StubHub’s FIFA Ticket Debacle Is Different This Time

For years, critics of the secondary ticketing industry (including us) have warned about the dangers of speculative ticket sales, hidden fees, and platforms that profit whether fans ultimately get through the gate or not. Those warnings were often dismissed as the complaints of disgruntled consumers.

The FIFA World Cup ticket controversy suggests those critics may have been right all along. As reported in Business Insider:

Countless World Cup fans are discovering that their tickets have gone poof, and they’re left scrambling to decide whether to buy new, pricier ones or simply give up on their World Cup dreams. They’re asking themselves how this could happen, since many people don’t realize it’s even a possibility.

The answer lies in the peculiar structure of secondary ticket marketplaces. Sites such as StubHub don’t actually sell tickets, much like eBay or Facebook Marketplace, they just connect buyers and sellers. This setup relies on sellers to come through with the tickets they say they have, essentially rendering it an honor system. Companies often don’t require sellers to upload their tickets immediately or provide proof of purchase. Many platforms give sellers until the day of the event to hand over the tickets.

It’s impossible to know the explanation for each individual situation, but one potential culprit is speculative ticketing, which I coined “ghost ticketing” last year. In these scenarios, resellers list tickets on StubHub or SeatGeek that they don’t yet have, hoping they’ll eventually secure them (for a lower price than they offered) and send them along.

FIFA warns fans about such practices:

You can transfer your tickets using the Ticket Transfer feature on the FIFA Resale/Exchange Marketplace. The marketplace is accessible via FIFA.com/tickets.

Please note: Transferring tickets to third-party platforms or accounts is discouraged as it may result in issues, including the inability to cancel or accept transfers. To ensure a secure and valid transfer process, please use the Ticket Transfer feature between FIFA accounts.

Fans reportedly purchased World Cup tickets through StubHub, booked flights, hotels, and vacations around those purchases, only to discover that tickets never arrived, could not be transferred, or could not be honored. In many cases, the offered remedy was a refund.

Business Insider reports that:

A SeatGeek spokesperson said in an email that [a fan’s] letdown “fell short” of the experience the company aims to provide and said they’d apologized to him and were working on a resolution. “We continue to invest significant resources in monitoring World Cup orders and supporting fans attending matches,” they said.

But a refund is not a remedy when the one-time event is over. An “apology” maybe very Internet (“we said we were sorry [for fill in the blank obvious scummy and shady behavior]”) but it ain’t going to cut it.

A World Cup match is not a toaster. Consumers are not merely purchasing a product; they are purchasing an experience tied to a specific place and time. Once the match is over, no amount of reimbursement can recreate the opportunity, no apologies will make the fan whole.

The deeper problem is that these incidents expose the fundamental flaw in speculative ticketing. In many cases, tickets appear—to be more fair than they deserve— to have been offered for sale before sellers possessed transferable inventory or before they could demonstrate a present ability to deliver what they were selling. Consumers were effectively asked to assume the risk that the ticket would eventually materialize. This kind of thing is often called “fraud” in the trade.

Imagine a securities market where brokers could freely sell commodities they did not possess and buyers discovered on settlement day that the shares or options never existed. Regulators would never tolerate such a system. Yet in secondary ticketing markets, similar concerns have persisted for years and nobody has gone to jail.

Longtime critics of the speculative ticketing industry may experience a sense of déjà vu.

As recently as 2024, plaintiffs in Kaiser v. StubHub advanced allegations that sound remarkably familiar: tickets to Hotspurs game allegedly offered for sale that sellers did not possess, consumers induced to purchase based on representations about availability, and a platform collecting fees while bearing relatively little delivery risk. The complaint included civil RICO allegations before being referred to arbitration, meaning many of the underlying claims were ruled on in private (secret) arbitration and never tested through a public merits determination.

The significance of Kaiser is not whether every allegation was ultimately proven. The significance is that the core complaints sound strikingly similar to those now emerging from the FIFA World Cup controversy. If the allegations prove accurate, critics will understandably ask why the same concerns appear to be resurfacing only two years later on a much larger stage.

Another uncomfortable question concerns StubHub’s longstanding reliance on mandatory arbitration clauses and class-action waivers contained in its consumer terms of service. Historically, those provisions have helped channel disputes into private proceedings, limiting public discovery and reducing the risk of large-scale class litigation. Indeed, in Kaiser, the court referred even the plaintiffs’ civil RICO claims to arbitration—a result that many consumer advocates viewed as troubling public policy because allegations involving potentially systemic marketplace practices were removed from public judicial scrutiny.

It must be said that StubHub is hardly alone in trying to stretch consumer arbitration provisions beyond what most consumers would reasonably expect. Disney drew national criticism when it initially sought to invoke a Disney+ arbitration clause in a wrongful-death case arising from an allergic-reaction death at Disney Springs. The Happiest Place on Earth later backed down, but the episode illustrates the same broader problem: companies increasingly treat arbitration clauses as all-purpose liability shields, even when the dispute bears little resemblance to the ordinary consumer transaction that supposedly created consent.

The FIFA controversy may test the limits of that strategy. When alleged consumer harm spans multiple countries, major sporting events, and potentially thousands of affected purchasers, the practical, political, and regulatory pressures become much harder to contain through private arbitration. More importantly, arbitration clauses do not bind government regulators. A consumer may be forced into arbitration, but the FTC is not. Nor are state attorneys general, foreign regulators, or other enforcement authorities. In that sense, arbitration may reduce private litigation exposure, but it provides little protection against the type of regulatory scrutiny that often follows high-profile consumer failures.

The larger the FIFA controversy becomes, the less likely it is that StubHub can resolve it behind closed doors. Plus, it makes America look bad and we can think of at least one person who might get really pissed about that.

The FIFA controversy is also notable because the underlying conduct is not universally accepted as a legitimate market practice. In the United Kingdom, the unauthorized resale of football tickets is heavily restricted and, in many circumstances, prohibited outside approved channels established by clubs and governing bodies. That issue surfaced in Kaiser, where plaintiffs alleged sales occurring outside authorized distribution systems and when the plaintiff showed up at Hotspurs World, it became apparent that the plaintiff was the only one not in on the joke. In other words, at least some jurisdictions have already concluded that unrestricted secondary-market sales of football tickets create risks significant enough to warrant legal restrictions.

The timing could hardly be worse for StubHub.

The company recently resolved an FTC enforcement action involving allegedly deceptive pricing practices and so-called “junk fees.” The FTC accused StubHub of using drip-pricing tactics that advertised one price while revealing mandatory fees later in the purchasing process. The resulting settlement required changes to pricing disclosures and a $10 million payment.

But hidden fees were only part of the story.

The FTC’s broader rulemaking record also discussed speculative ticketing as a potentially deceptive practice under the same rule. In fact, commenters specifically raised concerns that platforms were facilitating the sale of tickets that sellers did not actually possess or could not yet transfer. The Commission cited those concerns in its rulemaking discussion, recognizing that speculative ticketing may present consumer-protection issues distinct from hidden fees alone. Numerous states have outlawed speculative ticketing outright, concluding that selling tickets you do not possess is not innovation—it’s such serious consumer harm they outlaw the practice.

That point deserves emphasis. Critics of speculative ticketing were not simply complaining on social media or filing isolated lawsuits. They participated in the federal rulemaking process itself. The concerns raised in litigation such as Kaiser and in comments submitted to the FTC were sufficiently significant that the Commission expressly addressed them when adopting its junk-fee framework. The FIFA controversy therefore does not emerge from nowhere. It arrives against a backdrop of years of consumer complaints, litigation, regulatory comments, and public warnings that the industry has largely resisted.

If a platform represents inventory as available when the seller lacks the present ability to transfer or deliver it, the issue extends beyond pricing disclosures and into the integrity of the marketplace itself. That distinction is significant because it supports expansion of available legal prosecutions.

A civil RICO plaintiff would likely argue that repeated electronic communications marketing unavailable or non-transferable tickets constitute a pattern of wire fraud. And that puts you squarely in racketeering land. Whether such a claim could succeed would depend heavily on evidence of knowledge, intent, and the scale of the conduct. But the FIFA controversy inevitably invites the question raised in Kaiser: at what point does a recurring business practice stop looking like isolated misconduct and start looking systemic?

No one should assume that a criminal RICO case is around the corner. Federal prosecutors would need far stronger evidence and proof of knowing participation in criminal conduct. Yet once allegations involve recurring speculative inventory, consumer deception, electronic communications, and a potentially nationwide pattern of conduct, the discussion inevitably broadens from customer service to compliance and governance. The FTC has been partway down this path before with StubHub—while FTC can’t bring a criminal prosecution, it’s a short stop to a Department of Justice referral, Especially if you know who gets involved.

And that is what makes this episode different.

For years, StubHub could treat these controversies as disputes with unhappy customers. Today, StubHub is a public company. It has benefited from access to public capital markets and the confidence of public investors. With that status comes heightened expectations regarding compliance systems, risk management, internal controls, and regulatory oversight.

Angry fans are one thing. Invited guests in our country are another thing entirely, as are regulators, institutional investors, securities lawyers, and the SEC.

The problem for StubHub is not merely that critics predicted these issues. The problem is that critics raised them in court, raised them before federal regulators, and saw those concerns acknowledged in the FTC’s own rulemaking record—yet the complaints continue to surface.

The problem for StubHub is not that critics are saying something new. The problem is that critics appear to be saying the same thing they were saying in Kaiser—only now the whole world is watching.

If the FIFA complaints ultimately prove as widespread as it appears, investors may begin asking uncomfortable questions that go well beyond customer service. Is speculative ticketing a disclosed business risk? Is it primarily a compliance problem? Or is it so deeply embedded in the economics of the marketplace that meaningful reform would materially affect revenue and growth? And, as they say, “have a materially adverse affect on StubHub’s business.”

Those are not questions typically asked by disappointed fans on social media. They are the kinds of questions asked by regulators, analysts, institutional investors, auditors, and securities lawyers.

The secondary ticketing industry has spent years arguing that it provides efficiency and liquidity. Governor Polis defended the practices as an “innovative online ticket waiting service” (yes, he really said that). The FIFA fiasco suggests something different: a system that privatizes gains, socializes risk, and too often leaves consumers holding the bag.

For a public company operating under the gaze of both the FTC and the SEC, that should no longer be good enough.

Because the real risk for StubHub may not be the next user lawsuit, the next consumer arbitration demand, or even the next FTC inquiry. The real risk is that investors begin to conclude that what defenders have long described as isolated incidents are, in fact, permanent features of the unsavory business model itself.

California Takes a Step Toward Ending Speculative Ticketing

One of the most frustrating tricks in the ticket resale business is something called speculative ticketing. That’s when someone lists a ticket for sale before they actually have the ticket. We’ve discussed the problem many times, but Kid Rock brought it to a head recently during a hearing on Capitol Hill.

If you haven’t run across spec ticking before, here it is: The seller is essentially betting they will be able to obtain the ticket later. If they succeed, they deliver the ticket to the buyer. If they don’t, the buyer often ends up with a refund—or a replacement ticket of uncertain quality—instead of the seat they thought they purchased.

For fans and artists, the bigger problem is what speculative listings do to the market before the onsale even begins.

When fans check resale marketplaces and see hundreds of tickets already listed—often at inflated prices—it creates the impression that tickets are already scarce or sold out. That perception alone can push fans to panic-buy at higher prices, even when the actual ticket inventory hasn’t even been released yet.

In other words, speculative listings can make the market look hotter and tighter than it really is.

Ironically, most of the major resale platforms already say this practice is prohibited on their service. Their terms of service typically ban selling tickets that the seller does not actually possess.

Yet those same marketplaces often display large numbers of listings that appear to be exactly that: tickets offered for sale before the seller could reasonably have them in hand.

California is now attempting to address this problem directly. A new proposal would make it clear that selling tickets you do not possess—or do not have the legal right to sell—is a deceptive practice under consumer protection law. It would also allow state and local authorities to enforce those rules, rather than leaving fans to fight the battle on their own.

That proposal is California Assembly Bill 1349 (AB 1349).

AB 1349 aims to close the gap between what resale platforms claim to prohibit and what actually happens in the marketplace. The basic principle is simple: if a ticket is listed for sale, it should be a real ticket controlled by the seller, not a speculative promise that may or may not be fulfilled later.

The bill will not fix every problem in the ticketing ecosystem. But it represents an important step toward restoring a basic level of honesty to the resale market. After all, if the platforms themselves say you shouldn’t sell a ticket you don’t have, putting that rule into law should not be controversial.

For artists and fans alike, the idea behind AB 1349 comes down to something pretty straightforward:

You shouldn’t be able to sell a ticket you don’t actually own.

Don’t Sell What You Don’t Have: Why AB 1349’s Crackdown on Speculative Event Tickets Matters to Touring Artists and Fans

Update: AB 1349 passed the California Assembly, on to the Senate.

I rely on ticket revenue to pay my band and crew, and I depend on trust—between me and my fans—for my career to work at all. That’s why I support California’s AB 1349. At its core, this bill confronts one of the most corrosive practices in touring: speculative ticketing.

Speculative ticketing isn’t normal resale. It’s when sellers list tickets they don’t actually own and may never acquire. These listings often appear at inflated prices on reseller markets before tickets even go on sale, with no guarantee the seller can deliver the seat. In other words, it’s selling a promise, not a ticket. Fans may think they bought a ticket, but what they’ve really bought is a gamble that the reseller can later obtain the seat—usually at a lower price—and flip it to them while the reseller marketplace looks the other way.

Here’s how it works in practice. A reseller posts a listing, sometimes even a specific section, row, and seat, before they possess anything. The marketplace presents that listing like real inventory: seat maps, countdown timers, “only a few left” banners. That creates artificial scarcity before a single legitimate ticket has even been sold. Once tickets go on sale, the reseller tries to “cover” the sale—buying tickets during the onsale (often using bots or multiple accounts), buying from other resellers who did secure inventory, or substituting some “comparable” seat if the promised one doesn’t exist at an arbitrage price. If they can source lower than what they sold to the fan, they pocket the difference.

When that gamble fails, the risk gets dumped on the fan. Prices jump. Inventory really sells out. The reseller can’t deliver. What follows is a last-minute cancellation, a refund that arrives too late to help, a downgrade to worse seats, or a customer-service maze between the seller and the platform. Fans blame artists even if the artists had nothing to do with the arbitrage. I’ve seen fans get priced out because listings appeared online that had nothing to do with the actual onsale.   The reseller and the marketplace profit themselves while the fan, artist and venue suffer.

AB 1349 draws a bright-line rule that should have existed years ago: if you don’t actually have the ticket—or a contractual right to sell it—you can’t list it. That single principle collapses the speculative model. You can’t post phantom seats or inflate prices using imaginary inventory. It doesn’t ban resale. It doesn’t cap prices. It does stop a major source of fraud.

The bill also tackles the deception that makes speculative ticketing profitable. Fake “sold out” claims, copycat websites that look like official artist or venue pages, and listings that bury or hide face value all push fans into rushed, fear-based decisions. AB 1349 requires transparency about whether a ticket is a resale, what the original face price was, and what seat is actually being offered. That information lets fans make rational choices—and it reduces the backlash that inevitably lands on performers and venues when fans feel tricked.

Bots and circumvention tools are another part of the speculative pipeline. Artists and venues spend time and money designing fair onsales, presales for fan clubs, and purchase limits meant to spread tickets across real people. Automated systems that evade those limits defeat the entire purpose, feeding inventory into speculative listings within seconds. AB 1349 doesn’t outlaw resale; it targets the deliberate technological abuse that turns live music into a high-speed extraction game.

I also support the bill’s enforcement structure. This isn’t about turning fans into litigants or flooding courts. It’s about giving public enforcers real tools to police a market that has repeatedly shown it won’t self-regulate.

AB 1349 won’t fix everything overnight. But by stopping people from selling what they don’t have, it moves ticketing back toward a system built on possession, truth, and accountability. If every state prohibited speculative ticketing, it would largely disappear because resale would finally be backed by real inventory. For fans who just want to see the music they love—that’s not radical. It’s essential.

[This post first appeared on Hypebot]

@ArtistRights Institute opposes Texas Ticketing Legislation the “Scalpers’ Bill of Rights”

By Chris Castle

Coming soon to a state house near you, it looks like the StubHubs and SeatGeeks of this world are at it again. Readers will remember the “Trouble with Ticketing” panel at the Artist Rights Symposium last year and our discussion of the model “Scalpers’ Bill of Rights” that had been introduced at ALEC shortly before the panel convened.

A quick update, the “model” bill was so bad it couldn’t even get support at ALEC, which is saying something. However, the very same bill has shown up and been introduced in both the Texas and North Carolina state legislatures. I posted about it on MusicTechPolicy here.

The Texas House bill (HB 3621) is up for a hearing tomorrow. If you live in Texas you can comment and show up for public comments at the Legislature:

Submit Written Testimony (must be a Texas resident):
• Submit here: https://comments.house.texas.gov/home?c=c473
• Select HB 3621 by Bumgarner
• Keep comments under 3,000 characters

Testify In Person at the Capitol in Austin:
• Hearing Date: Wednesday, April 23 at 8:00 AM CT
• Location: Room E2.014, Texas Capitol
• Register here: https://house.texas.gov/committees/witness-registration
• You must create an account in advance: https://hwrspublicprofile.house.texas.gov/CreateAccount.aspx

ARI has submitted written comments through the Texas House comment portal, but we’re also sending the letter below to the committee so that we can add the color commentary and spin out the whole sordid tale of how this bill came to exist.

@Artist Rights Institute Newsletter 3/31/25

The Artist Rights Institute’s news digest Newsletter from Artist Rights Watch.

New Survey for Songwriters: We are surveying songwriters about whether they want to form a certified union. Please fill out our short Survey Monkey confidential survey here! Thanks!

Ticketing

Executive Order on Combating Unfair Practices in the Live Entertainment Market

Music Industry reacts to Executive Order on Ticket Scalping (Bruce Houghton/Hypebot)

What Hath Trump Wrought: The Effect of the Anti-Scalping Executive Order on StubHub’s IPO (Chris Castle/MusicTech.Solutions)

StubHub IPO Filing

Copyright Litigation

Merlin sues TikTok rival Triller for breach of contract over allegedly unpaid music licensing fees (Daniel Tencer/Music Business Worldwide)

Artificial Intelligence: Legislation

Artificial intelligence firms should pay artists and musicians for using their work amid uproar over Labour’s plans to exempt them from copyright laws, according to a new poll of Brits (Chris Pollard/Daily Mail)

European Union’s latest draft AI Code of Practice renders copyright ‘meaningless,’ rightsholders warn (Mandy Dalugdug/Music Business Worldwide)

Artificial Intelligence
The Style Returns: Some notes on ChatGPT and Studio Ghibli
 (Andres Guadamuz/TechnoLlama) 

OpenAI’s Preemption Request Highlights State Laws’ Downsides (Oliver Roberts/Bloomberg Law)

Copyright: Termination Rights

Update on Vetter v. Resnik case (Chris Castle/MusicTechPolicy)

Step Right Up: The Chamber of Progress’s Ticketing Chamber of Horrors Fools Nobody

It’s one of those sad facts there are people you meet in life who just always seem to have the wrong side of the deal. Sometimes it’s emotionally understandable in the case of kids like the Cox character from William Boyd’s Good and Bad at Games or even Smike from Nicholas Nickleby. But when you see one of these cringy Silicon Valley policy laundries like “Chamber of Progress” keep getting the wrong side of the deal, there’s a much simpler explanation.

And now they are wrapping themselves in the flag of progressivism as they run the thimblerig on–of all things–ticketing. And cutesy names like “Chamber of Progress” notwithstanding, the group’s latest “report” if you can call it that would have state legislators believe that the StubHubs of this world are actually on the side of all that is good, just innocent puppies scampering across the stage with an IPO in their mouth. 

These high minded choir boys fancy their souls are just purer than everyone else’s in their cyberlibertarian progressivism who oppose asymmetrical commercial power except when it suits them and only when it suits them. We see it with Chamber of Progress’s “Generate and Create” obfuscation campaign to promote Silicon Valley’s interests in the “fair use” copyright exception absurdly applied to generative AI. This under the guise of “supporting” artists while destroying their craft and, yes, their humanity. OK, I went there. And we now we see it in ticketing, too. Can’t these guys get a real job?

As we will see, what the Chamber of Progress is really about when it comes to our community is locking in asymmetrical power relationships and protecting Silicon Valley’s cybergod-given right to extract money from relationships where they are not wanted and transactions where they don’t belong. Far from “forget the middleman”, StubHub’s entire business model is based on imposing themselves as the middleman with, it would appear, some pretty nefarious partners. While Chamber of Progress wants to point to the pending Department of Justice case against LiveNation as an excuse for just about anything you can think of, it is well to remember that pending cases don’t always turn out as advertised and flags can become shrouds. Since they seem to like DOJ investigations so much, let’s not forget there’s another one that may be in the offing they’ll like a lot less.

The Flawed Premise of Faux Property Rights

The report starts off from a very flawed premise and a classic projection about the plethora of state ticketing laws backed or opposed by StubHub & Co. The Chamber tells us that “legislators should adopt resale ticketing laws to foster competition, reduce ticket prices, and increase transparency.” Reduce ticket prices? Really? If anyone is acting to increase ticket prices it’s the middleman resellers whose very existence undermines the longstanding economic relationship between artists and fans. Economic relationships that thrive in an environment of classical enforceable property rights.

It begins like a lot of these propaganda campaigns do–identify your villains (those you want to unseat) and then trot out a parade of horrors you create by shading the facts. By the end, a busy legislator or staffer is ready to believe they discovered the cause of cancer and that the potholes are somebody else’s fault!

But here is the essential flaw that I think brings down the entire chamber of horrors this report tries to manufacture. They really want you to believe that once an artist sells a ticket, that ticket can then be resold or repackaged because the artist has sold the right to control the ticket to the purchaser. This tortured analysis of the artist’s property rights is simply incorrect and this one error is the beginning of a cascading effect of really bad stuff for everyone in the chain. Here’s what the report says:

The use of “license” language in ticketing legislation has created a loophole that unscrupulous venues can exploit. When a ticket is defined as a “license” rather than a property right, it gives venues and event organizers the power to revoke the license of any ticket that is resold. This means that even if a ticket was legally purchased, the venue can declare it invalid if it is resold to another party. 

Resale freedom laws provide essential benefits to consumers by ensuring their rights to buy, sell, and transfer tickets without arbitrary restrictions by primary sellers like Live Nation. These laws help to keep ticket prices affordable and enhance consumer choice and access to live events. Resale freedom laws ban anti-consumer practices and empower fans to find tickets on the platform of their choice, increasing their chances of securing seats for popular events. 

See what they did there? First, they are selling “freedom” as in “resale freedom.” This is both laughable but truly Orwellian Newspeak, as in SLAVERY IS FREEDOM. This is not supposed to be a funny joke, somebody paid a lot of money for this report. Yet what do you expect from people who think “Chamber of Progress” is a great brand?

But seriously, they skip over the fact that the artist sets the price for their ticket. They skip over it because they have to if they want to make their sponsor’s case. That doesn’t make them correct, however. The report bungles the economic relationships in ticketing because they either fail to understand or don’t want to understand the reality.

The Report Gets the Economics Backwards

Live shows are not fungible or interchangeable. The ticket starts out as the artist’s property and the artist decides the ticket’s face price based on the economic relationship the artist wants with their fan. As David Lowery has said many times, the economic relationship between artists and fans is analogous to a subscription, it’s not a one-time transaction from which the artist wants to extract the net present value of all possible transactions with the fan. The resellers have the opposite relationship with the fan because to them, fans are fungible. Resellers want to extract the maximum from each fan transaction because they don’t care about a long-term relationship with the fan. Upside down world, right?

When the artist sells a ticket, they sell a right to attend the show under certain conditions. They don’t sell a piece of property. They don’t sell a pork belly or a can of Coke. They sell an emotional connection. That’s not a “loophole.” Pretending that a ticket is a pork belly is creating a loophole out of thin air.

That is true of cover charge for bands at your local dive bar and it is true of Taylor Swift at your local soft-seat venue or stadium. It’s also true in dynamic pricing situations–I’m not a fan of dynamic pricing, but I respect the artist’s decision if they think it’s right for them. Big or small, this is the core relationship that must be respected if you want live music to survive and it’s something I think about in Austin where the city styles itself the Live Music Capitol of the World.

So Chamber of Progress objects to state laws that confirm this license relationship, and that’s an important distinction. These laws confirm the reality of the true original property right, they don’t recreate an alternate reality out of whole cloth. The fact that it is even necessary to pass these laws belies the oligopoly power of StubHub & Co. 

But Chamber of Progress goes even further because the point of the report is to identify a villain. And here is where the fudging starts. They tell you “When a ticket is defined as a “license” rather than a property right, it gives venues and event organizers the power to revoke the license of any ticket that is resold.”

Not true. The artist has that right and delegates that right to the venues as part of the ticketing function. But even StubHub is leery of attacking artists directly so they devise this bizarre rhetorical construct of licensing vs. ownership in order to blame venues, and for what? Preventing scalpers from profiting from their scams and preventing resellers from profiting from their arbitrage. 

Bots and Scammers

This fallacy alone is really enough to refute the entire report, but wait, there’s more. There are two key foundations for the ticket reselling business at scale: bots and making a market for scammers to sell what they don’t own, aka speculative ticketing. They need bots because it allows scalpers to beat fans to tickets in quantity and they need spec ticketing because it allows them to sell a ticket that doesn’t even exist yet but for which there is demand.

Remember–bots are illegal. The Better Online Ticket Sales Act of 2016 sponsored by Senators Marsha Blackburn and Richard Blumenthal banned the use of bots for ticket sales in the US. The National Independent Talent Association asked the Federal Trade Commission to investigate open and notorious bot technologies on sale at the big ticket resellers convention:

Our organization recently attended the World Ticket Conference organized by the National Association of Ticket Brokers (NATB). At this event, we observed a sold-out exhibition hall filled with vendors selling and marketing products designed to bypass security measures for ticket purchases, in direct violation of the BOTS Act.

Realize, this isn’t a question of whether or not resellers profit from the use of bots on their platforms–the question is why aren’t people being prosecuted for violating the BOTS Act. But the Chamber of Progress wants you to believe there is something wrong with passing state laws to give state Attorneys General the power to prosecute these laws shoulder-to-shoulder with the overworked and under-resourced FTC.

Bills that purportedly claim to enhance transparency through speculative ticket bans, protect consumer rights through anti-bots legislation, or improve access through customer data sharing often contain hidden provisions that restrict competition and limit consumer choices. 

In other words, the report opposes banning speculative ticket sales–selling something you don’t own is already illegal, probably since the dawn of our legal systems–and opposes state anti-bots legislation–already illegal under the federal BOTS Act. This should tell you all you need to know.

It’s Just Business: Racketeering, Silicon Valley Style

The real story that goes unreported is that StubHub is currently being sued in a New York class action for violating the civil Racketeer Influenced and Corrupt Organizations laws in selling tickets to a UK football match without rights. They have managed to punt that case based on their one-sided adhesion contract requiring arbitration in their terms of service, but interestingly the federal judge overseeing the case has retained jurisdiction. Imagine the risk factor in the StubHub IPO prospectus about how they could be subject to the RICO laws.

I recently posted about a “model” ticketing legislation that some of these characters were trying to get adopted by ALEC (the conservative state lobbying operation) which I gather has been dropped since the old link to the model bill is dead. It looks to me like the Chamber report is a new offensive rising out of the ashes of the ALEC lobbying effort. 

“Progressives” Who Fail to Address Asymmetry between Big Tech and Artists are Not Progressives

So once again, our friends in Silicon Valley are trying to elbow their way into a place they are not wanted, not needed, and are poisonous all in the aid of making them even richer all under a miasma of crap about “reseller freedom.” Fortunately, the public is getting wise to their scams no matter how much they try to sell their oppressive tactics as some kind of freedom. If they want to really be progressive, they’d help artists establish a resale royalty so that we could share in the riches from their arbitrage in return for a right to resell our tickets. Don’t hold your breath.

As we’ve seen with their logical backflips in AI and now with ticketing, the Chamber of Progress may be a lot of things, but “progressive” they ain’t. Maybe we can help them find productive work in this season of hope.

[A version of this post first appeared on MusicTechPolicy.]

No Bots, No Billionaires: StubHub’s Grotesque IPO Demonstrates Another Artist Ripoff By Our Tech Oligarchs

By Chris Castle

StubHub is one of the richest thieves in the live ticket arbitrage market. The company is also a direct beneficiary of the U.S. government’s abysmal failure to enforce the Better Online Ticket Sales (BOTS) Act. Just like Spotify, another Goldman Sachs’ grifter, StubHub’s main objective is about to be a reality–a $16.5 billion initial public offering that will make its executives even richer. In case you were wondering where the value of all that touring was going, now you know. And StubHub’s IPO is yet another slap in the face to artists, not to mention the fans exploited by this tech oligarch.

Given the government’s newly acquired interest in the ticketing business as measured by the Department of Justice antitrust lawsuit against Live Nation, you would think that the DOJ and FTC would also step up to their obligation to enforce the BOTS Act. Remember, The BOTS Act, signed into law by President Obama in 2016, was designed to curb the use of automated software (bots) that purchase large quantities of event tickets, often within seconds of their release, to resell them at inflated prices through market makers like StubHub. It is so under-enforced that StubHub will no doubt be able to sneak out an IPO and slurp up money from the pubic trough before anyone knows better.

BOTS-driven Risk Factors

If it were ever enforced, the BOTS Act could have a significant financial downside for StubHub. I can’t wait to see the risk factors about bots in their IPO prospectus because let’s face it–if there were no bots and no boiler room operations, StubHub probably wouldn’t have much of a business. No bots, no billionaires. This one is not a theoretical antitrust case, this one is dealing with real-time massive consumer fraud about to be perpetuated and funded by the public financial markets.

The government’s enforcement of the BOTS Act is so poor that Senator Marsha Blackburn, a gifted legislator and one of the law’s co-authors, found it necessary to introduce even more legislation to try to get the FTC to do their job. The Mitigating Automated Internet Networks for (MAIN) Event Ticketing Act is a bill introduced in 2023 by Senators Blackburn and Ben Ray Luján that aims to give the FTC even fewer excuses not to enforce the BOTS Act. It would further the FTC’s consumer protection mission against IPO-driven ticket scalping. 

The sad truth is that the FTC didn’t take its first action to enforce the 2016 law until 2021. And that’s the only action it has ever taken. Yet we live in hope.

When the drafting sessions get started for the StubHub IPO, the underwriters really need to ask themselves how big a hit the company’s valuation will take when prosecutors figure out how dependent reseller platforms are on bots and market manipulation to extract hard-earned dollars from enthusiastic fans.

And it isn’t just bots by the way. MTP readers will recall our discussions about speculative ticketing which turns live event tickets into commodities to be traded like pork bellies–minus the consumer protection of the securities laws. Speculative ticketing is when a market maker like StubHub allows shady operators to offer the public a ticket that the seller doesn’t actually own and may not even exist. This is what happens when an artist has publicly announced a concert tour but has not yet put the tickets on sale. Speculative ticketing lets a scalper offer a ticket that doesn’t exist without properly disclosing that the seller doesn’t own the ticket being sold.

Now that just sounds criminal, doesn’t it? Selling something you don’t own?

StubHub RICO Suave

And speaking of criminal, StubHub is currently defending a civil RICO case in New York, accused of making a market for tickets it is not able to sell. The Kaiser v. StubHub class action lawsuit, filed on January 3, 2024, in the Supreme Court of the State of New York, alleges fraudulent ticket sales by StubHub, Inc. The plaintiff, Daniel J. Kaiser, a resident of Brooklyn, New York, claims that StubHub knowingly and repeatedly advertised and sold fraudulent tickets, thereby defrauding consumers and violating the Racketeer Influenced and Corrupt Organizations Act. 

What’s RICO? Civil RICO can be brought by private plaintiffs like Mr. Kaiser, but criminal RICO has to be brought by the government. Criminal RICO cases are initiated by government prosecutors, who must first obtain an indictment from a grand jury, followed by a criminal trial. While both civil and criminal RICO cases address racketeering activity, criminal RICO focuses on punishing and deterring criminal behavior, requiring a high standard of proof and resulting in severe penalties. Now there’s a risk factor. How’s this sound:

Potential Liability Under the Racketeer Influenced and Corrupt Organizations Act (RICO)

We are currently under investigation for potential violations of the Racketeer Influenced and Corrupt Organizations Act (RICO). RICO is a federal law designed to combat organized crime by allowing for both criminal and civil penalties for acts performed as part of an ongoing criminal organization. The investigation is focused on allegations that certain activities conducted by our company and its affiliates may constitute a pattern of racketeering activity under RICO.

Uncertainty and Potential Impact on Business Operations

The outcome of this investigation is uncertain, and we cannot predict the timing, outcome, or potential impact on our business, financial condition, or results of operations. If we are found to have violated RICO, we could face severe penalties, including substantial fines, forfeiture of assets, and significant reputational damage. Additionally, a criminal conviction under RICO could result in imprisonment for our key executives, which would severely disrupt our management and operations.

Nothing says white collar crime like RICO. This kind of consumer fraud is happening on a massive scale, yet the FTC apparently doesn’t feel it rises to the level of an investigation priority. 

Making it Stop

In the face of this weak-kneed approach to law enforcement, artists could simply prohibit the resale of their concert tickets. If companies like StubHub keep trying, that very well may be the result, particularly with fan-to-fan solutions like Twickets competing with the likes of StubHub. How about this risk factor:

Restrictions on Ticket Resales Could Adversely Affect Our Business

Our business model relies significantly on the resale of concert tickets. However, many artists and event organizers have implemented policies that prohibit the resale of their tickets above the face price. These restrictions are designed to prevent ticket scalping and ensure that fans can purchase tickets at reasonable prices.

If artists or event organizers enforce these resale restrictions, it could limit our ability to sell tickets at a premium, which is a key component of our revenue generation. This could result in reduced profit margins and negatively impact our financial performance. Additionally, compliance with these restrictions may require us to implement new systems and processes, which could increase our operational costs.

Furthermore, any violation of these resale restrictions could lead to legal actions against us, including fines and penalties, and could damage our relationships with artists, event organizers, and customers. This could harm our reputation and result in a loss of business opportunities.

Investors should consider the potential impact of these resale restrictions on our business and financial condition before making an investment decision. There can be no assurance that we will not face additional restrictions or legal challenges related to ticket resales in the future, which could further adversely affect our business.

Underwriters be thinking, where do I sign up, right? Maybe not.

[This post previously appeared on MusicTechPolicy]