One Day We Will All Work For Live Nation
Every couple of months, usually at a large concert or music festival, Iíd meet a friendly person who worked for Live Nation. Weíd share a few minutes of enjoyable conversation about music, concerts, shared contacts and the industry in general, then head our separate ways. I would always be too polite to admit that I really had no idea what the hell Live Nation was, beyond some vague notion that they sold tickets to concerts.
The fact that I was running into so much Live Nation staff should have tipped me off that the company was becoming a powerhouse, but itís only within the last year that the company has really put into motion its aggressive business model. The concert-promoting machine is vying to become to become a triple-threat, merchandise-selling/venue-owning/record-releasing powerhouse. Itís already inked unusually comprehensive (and expensive) deals with Madonna, Jay-Z and Shakira; today it announced another deal with one of the industryís reliable album-movers, Nickelback.
At a time when music sales are slumping, it makes sense that an outsider would try to challenge the wounded major record labelsóespecially an outsider that deals primarily in live music, one of the few branches of the music industry thatís still as profitable as ever.