70 Markets profiled
600+ Arena directory
The O2 is proud to be the world’s most popular arena. Since opening, we’ve welcomed over 100 million visitors across 3000+ events. We believe in putting artists and fans at the centre of everything we do and remain committed to investing in a more seamless fan experience, world-class backstage facilities, and innovative sustainability projects that support a brighter future for our planet and live music in the UK.
Fan expectations, rising costs, packed calendars, and pressure on climate action… it may be a boom time for arenas, but that doesn’t mean the challenges have gone away. AEG Europe’s COO John Langford shares how the company is responding – and what it reveals about the future of live entertainment spaces.
Across Europe and beyond, demand for live entertainment at arena level is surging, but so too are the pressures that come with it. “The appetite for live events, combined with a healthy supply of content, has never been stronger, and this is a trend that we see extending well beyond the borders of our current markets,” says Langford. That demand is driving faster timelines, new touring models, smarter venues, and a tighter focus on sustainability, efficiency, and experience.
While the arenas business never stands still, it feels very much like this is a golden period for the sector. With new venues breaking ground in Asia, the Middle East, and across Europe, existing arenas are adapting fast – upgrading infrastructure and investing in fan experience to stay competitive.
Asia features heavily in AEG’s development plans.
“Expanding our presence in Asia is a significant focus for us, as the region is becoming a global hub for concerts, sports, and cultural events, attracting both international and local talent,” he says. “We are shaping this evolution by investing in state-of-the-art venues across key markets, including Thailand, Japan, and China.”
One of those projects, the 17,500-capacity IG Arena in Nagoya, Japan, was set to open as the Global Arena Guide went to press. In Europe, the company has plans for a new 8,500-capacity venue in Edinburgh. Langford keeps details of
further sites under wraps but hints at more to come: “We continually monitor global market activity by analysing touring patterns and audience response to identify opportunities for new arena-sized venues. Currently, we have several exciting projects in the works.”
And while arenas have never been busier, so too have stadium shows. “What’s interesting is that this has not had any impact on arena-level activity,” says Langford. “The volume of forward bookings across our portfolio is the strongest we have seen.”
That strength brings its own challenges, particularly around calendar avails. “Our programming teams are the best in the business, continually juggling limited availability to deliver a vast array of live experiences from music, comedy, sport, and more. Demand from first-time productions, upcoming arena talent, and more requests for innovative productions, our programming teams are motivated to begin conversations with promoters early and are working collaboratively to bring the most sought-after shows to our venues. At the same time, we are also seeing lead times for certain shows getting shorter, with some shows announcing, selling out, and taking place within just a few months.”
Langford points to a rise in flexibility as well as volume. While markets like London and Berlin remain central to the European touring circuit, AEG is eyeing the potential of smaller venues. “London and Berlin are important cultural capitals and primary markets on the European touring route. We are confident that both markets are well-served from an arena perspective in the current landscape but see great potential at the smaller and mid-size level venues to provide further gateways for entry-level artists. The Uber Eats Music Hall in Berlin is a great example of this, unique in its position in the German market as it is purpose-built for live music.”
The way artists tour is also shifting. While global tours
still anchor the calendar, residencies are growing in prevalence – and not just for legacy acts. “For almost 20 years, The O2 has been synonymous with major artist residencies, from Prince’s iconic 21 nights in London back in 2007, to Elton John, Queen + Adam Lambert, and most recently, ten nights of Usher.
“Increasingly, we are seeing major artists choosing to anchor their activities in key markets, whether it be a multinight block or a monthly residency, such as Peter Kay’s record-breaking residency that has kept audiences laughing at The O2 since December 2022.”
He says there’s more to it than convenience. “At a time when rising costs are impacting every aspect of live touring, artist residencies can offer a cost-effective opportunity for big productions, as well as more sustainable touring solution by reducing emissions from travelling stages, crew, and performers from city to city.”
Sustainability is fundamental to most arenas operating today, and The O2 has been at the forefront of some of the most innovative measures, including the first carbon-removed show, with The 1975 in February 2024 (see last year’s Global Arena Guide). “We strive to ensure that considered environmental action is at the heart of our business and
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All over the world, new arenas are taking shape, from major capitals to fast-growing regional hubs. Ben Lee spotlights the projects set to open in the near future.
Scheduled reopening date: late 2025
Not a brand-new arena, per se, but a total renovation of an existing space. Oak View Group (partnering with Live Nation) is involved with transforming the FirstOntario Centre, enabling it to scale up to 18,000 capacity for concerts.
There will be 100 events planned per year, with Andrea Bocelli already booked for this December. It’s estimated to have cost CA$290m and includes the acoustical panelling featured across many OVG venues and a 10x10m support rigging that can accommodate larger touring shows.
OVG CEO Tim Leiweke says it will “completely transform the downtown area with its accessibility, technology-forward improvements, and priority on sustainability.”
Scheduled opening date: 2027
The $237m project to replace the Civic Center aims to entice more acts to stop by and perform in the scalable 10,000-cap venue. Concerts, family shows, and sporting events will make up the programme.
The 22-acre site has been designed to support the city’s Mardi Gras traditions, with multiple ballrooms and space for conventions. Conrad Albrizio’s 1965 mosaics that were displayed in the foyer of the old arena will also feature in the new building.
Mobile’s mayor, Sandy Stimpson, says OVG’s experience will “turn this new venue into a hub for entertainment, culture, and community on the Gulf Coast.”
Scheduled opening date: 2026
The fast-growing Colombian market is set to improve even further once Arena Primavera is completed. The 16,250-cap venue is part of an urban renewal master plan that is being redeveloped over a 55,000 sqm area.
The five-storey arena will programme around 75 events annually and welcome 600,000 visitors, with 1,000 direct and indirect jobs generated per event.
Designers HOK have implemented a changing LED façade, while natural ventilation and water conservation systems will position the arena as the country’s first carbon-neutral venue.
Arena Primavera will cost around $55m and is funded by consortium CLK Group, who own Movistar Arena in Bogotá.
CLK strategy director Gabriel Sanchez Olea says: “This new venue will complement Movistar Arena Colombia, strengthening Colombia’s position as a must-visit destination for artists touring South America. This is yet another step in our commitment to the country and the incredible talent of our people.”
Scheduled opening date: late 2026
Arena Brno is set to become one of the busiest arenas in Europe as it will be the home of ice hockey team HC Kometa Brno and will host Oktagon MMA matches. The venue will be able to seat just over 12,000, which can extend to 14,000 for concerts, with plans to programme a mixture of music, family shows, and sport.
Technical specifications include a 100-ton rigging capacity over the stage, 30m ceiling height, and retractable elements to build the stage away from the performance area.
The arena confirmed it would book in-house but is also collaborating with local and international promoters. The chairman of the venue’s board of directors, Petr Kratochvíl, says he could not “confirm anything 100% yet” regarding who it will work with but that “everything is going according to plan.”
Scheduled opening date: 2026
Cardiff Atlantic Wharf Arena is part of a wider 30-acre regeneration project for Cardiff Bay. The venue was projected to have a capacity of 17,000 to host a mix of events that could be scaled down to 3,500-capacity.
But according to Architects’ Journal, the arena’s height, width, and length have shrunk, reducing the venue’s capacity from 17,000 to 15,348, due to inflation causing construction costs to jump from £180m to £280m, according to Wales Online.
It was reported that Live Nation (in partnership with OVG and Cardiff City Council) invested £100m into the arena. Cardiff City Council estimates 1m people will visit each year and says it could create £92m in annual spend and help stimulate an additional 1,000+ jobs in the area.
Scheduled opening date: 2027/2028
The YTL Arena confirmed last year that it would be delaying opening for concerts. However, the Malaysian developer and naming-rights partner has since announced a £2bn investment injection to support the wider Brabazon Bristol development project so that progress could continue.
The 19,500-capacity, carbon-neutral arena will transform Filton Airfield’s hangars (where Concorde was built), into the
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Gearhouse SA, The Dome represents a major step forward in South Africa’s domestic live infrastructure. With a seated/ standing capacity of 10,500 and an expansive 6,000 sqm of event space, the venue is purpose-built for concerts, conferences, exhibitions, and product launches.
“This venue is not just about scale,” said Justin Van Wyk, head of Big Concerts and Live Nation South Africa. “It’s about creating new opportunities for South African fans to experience global-level productions while also spotlighting local and regional [Pan-African] acts.”
The venue was launched with a headline show by Nigerian artist Tems in March 2025, with ticket prices ranging from ZAR1,310 for VIP access to ZAR800 for general admission.
Rebecca Kane Burton, executive VP of venue management at OVG, discusses the future of the venue industry.
Population: 60.4m
Languages: 12 incl. Zulu, Xhosa, Afrikaans, English
Having delivered some of the world’s most high-profile arenas – why is refurbishing existing venues just as important to OVG as building new ones?
South Africa’s considerable reliability in infrastructure and audience readiness makes it the top anchor for continental routing. With the opening of The Dome in Johannesburg, the country is doubling down on its position as a premier destination for arena-level live entertainment in Africa.
Unveiled in 2025, through a partnership between Live Nation, Big Concerts, Stadium Management South Africa, and
We’re focused on finding the optimum solution for each market. While new builds, like Co-op Live [in the UK] are transformative, we also see huge potential in existing infrastructure. Sometimes a venue just needs a mini facelift – better acoustics, improved flow, or an enhanced fan experience – to restore its competitiveness. A great example is Hamilton Arena in Ontario, where our investment has been laser-focused on ensuring it can regain its competitive edge.
What’s also critical is understanding the specific market
What can arenas learn from other industries?
In Pretoria, SunBet Arena (10,500) is in an entertainment precinct that includes hotels, casinos, and conference facilities. Tyla, Bobby Womack, Cigarettes After Sex, Lauren Daigle, and others have performed there recently.
“We’ve built SunBet to be a holistic solution, such that clients only need to worry about the artist while we take care of everything else,” says Lara Portelli, events and entertainment manager. “We also continuously invest in refurbishing seating, updating lighting and technical specs to keep the venue competitive.”
Retail and aviation have been major sources of inspiration throughout my career. Both sectors are fast-moving and focused on delivering for the customer – and that’s where arenas need to be.
Retail moves so fast, and it is all about agility. Look at how high streets have changed – it’s about staying ahead of the curve and pivoting when something isn’t working.
In aviation, it’s the tech – seamless digital journeys that reduce stress and enhance the experience. Airport retail is big business. "Reduce the stress of making it to the plane and I’ll consume at leisure." It’s the same formula in arenas.
How are you thinking about sustainability – not just in design and operations but in terms of long-term audience and community impact?
The pandemic reminded us just how much we all need spaces to connect, celebrate, and escape. Venues aren’t just buildings – they’re a vital part of community life.
In 2024, SunBet Arena hosted 60 events, selling 275,000 tickets, despite a dip from the previous year due to travel advisories and election-related cancellations. The arena has introduced efficient crowd ingress systems such as pre-entry scanning and wristbanding at nearby restaurants. Portelli also spoke of the broader challenges and opportunities of placing South Africa on a more cohesive global touring circuit. “We’ve tried to encourage routing through Dubai and then into Africa, ending in South Africa,” she says. “There’s amazing infrastructure in Lagos and Kigali, too; ideally, we'd see artists move from Egypt to Nigeria, Rwanda, and then down to us. But that kind of coordinated circuit still isn’t functioning as it should.”
Sustainability is baked into how we operate. Co-op Live,
pumps. This helps make tangible impacts on the local area. In
work for – they just want a great night out.
Sound is fast becoming the key differentiator. Artists, fans, and promoters want venues where the audio experience is second to
Then there’s service. F&B can no longer be an afterthought
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Even so, it is an ongoing challenge for the city, but efforts are afoot to mitigate against the many issues and complications there. “Perth’s isolation continues to pose a challenge when securing international touring acts,” says Scott. “Cost of living hasn’t only impacted households but has also significantly increased the cost of bringing shows to the west coast of Australia. Our event procurement manager is working closely with the key stakeholders across government and industry to find viable, sustainable solutions.”
He adds, “There continues to be a considerable demand for live entertainment from Perth fans, so we are determined to overcome these obstacles and keep bringing world-class acts to town.”
While acts will, for economic and logistic reasons, skip over Perth, those who do play there – including Hozier, Drake, Iron Maiden, Gracie Abrams, Katy Perry, Teddy Swims, and Tyler, the Creator – will more often than not see their shows sell out due to the considerable pent-up demand in the city.
Population: 26.7m Language: English
Currency: Australian dollar (AUD) GDP per capita: $59,600
Internet users: 25.3m Mobile connections: 29.1m
Australia is a territory that, despite a relatively small population comparative to land mass, performs strongly. But its geographical position, especially in an age of sharply rising transportation costs, presents a number of ongoing challenges for its future growth.
Michael Scott, general manager of the 16,500-cap RAC Arena in Perth, says, “Live entertainment is thriving” in the city and that consumers there do spend on live music. “Although the cost-of-living pressures continue, people are still willing to spend their discretionary income on experiences,” he says.
As Scott highlights, a common issue for Australian venues to navigate is that it is increasingly expensive and complex for international tours to include the country. On the other side of the continent, Steve Hevern, general manager of the 21,389cap Qudos Bank Arena in Sydney, says the knock-on effect for Australian consumers is that ticket prices are having to rise in order to make international tours more economically viable for acts and promoters. This does not always mean consumers are being put off from attending, but there is a degree of conservatism impacting spending here.
“We are not noticing a drop in spend during a show,” he says, “but it means patrons are being more selective with the number of events they attend.”
He does reveal, however, that the growing cultural cosmopolitanism in Australia is unlocking new opportunities, especially for acts outside of dominant touring nations like the UK and US.
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Population: 1.4bn
Languages: Mandarin, Standard Chinese, Cantonese, Xiang
Currency: Chinese Yuan (CNY) GDP per capita: $22,100 (2023)
Internet users: 1.2bn Mobile connections: 1.9bn
The live music landscape in China is vast, varied, and absolutely thriving, with reports suggesting that as of October 2024, over 750,000 performances had taken place throughout the country, selling in excess of 34m tickets and generating over ¥18bn, with an average ticket costing ¥524.
When it comes to arenas, large-capacity spaces are on offer throughout the country’s provinces and regions, and international stars are increasingly plotting dates within China as part of their global touring plans. Ed Sheeran, for example, recently opted to complete a six-performance stint at the 80,000-capacity Hangzhou Olympic Sports Center Gymnasium, with further international stars including Imagine Dragons completing dates over the past 12 months, as well as Kanye West receiving rare approval to host two listening parties and 70,000 spectators at the Wuyuan Stadium in Haikou.
Traditionally a difficult territory for international artists to access due to strict visa requirements and strongly enforced cultural rules, recent touring activity has seen a number of prominent international acts making their way to the territory – and multiple large-capacity arenas throughout the mainland have been available to host them. The Mercedes-Benz Arena in Shanghai for example, formerly known as the Shanghai World Expo Cultural Center, can accommodate a seated crowd of 18,000 people, and in 2024, the venue hosted concerts from international artists such as James Blunt and OneRepublic, with two dates expected from Hans Zimmer this year.
The recently redeveloped Beijing Workers’ Complex includes a 68,000-capacity stadium, which presented two gigs from Mariah Carey in 2024. Built in the 1950s and occupying more than 80,000 square metres, the venue received a number of upgrades recently to make it more environmentally and economically sustainable.
And another venue that has received significant upgrades
can be found at The Venetian Arena, in China’s special administrative region of Macau.
The Venetian Arena can host 1,000 people for dinner events and up to 14,000 spectators for ring sport events and is amongst a suite of arena venues in Macau that are primed to host international touring acts. “Being a tiny island, the audience is primarily tourists from China,” says Colin Dwyer, the arena’s senior technical director for entertainment. “It is highly unlikely most international shows would have the opportunity to schedule a date in Southern China, but they are attracted to Macau, which is a bustling entertainment hub often compared to Las Vegas. This gives those acts an opportunity for their fans to see them live and grow their fanbase.”
The Venetian Arena hosted 45 shows in 2023, six in 2024, before closing for nine months of renovation work, and anticipates presenting around 45 performances in 2025. As part of the renovation, 15 VIP suites were introduced, along with ten VIP sky boxes, a meet-and-greet suite, a couple of star dressing rooms, a broadcast room, and over 1,500 brand-new lighting fixtures. LED corner screens and an L-Acoustics K1/K2 audio system were installed, the rigging loading capacity to the spaceframes was increased, and new retractable seating was introduced. Alongside international acts, the venue ensures to programme popular genres from neighbouring territories: “Cantopop and K-pop are the most successful in this market,” says Dwyer. “We also do a bit of live broadcast variety shows for the Chinese market. It is common to have at least four arenas operating on a Saturday night in Macau, and currently there are several daily resident shows in theatres as well. Recent international shows include Green Day, Alan Walker, Andrea Bocelli, Plácido Domingo, Charlie Puth, and Westlife.”
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Population: 9.1m Language: German
Currency: Euro (EUR) GDP per capita: $56,000
Internet users: 8.2m Mobile connections: 13.4m
Austria’s live entertainment market is “currently very dynamic and on a strong upward trajectory, especially in regard to international acts,” according to Leonard Roth, head of marketing at historic Vienna arena Wiener Stadthalle.
The 16,000-capacity venue hosted more than a million audience members at more than 300 events in 2024 and has a packed calendar through the rest of this year, including major gigs by the likes of Billie Eilish, Green Day, and Lionel Richie.
Though it doesn’t attract quite as many big names, the last year has been similarly successful for Olympiahalle
Innsbruck, a 10,000-cap arena in Austria’s mountainous western region. Around 170,000 visitors attended events at the venue in 2024 – its second most successful year of the past two decades.
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Population: 47.6m Language: Spanish
Currency: Argentine peso (ARS) GDP per capita: $27,100 (2023)
Internet users: 41.2m Mobile connections: 64.7m
Buenos Aires was one of the locations for Primavera Sound’s 2024 Latin America edition, which due to “external difficulties” that didn’t guarantee a successful production, failed to take place. But the capital has still been an attractive market for global touring artists. Coldplay sold out ten nights at River Plate stadium in 2022, Taylor Swift brought her Eras Tour in 2023, and Oasis will be returning there this year.
The 7,500-capacity Luna Park had to quash rumours in February that it was being demolished despite Live Nation and DF Entertainment securing a 20-year lease at the end of 2024 from its co-owners across two branches of the catholic church. The deal includes a $34m investment to increase the capacity to 13,000, so the 93-year-old venue can rival fellow Buenos Aires location Movistar Arena.
The Grupo La Nación-owned and Legends/ASM Globalmanaged 15,0000-capacity Movistar programmed 190 shows in 2024. Despite international shows thinning out, the venue still had Kendrick Lamar, Sting, and Iron Maiden perform, with Nile Rodgers & Chic and Katy Perry scheduled for later this year. Elsewhere in the capital, the 4,700-capacity Estadio Obras Sanitarias hosted St. Vincent, Garbage, Franz Ferdinand, and The Kooks, and the 12,000-capacity Tecnópolis hosted the Quilmes Rock festival in April.
Outside of the capital, Neuquén’s Estadio Ruca Che has mostly been attracting local talent to its multipurpose 8,000-capacity arena. Hip-hop artists YSY A, hard rockers Airbag, and cumbia star Ke Personajes have all played in the Patagonian city. Córdoba’s Quality Arena is one of the standout locations, with its 7,500 standing, 6,400 mixed seating/standing, and 4,200 seated capacities. Ignacio Taier, COO of Grupo Q, has also seen international shows decrease but is positive on the outlook for the Argentinian market.
“Generally, the health of the live entertainment market in Argentina is good,” he says. “We are promoting more shows. National artists are filling arenas. We have concerns with costs but that is a constant globally. The rise in costs is mostly for technical requirements, so costs have gone up and
margins have gone down.”
Despite rising costs, it’s a busy 12 months ahead for Quality Arena, which also has sister venues with the 1,500–3,500-cap Quality Espacio and 300–400-cap Quality Teatro. “We’re fully booked and have a lot pencilled in. We promote more than 200 shows per year. In the arena, we have 80 shows this year, mainly booked on weekends.”
He says scaling down to 3,000–4,000 capacity is a growing trend for artists who want that versatility, as shows with US pop duo Ha*Ash, Australian soft rockers Air Supply, and Puerto Rican rapper Young Miko have done well at this scale. Trap, rap, and urban genres continue to dominate, with Emilia Mernes selling 12,000 tickets over two dates. Latin pop is another hugely popular genre with Mexico’s Cristian Castro and Colombia’s Camilo selling at the 3,000–4,000 scale, too. National rock star Fito Páez sold 6,400 tickets.
Taier says technical improvements have been a focus at Quality Arena. “We prepare our arena to make the fan and artist experience the best we can. We are developing our premium seating, with boxes at the back of the arena, and improving our food and beverage for new revenue streams.
“We aim to always have a plug-and-play arena to reduce costs and make it easier for artists. We recently bought the new PANTHER sound system from Meyer Sound as an important improvement for artists, because when they come to Latin America, they do not find the best equipment, so we’re investing in this.”
Population: 18.7m Language: Spanish
Currency: Chilean peso (CLP) GDP per capita: $29,500
Internet users: 18.6m Mobile connections: 31m
Chile was well ahead of the curve in the South America arena chase, and that’s down to businessman Peter Hiller. He bought an old arena in the capital and reopened it in 2006 as Arena Santiago, before rechristening it as the Movistar Arena and upping its capacity to 17,000 in 2008.
His foresight has been rewarded again and again. At the end of 2024, Movistar Arena ranked first in South America and fourth worldwide in ticket sales and is one of the pillars of Be Live Entertainment Group, which, under Hiller’s son Daniel, owns and operates Movistar Arenas in Santiago and Bogotá, Colombia, as well as promoter Bizarro Live.
Daniel Hiller has predicted an over-supply of concerts in the Chilean market this year, in response to an election in November and a wobbly economy. Needless to say, it’s looking busy: Hozier, Picus, Trueno, Zúmbale Primo, Beéle, Norah Jones, El Quarteto de Nos, and Quevedo represented about three weeks of impending shows at the time of writing, with many more to come through the Chilean winter, which runs into September.
Population: 7.5m Languages: Spanish, Guaraní Currency: Paraguayan guaraní (PYG) GDP per capita: $15,800 Internet users: 5.8m Mobile connections: 9.2m
Asunción’s 5,500-capacity SND Arena works hard, with recent shows by Duki, Roberto Carlos, Andrés Calamaro, Ana Gabriel, and others. But with a young population, a strengthening economy, and a propitious location between Argentina and Brazil, in the midst of the increasingly feverish South American touring circuit, the Paraguayan capital dreams of more.
The signs are that it might soon get it, in the form of the $207m Smart Arena, scheduled for 2027. Planned for a site close to downtown Asunción on the banks of the Paraguay River, near the newly built Héroes del Chaco Bridge, the
15,000-capacity, HOK-designed arena is the brainchild of local promoter Walter Ayala.
It will offer a range of entertainment options, including a wax museum dedicated to music history, a walk of fame, themed restaurants, a convention centre, and a hotel. But most of all, it will integrate a variety of sustainable practices and smart technologies, including clean and renewable energy, high standards of water management, sustainable mobility, responsible purchasing, and the creation of large green areas.
“We aspire to be the first carbon-neutral arena in South America, and although we have just entered the design phase, we are in the financial structuring process,” says Smart Arena CEO Federico González. “Next month, we will start running our own ticketing business, and by the end of the year, we are aiming to have in place a smaller venue for 5,000 people, right in front of the main project.”
Population: 3.4m Language: Spanish Currency: Uruguayan peso (UYU) GDP per capita: $31,000 Internet users: 3.2m Mobile connections: 7.2m
“If we build it, they will come” is the mantra of the cities that believe that the right facility will put them on a lucrative touring map, and Montevideo’s Antel Arena is often the type of arena they mention.
Opened just over a year before Covid, the Legends/ASM Global-managed arena has made Uruguay, as small as it is, a no-brainer stop on the booming South American circuit. Across regional and international concerts, festivals, exhibitions, fairs, sports tournaments, and family shows, Antel Arena hosts an average of more than 300,000 people per year. In 2025, to date, you could have seen The Pretenders, Erreway, Duki, Tan Biónica, and others, with Kylie, Manuel Turizo, and Babasónicos on the horizon.
Another key venue in the Uruguayan capital is the Teatro de Verano Ramón Collazo, a 4,235-capacity, open-air entertainment centre in Parque Rodó on the Montevideo promenade. In November 2024, the theatre reopened its doors after completing a second phase of renovations as part of a project to improve the Rambla – the coastal avenue on which it stands.
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Population: 1.6m Language: Arabic
Tom Lynch, president of Live Nation’s EMEA venues division, shares insights into exciting new markets and trends in the industry.
Currency: Bahraini dinar (BHD) GDP per capita: $29,893
Internet users: 1.6m (99% penetration)
Mobile connections: 2.5m (155% penetration)
Tell us briefly how you got into the business I joined Live Nation in early 2024, having worked in music, venues, and live events for over 20 years.
Bahrain’s live entertainment market is on a strong growth trajectory, with Al Dana Amphitheatre playing a central role. The 10,000-capacity outdoor venue has rapidly evolved from staging a handful of shows to becoming a full-service entertainment operator.
I started out as a promoter in grassroots music venues, ran a couple of small record labels, and have had roles as an event producer, venue operator, and management consultant along the way. My heart has always been in music, so it’s a privilege to do what I do today.
“We went from probably two events a month in the amphitheatre to doing events across the country,” says Damian Bush, managing director. “We’re pretty much sitting over anything substantial that comes into the country – or we’re delivering it.”
Live Nation is involved with some very exciting new spaces, such as The Dome in Johannesburg and the management of Helsinki Halle – what's your impression of the expansion of the global arena circuit at the moment?
In addition to its flagship venue, the company now programmes multiple sites, including The Quarry (600 cap), the outdoor Desert Garden (1,500), and The National Theater. A new 3,500-capacity indoor arena is being retrofitted into Exhibition World Bahrain, allowing for extended programming. “That venue gives us year-round capability,” says Bush. “It’ll cater for everything from orchestras and regional shows to international concerts and immersive experiences.”
We’re definitely seeing increasing momentum and opportunity across the global arena circuit right now. The volume and diversity of arena tours seems to be at an all-time high across Europe. Fans want to see their favourite artists in great cities, creating memorable experiences at world-class venues.
Family and experiential content is a key growth area, following a 96,000-attendance kids’ festival. “There’s a huge thirst and hunger in the region for more,” he adds. “Touring opportunities are definitely increasing. The region is talking and working together better.”
Munich is a great example of how we’re responding to that. We witnessed the huge potential for more live entertainment in the city after Adele’s record-breaking ten-night residency last August. So we’re now developing a new 20,000-capacity venue that will not only create more opportunities for fans to enjoy live shows in Bavaria but also bring in around €354m a year to the local economy.
With visitors regularly travelling from Saudi Arabia via the King Fahd Causeway, cross-Gulf routing is seamless. “Everything substantial coming through Bahrain is either touching us or going through us,” says Bush. “It’s busy – but it’s the right trajectory.”
Which markets are showing strong growth / are on your radar right now?
We are constantly looking for development opportunities in underserved markets across the region, particularly in cities where we believe a new venue could be a catalyst and platform for the whole market to grow, such as Munich or Madrid. We also look for iconic venues where we can add value, like in Helsinki and Lisbon. We recently took over
Population: 9.5m Language: Hebrew Currency: Israeli shekel (ILS) GDP per capita: $48,400 (2023) Internet users: 8.6m Mobile connections: 10.4m
Since Hamas launched attacks on Israeli citizens in October 2023 and the subsequent Israeli military assaults on Gaza, international touring to this part of the world has remained significantly limited. While some concert activity has resumed, major international acts continue to approach the region with caution.
Despite ongoing challenges, Israel's concert infrastructure remains operational. Tel Aviv is the main concert hub, with the Menora Mivtachim Arena a key indoor facility, accommodating up to 12,000 fans. The venue has a cutting-edge audio-visual system, featuring a 300 sqm LED cube suspended above the central court and an advanced TW Audio sound system.
In Jerusalem, the city-owned Pais Arena continues operating as an 11,000-capacity venue across six levels, hosting mainly domestic performances currently.
operations at MEO Arena in Lisbon and at Helsinki Halli, Finland’s premier venue, which has been closed for years. We’re really excited about reopening the doors in Helsinki later this year and putting the venue back on the international touring map.
What trends are you seeing in terms of changing demands from artists and / or fans, and how are Live Nation venues adapting to them?
A new multi-purpose arena in Ashdod, designed as a 5,000-seat venue, is expected to serve as a regional hub for sports, entertainment, and public events. The arena forms part of a larger sports complex that includes a football stadium and Olympic-sized swimming pool. “The arena offers Ashdod a new cultural landmark – one that unites athletics, performance, and community life within a carefully integrated landscape,” say architects HQA.
Sustainability is increasingly a big focus for artists as they look for new ways to reduce the environmental impact of touring. We see this as a priority right from the beginning of a new venue project. Munich Arena, for example, will be built to the German Gold Standard for sustainable design and construction, and our sustainability division, Green Nation, will play an integral role in the project from development through to operations and beyond.
Population: 4.3m Language: Arabic Currency: Kuwaiti dinar (KWD) GDP per capita: $35,174 Internet users: 4.2m Mobile connections: 7.5m
We’re really focused on creating spaces where artists can not only perform but rest and relax, rehearse, and record. Whether it's a gym, a kitchen for a private chef, or even a studio space, we are working with artists to ensure our venues are places they feel relaxed, comfortable, and productive.
Kuwait’s live entertainment sector is thriving, with The Arena Kuwait reporting a standout year in 2024. “Our calendar of events was packed with a myriad of artists from throughout the Arab world,” says general manager Ken Jamieson. “Artists in the region have a strong and loyal fanbase, and our audiences are often boosted by many travelling fans, particularly from Saudi Arabia, Bahrain, and Oman.”
The emergence of increasingly high-quality tour merchandise from Gen-Z artists underscores the importance of creating purpose-built retail experiences, which can serve fans not only at the show, but also during the day or the day before.
We’re also challenging ourselves to respond proactively and creatively to fans’ lifestyle choices by offering great vegan menus, as well as low-alcohol and alcohol-free drink alternatives as part of our F&B strategy.
The venue has hosted an array of Arabic talent, including Amr Diab, Mutref Al-Mutref, Miami Band, and Tamer Hosny. “We’ve been able to offer a varied programme that brings different audiences into the venue,” Jamieson adds.
Looking ahead, The arena’s 2025 calendar is already full and notably includes Western artists for the first time since its 2022 opening. “Adding Western-focused entertainment gives our calendar a real international flavour,” he says. The venue is also making its mark in sport, having won Padel Tournament of the Year in 2024 and securing the inaugural World Padel Pairs event in 2025.
“The volume and diversity of arena tours seems to be at an all-time high across Europe. Fans want to see their favourite artists in great cities, creating memorable experiences at world-class venues”
While Kuwait faces regulatory complexities that can affect live event planning, venues like The Arena Kuwait are working to position the country as a viable stop on regional tour routes. “The growth of the event supply industry here means we can now meet the production demands of global tours,” says Jamieson.
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across a wide variety of genres. Right now, we are seeing an increase in the number of international acts from around the world,” says Karen Massicotte, VP of sales, marketing, and business development at PNE, a greater venue campus that includes the 16,000-cap Pacific Coliseum located on the country’s western seaboard.
Massicotte notes Filipino and Taiwanese pop, as well as Punjabi artists, are selling well – “due to the diversity of our region, we see strong consumer responses to international artists out of Asia and India specifically,” she shares. Additionally, Sabrina Carpenter, beabadoobee, and Kylie Minogue have passed through in recent months.
Configurable between 4,500 to 16,000 guests, the Pacific Coliseum recently upgraded to a DMX lighting system, invested in digital screens, and is set to undergo significant back-ofhouse renovations. Despite seeing an increasing number of shows booked further in advance, complications from US president Donald Trump’s tariffs could impact business.
Population: 38.8m Languages: English, French
Canadian dollar (CAD) GDP per capita: $55,900
users: 94% of population Mobile connections: 36.5m
Oh, Canada. The northerly neighbour to the live music megalith that is the US holds its own in terms of touring. Despite the potential impacts of US tariffs on the industry and consumers alike, things are looking well across the vast nation.
“Canadians have always had a strong desire for live music
“We are no longer serving US alcohol products in any of our venues. We also anticipate supply costs for touring artists to be higher, and therefore, the promoters will continue to be looking for more creative opportunities for cost recovery, such as VIP and premium products,” Massicotte says.
In the next province over, Edmonton’s 20,000-capacity Rogers Place (not to be confused with Vancouver’s Rogers Arena or Toronto’s new Rogers Stadium) recently unveiled plans to construct a CA$250m, 2,500-capacity, outdoor event park adjacent to the arena, complete with an amphitheatre. Programmers are also dialling in on a 5,000-cap theatre-style
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Egypt
Cairo International Indoor Stadium
Cap: 16,900
info@cairo-stadium.org.eg +20 222 607 863 cairo-stadium.org.eg
Rwanda
BK Arena
Kigali
Cap: 10,000
Amr Yousef
Venue Manager amr@qavenuesolutions.com +250 795 289 554
Alexis Sharangabo Business Development Manager alexis@qavenuesolutions.com +250 782 706 747 bkarena.rw
South Africa
Grand Arena at Grandwest Cape Town Cap: 6,866
Maserame Moseneke
Events & Entertainment Manager maserame.moseneke@ suninternational.com +27 215 057 369 suninternational.com
ICC Durban
Durban
Cap: 10,000
Irene Vallihu General Manager sales@icc.co.za
+27 313 601 360
Ellis Park Arena
Johannesburg Cap: 5,000 +27 114 022 960
SunBet Arena
Pretoria
Cap: 10,000
Nicky Nel
Groups & Events Manager nicky.nel@suninternational.com
Lara Portelli
Events & Entertainment Manager lara.portelli@suninternational.com suninternational.com/time-square/ sunbet-arena
Cadillac Arena
Beijing Cap: 19,000
Fei Jin General Manager +86 10 6828 6386 arena.bloomagelive.com
National Indoor Stadium
Beijing Cap: 18,000
Liu Jing liujing_829@sina.cn +86 108 437 3971 nis-cn.com
Wuliangye Chengdu Performing Arts Ctr
Chengdu Cap: 12,000
Zhang Yu zhangyu8@amazingart.cn +86 288 624 0096 bisacn.com
Guangzhou Gymnasium
Guangzhou Cap: 10,000
Ms. Liao
57339909@qq.com +86 139 2959 7461
Guangzhou International Sports Arena
Guangzhou Cap: 18,000 +86 203 209 1000 bisacn.com
Londoner Arena
Macau Cap: 6,000 inquiries@thelondoner.com.mo londonermacao.com
Studio City Events Center
Macau Cap: 5,000
Kevin Benning
Senior VP & Property GM kevinbenning@sc-macau.com studiocity-macau.com
Venetian Arena
Macau Cap: 15,000
David Baxley
Vice President of Entertainment david.baxley@venetian.com.mo +86 853 811 81302
Bradley Smith
Exec. Director of Entertainment Venues bradley.smith@venetian.com.mo +86 853 8118 1209 venetianmacao.com/entertainment/ show-venues/cotai-arena
Mercedes-Benz Arena
Shanghai Cap: 18,000
China
Beijing Workers' Sports Complex
Cap: 15,000
+86 106 552 5665 gongti.com.cn
Xiaoming He alexhe@mbarena.com +86 213 899 6657 mercedes-benzarena.com
Oriental Sports Center
Shanghai Cap: 18,000
Zhehua Chen dtbusiness@jusssports.com +86 212 023 2008 3016
Shanghai Indoor Stadium
Shanghai Cap: 13,000 +86 214 385 200 eafc.online.sh.cn
Shenzhen Bay Sports Center Arena
Shenzhen Cap: 12,381 +86 755 8630 8840 springcocoon.com
Xi'an Olympic Sports Center Gymnasium Xi'an Cap: 18,000 +86 173 9182 2489
AsiaWorld–Arena Cap: 14,000
Rafael Mendonca Director of Business Development rame@asiaworld-expo.com asiaworld-expo.com
Hong Kong Coliseum Cap: 12,500
Sau Kuen Wong Venue Contact mhkchm@lcsd.gov.hk +86 852 2355 7210 Booking amstabk1@lcsd.gov.hk +86 852 2355 7261 lcsd.gov.hk/hkc
Kai Tak Arena Cap: 10,000
Darren Burden General Manager dburden@asmglobal.com +852 3165 8339
James Irvine Director of Commercial jamesirvine@kaitaksportspark.com.hk +852 316 58339 kaitaksportspark.com.hk/landing
Jatim Expo International East Java Cap: 5,200 jatimexposurabaya@gmail.com +62 318 480 188 jatimexpo.id
Beach City International Stadium
Jakarta Cap: 20,053 ancolbeachcity.com
Indonesia Arena
Jakarta Cap: 16,500
Jakarta Convention Center
Jakarta Cap: 5,000
Yogi Wirawan General Manager yogi@jcc.co.id +62 215 726 000 jcc.co.id
Sentul International Convention Center
Jakarta Cap: 11,000 angie_sicc@yahoo.com +62 218 795 0639 sicc.or.id
Tennis Indoor Stadium Senayan
Jakarta Cap: 3,300 info@gbk.id +62 215 734 070 gbk.id
Japan
LaLa arena TOKYO-BAY Chiba Cap: 10,000 lalaarenatokyo-bay.com
Makuhari Messe Chiba Cap: 10,000 +81 432 960 001 m-messe.co.jp
Sun Dome Fukui Echizen Cap: 9,000 fukui@sankan.jp +81 778 213 106 sankan.jp/sundome
Marine Messe Fukuoka Fukuoka Cap: 11,093 +81 922 623 111 marinemesse.or.jp/messe
Hiroshima Sun Plaza Hall
Hiroshima Cap: 6,052 +81 822 785 000 hiroshima-sunplaza.or.jp
Kobe Arena Kobe Cap: 10,000 kobearena.jp
World Memorial Hall
Kobe Cap: 10,000 +81 783 028 781 kobe-spokyo.jp
IG Arena
Nagoya City Cap: 17,000 aichi-arena.co.jp
Toki Messe (Niigata Convention Center) Niigata Cap: 5,000 +81 252 468 400 tokimesse.com
Okinawa Convention Center Okinawa Cap: 5,000 +81 988 983 000 oki-conven.jp
INTEX Osaka
Osaka Cap: 7,000 +81 666 128 800 intex-osaka.com
Osaka-Jo Hall
Osaka Cap: 16,000
Akira Matsuo Director +81 669 410 345 osaka-johall.com
SAGA Arena
Saga Cap: 8,400 +81 952 324 070 saga-sunrisepark.com/arena
Saitama Super Arena
Saitama Cap: 22,500
Yutaka Minagawa Booking Manager minagawa@saitama-arena.co.jp +81 486 003 011 saitama-arena.co.jp
Xebio Arena Sendai
Sendai Cap: 6,000 +81 227 480 877 xebioarena.com
Kagawa Prefectural Arena
Takamatsu Cap: 10,000 shin-kagawa-taiikukan.com
Ariake Arena
Tokyo Cap: 15,000
Shuji Hitomi General Manager contact@ariake-arena.tokyo +81 355 007 201
Daisuke Nishioka Booking Manager contact@ariake-arena.tokyo +81 355 007 201 ariake-arena.tokyo
Nippon Budokan
Tokyo
Cap: 14,471 +81 332 165 139 nipponbudokan.or.jp
Tokyo A-Arena
Tokyo Cap: 10,000 alvark-tokyo.jp
Tokyo Garden Theater
Tokyo Cap: 8,000 shopping-sumitomo-rd.com
Tokyo International Forum
Tokyo Cap: 5,012 ti-forum.co.jp
Yoyogi National Gymnasium
Tokyo Cap: 13,235 +81 334 681 171 jpnsport.go.jp
K-Arena
Yokohama Cap: 20,033 info@k-arena.com k-arena.com
Pacific Convention Plaza Yokohama Yokohama Cap: 5,002 pacifico.co.jp
Pia Arena MM
Yokohama
Cap: 12,141 +81 452 114 143 pia-arena-mm.jp
Yokohama Arena
Yokohama
Cap: 17,000
Atsuchi Higashi information@yokohama-arena.co.jp +81 454 744 000 yokohama-arena.co.jp
Kazakhstan
Almaty Arena
Almaty Cap: 5,000 +7 727 225 1010 almaty-arena.kz
Philippines
Smart Araneta Coliseum
Manila Cap: 15,983
Booking & Events info@smartaranetacoliseum.com +63 285 884 000 smartaranetacoliseum.com
SM Mall of Asia Arena
Pasay City Cap: 15,000
Arnel Gonzales
General Manager arnel.gonzales@smsupermalls.com +63 917 809 0325
Hana Sanos
Senior Booking Manager hana.sanos@smsupermalls.com +63 917 987 9414 mallofasia-arena.com
Philippine Arena
Santa Maria Cap: 55,000
Live Arena
Moscow Cap: 11,000 about@amfion.info +7 495 901 0402 en.amfion.info
Megasport Sport Palace Moscow Cap: 11,001
Mikhail Zaigaynov General Manager megasports@mail.ru +7 499 762 7103 hockey-palace.ru
A2 Green Concert
St. Petersburg Cap: 4,000
Albina Aguzarova GM/Booking Contact albina@a2.fm +7 921 904 0821 a2.fm
Kaohsiung Arena Kaohsiung Cap: 12,000 kao_arena@arenain.tw +886 7974 9888 k-arena.com.tw
Taipei Arena
Taipei Cap: 15,000 arena.taipei
EM Live Bangkok Cap: 5,000
UOB Live
Bangkok
Cap: 6,000
Craig Grossarth General Manager craig.gro@uoblive.asia +66 2367 0188
Khun Kunlaya (Opal) Venue Sales Manager kunlaya.poo@uoblive.asia +66 2367 0188 uoblive.asia
IMPACT Arena
Greater Bangkok Cap: 10,000
Wong Wing Yan Asst. Director, Business Development wingyanw@impact.co.th +66 2833 5013
Jintana Phongpakdee Corporate Communications Director jintanap@impact.co.th +66 2833 5061 impact.co.th
Malaysia
Axiata Arena
Kuala Lumpur Cap: 13,000
Enni Shalina Mokhtar Venue Manager enni@stadium.gov.my +603 8992 0888 stadium.gov.my
Singapore
Singapore Indoor Stadium
Singapore (Kallang) Cap: 12,000
Shasha Pan Deputy Head, Sales & Programming shasha.pan@sportshub.com.sg sportshub.com.sg
South Korea
Inspire Arena
Incheon Cap: 15,000
Jamie Jan General Manager jamie.jang@inspirekorea.com
Henry Lee
Booking Director henry.lee@inspirekorea.com +82 032 588 6721 inspirekorea.com
Gocheok Sky Dome
Seoul Cap: 25,911 +82 221 282 300 sisul.or.kr/open_content/skydome
Jamsil Indoor Stadium
Seoul Cap: 11,044 +82 222 408 800 stadium.seoul.go.kr
KSPO DOME
Seoul
Cap: 15,000 +82 221 803 516 ksponco.or.kr
SK Olympic Handball Gymnasium
Seoul
Cap: 5,003 +82 221 803 515
Newcastle Entertainment Centre
Newcastle, New South Wales Cap: 6,500
Luke Daniels
General Manager luke.daniels@nec.net.au
+61 249 212 100
Carly Browne
Administrative Exec – Arena & Booking arenabookings.au@asmglobal.com +61 287 654 321 nec.net.au
Qudos Bank Arena
Sydney, New South Wales Cap: 21,000
Stephen Hevern
General Manager shevern@qudosbankarena.com.au +61 287 654 321
Terrence Trujillo Director of Commercial ttrujillo@qudosbankarena.com.au +61 287 654 321 qudosbankarena.com.au
WIN Sports & Entertainment Centre
Wollongong, New South Wales Cap: 6,000
Matthew Spicer Marketing info@wsec.com.au
+61 242 202 800 wsec.com.au
Brisbane Convention & Exhibition Center
Brisbane, Queensland Cap: 4,000
Kym Guesdon
General Manager kguesdon@bcec.com.au
+61 7 3308 3000 bcec.com.au
Brisbane Entertainment Centre
Brisbane, Queensland Cap: 14,500
Trish McNamara
General Manager tmcnamara@brisent.com.au
+61 732 658 111
Carly Browne
Administration Exec. Arena & Booking arenabookings.au@asmglobal.com +61 287 654 321 brisent.com.au
Gold Coast Convention& Exhibition Centre
Broadbeach, Queensland Cap: 6,020
Sales Department salesenquiries@gccec.com.au gccec.com.au
Cairns Arena (Cairns Convention Center)
Cairns, Queensland Cap: 5,000
Janet Hamilton
General Manager jhamilton@cairnsconvention.com.au
+61 740 424 200
Wayne Smith
Business Development Director sales@cairnsconvention.com.au
+61 740 424 200 cairnsconvention.com.au
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A FULLY IMMERSIVE EXPERIENCE AT THE 17,000 CAPACITY, MULTI-PURPOSE ARENA IN DUBAI