Despite his impressive roster of stadium-filling artists, which includes not only Taylor Swift but also Kenny Chesney, George Strait, and Ed Sheeran, Messina claims he is vulnerable to the practices of Live Nation. In a powerful submission to the presiding judge, he argued, “I write this letter because I am concerned that the music industry is broken. If it is not fixed, I could go out of business just like other independent promoters who have fallen victim to Live Nation.”

Messina asserts that the current consent decree, intended to address antitrust concerns, is a “step backward” that would worsen the situation. He suggested that he is one of the few willing to speak out, as most artists, agents, and managers fear retaliation from Live Nation. “Live Nation already has turned against me,” he claimed, alleging discrimination due to his association with rival group AEG.

His letter detailed personal experiences, stating that Live Nation stopped returning his calls in 2024 when he attempted to route several tours through their amphitheaters. This alleged shutdown impacted his ability to work with artists like The Lumineers, Old Dominion, and Shawn Mendes, and even potential clients like Mumford & Sons, who he says were forced to use Live Nation as a promoter to access their venues. “If Live Nation prohibits artists from using me to promote their amphitheater shows, I cannot compete,” Messina emphasized.

At the heart of Messina’s argument is Live Nation’s “monopoly money.” He explained that Live Nation’s substantial revenue comes primarily from ticketing fees and sponsorships, not necessarily from successful tours. “Live Nation makes almost a billion dollars from ticketing fees every year while in many years they make little, if any money in their touring business,” he wrote. This financial structure, he argues, allows Live Nation to offer artists massive guarantees that no other promoter can match, effectively buying out or driving independent competitors out of business.

The legal landscape surrounding Live Nation and Ticketmaster has been complex. While the federal government proposed the consent decree to maintain the company’s structure, several states involved in the antitrust action refused to join the settlement, and a jury found Live Nation liable on some original antitrust claims.

Messina recounted his long history of helping artists like Taylor Swift and Kenny Chesney develop their careers by promoting early tours in Live Nation amphitheaters. This access, he stated, was crucial for his artists and his business. However, his arrangement with Live Nation ended in 2024, leading to the alleged communication blackout and forced artist rerouting. He noted that Live Nation only resumed contact in 2026, after the consent decree was submitted.

“What I experienced in 2024 drove home how easy it is for Live Nation to destroy my business, like it has destroyed other promoters, and how something needs to change or Live Nation will always be able to hold the industry hostage,” Messina concluded. He firmly believes the consent decree fails to address the critical issue of venue access.