Arena Square, Engineers Way, London HA9 0AA 020 8782 5566
Tickets offered differ between outlets. Outlets also may offer different seats via their phone and online systems. Offers for non-pop concert events may be available.
Independent S.T.A.R. ticket agencies may also offer an alternative choice of seats.
Note that many S.T.A.R. ticket agencies don't sell tickets for pop events at this venue.
Ticket agencies offer an alternative way to buy tickets, with booking fees differing from those charged by the venue box office itself. They may have seats available or special offers when venues do not.
Ticket agency prices vary in response to venues implementing “dynamic pricing” - which alters prices according to demand for a particular performance. Current prices are advised at time of enquiry.
www.Seetickets.com often have a selection of tickets available for events here.
Telephone: 0844 815 0815 ( 0161 385 3211 if you cannot use the 0870 number)
Normally operated by an agency for the venue.
Other numbers are often published for specific concerts, in which case try them first, but you will reach the same general telephone room...EXCEPT when the advertisement states that the particular telephone number is operated by another ticket agency.
A reader makes the following suggestions:
"When trying to book Miley Cyrus tickets in 2009, I rang Ticketmaster up and they said to me, "Oh, more seats will be released," - which meant another show. The same as with Barry Manilow 2008. So, be friendly and they will give you information.
Also, they hold back tickets until the last week. I was looking at the second Jonas Brothers show at Wembley and getting not very good seats until about 5 days before - where I was getting central seats as the concert was in the round. These were near disabled seats which they might release to fill the gaps where the artists could see them from the stage."
Booking fees per ticket for telephone bookings:
Vary by event - from £1 to £10 per ticket, depending on events, plus a per booking (not per ticket) transaction charge.
For personal callers: Wembley Arena, Empire Way, Wembley, HA9 0DH
Booking fees vary by event - from £1 to £10 per ticket, depending on events, plus a per booking (not per ticket) transaction charge. Often still charged to personal callers who use credit cards at the box office counter.
The onsite box office is open Monday to Saturday, 10.30am to 4.30pm. It is closed on Sundays. The box office is located to the right of the main doors at the entrance to the arena.
Photo I.D. as well as the actual credit card used to make the booking may be required when collecting tickets on the day of performance. BE AWARE THAT LINES ARE LONG AND MAY BE OUTSIDE AS YOU WAIT. Note that those collecting tickets can save a few minutes and go in through an entrance from the box office, if it's available, bypassing a line outside.
These can be made to:
"A.B.O., Elvin House, Stadium Way, Wembley, Middlesex. HA9 0DW".
Cheques should be crossed and made payable to "Wembley Box Office"
Special Access Needs Customers:
Wheelchair users and other registered disabled theatregoers can book their seats and enquire about concessionary prices that may be available to them on a dedicated phone line. See Notes. THIS IS NOT A PUBLIC BOOKING NUMBER AND TICKETS FOR NON-ACCESS NEEDS CUSTOMERS CANNOT BE BOUGHT ON THIS LINE.
www.ssearena.co.uk is the site for "Live Nation" who operate the venue, and offers an opportunity to sign up to a free mailing list for advance news of events.
Tickets for sold out events, notably concerts, are often offered for sale on online auction / marketplace sites. While sellers may well be legitimate, and abiding by the trading site's purchase codes, you have no way of telling who they are. Inadvertently you could be buying from a tout / scalper. Prices are also very high. "Let the buyer beware" is the motto here.
Prices are also very high and the venue CAN CHOOSE TO REFUSE ADMISSION. Rule 4 of Wembley's ticket selling rules reads:
"Tickets are non-transferable. Reselling a Ticket for profit/commercial gain without the express permission of the artist's management or promoter will make it void, and the holder may be refused entry to or removed from the Venue."
Please note: Theatremonkey does not endorse buying from these sources. It does not sell tickets, and does not participate in any form of online auction. Links from auctions to this website are not made by theatremonkey and theatremonkey.com DOES NOT take responsibility for the legitimacy of the seller or tickets being offered. Please do however use the data on this site to make up your own mind about each deal.
Please remember that cheaper seats often do not offer the same view / location quality as top price ones, and that ticket prices are designed to reflect this difference.
The Arena has a large flat space in the centre, either for seating or standing; with two blocks of seats down the long sides. The long side seating blocks are permanent and divided into front and rear sections by aisles between rows H and J. What is done with the seats placed in the flat space in the middle depends where the stage is put. Notes
This Advice deals with "End Stage Layout" events - the most usual arrangement. In this layout, most common for all events including pop concerts, a wide stage is at the West end of the arena. The flat space in front of the stage is filled with seats. Most of side blocks N and S 1 to 3 may not be used or have a "restricted view" depending on the position of the stage and any equipment placed there.
Flat on the floor, facing the stage.
Behind and either side of these blocks rise up the tiered seating, discussed later.
Four sections of seating here - A, B, C and D.
A blocks are nearest the stage - 24 rows of seats.
B blocks are directly behind - 22 or 23 rows without a break between them and block A.
Then comes a gap before the C blocks - 17 rows.
Behind these is a gap before the D blocks - 21 rows.
In sections A and B there is no rake (sloped floor) so if someone tall sits in front, tough.
Section C is raised on a single plinth - the first row about five inches above the 47 rows ahead of them.
Section D is shallowly stepped, raising all seats slightly above those in front.
Pretty acceptable in all seats in this area for all but the tallest over 6ft or so. A reader agrees: "Leg room was good (A block) and the seats were reasonably comfortable. I can't recall if this is a change, however they were padded (on the seat part) I don't think they were before."
The monkey recalls seats in the side tier sections being padded, but not the floor ones...but is happy to be corrected!
These are the ones that the Box Office push hardest in Theatremonkey's experience. There is a good reason for this. In this monkey's opinion you have to be out of your mind or desperate to buy most of them beyond the front rows of section A. Regular Wembley goers know this and avoid sitting here unless utterly insane to get a ticket. The moaning he endures form those seated here…
All the seats in blocks A to D are normally at top price. Taking each section in order from front to back:
Section A is split into three blocks. Block A3 (seats 22 to 39) is the most central, with A2 (seats 1 to 20) and A4 (seats 41 to 60) either side of it.
Rows 1 to 8 in all blocks are best - take the row furthest forward is the monkey advice here, before worrying about how central they are...though central is prime of course!
Lately, the first few rows of block A - the good stuff remember - have had a further premium mark-up added. Trust monkey, it is worth paying to sit in the first 5 rows. Even though it is a VERY greedy thing for promoters to do to fans. Turn purple with anger and pay up.
Next come rows 9 to 14 - also a reasonable bet, though shorter folk may have a problem seeing over anyone ahead.
The rest of the rows in sections A and all rows in section B offer a view of heads (especially if you are shorter) and little else to recommend, except being closer to the stage than sections C or D.
Section C is split into five blocks - C3 the most central - the front three rows of Blocks C1, C2, C4 or C5 are the emergency fall back position. The plinth raises you slightly above the poor souls in row 22 of block B. You may see the stage, though the performer looks like a large matchstick.
Block C3 in the centre of the arena looks a good bet, until the sound mixing desk is dumped in the front of it. Take it from the monkey, nobody in blocks C3 or D3 enjoy the view much. Luckily, these seats are normally left unsold, or sold last or cheap as "restricted view" tickets.
Behind section C, section D is the only section on the floor area to have seats "stepped" in a shallow tier arrangement.
D2 or D4, from about 3 rows back may provide a little more view, but again remember that shorter people could have up to 84 rows of people standing up in front of them between themselves and the stage.
A reader suggests taking N/S15 before the back rows of block D because,
"You're in line with the back of block D which is ore expensive, so in that respect it is better value than being at the back of block D. If you're in the front row of the block then you have an unobstructed view, albeit at a head-turning angle 80 degrees to the left (or to the right if in block S15). Those who suffer neck ache beware"
Blocks A and B are not raked. If anybody tall is in front, or when everybody stands up and you are sorter... unlucky.
The stage is VERY high, so the front rows won’t see feet – still, you are better of than those in the rear rows who see only matchsticks.
Speakers at the front and sides of the stage can affect views.
Block C3 is behind the sound desk. All you see is the back of the mixer. Luckily, they are not often sold.
Block A3: “Dolly Parton” (March 2007). Unfortunately this means that you can't see anything that is further back than about two metres from front of stage. We didn't see Dolly make her entrance and when she sat down to play piano all we could see was the top of her head ! Probably about four rows back from the front would be better. (Interesting comment felt the monkey, who would add that to an extent what you see depends on the height of the stage, staging and your own height - all of which are variable).”
"Block A4, 47 to 50: “The Who” (June 2007). Great, high energy show as usual but in all the times (16), that I've seen them live, I've never been as close to the stage as that night. We were third row from. Great view even though everyone stood throughout. The stage wasn't too high and there was only a narrow pit between the front row and the stage unlike some concerts where you could park a bus and still have room to drive round it. I'd realised a few days before that my not quite 5' tall daughter might struggle to see if everyone stood but she just stood on her seat and no-one seemed to mind.
Tickets were pretty steep at £65 but most of the seats were that price so we'd have paid that or the lesser price of £50 anyway. At least they didn't make the first few rows gold or premium grade to push the price up even more. Also nice to go to a completely no-smoking venue which the arena has been for a while now."
“Block A: “Dolly Parton” (March 2007). I thought it might be good to mention something about the Central Arena Seating which bugged me when I saw Dolly Parton on 25th March 2007. Sitting in the second row of block A3 (seats 17 and 18) we were joined by to teenage boys, which I was not in the slightest bothered by as you get everyone at concerts. Well the teenage boy that was sitting right next to me decided it would be good to continuously shake his leg up and down with the music (which again is fine by me) but in A3, because the seats are detachable, all of our 4 seats were attached and with his shaking came constant rocking back and forth of the seating. So it might be worth mentioning this. (Brings a whole new meaning to "shake, rattle and roll" thinks the monkey, who was upset to hear about this behaviour).”
Block B: (Lee – regular reader). Not sure why you have seats in block B as Red because they are fine for every show I have seen at Wembley, the stage is high enough that the lack of rake is never really a problem but I guess others may disagree. (The monkey comment is that because the stage is not permanent, there can be problems if the design varies in height. Also, the taller you are, the better in block B as there is no "slope" to raise each row above the ones in front).”
Block D: “Kylie Minogue's” (January 2007), (John). As well as Block D being on a rake, Block C is stepped too. C and D merge into one another with only the row numbers going from 17 to 1 to signify this. Each step in height is shallow and has 2, yes 2, rows on it. Hence if you're in the 2nd row and short too you're really up against it. The front rows on each step are odd numbers in Block C and even numbers in Block D. If you're in C/D blocks then I'd recommend you choose these rows every time, as at least the step gives an advantage over the row in front. The sound desk is at ground level so C3 and D3 can see over it as they're raised above, but the step/height problem will remain regardless."
"D4 Row 3 Seats 53 and 54: Good view in my opinion. Bit too expensively priced generally as they are on the flat. If you get stuck behind someone tall, you're doomed. Comfortable (I think) as I was standing up most the time! Sound is fine."
Also known as East Terrace seating
Grandstand tiers at the very back of the arena.
Rows rise steeply upwards (around a 45 degree angle).
Seating is split into E2 and E3, the central sections which look straight down the arena centre, and E1 and E4 which, at the extreme ends (seats 1 to 12 and 91 to 102) look over the side terraced seating towards the stage.
Acceptable in all seats for all but the tallest.
Seats here are usually cheaper. Unless a vertigo sufferer, once seats at the front of the arena have gone, buy these. You will see an ant in the distance - the performer... but you will SEE the performer, and the video screens, without necessarily having the view even more badly obstructed by the back of someone in front of you.
Worth a first thought here are seats F16 to 23 and F79 to 87. These look over a low wall - not a problem except for the shortest person, the monkey felt... but an advantage having nobody in front of you...
Then take E2 and E3, the central sections which look straight down the arena centre, from row back, so that you can see over those ahead of you.
Row P seats 14 to 16, 34 to 36, 66 to 68 and 87 to 89 may also be desirable as they face down the aisle with either a fully or partially clear view (nobody in front of you!).
Metal work at the front of this block can be annoying for the front four rows, when in place.
Rear rows are not suitable for vertigo sufferers as they are high up and at a steep angle from the ground.
F16 to 23 and F79 to 87 look over a low wall, not suitable for the shortest.
Dancing in the aisles is not permitted so be prepared to do what you can in your own space.
Also known as Grand Tier (rows A to H) and "Upper Tier" (rows J to W) seating.
Long rows of tiered seating down the sides of the Arena either side of the central floor area.
Split into the lower "Grand Tier" and higher "Upper Tier" section. In practise, the gap is simply a wall and space for gangways.
Depending which side of the arena the seats are, they are either in the "North" (N) or "South" (S) tiers, but the numbering of seats and sections is identical - the monkey talks about both sides simultaneously by using the abbreviation N/S.
In all blocks except N/S 1, 2 and 3, there are entrance doors breaking up the seating.
In the Grand tier the doors are in the "lower" number halves of each block, and the first row above the doorway is F. Rows A and B are missing in these halves too, to allow gangway access / wheelchair spaces.
In the Upper Tier the doors are in the "higher number" halves of each block and the first row is N above the doorways. In the rest of the block, the front row is J.
OK to generous for all but the tallest in most seats.
Least legroom is found in the front row of the section behind gangways, and most will find it pretty comfortable.
Worth seeking out are the seats in the centre of the block in rows H and W. These are on the gangway with nothing / only half a seat in front, and can prove more comfortable for many. Identify them by calculating the numbers missing beside the aisles in the other rows.
For those lucky enough to be behind the doorways you get a low wall (nobody in front to look over) that is unlikely to trouble many but the shortest. Low safety bars also run along in front of each doorway in the Upper Tier, but don't affect the view enough to worry about, in the monkey opinion.
For those in the Upper tiers, seating in rows L and M on the highest numbers halves, around the doorway, may not be the greatest as there is a wall to one side. Worth going a row behind, feels the monkey.
First choice of seats is in blocks N/S 6. Seats 20 to 28 are actually closer to the stage than the first row in the centre of the arena. Rows C to F are best. Blocks N/S 4 at the front of N/S 6 are the prime wheelchair spaces, users should take this first over the rest.
Next take blocks N/S 8 seats 80 to 92, rows A to F then rows G to H, then blocks N/S 10 seats 93 to 105 or else try blocks N/S 3 and 5 rows J to N (but not L and M highest numbers if possible) seats 30 to 66. For wheelchair users, block S/N 8 is next choice.
Finally, there is a choice. Either take the seats in row O back in blocks N/S 3, 5 and 7 (remember that they are high up with a viewing angle that can cut off the view of the back of the stage).
The other option is to try for either N/S 10 seats 109 to 121 or rows J to N in blocks N/S 9 seats 84 to 108. Then the rest of the rows behind row N in this section. These are half way down the arena but have a good view compared to seats in the centre block as you are raised above heads in front. For wheelchair users, block N/S 10 is next choice.
All the above mentioned seats are better than anything past row 12 in the central arena blocks in this monkey's opinion.
The rest of the blocks along the side, except small parts of N/S 15 which are down the sides of blocks E1 and 4, are preferable to anything in the centre arena. At least you will see the performer even at a great distance, rather than just heads of the people in front. And you pay less for the privilege.
Blocks N/S 12, then 9, 11, 14, 13 and 15 in order are the choice - though remember to take anything in section E (from row E back) before block 13 (seats 164 to 175), and all of block 15 . Take the furthest forward seats available in each block, deciding whether to move further along the row rather than sit more rows back each time. For the monkey, it prefers to sit further back but closer - but other readers are happier with front rows but further along.
Blocks N/S 12 and 14 have wheelchair spaces. The plus side is they are at the front of the block, the minus is they are a very long way from the stage. Take block 12 spaces first.
Blocks N/S 15 are in the far corners of the arena. Often unsold, you will see less, and folk further along leaning forward can be a problem. Also, avoid seats L199 and 200. These face a black wall and have less legroom than usual. Claustrophobic and totally avoidable even for those who "just want to be there" in the monkey view.
Most of side blocks N/S 1 and 2 are not used for end stage concerts as they are behind the stage. They are, on occasion sold to personal callers as restricted view seats at the last minute. Ask about them. You can often only see the very front of the stage, but at least it is close to the performers. These seats are worth trying for if anyone will sell them to you and you just want to "be there", but remember that you may well not see as much as you hope.
Make sure you on arrival that you choose the correct side to enter, as it is a LONG walk around to reach the other sections!
Every block in both Grand and Upper tier is split into two by an aisle.
Dancing here is harder than in the centre arena and the staff don't let you stand on your seat.
Low walls protecting door entranceways may restrict views for the shortest. For seats behind them, everybody else will enjoy not having to look over heads / standing folk in front.
L199 and 200 face a black wall and have less legroom than usual.
Some seats are not always sold, the monkey notes. As a rule, if they are, then you should be OK seems to be reader feedback. Wembley don't knowingly sell poor seats without a warning, and sometimes tickets are released once a set has been built and sightlines confirmed by the staff as acceptable.
“Block 10: Seats in row were O.K. - could have had worse! I did wish I was much closer as I could not see the singer properly except on the big screen. (Pretty much sums up the experience from half way down - you pay for the atmosphere as much as the view. Editor).
“Block N, Row L, 65 and 66: “Billy Joel” (July 2006). I know people have made comments about these seats not being too good. For me they were fine. You could sit right back and see whole stage. But seat 64 would be a nightmare. You would have to lean way forward to see the whole of the stage, are next to a wall with the top/ side of the door blocking almost half the stage. It's disgraceful that they charge full price for that seat."
“Block N7, Row J73 and 74: Much better than Block C, D and E. Don't have a problem with tall people standing in front of you on the flat like in these blocks. You are also very close, so get a good view and doesn't really feel like a side view even though it is. Sound is perfect. Would get these any day."
"Block N15: Far back but not bad for sound positioning. You're in line with the back of block D which is more expensive, so in that respect it is better value than being at the back of block D. If you're in the front row of the block then you have an unobstructed view, albeit at a head-turning angle 80 degrees to the left (or to the right if in block S15). Those who suffer neckache beware."
“Block S3: OK, but a bit side-on maybe."
“Block S5 M66: It appears they do not sell seats in the following positions.... S/N3 Row L37 and M 38 & 37. S/N5 Same relative position to the previous. These seats have a restricted view because of the entrance door surround to their left/right. I was in seat S5 M66 and if I was sitting in my seat straight then I would not be able to see the left 1/3rd of the stage. As it was not much was on it and if I leaned forward I could see. Anybody not six foot tall like me is likely to have a greater reduction. I would propose marking those seats as red on your plan. (The monkey has done so, and with the seats in similar position down the whole arena).”
"Block S5, Row N, 65 and 66: "Muse" (November 2006) Reading the other comments on this site I was a bit apprehensive but I have to say the seats were superb. My friend and I had a full view of the stage. I'd go as far as to say I would recommend these seats to others as the view was pretty awesome. Saying all that, I do think that the seats L64 and M64 would have been pretty poor, especially M64. I reckon you'd need to stand to see anything."
"Block S5, Row J, 48 and 49: “Bruce Springsteen” (November 2006), (Jason). Thought I would let you know some positive feedback about the seats I had. They offered a clear view of the stage and there was no walkway or aisle near to distract you. Considering the seats were right behind the VIP area, I thought they were great value seats considering how much people, possibly, paid to sit in Block S6/8. I would definitely try and get similar seats if I were to go to Wembley again."
"Block S6, Row G, Seats 33 and 34: “Dancing on Ice” (Pip). The best seats by far in the house as you don't have to worry about being on the big screen and can see everything. The view is perfect and action so close! Wonderful, delightful. Seats are never comfortable here but good legroom makes up for that. Would pay full price for this. However, for main stage concerts, you will get a side view but I still think you'd get your money's worth."
“Block S8, Row E, 64 to 66: "The Cure" (March 2008), (Christopher H). We had. These were incredibly satisfying, except seat 66 had a slight restricted view which was caused by the handrail. I was excited because the monkey had given this a green rating, although you should advise people about the handrail at the end of the rows. There was nothing special about this arena, I would probably prefer the O2, but if you go remember to pick seats in either blocks S6, S8 or N6, N8; or, if you want to experience the whole atmosphere of the concert, take central arena standing if available."
"Block S13 Row V Seats 155 and 156: Much better than flat seats blocks A - D. Bit far away from the action if just the normal stage, fine for 'Dancing on Ice' (with centre rink). Bit far back and dark. Seats definitely comfortable although little legroom, can see past past tall people. Sometimes ridiculously priced, and I would rather not come at all then pay full price when D was the same price for this particular event!"
Capacity is around 12,200 fully seated.
This is a no smoking venue throughout.
Not air conditioned but such a barn it does not get too uncomfortable. Avoid rows P to W if really susceptible to heat though as heat rises. Take a jacket or sweater to ice shows as the place gets cold. Something to do with the stage surface muses theatremonkey.
Wheelchair users have access to places in several blocks, level from the foyer. 2 lifts are also available for users. Adapted toilets available near each section, and to a very high quality with automatic doors, space to manoeuvre in each cubicle, grab rails and alarm cords. Guide dogs can be dogsat but are not allowed in the auditorium. Occasional performances are signed. A hearing loop is now installed to help those requiring it. Wheelchair users also have low counters available at food and souvenir stands, and in the box office.
Access bookings can be made on 0208 782 5629 – if it goes to voicemail the customer may leave a message with their contact details for the box office to call them back. The office hours are 10am to 4.30pm Monday to Friday. THIS NUMBER CANNOT BE USED TO MAKE GENERAL PUBLIC BOOKINGS FOR ANY EVENT. IT IS STRICTLY FOR ACCESS USERS ONLY.
Car users with appropriate Blue or Orange disabled badges are given a discount, and may book at the time they reserve their event tickets. Designated disabled spaces are in the Yellow Car Park on the South side of the arena - Lakeside Way. Call 020 8782 5500 (Monday to Friday 10.30am to 4.30pm) for more information or to book. NOTE: This line is for disabled assistance ONLY and is not available for general public enquiries.
Camera use depends on the promoter's decision for each event. Some ban cameras completely, others do not allow flash photography. If the promoter does allow anything, then it is generally that normal cameras, lens under 35mm, may be tolerated, taking pictures for personal use. You can also bring binoculars - but maybe leave the lens covers at home. Anything they don't like will be confiscated at the door, so check with the box office if you are not sure. You could well be searched and 'frisked' too. If they find concealed equipment by doing this, your ticket will be cancelled. The whole risk is pointless anyway as, even with a flash, pictures will often barely come out. Since a concert programme is often the price of a disposable camera, monkey advice is to buy the programme.
Choice of bars, a 200 seat restaurant (open from 3 hours before the show - bookable with your ticket) and takeaway snacks available throughout the venue. The restaurant overlooks the new entrance plaza and the fountains / illuminations. It was also the original "hospitality" area for the performers when the stage was at the other end...so you could be sitting where your favourite star has sat. There is also a hospitality area behind the new stage and packages are available to businesses. Beer fans will be interested to know that all beer in the venue is carried by pipes (look for the black ones on some of the concourse staircases) that keep the beer at 4 degrees for every glass! The monkey suggested hooking these pipes to the fountain supply outside, but was told that regrettably there would be "logistical issues" to that idea.
Adequate toilets for Gentlemen and ladies. Some toilets can be reassigned for performances popular with women. Check the door symbol before entry gentlemen!
A reader notes that:
"The extra toilets downstairs below the vendors are a bonus, although my perception last night of the existing toilets were that they seemed generally smaller than before. Certainly less urinal space and more cubicles. The venue is now non-smoking. Gone are the mass fogs that used to make the old bar/food areas along the side so unpleasant. The venue are also very tight on this. When I was in the toilet last night, they pulled a guy out of the cubicle who was smoking and escorted him out.
Basically, the gents are now situated only at either end of each corridor and all the loos in between have been given over to ladies (plus one of each in the Atrium). This is on balance (putting my male head to one side for a moment) the best use for them.
There a further one of each down the stairs and under the vendors. These are badly (or not!) signposted so you could end up going down to be faced by a woman's loo door. These because they are badly signposted are often the quietest and worth looking out for. "
Another reader says,
"There do not seem to be enough Men's toilets whilst there are women's at every turn. Great for women but last night there were massive queues at the few men's available."
From the ladies' viewpoint, a comment was,
"The toilet wash facilities have been designed by a male! Strange sloping sinks, and the distance to the tap means that we brush up against the shelf when washing our hands!"
Cloakrooms for checking your coats in are no longer available.
The monkey gratefully thanks Mr Peter Tudor and everybody at Wembley Arena for their massive help in compiling this information.
Theatres use "dynamic pricing." Seat prices change according to demand for a particular performance. Prices below were compiled as booking originally opened. Current prices are advised at time of enquiry.
Based on paying FULL PRICE (no discount!) for tickets, site writers and contributing guests have ALSO created the colour-coded plans for "value for money," considering factors like views, comfort and value-for-money compared with other same-priced seats available.
For a full discussion, opinions, reviews, notes, tips, hints and advice on all the seats in this theatre, click on "BEST SEAT ADVICE" (on the left of your screen).
On the plans below:
Seats in GREEN many feel may offer either noticeable value, or something to compensate for a problem; for example, being a well-priced restricted view ticket. Any seats coloured LIGHT GREEN are sold at "premium" prices because the show producer thinks they are the best. The monkey says "you are only getting what you pay for" but uses this colour to highlight the ones it feels best at the price, and help everybody else find equally good seats nearby at lower prices.
Seats in WHITE, many feel, provided about what they pay for. Generally unremarkable.
Seats in RED are coloured to draw attention. Not necessarily to be avoided - maybe nothing specific is wrong with them, other than opinions that there are better seats at the same price. Other times there may be something to consider before buying – perhaps overpricing, obstructed views, less comfort etc.
Some concerts may have small changes made to the venue layout at any time. For part standing shows, blocks A, B and C can be removed. Blocks S and N 1 to 3 may also not be used for some events. Please do not email the site, as it does not have further information (other than that displayed on this page) available for specific event changes.
Please note: The seating plans are not accurate representations of the auditorium. While we try to ensure they are as close to the actual venue plan as possible we cannot guarantee they are a true representation. Customers with specific requirements are advised to discuss these with the theatre prior to booking to avoid any confusion.
Wembley Park - Jubilee Line (silver gray) and Metropolitan Line (dark purple).
From the platforms, stairs bring you up to a large new station area at street level. At the right of this station area are a row of ticket barriers in a separate annex. Use these, as once past them you come to a long flight of stairs down to Olympic Way. At the bottom of these stairs turn left onto Olympic way and go straight on under the bridge.
If this exit is not available, and you have to leave the station at street level via the barriers ahead of you in the station foyer area, then on leaving the station turn right. You won't be able to cross the road until you reach almost the bottom of the hill. At the road junction near the Travel Inn Hotel, you'll either be able to cross the road to your left at the traffic lights, then go straight on and down a flight of steps to ground level - thus entering Olympic Way from above OR turn to your right instead to face the station, then right again into the paved area in front of the station long staircase, and turn right again to walk at ground level under the bridge. Monkey advice is to turn right, right and right again.
You have now joined the folks who used the staircase from the station entrance...so, all together now... proceed down Olympic Way at ground level, admiring the murals under the bridge as you go. Walk on the right of the paved area (the side the "Curry's Electrical Warehouse" Shop is on).
Continue to where the elevated walkway begins. Do not take the walkway (that goes to the Stadium). Choose the space in the centre and go between the walkways. Keep on until the next road crosses your path. The car park and lower entrances to the Stadium will be ahead of you. Turn to the right - the entrance to the Wembley Arena venue is ahead of you, cross the road to it.
The entrance is across a large grey plaza containing fountains (don't drink the water - it isn't drinkable!) and illuminated columns.
On leaving the Arena, North Side ticket holders are ejected onto the pathway at the side of the arena. This cuts a bit of the race to the underground, especially for those in blocks 11 to 15 who have a good 100 yard advantage.
83, 92, 182, 204, PR2 all stop near the Arena. It is probably better not to bother and take the underground as traffic on event days and sheer numbers of people swamp the services.
In front of the Arena, under the bridge. Vast and expensive. The closest sections are 2A and 1B, along with the disabled parking zones. Make a note of your section so that you can find your car again later...
Police channel cars in only one direction at events and getting out takes a long time. V.I.P spaces can normally be booked in advance online at www.csparking.com, everyone else can just turn up and pay on the day. Car users with appropriate Blue or Orange disabled badges are given a discount, and may book at the time they reserve their event tickets on 020 8902 4141 (Monday to Friday 10.30am to 4.30pm). NOTE: This telephone number is only for disabled assistance and is NOT for general public booking.
Please be aware that as the area around the new Stadium, adjacent, is being completed, some car parking areas may be further away than usual and may be near building work.
Unofficial car-parks are advertised all over the area too in the grounds of tenants on the industrial estate. The official car park operator doesn't advise using them as they may not be insured or patrolled by security.
Theatremonkey also suggests the Wembley Park Underground Station Car Park. Approach and leave it from the Forty Avenue end and avoid the chaos of Bridge Road and Empire Way. Only about 96 spaces (plus 6 disabled spaces), so arrive early. It is cheaper, and easier to get out of after the event - but getting a space may be almost impossible for a while to come. Just remember to turn right on leaving.
On street parking is very limited and tow away zones are rigorously enforced. At the Forty Avenue end of Brook Avenue exists many side roads on the far side of the road from the station. These are not always restricted for parking. Try them to save cash and time in leaving the venue. The extra walk along Brook Avenue can be worth it.
Walking from this car park to the venue, walk inside the car park towards the office block and glass buildings. These are to the left if you face the entrance road. Keep going to the right hand side of the disabled parking bays at the end of the car park. Behind these bays are stairs and a wheelchair ramp leading downwards. Take them.
If you take the wrong staircase (a wide one to the right of the disabled bays, NOT behind them) then turn left at the bottom of these stairs and walk along Brook Avenue, uphill slightly to the large open space on your left, and re-join the group there.
Together again in this patch of grey concrete, the long steep station staircase is to your left, a bridge with tunnel beneath ahead of you. Walk to this tunnel (the strange archer statue points to where you want to be!) and use this underpass to get straight onto Olympic Way. Once through the underpass (admire the murals), walk on the right of it (the side the "Curry's Electrical Warehouse" Shop is on).
Continue to where the elevated walkway begins. Do not take the walkway (that goes to the Stadium). Choose the space in the centre and go between the walkways. Keep on until the next road crosses your path. The car park and stadium lower entrances will be ahead of you. Turn to the right - the entrance to the Wembley Arena venue is ahead of you, cross the road to it.
The entrance is across a large grey plaza containing fountains (don't drink the water - it isn't drinkable!) and illuminated columns.
On leaving the Arena, North Side ticket holders are ejected onto the pathway at the side of the arena. This cuts a bit of the race to the underground, especially for those in blocks 11 to 15 who have a good 100 yard advantage.