Chris Bryant, the Minister for Creative Industries, Arts and Tourism crticised the ticket touting industry. Describing the practice as “indefensible,” the MP for Rhondda and Ogmore said it “preys on fans, contributes nothing to artists or the industry, and undermines trust in the ticketing system.”

“It’s indefensible. It trades off other people’s hopes. And it doesn’t return a single penny to the artists, the performers, the venue, the industry or the sport. We said we would tackle this. And that’s what we’re doing.” @RhonddaBryant

We’ve launched a consultation into ticket… pic.twitter.com/TTYj03uOSO

— Department for Culture, Media and Sport (@DCMS) January 14, 2025

Bryant suggested a licensing system for ticket resellers, alongside simplification and clarification of existing rules, regulations and legislatature to make enforcement more effective. Currently, prosecutions are rare, and international sellers often evade British laws, with one MP claiming that there has been as few as six prosecutions since sentences were introduced.  

Dynamic pricing, which adjusts ticket prices based on demand, was also brought up. Bryant acknowledged that while some instances of dynamic pricing, such as early-bird tickets, can benefit fans, the practice often leads to price surges that cause frustration, and encourages customers to act on impulse. “It seems horribly unfair for someone logged into the system to see the ticket price going up—£120, £125, £130—because that creates a sense of panic,” he said.

The Government’s proposals to take on ticket touts will reduce the need for @Ticketmaster @LiveNation to deploy dynamic ticket pricing…. won’t it? @DCMS @RhonddaBryant pic.twitter.com/AID6FcvYlU — Caroline Dinenage MP (@cj_dinenage) January 14, 2025

Caroline Dinenage, Chair of the Culture, Media and Sport Committee, supported the need for reform, arguing that “if the Government act decisively to stop large-scale touting, there will be less need for promoters like Live Nation to use dynamic pricing.”

https://t.co/V9faRqAiH3 — Culture, Media and Sport Committee (@CommonsCMS) January 10, 2025

Several MPs used the debate to stress the importance of greater transparency in ticket pricing. Iqbal Mohamed called for clear breakdowns of ticket prices and fees before purchase, allowing consumers to make informed decisions. It was also revealed that some sites wouldn’t show the original ticket price and adjusted price on the same page.

This has been an area of concern for some time, but was highlighted over the Summer after the Oasis ticket fiasco, though Robbie Williams stepped in to defend the band, placing responsibility for pricing with anybody but the artists. MP for Ealing and East Acton, Rupa Huq, has been trying to address the issue in a private members bill, which she claims has been the subject of “Friday filibustering”. Ticketmaster, the company at the heart of the controversy, recently made a £60,000 donation to the Music Venue Trust.

Who’s the biggest artist you’ve seen before they got big?@efoody welcomes the Government’s commitment to real music fans, and @RhonddaBryant makes it clear why putting the fan experience first is so important. pic.twitter.com/soRgGhvMrt

— Co-operative Party (@CoopParty) January 14, 2025

Beyond ticketing, Bryant emphasised the broader importance of live events to the UK’s musical heritage. He called for a “whole-of-music” approach, including better funding for grassroots venues and creative education. “Wouldn’t it be good if every child had the opportunity to go to live music at least once a year?” he asked.  

Bryant’s suggestion of a “musical education” hints at trying to make the wider public aware of the value of music, and bring about an appreciation of smaller artists and venues too. However, this effort will be in vain if the government doesn’t get their approach to grassroots venues and the incoming ticket levy right. While there is no right way to address the issue, Robert Smith, frontman of The Cure, recently suggested a £25 cap on tickets. While this would do little to help smaller venues, it would eat into the profits of ticket companies, removing the incentive to hike prices and use dynamic pricing.

Lots of talk on the news about gig ticket prices, and setting limits on how much people can resell tickets for. I’d like to see a levy on tickets sold for arena gigs, with the money raised going to @musicvenuetrust to help ensure new acts have places to play, securing the future. — Phil Seymour (@announcerphil) January 10, 2025

While MPs largely agreed on the need for reform, it is the enforcement of any new rules that will give the government the most challenges. Julian Lewis raised concerns about the ease with which touts could bypass regulations through small, undercover sales on sites like eBay, as well as sales that take place in person. This would remove any of the existing legal protections offered by the current system.

While Bryant seems armed to answer any question thrown at him, only time will tell if the governments changed approach wil achieve the desired outcome, and hopefully the consultation will give suggestions on the best course of action for the general public.

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James was referring to Blur’s 2023 reunion, which included two sold-out Wembley Stadium concerts and the release of their latest album, The Ballad of Darren. Despite initially planning a hiatus at the end of 2023, Blur extended their comeback to headline Coachella 2024 after reportedly making the decision in just five minutes. Their Wembley shows drew 150,000 fans, and was released as an album this summer, proving that Britpop’s legacy remains strong.

Moyles pressed James further, asking whether Blur’s success inspired Liam and Noel Gallagher to reunite. James responded diplomatically, noting the difficulty of maintaining relationships in bands, especially between siblings. “I’m always reading statistics about how many marriages end in divorce… They’re brothers as well. I’m genuinely delighted for them, and I genuinely won’t be going.”  

James’ comments come against the backdrop of Blur and Oasis’ definitive rivalry, which peaked in 1995 when Blur’s ‘Country House’ and Oasis’ ‘Roll With It’ famously went head-to-head for the number-one spot on the UK charts. Oasis mocked Blur’s victory at the time, but decades later, the relationship between the bands appears to have mellowed. Liam Gallagher even tweeted in October 2024, “I love Blur and at some point we need to do an old dears tour.”

I love blur and at sone point we have to do n old dears tours — Liam Gallagher (@liamgallagher) October 4, 2024

Blur drummer Dave Rowntree seems to echo this newfound camaraderie. Speaking after his defeat in the 2024 General Election, where he ran as Labour’s candidate for Mid Sussex, Rowntree said he’d be first in line for Oasis tickets. Guitarist Graham Coxon, in an interview with The Sun, praised the reunion, calling it “good for them and good for fans.”

Damon Albarn, Blur’s frontman, has remained silent on the topic since Oasis announced their tour. However, in summer 2023, he confidently predicted the reunion, saying the path for it was clear. 

Oasis’ reunion, announced in August 2024, has generated massive demand. Tickets for their 14-date tour sold out almost instantly, though controversy erupted over Ticketmaster’s dynamic pricing, with some fans paying as much as £350 per ticket. Labour MP Rupa Huq has brought the issue to Parliament, with the second hearing of a proposed bill addressing ticket pricing set for tomorrow.

Hot off the press!

Due for debate this Friday

A Bill to make provision about transparency of ticket prices for sporting and cultural events; and for connected purposes.https://t.co/AlBGXyl9n2 pic.twitter.com/BRVAULv5fn

— Rupa Huq MP (@RupaHuq) December 4, 2024

Blur and Oasis both capitalised on nostalgia as a driving force behind their comebacks. With streaming revenue dwindling in the music industry, reunions offer bands a lucrative alternative to releasing new music. Reports suggest that the Gallaghers could earn over £50 million each from the tour, which is expected to gross £400 million.

For fans, these reunions offer a chance to relive the 1990s—a golden age defined by the rise of Britpop. As Blur’s Wembley success proved, audiences are still eager to connect with the music that shaped a generation. And with Oasis’ last performance dating back 15 years, the reunion opens the door for a new generation of fans to experience their music live.

While James’ “genuinely won’t be going” remark hints that not all rivalries are fully buried, the Oasis reunion represents a moment of celebration for fans and a symbolic end to one of Britpop’s fiercest feuds.