Live Nation Sees Strong Ticket Sales as Monopoly Lawsuit Looms

Published: 21 February 2026, The English Chronicle Desk, The English Chronicle Online

Live Nation Entertainment, the world’s largest live‑music promoter and owner of Ticketmaster, has reported robust ticket sales and revenue growth even as a major monopoly lawsuit filed by the U.S. government and state attorneys general moves closer to trial.

Financial results for 2025 show that Live Nation’s overall revenue climbed to $25.2 billion, up 9 per cent from the previous year, powered by high demand for concerts and live events worldwide. The company said 159 million fans attended its shows last year, and ticket sales for early 2026 are already up double‑digit percentages, with around 67 million tickets sold and more than 80 per cent of large‑venue dates booked. Artists such as Harry Styles, Bruno Mars and BTS have helped drive the surge in sales.

Live Nation’s executives highlighted the sustained momentum in ticket demand, signalling confidence as they head into a federal antitrust trial expected to begin in Manhattan in March, where the U.S. Department of Justice alleges that the company’s control over concerts, venues and ticketing undermines competition. The government argues that Live Nation’s practices have created a de facto monopoly, leading to higher ticket prices and fewer choices for fans and artists alike.

Despite these legal challenges, investors responded positively to Live Nation’s strong performance, with shares rising more than 3 per cent in after‑hours trading following the earnings announcement. The company said it expects “another year of double‑digit operating income” if the current ticketing and touring momentum continues.

Live Nation has denied allegations of monopolistic behaviour, stating that it operates in highly competitive markets and that high ticket prices are not the result of anti‑competitive conduct. The lawsuit — also supported by nearly 40 U.S. states — seeks to prove that Live Nation and Ticketmaster’s integrated business model gives the company unfair leverage over artists, venues and competing ticket‑selling platforms.

As the legal battle draws near, the company maintains that strong consumer demand for live events reflects the health of the entertainment sector and its ability to deliver concerts that fans want to attend. The English Chronicle will continue to follow the trial’s progress and report verified updates on the case and its broader implications for the live‑music industry.

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