The End of Sold-Out: A New Era for Live Music?

The music industry's sold-out system is facing criticism from artists like Venditti and Zampaglione, who describe it as a mechanism that exploits young fans and retains most revenue. This system results from structural shifts: artist income has migrated from record sales to concerts, and post-COVID demand has driven ticket prices and show numbers to unsustainable levels. As supply expands to meet demand, a market correction is underway: projects lacking solid foundations will exit, leading to consolidation among major players and small operators. Beyond the hit factory, many artists build careers in niche circuits. The pop-star industry relies on thousands of session musicians, arrangers, and sound engineers, often provided by major labels, to craft hits. Two macro-categories emerge: massive production filling all spaces, and artisanal, research-oriented work, with numerous borderline niches like electronic, metal, jazz, and experimental music. Despite their importance, the majority of revenue comes from the pop-star industry. A new development path is needed to avoid a growth trap where ever-increasing revenue must sustain expanding costs. Possible responses include a return to niche markets or new contractual models for streaming subscribers. The market's current conformation requires reflection and evolution, as excessive Fordist principles risk disarming music's explosive power.