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ProgBlog goes to the Biennale Architettura 2018 in Venice but still manages to find prog connections - and a relatively new record store...

By ProgBlog, Aug 12 2018 09:30PM

There was relatively short notice for this year’s Porto Antico Prog Fest and it was only held on one day, Friday 3rd August, so the event was made up with two bands performing original music, Ancient Veil and Sophya Baccini’s Aradia, plus two bands contributing towards a ‘tribute night’, Get ‘em Out from Milan playing Gabriel-era Genesis, and Outside the Wall playing Pink Floyd from 1973-1980.



Ancient Veil began proceedings with a really enjoyable 45 minute set that included pieces from their three studio albums, Rings of Earthly Light (as Eris Pluvia), Ancient Veil and last year’s I am Changing, reflecting their live album Rings of Earthly... Live, with performances taken from two 2017 appearances at Genova’s La Claque club, released this year. Their music is predominately prog-folk, largely due to the variety of wind instruments played by Edmondo Romano which are sometimes used to give a Celtic feel, but Alessandro Serri adds some jazzy acoustic guitar and, during the epic 17 minute Rings of Earthly Light suite, played guitar parts with the Steve Hackett-invented finger tapping technique. The scope of this song, which at times invokes Genesis and Focus, is the reason it’s my personal favourite.


Ancient Veil - Porto Antico Prog Fest 2018
Ancient Veil - Porto Antico Prog Fest 2018

I took a break for almost an hour to have dinner with my wife and came back to witness Get 'em Out embark upon their last number of the evening, Supper’s Ready. It’s impossible to underestimate the affection that Italian prog fans hold for early Genesis but there are a couple of explanations for the appeal, one offered by long-time band associate Richard MacPhail who thought the appreciation came from the emotional content of Genesis’ music, presented as long-form, romantic, almost operatic suites which form an important part of the country’s musical heritage. Steve Hackett linked their success to the theological association of the storylines in many of the songs which, as well as in Italy, seemed to strike a chord in fans from other catholic countries, and also thought that the Italians especially, picked up on the Greco-Roman myth told in The Fountain Of Salmacis.


Enhanced by back projections and the costume changes of vocalist Franco Giaffreda, decent reproductions of Gabriel’s Narcissus flower and Magog head, Get ‘em Out proved to be an excellent act providing an accurate interpretation of the classic 1972 Genesis song, including the set design and instrumentation and, much as MacPhail describes in his book, even for a tribute act each section was cheered because so many of the audience knew every note and nuance of the song, singing along or mouthing the words.




Get 'em Out - Porto Antico Prog Fest 2018
Get 'em Out - Porto Antico Prog Fest 2018

I’d been looking forward to Sophya Baccini, even considering buying one of her albums from the pop-up Black Widow Records stall but on reflection I maybe should have gone for dinner an hour later so I'd not have missed Get 'em Out. Hailing from Naples, Baccini is a flamboyant vocalist with involvement in a number of musical collaborations including her heavy rock band Presence and her work with some of the most recognisable names in Italian prog, like Banco del Mutuo Soccorso’s Vittorio Nocenzi, Lino Vairetti of Osanna, and appearing as a guest on Delirium’s 2009 album Il Nome del Vento. Sophya Baccini’s Aradia is her current project and the band focused on their second album Big Red Dragon (William Blake’s Visions) from 2013.

Intrigued by the ‘dark prog’ tag and her ability to combine operatic vocal and experimental electronic elements, I was immediately disappointed with the quality of the sound, muddied by the use of delay on the vocals so that it was difficult to determine whether her vocals were in Italian or English (she sings in both); the only track I could fully discern was Satan from Big Red Dragon. Keyboard player Marilena Striano was also plagued with monitor problems at the beginning of their set but she did go on to provide some of the most interesting moments in a performance that conformed to ‘dark’ but was lacking in prog. The rhythm section of Isa Dido (bass) and Francesca Colaps (drums) was solid enough but lacked invention and the guitar lines provided by Peppe Gianfredo, despite the nice tone, were fairly predictable, devoid of the creativity and experimentation I was expecting.


Outside the Wall is a well known and acclaimed Italian Pink Floyd tribute band and, judging by the enthusiastic reaction of the crowd, easily met expectations. I thought they did a decent job if you ignored the frequently forgotten words, though they rhythm section of Mauro Vigo (drums) and Fabio Cecchini (bass) were, in common with the Waters-era Floyd, arguably the weakest link; Vigo’s timing was a little off and Cecchini added a few too many redundant funky frills. Performing most of The Dark Side of the Moon, including accurate sound effects, the title track and Shine On You Crazy Diamond from Wish You Were Here, plus Comfortably Numb, Another Brick in the Wall (part 2) and Run Like Hell from The Wall (even though the audience, when asked, appeared to want a selection from Animals), the most accomplished piece was The Great Gig in the Sky, with an outstanding vocal performance by Elisabetta Rondanina. Martin Grice from Delirium, a reliable presence at the prog fest (his band hail from Savona, a short distance west along the Riviera), added the Dick Parry saxophone parts on Money and Us and Them which he reproduced accurately and with feeling. I also enjoyed the film that they used to accompany them, made up mostly from genuine Floyd footage for Dark Side and The Wall interspersed with original cuts.


Although I would have preferred a bill of all original acts performing over two days, the size of the crowd, possibly reflecting the draw of the music of Genesis and Pink Floyd, seemed much bigger than at the 2017 Porto Antico Prog Fest. This is important because the event has to draw in punters to ensure it can continue. I had a great time, meeting up with the Black Widows Records team who organise the event, saying hello to Mauro Serpe from Panther & C. and watching proceedings with all the members of last year’s surprise star turn, Melting Clock.


I can exclusively reveal that Melting Clock is booked to begin recording their debut album later this month and, if everything goes smoothly, have a record ready for sale in November. Part of our conversation related to cover artwork and I was shown the design for the album sleeve, then asked what I thought about their proposed cover and about album artwork generally. It was something of an honour to preview the cover art (I like it a lot) but I didn’t back up my opinion with a full explanation why I think an appropriate album sleeve is an important part of the whole package, which I think should also take the music and (where possible) the live experience into account.

My preference for an album sleeve is a photographic image, because the medium, though both easily digitally manipulated and suitable for abstract work, best represents realism; I’m also an avid photographer with an inclination for scenery and architecture. I love much of the work of Hipgnosis but one of my favourite pieces is John Pasche’s design for Illusion by Isotope (1974) with a cover photo by Phil Jude - the depiction of headphones with a mercury-like fluid connecting the two ear-pieces was part of the reason I bought an Isotope LP and listen out for more jazz rock. However, I’m also partial to a good painting, graphic design or some other form of artwork, like Henry Cow’s iconic sock imagery.


The presentation of an album used to be one of the factors I took into account when I was first attempting to discover new music in the early 70s, a time when the 12 inch LP format offered the best possible option for displaying images, innocently believing that art direction was more the responsibility of the group than the label and hypothesised that a band that invested in decent artwork was likely to have taken equal care with their music. Pre-prog, The Beatles’ Sgt Pepper’s Lonely Hearts Club Band (1967) with a design by Peter Blake and Jann Howarth pioneered a new form of album presentation, opening the doors for cover art to reflect the musical and lyrical content of the release.


The presumption, good artwork equates to good music, didn’t always stand up. Examples I use to illustrate the failure of the theory are Gentle Giant’s Acquiring the Taste and the second Italian release by PFM, Per Un Amico, where the covers are awful but the music is excellent, and the alternative situation with a great Roger Dean cover but music not to my liking, Badger’s One Live Badger, but there are many other examples of good music wrapped in awful artwork and vice versa.

There are a number of artists and design teams who have a strong association with progressive rock but the most famous has to be Roger Dean, predominantly for his work with Yes. Whereas Hipgnosis images sometimes only obliquely refer to an album title or lyrical references, there is usually some allusion to the subject matter. On the other hand, Dean’s paintings have less of a concrete relationship with the subject matter because, on the two studio albums Close to the Edge and Tales from Topographic Oceans, Jon Anderson was utilising the sounds of words rather than their meaning when penning lyrics. Even though there is no concept linking Fragile and Close to the Edge, Dean constructed a coherent narrative thread, explained in the paintings adorning the triple gatefold of Yessongs and later revisited in a number of live releases from Yes and Anderson Bruford Wakeman Howe, that nevertheless formed an instantly recognisable visual brand.


I believe there are tangible benefits to a long-term partnership between a musical entity and a particular designer, where music, lyrics and visual motifs create a coherent artistic vision, a gesamtkuntswerk, readily recognisable to the record-buying public. For a band like Melting Clock embarking upon their debut album that have yet to build up such a relationship, it is essential to be comfortable with the trust placed in the artist to interpret their musical ideas to grace the album sleeve. Those of us who have heard their demo EP or seen them live know how good the music is; I think the cover artwork fits their vision.

By ProgBlog, Nov 21 2017 04:02PM

Last week was the latest ProgBlog adventure in Genova (and a couple of cities along the Italian Riviera.) Not only did I get to see four amazing bands on two separate nights, I also managed to add to my vinyl and CD collections with visits to Genova’s Black Widow Records and Jocks Team in Savona, at the La Claque night of prog, plus a couple of 180g vinyl re-releases bought from newsstands, part of a series of Prog Rock Italiano in association with publisher De Agostini.


Jocks Team, Savona
Jocks Team, Savona

The Progressive Night was held at the La Claque club and organised by Black Widow. Ancient Veil opened proceedings with an acoustic set from a pared-down line-up of Alessandro Serri on guitar, Edmondo Romano on woodwind and Fabio Serri on piano, plus contributions from special guest Marco Gnecco. The sound may have been pared down since I last saw them as a full electric band in May, but their compositions are well-suited to an unplugged format and apart from a couple of moments where Alessandro had to fight a little to find the right key to sing, on tracks where the vocals commenced the song without an instrumental introduction, it was a fine performance of some beautiful, folk-inspired music. I’m still getting into their latest release I Am Changing from earlier this year, so my favourite track was one of those I’m much more familiar with, the Eris Pluvia album title track Rings of Earthly Light.


Ticket for A Progressive Night, La Claque
Ticket for A Progressive Night, La Claque

Ancient Veil, unplugged 11-11-17
Ancient Veil, unplugged 11-11-17

I’d had a chat with Melting Clock keyboard player Sandro Amadei in the Black Widow shop (where else?) when I popped in to say hello and buy a few albums after arriving in the city on the Friday, and when I arrived at La Claque for the gig I spoke to most of the band and was pleased to see that they’d got lots of support from family and friends in a packed club. I was even given a small memento: a Melting Clock plectrum which had featured in a promotional poster for the evening. I was told that this was only their second ever gig as an ensemble, the first being the Porto Antico Prog Fest in the summer, and they suggested that although the atmosphere in La Claque was incredible, the sound check had uncovered a problem with feedback when vocalist Emanuela Vedana sang at full volume. This was in contrast to Porto Antico, a large, semi-open space where whatever first-gig nerves they may have had, they could really let rip. They need not have worried; the audience was won over with the first song, L'Occhio dello Sciacallo (The Jackal’s Eye) which followed a short instrumental introduction Quello che rimane (What Remains) and the club’s acoustics didn’t cause any problems. My personal favourite is Antares, a mini-masterpiece of carefully crafted modern symphonic progressive rock. Their self-penned compositions hint at 70’s Renaissance, albeit with a distinct Mediterranean flavour; the twin guitars of Simone Caffè and Stefano Amadei add extra depth while the rhythm section of Alessandro Bosca (sporting a new 6-string bass and matching tie!) and Francesco Fiorito contribute complex but well-thought out lines to pin down the music.


Their influences might surprise a few people, considering the songs they’ve covered. At Porto Antico they performed a sublime rendition of Firth of Fifth, at La Claque they played an incredibly accurate version of Soon, the hauntingly beautiful coda to Gates of Delirium from Relayer by Yes, producing one of those spine-tingling moments which made the hairs on my arms stand up, and ended their set with a crowd-pleasing performance of Time from Pink Floyd’s The Dark Side of the Moon. It turns out that Stefano and Francesco are into metal and Sandro likes Scandinavian jazz, though Simone is a David Gilmour fan. The mixture has somehow produced excellent results; their entire set was brilliant and heralds a very bright future.


Phoenix Again was the headline act of the evening. I met most of the band at the merchandise stand where I bought their three studio albums on CD; ThreeFour (2011), Look Out (2014) and Unexplored, released this year on the Black Widow Records label, and was very kindly presented with a T-shirt. From Brescia and originally called Phoenix when they formed in 1981 by Lorandi brothers Claudio (lead guitar, voices), Antonio (bass), Sergio (guitars) along with Silvano Silva (drums, percussion), they added keyboard player Emilio Rossi to expand their symphonic sound in 1986 but disbanded in 1998 without ever having produced an album. Following the death of Claudio in 2007 they revisited their music and, with the help of a number of guest musicians, released ThreeFour in 2011 under the moniker of Phoenix Again.

The current incarnation, first appearing on Look Out, is made up from original Phoenix members Antonio Lorandi, Sergio Lorandi (now taking on lead guitar and vocal duties) and Silvano Silva, plus two more of the Lorandi family, Marco (guitar) and Giorgio (percussion), and Andrea Piccinelli on keyboards. On record, their sound ranges from symphonic progressive to jazz rock, funk and experimental however, their live sound tends more towards the jazzy and has a much more urgent, hard edge which makes it come across as complex and intricate. I think I recognised the epic tune Adso da Melk from Look Out which includes a multitude of styles but has a section which reminds me of Camel’s Lunar Sea. The high energy set concluded with some banter between the audience and Marco Lorandi, who appeared to have been asked to pick out a particular tune or riff and this in turn gave way to a solo spot from Sergio who, as the crowd was dispersing, played beautiful renditions of first Steve Howe’s Mood for a Day (from Fragile) and then Steve Hackett’s Horizons from Foxtrot.


I stayed behind after the performances to speak to a number of the artists, congratulating Melting Clock on a magnificent show and getting introduced to local promoter Marina Montobbio who, it turns out, had been at the 2014 Prog Résiste festival in Soignies because of her work for The Watch who had headlined on the last evening. Resplendent in a pair of Gibson plectrum earrings, I’d seen her at Porto Antico taking photos of the different groups and also chatting to musicians, so I suspected she had some official role. Smart and knowledgeable, if I ever think about getting involved in promotion in the music business, she’d be top of the list of people to contact. It was a thoroughly enjoyable evening thanks to the musicians and the organisers and I can’t believe anyone could have left the venue feeling disappointed.



PFM ticket
PFM ticket

I’ve waited a long time to see PFM play live and stayed on in Genova for their appearance at the city’s premier venue, the Teatro Carlo Felice. With a boarded-over orchestra pit the septet seemed quite far away, even from row 12 in the stalls, but I soon found out that sole surviving original member and de facto front man Franz Di Cioccio was able to take full advantage of the empty space. I’d burned the Italian version of the CD of their new release Emotional Tattoos, which came with my English-version double vinyl, and listened to this the night before on my mp3 player in preparation for the concert; they began with Il Regno from that album, which I think is one of the best tracks. They then performed a string of early classics: La Luna Nuova (from L’Isola di Niente, the original version of Four Holes in the Ground for anyone without the Italian releases); a surprising English language inclusion, Photos of Ghosts; Il Banchetto which appears on the second album Per un Amico and also on the first of their Manticore LPs Photos of Ghosts; Dove... Quando... part 1 and part 2, from 1972’s Storia di un Minuto; and La Carrozza di Hans and Impressioni di Settembre (which would become the title track from The World Became the World) also from the debut record. If the performance had stopped at this point I’d have been completely satisfied because the songs and the playing had already exceeded my expectations; this is what I’d waited for. However, the show continued with two more of the best songs from Emotional Tattoos, La Danza degli Specchi and Freedom Square, before the band took a 10 minute break. They recommenced with the Celtic-influenced Quartiere Generale but then moved into territory I was unfamiliar with, Maestro della Voce from the 1980 album Suonare Suonare, one of the only PFM releases I don’t possess and which featured violinist and current member Lucio Fabbri for the first time. There is a version on PFM: In Classic but it's not a track I listen to. This was one of two tracks from the entire evening which I found unsatisfactory but that’s because Suonare Suonare is considered to be PFM’s equivalent of ...And Then There Were Three, the first post-Gabriel, post-Hackett Genesis album, the mark of decline from full-on progressive rock. Normal service was resumed following an introductory explanation to the next piece from Patrick Djivas, who pointed out the importance of classical composers to the PFM sound and they played Romeo e Giulietta: Danza dei Cavalieri which had been covered on their 2013 PFM: In Classic album. The classical theme continued with Mr. Nine Till Five appended with Five Till Nine including their version of Rossini’s William Tell Overture. They left the stage only to return in less than a minute, before the audience request for an encore had even started in earnest, recommencing with their version of the Fabrizio De André song Il Pescatore. This had particular relevance for Genova, because De André, regarded as Italy’s best ever singer-songwriter for his mix of Ligurian folk influences with social commentary, came from the city. De André shunned public performance until 1975 but his 1979 tour featured PFM as backing band and allowed them to choose the set list and make the instrumental arrangements. The crowd had been calling out suggestions for what to play and it came as no surprise that part of the encore was the old favourite È Festa (Celebration on Photos of Ghosts) which included an amusing drum duet between Di Cioccio and Roberto Gualdi and some audience participation, encouraged by the PFM front man who was bounding around the entire front stage area (splitting the hall into three sections to chant Se-le-Brescion, as this version of the song is known.) They left the stage to tumultuous applause and even though the house lights came on, the crowd applauded and called for more music and eventually, the band conceded and returned to play what I believe was the theme from the 1966 comedy film L’Armata Brancaleone, the energetic folk-inflected Branca Branca Branca Leon Leon Leon written by Carlo Rustichelli. This was lost on me at the time, though my fellow concert-goers absolutely loved it; it’s been in the PFM repertoire for some time and I found it interesting to note that Carlo Rustichelli’s son Paolo was also a composer, releasing the prog Italiano Opera Prima in 1973.


The vocals were primarily handled by Di Cioccio but some of the singing was by Alberto Bravin, who also added keyboards. The main keyboard player, accurately interpreting the early material, was Alessandro Scaglione and filling the shoes of Franco Mussida, who left the band in 2015, was Marco Sfogli. The line-up proved very adept and though there was no flautist, these lines were provided by keyboards; it might also have been good to hear something from Chocolate Kings or Jet Lag, the latter album being a vehicle to showcase Djivas’ excellent bass technique but when you think that they played for over two and a half hours, promoting their latest release but also entertaining us with all the old classics, it was impossible to walk away without thinking that sticking around in Genova for three extra nights had been a good cause for celebration.












By ProgBlog, Nov 5 2017 05:15PM

I’m off to Genova again next week, on a trip originally scheduled to see a progressive night organised by local label and record shop Black Widow at La Claque. This features Brescia’s Phoenix Again who will be highlighting their third album, Unexpected, released in May this year; local band Melting Clock who impressed me when I saw them at the Porto Antico Prog Fest in July and hope to produce their debut next year; and an acoustic set from the widely-respected Genovese group Ancient Veil who remarkably, considering their origin dates back to 1985 when Alessandro Serri and Edmondo Romano founded Eris Pluvia, playing progressive rock created from a blend of folk and Canterbury influences and released a single album Rings of Earthly Light in 1991. The band ceased to exist in 1992 but Serri and Romano, assisted by Fabio Serri, created the Ancient Veil project and put out a self-titled album, stylistically similar to Rings of Earthly Light, in 1995. The group lay dormant until early this year when they returned with a new album I Am Changing and, on May 12th 2017 performed live for the very first time – at Genova’s La Claque. I’ve now extended my annual leave and will be spending three more nights in the city; after three failed attempts to get to see PFM I’ve now got a ticket for their performance at the Teatro Carlo Felice, Genova’s 2000 seat neo-rationalist opera house on November 17th.


Architectural detail, Teatro Carlo Felice
Architectural detail, Teatro Carlo Felice

When I first started going to Italy with the intention of seeing a live band, I felt I had to buy a ticket beforehand. Navigating ticketing websites, even when there’s no version in English (unlike the sites for buying records), is generally straightforward but I’ve learned that reserving a ticket for the sort of band I like to see is neither strictly necessary nor necessarily advantageous, especially when your spoken Italian is as bad as mine and you have to rehearse what you say when you go to pick up the ticket. That’s the easy bit. It’s when staff respond, quite appropriately in their own language, that I have to resort to ‘parli inglese?’ It’s much less embarrassing when you stroll up to the ticket office and say ‘un biglietto per favore.’ Apart from a couple of nights at the recent Progressivamente 2017 festival in Rome which were crowded but entry was free, I’ve never had any worries about not getting in; on the last occasion which I reserved a ticket before travelling, the Event ’16 performance at the Teatro Altrove in Genova last October, a beautiful old theatre which could have seated somewhere between 100 and 200, the audience size was only just into double digits. However, I thought it was probably best to book for the PFM gig and I was right; there were only a few seats remaining with two weeks to go.



Not willing to miss out yet again after procrastinating in Venice in 1980, receiving a email telling me the Manticore birthday show was cancelled in 2011 and heading off to Peru during their UK tour last year, I was happy to pay €51 for a seat in the front stalls which, with the booking fee, worked out at £51 thanks to some safe hands on the economy and David Cameron’s attempt to avoid a major shift to the right as his UKIP-lite MPs threatened to split the Conservative party over Britain’s place in Europe...


The cancellation announcement  for PFM, 2011
The cancellation announcement for PFM, 2011

It’s not inappropriate to equate the Teatro Carlo Felice with the Barbican Hall or the Royal Festival Hall or the Bridgewater Hall in Manchester based on both function and their architectural interest. Though I can’t comment on the Bridgewater Hall, tickets for gigs at both the Barbican and the RFH are mostly very reasonably priced, with Camel at the Barbican in 2013 costing £25 for a balcony seat compared to the price of £37.50 for a first circle seat to see Genesis tribute band Musical Box at the Shepherd’s Bush Empire six months earlier; my Dweezil Zappa ticket for the performance at the Festival Hall last month, admittedly for a seat at the very back of the stalls, only cost £24.50.



Tickets for Genesis tribute band Musical Box
Tickets for Genesis tribute band Musical Box

My first London concert was Yes at the Wembley Arena in October 1978 when the (matinee) ticket cost me £4; a year later my ticket for jazz great Dave Brubeck playing at the Royal Festival Hall was also £4. Taking inflation into account, the £4 Yes ticket should have cost £14.95 in 2004, which was the last time I saw Yes at Wembley; it set me back £35. Southbank prices stuck a bit closer to the official inflation level and my £4 Dave Brubeck ticket would have cost a little over £19 today, though Dave Brubeck played in a quartet and Dweezil Zappa’s band was not only larger but was augmented by the Norwegian Wind Ensemble.


Yes ticket prices 1978 - 2016
Yes ticket prices 1978 - 2016

The presence of accompanying musicians obviously has an impact on ticket prices and the one Barbican concert where I was genuinely surprised at the charge for Keith Emerson in July 2015: £65 for what sadly turned out to be his final live appearance performing the Three Fates Project with the BBC Concert Orchestra. Both the Barbican Centre and the Southbank Centre receive grants from Arts Council England (though the arts has been an easy target for the government during their mad austerity drive and their share of the money has been slashed) and their importance as centres of culture attracts other funding streams, so I suspect that some of this money is used to subsidise ticket prices. The Van der Graaf Generator Royal Festival Hall reformation concert ticket from 2005 actually seems rather expensive at £30 though I’d describe this as one of the best gigs, if not the best, I’ve ever attended; the next two VdGG shows I went to see after David Jackson left and they were reduced to a trio, in 2007 and 2013, both at the Barbican, each cost £25 despite the six year interregnum.


The cost of going to see VdGG, 2005 - 2013
The cost of going to see VdGG, 2005 - 2013

It’s fortunate that I’m only interested in niche music, though the Steven Wilson tour following the dates in spring 2018 might present problems with ticket availability following the general success of To the Bone. Fans of acts like Adele and Beyonce will be aware of the difficulty getting hold of tickets at the marked price, but when tickets for Kate Bush’s 22-night run at the Hammersmith Apollo sold out in 15 minutes and a standing ticket for one of Radiohead’s three Roundhouse shows was allegedly on sale for £1200 through the secondary ticketing service Viagogo, perhaps the trouble-free days of access to prog shows will soon be over, too.

The problem appears to be with under-regulation of secondary ticketing sites (thanks, free-marketeers!) and according to a recent report in The Guardian, it’s putting the UK’s £4.5bn music industry, which supports around 142,000 jobs, under threat because fans’ cash is being diverted from their favourite acts into the pockets of touts who use methods of doubtful legality to acquire large numbers of tickets which can then be sold on to Viagogo, GetMeIn! and StubHub at mark-ups which on average nets them around 25% profit. A survey of gig-attendees found that two-thirds of respondents who had paid more than face value for a ticket on a resale site said they would attend fewer concerts in future, while half would spend less on recorded music.


It’s hardly a body blow to touting but my one experience of dealing with a character buying and selling tickets in the pedestrian subway leading out to (what was then) the Hammersmith Odeon did result in a financial loss for the tout. I’d won two tickets to see Genesis in September 1982 but couldn’t persuade anyone to accompany me. I sold the spare ticket, at the back of the stalls and with a face value of £7.50 for £10 and was entirely satisfied that no one claimed the seat.


Though there seem to be fewer examples of physical touting outside concerts (and sporting occasions) there is a massive secondary ticketing industry, said to be worth around £1bn, fuelled by the internet and based on the simple fact that demand for live music and sports events outstrips supply; this is where substantial sums of money are made by armchair touts who target the most popular events. I can’t imagine ever paying twice the face value of a ticket but that’s because I tend to stick to esoteric gigs and pay €15 to see three bands somewhere out in the suburbs of Milano, or perhaps splash out on a two-day festival ticket on the Italian Riviera... €35.










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