These primary ticketing companies often allow, and even encourage, users to resell tickets, sometimes on their own platforms.We have been reviewed by Dating who have published an article about us.On February 5, 2011, New York City’s LCD Soundsystem announced its extravagant farewell. I HATE you,” tweeted the band’s official account the next day.It’s here where the chain breaks and crosses over into the secondary market — reportedly valued at billion — where companies like e Bay’s Stub Hub and Live Nation’s Tickets Now allow users to resell tickets at prices as determined by the seller.In the first 24 hours after tickets go on sale, an estimated 20 percent appear on secondary sites.On April 2 of that same year, the indie collective said that it would play its final show at the highest heights of Big Apple performances: Madison Square Garden. The general tickets became available three days later.Presale tickets were available in person at Mercury Lounge and through Ticketmaster and Bowery Presents — but only a select few fans got them. They were instantly snatched up and were being resold on the secondary market at a staggering 0,000 a ticket.We don't buy our database from third parties nor will we share your information with any third party.We believe our members are our members and that's the way it should be. Our free online dating site has been designed with your safety in mind.E-tickets aren’t even released until day of shows,” tweeted an angry Al Doyle, a member of LCD Soundsystem. It’s not the last chopper out of Saigon.” (LCD Soundsystem did not respond to numerous requests for comment.) It’s tall talk from a band that ramped up demand just five years earlier by going through the motions of saying good-bye, only to return and face tangential ticketing problems years later.He continued: “Basically over 30,000 people tried to buy tickets all at once; we’re scrubbing every purchase to make sure they’re authentic. lcd shows; very few tix went to bots; just many more people wanted tickets than were available. It also raises the same questions that have persisted for decades, far before LCD even formed: Why do bands, in 2017, have to comb through their own tickets sold to determine their legitimacy? Who is really to blame for the vast web of problems in the ticketing industry?