East Hallows Limited Liability Co. v. Live Nation Entertainment, Inc.

CourtCourt of Appeals for the Sixth Circuit
DecidedApril 13, 2023
Docket22-5758
StatusUnpublished

This text of East Hallows Limited Liability Co. v. Live Nation Entertainment, Inc. (East Hallows Limited Liability Co. v. Live Nation Entertainment, Inc.) is published on Counsel Stack Legal Research, covering Court of Appeals for the Sixth Circuit primary law. Counsel Stack provides free access to over 12 million legal documents including statutes, case law, regulations, and constitutions.

Bluebook
East Hallows Limited Liability Co. v. Live Nation Entertainment, Inc., (6th Cir. 2023).

Opinion

NOT RECOMMENDED FOR PUBLICATION File Name: 23a0165n.06

Case No. 22-5758

UNITED STATES COURT OF APPEALS FOR THE SIXTH CIRCUIT

FILED Apr 13, 2023 EAST HALLOWS LIMITED LIABILITY ) DEBORAH S. HUNT, Clerk COMPANY, ) ) Plaintiff-Appellant, ) ON APPEAL FROM THE UNITED ) STATES DISTRICT COURT FOR v. ) THE MIDDLE DISTRICT OF ) TENNESSEE LIVE NATION ENTERTAINMENT, INC., ) Defendant-Appellee. ) OPINION )

Before: COOK, GRIFFIN, and NALBANDIAN, Circuit Judges.

COOK, Circuit Judge. Rae Solomon envisioned an all-female music festival. She formed

a company, East Hallows Limited Liability Company, made some calls, publicized the event, and

applied for funding from Live Nation Entertainment, Inc. Live Nation showed initial interest but

declined to support the project. East Hallows sued, asserting that Live Nation made negligent and

intentional misrepresentations during their discussions. Premised on diversity jurisdiction, Live

Nation removed the action from Tennessee state court to federal court. The district court granted

Live Nation summary judgment, and East Hallows appeals. We AFFIRM.

I.

The music festival industry frustrated Rae Solomon. She thought the industry lacked

spaces for female artists, but this realization inspired her to plan her own all-female country music

festival. She would call it the Zenitheve Music Festival. Case No. 22-5758, East Hallows v. Live Nation

In late 2017, Solomon asked Jacob Green, her future husband, to partner with her. The two

put together a business plan, contacted friends in the industry for advice, and hired a law firm to

iron out their corporate form, trademarks, and logos. Green and another investor funded these

initiatives.

Solomon and Green publicly announced Zenitheve in March 2018 after they received the

articles of organization for their new company, East Hallows Limited Liability Company. The

announcement piqued the interest of several industry players. Through this exposure, Solomon

learned about Live Nation Entertainment, Inc.’s Women Nation Fund. The Fund invests “in

female-founded live music businesses [to] provide access to capital for underrepresented female

entrepreneurs in the Concert Promotions, Events and Festival space.” R.54 ¶ 15.

Solomon applied for this funding. She acknowledged in her application that her all-female

music festival was not the first of its kind. As she put it, Zenitheve embodied “the modern age,

predominantly country spin, of the hit 90’s tour Lilith Fair.” R.43-10 at 2.

After first rejecting Solomon’s application for funding in June, Live Nation reconsidered

in July. Carrie Davis, Live Nation’s Chief Communications Officer, emailed Solomon to set up a

call with her and Michael Wichser, the Senior Vice President of Merger and Acquisitions. When

the three spoke, Solomon described her efforts to date—she had reached out to female artists,

touched base with iHeart Radio and the Country Music Association, and applied to hold the festival

at the Jay Pritzker Pavilion in Chicago. Wichser told Solomon that “this is right down the fairway

for the kind of stuff we’re interested in,” Live Nation would “certainly . . . have interest in

participating to a large extent,” he needed to “sort of figure out how to structure something that

will work . . . and help [Solomon] get it above the ground,” and this was “exactly what the fund is

set up for.” R.49-5 at 44–45.

2 Case No. 22-5758, East Hallows v. Live Nation

Solomon followed up after the call, and Wichser requested “more detail” on Solomon’s

business plans and “specifics” for “next steps.” R.50-4 at 2. He wanted to see a “summary

business plan with financial estimates for what an investment/partnership with Live Nation would

look like.” Id. Wichser also wondered how Solomon planned to staff the festival and why she felt

convinced that her proposed artists would draw enough attendance. Live Nation still needed “a

more complete understanding of what [it] would be investing in.” Id.

Solomon responded to Wichser’s requests. The festival still faced key hurdles. Solomon

told Live Nation that she hoped for a lineup that “look[ed] something like Kacey Musgraves,

Maren Morris, Cam, Ashley McBryde, Carly Pearce, Lauren Alaina, [and] Lindsay Ell,” but East

Hallows had not yet booked any artists. R.50-6 at 2. And East Hallows’s business plan sought a

$4,000,000 investment from Live Nation, projected $14,250,000 in revenue, but also estimated a

negative 46.95% return on investment in the first year.

Solomon, Davis, and Wichser spoke again in September. Wichser expressed enthusiasm

and an interest in “keep[ing] the conversation going,” and stated that he had “preview[ed]” the

proposal with Live Nation’s CEO “weeks ago.” R.54 ¶ 28. Wichser again emphasized that the

project was “right down the pipeline of what a fund like this would want to do,” but that it would

be “good to have something in writing to formally go and say here’s a proposal we want to support,

here’s the structure we’d recommend, and here are the ligaments.” R.49-5 at 46–47. He requested

more information from Solomon “outlin[ing] some of the basic tenants of [the] timeline and the

festival.” Id. at 46. Then, he explained, “[w]e’ll review that timeline, potential artists are X, Y,

and Z and we can sort of circle around.” Id.

In October, the discussions fell apart. Wichser, for his part, felt the business plan was

lackluster, worried about Solomon’s abilities to obtain artists or get a team in place, and thought

3 Case No. 22-5758, East Hallows v. Live Nation

her projected revenues were too high. Davis thought that the proposal was not “compelling or

unique” and that she had seen “no real progress,” and that Solomon’s “proposal [was] not accurate”

because Solomon had not yet confirmed any sponsorships or artists. R.48-5 at 3. And Live Nation

sought to invest in an “ongoing business,” that could be “financially successful,” not a single

festival. Id. at 5. Live Nation told Solomon that the all-female lineup presented too much risk and

suggested working together in future years.

A month later, Live Nation announced an all-female day at its Lake Shake Festival,

featuring some of the artists that Solomon had envisioned for Zenitheve. Lake Shake was a few

weeks after Zenitheve’s projected date and mere miles from Zenitheve’s projected site. Investors

pulled out of Zenitheve, and Solomon halted the project.

East Hallows sued Live Nation, claiming intentional and negligent misrepresentation under

Tennessee law, and seeking $25 million in compensatory damages. After discovery, East Hallows

claimed that it lost $82,201.77 in original investment, over $1.5 million in artist fees, and $138,600

in merchandise profits.

Live Nation moved for summary judgment. Finding no actionable misrepresentations by

Live Nation, the district court granted the motion. East Hallows appeals.

II.

“We review a district court’s grant of summary judgment de novo.” Ison v. Madison Loc.

Sch. Dist. Bd. of Educ., 3 F.4th 887, 892 (6th Cir. 2021). A court appropriately grants summary

judgment when “the movant shows that there is no genuine dispute as to any material fact and the

movant is entitled to judgment as a matter of law.” Fed. R. Civ. P. 56(a).

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