(THEME MUSIC PLAYS)
(BAND PLAYS 'ONLY THE STRONG')
The first gig that Midnight Oil played
The first gig was in a small surf clubby thing
on the coast of New South Wales.
The first gig that I went to by myself was Spiderbait.
The first gig that I went to SARAH THOMPSON: I was lucky
to get to go to, like, Grinspoon or Frenzal Rhomb.
AVANI DIAS: Australia has a proud history of home-grown music
AVANI DIAS: Australia has and a passion for live concerts.
I was 14, 15 years old
when I saw Billy Thorpe I was 14, 15 years old
when I saw Billy Thorpe and the Aztecs.
when I saw Billy Thorpe (BAND PLAYS 'ONLY THE STRONG' OUTRO)
(CHEERING, APPLAUSE)
But the live music industry is under siege.
We're in an extinction event right now.
We're in an extinction event And we have to beg for scraps.
(INAUDIBLE)
While Australia's music festivals and small venues
While Australia's music festivals are fighting for survival,
a multinational company, Live Nation, has crashed the scene...
..sucking up profits and taking over the industry.
They use and, I would say, misuse their market power.
It's being accused of using its business model
It's being accused to plunder competition.
Well, they fucked it up, basically.
In this Four Corners we reveal serious allegations
that Live Nation is ripping off fans In this Four Corners we reveal serious allegations
that Live Nation is ripping off fans
that Live Nation by charging hidden ticket fees
and exploiting some of the country's most talented musicians.
Now industry insiders are speaking out
in a last-ditch effort to save Australia's live music culture.
BARKAA: They don't care about our stories.
They don't care how our music moves people.
A country without its own music is a country without a soul.
I bet you've walked on this stage many times.
I have walked on this stage a few times. That's absolutely correct.
Peter Garrett, the iconic Australian rock star
Peter Garrett, and frontman of Midnight Oil,
has graced stages with his activist anthems for decades.
('ONLY THE STRONG' PLAYS) (CHEERING, APPLAUSE)
('ONLY THE STRONG' PLAYS) When you walk out onto stage,
you're really wanting to respond
to the music that's been written
and the performances to the music that's been written
and the performances that are around you.
(SINGS) # When I'm locked in my room... #
And then you want to just share it with the people in front of you.
It's a very impulsive, reflective,
sort of inner-burning thing that happens.
And it's about the connections that you make.
Today he's stepping up with a dire warning
about the world's largest live entertainment company, Live Nation.
It also owns ticketing giant Ticketmaster.
(ROCK MUSIC PLAYS)
Live Nation's been fined hundreds of millions of dollars in the US
Live Nation's been fined hundreds for fraud and overcharging customers.
Here in Australia
it's been increasing its power for over a decade.
it's been increasing its power (ROCK MUSIC PLAYS)
Spotify, TikTok, Live Nation - (ROCK MUSIC PLAYS)
Spotify, TikTok, Live Nation -
these are global entities.
They are not accountable in our country.
They are hardly regulated.
They are quite often unethical.
They have no loyalty to Australia or to Australian artists at all,
and they are basically calling the shots.
and they are basically We're at ground zero,
and it has never been harder We're at ground zero,
and it has never been harder for artists,
but particularly younger and mid-range artists coming through.
Over a thousand Australian live music venues have closed recently.
Major festivals have been cancelled
with a devastating effect on grassroots artists.
with a devastating effect Peter Garrett's worried
the combined effect of Live Nation's Peter Garrett's worried
the combined effect of Live Nation's takeover and the rise of streaming
the combined effect of Live Nation's have led to that.
Without nurturing your local artists,
Without nurturing who are now getting washed away
in a tidal wave of, you know, who are now getting washed away
in a tidal wave of, you know, sort of big companies...
..we're finding out that we don't have...we're not hearing our songs,
we're not hearing the things that connect us
to the place that we're in.
For me, that's a healthy country,
you know, when we're listening to OUR songwriters
you know, when we're listening and watching OUR performers.
I don't think Live Nation cares and watching OUR performers.
I don't think Live Nation cares at all about Australian artists.
I don't think Live Nation cares (INSECTS CHIRP)
PAUL SLOAN: It's a proper sort of Australian bush experience, I guess,
PAUL SLOAN: It's a proper sort of in this place.
This natural phenomenon in southern Western Australia
formed over 2.7 billion years.
It's called Katter Kich in the local Noongar language,
It's called Katter Kich or 'Wave Rock'.
And each spring
it's the setting for a unique independent music festival
that's making a stand against the corporatisation of the industry.
that's making a stand against (TOOLS BUZZ, WHIRR)
This event is a sort of love show.
You know, with all the talk about festivals collapsing and stuff,
obviously it's a tiny event,
but I'm proud of the fact I can announce it and sell the tickets.
Paul Sloan's organised this festival for 18 years.
He's one of Australia's top booking agents
who helps big artists land and put on live gigs.
Nick Cave, King Gizzard & the Lizard Wizard,
Nick Cave, Amyl and the Sniffers, Bon Iver.
I'm about to do Thom Yorke in Australia.
Live shows are now the main income source for musicians,
with streaming platforms making it so hard to make money.
There's been a lot more disruption
probably in our sector than most other sectors.
But, certainly,
I think that the consolidation of the music business
that's been going on quite aggressively
for the last few years, I guess five years,
for the last few years, it's been noticeable.
(CHATTER, LAUGHTER)
This consolidation is being led by US company Live Nation.
(ROCK MUSIC PLAYS) # Whoa, oh, oh, whoa-oh-oh! This consolidation is being led by US company Live Nation.
(ROCK MUSIC PLAYS) # Whoa, oh, oh, whoa-oh-oh!
# Whoa, oh, oh, whoa-oh-oh! #
MARK DAVYD: Live Nation # Whoa, oh, oh, whoa-oh-oh! # are making the most money.
MARK DAVYD: Live Nation are making the most money.
Let's not hesitate to say that. are making the most money.
Let's not hesitate to say that.
# Whoa, oh, oh, whoa-oh-oh! #
(ROCK MUSIC PLAYS) # Whoa, oh, oh, whoa-oh-oh! #
(CHEERING) # Whoa, oh, oh, whoa-oh-oh! #
(CHEERING)
Their share price has gone up and up and up and up.
Is that good for music?
Mm. Jury's out on that one.
How has the entry of Live Nation changed things?
Well, they fucked it up, basically. How has the entry of Live Nation changed things?
Well, they fucked it up, basically.
They pay too much for acts.
They don't care about They pay too much for acts.
They don't care about whether they make a profit or loss.
It's all about their share prices.
We first reached out to Live Nation for an interview a month ago
and spoke to the company's media team several times
before they declined our interview request.
before they declined Then, without seeing our program,
the company started spamming people in Australia's live music industry,
saying that our story was inaccurate, unbalanced and had an agenda.
Finally Live Nation responded to our detailed questions
Finally Live Nation responded with a legal letter of complaint.
It also said it's proud to have an office in Australia
that champions local talent
and fuels growth in the country's live music industry,
and fuels growth creating thousands of jobs.
(PLAYS GUITAR SOLO)
There's a key supply chain behind most concerts.
There's the artist, their manager,
a booking agent like Paul Sloan,
and the promoter,
which finances the show, organises and the promoter,
which finances the show, organises venues, ticketing and marketing.
In the past, many of those players operated independently,
and Live Nation was one of the promoters.
PAUL SLOAN: So, the other company
that's similar to them here and as aggressive, I guess,
that's similar to them here is TEG, which is Ticketek,
and they also own promoter interests is TEG, which is Ticketek,
and they also own promoter interests and venue interests.
Live Nation is operating and they also own promoter interests at such scale and venue interests.
Live Nation is operating at such scale
Live Nation is operating that it's difficult at such scale to avoid them.
that it's difficult to avoid them.
Which does then
obviously cause disruption inside the business,
obviously cause disruption you know, the lack of choice.
(INAUDIBLE)
Many revenue roads lead to Live Nation.
The company announced record earnings of roughly US$23 billion last year.
No other business
has a financial stake in every part of Australia's live music industry.
has a financial stake in every part So, Live Nation owns
Moshtix and Ticketmaster,
it operates venues
like the Palais Theatre in Melbourne,
owns Anita's Theatre in Wollongong
and Fortitude Music Hall in Brisbane.
It owns Secret Sounds,
the company behind festivals like
Splendour In The Grass and Falls.
It owns a major Australian
booking agency, Village Sounds,
which represents numerous artists.
It owns touring companies
and TSP Merchandising,
which makes band merch.
So, Live Nation
can get paid numerous times
for the one concert or tour,
and a big slice
of what you pay for as a fan,
from ticketing to drinks and food
to merchandise,
that's vertical integration,
and artists often don't know it's happening.
So, the Live Nation vertical model is -
I book a venue in Australia, it's a Live Nation property,
I book a venue in Australia, so, whatever the venue charges are,
an alternative agent or promoter so, whatever the venue charges are,
an alternative agent or promoter using the venue
is paying Live Nation to hire the room.
It's a Ticketmaster venue because it's Live Nation venue,
so, it's also their ticketing business.
The rights around the merchandise,
any sponsorship money for the venue...
Obviously, if Live Nation is also the promoter of the show,
Obviously, if Live Nation it's everything,
it's 100% of the income for the show
is pretty much staying within the walls of the company in some way.
(TUNES GUITAR)
ALEX CAMERON: We try to tell stories
about the places that we've grown up in and lived
and Australian stories.
(TESTS DRUMS)
The music that backs that
has always been very rooted in the live setting.
(BAND PLAYS HIGH-TEMPO INTRO)
Many musicians are worried about speaking out against Live Nation
because of the repercussions to their careers.
But one Adelaide band, Bad Dreems,
is taking the risk after their most recent tour.
For them, playing live shows is a unifying, full-body experience.
It's exhilarating,
it's transcendent
and, importantly, that experience it's transcendent
and, importantly, that experience
is connecting not only with your band mates but with a crowd.
is connecting not only with And, so, there's nothing else
that I have ever done that's like that.
that I have ever done Yeah.
You get off stage with this, for me, like a hugely elated feeling Yeah.
You get off stage with this, for me, like a hugely elated feeling
You get off stage with this, as if you've almost been baptised
because I'm soaking wet...
Mm. (CHUCKLES) ..and I'm so excited
Mm. (CHUCKLES) about what just happened.
But, yeah, it was... about what just happened.
But, yeah, it was... You wouldn't have it any other way.
It's all part of the story.. He puts his heart and soul into it.
It's all part of the story.. I give it a crack. Yeah.
(PLAYS GENTLE MELODY)
Rolling Stone put Bad Dreems' debut album
on a list of the greatest Australian records of all time.
on a list of the greatest (BAND PLAYS MID-TEMPO ROCK MUSIC)
An opportunity came up to join (BAND PLAYS MID-TEMPO ROCK MUSIC)
An opportunity came up to join booking agency Village Sounds
An opportunity came up to join owned by Live Nation.
They represent you
and I guess, you know, They represent you
and I guess, you know, shop your band to venues
and I guess, you know, for opportunities to play there.
They also fill the positions for higher profile support
so that you're playing
much larger venues than you would have otherwise.
much larger venues (BAND PLAYS MID-TEMPO ROCK MUSIC)
The band got booked for a headline tour at Live Nation venues in 2023.
It grossed about $100,000 of ticket sales,
and we ended up with about, I think, $9,000 in our bank account
at the end after everything had been accounted for.
The tour was promoted by a different company,
but Live Nation owned other businesses involved.
Then we realised...
Yeah, we were paying 10% to our booking agent,
there was a ticketing fee,
then there were venue fees
to the Live Nation-owned venues,
and then those Live Nation-owned venues were also taking a merch cut
of the merch we sold.
And, so, we were paying four times to Live Nation,
and we had no way...that wasn't...
..we had no way of negotiating that.
And, in fact, when we raised it with our booking agent,
they were just...they sort of... the shoulder shrug.
You know, a few thousand dollars of merch fees
is a pittance to Live Nation.
It's a huge amount of money for a band like us.
And it's very difficult to get answers
or get alternative ways of doing things
once you're intertwined in the industry.
Live Nation told us the economics of its business model
follow the same industry practices as its competitors.
It claims bands approve the budget for a tour,
like venues, ticketing, merch fees and the overall deal.
I think we found it very hard to find advocates or representatives
who will...
..be able to explain things to you and advocate for you
in contract matters or financial matters.
(BAND PLAYS HIGH-TEMPO ROCK MUSIC)
Bad Dreems has now left Live Nation's booking agency Village Sounds,
but many other major Australian artists
but many other major like Bernard Fanning and G Flip
are still on the company's roster.
Artists don't expect to be making millions of dollars at our level
Artists don't expect to be making or even MAKING money.
Like, we all have jobs to support our music career.
Like, we all have jobs Over the time...
We started off very ignorant about
how it works financially, We started off very ignorant about
how it works financially,
which is obviously on us,
but I don't think many musicians
get into music
with a background in any of that sort of thing.
Overseas very few artists speak openly about Live Nation's tactics.
Every single step of buying a ticket, going and parking, Overseas very few artists speak openly about Live Nation's tactics.
Every single step of buying a ticket, going and parking,
going to the venue, seeing the show
is owned mostly going to the venue, seeing the show by the same companies,
is owned mostly by the same companies,
who kind of own each other as well. by the same companies,
who kind of own each other as well.
So, it means that price gouging is easy.
If they want to take 10% of the revenues
If they want to take 10% and call it a 'facility fee',
they can and have.
If they want to charge $30,000 for the house nut,
they can and have.
And if they want to charge us $250
for a stack of 10 clean towels,
they can
and have.
JOE BERCHTOLD: If Mr Lawrence and others
are not getting the rate card on the service fees up front
and having that made available to them,
that's a problem on our end that I'll look into coming out of this.
THOM TILLIS: That seems like that needs to be there on the front end.
I agree with that.
(BIRDS TWITTER)
So, how many people does it take to put on Bluesfest?
During the event and the load-out it's 2,600 people are getting paid.
These empty fields
are a powerful example of the damage done to the industry.
The iconic Australian festival Bluesfest in Byron Bay is ending.
Sad to say, it's the last one,
but it doesn't have to be.
Music festivals were once a thriving part of the Australian industry.
Now several have been cancelled or shut down altogether.
We're in an extinction event right now.
The people are leaving this industry.
Do we want to have our industry be decimated?
And that is what I think we are facing right now.
Festival Splendour In The Grass has run for over 20 years
Festival Splendour In The Grass also in the Byron Bay area.
Live Nation acquired it in 2016.
(ROCK MUSIC PLAYS)
Two weeks after this year's tickets went on sale
the festival was cancelled.
In the last two years
Live Nation has also shelved
festivals at eight locations Live Nation has also shelved
festivals at eight locations across the country,
including Spilt Milk, Falls and Harvest Rock.
including Spilt Milk, Falls (ROCK MUSIC PLAYS)
(INAUDIBLE)
Live Nation told us it's strategically postponed festivals
Live Nation told us it's to ensure premium fan experiences
and that the company is confident they'll return.
Splendour In The Past, as they're now calling it,
is no longer with us,
but you only had to look at the shareholders' reports.
but you only had to look They were losing money,
and I guess that's what happens when They were losing money,
and I guess that's what happens when you're dealing with shareholders,
and I guess that's what happens when that you get jettisoned.
And I'm sorry to see that because that was a great festival.
And I'm sorry to see that In September
the New South Wales Government In September
the New South Wales Government announced $500,000
of emergency funding to save large festivals.
Bluesfest previously received government funding,
but Peter Noble says it's not enough.
It costs us about $15, $16 million to put the event on.
It costs us about $15, $16 million If they gave us, say, 20% of that,
that would give us the confidence
that we won't lose money in these times,
or, if we do, it won't be so much we can't continue.
or, if we do, it won't be so much We're not asking for a handout,
but when I see important events
basically put on but when I see important events
basically put on by multinationals...
..get grant money,
I go, "Well, I feel like the jilted wife."
We wanted to find out how much funding
Australian governments have given Live Nation.
Documents we got under freedom of information
show the company received tens of millions of dollars
show the company received in taxpayer-funded grants,
like $5 million for music festivals in New South Wales,
some of which haven't gone ahead for years,
$30,000 for Spilt Milk in Canberra that was cancelled,
and $132,000 for a podcasting festival,
and $132,000 which appears to have been abandoned.
The New South Wales Government
told us grants were awarded for those festivals
because they had a proven track record of delivering events.
Live Nation told us
it redirected money for the New South Wales festivals
it redirected money to other events
and to retain staff during COVID
and that all grant rules have been followed.
and that all grant rules The company said the Spilt Milk grant
will go to next year's event
and the podcasting festival grant will go to next year's event
and the podcasting festival grant has been returned.
The foot soldiers of Australian live music
are gathering to save the industry
at a conference in Brisbane called Bigsound.
They've flown in Mark Davyd to help.
ANNOUNCER: Can I please ask you They've flown in Mark Davyd to help.
ANNOUNCER: Can I please ask you to put your hands together
and give a big Bigsound welcome to Mark Davyd?
and give a big Bigsound welcome (APPLAUSE)
Hi. How are we?
In the UK he's leading the fight Hi. How are we?
In the UK he's leading the fight to save small venues,
while Live Nation's boasting of record attendance at its concerts.
It's, frankly, disgraceful while Live Nation's boasting of record attendance at its concerts.
It's, frankly, disgraceful
that the biggest companies in the music industry are prepared to see
small venues that get them that talent closing down.
They should be ashamed of that. They need to be called to account.
You put on one of the first Oasis gigs, right?
I put on the second show of their Supersonic Tour,
which eventually did 34 dates.
Yeah, I didn't want to, though,
but the agent insisted that we had to have this other band on the bill,
and I said, "Well, who the hell are they?"
And it turned out that they were Oasis.
Of those 34 venues where Oasis first played, how many are still open?
Of those 34 venues where Oasis first 11.
23 have closed in the last 30 years.
Would they ever have become Oasis
if they hadn't played those 34 shows?
You've got to be bad before you're good.
Live Nation is a shareholder company.
It is an investment house, frankly,
where people put money in expecting a return.
where people put money in (INDISTINCT CHATTER)
Live Nation's shareholders (INDISTINCT CHATTER)
Live Nation's shareholders include an investment fund
controlled by the Saudi crown prince, Mohammed bin Salman.
Mark Davyd says Live Nation only invests in an artist
once they're famous enough to drive profits,
letting others take the losses involved in developing them.
We're talking...around the world, generally around 1,500 capacity.
We're talking...around the world, At 1,500 capacity,
the ticket price At 1,500 capacity,
the ticket price and the number of people in the room
will be sufficient to get you to a profitable live show.
If there is nobody developing the talent from the ground up,
expecting it to arrive at 1,500 capacity
and be able to sell out arenas and stuff,
that seems a massive leap in the dark to me.
Live Nation's recently bought venues at that size,
but told us it also promoted over 900 shows in small venues
but told us it also promoted for developing artists
and that it runs programs to help emerging musicians.
Live Nation bought into this venue, Fortitude Music Hall,
Live Nation bought into this venue, and it opened in 2019.
It's got a capacity of about 3,300 people,
which means it's the only venue of this size here in Brisbane.
And the company says it's filling a much-needed gap in the market.
That also means every gig of that size that comes through Brisbane
That also means every gig of goes in this Live Nation venue.
We've also heard
that Live Nation has been trying to buy other venues here in Brisbane
that Live Nation has been trying and it's vying for the rights
to build an arena and it's vying for the rights
to build an arena for the Brisbane Olympics
that could also host major live shows.
that could also host (INAUDIBLE)
Mark Davyd's pitching a solution
to stop small venues Mark Davyd's pitching a solution
to stop small venues from shutting down -
a ticket levy, where a dollar from every ticket for a major concert
would go to a struggling part of the industry.
The UK Parliament endorsed the concept,
but asked companies like Live Nation to be proactive in rolling it out.
I think we can pretty clearly say,
it doesn't matter how many times they say they're prepared to do it,
the will simply isn't there to get it done.
The first test for the company to roll out the levy
was when tickets for Oasis's surprise comeback tour in the UK
was when tickets for Oasis's went on sale last month.
Live Nation won the contract to promote the British band's reunion
and used its company, Ticketmaster, to sell the tickets.
This is the first big one, and they failed. Simple as that.
This is the first big one, There's no point in sugarcoating it.
415 euro for a standing ticket There's no point in sugarcoating it.
415 euro for a standing ticket
because of fucking Ticketmaster!
It's hell in there. It's horror.
Live Nation and Ticketmaster then faced a public outcry.
£500. Fuck off!
Oasis fans waited hours to get tickets.
Once they finally got through the online queue,
prices were much higher than originally advertised.
They have gone ridiculously up.
It's a concept called 'dynamic pricing'.
As a show gets more popular, its ticket price goes up.
It's another way Live Nation's making a killing.
That's caused a huge, huge press and media attention in the UK.
And we have the UK government now looking at dynamic pricing.
It unlocked a public battle
over who's responsible It unlocked a public battle
over who's responsible for setting ticket prices.
Oasis said it didn't know dynamic pricing would be used.
Oasis said it didn't know Ticketmaster blamed the band.
Live Nation told us there's no algorithmic surge pricing system,
but the company offers artists tools for them to understand demand.
(SINGS) # I said e-e-e-e-h o-o-o-h-h-h... #
They say Live Nation and Ticketmaster
are now using dynamic pricing in Australia,
most recently for punk band Green Day's tour.
most recently (BAND PLAYS 'KNOW YOUR ENEMY')
# Do you know the enemy? (BAND PLAYS 'KNOW YOUR ENEMY')
# Do you know the enemy? Do you know your enemy?
# You gotta know the enemy Rah-eh... #
What's really frustrating music fans is the rising cost of tickets.
We've discovered Ticketmaster and its Australian competitor Ticketek
are secretly charging you numerous fees.
We've been leaked confidential documents
We've been leaked revealing just how this happens.
For a gig at the Live Nation-operated revealing just how this happens.
For a gig at the Live Nation-operated Palais Theatre in Melbourne,
tickets over $65 are slapped with a hidden service fee of $3.18,
tickets over $65 are slapped a hidden booking fee of $6.77
and a hidden credit card fee,
which they curiously call an 'infrastructure fee', of $0.13.
That's roughly $10 in fees you aren't told about.
Ticketmaster then charges you a transaction fee of more than $7. That's roughly $10 in fees you aren't told about.
Ticketmaster then charges you a transaction fee of more than $7.
This one's public.
If it's a Ticketmaster resale,
that fee jumps to around $17,
and you can pay up to $11
for ticket insurance,
depending on the gig.
In total that's around $30 to $40.
So, they're called transaction fees, booking fees,
So, they're called transaction fees, service fees, infrastructure fees.
There's, like, about 10 names
that have come out of nowhere.
I used to run a ticket business that have come out of nowhere.
I used to run a ticket business and I used to have a booking fee.
I used to run a ticket business It's the one name.
And it was cheap, and I still made money.
And it was cheap, And then there's often a fee
called the 'inside charge'.
Paul Sloan is one of multiple industry people we've spoken to called the 'inside charge'.
Paul Sloan is one of multiple industry people we've spoken to
who can't get a straight answer about it.
And I say to venues all the time, "What is the inside charge for?"
And they say, "Oh, you know, it's the inside charge."
It's a multi-billion-dollar company that can lose money
because they're supported by a ticket business,
which is really charging money for things that don't exist.
We didn't find out what the inside charge is either.
We know that there's a fee there,
and no-one has ever explained to us what it entails.
And as you go on and you keep looking at the bank account
and trying to work out how you're going to record your next album
or do your next tour,
you do start to ask questions, or do your next tour,
you do start to ask questions,
and the answers to those questions are pretty hard to find.
On the ticket prices,
because Live Nation says On the ticket prices,
because Live Nation says the artist sets the ticket price
because Live Nation says and gets the majority of that share,
is that true?
The artist does set a range of ticket price to where it is.
The artist doesn't set the booking fee,
doesn't set any other hidden fees that exist within that ticket price,
of which there are plenty of examples.
So, the artist is not receiving that amount
that's reflected in the ticket price.
Live Nation said Ticketmaster doesn't set fees,
but venues do to cover costs for the venue and ticketing company.
It said Ticketmaster discloses certain fees,
which support services like "tech development and innovation,
"customer service, security and compliance,"
and the cost of touring has "dramatically increased after COVID,"
so, "ticket prices need to compensate touring artists" for that.
Live Nation own the venues,
they are the promoters and they own the ticket company. Live Nation own the venues,
they are the promoters and they own the ticket company.
Put those three things together
and they are controlling
what the tickets are.
Rival Ticketek told us that any fees are for the investment in services
to improve consumer ticketing experiences.
(SINGS) # Oh, oh! The power and the passion... #
Midnight Oil is one of Australia's most successful rock bands,
selling out gigs in the US and Europe.
selling out gigs # Oh, the power and the passion... #
We've had to play at Live Nation venues in cities in America
'cause there are no other venues
because Live Nation has them all tied up.
We're not at the point of where the US is.
What will that mean for Australia?
Well, it will mean increased ticket prices, for starters.
Well, it will mean increased It will mean a lack of diversity
in the way in which people are presented.
But, most importantly, it will be a lack of competition.
We've seen more than 1,300 small venues in Australia
shut down in the last couple of years.
How does that make you feel seeing those small venues shut?
I think it's terrible that the small venues have closed down.
I mean, that's where people of my generation,
musicians of my generation, that's...
musicians of my generation, I mean, we never would have emerged
if we couldn't have played in small I mean, we never would have emerged
if we couldn't have played in small venues. That's the truth of it.
I would say that the best way for me to describe how I feel about it
is that I'm a cultural patriot, you know,
and I believe that we need to make sure
and I believe that governments have rules in place
to protect and nourish Australian artists,
to protect and nourish and their Australian fans
get the opportunity and their Australian fans
get the opportunity and do take up that opportunity
get the opportunity to support them as well.
And at the moment that's not happening.
Australia's Arts Minister has put Live Nation on notice.
I don't think there's any doubt Australia's Arts Minister has put Live Nation on notice.
I don't think there's any doubt
that we are heading down a pathway
where these sorts of anti-competitive risks
are going to exist within the music sector,
so, I put down a very clear warning
to the companies on that.
Yes, you can buy different parts of a supply chain.
That's all true.
But you can't then use that in an anti-competitive way.
And increasingly we are hearing those complaints
from artists, from venues, from festivals.
One thing that Live Nation is doing here, like it is in other countries,
One thing that Live Nation is doing is using dynamic pricing.
It's being investigated in the UK. Should it be allowed in Australia?
Surge pricing is something that, as consumers,
people have always dealt with.
I don't love it, but I think we have to be realistic,
I don't love it, but I think it's always been there.
It's not something we're looking at at the moment.
(INDISTINCT CHATTER)
One of Australia's top rappers, (INDISTINCT CHATTER)
One of Australia's top rappers, Barkaa,
is trying to sidestep the corporate players.
is trying to sidestep (LAUGHS)
Can we take a quick pic? Of course, yeah.
She's amassed such a following she's now touring independently.
She's amassed such a following (INDISTINCT CHATTER)
Most of our tours, we're self-run.
Most of our tours, That's not easy for artists
'cause it costs a lot of money That's not easy for artists
'cause it costs a lot of money to put on shows.
She's hosting a listening party for her new EP,
She's hosting a listening party where you can get a free tattoo.
(INDISTINCT CHATTER)
We're all twinning.
Money's, like, good when it is, but it's, like,
you know that it's, like... Money's, like, good when it is, but it's, like,
you know that it's, like...
..there's still money getting taken out of our mouths
..there's still money at the same time.
Like, it could be better if we weren't lining the pockets of...
..yeah, people who...yeah...
..dodgy cunts, you know. (LAUGHS)
Maybe don't say... Oh!
(LAUGHTER) Dodgy fuckwits!
Nuh, um... (LAUGHS) (LAUGHTER)
Nuh, um... (LAUGHS) I'm gonna get the same thing too.
Barkaa recently won Artist of the Year
at the National Indigenous Music Awards.
She says the government needs to regulate live music.
It's kind of like, you know, a cowboy industry
It's kind of like, you know, where we're kind of like...
..we don't have regulations, we don't have sick leaves,
..we don't have regulations, we don't have benefits or nothing.
I feel like I've met we don't have benefits or nothing.
I feel like I've met more trustworthy crackheads
than I have people in this industry.
And that says a lot. Yeah.
What's the promoter actually do?
Risks his balls every day.
In Australia there are three big promoters -
Live Nation's biggest competitor here,
veteran Michael Chugg and his business partner Frontier Touring
who brought artists like Paul McCartney and Elton John
to Australia,
among the most profitable shows last year,
TEG, which made over $220 million last year
and owns Ticketek, the largest ticketing agent in Australia,
and Live Nation,
which says there's more competition in the industry than ever before.
Its global profits and management of hundreds of artists like Coldplay
are helping it edge out Australian promoters.
(CHEERING)
Well, I lost Coldplay to Live Nation.
That's the biggest one I've lost to them.
I started with Coldplay in a 200-seater venue way back
and we built together to get... I started with Coldplay in a 200-seater venue way back
and we built together to get...
..and we got it to stadiums and...
So, Live Nation offered them
a worldwide tour.
And I know that Chris Martin didn't want to leave us,
but in the end Live Nation just kept adding millions and millions,
but in the end Live Nation just kept and in the end we lost out.
You've had a strong relationship with Chris Martin.
I mean, how did he feel about letting you go?
I mean, how did he feel Well, he...
Money speaks. I mean...
It's...
They're not going to throw away another whatever it was.
They're not going to throw that away
to stay loyal to us.
We asked Live Nation
if it gave Coldplay millions to secure its tours in Australia,
if it gave Coldplay millions and the company said no.
Before Live Nation entered the country,
Chugg along with the late Michael Gudinski were Australia's top dogs.
Before Live Nation came into the picture,
do you think you had that sort of domination, you and Gudinski?
do you think you had that sort I suppose so.
We didn't abuse it, though.
Why did you both come back together?
To fight Live Nation.
We've survived and continue to survive.
We've survived We're promoters.
If we got a tour or a festival or anything
and it goes on sale and it's not good,
and it goes on sale we don't cancel it.
We work our arses off to try and make it at least break even
or take the potential loss from $1 million to $100,000.
or take the potential loss They don't. They cancel it.
We put this to Live Nation, and the company denied it.
We put this to Live Nation, Michael Chugg says he and Frontier
have managed to keep Michael Chugg says he and Frontier
have managed to keep touring megastars in Australia
who've been frustrated by Live Nation's work overseas.
who've been frustrated (CHEERING)
Taylor Swift is a key example of that.
A debacle over Ticketmaster's sales for her US tour
prompted American politicians A debacle over Ticketmaster's sales for her US tour
prompted American politicians
to question whether
Live Nation's business model is legal.
You can't have too much consolidation, Live Nation's business model is legal.
You can't have too much consolidation,
something that, unfortunately for this country,
something that, as a ode to Taylor Swift,
I will say we know all too well.
In 2010
the US Government allowed Live Nation and Ticketmaster to combine
despite concerns it would allow them to dominate the industry
and eventually create situations like Taylor Swift's US tour.
and eventually create situations The merger was approved
on the condition they wouldn't use their power
to punish businesses which use other ticket providers.
TOMMY DORFMAN: Back in 2010
Live Nation promised the United States Government TOMMY DORFMAN: Back in 2010
Live Nation promised the United States Government
they weren't going to be doing all the bad things that they did to me.
Live Nation violated, in my belief, the consent decree order
Live Nation violated, in my belief, within a few months,
trying to block ticketing within a few months,
trying to block ticketing and block my entire event.
This is my trial prep room.
Live Nation is facing several lawsuits in the US,
including from promoter Tommy Dorfman.
In 2011 he planned a large dance music festival in New Jersey,
but he says Live Nation used aggressive tactics.
They threatened to withhold ticketing for future events.
They acted like wild animals.
They said, "We are going to block all your ticketing.
"You will not get ticketing.
"We're going to block all your talent."
Everything disappeared.
We went from having the biggest EDM festival
in the East Coast of the United States
in the East Coast to nothing.
Goodbye. It was gone.
Tommy lost his music business.
Now he's selling cable door to door.
Hello? Hello! How are you doing?
Hi. I'm Tommy from RDA Enterprises
Hi. representing Astound Broadband.
Do you guys have internet or cable-phone internet in your house?
He's been waiting 13 years
for his case against Live Nation to go to trial.
for his case against Live Nation I'm Tommy. Nice to meet you!
His cause was taken up by a prominent member of Congress,
His cause was taken up the late Bill Pascrell.
I do not want Live Nation's money.
I want to take this to a jury and I want justice.
In court filings, Live Nation denied
many of the allegations In court filings, Live Nation denied
many of the allegations in Tommy's case
or said there was insufficient evidence to prove them.
I would tell your government, "Don't listen to Live Nation.
"Stop it now. Stop it now.
"Protect the independent promoters, protect the artists
"and protect the fans that are getting ripped off."
Now Live Nation is facing its biggest battle yet.
The US Department of Justice and dozens of American states
The US Department of Justice are suing the company.
We allege that Live Nation has illegally monopolised markets are suing the company.
We allege that Live Nation has illegally monopolised markets
across the live concert industry in the United States
for far too long.
It is time to break it up.
In a recent interview with Bloomberg,
Live Nation CEO, Michael Rapino,
said he thought the US Department of Justice
had rewritten the rules on vertical integration.
Are we vertical? Of course we're vertical. had rewritten the rules on vertical integration.
Are we vertical? Of course we're vertical.
Every promoter from history has been vertical
because that's how you pay the bills.
We have filed this lawsuit on behalf of the American people.
It is time for fans and artists
to stop paying the price for Live Nation's monopoly.
AUDIENCE: (CHANTS) Barkaa! Barkaa!
Barkaa! Barkaa!
Barkaa! Barkaa! Barkaa!
Barkaa! Barkaa!
BARKAA: What's good?!
(CHEERING, APPLAUSE)
I feel like, artists, this is our industry, you know?
This is ours, you know? We're the ones that keep it rolling.
If it wasn't for us, we wouldn't have an industry.
(CHEERING)
(RAPS) # Ha! So, you're gonna shoot a brother in the back
# Ha! Black mother at her doorstep... #
Barkaa's playing a national tour.
Her fan base is dedicated,
and her lyrics tell stories about her life in Australia.
# Why my people gotta die?
# Ain't shit changed since we've been colonised... #
# Ain't shit changed You just see constantly
the people who actually are out here
putting their life experiences the people who actually are out here
putting their life experiences on the line
just for somebody to come in and gobble up,
like, benefit and profit off people's pain and trauma
like, benefit and profit and, you know, their stories.
# Ha! Hold your fists up
# Put 'em up! #
Can we just enjoy and thrive and create
rather than being in survival mode
and always having our back up about people doing us dodgy
or taking and ripping everything away from us?
And I think as artists, like, yeah, we need to take back that power,
we need to be more vocal,
write diss tracks to Live Nation,
like, do something, guys.
('FORGOTTEN YEARS' PLAYS)
My advice to the Australian Government would be don't wait.
My advice to the Australian These companies,
there's nothing evil or wrong about them inherently,
but they are avaricious.
And the way to curtail that
is to have a regulatory system
in which they can operate to do that
within certain limits and certain controls.
Just letting them do it without any kind of controls doesn't work.
# These should not be forgotten years... #
When all else fails, live music is supposed to bring people together.
When all else fails, live music # And divided years... #
The concern felt by so many in the industry
is that Live Nation's move to make it an expensive luxury item
is threatening the grass-roots traditions
that have made Australia's scene unique.
It's very disappointing they've been let into Australia.
It may be very difficult to, you know, unwind that.
It may be very difficult My personal belief is that music
is there at all the important My personal belief is that music
is there at all the important moments of most of our lives...
..and, unless we recognise the value of that,
..and, unless we recognise it can quite quickly disappear.
What makes us human, in a way,
is artists sharing their sense of things, their stories
with the people who they've grown up with
with the people or who they live nearby
or who they're visiting.
And that's why people still go out to shows.
A country without its own music is a country without a soul.
# The blinded years The binded years
# The desperate and divided years
# These should not be
# Forgotten years # These should not be
# Forgotten years
# Remember!
# Oh, oh!
# Oh, we'll try. #
(THEME MUSIC PLAYS)
Captions by Red Bee Media
Copyright Australian Broadcasting Corporation Captions by Red Bee Media
Copyright Australian Broadcasting Corporation