Towards monopolistic music promotion: an analysis of North American concert tours

References

• Akomea, S. Y., & Adusei, M. (2013). Bank recapitalization and market concentration in Ghana’s banking industry: A Herfindahl-Hirschman index analysis. Global Journal of Business Research, 7(3), 31–45.
   Google Scholar
• Autor, D., Dorn, D., Katz, L. F., Patterson, C., & Van Reenen, J. (2020). The fall of the labor share and the rise of superstar firms*. The Quarterly Journal of Economics, 135(2), 645–709. https://doi.org/10.1093/qje/qjaa004
   Web of Science ®Google Scholar
• Bakhshi, H., Cunningham, S., & Mateos-Garcia, J. (2015). Public policy for the creative industries. In C. Jones, M. Lorenzen, & J. Sapsed (Eds.), The Oxford Handbook of Creative Industries (pp. 465–485). Oxford University Press.
   Google Scholar
• Banks, M., & O’Connor, J. (2009). After the creative industries. International Journal of Cultural Policy, 15(4), 365–373. https://doi.org/10.1080/10286630902989027.
   Web of Science ®Google Scholar
• Baumol, W. J. (1982). Contestable markets: An uprising in the theory of industry structure. American Economic Review, 72(1), 1–15.
   Web of Science ®Google Scholar
• Behr, A., Brennan, M., & Cloonan, M. (2016). Cultural value and cultural policy: Some evidence from the world of live music. International Journal of Cultural Policy, 22(3), 403–418. https://doi.org/10.1080/10286632.2014.987668
   Web of Science ®Google Scholar
• Belfiore, E., & Bennett, O. (2007). Rethinking the social impacts of the arts. International Journal of Cultural Policy, 13(2), 135–151. https://doi.org/10.1080/10286630701342741
   Google Scholar
• Benmelech, E., Bergman, N. K., & Kim, H. (2022). Strong employers and weak employees. Journal of Human Resources, 57(S), S200–S250. https://doi.org/10.3368/jhr.monopsony.0119-10007R1
   Google Scholar
• Black, G. C., Fox, M. A., & Kochanowski, P. (2007). Concert tour success in North America: An examination of the top 100 tours from 1997 to 2005. Popular Music and Society, 30(2), 149–172. https://doi.org/10.1080/03007760701267698
   Web of Science ®Google Scholar
• Brennan, M., & Webster, E. (2011). Why concert promoters matter. Scottish Music Review, 2(1), 1–25.
   Google Scholar
• Burkart, P. (2005). Loose integration in the popular music industry. Popular Music and Society, 28(4), 489–500. https://doi.org/10.1080/03007760500159013
   Web of Science ®Google Scholar
• Burkart, P., & McCourt, T. (2006). Digital Music Wars: Ownership and Control of the Celestial Jukebox. Rowman & Littlefield.
   Google Scholar
• Cloonan, M. (2011). Researching live music: Some thoughts on policy implications. International Journal of Cultural Policy, 17(4), 405–420. https://doi.org/10.1080/10286632.2010.544728
   Web of Science ®Google Scholar
• Cloonan, M. (2011). Researching live music: some thoughts on policy implications. International Journal of Cultural Policy, 17(4), 405–420.
   Web of Science ®Google Scholar
• Colangelo, G. (1995). Vertical vs. Horizontal integration: Pre-emptive merging. The Journal of Industrial Economics, 43(3), 323–337. https://doi.org/10.2307/2950583.
   Web of Science ®Google Scholar
• Davis, L., & Orhangazi, Ö. (2021). Competition and monopoly in the US economy: What do the industrial concentration data show. Competition and Change, 25(1), 3–30.
   Web of Science ®Google Scholar
• Dubois, L. E., & Dimanche, F. (2021). The futures of entertainment dependent cities in a post-COVID world. Journal of Tourism Futures, 7(3), 364–376. https://doi.org/10.1108/JTF-11-2020-0208
   Web of Science ®Google Scholar
• Dubois, L.-E., Renard, S., & Rana, S. (2024). Left off the circuit: The impact of shrinking live music tours on cities. International Journal of Cultural Policy, 1–14. https://doi.org/10.1080/10286632.2023.2296071
   Web of Science ®Google Scholar
• Fernandes, P. O., Nunes, A. M., Veloso, C. M., Santos, E., Ferreira, F. A., & Fonseca, M. J. (2020). Spatial and temporal concentration of tourism supply and demand in Northern Portugal. Application of the Herfindahl-Hirschman index. In A. Rocha, A. Abreu, J. Vidal de Carvalho, D. Liberato, E. Alen Gonzalez, P. Liberato (Eds.), In advances in Tourism, Technology and Smart Systems (pp. 263–273). Springer.
   Google Scholar
• Franke, M., & John, F. (2011). What comes next after recession? – Airline industry scenarios and potential end games. Journal of Air Transport Management, 17(1), 19–26. https://doi.org/10.1016/j.jairtraman.2010.10.005
   Web of Science ®Google Scholar
• Ganapati, S. (2021). Growing oligopolies, prices, output, and productivity. American Economic Journal: Microeconomics, 13(3), 309–327. https://doi.org/10.1257/mic.20190029
   Web of Science ®Google Scholar
• Gander, J., Haberberg, A., & Rieple, A. (2007). A paradox of alliance management: Resource contamination in the recorded music industry. Journal of Organizational Behavior, 28(5), 607–624. https://doi.org/10.1002/job.463
   Web of Science ®Google Scholar
• Grant, P. S., & Wood, C. (2004). Blockbusters and Trade Wars: Popular Culture in a Globalized World. Douglas & McIntyre.
   Google Scholar
• Grimm, C. (2009). Interview. By Robert H. Smith School of Business. May 18.
   Google Scholar
• Gross, J., & Levenson, M. (2022). Taylor swift fans Sue ticketmaster’s parent company, The New York Times, December 5th, Retreived January 25th, 2023, from https://www.nytimes.com/2022/12/05/business/media/taylor-swift-ticketmaster.html
   Google Scholar
• Grullon, G., Larkin, Y., & Michaely, R. (2019). Are US industries becoming more concentrated?*. Review of Finance, 23(4), 697–743. https://doi.org/10.1093/rof/rfz007
   Web of Science ®Google Scholar
• Guibert, G. (2020). Le tournant numérique du spectacle vivant. Le cas des festivals de musiques actuelles. Hermès, n° 86(1), 59–61. https://doi.org/10.3917/herm.086.0059
   Google Scholar
• Guibert, G. (2023). Live performance and filmed concerts: Remarks on music production and livestreaming before, during, and after the public health crisis. Ethnomusicology Review, (24).
   Google Scholar
• Hathaway, T. (2020). Neoliberalism as corporate power. Competition & Change, 24(3-4), 315–337. https://doi.org/10.1177/1024529420910382
   Web of Science ®Google Scholar
• Hesmondhalgh, D. (2021). Is music streaming bad for musicians? Problems of evidence and argument. New Media & Society, 23(12), 3593–3615. https://doi.org/10.1177/1461444820953541
   Web of Science ®Google Scholar
• Holmstrom, E. (2019). Dancing in the dark: An analysis of the live entertainment industry and the deceptive market practices of Ticketmaster and Live Nation. Western Journal of Legal Studies, 9(2), 1–22. https://doi.org/10.5206/uwojls.v9i2.8070
   Web of Science ®Google Scholar
• Holt, F. (2010). The economy of live music in the digital age. European Journal of Cultural Studies, 13(2), 243–261. https://doi.org/10.1177/1367549409352277
   Web of Science ®Google Scholar
• Hracs, B. J. (2012). A creative industry in transition: The rise of digitally driven independent music production. Growth and Change, 43(3), 442–461. https://doi.org/10.1111/j.1468-2257.2012.00593.x
   Web of Science ®Google Scholar
• Huijgh, E., & Evens, T. (2012). No big deal!? Live Nation's impact on the Belgian festival market. Creative Industries Journal, 5(1-2), 87–103. https://doi.org/10.1386/cij.5.1-2.87_1
   Google Scholar
• Ingham, T. (2021, December 6). Live Nation buys 51% stake in Ocesa, the world's third biggest concert promoter, for $416M. Music Business Worldwide. Retrieved January 24, 2022, from https://www.musicbusinessworldwide.com/live-nation-buys-51-stake-in-ocesa-the-worlds-third-biggest-concert-promoter-for-416m2/
   Google Scholar
• Kreps, D. M., & Scheinkman, J. A. (1983). Quantity precommitment and Bertrand competition yield Cournot outcomes. The Bell Journal of Economics, 14(2), 326–337. https://doi.org/10.2307/3003636
   Google Scholar
• Kunz, W. M. (2006). Culture Conglomerates: Consolidation in the Motion Picture and Television Industries. Rowman & Littlefield Publishers.
   Google Scholar
• Live Nation. (2023). 2022 Annual Report Pursuant to Section 13 or 15(d) of the Security Exchange Act of 1934, retrieved online from https://investors.livenationentertainment.com/sec-filings/annual-reports/content/0001335258-23-000014/0001335258-23-000014.pdf
   Google Scholar
• Magni, F. (2023). Value creation and appropriation in the live music industry: a population ecology analysis of live music ticket pricing. Journal of Media Business Studies, 20(2), 137–157. https://doi.org/10.1080/16522354.2022.2036440
   Web of Science ®Google Scholar
• Marx, K. ([1867] 1990). Capital 1. Penguin Books.
   Google Scholar
• Mattioli, D., & Cimilluca, D. (2015). Fear of losing out drives deal boom, Wall Street Journal, June 29, www.wsj.com/articles/fear-of-losing-out-drives-deal-boom-1435361072
   Google Scholar
• McChesney, R. (2000). Rich Media, Bad Democracy. New Press.
   Google Scholar
• McCourt, T., & Burkart, P. (2003). When creators, corporations and consumers collide: Napster and the development of on-line music distribution. Media, Culture & Society, 25(3), 333–350. https://doi.org/10.1177/0163443703025003003
   Web of Science ®Google Scholar
• Meese, A. J., & Richman, B. D. (2009). A careful examination of the Live Nation-Ticketmaster merger. William & Mary Law School Research Paper, 9-41.
   Google Scholar
• Moss, S., & Walmsley, B. (Eds.). (2014). Entertainment Management: Towards Best Practice. CABI.
   Google Scholar
• Negus, K. (2019). From creator to data: The post-record music industry and the digital conglomerates. Media, Culture & Society, 41(3), 367–384. https://doi.org/10.1177/0163443718799395
   Web of Science ®Google Scholar
• Owen, P. D., & Owen, C. A. (2022). Simulation evidence on Herfindahl-Hirschman measures of competitive balance in professional sports leagues. Journal of the Operational Research Society, 73(2), 285–300. https://doi.org/10.1080/01605682.2020.1835449
   Web of Science ®Google Scholar
• Peirson-Hagger, E. (2022). Ticketmaster’s dynamic pricing “takes advantage” of music fans. The Newstatemen. October 12th. https://www.newstatesman.com/culture/music/2022/10/ticketmaster-dynamic-pricing-model-music-fans-tickets
   Google Scholar
• Pokorny, M., Miskell, P., & Sedgwick, J. (2019). Managing uncertainty in creative industries: Film sequels and Hollywood’s profitability. Competition and Change, 23(1), 23–46.
   Web of Science ®Google Scholar
• Pollstar. (2019). Year End Worldwide Ticket Sales Top 100 promoters. https://data.pollstar.com/chart/2019/12/2019WorldwideTicketSalesTop100Promoters_796.pdf
   Google Scholar
• Prindle, G. M. (2003). No competition: How radio consolidation has diminished diversity and sacrificed localism. Fordham Intellectual Property, Media and Entertainment Law, 14, 279.
   Google Scholar
• Renard, S., Faulk, G., & Goodrich, P. S. (2013). Network perspectives on the relevance of new revenue streams in the digital Era music industry. Journal of the Music and Entertainment Industry Educators Association, 13(1), 149–179. https://doi.org/10.25101/13.8
   Google Scholar
• Renard, S., & Hallam, C. (2018). Technology shocks and the restructuring of an industry: A social network analysis application for the music business. International Journal of Technology Intelligence and Planning, 12(2), 173–208. https://doi.org/10.1504/IJTIP.2018.096106
   Google Scholar
• Reynolds, A. (2021). The Live Music Business: Management and Production of Concerts and Festivals. Routledge.
   Google Scholar
• Rogers, I., & Whiting, S. (2020). “If there isn’t skyscrapers, don’t play there!” Rock music scenes, regional touring, and music policy in Australia. Popular Music and Society, 43(4), 450–460. https://doi.org/10.1080/03007766.2020.1730654
   Web of Science ®Google Scholar
• Scherzinger, M. (2005). Music, corporate power, and unending war. Cultural Critique, 60(1), 23–67. https://doi.org/10.1353/cul.2005.0024
   Google Scholar
• Schüßler, E., & Sydow, J. (2015). Organizing events for configuring and maintaining creative fields. In C. Jones, M. Lorenzen, & J. Sapsed (Eds.) , The Oxford Handbook of Creative Industries (pp. 465–485). Oxford University Press.
   Google Scholar
• Scott, M. (2012). Cultural entrepreneurs, cultural entrepreneurship: Music producers mobilising and converting Bourdieu's alternative capitals. Poetics, 40(3), 237–255.
   Web of Science ®Google Scholar
• Spanu, M. (2023). From the ‘Musical Agora’ to an ‘Extreme Sport’: Negotiating Live Music’s Values in a Context of Urban Informality, Corruption and Violence in Mexico City. Cultural Sociology.
   Google Scholar
• Spengler, J. J. (1950). Vertical integration and antitrust policy. Journal of Political Economy, 58(4), 347–352. https://doi.org/10.1086/256964
   Web of Science ®Google Scholar
• Street, J. (2012). From Gigs to Giggs: Politics, law and live music. Social Semiotics, 22(5), 575–585. https://doi.org/10.1080/10350330.2012.731901
   Web of Science ®Google Scholar
• Sweeting, A. (2010). The effects of mergers on product positioning: evidence from the music radio industry. The RAND Journal of Economics, 41(2), 372–397.
   Web of Science ®Google Scholar
• Tirole, J. (1988). The Theory of Industrial Organization. MIT press.
   Google Scholar
• Towse, R. (2020). Dealing with digital: The economic organisation of streamed music. Media, Culture & Society, 42(7-8), 1461–1478. https://doi.org/10.1177/0163443720919376
   Web of Science ®Google Scholar
• van der Hoeven, A., Everts, R., Mulder, M., Berkers, P., Hitters, E., & Rutten, P. (2022). Valuing value in urban live music ecologies: Negotiating the impact of live music in The Netherlands. Journal of Cultural Economy, 15(2), 216–231. https://doi.org/10.1080/17530350.2021.2002175
   Web of Science ®Google Scholar
• Wang, A. (2018). Why your favorite concerts are bigger – and more expensive – than ever. Rolling Stone, July 20th, https://www.rollingstone.com/pro/features/why-your-favorite-concerts-are-bigger-and-more-expensive-than-ever-699722/
   Google Scholar
• Waterson, M. (2016). Independent review of consumer protection measures concerning online secondary ticketing facilities.
   Google Scholar
• Wheelock, D. C. (2011). Banking industry consolidation and market structure: Impact of the financial crisis and recession. Federal Reserve Bank of St. Louis Review, 93(6), 419–438.
   Web of Science ®Google Scholar
• Williams, M. (2020). U2’s ‘360°’ tour: An episodic and perpetual experience of community. Leisure Studies, 39(6), 797–810. https://doi.org/10.1080/02614367.2020.1800803
   Web of Science ®Google Scholar
• Williamson, J., & Cloonan, M. (2007). Rethinking the music industry. Popular Music, 26(2), 305–322. https://doi.org/10.1017/S0261143007001262
   Web of Science ®Google Scholar
• Woodside, J. (2020). Sobre la festivalización o “festivalitis” en México: Vive Latino y Corona Capital como manifestaciones contemporáneas de mestizofilia y anglofilia. Revista Argentina de Musicología, 21(2), 107–127.
   Google Scholar