Do you want a ticket to ride?

How many of you would love to hear the rumble of Darryl Jones and the rest of the Rolling Stones thumping out ‘Brown Sugar’ at maximum volume in a stadium with all the theatrics that Mick Jagger can dream up?

Maybe you want to catch a glimpse of Flea storming the stage with the mighty Red Hot Chili Peppers, utilising every aspect of his bass rig? What is the one barrier in your way? The concert tickets.

Back when pop and rock music was in its early stages, The Beatles used to play The Cavern club in Liverpool: tickets to see concerts were priced at 9 shillings and 6 pence for their final performance there in 1963.

Over the next three decades, pop and rock music grew into a self-contained industry that killed many good men and created monstrous sums of money based on propaganda, with magazines such as Smash Hits and TV shows like Top of The Pops informing the masses of the hottest acts to follow.

Many of the bands and stars over the years have striven to make comfortable lives for themselves with mansions, sports cars, solid gold toilets and many other strange business ventures.

These lifestyles are funded by millions of record sales as well as the millions of concert tickets sold every year, not to mention festival tickets.

Many people are now becoming jaded with the process of sitting and waiting for ticket hotlines to open, only to be told that they are placed in a queue of over 15,000 and they’re placed at 8,945th.

If they are lucky enough to finally get to the front, internet connection pending, they have the option to buy a maximum of four tickets at £65 plus the somewhat dubious booking fee that plagues all of the sites.

The main problem for all fans is the thousands of Harvey Goldsmith wannabes who are buying up all four of their allowance and then using a friend’s email and home address to repeat the process.

They then stick all eight of their tickets on online outlets at outrageously high prices: the problem is now supply and demand and people are doing this type of thing on a full-time basis.

Touts are usually not far behind in the queue. They are often found outside popular venues buying and selling tickets as if their life depends on it. The main problem for the touts is the ‘flash in the pan’ value contained in that little piece of paper, they can only sell them constantly on the day or evening of the concert. As soon as the doors open, the tickets rapidly begin to devalue.

Supply and demand is the way that many industries tend to go, and in the live music industry, it is no different. It will always be commercially desirable to see a globally renowned band play a football stadium than it will be to see a great local or lesser known band entertain the audience for little money in a smaller venue.

The moral of the tale? There are great concert tickets to be bought. You can follow in the footsteps of those youngsters in the sixties that saw great bands before they took over the world, or visit Ebay’s ticket resale outlet Stubhub.

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