Share cards come in pairs. Fans get the first one when they’re selected for a Reserved offer and a second after they buy. Each card shows the fan’s name, the artist, the show details and Reserved badging, made to post on social platforms or send over messaging apps.

The setlist playlists are built from setlist.fm data and unlock on the ticket holder’s event page. Ahead of the show, the playlist reflects what the artist has been playing on recent tour dates. Once the show is over, it updates with the songs performed that night. Setlists will appear for participating tours as their dates begin.

The in-app destination pulls the share cards, setlists, event details, venue information and past performances into one place.

What is Spotify Reserved?

Spotify announced Reserved at its Investor Day on May 21. The idea: Spotify identifies an artist’s most dedicated fans and holds two tour tickets for them before the general onsale. The program went live in the US on June 18 in partnership with Live Nation, with tickets sold through Ticketmaster, and expanded to Canada on August 17, starting with Jonas Brothers dates.

In its Q2 update in August, Spotify said nearly 100,000 tickets had been reserved through the program. Recent offers have covered John Summit, Young Thug, Miley Cyrus and Metallica, along with Role Model and beabadoobee.

Spotify says its live music efforts have driven more than $1.5 billion in ticket sales for artists. It also says the top 2% of an artist’s monthly listeners, a group it calls “super listeners,” account for 50% of that artist’s ticket sales.

How to get a Reserved offer

Reserved is open to Spotify Premium subscribers in the US and Canada who are 18 or older. Premium Mini, Premium Lite and free trial accounts don’t qualify, and the account has to be at least a week old. Spotify chooses fans based on streams, saves, shares and location.

Selected fans see the offer on their Spotify Home screen and also get an email, a push notification and an alert in Your Updates. The purchase window typically lasts around a day, with two tickets held for the whole window. Tickets are reserved for the tour rather than a specific night, so fans choose the date, venue and seats at checkout, subject to availability.

Checkout happens on Ticketmaster. Fans may be prompted to connect their Spotify account to Ticketmaster to verify access, and Spotify suggests linking the two ahead of time. High-demand shows can put buyers in a queue before seat selection.

Unclaimed tickets pass to the next most dedicated eligible fans. A fan who declines an offer can’t request another one, though tickets may still turn up in the public sale. Reserved only covers first-sale tickets, with no resale.

For more on how the program started, read our coverage of the Reserved announcement from May.

Source: Spotify Newsroom

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The legislation, known as Assembly Bill 1720 (or the California Fans First Act), was quietly shelved by the California Senate Appropriations Committee on its suspense file on Thursday, August 13. This decision effectively kills the bill for the remainder of the two-year legislative session. As a result, it deals a massive victory to secondary ticketing giants like StubHub, SeatGeek, and Vivid Seats.

The bill’s quiet demise comes alongside eye-watering disclosures regarding political influence. StubHub’s state lobbying spend in California hit an extraordinary $3.4 million in 2026 alone, making it one of the top corporate spenders in Sacramento this legislative season.

What Was AB 1720?

Authored by San Francisco Assemblymember Matt Haney, AB 1720 was designed to tackle predatory ticket scalping and extreme price gouging across the live music ecosystem.

Although the original draft sought broader caps, the bill was narrowed in May to focus specifically on independent venues with capacities of 3,000 or fewer. Additionally, it focused on certain non-profit performance spaces. Under the proposed law:

• Resale prices on platforms like StubHub or SeatGeek would have been capped at 10% above face value (inclusive of all marketplace fees).
• Resale platforms would have faced strict limits on the service fees they could charge fans.

Despite receiving heavy backing from grassroots organizations like the National Independent Venue Association (NIVA), the Music Artists Coalition (MAC), and the Future of Music Coalition, the bill faced fierce opposition from both corporate secondary marketplaces and state financial regulators. These regulators cited high enforcement costs ($1.6 million estimated in fiscal year 2026–27).

The Power of the Secondary Market Lobby

Secondary ticketing platforms spent heavily to make sure AB 1720 never made it to the Senate floor. Filings reveal that StubHub alone spent nearly $2.6 million between April and June. This places its quarterly lobbying expenditures behind only utility giant Pacific Gas & Electric and well ahead of tech behemoths like OpenAI.

Resale platforms argued that capping secondary prices without addressing primary ticket face values does little to protect consumers. Instead, they alleged it would tip the scales in favor of Live Nation and Ticketmaster’s primary sales dominance.

“This is a disappointing outcome,” said Ron Gubitz, Executive Director of the Music Artists Coalition. “Every fan, at every show, needs to be protected. Period.”

What’s Next for Ticket Reform?

Because AB 1720 died in committee at the end of the two-year session, Assemblymember Haney will have to introduce a brand-new bill when the California Legislature reconvenes in December. This is required if he wishes to continue the fight.

Similar resale caps have already been successfully enacted in places like Vermont and Washington, D.C., with Massachusetts currently considering similar legislation. However, with California serving as the epicenter of North America’s live touring industry, all eyes will remain on Sacramento. Observers want to see if grassroots music advocates can overcome the financial weight of the secondary ticketing lobby in 2027.

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Instead of manually browsing Ticketmaster or searching individual artists and venues, fans can simply ask Gemini what they are looking for. Whether it’s house music in New York this weekend, a concert near their hometown, or something to do on a specific date, Gemini can surface relevant events from Ticketmaster’s extensive catalog.

The move is part of a much larger push from Ticketmaster to make its inventory available across AI platforms. The company has already expanded into AI-powered discovery through Google Search, ChatGPT, and Claude, signaling that Ticketmaster sees conversational search as a major part of the future of live entertainment.

For artists, promoters, and festivals, this could create an entirely new avenue for reaching potential fans. Instead of someone intentionally searching for a specific DJ or event, AI can recommend shows based on a person’s location, interests, dates, and preferences. For electronic music in particular, where fans are constantly looking for new club nights, festivals, and artists, that kind of personalized discovery could be a major advantage.

It also represents a broader shift in how people find entertainment. Spotify changed music discovery by recommending what to listen to next, while social media turned event promotion into a constant stream of content. AI could take that concept one step further by allowing fans to simply describe the experience they want and receive personalized options in return.

The ticketing website may no longer be the starting point for discovering a show. As AI becomes increasingly integrated into everyday search, Ticketmaster is betting that the next concert fans discover won’t necessarily be one they were looking for. It will be one an AI assistant recommends to them.

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The entertainment giant and its subsidiary, Ticketmaster, have formally asked a federal judge to either overturn the jury’s April verdict or order a new trial, arguing that legal errors and prejudicial evidence unfairly influenced the outcome. The filing represents the latest development in one of the music industry’s most closely watched legal battles, which could ultimately reshape the future of concert ticketing in the United States.

Live Nation Challenges The Jury’s Decision

In post-trial filings submitted to the U.S. District Court for the Southern District of New York, Live Nation is pursuing two separate legal avenues.

First, the company is asking the court to enter judgment as a matter of law, effectively setting aside the jury’s verdict. If the judge declines that request, Live Nation is seeking an entirely new trial under Rule 59 of the Federal Rules of Civil Procedure.

According to the company, the verdict was influenced by evidence that should not have been presented to jurors, including testimony related to parking fees, lawn chair rentals, European ticketing practices, and historical business conduct that Live Nation argues fell outside the scope of the case. The filing also contends that certain statements highlighted during trial created unfair prejudice against the company.

A Landmark Verdict

The motion follows an April jury verdict that found Live Nation and Ticketmaster liable for illegally monopolizing the primary ticketing market for major concert venues.

Jurors concluded the companies violated federal and state antitrust laws and determined that consumers were overcharged by $1.72 per ticket during the period examined at trial. The decision marked a significant victory for the coalition of state attorneys general that continued pursuing the case after the U.S. Department of Justice reached a separate settlement earlier in the proceedings.

Throughout the trial, state attorneys argued that Live Nation leveraged its dominance in concert promotion, venue management, and ticketing to suppress competition and maintain control of the live entertainment market. Live Nation, meanwhile, maintained that its market position is the result of innovation and competitive success rather than illegal conduct.

What’s Next?

The latest filings are the final round of written arguments before Judge Arun Subramanian decides whether the verdict will stand or whether Live Nation deserves another opportunity to present its case. A hearing on the company’s post-trial motions is expected this month.

If the judge denies both requests, the case will move into the remedies phase, where the court will determine what penalties or structural changes should be imposed. Those remedies could range from financial penalties to broader changes affecting how Live Nation and Ticketmaster operate, though no final decision has been made.

Another Chapter In The Live Nation Saga

For the live music industry, the legal battle is far from over.

Over the past two years, the lawsuit has become one of the most consequential antitrust cases in the entertainment business, drawing attention from artists, venues, promoters, policymakers, and concertgoers alike. While the jury’s verdict represented a major setback for Live Nation, the company’s latest motion makes clear it intends to continue challenging the outcome before any long-term remedies are implemented.

For now, the future of Live Nation and Ticketmaster remains in the hands of the federal court, with another key ruling expected in the weeks ahead.

Read the full new-trial brief here.

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Governor JB Pritzker has signed a new package of consumer protection bills that bans junk fees, speculative ticket sales, and ticket-buying bots across the state. The legislation is designed to make ticket buying more transparent while cracking down on deceptive resale practices that have long frustrated fans trying to attend concerts, festivals, sporting events, and other live events.

The bills were signed at Concord Music Hall in Chicago and include new protections against hidden fees, “ghost tickets,” deceptive resale websites, and automated software used to scoop up tickets before real fans can buy them.

What The New Ticketing Rules Do

Under the new laws, Illinois businesses will be required to disclose mandatory fees upfront, meaning the price shown at the beginning of a transaction should more closely reflect the final cost before taxes. The package also bans speculative ticketing, a practice where resellers list tickets they do not actually possess.

In addition, the state is cracking down on ticket-buying bots that bypass purchase limits and give brokers an unfair advantage during high-demand onsales. Illinois lawmakers say the goal is to create a fairer marketplace for fans while reducing scams tied to misleading ticket listings.

Live Nation Applauds The Move

Live Nation publicly praised the Illinois legislation, specifically supporting the ban on speculative tickets and deceptive websites. In a statement, the company said no one should be able to scam fans by listing tickets they do not have or by pretending to be legitimate ticket sellers.

The company’s support comes as ticketing practices remain under intense public and legal scrutiny across the United States. Illinois has also been involved in broader legal action against Live Nation and Ticketmaster over alleged monopolistic and deceptive ticketing practices, making this latest legislation part of a much larger national conversation around concert pricing, resale platforms, and consumer protection.

Why Speculative Ticketing Matters

Speculative ticketing has become one of the most controversial practices in the live event industry. In many cases, fans may think they are buying a verified ticket, only to later discover that the seller never had the ticket in the first place.

That practice can lead to inflated prices, invalid tickets, last-minute cancellations, and confusion at venue gates. For major tours and festivals, where demand already outpaces supply, speculative listings can make the ticket-buying process feel even more chaotic.

The new Illinois rules are intended to prevent resellers from advertising tickets unless they actually have possession of them. Similar measures have gained momentum in other states as lawmakers respond to increasing pressure from fans, artists, venues, and consumer advocates.

A Bigger Push For Transparent Ticketing

Illinois’ move follows a growing wave of ticketing reform efforts across the country. Fans have spent years criticizing hidden service charges, confusing resale listings, and inflated prices that often appear only at the end of checkout.

By requiring clearer upfront pricing and limiting deceptive resale practices, Illinois is joining the broader push to make live event ticketing less of a gamble. For concertgoers, that could mean fewer surprise fees, fewer fake listings, and a better chance of buying tickets at a fair price.

For the music industry, the legislation signals that lawmakers are increasingly willing to step into the ticketing marketplace as frustration over fees and resale practices continues to build.

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Multiple reports indicate that the remedies phase of the antitrust trial will officially begin later this month. Attorneys for the coalition of states prepare to outline the consequences Live Nation and Ticketmaster could face following the jury verdict. Reports suggest potential remedies could range from operational restrictions to a full structural breakup that would separate Ticketmaster from Live Nation entirely.

The upcoming proceedings will be handled through a separate bench trial overseen by U.S. District Judge Arun Subramanian, who will ultimately decide what penalties the company may face. During a recent scheduling conference, the judge reportedly acknowledged that discovery timelines and the complexity of proposed remedies could push proceedings into early or even spring 2027.

The latest development follows a landmark April verdict in which jurors sided with a coalition of states arguing that Live Nation and Ticketmaster unlawfully monopolized major concert ticketing and large amphitheater markets throughout the United States. Jurors also reportedly determined that fans paid approximately $1.72 more per ticket due to anti-competitive practices.

As previously covered by EDMTunes, the case has steadily escalated over the past several months. In March, several states rejected a proposed federal settlement that would have allowed Live Nation to avoid a breakup while implementing reforms like ticket fee caps and venue divestitures. Additional scrutiny followed after internal communications and testimony allegedly revealed executives joking about “robbing fans blind.”

Now, states continuing the lawsuit are expected to aggressively pursue structural remedies rather than financial penalties alone. Reports indicate discussions could include mandatory open-ticketing systems, restrictions on exclusivity agreements, venue divestitures, and potentially forcing Ticketmaster and Live Nation to operate as separate entities.

Meanwhile, Live Nation has already begun financially preparing for the possibility of major penalties. According to recent reports, the company has reportedly accrued roughly $450 million tied to ongoing litigation expenses and potential settlements connected to the antitrust case.

While the final outcome remains uncertain, the next phase of the trial could ultimately reshape the future of live entertainment, ticketing, and concert access across the United States.

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Following a major antitrust trial, a federal jury recently ruled that Live Nation, the parent company of Ticketmaster, illegally monopolized the concert ticketing market — a verdict that could potentially lead to structural changes to the company, including the possibility of forcing Live Nation to separate from Ticketmaster.

The decision comes after more than 30 U.S. states brought a lawsuit accusing Live Nation of using its dominance in concert promotion, venues, and ticketing to squeeze out competition and raise prices for fans.

Why a Breakup Is Now Being Discussed

According to reporting from Digital Music News, the idea of splitting Live Nation and Ticketmaster — once considered unlikely — is now being openly discussed following the jury’s ruling in favor of the states.

The next phase of the case will focus on determining what penalties or remedies the court should impose, which could include financial damages, new regulatory restrictions, or structural changes to the company.

One of the remedies originally sought by government regulators when the lawsuit was filed was forcing Live Nation to divest Ticketmaster entirely, effectively undoing the merger that created the company’s current dominance in the ticketing ecosystem.

However, the outcome is far from certain. Live Nation has indicated it plans to appeal any unfavorable rulings, meaning the case could stretch on for years before any final decision is made.

Why the Case Matters for Fans

Criticism of Live Nation and Ticketmaster has grown for years as ticket prices, service fees, and resale issues have become major concerns for concertgoers.

During the trial, evidence presented by the states suggested the company’s market dominance allowed it to overcharge fans by roughly $1.72 per ticket between 2020 and 2024, according to the jury’s findings.

The lawsuit also highlighted how Live Nation’s control over major venues, tour promotion, and ticketing platforms gave it significant leverage across the entire concert ecosystem.

What This Could Mean for the Live Music Industry

While it remains unclear whether a breakup will actually occur, the ruling represents one of the most significant antitrust decisions the live music industry has seen in decades.

If courts ultimately force Live Nation to divest Ticketmaster, it could reshape the ticketing landscape by opening the door for more competition among ticket platforms and concert promoters.

For now, the next step will be for the court to determine penalties and potential remedies — a process that could ultimately decide whether one of the most controversial mergers in music history stays intact.

As previously reported by EDMTunes, the ruling has already intensified scrutiny around the company’s market power and its influence over the global concert industry.

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Background

The lawsuit originally came about because of Taylor Swift’s Eras Tour. Per Inc.com, 34 states and the District of Columbia brought the case to court after the public was enraged due to ticket prices. The Manhattan federal jury that came to the decision had deliberated over four days. States attourney Jeffrey Kessler explained that Live Nation currently controls 86% of the concert market. However, this number will change after the court ruling.

The Trump Administration and the DOJ had made their own settlement with Live Nation for $280 million. However, Jeanfrancois explains that 34 states out of the original 40 rejected the terms proposed in the settlement. Had the settlement been validated, Live Nation would’ve had service fees capped at 15% in amphitheaters, while divesting control of 13 amphitheaters. Moreover, the agreement would’ve made venues reach deals with other companies other than Live Nation.

Up Next

As explained by Inc.com, Judge Arun Subramanian will coordinate the next steps. Possible outcomes include a breakup between Live Nation and Ticketmaster in addition to damages being paid. Nonetheless, the verdict will be appealed, as expressed by Live Nation lawyer David R. Marriot.

The post Jury Finds Live Nation & Ticketmaster Act As Illegal Monopoly appeared first on EDMTunes.

SafeTix As Gatekeeper

According to MixMag, when looking into the lawsuit, the DOJ explains that Live Nation’s patented technology, SafeTix, is being used to control competition, and not to prevent fraudulent screenshots. Moreover, 9 states then joined the lawsuit to split up the companies and try to restore competition, in the benefit of fans and artists alike.

Thrown-off Settlement

Townsend explains that just last week, the Department of Justice reached a tentative settlement. If the settlement had succeeded, it would’ve pushed Ticketmaster to reserve 50% of tickets for other ticketing servers. Furthermore, it would’ve capped off service fees at 15%. Lastly, Live Nation would’ve given away control over 13 properties in Texas, New York, and Milwaukee. Although seven states had joined the settlement, including Arkansas, Iowa, Nebraska, and Oklahoma, 32 others refused the terms.

Mix Mag continued that the opposing states stated the DOJ did not secure a fair deal in the fans’ best interest. Now, the trial continues as private messages between two Live Nation regional ticketing directors became available to the public. The messages read out loud that the directors were comfortable to “rob fans blind”, while upcharging for services such as parking. In the messages presented by Bloomberg, the Live Nation employees continued to call buyers “stupid” since they could charge for ancillary fees.

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The lawsuit, originally filed in 2024 by the DOJ alongside dozens of state attorneys general, accused Live Nation of maintaining an illegal monopoly across the live concert industry by combining concert promotion, venue ownership, and ticketing under one company. Prosecutors argued the structure limited competition and contributed to higher ticket prices for fans.

Under the proposed agreement, Live Nation would implement several changes designed to increase competition in the ticketing and live events market. These measures include divesting at least 13 amphitheaters, allowing rival ticketing companies access to certain Ticketmaster systems, and agreeing to financial penalties that could total up to $280 million.

Additional provisions reportedly limit long-term exclusivity agreements with venues and prohibit retaliation against venues that choose to work with competing ticketing services. Supporters of the deal say the changes could give promoters, venues, and fans more options in the marketplace.

However, the settlement has already drawn criticism from several states and industry groups who argue the measures may not go far enough to address Live Nation’s market dominance. More than two dozen states have indicated they may continue pursuing the case independently despite the DOJ’s agreement.

The settlement still requires approval from a federal judge, meaning the legal fight surrounding Live Nation and Ticketmaster may not be fully resolved yet. For an industry that has faced increasing scrutiny over ticket pricing, availability, and transparency, the outcome of the case could shape how concerts are promoted and sold for years to come.

*Cover image credit: Yahoo! Finance

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