#SHOWBIZ: DOLLA joins KIIRAS for crossover dance challenges
In a 21-second video posted by @KIIRAS_official on social media, DOLLA members Angel, Sabronzo and Tabby were seen dancing to Ziller with KIIRAS members Harin, Doyeon and Kylie.
In another video shared on DOLLA's social media with the caption, "With the cuties", both groups danced to the Malaysian girl group's latest release.
Both groups also performed a cover of KIIRAS' debut single Kill Ma Bo$$.
The crossover drew attention online, with fans celebrating the Malaysian connection between KIIRAS and DOLLA.
KIIRAS' leader Lingling is Malaysia's first female K-pop idol from Klang.
Besides Lingling, KIIRAS also includes Harin, Kurumi, Kylie, Doyeon and Roah.
In June, Lingling joined Kylie and Roah in a cover of DOLLA's MWA! dance challenge.
DOLLA, formed in 2019, is known for its powerful stage presence and fusion of pop and R&B.
KIIRAS debuted in May with multinational members and quickly gained online traction with their country-western-inspired single Kill Ma Bo$$, followed by Ziller.
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Under the Places of Public Entertainment Ordinance, it is an offence for any person to sell, offer for sale, or solicit the purchase of tickets at a price exceeding the amount fixed by the organiser at public entertainment venues. Offenders are liable to a fine of HK$2,000. Mike Ko Lep-kei, CEO and co-founder of event platform Timable, said that scalping had escalated with the opening of the stadium, affecting not only local fans but also those who had travelled from outside Hong Kong to watch big acts. Ko, who is in his forties and has worked in the entertainment industry for more than a decade, said ticket resellers were mainly divided into two types. The first was a small group of people who had established relationships with concert organisers to get tickets meant for internal distribution. People who programmed bots to sweep up tickets on platforms during public sales made up the second group. Ko said these 'officially endorsed resellers' would help concert organisers ensure their shows sold well and price the tickets according to demand in the resale market. Ko said that while tickets being sold at exorbitant prices often made headlines, resellers also suffered losses if demand for a concert was poor as they had to swallow the costs. 'They earn so much usually, so they also have to help concert organisers clear the inventory, because officially, organisers cannot offer discounted tickets,' he said. 'The resellers function as a proxy during downtimes and offer huge discounts to ensure enough members of the audience show up. 'But many organisers will not reveal these details due to non-disclosure agreements signed.' An industry insider agreed, saying that most of the time, organisers had to reserve up to 60 per cent of concert tickets for their sponsors' internal distribution or sales through other channels as part of their contract. For major concerts, most of the sponsors are insurance companies, credit card firms or banks, which tempt fans to buy financial products in exchange for a pair of tickets. 'Even before ticket sales open to the public, some parties with close ties to the organisers will already have placed orders on how many tickets they want reserved for them,' the source said. Battling the bots For public sales, ticketing platforms would be flooded by 'tens of thousands of bots' trying to enter their website at the same time, with popular shows held at Kai Tak Stadium bearing the brunt of large-scale attacks, the insiders said. Platforms blacklist the IP addresses of such bots and block them, only to have resellers switch them to get around the blocks, requiring time and resources to fight them off. On top of commercial partnerships making the distribution of concert tickets an opaque business, Ko said scalping was severe as concerts held in Hong Kong not only served the local audience but also a 1.4 billion-strong market in mainland China. 'No matter how many shows they put on, there is demand from among 1.4 billion people. It is commercially beneficial because concert tickets will always be bought, but organisers don't care that Hongkongers are unable to get in,' he said. In 2019, the Leisure and Cultural Services Department announced that organisers of concerts with more than four shows at the Hong Kong Coliseum and Queen Elizabeth Stadium, venues it operated, must limit internal and priority sales to no more than 70 per cent, leaving only 30 per cent for public sales. In response to queries from the Post, the department said its upgraded Urbtix ticketing system could accommodate up to 20,000 users, up from 2,000 in 2022, and could scale up to 100,000 if needed on the first day of sales for popular events. The system was also equipped with security provisions and multilayered settings and programmes to prevent ticket purchases by bots, a department spokesman said. 'Besides, [the department] encourages organisers to increase the ratio of tickets for public sale. A number of presenters of events at the Hong Kong Coliseum offered tickets for public sale at a ratio higher than 50 per cent,' he said. In comparison, Ticketmaster, one of the world's largest ticket marketplaces, was ready to handle 3.5 million Taylor Swift fans who had registered for the presale of her 'Eras Tour' in 2022 at the same time. Despite being able to 'manage huge volumes on the platform historically', the website still crashed after 'a staggering number of bot attacks' and other fans drove 'unprecedented traffic' to it, resulting in 3.5 billion total system requests, which was four times its previous peak, it said. Secretary for Culture, Sports and Tourism Rosanna Law Shuk-pui said her bureau had met several major concert organisers to understand their perspectives but shows were commercial activities and 'need to be financially viable' while large-scale productions required a certain level of sponsorship. 'It is not something government action can easily change. As long as it's not illegal, the government's hand should not be too far-reaching as Hong Kong is a free market,' she said. While venues managed by the government have to follow the guidelines, private locations, such as the newly opened Kai Tak Sports Park and Asia-World Expo, home to Hong Kong's largest indoor concert venue before Kai Tak Stadium opened, can decide their own hire terms. In response to queries by the Post, AsiaWorld-Expo said it had consistently asked event organisers to allocate 50 per cent or more of tickets for public sale at public ticketed events. 'The execution of ticketing arrangements, including allocations and sales channels, is managed by organisers and their appointed ticketing agents,' it said. Booming market Kai Tak Sports Park said that, like other commercially operated venues, ticketing arrangements were primarily managed by event organisers and that it encouraged them to increase the ratio of public sale tickets where possible. 'We noticed that organisers have allocated a comparatively sizeable portion of tickets for public sales and are pleased that public access tickets have generally been available, either as individual tickets or in package deals,' it said. 'Additionally, fans often have the opportunity to preregister for presales, and these have also been heavily used also.' Ko of Timable said that holding up tickets for sponsors was not unique to Hong Kong, but elsewhere the distribution of internal tickets was more transparent and smaller in scale. The global secondary ticketing market is a booming yet contentious industry, estimated to be worth US$28.2 billion in 2024 and projected to reach US$73.44 billion by 2033, according to a report by research firm Global Growth Insights. Platforms like StubHub, Viagogo and Ticketmaster facilitate resales, profiting from fees of 10 to 25 per cent charged to both buyers and sellers, ensuring stable revenue regardless of price fluctuations, according to the report. The Asia-Pacific region is the fastest-growing market, with ticket resale transactions up by 50 per cent in the past year, driven by expanding concert and festival scenes. South Korea's K-pop market alone accounts for 30 per cent of all secondary resales in the region, while Chinese and Indian fans increasingly travel for international events. Taiwan has significantly tightened its anti-scalping laws. As of May, the maximum penalty for reselling entertainment tickets through online and offline methods for profit increased from NT$18,000 to NT$30,000 (US$1,000). Under the 2023 amended Cultural and Creative Industries Act, reselling cultural event tickets above face value incurs fines of 10 to 50 times the original price. Large-scale scalping using bots can lead to three years in prison and a fine of up to NT$3 million. Japan's 2019 anti-scalping law prohibits online commercial resales above face value and acquiring tickets for illegal resale, with violators facing up to one year in prison or a 1 million yen (US$6,780) fine and potential entry denial for buyers. Ticket brokering is banned in the streets and other public places under local ordinances. Individual states in Australia have anti-scalping legislation where touts can only sell tickets for 10 per cent more than their original sale price across all venues. In Victoria, advertisements must also include the original price, intended resale price and seating information. Duncan Chiu, lawmaker for the innovation and technology sector, said Hong Kong could take reference from Australian laws, which target high-demand events, to strengthen enforcement and crack down on scalpers. 'But penalising consumers would not be useful, because those who bought resale tickets would not out themselves to authorities, since they really want to attend the event,' he said. Chiu added that while real-name verification was a frequently proposed solution, implementing it at the 50,000-seat Kai Tak Stadium could pose logistical challenges. 'Reselling should not be banned outright as there should be flexibility for those with last-minute plans. Having too strict purchasing procedures like requiring ID numbers or checking passports would also complicate matters for tourists,' he said. Chiu pointed to the Rugby Sevens app as a positive example, as it allowed users to transfer tickets a maximum of three times while tracing the path of the transactions, with accounts registered using verified phone numbers. Top-down approach Concerts by Hong Kong boy band Mirror in 2022 required real-name registration for publicly sold tickets after fans complained that the reselling situation had got out of hand, with scalpers demanding up to HK$400,000 a seat. Ko said a top-down approach was needed as a solution since it is not profitable for organisers to voluntarily regulate themselves. For starters, authorities could require organisers to reserve 10 per cent of publicly sold tickets for real-name verification. He cited Cantopop singer Terence Lam Ka-him's coming 'White Summer' series of eight concerts this month as a positive example of organisers trying to protect fans. Lam announced that 38,000 tickets meant for the public at the 12,500-seat Coliseum would be sold through a ballot. Applicants registered with their full name, verified phone numbers and payment details on Urbtix beforehand, and if selected, could only buy a maximum of two tickets. Concert director Alex Fung Yee-pak revealed that around 180,000 people had registered for the lucky draw. Fung said he hoped the ballot would weed out scalpers' accounts by requiring a verified phone number and credit card details. 'The response has been positive and fans were able to buy tickets through this method,' he told the Post. Fung said they tried to diversify the distribution of tickets to ensure as few as possible would be snapped up by scalpers during public sales. 'Forty per cent of tickets are available for public sales, while the remaining tickets will be distributed to partnering companies or sponsors to sell these tickets to their members through their own means,' he said. 'If we put all our eggs in one basket, scalpers could potentially wipe out the tickets and audiences would have no choice, so we hope to distribute the tickets through different channels.' Fung said scalping in Hong Kong was at a 'white heat', as ticket prices were relatively low and most singers held multiple shows, leaving much room for touts to make a profit. 'For example, a ticket costs HK$1,000 ... but scalpers can resell it for HK$2,000 and fully bag the profit,' he said. 'Profits will go into researching new technology and finding new ways to circumvent any detection on the platforms so they can sweep up more tickets.' Ko said the issue with scalpers was that no one truly knew how much they were earning from ticket sales, given the opacity of the industry. While some fan clubs elsewhere had started campaigns to boycott scalpers, Ko said Hongkongers would always show demand for resold tickets despite the price. Rather than banning commercial reselling, regulating and taxing the practice could be a solution just as authorities did during the property boom, Ko said. 'For example, if I earn HK$100 from reselling, HK$20 could go to the government, and the profit could be split with other stakeholders,' he said. If authorities did not act to regulate the situation, Hong Kong's reselling phenomenon would ultimately be corrupted to the core, Ko warned. 'It will be impossible to watch any shows at the original price any more, and audiences will be left in despair,' he said. - SOUTH CHINA MORNING POST
