In a wide ranging interview/keynote at Billboard's Music & Money Symposium in New York, Ticketmaster CEO Sean Moriarty emphasized that the concert business is healthy, but going forward would need new approaches to keep it relevant.

“The concert business is solid and strong and the rise of the festival has reinforced the communal nature of the lives experience,” he said.

In the long term, Moriarty says there is concern that there is not enough talent to fill the big arenas but the area of opportunity lies with the mid-size halls, and consequently “we need to develop acts as a way to sustain business."

One of the new areas of growth for the company is the ticket resale business, which up until two or three years ago, 22 or 23 states didn't allow, and Ticketmaster complied with those laws. As a result, the company lost ground as that sector developed. But even playing catch-up, Ticketmaster expects 100% growth in the resale business year over year.

Since the concert business sometimes asks people to buy a ticket six months in advance, the ability of transference and resale is going to become increasingly important going forward, Moriarty says.

Ticketmaster is also using the Internet to expand its reach and improve its sales. "We made an investment in iLike, a music discovery site, and we are now selling tickets through it," he said. "It is our No. 3 affiliate in the U.S. When we bought it one year ago, it had only 4,000 users, now has 21 million. We recognized that we had to take a risk to catch a business on the way up."

The company is also in touch with 25 million music fans a week, through a weekly e-mail.

While its relationship with ticketbuyers is growing, he said he realizes that the company still has to reach out more to spread the company's story. In particular, the service charges are a source of confusion. "We need to do a better job of explaining it," he said.

In looking ahead, and not particularly referring to the Cablevision/Ticketmaster/AEG Live deal, he said the industry will see more consolidation of the value chain. He added that the music industry at large is not as professionalized as other industries and that buying a ticket should be as evocative as the live experience itself.

Additional reporting by Ray Waddell