Most notably, Live Nation acquired a controlling interest in OCESA Entretenimiento and Ticketmaster Mexico from CIE and Grupo Televisa.
OCESA/CIE was the largest promoter in Mexico and the fifth-largest promoter in the world in 2018, with 3.8 million sold tickets reported. Ticketmaster Mexico is the largest event ticketer in Mexico, selling 37 million tickets annually. The deal also brought OCESA Seitrack, the booking and artist management joint venture, and corporate event specialist CREA under the Live Nation umbrella.
1 comment:
What an interesting article, I think it is pretty crazy to think about how there are certain companies like Telecharge, Ticketmaster, Live Nation, or Disney that just monopolize an industry. I feel like in conversations with my cohort, it is always about how Disney is a huge monopoly but I feel as though we never talk about how ticket agents or certain theatre building owners have monopolies. In New York, the Nederlanders and the Shuberts own almost all the Broadway theatres and from this article, it seems as though Ticketmaster and Live Nation owns all the ticket sales of live events. Even though this monopoly wasn’t the main focus of the conversation, I think it was an interesting one. Also, the conversation mentioned briefly about how in Latin America and Europe, the ticket market and system seem to be a little different was interesting. The heart of the article was all about the explosion of Latin American Artists and this is awesome but surprising for me - not that I didn’t think Latin American artists don’t have the ability to become starts at this level but because I haven’t heard of many of the artists in this article. This article points out how in an industry or specific population, a person can be a household name while in it other populations, a person’s name isn’t even registered as a star. I love the idea of how this can happen. I find it to be true in the theatre world all the time.
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