Back in the Nineties, Pearl Jam famously sued Ticketmaster in an unsuccessful effort to rein in the runaway costs of attending a concert. These days, many are raising the same concerns — like Doc McGhee, Kiss’ longtime manager. In the late 1970s, when he was a young man on the rock scene, top concert tickets cost $10 to $11 (or about $50 to $55 in today’s dollars). Last year, according to Pollstar, the industry trade that monitors touring, the average ticket price had soared to around $132. That’s an increase of 38 percent just since 2019, when they cost a comparatively affordable $96.17. “It’s up to us,” McGhee says. “Until people say, ‘We’re not going,’ the prices are going up.”
This summer, that appears to be true. Entry to one of Harry Styles’ 30 dates at Madison Square Garden could cost you as much as $1,000; Alan Jackson’s sold-out touring finale at a Nashville stadium is prompting scalper prices of more than $5,000.
Industry veterans say that sky-high ticket prices are due to three key factors: supply and demand, as reflected in the controversial practice of dynamic pricing; rampant scalping; and one dominant company, Live Nation, controlling every source of revenue, including beer, food, parking, and Ticketmaster service fees, at its 61 amphitheaters and more than 200 other venues in North America. Many hoped the U.S. Department of Justice’s 2024 antitrust lawsuit would break up the world’s biggest promoter, but a March 9 settlement suggests that is unlikely to happen.
(In court, Live Nation disputed nearly every criticism made by sources in this story. “There is no evidence in the record that Live Nation or Ticketmaster drives higher ticket prices or that breaking up the company would lower them,” Dan Wall, the company’s executive vice president of corporate and regulatory affairs, says in a statement to RS. “If the DOJ or states had credible evidence, they would have presented it. They haven’t. After years of investigation and access to extensive data, there is still nothing tying our structure to higher prices.”)
The Justice Department settlement, which requires Live Nation to divest from 13 amphitheaters with which it has exclusive booking agreements, among other things, “isn’t even significant enough to call it a slap on the wrist,” says Stephen Parker, executive director of the National Independent Venue Association. Because the settlement is “virtually nothing” and “has no teeth,” adds a top promoter, prices and fees are almost certain to keep rising.
Even the biggest stars are often powerless to change this system, as Taylor Swift discovered on the Eras Tour. What’s more, Live Nation ticketing employees seemed dismissive of customers when they joked in internal messages about fans who are “so stupid” that the company was “robbing them blind baby,” in reference to high parking and VIP-package costs. (In court, Live Nation CEO Michael Rapino called those messages “disgusting” and “not the way we operate.”)
John Scher, a New York promoter who has competed with the company for decades, claims that Live Nation strategically raises offers to artists for playing its own summer amphitheaters, rather than arenas where competing promoters can book shows. “If they play indoors, they have a choice of [second-biggest promoter] AEG, or an independent like me,” Scher says. “But Live Nation will say to acts, ‘If you wait and start the tour in April, we’ll pay you $350,000’ — and many of them say, ‘Fine.’”
‘Legalized exploitation of fans’
In a separate lawsuit, filed by the Federal Trade Commission against Live Nation and Ticketmaster last September, a central issue was “illegal ticket-resale tactics,” in which Live Nation reportedly invited scalpers to use bots to crowd fans out of on-sale queues.
“The price will not change until we stop this legalized exploitation of fans,” says Randy Nichols, a board member for the National Independent Talent Organization (NITO), which represents agents and managers for more than 5,000 acts. “Fans will pay less money when bots stop buying all the tickets and marking up the price.”
Bills currently pending in New York, California, and other states could cap resale prices, potentially allowing artists to set their own face-value prices and ensuring fans don’t have to pay much more than that — something that hasn’t been true since StubHub revolutionized the scalping business in the early 2000s. (For years, Ticketmaster itself has also resold tickets to its own shows online.) “New York has been at this for a long time, and California just introduced a price cap,” says Nathaniel Marro, NITO’s executive director. “There’s really hope here.”
Fielding Logan, head of touring for management company Q Prime South, which represents artists like Eric Church, Ashley McBryde, and the Brothers Osborne, disagrees with the prediction of higher fees due to Live Nation’s corporate dominance. “I can unequivocally say that is not going to make a whit of difference to ticket prices,” he says. “What makes a difference to ticket prices is there are more people who want to attend said show than there are tickets available at those prices.”
But John Kwoka, a Northeastern University economics professor who specializes in antitrust, thinks that supply and demand aren’t enough to explain what’s happening. “I’m one of the economists who’ve argued you need to break up some companies,” he says. “[Live Nation] is one of the companies that proves that.”
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Those small opportunities became part of the festival’s identity: a place where established acts and future stars could exist side by side. That philosophy remains central to the festival’s return. While Warped Tour’s biggest names will draw crowds, Lyman believes the real magic has always happened away from the main stages.
A portrait of Rivas Hernandez on display as authorities announced murder charges in the case in April. Frederic J. Brown/AFP/Getty Images
Burke at his arraignment in April. Ted Soqui/Pool/AP
Sheeran performs onstage last year in Newark, New Jersey.
More Pop Stars Should Call Ed Sheeran to Write Their Songs
It has been two years since the Netflix series Pop Star Academy brought Katseye together, and the girl group still hasn’t had a truly universal hit. They’ve had popular songs, sure. There’s the smooth, Latin-pop-inspired “Gabriela,” which peaked at Number 21 on the Billboard Hot 100, and of course “Gnarly,” the skittering viral track about fried chicken, Takis, and Teslas. “Internet Girl” seemed promising when Katseye premiered it on tour, but the studio recording that arrived at the top of the year features some bizarre vocal choices that unravel the track. “Pinky Up” barely cut through the discourse about their future as a group after HYBE and Geffen announced member Manon Bannerman would embark on an indefinite hiatus.
Katseye have been downplaying their full potential, and their years of training, with each release. A likely pop figure might be the key to getting them back on track. Their latest single, “Animal,” penned by Ed Sheeran alongside Johnny McDaid and producers Omer Fedi and Blake Slatkin, is one of their best. It’s not an incredibly ambitious song, but it’s catchy and spirited enough to not come across as predictable — and it gives them a real shot at longevity in the pop arena. Sheeran knows how to write a pop hit that sticks, even when it’s not for himself. In fact, more pop stars should call him to write their songs.
“Nobody knows you’re outta control/But I see a side behind the closed doors,” the girls sing on the chorus from “Animal,” trading off on the role throughout the song. “They get a glimpse here on the dance floor/You move like an animal.” It’s classic boots-on-the-ground reporting from the dance floor, a pretty hard trope to mess up in pop. Lara gets the best one-liner on the song, with the pre-chorus: “Your body gets twisted and tangled in mine/Love so good, how could this be free?/I keep your secret safe with me.”
For a minute, “Animal” sounds like it could have been ripped from one of Bruno Mars’ Unorthodox Jukebox-era hard drives. But when the chorus kicks in over plucky acoustic guitars, any number of Sheeran singles spring to mind: “Sing,” “Azizam,” “I Don’t Care.” In an Instagram post, Sheeran revealed he got in touch with Katseye after hearing “Gnarly” for the first time. “I was in Mexico and loved it,” he wrote. “Said I was a fan and reached out to them to see if I could write them a song.” On Katseye’s “Countdown to Animal” livestream, hosted on the evening of the song’s release, Lara teased, “A very special person wrote it, which is also really cool.”
Asked about the difference between “Pinky Up” and “Animal,” the group members quickly pointed out that they’re actually (and finally) singing on this one, and it’s geared toward more widespread consumption. “‘Pinky Up’ is more like a rave in the club,” Daniela said. “But ‘Animal’ is more like you’ll listen to it at the grocery store, in the car on the radio, or you’ll hear it at the mall just walking around.” It’s just what Katseye needs, and it proves their ambitions as a group extend beyond brand deals and dance breaks.
Not a particularly polarizing artist, Sheeran was the logical songwriter to turn to. He’s still selling out stadiums over a decade into his career, even after wedding ballads like “Thinking Out Loud” and “Perfect” pushed many to write him off as corny. More flashy swings, like “Shape of You” and “Shivers,” have eclipsed the acoustic singer-songwriter craftsmanship of his first two albums. And yet, it’s their success that has allowed him to sustain a career of this magnitude for so long. He’s worked this magic for other artists, too.
When Justin Bieber returned with Purpose in 2015, he released “Sorry” and “Love Yourself” just over two weeks apart. “Sorry” served as the big party hit, a Skrillex and BloodPop production with Julia Michaels in the credits. Bieber had already racked up a few like that by this point in his career, including “Beauty and a Beat.” But stripped down to just his vocals and a guitar, “Love Yourself” added new dimension to Bieber’s position in pop. Sheeran originally wrote the song for his album Divide. “Going from a song that would have never been released to the biggest song of last year,” he said in 2017, “it just shows you that you shouldn’t always write stuff off.”
It isn’t rare for Sheeran to think of other artists while in sessions. “Every single album that I’ve ever done, I’ve always gone, on the side, ‘Let’s try and write a song that we can pitch to Rihanna,’” he said last year. While he hasn’t landed a hit with her, his songs have ended up on albums from One Direction (the acoustic ballad “Little Things,” written by Sheeran, followed up the bubbly “Live While We’re Young” in 2012) and Shawn Mendes. Sheeran gifted Mendes the hook for what would become “Fallin’ All in You” from 2018’s Shawn Mendes. The snap and sway, first-dance-ready ballad remains one of Mendes’ highlights.
In a perfect alternate universe, Sheeran would have sent him “Bad Habits,” too, instead of keeping the hit for himself. The upbeat record would have marked a much needed return to form for Mendes, one of pop’s most consistent hitmakers until he started down the confessional singer-songwriter route. Coming from Sheeran, who doesn’t play the main pop-boy role as efficiently — he’ll always prefer an acoustic guitar, at the end of the day — it did little to restore the balance in a post-pandemic pop ecosystem dominated by bedroom pop and quarantine hits crafted for TikTok.
Pop has been in a peculiar place for a little while now. Newer acts are breaking through with slow-burning hits, but are also struggling to maintain that success over time. Meanwhile, more veteran artists are scoring late-career breakthroughs, or leaning heavily into diaristic releases that trade off on their personal narrative. Some artists are enlisting fewer collaborators — preferring to write in tight-knit camps with friends — and taking the songwriting lead themselves more often, like Ariana Grande’s solo effort on “Hate That I Made You Love Me.” Still, sometimes great performers aren’t great songwriters. That’s OK. Balance restoration comes through remembering collaboration and timing are key.
Before “Gabriela” ended up with Katseye, it had been recorded by both Little Mix and Anitta. The song earned them a nomination for Best Pop Duo/Group Performance at the 2026 Grammy Awards. Way back in 2018, Little Mix launched their fifth album, LM5, with “Woman Like Me,” co-written by Sheeran and Jess Glynne, who began the song for her own album, Always in Between, before passing it along. When the group hit pause to pursue solo projects, Sheeran appeared in the credits for Perrie Edwards’ debut single, “Forget About Us.” The track was criticized for being too impersonal, the kind of song anyone could sing. Sometimes that’s the point. At least it’s catchy and she’s actually singing.
Between HYBE and Geffen, Katseye have too many resources at their disposal to add duds to their discography. In about two weeks, the girl group will release its third EP, Wild, featuring both “Pinky Up” and “Animal.” The EP release model has allowed Katseye to hedge the debut album conversation for a while, but the day will come eventually. When it does, it wouldn’t hurt to see what else someone like Sheeran might have up their sleeve. It could be another hit.