Live Nation Entertainment, Inc.

seeing that those on sales and continued strength, particularly, as you noted, for April being up 22% globally through the first part. And we expect probably two-thirds of the Live Nation concert fan growth to be in the second half this year in terms of when the events actually take place and that fan growth happens. So you're seeing a bit of a just a little later Timing of those on sales and you've seen some huge on sales for Chris Brown Lady Gaga and others this month and then finally The one area that is also hitting Ticketmaster is FX this year All FX is rebounded for a lot of markets for Mexico and Latin America. It's still a headwind and Ticketmaster took about 60% of that headwind in q1 in terms of its portion of the overall company's headwind and And we project it to be kind of two-thirds of the headwinds in Q2. So it's going to have a little bit of a reported impact in the short term. As you said, all of this is in the context of massive growth in deferred revenue for concerts and good double-digit growth in deferred revenue for Ticketmaster. So we're still confident we'll get some good growth out of Ticketmaster for the year, but we didn't see it play through in Q1 as much as we expected.

It sounds from that answer that you're not seeing much headwinds from tariffs or other economic issues in the consumer yet. You could correct me if I'm wrong, but wanted to get a sense of what the potential disruption is if there is a slowdown in the consumer. And I guess two legs to that. One is how much of the year, especially concerts, is already in the bag through You're on sales and then for the parts and sponsorship, and then for the parts that are more real time, like amphitheaters, what can you do if you do see the consumer weakened to protect AOI?

I'll start on demand and then Joe can jump in. I mean, Brandon, on the concert side, and it's the question every CEO gets asked, are you feeling the consumer pullback at all? We haven't felt it at all yet. So a lot of our stuff is on sale. you know, October, November, December. So that stuff would have already been to the system. The real number we look at is what have we done from April 1 to April 21st, the most relevant on sale period. We put a lot of shows on sale in the month of April. Chris Brown sold a million tickets this month. Mumford & Sons, 300 suicide bond. Lady Gaga sold out up 18% year over year. So any data we have right now up until last week, whether it's a festival on sale or a new tour or a show that went on sale, complete sell-through and strong demand and beating last year's numbers. So we haven't seen a consumer pullback in any genre, pub, theater, stadium, amphitheater. We haven't seen it all happen yet. Two, sponsorship. You know, we're up. we've got over 80% of our business contracted this year so far. We're up over last year. Again, because we deal in more longer-term relationships, we don't feel it. We don't have a weekly digital buy that can be canceled. Ours is the longer-term commitments, and we still see brands flocking and exploring, and we're attracting new brands all the time. So we've seen no sponsorship pullback yet. And as you said, the last thing, But we really don't have that enough data on yet would be the summer food and beverage and kind of onsite. We haven't seen anything about 11 amphitheaters played out so far. We had a festival on the weekend. We've had theaters and clubs. None of that yet has said that they're buying one less beer or they're consuming less onsite on any consumer pullback. So we're actively working around our menu for the summer, pricing it right, making sure we got affordability built into it. and a wider menu to attract and build on. But so far, those three legs of the stool, the consumer demand, sponsorship, and onsite, we haven't seen what others are seeing yet.

And just in terms of, Brandon, what we're doing is we're obviously tracking on a weekly and daily basis all of those numbers. How are shows that are going on sale doing? What's the sell-through level? How are shows closing? What's happening onsite? So, We're watching all of that. Michael just gave you all the stats that are current. So we're continuing to watch that. We'll adjust as need be. And while we're generally growing, we've learned during COVID, we know how to take costs out. If we need to take costs out as a business, we're fully capable and ready to do that. We don't think we're in that situation, but we have every lever at our disposal that we'll continue to monitor.

Great. Thanks so much.

The next question comes from the line of David Karnofsky with JP Morgan. Please proceed.

Hey, thanks. Maybe I'll just stick with the shape of the year. You said concert margins flat for 2025. I think historically you've kind of shied away from giving margin guide. Obviously the Q1 result versus 24 helps, but maybe can you speak to the rest of your expectations, especially kind of Q4, which has you know, some moving parts, like it's a bigger quarter, I think, for SESA. You have the advertising expense for next year. Just any kind of help there would be appreciated.

Yeah, just, you know, we're looking through all the pieces, and we're feeling good about how Concerts is shaping up for the full year, I think even better than we felt two or three months ago. You know, while your profitability is – It may not be as high in your biggest shows. You do get tremendous scale out of that, scale out of the organization. And we're driving a lot of volume and big growth in volume while continuing to manage our cost structure. So we think that this year we'll be able to be at around the same sort of margin level as we were at last year. It's not a target so much as we model it out, how it feels like we're going to end up.

A bit of a separate topic, but on your purchase of Hayashi, it seems like you've been circling a deal in Japan for a long time. Just wanted to see if you can give some background on the transaction. How should we think of this in terms of financial materiality or strategic benefits for running tours in the APAC region? Thanks.

Yeah, it's been a target for a long time. It's an incredibly important market, one of the largest music markets in the world. It also has to be one of the toughest markets to operate from the outside. You've got to find local established partners to really scale your business. So similar like, you know, we did it in Ossessa in Latin America. In Pacific Rim, we've been looking for this one to get done. There's three or four, pretty much three historic large promoters in Japan that have had a strong control over the market for many years. we're thrilled that we were able to finally get our deal done with HIP Korea, who is a young executive daughter of the original founder. We're really, really happy to be in business with her and her established family and business. And it's already, you know, in terms of how we're planning to get avails. Now we can promote directly in Japan. We're not selling off to other promoters who control the diaries of the venue. So huge, a huge strategic deal for us to have one of, one of the founding Japanese promoters as our partner now. And it'll be continued building upon that in terms of our venue, our festival, and bringing more shows there. So important, important step, and it'll be another large AOI contributor to our overall business over time. Thank you.

The next question comes from the line of Stephen Leszczyk with Coleman Sachs, please proceed.

Hey, guys. Thanks for taking the questions, too, if I could. In the press release, Joe and Michael, I think you mentioned the ramp in Venue Nation venues that expect to come online over the next year or so. Curious if you'd maybe talk a little bit more about the pacing there and then to the extent we could expect any incremental returns to flow through the P&L AOI generation in the concert segment, for instance, how you would encourage us to think through that. And then maybe, secondly, just for Joe on regulatory, I think the latest update we got this past week is the DOJ state's trying to bifurcate the case. Curious if you could just update us on the latest there and how you're thinking about the case at this point. Thank you.

Sure. Just on the venues first, out of the 20, I think the current view is we're going to have four of those open by the end of the year, so it would take what we've given you in magnitude and probably just that's your, that's your clear run rate addition for next year from shows opening this year. The others will all open up next year. So I would, you know, I haven't modeled this out exactly, but I would, you know, I give a bit of benefit, but certainly not, not a full run rate because it'll take some time to get those shows booked for the full slate. So I think you're gonna get the full run rate going into next, um 27 but next year will be a partial year um we'll guide you guys more as we get exact opening dates and a feel for how how we're booking those venues uh on the regulatory front uh we're in still mid-process at this point uh continue to have a early march 2026 date for the timing of the of the court case uh this is a period where you're spending these months discovery depositions Um, working through, I don't think we have anything material, no, no surprises, nothing unusual that we just kind of continue along. And it's part of the process at the moment. And we're still hoping that when the timing's right, we'll have a opportunity to get into some real discussions with them, but that hasn't happened yet.

Great. Thank you.

The next question comes from the line of Cameron Manson Perrone with Morgan Stanley, please proceed.

Thanks. First, you know, nice to see in the concert segment a solid improvement in, you know, AOI for per fan growth, you know, meaningfully higher AOI on, I think, a similar fan volume. But any color on kind of what helped you deliver that improved per fan monetization at the concert segment this quarter?

Yeah, I wouldn't, you know us, we don't tend to manage super tight on the quarters with some of that. There's so many moving pieces. I think overall, what we're seeing this year, as I mentioned earlier on how it flows through to the margin is because of the great scale of activity that we have relative to our cost structure, we're seeing some growth in those overall numbers that we expect to hold for the full year. We don't yet have the on-site activity at the scale in our amphitheaters and festivals to have that impacted yet, but it's just a good mix so far and some scale, and we expect that improved profitability to carry over the course of the year.

Got it. There's obviously been a lot of venue mix and changes. It's kind of been particularly active, it feels like, the last couple years? You know, as we look forward to 26, do you think that we've kind of reached a point where the fluctuations year to year in venue mix activity start to look more stable going forward? Or any commentary on kind of where you see growth across kind of venue types occurring going forward or over the next several years?

No, I think, I mean, on a macro level, we're thrilled that there's a a new level of demand that's driving stadium shows that, you know, people for years used to say, who's going to be the next Rolling Stones. And as you can see by the lineup this year, these are young artists, new artists and established artists that are able to now sell stadiums around the world. So I think it's just a testament to the demand and the consumer demand out there. So no, I think, you know, there's things that like next year, there'll be the world cup, That throws a lot of venue avails off in stadiums, so you might have more arena dates than stadiums. The Olympics last year in Europe threw off stadiums in Europe. So there's some things like that that drive some of the avails. Our biggest challenge right now is finding avails in stadiums for next year and the year after on good Thursday, Friday, and Saturday nights. that sometimes drives you into arenas if you can't get your veils. But overall, we just think it's a testament on a global basis. We just sold out a bunch of Coldplay dates in markets like India and Seoul. So we think globally stadiums demand is growing, will continue to grow, will continue to be a strong market for both festivals, arenas, and stadiums. And the only fluctuation was just driven by some local economics in terms of other sports or other things taken up avails.

Got it. Very helpful. Thank you both.

The next question comes from the line of Peter Henderson with Bank of America. Please proceed.

Great. Thank you for taking the question. So there's been a lot of discussion around like premium pricing and efforts to prevent leakage to scalpers and the secondary markets. Just curious, how do you manage the proper pricing model, which perhaps in certain instances doesn't mean immediate sellouts, while maintaining this perception of scarcity that perhaps helps to create a feeling of FOMO for fans? And also, where do you think you are in terms of the proper pricing model? Is there still a lot of room to fine-tune that model? And finally... Can you just provide some additional color on the 8% decline for the average get-in price across stadiums and how you're managing affordability initiatives with revenue optimization? Thank you.

I mean, I'll start on a macro. I mean, when you sit with the artist, you know, the artists, I always say, are the smartest brand managers out there. They're very focused on their fans. what they stand for, and making sure they're finding that fine line on affordability and paying for these fabulous shows, which are growing in costs all the time. These stadium and arena shows, you might have 50, 60 transport trucks on the road, 400 crew. You're incurring millions of dollars in weekly costs. You're bringing a Super Bowl to a stadium every night, and that artist is funding that. So they're trying to find that fine line always in How do we maximize pricing to put a great show on? How do we make it affordable for the fan? And then the third is how do we make sure we're just not giving it all to scalpers? So that's the premium pricing at the front of the house. A little bit of Robin Hood strategy. Let's price the front a little bit better so the fan doesn't buy from a scalper. It buys direct. And then let's price the back end of the house a little cheaper. That's why you see some of the stadium prices come down. So how do you make sure you make it affordable throughout the house, but also maximize that premium inventory that is probably going to get resold anyways. So it's an ongoing discussion. Every artist has a different philosophy on it. Every artist has a different size of show they want to produce. So you work with the artist, what type of show, how big of a cost, what's their weekly running costs, how much revenue they need to generate to fund the crew and the show. It's a peer startup's. And then where's that fine line with what others are charging and what's the market dynamic? So it's an ongoing process. Artists are, you know, smart as can be. They got accountants, lawyers, they got smart people all around them. So they're always looking at all the data like we are and figuring out what's that fine sweet line where I can maximize my dollars and still be affordable for my fan. And I would say we're still in early innings of the industry becoming more better at pricing, smarter at it, and the artists, managers, and agents learning too. And different markets are at different levels, right? America is very advanced. Europe is very primitive still. Asia and South America are completely primitive. So you got what stage you're in in the life cycle and rolling out pricing across other countries and some of the learnings we have in America will take a few more years. So we're still in what we would call a global business We're still in early innings of being really smart at pricing. How do you price a show on a Tuesday versus a Friday in L.A. versus Milan? What's the middle seat worth versus the back row? How do I maximize and sell it out? And as you said, a perfect show sells out as the doors close, right, for the first show. You want to have that idea that you priced it right and maximize the market. And it's somewhere between a science and an art right now. And we provide a lot of data for our artist team to think through what is the best model for them. But still lots of opportunity for the industry to continue to price it better to sell through, as well as maximize some of the high scarce commodity tickets.

Thank you.

The next question comes from the line of Benjamin Soft with Deutsche Bank. Please proceed.

Yep, good afternoon. Thanks for the question. I wanted to ask about the recent executive order directing the FTC to more rigorously enforce the BOTS Act. You've been vocal advocating for this in the past, so just curious what you think greater enforcement of BOTS would mean for your business. Thank you.

Yeah, Ben, this is Joe. I'll combine both the executive order, the Ticket Act that's now underway, and some of the FTC requirements for all-in pricing. I think all of these changes are great. They are all moving towards creating more transparency for the fan and more scrutiny and regulation on the secondary market. The enforcement of the BOTS Act to make sure that we have actions being taken against bad actors that are cheating to get tickets and are doing so purely to make money for themselves for no real benefit to the fans. some of the things in the Ticket Act, which deters speculative ticket selling and makes increased transparency in other ways take place. So we are strong supporters of all these. We think that there will continue to be more to be done even after these happen, but we're strong believers that content should control and benefit from their shows, their ticket sales, and we think that all of this is part of the tide that is turned and is doing that.

Appreciate the color.

This question comes from the line of with Evercore ISI. Please proceed.

Great. Thanks for taking the questions. I had a few on concerts. First, you provided a lot of helpful color in the release on various average ticket prices, and indicated that you're implementing more price tiers across venues. I was hoping you could expand on this effort a little bit more and maybe what the driving force behind this is in terms of, you know, is this more of a precautionary effort or since Michael, to your earlier point, you're not seeing any signs of softness in demand or is it something else completely? And then, Joe, sorry to beat a dead horse and ask about margins at concerts, but it seems pretty notable to me that you expect margins to be consistent this year on a year-to-year basis, given the inherent volatility in the metric and the mixed shift skewing back towards stadiums. You know, you talked about volume and scale benefits. Is there anything different in the way that we should think about operating leverage in that side of the business, or is there just a growing margin impact of venue nations? And I asked the Venue Nation bit because it kind of seems like you now expect Venue Nation fan count to be up double digits this year versus the prior guide implying high single digits. So I'm not sure how much of an impact that could have, but any help would be appreciated. Thank you.

I'll take the second one first. Yeah, absolutely. All these pieces matter. Getting more fans into the Venue Nation buildings. where we're counting the beer money and the parking and the other pieces. Also continuing to grow the per fan spend, all the various initiatives we have to make sure we're catering to every fan from the traditional beer drinker to the person who wants now an alcoholic to the premium person. Doing everything we can to reduce friction and give everybody the best experience and extract as much money as possible. uh, from each person, um, is going to continue to drive the economics of venue nation. And then that'll naturally flow through to help help the margins in the concert business. Long-term part of that is just a foot race between how fast we can grow venue nation and how fast other parts of the business grow, which is why we don't get into too much on long-term margins. But as we sit here now, we see what buildings are opening. As you said, we're now expecting double-digit growth in fans at our venues, which gives us some confidence we're going to be getting some good margin accretion from that. We're comfortable that we think margins are going to come in around the same as last year.

I'd have to ask you to restate the pricing question. I missed it. Yeah, sure.

Sorry about that. The pricing question was more a matter of you talked about how you're implementing more price tiers across the venues. And I was just trying to understand the driving force behind that effort in terms of is it more kind of precautionary just in case something we see greater softness in demand or is there a different reason why you're trying to broaden the aperture of what pricing looks like across the venues? And I only ask because I'm trying to reconcile that effort with a commentary that you're not seeing any demand and softness and just trying to understand that move a little bit better.

Yeah, no, we've been talking, you know, the pricing for a few years and just going from, you know, where we were as an industry, we were very, very static. We had probably three price tiers for a tour for the same cities, for the same 40 dates. So Milwaukee, New York, it was $199, $126, and $69. Obviously, that doesn't make sense. New York on a Friday night is a different market than Pittsburgh on a Tuesday. So we've made, when I say increase in pricing, it's to do both things. It's always our fundamental first goal is to sell every seat. It's not to maximize gross and increase ticket prices. It's to sell every seat. Our business, as you know, is run by that. The more people in that building parking and having a beer, it's better for us. So we're always looking to figure out how do you make sure you're adding lower tier prices to sell through. Also, generally, you never, ever sell back to front. You sell front to back. So as an industry, when we say 98% of our shows don't sell out, The show, the tickets that don't sell are always the back to middle, never the front. So our job isn't to figure out how to sell the front better. That's already been done. It's probably price it more because there's higher demand for the better seats. Our real job is to figure out how do we sell the rest of the house? So when you're dealing with an artist and you're looking at the total gross for them, you want to be able to say, listen, we can go $39 tickets in the black in the back. because the middle now is gonna have two more tiers at 79. So we'll make up the same gross for you, but we'll make it more affordable for the back end of the house. And that's maybe different on a Saturday versus a Wednesday and different in Pittsburgh versus Milan. So we're always just looking at all those variables now and saying, how do we best price the house to sell out completely and then maximize the gross? And similar, you know, I've seen a lot of news around the buy now, pay later, Coachella 60%. That's a similar story on payment, right? We've been looking at that for years. A payment plan is nothing new. It's got way more noise or news than it should. Festivals have had pay programs forever. I think EDC created it probably 10 years ago. So most festival goers have that similar 40%, 50%, 60%. If you give a young consumer an option of, spend $600 today or spread it over four months, of course they're going to spread it over four months. It's probably a better program for them. So we're looking at all ways on how do you pay for it, how do you price it, and how do we continually sell out the house as the main goal.

Very helpful. Thank you both.

And the last question will come from the line of David Joyce with Seaport Research Partners. Please proceed.

Thank you. I wanted to ask about any updates you can provide on the secondary ticketing markets. What have the volumes been trending like in this environment? And what are you seeing in some of these newer regions, such as in your OSESA markets? And technically, I was wondering if you could provide an update on what portion of the tickets have to stay within your ecosystem and what agreements do you have with other, you know, third parties to enable, you know, broader secondary ticketing and just wondering how that plays into the DOJ case. Thanks.

Sorry, David. I'm not sure I tracked the last part. We don't have anything where tickets would go off of our platform and directly into secondary. That doesn't That doesn't exist. So that's not part of our business model, nor is it part of what we or any of the artists are doing these days. In terms of secondary market, we've talked for a long time. We consider this to be a feature as opposed to a standalone business. It's very different between sports and concerts. It's part of the sports distribution channel, selling products. season tickets that then get broken down into individual games, uh, by teams, just as they're selling to other fans, a lot of brokers buy those tickets. So, um, but for us, it's a low, low teens percentage of our GTV over the course of the year. Um, we'll continue to offer it. Uh, we'll continue to advocate for reforms to make the industry as safe and, uh, positive experience for fans as possible. We don't see this as a growth driver. We've talked a lot in concerts. We'd love to see it decline because it means we're doing a better job working with the artists, pricing their tickets appropriately. So I don't think there's any real change in it from our perspective.

All right. Thank you.

Thank you. This concludes the question and answer session. I'll turn the call back to Michael Rapinoe for closing remarks.

Thank you, everybody. Appreciate your support, and have a great summer, and we'll talk to you in the middle of summer.

This concludes today's conference. You may disconnect your lines at this time. Enjoy the rest of your day.

You get a line, I get a pole. We'll go fishing in the crawfish hole. Five-car poker on Saturday night.