Topic hub
Venues
The rooms that carry the circuit — capacity, margin, closures and replacement.
Overview
Small and mid-size venues are where most touring acts play before they reach theatres and arenas, and where a local scene is legible as an economy. Their cost base is weighted toward rent, energy, insurance and staffing, which do not fall when attendance does.
Live Index treats venue supply as an inventory problem rather than a sentiment problem. The questions are what capacity exists in a market, at which capacity bands, who controls each room, what is lost when a venue closes, and whether anything replaces it at the same size. A market can add seats and still lose the ladder that produced its headliners.
Control matters as much as ownership. A room can be owned by a city, operated by a private company, leased to a third party, booked exclusively by a promoter and ticketed by a fourth party, and each of those relationships changes who decides what plays there.
There is no national census of live music venues or their capacities. Research in this hub says so plainly and works from the records that do exist: market-level inventories, permitting and licensing records, and disclosed portfolio counts.
Research on venues
Who Owns Forest Hills Stadium? A Tennis Club, a Licence, and a Concert Business
Forest Hills Stadium stands on the West Side Tennis Club's grounds in Queens. A 2026 appellate decision records that the nonprofit club licenses the stadium to a for-profit concert operator.
Who Owns The Fillmore Philadelphia? Operated by Live Nation; Title Not Established
Live Nation operates, programmes and markets The Fillmore Philadelphia, and Ticketmaster sells its tickets. The cited public record does not establish who holds the deed.
What Is a Concert Ticket Manifest?
A ticket manifest is the seat-by-seat build of a show: what the room holds, what production removes, what is held, and what the box office can sell. Illustrative example.
Concert Ticket Scaling Explained
Scaling a house means assigning each sellable seat a price level. How a scale is built, why the weighted average face matters more than the top price, with a worked example.
Holds, Kills, Comps and Sellable Inventory: Why Venue Capacity Is Not Ticket Inventory
Capacity is what a room can hold; sellable inventory is what a show can sell. Kills, operational seats, holds and comps sit between the two, defined and walked through.
Concert Sell-Through Rate: The Denominator Matters
Sell-through rate is paid tickets over the inventory actually for sale. Compute it on capacity and the same show reports a different number. Definition and calculator.
What Is a Concert Offer Sheet?
A concert offer sheet is the purchaser's proposed deal sent to an artist's agent: parties, date, guarantee, deal type, deposit, scale, inventory, expenses, terms.
What Are Artist Avails? How Concert Dates Move From Availability to Confirmation
Artist avails are the dates an artist could play a market before anything is reserved. How a date moves from avail to hold to offer to confirmation.
What Is the House Nut in a Concert Deal?
The house nut is the venue's cost of opening its doors for a show: rent, labour, production baseline, box office, insurance. Why it is deal-specific and drives break-even.
Concert Break-Even Attendance: A Simple Model, Not an Industry Benchmark
How many paid tickets a show needs before the promoter stops losing money, from its own face value, deductions, costs and guarantee. A model you can edit, not a benchmark.
Paid Attendance, Tickets Distributed and Scanned Attendance Are Not the Same Number
Paid attendance is what settlement is computed on; tickets distributed adds comps; scanned attendance is who came through the door. Why the three diverge.
How Does a Concert Promoter Estimate Artist Draw?
Draw is the paid tickets an artist can sell in a market at a price. Promoters weigh hard-ticket history first, adjacent signals next, audience metrics last.
Who Owns Red Rocks Amphitheatre? How a Publicly Owned Venue Actually Works
Red Rocks Amphitheatre is owned and operated by the City and County of Denver, with individual concerts promoted by different private promoters. The full control stack, documented role by role.
Who Owns Radio City Music Hall? The Lease Behind the “MSG Owns It” Shorthand
MSG Entertainment operates Radio City Music Hall — but under a filed lease, not as owner. The SEC-filed lease names RCPI Landmark Properties as landlord and Radio City Productions as tenant.
Ye Stadium Economics 2026: Capacity, Ticket Prices, Attendance and Gross
A show-by-show census of Ye's 2026 stadium run: the one reported box office figure, the attendance on record, primary price ladders by market, and a transparent model of the remaining route.
What Does Live Nation Actually Own? A Company-by-Company Map
Owns, operates, leases, books, tickets: Live Nation's relationships are five different verbs, not one. The 2025 filing quoted exactly, plus the documented record.
The American Concert Venue Capacity Atlas
How big are American concert venues? Capacity is configuration-dependent, and honest answers carry a basis. The Live Index venue cohort, measured band by band.
Touring Middle Dashboard v1 — July 2026
Payroll employment in performing arts, spectator sports and related industries fell to 583.4 thousand in July 2026, 24.1 thousand below a year earlier.
How venue growth and a weakening touring middle can both be true
A short note on why counting rooms and counting employment answer different questions, with NAICS 711 employment at 583.4 thousand in July 2026.
Day for Night, 2015–2017: sound, light and summit programming
A cross-year record of how Day for Night programmed music, visual and computational art and, in its final edition, a talks summit — built from the documented rosters in the Live Index archive.
The U.S. Live Music Venue Graph: Ownership, Operation and Ticketing Are Different Facts
Who owns an American concert venue, who runs it and who sells its tickets are three separate questions with three different answers. A register of 55 verified venues shows how often they diverge.
How Much of the Live-Music Business Does Live Nation Actually Control?
Ownership, operation, lease, booking, promotion, ticketing contract and management are different relationships. Collapsing them into one market share produces a number nobody can verify.
Venue Exclusivity and Ticketing Contracts: What the Public Record Shows
Exclusivity, term length, advances and switching costs shape which platform sells a venue's tickets. Most agreements are private; this sets out what public documents do and do not establish.
How Many Tickets Does an Artist Need to Sell to Make a Tour Work?
Break-even on a tour is arithmetic, not a margin rule of thumb. This sets out the algebra, the cost lines it requires, and worked scenarios with every assumption stated.
What a Sold-Out Show Actually Pays an Artist
A sold-out room produces a box-office figure and a settlement, and they are not the same number. This traces the deductions between the two without claiming a universal split.
Touring Cost Inflation: Labor, Fuel, Hotels and Production
No index measures the cost of taking a band on the road. This maps each major cost line to the best available federal proxy and states exactly what each proxy misses.
Guarantees, Door Deals and Percentage Deals
Who carries the risk on a show is decided by the deal structure. This defines each structure, its expense definitions and its settlement mechanics, without asserting typical terms.
Are Superstar Tours Hollowing Out Live Music?
The largest tours have never grossed more. Whether that draws spending, calendar capacity and attention away from smaller tiers is a mechanism that can be specified and tested, not a proven finding.
Live Music Is Booming. So Why Can’t Working Artists Make Touring Pay?
Record aggregate grosses conceal a different economy below the arena level, where fixed costs, routing risk and capacity ceilings determine whether a tour clears its own expenses.
If Live Nation Is Broken Up, Who Actually Benefits?
A jury has found liability and states have asked for divestiture. Structural remedies would redistribute leverage, but not every driver of what a fan pays sits inside Ticketmaster.
The Touring Middle Is Getting Crushed
Clubs and theaters between 500 and 5,000 capacity carry rising fixed costs against a ticket price ceiling. What public data shows, and the margin dataset that does not exist.
Who Owns the Fan?
Nobody owns a fan. What differs between integrated and independent operators is who can observe, retain and act on the transaction record — and that difference is contractual.
The Live Music Pulse: 2026 Baseline
A first recurring baseline of separately published indicators for U.S. live music: admissions prices, performing arts employment, promoter wages, and the gaps.
America’s Broken Venue Ladder
Whether an artist can graduate from 300 to 5,000 capacity in a market depends on which rooms exist. There is no national capacity census, and that absence is the story.
The Independent Promoter Margin Problem
Guarantees, rent, production, labour, marketing, insurance, card and ticketing costs and settlement timing decide a show's economics. Why no standardized promoter P&L exists.
Who Controls America’s Live Music Rooms?
Venue control is six different relationships, not one. What Live Nation's 2025 10-K, AEG, ASM Global, OVG and NIVA disclosures actually establish — and why no national market share can be computed.
Houston: A Data Portrait of an Undervalued Concert Market
The first repeatable Live Index city portrait. Houston metro population, wages, cultural economy and touring geography from primary sources — and the concert measures no public dataset supplies.
Grassroots venue loss is an inventory problem, not a news cycle
Why counting venue closures misses the point, and how a room-level capacity inventory changes what the data can tell cities.