Matt Connarton Unleashed 9-27-25 hour 2

0:00 Speaker 1: Don't you have an angel ripsons.

0:17 Speaker 2: You see you know.

0:18 Speaker 3: Night something don't feel quire right to me.

0:28 Speaker 4: I've been taking some time to reutilize was choir right for me?

0:37 Speaker 5: Where I said, people who call, people.

0:39 Speaker 6: Who go to why try not skating vote?

0:43 Speaker 7: You never really know for sure who's gonna speaking around you?

0:49 Speaker 5: Change your child. It doesn't matter if.

0:52 Speaker 8: You want all right.

0:53 Speaker 5: You need to speak between the lines.

0:56 Speaker 7: And keep concasing.

0:58 Speaker 5: Keep concasing.

1:10 Speaker 3: Because you said you change for your feels a shame to me, but at the end of the days, for.

1:23 Speaker 5: Worse best to me.

1:30 Speaker 7: Well, I said, people who come, the people go, so why try not skating vote?

1:36 Speaker 5: You never read you know.

1:38 Speaker 6: Fo sure who's gonna stick around you?

1:42 Speaker 2: Take your child? It doesn't matter if you wrong, all right.

1:47 Speaker 5: You need to.

1:48 Speaker 7: Speak between the lines, keep rocasing, keep pocasing, saying your time. It doesn't matter every wrong, all right.

1:57 Speaker 5: You need to.

1:58 Speaker 7: Speak between the line, keep pocusing, keep pocussing, say your child.

2:16 Speaker 1: It doesn't matter.

2:17 Speaker 5: Every wrong, go right.

2:19 Speaker 7: Givet be between the lies, keep focusing, keep pocussing, Take your child.

2:27 Speaker 5: It doesn't under show if you all go right, git be between the lies.

2:32 Speaker 7: Don't keep focusing.

2:34 Speaker 5: Keep pocusing.

3:05 Speaker 3: You're free of the future.

3:07 Speaker 4: Cust the fiel pass still lives in you.

3:12 Speaker 9: You're scared for the present, cuzy like how it used to be, but stuning the goal you want to set all on folks, you get the feeling that you've been here before.

3:44 Speaker 4: There you go again, staring through the looking back. There you go against reministion about the pasts.

3:55 Speaker 5: How the time to change? And you play your games and you watch.

3:59 Speaker 4: The oh go on gave you me of misteaks, get out again, out again, the blank expression, oil face. They have a society, start suit change, you go back to you're happy face.

4:22 Speaker 7: A hundreds analia miles away.

4:25 Speaker 5: You put your life, you start to change, you dream of this.

4:30 Speaker 7: That's the fruit day.

5:20 Speaker 6: You know what I have to too bad.

5:22 Speaker 2: I don't want to be like sho.

5:25 Speaker 10: I recognizable from the person I lost.

5:31 Speaker 6: Shouldn't know better?

5:34 Speaker 5: Sounded for a while now proudly recutting, godn't that you sound no.

5:43 Speaker 2: Show, no way?

5:48 Speaker 5: Chill had a long guy.

5:54 Speaker 2: Had a long?

5:59 Speaker 5: How back yarn cat? That ain't long?

6:03 Speaker 10: Guy?

6:05 Speaker 2: How do you love?

6:10 Speaker 5: Can say?

6:10 Speaker 2: Hit the way? Said, but I don't want to start?

6:14 Speaker 5: John said, ain't no please like choke butty start.

6:19 Speaker 11: Like you want my friend who wasn't what your mother.

6:24 Speaker 5: Said?

6:24 Speaker 2: You're by john s. We you'll waste some many and we want to wait some min.

6:29 Speaker 5: So you waits some man, don't wait child, That ain't long guy, that an't nobody r cat.

6:47 Speaker 2: That ain't long guy.

6:50 Speaker 5: How do you like?

7:00 Speaker 11: H I've got that sick gen feeling love west feeling.

7:11 Speaker 6: I don't know what's to do it still love we sup you?

7:16 Speaker 1: I got that sick.

7:18 Speaker 11: Jeff figure ride don't know where I don't know what some time so.

7:50 Speaker 5: No way that a long guy.

7:57 Speaker 2: That lou don't not a long guy, not a long.

8:12 Speaker 11: Not got down, said Jeff. Fail noways.

8:18 Speaker 1: I said no want so time out.

8:20 Speaker 12: Say I O U.

8:42 Speaker 2: S right right riding.

9:31 Speaker 5: The sound the dog.

9:44 Speaker 1: Smile to say the flight song that keep the light song, to say any second, I'm gonna show you where this knife is gone. You see the line strong they chuck on the side walk and he remember. So if you get the suicides off like I get so, I'm so, I guess you're taking enough. We drop a bo to send a message and mombo.

10:05 Speaker 11: And we do it because we are the kingdom.

10:07 Speaker 5: Come son a more A lesson, but one of them.

10:12 Speaker 13: So ye, so.

10:32 Speaker 1: Just the saying a current called or what if I would come? And it's getting on to tell the difference between me and long. I'm screaming with my guy and I can't stick to the park. Oh such the sky I'm letting. Then someone slowly gone. Then you got to stuck him down.

10:58 Speaker 5: I don't call im loning now like a long before come and die and nothing.

11:02 Speaker 1: You don't want to feel like I don't belong. I guess it's just a sinner. I don't come a bar.

11:08 Speaker 11: So I'm trying.

11:17 Speaker 5: That's what I said. It's just s.

12:38 Speaker 13: S S was my.

12:49 Speaker 2: S No doll, no nos not.

13:02 Speaker 10: When mattso wakes up in the morning and he gets into the shower and to the top of his lungs he sings wine because all right, bank to the radio show.

13:19 Speaker 1: Now all the best jammery.

13:26 Speaker 6: Well, hey there we are.

13:27 Speaker 14: You're listening to Matt Connorton Unleashed and we are live from the studios of w m NH ninety five point three FM and Glorious Manchester, New Hampshire. If you are listening live today is Saturday September twenty seven, twenty twenty five, and of course Jenny is here at the news table present and accounted for the song that we just heard that is called Carly. That is the band Temptress, and I played that one because they're actually going to be joining us here in the third hour today, but that is of the four studio tracks that they wanted to feature today, that is my personal favorite, so selfishly, I decided to to play that one.

14:01 Speaker 14: I love that track so much. You might hear it again in the third hour if you're listening live. But I'm really looking forward to meeting them. They are going to be a part of Swarmy Fest coming up September fifteenth, right across the street at Jewel actually here in Manchester. Are looking forward to that, but.

14:13 Speaker 15: We are proud to be og original sponsors.

14:17 Speaker 14: That's right, this show, specifically Matt Connorton Unleashed. We are one of the sponsors of Swarmy Fest this year once again. But I had not previously been aware of this band, Temptress, But I love their sound. I think they're awesome, so really looking forward to meeting them in the third hour today of the show. Jenny, a couple things a mosaic you wanted to mention the Mosaic Are Collective, and then we'll get into some music news.

14:40 Speaker 5: Oh.

14:40 Speaker 16: Absolutely, there's a lot going on that's great over at the Mosaic Are Collective right now. Actually, the show that's up right now is called the Full Circle Show will be remaining up until the twenty sixth. Excuse me till a couple more days. It'll be sorry about that, guys. Anyway, let me go on. If you are in art, there's an open call for the Exquisite Corpse art show coming up and that car. That show is going to start running through October six until November two. You have to submit your work by midnight on the twenty eighth, so only one more day.

15:18 Speaker 16: This is an exhibit inspired by surrealist game What's hidden in the hands? Shapes, Unexpected creations, what's coming out of you that you want to share with the world. Enter it in and go to the open call to be in the show for the Exquisite Corpse. They're actually going to also be having artist talks. There's one coming up on the twenty ninth. Florent pos An r I pos O. Maybe I'm probably butchering the poor man's name.

15:49 Speaker 15: It's p O U S.

15:50 Speaker 16: S I n e a U that's gonna be at five forty five pm excuse me until seven thirty is going to talk about his multidisciplinary visual r It's based from France, so this is an opportunity to come see him. There's another artist coming in on October twenty second, Karen Jersic and she is a self taught international published photographer from the Boston area, graduated from UNH and she's going to be in the gallery having a live talk with everybody. And there's also a watercolor class Watercolor Foundations and Explorations starting on October seventh at ten am till noon.

16:28 Speaker 16: It's a five week course, so there's a lot of great stuff going on over at Missaic. You definitely want to go check them out if you've never been. It's located right here in the Queens City at sixty six an over Sweet Sweet.

16:41 Speaker 15: Two oh one. Check them out. Mosaic Arccollective dot com.

16:46 Speaker 6: That is exquisite corpse. That sounds spooky, I.

16:48 Speaker 16: Know right, I have a piece I've been working on and I'm struggling. I'm hoping I'm going to finish it.

16:53 Speaker 14: In time to enter It isn't there an expression live Fast Die Young leave behind an exquisite corpse or something like that.

17:00 Speaker 6: That is that is that? Not how it goes?

17:02 Speaker 15: That's not how okay, No, that's not it.

17:04 Speaker 6: Oh it's not.

17:05 Speaker 14: There's no behind. I made it too long. Live Fast Eye Young leave an exquisite corpse.

17:10 Speaker 15: That's not it.

17:10 Speaker 14: Isn't that the no no no, people say that no no okay, oh only me, only you? Well, very good, very good. We have some music news.

17:21 Speaker 6: This is interesting.

17:22 Speaker 14: So we've talked about Spotify before. This is interesting to me for a couple of reasons. But you had sent me this. This is from the Hollywood Reporter.

17:29 Speaker 10: Uh.

17:29 Speaker 14: Spotify removes seventy five million spammy in quotes, spammy songs, cracks down on AI use by bad actors. The music streaming giant is looking to modernize. I'm sorry, I moderate rather AI generated music as it floods its platform. I can see how that would be a problem. By the way, before we get into the the story in a little bit of depth. Here again, this is from the Hollywood Reporter. This just went up two days ago, so this is pretty fresh. But not only not only is this obviously, I mean, I can see why this would be a problem.

18:06 Speaker 14: Right, AI makes it so easy, like the Puno app for example, we've used it on this show. You can create music, you know, music that sounds like it was created by real people, really realistic music.

18:16 Speaker 15: Because they're stealing it from real people, but not realistically.

18:19 Speaker 14: But not only that, but so obviously this would be a problem, right, If it's that easy to create it, it's easy to you know, submit it to Spotify or any other streaming platform, right, and then uh, and then they will use it. But the other thing that's interesting to me, and this came up a few years ago Spotify, because we had talked about this on the show. This was yeah, this was at least two or three years ago. I think there was a story about how Spotify was having to go through and remove a lot of lower quality, you know, low quality in terms of production value, like stuff that sounded like demos, for example, not actually fully produced mixed and mastered music, because people were uploading so much music to Spotify, and a lot of it wasn't even necessarily you know, just just the quality, like anything that you hear on Spotify should should at minimum be the same quality that you might hear on the radio or that you might buy in a store, right, So that was becoming a problem.

19:14 Speaker 14: So Spotify was having to go through and remove a lot of that. And what was interesting about that is, you know, people don't necessarily realize these streaming services. It's not like, think of how much music gets uploaded to these streaming services every day across the world. But it's not as though they have unlimited storage. True, you know, there is, I mean, you know, they can always make more, right, but it's not as simple as like just you can just upload millions and millions of songs all at once and it's just fine.

19:48 Speaker 14: It's not so they have to as there. And look, I'm not please, I'm not expressing any sympathy for Spotify because I you know, artists complain often and I'll always add vocate on the side of artists that uh, Spotify pays out painfully low amounts of uh, you know, for for the music that uh you know, pays low amounts of these artists for making their music available to stream. But it's it's but but these are problems. You know, it's not a perfect business model in the sense that there are problems with you know, in terms of storage.

20:22 Speaker 14: And and now they're having to go through and deal with the onslaught of AI and release all these and remove rather all these spammy songs that are produced produced by AI and and not only that, but there's also going to be the effect of some people. And I remember we talked about this on the show once before. Some people are going to get caught in that net inevitably because of technology I'm sure is not perfect. Some people are going to get caught in that net who are not in fact, Uh you know these AI artists like what was her name, zany m One we talked about last week, or that's signed so you can't say that or that or that band.

21:01 Speaker 14: I forget the name of the band now, but we played something of theirs Interfury.

21:06 Speaker 6: No Interfury is.

21:07 Speaker 14: The one that you found or that guy found you. But there was another band we talked about on the show who U Is Charting? Who people thought, well people people figured out they're not a real band. But anyway, I forget who the who it is?

21:19 Speaker 6: Now?

21:19 Speaker 14: But what all their songs are like about war? Like very pro war but very strange. But uh but yeah, so so these are problems. But but there's going to be some artists who the software or whatever they're doing. However they're applying this because you can't have a human being sitting there doing all this, right, that software is going to detect artists who aren't necessarily AI generated, but maybe have AI elements, and there you know AI. I mean, you use AI in a recording studio anyway, you.

21:47 Speaker 6: Can't avoid it.

21:48 Speaker 14: Right, But let's let's look at this, so it says here again. This is from the Hollywood Reporter. Spotify is set to strengthen AI protections for artists and music producers with a series of measures including improved enforcement of impersonation violations, a new spam filtering system, and AI disclosures for music and industry standard credits. The music streaming giant made the announcement in a for the Record post on its website Thursday, noting that it had removed seventy five million spamy tracks.

22:19 Speaker 14: The post began quote the pace of recent advances in generative generative AI technology has felt quick and at times unsettling, especially for creatives. At its best, AI is unlocking incredible new ways for artists to creat music and for listeners to discover it. At its worst, AI can be used by bad actors and consent farm and content farms to confuse or deceive listeners, push slop into the ecosystem, and interfere with authentic artists working to build their careers. That kind of harmful AI content degrades the user experience for listeners and often attempts to divert roties to bad actors.

23:02 Speaker 6: The future.

23:03 Speaker 14: Again, this is from the statement the future of music industry. Of the music industry is being written, and we believe the aggressive that aggressively protecting against the worst parts of gen AI is essential to enabling its potential for artists and producers. We envision a future where artists and producers are in control of how or if they incorporate AI into their creative processes. As always, we leave those creative decisions artists themselves, while continuing our work to protect them against spam, impersonation, and deception, and providing listeners with greater transparency about the music they hear.

23:42 Speaker 6: Unquote.

23:44 Speaker 14: Regarding specifics on the issue of impersonation, Spotify has committed itself to stronger rules and better enforcement.

23:51 Speaker 6: Quote.

23:52 Speaker 14: We've introduced a new impersonation policy that clarifies how we handle claims about AI voice clones and other forms terms of unauthorized vocal impersonation, giving artists stronger protections and clearer recourse. Vocal impersonation is only allowed in music on Spotify when the impersonated artist has authorized its usage unquote. By the way, that is, there's more to this article, but that's one of the points where you know, I talked about people getting caught in the net. Again, I'm not I'm not criticizing Spotify for doing this.

24:28 Speaker 14: I think this is probably a really good thing, but it's not going to be perfect. What if you have an artist who just sounds like they just have a voice similar to another artist. You know, a lot of artists sound similar, and but there's I bet.

24:42 Speaker 16: There's things computers can pick up that's different about the may sound similar to the human ear.

24:47 Speaker 14: But maybe this isn't maybe maybe maybe, But but what if I just I can I can see there're being mistakes here. It's not going to be perfect. And what if an artist here's someone who they think sounds like them and they make a complaint, they make a claim, and then it turns out that the artist who sounds like them is a real person with a real voice who happens to sound like them. So there's going to be problems with this. I mean, ask anybody who's dealt with YouTube, you know, getting getting all kinds of you know, the stuff YouTube will put you through if you're a content creator, And we won't get in all of that, because that's a whole other conversation.

25:32 Speaker 14: But it's related in the sense that, you know, sometimes people get caught in a net and it's it's it's not a good uh I not a good thing to have happened to you.

25:44 Speaker 15: So it's it's going to be kind of a difficult thing to navigate.

25:49 Speaker 6: Yes, yes, it says here.

25:52 Speaker 14: Additionally, Spotify said it was ramping up quote investments to protect against another impersonation tactic. We're up loaders fraudulently deliver music AI generated or otherwise to another artist profile across streaming services. Uh, testing new prevention tactics with leading artists distributors to equip them to better stop these attacks. As at the source unquote. Yeah, so if you if you make a song that sounds like Taylor Swift and then you try to upload it as Taylor Swift, Let's say this is a new Taylor Swift.

26:31 Speaker 15: Remember, Yeah, people do slimy stuff like that.

26:34 Speaker 14: Well, oh, remember we talked about it on the show Selene Dion, where there was this AI generated Celene Dion song that fooled a lot of people and it was being uh it was pretty successful and I think it even charted on some chart somewhere.

26:48 Speaker 6: I don't know, but it was.

26:49 Speaker 14: It was on YouTube and people thought it was really her and it wasn't horrible. Uh yeah, but uh, but but there's also so sometimes if artists have similar names. I don't remember who it was. It was somebody we had on the show who they had tried to upload their music to Spotify, but their name was somewhat similar to someone else's name. It wasn't the same name, but it was somewhat similar and it kept it. Yeah, it was causing all kinds of problems. I don't remember the details. But it also says here again.

27:27 Speaker 14: This is from the Hollywood Reporter. Spotify hopes its new spam filtering measures will cut down on issues such as mass uploads, duplicates, SEO hacks, artificially artificially short track abuse, and other forms of slop that have all become easier and more prevalent due to AI tools. The new spam filter quote will identify uploaders and tracks engaging in these tactics, tag them, and stop recommending them unquote. The company says it will roll out a new music spam filter over the coming months and will be careful not to penalize the wrong uploaders.

28:10 Speaker 14: The third measure. Oh yeah, yeah, it won't be perfect. The third measure. Spotify has introduced is AI disclosures for music with industry standard credits.

28:23 Speaker 6: This is going to be messy.

28:24 Speaker 14: With AI increasingly being used in the music industry, the company wants to increase transparency of its use.

28:31 Speaker 6: Quote.

28:31 Speaker 14: We know the use of AI tools is increasingly a spectrum, not a binary, where artists and producers may choose to use AI to help with some parts of their productions and not others. The industry needs a nuanced approach to AI transparency, not forced to classify every song as either is AI or not AIS. That's going to get very, very messy. That's going to be I want to know. That's going to be hard though.

29:03 Speaker 15: But when you have breck now.

29:05 Speaker 16: We have record label signing AI artists, well yeah, how does that work?

29:09 Speaker 14: Well, that's but that's not messy. That's obvious. So it's easy to be transparent about that. But if you're especially if you're creating any type of electronic music in the studio or or at home on your on your laptop, you know, and then how is this, Uh, that's going to be tricky. I don't I don't know how this is going to work. Spotify says it will help develop and support new industry standard for AI disclosures in music credits that are being developed through the Digital Data Exchange, the International standard setting organization.

29:39 Speaker 14: The AI disclosure information will be displayed across the Spotify app. Spotify's new AI crackdown comes despite the company embracing AI and other aspects of its business. In February, Spotify said it will accept more AI narrated audio books on its platform through a partnership with Eleven. Still, the new AI measures will be welcomed by the major labels and fans after a number of recent news reports of undeclared AI artists racking up thousands of streams on Spotify. In July, The Guardian, Oh, this is the band I was trying to think of.

30:15 Speaker 14: I couldn't remember the name. In July, The Guardian reported the band the Velvet Sundown released two albums and accrued over one million streams on Spotify before it was revealed that the band and its music were AI generated. A Universal Music Group spokesperson told the harl of Hollywood Reporter, quote, we welcome Spotify's new AI protections as important steps toward toward consistent forward, I'm sorry, steps forward, consistent with our longstanding artist centric principles. We believe AI presents enormous opportunities for both artists and fans, which is why platforms, distributors, and aggregators must adopt measures to protect the health of the music ecosystem in order for these opportunities to flourish.

31:04 Speaker 14: These measures include content filtering, checks for infringement across streaming and social platforms, penalty systems for repeat of fringe infringers, chain of custodies, custody certification, and name and likeness verification. The adoption of these measures would enable artists to reach more fans, have more economic creative opportunities, and dramatically diminish the sea of noise and irrelevant content that threatens to drown out artists' voices. Unquote all right, so that is that's what's going on.

31:37 Speaker 14: At Spotify and again Spotify is nobody's favorite company again because of the way they pay or don't pay artists. But but I think this is a good thing that they're doing. But we'll see, there's going to be some pitfalls with it. Let's we have time to do at least one more music news story. Always so many interesting things going on in the industry. Let's see this is from Music Business Worldwide dot com, one of my favorite sites. You know, we were talking about it was it last week or the week before, we were talking about Ticketmaster and Live Nation.

32:10 Speaker 14: They're being sued by the Federal Trade Commission for unfair practices with you know, they have these these resellers on the secondary market, some of whom are owned or at least controlled by Live Nation itself. It's a dirty business to ticketing business. But this just went up a couple of days ago. Uh, Ticketmaster did not use dynamic pricing for Oasis concerts in the UK. Will change how it sells tickets in the market, says a watchdog group. So dynamic pricing, if you don't know, this is where this is a relatively new concept in the ticketing industry where prices will change on tickets.

32:46 Speaker 14: So you know, it used to be not long ago, when a promoter put tickets to a show on sale, the price was the price, and that was it. You don't raise the price if demand seems high, and you don't lower the price if demand is too low and the tickets aren't selling. Once you set the price, that's it for a promoter to actually adjust prices. Whether it be a major promoter or the biggest promoter of course Live Nation and their ticket selling arm Ticketmaster, or as a small local promoter just doing local shows, you don't see ticket prices being adjusted.

33:23 Speaker 14: But with dynamic pricing, it's like a it's almost like a real time sort of like eBay, but well no, that's a that's not a there's a better uber would be a much better analogy uber or lift. You know how, if you go to book a ride, the price may vary. It depends on demand, right if there's If demand is high, that ride the book is going to cost you more money. If demand is low, if the app isn't very busy, if the drivers aren't very busy, that trip is going to cost you a lot less. Right, So the pricing automatically fluctuates based on demand or lack thereof, Dynamic pricing does the same thing.

34:03 Speaker 14: So if there's high demand for a show, that dynamic pricing, if they're using that model, that's automatically going to inflate the prices. If demand is low the tickets aren't selling, it's going to deflate the price and that can swing kind of like add the airlines do that right, a sort of a form of dynamic pricing with flights for airline tickets. That's always been and they've been doing that forever, I believe, probably for decades, but this is relatively new to the concert industry, and Live Nation they're the first ones to actively do it that I know of.

34:32 Speaker 14: But so here part of why this is coming up again is because when Oasis tickets went on sale in the UK for the Reunion tour, there was a lot of frustration from people and the band was getting a lot of bad press, even though they're not in direct control of this part of the process, but a lot of bad press because of how expensive the tickets had become, and at the time Live Nation was being accused of using dynamic pricing, but according to this they actually were not in this since so this is interesting.

35:01 Speaker 6: This is part of why this story caught my eye.

35:03 Speaker 14: So the UK's competition watchdog says it has secured commitments from Ticketmaster to make tickets sales more transparent following an investigation into the sale of tickets to the UK and Ireland leg of Oasis' reunion tour. The Competition and Markets Authority CMA also, if you haven't heard from it again, this is in the UK, also said it has not found evidence that Ticketmaster used dynamic pricing in the sale of Oasis tickets. Dynamic pricing adjust tickets prices in real time based on demand and has proven controversial among some concert goers due to sudden spikes in prices.

35:44 Speaker 14: In a statement released on Thursday, September twenty five, the CMA said Live Nation owned Ticketmaster committed to telling fans twenty four hours in advance if it's using a tiered pricing system.

35:59 Speaker 14: By the way, we've covered this on the show Live Nation and Ticketmaster they have a little bit of a history. This will come as a shock to precisely know, and I'm sure of making certain statements about commitments to their customers in terms of transparency and so forth, and then not following through on much or any of it, just to be clear, Okay, but apparently they made this commitment tell fans twenty four hours in advance if they're going to be using dynamic pricing or some sort of tiered pricing system.

36:30 Speaker 14: CMA said, quote. This means fans will know beforehand if there are multiple prices for the same type of ticket, and that more expensive ones will be released once the cheapest sell out. Unquote, by the way, just to be clear if it's the same type of ticket. In other words, because there's always some form of tiered pricing in that if you're buying tickets for a show at an arena, you know, front row tickets are going to be more expensive than the middle. Middle row are going to be more expensive than you know, they call them the cheap seats way in the back, right.

37:00 Speaker 14: But what they're saying here is the same type of ticket, there will not be multiple tiers. So in other words, a front row ticket won't cost, however, many hundreds or thousands of dollars for one person and even more money for another person for that same type of ticket. So because there's there's always a tier system of sorts, but

37:22 Speaker 14: not a predatory and abusive one, necessarily should they be using. If you want to frame it that way, I have a lot of mixed feelings about it myself. Okay, so it says your Ticketmaster well, will also inform ticket buyers who join a queue of the range of ticket prices available, and will inform those in line when cheaper tickets sell out. The company also committed to not using any misleading ticket labels, the CMA said. The watchdog launched its investigation into Ticketmaster in September twenty twenty four, following the sale of Oasis tickets, which some news reports said involved dynamic pricing and saw large spikes and the prices of tickets during the sale.

38:01 Speaker 14: Yeah, so that was a year ago, and I remember we talked about it on this show. In fact, it was a very popular segment. If you just want to find the segment, you can find it on YouTube on the IPM Nation YouTube channel. But we put that up because, you know, something people were very interested about. And at that time, it was being reported that they were using dynamic pricing. But according to this this watchdog group is saying that actually they did not in that instance. So that's interesting. So the sale was marred again.

38:30 Speaker 14: Talking about the Oasis tickets that went on sale in the UK a year ago. The sale was marred by technical problems which may have been linked to a large number of bots attempting to buy up the available tickets. And we've talked about that a lot on the show too. These bots that buy up tickets on behalf of the secondary market who then take those their scalpers. They're scalpers, these secondary market ticket sellers. They buy up the tickets. They use bots to buy up the tickets. Why would you use bots?

38:59 Speaker 14: Why wouldn't you just go in as one person and just buy a whole bunch of tickets Because supposedly, uh, ticket Master prevents you from doing that. They put limits supposedly Again, they don't always keep their word. They don't always follow through on these things, and there are examples where they haven't. But they're supposed to limit how many tickets you can buy at once to prevent scalping. Doesn't always work out. But if you have bots, if you have multiple bots, Ticketmaster doesn't know that all these different bots are buying multiple tickets, or you know, if you have if you have one hundred bots and they're each buying five tickets, because you have a five ticket limit, but you've got one hundred bots, so then you've just bought, you know, five hundred tickets, right, or if you have one thousand bots, five thousand tickets I think, right, I'm bad at math, but anyway, you get my point.

39:49 Speaker 14: So

39:52 Speaker 14: in March of this year, the CMA said it had identified two key problems with Ticketmaster's sale of Oasis tickets. Okay, so I again not the dynamic pricing the watch this watchdog group CMA is saying they didn't do that. But here's what went wrong. Two things. One, the watchdog claimed Ticketmaster labeled certain seats tickets as platinum and sold them for nearly two and a half times the price of equivalent standard tickets quote without sufficiently explaining that they did not offer additional benefits and were often located in the same area of the stadium unquote.

40:23 Speaker 14: So in other words, so that's I think is pretty deceptive.

40:26 Speaker 6: Right.

40:27 Speaker 14: So they offered you a platinum ticket that was two and a half times more money, but you didn't actually get anything extra. It's the same it's the same seat. You're literally you know that expression when you buy a brand name product instead of instead of the generic version. You're just paying for the name, and this this is an example of that. You're literally paying for the name you're playing for. You're paying for something that's quote unquote platinum, but it's actually the exact same thing.

40:51 Speaker 14: So that's pretty sketchy. And the second thing that CMA said went wrong. They alleged that Ticketmaster quote did not inform consumers that there were two categories of standing tickets at different prices, with all of the cheaper standing tickets sold first before the more expensive standing tickets were released unquote. The CMA then appeared to put pressure on Ticketmaster, writing in a letter in July that it had quote discharged its obligation to consult with Ticketmaster as no undertakings have been offered or agreed unquote.

41:21 Speaker 14: That appears to have now changed, with the CMA saying that Ticketmaster had agreed to several undertakings in response to the CMA probe. Okay, so this progress, CMA said, quote These undertakings have been provided to the CMA voluntarily and without any admission of wrongdoing or liability. Ticketmaster has stopped using platinum labels in the UK. Separate to providing undertakings fans who spend their hard earned money to see artists say love deserve to see clear, accurate information. We can't ensure every fan gets a ticket for events as popular as the Oasis Tour, but we can help ensure the next time an event like this comes along, fans have the information they need when they need it unquote.

42:03 Speaker 14: According to Sarah Cardell, a CMA Chief executive, the CMA also indicated that dynamic pricing was not used in the Oasis on sale. This is an important detail because at the time it was being reported that yes, they were using dynamic pricing, and that was the crux of the issue. But this watchdog group actually clears Live Nation on this and says, quote, we welcome the CMA's confirmation. Oh I'm sorry, Ticketmaster. Oh let me back up, Let me back up. Okay, here's here's what CMA said. And then Ticketmaster responded, So CMA said quote.

42:35 Speaker 14: While many fans were under the impression that Ticketmaster used an algorithmic pricing model during the Oasis sale, with ticket prices adjusted in real time according to changing conditions like high demand, also known as dynamic pricing, the CMA has found no evidence that this was the case.

42:51 Speaker 6: Unquote. Okay.

42:53 Speaker 14: So then and Ticketmaster responded with a statement saying, quote, we welcome the CMA's confirmation that there was no dynamic pricing, no unfair practices, and that we did not breach consumer law. To further improve the customer experience, we voluntarily committed to clearer communication about ticket prices in queues. This builds up our capped resale. This builds on our capped resale, strong bought protection and clear pricing displays. And we encouraged the CMA to hold the entire industry to these same standards.

43:21 Speaker 14: Unquote in comments earlier. Well, actually hold on, wait, let me stop on that quote for just a second. So they're saying, I mean, it's great that they're making all these commitments. We'll see if they follow through, but it's kind of interesting that one little last part we encouraged CMA to hold the entire industry to these same standards. What's funny about that to me is so that sounds like, Okay, you know we're gonna agree to this, but you better make sure you hold everyone else to that same standard.

43:45 Speaker 14: Well, but who else is there you gotta I mean, just keep in mind Live Nation and ticket Master. It's the same company. They they control, They controlled the concert industry. I mean, obviously they are independent, smaller promoters throughout the country, throughout the world, throughout the UK. But this is a monopoly. This is absolutely a monopoly. So that sounds a little petty. Oh we hope you hold everyone to the same standards. Yeah, okay, but you guys are the ones that we're concerned with because you guys are the ones who control everything, right, So I just thought that was interesting.

44:28 Speaker 14: In comments earlier this year, Live Nation CEO Joe birch Told said that more often than not, dynamic pricing results in lower, not higher, ticket prices.

44:40 Speaker 6: I'm skeptical about that, although I can see how that might be.

44:43 Speaker 14: The case if a show, I mean, if a show isn't selling very well, then dynamic pricing would of course make for lower prices.

44:50 Speaker 6: But that's not where we get concerned. A show that isn't well.

44:55 Speaker 5: I don't know.

44:55 Speaker 14: Sometimes sometimes big tours end up underperforming. But birch Told said at a JP Morgan Chase conference in May, quote, most of our so called dynamic pricing is actually I'm reducing the price of tickets that haven't sold yet, because I see that the market clearing price. I'm not quite there. By definition, you can never raise the price of a ticket you've already sold. So that's why most of your dynamic pricing is actually lowering the price.

45:23 Speaker 6: Unquote.

45:24 Speaker 14: I'm open to that. I mean, there might be math that supports that. I understand his argument. I'm skeptical. I'm always skeptical of these people, but I understand his argument.

45:37 Speaker 14: All Right, one more very quick thing, and then we're going to hit our commercial break show some love to our amazing sponsors. But Jenny sent me this. Reuters is reporting that Universal Music UMG, Universal Music Group. We talk about them a lot on the show. UMG defeats copyright lawsuit over Mary J. Blige's nineteen ninety two sample. I didn't know anything about this until Jenny brought it to my attention. But this is from a routers. This just happened. UMG convinced a New York federal court on Tuesday to dismiss a copyright infringement lawsuit over an allegedly unauthorized sample in Mary J. Blige's nineteen ninety new hit song Real Love, Real Love.

46:16 Speaker 14: You know that song if you're old enough.

46:20 Speaker 14: US District Court Judge dale Oh dale Hoe, that's his name. US District Court Judge dale Hoe ruled that Real Love was not sufficiently similar to the honey Drippers. Nineteen seventy three, Song impeached the President to support Tough City records case against UMG.

46:44 Speaker 6: See, I didn't know about any of this.

46:47 Speaker 14: See when I when I hear the honey Drippers, I think of, did Robert Plant have that Robert Plant and the honey Drippers or something? There's this other group called the I don't know anyway. Spokespeople on attorneys for Tough City in UMG did not immediately respond to requests or comment on the decision. Blige is not involved in the lawsuit. That's how this often goes. Lawyers suing lawyers. Tough City said in the lawsuit that it owns tens of thousands of music copyrights from the genres of blues, rhythm and blues, jazz, funk, soul, hip hop, New Orleans, and Latin music, much of which might be otherwise might fall into obscurity.

47:31 Speaker 14: Okay, The lawsuits against the BC Boys and jay Z were later dismissed, So they've sued a lot of people apparently, So maybe that's how this label makes money. All right, we're going to take a commercial break. We're going to show some love to all of our amazing sponsors. If you are listening live on Saturday, we have Temptress coming up in the third hour. Really looking forward to talking with them. I do really love their sounds, so they will be joining us shortly. This is Matt Connorton unleashed and there is plenty more to come.

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