Buried in the Edinburgh Festival Fringe’s guidance to artists this year is a sample listing for a free ticketed show. The Fringe Society prints it like this: “Aug 2-20 20.15(50m) (Free ticketed) \u00a31.50 (\u00a30.00 plus \u00a31.50 booking fee)”. Free, in print, now costs a pound fifty. Nobody at the Fringe Society is being sneaky about it, which is rather the point. The same guidance says the \u00a31.50 booking fee “will now be included in the ticketing price” everywhere the box office sells. That covers edfringe.com and the app, the printed programme, and counter and telephone sales.<\/p>\n
The Fringe didn’t dream this up. It’s the visible end of two separate pieces of consumer law, one British and one American, neither of them written with a 40-seat room above a pub in mind. Both landed in the spring of 2025, and both do the same thing: they force mandatory charges onto the headline price. Comedy is where you notice it most, because comedy tickets are cheap, and a fixed fee takes a bigger bite out of a fiver than it does out of a \u00a360 arena seat.<\/p>\n
It’s \u00a31.50 per ticket in 2026, capped at \u00a39 per transaction, which works out at six tickets before the cap bites. The Fringe Box Office also takes a 5% commission plus VAT on what it sells, and requires a minimum 25% ticket allocation. It settles with shows by the end of September. If you priced your hour at \u00a310 and did nothing else, the number a punter now reads is \u00a311.50. The fee sits inside the displayed price rather than appearing at checkout after they’ve picked a seat.<\/p>\n
The Fringe Society deployed the display change by the 4 June full programme launch, and told artists why. The Competition and Markets Authority brought in new pricing transparency guidelines. On a \u00a310 face value the \u00a31.50 is 15%. On a \u00a35 late-night bill it’s 30%. Across the 1,401 comedy shows in the 2026 programme<\/a> that’s a lot of small numbers doing quiet damage to a lot of comparison-shopping. If you’ve ever stood outside a venue at 19.55 watching someone recalculate on their phone, you know the decision takes about four seconds.<\/p>\n The UK rule is the Digital Markets, Competition and Consumers Act 2024. The CMA’s guidance is blunt about the start date: “These provisions of the DMCC Act apply to commercial practices which happen from 6 April 2025 onwards.” The follow-up guidance for businesses, CMA209, was published on 18 November 2025. It covers, in the CMA’s words, “what to include in your pricing information (including mandatory fees, taxes and charges)”. It also covers drip pricing and partitioned pricing.<\/p>\n If anyone thought this was advisory, the first fine settled the argument. The CMA penalised AA Driving School and BSM Driving School \u00a34.2 million, with \u00a3760,000 in refunds to over 80,000 learner drivers. The trigger was a mandatory \u00a33 booking fee. Per the CMA, it “only appeared at checkout, after lesson times had been selected and personal details entered.” The AA teaches people to reverse round corners rather than selling comedy tickets, but the mechanism there is exactly the one every ticketing page in Britain was running until last year. Three quid, hidden until the last screen, eighty thousand people, five million pounds.<\/p>\n America got there five weeks later. The FTC’s Rule on Unfair or Deceptive Fees took effect on 12 May 2025. It requires sellers to “disclose the total price of a ticket, inclusive of all mandatory fees, at the outset of the purchasing process”. Businesses were given 120 days from that date to comply. The practical result was that the fees stopped waiting until screen four, and the comedy business felt it straight away. Matt Blake of CAA, answering Pollstar’s 2026 comedy executive survey<\/a>, put it like this:<\/p>\n We hit a rough patch in 2025. Ticketmaster went to all-in pricing when going into the summer and leading into a government shutdown, which led to the softening of the market. The good news is that has changed and the forecast is extremely bright for 2026!<\/p>\n<\/blockquote>\n Blake is an agent, so the exclamation mark is doing agent work, and he isn’t wrong about scale. Pollstar’s comedy special put 2025’s worldwide comedy gross at $837 million from 12.3 million fans across more than 6,000 reported performances. The top 100 artists alone took $696 million and sold over 9.3 million tickets. Nate Bargatze led on $77.5 million from 962,955 tickets across 93 shows, which is about $80 a ticket by my arithmetic. Nobody notices a booking fee inside an $80 ticket; at fiver level the punter does the sum standing in the doorway.<\/p>\n What was sitting under those checkout screens in the States is uglier than most acts assume. The National Independent Talent Organization studied 86 venues in New York. The average primary ticket fee is now 28.65%, an increase of more than 36% since 2016. In almost 10% of the cases NITO looked at, fees exceeded 50% of face value, and in some they exceeded the face value entirely. The report cites an $18 ticket at Bethel Woods Center for Arts carrying $33 in fees. NITO wants New York to cap fees at 15%. State Senator James Skoufis, quoted by Pollstar, said: “Buying a ticket 100% over face value, or paying a fee larger than the cost of the ticket itself, just isn’t possible for the average New Yorker.” For context on how long this has been drifting, the GAO’s 2018 study of the market put average primary-market fees at 27% of face value.<\/p>\n Most coverage of all-in pricing stops at the platforms, which means it stops before the interesting bit. The Fringe Society’s artist note says: “If you are including pricing on flyers, posters, marketing campaigns or different websites, please note that you must be CMA compliant and include the booking fee within any price you advertise.” Take a comic’s A5 flyer, printed 3,000 at a time and handed out on the Royal Mile by a mate who’s owed a pint. It is now subject to the same price transparency rule as Ticketmaster’s checkout. The programme carries the standing line “Ticket prices are inclusive of a \u00a31.50 Fringe Box Office booking fee, capped at \u00a39 per transaction.”<\/p>\n Which leaves working acts with a choice nobody enjoys. Advertise \u00a311.50 and look 15% dearer than you did last year for the same hour. Or drop the face price to \u00a38.50 so the sticker still reads \u00a310, and hand the difference to the box office. That second option is the one I’d expect to spread, quietly: it protects the number on the poster and stays invisible to the audience. UK comedians reported average earnings of \u00a321,143 in 2025, down \u00a35,635 on the year before<\/a>. On a year like that you fill the room in August and argue about the margin in October.<\/p>\n The American version of the same squeeze is already documented from the other end. Openers on $500 a night in the Comedy Fee Tracker<\/a> are being paid out of a gross that now has to display its fees on screen one. Kat Valentine of WME told the same Pollstar survey there has been, in her words, “a noticeable oversaturation across the market”. Far more comedians than a few years ago can sell one and a half to three thousand tickets in a city. More acts, then, chasing buyers who see the real number before they’ve chosen a seat, while the $500 at the bottom of the bill doesn’t move either way.<\/p>\n None of this counts the other charges stacked on the same trip. Edinburgh’s visitor levy<\/a> is a separate line on the accommodation, not the ticket. It lands on the same wallet in the same week. The thing to watch is the settlement statements that go out by 30 September. Specifically, watch the rebate the Fringe redistributes to shows where the box office sells over half their tickets. If face values quietly fall while displayed prices hold flat, the act swallowed the fee and the sticker never blinked. I’ll be reading the September statements against the June listings, line by line, which is exactly the sort of August I’ve had.<\/p>\n <\/p>\nA driving school paid \u00a34.2m to make the point<\/h2>\n
Thirty-three dollars of fees on an eighteen-dollar ticket<\/h2>\n
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The flyer is now a compliance document<\/h2>\n
Sources<\/h2>\n
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