Indian Concertgoers Voice Discontent Over High Ticket Prices and Substandard Venue Conditions

Amrita Kaur anticipated a degree of inconvenience when she chose to attend Punjabi pop star Diljit Dosanjh’s concert in India this month. Having previously attended numerous live events, Ms Kaur had somewhat looked forward to the “exhilarating chaos” associated with significant gatherings at major events across India. However, the reality she encountered proved considerably more challenging than her expectations. She observed minimal crowd management and a complete absence of sanitation. Mobile networks became overloaded and ceased functioning, raising concerns regarding personal safety. Ms Kaur described using the restroom as a risk, explaining that it involved waiting in line for the remainder of the performance before “unhygienic, smelly cubicles”. The location, a vast government-owned property in the northern city of Chandigarh, lacked public transportation links and designated parking areas. This compelled Ms Kaur to drive her vehicle to a friend’s nearby residence, only to then become ensnared in the unavoidable, hours-long traffic congestion following the concert’s conclusion. Reflecting on her experience, she stated: “You pay so much for a ticket and what do you get in return? A possible urinary infection and a bad headache with some bouts of music,”. India’s expanding concert sector has experienced a significant year, with major tours featuring Dua Lipa, Dosanjh, and Maroon 5 filling venues and captivating audiences. Additional international artists, including Green Day, Coldplay, and Ed Sheeran, are scheduled to perform in the upcoming months. Last year, music concerts in India generated approximately 8bn rupees ($94.1m; £75.3m) in revenue, a sum projected to grow by 25% by the close of 2025. Affluent young Indians are not only prepared to spend more to see their preferred music artists but are also actively pursuing these occasions. In 2023, over 400,000 individuals in India reported traveling to different Indian cities specifically for live events. Nevertheless, despite this eagerness, numerous attendees report that their experiences have been less than satisfactory. The problem gained media attention earlier this week after a diabetic patient with incontinence issues stated he soiled himself at a Bryan Adams concert because of the lack of available washrooms at the location. Concurrently, Dosanjh, currently on a national tour, surprised his fanbase by declaring he would not perform in India again until improvements were made to concert venue infrastructure. The artist subsequently clarified that his remarks pertained to only one specific venue. Subsequently, social media platforms have been inundated with comparable grievances from concert attendees. From acquiring tickets through questionable scalping websites at exorbitant costs to enduring hours of traffic congestion both before and after performances, frequently with a full bladder, fans contend that they must expend more than just financial resources to witness their preferred artists. Individuals with sufficient resources are now choosing to attend concerts abroad, seeking a safer and generally more enjoyable experience. Ishika Goon, a lawyer based in Bengaluru, remarked, “At Adele’s concert in Munich, the staff continuously cleaned the toilets and it was super clean even after a three-hour concert,” adding, “If I have to spend so much money, I might as well go for the full experience.” Event organizers and promoters recognize these issues but state that they are also constrained by broader infrastructural deficiencies. This situation arises because India lacks an adequate number of dedicated live concert venues, compelling organizers to choose less-than-ideal locations or bypass certain cities entirely, which collectively hinders the industry’s growth, according to Anmol Kukreja, co-founder of Skillbox, a live entertainment firm responsible for over 300 concerts. He noted that, in contrast to many Western nations with abundant concert facilities, events in India must often take place in locations such as shopping malls, sports stadiums, or public property, each presenting distinct limitations and numerous variables. While a shopping mall could offer superior restroom facilities and allocated parking zones, it might not effectively manage massive crowds in the same manner as a vast, undeveloped plot of land situated in a remote urban area with poor accessibility. Currently, many musical events are hosted within public stadiums to mitigate certain inconveniences; however, this approach introduces its own set of difficulties, including subpar sound quality, challenges with crowd control, and extensive bureaucracy. Mr Kukreja explained that government-owned venues are more appropriate for large-scale events, yet the booking procedure frequently involves a complicated “web of permissions and licences, making them less attractive”. To bridge these deficiencies, organizers frequently invest thousands of dollars in constructing temporary infrastructure at event sites—such as stages, provisional restrooms, and parking areas—prior to each concert, a practice that can lead to substantial financial losses, noted Tej Brar, founder of Mumbai-based Third Culture and director of NH7, one of India’s largest music festivals. Beyond the financial implications, the live music landscape also suffers, as an entire category of smaller and independent artists is excluded because they are not considered “big enough” to justify audiences paying excessive prices to see them perform. “If they can’t pull crowds of more than 10,000 people or more, they usually won’t get shows because the economics won’t work for the organisers.” Recently, however, even prominent international music festivals, featuring acclaimed artists and substantial budgets, have failed to satisfy attendees. Sreoshi Mukherjee, a journalist residing in Delhi, questioned, “Everything is fine but why can’t you have clean toilets?” Ms Mukherjee, a frequent attendee of music concerts nationwide, expressed particular dismay over the scarcity of washrooms at Lollapalooza and Backstreet Boys events, where ticket prices ranged from 5,000 ($59; £47) to 10,000 ($118; £94) rupees. She recounted, “There was a point when the loos ran out of both toilet paper and water. We had to actually buy water bottles to relieve ourselves,”. While increasing criticism targets inflated ticket prices that transform these events into exclusive cultural experiences for a select few, additional accessibility issues also exist. The majority of venues offer minimal to no provisions for individuals with disabilities, including wheelchair access and audio description. At Dosanjh’s concert in Chandigarh, Ms Kaur mentioned that they were compelled to physically carry their friend, who uses a wheelchair, into the venue due to the absence of a ramp or an accessible pathway. The BBC has contacted the organizers of all events cited in this report for their statements. Other industry professionals contend that a universal solution to these problems is not feasible, yet they express apprehension about the long-term business repercussions. Currently, consumers remain willing to pay, but consistently inadequate facilities could alter their willingness. Mr Brar stated, “Word-of-mouth plays a crucial role in event attendance, and negative feedback can be damaging to an organiser’s reputation.” He further asserted that the responsibility for rectification must be distributed. “While the company takes charge of choosing the location and setting ticket prices, the venue should provide fundamental amenities. Adequate washroom facilities and dedicated cleaning staff should be a venue standard.” As India prepares to host prominent artists such as Sheeran and Green Day, fans anticipate an improved experience. For a segment of attendees, however, large crowds and the possibility of infection remain a minor consideration for the opportunity to see their beloved stars. Mohammad Sami, a student, commented, “There’s a thrill to the mess and chaos.” He added, “It’s like you’re stuck on an island with hundreds of strangers, united by their determination to survive the night.” Copyright 2024 BBC. All rights reserved. The BBC disclaims responsibility for the content of external websites. Information regarding our external linking policy is available.