The controversy continues on how to fill stages and arenas when few are sold
The question of fake solds is far from new. For years, increasingly insistent voices circulated on the alleged and bizarre ways through which part of the live events is declared sold out.
That of live shows, you know, is the main source of gain of the artists since the use of music has passed through streaming. The royalties deriving from the clicks do not generate revenues such as to compensate those lost with the compression of the physical market. CDs and vinyls still sell a little, but it is a small slice of the market. That’s why concerts have become central and essential for the survival of music business as a whole.
Obviously everyone, but everyone, singers and presumed such, try to fix as many dates in increasingly large spaces. A sort of race to the great event which, however, clashes with reality. Not everyone is able to fill arenas and stadiums, but everyone wants obsessively to shout to the sold out and everyone has the terror of the empty steps and the storms Semideserti. To this is added the fact that the concerts sometimes cost a lot, perhaps too much and that the desire for live music exploded immediately after the pandemic and Lockdown begins to fade.
The sold out makes an image, increases the value of the artist on the market, and therefore everything is done to cram stadiums and arenas. Also reduce capacity using huge and perhaps circular stages that occupy as much space as possible. But being famous in streaming does not mean mobilizing the masses for their concerts. This is the central point of the matter. Hence the practice of vouchers to buy tickets at a very discounted price.
In recent days Federico Zampaglione dei Tiromancino, in a long post on Facebook, reconstructed the dynamics of the fake sold out with an imaginary dialogue between promoter and artist: “I hope to be clear in making you understand the diabolical mechanism and I want to clarify that the post is generic, therefore not referring to anyone in particular but to a habit that has been destroying the mechanism of concerts and many careers for years”.
In front of the numbers of the tickets invented, the promoter, in the reconstruction of Zampaglione, says: «I fill it with the stadium, There are free tickets, for one euro, 10 euros, we invite all the employees of banks, insurance companies, companies close to us, we put tickets as a gift with the shopping in supermarkets, We make contest with influencers, raised in the premises with tickets … in short, let me do my job ». The artist, in response: “You are great, I don’t know how to thank you!”
The word passes to the promoter: «I know, one, one Much of the costs to fill the stadium, at an empty time, you welcome them, Bro! » And again the artist: “Me? But I’m a bang of money … then you said it was your job ». The answer immediate: «Ah yes? So let’s cancel! I can’t take all the loss on the rump, and then let’s face it … the face is still yours, after your concert, I have 3 other events with the real sold out! ».
