Entertainment

Government to review ‘dynamic pricing’ in wake of Oasis ticketing outrage

Published

1 year ago

September 2, 2024

THE UK GOVERNMENT has announced a comprehensive review of the ticket sales market following widespread backlash over the inflated prices of tickets for the recently announced Oasis reunion tour. The surge in prices, driven by dynamic pricing models, has left many fans feeling excluded from the chance to see their favourite band perform live, with ticket prices more than doubling from their face value.

Culture Secretary Lisa Nandy expressed her disappointment over the situation, describing the inflated prices as “incredibly depressing.” She highlighted the Government’s commitment to addressing the issue and ensuring that fans are not exploited by the system. Nandy stated that the review will focus on the transparency and use of dynamic pricing, particularly the technology behind queuing systems that appear to incentivise such practices.

***Many fans have been left feeling cheated after waiting all day to on computers and phones to try and buy tickets to the Oasis Live ’25 (Image: File)***

“After the incredible news of Oasis’ return, it’s depressing to see vastly inflated prices excluding ordinary fans from having a chance of enjoying their favourite band live,” Nandy remarked in a statement. “This Government is committed to putting fans back at the heart of music. We will include issues around the transparency and use of dynamic pricing, including the technology around queuing systems which incentivise it, in our forthcoming consultation on consumer protections for ticket resales.”

The controversy erupted when fans attempting to purchase tickets for the Oasis reunion tour found themselves faced with prices that skyrocketed from the initial £75.00 to as much as £498.00 on Ticketmaster. The surge pricing model, also known as dynamic pricing, adjusts ticket prices based on demand, leading to what many fans have described as “sickening” and “scandalous” increases.

Crundale resident Gavin Young said: “I came into work on Saturday by 8.30am to use the office computers to buy my tickets. I was put into a queue of 274,677 people. After 8 hours of waiting at my desk I got to number one in the queue, but as soon as I got to the checkout the system was trying to charge me £498 for ‘budget seating’ for tickets that were initially advertised at £75.00 each.

“This is despite the band saying that tickets being sold over ‘face value’ would be cancelled.

“I feel devastated because I am a massive fan of the band, and one of those lucky enough to have seen Oasis live in Knebworth on August 11, 1996.

“Admittedly my mate and I, just 17-years-old at the time got given free tickets by a mystery woman walking out of the VIP entrance back stage, whilst we were trying to sneak in.

“We doubt that we would have the same luck this time around.”

One prominent figure affected by the pricing surge was Government minister Lucy Powell, who revealed that she had paid more than double the original quoted price for tickets to an Oasis show. Powell, the House of Commons leader and Lord President of the Council, purchased two tickets for £350 each for the Heaton Park concert in July, which had originally been priced at £148.50, excluding a booking fee. Speaking to BBC Radio 5 Live, Powell admitted that while she does not “particularly like” surge pricing, it reflects how the market operates. However, she emphasised the need for transparency, stating, “You’ve absolutely got to be transparent about that so that when people arrive after hours of waiting, they understand that the ticket is going to cost more.”

Ticketmaster, the platform where the tickets were sold, has defended its role in the pricing controversy, clarifying that it does not set the prices. According to the company, ticket prices are determined by the “event organiser,” who prices the tickets according to their market value. Despite this defence, many fans were left frustrated, not only by the inflated prices but also by technical issues on the Ticketmaster website, which led to some being incorrectly labelled as bots and missing out on tickets altogether. However, Ticketmaster maintained that its website did not crash and advised customers to clear their cookies and use only one tab when attempting to purchase tickets.

***You’ve got to roll with it: Fans were told by promoters to keep waiting in the queue for tickets (Image: File)***

The Oasis reunion tour, marking the end of a decade-long feud between brothers Noel and Liam Gallagher, quickly sold out all 17 of its announced shows, including two in Cardiff. The overwhelming demand and the issues with ticketing have reignited debates over the fairness of the secondary ticket market and the ethics of dynamic pricing.

Adding to the concerns, secondary ticket seller Viagogo listed a seat at Wembley for July 25 at an eye-watering £5,289. The platform has defended its practices, with its global managing director stating that it is the fans who set the prices. Viagogo also reiterated that resale is legal in the UK and that fans are protected by a guarantee that they will receive their tickets in time for the event or get their money back.

In response to the controversy, Oasis has issued guidance to its fans, advising them to use only Ticketmaster and Twickets for reselling tickets and to list them at “face value” to avoid cancellation by the promoters. The band’s promoters, Manchester-based SJM Concerts, Irish MCD, and Scottish DF Concerts & Events, have yet to comment on the matter.

Meanwhile, Education Secretary Bridget Phillipson has also weighed in on the debate, linking the issue of dynamic pricing to broader concerns about pricing practices in other sectors, such as travel companies and airlines, particularly during school holidays. Phillipson acknowledged that dynamic pricing is an area that requires further consideration, especially given its impact on families. However, she stressed the importance of ensuring children attend school regularly, warning that missing days at the start of the term can set a negative pattern for the future.

In the wake of the public outcry, fans have taken to Change.org to demand immediate action. Within the last 48 hours, over 16 petitions have been launched on the platform, collectively amassing thousands of signatures. These petitions primarily target Ticketmaster, calling for an end to what many fans see as exploitative practices.

One petition, echoing the sentiments of many, reads: “Their monopoly on the sale of tickets has allowed this greed to go unchecked for years. It’s time it was banned!” Another frustrated fan added: “It isn’t fair for us to have to pay more just because the event we wish to attend is in higher demand. Ticketmaster’s dynamic pricing strategy unfairly exploits loyal fans who simply want to enjoy an event.”

The wave of petitions comes amidst a broader backlash against dynamic pricing, which has overshadowed the excitement surrounding Oasis’s much-anticipated return. Fans have also called on the band to add more tour dates or to consider broadcasting performances through national broadcasters to accommodate those unable to secure tickets.

Sylvia Rook, Lead Officer for Fair Trading at the Chartered Trading Standards Institute (CTSI), said: “We are aware of the fact that many consumers have complained that the tickets they were offered, after having queued for several hours online, ended up costing substantially more than the originally advertised prices that were released at the end of last week.

“Whilst dynamic pricing is an accepted practice for holidays, flights and taxis, the difference here is that consumers are informed of the price before they decide to make a purchase. In this case, the public were given a price for tickets, and were not informed until they finally got to the front of the queue, that the price had increased. This undoubtedly meant that many consumers have overreached and ended up spending much more than they originally intended. Many other consumers ended up disappointed after deciding not to proceed to pay the vastly increased prices. One CTSI member who queued for 5 hours was faced with paying £348 for a standing ticket at Wembley when he was expecting to pay £151.

“Dynamic, or fluid pricing, is not specifically prohibited by consumer protection law; the important factor is that consumers are not misled by the indicated price. It is a breach of the Consumer Protection from Unfair Trading Regulations 2008 if a trader misleads consumers regarding the price of goods and services, if that causes the average consumer to take a different ‘transactional decision’. In this case many consumers would not have joined the queue had they known that the price would have increased by the time they were able to purchase, and many fans could not afford the increased price.

“Ticketmaster have said the tickets were ‘in demand’ tickets, which is why the price was higher but, to ensure consumer legislation is complied with, all relevant information about the price should have been given to consumers before they joined the queue. CTSI is also aware of the vastly increased price of tickets on resale sites, meaning that genuine fans are unable to buy tickets which may have been purchased by bots.

“Anyone who feels they were misled by the promotion of the Oasis tickets and the ticket platforms promoting them is encouraged to report the matter to Trading Standards by calling the Citizens Advice Consumer Helpline on 0808 223 1133 if in England and Wales. In Scotland, contact Advice Direct Scotland on 0808 164 6000, or if in Northern Ireland, call Consumerline on 0300 123 6262.

“We will be working with the government to see how consumers can be better protected with regard to the sale of event tickets.”

This isn’t the first time dynamic pricing has come under fire. In February, a Change.org petition started by user Allister Thompson garnered nearly 50,000 signatures, demanding that the practice be banned. Although this earlier petition did not lead to immediate action, there is renewed hope among concert-goers that the current Government review, announced by Culture Secretary Lisa Nandy, might finally address the issue.

As the Government prepares to launch its review, fans and industry stakeholders alike will be watching closely to see whether new regulations will be introduced to curb the excesses of the current ticketing system. The aim is to create a fairer marketplace that puts fans first and protects them from the exploitative practices of touts and price surges, ensuring that live music remains accessible to all.

Entertainment

Freyja’s ‘Aquantis’ named winner of Torch Theatre’s festive design competition

Published

5 days ago

December 9, 2025

Tom Sinclair

TEN-YEAR-OLD Freyja from St Francis RC School has been crowned the winner of the Torch Theatre’s Design an Evil Sea Creature competition – beating more than 300 imaginative entries that ranged from cyclops creations to fanged dolphins and double-headed stingrays.

Her design, Aquantis, caught the eye of the judges and will now be brought to life on stage in this year’s Christmas pantomime, Rapunzel, at the Torch Theatre.

Freyja said she was “ecstatic” to hear the news.
“It was really good news to have. Drawing and creative writing is something that I enjoy and have a passion for, so to be given this opportunity and to win was incredible. I’d like to say well done to everyone else who entered – it was a fun competition to be part of.”

A sea monster with a story

So what exactly is the Aquantis?

“She was once a tiny kraken with a big heart,” Freyja explained. “She has special powers and shoots slime balls that can paralyse her victims – and during the paralysis phase they are completely under Aquantis’ control. She swims joyfully through the enchanting depths of the sea with a love of exploring every corner of the ocean.”

Freyja said her imagination and a recent snorkelling trip inspired the creature.
“My idea for the Aquantis came through my imagination, after deciding what backstory I wanted to create for her. I can’t say I’ve seen any sea monsters up close, but I’ve recently been snorkelling in the Red Sea so that helped give the Aquantis an edge. I’m really honoured to have been chosen and can’t wait to see it all come together on stage.”

Workshops inspire young artists

This year’s project was delivered in partnership with the Arts Society West Wales, whose representatives joined Torch Theatre professionals for day-long creative workshops in three Milford Haven primary schools. The aim was to help pupils imagine, design and model their own scary sea monsters.

The children’s enthusiasm and creativity were clear throughout the sessions, with dozens of colourful, sci-fi-inspired designs produced. All entries are now on display in the Torch Theatre Gallery.

Torch Theatre’s Artistic Director, Chelsey Gillard, said she was so impressed by the range of ideas that several of the friendlier creatures will also feature in Rapunzel, voiced by members of the Torch Youth Theatre.

Rapunzel this Christmas

Rapunzel runs at the Torch Theatre from Saturday 6 December to Sunday 28 December.
Tickets: £24.50 | £20.00 concessions | £78.00 family.
Relaxed Environment Performance: Saturday 13 December at 2:00pm.
BSL Interpreted Performance (Liz May): Tuesday 16 December, 6:00pm.

Entertainment

Artistic licence brings comedy classic noises off to the Torch Theatre

Published

6 days ago

December 8, 2025

Tom Sinclair

PEMBROKESHIRE theatre company Artistic Licence is preparing to bring the much-loved farce Noises Off to the Torch Theatre in Milford Haven from Thursday 5 to Saturday 7 February.

It is 25 years since the National Theatre’s ground-breaking production of Michael Frayn’s comedy first wowed audiences. Now Artistic Licence is presenting its own take on what critics have long hailed as “the greatest farce ever written”.

Packed with slamming doors, flying sardines and backstage mayhem, Noises Off follows a theatre company whose production is falling apart both on stage and behind the scenes. The result is a chaotic tribute to live theatre – and the perfect night out for anyone who has ever been on stage, or simply sat in the audience.

Local cast takes centre stage

The entire cast is drawn from Pembrokeshire performers. Artistic Licence, which champions local talent, has assembled a strong ensemble for the show.

The company includes Kerry Steed as Dotty/Mrs Clackett, Marcus Lewis as Lloyd, Alex Jukes as Garry/Roger, Laura Barrett as Brooke/Vicki, Will Oliver as Frederick/Phillip/Sheikh, Janine Lewis as Belinda/Flavia, Frank Tobin as Selsdon/Burglar, Hun Benbow as Tim/Stage Manager, and Chloe Wheeler as Poppy/ASM.

Artistic Licence was founded by Carol Mackintosh, Trisha Biffen and Marcus Lewis to bring classic plays and quality comedy to local audiences, while giving Pembrokeshire actors the opportunity to perform at the county’s only professional producing theatre.

“We’re so excited to be bringing Noises Off to the Torch,” said Carol, Tricia and Marcus. “It’s one of the funniest plays ever written, and it’s a real treat to work with such a talented group of local performers. Artistic Licence is all about celebrating great writing and giving Pembrokeshire talent a chance to shine – and Noises Off is the perfect show for that.”

How to book

Performances take place in the Torch Theatre’s Main House from 5–7 February 2026. Tickets are available now from the Box Office on 01646 695267 or online at torchtheatre.co.uk.

For anyone who loves theatre, laughter and a generous dose of organised chaos, this is one not to miss.

Entertainment

Will new broadband work bring faster internet to rural Wales by early 2026?

Published

6 days ago

December 8, 2025

Staff Writer

Wales is moving forward with plans that bring real internet coverage to areas where speeds fall short. The project now launched is built on data, fieldwork, returned funding and a clear digital objective. The timing and the scope are fixed, the tools are known, and the outcome is firm. Rural parts of Wales can expect change early in 2026.

A plan built for areas still waiting

The Welsh Government set aside £70 million to bring high-speed broadband to premises where 30Mbps is still out of reach. These areas sit outside all commercial and public rollout activity confirmed for the next three years.

The new effort uses returned funds from BT’s Superfast Cymru phase. Take-up levels went up, the clawback clause activated, and now the amount is being put back into the ground.

There are two LOTS in the framework. LOT 1 carries £60 million and targets clusters with 1,000 or more premises. LOT 2 carries £10 million and goes to smaller sites with fewer than 1,000.

The tender was open until November 26th, 2025. Contracts are expected to be handed out on 20 January 2026. Once awarded, the build can begin. The first results are expected soon.

Coverage gaps are actively targeted

As of mid-2025, around 97.6 percent of premises across Wales reach 30Mbps or more. Roughly 87.8 percent of those can access gigabit speeds. However, smaller areas still remain with lower coverage. These are the homes, farms, outbuildings, and business spots now included in the new plan.

The open market review defines the list. It checks all current commercial and government plans and picks only those premises outside them. That keeps the focus on gaps. It also stops money from going to areas already covered.

Installation cost per premise stands around £2,400. That is slightly higher than figures under Project Gigabit, which usually run under £2,000. Reaching these remote spots takes more work, more equipment, and more time. FTTP is the main option here, as fibre to the Premises means fast, direct access right at the socket.

Where the difference will be felt

This rollout reaches people and places with low speeds, weak lines and poor access to online services. The reach includes people working from rural homes, small business owners, live streamers, and residents who rely on online platforms for everyday tasks.

New coverage will also change how users access data-heavy services like online gaming, app-based tools, and systems that demand instant response and secure payments.

Faster internet helps with media, support platforms, and site features that rely on strong upload and download signals. Those who play online casino games on established gaming platforms will notice smoother delivery.

This type of gaming in the UK has grown steadily in recent years. It is driven by the ease of access from home and the steady shift toward digital formats. With stronger networks, features like live tables, high‑speed slots, and timed promotions can perform more reliably.

With the broadband upgrade, performance will be more consistent, and the interface will become more responsive, especially where visuals or payouts are involved.

Research that helped target the project

The Welsh Government commissioned Cwmpas to gather feedback from those living and working in the most affected areas. This research reached across all parts of Wales and focused on rural users. Respondents included students, self-employed workers, remote professionals, and community leaders.

The biggest age group was 54 to 63, which made up 31.4 percent of replies. The group with the lowest reply rate was 16 to 25, at just 1.45 percent.

Many users saw FTTP as the best solution. They wanted something that worked now, but they were ready to accept bridging options until the final system could be built. Every user surveyed asked for fast and reliable service. No one wanted to wait another three years.

UK Government feedback from similar research confirmed the trend. Those living in areas with limited coverage said they wanted better access for basic online actions, work‑from‑home tasks, and information services. Businesses said they needed faster lines for productivity, better access to cloud tools, and system stability for customer contact.

Support, structure and who builds it

The Welsh Government worked alongside Building Digital UK and local councils to avoid overlap and make sure that funding reached places without confirmed service. City and growth deals across Wales also had input. Coordination across all levels was a key part of planning.

The grant process will include requirements for environmental awareness. Past broadband builds asked providers to show how they would manage biodiversity, and this project will carry the same. Civil works for fibre take weeks, so early notice and open communication help ease disruption in each area.

While this is an infrastructure project, some users face extra difficulty once it goes live. Low income and low digital confidence can slow take-up. This was flagged in early assessments. Providers may offer setup guidance and local signposting to make sure coverage turns into real access.

The build also gives support to third sector groups. These groups use online tools to manage funding, communicate with teams and run outreach. Reliable broadband makes this simpler. The same applies to people using online learning, public service portals or tools with streaming content. It keeps users in touch with what matters.

Fixed timetable, clear impact

The contracts close in late 2025, and awards follow in January 2026. The first build phase starts just after that. Over time, the network will stretch into farms, valleys, border towns, hill properties, and distant coast spots. Each home and business added gets stable signal and a future‑proof line.

The aim is always steady access. Rural areas take longer to build into, but the model here has been tested and planned with care. Providers like Openreach, Ogi, Netomnia and Virgin Media all match the project size. Some need more backing than others, and some may only go after one LOT.

Service helps people stay productive. It lets platforms run with fewer errors. It removes the weak points in a stream or feed. Once the new lines go live, the full package of modern tools and services can follow. Wales stays online without lag, skips the drop, and cuts out the wait.