FanFair Alliance and Viagogo clash over Manchester ticket listings

In a recent development coinciding with the Labour Party conference in Manchester, the FanFair Alliance, a ticketing campaign group, released a report scrutinizing the resale activity of Viagogo, a prominent ticket resale platform. The report focuses on ticket listings for nearly 300 events across 13 grassroots and independent venues in the Manchester area, revealing concerning patterns of inflated prices and concentrated seller activity.

The research identifies that over 1,600 tickets were being resold on Viagogo for these local venues, with a striking finding that only three sellers—operating from Latvia, North America, and Germany—were responsible for more than 75% of these listings. This concentration suggests an organized approach to ticket resale targeting smaller-scale events, traditionally overshadowed by high-demand arena shows.

Among the notable anomalies, tickets for a Mica Millar performance at New Century Hall, a venue with a capacity of approximately 1,300, were listed at prices reaching nearly £5,900—an astronomical markup far beyond face value. Similarly, tickets celebrating the 40th anniversary of The Smiths’ 'The Queen Is Dead,' which included a Q&A session with drummer Mike Joyce and producer Stephen Street, appeared listed at prices exceeding £500 each.

FanFair Alliance’s campaign manager emphasized that such exploitative pricing extends beyond mainstream concerts, highlighting grassroots venues as increasingly vulnerable to ticket touting practices. The group advocates for urgent government intervention to enforce stricter regulations against speculative selling and price gouging in secondary markets.

Viagogo responded robustly to the report, disputing the figures and methodology employed by FanFair Alliance. The platform argued that asking prices listed on their site do not equate to actual sales and maintain that prices reflect market demand, with overpriced listings unlikely to be purchased unless adjusted. Viagogo also asserted that it prohibits speculative listings—tickets offered for sale without ownership—and removes them upon identification, asserting protections through its guarantee policies.

Further complicating the narrative, Viagogo questioned the accuracy of the claim that three sellers controlled the majority of listings, citing an internal review that suggests a significantly lower proportion when considering all ticket listings in Manchester throughout the year. This contrast in data scope—FanFair Alliance focusing on specific grassroots venues versus Viagogo’s broader analysis of the entire city—has fueled contention between the organizations.

The dispute touches on wider issues affecting UK music fans, as recent incidents such as the Katseye concert at Manchester’s Coop Live have reportedly left many attendees stranded due to invalid tickets purchased through resale sites, including Viagogo and Hello Tickets. These events underscore ongoing concerns about consumer protection and the reliability of secondary ticket markets.

Government plans to curb ticket touting have been in development, with a previous announcement targeting a ban on resale above face value set for November 2025. However, subsequent legislative delays have pushed back the implementation, though renewed attention from government officials suggests a possible acceleration in tackling this problem.

Industry voices, including venue representatives and artists connected to the affected events, have voiced support for measures to address these challenges. The FanFair Alliance’s report includes perspectives from stakeholders invested in safeguarding fair access to live music, reinforcing the significance of the issue beyond headline acts and large venues.

As investigations continue, including scrutiny by the UK competition authorities into Viagogo’s pricing practices, this confrontation between FanFair Alliance and Viagogo illustrates the complexities of regulating online ticket resale. Questions around transparency, enforcement, and accountability remain central as the debate unfolds, with the experiences of Manchester’s music community providing a telling case study in the broader fight against exploitative ticketing.

Details about ongoing dialogue between the parties and further data verification remain limited, but the episode highlights the persistent challenges faced by fans, artists, and venues alike in navigating the secondary ticket market landscape.