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The men’s NCAA March Madness tournament is down to the Final Four. This Saturday, April 4, No. 2 UConn will face No. 3 Illinois for a chance to appear in Monday’s National Championship game. Whoever is victorious will go on to face a No. 1 seeded team in either Michigan or Arizona.

How to Watch UConn vs. Illionis, At a Glance

The Huskies shocked the basketball world when freshman Braylon Mullins nailed a three-pointer at the buzzer to defeat top seed Duke during their Elite Eight game. On the other hand, Illinois has been cruising past teams during the tournament beating each opponent by double digits.

The semifinal game will tip-off at Lucas Oil Stadium in Indianapolis, Indiana this Saturday, April 4, at 6:09 p.m. ET. Don’t have cable? We’ve compiled a guide to watching TBS, TNT and truTV online for free and without cable. Learn more below.

Where to Watch UConn vs. Illinois March Madness Games Online:

Watching March Madness can be tricky, but with our guide basketball fans can choose the right streaming platform to watch their favorite teams play. Fans can take advantage of multiple streaming services that offer free trials, so you can stream the college tournament for free. Signing up to streamers like DirecTV, Hulu + Live TV and Sling TV, you can get right into the Final Four action.

UConn vs. Illinois: How to Watch the March Madness Final Four Game

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DirecTV

Get access to CBS, TBS, TNT, and truTV.


DirecTV is offering a five-day free trial, which will let you watch CBS, TBS, TNT, and truTV for free. The Entertainment and Sports Programming Network is included in all of the streaming packages. In addition to unlimited DVR storage, you’ll get access to local channels and the ability to stream on as many devices as you want.

Another great option for fans to watch the Final Four is on Sling TV. The streaming services offers three different packages to choose from, such as Orange, Blue and Orange + Blue. The Orange Package is tailored for sports and family channels, while the Blue package has a focus on news and entertainment channels. However, both come with TBS to watch March Madness games online and start at $45 per month. If you want best of both worlds, users can combine both packages and get everything Sling has to offer.

Please note: Pricing and channel availability varies from market-to-market.

UConn vs. Illinois: How to Watch the March Madness Final Four Game

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Hulu + Live TV


For the most content options, Hulu + Live TV gives you access to the entire Hulu library in addition to more than 95 live TV channels — including CBS, TBS, TNT, and truTV for just $82.99 per month.

And, unlike the rest of the options, you can also expand your content library by bundling Hulu + Live TV with Disney+ and ESPN Unlimited. You’ll not only have all of the Hulu library to watch, but also exclusive and original programming available exclusively on ESPN Unlimited.

Max has multiple subscription tiers: ad-supported, commercial free and ultimate ad-free. Max’s paid subscriptions start at $10.99/month for the basic ad-supported streaming, or $18.49/month to watch ad free. With HBO Max you can watch each channel broadcasting March Madness games, including CBS, TBS, TNT, and truTV.

The Premium ad-free package is $22.99 per month and includes 4K Ultra HD quality, 100 downloads to watch on the go and you can stream on up to four devices at once. You can also bundle Max with Hulu and Disney+ for $19.99/month for ad-supported streaming on up to two devices at once and $32.99/month for ad-free streaming.

Shiloh Jolie is making a surprise appearance in Dayoung’s upcoming music video.

On Thursday (April 2), the K-pop singer shared a teaser for her forthcoming video “What’s a Girl to Do,” and fans were surprised to spot a cameo from Jolie, the 19-year-old daughter of Angelina Jolie and Brad Pitt.

Shiloh briefly appears in the 30-second clip, sporting slicked-back hair, a lacy brown top, hoop earrings and a lip ring. She is also seen in a choreographed sequence, where numerous dancers surround Dayoung as a pulsating beat plays in the background.

The “What’s a Girl to Do” teaser ends with the message, “She makes the first move,” as the April 7 release date appears in the background.

Shiloh was cast in the video as part of an “open audition” in the U.S., a representative from Starship Entertainment told Maeil Business Newspaper Star Today.

“We held an open audition in the United States of America (US) to cast performers for Dayoung’s music video,” the rep told the outlet. “Among those who took part were several performers affiliated with a dance crew called ‘Culture.’”

The agency insists Jolie’s casting wasn’t a PR stunt.

“Shiloh was selected in the final round and ended up joining Dayoung’s music video,” the representative added. “Even after filming, we had no idea she was the child of Angelina Jolie and Brad Pitt, and only found out by chance quite recently.”

After the teaser was released, many fans took notice of Shiloh’s resemblance to her famous mother. “Holy s—t, mamma’s good genes are sooooo strong,” one person wrote on X. “It’s the eyes and the lips for me,” another wrote. “Pure Angelina energy.”

This isn’t the first time Shiloh has demonstrated her talent in front of the camera. In May 2024, choreographer Lil Kelaan Carter shared a video on Instagram of the teenager dancing solo to “Tanzania” by Uncle Waffles and Tony Duardo, featuring Sino Msolo and Boibizza.

“Her movement is crazy … Thank you for your energy @sh1lohj,” Carter captioned the clip.

Watch the teaser for Dayoung’s “What’s a Girl to Do” video below.


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Yes is postponing their European tour so that guitarist Steve Howe can undergo an “essential operation.”

The English progressive rock band took to social media on Thursday (April 2) to announce that the group is delaying the 11-date Fragile tour of Europe to allow Howe time to recover from an undisclosed surgery.

“The upcoming YES ‘Fragile’ UK and EU Tour, due to commence on 22nd April, has had to be postponed as guitarist Steve Howe requires an essential operation that requires recovery time,” Yes wrote on Instagram. “This decision has been made to ensure that Steve can return to the stage in full health and deliver the performances that fans deserve.”

The European leg of the tour was originally scheduled to begin on April 22 at Scotland’s Glasgow Royal Concert Hall and was set to feature a full performance of the band’s 1971 album, Fragile. The tour follows a North American leg, which took place in 2025.

Yes added, “We are working hard to reschedule the UK and EU shows to a later date, with full details to be announced after Easter. Please retain your tickets as they will be valid for the rescheduled dates.”

The band concluded their statement, “Tour dates currently being arranged for later in 2026 will proceed as planned. Steve Howe and YES would like to thank their UK fans and hope for their continued support at this time.”

Released in November 1971, Fragile was Yes’s fourth album and the third they released within a 16-month span. It became the group’s most successful release up to that point, building on the success of The Yes Album, which had reached No. 40 on the Billboard 200. Fragile would peak at No. 4, surpassed only by Close to the Edge the following year.

Of the original lineup that recorded Fragile, only Howe remains an active member. Drummer Bill Bruford left the group in 1992, while vocalist Jon Anderson and keyboardist Rick Wakeman departed in 2004. Bassist Chris Squire stayed with the band until his passing in 2015.

See Yes’ full announcement on Instagram below.


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Legendary drummer James Gadson, who backed iconic artists including Diana Ross, Bill Withers and Marvin Gaye, has died. He was 86.

Gadson’s wife, Barbara, confirmed his passing to Rolling Stone on Thursday (April 2), noting that he had recently faced health challenges, including a surgery and a fall that injured his back.

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“He was a wonderful man,” Barbara said. “He was a great husband, father, grandfather, great grandfather, and one hell of a drummer.”

Gadson became one of the defining funk, soul, and disco drummers of the 1970s, providing the beats on classics such as Withers’ “Lean on Me” and “Use Me,” The Jackson 5’s “Dancing Machine,” and Ross’ “Love Hangover.” During that decade, he also played on Gaye’s “I Want You,” Thelma Houston’s “Don’t Leave Me This Way,” and Charles Wright & the Watts 103rd St. Rhythm Band’s “Express Yourself.”

“Most grooves, especially for dance music, are very simple,” Gadson told Modern Drummer in 2007. “Even so, to learn them, you have to slow them down. A lot of times we do all these rudimental things to see how fast we can play. I think you have to slow it all down and simplify it. Then you can kind of feel whether it’s danceable or not.”

As a highly in-demand session player, Gadson also recorded with the Temptations, Leonard Cohen, Bobby Womack, B.B. King, Barbra Streisand, Ray Charles, Gladys Knight, Patti LaBelle, Herbie Hancock, Paul McCartney, D’Angelo, Beck, Kelly Clarkson, Justin Timberlake, Lana Del Rey, and Harry Styles.

Born on June 17, 1939, in Kansas City, Missouri, Gadson grew up in a musical family. His father was a drummer who bought him and his brother cornets to play in their school’s drum and bugle corps. As a teenager, he sang doo-wop with a group called the Carpets and later discovered funk music while stationed in Louisiana with the Air Force, according to Rolling Stone. After leaving the service, he joined his brother’s band, playing keyboards and singing, while also teaching himself to play the drums.

Gadson later began playing drums with Charles Wright & the Watts 103rd Street Rhythm Band and recorded several albums. He also served as a drummer at various times for artists touring through Kansas City, including Hank Ballard & the Midnighters, Jimmy Reed, Sam Cooke, and Otis Redding.

“At first, during the time I didn’t really know how to play R&B, it was awful,” he told Modern Drummer. “I wouldn’t even charge them it was so bad. I felt bad about wasting their studio time. I couldn’t keep a steady pattern because I was coming from a free-jazz mindset.”

Numerous artists paid tribute to Gadson following his passing.

“My heart is heavy at the passing of my old friend the legendary drummer James Gadson,” Beck wrote on Instagram. “He played drums on many of my records over the decades, from midnite vultures on and has been a significant part of the sound of so many of my songs.”

The musician added, “I feel fortunate to have known this gentle giant of a man who was such a musical force and left his mark on so much classic music, from bill withers to I will survive.”

Questlove also remembered Gadson, writing on Instagram, “Some drummers are soulful. Some drummers are funky. Some drummer are a rockin. Some drummers are swinging——but NO drummer, has impacted the art of breakbeat drummer (danceable drums) like James Gadson.”

Ray Parker Jr. commented on Instagram, “We played together over 50 years. He changed the world.”


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Ye amped up the star power at his second comeback concert at SoFi Stadium.

The 48-year-old hip-hop artist, formerly known as Kanye West, returned to the stage for his second sold-out show at the Inglewood, California, stadium on Friday (April 3), surprising fans with numerous special guests, including Lauryn Hill and Travis Scott.

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Halfway through the show at the 70,000-capacity venue, Ye brought out Ms. Hill, who emerged through a dense cloud of smoke to join him for a show-stopping performance of “All Falls Down.” The track, which reached No. 7 on the Billboard Hot 100 in 2004, samples Hill’s 2002 song “Mystery of Iniquity” from her MTV Unplugged No. 2.0 live album.

Hill remained on stage for several performances, including a rendition of “Doo Wop (That Thing)” that transitioned into West’s “Believe What I Say.” She then brought out her sons, Zion Marley and YG Marley, for performances of “Heartbeat,” “Crisis” and “Praise Jah in the Moonlight,” the latter of which YG co-wrote with his mother.

Last year, Ye compared his then-unreleased Bully album to Hill’s seminal 1998 album, The Miseducation of Lauryn Hill.

“Yeah, because you lean on a bar that brings somebody down — that was always rap,” West said on The Download podcast in February 2025. “This is more the way I remember Lauryn Hill[‘s] album, the way I remember Miseducation. I feel it is my Miseducation. It is my Gnarls Barkley album. Because Bully has a title and connotation that a lot of people are anti-bully. But I’m just hyper-next-level frequency right now.”

Earlier in Friday’s show, Ye welcomed Scott for a collaborative performance of Bully lead single “Father,” with Scott wearing a mask and a shirt emblazoned with the word “Unsane.” La Flame also performed his Utopia hit “Fein.”

Other guest appearances included CeeLo Green, who joined Ye for a performance of Bully‘s title track, and Ye’s 12-year-old daughter, North West, who rapped on “Bless Me” and “Piercing on My Hand.” North had also appeared during Ye’s opening SoFi show earlier in the week. André Troutman was also brought onstage for a performance of “All the Love.”

Following the release of Bully, Ye appears to be planning performances across the globe, including three nights headlining Wireless Festival in London from July 10–12. His return to Finsbury Park will mark his first U.K. show since 2014. He also has another show scheduled in Italy about a week later this summer.


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The Lux Tour’s stop in Madrid continues to generate buzz. On the third night at the Movistar Arena (April 3), Aitana was the guest for the segment preceding “La Perla,” a confessional where Rosalía invites well-known figures to speak candidly. The singer sat in the confessional alongside Rosalía, visibly nervous at the start of the exchange.

“Is this going to be published somewhere?” she asked, eliciting laughter from the crowd. Rosalía reassured her, encouraging her to continue. “Well, in that case, I have a few things to share,” Aitana replied, still jokingly.

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“I’ve been with a lot of people… athletes, actors, singers,” she said, before focusing on a specific experience. “It was very good — definitely not bad — but there came a point where I didn’t know what was going on,” she added. “When we were about to hit the one-year mark, he told me: ‘After a year, I can be unfaithful.’ And I thought, ‘Well, at least he’s honest.’” Rosalía reacted immediately. “He knew from the start that he had an expiration date.”

Aitana continued with the second part of the story, now without the lighthearted tone. “The problem is that sometimes you go back… you try again,” she said. “A few months later, I decided to give it another shot, but then those statements came out.”

“What statements?” Rosalía interjected. Aitana confirmed it was about another singer, to which Rosalía responded, “Singers are always making statements… and then it’s us [who deal with it].” “And there was nothing to declare,” Aitana said. “That’s where it ended… kind of sad, really. When that came out, I thought, ‘How embarrassing.’”

The moment took another turn when Rosalía tried to connect the dots. “Could it be the one who pulled some marketing stunt by saying something about me?” she asked, adding after Aitana’s positive reaction. “I knew it. I have to confess something else here: he apologized to me, and I didn’t forgive him — sorry.” To which Aitana replied, laughing, “You were much smarter than I was.”

The exchange ended with one of the most celebrated comments of the night: “If in the first year he says there are problems, that’s not it, sister,” Rosalía said.

Although Aitana didn’t mention the name of the ex she was referring to, fans on social media immediately speculated that it was Colombian singer Sebastián Yatra, with whom she was romantically linked between 2022 and 2023.

Billboard Español has reached out to representatives for both artists for comment.

Aitana’s appearance adds to the list of guests at the “confessional,” which has become one of the most distinctive and entertaining elements of the Lux Tour in its early dates, following previous apprearances like Esty Quesada and singer Metrika.

Rosalía’s residency in Madrid concludes this Saturday (April 4). The Lux Tour will continue in Lisbon (April 8 and 9) before wrapping up its Spanish leg in Barcelona (April 13, 15, 17 and 18). The tour will head to the U.S. this summer, starting on June 4 in Miami and stoping at cities like Boston, New York and Chicago.

Watch Aitana at Rosalías confessionary in the video shared by the Movistar Arena in Madrid.


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From career milestones to new music releases to major announcements and those little important moments, Billboard editors highlight uplifting moments in Latin music. Here’s what happened in the Latin music world this week.

J Balvin Visits Young Fan Maité in Pereira, Colombia

On a reel posted to Instagram on Tuesday (March 31), J Balvin surprised Maité, a young girl from Pereira whose story went viral on social media, following his sold-out concert at the Hernán Ramírez Villegas Stadium. Maité, who lives with a visible physical condition affecting her hands, captured hearts with her beaming positivity as she gave the superstar a tour of her home, as seen in the clip. “I’ve been wanting to come to this house for a while. I really enjoy discovering, appreciating, and learning,” said the hitmaker in the video. The reggaeton star learned more about her family’s living conditions and announced plans to assist with the complete renovation of their house. In the meantime, Maité and her family will move into a fully furnished apartment.

The moment was facilitated by the Colombian anonymous content creator, Camilo Cifuentes, known for his social work supporting vulnerable communities, such as small street vendors and homeless individuals. Watch the heartwarming moment with J Balvin, the young girl and her family below.

Ela Taubert Shares Her Career Journey in GRAMMY U Session

In collaboration with The Recording Academy, GRAMMY U’s Florida Chapter hosted an “Up Close & Personal” session with Colombian star Ela Taubert on Wednesday (April 1), giving members an chance to engage directly with the Latin Grammy-winning singer-songwriter. During the hour-long panel, moderated by Colombian-American artist Alemor at Studio 26 in Miami, Ela Taubert shared reflections on her artistic journey, and the evolution of her sound, offering advice to young professionals in the music industry. The 2024 Best New Artist winner capped the GRAMMY U session with an intimate acoustic performance of her introspective pop single “La Gente Cambia” released last month, and her hit song “¿Cómo Paso?”

“I started doing three videos a day, and I was studying and working at the same time. I kept doing that for three months, and nothing happened, I was frustrated,” Taubert said during the panel. “One day, I remember seeing this video have 50,000 views. But for me, the message was trust yourself and trust the process, and don’t get frustrated if nothing happens right away. For me, that’s the key to success.”

Guaynaa Joins The Latin Music Explosion Panel at Berklee College of Music

On Monday (March 27), the Latin Management Club and the Career Center at Berklee College of Music hosted a panel titled The Latin Music Explosion, highlighting the global rise of Latin music. Moderated by Professor Marus, the event featured Puerto Rican star Guaynaa, Grammy-winning producer Manuel Lara, and Live Nation executive Jorge Garcia. Guaynaa, best known for his hits such as “Rebota” and “Chicharrón,” shared his music journey and career insights.

“I was working at a shopping center selling phones and phone covers when I had my first hit that went viral. I was identifying the necessities of the music and of the market and I delivered a way to satisfy it,” said Guaynaa during the panel. “I started surrounding myself with people with the same hungry — the same desire of making something happen for the culture. At some point, [I] started realizing that it’s not about the likes or the recognition but more about how you impact the culture.” Watch clips from the panel below in the carousel.

Peach PRC has released her debut album Porcelain, marking a major milestone for the Australian pop artist following the breakout success of her earlier releases.

Arriving April 3, the full-length project introduces a more expansive body of work from the singer-songwriter, who first gained widespread attention with her 2023 EP Manic Dream Pixie. That release debuted at No. 1 on the ARIA Albums Chart and helped establish Peach PRC as a rising voice in alt-pop, with a growing global streaming audience.

The album’s release is accompanied by a new single, “Hold It for Her,” alongside an official music video directed by Tom Carroll. The track was written and produced in Los Angeles with Harry Charles, whose previous collaborators include Tate McRae, Dove Cameron and King Princess. Lyrically, the song explores themes of anticipatory grief, with Peach PRC framing the concept as emotional moments passed between versions of herself over time.

Porcelain features contributions from a range of producers and songwriters across the pop landscape, including Konstantin Kersting, Larzz Principato, Space Primates, Ryan Linvill and JBACH. The album builds on Peach PRC’s signature blend of diaristic lyricism and polished pop production, while expanding her sonic palette with electronic influences.

The release also arrives as part of a broader rollout that includes a one-night-only launch event in Sydney. Scheduled for April 8 at The Calyx in the Royal Botanic Gardens, the event is presented in partnership with Pandora and will feature an intimate Q&A and live performance. Attendees will also receive a custom-designed Pandora charm tied to the album’s visual and thematic world.

Since her emergence, Peach PRC has built a dedicated fanbase through her candid songwriting and distinctive aesthetic, often addressing themes of identity, relationships and mental health. The success of Manic Dream Pixie positioned her as one of Australia’s most prominent new pop exports, and Porcelain represents her first full-length statement.

Ben Platt and Rachel Zegler have announced the upcoming release of The Last Five Years (25th Anniversary Live at the London Palladium), an official live recording of Jason Robert Brown’s acclaimed musical, set to arrive April 20 via Atlantic Records.

The news was revealed during bows at the Hollywood Bowl, where the two stars surprised audiences by confirming the project from the stage. Pre-orders and pre-saves for the album became available immediately following the announcement, marking the latest milestone in the musical’s 25th anniversary celebrations.

Captured during a sold-out concert residency at London’s historic Palladium from March 24–29, 2026, the recording documents Platt and Zegler’s performances in the special anniversary staging of the beloved two-character musical.

The production was conducted and directed by Brown, the Tony Award-winning composer behind Parade and The Bridges of Madison County, and brings a symphonic scale to the show’s intimate storytelling.

First premiering in 2001, The Last Five Years has long been regarded as a modern musical theater staple. The story follows two New Yorkers navigating a five-year relationship, told through an unconventional structure in which Cathy’s narrative unfolds in reverse chronological order while Jamie’s moves forward in time. The show has maintained a devoted following for its emotionally direct songwriting and distinctive narrative format.

The newly announced live album aims to capture the dynamic between Platt — a Tony, Grammy and Emmy winner known for his role in Dear Evan Hansen — and Zegler, a Golden Globe-winning actress whose recent credits include West Side Story and The Hunger Games: The Ballad of Songbirds & Snakes. Their pairing has been a central draw of the anniversary production, which quickly sold out its London run.

The 25th anniversary celebration will continue with two additional performances at New York City’s Radio City Music Hall on April 6 and 7, both of which are also sold out. Those shows mark the final performances of the concert staging.

The release continues Atlantic Records’ long-running involvement in major musical theater recordings, following titles such as Hamilton, Dear Evan Hansen, and Jagged Little Pill, all of which earned Grammy Awards for best musical theater album.

The Last Five Years (25th Anniversary Live at the London Palladium) is scheduled for release April 20.

In the fourth week of Live Nation’s antitrust trial, key defense witnesses took the stand as the concert giant continued to make its case to the jury — and the company also accused its biggest competitor of using underhanded tactics to prevent a key witness from testifying.

You’re reading Billboard’s weekly Live Nation trial recap, a weekly one-sheet of everything that happened in the monopoly case against the concert giant. Stay tuned here each Friday for all the testimony and big events you might have missed.

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WHAT HAPPENED: After the state attorneys general wrapped up their case last week, Live Nation continued presenting its own case to the jury this week — trying to persuade them to reject the narrative that the company is an illegal monopolist that bullies music venues into using Ticketmaster.

The blockbuster trial has been chugging along in Manhattan federal court since early March. It was initially led by the U.S. Department of Justice, but the feds reached a settlement with Live Nation a week into the trial. New York, California and dozens more states said that deal wasn’t strong enough and have moved ahead with the trial, with the goal of breaking up Live Nation and Ticketmaster.

This week was a relatively short one in the trial, with no jury testimony on Wednesday (April 1) or Thursday (April 2) as the judge and the parties dealt with legal issues. The trial will continue Monday (April 6), with the potential for closing statements and the start of jury deliberations at some point in the next week.

WHO TESTIFIED: Weeks after the ex-boss of Brooklyn’s Barclays Center testified that he believed Live Nation had threatened to withhold major artists if the venue switched from Ticketmaster to SeatGeek, the arena’s current top exec took the stand and pushed back on that story.

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Laurie Jacoby, CEO of Brooklyn Sports & Entertainment, testified Tuesday about problems during SeatGeek’s tenure as the venue’s ticketer, including with on-sales for concerts by The Strokes and My Chemical Romance, according to Inner City Press. She told jurors those issues made it hard to attract and retain acts, which was what ultimately prompted the venue to switch back to Ticketmaster.

Other Live Nation witnesses similarly countered earlier testimony. In the first week of the trial, an exec at the NHL’s Minnesota Wild told jurors that he’d stuck with Ticketmaster because he feared the “catastrophic” problem of losing Live Nation concerts. But on Monday, as reported by MLex, an official at the NHL’s Washington Capitals testified that Ticketmaster is a “great business partner.”

“Their professionalism and the way they treat partners is outstanding,” said Jim Van Stone, president of business operations at Monumental Sports & Entertainment, which also owns the NBA’s Washington Wizards and D.C.’s Capital One Arena. “Ticketmaster … that has met all our needs. We believe in the fact that an exclusive relationship [with Ticketmaster] is better for us.”

Also testifying this week was expert witness Eric Budish, a University of Chicago professor, who said Ticketmaster has a genuine competitive edge against rival ticketing services, per MLex. But during cross-examination, he also admitted to having been paid more than $1 million by Live Nation for his services as an expert economic witness in the case.

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Perhaps the biggest fireworks of the week came not in the form of live testimony to the jury, but in legal filings to the judge. In a scathing motion filed Thursday, Live Nation demanded sanctions (judicial punishment) against the states over accusations that AEG had secretly supplied them with a “dossier of personal information” about a former employee, which they then exploited to prevent him from testifying.

“This blatant attempt to dissuade a witness from providing truthful testimony through intimidation is intolerable,” Live Nation’s lawyers wrote, asking the judge to inform jurors that AEG and the states have been “closely coordinating” and that they had tried to suppress testimony that AXS was “never of comparable quality to Ticketmaster.”

WHY IT MATTERS: Jacoby, Van Stone and Budish’s testimony goes to the very heart of Live Nation’s defense: That it has secured its massive market share over the past 15 years not through anti-competitive behavior, but by simply being better than its rivals.

Threats to Barclays Center if it went with SeatGeek? No, Jacoby said — Ticketmaster was just the better ticketing option for the arena. Improper use of exclusivity contracts to make it harder for venues to switch? No, Van Stone said — exclusivity is just what some venues themselves prefer.

The sanctions motion serves that same argument. Live Nation alleges that the reason AEG and the states went to such lengths to suppress the ex-employee’s testimony is because it would have shown that AEG’s AXS ticketing system was simply not as good as Ticketmaster — something Live Nation says would “fundamentally undermine plaintiffs’ case.” If granted, it would send a powerful message to jurors that the government was worried that argument might succeed.


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