Last week, Rolling Stone published an in-depth look at the Department of Justice (DOJ)’s lawsuit against Live Nation, the parent company of Ticketmaster, highlighting the company’s market dominance and monopolistic practices that have plagued the live entertainment and ticketing industry.
Reporter Ethan Millman sat down with United States Assistant Attorney General Jonathan Kanter, who explained that the company’s long history of “abuse, exploitation, and self-dealing” is why Kanter and his antitrust division are taking on the entertainment behemoth.
“When I came in [as assistant attorney general], I asked [staff] about it, and the response I got was a very strong degree of concern that had accumulated over many years…It was pushing on an open door.”
The DOJ officially filed a lawsuit against Live Nation-Ticketmaster in May 2024, with 30 state Attorneys General adding their names to the suit. Then in August, that number increased to 40 state AGs as the DOJ released an amended filing with even more evidence that the company has used its market power to limit competition, overcharge consumers, and restrict options for artists, venues, and fans.
The article delves into how Ticketmaster subjects’ fans to frustrating and unavoidable experiences due to its dominant position as often the sole ticketing platform available. This dominance is maintained through Live Nation’s aggressive use of exclusivity agreements and coercive tactics that effectively eliminate competition and consumer choice.
Kevin Erickson, director of the music advocacy nonprofit The Future of Music Coalition, was quoted saying:
“Live Nation-Ticketmaster is allowed to make the rules and reshape the industry in ways that degrade the experience for fans…and leave artists and venues with fewer options.”
The article also points out an important reason little progress has been made in holding Live Nation-Ticketmaster accountable: fear of retaliation.
Since this company touches so many parts of the live entertainment industry (from artist management to venue management, promotion, primary ticketing—even resale), stakeholders are afraid to speak out. Why bite the hand that feeds you?
Tennessee Attorney General Johnathan Skrmetti put it well:
“I’ve been getting a lot of positive feedback at a personal level, but it’s really quiet—and that’s consistent with the trouble we had getting people to speak up…People recognize there’s a problem here but nobody really wants to stick their head up. But at things like kids’ birthday parties where [I see] a lot of folks in the industry—I get a lot of grateful feedback.”
Even Rolling Stone attempted to reach artists for comments on the lawsuit; however all either declined or did not respond.
The article points to a well-documented history of retaliation from Live Nation-Ticketmaster—including a 2019 investigation by DOJ which found they had “repeatedly over several years” engaged conduct violating terms meant stop them retaliating against venues.
“A lack competition marketplace will trickle down entire ecosystem around it,” article notes “and stopping requires more robust antitrust action.” If you want promoter use ticketing; access venue must go through same system,” explains Kanter “If desire artist involvement—ticketing plus promoter necessary—they cut off different vectors working together.”
All this search future healthy competition works favor customer—not against them.