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Contents Global Promoters Report 2023

Welcome

Editor James Drury

Country Profiles

Sub Editor Michael Muldoon Designer Philip Millard Contributors Lars Brandle James Drury Hanna Ellington Eamonn Forde Derek Robertson Oumar Saleh Mark Sutherland Adam Woods Marketing & advertising Gareth Ospina Tom Brint Cover image © Samuel Regan-Asante, Unsplash

Feature 6

Stadium success: but at what cost?

Europe Austria Belgium Bulgaria Croatia Czechia Denmark Finland France Germany Greece Hungary Iceland Italy Luxembourg Netherlands Norway Poland Portugal Republic of Ireland Romania Serbia Slovakia Spain Sweden Switzerland The Baltics Türkiye UK North America Canada US

IQ Magazine Unit 31 Tileyard Road London, N7 9AH info@iq-mag.net www.iq-mag.net Tel: +44 (0)20 3743 0300 Twitter: @iq_mag

5

Advertisers Index

10 11 12 14 15 16 17 18 20 23 24 25 26 28 30 34 35 36 37 38 39 39 40 42 44 46 48 52

56 58

Australasia Australia New Zealand

60 63

Latin Amerca Argentina Brazil Chile Colombia Mexico Peru

64 66 68 70 70 71

Asia China Hong Kong India Japan Malaysia Philippines Singapore South Korea Taiwan Thailand

73 74 76 75 76 77 77 78 79 79

Africa Egypt Nigeria South Africa

80 80 81

Middle East Israel Saudi Arabia UAE

82 82 83

86

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Welcome If 2022 was the year the show got back on the road, 2023 saw it break into a record-breaking speed. Promoters worldwide are reporting more shows than ever, and while some of the challenges of last year are being overcome, it’s not all smooth sailing, as we discover in the following pages.

This second edition of the Global Promoters Report is significantly expanded, featuring analysis of 55 markets, covering every continent (except Antarctica, for obvious reasons).

Although there are significant differences in local market conditions, there are also many similarities – and what shines through this publication is the ingenuity and creativity of promoters everywhere in approaching these issues.

Plus, while stadium shows have been a feature of live touring since the Beatles played Shea Stadium in 1965, it feels like there’s never been so many of these enormous productions on the road as there is this year. Reports of eye-watering grosses and astonishing attendances are great news for the artists and their teams, but what do they mean for the rest of the business (which makes up the vast majority of all shows)? We find out in a special report on pages 6–7.

With the largest overview of the world’s leading promoters of international touring entertainment, the Global Promoters Report covers acts at all levels, from the aforementioned stadium shows to acts looking to break new markets. Providing frank and honest insights from almost 200 promoters, it reveals local conditions, challenges, opportunities, and advice – straight from the people who know their home turf best.

My thanks to everyone involved with bringing this indispensable guide to life. It’s been a labour of love, and I hope you enjoy reading it.

James Drury | Editor

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Stadium success: but at what cost?

With their high ticket prices and the draw of the biggest names in music, stadium shows have never had it so good. But is their success impacting the rest of the business? James Drury finds out.

O

ne of the big stories of 2023 is the hot stadium summer. In some countries, stadium concerts took place almost every weekend during the warmer months, and there were incredible attendance figures reported, such as 1m people going to concerts in just one weekend in London.

With the opportunity to create eye-popping shows that more fans than ever get to experience, plus eye-popping income, the appeal of a stadium run is obvious. Yet, with higher production costs than an arena run or a festival tour, they’re not for the faint-hearted.

But what effect has this had on the rest of the business?

It’s only a rare handful of acts and promoters that work on these blockbuster shows. The majority of the international

6 Global Promoters Report 2023

touring business – and the majority of promoters’ income – is from club, theatre, and arena concerts.

As German promoter Scumeck Sabottka grimly noted last year: “We don’t just live on cake, we live on bread. And all the bread is gone.”

His summary will feel familiar to many promoters around the world. Most countries are dealing with high inflation in some form; consumer spending is under pressure and – as has always been the case – when people are worried about money, they take fewer risks when it comes to seeing live entertainment.

So, it’s the established or super-hot names that thrive, while the rest have to work harder than ever to sell tickets.

So, are the stadium shows affecting the rest of the business?

At the time of writing, Pollstar figures show the number-one selling tour in the world for the quarter to 25 September was Taylor Swift – her concerts grossed $756.m. With an average ticket price of $253.56, she had sold almost 3m tickets across 54 shows.

Number two was Beyoncé, whose average ticket price of $198.74 saw her gross reach $390.2m from almost 2m tickets.

Interestingly, the third and fourth highest-grossing tours (Harry Styles and Coldplay, respectively), were each charging an average ticket price almost $100 dollars less than Beyoncé: $109.01 for Styles and $109.96 for Coldplay. Both acts sold in the region of 2.5m tickets.

© Stephen Mease • Unsplash

Feature The public appetite for these mega events shows no sign of abating. Live Nation’s Q2 2023 results showed attendance at its stadium shows was up 28% on the same period the previous year to a total of 8m fans. The company says the top markets for these mega-shows were Europe and Asia Pacific. For context, Live Nation’s arena dates saw an attendance increase of 19% to 10.7m people, largely in Canada, Asia Pacific, and Latin America.

Are these high ticket prices and higher-than-last-year attendances hitting people’s ability to buy tickets to an arena or club date?

Detlef Kornett is co-CEO of DEAG, which owns promoters and ticketing companies across Europe, including Kilimanjaro Live in the UK; Wizard Promotions and I-Motion in Germany; and CSB Island Entertainment in Denmark. And while his company also promoted stadium dates this year, he says these massive dates not only affected the rest of the business but were also competing for audiences among themselves.

“The smaller the market is, the tougher it gets. Bern, Switzerland, has a million people living in the wider vicinity, but within ten days, Guns N’ Roses, Muse, and Motley Crüe and Def Leppard all played stadium shows. It's not only an issue in smaller markets. In the UK, the number of stadium shows were at a record level. “[These concerts mean] the majority of artists are competing with those huge brand-name acts. It's not just a matter of how big the consumer’s purse is and whether they also can afford to go to a show that might normally sell 5,000-7,000 tickets. It’s also about visibility. Budgets for stadium shows are high, brand recognition is high, market penetration is high, editorial coverage is focussed on the biggest names. So, everyone else is competing with that.

“For some artists who have a steady enough following and have a good enough presence on the web, they won’t be affected by stadium shows. But for acts that don’t have a high enough level of interaction with their fans, it's a lot harder.”

Filippo Palermo, co-founder and managing partner of Australian independent promoter and festival organiser Untitled Group, says: “One of the most notable effects of these large stadium tours is the diversion of ticket sales and audience attention. When major artists embark on stadium tours, they essentially absorb a portion of the available ticket-buying capacity in the market. Some people who would otherwise attend smaller shows might opt for the spectacle of a stadium tour.”

However, he adds: “I still believe there’s room for coexistence provided the right strategies are in place to cater to different segments of live music audiences.”

And, as AEG Presents France managing director Arnaud Meersseman notes in our market report (see page 18), “There are tentpole events and artists that perform extremely well; there are newer things that perform extremely well; and then there’s that whole middle area where it’s just a bog and things aren’t that great.”

Agency Neil O’Brien Entertainment in London represents acts such as Ocean Colour Scene, UB40, Dionne Warwick, Brand New Heavies, and Joe Bonamassa.

Founder Neil O’Brien says he’s heard reports of the big shows squeezing the middle but says it’s about time the mid-level saw something of a ticket-price change.

“Although the costs of everything is going up and up, people are still going out for entertainment. On one end, ticket prices have gone up disproportionately. It’s the middle that

“For some artists who have a steady enough following and have a good enough presence on the web, they won’t be affected by stadium shows.

But for acts that don’t have a high enough level of interaction with their fans, it's a lot harder.”

Detlef Kornett | co-CEO of DEAG

needs to change a bit.”

He says getting creative with bills and marketing is key to success and suggests packaging artists together could be a way of ensuring mid-level artists continue to make money.

Anna-Sophie Mertens, VP of touring at Live Nation UK, tells us she thinks an uptick in prices for mid-level shows is a necessary correction. “The UK at club- and theatre-level has, for the most part, been under-priced in my opinion, so we are seeing a rebalance in this area,” she says.

And it’s not just mid-level acts that are feeling the pinch.

Vincent Sagar, director of independent promoter Opus One, wonders if festivals will be affected.

“What we saw this year is many young talents such as Harry Styles and Taylor Swift went from arenas to stadiums without going through festivals first.” He notes that this year, the stadium industry has developed the ability to create a new generation of acts able to play such large audiences.

DEAG’s Kornett says the company analysed the effects of stadium tours on the rest of the industry, seeking to discover how to mitigate their effects. “It felt like there was no logic to what worked and what didn’t do so well. There were bands that for years always held solid and all of a sudden didn’t work. And there were bands that you felt were on the verge of selling half an arena, but they soared, and there's no explanation for it.

“We did research. We did surveys. We wanted to get to the bottom of it, but there was no science to what worked and what didn’t. It is purely a matter of factors such as whether you went on sale in the same week as a huge show; if you did your marketing push at the same time as a stadium show tried to fill the upper tiers. That’s hard to predict and manage.”

And he says that while 2023 might be an outlier in terms of sheer number of stadium shows, the trend is here to stay, and it’s only going to grow.

“I think we will see more and more stadium shows, as some of the big names managed to get the economics organised in such a way that they fare better doing a stadium show than a festival. If you're confident your name can sell enough tickets, it has become a fully legitimate alternative to do your own tour rather than tour festivals. Of course, there may be other motivations to play festivals, such as to show a different side of your repertoire, re-engage with an audience you don't get to usually, and so on. But for some, it's economics: they have a big show, and they want to give the full experience, which you Thousands of can’t really do at a festival. professionals read “I don’t think we’ll see as many stadium shows in 2024, butMake IQ every day. it will remain at a higher level than 2019.” sure you get the

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Country profiles

Europe Austria Population: 9 million Language: German Currency: Euro (EUR) GDP per capita: $54,100 Internet users: 8.3 million Active smartphones: 10.8 million

B

ordering Germany, Switzerland, Italy, Liechtenstein, Hungary, Slovakia, Slovenia, and Czechia, Austria is a major European live centre with a prosperous population and a strong pull beyond its own borders.

After many years of notable independence, it now provides a microcosm of the broader corporate battle, as its biggest players have steadily folded into the major groups in recent years.

Arcadia Live was created in 2015 on the foundations of Filip Potocki and Bernhard Kaufmann’s full-service Arcadia operation, with backing from German players FKP, Four Artists Booking Agency, Chimperator Live, and KKT. Trentemøller, Sleaford Mods, and James Blunt are all in the calendar, and Rammstein sold out the Ernst-Happel-Stadion in July, while the new Lido Sounds festival in third city Linz in June featured punk veterans Die Toten Hosen, Florence + the Machine, and German dancehall star Peter Fox. Through its FKP connection, Arcadia falls under the banner of CTS Eventim, as does Barracuda Music which, having formed in 2016 from leading Austrian indies Skalar, Red Snapper, and NuCoast Entertainment, sold a 71% stake to Eventim in December 2019.

This year, much like last, Barracuda sold around a million tickets to 350 events, including shows with Pink, Robbie Williams, Muse, Måneskin, Machine Gun Kelly, Bryan Adams,

Goodlive promoted a December 2022 show by Moder at Gasometer in Vienna © wienkonzert.com

10 Global Promoters Report 2023

Björk, and Van Morrison.

Barracuda also assumes a powerful position in the festival market with its Nova Rock and FM4 Frequency events. The former, Austria’s key rock festival, drew 225,000 to Nickelsdorf over four days in June, with Slipknot, Disturbed, Sum 41 and Incubus on the bill. Frequency, in the north-eastern city of St Pölten, draws around 140,000 a year for a dance, rock, and hip-hop fusion – Imagine Dragons, Die Ärzte, and Macklemore were among the 2023 headliners.

“Especially on the festival market, we are in the very comfortable situation of having solid festival brands in perfect locations at still very comparable ticket prices,” Barracuda Music CEO Ewald Tatar told IQ in March. “Nova Rock and Frequency Festival have some of the best lineups in Europe this year at a very competitive price; same with our smaller festivals that we promote at the Esterhazy Palace in Eisenstadt and Clam Castle.”

Goodlive joined the global Live Nation family in September 2022, alongside its Berlin-based festival, booking, and services-focused parent. Shows this year have included George Ezra, Cigarettes After Sex, Tove Lo, and Paolo Nutini.

Live Nation has its own Austrian presence under the aegis of Live Nation GSA – Harry Styles, Red Hot Chili Peppers, Bruce Springsteen and the E Street Band (all at the Ernst-HappelStadion) and Depeche Mode (at 28 Black Arena in Klagenfurt) have made up some of the highlights of this year’s schedule.

Against such displays of global power, independents are relatively scarce in Austria, though there remain some. Alex Nussbaumer of al-x, long-term promoter of Iggy Pop and The Cure, has consistently decried a globalised, corporatised approach to live music, believing it will ultimately disenfranchise the audience.

“The problem is that the diversity will be gone,” Nussbaumer told IQ earlier this year.

Another staunch independent of a different kind, is boutique artist agency Georg Leitner Productions, which has been in operation for 44 years, with an international footprint and strong line in legends, family shows, exhibitions, and tribute acts.

Country profiles Europe

Lotto Arena © Ymke Dirikx

Belgium Population: 11.9 million Languages: Dutch, French, German Currency: Euro (EUR) GDP per capita: $51,700 Internet users: 10.9 million Active smartphones: 11.7 million

L

ive Nation’s Belgian power, bolstered by huge festivals and a busy carousel of international arena and stadium tours, is long established. CEO Herman Schueremans all but founded the Belgian business when he launched his first festival in 1973, followed by the first Rock Werchter with Hedwig De Meyer the following year.

“Our mission was to put Belgium on the map and to see acts playing in Belgium and not only passing through from London to play Paris or Hamburg or Berlin,” Schueremans told IQ on the occasion of his 50th year in the business in March.

That is, of course, exactly how the market now stands.

“We are served by every single tour on the planet,” is how Greenhouse Talent’s Pascal Van De Velde puts it. “If you want to go from the UK to mainland Europe, you come via Belgium; if you want to go from Scandinavia to southern Europe, you go through Belgium. Coming from northern France, the Netherlands – to get to the continent, you have to come through here.”

So Schueremans is entitled to regard the healthy Belgian market as something of a personal achievement, and in IQ’s June market report of the country, he reported his satisfaction.

“The Belgian market is healthy again, as per pre-Covid times, and it is even growing, as more and more people get into the magic of live shows and festivals,” he said.

Live Nation’s 2023 has been another post-Covid victory lap.

There have been stadium shows for Beyoncé and The Weeknd; Harry Styles at Werchter along with Red Hot Chili Peppers, Muse and Arctic Monkeys; TW Classic with Bruce Springsteen and Werchter Boutique with Pink; and further festivals in the shape of Graspop Metal Meeting with Guns N’ Roses, Def Leppard, and Mötley Crüe, and the alternative events Dour and Pukkelpop.

And these days, the demand for live music in Belgium supports not only a bullish Live Nation but a substantial cohort of rivals, including longstanding indies Greenhouse Talent and Gracia Live and relatively newly launched offices

from FKP Scorpio and All Things Live.

FKP Scorpio Belgium arrived in the country shortly before the first lockdown, under managing director Jan Digneffe, and since the March 2022 restart has made its presence felt, with two Ed Sheeran shows at the Stade Roi Baudouin in Brussels last year and an opening edition of the Live is Live festival in Antwerp in June, to add to many other shows.

Digneffe confirms that the market, while competitive, has space for all. “I think we have a very healthy small market, and we’re all trying our best, and I think that there is not really anyone who is not doing well at the moment.”

All Things Live Belgium was built on the acquisition of artist agency Busker in 2021, management organisation Musickness in July 2022, and the Ostend Beach Festival in March.

The aim of Belgium’s challengers is not necessarily to challenge the biggest operators on their own turf, suggests CEO Marcus Deblaere.

“We’re looking into how we can fill the gaps. We don’t have to compete with the big ones. We work with everybody, we keep the door open, and we have always done that.”

Busy across Benelux, Greenhouse Talent operates at all levels, from Hans Zimmer at the Brussels’ ING Arena and Taylor Swift in Amsterdam ArenA next summer to numerous club and theatre shows. The Ghent-based concert promoter and agency also acquired its local Gent Jazz festival in January.

Antwerp’s Gracia Live makes its living in international tours but has also worked hard to find niches and spread its bets in recent years.

“One thing we were working on during the pandemic was doing more with domestic artists,” said Gracia Live promoter Sam Perl, citing 120,000 tickets sold for local star Camille’s Belgian tour. “We are still doing 80% of our business with international tours, but for indies, the domestic roster is becoming more and more important.”

Other Belgian independents include Antwerp-based indie MCLX, which has promoted shows for acts including Idles, Turnstile, Zeal & Ardor, and Frank Carter and the Rattlesnakes in recent years; and Brussels-based boutique promoter and Thousands of management agency Shadow To Live, whose activities range read professionals from a DJ set by Henri PFR atop the iconic Atomium in Brussels, IQ every day. Make to Arabic stand-up, to Coldplay bookings for private clients. sure you get the

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Country profiles North America

North America Canada Population: 38.5 million Languages: English, French Currency: Canadian dollar (CAD) GDP per capita: $47,900 Internet users: 35.3 million Active smartphones: 32.7 million

F

inally emerging out of pandemic-related restrictions, Canada’s music scene is livelier than ever. With blockbuster tours from Beyoncé and Bruce Springsteen making multiple stops across the country and six Toronto shows from Taylor Swift on the books, Canada is also home to a bilingual grassroots scene and renowned music festivals.

The live music sector is segmented around the local and provincial level, with most activity taking place on the coast.

Live Nation is the leading national operator as it can operate across the vast Canadian landscape. It is actively expanding its venue portfolio, including acquiring The Opera House in Bell Centre

56 Global Promoters Report 2023

Toronto, The KEE to Bala on Lake Muskoka in Bala, and the coast-to-coast network of venues from Great Canadian Entertainment.

On the East Coast, Sonic Concerts operates around Nova Scotia, while Collective Concerts leads in Ontario. Gestev and evenko dominate in Quebec, while Lawnya Vawnya leads in Newfoundland and Labrador province.

In the west, F7 Entertainment — the newest national entrant on the scene — operates out of Calgary. The largest independent promoter, MRG Live, has offices across Canada and promotes roughly 500 shows per year, for artists such as Sabrina Carpenter and Steve Lacy.

“There are so many great artists out there, and we want to be part of their journey and connect them with fans, so continuing to develop our relationships and servicing those stakeholders is the constant improvement we’re focused on,” says Jacob Smid, MRG Live COO. In Quebec, Montréal-based evenko promoted events for 50 Cent, Lionel Richie, and Guns N’ Roses recently and will welcome Hozier and Pink before the year is out. Last year, it welcomed 2.6m fans and continues to promote over 1,500 events annually.

This year’s edition of the evenko-promoted Osheaga Music and Arts Festival in Montréal, headlined by Billie Eilish, Kendrick Lamar, and Rüfüs Du Sol, brought in a record-breaking 155,000 attendees. The three-day showcase wasn’t a one-off success either — evenko had massive audiences across their festivals, with LASSO Montréal doubling attendance from its debut last year and îLESONIQ hosting 65,000 fans.

One new approach to event promotion evenko is taking is to utilise fans and artists as brand ambassadors or spokespeople, like singer Britanny Kennell’s for LASSO, positioned to “get our key messages across in an organic and fun way,” says Ema Polifroni, evenko’s director of marketing and promotions.

However, Canada is still facing issues beyond its control.

Wildfires have been a widespread problem, with festivals including the Live Nation-promoted Kimchi Festival in Saskatoon being cancelled and others like the British Columbia-based Deep Roots Festival being postponed until next spring.

Inflation rates rose to 3.3% in July — higher than analyst forecasts of 3%, according to Reuters — while supply chain and labour issues still impact the cost of business, which is “exponentially high,” says Erin Benjamin, CEO of the Canadian Live Music Association.

With red tape being increasingly prohibitive, along with the instability of provincial and federal funds, it may be harder for new promoters, companies, and artists to enter the scene.

“Government partnerships are critically important to the live music sector,” Benjamin says. “If there is less support and/ or major reductions in funding beyond what we’re experiencing today, the fear is that fewer artists and other live music companies will enter the creative space in the first place.”

Yet, she says the resilience of Canadians through the trials and tribulations of the post-pandemic landscape is pushing the revitalisation of the national brand.

“This community is galvanised and united like never before, demonstrating how and why live music activity helps governments to meet domestic and international economic, social, and cultural goals. We’re a strong economic partner and getting stronger all the time,” Benjamin says.

Country profiles Latin America

Country profiles Latin America

Peru Latin

weather, and is exclusive truly a fun stop for anyrights tour –to amazing food, three days. As the holder of the the 65,000history, natural beauty,” adds. to profit from shows by cap River Plate stadium, DF he continues with the spending power Lima, Taylor That, Swiftcombined (three sold-out nights at River Plateofin11m-strong November), a steady streamLudovico of international Theaccounts Weeknd, for Imagine Dragons, Einaudi,tours Dua right Lipa, up to Population: 32 million Languages: Spanish, Quechua, Aymara blockbuster level.Harry Peru Styles, is firmlyand on on theand Liveon.

Nation map – in Metallica, Rosalía, Currency: Sol (PEN) GDP per capita: $12,500 Internet users: 24 million Active smartphones: 43.1 million September 2022,no Coldplay the first Anglo artist have “It is probably surprisebecame that Buenos Aires is not onlyto one twofavourite sold-out cities back-to-back datesbut at Lima’s Estadioby Nacional of my in the world, it is beloved artists in ncient and diverse, Peru has found itself embroiled in a worldwide,” Peru, and The and Blink-182 are thepresident next to head through. saysWeeknd Bruce Moran, Live Nation’s of music political perma-crisis since 2016, but it remains a solid in LatinOther Peruvian operators Chile-based regional America.

“We are havinginclude a remarkable year despite the live market and an important link in the South American great network Bizarrowrought Live, which operates across both the challenges by the economy, currency, andAndean touring chain. region (specifically Chile, Peru, Colombia, Bolivia) and presidential elections, in and we will soldier on as and the new “Peru has always maintained a consistent level of business, president the Southern (Argentina, Chile, and Uruguay). Its projects works Cone to right the economy.” even in the face of a chaotic political scenario – it has had six include Latin tours – Bad Paola, Rels B, and Also busy in Argentina is Gyal, Move Danna Concerts, which has presidents in the last five years,” says Phil Rodriguez of Move Farruko are currently out – and English-language ones: Pet upcoming dates with Ghost, Gojira/Mastodon and Morrissey Population: 47 million Language: Spanish Concerts, whichpeso maintains an office Peru and has Los Shop Boys, Bad Religion, and The CurePhil are Rodriguez. all part of its Road – all sold out or close, according to CEO Currency: Argentine (ARS) GDP per capita:in$21,500 Internet users:Cadillacs, 39 million Active smartphones: 30 Cure millionon its calendar Fabulosos Quevedo, and The to Primavera shows in November and December.

“Buenos Aires, specifically, is probably the strongest live at press time. “I think the key has been that the country is very entertainment Local operator Producciones shows market Kandavu in the region in terms ofhas thepromoted appetite for t stands to reason that in a country thebusiness currencyclass is rich in natural resources and exports,where and the for acts including the Rolling Stones, Luis“IMiguel, andLondon Roger shows, theatre, and clubs,” says Rodriguez. call it the constantly freefall,plugging people are more to spend has kept thein economy along inlikely the mist of thethan Waters, among others, though itspeople Lima Music cancelled of South America.

[At the moment] spendFest the was pesos save. In shit-show.”

Argentina, where the cost of living will rise by political in September at short notice after the national football team before they devalue into nothing.

But this is short-term fool’s nearly In 200% thisofyear compared to 2022, theout, result has a terms touring, Rodriguez points Peru isbeen a country reversed decision not to use is the Stadium for its FIFA gold.

Whereits I see some real hope in National the upcoming elections. carpe mentality that elevates ticket demand to thatdiem routes perfectly with dates in the Chile, Argentina, and Cup qualifiers against and Argentina.

TheWorld people are sick of the same Brazil crap. Without a doubt, there will stratospheric extremes.

Brazil. “It has an appetite for entertainment, excellent be a major change in the political and economic direction.”

“This ‘bubble’ we are seeing in Argentina is founded on Other promoters in Argentina include Fenix Entertainment two main reasons,” says Eduardo Basagana, CEO of Buenos Group, which brings Rauw Alejandro to the Movistar Arena and Arena 1,promoter in the Peruvian Aires-based EB Producciones. “The first is the Danna Paola to Luna Park in November; Ake Music, which marks capital, Lima to go out and enjoy life, which I think is post-Covid desire 30 years in business in 2024, and PopArt Music, whose shows this shared with most countries in the world. People now prefer to year include Cirque du Soleil spectacular Messi10, at Buenos Aires’ outdoor Complejo Al Río venue in October and December. experience life than to plan for the future, because the future “The show was suspended due to the pandemic, so people has become more uncertain. are very much looking forward to its return,” says PopArt’s “But in Argentina this has become in some way a kind of Matias Loizaga, who also staged the show in Saudi Arabia in necessity, because money loses its value day after day, so the 2022. “Messi10 is not only a tribute to Leo Messi, but also a only way people find to keep its value is to spend it. The result celebration of football. It is modern, trendy, and with an is packed restaurants and bars, and all concerts and festivals impressive artistic level.” selling out. So, you get this dichotomy of navigating one of the Along with Move Concerts, PopArt will also promote the worst crises of all time through a boom in consumption. Only second Argentinian edition of Primavera Sound in November, possible in Argentina!” with The Cure, Blur, Beck, and the Pet Shop Boys.

Coldplay’s ten-night stand at River Plate between 25 EB Producciones has a strong line in local Argentinian October and 8 November last year is the defining example talent and operates the female-focused PWR Festival and of the phenomenon, but it is far from the only one. ‘cultural picnic’ Tereré Fest, and has its sights set on DF Entertainment, the Live Nation co-owned promoter international expansion, with a PWR Festival edition in behind those shows, has had similar success with its Madrid in October 2024.

Lollapalooza editions, which routinely bring in 330,000 across

America A

Argentina

I

An EB Producciones-promoted Ángela Leiva concert

64 Global Promoters Report 2023

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icaliveasia.com

78

L Tips Agency

facebook.com/ltipsagency

47

La Sordera

lasordera.com/en/la-sordera-en

41

Laa

laa.hr

14

Live Music Production

livemusic.ch

4

Live Nation Norway AS

livenation.no

32,33

Mercury Concerts

mercuryconcerts.com

88

MG Live

mg-live.com

61

Move Concerts

moveconcerts.com/us

2

MRG Live

mrglive.com

57

Neil O'Brien Entertainment

neilobrienentertainment.com

55

Opus One

opus-one.ch

45

Piu Entertainment

piu.net

49

Rockhal

rockhal.lu

29

Session Basel Ltd

baloisesession.ch

45

TEG Europe

tegeurope.com

50,51

UGURU

uguru.net

36

To get involved in future editions of the Global Promoters Report, contact: Tom Brint | Tom@iq-mag.net 86 Global Promoters Report 2023

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C S B S E E KS

I N T E R N AT I O N A L A R T I ST S 2 0 2 4 CSB Island Entertainment is one of the leading artists and show promoters in Scandinavia with MORE THAN 30 YEARS EXPERIENCE. WHO WE WORK WITH: CONCERT HALLS | Capacity 800-2.200 INDOOR ARENAS | Capacity 5.000-12.000 FESTIVALS & OPEN AIR VENUES | Capacity 5.000-30.000 PLEASE CONTACT: Carsten Svoldgaard, CEO, CSB Island Entertainment Mail: cs@csb.dk // Phone: +45 20 60 94 93

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