Shadowing Practice: The Ticketmaster monopoly is over, now what? - Learn English Speaking with Video
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In 2022, outrage around predatory concert ticket pricing came to a head when tickets went on sale for Taylor Swift's Errors Tour.
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Tears and anger as ticket sites crash for millions of Taylor Swift fans.
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Extensive wait times, steep fees, and glitches.
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Tickets were going for as much as $499 before fees.
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And though it's not the first time fans and artists have complained about Ticketmaster, that moment became a turning point.
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Congress even held hearings and quoted song lyrics.
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I think it's a nightmare dressed like a daydream.
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The meltdown around the Arrows tour exposed how Ticketmaster and Live Nation had become the gatekeepers to most major live music experiences.
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And in April 2026, a federal jury ruled against this ticketing monopoly.
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Breaking news, a verdict has been reached in the antitrust trial against entertainment giant Live Nation.
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A federal jury has found Live Nation and its subsidiary, Ticketmaster, have been operating as a monopoly.
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And the story is far from over.
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So there will be a whole other round of litigation now.
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And there's really only one question anyone cares about.
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Will tickets get cheaper?
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Ticketmaster and Live Nation first merged in 2010.
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The DOJ allowed it to go through with what's called a consent decree, which is like a contract between the government and the merging parties.
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One of the important things they promised not to do was to condition Live Nation concerts
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and tours on a venue taking Ticketmaster for its whole season.
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Basically, they can't say, if you want our concerts, you have to use Ticketmaster.
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But it wasn't until 2024 when the government stepped in.
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The DOJ, under former President Biden and 40 states, sued Live Nation.
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The allegation?
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Live Nation used its power across concerts, venues, and ticketing to shut out competitors, locking venues into exclusive deals with Ticketmaster.
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They were claiming that Ticketmaster and Live Nation were violating this part of the consent decree, that they were sort of, in some cases, coercing explicitly,
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sometimes implicitly, these venues into using Ticketmaster if they wanted any of the concerts that Live Nation promotes.
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But by the time the case is ready to go to trial, the politics change.
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Donald Trump is elected in 2024, and when the trial begins in New York in March 2026, the federal government settles.
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The settlement that is not yet final is a few what I would call sort of band -aids over the competitive problems.
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Under the settlement, Live Nation would divest interests in 13 venues, allow venues to use competing ticket services without retaliation,
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and cap certain Ticketmaster service fees at about 15 % at venues it controls.
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A lot of people have been coming out against the settlement and saying, it's really kind of a slap on the wrist.
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32 states and the District of Columbia reject the settlement and bring the case to trial themselves.
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And they won.
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After a five -week trial, the verdict came down and the jury sided with the states.
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The jury found that they monopolized two markets.
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One was the market for ticketing platforms.
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This is the Ticketmaster product.
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They also monopolized the market for amphitheaters And they even found a number,
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$1 .72, upcharges that resulted from this maintained monopoly power.
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Next, the judge needs to decide what the punishment is.
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And Live Nation has said they will appeal.
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The states are expected to ask for a breakup, but Live Nation will probably ask for something similar to the deal they already worked out with the DOJ.
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Live Nation could be expected to argue, look, we're already in this agreement with the DOJ.
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This covers it.
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I think that if there's a good remedy here, and that's a big if, then I think consumers can expect over time to see a lot more benefits than just $1 .72.
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I think they can see better innovation in ticketing platforms, which we know has been a problem.
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I think they can see lower fees even than that number.
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But one thing that's not going to happen, it is these hundreds and sometimes thousands of dollars paid for these big, extravagant, once -in -a -lifetime type of concerts.
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I think they're still going to be very expensive.
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The cost of concerts keep going up, and not just for fans, for promoters, for the venues that put on these shows, and most notably for the artists.
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That's because over the last two decades, the music industry completely changed how artists make money.
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Streaming made music cheap and touring became the business.
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On a $100 ticket, including fees, you're looking at the artists getting 75 to 80 % of that ticket price.
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The artist portion is going to pay for the tour bus, to going to pay for gas, flights, the crew.
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A portion of the ticket, approximately 10%, goes to the venue.
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And then it goes to the ticketing company.
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They get paid on every single ticket sold.
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Even if Live Nation and Ticketmaster are forced to split, a breakup isn't a price cut.
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Which raises the question, how does this ruling change things for the fans?
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Ultimately, what is this going to mean for fans right now? not much.
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However, I think it's important to note there are other things that are better for fans, even if it doesn't mean a dramatic decrease in prices.
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More competition is a good thing.
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If you have five ticketing platforms instead of one, they have to compete on the fees.
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That could trim the service charges and the processing fees, the stuff that turns your $89 ticket into $130.
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Still, this doesn't mean people are going to see huge price cuts for tickets to large shows.
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And despite the cost, concert attendance is at an all time high.
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Gen Z has spent an average of $2 ,100 on concert tickets over the past two years.
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And they're even going into debt choosing buy now, pay later options to buy tickets.
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Most of the drive behind those really big expensive concerts is just people's willingness to pay.
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You know, boomers will pay anything to see Bruce Springsteen one more time.
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Millennials will pay anything to see Taylor Swift.
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It's just the nature of people having money to spend, the importance of these experiences that have driven prices really high.
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That doesn't mean that there's some amount of that that is from ticketing and the promotion services, but it's not maybe the big ticket item, so to speak.
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Vocabulario y notas de pronunciación para esta lección
Esta lección de conversación se basa en el vídeo “The Ticketmaster monopoly is over, now what?”. Las palabras que más se repiten: ticket, Nation, Ticketmaster, concert, venue. Este vídeo tiene 74 frases y 1057 palabras para practicar shadowing. La parte hablada dura 6:03. El hablante habla a un ritmo natural de unas 175 palabras por minuto, cercano a una conversación cotidiana. El 82 % de las palabras está entre las 3.000 más comunes del inglés; conviene repasar el resto antes de empezar.
Vocabulario clave de este vídeo
15 palabras del vídeo que vale la pena aprender, con su pronunciación y significado:
| Palabra | Pronunciación | Significado |
|---|---|---|
| venue sustantivo | /ˈvɛnjuː/ | escena, sala |
| monopoly sustantivo | /məˈnɑpəli/ | monopolio |
| compete verbo | /kəmˈpiːt/ | competir, competer (disused) |
| consent verbo | /kənˈsɛnt/ | consentir |
| verdict sustantivo | /ˈvɜː.dɪkt/ | veredicto, fallo |
| decree sustantivo | /dɪˈkɹiː/ | decreto |
| merge verbo | /mɝd͡ʒ/ | mergear |
| breakup sustantivo | /ˈbɹeɪk.ʌp/ | dischar, ruptura |
| argue verbo | /ˈɑɹ.ɡju/ | argüir, argumentar |
| anger sustantivo | /ˈæŋɡə/ | enfado, enojo |
| dramatic adjetivo | /dɹəˈmætɪk/ | dramático |
| promotion sustantivo | /pɹəˈmoʊʃn̩/ | ascenso, promoción |
| lifetime sustantivo | /ˈlaɪf.taɪm/ | vida |
| settle verbo | /ˈsɛtəl/ | resolver, dirimir |
| lyrics sustantivo | /ˈlɪɹ.ɪks/ | letra, lírica |
Phrasal verbs que vas a escuchar
| Palabra | Significado |
|---|---|
| go up verbo | subir |
Gramática en este vídeo
Las estructuras que más usa el hablante, con las palabras exactas del vídeo:
| Estructura | En el vídeo |
|---|---|
| Present perfect continuous have/has been + -ing — una acción que empezó antes y continúa | have been operating · have been coming |
| Present perfect have/has + participio pasado — una acción pasada que sigue importando ahora | have complained · has been reached · has found |
| Voz pasiva be + participio pasado — importa lo que ocurre, no quién lo hace | has been reached · is elected · are expected |
Pronunciación a tener en cuenta
El hablante usa 10 contracciones y formas reducidas, como doesn't, they're, can't. Dilas en su forma corta, tal como las oyes.
- Los sonidos de “sh” y “zh”: promotion /pɹəˈmoʊʃn̩/, punishment /ˈpʌnɪʃmənt/, innovation /ˌɪn.əˈveɪ.ʃən/, litigation /ˌlɪtɪˈɡeɪ̯ʃən/, retaliation /ɹɪˌtæl.iˈeɪ.ʃən/
- Palabras largas — cuida el acento: monopoly /məˈnɑpəli/, innovation /ˌɪn.əˈveɪ.ʃən/, litigation /ˌlɪtɪˈɡeɪ̯ʃən/, subsidiary /sʌbˈsɪ.di.əɹ.i/, competitor /kəmˈpɛt.ɪ.tɚ/
Sonidos difíciles para hispanohablantes:
- s + consonante al inicio — sin añadir una “e” delante: steep /stiːp/, slap /slæp/
- /v/ — no es /b/: los dientes tocan el labio inferior: venue /ˈvɛnjuː/, verdict /ˈvɜː.dɪkt/, innovation /ˌɪn.əˈveɪ.ʃən/, violate /ˈvaɪəˌleɪt/, divest /daɪˈvɛst/
- /z/ — sonora, no /s/: expose /ɪkˈspoʊz/, monopolize /məˈnɒpəlʌɪz/
Cómo practicar con este vídeo
- Escucha el vídeo entero una vez sin hablar y anota las palabras que no conoces.
- Empieza a velocidad 0,75×, haz shadowing frase por frase y vuelve a la velocidad normal cuando te resulte fácil.
- Grábate y compara con el original, prestando atención a palabras como venue, monopoly, compete.
¿Qué es la Técnica de Shadowing?
Shadowing es una técnica de aprendizaje de idiomas respaldada por la ciencia, desarrollada originalmente para la formación de intérpretes profesionales y popularizada por el políglota Dr. Alexander Arguelles. El método es simple pero poderoso: escuchas audio en inglés nativo y lo repites en voz alta de inmediato, como una sombra que sigue al hablante con solo 1-2 segundos de retraso. A diferencia de la escucha pasiva o los ejercicios de gramática, el shadowing obliga a tu cerebro y músculos de la boca a procesar y reproducir simultáneamente patrones de habla reales. Las investigaciones muestran que mejora significativamente la precisión de la pronunciación, la entonación, el ritmo, el habla conectada, la comprensión auditiva y la fluidez al hablar, convirtiéndola en una de las metodologías más efectivas para la preparación del IELTS Speaking y la comunicación en inglés en el mundo real.