Why Taylor Swift Eras Tour Tickets Sold Out: Industry Failures

When major international artists announce Canadian tour dates, many fans expect the ticket-buying process to be a mix of luck and frustration.

Buyers often find themselves watching prices spike as available seats vanish from view. For the most in-demand shows, artists rely on presale lotteries or fan clubs, leaving disappointed fans to seek tickets on resale platforms where prices can soar to several times face value.

Fixing a problem that has grown more entrenched over time is not simple. Industry observers and policymakers are debating multiple approaches—ranging from breaking up dominant companies to tightening rules around resales and transparency.

Lack of competition in the ticket industry

Some argue the industry’s troubles stem from a lack of competition. A single company and its affiliates control a large share of ticket distribution, prompting calls to create more alternatives for consumers.

Kevin Callahan, who leads North American government relations for resale platform StubHub, says his rival controls about 80% of primary sales at major venues and is gaining market share on resales too. During a visit to Toronto, he urged for more choices so customers can buy from multiple providers.

“Competition is generally good for consumers,” he said, adding that his company must continue to innovate to remain competitive.

The U.S. Department of Justice and a coalition of state and district attorneys have argued that Ticketmaster and Live Nation hold monopoly power over live events, alleging practices such as restricting venues from using other ticketing systems, acquiring potential competitors, and retaliating against venues that work with rivals. That case seeks remedies to curb the firms’ market control.

Live Nation’s executive vice-president of corporate and regulatory affairs rejects the lawsuit’s premise and disputes that the company harms artists or venues. Dan Wall points to resale markets as the main driver of high ticket costs and says criticism often stems from interests in the resale business.

While increased competition typically benefits consumers, Vass Bednar, co-author of The Big Fix: How Companies Capture Markets and Harm Canadians, cautions that focusing solely on the number of competitors can obscure deeper problems.

“We should be asking how the reselling economy and pricing practices work,” she said. “Counting competitors distracts from assessing how current players behave and how pricing is determined.”

Would capping resale prices help?

Live Nation CEO Michael Rapino recently proposed legislation to cap ticket resales at a 20% markup over face value. The idea is to curb buyers and automated bots that purchase tickets at release and resell them for steep profits.

Industry representatives estimate that aggressive reselling adds billions to what fans pay each year. Examples highlighted by critics include some resale listings for top shows fetching extraordinarily high prices—sometimes thousands of dollars per ticket—and premium seats appearing on resale markets well before performances begin.

Ontario’s previous government introduced a proposed law limiting resales to 50% above face value, but the current provincial government withdrew the regulation, calling it difficult to enforce.

Callahan opposes resale price caps. He argues caps cannot resolve underlying demand and may push transactions onto less secure marketplaces where buyers face higher fraud risk and limited recourse.

“A price cap won’t fix demand,” he said, adding that regulation could fragment the market and reduce consumer protections.

Many seats never reach the public sale

Catherine Moore, an adjunct professor at the University of Toronto who studies the music business, says ticket pricing problems often begin before resales. Fans rarely know how many seats will be released during a public sale or what price tiers will be available.

Research has shown that a substantial share of venue capacity is withheld from initial public sales. Reserved allocations go to artists, fan clubs, credit-card promotions, sponsors, and VIP packages; some seats are released later, days or even hours before an event.

Moore argues fans deserve clearer information about ticket availability at each stage of the sales cycle.

“Be transparent,” she said. “Explain why certain seats are held back. People may object to some allocations, but at least they would understand the process.”

Wall counters that most buyers simply want to know whether they got a ticket, not the mechanics behind availability. Still, he agrees platforms could better signal queue positions and indicate when seats in a given price range are sold out.

Dynamic pricing, artists and fans

Another contentious practice is dynamic pricing, which adjusts ticket prices in real time based on demand. Some artists and promoters use it, while others refuse. Dynamic pricing tools and sales analytics are available from ticketing platforms, but artists and promoters ultimately set pricing policies.

Wall says Ticketmaster provides analytics and tools but does not unilaterally impose price changes. He advises artists to avoid altering prices at the start of a sale because such moves can confuse and anger fans, but he acknowledges it is their decision to adjust pricing when demand proves higher or lower than expected.

When prices rise, fans often blame the ticketing platform. But Moore says governments face competing priorities and may be reluctant to intervene in a complex, high-revenue industry.

There is also a simple economic reality: for many blockbuster tours, demand far exceeds available seats. Ticketing companies have pointed out that to satisfy every interested fan, top artists would have to play hundreds of additional shows, which is usually impractical.

Moore highlights alternative solutions that can broaden access without dramatic price inflation: livestreaming performances and producing concert films. These options let fans share the experience affordably—an evening out with friends or a movie-theatre event—without paying thousands for a single ticket.

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