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Apple Music Hall opening graphic reading “600 Fans. A Global Audience.” on a blue-to-plum gradient with the Prime logo.

Apple Music Hall Opens: 600 Fans in the Room, a Global Audience Online

September 28, 2026 by PrimeEV
Apple Music, Apple Music Hall, Communion ONE, DICE, Live Music, Livestreaming, Music Industry, Music Venues

Apple Music Hall Opens: 600 Fans in the Room, a Global Audience Online

Apple Music Hall opened at London’s Battersea Power Station on September 28, 2026, with an inaugural performance by Elton John. The 600-capacity venue brings a small live audience into a space designed for recording and global broadcasting, giving each performance a potential reach far beyond the room.

As 9to5Mac reported from the opening day, Apple Music subscribers could watch the first concert live. The opening puts the venue’s central proposition into practice: an intimate show in London can also become programming for listeners and viewers elsewhere.

A Small Room Built for Production

According to Apple’s venue announcement, the hall has a 38-foot-wide stage that can be reconfigured for front-facing or in-the-round performances. A 48-speaker spatial sound system surrounds the audience, supporting immersive playback when artists perform in that format.

Behind the stage are two recording and mixing studios, with infrastructure for 16 or more cameras connected to a dedicated broadcast control room. Performances can be captured as multitrack recordings and mixed in Spatial Audio during or after the show.

That setup gives artists several possible outputs from one appearance: an in-person performance, a recorded release and a multicamera broadcast. The production facilities are built into the venue, making recording and distribution part of its intended everyday function.

Apple, Communion ONE and DICE

The operating partnerships are another part of the story. Pollstar reports that independent UK promoter Communion ONE is supporting bookings and promotion, while DICE handles ticketing.

The arrangement combines Apple’s production and distribution capabilities with a promoter’s live-music expertise and a dedicated ticketing platform. For artists, that could make a small-capacity appearance valuable beyond its ticket sales. The business opportunity lies in what a performance can generate afterward, as well as who attends on the night.

Chase & Status Join the Opening Season

The announced opening program continues with Baby Keem on October 2, Skye Newman on October 7, Troye Sivan on October 13, Arlo Parks on October 22 and Burna Boy on October 29. Chase & Status follow on November 26, with Charli xcx scheduled for December 2.

For electronic music audiences, the Chase & Status booking is a date to watch. It also gives the venue an opportunity to demonstrate how its production approach serves different performance styles across the season.

A Venue With an Audience Beyond Its Capacity

The opening follows another Apple Music live-event partnership covered by PrimeEV: Head Trip’s planned global festival livestream. Together, the projects illustrate how the audience for a live performance can extend well beyond the people buying admission.

Our reading of Apple Music Hall’s model is that its 600-person capacity describes only one part of the business. The room also supplies performances that can continue reaching audiences through broadcasts and recordings. Whether that translates into sustained viewership or greater demand for participating artists remains to be seen. Opening night establishes the format; the coming season will show how artists use it.

Sources:

  • Apple Newsroom — Apple opens Apple Music Hall, a brand-new state-of-the-art live music venue in London
  • Apple Music Hall — Upcoming Shows
  • Pollstar — Elton John, Arlo Parks, Burna Boy: Apple Music Hall London Unveils Opening Lineup
  • 9to5Mac — Watch Elton John give the first-ever performance at Apple Music Hall

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Editorial graphic about Clark County allocating up to $10 million for Insomniac’s planned Las Vegas venue redevelopment.

Insomniac Moves Toward Permanent Las Vegas Venue as Clark County Allocates $10 Million

September 25, 2026 by PrimeEV
Clark County, Electronic Music, insomniac, Las Vegas, Live Events, Live Music, Music Industry, Music Venues, Venue Development

Clark County has allocated up to $10 million toward the redevelopment and activation of 800 Liberace Avenue in Las Vegas, where electronic music promoter Insomniac is working with county officials to transform the property into a live-music and special-events venue.

The project could give the company behind Electric Daisy Carnival a significantly larger permanent presence in Las Vegas while adding another dedicated entertainment property to the city's live-event infrastructure.

According to Clark County File 26-2181, the county authorized an allocation of up to $10 million for the redevelopment and activation of 800 Liberace Ave., located within the Commercial Center district.

The county identifies Insomniac as the current tenant of the property and says the Clark County Redevelopment Agency has been working with the promoter on activating the building as a venue for live music and special events.

$10 million allocation is not an immediate payment

The county's action does not mean Insomniac immediately receives $10 million in public funding.

Clark County's staff report states that the allocation is intended for a future property purchase and building rehabilitation. Distribution of any portion of the money remains contingent on the Clark County Redevelopment Agency approving a formal agreement with Insomniac that specifies the redevelopment work and identifies expenses eligible for reimbursement.

The distinction is significant: the county has effectively reserved funding for the project, but the final terms governing how that money can be used have not yet been completed.

Insomniac could contribute another $20 million

The public contribution could be accompanied by a substantially larger investment from Insomniac itself.

The Las Vegas Review-Journal reported that Clark County Commissioner Tick Segerblom said Insomniac plans to invest approximately $20 million of its own money into renovating the property.

Segerblom provided additional details to FOX5 Vegas, saying the investment would allow Insomniac to complete its purchase and undertake an extensive renovation and rehabilitation of the existing event center.

If both funding components proceed as described, the project could represent roughly $30 million in combined public and private investment, although the final scope and reimbursable costs will depend on the formal redevelopment agreement.

A new permanent base for Insomniac in Las Vegas

The property at 800 Liberace Avenue is the former Sahara Event Center in the Commercial Center district, east of the Las Vegas Strip.

Insomniac's interest appears to extend beyond simply operating another event space. Segerblom told FOX5 that the promoter views Las Vegas as its home base and described the Commercial Center development as part of a broader presence that could extend beyond the event center itself.

EDM.com reported on September 23 that Insomniac's planned investment would be used to transform the existing event center as Clark County continues efforts to revitalize the surrounding Commercial Center district.

The redevelopment initiative predates the Insomniac agreement. Clark County says a May 2025 vision and redevelopment plan for Commercial Center called for the southwest portion of the district to become a destination for entertainment, arts and culture.

Insomniac deepens its Las Vegas footprint

Las Vegas has long been one of Insomniac's most important markets. Electric Daisy Carnival relocated from Los Angeles to the Las Vegas Motor Speedway in 2011, establishing the city as the home of the promoter's flagship festival.

Insomniac has since built a substantial presence around EDC Week and other electronic music events in the market, but redevelopment of 800 Liberace Avenue would represent something different: a physical venue project connected directly to the promoter rather than a festival staged at an existing property.

That distinction makes the Commercial Center project particularly significant for the electronic music industry. Major promoters increasingly operate across multiple parts of the live-event business, and control or long-term operation of venues can provide greater flexibility over calendars, production, branding and programming.

What happens next

Several important details remain unresolved.

The Clark County Redevelopment Agency must still approve a formal agreement with Insomniac before any of the county's allocated funds can be distributed. That agreement is expected to define the redevelopment activities as well as the expenses eligible for reimbursement.

Detailed plans for the venue's eventual capacity, opening schedule, programming strategy and operating structure have not yet been publicly finalized.

The project nevertheless signals a potentially important expansion of Insomniac's role in the Las Vegas live-entertainment market. Rather than relying exclusively on festivals, club partnerships and temporary event sites, the company could gain a dedicated venue capable of hosting live music and special events throughout the year.

For one of the largest electronic music promoters in the United States, the redevelopment of 800 Liberace Avenue could mark another step toward establishing a more permanent physical footprint in the city that has become synonymous with its flagship festival.

Sources:
  • Clark County — File 26-2181
  • Las Vegas Review-Journal — $10M earmarked as EDC owner eyes event center redevelopment project
  • FOX5 Vegas — Debate over live-music plans at historic Commercial Center
  • EDM.com — Insomniac Events plans Sahara Event Center redevelopment in Las Vegas

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Dom Dolla stadium-scale editorial graphic for Marvel Stadium in Melbourne, highlighting electronic music’s move into standalone stadium touring.

Dom Dolla’s Sold-Out Marvel Stadium Show Signals Electronic Music’s Move Into Stadiums

September 25, 2026 by PrimeEV
Dom Dolla, Electronic Music, Frontier Touring, Live Music, Marvel Stadium, Melbourne, Music Industry, Stadium Shows, Touring, Untitled Group

Dom Dolla performed to 60,000 fans at a sold-out Marvel Stadium in Melbourne on September 24, marking another significant step in electronic music’s move into standalone stadium-scale touring.

Presented by Untitled Group and Frontier Touring, the Australian-exclusive hometown show featured the world premiere of a new production designed specifically for the scale of Marvel Stadium.

Dom Dolla Melbourne Marvel Stadium sold-out show poster featuring Green Velvet, Torren Foot, RONA b2b DJ JNETT, and Marvel Stadium on September 24, 2026.

60,000 Fans at Marvel Stadium

Frontier Touring confirmed the post-show attendance at 60,000, describing the performance as one of the largest headline electronic-music events ever staged in Australia.

The scale is particularly significant because this was not a festival appearance or a multi-artist stadium bill built around several major headliners. Dom Dolla was the primary ticket-selling attraction, supported by Green Velvet, Torren Foot and RONA. b2b DJ JNETT.

The show also represented the world premiere of Dom Dolla’s new stadium production, designed around Marvel Stadium rather than adapting a conventional club or festival setup to a larger venue.

For electronic music, that distinction matters. Festival audiences have demonstrated for decades that dance music can attract enormous crowds. Selling tens of thousands of tickets to a standalone headline show provides a different measure of artist-driven demand.

From Clubs to Stadiums

Dom Dolla’s Melbourne performance follows his sold-out Australian stadium debut at Allianz Stadium in Sydney in December 2025. According to Frontier Touring, the Marvel Stadium show continued a run that has also included two sold-out nights at Madison Square Garden in New York.

That trajectory reflects a broader change taking place across electronic music. A growing number of artists are moving beyond clubs, warehouses and festival stages and demonstrating that their audiences can support conventional arena and stadium touring.

RÜFÜS DU SOL recently provided one of the clearest examples. Their Inhale/Exhale World Tour grossed more than $158 million and sold approximately 1.7 million tickets across 115 shows, including a Rose Bowl Stadium headline performance attended by roughly 60,000 people.

The important distinction is not simply crowd size. Electronic artists have drawn massive festival audiences for years. What is changing is the ability of individual acts to generate enough demand to support large reserved-seating venues and stadiums under their own names.

Electronic Music Is Reaching a Different Scale

Recent milestones across electronic music are increasingly difficult to treat as isolated examples.

Calvin Harris recently set a Guinness World Record after an estimated 1.6 million people attended his February 2026 DJ performance in São Paulo. While the Brazilian event was a city-scale public performance rather than a conventional ticketed stadium concert, it provides another indication of the enormous audiences major electronic artists can now reach.

Dom Dolla’s Marvel Stadium performance demonstrates a different side of that growth: 60,000 people purchasing tickets for a standalone electronic headline event in a traditional stadium environment.

That puts the show much closer to the touring model historically associated with major rock and pop acts than the club-focused infrastructure from which electronic music developed.

Australia Remains Central to Dom Dolla’s Growth

The Melbourne show also carries particular significance because Dom Dolla’s rise has remained closely connected to Australia even as his international touring profile has expanded.

Untitled Group described the Marvel Stadium appearance as a hometown stadium debut and an Australian-exclusive event. The promoter had previously announced that the show sold out after presale allocations were exhausted within hours and the remaining tickets disappeared during the general on-sale.

The lineup connected that large-scale production with the club culture underlying Dom Dolla’s career. Chicago house pioneer Green Velvet joined the bill alongside Australian artist Torren Foot and a back-to-back performance from RONA. and DJ JNETT.

A New Touring Benchmark for Electronic Artists

Dom Dolla playing to 60,000 people at Marvel Stadium does not mean electronic music is abandoning clubs and festivals. Those environments remain fundamental to the culture and economics of the genre.

What the performance demonstrates is that the upper end of the market is expanding.

A select group of electronic artists can now operate across several different levels of the live business: clubs, festivals, arenas and, increasingly, stadiums.

The significance of the Marvel Stadium show is therefore larger than a single sold-out date. It adds another verified example of an electronic artist generating stadium-level demand for a standalone headline performance.

As more artists begin testing similar formats, the question is shifting from whether electronic music can work at stadium scale to how many artists can sustain that level of demand across multiple markets.

Sources: Untitled Group and Frontier Touring.

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AEG Presents takes a stake in Greenhouse Talent, a Benelux promoter and booking agency producing nearly 1,500 events annually across Belgium and the Netherlands.

AEG Presents Invests in Greenhouse Talent as European Promoter Network Expands

September 23, 2026 by PrimeEV
AEG Presents, Benelux, Concert Promotion, European Live Music, Greenhouse Talent, Live Events, Music Industry, Promoter Consolidation

AEG Presents Invests in Greenhouse Talent as European Promoter Network Expands

AEG Presents has invested in Greenhouse Talent, one of the largest independent concert promoters and booking agencies in the Benelux, extending the global live-entertainment company’s presence across Europe.

The companies announced the partnership on September 14. Financial terms and the size of AEG Presents’ stake were not disclosed. Greenhouse Talent will continue operating from its offices in Ghent, Belgium, and Breda, the Netherlands, under its existing leadership and identity, according to Greenhouse Talent’s announcement.

Greenhouse Talent Brings Significant Benelux Scale

Founded in 2005 by Pascal Van De Velde, Greenhouse Talent has developed into a major regional promoter with approximately 60 employees across Belgium and the Netherlands. The company promotes close to 1,500 events annually across music, comedy and other forms of live entertainment.

Its activities extend beyond traditional concert promotion. Greenhouse Talent has worked with artists and productions including Hans Zimmer, Massive Attack, Laufey, Bryan Adams, Erykah Badu, Diana Ross and Rammstein, while also producing events such as Gent Jazz and Spoorpark LIVE. Music Business Worldwide reported that the company will retain its existing structure as part of the agreement.

Greenhouse Talent Retains Its Identity

The partnership is structured to preserve Greenhouse Talent’s existing management, local market knowledge and established artist relationships.

Greenhouse Talent described the agreement as the formalization of a longstanding relationship between the two companies. Its existing offices, leadership, and company identity will remain in place while the promoter gains access to AEG Presents’ broader international network.

For Greenhouse Talent, that structure provides the resources and global reach of one of the world’s largest live-entertainment companies without eliminating the regional organization that built the business.

AEG Presents Continues European Expansion

The Greenhouse Talent investment also fits within a broader expansion by AEG Presents across Europe.

Earlier in September, AEG Presents opened a dedicated office in Berlin as it expanded its German operations. The company had previously taken a partnership stake in German promoter MCT Agentur, while its European network also includes operations and partnerships across markets including the United Kingdom, France, and Norway.

Music Business Worldwide reported on AEG Presents’ Berlin expansion, another indication of the company’s continued investment in regional European markets.

Adam Wilkes, president and CEO of AEG Presents Europe and Asia-Pacific, said the Greenhouse Talent partnership expands AEG’s European footprint while creating additional opportunities for artists and audiences across the region.

Regional Promoters Remain Strategically Valuable

The transaction is another example of the growing importance of partnerships between global live-event companies and established regional promoters.

Rather than building every market from the ground up, international operators can expand by investing in companies that already possess local venue relationships, artist connections, market knowledge, and established audiences.

That model allows regional promoters to retain much of their existing identity while gaining access to larger touring networks, international resources, and broader cross-market opportunities.

For the broader live-events business, the AEG Presents–Greenhouse Talent deal reflects an increasingly interconnected concert industry in which local expertise remains valuable as international promoter networks continue to expand.

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Chase & Status 2027 UK and Europe arena tour editorial graphic featuring the duo against a dark charcoal-to-steel gradient, with text promoting the Generic Everything album and arena tour.

Chase & Status Announce 2027 UK and Europe Arena Tour

September 22, 2026 by PrimeEV
Arena Tour, Chase & Status, drum & bass, Electronic Music, Europe Tour, Generic Everything, Music Industry, UK Tour

Chase & Status Announce 2027 UK and Europe Arena Tour

Chase & Status will take their forthcoming album Generic Everything on a major UK and European arena tour in 2027, extending drum & bass further into large-format live entertainment.

The British duo will begin the run on February 18, 2027 at Atlas Arena in Łódź, Poland, before continuing through major venues across continental Europe and the United Kingdom.

The tour announcement follows another period of significant commercial momentum for Chase & Status, whose recent releases have helped push drum & bass further into the mainstream while retaining a strong connection to the genre’s club and festival roots.

Chase & Status move into arenas in 2027

The newly announced dates include arena and large-format venues in Łódź, Prague, Berlin, Amsterdam, Brussels and Paris before the tour moves into the UK.

UK dates include Glasgow’s OVO Hydro, Manchester’s Co-op Live, Birmingham’s Utilita Arena and London’s O2 Arena.

DJ Mag reported the 2027 tour announcement on September 21, describing the run as a UK and European arena tour built around the duo’s forthcoming seventh studio album.

Chase & Status Live World Tour 2027 poster featuring the duo, with European and UK arena dates from February through April 2027, including Łódź, Prague, Berlin, Amsterdam, Brussels, Paris, Glasgow, Manchester, Birmingham and London.
Chase & Status Live World Tour 2027.

Generic Everything arrives in October

The tour will follow the October 9, 2026 release of Generic Everything, Chase & Status’ seventh studio album.

The 10-track project includes collaborations with J Hus, Little Simz, Skrillex, Giggs, D Double E, Blanco, IRAH, Col3trane and others.

The duo’s official album store confirms the October 9 release date and describes Generic Everything as a project bringing together artists from across multiple generations and corners of British music.

The album arrives after a run of major crossover records for Chase & Status. “Baddadan,” their collaboration with Bou and Flowdan, reached No. 5 on the UK Official Singles Chart and spent 10 weeks in the Top 10. The following year, “BACKBONE” featuring Stormzy debuted at No. 1, giving Chase & Status their first UK chart-topping single.

Official Charts documents the chart performance of “Baddadan”, while “BACKBONE” debuted at No. 1 in August 2024.

Drum & bass continues scaling beyond the rave

The significance of the tour extends beyond another album campaign.

Drum & bass has historically drawn much of its identity from clubs, warehouses, raves and festival stages. Chase & Status’ 2027 itinerary places the music inside venues traditionally associated with major international touring acts, including several of Europe’s largest indoor arenas.

That progression reflects the broader commercial expansion of drum & bass while illustrating how electronic artists can increasingly move between club culture, festival programming and fully produced headline arena shows.

For Chase & Status, the shift is particularly notable because the duo remain closely associated with drum & bass rather than repositioning themselves primarily as pop or crossover performers.

The result is an arena campaign that is not simply larger in capacity. It represents another indication that drum & bass is becoming capable of supporting standalone large-format touring at a scale once reserved for a much narrower group of electronic acts.

Chase & Status 2027 tour dates

The announced European and UK dates include:

  • February 18 — Atlas Arena — Łódź, Poland
  • February 19 — Fortuna Hall — Prague, Czech Republic
  • February 20 — UFO Velodrom — Berlin, Germany
  • February 25 — AFAS Live — Amsterdam, Netherlands
  • February 26 — ING Arena — Brussels, Belgium
  • February 28 — Zénith — Paris, France
  • March 18 — OVO Hydro — Glasgow, United Kingdom
  • March 19 — Co-op Live — Manchester, United Kingdom
  • March 26 — Utilita Arena — Birmingham, United Kingdom
  • April 2 — The O2 — London, United Kingdom

With Generic Everything arriving in October and an arena campaign beginning four months later, Chase & Status are entering 2027 with one of the largest headline touring programs currently attached to a drum & bass act.

More information about the album is available through the official Chase & Status website.

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Editorial graphic about declining trust in U.S. concert ticketing, citing Kantar research for Tixel and noting that 29% of U.S. consumers encountered a fake, invalid, or nonexistent ticket.

Why U.S. Concert Fans Are Losing Trust in Ticketing

September 22, 2026 by PrimeEV
Concert Industry, Live Events, Live Music, Music Industry, Ticket Fraud, Ticket Resale, Ticketing, Tixel

Why U.S. Concert Fans Are Losing Trust in Ticketing

American concert fans still place enormous value on live events. The process of getting through the door, however, appears to be testing their trust.

New research conducted by Kantar for ticket resale marketplace Tixel found that U.S. consumers reported higher levels of ticket fraud, inflated resale pricing and checkout friction than respondents in the U.K. and Australia.

The findings come from Tixel's Future of Ticketing Report: The Live Equation 2030, based on a Kantar survey of 5,107 consumers across the United States, United Kingdom and Australia. The sample included 1,522 U.S. respondents who had purchased a ticket, attended a ticketed live event or wanted to attend one during the previous 12 months.

U.S. Fans Report More Ticket Fraud and Inflated Resale Prices

Among U.S. respondents, 29% said they had encountered a fake, invalid or nonexistent ticket during the previous year. The finding points to a significant trust problem at a particularly sensitive point in the live-event economy: the moment when a fan commits money to attending a show.

Resale pricing presents another challenge. 56% of U.S. respondents said they had paid a resale price they considered significantly inflated, the highest percentage among the three countries studied.

According to an analysis published by EDM.com, two-thirds of American respondents had previously purchased a resale ticket, while 75% believed bots or brokers were acquiring tickets and reselling them at inflated prices.

Checkout Fees Are Driving Purchase Abandonment

The problem is not limited to the secondary market.

The research found that 28% of U.S. respondents had abandoned a ticket purchase because of processing fees or unexpected charges at checkout. That compares with 20% of respondents in both the U.K. and Australia.

For promoters, venues and ticketing companies, that number is especially important because the customer has already progressed deep into the purchase process. The fan has discovered the event, evaluated the artist and price, selected a ticket and reached checkout — only to walk away when the final cost changes.

That makes fee transparency more than a customer-service issue. It can directly affect conversion.

Fans May Pay More for Certainty

One of the more interesting findings is that consumers do not appear to be focused exclusively on obtaining the lowest possible ticket price.

Among U.S. respondents, 78% said they would rather pay more for a verified or guaranteed ticket than save money on one they considered uncertain.

Another 67% said knowing they could resell a ticket if their plans changed made them more comfortable purchasing it in the first place.

That suggests flexibility itself has value. A ticket that can be securely transferred or resold may reduce the perceived risk of committing early, particularly when a concert is months away.

The broader report summary from the Association of Artist Managers, describes this as a growing demand for certainty: consumers want confidence that tickets are legitimate, prices are understandable and their purchase will retain some flexibility if circumstances change.

The Ticket Price Is No Longer the Entire Value Equation

The research also points to a broader shift in how consumers evaluate live events.

Fans increasingly appear to be judging the value of the entire night rather than the ticket in isolation. That calculation can include the ticket price, fees, transportation, food and drinks, production quality, atmosphere, time commitment and the confidence that the experience will ultimately justify the total expense.

Tixel's report describes five forces shaping this behavior: social participation, elevated experiences, emotional value, purchase certainty and changing trust in an increasingly algorithm-driven environment.

That matters because a lower face-value ticket does not necessarily create a strong value proposition if the customer later encounters large fees, uncertain resale options or poor confidence in the purchase itself.

Trust Can Affect Early Ticket Sales

For independent promoters in particular, the findings reinforce the importance of reducing uncertainty during the early stages of an onsale.

Early ticket buyers accept more uncertainty than customers purchasing immediately before an event. They are committing money further in advance, often before they know exactly what their schedule will look like months later.

Transparent pricing, credible ticketing partners, straightforward refund and transfer policies, and reasonable resale options can therefore influence more than customer satisfaction. They may also help remove reasons for a prospective buyer to delay making a decision.

That relationship between confidence and early commitment is especially important because initial sales velocity can shape how an event develops. Strong early demand provides promoters with useful information about pricing, advertising and audience response while also creating visible momentum around the event.

A Commercial Report With Useful Data

There is an important qualification to the research.

Tixel operates a ticket resale marketplace, meaning several of the report's recommendations — particularly those supporting verified resale and greater resale flexibility — align with the company's commercial interests.

That does not invalidate the survey results, but the distinction matters when interpreting the report's policy conclusions. The underlying consumer research was conducted by Kantar, while Tixel commissioned the study and provides the broader industry interpretation.

An analysis by the Australian Live Music Business Council similarly notes Tixel's commercial interest while describing the three-country comparison as one of the report's most useful elements.

The Bigger Problem Is Friction

The report does not suggest that Americans have lost interest in concerts. If anything, the opposite appears true.

The problem is the amount of uncertainty and friction standing between interest and attendance.

When fans encounter fraudulent tickets, dramatically marked-up resale inventory or unexpected fees at checkout, the experience can erode confidence not only in a particular transaction but in the broader ticket-buying process.

For the live-events industry, that creates a relatively straightforward challenge: make it easier for fans to understand what they are paying, know that their ticket is legitimate and feel comfortable committing to the purchase.

The artist may still be what makes someone want to attend. Increasingly, however, the quality and transparency of everything surrounding that ticket may determine whether they actually buy it.

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