Live Nation CEO Michael Rapino Defends Business Practices in Antitrust Trial

Michael Rapino, CEO of Live Nation Entertainment, faced intense questioning regarding the company’s business model and alleged monopolistic practices during testimony in the ongoing antitrust trial on Thursday, March 19, 2026. The trial, brought by multiple states, centers on accusations that Live Nation and Ticketmaster stifle competition in the live entertainment industry.

“An Incredible Moat” and Industry Dominance

Lawyers representing the states pursuing the case pressed Rapino on Live Nation’s dominant position in the market. Jeffrey Kessler, the lead attorney, highlighted Rapino’s own 2019 deposition comments where he described the company as having “built an incredible moat around the castle of Live Nation.”

Rapino refuted claims that this “moat” was constructed through exclusive contracts that exclude competitors. He maintained that Live Nation, like any successful business, simply strives to “build a better mousetrap,” and that its integrated model – encompassing ticketing, promotion, and venue ownership – is comparable to those of its competitors.

Fees and Fan Concerns

The trial also addressed specific instances of high fees and potential exploitation of fans. Kessler questioned Rapino about messages between Live Nation employees boasting about maximizing profits from parking fees, describing actions as “robbing” fans and “taking advantage of them.” Rapino characterized these messages as “disgusting” and stated they did not reflect the company’s operational standards, adding he would “deal with it this week” regarding potential disciplinary action for the employees involved.

Rapino explained that amphitheaters rely on ancillary fees to generate revenue, as a significant portion of ticket prices goes directly to the artists. He also defended the $7 million Live Nation earned from lawn chair rentals at 12 amphitheaters where outside chairs were banned, citing safety concerns and not considering the $15 rental fee “outrageous.”

Control Over Ticketing and Promotions

A central theme of Kessler’s questioning revolved around the degree of “choice” available to artists and venues regarding ticketing and promotional services. Rapino explained that Live Nation did not allow Radio Disney shows to utilize Live Nation venues without also using its promotional services, stating the company didn’t want to establish a precedent.

He also addressed a Ticketmaster policy allowing artists to allocate eight percent of their tickets to fan clubs, explaining that the rule was “modified” to prevent artists from using other ticket suppliers, even alleging some competitors were falsely presenting themselves as fan clubs. Rapino confirmed Live Nation prevented Paul McCartney from using SongKick for fan club ticket sales and similarly restricted Adele from selling tickets directly to fans, despite her offer to cover the associated fees, stating, “We wouldn’t say no to Adele. We said no to the ticketing company.”

Venue Relationships and Exclusive Contracts

Rapino denied that Live Nation limits the choices of venue owners or pressures them into exclusive contracts with Ticketmaster. He asserted that venue owners prefer long-term contracts and downplayed his influence over the billionaires who own the arenas and sports teams that host Live Nation concerts. “I don’t tell the billionaire what to do with his venue,” Rapino stated. “He tells me.”

Past Controversies and the DOJ Settlement

The trial follows a Department of Justice lawsuit filed in May 2024 against Live Nation. Even as the company initially attempted to dismiss the suit, a settlement was reached with the DOJ one week into proceedings. The settlement included concessions related to ticketing and amphitheater businesses, but critics argue it did not go far enough, with many continuing to advocate for a breakup of Live Nation and Ticketmaster.

Despite seven states signing onto the DOJ’s settlement, over 20 states, plus Washington D.C., are continuing with the case. The trial is expected to conclude in early April, with Live Nation set to present its case next week.

Rapino’s Defense

Throughout his testimony, Rapino portrayed Live Nation as a positive force in the industry, arguing that the company has consolidated a previously “fragmented” market and created a “very global, attractive business for artists.” He highlighted that Live Nation paid artists $15 billion in 2025, emphasizing the need for its diversified business model to manage the financial risks associated with live events.