Quotes of All Topics . Occasions . Authors
Vice has done a great job at talking to millennials.
Jay Z is one of the world's preeminent touring artists.
My kids, my health and my job are all equally important.
Clinging to old ways and fighting change is not the answer.
A hit is a hit, and when you have a hit great things happen.
House of Blues has soul right down to the chef in the kitchen.
History has shown that even in a recession, consumers go to shows.
In the U.S., we were slow to evolve and build a festival capability.
Drake has become a mega-star, with sell-out crowds around the world.
Rihanna can sell just as many tickets in Cape Town as she can in Detroit.
Our goal is to continue to be a global consolidator of the live music business.
Corporate America couldn't be more excited about the demise of the record companies.
It's cheaper to buy and use and place ads on Facebook than it is to buy print and radio.
Jay Z doesn't care if he plays in Paris or Denver, but we do. We make more money in Paris.
We need to bring down service fees, become much more transparent and regain trust from consumers.
The biggest cost of my business is competition - promoters bidding against each other to get a tour.
At a very young age in Canada, I had mapped out that my mission in life and my passion was live events.
We do a big business with our midsized-venue model. We don't need bands to be on the top-ten charts to make money.
In our business we don't mind if a price of a ticket goes down; our job is to get as many bums in seats as possible.
There's always a fine line between 'What is the market going to bear?' and, 'By the way, I've got 2,000 unsold seats.'
The history of the ticketing business was about barriers to entry, which kept Ticketmaster protected. That has changed.
One of the strengths of Michael Cohl is he's a big thinker, strategic, great with relationships, artists and big deals.
Part of calling ourselves Live Nation was about starting to shift the way we think, to be first and foremost fan-focused.
Our business model rises or falls on our ability to serve the artists. If others can do it better, the artists will go elsewhere.
We believe that the Internet is the live concert promoters best friend although it might have crippled the record label business.
The better job we do of getting the right fans in the right seats at the right time, the more money our clients are going to make.
No matter where the price of gas is, the consumer's still got to get out. They've still got to save their money to go see Tim McGraw.
Everyone loves to criticize Ticketmaster, but the real asset of Ticketmaster is that it's the third-largest e-commerce site in America.
To be a great concert marketer, we are shifting our focus from traditional media to online and mobile as direct ways to reach consumers.
The touring business is obviously critical to selling records, building fan bases, selling T-shirts, fulfilling sponsorship commitments.
Calling the new company Live Nation Entertainment is a big statement. Let's make sure we send a strong message from the first investor call.
BottleRock has these incredible VIP cabins where a chef is preparing sushi for you in your cabin or lounge decorated by Restoration Hardware.
Going into 2010, we didn't expect the consumer pullback that happened. We all thought that the theory that concerts are recession-proof was true.
The concert industry lags dramatically behind the great hospitality businesses out there, whether they're theme parks or hotels or sporting events.
We can't say to a Ticketmaster venue that says they want to use a different ticketing platform, 'If you do that, we won't put shows in your building.'
A promoter needs to be in the e-commerce ticketing business. In a fundamental sense the promoter's job is to buy a show and go and market and sell the tickets.
We spend a great deal of time getting the fan to buy the ticket. Why shouldn't it be: 'Buy the concert ticket and bundle in the t-shirt, or join the fan club?'
Live is truly a unique entertainment form; it cannot be duplicated and creates lifetime memories that fans are craving more than ever in this experience economy.
I can hope that the economy gets better, or I can seek a more proactive approach to protect our employees, reward our shareholders and better service artists and fans.
We as an industry need to do a better job of increasing the awareness of the show, decreasing the ticket price, and making it a better experience online to buy tickets.
As an industry, YouTube and digital content have a huge upside to creation and virally reach fans, and there's a multi-billion dollar business of advertising attached to that.
I've met plenty of CMOs in life, and I always say that I've never met any that can hold a candle to rock stars, who I truly believe are the greatest brand managers in the world.
You'll see an erosion of rock 'n' roll for sure... if you're playing a mainstream festival, you don't want to be the rock guy when everyone else is talking about Swedish House Mafia.
To be the music company of the future, you have to figure out a way to be a great business and distribution partner of younger bands, midsized bands, and ones that break out, like Arcade Fire.
Adding C3, the leading festival portfolio in North America, to our global portfolio of Insomniac, Festival Republic and Country Nation provides Live Nation with the world's largest festival platform.
Dave Matthews, Tim McGraw, U2, The Rolling Stones - there are a lot of artists selling out stadiums around the world that we work with regularly. And end up making most of our money with those artists.
Madonna would not have done a 360 deal with us just because of our touring capability. We had to prove to her and others that we have been working on and built a very good execution capacity at Artist Nation.
We have not had a ton of innovation and marketing in the concert industry, much like the record industry. We have been a fairly old-school business compared to Coca-Cola and the big packaging/marketing companies.
In my business, the cheaper the ticket price the better. I'd love for more consumers to walk into an amphitheater, park, have a beer and eat a hot dog. There's no advantage to me to have anything but sold-out shows.
We want people to know that Live Nation can serve all their live-music needs. If we're going to be the ones who have a relationship with the consumer, then we have a responsibility to be the ones accountable if things go bad.