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The article discusses concerns raised by industry veterans and local artists about the impact of market giants like Live Nation Entertainment on Australia's live music scene. The unprecedented market power of Live Nation, coupled with the introduction of dynamic pricing, has raised worries about the concentration of market power in the hands of a few corporate entities. The article highlights the acquisitions and influence of Live Nation in Australia, as well as the potential negative effects on consumers, artists, and the overall music industry. Additionally, it explores potential regulatory measures and calls for greater transparency and fairness in the live music sector to protect Australian artists and culture. [Extracted from the article]

Dynamic pricing, also known as "In Demand" pricing, is a practice that adjusts ticket prices based on demand in order to maximize profit and shape consumer behavior. While dynamic pricing is common in tourism and air travel, it is relatively new to the music concert industry. Unlike other services, concert ticket prices are not seen until consumers reach the front of the queue, where they are presented with a price and a countdown timer. The live music market is dominated by a few key players, and the use of dynamic pricing has raised concerns about market power and exclusion from shared group experiences. Ticketmaster's dynamic pricing is currently under investigation in Europe and the UK, and the US government is suing Live Nation-Ticketmaster for misuse of monopoly power. The article suggests that dynamic pricing may be here to stay in the live music sector, but it also raises questions about the structural issues within the industry. [Extracted from the article]

The Western Australian government spent $8 million to subsidize two exclusive concerts by Coldplay in 2023, which were touted as a major tourism coup for the state. However, the true cost-benefits of such large-scale cultural initiatives cannot be measured solely by ticket purchases and tourism metrics. This trend of subsidizing concerts by successful commercial firms raises questions about the propriety and value of rewarding these entities with public funding. While these events may provide short-term economic stimulus, they can erode the capacity of the local arts community and neglect the long-term health of the sector. The focus on generating money from imported cultural goods rather than investing in the local music sector is a concern for the purpose of arts and cultural policy. The Australian music sector requires investment in small and medium venues, regulation of global tech platforms, and a rethinking of the role of public radio. [Extracted from the article]

Triple J Watchdog, a new website created by musician and software engineer Harrison Khannah, is shedding light on the music played on Australia's national youth broadcaster, Triple J. The website displays data on top artists, songs, genres, and more, revealing that Triple J plays more Australian artists and bands than from any other country. However, closer examination shows that the station also gives significant airtime to commercially oriented tracks and internationally recognized artists. Critics argue that Triple J prioritizes its own brand over enhancing Australian culture and community, despite its influence on the music market and local artists' ability to gain an audience. Triple J Watchdog provides transparent insights into the station's programming data, filling an important resource gap. [Extracted from the article]