venue

Attorneys for musician Chuck Redd say a D.C. Superior Court judge dismissed a breach of contract lawsuit filed against the artist after he canceled a Christmas Eve performance at the Kennedy Center in protest of President Trump’s influence over the venue.

The dismissal was granted Friday under Washington’s Anti-SLAPP laws, which are designed to prevent meritless lawsuits intended to silence opposing points of view on matters of public interest.

Redd, a drummer and vibraphone player who has toured with Dizzy Gillespie, Ray Brown and others, had presided over holiday “Jazz Jams” at the Kennedy Center since 2006. He called off last year’s performance shortly after Trump’s handpicked board for the Kennedy Center voted to add the president’s name to the venue, which Congress named for President Kennedy after his assassination.

“The Center sued Mr. Redd because he publicly and rightly objected to adding Donald Trump’s name to the Kennedy Center, a living memorial to former President John F. Kennedy,” Lisa J. Banks, one of Redd’s lawyers, said in a statement. “The lawsuit against Mr. Redd was political retribution, pure and simple, by the Trump Kennedy Center, and the Court correctly saw it as such in dismissing the case with prejudice.”

Redd told the Associated Press in an email Saturday that he is “very pleased with the judge’s ruling.”

The motion to dismiss, filed in March, argued that Redd wasn’t contractually obligated to perform. It included the contract provided by the Kennedy Center, which the artist never signed.

Representatives for the Kennedy Center did not immediately respond to a request for comment on the suit’s dismissal.

Goldin writes for the Associated Press.

A waterfront amphitheater roughly twice the size of the Greek Theatre and two-thirds the size of the Hollywood Bowl is set to open this week in Long Beach — and there’s a lot riding on its success.

City leaders hope F&M Bank Amphitheater of Long Beach, located next to the famed Queen Mary, will supplant declining revenues from oil extraction and lead to an uptick in tourism. Concert promoters, meanwhile, see it as filling an important gap in Southern California’s music venue market.

The temporary amphitheater, which has a maximum capacity of 11,000, is meant to be a precursor to a permanent “Long Beach Bowl,” which is being pitched as the largest waterfront venue on the West Coast. The site opens June 6 with a performance by native son Snoop Dogg, and is expected to last for up to 10 years.

The new amphitheater represents a years-long dream of Mayor Rex Richardson, who began championing an outdoor performance venue on the waterfront in 2023. Soon after the closure of Irvine’s FivePoint Amphitheatre in October of that year, he accelerated those plans by proposing this facility. The general feeling was that Irvine’s loss could be Long Beach’s gain.

“This will be a place where memories are made, where music brings people together and where our city shows up on the big stage,” he said during a January groundbreaking. “The amphitheater represents direction to invest in our city’s future, to embrace our creative economy [and] to shape how people experience Long Beach for generations to come.”

Good vibes by the water is the driving energy behind the temporary venue.

(Eric Thayer / Los Angeles Times)

While Los Angeles and Orange County have no shortage of cavernous indoor arenas, the region has recently lacked a proper “summer shed” capable of hosting many national amphitheater tours, said Nick Storch, head of global artist development for booking agency Independent Artist Group. Those tours typically play venues larger than the Greek, Irvine’s Great Park Live or Costa Mesa’s fairgrounds-adjacent Pacific Amphitheatre, but smaller than the Hollywood Bowl.

Such tours, Storch said, are of “massive” importance to the concert industry. “With amphitheaters, it’s not just the music — it’s the experience of being outside and watching a concert, getting a bite to eat with your friends and all those kinds of things,” said Storch, whose agency’s clients Motley Crue and Five Finger Death Punch will perform at the F&M Bank Amphitheater in September.

“FivePoint was a great venue to help artists that are in that in-between stage, and not fully ready for arenas,” he said. “Long Beach having an amphitheater is going to grow the market again.”

Amphitheaters are also crucial to veteran artists with established fan bases. The long-running hard rock band Tesla — who also will perform at the F&M Bank Amphitheater in September — has not played a show in Los Angeles or Orange counties since the closure of FivePoint, which hosted the group twice.

Brian Wheat, the band’s bassist and manager, said he’s excited the new venue will help change that. “Sheds are great in the summertime, and outdoor summer gigs always create a great atmosphere for both bands and fans,” he said.

Much like the F&M Bank Amphitheater, FivePoint Amphitheatre was designed to serve as a temporary venue following the closure of Irvine Meadows Amphitheatre, which operated from 1981 to 2016. (From 2000 to 2014, it was known as Verizon Wireless Amphitheater.)

At 11,000 seats, the amphitheater is roughly two-thirds the size of the Hollywood Bowl. Its permanent replacement will be “architecturally iconic,” said Mayor Rex Richardson, while this temporary version is likened to a “summer shed.”

(Eric Thayer / Los Angeles Times)

From its opening in October 2017 until its closure, FivePoint hosted nearly 500 concerts, including artists such as KISS, Dave Matthews Band, Charlie Puth, Morgan Wallen and Luke Combs.

Venue operator Live Nation — which manages more than 300 facilities across the country — initially hoped to build a permanent amphitheater nearby, but scrapped those plans in 2023 after the Irvine City Council ended negotiations. Soon after, Live Nation announced the venue would shutter.

After learning of Live Nation’s fallout with Irvine, Richardson and members of his economic development team attended the final FivePoint concert, a performance by the Zac Brown Band, to “explore the feasibility if we were to do the same thing.”

Three months later, Richardson announced plans to build a temporary amphitheater in Long Beach to bridge the gap until a permanent facility — which he envisions as an “architecturally iconic and significant” waterfront venue akin to San Diego’s Rady Shell at Jacobs Park — can be permitted, financed and constructed.

The site’s location is central to its appeal, said Dan Hoffend, executive vice president of North American venues for Legends Global, the operator for F&M Bank Amphitheater. “If you sit in the very top row — what you would consider the worst seat in the house — it’s a spectacular view,” he said. “The Queen Mary is sitting there in all its glory. You’re looking across the harbor. What would be perceived as the worst seat is actually the best seat because you see it all.”

Long Beach Mayor Rex Richardson, left, and amphitheater general manager Tra Jones sit in the stands. Even from the nosebleeds, you still have a view of the waterfront at the F&M Bank Amphitheater.

(Eric Thayer / Los Angeles Times)

Tra Jones, general manager of the new amphitheater and a Long Beach native, said he’s striving to make it feel less stopgap and utilitarian than FivePoint.

“It doesn’t have a temporary feel at all,” he said. “We looked at all our surroundings and said, ‘What does this look like from a stylistic point of view?’ We leaned into the port/SteelCraft vibe — a very cool industrial look. When you walk in, you’re experiencing a vibe. That’s what we want to resonate with concertgoers coming here.”

The word “vibe” also pops up frequently in conversation with Richardson. Under his watch, Long Beach recently started branding itself as “Vibe City,” which he said is an attempt to encapsulate the charm of L.A. County’s second-largest city, and the state’s seventh-largest.

“Long Beach is special, but it’s hard to explain why if you haven’t been here,” he said. “Because you have to experience it for yourself, the best way to describe it is that it’s a vibe.”

Still, Richardson is aware that vibes can only go so far. During an April meeting with residents of downtown Long Beach, attendees were more interested in discussing homelessness and a recent uptick in traffic fatalities than how a new concert venue might add to the city’s cultural cachet. Some downtown residents have circulated a petition regarding noise-related concerns.

“The job of the mayor is to meet the needs of your residents today — keeping a roof over your head, making sure it’s safe to walk down the street, making sure you have access to amenities and services in your community — but also to think about the future,” he said.

That means finding a way to offset revenues from oil extraction, which currently finance many municipal services, and are projected to drop from more than $50 million annually to around $21 million by 2035. According to Richardson, the new amphitheater — managed by Legends Global, but owned by the city — will help cover that shortfall. The venue is projected to be profitable within five years and generate nearly $29 million in revenue by 2036.

Oil revenues, which pay for city services, are projected to drop by more than half. The amphitheater is being pitched as a budget gap solution.

(Eric Thayer / Los Angeles Times)

“We were fortunate that revenue from oil provided a lot of our services and built our beautiful waterfront, but as California moves away from oil production, we have to plan a more sustainable future by investing in what we know will be here in the long haul,” Richardson said. “In order to do that, we have to invest in arts and culture and tourism.”

Richardson is betting on music at a time when other cities — including Los Angeles — are doubling down on sports, warehousing or data centers. The amphitheater is also meant to remind the world of the city’s impact on pop culture.

From War to Warren G and Sublime to Snoop, Long Beach has a rich musical history. The city hosted the first concerts by the Beach Boys and No Doubt, while Rock & Roll Hall of Famers Elvis Presley, the Eagles and Iron Maiden all graced the stage of the Long Beach Arena.

While that venue currently holds more conventions than concerts, Long Beach has hosted notable outdoor music festivals in recent years, including Warped Tour, Day Trip and Dreamstate. Richardson believes the success of those events helped prove the city’s viability as a concert destination.

“This is the first step toward a legacy of leaving our city in a more economically resilient position,” Richardson said. “At every big turn in our city’s economy, we’ve leaned on arts as a way forward, and this is no different.”

Even the bleacher seats represent Long Beach pride at F&M Amphitheater.

(Eric Thayer/Los Angeles Times)

In the 1990s this iconic building was the ultimate destination for kids and teenagers before it was abruptly abandoned, and it’s now set to get one of the city’s largest

If you were a child in the 90s, or just a kid at heart, then there was one place you would have no doubt wanted to visit on a trip to the capital. London Trocadero, an iconic building set at 30 Shaftesbury Avenue has had many different uses over the years, but among millennials it’s perhaps best known for its time as the ultimate indoor amusement park.

From 1996 to 2011, the Trocadero was home to SegaWorld, later renamed to Funland, a sprawling seven-floor, neon-lit complex that was accessed by a long enclosed ‘Rocket Escalator’. It’s perhaps best remembered for the huge indoor drop ride in the centre, and the floor after floor of coin operated arcade machines from the golden era of gaming.

However, after closing, the venue’s future remained uncertain, and the building lie abandoned for many years. The space had a variety of uses over the years, until 2025 when the Zedwell Piccadilly took over a large part of it, creating a pod hotel with 728 windowless rooms and a large rooftop bar.

Now, there are plans to turn part of the building into a giant branch of JD Wetherspoon, creating one of the largest branches in the capital, and the pub chain’s first-ever venue in London’s Theatreland.

The new pub will be called Piccadilly Hall, taking its name from a historic hall which gave Piccadilly Circus its name back in the 17th-century. It’ll span over 3,600 square feet, offering a massive 280 covers, and will open from 7am until midnight seven days a week.

The venue will serve Wetherspoon’s breakfasts and all-day food and drink menus, and is expected to attract theatre audiences, tourists, and locals thanks to its central location. At the moment, there’s no confirmed opening date for this new London branch.

Earlier this year, Wetherspoon opened its first branch outside of the UK, offering British pub food and Spanish favourites to travellers passing through Alicante-Elche Miguel Hernández Airport near Benidorm. The chain also expanded its portfolio with four new branches opening within Haven holiday parks.

Other upcoming openings for the brand include The Sir Ronald Wates in Guildford, which will have the distinction of being the first university-owned Spoons set on a University of Surrey campus. A large branch will also open in Edinburgh in September named The William Chambers, in a building that was once a multi-storey bar and club.

Founder and chairman of JD Wetherspoon, Tim Martin, said: “We are delighted to be opening our first venue in Theatreland in partnership with Criterion Capital. The West End is one of the world’s great hospitality destinations, attracting millions of visitors each year, and we believe this site is exceptionally well suited to the Wetherspoon model of offering good-quality food and drink at reasonable prices in well-managed and historically interesting buildings.”

He added: “We look forward to becoming part of this vibrant area of the West End.”

Have a story you want to share? Email us at webtravel@reachplc.com

A city hearing concerning on-site alcohol sales provided the public a chance to air their opinions on the possible reopening of the Cinerama Dome and ArcLight Hollywood on Tuesday morning.

Though a final letter of determination is still to be issued, Tim Fargo, the associate zoning administrator in charge of Tuesday’s meeting, said he was “inclined to approve” the conditional-use permit under consideration. The permit would cover the Cinerama Dome, 14 adjacent auditoriums and a restaurant café with two outdoor spaces.

The Dome closed in March 2020 with the onset of the COVID-19 pandemic and in April 2021 it was announced that the venue would not be reopening. Film lovers in Los Angeles and around the world have since been hopeful the venue, seen by many as a symbol for Hollywood itself, could reopen.

During the meeting, Elizabeth Peterson-Gower, a land use consultant representing the owner and applicant Dome Center LLC, was asked if there was a timeline for reopening the theaters. She responded, “I too don’t have a schedule yet, but when I do, I’ll convey it to you.”

In a separate phone interview following the meeting Tuesday, Peterson-Gower referred to the approval of the conditional-use permit as a “milestone” in the process of reopening the theaters and added that ownership has noted the intense public interest around the Dome and the ArcLight and that “it will inspire a time frame in the near future.”

Throughout the meeting, Peterson-Gower referred to the success of the Blue Note jazz club that opened on a corner of the property in August 2025.

“What it proves to me is that the ownership cares greatly,” Peterson-Gower said after the meeting. “That’s a big undertaking and a big statement in favor of the fact that ownership care what’s there.”

Numerous other voices were heard throughout the hearing as well. Ted Walker, planning deputy for Council District 13, where the theater is located, said, “Too often we see [historic-cultural monuments] around our city sitting vacant. So we’re very supportive of anything to bring some life back into this. We know there’s a lot of love for the Cinerama Dome and we want to acknowledge the work of all the community members who are advocating for it. We believe resuming these operations will further enhance the vibrancy of Hollywood.”

Burbank City Council member Konstantine Anthony noted that he was a former usher at the Dome and also voiced support for the reopening.

More than 30 people provided public comment. Among those were Kat Kramer, daughter of filmmaker Stanley Kramer, director of “It’s a Mad, Mad, Mad, Mad World,” the very first film to play in the Dome in 1963, film critic Wade Major and Ben Steinberg, who has led a grassroots campaign to get the venue reopened.

The Blue Note Jazz Club undergoes construction near the Cinerama Dome on Tuesday, Aug. 5, 2025, in Los Angeles.

(Juliana Yamada / Los Angeles Times)

One commenter said, “Why have they kept it closed? Is this just a strategy to let it rot so that they can get building violations and just tear it down and build condos? There’s a lot of fear about what’s going to happen with this thing that people feel attached to. And to not answer questions over all this time has frankly been offensive.”

Another commenter said that the delays in reopening feel like ownership “keeping a bit of our heritage hostage from us.”

Even those who were asking for clear specifics from ownership were nearly all in favor of granting the conditional-use permit, which was the ostensible purpose of the meeting. As local preservation advocate Kim Cooper said, “I know that this has been hard and it has seemed like the citizens versus the ownership — that’s not what it is. People want to come together and help and bring this place back.”

Speaking after the meeting, Peterson-Gower noted her own history with the Dome, having been involved with many events there in the late ’80s and early ’90s when she was vice president of the Hollywood Athletic Club, located just a few blocks away on Sunset Boulevard.

“Everyone has a story about the Dome that’s lived here, even me,” she added. “I didn’t want to bring my personal life into the hearing, but I care passionately as well about it opening.”

While the final outcome of the hearing is still to be fully determined, all signs point to the permit being granted and the project being free to move forward.

“I was overwhelmingly pleased with the comments,” said Peterson-Gower. “I think that it shows that there’s a great historic use in a historic property and I think that people care passionately about it operating and are very, very proud of the property being here in Hollywood.”

A request from Los Angeles police officials to boost staffing and purchase new vehicles in time for the 2028 Olympic and Paralympic Games has been met with deep skepticism by City Council members who worry about committing funding amid uncertainty around the plan to secure the venues.

During an hours-long budget hearing Tuesday, LAPD Chief Jim McDonnell repeated a warning he has issued in recent months, suggesting that public safety will suffer if the city doesn’t hire more officers to replace the hundreds expected to leave the department in the next two years.

Despite recent recruitment gains, McDonnell said the council needs to fund the new hires now, so the department can staff up in time for the Olympics. Under the current security plan, the LAPD would supply about 2,400 officers, or just under a third of the total officers needed to police the Games.

The LAPD is requesting 520 new police recruits for the next fiscal year, which would grow the 8,600-member department by about 10 officers, with projected attrition at 510 officers.

The department is also requesting nearly $100 million from the city to purchase more than 500 new vehicles, as well as equipment such as an upgraded radio network, new computers and more than 1,600 body cameras, for the Games. LAPD officials said that after the Games, the vehicles would be used to upgrade the department’s aging fleet.

LAPD Cmdr. Mario Mota told council members at the Tuesday hearing that hundreds of the new vehicles would police the eight Olympic venues within city boundaries. The additional patrol cars and other specialized vehicles would also allow police to continue normal operations elsewhere over the 66 days between the July 14 start of the Olympic Games and the end of the Paralympic Games, he said.

LAPD officials said there was a misconception that federal authorities will take the lead on all security operations at Olympic venues. In fact, the federal priority will be safeguarding international delegations and protecting high-security areas, while the LAPD and other state and local agencies will be responsible for securing areas where most Olympic-related events are being held. The LAPD will still respond to 911 calls within city limits.

The U.S. Secret Service has not yet released details on how many federal agents will flood secure zones around venues, which include Los Angeles Memorial Coliseum, Exposition Park and Crypto.com Arena.

Some L.A. officials have expressed growing fears that taxpayers and the city treasury could be hit with a round of crippling costs if the city doesn’t ink a rigorous deal with LA28, the nonprofit that is organizing the Games, to ensure a “zero-cost” event.

The federal government has set aside $1 billion for Olympics security spending, including for local and state law enforcement, but has given few details about when and how it will distribute those funds, amid concerns that President Trump and a Republican-controlled Congress might not follow through with its funding pledge. The exact costs to L.A. and other local governments remain unknown, as officials wait to hear from federal security agencies about what services will be needed.

Police officials previously told the department’s civilian watchdog that the city has to allocate the money to the LAPD before the federal government can say how much it will reimburse.

That uncertainty didn’t sit well with some council members.

“What is LAPD’s role inside the perimeters of the venues?” Councilmember Katy Yaroslavsky, who heads the budget committee, asked at one point during the meeting. “The fact we haven’t nailed this down and it feels like we’re having two conversations — it’s confusing and frustrating.”

Some council members questioned whether the new vehicles in the budget proposal were necessary — and fiscally responsible.

When asked why the department can’t lease squad cars or repurpose existing vehicles, an LAPD official admitted that those options hadn’t been explored — which drew an exasperated response from Councilmember Tim McOsker.

Some of the concerns raised by the City Council echoed activists and other observers, who point to the LAPD’s increased militarization after the 1984 Summer Olympics — when it acquired new equipment that some say was disproportionately used against communities of color in the years that followed.

Security preparations for the Olympics have been ongoing for years. The LAPD has sent delegations to Italy and France to observe security measures in those host nations. But in other ways, progress has been slow. Several months ago, McDonnell quietly replaced the department’s Olympics czar, Cmdr. Hamed Mohammadi, with Deputy Chief Billy Brockway.

“We’re going in the wrong direction as far as personnel,” McDonnell said. In all, police officials estimated that 30,000 law enforcement employees from various state and local agencies will be involved in the security operations.

Mayor Karen Bass, who is running for reelection, once hoped to bring the LAPD back to 9,500 officers — its size when she took office. But amid a continuing budget crunch, she recently said she is more focused on keeping the department from getting smaller.

Overtime for Los Angeles police officers, and any other major expenses, would be acutely felt by a city government that recently closed a nearly $1-billion budget deficit, in part by slowing police hiring. The police union may try to negotiate for bonus, hazard and standby pay for officers who work the Games when their contract expires next June.

The last U.S. host city, Salt Lake City, had a much smaller police department but benefited from an infusion of federal funding and mutual aid agreements with neighboring agencies. Under California law, LAPD officials said, law enforcement agencies can enter mutual aid agreements only after a state of emergency has been declared, such as after a natural disaster.

Several council members asked whether the department has considered lobbying for changing the state law; LAPD officials admitted that they haven’t.

Some on the council also questioned whether the department should be doing more to reassign sworn officers working administrative jobs that could be handled by civilian employees.

Times staff writer James Rainey contributed to this report.

Far-right mayor opposes plan for football team to lose stadium access due to 2030 Winter Games’ ice hockey.

French organisers of the 2030 Winter Olympics are looking at alternative locations for ice hockey outside of Nice, including Paris and Lyon, because of a political deadlock involving the coastal city’s new mayor.

Like the Milan Cortina Olympics, the French Alps project has split snow sports in storied mountain resorts and skating in a snow-free city, the Mediterranean resort of Nice.

Nice was to turn the city’s football stadium, Allianz Arena, into a temporary hockey rink.

But Nice’s newly elected far-right mayor, Eric Ciotti, opposes the plan, refusing to allow the resident football club to lose access to its stadium for months because of the games. Ciotti, a former conservative allied with the National Rally party of Marine Le Pen, was elected last month.

The 2030 Games organisers said on Tuesday they have worked with officials from Nice and its wider region, as well as the French government, to find solutions for placing ice hockey within the Olympic hub in Nice. A temporary ice rink, intended as a replacement for the originally planned Allianz Riviera stadium, was studied at other stadiums, mainly for men’s hockey matches.

“Technical, scheduling, and financial analyses highlighted the limitations of these options, particularly due to their very high cost and impact,” organisers added.

“With a focus on efficiency and budget optimisation, the (organising committee) has decided to broaden its investigations by examining the use of existing facilities in other major metropolitan areas such as Lyon or Paris, particularly those offering a minimum seating capacity of 10,000,” they added.

Results of their explorations will be presented to the organising committee’s executive board on May 11. The final venues are expected to be confirmed in June when the International Olympic Committee (IOC) decides the list of sports and events.

“The analyses carried out are leading us to turn towards existing facilities that are better suited and more sustainable. Several options are being studied to ensure hosting conditions that fully meet our requirements,” said Edgar Grospiron, the former Olympic champion freestyle skier who leads the organising committee.

The Paris Entertainment Company, which operates Adidas Arena and Accor Arena in the French capital, said last week it submitted a bid to host ice hockey. Both venues were used during the 2024 Paris Summer Games.

French Alps Games organisers said a second competition ice rink for skating is still planned at Nice’s exhibition centre, and other ice events scheduled in Nice remain unchanged.

NEW YORK — Beverly Hills-based Live Nation and its Ticketmaster subsidiary faced a bruising courtroom loss Wednesday after a federal jury found that the company operated a monopoly over concert venues.

The verdict by a Manhattan, N.Y., jury came after a five-week trial and caps a closely watched case that could have far reaching effects across the music industry, potentially leading to the breakup of the companies.

Ticketmaster is the world’s largest ticket seller for live events, while Live Nation is a dominant force in the concert business.

The civil case began when the federal government alleged that Live Nation used its clout to engage in a variety of anticompetitive practices, including preventing venues from using multiple ticket sellers.

“It is time to hold them accountable,” Jeffrey Kessler, an attorney for the states, said in a closing argument. He called Live Nation a “monopolistic bully” that drove up prices for ticket buyers.

Jurors agreed. They found that Ticketmaster had overcharged consumers by $1.72 for each ticket. The judge will assess damages later.

Live Nation, which owns and operates hundreds of venues, countered that it did not violate U.S. antitrust laws, arguing that artists, sports teams and venues decide prices and ticketing practices.

“Success is not against the antitrust laws in the United States,” Live Nation attorney David Marriott said in his summation.

Live Nation said in a statement that the “jury’s verdict is not the last word on this matter,” noting the court had yet to rule on a motion it had filed to challenge its liability in the case.

The trial revealed some embarrassing internal communications, including emails from a Live Nation executive who called customers “so stupid” and said the company was “robbing them blind, baby.” The executive, Benjamin Baker, testified that the messages were “very immature and unacceptable.”

The original lawsuit, led by a cadre of interested parties including the federal government, 39 states and the District of Columbia, dates to 2024. It alleged that Live Nation and Ticketmaster monopolized various aspects of the live music industry, such as concert promotion, venue operations, artist management and ticketing services.

Live Nation manages more than 400 artists and controls more than 265 venues in North America, while Ticketmaster simultaneously controls around 80% of the primary ticket marketplace and also is increasing its involvement in the resale market, according to the lawsuit.

Last month, Live Nation secured an unexpected tentative settlement with the Department of Justice in which the company agreed to several structural changes to its business, including adjustments to ticketing deals with venues, capping service fees and paying a $280-million fine.

However, more than 30 states, including California, decided to proceed with the trial. California Atty. Gen. Rob Bonta praised these state-led efforts to protect consumers, even amid dwindling antitrust enforcement from the Trump administration, he said in a statement.

“This is a historic and resounding victory for artists, fans, and the venues that support them,” Bonta said. “We are incredibly proud of today’s outcome … this verdict shows just how far states can go to protect our residents from big corporations that are using their power to illegally raise prices and rip-off Americans.”

Though a verdict has been reached, remedies for how Live Nation will be held accountable for its actions are still being decided by the judge.

One possibility is that the companies could be split up, an outcome favored by critics.

National Independent Venue Assn. Executive Director Stephen Parker said Ticketmaster and Live Nation need to be separate for the industry to see change.

“Live Nation and Ticketmaster must be broken up now. Ticketmaster should not be permitted to participate in the ticket resale market. Live Nation should not be able to promote more than 50% of artists’ tours,” Parker said in a statement. “And the damages paid to the states should be remitted to the independent venues, promoters, festivals, and fans that have suffered under Live Nation’s monopolistic reign over the last 15 years.”

Serona Elton, attorney and interim vice dean at the University of Miami’s Frost School of Music, said that the separation of Live Nation and Ticket master seems to be “on the table,” but she said it’s too early to assess the verdict’s fallout on the music industry.

Elton said fans might notice small changes in pricing, but there are factors other than Live Nation that are contributing to high ticket prices, such as the secondary ticket market as well as supply and demand challenges.

The verdict, Elton said, “sends a message of support to music companies and professionals working in the live space who have felt like they have suffered financial consequences because of Live Nation’s behavior.”

The ruling is a small but necessary step toward achieving a balanced and competitive ticketing industry, said Hal Singer, a managing director of economic consulting firm Econ One, who specializes in antitrust and consumer protection issues.

Forcing a Ticketmaster sale probably is the only remedy that will bring real change, Singer said.

“We’re not out of the woods quite yet,” Singer said. “We’ve kind of tilted the probability.… It could change the competitive balance. But that requires that a meaningful remedy follows the liability. You need both.”

Fans and some artists have long groused about Ticketmaster, which was founded in 1976 and merged with Live Nation in 2010.

Dustin Brighton, director of government relations for the Coalition for Ticket Fairness, agreed that although the verdict is a landmark moment for fans, “it’s not the end of the road.”

“As the court considers remedies, the focus must be on restoring competition, increasing transparency, and ensuring fans have real choice,” Brighton said in a statement.

Times staff writer August Brown and the Associated Press contributed to this report.