by Jana Spivey | Jun 9, 2026 | Blog
Your website visibility isn't just a Google problem anymore. If AI crawlers can't read your site or your event calendar is locked inside a widget, you could be invisible to AI crawlers without a single error message to show for it.
Post 4 introduced the crawlability problem and gave you a 30-second test to run. This post is for the operators who ran that test, found a problem, and want to know exactly what to do about it.
I'll cover the full diagnostic process, the platform-by-platform picture, what AI crawlers actually are and how they work, the event calendar problem specifically, and the realistic options for fixing what's broken. This is longer than the other posts in this series because the technical layer deserves a complete treatment, not a summary.
UNDERSTANDING AI CRAWLERS
When we talk about AI tools being able to "read" your website, we're talking about automated programs that request your pages, parse the HTML they receive, and extract information from it. These crawlers have names and can be identified in your server logs. The major ones relevant to venues:
Googlebot: Google's primary crawler. Executes JavaScript, though with a delay. Most capable crawler in terms of rendering dynamic content. Powers Google Search and Google AI Overviews.
GPTBot: OpenAI's crawler, used to train and update ChatGPT. Does NOT execute JavaScript. Requests raw HTML only.
PerplexityBot: Perplexity AI's crawler. Does NOT execute JavaScript. Can be allowed via robots.txt configuration.
ClaudeBot: Anthropic's crawler for Claude. Does NOT execute JavaScript. Subject to the same WAF blocking issues as GPTBot and PerplexityBot.
Bingbot: Microsoft's crawler, which powers both Bing search and Bing Copilot. Does execute some JavaScript. Generally more capable than the AI-specific crawlers but less so than Googlebot.
FULL DIAGNOSTIC: ASSESSING YOUR CURRENT STATE
Step 1: The View Source test
Open your homepage. Right-click, View Page Source (Ctrl+U on Windows, Cmd+Option+U on Mac). Search for your venue name, your most recent event title, and any descriptive text from your homepage. If these strings appear in the source, a basic HTML crawler can find them. If the source is mostly script tags and your content is absent, it loads via JavaScript after the page, and most AI crawlers won't see it.
Step 2: Check your robots.txt
Navigate to yourvenue.com/robots.txt. This file tells crawlers what they're allowed to access. Look for any "Disallow" rules that might block specific bots, and check whether GPTBot, PerplexityBot, or ClaudeBot are explicitly blocked or simply not mentioned. Not being mentioned is different from being blocked; the default is that crawlers are allowed unless specifically disallowed.
Step 3: Check your events calendar specifically
Navigate to your events or calendar page and run the View Source test again. Look specifically for event names, dates, and any structured data.
PLATFORM-BY-PLATFORM: WHAT YOU CAN DO
SQUARESPACE
- Add a plain-text, static events page alongside your widget-based calendar. Even a simple HTML page listing upcoming shows with dates, times, and ticket links gives crawlers something to read. It doesn't have to be beautiful; it has to be present in the source.
- Use Squarespace's code injection feature (Settings, Advanced, Code Injection) to add JSON-LD structured data for your venue and events. This helps Google significantly; it helps other AI crawlers only if the WAF is addressed.
- Consider whether a migration to WordPress is worth the investment for your venue specifically. For venues that depend heavily on discovery searches, the answer may be yes.
WORDPRESS
WordPress is the most AI-friendly common platform for venues. Static HTML by default, flexible schema support via plugins. The main action items:
- Install a schema plugin: Yoast SEO, RankMath, or Schema Pro. Configure it for LocalBusiness and MusicVenue types. Verify output with Google's Rich Results Test.
- If using The Events Calendar plugin (common for venue sites), verify that event pages include Event schema. The plugin supports this but it may require configuration.
- Check your robots.txt to confirm no AI crawlers are accidentally blocked.
WIX AND WEBFLOW
Both platforms have improved their JavaScript rendering situation, particularly for Googlebot. Wix added structured data tools and improved its server-side rendering in recent years. Webflow gives developers more control over rendering and schema. Check your specific site with the View Source test, because implementations vary considerably depending on how the site was built.
THE EVENT CALENDAR PROBLEM
Even venues with otherwise readable sites often have an invisible event calendar. The fix depends on your setup:
- If you use a calendar widget that renders via JavaScript: the events themselves are likely not crawlable from your site. The most practical solution is to maintain a parallel plain-text or structured events page on your own site that lists the same shows, and to keep your Bandsintown Pro and GBP events current so that discovery happens through those channels even when your own calendar is widget-based.
- If you use a dedicated events plugin on WordPress: verify that each event page includes Event schema markup with the full set of fields, specifically name, startDate, location, performer, and offers with a ticket URL.
- If you build your events calendar manually: this is actually the easiest scenario to fix. A simple HTML events page with JSON-LD Event schema for each upcoming show is fully crawlable by all AI bots and exactly what you need.
"A simple HTML events page with Event schema for each show is fully crawlable by every AI bot. You don't need a sophisticated system; you need the right format."
VERIFYING YOUR FIXES
Once you've made changes, verify them before assuming they worked:
- Run the View Source test again on your updated pages. Confirm your content appears in the raw HTML.
- Use Google's Rich Results Test to confirm schema markup is valid and being read correctly.
- Use Google Search Console's URL Inspection tool to see how Googlebot renders your pages and whether it can see your content.
- Check your robots.txt again to confirm no unintended crawler blocks are present.
- Ask an AI tool directly: "What events does [venue name] have coming up?" If the answer reflects your actual calendar, you've made progress. If it still returns nothing or outdated information, the data pipeline has a gap somewhere.
The full crawlability checklist for your venue's website and events calendar is available as a downloadable guide at thejamagency.com. It covers every platform listed here with step-by-step instructions and a verification process you can complete without a developer.
Post 18 covers what happens after AI can read your site, which is whether it trusts what it finds, and how to build the kind of digital presence that earns that trust over time.
by Jana Spivey | Jun 9, 2026 | Blog
Honest uncertainty from someone researching this daily. Here's what I'm still watching in AI search and why confident predictions about it should make you suspicious.
There's a version of this post I could write where I wrap the series up with confident predictions about where AI search is headed and what venues should do to prepare. That version would be cleaner and probably more satisfying to read!
It would also be less honest than you deserve.
The AI search landscape is genuinely unsettled right now. I've spent months researching this, preparing for a panel on it at NIVA, and running tests with my own team. There are things I know with confidence; those are what the previous fifteen posts are built on. And there are things I'm still watching, still testing, still uncertain about. I'd rather share those openly than paper over them with authority I don't have.
Here's what I'm tracking.
GOOGLE AI MODE AND THE LONG-TERM ORGANIC TRAFFIC QUESTION
AI Mode is real and it is taking organic clicks from websites, including venue websites. What I don't know yet is how much of that traffic loss is permanent versus how much represents a behavioral shift that venues can adapt to by focusing on citation rather than ranking. I've been watching my clients' Google Search Console data closely since the May 2026 core update completed, and the picture is mixed enough that I'm not ready to declare a direction.
Some query categories are more affected than others; event and venue discovery searches are showing different patterns than informational queries. I'm watching this monthly and will write about what the data shows.
One thing worth naming clearly: AI Mode is now the global default, not an optional tab. As of the May 2026 I/O announcement, Google made AI Mode the primary search experience across desktop and mobile worldwide. There are now three distinct layers in Google search:
- AI Overview (the generated summary box above your blue links, Google's official term for it),
- AI Mode conversational experience (which is increasingly the whole search interface) and,
- Traditional blue links below.
They share the same underlying Gemini 3.5 Flash model and the same optimization approach. You don't need a separate strategy for each one; you need to be visible to the system that powers all three.
GOOGLE'S PREFERRED SOURCES FEATURE
Google launched Preferred Sources in May 2026, letting users indicate websites they'd prefer to see in their AI-generated results and Top Stories. I went back to the primary documentation on this one because the early coverage was imprecise, and the actual picture is more specific than most summaries suggest.
Here's what it actually does and doesn't do for venues. A static events calendar page will never benefit from this feature, because the entry point is always a news-style or fresh-content query, and Google's Top Stories system won't fetch a schedule page. That's a hard architectural limit, not a temporary gap.
However, the feature isn't limited to news publishers. Any site that publishes fresh content regularly can qualify, including venue sites. A venue that publishes show announcements as actual crawlable pages (not just widget-embedded event listings), artist spotlights, or local scene coverage can appear badged when a fan searches related topics. The mechanism works; the barrier is content production, which for most independent venues is the real constraint.
The honest framing: Preferred Sources is a theoretical opportunity for venues with a content publishing habit and largely irrelevant for venues whose only web presence is a ticket calendar. For the NIVA audience specifically, most operators fall into the second category. I'd file this under "worth knowing, not worth prioritizing" unless your venue is already publishing regularly, in which case claiming the badge costs nothing and may incrementally improve your visibility when fans who follow you search relevant topics.
BING'S QUIET DESKTOP SHARE GAINS
Bing gets treated as an afterthought in most AI search conversations because its overall market share is modest. But on US desktop specifically, Bing is sitting at roughly 17.6% market share in 2026, which is not nothing. Microsoft has integrated AI deeply into Bing through Copilot, and Bing's event data pulls from Bandsintown, the same infrastructure we covered here.
For venues whose audiences skew older or corporate, and whose fans are more likely to be on a desktop at work than on a phone, Bing visibility may be worth more than most venue marketers are accounting for. I renewed my Google Ads certification recently and was genuinely frustrated by how single-platform the industry's thinking has become. The exam assumes Google is the only search surface that matters. It isn't.
THE ATTRIBUTION PROBLEM FOR AI-DRIVEN CONVERSIONS
This is the one that keeps me up at night, professionally. If a fan finds your venue through an AI-generated answer, searches your name directly, and buys a ticket through your site, that conversion shows up in your analytics as direct traffic or branded search. AI gets no attribution credit; you have no way of knowing the discovery step happened at all.
I've been thinking about this in the context of a client whose conversion tracking I spent months rebuilding, and the AI attribution gap is genuinely harder to close than the UTM problems we were solving there. I don't have a good answer yet. I'm watching whether any analytics platforms build a solution for this, and in the meantime I'm defaulting to the position that if your AI visibility infrastructure is solid, the downstream conversions will follow, even if you can't see them in the data.
THE AGENTIC BOOKING LAYER AND WHY IT CHANGES THE STAKES
This one is no longer something I'm watching from a distance. It's live.
Since November 2025, Google's AI Mode has been able to search for event tickets on a fan's behalf across Ticketmaster, StubHub, SeatGeek, and others and surface real-time options with direct booking links. That agentic booking capability expanded to all US users in summer 2026 as part of Google's I/O announcement. It's not a separate app you opt into. It's built directly into AI Mode, on by default, and it doesn't require the fan to visit your website at all. They can ask "find me two standing floor tickets for a show at [your venue] this month" and Google's agent goes and finds them.
I'm still watching which venues' events actually surface in that agent's results, and what determines the ranking. The agent draws on platforms like Bandsintown, Ticketmaster, and SeatGeek for its data. If your events aren't in a system that agent can read, they're invisible to it. But the specific weighting and ranking logic isn't public yet, and I'm treating this as a watch item until I've seen enough real-world results to say anything definitive.
What I can say now: the case for having your event data in Bandsintown Pro and your GBP events current just got significantly stronger. Those two data sources are the most accessible inputs into the systems Google's agent is drawing on. Waiting on this one isn't a neutral position.
"I'd rather share what I'm still working through than paper over it with authority I don't have."
I'm also watching whether Google's AI Mode fully displaces traditional search results or finds a more stable equilibrium where both coexist for different query types. My working assumption is the latter, but I've been wrong about Google's pace of change before. Anyone who tells you with certainty how this settles is either more informed than I am or less honest.
What this means practically: the recommendations in this series are grounded in what's working now and in the structural fundamentals that have held across multiple platform shifts. Crawlable content, consistent citations, accurate schema, direct audience channels aren't bets on a specific outcome. They're the foundation that keeps working regardless of which direction AI search evolves.
The next four posts are deep dives, where we go further into the technical and strategic layers for operators who want to build something durable. They're longer, more specific, and more actionable than anything in this series so far. The first deep dive starts with the crawlability problem and doesn't leave until it's solved.
by Jana Spivey | Jun 9, 2026 | Blog
Social reach is borrowed. Your email list is owned. For venues trying to build lasting relationships with fans, that distinction is worth taking seriously.
Let me describe something that has happened to venue marketers more than once in the last decade, and will happen again.
A venue builds a Facebook following over several years. Tens of thousands of people who have opted in, who like the page, who have attended shows. The venue posts about new bookings and a meaningful percentage of those followers see it and buy tickets. It works. Then Facebook changes its algorithm, organic reach drops to two or three percent of the page's followers, and the channel that felt like an asset turns out to be a rented audience on a platform that changed the terms.
The same story plays out on Instagram, on Twitter, on TikTok, on every social platform that gives you reach and then gradually charges you for access to the audience you built there. The followers are real. The relationship is not yours; it lives on their platform, under their rules, and it changes when they decide it should.
Email is different. An email address is a direct line to a fan that no algorithm controls and no platform can take away. When you send an email, it arrives. The fan chose to receive it. The relationship is yours.
WHY THIS MATTERS MORE RIGHT NOW
The AI search transition we've been covering in this series is a discovery-layer change: it affects how fans find you for the first time. But once a fan has been to your venue, bought a ticket, had a good experience, the discovery problem is largely solved for that fan. What you need then is a reliable way to stay in their world and bring them back.
Social media was supposed to be that channel. For a lot of venues it still is, partially. But the organic reach situation has become genuinely difficult; running a venue's social media well requires consistent content, paid amplification, and creative output that most small teams can't sustain at the level the algorithms reward.
Email doesn't have that problem. A list of five thousand engaged fans who have bought tickets before is, in my experience, worth more in actual revenue than fifty thousand social followers who follow passively and rarely convert. I've seen this pattern across multiple clients: the moment we started treating email seriously (building sequences, cleaning lists, writing subject lines that didn't read like newsletter templates), the conversion numbers moved. Not because email is magic, but because a direct channel to people who already like you is one of the highest-return things a small marketing team can invest in.
"A list of five thousand engaged fans who have bought tickets before is worth more in actual revenue than fifty thousand social followers who rarely convert."
WHAT A BASIC EMAIL INFRASTRUCTURE LOOKS LIKE
You don't need a sophisticated platform or a dedicated email marketer to do this well. You need three things: a way to collect addresses, a platform to send from, and a small set of automated sequences that do the work without requiring someone to write a new email every week.
THE THREE SEQUENCES WORTH BUILDING FIRST
- Post-purchase confirmation sequence. Two emails: a ticket confirmation with practical logistics (parking, doors, what to expect), then a day-of reminder. This reduces no-shows and creates a positive pre-show experience. Build it once; it runs automatically for every ticket purchase.
- New show announcement. When you book a show worth promoting, a targeted email to fans who have attended similar shows converts significantly better than a broadcast to your full list. If your ticketing platform tracks purchase history by genre or artist, that segmentation is already available to you.
- Re-engagement sequence for dormant subscribers. Fans who haven't opened an email in six months are not your best audience; they're hurting your deliverability. A simple two-email re-engagement sequence, "we miss you, here's what's coming up," followed by a quiet unsubscribe if no response, cleans your list and improves the metrics that matter.
SMS IS WORTH ADDING IF YOU DON'T ALREADY USE IT
SMS open rates run well above ninety percent. For day-of-show logistics, last-minute ticket availability, and time-sensitive announcements, a text message gets seen in a way that even a well-crafted email won't match. It's not a replacement for email; it's the channel you use when timing is critical and you need to know the message landed.
The key with SMS is consent and restraint. Fans who opt in to texts expect important, timely messages, not a high-volume marketing channel. One to two texts per month, maximum, keeps the list healthy and the relationship intact.
THIS SERIES AI CONNECTION
There's a reason I'm covering owned channels in a series about AI search visibility. As AI-generated answers get better at the discovery layer, the path from "fan finds your venue" to "fan buys a ticket" is getting shorter. But the path from "fan buys once" to "fan becomes a regular" still runs through relationship, and email is the most reliable infrastructure for that relationship that exists.
The venues that will do best in an AI-first discovery world are the ones that capture the fan when AI sends them, convert them to a ticket purchase, and then bring them into a direct communication channel they actually control. That's the full loop. AI gets them in the door; email keeps them coming back.
If you're starting from scratch: the simplest possible version is a Mailchimp account, a signup form embedded on your website, and one automated welcome email that tells fans what to expect from you. That takes an afternoon. Everything else builds from there.
Post 16 is the last post in the education section before the NIVA deep dives, and it's the one where I'm honest about what I'm still watching and what I don't have answers to yet.
by Jana Spivey | Jun 9, 2026 | Blog
Not every AI recommendation requires a developer, a new platform, or a budget you don't have. Here's where to start if you have twenty minutes and a healthy amount of curiosity.
Every framework for AI adoption I've ever seen assumes the reader has more time, more technical comfort, and more team capacity than most independent venue operators actually have. The advice is correct in the abstract but useless in practice.
So I want to try something different. I'm going to break this down by how much bandwidth you actually have, starting with the things that take twenty minutes and no technical knowledge at all. You can do Tier 1 today. Tier 2 might take an afternoon. Tier 3 is a project. Tier 4 is for the operators who want to build something that compounds over time.
Pick the tier that honestly matches where you are right now. Doing Tier 1 well is more valuable than attempting Tier 3 and abandoning it.
TIER 1 | THE 20-MINUTE WINS
Zero bandwidth, zero tech. Do these today:
- Open Google and search your venue name. Look at the knowledge panel on the right. Is every piece of information accurate and current? Fix anything that isn't, directly in your Google Business Profile.
- Add your next two or three shows to your GBP as events (this is an option when scheduling a post). It takes five minutes per show. This feeds Google's own event data and increases your chances of appearing in AI-generated local answers.
- Claim your venue on Bandsintown Pro if you haven't already. This puts your events into the distribution network that feeds Apple Music, Spotify, Shazam, and Bing.
- Do the View Source test from Post 4. Right-click your homepage, choose View Page Source, search for your venue name. If it's not there, you now know something important about your AI visibility that you didn't know this morning.
- Ask ChatGPT or Claude to describe your venue. Note anything it gets wrong or hedges on. That's your citation audit starting point.
TIER 2 | AI AS A THINKING PARTNER, NOT A CONTENT MACHINE
A little time, a little curiosity.
- Paste your last month of ticket sales data into an AI tool and ask it to identify patterns: which shows sold fastest, which had the lowest conversion from page views to purchases, which genres or time slots underperformed. You don't need a data analyst; you need to ask the question.
- Export your Google Search Console data (free, connect it to your site if you haven't) and ask an AI tool to summarize which queries are bringing people to your site and which pages are getting impressions but low clicks. This tells you where your content is being found but isn't converting.
- Try Viktor, a Slack-native AI assistant that connects to more than 3,200 tools. If your team already lives in Slack, Viktor can help with scheduling, research, and task management without requiring anyone to learn a new platform.
- Ask your ticketing platform the three questions Post 10 suggested: what is this campaign optimizing toward, what did I get for my spend last month, and what changed. Whatever the answer, it's a more informed starting point than not asking.
TIER 3 | SYSTEMS THAT COMPOUND
Build something that keeps working.
- Build a show announcement template using AI: a structured prompt that generates a social post, an email subject line, and a short description for every new booking. Takes an hour to build once; saves twenty minutes per show after that.
- Set up a post-purchase email sequence for ticket buyers. Even a two-email series (confirmation plus day-of logistics) keeps your venue in the fan's mind and reduces no-shows. Email platforms like Mailchimp can automate this once it's built.
- Create a consistent monthly social calendar using an AI tool to draft content in batches rather than one post at a time. Consistency on social matters more than volume; batching makes consistency achievable with a small team.
TIER 4 | INFRASTRUCTURE THAT EARNS AI TRUST OVER TIME
The frontier. For operators ready to build something durable.
- Implement Event schema markup on your website for every show. This post covers what this looks like and how to check if it's working.
- If your site is on Squarespace, explore the options for either enabling non-Google AI crawlers or migrating to a platform with better AI accessibility.
- Run a full NAP audit across your top ten citation sources and correct any inconsistencies. This post covers the process.
- Build a loyalty or re-engagement program for past ticket buyers. The fans who've already been to your venue are your highest-converting audience; most venues underinvest in them significantly.
"Doing Tier 1 well is more valuable than attempting Tier 3 and abandoning it."
One thing I've noticed working with clients across different industries: the teams that make the most progress with AI tools are not the ones with the most technical sophistication. They're the ones who pick one thing, do it completely, and move to the next. The venues that will be in the best position in two years aren't necessarily starting from a better place today. They're just starting.
A note on AI as a marketing assistant: I'm deliberate about calling these tools marketing assistants rather than agents, because the word agent implies autonomy your team isn't ready to hand over yet. Use AI to draft, to analyze, to surface patterns, to save time on tasks that don't require your judgment. Keep your judgment in the loop. That's the right ratio for right now.
Our next post covers the channel that sits underneath all of this, the one that doesn't depend on any algorithm, any platform, or any AI system working in your favor.
by Jana Spivey | Jun 9, 2026 | Blog
The Live Nation lawsuit ended with a jury verdict, but the potential breakup is paused, not cancelled. Here's what actually happened and what it means for independent venues.
I'm a marketer, not a lawyer, and I want to be clear about that upfront. What follows is my read of a complicated legal situation as someone who works in this industry and pays attention to what affects independent venues. Nothing here is legal advice; none of it should be taken as a prediction of outcomes. But the Live Nation antitrust case is real, the verdict is significant, and I think it deserves a clear-eyed summary for operators who may have seen the headlines without the context.
WHAT ACTUALLY HAPPENED
Here's the condensed timeline:
Early 2026: The DOJ and 34 states bring antitrust action against Live Nation and Ticketmaster. The federal government and the states pursue different remedies.
Pre-trial: The DOJ, under the Trump administration, reaches a $280 million settlement with Live Nation before the jury returns. NIVA publicly criticizes the settlement as inadequate. The 33 states and D.C. decide the settlement isn't enough and continue to trial independently.
April 15, 2026: A nine-member federal jury finds that Live Nation and Ticketmaster violated federal and state antitrust laws, illegally maintaining monopoly power across 13 specific liability issues. The jury finds a $1.72 per-ticket overcharge to fans. The verdict covers the primary ticketing market for major concert venues and Live Nation's use of venue control to compel artists to use its promotion services.
May 2026: States file for remedies including Ticketmaster divestiture, Live Nation amphitheater sell-offs, and limits on exclusive ticketing contracts. Live Nation files motions to undo the verdict entirely and delay remedies discovery.
June 3, 2026: The federal judge grants Live Nation a stay on remedies discovery while its post-trial motions are resolved. The potential breakup is paused, not cancelled. This is very much still in motion.
WHAT THE VERDICT MEANS, AND WHAT IT DOESN'T
A jury verdict is significant, but it's also not the end of the story. Live Nation is pursuing every available legal avenue to overturn or retry the case, and they have the resources to take this through appeals for years. The structural remedies the states are seeking, including a forced separation of Ticketmaster from Live Nation and limits on exclusive venue contracts, are not guaranteed outcomes. They're the starting position for a remedies phase that hasn't fully begun.
What the verdict does establish, with more legal weight than any previous action, is that the jury found the monopolistic behavior real and harmful. The $1.72 per-ticket overcharge figure is a number that will follow this case through whatever comes next. And the states' continued pursuit of structural remedies, even after the federal government settled, signals that at least 33 attorneys general believe the DOJ's deal wasn't sufficient.
"More than 30 states looked at the DOJ settlement and walked away from it. They tried the case themselves, won, and opened the door to remedies no settlement could have delivered."
THE QUESTION FORMING AROUND THE OLD MONOPOLY
Here's what I've raised in upcoming industry conversations and want to plant as a question rather than a conclusion: while attention is focused on Live Nation and Ticketmaster, there's a quieter consolidation happening in the music ecosystem that independent venues should also be watching.
DistroKid, the artist distribution platform used by hundreds of thousands of independent musicians, is currently on the auction block. Spotify ended its 13-year partnership with Songkick and switched to Bandsintown for event data distribution. Apple Music is deepening its concert listings integration through Bandsintown as well. Warner Music Group already owns Songkick.
None of this is illegal. Some of it may be genuinely beneficial for artists and venues. But the pattern of consolidation in how music gets discovered, distributed, and ticketed is worth watching with the same attention the industry applied to Live Nation. The old monopoly got a verdict; the question of what forms around it is still open.
WHAT INDEPENDENT VENUES CAN ACTUALLY DO
The most practical implication of the antitrust case for independent venues is the possibility that long-term exclusive ticketing contracts could be limited or unwound if the states' remedies succeed. That would give venues more flexibility in choosing ticketing partners and structuring their own discovery and distribution strategy.
That outcome is uncertain and may be years away. What's certain now is that the visibility infrastructure we've been covering in this series (your own crawlable website, your schema markup, your Bandsintown Pro listing, your GBP events, your email list) is yours regardless of what happens in court. Building it doesn't require waiting for a legal outcome.
I'll update this post if the NIVA advocacy panel surfaces new information at the June 10 conference. The legal landscape is genuinely moving fast right now.
