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WMG’s Songkick signs new deals with Facebook and FNAC

We say ‘WMG’s Songkick’ here to differentiate the concert-discovery website and app – which the major label acquired last year – from its former owner, which shut down operations but went on to prevail in its legal battle with Live Nation.

It’s business as usual for WMG’s operation, which announced a pair of new partnerships late last week. One is with Facebook, which will be integrating concerts and events from Songkick into its platform.

The other is with French retailer FNAC: a data-sharing agreement that (courtesy of FNAC’s ticketing business) will also extend to e-commerce. WMG has also signed deals with Pandora and Vevo in recent months, which the company says has helped boost Songkick’s monthly active users by 43% in the last year.

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Live Nation settles Songkick lawsuit for $110m

There has been a surprise ending to the long-running legal battle between Live Nation and the owners of ticketing firm Songkick: a $110m settlement that sees Live Nation acquiring some of the company’s remaining technology assets and patents. This, despite Songkick suffering several setbacks as it pursued litigation against the live-entertainment giant.

“We are pleased that we were able to resolve this dispute and avoid protracted and costly legal proceedings, while also acquiring valuable assets,” said Live Nation president Joe Berchtold in a statement.

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Songkick app: ‘We won’t be selling tickets ourselves…’

Songkick the company is shutting down, ending its ticketing operations after a punishing legal battle with Live Nation and Ticketmaster.

Songkick the concert-recommendations app, however, is very much alive and kicking, having been sold to Warner Music Group earlier this year.

To head off potential confusion for its users around the corporate-shutdown news, the app’s team published a blog post late last week to clear things up.

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Warner Music buys Songkick concert-discovery assets

Gig-discovery startup Songkick merged with artist-ticketing firm CrowdSurge in 2015, raising $16m from investors including Access Industries in the process.

Two years on they are now de-merging, with Songkick’s discovery app, website and trademark being sold to Warner Music Group – owner: Access Industries – leaving the ticket business as a standalone operation.

That’s a careful move: “The acquisition excludes Songkick’s ticketing business and pending litigation associated with the ticketing business,” announced WMG, referring to the ticketing firm’s legal action against Live Nation / Ticketmaster.

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Songkick makes new allegations against Ticketmaster

Things had gone quiet in ticketing firm Songkick’s lawsuit against Live Nation and Ticketmaster: after accusing the companies of antitrust violations and anticompetitive behaviour, Songkick was knocked back by a US court in its efforts to secure a preliminary injunction.

Now the legal battle is heating up again, with a series of new allegations from Songkick concerning a former employee who moved to Ticketmaster.

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Adele tickets can only be resold on Twickets for (at most) face value

If you’ve been trying to get tickets to see Adele’s gigs at Wembley Stadium in London next June and July, the sheer weight of demand may have made it a frustrating experience. Especially if you’ve also seen tickets for those gigs pop up on secondary sites with vast markups.

Here’s some good news: there’s a high chance the people trying to flog their tickets on those sites will have them cancelled, rather than trousering a profit.

Posted inAnalysis, News

Analysis: what’s the real cost of secondary ticketing?

Chance The Rapper, Iron Maiden, Mumford & Sons, Pixies and more are getting louder and louder about what they see as the scourge of secondary ticketing. They feel fans are being fleeced and a stand has to be made.

Beyond the fan-centric altruism, there is a bigger story about the “dark economy” around secondary where billions of dollars a year are bleeding away from artists and into both the secondary platforms’ bottom lines as well as the hands of avaricious “power sellers”.

Just how much is at stake and what, if anything, can be done to cauterise this value gap that makes the record labels’ war on YouTube look like small beer?