What Week Three of the Live Nation Trial Actually Revealed

Week three of the Live Nation antitrust trial exposed a $20 million secret payment arrangement, a presidential pardon that killed a key witness, and a defense arguing that losing Morgan Wallen proves there's no monopoly.

March 30, 2026
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Three weeks into the Live Nation antitrust trial and the picture is getting clearer — not just about what Live Nation did, but about how the entire live entertainment industry has been operating for years. Secret payment arrangements, presidential pardons, and a defense built around the idea that losing Bruce Springsteen proves you’re not a monopoly. This one has layers.

State attorneys general are in the final stretch of their case while Live Nation has started putting its own witnesses on the stand. The Department of Justice, which originally brought this case alongside the states, already settled out of court just one week into the trial. According to the Wall Street Journal, that deal didn’t happen in a vacuum — President Trump personally pushed for it based on a recommendation from Ari Emanuel, the CEO of Endeavor and a former Live Nation board member. That’s the kind of detail that doesn’t show up in a press release but says a lot about how business actually gets done at this level.

The DOJ settlement calls on Live Nation to pull back on some of its more aggressive practices, but it stops well short of the main event — breaking up Ticketmaster. That fight is still alive, being carried forward by states including New York and California, who haven’t budged from their original goal. While the federal government found a middle ground, the states are still pushing for a full structural breakup of the two companies. That distinction matters, because it means this trial isn’t over just because Washington made a deal.

The OVG Testimony Changed the Room

The week’s most significant moment came Wednesday when Chris Granger, who took over as CEO of Oak View Group after the indictment of founder Tim Leiweke, took the stand as a government witness. What he confirmed wasn’t just uncomfortable — it was the kind of thing that makes you rethink every “recommendation” you’ve ever received in this industry.

OVG, one of the most prominent venue management companies in the business, was paid $20 million by Ticketmaster to encourage venue clients to choose Ticketmaster as their exclusive primary ticketing provider. The arrangement wasn’t disclosed to clients. When pressed on why venues weren’t told about the financial incentive behind the recommendation, Granger’s response was blunt: “I don’t know why, we should have.”

That’s a significant admission. OVG wasn’t just advising clients — it was being compensated to point them in a specific direction while those clients had no idea that was happening. The states argue this kind of arrangement is exactly how Live Nation has maintained its grip on the ticketing market. It’s not always about forcing anyone to do anything. Sometimes it’s about making sure the people with influence are quietly incentivized to keep the ecosystem intact.

Granger did push back on one angle of that argument. He testified that he would recommend Ticketmaster to venues regardless of any payment because the platform genuinely outperforms its competitors — pointing to its database size and name recognition as reasons it carries what he called “a bit of a marketing halo” when it comes to actually selling tickets. That may be true. But the issue isn’t whether Ticketmaster is good — it’s whether venues deserved to know their advisor had a financial stake in the outcome. Those are two different conversations.

OVG has been central to this case from the beginning. The DOJ’s original 2024 complaint described OVG as a “potential competitor-turned-partner” that influenced venues to sign exclusive Ticketmaster agreements — language that’s aggressive but gets the point across. OVG ended up stipulating to some of those facts as part of a non-prosecution agreement tied to Leiweke’s separate criminal case, which involved bid-rigging allegations connected to the construction of the Moody Center in Austin.

That prosecution, however, is effectively dead. Trump pardoned Leiweke in December, and with that, the DOJ’s hope of getting him on the stand at this trial went with it. Leiweke’s testimony would have been a significant moment. It’s not coming.

Live Nation’s Defense: Everyone Has Options

Live Nation opened its defense case Thursday with Omar Al-joulani, the company’s president of touring, who made the argument the company has been building toward since day one — that Live Nation isn’t a monopoly because the market is genuinely competitive and artists have real choices.

Al-joulani works with some of the biggest names in touring: Coldplay, Kendrick Lamar, Drake, Imagine Dragons. But his point was that working with those artists isn’t guaranteed. Live Nation doesn’t hold them under long-term contracts. Every tour is essentially a new pitch. “There are lots of promoter options,” he said, and he was direct about the fact that the company has lost out on major business. Morgan Wallen went elsewhere. So did Bruce Springsteen. “I can’t stress how competitive the business is,” Al-joulani testified.

That’s a reasonable argument on the surface. Losing high-profile clients does suggest that artists have leverage and that Live Nation isn’t simply locking everyone in. But the states’ counter is more structural — the question isn’t whether a few megastars can negotiate their way to a different promoter. It’s whether mid-tier and emerging artists have the same freedom, or whether the system is built in a way that funnels them toward Live Nation by default, with limited viable alternatives waiting on the other side. As one antitrust expert noted, the DOJ settlement falls well short of addressing those deeper structural concerns — and fans should expect little relief on ticket prices as a result.

This isn’t the first time Live Nation’s leadership has faced hard questions on the stand. Earlier in the trial, CEO Michael Rapino spent over five hours being pressed on Ticketmaster’s rising fees, allegations of venue retaliation, and internal messages from employees bragging about overcharging fans. That testimony set the tone for a trial that has consistently revealed the gap between how Live Nation talks about its business publicly and how it operates internally. You can catch up on that testimony in full here.

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The trial is also expected to include testimony from Adel Nur — Drake’s manager, known in the industry as Future the Prince. His appearance will be worth following closely given how connected Drake’s camp has been to several of the industry’s biggest legal stories over the past year.

What’s Actually Being Decided Here

The jury also heard from PhD economists Nicholas Hill and Rosa M. Abrantes-Metz, serving as expert witnesses for the states, along with Ticketmaster’s global president Mark Yovich and former AEG Presents president Rick Mueller. The presence of economists signals what this case is really about at its core — market structure, competitive access, and whether the way Live Nation operates has systematically reduced options for artists, venues, and consumers in ways that go beyond normal business success.

Live Nation’s position is consistent: any metrics used to paint them as a monopolist are misleading, and what looks like dominance is really just the result of doing the job better than anyone else. The states’ position is equally consistent: the scale of influence, the secret financial arrangements, and the way the ecosystem is structured together tell a story that individual data points can’t fully capture.

Both sides are making coherent arguments. That’s what makes this trial genuinely worth paying attention to, especially if you work in this industry at any level. The outcome isn’t just about Live Nation and Ticketmaster. It’s about whether the infrastructure that most artists, promoters, and venues operate inside will look any different on the other side of this verdict — or whether the system gets a few rule adjustments and keeps moving the same way it always has.

And this trial doesn’t exist in isolation. The MLC and Pandora are actively fighting over how streaming royalties are classified and distributed. The feds just landed a guilty plea in an $8 million AI-driven streaming fraud case that exposed how fragile the royalty pool really is. Multiple pressure points, same system. The Live Nation verdict is one piece of a much larger question about who actually controls how money moves in this industry.

The defense is expected to wrap up within the next week. 

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