Is Ticketmaster a Monopoly?

Ticketmaster is one of the premier booking and ticketing service providers for the arts and entertainment industry. It powers ticket sales for venues such as stadiums, performing arts centers, and museums, with a worldwide reach. The company started in 1976 as a way for colleges to sell concert tickets on campuses. By 2022, the company has become a global powerhouse and a de facto monopoly in ticketing events. Today, Ticketmaster controls the resale market, charging a service fee for tickets resold by private parties through its platform.

Before the COVID-19 pandemic, the company was selling nearly half a billion tickets worldwide. How did Ticketmaster grow to such dominance, and why has this caused concerns for both event-goers and regulators?

Key Takeaways

  • Ticketmaster (part of Live Nation Entertainment) is the world’s largest and most important ticketing services provider in the world.
  • Ticketmaster became the dominant player in the ticketing and events space by incentivizing artists and venues and buying up the competition.
  • The company earns money by charging service fees on ticket sales, promoting artists, and managing venues.
  • Recent controversies around ticket prices and platform glitches have sparked renewed calls to examine Ticketmaster’s status as a monopoly.

A Brief History of Ticketmaster

In 1976, computer programmer Peter Gadwa and box office specialist Albert Leffler started a small software company that licensed ticketing systems to retail outlets and universities to sell paper tickets to event-goers. Ticketmaster would earn money by selling its systems to vendors and a service charge to consumers. In 1982, the company appointed Fred Rosen as CEO and established its headquarters in Los Angeles.

At the time, the main ticketing service in America was Ticketron, a subsidiary of Control Data Corp., a legacy mainframe computer company that went out of business in the early 1990s. Through aggressive marketing and incentives paid to venues for relying on Ticketmaster, the company overtook Ticketron by the mid-1980s. It became a major player with deals in more than 90 cities around the United States.

In 1993, Microsoft co-founder Paul Allen acquired 80% of Ticketmaster for more than $325 million. By then, the company was generating more than $1 billion in annual sales, accounting for more than 52 million individual tickets sold in a year. Allen’s efforts helped transform Ticketmaster from a simple ticketing company into an information technology company to sell tickets online and not only via physical affiliate locations.

In 1998, digital media giant InterActive Corp. (IAC) purchased a majority stake in Ticketmaster along with competitor CitySearch and combined the two entities to form a comprehensive online entertainment guide selling concert tickets and related merchandise (note that IAC is the owner of Investopedia). IAC also made other purchases in the ticket-selling space, such as TicketWeb in 2000 and several smaller players throughout the 2000s, before spinning off Ticketmaster as its own entity in 2008.

After the spinoff, Ticketmaster acquired Front Line Management, a premier artists management and representation firm, inking exclusive rights to sell concert tickets to Front Line talent. This set up a fierce rivalry between what was now Ticketmaster Entertainment and Live Nation—the country’s largest event promoter during the 2000s, which was also planning to release its own proprietary ticketing facility.

However, this rivalry ended just a year later, in 2009, when the two companies announced a merger, which was successfully completed in 2010. The combined company, called Live Nation Entertainment, subsequently grew and started to buy up the competition, including festival ticketer Front Gate Tickets in 2015 and a company called UPGRADED, which converted physical tickets to digital, blockchain-based tokens, in 2018.

Login or create a Ticketmaster account before the day that a desired event’s tickets go on sale. It will speed up the day-of process.

Anti-Competitiveness Claims

On Nov. 15, 2022, Ticketmaster made headlines when its ticketing platform crashed amid a presale for Taylor Swift’s upcoming concert tour, leaving many unable to log on and try to purchase tickets. Customers and fans criticized Ticketmaster vocally for what they claimed was its flawed ticketing model and monopolistic practices that led to this failure. Company officials stated that the system crash was due to an unprecedentedly high number of people attempting to buy Taylor Swift tickets simultaneously. Their claim, however, fell on deaf ears, as ticket buyers and Swift’s fans continued to vent their anger and frustration on social media and other platforms and calling for authorities to break up the Ticketmaster monopoly.

However, this was not Ticketmaster’s first brush with anti-competitiveness claims. In 1994, the alternative rock band Pearl Jam sued Ticketmaster on antitrust grounds, alleging that Ticketmaster had bought up all of its major competitors and then abused its marketplace dominance by demanding high service fees and signing exclusive deals with major concert venues, leaving consumers and artists with no alternative. In the end, the U.S. Department of Justice dropped the case.

While other allegations have been leveled in the past, the Taylor Swift snafu seems to have gotten the attention of the federal government, with U.S. Sen. Amy Klobuchar (D-Minn.), chair of the Senate antitrust subcommittee, demanding answers. This, together with a newly formed coalition led by the American Economic Liberties Project and several fan-based organizations, is seeking to undo the Live Nation merger and break up the ticketing monopoly.

In December 2022, a group of Taylor Swift fans filed a lawsuit accusing Ticketmaster and Live Nation of fraud, antitrust violations, and price fixing.

What is Ticketmaster’s market share? 

According to insights from Yale University, Ticketmaster controls more than 70% of the market for ticketing and live events (and more than 80% for live concerts), making it by far the industry leader. Because of its persistent and dominant market position, there are concerns that it may abuse its market power and cause harm or unfair conditions for customers.

Who owns Ticketmaster?

Ticketmaster is owned by Live Nation Entertainment, which is a publicly traded company under the ticker symbol LYV on the New York Stock Exchange. As of December 2022, LYV had a market capitalization of more than $17 billion.

How does Ticketmaster make money?

Ticketmaster and its parent company, Live Nation Entertainment, make money by charging customers a service charge, which can be as high as 75% or more of the base price of the ticket. Those fees are split among the venues, promoters, artists, and Ticketmaster itself. Ticketmaster also extracts fees from its resale market application.

In addition, the company’s Concerts and Festivals segment earns money from the global promotion of live music events in venues owned or operated by Live Nation and in rented third-party venues; the operation and management of music venues; the production of music festivals around the world; the creation of associated content; and the provision of management and other services to artists.

As a venue operator, Live Nation also generates revenue from the sale of concessions, parking, premium seating, rental income, and ticket rebates or service charges earned on tickets sold through internal ticketing operations or by third parties under ticketing agreements.

Does Ticketmaster have any competition?

While Live Nation and Ticketmaster have a dominant position in the ticketing market, there are some competitors, but each of which is relatively small and lacks substantial market power. Competitors may also specialize in other segments of ticketing rather than mainstream concerts and sporting events. These include Eventbrite,, AXS, Etix, SeatGeek, Vivid Seats, and StubHub.

The Bottom Line

Ticketmaster, part of Live Nation Entertainment, is the world’s largest ticketing services company. The company generates revenue from fees on ticket sales, as well as artist promotion and venue management. Several criticisms have been directed toward the company as a result of its role in the consolidation of the live events industry, allegations that it engages in anti-competitive practices, and poor handling of the ticketing process, especially for highly popular events. The most recent incident, involving Taylor Swift’s latest concert tour, has sparked increased criticism and calls for regulators to break up the apparent monopoly that Ticketmaster currently enjoys.

Article Sources
Investopedia requires writers to use primary sources to support their work. These include white papers, government data, original reporting, and interviews with industry experts. We also reference original research from other reputable publishers where appropriate. You can learn more about the standards we follow in producing accurate, unbiased content in our editorial policy.
  1. Live Nation Entertainment Investor Relations, via U.S. Securities and Exchange Commission. “Form 10-K for the Fiscal Year Ended December 31, 2021,” Page 3 (Page 5 of PDF).

  2. Los Angeles Times. “Rival to Ticketron: Ticketmaster Emerging as Force in L.A.

  3. Chicago Tribune. “Microsoft Co-Founder Paul Allen Buys Control of Ticketmaster.”

  4. Wired. “CitySearch Joins Ticketmaster.”

  5. Los Angeles Times. “IAC to Spin Off Ticket Seller.”

  6. The Hollywood Reporter. “Ticketmaster Takes Stake in Front Line.”

  7. The New York Times. “Top Concert Promoter Sets Up a Challenge to Ticketmaster.”

  8. Reuters. “Live Nation, Ticketmaster Merge; Agree to U.S. Terms.”

  9. Live Nation Entertainment. “Ticketmaster Boosts Festival and DIY Ticketing Services Through Acquisitions of Front Gate Tickets and Universe.”

  10. Live Nation Entertainment. “Ticketmaster Acquires Blockchain Ticketing Solution UPGRADED.”

  11. Vox. “How Disappointed Taylor Swift Fans Explain Ticketmaster’s Monopoly.”

  12. Rolling Stone. "Pearl Jam Takes on Ticketmaster."

  13. U.S. Senator Amy Klobuchar. “Letter Dated November 16, 2022, to Michael Rapino, President and CEO, Live Nation Entertainment.”

  14. The Deal. “Pressure Builds to Break Up Live Nation-Ticketmaster.”

  15. Yale Insights. “Did Ticketmaster’s Market Dominance Fuel the Chaos for Swifties?

  16. Live Nation Entertainment Investor Relations, via U.S. Securities and Exchange Commission. “Form 10-K for the Fiscal Year Ended December 31, 2021,” Page 60 (Page 62 of PDF).

  17. Live Nation Entertainment Investor Relations. “Stock Quote.”

  18. Last Week Tonight, via YouTube. “Tickets: Last Week Tonight with John Oliver (HBO),” 3:40–4:10. March 14, 2022. (Video.)

  19. Live Nation Entertainment Investor Relations, via U.S. Securities and Exchange Commission. “Form 10-K for the Fiscal Year Ended December 31, 2021,” Pages 3–6, 8, and 64 (Pages 5–8, 10, and 66 of PDF).

  20. Live Nation Entertainment Investor Relations, via U.S. Securities and Exchange Commission. “Form 10-K for the Fiscal Year Ended December 31, 2021,” Page 9 (Page 11 of PDF).

Take the Next Step to Invest
The offers that appear in this table are from partnerships from which Investopedia receives compensation. This compensation may impact how and where listings appear. Investopedia does not include all offers available in the marketplace.