Kennedy Center Ticketmaster plans are drawing scrutiny as the institution prepares for its annual Honors while ticket details remain unclear. The December 7 gala will be staged at Washington’s Capital One Arena, celebrating songwriter Paul Anka, producer David Foster, actor Andy Garcia, playwright David Mamet and country singer Barbara Mandrell. Traditionally, donors receive early access, but as of Nov. 11, the center is only offering a submission form for updates on how to buy tickets, and officials have not shared when sales will begin.
Current and former staff members say the delay stems from a change in ticketing systems. The Kennedy Center, long a user of Tessitura, a nonprofit platform built for arts organizations, plans to partner with Ticketmaster. The transition has raised conflict of interest concerns because while the deal was being explored, then-president Richard Grenell also served on the board of Ticketmaster’s parent company, Live Nation. Grenell did not respond to outreach for comment, and the center declined to address questions about his dual roles.
Working at the Kennedy Center while being paid by Live Nation
Grenell was named Kennedy Center president in February 2025 after Donald Trump became chairman. In May 2025 he joined Live Nation’s board, receiving $260,205 in compensation that year, according to company filings, plus 102 shares then valued at about $14,200. The Kennedy Center’s latest tax records list no salary for his role as president. A Columbia Law School ethics professor said such overlapping fiduciary duties typically raise conflict of interest concerns. A center spokesperson said discussions about Ticketmaster began in spring 2024, before Grenell’s appointment, and that the agreement followed standard procurement review. However, two people with knowledge of internal deliberations said Ticketmaster was not seriously considered in 2024. Ticketmaster did not respond to requests for comment.
Why ticketing systems are important to nonprofit arts centers
Major arts institutions often rely on Tessitura, which integrates ticketing with fundraising, memberships, education and customer service. A nonprofit revenue consultant said Ticketmaster can excel for high-volume commercial events, but Tessitura offers an all-in-one approach that suits nonprofits and is used by more than 750 organizations worldwide. Replicating its functions across multiple systems would be costly, he said, noting that nonprofits depend on a mix of earned income and donations that benefit from unified patron data and outreach.
Ticketing decisions made amid Kennedy Center leadership changes
Leadership turnover has added to the turbulence. Grenell left in March, and facilities executive Matt Floca became president, lacking typical experience in artistic direction and fundraising. He leaned on consultant Rick Canny, a longtime talent agent who was later named artistic director. In internal emails, Floca said Canny would advise on ticketing and pricing, among other areas. In a separate message to the then-CFO, Canny said he was driving the move to Ticketmaster, had shaped many terms, and was reviewing the final agreement. Staff members who spoke on background said such a deal would normally be handled by the president, not the artistic director.
Union issues also complicated the rollout. In correspondence, Canny faulted the International Alliance of Theatrical Stage Employees for impeding the shift, saying the economics no longer worked. Earlier this fall, the center laid off IATSE-represented box office workers after closing its main building for a planned two-year renovation associated with Trump’s tenure as chairman.
Kennedy Center Ticketmaster shift amid broader legal pressures
The institution’s ticketing change is unfolding as the center faces other challenges, including a high-profile federal lawsuit tied to Trump’s push to add his name to the campus. Meanwhile, Live Nation and Ticketmaster remain under legal pressure. The Justice Department filed an antitrust case that settled for $280 million earlier this year. Attorneys general from 33 states and Washington, D.C., then pressed a separate federal suit. In April, a jury found Live Nation and Ticketmaster operated as a monopoly that harmed consumers and overcharged ticket buyers. Live Nation has previously denied being a monopoly, saying competition in the market is robust.
With the Honors approaching, questions remain about when and how tickets will be released and how the Kennedy Center Ticketmaster partnership will affect patrons accustomed to Tessitura’s integrated service model.
