Touring
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Live Nation chief executive Michael Rapino was in Washington D.C. over the weekend, hosting his own party around the White Correspondents Dinner on Saturday.
The Axios After Hours Presented by Live Nation party on Saturday was held at the National Building Museum with media partner Axios after the White House Correspondents dinner ended and included a private performance from rising country star Lainey Wilson.
Rapino, who received $139 million in salary and stocks last year, according to a SEC fillings, isn’t a major political donor and hasn’t appeared at a major congressional hearing in a decade. But with the Live Nation-owned Ticketmaster coming under fire from lawmakers in recent years over long-standing concerns about anti-competitor business practices and the Taylor Swift ticketing crash in November, Rapino’s presence capped off a frenzied lobbying effort over the last two years to build a political base for the company.
Financially, Live Nation had its best year ever in 2022, posting a record $16.7 in revenue last year and $732 million in income. But the growing music conglomerate has largely been politically inactive in the years following its 2010 merger with Ticketmaster.
That changed in 2019 when the Department of Justice recommended extending a consent degree governing the 2010 merger. Last election cycle, Live Nation spent $1.4 million lobbying Congress, more than it has ever spent before. That spending is expected to continue unabridged in 2023 as Live Nation continues to lobby for ticketing reform legislation to curb illegal scalping activities, floating its own FAIR ticketing proposal as as a possible model for legislation.
HeadCount founder/executive director Andy Bernstein announced he will step down from his role in an open letter released Monday (May 1), kicking off a search for a new executive director to fill his seat beginning next year.
In the letter, Bernstein wrote that he intends to leave “to make room for new leadership, fresh vision and the type of innovation that only change can bring,” though he will continue on with the organization — a national nonprofit that works on voter engagement — in an advisory role. He continued that “constant reinvention has sustained HeadCount for all these years,” and that with the 2024 presidential election looming, “I believe it’s the right time for someone new to take HeadCount into the next era.”
Bernstein founded HeadCount with Marc Brownstein in 2004.
According to Bernstein’s letter, HeadCount has registered over 1.2 million voters over the past 20 years by engaging with music fans at concerts, festivals and more. The organization began working with politically minded acts like Dave Matthews, Phish and founding board member Bob Weir of the Grateful Dead and has since grown to work with more than 200 artists, including Beyoncé, Jay-Z, Dead & Company, Harry Styles, Lizzo, Ariana Grande and Billie Eilish. It has also integrated with Spotify and established a multi-year partnership with Global Citizen.
“What’s always meant more to me than any number, though, is the human connection driving it all,” Bernstein wrote. “Collaborating with our board of directors and its brilliant chairs Peter Shapiro and Jessy Tolkan; seeing our volunteers form a community and hone their skills; working with a staff that feels more like a family — that’s what fueled me over the years. We built this thing together, one idea at a time.”
HeadCount has posted the executive director job description online. It calls for “a natural leader with a keen cultural radar, a track record of success in the nonprofit or private sector and a strong connection to the audiences we engage.” The job will entail leading a team of 22 staff members with an organizational budget between $4-5 million. Check out the full job description here.
Live Nation CEO Michael Rapino’s total compensation package rose to $139 million in 2022, up from $13.8 million the previous year.
Rapino’s compensation included a base salary of $3 million, up from $2.6 million in 2021 (which came as Rapino agreed to take a pay reduction during the pandemic). Live Nation entered into a new employment agreement with Rapino in July 2022, ending Dec. 31, 2027, which meant he also earned a $6 million signing bonus.
The executive also earned a $12 million annual cash performance bonus for 2022 and stock awards of $116 million, some of which vest in early 2024, while others vest in four installments through 2027 if the company reaches certain stock price targets.
CFO Joe Berchtold also saw his overall compensation jump to $52.4 million in 2022, up from $5 million the prior year. His base salary increased slightly to $1.3 million from $1.1 million, and he also earned a signing bonus of $6 million and an annual cash performance bonus of $2.5 million. Berchtold received $42.4 million in stock awards.
These pay bumps come after a rocky year for the company.
The Ticketmaster, which falls under Live Nation Entertainment, has faced backlash since its site experienced errors and site slowdowns during its Taylor Swift presale for verified fans in fall 2022. Since then, the company has faced pushback from lawmakers over its merger of Ticketmaster and Live Nation and is said to be undergoing an investigation by the Department of Justice. At the same time, concert attendance has been on the rise, as has the company’s revenue.
This article was originally published by The Hollywood Reporter.
An Atlantic City, N.J., music festival that was slated to feature Limp Bizkit, Rick Ross and Steve Aoki has been canceled just a week before kick-off after fans revolted over what they saw as unfulfilled promises and the city declined to issue a final permit for the event.
Organizers of the Bamboozle Festival, which was set to hold its first edition in more than 10 years at Bader Field from May 5-7, announced the cancellation in a notice posted to the festival’s official website on Friday (April 28).
“After extensive discussions, we have made the heartbreaking decision to cancel Bamboozle 2023,” reads the post on the website, which has been scrubbed of all other information. “An incredible amount of time, dedication, passion and hard work was invested into making this comeback a success. We appreciate everyone who supported this festival. Refunds should be requested at point of purchase.”
Though the festival did not cite the reason for the cancellation, a separate statement put out by Anthony Swan, city business administrator of Atlantic City, said the city put the kibosh on the event after failing to receive the paperwork necessary for it to proceed.
“We asked for this information months in advance to protect the city and the taxpayers of Atlantic City,” said Swan. “The event was fast approaching, and these issues were still unresolved.” After organizers failed to meet the city’s April 27 deadline to submit the documents, Swan added, “the attorney for the festival organizers has been notified … that the event is canceled consistent with our prior notice.”
The cancellation follows weeks of contention between Bamboozle organizers and fans, which began when those who bought tickets during the presale started complaining that the “stacked” lineup promised by founder John D’Esposito in a post on Bamboozle’s official Instagram page failed to come to fruition. Making matters worse, D’Esposito had said that the $400 three-day ticket prices would “jump” as more artists were announced, but instead they fell by nearly $100 after the fest offered a discount code.
The war of words between D’Esposito and fans ramped up in February when an anonymous Instagram account bearing the handle @scamboozlefest began making critical posts about the festival, claiming that organizers were refusing to honor refund requests and re-posting screenshots that showed D’Esposito harassing angry ticket buyers over Instagram, email and text. The Bamboozle Festival’s official Instagram account also began posting negative comments on Scamboozle’s posts, calling fans names like “clown,” “dork,” “pinhead” and “jackass.”
One post on the Scamboozle account bore screenshots of emails in which D’Esposito threatened to doxx a disgruntled fan named Alphonso Cino: “Maybe we have a street party in front of your home address,” one of the emails read. In an interview earlier this month with The Philadelphia Inquirer — which reported that Cino filed complaints against the promoters both with his local police department and the New Jersey State Police Cyber Crimes Unit — D’Esposito claimed the emails were “tongue in cheek” and that he “was joking around.” In the same story, D’Esposito said he expected roughly 15,000 attendees at the festival and claimed that a total of just 47 fans had been refunded the price of their tickets by their credit card companies.
According to NJ.com, numerous Bamboozle ticket buyers have also filed complaints with the New Jersey Division of Consumer Affairs for false advertising and refund requests.
Following Friday’s cancellation, vendors also began scrambling to recover the money they had shelled out. Speaking with The Press of Atlantic City, Nick Richetti of Canna City Hemp said he was worried about receiving a refund after paying out $10,000 for a booth on the festival grounds. “I own one small CBD store in North Carolina, and $10,000 will absolutely break me,” he said.
Billboard reached out for comment to an email listed on Bamboozle’s official Facebook page but hadn’t received a response by press time.
D’Esposito founded Bamboozle in 2002 and kept the festival going for the next decade, with previous editions featuring top-tier acts such as 50 Cent, Foo Fighters, Bon Jovi, Snoop Dogg, Mac Miller, My Chemical Romance and Fall Out Boy. At its peak, the event was drawing more than 100,000 fans over a single weekend. Following an alleged dispute between D’Esposito and his partners in the event, Live Nation and House of Blues, the festival went dormant in 2012. D’Esposito told The Philadelphia Inquirer that he repurchased the festival’s trademark in 2020 in order to resurrect it.
Sens. Amy Klobuchar and Richard Blumenthal’s new legislation aims to take on Ticketmaster by clamping down on the use of long-term contracts to lock up the exclusive ticketing rights of U.S. venues and festivals. But it could backfire in a way that would negatively affect venues and fans.
Titled the Unlocking Ticketing Markets Act, the legislation — introduced on the same day as a second bill from Sens. Maria Cantwell (D-Wash.) and Ted Cruz (R-Texas) that would ban hidden ticket fees — is a clear attempt to break Ticketmaster’s grip on the ticketing industry, although it never actually mentions the Live Nation-owned company by name. (A press release announcing the Unlocking Ticket Markets Act says today’s concert marketplace is dominated “by one company” with a “70-80 percent market share” thanks in part to the long-term contracts its clients sign for its services.) But while Klobuchar and Blumental believe shortening ticketing contracts will promote competition, the proposal doesn’t seem to consider the benefits these contracts offer the venue clients.
Ever since Ticketmaster dethroned Ticketron as the top ticket seller in the 1980s, the company has built its dominance by offering large upfront cash payments in exchange for exclusive deals. This practice has become commonplace from ticketing companies in live entertainment, and venues and sports teams have come to rely on these advances — which can equal hundreds of thousands of dollars for smaller venues and millions of dollars for arenas and stadiums, increasing in value based on the length of the term — that are paid off over the term of the deal through fees added to the face value of each ticket.
This is a bargaining tool the ticketing companies use to acquire more venue customers, but within that, it’s at the venues’ discretion what kind of deal to take, passing the cost of that loan onto their customers as ticketing fees. If venues haven’t repaid the advance at the end of the contract term, they typically have two options: cut a check to the ticketing company to cover the difference or re-up their deal and borrow more money.
Klobuchar and Blumenthal’s bill would essentially shorten the length of the exclusive ticketing contracts by ordering the Federal Trade Commission to “prevent the use of excessively long multi-year exclusive contracts,” according to a press release announcing the proposed legislation. (The text of the Unlocking Ticketing Markets Act is not public, so it’s not clear how “excessively long” is defined, though average ticketing contracts are about five to six years.) If the FTC opted to limit ticketing to half of the average terms, Ticketmaster’s competitors would have twice as many opportunities to bid for those contracts the company holds.
Shorter contracts would either mean less money for venues, or greater risk that they would fail to repay the advances — in which case venues would either need to repay the remaining balance or negotiate that debt into a contract renewal. For example, a temporary four-month downturn in business is going to have a greater impact on a two-year, $2 million loan than it would on a four-year, $4 million loan. To protect themselves, ticketing companies would likely increase the fees added to tickets to recoup faster, thereby reducing the heightened risk of default — likely meaning higher costs to consumers.
A bill focused on contract length also fails to address long-standing complaints that venues often work with Ticketmaster because of a perception that it means parent company Live Nation will bring more events to their building. This sort of business practice is prohibited under the consent decree that has governed Live Nation and Ticketmaster’s operations since merging in 2010, but that hasn’t stopped accusations of anticompetitive behavior. While Live Nation has long denied this charge, during a January Senate Judiciary hearing probing Ticketmaster’s botched sale for Taylor Swift’s Eras Tour, Sens. Klobuchar and Blumenthal indicated they believed that Ticketmaster’s relationship with Live Nation was the main reason Ticketmaster held a such a large market share of the ticketing business. Term lengths of the company’s contracts, however, were rarely mentioned.
In response to the introduction of the Unlocking Ticketing Markets Act, a Ticketmaster spokesperson told Billboard, “The ticketing industry is more competitive than ever. Ticketmaster wins business because it offers the best product available for venues, and the length of contracts is generally decided by venues and the guaranteed payments they want to help support their expenses. We do not expect any of the proposed changes to have a material impact on our business as we historically add clients in competitive marketplaces.”
Changing the terms of those loans, as Klobuchar and Blumenthal seek to do by limiting exclusive ticketing deals, could either cause venues to earn less money on the ticketing deals or increase the fees they charge consumers to repay those loans — making ticket prices even more expensive in a climate where most Americans already feel they’re paying too much.
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Happy birthday, Willie Nelson! The country legend turns 90 on Saturday (April 29), and he’s planning to celebrate in a major way.
The singer-songwriter will take the stage for a 90th birthday concert celebration at the Hollywood Bowl Saturday and Sunday (April 30). The concert will feature performances from George Straight, Sheryl Crow, Beck, Dave Matthews, Snoop Dogg, Gary Clark Jr., Leon Bridges, Jack Johnson, Miranda Lambert, Neil Young, Norah Jones, The Chicks, The Avett Brothers, Tyler Childers and other special guests.
Chelsea Handler, Jennifer Garner, Owen Wilson, Woody Harrelson, Hellen Mirren, Gabriel Iglesias, Ethan Hawke will make an appearance at the concert. Click here to purchase tickets.
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Nelson will be touring all over the country until October, according to the dates listed on his website. After the Hollywood Bowl, he is billed to perform at the McGrath Amphitheater in Cedar Rapids, Iowa, on May 17. The “On the Road Again” singer has eight shows booked for the month of May and five shows in June, including the Outlaw Fest and Summer Camp Music Festival.
This summer, Nelson will host the Willie Neilson 4th of July Picnic in Texas. The event, featuring the country star, Childers, Dwight Yoakam and Shakey Graves will be held at Austin’s Q2 Stadium on July 4. Tickets are priced at around $49-$57 and up at Vivid Seats, StubHub, Seat Geek and Ticketmaster.
Willie Nelson 4th of July Picnic
$57
Whether you plan on attending the Hollywood Bowl concert or 4th of July Picnic, there’s one item that’s perfect for outdoor concerts, festivals, tailgating, barbecues and more.
Last year, Nelson teamed with Igloo for a limited collection of Playmate coolers available in a larger, 14-quart size, and a miniature 7-quart cooler. The larger cooler ($59.99) sold out, but the smaller option ($39.99) is still in stock, along with the Willie Nelson Stainless Steel Coolmate, which is on sale for just $19.
Shop the Willie Nelson x Igloo Coolers collection below.
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Willie Nelson Playmate 7 Qt. Cooler
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Willie Nelson Americana 12 Oz. Stainless Steel Coolmate
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Two new bills introduced to the Senate Wednesday aim to clean up the ticketing industry and address long-standing criticisms about Ticketmaster’s dominance over the primary ticketing market.
The TICKET ACT, introduced by Sens. Maria Cantwell (D-Wash.) and Ted Cruz (R-Texas) — chair and ranking member of Chair of the Senate Committee on Commerce, Science and Transportation, respectively — would ban hidden ticket fees, requiring vendors to display the total price of a ticket up front. These fees can sometimes increase the purchase price by as much as 60% or higher. For example, some tickets in the upper seating section for Luke Combs‘ current stadium tour being sold by Ticketmaster are marked up more than 100% when fees and taxes are added to the face value.
The bill would also attempt to reign in speculative ticket sales, a heavily criticized sales technique used by ticket scalpers to maximize profits. Speculative ticket selling is the practice of selling a ticket one does not own, often at the height of the market, and then waiting until the price drops to procure and deliver the ticket to the consumer. The TICKET ACT would require scalpers to display in a “clear and conspicuous manner” that the ticket seller does not actually possess the ticket at the time the ticket is listed for sale.
Recent ticketing legislation proposals by both Live Nation and the National Independent Talent Organization have called for a ban of speculative ticketing – with several prominent music industry executives comparing the practice to fraud.
The other bill, the Unlocking Ticketing Markets Act, was presented by longtime Ticketmaster critics Sens. Amy Klobuchar (D-Minn.) and Richard Blumenthal (D-Conn.), seeking to limit the use and scope of exclusive multi-year ticketing contracts in live entertainment. The legislation is aimed at Ticketmaster, which “by some estimates has locked up 70 to 80 percent market share and has used its dominance to pressure venues to agree to ticketing contracts that last up to ten years, insulating it from competition,” explains a press release from Klobuchar’s office announcing the legislation.
It follows a January Senate Judiciary Committee hearing probing the cause of the Ticketmaster Taylor Swift crash. During the hearing, Ticketmaster was regular criticized by the committee for the company’s dominate market share of the U.S. ticketing industry, with several senators accusing the company of acting like a monopoly.
The Unlocking Ticketing Markets Act would empower “the Federal Trade Commission to prevent the use of excessively long multi-year exclusive contracts that lock out competitors, decrease incentives to innovate new services, and increase costs for fans.”
The text of the Unlocking Ticketing Markets Acts has not yet been released to the public and it’s unclear how the bill would define excessively long contracts. In a press release announcing the legislation, Klobuchar’s office noted that some exclusive ticketing contracts last as long as ten years, but the average contract term in sports and live entertainment is typically five to seven years, according to multiple sources, including the often-cited Ticketmaster vs. Tickets.com lawsuit from 2003.
During my first visit to New Orleans for Jazz Fest many years ago, I experienced a profound moment that changed everything for me. The best way to describe it would be the sensation of deja-vu; like I had been here before, or more specifically that I had returned “home.” That day, the city spoke to me, and thankfully I heeded the call.
Shortly after that auspicious Jazz Fest, New Orleans became my home, and I’ve worked in the music industry here since then — at WWOZ, at Tipitina’s, in the classrooms of Tulane and with so many of our city’s talented artists. This city has provided me with a sense of purpose, a feeling of belonging, and a community of like-minded folks who share the same passion for music. It’s also given me the foundation for a meaningful life.
But the same elements that spoke so deeply to me — our rich cultural heritage and vibrant music scene — often go hand-in-hand with the city’s reputation for partying. It’s a story with which the music industry, my industry, is all too familiar, and one that often leads to addiction.
Addiction is a particularly serious issue in the music world. A 2020 study by Tulane’s Graduate School of Social Work paints a staggering picture: 56% of music industry professionals cite problematic substance use, and 80% met the cut-off for serious or moderate mental health concerns — both far above any national average.
Bill Taylor
Singer-songwriter Anders Osbourne, my good friend who helped me find the path to sobriety after I bottomed out with drugs and alcohol, had an idea about how to tackle this within the music industry. Together, we created “Send Me A Friend,” a national network of sober individuals who were “on call” to support struggling musicians and industry professionals at their gigs.
The effort was an overnight success, with more people asking for help and wanting to volunteer than we could handle. Anders and I wondered what it would take to create a cultural shift so that sobriety was embraced, supported and celebrated on a larger scale?
Our vision is shared by The Phoenix, a national sober community that embraces connection through a shared, active lifestyle that enhances and helps maintain each other’s recovery journeys. During the pandemic, we joined forces with them with a mission of creating sober-supportive change in the music space.
Today, we’re blown away to see how this movement has progressed all the way to a New Orleans institution: JazzFest. This year, I’ll be there alongside The Phoenix and Stand Together Foundation at the 1 Million Strong Wellness Retreat, a sober-supportive wellness lounge where festival attendees can relax between sets, enjoy mocktail happy hours and meet up with people in recovery and others to catch performances together.
And this isn’t about making the festival sober. It’s about giving people an opportunity to bring their whole selves to the festival, free of shame and fear. Together, we can transform the way people think about addiction by supporting new ways for sober fans to enjoy shows, ensuring touring musicians and crews have access to resources on the road, and engaging in conversations about sobriety that are free from shame and stigma and full of possibilities.
I’m proud of how far we’ve come in changing the way we approach recovery and sobriety, turning it into a celebration of inclusivity and togetherness. At this year’s Jazz Fest, we’ll continue to change the landscape not only for those who work in the music industry, but also for our audience members who want a way to engage and enjoy all this beautiful city has to offer while feeling safe, supported, and connected.
Bill Taylor is the director of music programs and strategy at The Phoenix, where he leads music activations all over the country and works with the Stand Together team on the 1 Million Strong campaign.
New Oreleanians traveling along US Route 90 may not suspect that the revered Caesars Superdome is on the cusp of a renaissance.
Since 2020, the nearly 50-year-old stadium has been going through a $450 million renovation, scheduled to conclude by the end of next year. According to Evan Holmes, general manager at Caesars Superdome, Smoothie King Center and Louisiana Stadium & Exposition District (LSED) Properties for ASM Global, as the Louisiana State University Tigers exited the building having clinched their fourth national football championship earlier this April, contractors were making their way in to pop off old ceiling tiles and get to work.
The multi-phase, multi-year renovation has been moving forward since then — with minimal impact on events at the nearly 75,000-capacity venue — as the Superdome’s managers look to improve the guest experience and modernize amenities, without replacing the building’s architectural characteristics.
“A lot of communities would kill to have something like [the Superdome], let alone something like this, for 50 years,” says Holmes.
The exterior of the Superdome will remain unchanged, while the interior concourse is being expanded. Roughly 80,000 sq. ft. of ramps on each level – previously used for ingress and egress – are being pulled out and replaced with staircases to make wider concourses, with enhanced food and beverage options, more restrooms and better merchandise stations. The building has new field level suites that open to the endzone — “If [New Orleans Saints running back] Alvin Kamra scores a touchdown, he’s liable to jump on your lap,” says Holmes — and a field level club for games and private events, eight viewing decks with standing room overlooking the field with up-to-date ADA accommodations. So far, the East side of the building has undergone its renovations — and, by the 2024 Saints season, the West side will be completed, with new grab-and-go concessions and a new atrium.
Working behind the walls for four years is a herculean task, but pales in comparison to the cost of a new NFL stadium. (The NFL’s newest stadiums, Allegiant in Las Vegas and SoFi in Los Angeles — both opened in 2020 — have cost roughly $2 billion and $5 billion, respectively). The $450 million renovations are being funded by the State of Louisiana, the LSED and the New Orleans Saints, subsequent to the team’s new lease agreement. By not closing the venue for renovations, the Superdome will hold on to valued college football events like the Sugar Bowl and the Bayou Classic, as well as Essence Fest, which brings half a million attendees to New Orleans.
Gensler/Trahan Architects
If you’re building a new stadium, “you’re missing those big, high-impact events in the market. So, the hotels aren’t having that content, the restaurants don’t have [that content],” says Holmes. “There’s a cascading list of reasons why it makes sense for us not to take the building down.”
In addition to keeping tenants and established events, updating the building means hanging on to “the skin,” as Holmes calls it, of the storied venue. The Superdome has hosted seven Super Bowls, as well as concerts from The Jacksons, Johnny Cash and June Carter, Aretha Franklin, Jimmy Buffet, Willie Nelson, Al Green, The Temptations, The Rolling Stones, Prince, Whitney Houston, KISS, Paul McCartney, Beyoncé, Taylor Swift and many more legendary artists.
Holmes explains that the renovation is not to change the look of the Superdome or generate exorbitant amounts of money for the team, but to make a better overall experience for fans. “You’re competing for these big events and we think the Superdome, especially after this renovation, can do all the things that these other buildings can do operationally,” he says. “It may not have all the brand-new bells and whistles that they may have, but functionally we can do it all. We’ve got character that other buildings wish they had.”
Caesars Superdome will once again host the Super Bowl in 2025 (it was originally scheduled to host the 2024 Bowl, but the schedule conflicted with New Orleans’ world-renowned Mardi Gras), just as the building celebrates its 50th anniversary. “It’s not just a football stadium,” says Holmes. “It means a lot of things to a lot of people, so we want to celebrate that.”
Live Nation’s new destination festival company Vibee has partnered with LN-owned dance promoter Insomniac to launch Tiësto | ‘Chasing Sunsets’ taking place Nov. 9-12 in Cabo San Lucas, Mexico.
Headlined and curated by Dutch DJ and dance legend Tiësto, the four-day event will include multiple performances from the Grammy Award-winning artist along with sets from yet-to-be announced acts, plus beach activities, local cultural excursions and more.
The weekend’s home base and headline venue will be ME Cabo, a five-star resort located on the beach, near the marina in Cabo San Lucas. Guests heading to ‘Chasing Sunsets’ will also be met with pool parties, exclusive cocktail parties, a special “Drive into Sunset” set by Tiësto and additional weekend events at Cabo hot spots Mango Deck, Funky Geisha, Taboo and SUR. Attendees can customize their getaway with high-end add-ons including a “Taste of Mexico Brunch” with Tiësto, boat parties, jet skiing, parasailing and tequila tastings.
Tiësto | ‘Chasing Sunsets’ will be the first of many collaborations between Vibee and Insomniac, which celebrates its 30th anniversary this year.
“Through their exclusive worldwide agreement to produce customized experiences and festival integrations, Insomniac and Vibee will bring even more unique events to their communities and amplify the fan-to-artist connection,” a press release announcing the partnership explains.
More information on packages and pricing can be found here.