Secondary Ticketing Market

[Andrew Rosindell in the Chair]

I beg to move,

That this House has considered the secondary ticketing market.

It is a pleasure to serve under your chairship, Mr Rosindell. I am delighted to see so many other Members who have long campaigned on this issue, including my north-east colleague, my hon. Friend the Member for Washington and Gateshead South (Mrs Hodgson), and I look forward to her contribution. I also thank organisations such as the FanFair Alliance for their hard work on this matter, and the Co-operative party for its End the Ticket Price Rip-off campaign.

Live sport, music and entertainment brings joy to millions of people every single week. Whether it is watching their favourite team or going to a gig, concert or play, people save up for events, wait in online or telephone queues and eagerly anticipate games and shows. I am sure that that is something just about everyone in this country has experienced, and we can all think back to our favourite game, gig, concert or play. They are memorable events that we remember for decades—moments shared with friends, family or partners that last a lifetime. Members need not worry—I will not go around the room and ask everyone about their first gig or their favourite one, or about that live sporting fixture that lives with them forever.

Growing up, my friends and I would save our pocket money or our paper round money, and we would queue up at local music shops such as Pet Sounds to get tickets to gigs, generally at the local universities. As true millennials, we got to see loads of our favourite punk bands—NOFX, Bowling for Soup, and Spunge being just a few. For those who think that punk is just a phase, I am looking forward to the Tour of the Setting Sum farewell tour by Sum 41 next week.

These are formative moments and cherished memories, but for everyone who gets to enjoy them, there are those who have missed out—those who were not able to secure tickets and make those memories. Far too often, those consumers are then left at the mercy of what is the topic of today’s debate—the secondary ticketing market. The issue profoundly affects music and sport fans, event-goers and the integrity of our live entertainment industry, but it appears to be inadequately addressed by current regulatory frameworks. People understand that they will not always get a ticket to the show, gig or game, but they feel a real sense of injustice at the scale of secondary ticketing platforms, with tickets often appearing just moments after people have attempted to purchase them. While allowing a space for those tickets to be resold is important, it is also important that that is not to the detriment of consumers.

The industry is vast, with one in five tickets ending up on secondary platforms, so the need for education and measures to protect consumers is becoming increasingly clear. Recent findings from O2 show that consumers lose an estimated £145 million each year due to inflated resale prices, which are pricing many out of the events and experiences they love. A study by ITV News and the FanFair Alliance found that over two thirds of resale tickets for 174 festivals and outdoor events were being offered by just three traders, who collectively sought to profit by almost £1 million.

Earlier this year, it was reported that two prolific touts were jailed after buying tickets for high-profile gigs and reselling them on secondary sites for up to 500% of their original cost, with the scheme being worth more than £6.5 million. Worryingly, with technology, the issue is becoming more and more prevalent. In just six weeks, O2 prevented 50,000 suspected bots from accessing its Priority platform, with those tickets almost guaranteed to end up on resale sites and other people losing out. I will touch a little later on the practice of ticket harvesting, and while some progress has been made to prevent it, new technologies and techniques continue to circumvent the measures in place.

With that as a backdrop, is it any wonder that research from the FanFair Alliance found that 80% of respondents believe that secondary ticketing services are unfairly exploiting fans? Practices such as drip-feeding, surge pricing and strategic holdbacks create a precarious environment for consumers, and concerns have been raised about practices that manipulate supply and demand, driving up prices and creating artificial scarcity. Shockingly, between 30% and 50% of tickets may be withheld from public sale, leading to heightened frustration among genuine fans who simply want to attend events. As the cost of attending events increases, it is ultimately fans who are missing out. We cannot allow a situation where genuine fans are priced out of culture, art and entertainment because of these practices. We are already at a stage where too many fans opt out of trying to attend events, dispirited by the existing landscape, with little chance of seeing their team, group or artist at what would be the normal asking price. Again, at the heart of this is people—consumers—who are missing out. Due to enhanced costs, they cannot attend the gig or event they have dreamed of.

What do consumers have to navigate at the moment? As I have said, ticket harvesting, surge pricing and a concerning transparency deficit. Ticket harvesting—where individuals or groups use automated software and bots to acquire large quantities of tickets during primary sale—is preventing fans from accessing culture at an industrial scale. As mentioned earlier, O2 indicated that it prevented 50,000 suspected bots from accessing its Priority platform in just six weeks. Similarly, FanFair found platforms where people bragged about the extent of their exploits. Members of a Discord group were able to purchase up to 1,700 tickets to an upcoming tour next year, with the tickets then being sold at enhanced prices, and fans paying the price. Those alarming statistics highlight the scale of the problem.

We have all heard what this can lead to. Whether it is tickets to major concerts, Eurovision or other events, I am sure everyone has seen and heard the stories. The latest hot tickets go live, and within minutes they are listed on secondary platforms at significantly inflated prices. To give one example, after the swift sell-out of Eurovision tickets in 2023, tickets resold for upwards of £9,000—more than 20 times their initial price. That kind of price gouging creates an environment where only the wealthiest fans can afford to attend popular events, alienating loyal supporters and pricing them out of culture.

Turning now to transparency in the market, consumers deserve clear and accurate information regarding who is selling tickets, how many are available and the pricing structures involved. One of the most pressing issues is the information gap that exists on secondary ticketing platforms. When consumers purchase tickets, they often receive insufficient details regarding their authenticity, the identity of the seller and the potential risks involved. Enhanced transparency is crucial to enable fans to make informed decisions. At the moment, it is unclear what exactly the secondary ticket market is, with research showing that 62% of music fans purchasing from resale platforms do not realise they are buying from individual sellers, creating confusion for many. In the best-case scenarios, we hear of fans having to meet people in car parks for handovers of tickets; at worst, the tickets do not exist.

Greater transparency would play a pivotal role in educating consumers about the risks of ticketing, and especially the practice of speculative selling, where tickets are listed that do not exist or are not available. That practice can lead to dire consequences, with fans thinking they have secured tickets, only to find that they have been misled. Investigations have uncovered instances where tickets worth more than £1 million were speculatively advertised online. Despite consumers being assured that protections are in place, it appears that some sellers remain able to circumvent protections, with the consumer paying the price and experiencing the double whammy of missing out and losing out financially.

Fans, whether at sports events, gigs or other events, should be at the heart of events, yet current practices lead to disillusion among fans and a disconnect with those they support and the sector more widely. Inflated prices leave loyal fans priced out of attending live events they once enjoyed, with the prohibitive cost of attending eroding the connection between fans and artists. Trust among fans is another casualty; when fans feel they are being exploited, their trust in both the industry and the teams or artists involved is eroded. Anger at missing out can be directed at those acts or teams, with allegations that they are complicit in a system that excludes ordinary fans, when this is largely through no fault of their own.

We have seen many recent examples where fans have expressed upset at the initial difficulty of getting a ticket and then at the surge pricing and instant relisting on secondary platforms. When tickets are resold at an inflated price, that does not benefit the artist or the venue. Instead, the profits are siphoned off, removing crucial funding from cultural communities. We know that artists rely on ticket sales as a significant portion of their income, especially in an era when traditional revenue streams such as album sales have dwindled due to streaming services. The success of a tour can hinge on the ability to sell tickets at a fair price, and unfair practices undermine the economic viability of live performances. So this is about protecting not just consumers, but entertainment more widely and making it more accessible.

So what is currently in place to protect consumers and the sector? Well, there is regulation and enforcement from a number of organisations: the Competition and Markets Authority, the Advertising Standards Authority, trading standards and, in some cases, the police. The CMA published a comprehensive report in 2021 that outlined recommendations aimed at curbing detrimental practices in the ticketing market. Among them was a call for stronger measures against ticket resellers who exploit fans with excessive prices. The CMA’s investigation revealed that a significant portion of tickets listed were being sold at inflated prices on secondary platforms.

The previous Government were hesitant to implement all the CMA’s recommendations, which included further proposals. However, there have been recent changes in regulations in this area, with the Digital Markets, Competition and Consumers Act 2024, and we have taken a significant step forward. There has been an expansion of the CMA’s investigation and enforcement powers, allowing for direct action against non-compliant reselling platforms. Additionally, the Act will enable the CMA to enforce existing rules, addressing a long-standing concern over the lack of transparency and ensuring that consumers have access to clear and accurate information. The previous Government could have gone further, but held back from embracing some of the reforms, which could have further strengthened consumer protections. I am pleased that the new Labour Government have already confirmed that a new consultation will take place and that we will revisit the recommendations.

As a proud Labour and Co-operative Member of Parliament, I am delighted that the party has launched a new consumer campaign on this issue. The End the Ticket Price Rip-off campaign highlights the fact that, whether it is dynamic pricing way above face value or fans being frozen out of culture, the party movement has always had consumers at the heart of it, standing up for consumers and helping to deliver everything from the Consumer Protection Act 1987 to the Weights and Measures Act 1985. I really welcome the latest campaign, alongside a petition that has already been signed by thousands calling for strong powers to stop fans being taken advantage of and to protect them from being exploited by touts and resale sites.

I know that the Government are setting up the consultation as we speak and that it will involve not only DCMS but the Department for Business and Trade. I hope that it provides a real opportunity to look at all options to take action that can fundamentally transform the ticketing landscape for fans, artists and the integrity of the market and to enhance consumer protection, ensure fair access to tickets and mitigate the current issues faced.

Campaigners have raised concerns about whether the current regulatory framework is being enforced. Following high-profile cases, the CMA has opened investigations, but the problem is far more prevalent. Will the Minister comment on how we can better use current legislation to provide protections to consumers? The Co-operative party has been campaigning for much tougher enforcement action against platforms hosting ticket touts. Where websites continuously exploit fans, could the use of fines and the removal of websites entirely be considered to strengthen the protection of fans?

Much as the Co-operative party has long been a movement for the consumer, access to arts and culture is a Labour value. It is why our trade union movement adopted the bread and roses slogan from the American suffrage movement. Life should not be just about the basics—food, housing and wages—but about the roses too. For too many at the moment, culture is becoming inaccessible because of a trade that relies on the exploitation of enjoyment, buying up excessive numbers of tickets before real fans have a chance, and reselling them at extortionate prices. I am sure that the Minister agrees that culture enriches lives, that it should be open to people and that fans should not be priced out due to a secondary ticket market. Can he reassure me that that will be at the heart of what we do as part of the consultation?

To conclude, although this matter may not be at the top of the list of things impacting on people across the country, it is important in demonstrating our values. Culture should be available to all and not just the privileged few. Live entertainment should not be in the purview only of those who are able and willing to pay extortionate prices. People already save up for the cost price to access events; they should not be made to pay multiples of that. A system that allows ticket harvesting, surge pricing and tickets being resold at multiple times their original value excludes people from the enjoyment of a gig, sporting event or show. Those actions freeze people out of enjoyment and take away their chance of having the special, memorable moments that live entertainment can bring, whether that is music or sport.

As the great Newcastle United manager Bobby Robson once said of football and our beloved Newcastle United,

“What is a club in any case? Not the buildings or the directors or the people who are paid to represent it. It’s not the television contracts, get-out clauses, marketing departments or executive boxes. It’s the noise, the passion, the feeling of belonging, the pride in your city. It’s a small boy clambering up stadium steps for the very first time, gripping his father’s hand, gawping at that hallowed stretch of turf beneath and, without being able to do a thing about it, falling in love.”

Everyone deserves that opportunity to fall in love. I hope we can work to protect fans and end the ticket rip-off.

I thank the hon. Member for Cramlington and Killingworth (Emma Foody) for securing this important debate. She said secondary ticketing might not be at the top of everyone’s list, but it is incredibly important. It is one of those things that we do not know anything about until we become victims of it. I became a victim of it: I bought tickets to a concert in good faith. I then thought my parents might like to come along so I bought a second set of tickets. When we got to the venue, it turned out that my parents’ tickets had been duplicated. The other people had already got into the venue, so their tickets were invalid. The venue sorted it out and thankfully my parents got to see the concert, as did I. But that was 12 years ago at Sting’s Back to Bass tour at the Hammersmith Apollo in 2012, and frankly very little has changed since then. If anything, I would say the situation has got worse for consumers because we are seeing more sophisticated technology with the advent of bots that easily scrape up tickets from across websites.

It is not just the technology but the secondary ticketing platforms that employ the unscrupulous methods in the first place. I would also throw into the mix the primary ticketing platforms, which often release tickets in a way that is not transparent for the consumer and makes it difficult for people to understand where they can buy tickets. The rush on a Friday morning, when tickets still tend to be released, means people scramble for tickets, which pushes the price up and up. It makes it very difficult for consumers to understand what the best way to buy tickets is, and there is a lot of misinformation out there on the market.

The hon. Member talked about music and other cultural events, and rightly so—I completely agree with her on that—but it is important to recognise that this is not just about music and culture. It is also about sports, although we could say sports are part of culture as well. A lot of people argue that it is all just supply and demand: “People wouldn’t pay 20 times the face value if the tickets weren’t worth that.” But there is a very good reason why many sporting activities want to keep prices down: they want to keep the fans and players of the future—in child form—coming along with their parents and growing a love for the game. Rugby, for example, is keen on enticing families to come and watch games because they know that the children who come with their families are the players and fans of the future. They are looking at longevity—something that does not always exist in the music market. It is important to remember that this is not just about fans: it is about a long-term view of what our live events industry needs.

It is a pleasure to serve under your chairmanship, Mr Rosindell.

I thank my hon. Friend the Member for Cramlington and Killingworth (Emma Foody) for securing this important debate. I am glad to hear that she is as passionate as I am about sorting out this broken market. I am happy to see the Minister for Creative Industries, Arts and Tourism in his place. We have been on quite a journey together to get to this point and I very much look forward to him fixing all these wrongs in due course.

A lot has happened in the campaign to regulate the secondary ticketing market since I first introduced my private Member’s Bill on the topic back in 2010, which was before the hon. Member for Chelmsford (Marie Goldman) suffered the problems she did in 2012. The problem would have been sorted if the then Member for Shipley had not talked out my private Member’s Bill. However, because of constant lobbying by yours truly and the growing scourge of parasitic touts becoming increasingly sophisticated and ruthless, the new Labour Government have decided to act, as we promised we would in our manifesto.

We now have the watershed opportunity to create the change we desperately need. Over many years in this place we have tried to regulate the market. We have tweaked legislation, first with the Consumer Rights Act 2015, to bring in more transparency because it was said that that was what was needed. But that did not work. Then, with the successful Ban the Bots campaign, we secured an amendment to the Digital Economy Bill in 2017. However, that did not work either: we know that the use of bots and the profits of those using bots for sales are exploding. For a recent Sabrina Carpenter ticket pre-sale of just 10,000 tickets, there were 380,000 bots in the queue attempting to harvest them.

Research published last month by O2, which sells 1 million tickets per year through its priority scheme, estimates that touts cost British music fans an extra £145 million a year, but I suspect that is just the tip of the iceberg. That money is taken from the back pockets of UK audiences and deposited into the bank accounts of offshore retail platforms and the touts who supply their inventory.

It is a pleasure to serve under your chairmanship, Mr Rosindell.

I thank my hon. Friend the Member for Cramlington and Killingworth (Emma Foody) for securing such an important debate. She invited us to share the details of our first gig. Mine was when I was taken to hear Soul II Soul at the Notting Hill carnival when I was little, which was cool. In fact, on the day I was due to be born, my mum decided to see Nina Simone instead, which is also cool. Unfortunately, I have not lived up to that musical heritage, because I have been to see three out of seven members of S Club 7 and two fifths of 5ive. To be honest, that day inflation pricing was not the issue; it was whether we were going to get our money back at all—after we had seen them.

In all seriousness, buying tickets under false pretences and selling them on at hugely inflated prices means that fans face a choice: they either stump up or they miss out. It is therefore not hyperbole to say that ticket touts are ripping the heart out of live music.

Cracking down on ticket touting is important to music venues, too. Driving prices for gigs higher and higher means that genuine fans cannot access live music, and that has implications for small grassroots music venues as well as big arenas. I can proudly say that my constituency of Ipswich boasts a phenomenally impressive music scene, but if fans are consistently frozen out of live music and the arts more broadly and see them as something they can no longer afford or access, it is grassroots venues and entertainers that will suffer the most.

Although our most famous grassroots music venue, The Smokehouse, right in the heart of our town, has nurtured the next generation of local talent, it has been close to closure. During the covid-19 pandemic, the financial pressures became so overbearing that it had to be saved by £12,000 of crowdfunding from local residents and grants from the local Ipswich borough council and Arts Council England. Research from the Music Venue Trust earlier this year shows that two grassroots music venues close every week, leaving holes in the cultural fabric of the cities and towns they once brought so much joy to.

It is an honour to serve under your chairmanship, Mr Rosindell. I thank my hon. Friend the Member for Cramlington and Killingworth (Emma Foody) for securing this debate so that we can discuss subjects that resonate deeply with our constituents. I wholeheartedly align with her position, which reflects my commitment as a longstanding Co-operative party member. The values we uphold—community, fairness and inclusivity—are essential as we confront the pressing issue of ticket touting.

I thank my hon. Friend the Member for Washington and Gateshead South (Mrs Hodgson) for her hard work over the past 15 years, which has been nothing short of phenomenal. I am sure the Minister is hearing the collective enthusiasm for cracking down on this practice.

The impact of unfair ticket pricing on ordinary individuals cannot be overstated. There are many barriers to accessing cultural experiences for communities in Leigh and Atherton. One of the most significant is affordability. Many are excluded from our vibrant cultural sector due to soaring ticket prices, which have become an obstacle rather than a gateway to enjoyment. If we are to make culture accessible, we must start with fair pricing practices.

Even cinema tickets, which were once a modest indulgence, have become unaffordable for many families. In response we have seen some remarkable achievements. Leigh Film Society is a fantastic Co-operative-inspired organisation that strives to screen films that are socially inclusive and affordable, prioritising accessibility for all. Run entirely by dedicated volunteers, that initiative recognises the inaccessibility of cinema tickets and is committed to broadening cultural access in our community. They now have a deal with the National Theatre whereby they can screen National Theatre Live. Bringing that to Leigh is incredible for our constituents.

The demand for live music in the UK is thriving. We must ensure that it remains accessible to everyone. Significant reforms in ticket pricing are essential. The Music Venue Trust is championing the cause of grassroots venues and advocating for a fair distribution of funding within the cultural sector. These venues are not just places for entertainment; they are community hubs that foster creativity and bring people together. While this debate is centred on ticket touting, we must not lose sight of the need to protect and enhance grassroots venues, which play a crucial role in communities like Leigh and Atherton. By supporting such venues, we can ensure that the cultural landscape remains diverse and vibrant.

It is an honour to serve under your chairmanship, Mr Rosindell. I thank my hon. Friend the Member for Cramlington and Killingworth (Emma Foody) for obtaining the debate. I also pay tribute to my hon. Friend the Member for Washington and Gateshead South (Mrs Hodgson) for all the work she has done on this matter. The issues I want to address are dynamic ticket or surge pricing and the queuing system for major, once-in-a-lifetime concerts, which my hon. Friend the Member for Cramlington and Killingworth referenced in her opening remark and which other Members have spoken about.

I have a deep-rooted connection to the music industry. In my younger days, I worked as a promoter and DJ in Liverpool. I was a music journalist and did press for bands when Britpop was at its height, and I have been privileged to spend many years surrounded by some of our nation’s best musicians. If we are sharing stories about our first gigs, for mine I queued up—in simpler times—outside the Empire Theatre when I was eight with my dad to buy tickets for Cliff Richard. We were allowed to get six. When we got to the show and he came on stage, I burst into tears and asked my mum where the man with the leg and the lip was; I thought I was going to see Elvis, who had been dead seven years.

Music is not just entertainment. It brings people together. It lifts the soul, and lifetimes of relationships are formed because of people’s shared love of music. Live performances are a huge part of that. The ticket prices surge and the queuing system recently made headline news with the Oasis reunion concerts. Tickets were sold by the primary ticketing company well beyond the price they were advertised at. A reunion that was greeted with such joy quickly turned into misery for many, as people realised when they got to the checkout that the price they had budgeted for—a price that they felt they could afford—was no longer the price. Instead, a price that was two, three or even four times more was quoted. After hours and hours of waiting, with their hearts racing and the timer ticking down, they had a few minutes to decide whether or not they wanted the tickets to see their favourite band—a band they would have only a once-in-a-lifetime chance of seeing.

It is a pleasure to serve under your chairmanship, Mr Rosindell. I congratulate the hon. Member for Cramlington and Killingworth (Emma Foody) on securing this important debate. I will put it on the table: the last gig I went to was Jason Donovan at Chepstow castle, and I think the next one on my agenda is also Jason Donovan, at Cheltenham town hall. For that, I have to thank my wife.

From personal experience, I know that it can lead to huge frustration and an inclination to do whatever it takes to get in if someone is denied the ticket they want. Fans often feel they have no choice. For fans of sports, music and festivals, there is nothing quite as disappointing as missing out on the tickets we want for that one event of the year that we want to attend. In some cases, it is 10, 20 or even 30 events, because we know that fans are fans. The one thing they want to do is get through the front door and see the thing they love.

Sadly, there are too many unscrupulous organisations that prey on good-natured dedication to a band, team or regular event. These unscrupulous organisations and individuals are getting away with it. It is an extreme example of market failure. When honest, hard-working fans miss out or are forced to pay hundreds of pounds over the odds because secondary ticketing platforms and touts sweep up the market, the sense of unfairness is very real. The UK’s secondary ticketing market had an estimated annual worth of £1 billion in 2019, with ticket touts mass-buying tickets—the “harvesting” we heard of earlier. They are doing that for sporting and cultural events, then selling tickets on at massively inflated prices.

The hon. Gentleman is making an excellent speech. When fans are forced to pay way over the odds, they are not able to then go to 10, 20 or 30 other concerts or sporting events, because they may have spent their budget for the year on that one special event that they really wanted to go to. Does he recognise that this issue robs the fans of those multiple opportunities?

Of course, and fans want to be there, in the room or the stadium, as often as they possibly can. It enriches their cultural enjoyment, and it is really unfortunate when they end up only able to go to one match a season, or one gig a year, because they have to pay 10 times the price in some cases.

This problem contributes to the unacceptable and extraordinary statistic that an estimated half of Britons have at some point been priced out of the market for tickets to events that they want to attend. When I read that, I did wonder whether it was true, but apparently it is, which is absolutely extraordinary. That is simply unfair. The fact that this subject is being debated today, and that the Government have signalled their intent to make things fairer, is definitely to be welcomed.

Liberal Democrats have, for some time, been calling for greater protection of fans who are exploited by ticket touts. That means that we want to see the implementation of the Competition and Markets Authority’s recommendations to crack down on illegal ticket resale—and it was mentioned earlier that the authority itself might take a more expansive role.

We are calling for the prohibition of platforms that allow sellers to list more tickets for an event than the seller is able to procure legally from the primary market. That practice is clearly exploitative, misleading and wrong. The Liberal Democrats are calling for platforms to be strictly liable for incorrect information about tickets listed on their websites. Dodgy tickets that are not what they seem mislead the public, as my hon. Friend the Member for Chelmsford (Marie Goldman) told us earlier.

We also believe that all secondary ticketing sites must be forced to hold a licence to operate in the UK. Many of us who have been going to sporting events for some time are familiar with the person standing outside the music venue or stadium who says “Any spare tickets?” as crowds walk past. The unlicensed nature of this market means that some secondary ticket operators are little more than that, but they are fronted by an official-looking website. Licensing will bring them into line or put them out of business, which is what they deserve.

It is a pleasure to serve under your chairmanship, Mr Rosindell. I congratulate the hon. Member for Cramlington and Killingworth (Emma Foody), and I hope she enjoys her nostalgic tour through all the concerts she plans to go to. For what it is worth, as we are sharing, one of my first gigs was Faithless, which I am quite proud of, although it does not quite stack up when I say that my second one was Tom Jones. Still, I enjoyed both hugely.

I was sorry to hear the hon. Member for Chelmsford (Marie Goldman) talk about her parents becoming victims. There is some joke about Sting and getting the Police involved, but I will leave that for the moment.

I thank the hon. Member for Washington and Gateshead South (Mrs Hodgson) for her dedication and her expertise on this issue. We all know, as I have learned in the last five years, that we have to plod and plod in this place to keep getting heard. The fact that we are having another debate and that there will be a consultation is all credit to her.

Like the hon. Member for Ipswich (Jack Abbott), I too have seen three of S Club 7. My sighting was at a stag do with my brother in Newport. I hope that the hon. Member was not there—if he was, I hope he does not share the pictures.

As the hon. Member for Leigh and Atherton (Jo Platt) noted, grassroots venues are so important. The UK is a centre for the creative industries, and that is the testbed; that is why we have world-class talent coming out, and we certainly do not want to lose that.

The hon. Member for Knowsley (Anneliese Midgley) brings a huge amount of expertise. I think she said she was a DJ, so I am looking forward to her doing the cross-party celebration of “Mistletoe and Wine”—there is a good Cliff Richard reference.

The issue of secondary ticketing and dynamic ticket pricing has affected many of our constituents, as we have heard today. It certainly seems that when Oasis came up with their masterplan to reform, the ticket promoters did not foresee the issue of dynamic pricing causing so many headlines and unfortunately detracting from the exciting news of Oasis reforming.