The Ticket Resale Tug-of-War: Why California’s Failed Bill Matters More Than You Think
There’s something deeply frustrating about the modern concert-going experience, and it’s not just the overpriced beer or the endless lines. It’s the moment you realize the ticket you’ve been eyeing for months is now selling for triple its face value on a resale site. This isn’t just a minor annoyance—it’s a symptom of a broken system. California’s recent attempt to cap resale ticket prices, AB 1720, was supposed to fix this. But after a lobbying frenzy, the bill died in committee. Personally, I think this failure is a missed opportunity, but it’s also a revealing moment that exposes the power dynamics at play in the entertainment industry.
The Battle Lines: Who Wins and Who Loses?
On one side, you have fans, artists, and independent venues who argue that runaway resale prices are pricing out genuine fans. On the other, you have ticket resale platforms like StubHub, which spent a staggering $3.4 million lobbying against the bill. What makes this particularly fascinating is the sheer scale of the resistance. StubHub’s argument—that their model provides “choice, flexibility, and access”—feels like a thinly veiled defense of profiteering. In my opinion, this isn’t about fan access; it’s about protecting a lucrative business model built on scarcity and desperation.
What many people don’t realize is that the resale market isn’t just about scalpers making a quick buck. It’s a multi-billion-dollar industry that thrives on the inefficiencies of the primary ticketing market. AB 1720, which aimed to cap resale prices at 10% above face value, would have disrupted this system. But by limiting the bill to smaller venues, lawmakers essentially gutted its impact. This raises a deeper question: Are we willing to challenge the status quo, or are we content to let corporations dictate the terms of our cultural experiences?
The Bigger Picture: A National Conversation
California’s failure isn’t an isolated incident. Similar bills have passed in Maine, Vermont, and Washington, D.C., proving that this issue resonates beyond the Golden State. What this really suggests is that the problem isn’t just about ticket prices—it’s about the commodification of culture. When tickets become speculative assets rather than gateways to shared experiences, something fundamental is lost.
A detail that I find especially interesting is the bipartisan support for these reforms. From Kid Rock to Noah Kahan, artists across genres have spoken out against scalping. This isn’t a fringe issue; it’s a mainstream concern. Yet, despite this momentum, California’s bill failed. Why? Because money talks—and in this case, it shouted.
The Human Cost: Who’s Left Out?
If you take a step back and think about it, the real victims of this system are the fans. I’ve seen friends save for months to see their favorite artist, only to be priced out by resellers. It’s not just about the money; it’s about the emotional toll. Concerts are supposed to be communal experiences, not luxury commodities. By allowing resale platforms to operate unchecked, we’re effectively saying that cultural access is a privilege, not a right.
Looking Ahead: What’s Next?
While AB 1720 may be dead, the conversation is far from over. Assemblymember Matt Haney has vowed to keep fighting, and other states are moving forward with their own reforms. Personally, I think this is just the beginning. The failure of this bill has shone a spotlight on the issue, and public pressure isn’t going away.
One thing that immediately stands out is the need for federal action. State-by-state reforms are important, but they’re piecemeal solutions to a national problem. If we’re serious about making live music accessible, we need a comprehensive approach. This could mean antitrust measures against ticketing monopolies, transparency requirements for resale platforms, or even public ticketing systems.
Final Thoughts: A Cultural Crossroads
The death of AB 1720 isn’t just a policy failure—it’s a reflection of our values. Do we prioritize profit over people? Exclusivity over community? These are the questions we need to grapple with. From my perspective, the fight for affordable tickets is part of a larger struggle for cultural democracy. It’s about reclaiming spaces that belong to all of us, not just those who can afford to pay.
So, the next time you see a resale ticket priced at $500, remember: this isn’t just about the money. It’s about who gets to participate in our shared culture. And that’s a conversation worth having.
