Entertainment
Live Nation Verdict: Jury Says Concert Giant Is An Illegal Monopoly in Total Defeat
A jury found Wednesday (April 15) that Live Nation and Ticketmaster violated federal and state antitrust laws by dominating the live music industry, capping off a blockbuster trial with a verdict that could ultimately see the two concert giants broken up.
After a five-week trial in Manhattan federal court, jurors sided with a coalition of state attorneys general who sued Live Nation. The states argued during closing statements that the concert giant was a “monopolistic bully” that had harmed competition and driven up ticket prices for fans.
In its verdict, the jury handed Live Nation a total defeat — finding that the company illegally monopolized the market for ticketing services, concert ticketing and the use of amphitheaters, and that it illegally tied the use of its venues to its concert promotion services. The jury said fans overpaid by $1.72 per ticket.
Following the verdict, all eyes will turn to Judge Arun Subramanian, who must now decide whether to order Live Nation to sell off Ticketmaster — something critics have long demanded and the states have said is the goal of their case. Such orders are drastic and rare, though, and the judge could instead merely ban certain anti-competitive conduct.
Live Nation is certain to challenge the outcome, first to Subramanian and then to a federal appeals court.
New York Attorney General Letitia James celebrated the verdict as a “landmark victory” in a statement Wednesday.
“For far too long, Live Nation and Ticketmaster have taken advantage of fans and artists by raising prices for tickets and stifling any competition that threatened their power,” said James. “A jury found what we have long known to be true: Live Nation and Ticketmaster are breaking the law and costing consumers millions of dollars in the process. I am proud to have led a bipartisan coalition of attorneys general in bringing this case and look forward to continuing our work to hold Live Nation and Ticketmaster accountable.”
Reps for Live Nation did not immediately return a request for comment.
The U.S. Department of Justice and dozens of states sued in 2024, 14 years after Live Nation and Ticketmaster merged with the blessing of federal antitrust regulators. The feds claimed the company had since grown into a monopoly that illegally dominated the live music industry: “It is time to break it up,” said then-attorney general Merrick Garland.
But a week after the trial started last month, DOJ agreed to a surprise settlement with Live Nation — a move that reportedly came after President Donald Trump personally pushed for it. The deal required key changes in business practices but, crucially, would not require the company to divest Ticketmaster. Following that, dozens of states said that settlement was insufficient, and instead pushed ahead with the trial.
Over five weeks of testimony, jurors heard from venue bosses like former Barclays Center CEO John Abbamondi, who claimed Live Nation threatened to divert concerts if he switched to rival ticketer SeatGeek. Live Nation CEO Michael Rapino later took the stand, where he denied such threats and said his company had simply outperformed its rivals to achieve its success: “I’m very proud.”
Jurors also heard from AEG Presents CEO Jay Marciano; current Barclays Center boss Laurie Jacoby; several other sports execs, promoters and venue operators; multiple Live Nation and Ticketmaster execs, like president of touring Omar Al-joulani; Drake’s manager Adel Nur, also known as Future The Prince; and numerous economists and other expert witnesses.
Live Nation, repped at trial by a team from the law firm Latham & Watkins, tried to persuade the jury that the company had secured its massive market share over the past 15 years not through anti-competitive behavior, but by simply being better than its rivals. During his closing statements, Live Nation attorney David Marriott called his client a “fierce competitor.”
But the states, led by veteran antitrust litigator Jeffrey Kessler, told the jury a very different story: that Live Nation and Ticketmaster had abused their position to enrich themselves at the expense of fans. They cited much-publicized Slack messages in which two Live Nation execs joked about “taking advantage” of “stupid” fans with prices and fees: “Robbing them blind baby. That’s how we do.”
“Who talks like this? What type of company uses this language?” Kessler asked the jury in closing statements on Thursday (April 9). “The answer, I think you will find, is a monopolist who views itself to be above the law.”
With Wednesday’s verdict, the jury showed that argument worked. It took them four days to deliberate, sifting through weeks of testimony and mountains of evidence submitted by both sides. As is typical with verdicts, there was no stated explanation for why the jurors sided with the states.
Entertainment
BTS Shows Off Boss Dance Moves in ‘2.0’ Music Video Inspired by the Movie ‘Oldboy’
After returning from their four-year hiatus, BTS is making sure that ARMY is being fed. The K-pop superstars dropped a new music video for a second ARIRANG song in only two weeks on Wednesday (April 1), and they’re drawing inspiration from a classic film for the “2.0” visual.
The cinematic music video is inspired by South Korean filmmaker Park Chan-wook’s 2003 film Oldboy. The visual begins with the septet, dressed in sharp suits and leather jackets, exiting an elevator and encountering a group of thugs in a dark, grungy corridor. Rather than fighting with a hammer like the protagonist in the film, BTS’ RM, Jung Kook, V, SUGA, j-hope, Jimin and Jin employ their epic dance skills and music to ward off their opponents.
The video then transitions to a different dark hallway where the band continues its choreographed number, this time without the presence of the thugs. From the corridors, the septet ends up in a dirty bathroom where they dance in front of the mirrors and sing the chorus.
Then, to make it a true “2.0” moment, the K-pop stars return to the elevator from whence they came and quickly change into new, modern outfits — calling back to the song’s lyrics, “We on that brand new” — and close out the video in a high-rise building setting.
The band first teased the new video on Tuesday (March 31) with a 30-second preview. The latest visual comes just days after the album and lead single “SWIM” debuted at No. 1 on the Billboard 200 and Billboard Hot 100, respectively.
Watch the “2.0” music video above.
Entertainment
Taemin Feels ‘So Honored & Grateful’ to Be the First Male K-Pop Solo Artist to Perform at Coachella
Taemin is making history a long way from home. SHINee member and K-pop star appeared on the Wednesday (April 1) episode of The Jennifer Hudson Show, where he spoke about being part of this year’s Coachella lineup.
“You’re making history as the first K-pop male solo artist to perform at Coachella,” Hudson points out during their chat. “How does that feel?”
“There is a saying in Korea, ‘Big opportunities come three times in life,'” Taemin responds after sharing that he was feeling “honored and grateful” to be performing at the festival. “And this is one of them.”
Hudson continues the chat by asking the star if he will release more solo music.
“Oh, yes,” Taemin replies. “I am still evolving.”
The star was also on the talk show to perform his new single, “Long Way Home.” The “Idol’s Idol” sang alone on the stage, dancing effortlessly with his rhinestone microphone and mic stand for the adoring audience.
Performing at Coachella isn’t the only history Taemin is making this year. Billboard exclusively revealed in March that the Grammy Museum in Los Angeles will open a new exhibit dedicated to the K-pop star’s nearly two-decade long career, making him the first K-pop soloist to receive such recognition from the museum. “TAEMIN: Performer. Artist. Icon” will opens April 1 and will give fans a peek behind the curtains of Taemin’s career. Multiple performance looks — including one from his Ephemeral Gaze World Tour — will be on display as well as his official lightstick and a handwritten note addressed to his fans. The special exhibit will run through May 25.
Watch Taemin’s performance and chat on The Jennifer Hudson Show above.
Entertainment
‘Pinky Up’! Here’s When KATSEYE’s New Single Arrives
KATSEYE is taking EYEKONS to etiquette classes, and the first rule we’re learning? Pinkies up.
The HYBE K-pop girl group announced new single “Pinky Up” via a series of social media posts. The first arrived Monday (March 30). It was a cryptic video featuring the Mona Lisa bringing a piping hot cup of tea up to her mouth — pinky up, of course. The next came Tuesday morning (March 31), this time featuring an arcade claw machine with “KATSEYE” emblazoned across the top as the claw pulls out a sword from the midst of blinged out stuffed animals and a singular tea cup. What may be a hint to some of the song’s lyrics, the caption for the reel says, “We’re screaming from cloud nine!!”
The third post confirmed the arriving single and its artwork, featuring someone kneeling on a carpet behind with a tea cup on a saucer and a toy cat, and the title of the song across the front in hot pink lettering. The caption reads “PINKY UP SINGLE RELEASE” as well as the release date and time, April 9 at 9 a.m. PT/12 p.m. ET.
“Pinky Up” comes out just in time for KATSEYE’s Coachella debut on Friday (April 10). The single will also be the band’s first new work since record labels HYBE and Geffen announced last month that member Manon Bannerman would be taking a break from the group. Since Manon has stepped back, KATSEYE has continued their previously scheduled appearances, including performances at Lollapalooza Argentina and Lollapalooza Chile. On March 24, the band was announced as the headliner for the 2026 Head in the Clouds Music & Arts Festival, to take place on Aug. 8 in Passadena, Calif.
See KATSEYE’s posts about “Pinky Up” below:
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