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‘It is time to break up Live Nation-Ticketmaster’: Justice Department sues concert ticket behemoth

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‘It is time to break up Live Nation-Ticketmaster’: Justice Department sues concert ticket behemoth

Penny Harrison and her son Parker Harrison rally against the live entertainment ticket industry outside the U.S. Capitol last year.

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The Department of Justice and 30 state and district attorneys general across the country filed a federal lawsuit Thursday against Live Nation Entertainment and its wholly owned subsidiary Ticketmaster. The suit alleges that Live Nation has created a monopoly on live event ticket prices across the United States. The civil antitrust suit was filed in the Southern District of New York.

This fight has been long in coming: Music fans and other consumers, performers, independent venues and even members of Congress have argued that Ticketmaster, which merged with Live Nation in 2010, had artificially pushed ticket prices sky-high. Live Nation has long been a dominant player in the live event marketplace, with substantial holdings in venues, concert promotions, music festivals, ticketing, sponsorship, advertising and artist management – holding so much power across so many aspects of the business, the Justice Department alleges, that it is effectively able to limit its competition.

If successful, this suit could reshape the live event landscape – and the prices fans pay to see their favorite performers – across the country.

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The state and district attorneys general joining the suit include several states that are home to major live event venues, including those of New York, California, Colorado, Florida and Texas.

In a lengthy statement provided to NPR on Thursday, Live Nation wrote in part: “The DOJ’s lawsuit won’t solve the issues fans care about relating to ticket prices, service fees, and access to in-demand shows. Calling Ticketmaster a monopoly may be a PR win for the DOJ in the short term, but it will lose in court because it ignores the basic economics of live entertainment, such as the fact that the bulk of service fees got to venues, and that competition has steadily eroded Ticketmaster’s market share and profit margin.”

Within the suit, the Department of Justice and the states allege that Live Nation and Ticketmaster engaged in several forms of anticompetitive conduct, including retaliating against other promotion companies and venues that worked with its rivals; locking out competitors with long-term, exclusive ticketing contracts; restricting musicians’ access to live event venues; and strategically acquiring smaller, independent companies that Live Nation allegedly perceived as threats to its dominance.

Earlier this month, in a bid to increase transparency for consumers, the House of Representatives passed the TICKET Act, which would force Live Nation and other ticket sellers to list all the costs and fees within a live event ticket price. The bill, which was introduced in the Senate by Ted Cruz of Texas, has been supported by hundreds of prominent musicians, including Billie Eilish, Dave Matthews and Nile Rodgers, who wrote in a joint statement: “We are joining together to say that the current system is broken: predatory resellers and secondary platforms engage in deceptive ticketing practices to inflate ticket prices and deprive fans of the chance to see their favorite artists at a fair price.”

According to Thursday’s filing, Live Nation Entertainment currently owns or controls over 250 concert venues across North America, and controls around 60 percent of concert promotions at major concert venues across the U.S. The company also directly manages more than 400 musical acts.

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In the suit, the Department of Justice and the states asserted: “With this vast scope of power comes influence. Live Nation and its wholly owned subsidiary, Ticketmaster, have used that power and influence to insert themselves at the center and the edges of virtually every aspect of the live music ecosystem.”

“It is time to break up Live Nation-Ticketmaster,” said Attorney General Merrick Garland in a statement.

In the past, and again in its statement to NPR on Thursday, Live Nation argued that musicians — not its own company — are the ones to ultimately set their own ticket prices. Live Nation executive vice president of corporate and regulatory affairs Dan Wall said that the suit “ignores everything that is actually responsible for higher ticket prices, from increasing production costs to artist popularity, to 24/7 online ticket scalping that reveals the public’s willingness to pay far more than [what] primary tickets cost.”

“It is not surprising that Live Nation has pointed its finger at artists,” a senior Justice official said on background on Thursday morning. “In an industry in which artists have historically been squeezed for compensation for their creative work, it’s important that artists are properly compensated.”

“To us, that’s a little bit of a red herring,” the official continued, referring to Live Nation’s previous argument. “How is the system set up? How is Live Nation’s control at all levels of the system allowing for a process that’s distorted in part by Live Nation’s power?”

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The DOJ is pressing for “structural relief” – that is, it is asking the federal court to break up the Live Nation-Ticketmaster combined company, which the DOJ itself had approved in the 2010 merger. Justice Department officials are now arguing that since the merger, Live Nation has created a stranglehold on the live event industry.

Thursday’s case is the latest lawsuit by the Biden administration against major corporations that it has accused of abusing monopoly power. The Justice Department and the Federal Trade Commission have sued Apple, Google and Amazon. They’ve successfully stopped the mergers of publishers Penguin Random House and Simon & Schuster and of JetBlue Airways with Spirit Airlines. They’ve also unraveled a partnership between JetBlue and American Airlines.

Last year, however, federal officials lost their bids to block the merger of Microsoft and videogame giant Activision Blizzard; of Facebook parent Meta with virtual-reality company Within Unlimited; and of insurer UnitedHealth Group with tech firm Change Healthcare.

“While we do not comment on specific enforcement matters, President Biden strongly supports fair and robust enforcement of the antitrust laws,” said White House Press Secretary Karine Jean-Pierre in a statement Thursday. “The President launched the Strike Force on Unfair and Illegal Pricing because no American should pay higher prices or lose choices because companies break the law and engage in anti-competitive practices. His Administration has taken action to fight corporate greed by banning hidden junk fees—including event tickets—that unfairly increase prices for hardworking families trying to make ends meet. As the President has said, the American people are tired of being played for suckers.”

The announcement of the federal antitrust suit against Live Nation is just a first step in what will almost certainly be a long court process, so music fans likely won’t encounter lower ticket prices any time soon.

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With additional reporting by Alina Selyukh.

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After years of avoiding the ER, Noah Wyle feels ‘right at home’ in ‘The Pitt’

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After years of avoiding the ER, Noah Wyle feels ‘right at home’ in ‘The Pitt’

Wyle, who spent 11 seasons on ER, returns to the hospital in The Pitt. Now in Season 2, the HBO series has earned praise for its depiction of the medical field. Originally broadcast April 21, 2025.

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Doctors says ‘The Pitt’ reflects the gritty realities of medicine today

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Doctors says ‘The Pitt’ reflects the gritty realities of medicine today

From left: Noah Wyle plays Dr. Michael “Robby” Robinavitch, the senior attending physician, and Fiona Dourif plays Dr. Cassie McKay, a third-year resident, in a fictional Pittsburgh emergency department in the HBO Max series The Pitt.

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The first five minutes of the new season of The Pitt instantly capture the state of medicine in the mid-2020s: a hectic emergency department waiting room; a sign warning that aggressive behavior will not be tolerated; a memorial plaque for victims of a mass shooting; and a patient with large Ziploc bags filled to the brink with various supplements and homeopathic remedies.

Scenes from the new installment feel almost too recognizable to many doctors.

The return of the critically acclaimed medical drama streaming on HBO Max offers viewers a surprisingly realistic view of how doctors practice medicine in an age of political division, institutional mistrust and the corporatization of health care.

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Each season covers one day in the kinetic, understaffed emergency department of a fictional Pittsburgh hospital, with each episode spanning a single hour of a 15-hour shift. That means there’s no time for romantic plots or far-fetched storylines that typically dominate medical dramas.

Instead, the fast-paced show takes viewers into the real world of the ER, complete with a firehose of medical jargon and the day-to-day struggles of those on the frontlines of the American health care system. It’s a microcosm of medicine — and of a fragmented United States.

Many doctors and health professionals praised season one of the series, and ER docs even invited the show’s star Noah Wyle to their annual conference in September.

So what do doctors think of the new season? As a medical student myself, I appreciated the dig at the “July effect” — the long-held belief that the quality of care decreases in July when newbie doctors start residency — rebranded “first week in July syndrome” by one of the characters.

That insider wink sets the tone for a season that Dr. Alok Patel, a pediatrician at Stanford Medicine Children’s Health, says is on point. Patel, who co-hosts the show’s companion podcast, watched the first nine episodes of the new installment and spoke to NPR about his first impressions.

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To me, as a medical student, the first few scenes of the new season are pretty striking, and they resemble what modern-day emergency medicine looks and sounds like. From your point of view, how accurate is it?

I’ll say off the bat, when it comes to capturing the full essence of practicing health care — the highs, the lows and the frustrations — The Pitt is by far the most medically accurate show that I think has ever been created. And I’m not the only one to share that opinion. I hear that a lot from my colleagues.

OK, but is every shift really that chaotic?

I mean, obviously, it’s television. And I know a lot of ER doctors who watch the show and are like, “Hey, it’s really good, but not every shift is that crazy.” I’m like, “Come on, relax. It’s TV. You’ve got to take a little bit of liberties.”

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As in its last season, The Pitt sheds light on the real — sometimes boring — bureaucratic burdens doctors deal with that often get in the way of good medicine. How does that resonate with real doctors?

There are so many topics that affect patient care that are not glorified. And so The Pitt did this really artful job of inserting these topics with the right characters and the right relatable scenarios. I don’t want to give anything away, but there’s a pretty relatable issue in season two with medical bills.

Right. Insurance seems to take center stage at times this season — almost as a character itself — which seems apt for this moment when many Americans are facing a sharp rise in costs. But these mundane — yet heartbreaking — moments don’t usually make their way into medical dramas, right?

I guarantee when people see this, they’re going to nod their head because they know someone who has been affected by a huge hospital bill.

If you’re going to tell a story about an emergency department that is being led by these compassionate health care workers doing everything they can for patients, you’ve got to make sure you insert all of health care into it.

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As the characters juggle multiple patients each hour, a familiar motif returns: medical providers grappling with some heavy burdens outside of work.

Yeah, the reality is that if you’re working a busy shift and you have things happening in your personal life, the line between personal life and professional life gets blurred and people have moments.

The Pitt highlights that and it shows that doctors are real people. Nurses are actual human beings. And sometimes things happen, and it spills out into the workplace. It’s time we take a step back and not only recognize it, but also appreciate what people are dealing with.

2025 was another tough year for doctors. Many had to continue to battle misinformation while simultaneously practicing medicine. How does medical misinformation fit into season two?

I wouldn’t say it’s just mistrust of medicine. I mean that theme definitely shows up in The Pitt, but people are also just confused. They don’t know where to get their information from. They don’t know who to trust. They don’t know what the right decision is.

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There’s one specific scene in season two that, again, no spoilers here, but involves somebody getting their information from social media. And that again is a very real theme.

In recent years, physical and verbal abuse of healthcare workers has risen, fueling mental health struggles among providers. The Pitt was praised for diving into this reality. Does it return this season?

The new season of The Pitt still has some of that tension between patients and health care professionals — and sometimes it’s completely projected or misdirected. People are frustrated, they get pissed off when they can’t see a doctor in time and they may act out.

The characters who get physically attacked in The Pitt just brush it off. That whole concept of having to suppress this aggression and then the frustration that there’s not enough protection for health care workers, that’s a very real issue.

A new attending physician, Dr. Baran Al-Hashimi, joins the cast this season. Sepideh Moafi plays her, and she works closely with the veteran attending physician, Dr. Michael “Robby” Robinavitch, played by Noah Wyle. What are your — and Robby’s — first impressions of her?

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Right off the bat in the first episode, people get to meet this brilliant firecracker. Dr. Al-Hashimi, versus Dr. Robby, almost represents two generations of attending physicians. They’re almost on two sides of this coin, and there’s a little bit of clashing.

Sepideh Moafi, fourth from left, as Dr. Baran Al-Hashimi, the new attending physician, huddles with her team around a patient in a fictional Pittsburgh teaching hospital in the HBO Max series The Pitt.

Sepideh Moafi, fourth from left, as Dr. Baran Al-Hashimi, the new attending physician, huddles with her team around a patient in a fictional Pittsburgh teaching hospital in the HBO Max series The Pitt.

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Part of that clash is her clear-eyed take on artificial intelligence and its role in medicine. And she thinks AI can help doctors document what’s happening with patients — also called charting — right?

Yep, Dr. Al-Hashimi is an advocate for AI tools in the ER because, I swear to God, they make health care workers’ lives more efficient. They make things such as charting faster, which is a theme that shows up in season two.

But then Dr. Robby gives a very interesting rebuttal to the widespread use of AI. The worry is that if we put AI tools everywhere, then all of a sudden, the financial arm of health care would say, “Cool, now you can double how many patients you see. We will not give you any more resources, but with these AI tools, you can generate more money for the system.”

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The new installment also continues to touch on the growing corporatization of medicine. In season one we saw how Dr. Robby and his staff were being pushed to see more patients.

Yes, it really helps the audience understand the kind of stressors that people are dealing with while they’re just trying to take care of patients.

In the first season, when Dr. Robby kind of had that back and forth with the hospital administrator, doctors were immediately won over because that is such a big point of frustration — such a massive barrier.

There are so many more themes explored this season. What else should viewers look forward to?

I’m really excited for viewers to dive into the character development. It’s so reflective of how it really goes in residency. So much happens between your first year and second year of residency — not only in terms of your medical skill, but also in terms of your development as a person.

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I think what’s also really fascinating is that The Pitt has life lessons buried in every episode. Sometimes you catch it immediately, sometimes it’s at the end, sometimes you catch it when you watch it again.

But it represents so much of humanity because humanity doesn’t get put on hold when you get sick — you just go to the hospital with your full self. And so every episode — every patient scenario — there is a lesson to learn.

Michal Ruprecht is a Stanford Global Health Media Fellow and a fourth-year medical student.

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