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Ticketmaster launches global Livestream product

Overseen by a new, integrated global music division, Ticketmaster Livestream will made available to artists and their teams across the world

By IQ on 10 Feb 2021

TM ticketed Dua Lipa's Studio 2054 live stream

TM ticketed Dua Lipa's Studio 2054 live stream


image © TaP Management/Ticketmaster Livestream

Following the success of livestream campaigns with Niall Horan and Dua Lipa, Ticketmaster has combined its international artist services and US music teams to create a new global music team overseeing the launch of its Ticketmaster Livestream service worldwide.

The platform, which launched in 2020, has sold tickets for some of the biggest live streams to date, including Dua Lipa’s Studio 2054 and Niall Horan live from the Royal Albert Hall (125,000 tickets), as well as virtual shows by RBD, Megan thee Stallion, Mika, Glass Animals, Biffy Clyro and Dermot Kennedy.

David Marcus, the former head of Ticketmaster’s North American music division, will head up the global music team as executive vice-president of global music, working closely with UK-based Sam Isles, Ticketmaster senior vice-president of artist services.

“The live experience is the ultimate moment of connection between an artist and fan, and it’s our job to power these moments,” comments Marcus.

“The beauty of virtual shows is that we’re seeing global viewing – performances in London or LA are selling tickets to fans in NZ, Spain or Singapore”

“Now with this expansion, our offering is a global one-stop-shop run by a global team with local expertise. Our mission is to work with artists to make it as easy as possible for fans to experience the live music they love.”

Available in ten languages and 135 currencies, Ticketmaster Livestream has already sold tickets for virtual events to fans in more than 180 countries. The “platform-agnostic” service is compatible with any streaming service of the artist’s choice.

“Our technology quickly pivoted to selling streaming tickets at scale, and the acceleration in artists going virtual to engage has been remarkable,” continues Marcus. “So, too, is the readiness of fans to pay to access their favourite artists in this way.

“The beauty of virtual shows is that we’re seeing global viewing – performances in London or LA are selling tickets to fans in New Zealand, Spain or Singapore, [and] it’s revolutionising the way artists can connect. Nothing will replace the live experience, but this represents a new form of entertainment with its own rewards, and it’s definitely something that will remain for years to come.”

 


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