By: Carol Badaracco Padgett
Senior Staff Writer
“We interact with fans based on their past ticket purchases and preferences, ensuring they discover experiences tailored just for them,” says Peter Conlon, chairman of Live Nation Georgia from the entertainment company’s regional headquarters in Atlanta.
Conlon says marketing, unmatched globally, is one of the company’s big slam dunks. The proof is in the business stats, with Seattle-based Macrotrends.net, a financial data and charting company, which reports that Live Nation’s 2024 annual gross profit was $5.827 billion, a 6.42 percent increase over the previous year.
Macrotrends also reports that Live Nation’s gross profit increased 11.19 percent year-over-year for the quarter ending June 30, 2025, for a total of $1.796 billion.
Along with serving fans’ appetites for live music, the company owns and operates many of the top venues music lovers visit, such as the House of Blues, Brooklyn Bowl, San Francisco’s The Fillmore and the Hollywood Palladium.
In Atlanta, Live Nation owns and operates the Coca-Cola Roxy, the Tabernacle, Buckhead Theatre and Lakewood Amphitheatre.
Conlon shares this about the mix in its portfolio, “Each venue offers its own unique personality in size, appeal and vibe. Plus, we’re excited to be adding the new theater downtown at Centennial Yards that will expand what Atlanta has to offer.”
In a fall 2025 interview with Conlon, he shared additional insight on marketing to today’s expansive fandom.
What makes Live Nation’s offerings different from what other ticket sellers offer?
Conlon: [We bring] more live music to more fans in more places around the world than anyone else. What sets us apart is our fan-first approach, a priority since day one under our CEO, Michael Rapino. From intimate clubs to massive stadiums, we deliver concerts at every scale, ensuring fans have access to the artists they love.
How are shows, events and artists’ offerings changing leading into 2026 and beyond?
Conlon: There are more concerts and events happening now than ever before, and artists are expanding what they offer fans. From VIP experiences and soundcheck access to interactive opportunities, live music is becoming more immersive.
How have ticket buyers’ tastes or trends in entertainment consumption changed since pandemic times, when entertainment was forced to use so many alternate modes of distribution?
Conlon: Concert going has become a full experience, and fans are incorporating on-site dining, drinks and merch into their night out. Fans are also seeking more premium options and are looking to customize their experience.
When did a preference (and an offering) for big-name performers at smaller, intimate venues begin its resurgence?
Conlon: Artists have historically valued playing smaller rooms, mixing these underplay shows in with their larger arena or stadium dates. These intimate performances create excitement, offer a special experience for fans, and give artists the chance to connect up close in a way that feels different from a large-scale show. It’s a tradition that goes back decades and remains relevant today.
What do you expect to see as offerings at Live Nation in the future, as a broader reflection of consumers’ entertainment tastes and preferences?
Conlon: Live Nation is always evolving to deliver the best experience for fans. That may include investing in new venues of various sizes, enhancing food and beverage offerings and creating more premium experiences. Our goal is always to give fans new ways to engage with the artists they love.
What’s unique to the Atlanta (and Georgia) entertainment scene, in particular, and how does Live Nation cater to it?
Conlon: Every market has its own cultural character, and Atlanta is no exception. Here, we’ve established a range of venues that cater to different audiences—from The Tabernacle and Buckhead Theatre to Coca-Cola Roxy, Synovus Bank Amphitheater at Chastain Park, and Ameris Bank Amphitheatre. Each venue offers its own unique personality in size, appeal and vibe. Plus, we’re excited to be adding the new theater downtown at Centennial Yards which will further expand what Atlanta has to offer.
How did you get into this business—and what drew you in?
Conlon: I worked on the Concert Committee at the University of Georgia before working for former President Jimmy Carter in the White House. I left to do benefit shows for his campaign, where I met Alex Cooley (noted as being the unofficial mayor of Atlanta music), who later became my business partner.
What’s fueling your passion to move forward?
Conlon: It’s an incredibly exciting time to be in this business. Promoters are able to develop big ideas into memorable experiences for fans and artists. As fans continue to prioritize live experiences, the opportunities ahead are endless.
This article appeared in the 2026 edition of the Creative Economy Journal. See more from the Journal here.
