Field Dispatch
Matt Connarton Unleashed 9-27-25 hour 2
Game Plan
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Speaker 5: Change your child. It doesn't matter if.
Speaker 8: You want all right.
Speaker 5: You need to speak between the lines.
Speaker 7: And keep concasing.
Speaker 5: Keep concasing.
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Speaker 7: why try not skating vote?
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Speaker 7: It doesn't matter every wrong, all right.
Speaker 5: You need to.
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Speaker 1: It doesn't matter.
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Speaker 7: Givet be between the lies, keep focusing, keep pocussing, Take
Speaker 7: your child.
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Speaker 5: Keep pocusing.
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Speaker 9: here before.
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Speaker 1: to say any second, I'm gonna show you where this
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Speaker 1: on the side walk and he remember. So if you
Speaker 1: get the suicides off like I get so, I'm so,
Speaker 1: I guess you're taking enough. We drop a bo to
Speaker 1: send a message and mombo.
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Speaker 1: I can't stick to the park. Oh such the sky
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Speaker 1: stuck him down.
Speaker 5: I don't call im loning now like a long before
Speaker 5: come and die and nothing.
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Speaker 11: So I'm trying.
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Speaker 10: When mattso wakes up in the morning and he gets
Speaker 10: into the shower and to the top of his lungs
Speaker 10: he sings wine because all right, bank to the radio show.
Speaker 1: Now all the best jammery.
Speaker 6: Well, hey there we are.
Speaker 14: You're listening to Matt Connorton Unleashed and we are live
Speaker 14: from the studios of w m NH ninety five point
Speaker 14: three FM and Glorious Manchester, New Hampshire. If you are
Speaker 14: listening live today is Saturday September twenty seven, twenty twenty five,
Speaker 14: and of course Jenny is here at the news table
Speaker 14: present and accounted for the song that we just heard
Speaker 14: that is called Carly. That is the band Temptress, and
Speaker 14: I played that one because they're actually going to be
Speaker 14: joining us here in the third hour today, but that
Speaker 14: is of the four studio tracks that they wanted to
Speaker 14: feature today, that is my personal favorite, so selfishly, I
Speaker 14: decided to to play that one. I love that track
Speaker 14: so much. You might hear it again in the third
Speaker 14: hour if you're listening live. But I'm really looking forward
Speaker 14: to meeting them. They are going to be a part
Speaker 14: of Swarmy Fest coming up September fifteenth, right across the
Speaker 14: street at Jewel actually here in Manchester. Are looking forward
Speaker 14: to that, but.
Speaker 15: We are proud to be og original sponsors.
Speaker 14: That's right, this show, specifically Matt Connorton Unleashed. We are
Speaker 14: one of the sponsors of Swarmy Fest this year once again.
Speaker 14: But I had not previously been aware of this band, Temptress,
Speaker 14: But I love their sound. I think they're awesome, so
Speaker 14: really looking forward to meeting them in the third hour
Speaker 14: today of the show. Jenny, a couple things a mosaic
Speaker 14: you wanted to mention the Mosaic Are Collective, and then
Speaker 14: we'll get into some music news.
Speaker 5: Oh.
Speaker 16: Absolutely, there's a lot going on that's great over at
Speaker 16: the Mosaic Are Collective right now. Actually, the show that's
Speaker 16: up right now is called the Full Circle Show will
Speaker 16: be remaining up until the twenty sixth. Excuse me till
Speaker 16: a couple more days. It'll be sorry about that, guys. Anyway,
Speaker 16: let me go on. If you are in art, there's
Speaker 16: an open call for the Exquisite Corpse art show coming
Speaker 16: up and that car. That show is going to start
Speaker 16: running through October six until November two. You have to
Speaker 16: submit your work by midnight on the twenty eighth, so
Speaker 16: only one more day. This is an exhibit inspired by
Speaker 16: surrealist game What's hidden in the hands? Shapes, Unexpected creations,
Speaker 16: what's coming out of you that you want to share
Speaker 16: with the world. Enter it in and go to the
Speaker 16: open call to be in the show for the Exquisite Corpse.
Speaker 16: They're actually going to also be having artist talks. There's
Speaker 16: one coming up on the twenty ninth. Florent pos An
Speaker 16: r I pos O. Maybe I'm probably butchering the poor
Speaker 16: man's name.
Speaker 15: It's p O U S.
Speaker 16: S I n e a U that's gonna be at
Speaker 16: five forty five pm excuse me until seven thirty is
Speaker 16: going to talk about his multidisciplinary visual r It's based
Speaker 16: from France, so this is an opportunity to come see him.
Speaker 16: There's another artist coming in on October twenty second, Karen
Speaker 16: Jersic and she is a self taught international published photographer
Speaker 16: from the Boston area, graduated from UNH and she's going
Speaker 16: to be in the gallery having a live talk with everybody.
Speaker 16: And there's also a watercolor class Watercolor Foundations and Explorations
Speaker 16: starting on October seventh at ten am till noon. It's
Speaker 16: a five week course, so there's a lot of great
Speaker 16: stuff going on over at Missaic. You definitely want to
Speaker 16: go check them out if you've never been. It's located
Speaker 16: right here in the Queens City at sixty six an
Speaker 16: over Sweet Sweet.
Speaker 15: Two oh one. Check them out. Mosaic Arccollective dot com.
Speaker 6: That is exquisite corpse. That sounds spooky, I.
Speaker 16: Know right, I have a piece I've been working on
Speaker 16: and I'm struggling. I'm hoping I'm going to finish it.
Speaker 14: In time to enter It isn't there an expression live
Speaker 14: Fast Die Young leave behind an exquisite corpse or something
Speaker 14: like that.
Speaker 6: That is that is that? Not how it goes?
Speaker 15: That's not how okay, No, that's not it.
Speaker 6: Oh it's not.
Speaker 14: There's no behind. I made it too long. Live Fast
Speaker 14: Eye Young leave an exquisite corpse.
Speaker 15: That's not it.
Speaker 14: Isn't that the no no no, people say that no
Speaker 14: no okay, oh only me, only you? Well, very good,
Speaker 14: very good. We have some music news.
Speaker 6: This is interesting.
Speaker 14: So we've talked about Spotify before. This is interesting to
Speaker 14: me for a couple of reasons. But you had sent
Speaker 14: me this. This is from the Hollywood Reporter.
Speaker 10: Uh.
Speaker 14: Spotify removes seventy five million spammy in quotes, spammy songs,
Speaker 14: cracks down on AI use by bad actors. The music
Speaker 14: streaming giant is looking to modernize. I'm sorry, I moderate
Speaker 14: rather AI generated music as it floods its platform. I
Speaker 14: can see how that would be a problem. By the way,
Speaker 14: before we get into the the story in a little
Speaker 14: bit of depth. Here again, this is from the Hollywood Reporter.
Speaker 14: This just went up two days ago, so this is
Speaker 14: pretty fresh. But not only not only is this obviously,
Speaker 14: I mean, I can see why this would be a problem. Right,
Speaker 14: AI makes it so easy, like the Puno app for example,
Speaker 14: we've used it on this show. You can create music,
Speaker 14: you know, music that sounds like it was created by
Speaker 14: real people, really realistic music.
Speaker 15: Because they're stealing it from real people, but not realistically.
Speaker 14: But not only that, but so obviously this would be
Speaker 14: a problem, right, If it's that easy to create it,
Speaker 14: it's easy to you know, submit it to Spotify or
Speaker 14: any other streaming platform, right, and then uh, and then
Speaker 14: they will use it. But the other thing that's interesting
Speaker 14: to me, and this came up a few years ago Spotify,
Speaker 14: because we had talked about this on the show. This
Speaker 14: was yeah, this was at least two or three years ago.
Speaker 14: I think there was a story about how Spotify was
Speaker 14: having to go through and remove a lot of lower quality,
Speaker 14: you know, low quality in terms of production value, like
Speaker 14: stuff that sounded like demos, for example, not actually fully
Speaker 14: produced mixed and mastered music, because people were uploading so
Speaker 14: much music to Spotify, and a lot of it wasn't
Speaker 14: even necessarily you know, just just the quality, like anything
Speaker 14: that you hear on Spotify should should at minimum be
Speaker 14: the same quality that you might hear on the radio
Speaker 14: or that you might buy in a store, right, So
Speaker 14: that was becoming a problem. So Spotify was having to
Speaker 14: go through and remove a lot of that. And what
Speaker 14: was interesting about that is, you know, people don't necessarily
Speaker 14: realize these streaming services. It's not like, think of how
Speaker 14: much music gets uploaded to these streaming services every day
Speaker 14: across the world. But it's not as though they have
Speaker 14: unlimited storage. True, you know, there is, I mean, you know,
Speaker 14: they can always make more, right, but it's not as
Speaker 14: simple as like just you can just upload millions and
Speaker 14: millions of songs all at once and it's just fine.
Speaker 14: It's not so they have to as there. And look,
Speaker 14: I'm not please, I'm not expressing any sympathy for Spotify
Speaker 14: because I you know, artists complain often and I'll always
Speaker 14: add vocate on the side of artists that uh, Spotify
Speaker 14: pays out painfully low amounts of uh, you know, for
Speaker 14: for the music that uh you know, pays low amounts
Speaker 14: of these artists for making their music available to stream.
Speaker 14: But it's it's but but these are problems. You know,
Speaker 14: it's not a perfect business model in the sense that
Speaker 14: there are problems with you know, in terms of storage.
Speaker 14: And and now they're having to go through and deal
Speaker 14: with the onslaught of AI and release all these and
Speaker 14: remove rather all these spammy songs that are produced produced
Speaker 14: by AI and and not only that, but there's also
Speaker 14: going to be the effect of some people. And I
Speaker 14: remember we talked about this on the show once before.
Speaker 14: Some people are going to get caught in that net
Speaker 14: inevitably because of technology I'm sure is not perfect. Some
Speaker 14: people are going to get caught in that net who
Speaker 14: are not in fact, Uh you know these AI artists
Speaker 14: like what was her name, zany m One we talked
Speaker 14: about last week, or that's signed so you can't say
Speaker 14: that or that or that band. I forget the name
Speaker 14: of the band now, but we played something of theirs Interfury.
Speaker 6: No Interfury is.
Speaker 14: The one that you found or that guy found you.
Speaker 14: But there was another band we talked about on the
Speaker 14: show who U Is Charting? Who people thought, well people
Speaker 14: people figured out they're not a real band. But anyway,
Speaker 14: I forget who the who it is?
Speaker 6: Now?
Speaker 14: But what all their songs are like about war? Like
Speaker 14: very pro war but very strange. But uh but yeah,
Speaker 14: so so these are problems. But but there's going to
Speaker 14: be some artists who the software or whatever they're doing.
Speaker 14: However they're applying this because you can't have a human
Speaker 14: being sitting there doing all this, right, that software is
Speaker 14: going to detect artists who aren't necessarily AI generated, but
Speaker 14: maybe have AI elements, and there you know AI. I mean,
Speaker 14: you use AI in a recording studio anyway, you.
Speaker 6: Can't avoid it.
Speaker 14: Right, But let's let's look at this, so it says
Speaker 14: here again. This is from the Hollywood Reporter. Spotify is
Speaker 14: set to strengthen AI protections for artists and music producers
Speaker 14: with a series of measures including improved enforcement of impersonation violations,
Speaker 14: a new spam filtering system, and AI disclosures for music
Speaker 14: and industry standard credits. The music streaming giant made the
Speaker 14: announcement in a for the Record post on its website Thursday,
Speaker 14: noting that it had removed seventy five million spamy tracks.
Speaker 14: The post began quote the pace of recent advances in
Speaker 14: generative generative AI technology has felt quick and at times unsettling,
Speaker 14: especially for creatives. At its best, AI is unlocking incredible
Speaker 14: new ways for artists to creat music and for listeners
Speaker 14: to discover it. At its worst, AI can be used
Speaker 14: by bad actors and consent farm and content farms to
Speaker 14: confuse or deceive listeners, push slop into the ecosystem, and
Speaker 14: interfere with authentic artists working to build their careers. That
Speaker 14: kind of harmful AI content degrades the user experience for
Speaker 14: listeners and often attempts to divert roties to bad actors.
Speaker 6: The future.
Speaker 14: Again, this is from the statement the future of music industry.
Speaker 14: Of the music industry is being written, and we believe
Speaker 14: the aggressive that aggressively protecting against the worst parts of
Speaker 14: gen AI is essential to enabling its potential for artists
Speaker 14: and producers. We envision a future where artists and producers
Speaker 14: are in control of how or if they incorporate AI
Speaker 14: into their creative processes. As always, we leave those creative
Speaker 14: decisions artists themselves, while continuing our work to protect them
Speaker 14: against spam, impersonation, and deception, and providing listeners with greater
Speaker 14: transparency about the music they hear.
Speaker 6: Unquote.
Speaker 14: Regarding specifics on the issue of impersonation, Spotify has committed
Speaker 14: itself to stronger rules and better enforcement.
Speaker 6: Quote.
Speaker 14: We've introduced a new impersonation policy that clarifies how we
Speaker 14: handle claims about AI voice clones and other forms terms
Speaker 14: of unauthorized vocal impersonation, giving artists stronger protections and clearer recourse.
Speaker 14: Vocal impersonation is only allowed in music on Spotify when
Speaker 14: the impersonated artist has authorized its usage unquote. By the way,
Speaker 14: that is, there's more to this article, but that's one
Speaker 14: of the points where you know, I talked about people
Speaker 14: getting caught in the net. Again, I'm not I'm not
Speaker 14: criticizing Spotify for doing this. I think this is probably
Speaker 14: a really good thing, but it's not going to be perfect.
Speaker 14: What if you have an artist who just sounds like
Speaker 14: they just have a voice similar to another artist. You know,
Speaker 14: a lot of artists sound similar, and but there's I bet.
Speaker 16: There's things computers can pick up that's different about the
Speaker 16: may sound similar to the human ear.
Speaker 14: But maybe this isn't maybe maybe maybe, But but what
Speaker 14: if I just I can I can see there're being
Speaker 14: mistakes here. It's not going to be perfect. And what
Speaker 14: if an artist here's someone who they think sounds like
Speaker 14: them and they make a complaint, they make a claim,
Speaker 14: and then it turns out that the artist who sounds
Speaker 14: like them is a real person with a real voice
Speaker 14: who happens to sound like them. So there's going to
Speaker 14: be problems with this. I mean, ask anybody who's dealt
Speaker 14: with YouTube, you know, getting getting all kinds of you know,
Speaker 14: the stuff YouTube will put you through if you're a
Speaker 14: content creator, And we won't get in all of that,
Speaker 14: because that's a whole other conversation. But it's related in
Speaker 14: the sense that, you know, sometimes people get caught in
Speaker 14: a net and it's it's it's not a good uh
Speaker 14: I not a good thing to have happened to you.
Speaker 15: So it's it's going to be kind of a difficult
Speaker 15: thing to navigate.
Speaker 6: Yes, yes, it says here.
Speaker 14: Additionally, Spotify said it was ramping up quote investments to
Speaker 14: protect against another impersonation tactic. We're up loaders fraudulently deliver
Speaker 14: music AI generated or otherwise to another artist profile across
Speaker 14: streaming services. Uh, testing new prevention tactics with leading artists
Speaker 14: distributors to equip them to better stop these attacks. As
Speaker 14: at the source unquote. Yeah, so if you if you
Speaker 14: make a song that sounds like Taylor Swift and then
Speaker 14: you try to upload it as Taylor Swift, Let's say
Speaker 14: this is a new Taylor Swift.
Speaker 15: Remember, Yeah, people do slimy stuff like that.
Speaker 14: Well, oh, remember we talked about it on the show
Speaker 14: Selene Dion, where there was this AI generated Celene Dion
Speaker 14: song that fooled a lot of people and it was
Speaker 14: being uh it was pretty successful and I think it
Speaker 14: even charted on some chart somewhere.
Speaker 6: I don't know, but it was.
Speaker 14: It was on YouTube and people thought it was really
Speaker 14: her and it wasn't horrible. Uh yeah, but uh, but
Speaker 14: but there's also so sometimes if artists have similar names.
Speaker 14: I don't remember who it was. It was somebody we
Speaker 14: had on the show who they had tried to upload
Speaker 14: their music to Spotify, but their name was somewhat similar
Speaker 14: to someone else's name. It wasn't the same name, but
Speaker 14: it was somewhat similar and it kept it. Yeah, it
Speaker 14: was causing all kinds of problems. I don't remember the details.
Speaker 14: But it also says here again. This is from the
Speaker 14: Hollywood Reporter. Spotify hopes its new spam filtering measures will
Speaker 14: cut down on issues such as mass uploads, duplicates, SEO hacks,
Speaker 14: artificially artificially short track abuse, and other forms of slop
Speaker 14: that have all become easier and more prevalent due to
Speaker 14: AI tools. The new spam filter quote will identify uploaders
Speaker 14: and tracks engaging in these tactics, tag them, and stop
Speaker 14: recommending them unquote. The company says it will roll out
Speaker 14: a new music spam filter over the coming months and
Speaker 14: will be careful not to penalize the wrong uploaders. The
Speaker 14: third measure. Oh yeah, yeah, it won't be perfect. The
Speaker 14: third measure. Spotify has introduced is AI disclosures for music
Speaker 14: with industry standard credits.
Speaker 6: This is going to be messy.
Speaker 14: With AI increasingly being used in the music industry, the
Speaker 14: company wants to increase transparency of its use.
Speaker 6: Quote.
Speaker 14: We know the use of AI tools is increasingly a spectrum,
Speaker 14: not a binary, where artists and producers may choose to
Speaker 14: use AI to help with some parts of their productions
Speaker 14: and not others. The industry needs a nuanced approach to
Speaker 14: AI transparency, not forced to classify every song as either
Speaker 14: is AI or not AIS. That's going to get very,
Speaker 14: very messy. That's going to be I want to know.
Speaker 14: That's going to be hard though.
Speaker 15: But when you have breck now.
Speaker 16: We have record label signing AI artists, well yeah, how
Speaker 16: does that work?
Speaker 14: Well, that's but that's not messy. That's obvious. So it's
Speaker 14: easy to be transparent about that. But if you're especially
Speaker 14: if you're creating any type of electronic music in the
Speaker 14: studio or or at home on your on your laptop,
Speaker 14: you know, and then how is this, Uh, that's going
Speaker 14: to be tricky. I don't I don't know how this
Speaker 14: is going to work. Spotify says it will help develop
Speaker 14: and support new industry standard for AI disclosures in music
Speaker 14: credits that are being developed through the Digital Data Exchange,
Speaker 14: the International standard setting organization. The AI disclosure information will
Speaker 14: be displayed across the Spotify app. Spotify's new AI crackdown
Speaker 14: comes despite the company embracing AI and other aspects of
Speaker 14: its business. In February, Spotify said it will accept more
Speaker 14: AI narrated audio books on its platform through a partnership
Speaker 14: with Eleven. Still, the new AI measures will be welcomed
Speaker 14: by the major labels and fans after a number of
Speaker 14: recent news reports of undeclared AI artists racking up thousands
Speaker 14: of streams on Spotify. In July, The Guardian, Oh, this
Speaker 14: is the band I was trying to think of. I
Speaker 14: couldn't remember the name. In July, The Guardian reported the
Speaker 14: band the Velvet Sundown released two albums and accrued over
Speaker 14: one million streams on Spotify before it was revealed that
Speaker 14: the band and its music were AI generated. A Universal
Speaker 14: Music Group spokesperson told the harl of Hollywood Reporter, quote,
Speaker 14: we welcome Spotify's new AI protections as important steps toward
Speaker 14: toward consistent forward, I'm sorry, steps forward, consistent with our
Speaker 14: longstanding artist centric principles. We believe AI presents enormous opportunities
Speaker 14: for both artists and fans, which is why platforms, distributors,
Speaker 14: and aggregators must adopt measures to protect the health of
Speaker 14: the music ecosystem in order for these opportunities to flourish.
Speaker 14: These measures include content filtering, checks for infringement across streaming
Speaker 14: and social platforms, penalty systems for repeat of fringe infringers,
Speaker 14: chain of custodies, custody certification, and name and likeness verification.
Speaker 14: The adoption of these measures would enable artists to reach
Speaker 14: more fans, have more economic creative opportunities, and dramatically diminish
Speaker 14: the sea of noise and irrelevant content that threatens to
Speaker 14: drown out artists' voices. Unquote all right, so that is
Speaker 14: that's what's going on. At Spotify and again Spotify is
Speaker 14: nobody's favorite company again because of the way they pay
Speaker 14: or don't pay artists. But but I think this is
Speaker 14: a good thing that they're doing. But we'll see, there's
Speaker 14: going to be some pitfalls with it. Let's we have
Speaker 14: time to do at least one more music news story.
Speaker 14: Always so many interesting things going on in the industry.
Speaker 14: Let's see this is from Music Business Worldwide dot com,
Speaker 14: one of my favorite sites. You know, we were talking
Speaker 14: about it was it last week or the week before,
Speaker 14: we were talking about Ticketmaster and Live Nation. They're being
Speaker 14: sued by the Federal Trade Commission for unfair practices with
Speaker 14: you know, they have these these resellers on the secondary market,
Speaker 14: some of whom are owned or at least controlled by
Speaker 14: Live Nation itself. It's a dirty business to ticketing business.
Speaker 14: But this just went up a couple of days ago. Uh,
Speaker 14: Ticketmaster did not use dynamic pricing for Oasis concerts in
Speaker 14: the UK. Will change how it sells tickets in the market,
Speaker 14: says a watchdog group. So dynamic pricing, if you don't know,
Speaker 14: this is where this is a relatively new concept in
Speaker 14: the ticketing industry where prices will change on tickets. So
Speaker 14: you know, it used to be not long ago, when
Speaker 14: a promoter put tickets to a show on sale, the
Speaker 14: price was the price, and that was it. You don't
Speaker 14: raise the price if demand seems high, and you don't
Speaker 14: lower the price if demand is too low and the
Speaker 14: tickets aren't selling. Once you set the price, that's it
Speaker 14: for a promoter to actually adjust prices. Whether it be
Speaker 14: a major promoter or the biggest promoter of course Live
Speaker 14: Nation and their ticket selling arm Ticketmaster, or as a
Speaker 14: small local promoter just doing local shows, you don't see
Speaker 14: ticket prices being adjusted. But with dynamic pricing, it's like
Speaker 14: a it's almost like a real time sort of like eBay,
Speaker 14: but well no, that's a that's not a there's a
Speaker 14: better uber would be a much better analogy uber or lift.
Speaker 14: You know how, if you go to book a ride,
Speaker 14: the price may vary. It depends on demand, right if
Speaker 14: there's If demand is high, that ride the book is
Speaker 14: going to cost you more money. If demand is low,
Speaker 14: if the app isn't very busy, if the drivers aren't
Speaker 14: very busy, that trip is going to cost you a
Speaker 14: lot less. Right, So the pricing automatically fluctuates based on
Speaker 14: demand or lack thereof, Dynamic pricing does the same thing.
Speaker 14: So if there's high demand for a show, that dynamic pricing,
Speaker 14: if they're using that model, that's automatically going to inflate
Speaker 14: the prices. If demand is low the tickets aren't selling,
Speaker 14: it's going to deflate the price and that can swing
Speaker 14: kind of like add the airlines do that right, a
Speaker 14: sort of a form of dynamic pricing with flights for
Speaker 14: airline tickets. That's always been and they've been doing that forever,
Speaker 14: I believe, probably for decades, but this is relatively new
Speaker 14: to the concert industry, and Live Nation they're the first
Speaker 14: ones to actively do it that I know of. But
Speaker 14: so here part of why this is coming up again
Speaker 14: is because when Oasis tickets went on sale in the
Speaker 14: UK for the Reunion tour, there was a lot of
Speaker 14: frustration from people and the band was getting a lot
Speaker 14: of bad press, even though they're not in direct control
Speaker 14: of this part of the process, but a lot of
Speaker 14: bad press because of how expensive the tickets had become,
Speaker 14: and at the time Live Nation was being accused of
Speaker 14: using dynamic pricing, but according to this they actually were
Speaker 14: not in this since so this is interesting.
Speaker 6: This is part of why this story caught my eye.
Speaker 14: So the UK's competition watchdog says it has secured commitments
Speaker 14: from Ticketmaster to make tickets sales more transparent following an
Speaker 14: investigation into the sale of tickets to the UK and
Speaker 14: Ireland leg of Oasis' reunion tour. The Competition and Markets
Speaker 14: Authority CMA also, if you haven't heard from it again,
Speaker 14: this is in the UK, also said it has not
Speaker 14: found evidence that Ticketmaster used dynamic pricing in the sale
Speaker 14: of Oasis tickets. Dynamic pricing adjust tickets prices in real
Speaker 14: time based on demand and has proven controversial among some
Speaker 14: concert goers due to sudden spikes in prices. In a
Speaker 14: statement released on Thursday, September twenty five, the CMA said
Speaker 14: Live Nation owned Ticketmaster committed to telling fans twenty four
Speaker 14: hours in advance if it's using a tiered pricing system.
Speaker 14: By the way, we've covered this on the show Live
Speaker 14: Nation and Ticketmaster they have a little bit of a history.
Speaker 14: This will come as a shock to precisely know, and
Speaker 14: I'm sure of making certain statements about commitments to their
Speaker 14: customers in terms of transparency and so forth, and then
Speaker 14: not following through on much or any of it, just
Speaker 14: to be clear, Okay, but apparently they made this commitment
Speaker 14: tell fans twenty four hours in advance if they're going
Speaker 14: to be using dynamic pricing or some sort of tiered
Speaker 14: pricing system. CMA said, quote. This means fans will know
Speaker 14: beforehand if there are multiple prices for the same type
Speaker 14: of ticket, and that more expensive ones will be released
Speaker 14: once the cheapest sell out. Unquote, by the way, just
Speaker 14: to be clear if it's the same type of ticket.
Speaker 14: In other words, because there's always some form of tiered
Speaker 14: pricing in that if you're buying tickets for a show
Speaker 14: at an arena, you know, front row tickets are going
Speaker 14: to be more expensive than the middle. Middle row are
Speaker 14: going to be more expensive than you know, they call
Speaker 14: them the cheap seats way in the back, right. But
Speaker 14: what they're saying here is the same type of ticket,
Speaker 14: there will not be multiple tiers. So in other words,
Speaker 14: a front row ticket won't cost, however, many hundreds or
Speaker 14: thousands of dollars for one person and even more money
Speaker 14: for another person for that same type of ticket. So
Speaker 14: because there's there's always a tier system of sorts, but
Speaker 14: not a predatory and abusive one, necessarily should they be using.
Speaker 14: If you want to frame it that way, I have
Speaker 14: a lot of mixed feelings about it myself. Okay, so
Speaker 14: it says your Ticketmaster well, will also inform ticket buyers
Speaker 14: who join a queue of the range of ticket prices available,
Speaker 14: and will inform those in line when cheaper tickets sell out.
Speaker 14: The company also committed to not using any misleading ticket labels,
Speaker 14: the CMA said. The watchdog launched its investigation into Ticketmaster
Speaker 14: in September twenty twenty four, following the sale of Oasis tickets,
Speaker 14: which some news reports said involved dynamic pricing and saw
Speaker 14: large spikes and the prices of tickets during the sale. Yeah,
Speaker 14: so that was a year ago, and I remember we
Speaker 14: talked about it on this show. In fact, it was
Speaker 14: a very popular segment. If you just want to find
Speaker 14: the segment, you can find it on YouTube on the
Speaker 14: IPM Nation YouTube channel. But we put that up because,
Speaker 14: you know, something people were very interested about. And at
Speaker 14: that time, it was being reported that they were using
Speaker 14: dynamic pricing. But according to this this watchdog group is
Speaker 14: saying that actually they did not in that instance. So
Speaker 14: that's interesting. So the sale was marred again. Talking about
Speaker 14: the Oasis tickets that went on sale in the UK
Speaker 14: a year ago. The sale was marred by technical problems
Speaker 14: which may have been linked to a large number of
Speaker 14: bots attempting to buy up the available tickets. And we've
Speaker 14: talked about that a lot on the show too. These
Speaker 14: bots that buy up tickets on behalf of the secondary
Speaker 14: market who then take those their scalpers. They're scalpers, these
Speaker 14: secondary market ticket sellers. They buy up the tickets. They
Speaker 14: use bots to buy up the tickets. Why would you
Speaker 14: use bots? Why wouldn't you just go in as one
Speaker 14: person and just buy a whole bunch of tickets Because supposedly, uh,
Speaker 14: ticket Master prevents you from doing that. They put limits
Speaker 14: supposedly Again, they don't always keep their word. They don't
Speaker 14: always follow through on these things, and there are examples
Speaker 14: where they haven't. But they're supposed to limit how many
Speaker 14: tickets you can buy at once to prevent scalping. Doesn't
Speaker 14: always work out. But if you have bots, if you
Speaker 14: have multiple bots, Ticketmaster doesn't know that all these different
Speaker 14: bots are buying multiple tickets, or you know, if you
Speaker 14: have if you have one hundred bots and they're each
Speaker 14: buying five tickets, because you have a five ticket limit,
Speaker 14: but you've got one hundred bots, so then you've just bought,
Speaker 14: you know, five hundred tickets, right, or if you have
Speaker 14: one thousand bots, five thousand tickets I think, right, I'm
Speaker 14: bad at math, but anyway, you get my point. So
Speaker 14: in March of this year, the CMA said it had
Speaker 14: identified two key problems with Ticketmaster's sale of Oasis tickets. Okay,
Speaker 14: so I again not the dynamic pricing the watch this
Speaker 14: watchdog group CMA is saying they didn't do that. But
Speaker 14: here's what went wrong. Two things. One, the watchdog claimed
Speaker 14: Ticketmaster labeled certain seats tickets as platinum and sold them
Speaker 14: for nearly two and a half times the price of
Speaker 14: equivalent standard tickets quote without sufficiently explaining that they did
Speaker 14: not offer additional benefits and were often located in the
Speaker 14: same area of the stadium unquote. So in other words,
Speaker 14: so that's I think is pretty deceptive.
Speaker 6: Right.
Speaker 14: So they offered you a platinum ticket that was two
Speaker 14: and a half times more money, but you didn't actually
Speaker 14: get anything extra. It's the same it's the same seat.
Speaker 14: You're literally you know that expression when you buy a
Speaker 14: brand name product instead of instead of the generic version.
Speaker 14: You're just paying for the name, and this this is
Speaker 14: an example of that. You're literally paying for the name
Speaker 14: you're playing for. You're paying for something that's quote unquote platinum,
Speaker 14: but it's actually the exact same thing. So that's pretty sketchy.
Speaker 14: And the second thing that CMA said went wrong. They
Speaker 14: alleged that Ticketmaster quote did not inform consumers that there
Speaker 14: were two categories of standing tickets at different prices, with
Speaker 14: all of the cheaper standing tickets sold first before the
Speaker 14: more expensive standing tickets were released unquote. The CMA then
Speaker 14: appeared to put pressure on Ticketmaster, writing in a letter
Speaker 14: in July that it had quote discharged its obligation to
Speaker 14: consult with Ticketmaster as no undertakings have been offered or
Speaker 14: agreed unquote. That appears to have now changed, with the
Speaker 14: CMA saying that Ticketmaster had agreed to several undertakings in
Speaker 14: response to the CMA probe. Okay, so this progress, CMA said,
Speaker 14: quote These undertakings have been provided to the CMA voluntarily
Speaker 14: and without any admission of wrongdoing or liability. Ticketmaster has
Speaker 14: stopped using platinum labels in the UK. Separate to providing
Speaker 14: undertakings fans who spend their hard earned money to see
Speaker 14: artists say love deserve to see clear, accurate information. We
Speaker 14: can't ensure every fan gets a ticket for events as
Speaker 14: popular as the Oasis Tour, but we can help ensure
Speaker 14: the next time an event like this comes along, fans
Speaker 14: have the information they need when they need it unquote.
Speaker 14: According to Sarah Cardell, a CMA Chief executive, the CMA
Speaker 14: also indicated that dynamic pricing was not used in the
Speaker 14: Oasis on sale. This is an important detail because at
Speaker 14: the time it was being reported that yes, they were
Speaker 14: using dynamic pricing, and that was the crux of the issue.
Speaker 14: But this watchdog group actually clears Live Nation on this
Speaker 14: and says, quote, we welcome the CMA's confirmation. Oh I'm sorry, Ticketmaster.
Speaker 14: Oh let me back up, Let me back up. Okay,
Speaker 14: here's here's what CMA said. And then Ticketmaster responded, So
Speaker 14: CMA said quote. While many fans were under the impression
Speaker 14: that Ticketmaster used an algorithmic pricing model during the Oasis sale,
Speaker 14: with ticket prices adjusted in real time according to changing
Speaker 14: conditions like high demand, also known as dynamic pricing, the
Speaker 14: CMA has found no evidence that this was the case.
Speaker 6: Unquote. Okay.
Speaker 14: So then and Ticketmaster responded with a statement saying, quote,
Speaker 14: we welcome the CMA's confirmation that there was no dynamic pricing,
Speaker 14: no unfair practices, and that we did not breach consumer law.
Speaker 14: To further improve the customer experience, we voluntarily committed to
Speaker 14: clearer communication about ticket prices in queues. This builds up
Speaker 14: our capped resale. This builds on our capped resale, strong
Speaker 14: bought protection and clear pricing displays. And we encouraged the
Speaker 14: CMA to hold the entire industry to these same standards.
Speaker 14: Unquote in comments earlier. Well, actually hold on, wait, let
Speaker 14: me stop on that quote for just a second. So
Speaker 14: they're saying, I mean, it's great that they're making all
Speaker 14: these commitments. We'll see if they follow through, but it's
Speaker 14: kind of interesting that one little last part we encouraged
Speaker 14: CMA to hold the entire industry to these same standards.
Speaker 14: What's funny about that to me is so that sounds like, Okay,
Speaker 14: you know we're gonna agree to this, but you better
Speaker 14: make sure you hold everyone else to that same standard. Well,
Speaker 14: but who else is there you gotta I mean, just
Speaker 14: keep in mind Live Nation and ticket Master. It's the
Speaker 14: same company. They they control, They controlled the concert industry.
Speaker 14: I mean, obviously they are independent, smaller promoters throughout the country,
Speaker 14: throughout the world, throughout the UK. But this is a monopoly.
Speaker 14: This is absolutely a monopoly. So that sounds a little petty.
Speaker 14: Oh we hope you hold everyone to the same standards. Yeah, okay,
Speaker 14: but you guys are the ones that we're concerned with
Speaker 14: because you guys are the ones who control everything, right,
Speaker 14: So I just thought that was interesting. In comments earlier
Speaker 14: this year, Live Nation CEO Joe birch Told said that
Speaker 14: more often than not, dynamic pricing results in lower, not higher,
Speaker 14: ticket prices.
Speaker 6: I'm skeptical about that, although I can see how that
Speaker 6: might be.
Speaker 14: The case if a show, I mean, if a show
Speaker 14: isn't selling very well, then dynamic pricing would of course
Speaker 14: make for lower prices.
Speaker 6: But that's not where we get concerned. A show that
Speaker 6: isn't well.
Speaker 5: I don't know.
Speaker 14: Sometimes sometimes big tours end up underperforming. But birch Told
Speaker 14: said at a JP Morgan Chase conference in May, quote,
Speaker 14: most of our so called dynamic pricing is actually I'm
Speaker 14: reducing the price of tickets that haven't sold yet, because
Speaker 14: I see that the market clearing price. I'm not quite there.
Speaker 14: By definition, you can never raise the price of a
Speaker 14: ticket you've already sold. So that's why most of your
Speaker 14: dynamic pricing is actually lowering the price.
Speaker 6: Unquote.
Speaker 14: I'm open to that. I mean, there might be math
Speaker 14: that supports that. I understand his argument. I'm skeptical. I'm
Speaker 14: always skeptical of these people, but I understand his argument.
Speaker 14: All Right, one more very quick thing, and then we're
Speaker 14: going to hit our commercial break show some love to
Speaker 14: our amazing sponsors. But Jenny sent me this. Reuters is
Speaker 14: reporting that Universal Music UMG, Universal Music Group. We talk
Speaker 14: about them a lot on the show. UMG defeats copyright
Speaker 14: lawsuit over Mary J. Blige's nineteen ninety two sample. I
Speaker 14: didn't know anything about this until Jenny brought it to
Speaker 14: my attention. But this is from a routers. This just happened.
Speaker 14: UMG convinced a New York federal court on Tuesday to
Speaker 14: dismiss a copyright infringement lawsuit over an allegedly unauthorized sample
Speaker 14: in Mary J. Blige's nineteen ninety new hit song Real Love,
Speaker 14: Real Love. You know that song if you're old enough.
Speaker 14: US District Court Judge dale Oh dale Hoe, that's his name.
Speaker 14: US District Court Judge dale Hoe ruled that Real Love
Speaker 14: was not sufficiently similar to the honey Drippers. Nineteen seventy three,
Speaker 14: Song impeached the President to support Tough City records case
Speaker 14: against UMG.
Speaker 6: See, I didn't know about any of this.
Speaker 14: See when I when I hear the honey Drippers, I
Speaker 14: think of, did Robert Plant have that Robert Plant and
Speaker 14: the honey Drippers or something? There's this other group called
Speaker 14: the I don't know anyway. Spokespeople on attorneys for Tough
Speaker 14: City in UMG did not immediately respond to requests or
Speaker 14: comment on the decision. Blige is not involved in the lawsuit.
Speaker 14: That's how this often goes. Lawyers suing lawyers. Tough City
Speaker 14: said in the lawsuit that it owns tens of thousands
Speaker 14: of music copyrights from the genres of blues, rhythm and blues, jazz, funk, soul,
Speaker 14: hip hop, New Orleans, and Latin music, much of which
Speaker 14: might be otherwise might fall into obscurity. Okay, The lawsuits
Speaker 14: against the BC Boys and jay Z were later dismissed,
Speaker 14: So they've sued a lot of people apparently, So maybe
Speaker 14: that's how this label makes money. All right, we're going
Speaker 14: to take a commercial break. We're going to show some
Speaker 14: love to all of our amazing sponsors. If you are
Speaker 14: listening live on Saturday, we have Temptress coming up in
Speaker 14: the third hour. Really looking forward to talking with them.
Speaker 14: I do really love their sounds, so they will be
Speaker 14: joining us shortly. This is Matt Connorton unleashed and there
Speaker 14: is plenty more to come. Don't go anywhere.
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