Could Taylor Swift be responsible for breaking up Live Nation and Ticketmaster?

For anyone watching the three-hour U.S. Senate Judiciary Committee hearing Tuesday, aside from frequent quotes of her lyrics, the connection between the pop star and the politicians’ probe is probably starting to feel tangential. And despite Live Nation president and CFO Joe Berchtold’s efforts to shift blame for Swift’s disastrous (yet record-breaking) ticket sale from Ticketmaster to scalpers and bots, most everyone else involved was focused on the m-word — monopoly.

The senators’ line of thinking is that if the Live Nation-owned platform didn’t have such market dominance (around 80% of large venues in the U.S. have exclusive Ticketmaster deals), greater competition would force the company to innovate and improve its services — potentially avoiding the kinds of issues that spoiled the Swift sale last November. But while disruptions to Swift’s highly anticipated North American Eras tour caused such a commotion that Sen. Amy Klobuchar (D-Minn.) felt compelled to call this hearing, by Tuesday it seemed only Berchtold wanted to explore the immediate problems that brought down the sale.

Instead, the lawmakers see taking on Ticketmaster as a winning political issue and an opportunity to reach constituents who have long complained about the ticketing giant. During the hearing, for example, Klobuchar railed against high ticket prices, saying, “To have a strong capitalist system, you have to have competition.” But would competition in ticketing actually drive down ticket prices when it’s the artists who set the price, as Berchtold said, and not Ticketmaster?

For the senators, it hardly matters. Perception is reality and poor perception could lead to serious issues for Live Nation and Ticketmaster. Whether or not the companies’ dominance is a problem in the market, Ticketmaster is widely so despised that it has clearly become an easy target for rare bipartisan political action propelled by incredible public support.

About an hour into the hearing, Sen. Richard Blumenthal (D-Conn.) laid out a potential path for Democrats in the Senate, potentially with support from Republicans, to force Live Nation into divesting its holdings in Ticketmaster.

Since merging in 2010, the combined companies have been operating under a consent decree, promising not to leverage Live Nation’s touring content in a way that would punish venues for not signing up for Ticketmaster’s services. A Department of Justice intervention, in which the assistant U.S. attorney for antitrust goes to a federal judge with evidence “of monopolistic and predatory abuses,” Blumenthal said, would be the most obvious path toward an intervention forcing Live Nation to divest Ticketmaster. There’s recent precedent for this, too. In 2019, the DOJ punished Live Nation for the six violations by extending the term of the decree five years and forcing the company to pay the reimbursement of millions in investigatory and litigation costs. The DOJ also appointed an independent monitor and required Live Nation to install an internal antitrust compliance officer. If the DOJ caught Live Nation violating the decree again, the government would have a strong case to take before the government showing that the consent decree wasn’t effective and that the merger would have to be unwound.

Hinting that DOJ anti-trust attorneys appointed by Biden are once conducting another review of the company’s compliance with the consent decree, Blumental warned that any violations found during the current review would be grounds for splitting the company in two.

“If the Department of Justice uncovers violations of the consent decree,” Blumental said, “unwinding the merger ought to be on the table.”

Other senators during the committee threatened to take legislative action if the DOJ didn’t do something about Live Nation and Ticketmaster’s combined strength. Government witness Kathleen Bradish, vp for legal advocacy at the American Antitrust Institute, however, testified that any legislative remedy — like legislation to enhance and clarify U.S. antitrust laws and a regulatory framework to clean up the mostly unregulated ticketing market — would have to be coupled with strong antitrust enforcement action through existing antitrust law in order to break up the company.

Even if there is the political will to unwind Live Nation and Ticketmaster, that outcome is likely still a long shot. Still, even if the companies survive the DOJ probe and can eventually end the consent decree, it’s difficult to see how they repair their image going forward. To most senators on the panel, the company is an illegal monopoly openly operating in defiance of the world’s most powerful legislative bodies. And to most aggrieved fans, it’s screwing up their ticket buying and gouging them to see their favorite acts.

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Diane Warren achieved something remarkable on Tuesday (Jan. 24): She was nominated for an Oscar in the same awards year that she received an honorary Oscar.

The reason that’s so significant is that every member of the music branch of the Academy – whose votes determined the nominations – knew that Warren just collected an honorary Oscar at a ritzy event in Century City, Calif., on Nov. 19. There was no pressing reason to recognize her again so soon.

So the fact that she was nominated for her song “Applause” from Tell It Like a Woman says a lot about the depth of support for Warren in the Academy.

We already knew about that support. This was her 14th nomination for best original song – a total matched by only seven other songwriters in Oscar history. And this is the sixth year in a row she has been nominated, the longest continuous streak of nominations in that category since Alan Bergman and his late wife Marilyn Bergman were nominated six years running from 1968-73.

Those are impressive statistics. Here’s another one: Warren is just the fifth person in Oscar history to receive a competitive Oscar nod in the same awards year that he or she received an honorary Oscar. Warren is the only person from the world of music to do this. Two of the previous double recipients you probably know. The two others you may not, but we’ll fill you in.

First, let’s clarify something: Warren’s latest Oscar nomination was announced in 2023, and if she wins, she’ll receive the award in 2023, but the award is for the 2022 awards year. That’s how it’s listed in official Academy records. That’s also how her honorary Oscar is listed. So it all lines up.

Here’s a list of all five people who received a competitive Oscar nod in the same awards year that he or she received an honorary Oscar.

We’ve always known Miley Cyrus comes in like a wrecking ball, but she really proved it this week with her latest single “Flowers” debuting atop the Billboard Hot 100, Global 200 and Global Excl. U.S. charts.

It’s her first Hot 100 No. 1 since — hey! — “Wrecking Ball” back in 2013, and on the latest Billboard Pop Shop Podcast, Katie & Keith are talking all about why the self-love anthem, the lead single from Cyrus’ upcoming eighth album Endless Summer Vacation, is the pop star’s biggest hit in a decade.

But wait, there’s more! It’s been a very active week in pop music, between Beyoncé playing a 75-minute private party in Dubai on Saturday night — where she duetted with daughter Blue Ivy on “Brown Skin Girl” and covered Etta James’ “At Last” — plus Rihanna scoring her first Oscar nomination (best original song for co-writing “Lift Me Up” from Black Panther: Wakanda Forever) and Lady Gaga picking up her fourth (for “Hold My Hand” from Top Gun: Maverick).

To hear our conversation on the busy pop week, listen to the Pop Shop Podcast below:

Also on the show, we’ve got chart news on how Bizarrap and Shakira’s “BZRP Music Sessions, Vol. 53” blasts onto the Hot 100 at No. 9, becoming the first top 10 for Bizarrap and the fifth for Shakira, and her first since 2007. Plus, SZA’s SOS holds at No. 1 on the Billboard 200 albums chart for a sixth consecutive week, and we have all the details on why this is such a major moment.

The Billboard Pop Shop Podcast is your one-stop shop for all things pop on Billboard‘s weekly charts. You can always count on a lively discussion about the latest pop news, fun chart stats and stories, new music, and guest interviews with music stars and folks from the world of pop. Casual pop fans and chart junkies can hear Billboard‘s executive digital director, West Coast, Katie Atkinson and Billboard’s senior director of charts Keith Caulfield every week on the podcast, which can be streamed on Billboard.com or downloaded in Apple Podcasts or your favorite podcast provider. (Click here to listen to the previous edition of the show on Billboard.com.)

You’ve got a friend coming to Sin City. James Taylor and His All Star Band announced Tuesday (Jan. 24) that they’ll kick off the summer with a stint in Las Vegas.

The singer and his backing band are set to take over The Chelsea at The Cosmopolitan of Las Vegas starting June 3 for a weeklong run of five exclusive shows as part of their 2023 tour. Tickets will go on sale to the general public this Saturday (Jan. 28) at 10 a.m. PT via Ticketmaster and The Cosmopolitan’s official website. Fans can also purchase tickets by calling (800) 745-3000.

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Presales for the Las Vegas dates, which include June 3, 4, 7, 9 and 10, will be available in the days leading up to the general sale, starting with Citi cardholders Wednesday (Jan. 25) at 10 a.m. PT through Friday (Jan. 27) at 10 p.m. PT. Additional presales for MGM Rewards members and both Ticketmaster and Live Nation customers will begin the following day, Thursday (Jan. 26), also at 10 a.m. PT.

Months before heading to Vegas, Taylor will help headline the 2023 Love Rocks NYC benefit concert in March along with St. Vincent, the John Mayer Trio, Sheryl Crow and Mavis Staples. The special showcase at the Beacon Theater will help nonprofit food delivery charity God’s Love We Deliver and also feature appearances by Stephen Colbert, Andy Cohen, Chevy Chase and Phoebe Robinson in between sets from Pat Benatar & Neil Giraldo, My Morning Jacket’s Jim James, Stephen Marley, Gary Clark Jr., Allison Russell and more.

Check out Taylor’s announcement of his Vegas shows below.

Camilo and Camila Cabello unveiled a music video for their first collaborative effort “Ambulancia” on Tuesday (Jan. 24). 

Directed by Camilo’s wife and singer/actress Evaluna Montaner, the VHS-inspired clip finds Camilo and Camila riding on top of an ambulance, where they are sitting on a mattress filled with sunflowers. In the background, a green screen shows trippy visuals such as the starry galaxy, a busy highway and crashing ocean waves, to name a few. 

The clip comes more than four months after the single dropped Sept. 6, part of Camilo’s De Adentro Pa Afuera album, which debuted at No. 8 on the Latin Pop Albums chart dated Sept. 17. 

“I love the song so much,” Cabello told Camilo during an Instagram Live chat Tuesday afternoon. “I’ve always wanted to do a song with you. Being on set with you, Evaluna, and Indi (the couple’s baby), and then performing it live together in Los Angeles, for me, was a dream come true.” 

The Colombian artist agreed: “I wanted to thank you for opening the door of your heart to do music together and also your fans for allowing me to be a part of their playlist.” 

“Ambulancia” is a flirty slow-tempo bachata that narrates the story of a connection that cannot be explained, the one that is pure magic and magnetic. Moreover, it perfectly combines Camilo’s melodic vocals with Camila’s raspy voice. “I had turned off my heart, but when he saw you alone, he decided to turn back on,” she sings in a verse.

Watch the music video below:

Live Nation investors were either nonplussed or unmoved by the Senate Judiciary Committee’s political theatrics Tuesday (Jan. 24), probing the causes behind a disastrous ticket presale to Taylor Swift‘s Eras tour last November hosted on the company’s Ticketmaster platform. While Live Nation president and chief financial officer Joe Berchtold was being grilled by lawmakers about Ticketmaster’s technology and market power with a focus on monopolistic behavior, Live Nation’s share price rose as much as 2.3% to $77.71 before closing at $76.67, up 1.4% on the day, on about half of the average daily trading volume.

With that modest gain, Live Nation beat the Dow Jones Industrial Average (+0.3%), S&P 500 (-0.1%), Nasdaq composite (-0.3%) and Russell 2000 (-0.3%). It also outperformed two competitors, MSG Entertainment (+0.6%) and Germany’s CTS Eventim (-1.1%), that weren’t subjected to Congressional questioning.

Congressional oversight was already priced into Live Nation’s share price to a degree, though. Live Nation shares fell 7.8% to $66.21 on Nov. 18, 2022, after Sen. Amy Klobuchar, chair of the Senate Judiciary Subcommittee on Competition, Antitrust and Consumer Rights, penned a letter to Ticketmaster about her concerns regarding its “system failures, increasing fees and complaints of conduct that violate the consent decree” under which Ticketmaster and Live Nation operate.

The hearing, titled “That’s the Ticket: Promoting Competition and Protecting Consumers in Live Entertainment,” turned Live Nation and Ticketmaster into punching bags for senators who, as Sen. Richard Blumenthal noted, were brought together “in an absolute, unified case.” The legislators’ pointed questions and obvious frustration on behalf of their constituents made it clear Ticketmaster is one of the more loathed companies in the U.S. One witness, Kathleen Bradish, vp for legal advocacy at the American Antitrust Institute, called Live Nation and Ticketmaster “a very traditional monopoly” with a dominant market position that results in higher fees to consumers and less innovation.

Exactly what will come from the hearing is far less certain. While there may be some appetite amongst the senators to undo the 2010 merger of Live Nation and Ticketmaster, or implement some other structural remedies, Sen. Klobuchar said the committee will wait for a Department of Justice report before moving forward.

Some senators proposed non-legislative measures. Sen. Joe Kennedy suggested the person in charge of the ticketing presale should be fired. Sen. Marsha Blackburn called the bot-related service outages “unbelievable” and told Berchtold that the company “ought to be able to get some good advice” for better dealing with these kinds of issues.