{"id":108554,"date":"2026-08-17T16:13:33","date_gmt":"2026-08-17T15:13:33","guid":{"rendered":"https:\/\/routenote.com\/blog\/?p=108554"},"modified":"2026-08-17T16:13:34","modified_gmt":"2026-08-17T15:13:34","slug":"californias-proposed-ticket-resale-cap-falls-short-in-senate","status":"publish","type":"post","link":"https:\/\/routenote.com\/blog\/californias-proposed-ticket-resale-cap-falls-short-in-senate\/","title":{"rendered":"California\u2019s proposed ticket resale cap falls short in Senate"},"content":{"rendered":"\n

California\u2019s proposed 10% ticket resale cap has stalled in the Senate, while StubHub\u2019s lobbying spend reportedly reaches $3.4 million. Here\u2019s what it means for artists and fans.<\/span><\/h2>\n\n\n\n

California’s latest attempt to tackle inflated ticket resale prices has come to an end for this legislative session, with AB 1720, the California Fans First Act, failing to advance through the state Senate.<\/p>\n\n\n\n

The bill would have capped the price of resold tickets at 10% above their original price for certain live entertainment events, with a particular focus on independent venues. Its failure comes amid a major lobbying effort from the secondary ticketing industry, with StubHub reportedly spending around $3.4 million lobbying in California this year.<\/p>\n\n\n\n

For musicians and independent artists, this is more than another piece of legislation disappearing into the California State Capitol. Ticket prices, resale and access to live shows all have a direct impact on how artists build audiences and make money from touring.<\/p>\n\n\n\n

What was California\u2019s 10% ticket resale cap?<\/h2>\n\n\n\n

AB 1720, introduced by California Assemblymember Matt Haney, was known as the California Fans First Act.<\/p>\n\n\n\n

The proposal aimed to prevent ticket resellers from charging more than 10% above the original ticket price for qualifying live entertainment events. The bill also included fees within that calculation.<\/p>\n\n\n\n

However, the legislation was narrower than some of the headlines might suggest.<\/p>\n\n\n\n

By the time it reached the Senate, the bill applied to events at independent venues, generally those with fewer than 3,000 seats, alongside certain nonprofit venues. Major sporting events and some larger venues were excluded.<\/p>\n\n\n\n

The idea was fairly straightforward: if someone bought a $50 concert ticket, they shouldn’t be able to turn around and list it for several hundred dollars simply because demand had increased.<\/p>\n\n\n\n

The bill made it through several stages<\/h2>\n\n\n\n

AB 1720 wasn’t a proposal that immediately disappeared.<\/p>\n\n\n\n

It passed several committees and the Assembly, with the Senate Judiciary Committee taking it up on June 30. During that hearing, Haney described the bill as an attempt to protect fans from excessive ticket price gouging and keep live entertainment accessible.<\/p>\n\n\n\n

But the bill ultimately failed to progress through the Senate Appropriations Committee in August, effectively ending its chances during the 2026 legislative session.<\/p>\n\n\n\n

That makes California the latest battleground in the increasingly heated debate over how much control resale platforms should have over the secondary ticket market.<\/p>\n\n\n\n

StubHub’s lobbying efforts<\/h2>\n\n\n\n

One of the biggest talking points surrounding the bill’s collapse is the amount of money being spent by the ticket resale industry to influence California legislation.<\/p>\n\n\n\n

StubHub has been actively involved in opposing AB 1720. California’s Digital Democracy database records StubHub testimony against the legislation, including appearances by its representatives during committee hearings.<\/p>\n\n\n\n

Recent reporting puts StubHub’s California lobbying spend this year at around $3.4 million.<\/p>\n\n\n\n

That’s a sizeable investment, particularly when you consider that AB 1720 was aimed at limiting the very resale mark-ups that form part of the business model for secondary ticketing platforms.<\/p>\n\n\n\n

It’s worth being careful about drawing a direct line between lobbying expenditure and the bill’s eventual failure, though. Lobbying is only one part of the legislative process, and the bill faced other criticisms during its journey through the Senate.<\/p>\n\n\n\n

Why did StubHub oppose the bill?<\/h2>\n\n\n\n

StubHub has argued that legislation like AB 1720 could give Live Nation and Ticketmaster more control over the ticketing market rather than genuinely making tickets cheaper.<\/p>\n\n\n\n

Speaking to CalMatters<\/em>, StubHub’s Jack Sterne argued that the proposals would hand more power to the Ticketmaster monopoly without necessarily making tickets more affordable.<\/p>\n\n\n\n

That argument is important because California’s ticketing debate isn’t simply a case of fans versus resale companies.<\/p>\n\n\n\n

There are concerns about both sides of the market.<\/p>\n\n\n\n

Supporters of AB 1720 argue that professional resellers and bots can create artificial scarcity, pushing genuine fans towards much higher prices. Critics, meanwhile, argue that restrictions could reduce consumer choice and strengthen the position of primary ticketing companies.<\/p>\n\n\n\n

The result is a complicated market where everyone agrees something isn’t quite working, but there is considerably less agreement about how to fix it.<\/p>\n\n\n\n

Why artists are paying attention<\/h2>\n\n\n\n

For artists, the resale market can have a knock-on effect that goes beyond unhappy fans.<\/p>\n\n\n\n

If tickets for your show suddenly appear online for three or four times their original price, fans may blame you for the cost, even when you have little or no control over the resale listing.<\/p>\n\n\n\n

That’s particularly frustrating for independent artists trying to build a loyal audience.<\/p>\n\n\n\n

Live shows are one of the most important ways for emerging artists to turn online listeners into real-world fans. If attending a gig becomes too expensive, some people simply won’t go.<\/p>\n\n\n\n

That matters even more at smaller venues, which were specifically targeted by AB 1720.<\/p>\n\n\n\n

Independent venues are often where developing artists build their audience in the first place. Keeping those shows accessible can therefore have a much wider impact on the music ecosystem.<\/p>\n\n\n\n

Ticket resale isn’t a new problem<\/h2>\n\n\n\n

California’s debate is part of a much bigger conversation happening internationally.<\/p>\n\n\n\n

RouteNote has covered the issue before, including growing pressure in the UK to restrict excessive ticket resale. Artists including Dua Lipa, Sam Fender, Radiohead and Coldplay have previously called for stronger action against ticket touting.<\/p>\n\n\n\n

The European Union has also introduced rules requiring secondary ticketing marketplaces to provide more information about professional sellers and make it clearer when consumers are buying from third parties.<\/p>\n\n\n\n

Meanwhile, the UK has been moving towards much tougher restrictions on resale, showing that California isn’t dealing with an isolated problem.<\/p>\n\n\n\n

The common thread is pretty obvious: ticket resale has become a global issue for the live music industry.<\/p>\n\n\n\n

What does this mean for independent artists?<\/h2>\n\n\n\n

The immediate answer is that not much changes for California artists and fans as a result of AB 1720’s failure. Existing ticketing and resale rules remain in place, and the debate isn’t going away.<\/p>\n\n\n\n

But there are a few lessons worth taking away.<\/p>\n\n\n\n

Know how your tickets are being sold<\/h3>\n\n\n\n

If you’re putting on your own shows, keep an eye on where tickets appear online and what they’re being listed for.<\/p>\n\n\n\n

If fans are repeatedly seeing your tickets advertised at inflated prices, it can be worth raising the issue with your promoter or ticketing partner.<\/p>\n\n\n\n

Make official ticket links easy to find<\/h3>\n\n\n\n

Your website and social channels should clearly point fans towards the official place to buy tickets.<\/p>\n\n\n\n

The easier it is to find the legitimate source, the less likely fans are to accidentally end up on a secondary marketplace thinking they’ve found the official seller.<\/p>\n\n\n\n

Build direct relationships with fans<\/h3>\n\n\n\n

The more directly you can communicate with your audience, the less dependent you are on third-party platforms.<\/p>\n\n\n\n

Your mailing list, social channels, website and streaming profiles can all help you tell fans when tickets go on sale and where they can buy them.<\/p>\n\n\n\n

The same principle applies to music distribution. Having your releases available across major streaming platforms gives fans plenty of legitimate ways to find and support your music, while keeping your artist profiles consistent and easy to discover.<\/p>\n\n\n\n

With RouteNote, independent artists can distribute music globally while retaining control of their catalogue, giving them another way to build that direct connection with listeners.<\/p>\n\n\n\n

The bigger picture for live music<\/h2>\n\n\n\n

The collapse of California’s 10% resale cap doesn’t mean the ticketing debate is over.<\/p>\n\n\n\n

If anything, the amount of money being spent lobbying around ticketing legislation shows just how valuable the secondary market has become.<\/p>\n\n\n\n

For artists, though, the bigger issue is accessibility.<\/p>\n\n\n\n

A fan who spends $300 on a ticket isn’t necessarily spending $300 within the music ecosystem. Much of that additional money can end up going to a reseller rather than the artist, venue or promoter who actually created the event.<\/p>\n\n\n\n

That’s why ticket resale has become such a contentious issue.<\/p>\n\n\n\n

The live music industry already faces rising touring costs, expensive venues and pressure on grassroots spaces. Making concerts harder for ordinary fans to afford could create another barrier between artists and the audiences they’re trying to reach.<\/p>\n\n\n\n

California’s bill may have died for now, but the argument over who gets to profit from a concert ticket after it has been sold is clearly not going anywhere.<\/p>\n\n\n\n

\n\n\n\n

Distribute your music for FREE with RouteNote!<\/a><\/strong><\/p>\n","protected":false},"excerpt":{"rendered":"

California\u2019s proposed 10% ticket resale cap has stalled in the Senate, while StubHub\u2019s lobbying spend reportedly reaches $3.4 million. Here\u2019s what it means for artists and fans. California’s latest attempt to tackle inflated ticket resale prices has come to an end for this legislative session, with AB 1720, the California Fans First Act, failing to advance through the state Senate. The bill would have capped the price of resold tickets at 10% above their original price for certain live entertainment events, with a particular focus on independent venues. 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