The face is always of the singers and hence they are often asked about expensive tickets. Which is not some monstrous fixation like “My lord, raise everything”, but a reality: for the historic Springsteen concert at the San Siro in 1985 we paid 20,000 lire, a huge sum at the time. Here, discounted on the basis of inflation, it was money that today would be equal to 29 euros in terms of purchasing power: how is it possible that prices tripled without the artists saying anything, those who always do something about it? Do the clichés keep the problems of the youth ready? The reality is that after a two-year hiatus from the pandemic, many artists wanted to compensate by shooting much higher figures than in 2019, but the trend was already underway for at least a decade: writers earn an average of 0.07 Euro from each listen in streaming, accounts soon become full. Writing successful songs is cheaper than singing others’ songs on stage, so the emphasis on live music was completely unthinkable in the seventies, eighties and nineties, when concerts were much more than records and not the artist’s sole reason for living. . And anyone who tries to break this vicious cycle, as the Cure recently did by offering tickets for $20, is fooled by the hideous commission, in this case equal to the ticket price. Then, the so-called pre-sale rights from an obnoxious commission (even Joe Biden talked about it a few months ago, although perhaps the US president was referring to sporting events) becomes an absurdity when organization and ticketing are part of the same. There are groups. In general, however, the common notion of good artist-bad organizers is unfounded, given that singers above a certain level are paid first, with armored guarantees and the organizers have to go for recovery either way. Is.
