FEAT Updates Name To Focus on Authorised Resale

Following the organisation’s decision last October to focus on promoter-authorised resale, FEAT has updated its name to the Fully-authorised European Alliance for Ticketing. 

Founded in 2019 as the Face-value European Alliance for Ticketing, the organisation is evolving to meet a more complex resale landscape. Unlike unauthorised websites, promoter-authorised systems ensure that purchasers of resale tickets for events are guaranteed entry. The promoter-authorised resale process involves the cancellation of the original ticket and the reissuance of a unique barcode to the new purchaser. 

Consumers pay the price when resale happens via unauthorised third-party sites. In October 2025, over 1,700 fraudulent “resale” tickets were offered for Radiohead’s European tour before the general sale had even commenced. Similarly, German fans were turned away from several Florence + The Machine concerts earlier this year after purchasing fake or duplicated tickets from third-party sites. 

Founding Director of FEAT, Neo Sala (CEO of Doctor Music) said: “In late 2022, a Spanish court convicted a fraudster of ‘reselling’ two tickets for a U2 concert in Madrid up to 65 times. They were ‘resold’ copies of the same barcode on several unauthorised sites. This scam demonstrates exactly why we need secure, official resale platforms. They are the only ones that can guarantee legitimate tickets”.

Florence + The Machine German tour targeted by unauthorised traders at expense of fans

Following the conclusion of Florence + The Machine’s “Everybody Scream” tour dates in Europe, an analysis by promoters MCT-Agentur has highlighted the extent of unauthorised ticket resale impacting fans in Germany. 

Despite the tour’s sold-out status and efforts by the promoter to maintain secure, authorised ticketing channels, monitoring of five major unauthorised platforms – Viagogo, Ticombo, SeatsNet, Ticketbande, and Gigsberg – revealed a coordinated effort by resellers to bypass official resale restrictions in Cologne, Munich and Berlin.

Tickets resold on unauthorised websites cause all kinds of problems at venue entrances. Promoter MCT-Agentur told FEAT that a number of fans arrived at the Berlin box office facing issues, ranging from receiving only an order confirmation instead of a ticket to fake tickets and unknown barcodes. Similar problems were also reported in Munich and Cologne regarding fake tickets and tickets that were not sent, resulting in customer complaints that they were unable to get through to customer service.  

Research conducted before the tour identified 2,837 ‘resale’ offers available to purchase across these websites. While the actual number of unique tickets may be slightly lower due to the likelihood of some sellers listing the same inventory across multiple sites, the volume remains significant relative to venue capacity.

MCT-Agentur found that:

  • There were 2,837 unauthorised listings across the three dates, with Munich seeing the highest volume at 1,125 tickets (7.25% of venue capacity), followed by Berlin (893) and Cologne (819).
  • Gigsberg emerged as the unauthorised website with the highest number of tickets available, with resellers offering 1,208 tickets across the three concerts.
  • Tickets were frequently listed at five to ten times their face value, with prices on Ticombo reaching a peak of €1,741 for the Munich performance.
  • On Ticombo, 99% of Cologne listings were priced over €600, with half exceeding €1,000. Significantly, every listing for the Cologne date originated from a single company, evidence of commercial-scale harvesting rather than fan-to-fan resale.

MCT Agentur said: “We have once again found that fans do not distinguish between buying tickets on the primary or secondary market. The resulting damage to reputation affects not only the promoters but also the artists. We urgently need a law to curb the scalping of tickets in Germany.”

Rammstein’s EU tours – ticket personalisation in the fight against unauthorised resale

New data from German metal band Rammstein’s 2023 and 2024 European stadium tours has highlighted the intensive efforts undertaken by the band and their team to keep tickets in the hands of genuine fans. 

Working closely with promoter MCT-Agentur, Rammstein implemented a ‘hard personalisation’ policy to protect their audience. To prevent professional scalpers and automated bots from harvesting huge amounts of inventory for resale, tickets were sold under terms and conditions which legally bound each ticket to the named buyer. Any ticket identified as being resold via an unauthorised third-party website was in direct violation of these terms. These tickets were cancelled – not to penalise fans, but to strip away the incentive for unauthorised websites to offer tickets to the concerts. 

The process involved a rigorous cycle of data monitoring and the proactive cancellation of suspicious purchase orders before the tour began. On the nights of the shows, MCT operated dedicated troubleshooting desks to support fans who arrived with these cancelled tickets. Rather than simply being turned away, fans were given a clear explanation of why their ticket was invalid and provided with the necessary documentation to help them claim a refund from the third-party site that had misled them.

The scale of this operation was significant. In 2023, seven concerts were monitored with 706 tickets cancelled. This rose to 1,465 tickets across twelve shows in 2024. Unauthorised resale website Viagogo was identified as the primary source of the problem, accounting for around 60% of all cancelled tickets, while roughly 100 fans across the dates arrived with entirely fake or duplicated barcodes. 

Despite the larger number of unauthorised resale tickets identified for the 2024 tour, the data suggests that these preventative measures are working. Between 2023 and 2024, a clear shift in reseller behaviour was observed as ticket scalpers were forced to adapt to MCT’s efforts. Bulk purchases were noted to have largely disappeared, a regular occurrence for previous tours, with resellers limiting themselves to just two or three tickets per identity and using plausible email addresses that mimic genuine fans. It was also observed that far fewer Facebook groups associated with fake or fraudulent tickets appeared. 

MCT Agentur commented: “Rammstein and MCT invested significant resources to ensure that tickets were not scalped. While personalisation was a successful deterrent after action over the course of several tours, most artists simply don’t have the resources to police their concerts to this extent. We need regulation that prevents these sites from hosting unauthorised listings in the first place, rather than leaving the industry to fight it, or simply accept it at the expense of fans”.

Europe’s Live Events Sector Calls On EU To Stop Predatory Ticket Resale

Over 130 representatives of the live events industry have signed an open letter to EU Justice Commissioner Michael McGrath, calling for help to put an end to unauthorised ticket resale in the EU. 

Signatories include iconic German bands AnnenMayKantereit, Die Ärzte, Die Toten Hosen, Einstürzende Neubauten and Rammstein. The managers of Ed Sheeran, Nick Cave, Oasis and Radiohead have also signed, together with agents representing Florence + The Machine, Fontaines D.C., Gorillaz, Harry Styles, Katy Perry, Lorde, Olivia Dean and Sam Smith. 

The letter has backing from the Montreux Jazz Festival, Sunny Hill Festival, Sziget Festival and Ireland’s The Big Day Out Festival, as well as venues, theatre troupes, and orchestras – from the Czech National Theatre and the Estonian Drama Theatre to the Malta Philharmonic Orchestra

It is supported by key associations such as the Sports Rights Owners Coalition, YOUROPE – The European Festival Association (138 members from 31 countries) and the Association of Independent Music Ireland

The letter asks that the EU expands the scope of the Digital Fairness Act (DFA) to tackle ticket resale abuse. The upcoming law aims to strengthen consumer protection against unfair online practices. 

Across Europe, unauthorised platforms continue to facilitate industrial-scale ticket scalping, worth some €2.5bn annually. Each year, ticket scalpers are known to prey on tens of thousands of consumers (although the true number may be much higher), selling tickets at extortionate prices that are fake or duplicated, or that otherwise break the terms and conditions of entry. Fans are regularly turned away, in many cases having also paid significant sums for travel and overnight accommodation.  

Despite the introduction of stricter rules for online platforms in the Digital Services Act, the letter expresses frustration that new mechanisms for reporting illegal ticket offers have yet to prove effective. Members of FEAT, an organisation campaigning on ticket resale, have so far reported nearly 1,000 illegally offered tickets without a single takedown. Websites such as Viagogo, StubHub International, Gigsberg and Ticombo continue to contravene EU and national laws while taking advantage of consumers and event organisers.  

With the European Commission currently undertaking its impact assessment on the DFA, the letter calls for the EU to finally act on predatory ticket resale – a move that would be welcomed across the live events sector.  

Sam Shemtob, MD of FEAT, said: “World-famous German metal pioneers Rammstein have joined forces with Hungary’s Mesebolt Puppet Theatre, national sports bodies and representatives of some of the biggest stars in music to tell the EU that action is needed on unauthorised ticket resale. Enforcement isn’t working, and the Digital Fairness Act offers a one-off chance to specifically address the problem. The EU risks falling behind if it misses this opportunity.”

Christof Huber, chairman of YOUROPE – The European Festival Association, added: “For years, platform operators with unfair and harmful business models have been taking advantage of our fans and customers. Yet we do not have the tools at our disposal to confront Viagogo and Co. in the way we would like to. As a representative of festivals across the continent, YOUROPE calls on the European Commission to act in the interest of those who guarantee millions in honest tax revenue and work for thousands of creative professionals and artists.”

Claire Turnham MBE, founder, Victim of Viagogo commented: “Fans deserve fairness and safety, not exploitation and harm. We urge the EU to act now to protect consumers and stop industrial-scale ticket abuse.”

Said Erica Crompton, President of The Entertainment Agents’ Association: “As representatives of trusted agencies across the UK, we strongly endorse this call for decisive EU-wide action. Unauthorised resale continues to mislead consumers and damage public confidence. The Digital Fairness Act must address resale head-on to restore fairness, trust and transparency. This is a vital opportunity to safeguard the live events economy.”

The full text of the letter is as follows: 

Dear Commissioner McGrath,

We are a coalition of organisations involved with live events in Europe, from promoters – who finance and arrange all aspects of concerts and events – to venues, artists, performers, creators and non-profit organisations. Together, we form the backbone of Europe’s live events sector, with the shared goal of protecting the fan experience and supporting culture.  

We are writing to ask you to specifically address the anti-consumer, fraudulent practices associated with the unauthorised marketing of event tickets, or so-called ‘resale’. E-commerce websites and platforms continue to facilitate industrial-scale illicit marketing of tickets, defrauding tens of thousands of consumers across Europe each year. 

These fans are deceived by websites that offer tickets for ‘resale’, which do not guarantee entry to the event. The tickets offered might be fake, resold to multiple buyers, sold in advance of the official ticket sale, or otherwise break the promoter’s terms and conditions of entry. These websites encourage illicit operators through top broker schemes, who defraud victims that pay many times the original price. Consumers are often directed to these offers via adverts on search engines, which also profit from these illegal listings. As well as undermining trust in ticketing, these practices have caused disruption at many events.  

Every week, we see a new controversy – recently, a globally renowned band touring Europe saw nearly 2,000 tickets marketed to EU consumers on an unauthorised ‘resale’ website before any had even gone on sale.

With music tourism set to double by 2032, ticket resale is becoming increasingly borderless. Some EU Member States already have rules to ban and penalise such practices, or that entitle event organisers to prevent them. But we also need a Europe-wide approach that provides tools to ensure efficient protection for the efforts of event organisers and consumers across borders. This is in line with your objectives as Commissioner to address manipulative commercial practices and protect consumers when buying services.  

Despite stricter regulations for platforms under the Digital Services Act, illegal ticket offers continue unabated, with event organisers’ reports of illicit activity frequently disregarded. A recent survey of FEAT members found that they had reported 296 listings, covering nearly 1,000 tickets, to unauthorised websites – with only one response. After escalating twenty separate complaints to regulators, only a handful of responses have been received, months after the concerts took place. We need quicker, easily enforceable takedown rules; otherwise, event organisers will remain worse off than before the DSA was conceived, as they spend time and resources on fruitless bureaucracy. 

The Digital Fairness Fitness Check found that 60% of respondents want tougher action on unauthorised ticket ‘resale’, concluding that more needs to be done to protect consumers from exploitative practices. To remain the gold standard in consumer protection, and to secure broad access for all individuals to cultural and sports events, the EU must act now.

Sincerely,

The undersigned

Artists/Performers

  • AnnenMayKantereit – Christopher Annen, Artist (Germany)
  • Die Ärzte – Chris Lippert, Manager (Germany) – on behalf of band 
  • Die Toten Hosen – Kiki Ressler, Manager/Agent (Germany) – on behalf of band  
  • Einstürzende Neubauten – Anna Szczuka, Management (Germany) – on behalf of band
  • Rammstein – Birgit Fordyce, Music Manager (Germany) – on behalf of band

Festivals

  • Athens Rocks Festival – Nana Trandou, Artistic Director (Greece)
  • Big Day Out Festival – Paul Boland, Festival Director (Ireland)
  • CODRU Festival – Victor Balaniuc, General Manager (Romania)
  • ESNS – Anna van Nunen, Managing Director (Netherlands)
  • Eurockéennes Festival – Jean-Paul Roland, CEO (France)
  • Festival Dranouter – Bavo Vanden Broeck, Artistic Director (Belgium)
  • Festivals Malta – Etienne Bonello, Director (Operations) (Malta)
  • Fondazione Arezzo Wave Italia – Mauro Valenti, President (Italy)
  • Goodlive – Fruzsina Szép, Festival Director (Germany)
  • Gurtenfestival AG – Christoph Haller, Booker (Switzerland)
  • Kessel Festival GmbH – Christian Doll, CEO (Germany)
  • Montreux Jazz Festival – Michaela Maiterth, Booker (Switzerland)
  • Paléo Arts & Spectacles – Dany Hassenstein, Vice President (Switzerland)
  • Pohoda Festival – Michal Kaščák, Director (Slovakia)
  • Provinssi Festival / Seinäjoki Festivals – Ville Koivisto, Festival Director (Finland)
  • Rockwave Festival – Nikos Loris, CEO (Greece)
  • Rock Werchter – Herman Schueremans, MD (Belgium)
  • Sofia Live Festival – Ruth Koleva, Founder (Bulgaria)
  • Sunny Hill Festival – Shpat Begolli, Managing Director (Kosovo)
  • Sziget KMI Zrt. – Tamas Kadar, CEO (Hungary)
  • The British Country Music Festival – Marina Blore, Promoter (UK)
  • The Øyafestival – Claes Olsen, Head of Booking & Founder (Norway)
  • Zomer Van Antwerpen – Jeroen Van Rensbergen, Production Manager (Belgium)

Theatres/Theatre Organisations

  • Castellum Theater en Film – Marcel t Sas, Director (Netherlands)
  • Chassé Theater N.V. – Ruud van Meijel, CEO (Netherlands)
  • City Theatre Brno – Zdenek Helbich, Deputy Director (Czech Republic)
  • Drak Theatre and the International Institute of Figurative Theatre – Tomáš Jarkovský, Executive Director (Czech Republic)
  • Estonian Draama Theatre – Rein Oja, Director General (Estonia)
  • Het Klooster Woerden – Natasja Heemskerk, Director (Netherlands)
  • Markant Theater Maashorst Uden – Jan Wouda, Stage Director (Netherlands)
  • Mesebolt Puppettheatre – Kata Csató, Director (Hungary)
  • Moravian Theatre and Moravian Philharmonic – David Gerneš, General Director (Czech Republic)
  • National Theater Brno – Martin Glaser, General Director (Czech Republic)
  • Posttheater – Harold Oddens, Managing Director (Netherlands)
  • Radnóti Miklós Theater – Kováts Adél, Director (Hungary)
  • Orpheus Theatre and Conference Centre – Mirjam Barendregt, Director (Netherlands)
  • Stadsschouwburg & PHIL Haarlem – Edwin van Balken, Managing Director (Netherlands)
  • Stichting ‘t Mozaïek Wijchen – Henriëtte Mooren-van den Boomen, Director (Netherlands)
  • Stichting Cascade – Marjet van Os, Executive Director (Netherlands)
  • Stichting Theater de Omval – Jacqueline Wasser, General Director (Netherlands)
  • Svanda Theater – Daniel Hrbek, Managing Director (Czech Republic)
  • Teatru Manoel – Ed Zammit, CEO (Malta)
  • Theater De Oranjerie Roermond – Mathijs Leenders, Theatre Director (Netherlands)
  • Theater de Bussel – Charlotte Louwers, Director/Programmer (Netherlands)
  • Theater de Kring Roosendaal – Jan-Hein Sloesen, Director (Netherlands)
  • Theater Ins Blau – Mirjam Hensgens, Director (Netherlands)
  • Volkstheater GmbH – Cay Stefan Urbanek, Director (Germany)
  • Zaantheater – Angelique Finkers, Managing Director (Netherlands)

Venues

  • Cactus Muziekcentrum – Tim Beuckels, Director (Belgium)
  • Cultuurbedrijf Tiel – Nico Baars, Managing Director (Netherlands)
  • De Singel International Arts Centre – Frederik Beernaert, Business Manager (Belgium)
  • De Tamboer – Pieter-Bas Rebers, Director (Netherlands)
  • Het Podium – Pieter-Bas Rebers, Director (Netherlands)
  • Malta Philharmonic Orchestra – Vanessa Mangion, CEO (Malta)
  • Sala Razzmatazz S.L. – Lluís Torrents, Co-director (Spain)
  • Sofia Live Club – Petar Koev, General Manager (Bulgaria)

Agents, Managers and Promoters

  • All Things Considered PLC – Brian Message, Co-Chair & Founder (UK)
  • Ameba Production s.r.o. – Ludek Motycka, CEO (Czech Republic)
  • Azimuth Productions – Bernard Batzen, Partner/Artistic Director (France)
  • Colour Production, spol. s r.o. – Pavla Slivova, Booker (Czech Republic)
  • Creative Artists Agency
    • Beckie Sugden, Agent (UK)
    • Emma Banks, Co-head Global Touring (UK)
    • Mark Bennett, Agent (UK)
    • Mike Greek, Talent Agent (UK)
    • Paul Wilson, Agent (UK)
    • Summer Marshall, Agent (UK) 
  • CWB.ie  – Paul Boland, Director (Ireland) 
  • Doctor Music Concerts – Neo Sala, CEO & Founder (Spain)
  • D Smack U Promotion – David Urban, CEO (Czech Republic) 
  • Fit The Bill Limited – Marina Blore, Director (UK) 
  • Fuzz Productions – John Mirabitas, General Manager (Greece)
  • Gadget Entertainment Group AG – Christof Huber, Director Festivals (Switzerland)
  • Get In
    • Iñigo Argomaniz, CEO (Spain)
    • María Argomaniz, Promoter (Spain)
  • Grumpy Old Management – Stuart Camp, Manager – Ed Sheeran (UK) 
  • High Priority Promotions – Nana Trandou, Artistic Director (Greece) 
  • I-Motion GmbH Events & Communication – Oliver Vordemvenne, CEO (Germany)
  • Ignition Music Ltd – Marcus Russell, Artist Management (UK)
  • Karsten Jahnke Konzertdirektion GmbH – Ben Mitha, CEO (Germany)
  • KKT GmbH
    • Kiki Ressler, CEO (Germany)
    • Melissa Lorz, Booking Assistant (Germany)
  • Landstreicher Booking GmbH
    • Christopher Moeller, CEO (Germany)
    • Jill Schneider, Booking Agent (Germany)
  • MCT Agentur GmbH – Scumeck Sabottka, CEO (Germany)
  • One Fiinix Live – Jon Ollier, CEO / Agent (UK)
  • P&L Live Music Promoters SL – Pascual Egea, CEO (Spain) 
  • PSE Belgium – Jan Vereecke, Managing Partner (Belgium)
  • RBX GmbH – Alexander Schulz, CEO (Germany)
  • ROAM Artists – Alex Bruford, Co-founder/Partner (UK)
  • United Talent Agency – Jules de Lattre, Agent (UK) 
  • X-ray Touring LLP – Ian Huffam, Company Partner (UK)
  • Xlalala Presents – Nikos Loris, CEO (Greece)

EU or Global Representative Organisations

  • EMEE – European Music Exporters Exchange – Corinne Sadki, President of the Board 
  • EMMA – European Music Managers Alliance – Jessica Partridge, Executive Director 
  • FEAT – Sam Shemtob, MD 
  • IAO – International Artist Organisation – Nacho García Vega, President 
  • Live DMA – Audrey Guerre, Coordinator
  • Liveurope – Fernando Bittencourt Hersan, General Coordinator
  • Pearle* – Live Performance Europe – Anita Debaere, Director 
  • Sports Rights Owners Coalition – Mark Lichtenhein, Chair 
  • Victim of Viagogo – Claire Turnham MBE, Campaigner & Advocate (UK)
  • YOUROPE – The European Festival Association – Holger Jan Schmidt, General Secretary 

National Representative Organisations

  • APM – Spanish Association of Music Promoters – Pascual Egea, President (Spain) 
  • Association of Dutch Pop Music Venues and Festivals / VNPF
    • Berend Schans, Director (Netherlands)
    • Li Sang Ong, Policy Adviser (Netherlands)
  • Association of Independent Music Ireland – Joe Clarke, Chairperson (Ireland)
  • Association of Hungarian Orchestras – György Lendvai, President (Hungary) 
  • Association of Professional Theatres of the Czech Republic – Zdeněk Pánek, Executive Director (Czech Republic) 
  • Association of Theatre and Concert Hall Directors / VSCD – Jenny Booms, Director (Netherlands) 
  • BDKV – German Association of Music Promoters – Johannes Everke, CEO (Germany) 
  • Culture Hub Poland – Tamara Kaminska, President of the Board (Poland) 
  • Estonian Association of Performing Arts Institutions – Liina Unt, General Manager (Estonia) 
  • Hungarian Federation of Amateur Theatres & Players – János Regős, Theatre Director (Hungary) 
  • Hungarian Theatre Association – Johanna Bodor, President (Hungary)
  • La GAM – La Guilde des Artistes de la Musique – Suzanne Combo, Managing Director (France) 
  • LiveMusikKommission e.V. / LIVEKOMM – Christian Ordon, General Manager (Germany) 
  • Music Estonia – Ave Sophia Demelemester, Director (Estonia) 
  • Norwegian Entertainment Managers & Agents Association – Erlend Buflaten, Vice-Chair (Norway) 
  • Performart – Associação para as Artes Performativas – Ana Sousa, Coordinator (Portugal) 
  • The Association of Event Makers / VVEM – Willem Westermann, Director (Netherlands) 
  • The Entertainment Agents Association – Erica Crompton, President (UK) 
  • Theatre Dramaturgs Guild – Eszter Orbán, Co-President (Hungary) 

Others

  • Anneli Axon Song Company – Anneli Axelsson, CEO (Sweden) 
  • A Greener Future – Claire O’Neill, CEO (UK)
  • ARC Research & Consultancy – Davinia Galea, Managing Director (Malta)
  • Fancare – Claire Turnham MBE, Campaigner & Advocate (UK)
  • Fit The Bill Limited – Martin Blore, Director (UK)
  • Freelance – Angharad Cooper, Cultural Consultant (UK)
  • Höme – Für Festivals GmbH – Isabel Roudsarabi, Managing Director (Germany)
  • Robert Palmer Consultants – Robert Palmer, Director (UK)
  • Terézvárosi Kulturális Közhasznú Nonprofit Zrt. – Szebeni Dóra, Director (Hungary)

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