Ticketing platforms in United States (2026)

Los Angeles, United States

A solution reserved for major venues and top-tier festivals tied to the AEG ecosystem. Not a self-service platform for independent promoters.

A direct competitor to Europe's cashless providers with a terminal that takes almost any payment method; its base remains North American.

One of the few US operators with a real European structure: proven volume and experience, though not a household European brand.

San Francisco, United States

The global benchmark by reach and brand recognition, though its combined fees are higher than specialist alternatives.

Its hook is data ownership and accelerated payouts; for Europe it remains a peripheral option against local operators.

New York, United States

StubHub is the global reference for person-to-person resale, with enormous supply in sports, music and entertainment. Its dynamic buyer fees (estimated at ~28%) are among the highest in the sector. For event organisers, it is not the right platform. For buyers of sold-out tickets, it is a common choice — though always check the final price with all fees included.

Dallas, United States

The benchmark platform for large non-profit cultural institutions seeking a comprehensive management system governed by and for its own member community.

A solid product for exhibitions with timed capacity and memberships; its European footprint is limited against local specialists.

Santa Monica, United States

Robust option for large-scale promoters (festivals, sports, motorsports) who need an enterprise solution with integrated commerce beyond pure ticketing.

Built for museums from the outset, with group bookings and member discounts handled well; its base remains North American.