In the realm of live music, few things can compare to the amazing feeling of a packed venue, a beloved band, and the shared energy of thousands of fans singing in unison. But for many, especially those from lower socio-economic backgrounds, this dream remains frustratingly out of reach not due to lack of passion, but because of skyrocketing ticket prices driven by monopolized ticketing systems. Using the example of the band Oasis and their upcoming tour.

The recent announcement of Oasis’ long-awaited reunion concerts sent shockwaves through the music world; particularly for fans who have waited over a decade to hear some of their classic songs sung live again. The excitement was quickly tempered by the reality of ticket prices and the process of getting tickets. Standard Oasis tickets before any premium charges were reportedly being resold for upwards of £300, with official prices starting around £75. For a band rooted in working-class Manchester, the irony is stark: the people who Oasis originally resonated with most are now priced out of seeing them live. Oasis is just an example of this, this can be seen with many different artists globally, and it raises a question of should something be done, and if so, who needs to make the first step and what should that first step be?

At the heart of this issue are ticketing giants who dominate the live event landscape. These companies often employ dynamic pricing models similar to airline pricing where ticket prices fluctuate based on demand. In theory, this aims to reflect market value. In practice, it frequently drives up costs to exploit fan enthusiasm, creating a system that prioritizes profit over accessibility. Worse still, these companies allow and often profit from reselling schemes that further inflate prices. It is only recently where some sites have now put procedures in place for tickets to be resold at the same value to which they were purchased. Additionally, there is the issue of bots buying hundreds of tickets during presales then relisting them on other sites for extortionate prices.

Now to put it into perspective, are there more pressing issues globally that need to be addressed, the answer is yes. However, in the world of criminology where we are constantly thinking about harm, what should be a crime or criminalised, it poses an interesting question and debate. The consequences are significant, particularly for lower-income individuals. Live music, once a unifying and accessible cultural experience, has become a luxury. For a working-class fan, spending £300 on a single concert excluding travel, accommodation, and other costs is unlikely. Add to this the current economic constraints they may be facing elsewhere, and it makes it even more unlikely.

In a world where there are so many pressures, restrictions, worries and concerns, music can be a form of escape and enjoyment. So, should ticket companies be held more accountable? Should there be stronger regulations to prevent price gouging and limit resale abuses? Governments could enforce price caps, mandate transparent pricing structures, or require a certain percentage of tickets to be sold at accessible prices. Additionally, artists themselves may have a role to play; by partnering with ethical ticket vendors or pushing for more equitable ticket distribution. I managed to get tickets at face value price after trying for the third time recently, this was through a process of receiving a unique code via email as a result of being identified as one of the many who had failed on previous occasions. In this sense, I may be classed as one of the lucky ones.

Oasis, a band that once embodied the voice of working-class Britain, now symbolizes a broader issue: the commercialisation of joy. Music should transcend economic boundaries rather than reinforcing them.