Music

Oasis: Rome concert tickets explained through the lens of desire marketing

Securing a place becomes a role-playing game that’s somewhere between Superenalotto and Squid Game. But watch out for ‘FOMO’

Noel Gallagher e Liam Gallagher, ossia gli Oasis, tornano dal vivo in Italia nell’estate 2027 con due date all’Olimpico di Roma ANSA

4' min read

Translated by AI
Versione italiana

4' min read

Translated by AI
Versione italiana

What do Liam’s fisherman’s cap and Noel Gallagher’s combat boots have to do with Hermès bags? On the face of it, nothing, but if you’re one of those who want (or rather: hope) to go and see Oasis live next summer on their two Rome dates, or at any of the 11 venues on their 2027 tour, you probably already know the answer: desire marketing.

The background is well known. For months, rumours had been circulating about an imminent new tour by the iconic 1990s Britpop band which, following the 2025 reunion, were also set to play twice at the Stadio Olimpico in Rome. On the afternoon of 14 September, the announcement finally arrived (Oasis in the capital on 29 and 30 July) but, rather than the official confirmation of the event, it is the rather convoluted ticket-purchasing process that stands out. No general sale: if you want to see the Gallagher brothers live, you must register by 5.00 pm on 17 September on the dedicated website. But first, you must also have registered on the Ticketmaster website, the ticketing platform of the Live Nation group, which is organising the shows. We don’t know if you’ll be going to the concert, but in the meantime, your profile is being compiled.

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“Those who are selected,” the website states, “will receive a unique, non-transferable code” to access the actual ticket sales windows, which will open at times and in ways that may vary from city to city, between Friday 25 September and Sunday 27 September. For the record, we registered here at the editorial office and, to our surprise, were given the chance to choose three venues from the 2027 tour on a blind basis (you don’t know which date you’ll be allocated, nor which section). The message that appeared at the end of the process was telling: ‘Check the sale time indicated’ in the email you will receive ‘carefully, as this will be the only time slot during which you can access the sale’.

Last year, Oasis, for their UK reunion – which at the time must have seemed like something extraordinary, like the passage of Halley’s Comet – employed dynamic pricing and the UK government launched an investigation. This time they’re taking us into a parallel dimension: the definitive gamification of live music, a role-playing game that’s halfway between Superenalotto and Squid Game.

Speaking of ticket sales: What are the ticket prices for the Rome dates? The dedicated website replies: ‘Prices for seated tickets are €92.29, €166.12, €184.58, €221.49 and €276.86, including fees. Standing area tickets cost €221.49 and €276.86, including fees. Hotel packages are available at €499 per person, including fees, and are sold in pairs. VIP packages are available at €437.36, €490.86 and €651.36, including fees.’ That is what we know. Live Nation, however, does not disclose the availability of seats for the individual sections on sale. An unknown factor that may well get the adrenaline pumping only for poker enthusiasts.

This is not the first instance of ‘mandatory profiling’ of concert-goers: there is the precedent of the Radiohead tour in 2025, admittedly, but that was organised with the opposite intentions (a stark contrast to dynamic pricing, the immediate cancellation of tickets on sale via secondary ticketing platforms, and a one-euro donation to Médecins Sans Frontières for every ticket sold).

And this brings us back to the Hermès bags mentioned above: as for the most sought-after models – the Kelly and Birkin models, which start at 8,000 euros – you have to sign up to specific waiting lists, just as it takes at least eight months to receive the keys to a Ferrari or a Lamborghini. Because needs are few, desires are endless, and it is precisely these desires marketing must focus. By stimulating them, transforming the product on sale into an aspirational object, not selling the goods but the brand that defines its identity. Since every band functions a bit like a brand, in our case the brand is called Oasis, and if you put your name on the waiting list for concerts, it’s not you who chooses them: at best, they’ll be the ones to choose you.

This is where another variable comes into play, one that marketing students know well: FOMO, short for ‘Fear of Missing Out’, the fear of being left out – in this case, of missing out on what everyone expects to be the event of summer 2027. A cardinal sin in an age when people no longer go to concerts to mosh at the front of the stage, but to take a selfie to share on social media. And so, if fate smiles on you during the ‘run-off’ on 25–27 September and you find the ‘golden ticket’ to visit Willy Wonka’s Chocolate Factory, you certainly won’t want to let this opportunity slip away. Even if, on the other side of the screen, you were to come across nothing but 600-euro tickets. You’ll have no choice. Unless, that is, you’re willing to heed the voice of someone crying out in the wilderness: ‘Please don’t put your life in the hands / Of a rock and roll band’.

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