Secondary Ticketing

David Morris Excerpts

Tuesday 13th March 2012 Westminster Hall

[Mike Weatherley (Hove) (Con)]

It is an honour to serve under your chairmanship, Mr Crausby. I believe that the free market is by far and away the best method by which to allocate resources effectively. Provided the often-quoted five criteria regarding the definition of perfect markets—identical product, all firms are price takers, all firms have a relatively small market share, perfect knowledge, and no barriers to entry or exit—are mostly met, the market should be left alone to do what it does best.

Consumers should have the ultimate say on how products are delivered and at what price. However, with live music and many other activities where a finite amount of tickets are available, there is a major perfect market imperfection. Music and other forms of creative expression are vital to the British economy—from earnings to employment—and for quality of life as well. The performing arts and sport sustain employment and tax revenues that benefit all our citizens. Some 1.5 million people are employed in the creative industries or in creative roles in other industries. Exports of services from the creative industries accounted for 10.6% of the UK’s exports of services, and there were an estimated 106,700 businesses in the creative industries, which represents 5.1% of all companies. British musical talent earned £139.6 million from overseas earnings in 2008. The top three earners, in order, were the Police, Iron Maiden and Coldplay. The Performing Rights Society for Music has said that Britain is the No. 1 home of musical talent in the world. In short, it is worth us all taking an interest in the continued prosperity of the creative industries.

There is, however, a blight that creams off revenues by exploiting an imperfect market and contributes nothing to the creative copyright holders, or indeed the venues and staff who put on events. The blight consists of those who profiteer by exploiting excess demand. In rapidly changing times in the internet world, what was previously considered quaint and not much of a problem, or indeed a possible service, has now been overtaken by industrial-scale activities at the touch of a button. Government have not kept up with the rapid pace of change.

[David Morris (Morecambe and Lunesdale) (Con)]

I congratulate my hon. Friend on securing the debate. Does he agree that this is a drain not just on the musical industry, but on the Exchequer too?

[Mike Weatherley]

Absolutely. I agree—it is a drain on the Exchequer. Of course, some secondary ticketing organisations pay tax, but there is an amount of VAT and so on that is not necessarily reclaimed.

The issue is recognised by some of the music and sports industries’ leading names. The list of those who joined me to meet the Secretary of State for Culture, Olympics, Media and Sport last year reads like a “Who’s Who”: Melvin Benn, Festival Republic, who runs the Glastonbury and Reading festivals and is chairman of Wembley stadium; Harvey Goldsmith, legendary promoter of live events; Rod Smallwood, Phantom Music, manager of Iron Maiden; Ian McAndrew, Wildlife Entertainment, manager of the Arctic Monkeys; Anthony Addis, Brontone Management, manager of Muse and the Pogues; Emma Banks, Creative Artists Agency; John Jackson, K2 Agency and Sonisphere festival; Simon Davies, the Teenage Cancer Trust charity; James MacDougall, Sport and Recreation Alliance; Dan Fahey, Virtual Festivals; Neil Warnock and Geoff Meall, the Agency Group; Jeff Craft, X-ray Touring; Brian Message, ATC/Courtyard Management and Music Managers Forum; and Danny Newby, Big Green Coach. Those industry leaders have been joined by many others in recent months, including DJ Rob da Bank; Phil McIntyre, Phil McIntyre Entertainments; James Sandom of Supervision Management, who look after the Kaiser Chiefs; and Steve Parker of Live UK. That group cannot be called an isolated few—the industry is very concerned.