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The article profiles the individuals included in the Power Generation list of "Billboard" magazine, the 25 disrupters who redefine the music industry. Topics covered include support for diversity by Shawn Holiday, head of urban music at Sony/ATV Music Publishing, projects of Adam Alpert, manager of The Chainsmokers, chief executive officer (CEO) of Disruptor Records and Kick the Habit Productions and role of Noah Assad, co-founder/CEO of Rimas Entertainment in the success of Bad Bunny.

The article profiles the music industry executives chosen for the 2019 edition of the Power 100 list from "Billboard" magazine. Topics covered include how the strategic moves taken by Lucian Grainge, chairman and chief executive officer (CEO) of Universal Music Group (UMG) secured the fortunes of the record label as music streaming has surged, revenue of concert promotion company Live Nation Entertainment under president and CEO Michael Rapino and profitability of Spotify under CEO Daniel Ek.

The article highlights key developments in the live entertainment sector in 2018. Topics discussed include the increase in revenue, the number of tours and concerts during the year, and on how tickets are priced and distributed in the U.S. Also mentioned are the artists with the highest grossing concert tours including Taylor Swift, Jay Z and Beyoncé, and Ed Sheeran.

The article features music industry executives that have been given recognition in the 2018 International Power Players list of "Billboard" magazine, including Decca Records Group president Rebecca Allen, Live Nation Australia chairman Michael Coppel, and SIM Concerts managing director Simon Moran.

The article lists the top 100 country music industry executives, musicians, and influencers from Nashville, Tennessee, including Sarah Trahern, chief executive officer (CEO) of the Country Music Association, Scott Borchetta, president, CEO and founder of Big Machine Label Group, and John Esposito, chairman and CEO of Warner Music Nashville.

The article offers information on venues, museums, and songwriting groups related to the music industry in Nashville, Tennessee.

The article offers the insights of chief executive officer (CEO) Michael Rapino of Live Nation Entertainment regarding the company and its position on the music industry in the U.S. Topics discussed include the influence of live entertainment on the music business, the Ticketmaster division of Live Nation, and th increase of company's value following his term as the CEO.

The article reveals that indoor shows, such as concerts, lag behind outdoor festivals when it comes to ticket sales amid the Covid-19 pandemic in the U.S. Topics discussed include artists who have seen no-show rates as high as 25 percent for some performances which includes the Eagles, Billy Joel and George Strait, and remarks from Bobby Dee, producer of the Once Upon a Time in LA festival.

The article focuses on the challenges facing independent promoters in line with the second wave of consolidation in the live-music business dominated by the likes of Live Nation and AEG. Topics covered include conundrum facing independent promoters whether to sell to a bigger competitor or continue competing against the big ones, number of independent promotion companies acquired by Live Nation in 2018, and how independent promoters operate before the Live Nation era.

The article looks at how professional resellers buy and sell tickets for arena concerts before their general public release. Topics discussed include the offering of face-value tickets by secondary ticketing firm DTI before public onsales, the determination of ticket prices by promoters, and the risks facing professional resellers.

The article discusses the plan of Live Nation Urban, under the leadership of company founder and president Shawn Gee, to expand opportunities for Black professionals and companies in the live-music sector.

An interview with Jeff Nickler, general manager of Bank of Oklahoma (BOK) Center in Tulsa, Oklahoma which celebrates its 10th anniversary on August 30, 2018, is presented. Topics discussed include how the arena's 10th year compare with its first, the kind of music that works in Tulsa and what makes Tulsa a strong market for music. It also discusses the kind of marketing best works for the BOK and how the venue changed the city.

The article looks at the strategies used by young Latin artists like Bad Bunny to entice a new generation of fans and fill major venues once dominated by veteran acts. They include releasing a stream of singles in tandem with a string of concerts, gathering song charts and demographic information from Spanish-language radio and streaming numbers, and expanding Spanish-language tours in North America.

The article highlights the efforts of UC Theatre in Berkeley, California to train the next generation of live-music executives, as it reinforces its commitment to diversity by creating more opportunities for women and people of color under the leadership of David Mayeri and Robyn Bykofsky.

The article presents an interview with Rick Roskin, a talent agent and co-head of contemporary music for North America at Creative Artists Agency. Topics include his contribution to producing the Classic West and Classic East music festivals in 2017, the responsibilities of talent agents in 2017, and the tendency for music festivals to focus on specific genres or audiences.