In this engaging conversation, Kevin Erickson, director of the Future of Music Coalition and a fierce advocate against monopolistic practices, dives into the recent DOJ lawsuit against Ticketmaster. He uncovers the detrimental effects of their market dominance on artists, independent venues, and fans alike. The discussion highlights the merger's impact on live music dynamics and explores the need for transparency and a fairer ticketing system. With insights on the future of music advocacy, this dialogue sheds light on vital reform discussions in the industry.
The Justice Department's lawsuit against Ticketmaster could dismantle its monopolistic practices, potentially benefiting both artists and fans alike.
The merger of Live Nation and Ticketmaster has led to increased ticket prices and harmful effects on independent venues and smaller promoters.
Ongoing advocacy efforts, such as the FANS First Act, aim to create a fairer ticketing marketplace that prioritizes transparency and artist welfare.
Deep dives
The Role of the Future of Music Coalition
The Future of Music Coalition plays a pivotal role in advocating for musicians by ensuring they have a voice in policy discussions that directly impact their livelihoods. Founded and led by musicians, this nonprofit organization addresses key issues such as access to health insurance and media ownership, ensuring that artists are included in important conversations. By acting as a think tank and creating connections among various musician organizations, the Coalition fills gaps in policy conversations that might otherwise overlook the interests of musicians. Their work has led to a more equitable dialogue regarding issues like technology policy and anti-monopoly efforts that affect the music industry.
Live Nation and Ticketmaster's Dominance
The merger between Live Nation and Ticketmaster has significantly altered the landscape of the live music industry, creating potential monopolistic practices that hinder competition. Live Nation, the largest concert promoter, merged with Ticketmaster, the biggest ticketing company, leading to concerns over their dominant market power and harmful impacts on artists and fans alike. This consolidation has resulted in high ticket prices and unnecessary fees that ultimately detract from both artists' earnings and fan experiences. Furthermore, independent venues and smaller promoters grapple with the predatory practices and exclusionary practices stemming from this merger, severely limiting their operational capacities.
The Impact on Artists and Local Communities
The monopolistic practices of Live Nation and Ticketmaster have far-reaching effects on local music scenes and the opportunities available to artists. These companies often dictate the ticketing process, creating conditions that disadvantage smaller venues and independent promoters by forcing them to share revenues generated from ticket sales. This lack of diversity and competition undermines the ecosystem that allows various types of music and artistic expression to flourish, squeezing out independent acts that may be integral to local cultures. Moreover, artists struggle to sustain their careers within an environment dominated by corporate interests, resulting in greater economic challenges for those operating outside the mainstream.
Legislative Efforts and Consumer Protection
The ongoing lawsuits and increased regulatory scrutiny facing Live Nation and Ticketmaster highlight a growing movement for protection against unfair practices in the ticketing industry. Legislative initiatives, such as the FANS First Act, aim to create clearer guidelines to protect consumers and prevent deceptive practices related to ticket sales. These efforts acknowledge issues like speculative ticketing and aim to ensure that reselling occurs at fair prices that respect both artists and fans. By aiming to establish rules that promote transparency and accountability, advocates are working to shift the balance of power back towards artists and consumers.
Envisioning a Sustainable Future for Live Music
The conversation about the future of the live music industry centers around creating a more equitable and sustainable marketplace that fosters diversity among artists. Breaking up the monopoly held by Live Nation and Ticketmaster can lead to healthier competition, allowing various ticketing services to emerge and support a broader range of artists. Innovative models, such as community-owned venues and public trust structures, are being explored to sustain local music scenes and make them less susceptible to corporate extraction. Ultimately, the goal is to restore agency to artists, allowing them to thrive within a supportive ecosystem that values both cultural and economic contributions.
This summer, the other shoe finally dropped on Ticketmaster/Live Nation.
After decades of complaints by everybody from Pearl Jam to Zach Bryan (and after several years of increasingly intense Post-Swifty scrutiny), the Justice Department has filed a lawsuit accusing the massive firm of being a monopoly. In it, lawyers argue that the company is built around size and market-share—allowing it to harvest vast profits, prevent the emergence of meaningful competition, and damage the interests of both artists and fans. If the DOJ wins? That monopoly might get broken up. And what happens then is anybody’s guess.
Given the importance of live performance to the music industry, all of this is…a really big deal. Which is why we were delighted to talk all things restraint-of-trade with Kevin Erickson, the director of the Future of Music Coalition. Crucially, it’s not just that any major regulatory move could shatter the long-standing, “convenience-fee”-driven status quo. Turns out, Ticketmaster/Live Nation has its fingers in a LOT of pies. Even the lawsuit itself could go a long way towards revealing the hidden influence that the powerful company has exerted on everything from touring schedules or merch practices to advertising cultures and venue sustainability. Discovery? Can’t Wait.
Come for platform monopolies slowly strangling your favorite local venue. Stay for…that too, because it's SUPER real. But also for a pragmatic perspective on our musical ecosystem—and the rare chance to change its trajectory for the better.
