Fans Struggle with Dynamic Pricing and Bots in High-Demand Concert Ticket Sales

Fans of major artists face intense challenges when trying to secure tickets for high-demand concerts, often enduring long online queues, system crashes, and unexpected price hikes. Two friends from Andorra la Vella, 24-year-old Laura Martínez and 26-year-old Adriana Pereira, recently failed to buy tickets for Bad Bunny's May shows in Barcelona. They logged in early from separate homes using different devices, but found over 20,000 people ahead in the virtual line. By the payment stage, prices had risen sharply from the initial listing, and the system ejected them without a purchase.

Music journalist Jordi Bianciotto attributes these struggles to overwhelming demand outstripping supply, even when artists add dates. He notes that online ticketing generates stress, anxiety, and frustration, particularly as users may not grasp dynamic pricing systems. These algorithms adjust costs in real time but are not always clearly disclosed upfront, leaving buyers confused.

Ticket prices have climbed alongside more elaborate productions, which Bianciotto says now drive artist revenue as album sales decline. "Today's shows are monumental and technically sophisticated, unlike those of decades ago," he explained.

Consumer advocates highlight deeper issues. Ruben Sánchez, general secretary of Spanish group Facua, describes the sector as rife with irregularities. He criticises "management fees" as fictitious charges that inflate prices without corresponding services, varying unjustifiably by ticket type. He argues all organisational costs should be included in the advertised price, without last-minute add-ons.

Resale remains contentious. Street scalping is banned, but online versions operate in a legal grey area. Sánchez warns of bots snapping up bulk tickets for profitable flips on secondary platforms, some tied to major distributors. He calls for stricter laws explicitly banning online resale for profit.

Andorra's Commerce and Consumer Unit cautions against unofficial resale channels, citing risks like inflated prices, unclear seller identities, high-pressure tactics, potential scams, and failure to receive tickets.

Bianciotto urges a cultural shift away from FOMO—the fear of missing out—that turns unattainable shows into personal failures. He recommends smaller venues, clubs, and auditoris for valuable, more accessible experiences.