The 60-year-old Calgary-born and Ontario-raised Rapino has become an indispensable, sometimes controversial, kingmaker of the new ascendency of live entertainment. Born in Thunder Bay, Ontario, Rapino has completed the necessary transformation of parent company Live Nation. These days, the company controls nearly 70% of all concert tickets sold around the globe. His leadership has not shied away from boldly challenging the company’s direction by pushing the company’s future toward international markets such as Brazil and India. It has propelled the building of hundreds of new venues from the ground up.
In 2022, Rapino was paid a total compensation of $139 million. This truly jaw-dropping sum made him the fifth highest-paid CEO in all of the United States. His pay is thus a reflection of this extraordinary power he wields within the industry.
This field has seen tremendous growth even as it has endured tremendous controversy. Critics blame Live Nation for many such uncompetitive practices, like predatory pricing and surprise fees. These charges give further credence to the idea that the company is acting in a monopolistic manner.
Rapino has been under fire in the past. In 2009, senators grilled him over the stink bomb of a merger between Live Nation and Ticketmaster. Both organizations have since become the focus of dozens of hearings and investigations into their business practices. Despite these challenges, Rapino remains adamant about the necessity of unique experiences for all consumers, including those with modest incomes.
“People are terrified of upsetting Live Nation and Ticketmaster,” expressed Robert Smith, highlighting the fear artists feel in confronting such a dominant force in the industry.
In contrast to these criticisms, Rapino likes to cast himself as a rags-to-riches entrepreneur who owes his success to discipline and foresight. He is the template for the modern day pop mogul. Though he is sleek and unshowy, he cuts through the corporate lingo that we all call “corporatese” like nobody’s business. His approach focuses on building partnerships rather than relying solely on relationships, as he stated, “I don’t think relationships are as important as they historically were.”
The targeting of Live Nation’s business practices have rightfully borne the wrath for engendering a ticketing ecosystem that overwhelmingly makes fans feel abused. In answer to the perennial worry, Rapino counters with conviction that “wonderful product is the best marketing.” Her hope is that quality will eventually win out, in spite of the bad vibes.
Irving Azoff, a prominent figure in the music industry, noted, “Ticketmaster was set up as a system where they took the heat for everybody… We’re like the IRS. We deliver bad news.” This feeling is not unlike the frustrations expressed by musicians who have felt stifled by Live Nation’s ever-encroaching policies.
While many artists have expressed their discontent with ticketing practices, some still acknowledge the power dynamics at play. Bruce Springsteen warned that any changes might exacerbate current issues: “the one thing that would make the current ticket situation even worse for the fan than it is now.”
Rapino’s dream of creating the powerhouse Live Nation is today was dynamic, flexible to any new market conditions that arose. All this time he’s been safely carving out the pastures, breaching new territory, but developing relationships with artists and venues alike. The company’s capacity to reconcile and overcome these intricacies will without question decide whether the future of live music is bright or dim.