The live music scene in 2025 is preparing for a season of excitement and action as Spring nears. What can we expect from the live music scene? This article explores the trends and predictions that will shape the live music industry in 2019.

Live Music Industry in 2024

Let’s reflect on 2018 before we look ahead to 2025. Live Nation Entertainment (the US-American ticketing firm) released its annual review just a few short weeks ago. What is the summary? The summary?

The report revealed several record-breaking achievements. Nearly 550,00 Live Nation shows were attended by 151,000,000 people around the world, which represents a 4% increase year-over-year. In terms of financials, the Q4 of 2024 saw a rise of 3% in revenue YoY to $23 billion. Operating income was $825 million, and adjusted operating cash flow exceeded $2.15 billion. The adjusted operating income from concerts also reached a record high. It increased by 65%, to 530 million, with margins of 2.8%.

Indie music struggles

Do these figures suggest that live music was booming in the last year? Yes and no. Live Nation’s evaluation only presented one side of things. The independent music scene was facing significant challenges, even though the ticketing business thrived. The rising costs and fierce competition from megatours and big-scale events have made it difficult for small players such as artists, venues and promoters to survive.

Since the COVID-19 pandemic in 1999, independents have found it particularly difficult to navigate the live music scene. This is due to a number of factors. One reason is that inflation has increased the cost of essentials for touring, such as gas, hotels, tour buses and flights. The lack of stage equipment and instruments was also due to supply chain problems, which increased demand and costs.

Further, changes in consumer behaviour posed additional challenges. The “Netflix Effect” where people prefer to stay at home, remote work, and budget constraints have all contributed to a reduction in spontaneous spending for live shows. ” people will pool their resources in order to attend a large show that they are interested in, rather than stopping somewhere to grab a bite to eat on the way home to see live music“, said Holly Hagermann. She is the co-founder and CEO of a platform for booking live music.

Live Nation and Ticketmaster:

Then there’s Live Nation, with Ticketmaster and other subsidiaries whose business practices have had a significant impact on the independent scene. Not in a good way. Live Nation Entertainment, over the years, has been accused of many illegal practices. These include impromptu pricing, hidden fees and mishandling tickets for popular events. Critics in the industry are concerned that Live Nation Entertainment operates as a “monopoly”.

Live Nation, as a point of reference, has controlling interests in 338 venues around the world, according to their annual report. Yale University reports that Ticketmaster has a 70% share of the ticketing industry and 80% of all live concerts in the past 20 years.

The ticketing company has been involved in several legal disputes due to its monopolistic practices and possible antitrust violations. In May 2024, the U.S. Department of Justice, along with 39 states and Washington, D.C., filed a lawsuit against Live Nation, requesting the sale of Ticketmaster.

Independent music representatives in major US music cities have identified specific unfair and unethical acts that have hurt local music scenes.

• Purchase and close competing venues
• Booking smaller shows in their venues instead of smaller independent venues.
• Live Nation bookings will continue if local venues are forced to use Ticketmaster exclusively for their software platform.
• Artists are forced to sign agreements of proximity and exclusivity, which limit where they can perform and how many times.
• Offer local promoters or indie artists the opportunity to use Live Nation’s spaces at inflated above-market prices.

These tactics increase Live Nation’s financial situation and its control over the global music ecosystem, while limiting the opportunities for independent musicians and venues. They also exacerbate the ongoing economic and logistical problems.

Many industry insiders are concerned about the impact of long-term changes on the development of artists. In the past, small and independent venues were breeding grounds for new talent. What does it mean for the future of the industry if artists are not able to grow in smaller venues? Jim Lucchese of Sofar Sounds asked about this. The company is known for its intimate and secret gigs. Sofar Sounds hosted over 100 Grammy-nominated artists early in their careers, including Billie Eilish, her brother FINNEAS and Boygenius members Lucy Dacus, Julien Baker and Lucy Dacus.

Live Music Industry in 2025: What will it be like?

Let’s look at the outlook for 2019. Now that we’ve gained some insight into the live music industry in 2024 and the challenges independent musicians have faced, let’s examine the outlook for 2018.

1. The price of concert tickets will continue to evolve

The topic of ticket pricing has been hot in recent years. Terms like ” Dynamic Pricing ” and ” Effective Pricing ” dominate the conversation. This trend is expected to continue, according to many industry experts. The days of simple ticketing systems, with just one price for sitting and another for standing or a model that compared front-to-back, are long gone. Pricing strategies today are driven more by data analysis and algorithmic pricing. Economic modelling and artificial intelligence also play a role.

The industry will likely continue to be dominated by dynamic and effective pricing as well as hybrid methods. Live Nation is a company that has often been associated with dynamic pricing. We’ve talked about it a lot, and we will continue to do so. This practice of adjusting ticket prices according to real-time demand will continue to drive up the price for major music festivals, especially in areas where demand is volatile.

Labels, agencies and smaller promoters prefer a strategy that focuses on effective pricing. Kirk Sommer, global co-head and senior partner of music at WME, who represents artists such as Hozier and Adele, describes the method by saying, ” creating entry points that allow fans from every socioeconomic background to find a way to participate.”

A ticket sale that implements effective pricing will often include a variety of pricing tiers. For example, Adele’s exclusive performance in Munich last summer featured a number of VIP packages. This approach, which was intended to provide accessibility and variability, has contributed to the rising cost of tickets. Billboard Boxscore reports that the average ticket prices for the top 100 tours in 2024 have increased by more than 20% over 2022. The question remains whether the current pricing structure reflects the financial realities for many fans, which includes the lowest priced and least desirable tickets from a standpoint of visibility and proximity to the stage.

Insiders in the concert industry believe that new regulations prohibiting drip-pricing will benefit customers. The new regulations force businesses to include “all mandatory charges or fees” in the advertised price, thereby increasing transparency. The rules do not standardize ticket pricing or limit fees that companies can charge, but they should make it easier for customers to compare prices and possibly save money.

2. Live music will always be valuable

The rising ticket prices and changes in the listening behaviour of listeners are changing how people view live performances. Concerts are no longer considered an everyday entertainment expense. They’re now seen as a luxury. Many music lovers are now more careful about how they spend their money.

The past two years, dominated by massive tours, have also shown that audiences will still pay for live music if it is of high quality. Taylor Swift’s Tour was a global phenomenon that spanned 149 concerts between 2023 and 2024. The Tour was not only musically appealing, but also fostered a feeling of community and inclusion, making it as valuable as the concert itself. Numerous articles reported on the demand for tickets and the amount of money that people were willing to spend. This was true whether the tickets were purchased through the official ticketing platform or by resellers. According to The New York Times, the average ticket for the Eras Tour 2023 will cost $1088. This confirmed the notion that fans will pay a premium for special moments.

Swift’s stadium tour rekindled stadium tours on a scale and grandeur never before seen. According to the New York Times, music fans, especially Gen Z, still crave the energy that live events provide, no matter their economic situation. This trend is predicted to continue into 2025. Fans will be more likely to support artists who create immersive, meaningful live experiences.

Industry insiders say that live music can be powerful without the 3-hour stadium spectacles with elaborate choreographies and bright lights. Even smaller-scale events, such as listening parties for albums or concerts at unique venues, can offer unforgettable experiences.

3. Mega tours and mega shows will continue to be popular.

It is hard to deny the rise of grand stadium shows and massive global tours.. Swift’s Tour redefined what a global tour could be. It inspired a new generation of musicians who have attempted similar ambitious productions.

A prominent music agent reportedly stated that “we might have two to three stadium tours in any given year.” We had 18 stadium tours in 2024.

According to Steve Davidson, chief operating officer at the Sunderland AFC Stadium, which hosted concerts by Beyonce and Pink, financial incentives are a major factor behind large-scale events. He explained that “Because the cost of these large worldwide tours is so high, they [artists] must sell out larger venues to make it worthwhile“. Stadium tours are also more efficient, as they allow artists to tour in fewer cities while still maximizing their revenue.

Liam Boylan is the stadium director at Wembley. He highlights some of the risks. There’s a great deal of pressure. Promoters are taking a risk because everything is bigger. More trucks, crews, and equipment. “Promoters will guarantee so much money, but they are liable if the show does not sell,” he said to the BBC.

Stadium tours and massive concerts are not slowing down, regardless of whether they involve risks. Major artists are unlikely to stop this trend as long as the fans keep coming, paying astronomical ticket prices, and covering production costs.

This direction, however, further widens the gap between the mainstream stars and the independent artists who lack the financial resources to produce such large productions. As we’ve already said, the size of a show doesn’t determine its impact or value. Not all music lovers enjoy large stadium concerts. Many music fans prefer smaller venues because of their intimacy, comfort and sound quality. Tickets are more easily available, and long entry lines are less common.

4. Live-streaming and virtual concert streaming are on the rise

Technological advancements have significantly reshaped the live music landscape, and the rise of live-streaming–accelerated by the COVID-19 pandemic–has been a clear testament to this shift. The rise of live-streaming, accelerated by the COVID-19 pandemic, has been a clear testament to this shift.

Immersive experiences such as virtual and augmented reality have enhanced audience engagement and provided unique concert experiences. A prime example is the video game Fortnite, which has hosted live virtual events since 2018, featuring commercially prominent artists like Marshmello, Karol G, Diplo, and Eminem.

Virtual concerts are not only innovative and engaging for the audience, but they have also eliminated traditional barriers which once prevented or limited fans from attending live music events. Fans can now experience live music at their convenience, regardless of the distance they are from a concert venue or mobility issues.

In 2025, virtual and live concerts will continue to grow. Artists can connect with their audiences in new and innovative ways, extend their reach beyond geographic limitations, experiment with performance styles, and explore monetization options. Indie musicians also explore virtual concert platforms, which mimic the vibes and atmosphere of live venues while leveraging digital capabilities.

5. Live Nation lawsuit developments

We are going back to the beginning: Live Nation and Ticketmaster. The ticketing company has high hopes for the year ahead after a successful 2024. Michael Rapino, the CEO of Live Nation, said that 2025 will be bigger than ever, thanks to an extensive global concert pipeline. More stadium shows are booked in 2025 than in any other year.

The company is less vocal than usual about the antitrust lawsuit that the Department of Justice has filed, which we have previously discussed. The trial is expected to start in early 2026, though no date has yet been set. However, there is a chance that some developments could be made in this case as soon as this year. Live Nation executives expressed their hope that the federal government would change its approach to antitrust actions. They were hopeful of a settlement with the DOJ without going to court.

The DOJ has not yet shown any signs of a change of heart. Live Nation filed a petition in a federal court in January 2025 to exclude 27 state plaintiffs from the antitrust suit, arguing they did not have the right to sue for damages on behalf of residents. The company has not been able to influence or reshape the case in its favour despite its efforts.

Live Nation and its subsidiary Ticketmaster are also facing a lawsuit from a group of consumers who accuse them of artificially inflating ticket costs. The company asked a district judge to delay the class action so that it could focus on the government lawsuit. However, the judge refused.

It’s safe to say that Live Nation may have to overcome some legal obstacles to achieve another record-breaking season. If the DOJ is successful in its antitrust suit, proving Live Nation Entertainment’s monopoly over the live event sector, it could force the company to sell Ticketmaster. This scenario has a rather negative outlook for the future. The battle is not over, but there’s no sign of a final decision anytime soon.

The conclusion of the article is:

The live music industry is a dynamic and constantly changing one. 2025 will be a year of many changes. Hope that whatever changes are in store for 2025 will at least support, and not hinder, the careers and art of independent, small artists. The only way to know is through time. It will be fascinating to reflect on and discuss our experiences and discussions at the end of the year.