Pop Icon Kesha Announces 'The Freedom Tour' in Central Indiana Kesha, the renowned pop artist, is set to bring her highly anticipated "The Freedom Tour" to central Indiana, with a stop at the Ruoff Music Center in Noblesville on Sunday, August 30. The concert, scheduled to begin at 7 p.m., marks a significant milestone in her career as she embarks on a tour described as more than a performance—it is a celebration of personal transformation, healing, and creative rebirth. In a statement from Live Nation, the tour’s organizers emphasized that "The Freedom Tour" represents a new era for Kesha, one centered on radical self-expression, spiritual resilience, and rebellious joy. The event promises an immersive experience blending glitter and grit, pop anthems with spiritual awakening, and a celebration of survival. Kesha will be joined by several special guests, including Chromeo, Meek, Erika Jayne, and Sizzy Rocket. However, for the Noblesville date, only Chromeo and Erika Jayne will perform alongside her. Fans eager to secure tickets will have access to presales starting on Tuesday, March 24, with Citi presales beginning at 10 a.m. Artist presales will follow on Wednesday, March 25, and general on-sale tickets will be available starting Friday, March 27, at 10 a.m. In a heartfelt message shared in a news release, Kesha reflected on her journey, stating, "I’ve lived through the fire. This tour is about what comes after. Freedom isn’t just leaving something behind—it’s discovering that what you have lived through has made you magnificently who you are." She added, "This summer we are reclaiming our bodies, our voices, and our joy. We have survived. Now we get to be free. Let’s be free together. I want to know what freedom feels like, with all of you.#live_nation #kesha #chromeo #ruoff_music_center #noblesville
J. Cole's 'The Fall-Off' World Tour Breaks Records with Record Ticket Sales J. Cole is set to launch his world tour in support of his seventh studio album, The Fall-Off, beginning in July. The tour will kick off with North American leg stops in major cities including Charlotte, Miami, Tampa, Atlanta, and other locations. Following the U.S. dates, Cole will travel to Europe, the United Kingdom, Australia, and New Zealand before concluding the tour in South Africa in December. Despite the tour not yet beginning, Cole’s event has already set multiple records. Live Nation reported that over 800,000 tickets were sold during the presale phase, making it the highest pre-sale ticket count for a hip-hop tour across 18 markets. The overwhelming demand prompted the tour to expand from its original 54 dates to 73, with an additional 19 arenas added to accommodate fans. The success of the presale underscores the strong anticipation for Cole’s new album and his live performances. The news of Cole’s record-breaking tour comes shortly after the conclusion of his Trunk Sale tour, which saw him travel across the United States in his restored Honda Civic, selling CDs directly to fans. During the tour, Cole shared insights into his motivations, stating, “In the trunk of my car is boxes of The Fall-Off CDs.” He reflected on his early days in music, recalling how he once sold copies of albums in gas stations, saying, “I used to go up to the gas stations trying to sell the album to strangers ‘yo you like hip hop??’ Was the beginning of the sales pitch.” Cole emphasized his desire to reconnect with his roots while promoting the new album, explaining, “When I was working on this album I had the desire to go feel that feeling again, and that’s what I’m about to do.#north_carolina #live_nation #the_fall_off #jcole #trunk_sale_tour
Live Nation settles antitrust case with DOJ, avoids Ticketmaster breakup Live Nation, the parent company of Ticketmaster, has reached a settlement with the U.S. Department of Justice, avoiding a potential breakup of the company. The agreement, announced on Monday, concludes a high-profile antitrust case that had threatened to split the world’s largest live entertainment firm. The deal comes after a week of testimony during the trial, which had raised concerns about Live Nation’s dominance in the industry. The settlement includes several key provisions. Ticketmaster will provide a standalone ticketing system that allows third-party companies like Seat Geek and StubHub to offer primary tickets through the platform. A senior justice official described this as “open sourcing” their ticketing model. The company will also divest up to 13 amphitheaters and reserve 50% of tickets for non-exclusive venues. Additionally, Ticketmaster is prohibited from retaliating against venues that choose alternative primary ticket distributors. The agreement was reached after negotiations between Omeed Assefi, the acting assistant attorney general for the Antitrust Division, and Michael Rapino, Live Nation’s CEO, on March 5. A senior justice official emphasized that the deal aims to increase competition by giving artists and consumers more choices, potentially lowering prices. While the DOJ and 40 states, including Washington, D.C., had previously accused Live Nation of using its control over venues and ticketing relationships to stifle competition, the settlement allows the company to retain its structure. New York Attorney General Letitia James, who joined the DOJ in the case, stated that her office will continue pursuing its own claims against Live Nation to protect consumers and restore fair competition.#ticketmaster #taylor_swift #live_nation #us_department_of_justice #letitia_james
Peso Pluma launched his 2026 Dinastía by Peso Pluma & Friends Tour with a high-energy performance at the Climate Pledge Arena in Seattle on March 1, featuring collaborations with Tito Double P, Yahritza y Su Esencia, Armenta, and Rey Quinto. The event showcased over 35 tracks, blending Peso’s signature hits like “Lady Gaga,” “AMG,” and “Ella Baila Sola” with new material from the supporting artists. The tour, produced by Live Nation, is promoting the collaborative album Dínastia, released during the holiday season, which marks the duo’s first joint project. Peso Pluma and Tito Double P described their partnership as a dynamic interplay of contrasting energies, likening their relationship to opposing forces like black and white or angels and demons. They referenced the biblical tale of Jacob and Esau, emphasizing their shared Mexican heritage and dedication to the corrido genre. “This album is about family, Mexico, and what we’re doing for corridos,” Peso explained in a previous interview with Billboard, highlighting the album’s thematic depth. Dínastia made an immediate impact, debuting at No. 1 on Billboard’s Top Latin Albums and Regional Mexican Albums charts in January. It also reached No. 6 on the all-genre Billboard 200, reflecting its broad appeal. The tour will span 30 venues across the U.S., including stops in San Francisco, Las Vegas, Los Angeles, and Chicago’s United Center, with the final date scheduled for May 7. The opening night setlist featured a mix of Peso and Tito’s tracks, alongside performances by Yahritza y Su Esencia and other collaborators. Highlights included Peso’s hit “Lady Gaga,” Tito’s “Malibu,” and collaborative numbers like “Tusi” and “London.#live_nation #tito_double_p #climate_pledge_arena #peso_pluma #dinastia_album
Peso Pluma Launches 2026 Dinastía Tour with Star-Studded Opening Night in Seattle Peso Pluma kicked off his 2026 Dinastía by Peso Pluma & Friends Tour on Sunday night (March 1) at the Climate Pledge Arena in Seattle, marking the debut of his collaborative project with Tito Double P. The event featured a lineup of renowned artists including Tito Double P, Yahritza y Su Esencia, Armenta, and Rey Quinto, who joined Peso on stage for an electrifying performance. The show delivered over 35 tracks, blending Peso’s biggest hits such as “Lady Gaga,” “AMG,” and “Ella Baila Sola” with energetic live renditions from the supporting acts. Produced by Live Nation, the tour supports the chart-topping collaborative album Dínastia, released last Christmas. Peso described the album’s concept as a reflection of his and Tito Double P’s dynamic, calling them “opposites” like “black and white” or “angels and demons.” He referenced the biblical story of Jacob and Esau, emphasizing their rivalry and unity as brothers. “This album is about family, Mexico, and what we’re doing for corridos,” he explained, highlighting the cultural significance of their work. Dínastia made an immediate impact, debuting at No. 1 on Billboard’s Top Latin Albums and Regional Mexican Albums charts in January. It also secured a No. 6 position on the all-genre Billboard 200, showcasing its broad appeal. The tour will continue through 30 venues across the U.S., including stops in San Francisco, Las Vegas, Los Angeles, and Chicago’s United Center, where it will conclude on May 7. The opening night’s setlist featured a mix of Peso and Tito Double P’s tracks, including “7-3,” “billetes,” “malibu,” and “trucha,” alongside collaborations with Yahritza y Su Esencia and Armenta.#live_nation #tito_double_p #climate_pledge_arena #peso_pluma #dinastia_album
Live Nation says it is not 'big, fat, lazy' monopolist as US DOJ trial kicks off Live Nation, the world's largest live entertainment company, is defending itself against allegations of antitrust violations as a federal trial begins. The company, which operates venues and manages major music festivals, faces accusations from the U.S. Department of Justice that it has engaged in anti-competitive practices by leveraging its dominance in the industry. The trial, which is expected to last several weeks, will focus on whether Live Nation has used its market power to suppress competition, inflate ticket prices, and limit consumer choice. The DOJ alleges that the company has created a monopoly by acquiring smaller rival companies and using its influence to control the live events market. Live Nation has denied these claims, arguing that its business model is not monopolistic and that it provides value to consumers through its extensive network of venues and artists. The case has drawn significant attention from industry stakeholders, as it could set a precedent for how antitrust laws are applied in the entertainment sector. Legal experts suggest that the outcome of the trial could have far-reaching implications for the live events industry, potentially reshaping how companies operate and compete. Live Nation's defense team has emphasized that the company's success is due to its ability to deliver high-quality experiences to audiences, rather than any anti-competitive behavior. They argue that the DOJ's case is based on outdated assumptions about the industry and that the company's practices are in line with fair market competition. The trial is expected to feature testimony from industry insiders, economists, and former employees, providing insight into the company's business strategies and market influence.#federal_trial #live_nation #us_do_j #antitrust_violations #live_events_industry
Justice Department Begins Antitrust Trial Against Live Nation Amid Settlement Speculation The U.S. Justice Department initiated its antitrust trial against Live Nation on Tuesday, with the possibility of a settlement lingering over the proceedings. The lawsuit, filed in 2024 by the DOJ and 40 state attorneys general, accuses Live Nation of leveraging its dominance as the nation’s largest concert promoter, ticket seller, and venue owner to stifle competition. The company has previously attempted to dismiss the case, which was brought under the Biden administration, but recent developments suggest it may seek a resolution under the current Trump administration. The trial resumed Monday after a 12-person jury was selected, with opening arguments held in a Manhattan federal courthouse. Despite the ongoing legal battle, questions remain about whether a last-minute settlement could disrupt the proceedings. DOJ attorney David Dahlquist emphasized the case’s focus on monopolistic power, stating that the concert industry is “broken” due to Live Nation’s control. The DOJ alleges the company holds an estimated 86% share of primary concert ticketing at major venues and dominates the amphitheater market, using this leverage to force venues into exclusive contracts with Live Nation as promoters and Ticketmaster as ticket agents. Live Nation’s defense, led by attorney David Marriott, argues that the DOJ’s market share calculations are selective and that the ticketing industry is more competitive than claimed. Marriott highlighted that Live Nation does not serve as the promoter for all major artists, citing Taylor Swift’s Eras Tour as an example. The Swift ticketing issues, including system outages and long wait times during the record-breaking onsale, remain a focal point of the case.#justice_department #taylor_swift #live_nation #david_dahlquist #david_marriott
The concert ticket industry is broken, the U.S. Department of Justice claims as a trial against Ticketmaster and Live Nation begins. During opening statements in Manhattan, a DOJ attorney argued that the companies have created a monopolistic system that harms artists, venues, and fans. The case involves dozens of states seeking compensation for consumers who allegedly overpaid for tickets. An attorney for New York state testified that Ticketmaster retains an average of $7.58 from each ticket sold at major concert venues. This fee, which exceeds the charges of competitors like AXS, is central to the allegations that the company exploits its market dominance. The DOJ and state attorneys general argue that Live Nation and Ticketmaster have used their control over ticketing and venue operations to suppress competition and inflate prices. The trial centers on claims that Live Nation, through its Ticketmaster subsidiary, has maintained illegal monopolies in key markets. The DOJ alleges that the company forces artists to use its promotion services when performing at its owned outdoor amphitheaters. Additionally, Ticketmaster is accused of dominating ticket sales through long-term exclusive contracts with venues and threatening rivals to secure its position. Attorney David Dahlquist, representing the DOJ, told jurors that the concert industry is "controlled by a monopolist" and that Live Nation’s practices have distorted the market. He emphasized that fans have paid excessive fees, with estimates suggesting overpayments ranging from $1.56 to $1.72 per ticket. Jonathan Hatch, another state attorney, described the financial impact as "real money coming out of people’s wallets." Live Nation’s defense claims the company is not a monopolist and operates in a competitive industry.#ticketmaster #manhattan #federal_trade_commission #live_nation #us_department_of_justice
