In a decisive move to curb ticket scalping and protect consumers from exorbitant prices, Ticketmaster Canada has begun notifying Ontarians that tickets listed for resale on its secondary marketplace will be removed. This action comes in direct response to new provincial legal requirements championed by Doug Ford\u2019s government, specifically enshrined within Bill 97, which aims to cap resale ticket prices at their original face value, inclusive of all service fees and taxes.<\/p>\n
The ticketing giant has disseminated emails to users with active resale listings, stating, "Effective April 23, 2026, tickets in Ontario cannot be resold above the total original cost, including service fees and taxes." The communication further assures users that updated functionalities will be available in the coming weeks, enabling them to relist their tickets in compliance with the new regulations. This forward-looking effective date indicates a preparatory phase for the industry as the legislation moves towards full implementation. A spokesperson for Ticketmaster Canada confirmed these changes to CP24, articulating, "With the legislation coming into force shortly, we have begun contacting all fans with tickets listed on our resale platform to let them know we have delisted their tickets from our marketplace."<\/p>\n The impetus behind Bill 97 stems from widespread public frustration over the years concerning predatory pricing practices in the secondary ticket market. Consumers have frequently reported paying multiples of the original ticket price for popular events, often due to automated bots acquiring large blocks of tickets only for them to be immediately relisted at inflated rates. This practice not only priced out many genuine fans but also created a perception of unfairness and exploitation within the live entertainment sector. The Ontario government, in tabling this legislation, has explicitly aimed to restore integrity to the ticket purchasing process and ensure greater accessibility for all residents.<\/p>\n While Bill 97 has been passed by the provincial legislature, it is currently awaiting royal assent to officially become law. Once enacted, the legislation will impose several stringent requirements on secondary sellers and platforms. Resellers will be mandated to provide verifiable proof of the original ticket price when listing a ticket for sale. Furthermore, both the original and the resale prices must be clearly disclosed to prospective buyers, ensuring complete transparency. Secondary market platforms, such as Ticketmaster\u2019s, will also be required to maintain detailed records of all transactions for a minimum of three years following the event date, facilitating oversight and enforcement.<\/p>\n Live Nation, the entertainment behemoth that merged with Ticketmaster in 2010, publicly voiced its support for the provincial government’s initiative. Through a statement posted on its social media channels, Live Nation Ontario declared, "We are in favour of measures that promote fair, transparent ticketing and curb exploitative resale practices." This endorsement from a key industry player underscores a broader industry recognition of the need for greater regulation in the secondary market, even as it navigates the complexities of implementation.<\/p>\n Despite the positive reception from various stakeholders, questions remain regarding the precise integration of Ticketmaster\u2019s revised policies with the new Ontario legislation. A key area of ambiguity involves the recovery of service fees and taxes: it is yet unclear whether these costs will be recouped by the ticketing company or passed on to the reseller, potentially influencing the economic model for secondary sales. Clarity on these operational details will be critical as the industry adapts to the new regulatory environment, striving to balance consumer protection with market viability.<\/p>\n U.S. Antitrust Verdict Against Live Nation Sparks Canadian Scrutiny<\/strong><\/p>\n Beyond provincial regulatory changes, the Canadian live music industry is closely monitoring the far-reaching implications of Live Nation’s recent loss in its blockbuster antitrust trial in the United States. A U.S. jury found the entertainment giant to be operating as an illegal monopoly, a verdict that could reshape the global ticketing and concert promotion landscape, with potential ripple effects extending north of the border.<\/p>\n The U.S. Department of Justice (DOJ), alongside a coalition of states, successfully argued that Live Nation\u2019s vertical integration\u2014its control over ticketing services, concert promotion, and a significant portfolio of amphitheaters\u2014constituted anti-competitive behavior. Specifically, the jury found that Live Nation illegally tied the use of its venues to its concert promotion services, stifling competition and limiting choices for artists and consumers alike. This landmark ruling follows years of public outcry and regulatory investigations into the company\u2019s market dominance, particularly since its controversial 2010 merger with Ticketmaster. Critics have long argued that this merger created an entity with unparalleled control over nearly every aspect of the live music experience, from booking artists and promoting tours to selling tickets and managing venues, leading to inflated prices and reduced innovation.<\/p>\n While the verdict applies directly to the U.S. market and its legal framework, industry experts in Canada are cautiously optimistic that it could serve as a powerful precedent for similar scrutiny. Lucas McCarthy, founder and CEO of Showpass, one of Canada\u2019s largest independent ticketing companies, described the U.S. ruling as "monumental." He elaborated, "This is a sign of the times that ticketing and live events are as important to people as core basket items like food and shelter. It\u2019s a good indicator that society holds live entertainment at the very forefront." This sentiment reflects a growing recognition of live events not merely as discretionary spending but as a vital component of cultural and social well-being.<\/p>\n St\u00e9phane McGarry, who heads Canadian operations for Tixr, another significant independent ticketing player, echoed McCarthy’s optimism. In an interview with Billboard Canada<\/em>, McGarry, alongside CEO and co-founder Robert Davari, expressed hope that Canada’s Competition Bureau might "follow suit." He noted, "The U.S. is a very tough market to prove monopolistic behaviour, and it has now been proven in court. So now if Canada\u2019s Competition Bureau were to have a look at this, which we\u2019re hoping they do, they have a blueprint for how to think about it." This suggests that the detailed legal arguments and evidence presented in the U.S. trial could provide a roadmap for Canadian regulators to initiate their own investigations into Live Nation\u2019s market practices within Canada.<\/p>\n The Canada Competition Bureau, the federal body responsible for ensuring fair competition, has confirmed it is actively monitoring the developments. A spokesperson for the Bureau stated, "We are aware of the recent verdict in the Live Nation case in the United States. We continue to monitor the work of our international counterparts, while recognizing that each jurisdiction operates within its own legal framework." While the Bureau’s statement acknowledges the distinct legal context of Canada, its commitment to monitoring suggests a potential for future action should evidence of anti-competitive practices emerge within the Canadian market.<\/p>\n The potential outcomes of this increased scrutiny in Canada are significant. McCarthy predicts that the U.S. verdict will foster an environment ripe for greater competition. "This might create a new category of businesses that are more inspired and willing to participate," he posited. "I think we\u2019ll see significantly more innovation." A more competitive landscape could lead to a broader array of ticketing solutions, potentially lower service fees, and more favorable terms for venues and artists, ultimately benefiting consumers through improved service and fairer prices. McGarry further emphasized the long-term benefits for fans, stating, "If you know Canada, you know it might be a slow burn. But at the end, [if things change], it\u2019s the fan that\u2019s going to be much happier." He also indicated a willingness to collaborate with other companies to lobby the Competition Bureau for a new inquiry, highlighting a collective desire within the independent sector for a level playing field.<\/p>\n FACTOR Announces $2 Million in Funding to Bolster Live Music Industry<\/strong><\/p>\n Amidst these significant regulatory and market structure debates, the Canadian music scene has received a vital boost with FACTOR (Foundation Assisting Canadian Talent on Recordings) announcing a substantial investment of over $2 million in funding for the live music industry. This financial injection, specifically targeting its Promoter Program and Festival Program, underscores a concerted effort to support Canadian artists, festivals, and events, and to safeguard the nation\u2019s cultural identity in a rapidly evolving global entertainment market.<\/p>\n The funding initiative, unveiled on Tuesday, April 21, is designed to share investment risk with live music companies that possess a "proven track record" of successfully presenting Canadian artists and championing diverse voices. The overarching goal is multifaceted: to facilitate the staging of more shows across Canada, to ensure greater representation of Canadian artists on these stages, and to foster increased participation of Canadians in the teams behind the scenes that bring these events to life. This strategic investment aims to counter the pressures of rising operational costs and intensifying competition from foreign-owned entities that could otherwise marginalize local talent and businesses.<\/p>\n Meg Symsyk, President & CEO of FACTOR, articulated the critical importance of this support. "In this moment, supporting the Canadian businesses that help shape our identity is more important than ever," Symsyk stated. "At a time of rising costs and increased competition from foreign-owned companies, this support will enable our promoters and festivals to continue bringing Canadian artists to stages across the country and marketing those performances effectively, helping artists grow their audiences and careers." Her comments highlight the dual objectives of promoting cultural sovereignty and fostering career development for Canadian musicians.<\/p>\n The Promoter Program, initially launched in 2024 as a pilot project in collaboration with Musicaction, was conceived to recognize and support concert promotion staff, acknowledging the increasing significance of live music entertainment and touring in artists’ careers. Its foundational principles included a commitment to fostering diverse voices and actively working to bring more Canadian, Indigenous, and marginalized artists onto the national stage, as well as into leadership roles behind the scenes. The expansion of this program, coupled with the new Festival Program, reinforces FACTOR\u2019s dedication to ensuring that Canada’s vibrant cultural landscape is shaped by its homegrown talent and values.<\/p>\n Maddy Oliver, interim executive director of the Canadian Live Music Association (CLMA), enthusiastically welcomed the announcement. "The CLMA is very pleased to see the return of the Promoter Program and new Festivals Program at FACTOR and Musicaction," Oliver commented. "Promoters and presenters are the purveyors of Canada\u2019s cultural sovereignty; this investment represents more opportunities for homegrown artists and support for Canadian live music businesses." Her statement underscores the vital role that local promoters and presenters play in curating and sustaining a unique Canadian musical identity, distinct from global trends.<\/p>\n This significant investment comes on the heels of the Canadian Music Fund\u2019s renewal in November 2025, which allocated a substantial $48 million to Musicaction and FACTOR over a three-year period commencing in 2026. This broader governmental commitment provides a stable financial foundation for organizations like FACTOR to implement long-term strategies for cultural development and industry support. The combined impact of provincial regulatory reforms, the potential for federal antitrust action, and targeted funding initiatives paints a complex yet hopeful picture for the future of live music in Canada, promising a more equitable, vibrant, and accessible scene for all stakeholders.<\/p>\n","protected":false},"excerpt":{"rendered":" The Canadian live music and ticketing landscape is experiencing a period of profound transformation, marked by significant regulatory shifts in Ontario, the reverberations of a landmark antitrust verdict against Live…<\/p>\n","protected":false},"author":12,"featured_media":7959,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[555],"tags":[54,1367,2227,5304,1373,56,55,1368,5302,5303,1370,5305,57,1589,4579,32],"class_list":["post-7960","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-music-industry-business-finance","tag-business","tag-canada","tag-caps","tag-cracks","tag-face","tag-finance","tag-industry","tag-ontario","tag-prices","tag-province","tag-resale","tag-scalpers","tag-streaming","tag-ticket","tag-ticketmaster","tag-value"],"_links":{"self":[{"href":"https:\/\/empire-music.net\/index.php\/wp-json\/wp\/v2\/posts\/7960","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/empire-music.net\/index.php\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/empire-music.net\/index.php\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/empire-music.net\/index.php\/wp-json\/wp\/v2\/users\/12"}],"replies":[{"embeddable":true,"href":"https:\/\/empire-music.net\/index.php\/wp-json\/wp\/v2\/comments?post=7960"}],"version-history":[{"count":0,"href":"https:\/\/empire-music.net\/index.php\/wp-json\/wp\/v2\/posts\/7960\/revisions"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/empire-music.net\/index.php\/wp-json\/wp\/v2\/media\/7959"}],"wp:attachment":[{"href":"https:\/\/empire-music.net\/index.php\/wp-json\/wp\/v2\/media?parent=7960"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/empire-music.net\/index.php\/wp-json\/wp\/v2\/categories?post=7960"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/empire-music.net\/index.php\/wp-json\/wp\/v2\/tags?post=7960"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}![\"In](\"https:\/\/www.billboard.com\/wp-content\/uploads\/2026\/04\/ticketmaster-computer-screen-billboard-1800.jpg?w=1024\")
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