findings, Ticketmaster (which was far from the only company named) said: “Fees are typically set by and shared with our clients… who all invest their skill, resource and capital into getting an event off the ground. Ticketmaster supports legislation that requires all-in pricing across the industry.”

Live Nation and Ticketmaster sued over ‘dominance’

The US government is suing Ticketmaster owner Live Nation over allegations the company is “monopolising” the live events industry.

Justice department officials said it was unfair for the firm to control around 70% of primary ticketing for concerts in America.

Live Nation has been accused of using lengthy contracts to prevent venues from choosing rival ticket companies, blocking venues from using multiple ticket sellers and threatening venues that they could lose money and support if Ticketmaster wasn’t the chosen seller.

Live Nation said the lawsuit reflected a White House that had turned over competition enforcement “to a populist urge that simply rejects how antitrust law works”.

“Some call this ‘anti-monopoly’, but in reality it is just anti-business,” it said.

And it said its share of the market had been shrinking and its profit margin of 1.4% was the “opposite of monopoly power”.

The lawsuit “won’t solve the issues fans care about relating to ticket prices, service fees and access to in-demand shows”, the company said.

“We will defend against these baseless allegations, use this opportunity to shed light on the industry and continue to push for reforms that truly protect consumers and artists.”

Billie Eilish performs in Paris. Pic: Reuters
Image:
Billie Eilish performs in Paris. Pic: Reuters

As well as reportedly controlling most of the ticketing market, Live Nation also owns and represents some acts and venues.

Canadian artist Dan Mangan told Moneywise this was enabling the company to take “more and more of the pie”.

He said when venue rent, equipment and other costs were taken into account, lesser known artists could take as little as 20% of ticket sales.

VAT

Another major cost on tickets in the UK is VAT (value added tax).

At 20%, it’s pretty hefty. It was brought down to 5% and then 12.5% as the live music industry was hampered by COVID, but returned to the pre-pandemic level in April 2022.

The charge puts the UK “out of step” with other countries, Collins said.

“In competitive major markets like France, it’s 5%. Germany it’s 7%, Italy it’s 10%. Sales tax in the US is typically 6% or 7%. So we are significantly out of step with other markets when it comes to how much VAT we charge on tickets,” he said.

Touring now bigger source of income for major stars

With the decline of physical products and the rise of subscription listening, artists are earning less from making music – and income from live shows has become more important for the biggest stars.

Writer and broadcaster Paul Stokes said major stars who would have toured infrequently in the past were now willing to put on more shows as it becomes increasingly profitable.

Some artists will even pencil in multiple nights at huge venues like Wembley Arena, he said – something that wouldn’t have been considered two decades ago.

“When Wembley was built and they said ‘we’ll be doing regular shows’ you’d think ‘are there acts big enough to fill this massive stadium?’

“It’s become absolutely part of the live calendar that artists will come and play not just one night at Wembley, but two or three every every summer.”

Stokes said this demand has also prompted the scale of shows that we’ve become used to seeing, featuring expensive production and pyrotechnics.

Pic: iStock
Image:
Pic: iStock

Not being felt evenly

While a night out seeing a platinum-selling artist is likely to be an expensive affair, industry figures are also keen to point out that the escalation in ticket prices isn’t necessarily happening at a lower level.

Collins said that while major stars were putting on arena shows, there would be plenty of other live music taking place at the same time, “from the free pub gig to the £10 ticket at the grassroots venue, to the £30 mid-cap”.

“There’s an absolute range of opportunities for people to experience live music, from free through to experiencing the biggest stars on the planet,” he said.

But concertgoers choosing to save their cash for artists they’re more familiar with may have led to a “suppression” of prices for lesser-known acts, Hanner noted.

“Everyone’s short of disposable income because there’s a cost of living crisis. [Artists’ and promoters’] core costs are going up as well, so it’s more expensive for everyone. That fear of pricing people out is just being compounded,” he said.

“I think [that] has definitely led to prices being suppressed [at the lower level], when really they should have been going up.”

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Glastonbury 2025 line-up revealed

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Glastonbury 2025 line-up revealed

The 1975 and Olivia Rodrigo will be among the stars headlining Glastonbury Festival this year, it has been announced.

Glastonbury organisers have revealed the line-up for this summer’s event, taking place between 25 June and 29 June, after months of speculation.

The 1975 will take to the iconic Pyramid Stage on the Friday to headline, then Canadian singer-songwriter Neil Young will perform on Saturday and Olivia Rodrigo on the Sunday.

Other big names performing include British pop sensation Charli XCX, rapper Loyle Carner electronic group The Prodigy.

The announcement comes after Sir Rod Stewart was booked for the Sunday teatime legend slot and Young was confirmed as a headliner earlier this year.

Young’s announcement in January came amid some confusion, as he had days before told fans he was pulling out of the festival because the BBC’s involvement was a “corporate turn-off”.

The Canadian singer-songwriter later said this decision was down to “an error in the information I received”.

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The 1975 will be headlining for the first time, having made their Glastonbury debut in 2014.

The Cheshire band, known for hits such as Somebody Else and Chocolate, have regularly made headlines due to the antics of frontman Matty Healy.

Glastonbury, which takes place at Worthy Farm in Somerset in the summer, has worked closely with the BBC – its exclusive broadcast partner – since 1997.

Neil Young performing at the New Orleans Jazz & Heritage Festival last May. Pic: Amy Harris/Invision/AP
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Neil Young performing at the New Orleans Jazz & Heritage Festival last May. Pic: Amy Harris/Invision/AP

Appetite for the esteemed festival saw standard tickets sell out in 35 minutes in November.

They cost £373.50 plus a £5 booking fee, up £18.50 from the price from the 2024 festival, and were sold exclusively through the See Tickets website.

The date for the resale – where tickets not fully paid for are put back up for purchase – is set for some time in spring.

The headliners last summer on the iconic Pyramid Stage were Dua Lipa, SZA and Coldplay, who made history as the first act to headline the festival five times.

2026 is likely to be a year off for Glastonbury, with the festival traditionally taking place four out of every five years, and the fifth year reserved for rehabilitation of the land.

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Sabrina Carpenter and Charli XCX BRIT Awards appearances spark hundreds of Ofcom complaints

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Sabrina Carpenter and Charli XCX BRIT Awards appearances spark hundreds of Ofcom complaints

Ofcom received 825 complaints over the Brit Awards, with the majority relating to Sabrina Carpenter’s raunchy performance and Charli XCX’s outfit, the media watchdog says.

US pop star Carpenter, 25, sported a red sparkly military-style blazer dress for her performance at the awards show on Saturday night, paired with stockings and suspenders for a rendition of Espresso.

The song was mixed with a Rule Britannia mash-up, as dancers in military parade dress followed her.

She then switched to a red sparkly bra and shorts for her next song, Bad Chem, which she performed alongside dancers in bras and shorts while sitting suggestively on a large bed.

Sabrina Carpenter opened proceedings. Pic: Reuters
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Sabrina Carpenter performing her second song. Pic: Reuters

Carpenter later received the global success award at the ceremony, and was also nominated in the international artist and international song of the year categories.

But much of the buzz on social media surrounded her performance, which took place before the 9pm watershed.

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Highlights from the 2025 BRIT Awards

Ofcom said some of the complaints were also aimed at British pop sensation Charli XCX, who dominated the night by winning five awards, including album of the year.

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Some viewers took issue with her outfit – a black see-through dress.

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Why is Noel Clarke suing The Guardian?

The singer addressed the concerns during her acceptance speech for artist of the year, saying: “I heard that ITV were complaining about my nipples. I feel like we’re in the era of ‘free the nipple’ though, right?”

Carpenter paid tribute to the UK in her acceptance speech, saying: “The Brits have given me this award, and this feels like such an insane honour in a very primarily tea-drinking country… you really understood my dry sense of humour because your sense of humour is so, so dry. So I love y’all more than you even understand.”

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Why is Noel Clarke suing The Guardian?

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Why is Noel Clarke suing The Guardian?

Actor Noel Clarke begins his High Court libel case against The Guardian’s publisher today.

Clarke, 49, is suing Guardian News and Media (GNM) over a series of articles it published about him in April 2021.

They were based on the claims of 20 women Clarke knew “in a professional capacity” who allege his behaviour towards them amounted to sexual misconduct.

Clarke, known for his roles in the Kidulthood trilogy and Dr Who, “vehemently” denies “any sexual misconduct or wrongdoing”.

What will the trial cover?

Clarke is suing GNM for libel, sometimes also referred to as defamation.

It’s a civil tort – not a criminal offence – defined as false written statements that have damaged the person’s reputation. This means Clarke can seek redress or damages but no one will face charges or prison.

Clarke claims the articles The Guardian published in 2021 altered public opinion of him, damaged his reputation, and lost him work.

He said after the allegations emerged: “In a 20-year career, I have put inclusivity and diversity at the forefront of my work and never had a complaint made against me.

“If anyone who has worked with me has ever felt uncomfortable or disrespected, I sincerely apologise. I vehemently deny any sexual misconduct or wrongdoing and intend to defend myself against these false allegations.”

The Guardian is defending the claim on the basis of truth and public interest.

At a premiere in London in 2013. Pic: PA
Image:
At a premiere in London in 2013. Pic: PA

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It said in its statement: “Our reporting on Noel Clarke in 2021 was based on the accounts of 20 brave women. After we published our first article, more women came forward.

“At trial, 32 witnesses are set to testify against Mr Clarke under oath. We look forward to a judge hearing the evidence.”

The trial will only focus on liability – not the amount of damages to be paid if Clarke is successful.

The actor tried and failed to get the case struck out in January, with his legal team saying it had “overwhelming evidence” of “perversion of the course of justice”.

His lawyers told the High Court three of the journalists involved in the articles had “deliberately and permanently” deleted messages, which meant he could not get a fair trial.

Lawyers for GNM told the court there was “no adequate evidential basis” for Clarke’s application for a strike out and said it sought “to smear Guardian journalists and editors without any proper justification”.

The trial, which will be presided over by judge Mrs Justice Steyn, is expected to last between four and six weeks.

EDITORIAL USE ONLY File photo dated 20/07/15 of actor Noel Clarke. Police have confirmed that no criminal investigation will be launched after sexual offence allegations were made against actor Noel Clarke. Issue date: Sunday March 27, 2022.
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In July 2015. Pic: PA

What has happened since the articles were published?

A month before the articles about him were published in April 2021, Clarke received BAFTA’s outstanding contribution to British cinema award.

However, once the allegations against him emerged, he was suspended by the organisation and the prize rescinded.

His management and production company 42M&P told Sky News they were no longer representing him and Sky cancelled its TV show Bulletproof, starring Clarke and Top Boy actor Ashley Walters as the lead roles.

ITV also decided to pull the finale of another of his dramas, Viewpoint, following the Guardian articles.

The Met Police looked into the allegations against Clarke for any potential criminal wrongdoing, but in March 2022 announced they “did not meet the threshold for criminal investigation”.

Clarke filed the libel claim the following month and has attended several of the preliminary hearings in person.

He says he has faced a “trial by media” – and that the ordeal has left him suicidal and in need of professional help.

At the UK premiere of Kidulthood in London's Leicester Square in 2006. Pic: PA
Image:
At the UK premiere of Kidulthood in London’s Leicester Square in 2006. Pic: PA

‘Rising star’

Clarke made his TV debut in a revived version of Auf Wiedersehen Pet in 2002.

Soon after he played Mickey Smith in Dr Who and Kwame in the six-part Channel 4 series Metrosexuality.

He wrote and starred in the film trilogy Kidulthood, Adulthood, and Brotherhood, which were based in west London, where he grew up, and explored the lives of a group of teenagers given time off school after a bullied classmate takes their own life.

It was a box office success and eventually saw Clarke given BAFTA’s rising star prize in 2009.

Anyone feeling emotionally distressed or suicidal can call Samaritans for help on 116 123 or email jo@samaritans.org in the UK. In the US, call the Samaritans branch in your area or 1 (800) 273-TALK.

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