The sale of tickets for the concerts in Madrid and Barcelona Rosalia have generated the expected collapse. An apocalypse of people running out of tickets, waiting at the seventy-something thousand stall in a virtual queue, and a lot of resellers rubbing their hands. We had the precedent of Bad Bunny, but not only have we not learned, but we have made it worse with an exclusive pre-sale that has left those who have approached through the general sale almost without tickets.
He ritual than usual. Frozen screens, virtual queues that exceeded 50,000 people and the frustration of thousands of fans who after hours of waiting were left without access to the many seats available for pre-sale last Tuesday the 9th for the eight Rosalía concerts scheduled in Madrid and Barcelona between March and April 2026. Just 48 hours later, the general sale on Thursday the 11th replicated the same scenario, but much faster: all the tickets sold out in a matter of minutes. The immediate result was predictable: platforms resale offering seats for up to 1,200 eurosmore than ten times its original value.
The bank account as an entrance to culture. In September 2023, the Banco Santander launched SMusica platform that links financial services with exclusive offers linked to concerts and musical events after close deals with relevant industry brands, such as Live Nation (owner of Ticketmaster), Universal Music, the Los 40 radio network and festivals such as Primavera Sound and Mad Cool. The mechanism is as simple as, in its essence, exclusive: Bank customers get early access to tickets 48 to 72 hours before the rest of the public.
In practice, this means that when the general sale opens, most of the best-located seats (and sometimes all the capacity) have already been purchased. For her part, Rosalía simultaneously activated an “Artist Presale” through prior registration on her website. In this way, two privileged channels were generated before the official sale.
But… how many tickets went to pre-sale? There are no official public figures. However, an expert (Chema Lamirán, director of the Master in Digital Marketing at the European University of Valencia) provides data about the usual operation of this system: “as a general and ethical rule of the industry, a quota should always be reserved for general sales.” According to their analysis, between 15% and 20% of the total capacity is usually reserved for general sales. But “in phenomena like Rosalía, where demand exceeds supply by 10 or 20 times, that 20% flies in seconds, giving the sensation that there were no tickets.”
This would explain why in social networks comments abounded like this one: “They’re making fun of us, they must have sold all the Lux Tour tickets in the pre-sale, otherwise I can’t explain it.” The system also established differentiated limits: a maximum of two tickets per person in the Santander pre-sale compared to four in the general one, which in theory should leave more seats available for the general public, but in practice it barely makes a difference when the demand is so disproportionate.
The precedent of Bad Bunny. May 8, 2025 marked a turning point in public perception of the ticketing system in Spain. What began as the announcement of three Bad Bunny concerts ended up becoming twelve dates spread between Barcelona and Madrid, an improvised increase on the fly while the Ticketmaster website collapsed under the weight of hundreds of thousands of simultaneous users.
At 12:45, fifteen minutes before the official start of the pre-sale, the platform began to display errors 503 and 500, leaving buyers trapped in a digital limbo where virtual queues exceeded 400,000 people. But the technical chaos It was just one dimension of the problem. The OCU filed a formal complaint before the Ministry of Consumer Affairs after documenting how an entry initially announced at 79.50 euros It ended up costing 269 euros by including management fees (€36.50), “suggested” donations (€3.30) and additional VIP charges (€150).
FOMO and banks. The phenomenon of concerts, without a doubt the “place to be” (and one of the few entertainment sectors that not only enters into crisis but also grows without apparent roof), extends its appeal to entities such as banks. The concerts of Rosalía or Bad Bunny are not considered as recitals for fans, but rather as massive events to which one must go, with the music being only a circumstantial element.
The essential precedent of Taylor Swift (whose Eras Tour generated in Spain similar episodes of uncontrolled demand) has established a pattern where megaconcerts are perceived as unrepeatable events that banks, always on the hunt for young customers, are willing to take advantage of.
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