Jobaaj Stories
💻 Ticketmaster Crash Sparks Outrage Over Bad Bunny Tour Prices
Ticketmaster is under fire again after fans flooded the site to buy tickets for Bad Bunny’s 2026 world tour, causing long wait times, crashes, and mounting frustration.
As excitement built for the DeBÍ TiRAR MáS FOToS tour, so did anger — not just over technical issues but also over sky-high ticket prices that many fans say are simply unaffordable.
🎟️ What Went Wrong with Ticketmaster?
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Fans reported queues of over 150,000 people trying to access tickets.
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The website slowed down, glitched, and even crashed for some users.
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Social media was filled with complaints, with many blaming Ticketmaster for not handling high demand better.
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This isn’t the first time Ticketmaster has struggled during a major tour — fans of Beyoncé and Taylor Swift reported similar problems.
🌍 Bad Bunny's Tour: Huge Demand, Limited Stops
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The 31-year-old reggaeton star is performing in Mexico, Brazil, Spain, Italy, Sweden, Poland, and London.
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Notably, the tour skips the U.S. entirely, increasing global demand.
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This is Bad Bunny’s first time in Europe since 2019, making it a must-see event for international fans.
💷 Ticket Prices Leave Fans Shocked
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Tickets were advertised to start at £79, but those were rare.
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Most fans are seeing actual prices ranging between £115 and £360.
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Even at these rates, tickets are selling out, highlighting just how desperate fans are to see him live.
💬 Are We Normalising Expensive Concerts?
The mix of technical failures and inflated pricing has become a worrying trend:
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Fans are questioning why concerts are becoming luxury events.
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Many feel priced out of experiences they used to enjoy without breaking the bank.
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The industry’s reliance on platforms like Ticketmaster only adds to the frustration.
🧠 Final Thoughts
Ticketmaster’s crash during Bad Bunny’s ticket release isn’t just about a website failing — it’s about a broken system where passionate fans are pushed aside by high prices and poor tech.
The conversation isn’t just about one artist anymore — it’s about whether live music is still accessible, or only for the few who can afford it.
