There has to be a better way to allocate tickets

[t0paz]

32 minutes ago, Gregcharlie said:

What a queue currently looks like..

Think this would be agony, sat for an hour or so to be basically told whether you’re going or not based off quick maths

Did you get a ticket?

[Gregcharlie]

27 minutes ago, t0paz said:

Did you get a ticket?

[topmarksbri]

15 hours ago, mike46 said:

that way the more determined will be rewarded. 

Again - benefits people who don't work on Sundays or would force people to take time off. 

[CaledonianGonzo]

Would also benefit people who live in big cities.

[D-Low]

15 hours ago, topmarksbri said:

Yeah, mostly people less well off who couldn't afford it - deposit gives people a chance to save up for it over time. Last thing we need is a more middle class glastonbury

I'm not saying it should happen, and didn't mean it in a way of pricing people out, gigs are already doing that to many people by their own means. Just more so I know a lot of people only get a ticket on a whim in the main sale, purely waiting on the line up. Which brings up the question should the line up come out before or after ticket sale. If it's bad tickets won't sell, but if it's good it would make the problem even worse.

[topmarksbri]

21 minutes ago, D-Low said:

waiting on the line up.

And if they don't like it they return it for the resales? Feel like that part of the system works very well at the moment. 

[D-Low]

3 hours ago, topmarksbri said:

And if they don't like it they return it for the resales? Feel like that part of the system works very well at the moment. 

But the issue is too much traffic on the main sale.

[Barkwin]

Allocating of tickets isn't the issue - it's the unsustainable over popularity of the event.

It's over saturated with tik tokers and Instagramers wanting an UnGlastonbury headline act and to be 'seen' there.

It'd do well to get back to its roots a bit and stop the absolutely mental scramble for tickets fuelled by wacky pop acts and 'influencers.'

[Skip997]

3 minutes ago, Barkwin said:

Allocating of tickets isn't the issue - it's the unsustainable over popularity of the event.

It's over saturated with tik tokers and Instagramers wanting an UnGlastonbury headline act and to be 'seen' there.

It'd do well to get back to its roots a bit and stop the absolutely mental scramble for tickets fuelled by wacky pop acts and 'influencers.'

Couldn't agree more.

When the likes of Nadine Dorris are trying to get tickets, you know something is not quite right.

[stuie]

12 minutes ago, Barkwin said:

Allocating of tickets isn't the issue - it's the unsustainable over popularity of the event.

It's over saturated with tik tokers and Instagramers wanting an UnGlastonbury headline act and to be 'seen' there.

It'd do well to get back to its roots a bit and stop the absolutely mental scramble for tickets fuelled by wacky pop acts and 'influencers.'

It’s 2022.  The world is full of ‘tik tokers and instagrammers’ who will contribute to sustaining the festival’s popularity.  What do you mean by ‘it’s roots’? Stuff you like? 
 

4 minutes ago, Skip997 said:

Couldn't agree more.

When the likes of Nadine Dorris are trying to get tickets, you know something is not quite right.

The only thing Nadine Dories is trying to get is attention. 

[Barkwin]

14 minutes ago, stuie said:

It’s 2022.  The world is full of ‘tik tokers and instagrammers’ who will contribute to sustaining the festival’s popularity.  What do you mean by ‘it’s roots’? Stuff you like? 
 

 

It's an interesting debate to have - and one that's happening across all sectors, industries and wider culture.

In the past 10 years, mainly due to social media, I believe Glastonbury has indeed gone from its roots into new realms of social media, influencer and digital celebrity-pop culture.

It has changed its emphasis from one primarily for actual gig-going music fans, or dare I say 'alternative types,' to one of mass, mass appeal fuelled by other factors such as fashion, influencers, social media and flimsy, shallow pop culture.

And has thus seen demand for tickets rocketing with 'ticket day' becoming an increasingly crowded, stressful and competitive space.

I've got a ticket this year, am very grateful and will have a great time - however, I'm well aware of the above and how demand has hugely spiked due to interest well beyond its traditional borders due to the influences and factors I mention above. 

[Leyrulion]

8 hours ago, CaledonianGonzo said:

Would also benefit people who live in big cities.

Imagine if they only did a physical sale in small places. 

"We have chosen 50 village pubs with a connection to a band that's played... First 100 to each get tickets"

 

[Skip997]

3 minutes ago, Barkwin said:

It's an interesting debate to have - and one that's happening across all sectors, industries and wider culture.

In the past 10 years, mainly due to social media, I believe Glastonbury has indeed gone from its roots into new realms of social media, influencer and digital celebrity-pop culture.

It has changed its emphasis from one primarily for actual gig-going music fans, or dare I say 'alternative types,' to one of mass, mass appeal fuelled by other factors such as fashion, influencers, social media and flimsy, shallow pop culture.

And has thus seen demand for tickets rocketing with 'ticket day' becoming an increasingly crowded, stressful and competitive space.

I've got a ticket this year, am very grateful and will have a great time - however, I'm well aware of the above and how demand has hugely spiked due to interest well beyond its traditional borders due to the influences and factors I mention above. 

Superb post, couldn't have put it better.

[stuie]

10 minutes ago, Barkwin said:

It's an interesting debate to have - and one that's happening across all sectors, industries and wider culture.

In the past 10 years, mainly due to social media, I believe Glastonbury has indeed gone from its roots into new realms of social media, influencer and digital celebrity-pop culture.

It has changed its emphasis from one primarily for actual gig-going music fans, or dare I say 'alternative types,' to one of mass, mass appeal fuelled by other factors such as fashion, influencers, social media and flimsy, shallow pop culture.

And has thus seen demand for tickets rocketing with 'ticket day' becoming an increasingly crowded, stressful and competitive space.

I've got a ticket this year, am very grateful and will have a great time - however, I'm well aware of the above and how demand has hugely spiked due to interest well beyond its traditional borders due to the influences and factors I mention above. 

 

5 minutes ago, Skip997 said:

Superb post, couldn't have put it better.

Glastonbury is, and always has been, full of actual gig going fans.  The types of gigs have changed, perhaps to ones that largely don’t interest you guys any more. 

Social media has changed everything in the last 10 years and Glastonbury has changed with it.  Of course the largest festival has mass appeal, it always has had. 

[Skip997]

1 minute ago, stuie said:

 

Glastonbury is, and always has been, full of actual gig going fans.  The types of gigs have changed, perhaps to ones that largely don’t interest you guys any more. 

Social media has changed everything in the last 10 years and Glastonbury has changed with it.  Of course the largest festival has mass appeal, it always has had. 

As usual you've got me wrong, I go to see plenty of contemporary acts at Glastonbury, it's a great way to do so without risking paying for an individual gig, and I enjoy them.

The festival hasn't always had mass appeal, it certainly didn't in the 70's and early 80's. It was far more of an alternative scene. Mass media coverage, whether print or TV/radio/online changed Glastonbury.

 

[angel_with_a_pint_glass]

I think it will be interesting to see how the smaller fields do next year. When I first started going to Glastonbury I was into all the popular, main stage stuff…fields like Avalon were nothing but a shortcut to me back then. Then there came a time when the big stages didn’t interest me and lineups like Avalon really came into their own…I would have picked Skinny Lister or the Eskies over whatever the main stages were offering any day. And that was ok because the price of the festival was still good value even if you avoided the big ticket stuff. But is that still the case? Is it worth spending £350 to hang out predominantly at Avalon etc. or do you just cut your losses and go to one of the many smaller, cheaper festivals? Personally my tastes are super varied these days and I’ll always love Glastonbury whether I’m at Avalon or the Pyramid (although generally it’s still a case of the less time spent at the Pyramid the better!)…but I wonder how many Glasto lovers who would previously have hung around Avalon, the green fields etc, can’t make the sums work anymore? And if that’s the case, does that mean that, like last year, everyone will be squashed into the main areas the entire time? Will people only flock to Avalon to see the like of the Sugababes? Glastonbury worked so well when people were more split in where they wanted to be. I hope that doesn’t change too much…

[Supernintendo Chalmers]

42 minutes ago, Barkwin said:

It's an interesting debate to have - and one that's happening across all sectors, industries and wider culture.

In the past 10 years, mainly due to social media, I believe Glastonbury has indeed gone from its roots into new realms of social media, influencer and digital celebrity-pop culture.

It has changed its emphasis from one primarily for actual gig-going music fans, or dare I say 'alternative types,' to one of mass, mass appeal fuelled by other factors such as fashion, influencers, social media and flimsy, shallow pop culture.

And has thus seen demand for tickets rocketing with 'ticket day' becoming an increasingly crowded, stressful and competitive space.

I've got a ticket this year, am very grateful and will have a great time - however, I'm well aware of the above and how demand has hugely spiked due to interest well beyond its traditional borders due to the influences and factors I mention above. 

Great post and an interesting debate to have

[Leyrulion]

13 minutes ago, Skip997 said:

As usual you've got me wrong, I go to see plenty of contemporary acts at Glastonbury, it's a great way to do so without risking paying for an individual gig, and I enjoy them.

The festival hasn't always had mass appeal, it certainly didn't in the 70's and early 80's. It was far more of an alternative scene. Mass media coverage, whether print or TV/radio/online changed Glastonbury.

 

Things evolve, that's why it's stayed current. 

I wonder how far back you have to go to say "I don't recognise that festival". The fence is one of those points but do 2008,09,10,11 compare to the 2022 version? 

And it'll have to evolve again into something else unrecognisable from 2022 by the time of the end of the next cycles around 2030/32. 

[mike46]

18 minutes ago, Leyrulion said:

Things evolve, that's why it's stayed current. 

I wonder how far back you have to go to say "I don't recognise that festival". The fence is one of those points but do 2008,09,10,11 compare to the 2022 version? 

And it'll have to evolve again into something else unrecognisable from 2022 by the time of the end of the next cycles around 2030/32. 

For me, the festival is very different to when I first went in 2009 in so many ways! However, so is the entire world around us and I’m also a very different person and I’m sure my perception of things have changed massively too.
 

It is a very interesting debate to have, but the festival has to adapt to the changing trends and attract new attendees, otherwise it falls by the wayside. It’s what makes that place so magical.
 

The over-subscribed message is intriguing, I’ve never thought of that but in one way it is. I wonder if that success might eventually push the needle too far and it would lose its ‘trendiness’ as it’s just too mainstream 

[clarkete]

1 hour ago, Barkwin said:

It's an interesting debate to have - and one that's happening across all sectors, industries and wider culture.

In the past 10 years, mainly due to social media, I believe Glastonbury has indeed gone from its roots into new realms of social media, influencer and digital celebrity-pop culture.

It has changed its emphasis from one primarily for actual gig-going music fans, or dare I say 'alternative types,' to one of mass, mass appeal fuelled by other factors such as fashion, influencers, social media and flimsy, shallow pop culture.

And has thus seen demand for tickets rocketing with 'ticket day' becoming an increasingly crowded, stressful and competitive space.

I've got a ticket this year, am very grateful and will have a great time - however, I'm well aware of the above and how demand has hugely spiked due to interest well beyond its traditional borders due to the influences and factors I mention above. 

This year will be my 38th and I think that guff about social media and influencers is overblown in terms of recent impact - indeed to a degree I think it seems unfair for us oldies to look down our noses at more recent attendees. They're no less worthy of a ticket than an old git like me (except for those weirdos who sit in a motor home watching it on telly). 

There was coverage on C4 way back in 94/95, followed by coverage on multiple BBC telly and radio channels from 97 onwards - that's clearly brought it to an audience of millions.  There's also been millions of people reading about it and seeing it in the tabloids every year. 

It's all been great for the festival - if it wasn't popular it wouldn't generate two million a year for good causes and if it didn't Michael likely wouldn't want to do it any longer. 

Incidentally on the festival's FB page there are always people (who clearly don't currently attend) who say that it was better when no pop acts played in the past - but there were multiple pop bands in my first year and have been ever since. 

Edited November 9, 2022 by clarkete

[Alking]

29 minutes ago, clarkete said:

This year will be my 38th and I think They're no less worthy of a ticket than an old git like me (except for those weirdos who sit in a motor home watching it on telly). 

 

This comment tickled me, I have in the past been that weirdo watching from the motorhome and I was lucky enough to get tickets this year and may just do the same again. Along side much much more of course!! but attending with kids, for me, means a slightly different way to do the festival.
If your lucky enough to go to Glastonbury multiple times, you naturally take on an evolution… from the mad pyramid and days and pulling all nighters in Arcadia to the more chilled vibe that the green & healing fields can offer. I shall be spending most of my time this year in the more chilled areas and the kids field. That’s the place I’m at now but it hasn’t always been! The main issue is once you’ve been, you’ve caught the bug and will forever be chasing down a golden ticket! 

Edited November 9, 2022 by Alking

[t0paz]

I remember the first time I ever heard of Glastonbury. I’m sure people were complaining it had gone too mainstream then…

 

[Suprefan]

8 hours ago, Barkwin said:

It's an interesting debate to have - and one that's happening across all sectors, industries and wider culture.

In the past 10 years, mainly due to social media, I believe Glastonbury has indeed gone from its roots into new realms of social media, influencer and digital celebrity-pop culture.

It has changed its emphasis from one primarily for actual gig-going music fans, or dare I say 'alternative types,' to one of mass, mass appeal fuelled by other factors such as fashion, influencers, social media and flimsy, shallow pop culture.

And has thus seen demand for tickets rocketing with 'ticket day' becoming an increasingly crowded, stressful and competitive space.

I've got a ticket this year, am very grateful and will have a great time - however, I'm well aware of the above and how demand has hugely spiked due to interest well beyond its traditional borders due to the influences and factors I mention above. 

Show me where the top influencers, fashionistas and the like from around the world are at the festival posting their photos and videos to millions of followers that has made it into an even bigger thing which you do not recognize. You want to tell me The Kardashians go to Worthy every summer? Glasto is that deep into pop culture?  If you want to place any blame on how its morphed then that would be the BBC and to some extent global warming. Last 3 festivals have had incredibly favorable weather and that looks amazing on the tele when you see ( like in 2019 ) 90% of the audience in shorts and bathing suits having a good ol time. If it was a  consistent muddy slog every year then it wouldnt be seen as you think its being seen. Imagine how much worse it would be if the BBC streamed the whole weekend world wide instead of only in the uk. cause a lot of people do not get to see anything beyond the youtube clips and vlogs that exist.

Then also let me know when Glasto gets named dropped in a Marvel movie and then we can talk about  pop culture supposedly making it harder for you on T day.
 

 

 

Really though, the fest is still undervalued and its finally getting closer to what it should cost for what you get. Although that extra money doesnt go to the talent sadly. Thus the conundrum of price vs lineup value.

[Superscally]

7 hours ago, mike46 said:

For me, the festival is very different to when I first went in 2009 in so many ways! However, so is the entire world around us and I’m also a very different person and I’m sure my perception of things have changed massively too.
 

It is a very interesting debate to have, but the festival has to adapt to the changing trends and attract new attendees, otherwise it falls by the wayside. It’s what makes that place so magical.
 

The over-subscribed message is intriguing, I’ve never thought of that but in one way it is. I wonder if that success might eventually push the needle too far and it would lose its ‘trendiness’ as it’s just too mainstream 

Nah. Can't see anything else replacing it and that would need to happen first. Glasto would also be able to replicate whatever that is if it became a threat. Only thing that stops Glasto is licencing. 

[Superscally]

35 minutes ago, Suprefan said:

Show me where the top influencers, fashionistas and the like from around the world are at the festival posting their photos and videos to millions of followers that has made it into an even bigger thing which you do not recognize. You want to tell me The Kardashians go to Worthy every summer? Glasto is that deep into pop culture?  If you want to place any blame on how its morphed then that would be the BBC and to some extent global warming. Last 3 festivals have had incredibly favorable weather and that looks amazing on the tele when you see ( like in 2019 ) 90% of the audience in shorts and bathing suits having a good ol time. If it was a  consistent muddy slog every year then it wouldnt be seen as you think its being seen. Imagine how much worse it would be if the BBC streamed the whole weekend world wide instead of only in the uk. cause a lot of people do not get to see anything beyond the youtube clips and vlogs that exist.

Then also let me know when Glasto gets named dropped in a Marvel movie and then we can talk about  pop culture supposedly making it harder for you on T day.
 

 

 

Really though, the fest is still undervalued and its finally getting closer to what it should cost for what you get. Although that extra money doesnt go to the talent sadly. Thus the conundrum of price vs lineup value.

We're not talking about global stuff mate. We're talking about the UK. That's where the demand is. You might not know the celebs and influencers are, but I'll tell you that they're all over social and mainstream. 

Also - Coachella is shit.