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

Court of Appeals for the Sixth Circuit·Decided April 13, 2023·No. 22-5758·Unpublished

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NOT RECOMMENDED FOR PUBLICATION File Name: 23a0165n.06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.

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.

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

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). We “view[] the factual evidence and draw[] all reasonable inferences in favor of the non-moving party.” Thompson v.

Fresh Prods., LLC, 985 F.3d 509, 518 (6th Cir. 2021) (quoting 1st Source Bank v. Wilson Bank & Tr., 735 F.3d 500, 502 (6th Cir. 2013)).

III.

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