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110 AN ILMC PUBLICATION APRIL 2022 | £25 | €25

UKRAINE CRISIS MUSIC SOUNDS OFF FROM OSCARS TO OSLO HANS ZIMMER LIVE

NILE RODGERS SET FOR ILMC FULL AGENDA INSIDE

ARABIAN NIGHTS THE GULF STATES’ BOOM STEAM POWER FULL AHEAD IN FINLAND

50 YEARS OF ‘LOVE’

PHIL BOWDERY’S GOLDEN TERM

TUESDAY 26 APRIL 10:00–18:00 | LOWER GROUND FLOOR IPM PRODUCTION MEETING INCLUDING E3S Hosts: eps | Megaforce | EFM | ESG The 15th edition of IPM will accommodate over 200 of the world’s most renowned production managers and related experts.

This year’s IPM also includes a day of sessions by the Event Safety & Security Summit (E3S) with input from Yourope’s YES Group, MOM Consultancy, the UK Crowd Management Association and the European Arenas Association.

For more info, please visit ipm.live

WEDNESDAY 27 APRIL

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here is now just a matter of days until ILMC 34 kicks off and the great and good of the international live music business come together in-person once more.

This year’s edition will see more sessions, speakers, and big names than ever, and a focus on both the recovery and sustainability of the business as we move past the disruption and upset of the last two years.

ILMC 34 will be the first major meet-up for the business in over 24 months, and we’re predicting a very social – perhaps even emotional! – affair. While the following pages give a snapshot of most conference sessions and workshops, it’s perhaps this year’s social events and the opportunity to reconnect and reacquaint that will be the real highlight.

From opening night drinks receptions and get togethers to showcases, quizzes, the prize draw, football (for both large and tiny players), poker, and this year’s sold-out Gala Dinner & Arthur Awards, you’d need to be a seasoned explorer to do it all.

So, as the leaders from the live entertainment space prepare to gather in London and discuss this brave new world we find ourselves in, we can promise that this year’s grand ILMC adventure will definitely be an expedition to remember.

We look forward to welcoming you, compass in hand, to London very soon...

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10:00–10:30 | ROOM 3 NEW DELEGATES’ ORIENTATION Hosts: Lou Percival, ILMC (UK) & Gordon Masson, IQ (UK) An invaluable introduction for anyone attending ILMC for the first time. It’s a perfect opportunity to meet new people, and find out how to get the most from the conference.

10:00–11:00 | ROOM 4 THE METAVERSE & LIVE MUSIC Hosts: Roblox & Vatom Gaming pioneers such as Roblox and Fortnite have secured rafts of world-renowned artists for virtual experiences over the last two years. With tech giants racing to plant their flags in the metaverse and startups raising substantial funds to join in, a vast virtual new world is emerging. But what does this mean for live music? This 60-minute conversation outlines what the metaverse is, what it means for your business, and why artists should be lining up to perform in it.

11:00–11:15 | ROOM 1 THE ADVENTURERS’ GUIDE TO ILMC 34 Host: Greg Parmley, ILMC (UK) This 15-minute introduction to all the key features of the conference includes any last-minute updates you’ll need and is the official start of ILMC.

11:15–12:45 | ROOM 1 THE OPEN FORUM: A NEW VIEW Chairs: Phil Bowdery, Live Nation (UK) & Maria May, CAA (UK) With a number of industry leaders as guests, Phil Bowdery and Maria May will explore the most critical topics in the post-pandemic business. Charting industry recovery, lessons learned, and just how is the global live business ‘building back better’? From (re) negotiating artist fees and rehabilitating a weakened supply chain, to reinvigorating consumer confidence, what challenges does the business face in 2022 and beyond? And with markets at different milestones along their road to recovery, how are each of our prestigious speakers and leaders plotting live’s big return?

14:00–15:15 | ROOM 1 THE MUSIC BUSINESS: CONVERGENCE & NEW FRONTIERS Chair: Mark Sutherland, journalist (UK) The planet – and indeed the music industry – has never been more connected, with new platforms ripping up the old rulebook and changing the game.

As live performances cross from physical spaces to new digital stages, what new opportunities are there for emerging and established artists? And as tech, streaming, gaming, and music continue to converge, where does this place live performance in a post-pandemic world?

14:00–15:00 | ROOM 2 INDUSTRY REPRESENTATION: PEOPLE POWER Chair: Anita Debaere, Pearle (BE) If Covid taught us anything, it was the importance of the business having a voice with both policymakers and the public. Session chair Anita Debaere investigates the power of proper representation and asks whether the business needs to be even more organised in the future.

14:00–15:00 | ROOM 3 THE DRAGONS’ DEN WITH ALEX HARDEE & JOHN GIDDINGS In what will surely be one of the most entertaining sessions in ILMC’s history, industry legends John Giddings and Alex Hardee sit down to review their respective

career paths and retell some of the many stories of their lives in the music business.

15:30–16:30 | ROOM 1 FESTIVAL FORUM: NEW LANDS, NEW ADVENTURES Chair: Alice Hogg, ATC Live (UK) There is a bumper festival summer ahead, and with schedules expanding, extra weekends added and new events launching, the spectre of Covid looks to finally be passing. But two years of lockdown and restrictions have thrown up a litany of new problems–from the supplychain crisis to spiraling costs–ensuring the ripples of coronavirus will be felt for years to come. Agent Alice Hogg and international festival bosses plot the way ahead.

15:30–16:30 | ROOM 2 LIVESTREAMING: ON TRIAL Chair: Estelle Wilkinson, Eleven Management (UK) Livestreaming flourished during the pandemic but with touring returning, will it go the same way as VCR, faxes and typewriters? Not according to those still leading the charge. Session host and Bastille manager Estelle Wilkinson invites leading livestreamers to make their case, before industry professionals pass judgment…

15:30–16:30 | ROOM 4 MENTAL HEALTH FIRST AID Host: Hannah Brinley, Music Support (UK) After an unprecedented two years, and with the pressures of an entire industry ramping back up at speed, the topic of mental health is as crucial as ever. But how can we identify if a colleague is struggling, and how best to react and help? This panel looks at Music Support’s Mental Health First Aid course and the benefits it can deliver.

17:00–18:00 | ROOM 1 THE HOTSEAT: CASEY WASSERMAN When Casey Wasserman acquired Paradigm’s North American business 12 months ago, he added names such as Coldplay, Shawn Mendes, Billie Eilish and David Guetta to a huge roster of global sports and entertainment brands, properties and talent.

Casey’s move into the music space echoes the career of his grandfather, Lew Wasserman, who grew Music Corporation of America (MCA) into the biggest talent

agency in the world prior to his famous stewardship of Universal Studios. With his sights now set on music, how does Casey view the industry’s pathway to recovery, and just how does he predict live entertainment will evolve over the coming years?

17:00–18:00 | ROOM 2 UKRAINE: CONFLICT Host: Nick Hobbs, Charmenko (TR) Russia’s invasion of Ukraine has created a mounting human cost in front of a horrified watching world. With scores of concerts cancelled, behemoths such as Live Nation and OVG severing ties with Putin’s nation, and promoters and agents in Ukraine forced to flee their homes or seek shelter underground, the implications for live music are severe.

The impact on business is already felt in neighbouring countries, with concerns that international acts will be unable or unwilling to visit Eastern Europe this year. The conversation brings together touring executives from the region – both in-person and remotely – to cut through the misinformation and discuss the likely repercussions for the future of the concert business in Ukraine, Russia and beyond.

THURSDAY 28 APRIL 10:00–11:15 | ROOM 2 VENUE’S VENUE: RECONNECT & REOPEN Chairs: Marie Lindqvist, ASM Global (SE) & Olivier Toth, Rockhal/EAA (LU) This year’s round up of the venue sector takes place under four headings: education, knowledge, connection, and understanding. This year's discussion will cover getting back to business, a common approach to health-and-safety protocols, and new operational models for these vital buildings.

10:00–11:00 | ROOM 3 BREXIT & BEYOND: RESHAPING EUROPEAN TOURING Chair: James Wright, UTA (UK) How is Brexit and a changing European outlook going to shape the way we work across borders? Experts from a range of sectors join James Wright to discuss the challenges ahead and offer practical solutions to immigration, social security, carnets, cabotage, VAT, logistics, and more.

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11:30–12:45 | ROOM 1 TICKETING: ALL CHANGE PLEASE! Chair: Richard Howle, NEC Group (UK) The ticketing sector was caught in the middle of the Covid crisis but faces as many questions as answers as it emerges from the pandemic. From rescheduling and repricing to refunding and reassessing how it all works, ILMC’s annual ticketing check-in has more ground to cover than ever before…

11:30–12:30 | ROOM 2 DIVERSITY: THE ANNUAL HEALTH CHECK Chair: Roger Wilson, Black Lives in Music (UK) During the pandemic, the business pledged to build back better, but have we made good on our promise? This session checks in with leaders in the live music industry to find out how they have converted declarations of solidarity into commitments, action and accountability.

11:30–12:30 | ROOM 3 NEW BUILDS: THE VENUE BOOM Chair: Stephanie Bax, CAA Icon (US) After nearly two years of shuttered venues and the sector being in a holding pattern, a growing number of new buildings are coming online. With investment in the bricks-and-mortar side of the live music business reaching record levels, leading venue operators step up to discuss the new builds, refurbs and buildings of the future.

14:00–15:15 | ROOM 1 THE SUPPLY CHAIN: RESTOCK, REPAIR & RECRUIT Chair: Stuart Galbraith, Kilimanjaro Live (UK) The perfect storm isn’t just on the horizon for live entertainment’s supply chain: it’s here. Tens of thousands of workers have found jobs elsewhere, and without income to invest in sound, light, video and other kit, there’s a shortage of production across the board.

Stuart Galbraith leads this important debate about bottlenecks, solutions, and the inevitable impact of supply-chain shortages on pricing.

14:00–15:00 | ROOM 2 INDUSTRY INVESTMENT: FIELD NOTES Chair: Chris Carey, LIVE (UK) Pre-Covid, external investment flowing into the live music space

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was at record levels: it had never been easier to find backing for a company or concept. Coming out of the pandemic, how are funds and investors viewing the business, and do they have the same appetite? Economist Chris Carey learns from those who have already taken the leap, as well as providing advice for anyone looking to secure investment.

moments of anticipation, collaboration and unique memories that brands remain consistently capable of bolstering through their support and sponsorship. Jeremy Paterson brings together experts from venues, promoters, and other entertainment channels to see if the new face of sponsorship can ensure that live music remains a premier choice for brand leaders.

14:00–15:00 | ROOM 4 WORKSHOP: LIVE EVENTS INSURANCE Hosts: Petra Sandrieser, Novitas special risk Versicherungsmakler (DE) & Tim Thornhill, Tysers (UK) Live events insurance has been one of the main industry talking points over the past two years. Tim Thornhill and Petra Sandrieser lead this hour-long workshop to outline costs and options in 2022 and beyond. Comparing rates and solutions, while also highlighting pitfalls to avoid, it’s a hands-on practical session for all.

16:50–18:15 | ROOM 1 THE (LATE) BREAKFAST MEETING WITH NILE RODGERS Host: Ed Bicknell, Damage Management (UK) A very special moment at ILMC 34, host Ed Bicknell will be joined by none other than Nile Rodgers. The co-founder of Chic, Rodgers has written, produced and performed on albums that have sold over 500 million units and 75 million singles worldwide, working with artists from David Bowie, Diana Ross and Madonna, to Lady Gaga and Daft Punk.

15:30–16:30 | ROOM 1 THE AGENCY BUSINESS 2022 Chair: Tom Schroeder, Paradigm Agency (UK) The agency sector has evolved more than any other during the past two years as hundreds of experienced staff were furloughed, made redundant, or simply left their places of employment–some to launch new independent operations, arguably widening the scope for artists and acts seeking representation. Tom Schroeder examines the changing agency landscape and what it means for clients and promoter partners.

15:30–16:45 | ROOM 2 NEW TECHNOLOGY: FUTURE FRONTIERS Host: Steve Machin, Concert Vision (UK) With just short of ten minutes to pitch their product, invention or idea, ILMC’s new-tech panel is a perennial favourite.

Steve Machin invites innovators to showcase the technology that’s set to impact the business over the next 12 months.

15:30–16:30 | ROOM 4 SPONSORSHIP: FALLING THROUGH THE CRACKS? Chair: Jeremy Paterson, If Media Consultancy (UK) Live music offers attendees

FRIDAY 29 APRIL 10:00–11:00 | ROOM 2 MEET THE NEW BOSSES: CLASS OF 2022 Chair: Lisa Henderson, IQ (UK) ILMC’s ever-popular session returns with a quartet of emerging execs–all of whom were recognised on IQ’s latest New Boss list. These young professionals will reflect on their journey so far, including breakthrough moments, career highlights, and invaluable mentors.

The session will also uncover the New Bosses’ visions of a post-pandemic industry and will ask how can we build back better to ensure that the business remains attractive to future generations.

11:30–12:45 | ROOM 2 THE EXPERIENCE ECONOMY MEETING: THE PRODUCTS From virtual art museums, themed VR events, 3d movies, high-tech robotics & classic touring exhibitions – the menu of today’s entertainment universe is vast.

With the rise of innovative tech and fresh approaches to issues such as accessibility and sustainability, the arts/ents industry has spawned many new experiences.

This revitalized flea market kicks off TEEM, and afterwards, we invite you to connect with producers, and trailblazers at our TEEM lunch event from 12:30- 14:00.

OPEN AIR THE SKY IS OUR LIMIT. 20.000 m² OPEN AIR VENUE WITH 4.500 m² COVERED SPACE UP TO 35.000 PAX STANDING UP TO 10.000 PAX SEATING INDOOR BACKSTAGE/VIP AREA TRUCK/NIGHTLINER PARKING ON SITE

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14:00–15:00 | ROOM 4 THE DRAGONS’ DEN WITH BARRY DICKINS & LEON RAMAKERS Industry legends Barry Dickins (ITB) and Leon Ramakers (Mojo Concerts) look back over their remarkable careers to share stories about the artists they have worked with, the shows and tours they’ve dealt with together, and some of the events and characters who have helped shape the modern live music business.

14:00–15:00 | ROOM 2 THE EXPERIENCE ECONOMY MEETING: THE FANS From Instagrammable moments and dynamic pricing to NFT merchandise – the experience economy is all about building products around the fans. Integrating customers into immersive worlds has become one of the central goals within the cultural landscape.

So just what does the future experience look, feel (and perhaps taste or smell?) like for an increasingly engaged visitor with equally increasing expectations? And what new routes are there to reach and entice these visitors?.

15:30–16:30 | ROOM 2 THE EXPERIENCE ECONOMY MEETING: THE PROFILES The final of TEEM’s trio of programmes for the day meets some of the innovators driving both products and experiences forward into a very bright future indeed.

And as the session wraps up, all attendees are invited to remain in the room for a glass of wine, beer or a soft drink and a chance to catch up informally before the keynote with Brian Eno and Aurora in the room next door.

GREEN EVENTS & INNOVATIONS CONFERENCE 09:55–11:00 | ROOM 1 WE'RE IN THIS TOGETHER Hosts: Claire O'Neill, A Greener Festival (UK), Teresa Moore, A Greener Festival (UK), Holger Jan Schmidt, GO Group / Yourope (DE) A quick introduction to GEI 14 followed by panel 1, in which we look at the monumental task of tackling transformation. A crucial topic made increasingly important by an ever closer deadline. Holger Jan Schmidt and his panel examine various pan-European projects that are already focused on making the festival and live entertainment industry fit for the future.

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11:30–12:30 | ROOM 1 STEPPING INTO A GREEN ARENA Host: Lucy Noble, Royal Albert Hall (UK) Arena’s have been taking huge strides to strategically reduce their carbon emissions, eliminate waste, green up their food and beverage offerings, and communicate with the millions of people and hundreds of artists who come through their doors on an annual basis.

Global circumstances are causing increasing challenges for any business, not least the venues.

Our senior-level panellists will provide insight into how we can turn adversity into opportunity and become part of the solution as we find a greener and happier way of living together.

11:30–12:30 | ROOM 3 WORKSHOP: EUROPEAN GREEN FESTIVAL ROADMAP 2030 Hosts: Holger Jan Schmidt, GO Group / Yourope (DE) & Linnéa Svennson, Green Operations Europe (SE) As part of its project Future-Fit Festivals, YOUROPE is developing the European Green Festival Roadmap 2030. This workshop is the kick-off of the development process to interactively collect the needs and ideas of those active in the field.

14:00–15:00 | ROOM 3 DEEP DIVE CIRCULARITY: COME FILL UP YOUR CUP Host: Andy Lenthall, Festival Insights / UK Festival Awards (UK) One of the most debated topics around green events… Cups! Do we need to standardise the approach across venues and align policies for security, health & safety, and sustainability on this issue, and will brands come on board?

14:00–15:00 | ROOM 1 ENERGY & TRANSPORT 3.0 Host: Sangeeta Waldron, Serendipity PR & Media (UK) The transformation of the energy and transport sectors will play a key role in the fight against the climate crisis and will impact live music and events significantly in coming years.

In this panel, we will take a look at the energy and transport technologies that are helping transform the event sector and provide examples of their

implementation. But when will these technologies be implemented to any significant degree, and what must we do in order to influence the governments to make and encourage positive change?

15:30–16:30 | ROOM 3 SUSTAINING WHAT SUSTAINS US: FOOD & BEVERAGE Host: Jane Healy, Glastonbury / Boomtown Fair (UK) Aside from breathing, what we eat and drink is our most intimate interaction with our environment. In this session, we hear from some remarkable individuals who are replicating the life-giving abundance of the forest floor through agriculture and food "waste" innovation, to those transforming our restaurant and food outlet operations and finding how to meaure, monitor and set standards to help guide events and caterers.

15:30–16:30 | ROOM 1 ACTION. TIME. VISION. Host: John Robb, LouderThanWar. com / The Membranes (UK) With multiple global crises in a seemingly perfect storm, it can be hard to pick yourself up and feel empowered to make a difference. A step back, and a step inwards, can reveal that we have much greater power to create change as individuals than we give ourselves credit for. Some inspiring individuals from the front line help to put things in perspective.

17:00–18:00 | ROOM 1 KEYNOTE CONVERSATION: UNLEASHING THE POWER OF MUSIC IN SERVICE OF THE PLANET Hosts: Brian Eno & Aurora GEI’s keynote conversation will see renowned musician, producer and visual artist Brian Eno, in conversation with the international phenomenon that is singersongwriter and producer Aurora.

Brian recently founded EarthPercent, a charity dedicated to providing a simple way for the music industry to support the most impactful organisations addressing climate emergency. Brian and Aurora will discuss how they plan to harness the power of music to help the environment and fight climate change.

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EVENTS WEDNESDAY 27 APRIL 18:00–19:00 THE WME HAPPY HOUR MEZZANINE Host: WME Kicking off Wednesday night at ILMC, the team at WME invite all delegates to join them for the most popular in-person event this side of the pandemic. With 60 minutes of complimentary booze and snacks, it’s a chance to relax and unwind in the company of the industry’s top explorers including the whole WME team.

19:00-21:00 THE REVIVE LIVE SHOWCASE NOTTING HILL ARTS CLUB Host: Music Venue Trust With support from the UK’s National Lottery, the Music Venue Trust’s Revive Live shows have played a huge role in restarting the grassroots sector. Spotlighting some of the best new emerging talent as well as household names taking the stage in small venues, it’s a fabulous initiative.

21:00–23:00 THE MVT POP QUIZ YORK SUITE, MEZZANINE Host: Music Venue Trust A first for ILMC this year, as the guys and gals at Music Venue Trust host a one-off pop quiz. And it’s a quiz with a difference…

Karousel’s Music Biz Speed Quiz is the UK industry’s premier quiz social. It’s fastest fingers on the (smartphone) buzzers, and it’s not just about what you know and who you know, but how fast you can answer.

Sign up: 34.ilmc.com/listing/quiz/

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21:00–00:00 THE ‘UP THE ANTE’ POKER TOURNEY

16:00–17:00 FELD’S ‘DAWN OF CIVIL-ICEATION’ ICE-CREAM BREAK

THE LANCASTER SUITE, MEZZANINE Host: YTL Arena Bristol The ‘Up the ante’ Poker Tourney will see around 100 explorers-turned-cardsharps battle it out for some spectacular bar-tab prizes (to be redeemed in any of the Royal Garden Hotel’s bars) in this fierce annual competition.

The poker tournament costs £30 to enter and all proceeds go towards the Nikos Fund, which this year is raising money for Stagehand.

Sign up: marketing@ilmc.com

LOWER GROUND FLOOR Host: Feld Entertainment Inc. Not content with conjuring up some of the world’s most magical family shows, Feld Entertainment will also be dishing out ice cream and mementos during their popular ice-cream intermission.

00:00–03:00 THE ‘PASS-TURES NEW’ TABLE FOOTBALL COMPETITION STRANGEY’S BAR, MEZZANINE Host: YTL Arena Bristol A late-night game of quick reactions and occasionally even skill, The ‘Pass-tures New’ Table Football Competition will see players compete in pairs for both international glory and the world’s tiniest trophy.

Taking place on ILMC’s two custom, match-grade foosball tables, victory awaits those with supple wrists, a quick eye, and reactions not overly affected by too much time in the bar that night.

The game is refereed by IQ’s very own Bear Grylls, Gareth Ospina, who’ll be making sure that the most daring shots and epic passes are observed.

THURSDAY 28 APRIL 13:30–14:00 NIKOS FUND GRAND PRIZE DRAW PERCY’S The ILMC raises a significant amount of money every year for a charity of its choice in honour of one of its founding members, Nikos Sachpasidis. Hand in your business cards to the ILMC crew with collection tins and be ready at 13:30 for the chance to win some colossal prizes as our chosen charity, Stagehand, benefits.

18:00–19:00 KJ CONCERTS ‘BIG 60’ HAPPY HOUR MEZZANINE Host: Karsten Jahnke Konzertdirektion Karsten Jahnke’s company celebrates its 60th anniversary this year, and to mark such a prestigious milestone, they’re inviting all ILMC delegates to raise a complimentary glass with them.

The ‘Big 60’ Happy Hour takes place across the whole of the mezzanine floor of the hotel: Strangey’s Bar, the York Suite and Lancaster Suite. just as the day’s conference sessions wind up, and before delegates head off to the ILMC Gala Dinner & Arthur Awards or head out elsewhere.

So come and meet founder Karsten, managing director Ben Mitha and the KJ team for a drink and a chat about what the future holds for the company–they say you might even meet your new favourite German promoter!

19:30–21:30 MATCH OF THE YEAR FOOTBALL THE HIVE STADIUM, CAMROSE AVENUE, HA8 6AG Host: Aiken Promotions This annual football match will see the UK pit itself against the rest of the world in a 90-minute display of bravery and epic skill.

A bus will transport players from the Royal Garden Hotel to the grounds and back again.

Sign up: peter@aikenpromotions.com 19:30–00:00 ILMC’S ‘THE GREAT INDOORS’ GALA DINNER & ARTHUR AWARDS SHERATON PARK LANE HOTEL, PICCADILLY, LONDON W1J 7BX Hosts: Semmel Concerts & DEAG ILMC’s ‘The Great Indoors’ Gala Dinner & Arthur Awards will see a hundred or so of the world’s best-dressed explorers get together for a champagne reception, a five-star feast, and The Arthur Awards, which will once again be hosted by the live

music industry’s most prolific whittler…

Miss Emma Banks.

The international live music business’s best-loved awards–The Arthurs–are back in person in 2022. With thousands of votes compiled from professionals around the world, The Arthur Awards sees the stars of the industry recognised, with a handful of lucky winners taking home one of the cherished statuettes.

The venue for the evening is the glamorous Sheraton Grand Park Lane–one of London’s most spectacular Art Deco spaces and the perfect location for a lavish jamboree.

This event is now sold out. To join the waiting list: registration@ilmc.com.

22:30–02:30 THE ‘I WILL SURVIVE’ CAMPFIRE KARAOKE THE YORK SUITE, MEZZANINE Hosts: Event Genius & Megaforce It’s a brave new-worlder who enters The ‘I Will

Survive’ Campfire Karaoke without numbing their ears with alcohol beforehand.

Expect some adventure-themed performances by Explora Marling, Terence Tent D’arby, Kagool & the Gang, and some brave “attempts” at Born to be Wild, Grylls Just Wanna Have Fun, and With a Whittle Help From My Friends.

With props and costumes on hand for inspiration, this late-night scene of fun and silliness is not the kind of event you want to miss, (nor attend if you’re sober).

FRIDAY 29 APRIL 18:00–20:00 THE ‘OVER & OUT’ CLOSING DRINKS STRANGEY’S BAR, MEZZANINE To wrap up both ILMC and the Green Events & Innovations Conference (which takes place during the day), delegates of both events are invited to put down their

binoculars and explore the Royal Garden Hotel’s well-stocked bar for a glass of something bubbly or lots.

After days of networking, exploring and conversation, enjoy a final few hours in the company of new friends and colleagues alike. And with the party wrapping up around 20:00, there’s still plenty of time to enjoy Friday evening in London immediately afterwards…

NEW-WORLD ‘EXPLORERS’ ITINERARY Tuesday 26 April 10:00–18:00 ILMC Production Meeting 11:00–16:00 Association Summit (invitation only) 13:00–21:00 ILMC Early-Bird Registration 19:00–00:00 Special Agency Event 19:00–00:00 Access All Areas Shows

Wednesday 27 April 09:30–11:00 The Uncharted Terri-tea & Coffee Break 10:00–10:30 New Delegates’ Orientation 10:00–11:00 The Metaverse & live music 11:00–11:15 The Adventurer’s Guide to ILMC 34 11:15–12:45 The Open Forum: A new view 12:30–14:30 The ‘Survival of the Fattest’ Lunchtime Buffet 14:00–15:00 The Dragons’ Den with Alex Hardee & John Giddings 14:00–15:00 Industry Representation: People power 14:00–15:15 The Music Business: Convergence & new frontiers 15:30–16:30 Mental Health First Aid for the Industry 15:30–16:30 Livestreaming: On trial 15:30–16:30 Festival Forum: New lands, new adventures 17:00–18:00 The Hot Seat: Casey Wasserman 17:00–18:00 Ukraine: Conflict in Europe 18:00–19:00 The WME Happy Hour 19:00–00:00 Access All Areas Shows 19:00–21:00 Revive Live Showcase 21:30–23:00 The MVT Pop Quiz 21:30–00:00 The ‘Up the Ante’ Poker Tourney 00:00–03:00 The ‘Pass-tures New’ Table Football Competition

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Thursday 28 April 09:30–11:00 The Tea, Coffee & Whittling Break 10:00–11:00 Brexit & Beyond: Reshaping European touring 10:00–11:10 The Venue’s Venue: Reconnect & reopen 11:30–12:30 Diversity: The annual health check 11:30–12:45 New Builds: The venue boom 11:30–12:45 Ticketing: All change please!

12:30–14:30 The ‘Scouting for Grills’ Lunchtime Buffet 13:30–14:00 Nikos Fund Grand Prize Draw 14:00–15:00 Industry Investment: Field notes 14:00–15:00 Workshop: Live events insurance 14:00–15:15 The Supply Chain: Restock, repair and recruit 15:30–16:30 The Agency Business 2022 15:30–16:30 Sponsorship: Falling through the cracks?

15:30–16:45 New Technology: Future frontiers 16:00–17:00 Feld’s ‘Dawn of Civil-ice-ation’ Ice Cream Break 16:50–18:15 The (Late) Breakfast Meeting With Nile Rodgers 18:00–19:00 KJ Concerts’ ‘Big 60’ Happy Hour 19:00–00:00 Access All Areas Shows 19:30–21:30 Match of the Year Football 19:30–00:00 ILMC’S ‘The Great Indoors’ Gala Dinner & Arthur Awards 22:30–02:00 The ‘I Will Survive’ Campfire Karaoke

Friday 29 April 09:00–10:00 The Sustainabili-tea and Coffee Break 09:55–11:00 GEI: We’re In This Together 10:00–11:00 Meet the New Bosses: Class of 2022 10:30–11:00 GEI: Quick-Fire Innovation Round 11:00–11:30 The Sustainabili-tea and Coffee Break 11:30–12:45 The Experince Economy Meeting: The Products 11:30–12:30 GEI: Stepping into a Greener Arena 11:30–12:30 GEI: European Green Festival Roadmap 2030 12:30–14:30 The Vegan Veg-Out Delegate Lunch 12:30–14:00 The TEEM lunch break 14:00–00:00 Access All Areas Shows 14:00–15:00 The Dragons’ Den with Barry Dickins & Leon Ramakers 14:00–15:00 GEI: Deep Dive: Circularity – Come Fill Up Your Cup 14:00–15:00 The Experience Economy Meeting: The Fans 14:00–15:00 GEI: Energy & Transport 3.0 – The Fuel of Live 15:00–15:30 The Sustainabili-tea and Coffee Break 15:30–16:30 GEI: Deep Dive: Food & Beverage 15:30–16:30 GEI: Action. Time. Vision.

15:30–16:30 The Experience Economy Meeting: The Profiles 17:00–18:00 GEI Keynote Conversation: Brian Eno & Aurora 17:30–20:00 ILMC & GEI’s ‘Over & Out’ Closing Drinks

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Cover photograph: © Ferdy Damman/EPA-EFE/ Shutterstock

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NEWS

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Index In Brief The main headlines over the last month Analysis Key stories and news analysis from around the live music world New Signings & Rising Stars A roundup of the latest acts that have been added to the rosters of international agents

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ILMC 34’s In-Person Comeback The full conference and events agenda for our Breave New World-themed 26-29 April gathering 50 Years of ‘Love’ Celebrating half a century of Phil Bowdery's career in live muisic Ten Top Tech Tips for 2022 Profiling some of the latest products and services being showcased at ILMC Hans Zimmer Live Hollywood’s greatest composer celebrates a second Oscar win while on the road with his latest live spectacular Arabian Nights Adam Woods examines the world’s fastest growing live entertainment market: the Gulf States Steam Power Finnish powerhouse promoter Fullsteam Agency marks 20 years of operations

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Live During Wartime Russia’s invasion of Ukraine has shocked and horrified onlookers around the world. Semyon Galperin offers his perspective on the conflict.

Why the Ukrainian Live Music Industry will thrive Alona Dmukhovska charts the growth of Ukraine's music business and vows that its citizens’ love for culture will see concerts return, and thrive, in the future Investing in Live Music’s Future Marie Lindqvist highlights the importance of supporting and bringing young people into the heart of the business, as part of ILMC’s Bursary Scheme partnership Your Shout What are you mostlooking forward to at ILMC 34?

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T O  T  END…

3  + 1 + 2 J 022 BEAM A

TS  P .

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THE BIG COMEBACK

A

s IQ goes to press, we’re just a couple of weeks away from loadingin to the Royal Garden Hotel for ILMC 34, and I personally cannot wait to be there.

I can’t remember a more exciting time in the last decade in terms of the business. For a start, the fact that the magazine is physically going to press for the first time in two years is heartening, but to return with a record-breaking edition speaks volumes for the genuine optimism that is currently running through the industry globally.

For many, many delegates, ILMC will be the first in-person event they have attended since spring 2020 – basically since ILMC 32 – and the anticipation of the social euphoria is buoying not only us in IQ Towers but also all of the staff at the Royal Garden, who themselves have been largely out of action for two years because of the hotel’s extensive renovation project.

And, of course, most exciting of all is that markets around the world are once again open for concerts and festivals, while elsewhere governments are on the verge of dropping the Covid-related restrictions that have kept venues dark for so long.

Hitting the ignition to restart international touring will not be without its challenges, obviously, but the pent-up demand of fans everywhere means that opportunities are boundless, making the debates and discussions at ILMC, IPM, E3S, GEI and TEEM from 26–29 April absolutely crucial for the health of the business.

Talking of opportunities, our report on the Gulf States (page 74) highlights the world’s fastest growing region for live entertainment.

Elsewhere, one man who knows how to create opportunities for artists is Phil Bowdery. Having chalked up his 50th year in music during the pandemic, we could not let the great man’s landmark pass unsung, so please join us in congratulating him on page 36.

Also marking a milestone is Finland’s Fullsteam Agency, with Derek Robertson tracking the company’s first 20 years by talking with founder Rauha Kyyrö and colleagues, as well as numerous friends and partners (see page 86).

Highlighting the return to international touring, we also have a special report on Hans Zimmer Live (page 62), which can lay claim to the title of the biggest tour to hit European arenas in years.

We’ve also got a roundup of ten hi- and low-tech products and services that promise to make the industry a better, more streamlined place (page 58), with a number of the profiled companies coming to the Royal Garden Hotel to showcase their wares.

And if all that isn’t enough to whet your appetite, then get perusing our extensive guide to ILMC’s packed conference and events agenda on page 3.

So, we hope you enjoy the magazine’s return to print – and if you are reading this at ILMC, then say hello – it will be a pleasure to see you!

ISSUE 110 LIVE MUSIC INTELLIGENCE 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 Publisher ILMC and Suspicious Marketing Editor Gordon Masson News Editor James Hanley Deputy News Editor Lisa Henderson Advertising Manager Gareth Ospina Design Rather Nice Design Sub Editor Michael Muldoon Head of Digital Ben Delger Contributors Alona Dmukhovska, Semyon Galperin, Marie Lindqvist, Derek Robertson, Adam Woods Editorial Contact Gordon Masson gordon@iq-mag.net Tel: +44 (0)20 3743 0303 Advertising Contact Gareth Ospina gareth@iq-mag.net Tel: +44 (0)20 3743 0304 ISSN 2633-0636

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IN BRIEF INDEX The concert business digest

Oak View Group says it is boycotting Russia amid widespread outrage over the country’s invasion of Ukraine.

The O2 arena’s Steve Sayer tips 2023 to be an even bigger year for live music as the business edges back towards normality.

The Russian concert industry makes a united call for peace as the war in Ukraine intensifies.

Jon Ollier’s independent agency, One Fiinix Live, hires Sean Goulding from UTA.

London’s Koko is to reopen next month following a £70m revamp.

ASM Global is appointed to run operations at West London exhibition centre Olympia London.

Wasserman Music hires agents Matt Elam and Sahil Mehta and promotes Stephanie Aristakesian, Zach Berkowitz, Alex Guaraldi, Daniel Lee, Leigh Millhauser and Jeff Molek to agent.

The Ukrainian live music business says that concerts – both international and domestic – will not take place until 2023 at the earliest.

Live event organisations across Europe take a stand in condemnation of Russia’s attacks on Ukraine.

Live Nation pledges not to do business with Russia following the country’s invasion of Ukraine.

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Concerns are raised over the viability of touring neighbouring markets in the wake of Russia’s invasion of Ukraine.

The UK’s Glastonbury Festival unveils the first wave of acts for its 2022 edition, which sees Paul McCartney and Kendrick Lamar join Billie Eilish as headliners.

The Ukrainian live music industry is stepping up to provide humanitarian, logistical, and military support while Russia continues its all-out assault of the country.

Mary J. Blige and Pepsi partner with Live Nation Urban to launch the Strength of a Woman Festival & Summit in the US.

On International Women’s Day, the UK’s Musicians’ Union confirms that Naomi Pohl has been elected as the first female general secretary in its history.

Netherlands’ Backstage Pass initiative launches the #spotlightonher campaign for International Women’s Day to shine a light on female crew members.

UK collection society PRS for Music becomes the latest music organisation to cut ties with Russia in the wake of the country’s invasion of Ukraine.

Live music markets around the world pitch in to support the citizens of Ukraine, as the Russian military continues its full-scale invasion of the country.

Kilimanjaro Live CEO Stuart Galbraith tells IQ he is “optimistic but nervous” about the concert industry’s return to business during an exclusive interview.

Germany’s Goodlive announces the inaugural edition of Munich festival Superbloom.

The agenda is announced for the in-person return of ILMC, set for London’s Royal Garden Hotel from 26-29 April (see page 3).

ASM Global appoints Jen Mitchell as general manager of the AO Arena in Manchester, UK. Last Tour, the Spanish festival organiser and concert promoter behind Bilbao BBK Live, announces a new festival in Lisbon.

In the UK, Oak View Group’s new east Manchester development, Co-op Live, partners with Hope Solutions to develop the arena’s net-zero strategy.

Belgium’s biggest festival, Tomorrowland, partners with leading global cryptocurrency exchange FTX Europe to “make the leap into Web3 and NFTs.” More than 130 representatives from across Europe’s live sector sign an open letter calling for the EU to introduce tougher laws to combat online ticket touting.

The Rolling Stones announce a 60th-anniversary tour of Europe, including two dates at AEG’s American Express presents BST Hyde Park.

In Brief

GET INVOLVED BTS break the global event cinema record after grossing $32.6million (€29.8m) with the first live worldwide cinema broadcast of a concert from South Korea.

Live Nation Norway loses the civil case it brought against Oslo Municipality for awarding All Things Live the concert allocation for Voldsløkka sports park.

AEG Presents announces a multiyear partnership with Web3 firm Autograph, an NFT platform cofounded by NFL legend Tom Brady.

WME parent company Endeavor shares financial results for the fourth quarter and fiscal year of 2021 – the company’s first since going public in April 2021.

Price-capped ‘ethical’ ticket marketplace TicketSwap expands to new markets in Europe and Latin America.

The Scottish Event Campus states its ambition to achieve net-zero by 2030 after making significant moves to reduce its carbon footprint in recent years.

The Russian live industry pleads for a moratorium on ticket refunds, as concerts and festivals are cancelled en masse.

Construction of Live Nation and Oak View Group’s new arena in Cardiff, UK, is expected to start later this year after the development was granted planning permission.

The Dutch government finally announces plans to lift all remaining restrictions on live events.

Solo boss John Giddings explains how Genesis’s The Last Domino? tour has navigated the challenges of Covid to triumph over adversity, in an exclusive interview with IQ.

Three benefits concerts together raise almost €20million for charities providing relief during Russia’s invasion of Ukraine.

IQ research reveals that top promoters and ticketing firms are now experiencing higher ticket sales than pre-pandemic levels.

Want to share your views on breaking industry news?

Then get involved in the discussion on Twitter: @iq_mag

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Visit the website for our subscription options. info@iq-mag.net

Live Nation president and CEO Michael Rapino gives the lowdown on the company’s “groundbreaking” 5G technology and ticket presale partnership with Verizon during a televised interview on CNBC.

Brian Eno and Aurora are confirmed for a keynote conversation at the Green Events & Innovations Conference (GEI), the leading gathering for sustainability at live events (see page 10).

Australia and New Zealand’s leading concert promoter, Frontier Touring, unveils a new leadership structure for the company.

DEAG reports a strong fourth quarter and a significant increase in revenue and earnings in the financial year 2021.

Oak View Group names Gregory O’Dell as president of venue management at the company’s newly rebranded facilities division, OVG360.

Festival organisers and promoters in New Zealand say that the government’s rollback of restrictions is “meaningless” at this point in the events calendar.

Foo Fighters star Taylor Hawkins is remembered by the international live music world, following his death aged 50.

Germany’s Event Management Forum warns of the challenges still facing the live music sector despite parliament voting to scrap most Covid restrictions.

Madison Square Garden’s controversial MSG Sphere London project is given the go-ahead by planning officials despite objections from rival AEG.

FKP Scorpio launches a new company – FKP Show Creations – specialising in musicals, shows, and family entertainment.

Austria’s Barracuda Music raises at least €2m from a concert to benefit people affected by the war in Ukraine.

Live Nation-owned UK promoter Cuffe & Taylor tells IQ that business is bouncing back strongly from the pandemic.

The UK’s live music industry reacts with disappointment to chancellor Rishi Sunak’s spring statement, which was delivered 23 March in the House of Commons.

Polish television company TVP spearheads a global charity TV marathon with a live music element in aid of Ukraine.

Goodlive and Live Base form a strategic partnership to deliver international rap artists to the German-speaking market via hiphop festival Splash!.

A blacklist of performers who have spoken out against the war in Ukraine is leaked to Russian media.

All Things Live launches an intimate three-day music festival for Denmark’s capital city this summer, called Common Ground Festival.

Germany’s Goodlive names Annika Hintz as head of music booking for its newest festival, Superbloom.

Casey Wasserman is revealed as one of a number of heavyweight keynote speakers set for ILMC 34.

Goldenvoice announces brand new alt-country festival, Palomino, due to launch in LA in July.

CTS Eventim reports a 60% increase in annual revenue during 2021.

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Analysis

R

INTERNATIONAL LIVE BIZ RALLIES ROUND UKRAINE

amifications for international touring were dire and swift following Russia’s invasion of its Eastern European neighbour Ukraine.

Acts such as Bring Me The Horizon, Imagine Dragons, Louis Tomlinson and Jethro Tull all pulled concerts in Ukraine following the escalation of the conflict, while artists including Green Day, The Killers, Nick Cave & The Bad Seeds, and My Chemical Romance cancelled shows in Russia.

Ihor Samosud, COO at promoter Virus Music – which owns Ukraine’s largest ticket seller Concert.ua and Kyiv concert venue Bel Etage Music Hall, says there were “hundreds” of international shows scheduled in the next two years but “everything is now cancelled or postponed until 2023 at best.”

“We were looking forward to Iron Maiden’s first visit to Ukraine [promoted by Virus Music] and the second visit of Imagine Dragons [for which Concert.ua is the exclusive ticket seller], who are a favourite in Ukraine,” Samosud tells IQ. Samosud said the company was helping clients and promoters communicate with ticket buyers until money can be refunded for cancelled shows. The firm is also enabling clients and promoters to offer ticket vouchers as an alternative to cash refunds in a bid to help soften the financial blow.

“All Ukrainian promoters already have large financial losses associated with cancellations,” he says. “And this process will continue for a long time. Even after the end of the war, we will need a lot of time to restore our industry.”

Promoters and agents in Ukraine were forced to flee their homes in the early days of the conflict or seek shelter underground.

“I was born and raised in Kyiv – that’s where my whole life is,” Dartsya Tarkovska, co-founder of Music Export Ukraine, tells IQ. “We were wor-

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ried that a war was about to begin, so we moved to Lviv a few days before the conflict began. So we were lucky we were able to move safely.”

“The desperate situation put day-to-day matters into perspective,” adds Tarkovska. “Right now, it’s a matter of survival, and no one cares about the music industry,” she says.

Live music behemoths Live Nation and OVG publicly severed ties with Putin’s nation as the war intensified, while Spotify suspended its services in the country, Universal Music closed its Russian office, and UK collection society PRS for Music formally suspended its rights representation relationship with its Russian counterpart RAO. The Russian concert industry made a united call for peace, with one leading promoter speaking of the “catastrophe” facing the region’s live music business.

“Basically, the Russian showbusiness market will most likely shrink to those acts who either support Putin or who keep silent,” says Semyon Galperin of music venue Tele-Club Ekaterinburg, which had been due to welcome the likes of Nothing But Thieves, Uriah Heep, and Morcheeba in 2022.

Galperin was one of dozens of signatories from the Russian entertainment business to endorse a letter calling for an end to the conflict.

“We, employees of the Russian concert, theatre and music industry, deem it necessary to

formulate our attitude to the events taking place in Ukraine and inevitably affecting all the countries of Europe and the former USSR,” it said. “Our work is to create cultural values. Our mission is to make art accessible to people, from small to great. Art, culture – what distinguishes a man from a beast, what unites people.

“Culture is an inseparable value, and access to culture is a basic human right. Any armed conflict will attempt [sic] this right, as well as the inseparable human right to life, health, liberty, happiness. We believe it is vital to immediately stop military actions on the territory of Ukraine, the consequences of which will be irreversible.”

Russia has been banned from competing in this year’s Eurovision Song Contest by the European Broadcasting Union, while New York’s Carnegie Hall cancelled performances by Putin supporter Valery Gergiev and the Mariinsky Orchestra. Gergiev has also been forced to resign from his post as honorary president of the Edinburgh International Festival.

Meanwhile, a blacklist of performers who have spoken out against the war was leaked to Russian media and published in pro-democracy newspaper Novaya Gazeta. The list included rock group Aquarium, whose lead singer Boris Grebenshchikov had taken to social media to denounce the war as “madness.”

Paradigm agent Tom Schroeder describes the outlook for future international shows in Russia as “pretty bleak.”

“Unless there is a really significant change to the situation, I think Russia could be pushed out in the cold as a touring market for some time,” he tells IQ. “It’s important to say I have been talking to our Russian promoter friends, making it clear we know this is Putin’s war, not Russia’s war, and we support them fully. Sadly, that doesn’t mean it is viable as a touring market, and they are very aware.

“After the last two years we have all faced, for these promoters to now have this – is mind-blowing and heart-breaking.”

Attention also turned to the conflict’s potential impact on touring in neighbouring markets. With Belarus, Poland, Slovakia, Hungary, Romania, and Moldova all bordering Ukraine, the crisis has led to concerns that international acts will be reluctant to visit the Eastern Europe

“Whilst the live entertainment industry is shocked and deeply saddened to see the humanitarian crisis unfold, it has the power to make a difference. That’s, of course, through people’s love of music” Guy Dunstan | NEC Group

Analysis Barracuda Music raised atleast €2m from the We Stand With Ukraine concert

region this year.

Dragos Chiscoci, who handles artist booking and programming for Bucharest-based Emagic, tells IQ that the Romanian live industry had already started feeling the knock-on effects.

“Obviously, the existing events were hit first, with the already affected ticket sales dropping to 30% for events in the near future and even to 10% for the ones in summer,” he says.

“Afterwards, we started getting messages from some agents, saying that with what is happening in Ukraine right now, they really need to sit down and see how things will move forward before discussing any events in our part of Europe.

“I do hope that we won’t have to look at another series of cancelled and rescheduled shows.

In just a matter of days, the Romanian live music market went from bad to worse, and, unfortunately, if the situation in Ukraine does not defuse soon, we might be facing a third crippling year for the local live music industry.”

Kinga Chodkowska of Warsaw’s Follow the Step, whose Fest Festival welcomed 35,000 attendees to Chorzów over four days last August, revealed the promoter had offered agents additional shows in Poland for their artists to make up for the cancelled Russian dates.

“We’re all extremely saddened looking at the war happening just across our border and the cruelty targeting our friends and neighbours,” says Chodkowska. “Seeing all the shows in Russia getting cancelled and the tours being rerouted, we’re trying to help the agents to replace the gaps with extra Polish dates. “We are all focusing

on how we can help out, and that’s why we’re in the process of organising the biggest show in Poland together with television and local artists to raise money for the victims of this war.”

Eszter Décsy, founder and artist manager at NOW Books & Music, and PR and communication manager for Music Hungary Association, adds: “This situation is not just about touring being stopped, there are lives at stake. Currently, we are receiving a high number of refugees, artists and musicians, too, and we are trying to do the best we can both by supporting and donating to organisations and by self-organising initiatives.”

The Ukrainian live music industry stepped up to provide humanitarian, logistical, and military support, with the teams behind venues, festivals, and promoters playing an important role in settling refugees, providing meals for troops, preventing the spread of misinformation, collecting essentials, and donating funds towards the military.

According to Faine Misto’s Veronika Grass, a key concern was winning the “information war.” “There’s a lot of fake news about the real situation in Ukraine, so we find false information, send reports, and make sure that the world knows the truth,” she tells IQ. A series of benefit concerts also raised millions for the war relief effort. Sound of Peace, which took place on 20 March, in Berlin, raised more than €12 million, with around 20,000 people attending the concert at Brandenburg Gate and one million watching on TV at home.

Together with Ukraine, a live concert organ-

ised by Follow the Step at the Atlas Arena in Łódź, aired in 50 countries, raising nearly PLN8m (€1.7m), while a pair of events spearheaded by Dutch promoter Alda in Romania and Poland, together raised more than €1m for the Romanian Red Cross. In addition, Austria’s Barracuda Music raised at least €2m from We Stand with Ukraine, which was held at Ernst Happel Stadion in Vienna on 19 March.

Elsewhere, the likes of Imagine Dragons, Nothing But Thieves, Fatboy Slim, and Bastille performed during international TV marathon Save Ukraine, broadcast from the TVP studio in Poland on 27 March, with Polish and Ukrainian anchors working simultaneously.

And in the UK, Ed Sheeran, Camila Cabello, Nile Rodgers + Chic, Emeli Sandé, Snow Patrol , Becky Hill, Manic Street Preachers, Tom Odell, Gregory Porter, and The Kingdom Choir starred in the UK’s Concert for Ukraine fundraiser on 29 March, screened across ITV, STV, ITV Hub and STV Player.

ITV, STV and Livewire Pictures joined forces with the Disasters Emergency Committee (DEC) and media and entertainment group Global to stage the concert at NEC Group’s Resorts World Arena in Birmingham.

“The NEC Group stands with the people of Ukraine,” says Guy Dunstan, NEC Group’s MD of ticketing and arenas. “Whilst the live entertainment industry is shocked and deeply saddened to see the humanitarian crisis unfold, it has the power to make a difference. That’s, of course, through people’s love of music.”

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Analysis

MSG SPHERE LONDON ALMOST FULL CIRCLE

M

adison Square Garden’s controversial MSG Sphere London project has been given the go-ahead by planning officials despite objections from rival AEG. The London Legacy Development Corporation (LLDC) planning committee voted to back the application – which still requires

approval from the mayor – by a 6-4 majority at a meeting on 22 March), three years after plans were first submitted.

The 21,500-cap venue, which would be MSG’s first property outside of the US, is set to be located in Stratford, east London, four miles from AEG’s The O2 (20,000-cap) in North Greenwich.

The building will be covered in LED panels designed to display digital content, including moving images, artistic content, and branded advertising.

More than 850 objections were received to the proposal, with 355 written responses in support.

AEG previously voiced concerns over the proposed venue’s proximity to The O2 and reiterated its opposition in the run-up to last night’s meeting.

“It is imperative that it does not add to congestion or overcrowding in this area of the city or on the public transport network, especially the Jubilee Line, which is critical for the movement of guests to and from The O2,” said a spokesperson for the company. “We believe that MSG’s scheme is fundamentally the wrong proposal, in the wrong location, and is technically seriously flawed.”

EVERLONG LEGACY: TAYLOR HAWKINS REMEMBERED

F

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NILE ROGERS SET FOR ILMC © Ferdy Damman/EPA-EFE/Shutterstock

oo Fighters star Taylor Hawkins has been remembered by the international live music world following his death aged 50.

The Texan drummer died on Friday (25 March) at a hotel in Bogota, Colombia, where the band had been due to headline Festival Estéreo Picnic.

The band, which has cancelled all upcoming tour dates, released a statement speaking of their devastation. “His musical spirit and infectious laughter will live on with all of us forever,” they said.

Chris York, director of Foo Fighters’ long-time UK promoter SJM Concerts, was among the many touring execs to pay tribute.

“I share with my colleagues at SJM Concerts the deepest sadness at the tragic death of Taylor,” he tells IQ. “Over the last 25 years, we have helped share the Foo Fighters’ global success. Taylor’s extraordinary musicianship, tremendous character, and huge warmth was writ large. He was a force of nature.”

Live Nation mourned the loss of “one of rock music’s greatest drummers,” on Twitter. “Our hearts go out to his family, the band, and fans around the world as we all mourn this heart-breaking loss,” the tweet read.

Hawkins, who also performed and recorded with his Taylor Hawkins & the Coattail Riders side project, was a touring drummer for artists such as Alanis Morissette prior to joining The Foos in 1997.

Australia’s Frontier Touring writes: “Vale Taylor Hawkins. Our hearts are breaking for his family and friends,” while FKP Scorpio, whose relationship with the band dates back quarter of a century, says it is “shocked and saddened.”

“We are grateful for all the unforgettable concert moments he gave us: his drum solos and singing, his humour and his laughter,” it said on Facebook. “Thank you for the music, Taylor! Now you can play the beat in the big band of Freddie Mercury, John Bonham, and all the other genius musicians who have already gone ahead. The memory remains for us. Our thoughts are with Taylor’s family, his friends, companions, and of course the band and crew.”

G

rammy-winning musician Nile Rodgers will be the guest of honour for Ed Bicknell’s (Late) Breakfast Meeting at ILMC on Thursday 28 April.

The co-founder of Chic, Rodgers has written, produced and performed on albums that have sold in excess of 500 million units worldwide, working with artists including Diana Ross, David Bowie, INXS, Duran Duran, Madonna, Christina Aguilera, Mick Jagger, Lady Gaga, Daft Punk and many, many more.

He is an inductee of the Rock & Roll Hall of Fame and is the chairman of the Songwriters Hall of Fame. On the business side, Rodgers and manager Merck Mercuriadis established Hipgnosis Songs Fund in 2018, which to date has acquired 146 catalogues, amassing more than 65,000 songs,156 of which are Grammy winners.

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Analysis

F

FESTIVAL FEVER TAKES HOLD

KP Scorpio, All Things Live, and Goldenvoice are among the latest promoters to capitalise on unprecedented fan demand, adding new events to an extraordinarily busy festival summer.

In addition to its new Berlin festival, Tempelhof Sounds, FKP is bringing a trio of new festivals to Scandinavia during the second weekend in June.

Rosendal Garden Party (SE) will take place on Djurgården island in Stockholm, with head-

liners The Strokes, Florence + The Machine, The National, and Tyler, The Creator.

Loaded (NO) will see up to 7,000 people watch artists such as Wilco, Sharon Van Etten, and Susanne Sundfør at Vulkan Open Air in Nedre Foss, Oslo.

And Syd for Solen (DK), organised by FKP’s Danish subsidiary smash!bang!pow!, is slated to take place in Søndermarken Park, Copenhagen, with headliners Liam Gallagher, The National, and Jungle.

TICKET SALES SOAR PAST PRE-PANDEMIC LEVELS

C

onsumer confidence has bounced back better than expected according to top promoters and ticketing firms. DEAG, DICE, Event Genius, and The Ticket Factory have all said that current ticket sales are even higher than pre-pandemic levels.

Event Genius, which serves more than 50 countries worldwide, says its ticket sales are outstripping 2019 levels by more than 25%.

“It’s been an incredibly strong and heartening start to 2022,” says the company’s CEO, Benjamin Leaver. “Demand for events is arguably at an alltime high, and we see lots of potential for growth this year, which is immensely encouraging.

“We’re expecting 2022 and the next few years to become a landmark period for the events industries.”

According to an Event Genius customer survey conducted at the beginning of this year, fans

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are also digging a little deeper into their pockets for events.

“Such is the demand for events and experiences – both domestically and abroad – event-goers are now spending up to three times more on their domestic and international event trips than even pre-Covid levels,” Leaver says.

DICE, a UK-based mobile ticketing and discovery platform for live events and livestreams, has also seen a replenished demand for live events since the pandemic.

“With the venues and festivals we can draw comparisons from, we’ve seen fan demand for live events higher than it was before the pandemic,” Andrew Foggin, global head of music at DICE, tells IQ. “The industry was in great shape before the pandemic, and it’s encouraging to see that it’s picking up where it left off.”

Foggin has witnessed a particularly strong

Copenhagen will also benefit from a new intimate three-day festival from All Things Live. Common Ground will take place between 12–14 August at KPH Volume, an old tram depot in Denmark’s capital city, boasting 700 square metres of event space. The festival will be headlined by Metronomy, Parquet Courts and Altın Gün.

Elsewhere, AEG’s Goldenvoice is launching a brand new alt-country festival for Los Angeles.

Palomino Festival will debut on 9 July at Brookside at the Rose Bowl in Pasadena, featuring some of the biggest names in country, folk, bluegrass, and pop.

Other promoters expanding their stable of events include Goodlive with Superbloom (Munich), Festival Republic with Electric City (London), Kilimanjaro with Neck of the Woods (Norwich), and AEG and Team Love with Forwards in Bristol.

Meanwhile, Tomorrowland and Rock Werchter have joined forces to launch Core in Brussels, and Last Tour, the Spanish festival organiser and concert promoter behind Bilbao BBK Live, has announced Cala Mijas in Spain and Kalorama in Portugal.

demand for breakthrough artists such as PinkPantheress and Fred Again, each of which sold out multiple shows in minutes.

“We’re generally seeing tickets selling out faster, with fans joining our waiting list for soldout shows in higher numbers than we’ve ever seen,” he says.

Elsewhere, Berlin-based DEAG, whose core markets include Germany, the UK, Switzerland, Ireland, and Denmark, has reported a 50-80% increase in ticket sales compared to pre-pandemic.

DEAG CEO Peter Schwenkow says that family entertainment, concerts, and spoken-word events are selling best at the moment, although he also explains that the dramatic increase is partly attributable to the company’s acquisition of six promoters during the pandemic.

“We are very much convinced we will see a record year just by delivering the 5,000-plus shows we have on sale,” he recently told IQ.

“We’re generally seeing tickets selling out faster, with fans joining our waiting list for sold-out shows in higher numbers than we’ve ever seen” Andrew Foggin | DICE

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The Fan Report: Back to live 2022 Scan the QR Code to download our exclusive survey report and find out how music fans really feel about the return of live events.

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Analysis

PRODUCTION TITANS LINE UP FOR IPM 15

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hay Mac Mahon, Bonnie May, Okan Tombulca, Padraic Boran and Bryan Grant are among the production gurus slated for the 15th anniversary edition of the ILMC Production Meeting (IPM) later this month.

Taking place the day before ILMC kicks off, IPM also returns to an in-person format in 2022, promising its biggest and best programme yet.

This year’s event will feature a series of key production group and trade association partnerships, as well as a second programming tranche by the Event Safety & Security Summit (E3S).

“We are very excited to see our international delegates making time in their busy schedule to get back together in person,” says IPM & E3S

Including a full day of programming from Event Safety & Security Summit

producer Sytske Kamstra. “It’s an important day for everyone, filled with very relevant and urgent topics, and with a wealth of expertise on not just the panels but in the rooms. We can’t wait.”

IPM’s speaker line-up is led by Phay Mac Mahon, one of the go-to production managers in the international touring business and the recipient of IQ Magazine’s 2022 Gaffer Award. Since launching his career in the 70s, Phay has worked with household names including Bob Geldof and The Boomtown Rats, Def Leppard, The Pretenders, Adam Ant, Paul Young, Moody Blues, Whitesnake, Aerosmith and many more. He was also a sought-after lighting designer until the 1990s, working with the likes of Shakira, Westlife, Meat Loaf, Janet Jackson, Ricky Martin, and Nicki Minaj.

Also joining IPM is Bonnie May, CEO of Global Infusion Group, which delivers worldclass events and brand logistic support to lavish private events, royal weddings, governmental summits, international automotive roadshows, world expos, and major sporting events world-

Wiltshire Council is running a soft market test exercise, to

explore future options to remobilise the City Hall entertainment venue in Salisbury. This process will help inform how Wiltshire Council might progress future options for the venue.

The aim of the SMT is to: • Gather information to support the council’s decision-making process in any next steps and will only be used for research purposes.

• Approach the market to understand the level of interest to manage and operate City Hall as a multi-purpose entertainment/cultural venue.

• Begin to understand the market’s experience and ability to manage venues similar to City Hall.

Organisations are invited to complete the council’s questionnaire from 4 April 2022.

The deadline for returns is 9am on 16 May 2022.

Please note: Any information you provide will only be used for research purposes. This questionnaire does not constitute an Invitation to Tender process, and will not be judged against any criteria, nor will it inform any potential tender process in the future.

No award of any contact will be made as part of this process.

Please download the information packs and questionnaire form:

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wide, including the Olympics since 2012.

May will be speaking with veteran show director and stage manager Asthie Wendra about the industry’s response to the perfect storm created by Covid and Brexit in part one of this year’s IPM mega-panel. Meanwhile, part two will see Okan Tombulca, CEO of eps holding, joining Mac Mahon and others to consider the supply-chain issues created by Covid and Brexit.

With a number of Production Note sessions to augment the IPM agenda, MCD Productions’ Padraic Boran will be hosting The Power of Energy session, considering what power supply might look like in the future and how it will affect events.

And exploring the relationship between the live industry’s old guard and its young, up-and-coming professionals, Lina Ugrinovska, founder of Banana & Salt, will lead a discussion with NoNonsense Group director Liz Madden and Britannia Row Productions director Bryan Grant.

Full agenda information can be found on the ipm.live website.

NEW SIGNINGS & NEW MUSIC

VISIT THE WEBSITE TO HEAR OUR ‘NEW MUSIC’ AGENCY PLAYLIST

Each month, ’s partner agencies help us to compile a playlist of new music, much of it released by the new signings to their rosters. Among the tracks on April’s playlist are submissions from ATC Live, CAA, ICM Partners, ITB, Mother Artists, Paradigm, Primary Talent, Pure Represents, UTA and WME.

STAYMELLOW AGENT

Filippo Mei, ITB

YUMI ZOUMA

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A (UK)

AGENTS Beckie Sugden & Aimée Kearsley, ICM

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ailing from Liverpool, stayMellow is a fusion of nostalgic guitar-driven rock and 808-bass-heavy quick-fire rap (and everything in between). He is a whirlwind of genre-less, ever-evolving emotional sonic chaos. Achieving 75,000+ completely organic streams on his debut single Eye Contact; more than 42,000 streams on his single Angel; and over 20,000 on his most recent release, nowurgone, (in just over a month), stayMellow has well and truly hit the ground running, and 2022 is expected to be a truly special year for him as an artist.

Paying homage to his father’s mantra throughout the duration of a very tough life and the mentality it took to get him through that, stayMellow embodies the belief that life can be awful, but it can also be beautiful.

Agent Filippo Mei says stayMellow has been confirmed to play at Liverpool Sound City later this month and at Drown U Out Festival in Leeds later in the year.

lternative pop group Yumi Zouma began as a long-distance home-recording project between friends online. The release of EP I in 2014 and EP II the following year saw the band embraced by the blogosphere and handpicked to tour with Lorde before having even held a band practice together.

After an invite from Philippe Zdar to work at his Motorbass studio in Paris, debut album Yoncalla was released in 2016. Second album Willowbank was recorded at home in New Zealand and released in 2017.

Their third album, Truth or Consequences, came out in March 2020, on the day Covid-19 was declared a pandemic by the World Health Organization. After cancelling tour plans, in October 2020 the band set to work on producing their next record, Present Tense, which was released last month.

Yumi Zouma recently finished a European tour run, including a sold-out London Lafayette on 18 March. They return to Europe this summer for festival appearances at Rock Werchter (BE), Metropolis Festival (NL), and UK events Visions Festival and Leopallooza.

New Signings

ARTIST LISTINGS 49th & Main (IE) Cris Hearn & Cecilia Chan Aaron Smith (UK) Colin Keenan, ATC Live Adekunle Gold (NG) Darren James-Thomas, FMLY Agency Artemas (UK) Mike Malak, Paradigm BĘÃTFÓØT (IL) Ben Haslett, Earth Agency CHLOBOCOP (UK) Annabel Whittle, FMLY Agency Dave Okumu (UK) André Marmot, Earth Agency Delilah Holliday (UK) Annabel Whittle, FMLY Agency DJ Harrison (US) Darren James-Thomas, FMLY Agency En:vy (UK) James Smith, Earth Agency Erica Manzoli (UK) Alex Hardee, Paradigm Fave (NG) Darren James-Thomas, FMLY Agency Ferdous (NL) Daniel Turner, Earth Agency Frankie Stew & Harvey Gunn (UK) Jack Clark, UTA Games We Play (US) Matt Bates, Primary Talent Georgia Harmer (CA) Nikita Lavrinenko, PlayBook Artists Hamdi (UK) Lauren Kaye, Earth Agency Hannah Jadagu (US) Clemence Renaut, ATC Live Jack Kane (UK) Sarah Casey & Oliver Ward, UTA James BKS (FR) Darren James-Thomas, FMLY Agency Jet Vesper (UK) Giulia Spadaro, ITB JETTA (UK) Annabel Whittle, FMLY Agency Kezia Gill (UK) Olly Hodgson, Paradigm Kinkajous (UK) Alba Martin, Earth Agency Larry June (US) Ari Bernstein, ICM Laura Groves (UK) Annabel Whittle, FMLY Agency Lazare Hoche (FR) Peter Beer, FMLY Agency

LB aka LABAT (FR) Emile Martin, FMLY Agency Leith Ross (CA) Eleanor McGuinness, PlayBook Artists Lilith Ai (UK) Claire Courtney, Earth Agency Maria Chiara Argirò (IT) Sinan Ors, ATC Live Marlon Craft (US) Beckie Sugden, ICM Marzz (US) Ari Bernstein, ICM Mike Dimes (US) Kevin Jergenson, ICM Mndsgn (US) Darren James-Thomas, FMLY Agency muva of Earth (UK) Naomi Palmer, Earth Agency Nation of Language (US) Sarah Joy, ATC Live Neve (IE) Ryan Penty & Corinna Burrows, Paradigm Off! (US) Graham Clews & Stuart Kennedy, ATC Live OhEm (UK) Sally Dunstone, Primary Talent Philip Glass Ensemble (US) Darren James-Thomas, FMLY Agency Plastic Mermaids (UK) Paul McGivern, PlayBook Artists Quantic (UK) Cris Hearn & Clementine Bunel, Paradigm Roger Eno (UK) Cris Hearn, Paradigm SIDEPIECE (US) Paul McQueen, Primary Talent Simo Cell (FR) Emile Martin, FMLY Agency Skinner (IE) Claire Courtney, Earth Agency Squarepusher (UK) Cris Hearn, Paradigm Stars (CA) Paul McGivern, PlayBook Artists stayMellow (UK) Filippo Mei, ITB The John Martyn Project (UK) Angie Rance, Earth Agency Tycho Jones (UK) Ben Haslett, Earth Agency Vega Trails (UK) Alba Martin, Earth Agency WurlD (NG) Sam Gill, Earth Agency Yaya Bey (US) Darren James-Thomas, FMLY Agency Yeat (US) Obi Asika & Jack Clark, UTA Yumi Zouma (NZ) Beckie Sugden, ICM Zebra Katz (US) Emile Martin, FMLY Agency

HOTTEST NEW ACTS THIS MONTH 1 2 3 4 5 6 7 8 9 10 11 12 13 14 15

LAST MONTH 1 14 3 42 31 24 -

PREDICTIONS FOR MAY 2022

ARTIST LIL SHORDIE SCOTT (US) NIGO (JP) CAITY BASER (UK) CAT BURNS (UK) IAYZE (US) ISABEL LAROSA (US) JELEEL! (US) MORGANNE (US) JX.ZERO (US) KAYCYY (US) NEMZZZ (UK) LEITH ROSS (CA) HARRIETTE (US) LEAH KATE (US) MATT SCHUSTER (US) SLEAZYWORLD GO (US), LANA LUBANY (UK), VIBE CHEMISTRY (UK), JIM LEGXACY (US), BTEN56. (FR)

Artists not in the current top 15, but growing quickly

Fastest growing artists in terms of music consumption, aggregated across a number of online sources.

APRIL 2022

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Live During Wartime Russia’s invasion of Ukraine has shocked and horrified onlookers around the world. Here, Semyon Galperin, producer, art director and talent buyer for Russian live music venue Tele-Club Ekaterinburg, offers his perspective on the conflict.

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e are shocked by these terrible and horrifying events. Us Russians who are against war, we feel devastated – it’s a catastrophe, and we are still shocked by what Putin is doing. All our thoughts and prayers are with our Ukrainian friends.

Business-wise, obviously, everything is ruined. No meaningful international acts will come to Russia for years unless Putin goes. We will have to refund ticket buyers, and we are trying to get the advance fees back from the West. It is not that easy because of the sanctions, but it seems that it’s still possible and we will give refunds to fans. The absolute majority of music fans do not support the war, so it will be proper to support them, too, as their financial troubles are going to be enormous in the coming years.

However, the money we have spent on advertising campaigns, venue rentals, and other expenses won’t be recovered, and it will likely put a lot of live concert business companies in very bad financial shape – and it was already in poor shape after two years of the corona crisis.

The international part of the business will suffer terrible losses, which will probably make a lot of leading Russian companies either bankrupt or severely in debt.

Quite a few Russian acts are being cancelled by the government. They don’t officially cancel artists who support Ukraine, but they send lists to the promoters and venues saying these acts shouldn’t play, and there are quite a few of them. I don’t know how many, but let’s say it’s 50%, so we will lose all of the national business and half of the Russian acts – and it will be the better Russian acts because the “better” people have an anti-war stance.

The government was always cancelling bands, especially during the Crimea crisis in 2014, and then it slowed down. But since last October, they have been trying to cancel shows. The government was suggesting cancellations and sometimes promoters got scared and [complied]. One of the shows was by a Russian rap act called Noize MC, which was recently cancelled.

Noize MC criticised Putin in the past.

We weren’t sure what was going to happen with corona, but a lot of shows had been announced, and we were hopeful that this year was going to be a big year. There were still some restrictions in place, most of which magically got cancelled after the war started, so we can promote again but, of course, there will be no shows. Unfortunately, it is all ruined now.

In Russia, [at the moment] it doesn’t seem like that much has changed. [But as months pass] Russians will come to understand the effects of all these sanctions. I don’t think they understand them now – except for maybe the value of the ruble going down.

But that has already happened a few times in history, so it’s not that big news.

It is a grim picture overall, and it basically means the concert business is ruined. I have spent 15 years working on shows, but it all seems minor at the moment compared to the terrible things that are happening to our friends in Ukraine. I feel bad about losing all of these shows, but the main thing, by far, is that the war stops.

I never supported Putin. I was always against him. I was always expressing my opinion and being frank about what I think about Putin’s regime. But still, we feel shock, shame, and guilt, and I was amazed to hear some words of support from Ukraine and the whole world. People around the world understand that it’s Putin who started the war, and that there are many good and honest Russian people.

I just hope that Putin goes, and this whole thing ends. That Russia becomes a truly democratic country and we get back to the free world. I have no idea when it will happen, but I’m pretty sure all dictatorships fall someday. All wars end someday.

And I just hope that day is closer than I think. It may happen tomorrow, it may happen in 20 years, but someday it will happen.

Hopefully, Ukraine prevails, freedom prevails, and they can return to their normal, peaceful lives.

“I feel bad about losing all of these shows, but the main thing, by far, is that the war stops”

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Comment

Why the Ukrainian live music industry will thrive Alona Dmukhovska of Music Export Ukraine charts the growth of the music business in the country over the past couple of decades and vows that its citizens’ love for culture will see concerts return, and thrive, in the future.

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ne of the first concerts in Ukraine to feature an international artist happened in November 1998 when The Prodigy visited. They had just released the most mind-blowing release, The Fat of the Land, and were at the peak of their popularity. They were a cult band that paved the way for international acts in the Ukrainian live music market.

For their support act, they invited local band Green Grey, whom they had met at the MTV Video Music Awards some time before.

Tickets cost $10-40 [€9-36]. At that time, even the minimum price was a solid hit to the pocket.

In Russia, the ruble had faltered, and the Ukrainian economy collapsed next. Ten dollars could be a month’s salary for an engineer in a factory.

This concert was followed, in 1999, by Metallica. The concert was not ideal in terms of organisation, but it was definitely memorable for the fans, some of whom travelled days to see their idols.

During the Orange Revolution in 2004, Ukrainians were more concerned about their future and political development, rather than concerts. There is even a famous joke that circulates between Ukrainian promoters: “I’ve done one A-Ha concert and bought a new flat afterwards. I’ve done another A-Ha concert and sold that flat (due to debts).” That was the reality of the live market at that time.

2008 brought us the world economic crisis. Everybody remembers that nightmare and how hard it was to organise concerts in such situations. But Ukrainian promoters still brought Depeche Mode for the very first time with their Tour of the Universe.

Those years saw a wave of international stars in Ukraine: Linkin Park in Odessa; Elton John, Queen and Liam Gallagher in Kyiv; and Kaiser Chiefs and IAMX in Lviv. Some of those concerts were organised as part of 2012 UEFA European Football Championship activities at the time, while others also helped to put Ukraine on the tour map.

In 2014, the Revolution of Dignity radically proved Ukrainian’s pro-Western sentiments. But at the same time, it ruined the live industry. The majority of international acts cancelled their concerts citing security reasons or insurance difficulties. Jared Leto and 30 Seconds to Mars were among the bravest to still

play their concert in March, but in general, it was a huge decline for the whole sector.

But the situation also had positive consequences. Because of the lack of competition, Ukrainian domestic artists had a powerful incentive to grow their fanbase. Within a few months, emerging artists like Vivienne Mort, 5 Vymir and Fontaliza managed to grow from basement clubs of 100 people to play well-respected 1,000-capacity venues. Other artists received a boost thanks to radio quotas being introduced for Ukrainian-language music in 2016, helping some acts like The Hardkiss and Pianoбой reach arena level, while BEZ OBMEZHEN embarked on a tour of 100 concerts around Ukraine.

With the live music scene flourishing, those days also saw the launch of independent Ukrainian promoters such as Happy Music Group, H2D, and PMK Agency (which launched the Atlas Weekend Festival). Most of them tried to work with partners in Poland or Slovakia to package offers for talent, rather than team with Moscow promoters.

Then came 2020. I’m sure lots of people still have unused concert tickets from that time, right? Me too.

Ukrainians cannot live without music. That’s why vertical concerts were created – organised to respect pandemic restrictions, with Green Grey at the forefront of that movement. In 2021, while many European festivals were postponing, Atlas Weekend went ahead, mostly with local artists, and became one of the biggest live events on the continent, with more than 600,000 visitors over seven days.

Despite the current circumstances and total stop in cultural life in Ukraine, we will thrive. We know how to find a way in every situation and provide the best audience experiences.

It can be Rave in Chernobyl, Boiler Room Party in Slovyansk near the Ukrainian territories that have been occupied by Russia since 2014; concerts in the unique Science and Research Institute of High Voltage; DakhaBrakha’s concert in the Kherson desert; jazz concerts in the salt mines; and many others.

This is a nation of survivors. A nation of devoted enthusiasts. And with the help of the whole world, soon we will enjoy our favourite music on peaceful Ukrainian land.

Glory to Ukraine!

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Investing in Live Music’s Future Marie Lindqvist, SVP operations Europe at ASM Global, highlights the importance of supporting and bringing young people into the heart of the business, as part of ILMC’s Bursary Scheme partnership.

A

SM Global and the International Live Music Conference are partnering this year to dramatically expand ILMC’s Alia Dann Swift Bursary Scheme, which promotes and encourages the next generation of young executive talent.

The Bursary Scheme will see 30 young executives given a place at this year’s ILMC. Through the programme, the selected young executives will also have a dedicated industry mentor and additional networking opportunities taking place at ILMC, via the ASM Global family; a chance to share knowledge, ideas, and to build new contacts within the industry.

At ASM Global, we’re committed on a global scale to looking to the future and providing support to young executives and the next generation of talent as the industry recovers from the pandemic. Starting out in the live events industry can be daunting – and access to opportunity can be hard to come by, especially if young people aren’t given the tools to know where to look and who to talk to.

The ASM Global team will be at ILMC to meet with this year’s chosen young delegates, and we hope it’s going to be a valuable experience for everyone involved. In this fast-paced, digital age, it’s clear that while these young delegates will learn from us with our many years of experience in the industry, we can learn from them, too. They’re the next generation, after all, and their voices deserve to be heard. So it’s our hope that conversations at ILMC and beyond, with the selected delegates, will be a two-way street – insightful and useful for all of us, sparking debate, discussion and creativity.

Opportunities like this, which are face-to-face and truly in-person after two years of virtual conferences and meetings, are an exciting step in returning to normality and making the most from networking. As a young person in any industry, having the opportunity to meet in real life and have those conversations face to face is invaluable and automatically breaks down barriers, which I’m sure we have all come up against in online meetings. To have the chance to meet so many people under one roof, over the course of a number of days, is an exciting prospect. Faces will become familiar, conversations will develop and opportunities may even arise

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during the four days of ILMC. Networking is just as important as a new starter as it is when you’ve been working in the industry for many years, so it’s a valuable skill for these young executives to hone and a perfect opportunity to do so.

We’re going to have ASM Global executives on hand from all areas of the business to give these young delegates, selected via the Bursary Scheme, a varied and well-rounded view of everything we do – from sales and marketing to operations and venue management. That means there’ll be someone available to offer advice and answer any questions specific to their area of expertise. We’ll also remain available, should the delegates wish, after ILMC, to continue to build and develop relationships with these young people who are the next generation of business leaders. That could be a simple LinkedIn connection or a quick email to check-in every now and then.

The Alia Dann Swift Bursary Scheme, with ILMC, is an exciting partnership for ASM Global and goes hand-in-hand with our ongoing work to create real opportunity for the next generation of industry leaders.

Earlier this year, we hosted ASM Global Presents: The Next Great Opportunity – an ambitious three-day international collaborative job fair, across four continents. The goal was to create a unique global search to attract diverse talent and expand our reach within our local communities and express our confidence in the future of live events and hospitality. It was a new and unique way of embracing the online universe, giving as many people as possible the opportunity to discover who we are here at ASM Global, what we do, and the career opportunities available.

We’re also incredibly proud of ASM Global Acts, an extension of ASM Global’s longstanding commitments to creating a better workplace, a more diverse workforce, serving the communities where it operates, and contributing to a healthier environment and planet. These programmes are activated at both the corporate and local level, creating value at scale within communities.

From all at ASM Global, we’re looking forward to ILMC, and to meeting the Alia Dann Swift Bursary Scheme’s young executives.

Phil Bowdery 50 Years In Music

PHIL BOWDERY’S GOLDEN TERM

Having been involved in live music since the age of 15, Phil Bowdery marked 50 years in the business during the pandemic. Or he would have done, at least, if he wasn’t neck-deep in helping to save the UK industry. Gordon Masson learns about his remarkable career as we acknowledge his 50th anniversary.

Portraits by Alexis Dubus 36

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50 Years In Music Phil Bowdery

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Phil Bowdery 50 Years In Music

There is nothing like a dame: Phil with Shirley Bassey

E

ducation is a mantra in Phil Bowdery’s life. “I’ve said to my children many times, ‘Don’t do as I do, do as I say,’ because I was out of school by the age of 15, playing in a band,” he confesses. Still, as one of the doyens of the live music sector, his early departure from school hasn’t served him too badly.

Starting life on the road as the drummer for a band called Choc Ice, Bowdery’s early experiences saw him rubbing shoulders with some of the great and the good of the music business.

“Our guitarist was Gordon Gaynor, who I still catch up with now and again,” he says. “But our claim to fame was we had a little bit of a break and made a record with Pye, which was the label in those days.”

Gaynor tells IQ, “I met Phil through Ray Stiles, who was bassist for the band Mud. So Phil joined us on drums, gigging most weeks, and when we stayed out the night I’d share a room with Phil, which was a laugh. When we went to Germany for the first time, we lived on pizza for a month, playing three [one-] hour sets a night – great fun!”

Bowdery continues, “We became the backing band for Mac and Katie Kissoon. Katie is now one of Eric Clapton’s backing vocalists, but she and her brother had quite a big hit at the time, and we ended up on the road with The Supremes and also Stevie Wonder, which were both Arthur Howes tours.”

Gaynor comments, “We used to meet Stevie and his band at a hotel in Mayfair, and we all went on the tour bus togeth-

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er. I remember to this day, Phil and I sitting in Stevie’s dressing room as he played us tracks from his first synth album, Music of My Mind; it blew us both away. I have some really fond memories with Phil.”

Indeed, another claim to fame was Bowdery’s part in one of Wonder’s biggest hits. He recalls, “One day at soundcheck, he had this huge boombox that he was using to record stuff, and he asked me to play a rhythm while he recorded. So, in theory, I played on the original demo of You Are the Sunshine of My Life, which is pretty nice because I now promote Stevie Wonder in Europe.”

When the Wheels Came Off…

The heady heights of life as a support act were short-lived, however, and Bowdery put aside the drumsticks barely a year after hitting the road. “Things in the band were beginning to fall apart, and suddenly the van wasn’t working, and that was sort of the final straw,” he recalls.

“I was 16 at the time, but I still wanted to be involved in music, so I became the non-driving roadie for Mud, who were from my hometown. I got paid £12 a week. When I was old enough to drive, Mud started to have hits, and as the band got bigger and the crew got bigger, that enabled me to become their production manager, then the tour manager, and then I became part of the management team.

“With Mud we were doing clubs and things – there was a chain in Manchester that owned three venues where we’d

Congratulations Phil

50 years in the music industry Here’s to many more!

From all your friends at the

Phil Bowdery 50 Years In Music Phil with Jan Sayer, Leo Sayer, and composer and arranger John Mealing

open up the first club, we’d be middle of the bill on the second, and top of the bill on the third one. So you ended up doing three shows per night in three different venues, which made it worthwhile. When I think about it, we’d break our heads to play a show – I remember going from London to Sunderland [a distance of 275 miles (443km)] for a £40 gig.”

Sound Moves

Testimonials I’ve had the pleasure of knowing Phil for just about all of his years in the business (obviously he started when he was ten!)

He is a man of many talents: Tiger Feet dancer extraordinaire; a de-thorner of roses before presentation to Shirley Bassey at the Albert Hall… Yes – a man who cares.

It’s been great to see his achievements and successes over the years. To hold key positions as chair of the Concert Promoters Association and executive president of international touring for Live Nation. All of us at Marshall Arts have great respect for Phil.

During the pandemic and Brexit issues, he has been working closely with our colleague, Craig Stanley, who describes him as a “gentleman of the road” who was a major driving force to bring about LIVE. In spite of his position and titles, he remains the same down-toearth and practical man he’s always been – with a terrific sense of humour, too! Common sense is his watchword, and he always gives a straight answer. It’s always a pleasure to speak with him, and we all wish him a great celebration as he hits this milestone in his career.

Barrie, Jenny, Doris, Craig & all the Marshall Arts team

When Mud’s fame began to wane, Bowdery saw the potential to earn some extra cash for the act. “We purchased the sound system,” he explains. “I did the deal with Dave Martin, from Martin Audio, himself. And on the back of that, we started a rental company, which I was running as well.”

The shrewd piece of business opened unexpected doors. “The sound company did work with Renaissance, and when their manager, John Scher, decided not to fly in their regular guy from the States, I became their sound engineer,” explains Bowdery.

And his enthusiasm obviously impressed. “I quickly became the band’s tour manager and toured America with them.”

That introduction to America lit a fire. Following Renaissance, Bowdery found himself on back-to-back tours with Charles Aznavour across the States, and, thanks again to the sound rental operation, he also began his long association

“I’ve always made sure when I go to a club or theatre or wherever that the person on the door genuinely knows that they are as important to me as the guy in the office who is paying the band”

I had one of the most enjoyable experiences of my career in partnership with Phil, when we conceived, created, and delivered Ball & Boe to the world some years ago.

Phil always asked “What did we do right?” as we enjoyed the fruits of our labour. He was the perfect partner (loyal, respectful, and knowledgeable), manager, promoter, candlestick maker and all. And most of all, a ‘doer’ with a Rolodex for the ages!

He was, and still is, humble and professional. In this fickle and often ego-driven business, I can pay no greater tribute.

Congratulations, my friend.

Peter Rudge | artist manager Every story I have about Phil would need IQ to print “f#£k” a lot.

And believe me, there are many great stories. Huge fun and loved by the LN legal team – Phil, you’re the best! It’s a pleasure and a privilege to work with you. Congratulations.

Selina Emeny | Live Nation

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The King of Pop… and Michael Jackson

Congratulations to Phil Bowdery on 50 incredible years in the business.

A true legend.

50 Years In Music Phil Bowdery

Testimonials I have known Phil since his days at BCC. We have worked together many times. Wined, dined, and had a lot of laughs along the way.

It’s always been a pleasure, Phil. Many congratulations, and all the best. Don’t retire yet, love. We need you!

Ollie Kite | EST I am sure Phil will say that he learnt from the master, Barry Clayman, but what Phil has proved is that he is now the master. Not only is he a consummate promoter but also an entrepreneur who is prepared to involve himself in our overall industry as a leading member of LIVE, chair of The CPA, and a very vocal chairman at ILMC. Neil Warnock | UTA

Michael Ball and Alfie Boe backstage with their respective managers, Phil, and Craig Logan, at The O2 Arena in December 2021

with Leo Sayer.

“I came to Barry Clayman via the sound company, as we were working with some of the acts that MAM were promoting,” says Bowdery. “Barry and I just hit it off from day one – I still speak to him on a daily basis, often multiple times.

“When I decided that humping gear was no longer for me, I became Barry’s promoter’s rep for a Leo Sayer tour. I think the first tour was 1979. Leo and I got on like a house on fire, so it got to the point where he asked me to work for him fulltime, so I left the sound company and Mud and worked for Leo straight through to ‘85, when he came off the road.”

In the meantime, Barry Clayman made the decision to depart MAM having sold the business to Chrysalis. “I’d always recognised Phil’s potential, so a few years after the Chrysalis deal, I decided to start my own company – Barry Clayman Concerts [BCC] – and I asked Phil to come with me,” Clayman tells IQ. Bowdery recalls, “A year or so into BCC, we got Michael Jackson and did our first tour with him in ‘88. That really helped establish the company as a serious player.”

Indeed, Clayman reveals, “We did seven Wembley Stadiums with Michael Jackson – 560,000 tickets, and every single one was a paper ticket bought in person at a box office or a ticket outlet. Phil ran all of those shows. In fact, at one date when Jackson failed to appear, it was Phil who went on stage to calm the crowd and explain the date would be rescheduled.”

Bowdery says, “I introduced computers to BCC. Michael Jackson’s tour manager, John Draper, had the first Mac I’d ever seen – this bright-green machine, and it just changed everything. Instead of sitting with a piece of paper, a calculator, a pencil and a rubber, doing costings, we started putting them into sheets with formulas. I’ll never forget Barry asking what would happen if we put the ticket price up by 50 pence: he couldn’t believe that we could make all the calculations so

I love working with Phil. He is a great promoter who cares passionately about his artists, rarely misses any of his shows with us, and is relentlessly driven to ensure his shows do the best business possible. He taught me that you always put the artist first and we all benefit. He’s been hugely supportive of our venues and has brought us some of the top artists in the world.

And, really importantly, he is relationship-focused – he always takes time out to ask after the family and is great fun to be with socially, although his favourite champagne is a bit on the pricey side! Congratulations on 50 years in the business, Phil!

Guy Dunstan | NEC Group I thought I was really special because Phil always called me “love,” then I realised he calls everyone “love,” and I should really get over myself!

Phil is, himself, a love. He’s a kind and caring human being who has been a stalwart of the live touring business for half a century – it’s only when he starts recounting stories that you actually register the fact he’s been around for really quite a long time.

Congratulations, Phil Bowdery. Here’s to plenty more years ahead, and thanks for everything you do.

Emma Banks | CAA

quickly… I’ve still got all the old figures. I sometimes like to go back and have a look and just see how I did things.”

Leaving on a Jet Plane

Having Clayman as a mentor, Bowdery took on more and more responsibility, but his first fully promoted tour turned out to be a bittersweet memory. “The first tour that I promoted, completely sold it myself, was John Denver in 1997. Even though it was a Barry Clayman tour, the credit line was ‘Phil Bowdery for Barry Clayman Concerts,’ which I really appreciated,” he states.

Sadly, it would be the final time Denver would visit Europe.

“We played golf a couple of times, and he was talking about this new plane that he’d just bought as a kit and how he was looking forward to seeing it when he got back home. And that was the plane he died in, literally four or five weeks after we finished the tour.”

Immersing himself in the international side of BCC’s operations, Bowdery started to rub shoulders with many peers Magazine

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Celebrating the end of Jonas Brothers’ successful European tour in February 2020, at the AccorHotels Arena in Paris

Congratulations on 50 years in the business Phil Best wishes from Craig, Vikki, Rene, Meredith, Jake and all of the LME Family.

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50 Years In Music Phil Bowdery

Testimonials How time flies… Fifty years in the music business and he still looks as young as the day he started!

It has been my good fortune and also a privilege to have worked with Phil many times over the years, and I consider him to be one of my very best friends. His attention to detail and the love and dedication he brings to his work make it a pleasure to have him as a promoter. Congratulations on this milestone, and may you go on for many more.

Lars Brogaard | production manager Phil Bowdery: What a man! What a legend! I have worked with Phil for way too long to remember. We worked on everything from Bon Jovi to Tom Jones, and the guy has the greatest energy and passion for what he does. I’ve yet to meet anyone that has a bad word to say about him. Congratulations, Phil!

Chris Dalston | CAA What can you say about Phil? Apart from being great at his job, he is a lovely man – honest, fair, and a gentleman. Always a pleasure working with Phil and have enjoyed his company for many years.

What an incredible achievement. So many congrats, and here’s to many more!!!

Paul Franklin | CAA

who have since become colleagues at Live Nation.

“It allowed me to learn the European side by starting to use different promoters around Europe. So, through the likes of John Denver or Tom Jones – for whom I sort of acted as his agent from about 1987 – I got to know Leon Ramakers and Herman Scheuremans and Thomas Johansson. That’s how I crafted my European knowledge, by getting to know all those guys – and most of them are now part of the Live Nation family, so it definitely helped that we had pre-existing relationships from when we were all independent.”

Johansson, who these days is Live Nation’s chairman of international music, recalls, “We met for the first time in Holland: Phil was there with The Rubettes for a TV show, and I was there with ABBA for the same programme. Ever since we have worked together with almost every artist in the world!”

Further south in Europe, Rob Trommelen at Mojo Concerts acknowledges Bowdery’s no-bounds enthusiasm in helping the artists he works with. Explaining that he knows Bowdery from his days as tour manager with Mud, Trommelen tells IQ. “I always enjoy Phil’s stories about his adventures [in the Netherlands] during the trips they made to a variety of clubs and local discotheques – he knows the names of many villages in the middle of nowhere. One day, he even showed me a video in which he joined Mud’s backing dancers!”

Of course, Bob Sillerman’s corporate kleptomania changed the live music business forever, and in 1999 when SFX turned its attention to BCC, Bowdery found himself as one of the principals in the new expansive operation – a position he built upon as Sillerman cashed out to Clear Channel

Phil Bowdery 50 Years In Music Communications just four months after the BCC acquisition.

“When the company evolved, a position for a European touring chief became apparent,” says Clayman. “Phil was out of contract, but I suggested they speak to him and he became the new number one. I had great confidence in him because I always knew he had what it takes. He was a great learner and was always asking the right questions to expand his knowledge base – it’s me who asks him the questions these days.”

With Bowdery given the title of executive VP, touring, Europe, when Live Nation spun off from Clear Channel in 2005, his role further expanded when he was promoted to executive president of touring, international, working closely with local partners to set up offices in Australasia, Asia and China, as well as Live Nation’s international touring activities.

Clayman adds, “I take huge satisfaction [in seeing] how successful he has been. On top of being a great music man, he’s a good guy, and he’s great with his staff.”

Born Leader

Because there are a full 24 hours in a day, workaholic Bowdery’s role in recent years has extended outside of his Live Nation remit. For more than six years, he has been chairman of the UK’s Concert Promoters Association, while more recently he has been heavily involved in the creation of LIVE, the UK trade body that represented the live entertainment sector so well during the pandemic restrictions.

Explaining how he first became involved in trade associations, Bowdery says, “Barry Clayman was one of the founding members of the CPA, along with Harvey Goldsmith,

Testimonials Phil Bowdery is one of the nicest people in the music business, who possesses great instincts, tenacity, always insightful, and is quite charming.

Dennis Arfa | Artist Group International Phil, you have an amazing career and we need to play a round of golf this summer…

I will bring the Pétrus we stole from One Direction.

Rob Trommelen | Mojo Concerts Phil is the rock on which we build our European tours. He’s the best in the biz, and we’re so lucky to have him at the heart of the Coldplay family.

Dave Holmes | Dave Holmes Management What a fantastic milestone for Phil! He’s still obviously at the top of the worldwide live music business and a really great fella!

Simon Moran | SJM Concerts Fifty years! How did that happen? Time really does fly when you’re having fun, and I bet there’s been a lot of that!

Thank you for all your support over the years. Congratulations on 50 spectacular years!

Kay, Robbie & all at M&S Bank Arena, Liverpool

50 Years In Music Phil Bowdery I have worked with Phil since 1999, when we both sat in the Grosvenor Street offices as the first two employees of SFX/Clear Channel in the first European office. I then had an office next to Phil until 2007 and thoroughly enjoyed working with him both in and outside of Live Nation.

He is one of the industry’s true characters, and there are too many adventures to tell, from the Rolling Stones in San Diego to the MTV EMAs, and I am sure there are many more to come.

Congratulations, Phil. A half-century achievement!

Stuart Galbraith | Kilimanjaro Live The first time I ever went to the USA, in 1982, I went with Phil, and we have been pals ever since. He has a lifetime of experience at the highest level and remains one of the world’s most genuine, hardworking, and all-round good guys. He is honest and forthright, and apart from having some very specific quirks for his promoter office setups (which border on diva-like requirements), he is very down to earth.

I am proud to know him. Always happy to work with him. And look forward to doing so for another 50 years.

Paul Crockford | Crockford Management Phil is a true original, from drummer to roadie to tour manager to one of the country’s best promoters, he has always managed to be one of the nicest people that you could wish to meet in this business. Congratulations, Phil. Keep rocking.

Keith Harris | Keith Harris Music

Phil, what did you do right?

“We all owe him a debt of gratitude for the time and effort that he spends for the good of the business, never looking for any glory for himself” Emma Banks | CAA

Paul Crockford, Danny Betesh, Stuart Littlewood and Carole Smith, who just celebrated her 30th year as CPA secretary. If Barry could not make a meeting, I’d go in his place.

“Back then, it was all about a PRS fight: they wanted to increase promoter rates from 2% to 6%, but thanks to the CPA, we managed to contain it at 3%.”

Indeed, the CPA recently emerged from another negotiation with PRS that saw rates rise to 4.2% of gross sales. “It’s tough, especially in the current environment,” admits Bowdery, who nevertheless piloted the CPA’s campaign to stymie PRS attempts to increase the tariff to 8%. “With VAT going back to 20% from April, along with the PRS’s 4.2%, we’ll have 25% coming off the gross before we even start,” he warns. “That’s why we’re challenged, in the UK, to try to match offers that promoters make, particularly in America where there’s no tax in some instances. But it could be worse if it wasn’t for the fact that the CPA has given us a voice.”

Tres Thomas, senior vice president of operations and the global director of touring for Live Nation, commends Bowdery for his leadership skills, both within the company and at the CPA. “Like myself, Phil is pretty much the road guy who has done everything,” says Thomas. “When I first met him, I was working with the likes of Ozzy Osbourne, Ronnie James Dio, and Deep Purple, and Phil was the guy who started with production and settled the show afterwards – we’d argue over nickels and dimes and catering bills and all those things, but he was always a gentleman and always respectful.

“Phil taught me that the promoter/artists/agents table could be round – it didn’t need to be squared off, with battle lines drawn.”

Thomas adds, “Phil has done a wonderful job of mentoring the next generation – Sophia Burn, Ellen Proudlove, Gary McIsaac...

He realises that the business will not be ours in ten years, so he’s making sure the next generation is prepared to take over.”

Covid

I wish I’d done the same!

Congratulations, my friend!

Peter

The importance of trade associations and support organisations has, of course, been underlined during the past couple of years, as the global pandemic shuttered touring activity around the world, leaving hundreds of thousands of workers without gainful employment.

Revealing how his normal day-to-day routine simply stopped, Bowdery tells IQ, “I had Clannad playing the London Palladium on the 17 March [2020], on their final tour. At the meet-and-greet in Birmingham, three days before, they all had gloves on. That was the first sign I’d seen of any response to the virus. But then I got a call from UTA telling me that someone who was at the gig got Covid. It was all so new to us that we started scrambling to put in safeguards.

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Testimonials

Artistic Notes

Phil is a true gent. He has legend status without a doubt and has been a great partner for many years. Congratulations on your 50year anniversary. I wish you continued success in the next chapter.

Tony Goldring | WME

We have known Phil for a very long time – four decades now – and have worked with him in one way or another for as many years. The trust we have in his knowledge, experience, and judgement is just not available anywhere else because his understanding of the business comes from the early days, built from the ground up. He knows every inch of every part of this game, and we rely on him to deliver us successful tours across the globe – which he always has done and continues to do.

He’s also a huge, fun character, forged from his many years of knowing and working with a wide network of individuals, from crews to venue owners to policy makers. It’s been wonderful and a privilege to watch him grow over these many years, and we heartily congratulate him on getting the recognition he deserves in IQ. Sir Tom Jones & management

Congratulations to Phil on 50 years in the music industry from everyone at Wembley Stadium. Phil has played an instrumental role in programming a huge number of gigs at the stadium and providing us with a platform to shout about hosting the biggest artists in the world. Phil was the key promoter in enabling us to deliver a record concert season of 14 shows in 2019, and without his support and foresight we simply couldn’t have delivered such a high number of shows in just five weekends.

Phil’s enthusiasm to continually deliver the biggest stadium shows is infectious, and we look forward to hosting further stadium shows in the future with Phil and his team.

Congratulations again on such a huge achievement of 50 years!

James Taylor | Wembley Stadium Phil has always been a great source of inspiration and support to me, since I started working alongside him at Clear Channel and now Live Nation. His experience and knowledge of arenas and stadiums is second to none. I have sat painstakingly for hours going through certain issues and challenges at the top level, yet when I speak to Phil, he has the answers and solution in seconds!

He also has an encyclopaedia-style knowledge of touring war stories, which date back decades and are always fascinating to listen to. His passion and drive for the business is exemplary – long may that continue for many years to come!

Andy Copping | Live Nation Phil and I have worked together for many years with Anastacia and now with Ball & Boe, who we partner on together. We work hard, have a lot of fun, eat cheese and pickle sandwiches often on the long drives home after a show, with a nice glass of red.

Phil, it’s a pleasure to work with you. Congratulations on this huge milestone in this crazy business, and here’s to many more cheese sandwiches!

Craig Logan | LME Worldwide I love Phil dearly – I’m looking forward to his 100th anniversary in the business. If it’s 50 years of Phil working in the business, I have to say I’ve enjoyed every single minute.

Barry Clayman | Live Nation Phil Bowdery is one of my all-time favourites. He’s been promoting shows at the Royal Albert Hall for most of his career and is well loved by all staff at the Hall because he gives the time of day to everyone.

He’s brought many artists through our doors from Lady Gaga and Tony Bennett through to Shirley Bassey and Phil Collins. I’ve known him for over 20 years, and I’m proud to have worked with him and to call him my friend. Long may that continue.

Lucy Noble | Royal Albert Hall Anyone that calls me “love” is all right by me.

John Giddings | Solo Agency

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I’ve enjoyed working with Phil for many years and never wanted to do a show without him. He is always happy, respectful, and with him you’re in safe hands. Over the years we became great friends, and to this day, he’s the only person to call me “Boss,” which makes me laugh!

Dame Shirley Bassey

“Then, when I was at a meeting at Heathrow on March 16, I got a phone call, and I was told ‘The office is closing. And by the way, the Palladium is closed. That’s it. No show tomorrow.’

And from that moment, my study at home became my office.”

While the industry initially started rescheduling gigs by a matter of weeks, it became apparent to Bowdery that Covid could be around for much longer, and he realised, along with a number of peers, that live music was dangerously under-represented in terms of government lobbying.

“The theatre business got pretty loud pretty quickly. But nobody was talking for us: there was a lot of people jumping up and down, but nothing was happening for us, so there was an urgent desire to at least try to be heard and put our situation front and centre as much as we could.”

Bowdery, alongside Kilimanjaro Live’s Stuart Galbraith and ILMC’s Greg Parmley, set about creating the LIVE trade association and putting together a strategy to lobby government ministers about the plight of the hundreds of thousands of professionals that depend on live entertainment for their income.

“I think we achieved an awful lot,” says Bowdery, underplaying the complexity of the task. “I really believe the reduction in VAT was down to us. I believe that the government’s creation of the relief fund was down to us. And there was an awful lot achieved by doing the test events – Melvin Benn’s test events at first, then everybody else elsewhere doing test events to prove that our industry is adaptable, and if people wanted to go to events, then we were more than capable of finding a way of getting them there safely.”

Phil Bowdery 50 Years In Music Understandably proud of those achievements, Bowdery says, “The CPA still means an awful lot to me, but LIVE is something that is even better – it gives us that umbrella organisation we’ve always been missing. In saying that, it’s important that we have all the different organisations feeding into LIVE because that will help to keep the balance: particularly with the Production Services Association, which is the production side; with Mark Davyd and the Music Venue Trust; and also the concert halls and the National Arenas Association because that gives you representation from the grassroots to the biggest venues, again keeping the balance with everyone.”

Bowdery’s efforts have not gone unrecognised.

“The work he has done with the LIVE group over the last two years has been stellar – a steadying hand during a very rough voyage,” notes Emma Banks, co-head of CAA’s London-based operations. “We all owe him a debt of gratitude for the time and effort that he spends for the good of the business, never looking for any glory for himself.”

DF Concerts chief Geoff Ellis says, “Phil is one of the best promoters in the world, and there are very few who command the same respect that he has internationally, so it’s been a pleasure to serve on the CPA board with him.

“His work through the pandemic with the CPA and LIVE has helped immeasurably. When I was meeting with all the political parties in Scotland to talk about the insurance problem, Phil took the time to meet with the cabinet secretary responsible for culture to make sure the Scottish government understood the problems of our industry.”

Bowdery himself tips his hat toward the unprecedented

Artistic Notes For well over 30 years, Phil has been a constant and integral part of my career and life. As a tour manager, manager, confidant, champion, sounding board, creative influence, best friend, and brother.

He is calm, intelligent, and uncompromising.

Scrupulously honest and utterly committed to do the best for those who work with him. Of course, he can be tough and intimidating when required, but his humour and compassion and ability to get things done are legendary. He has not only survived but flourished in the constantly changing and fiercely demanding live entertainment industry, with a reputation second to none.

He’s also terrific company to be around. A cracking drummer, a peerless dancer (check out Mud performing Tiger Feet on Top Of The Pops), and overflowing with some of the best anecdotes in show business. He’s seen it all, and nothing seems to faze him.

I could go on and on, but suffice to say, I bloody love the man and join everyone in congratulating Phil on reaching this incredible milestone, in the sure and certain knowledge that there are many more adventures to come. Keep the engine running, Phil.

Michael Ball

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Testimonials From production chief to head of touring, it’s been a long road, but you are always a straight shooter. Congratulations on 50 years, and best wishes for many more.

Pino Sagliocco | Live Nation I have worked closely with Phil throughout the years. He is central to Coldplay’s team as the band’s European promoter. His wisdom and positivity make him an absolute pleasure to work with, and I look forward to many more years working with Phil.

Congrats on 50 years working in music!

Josh Javor | X-ray Touring My congratulations to Phil. On tour, one gets to recognise the colours of a man – and Phil’s shine brightly. Above all, a true professional, someone with integrity and trust. A friend.

Jonathan Morrish | MorrishComms Hello, love!

Nigel Hassler | CAA I have had the pleasure of working with Phil for some of his 50 years in the industry, and I would describe him as “mensch,” in the true sense of the word. Always available, always with an opinion, and always with a story or three! He is a great partner and is a real inspiration for all in our business.

Mike Greek | CAA Having worked in the live events industry for 45 years this year (all of them at Arena Group), and knowing and working with Phil for a large part of that time, I have no hesitation in saying he is not just one of the best clients I have worked alongside but more importantly [one of] the nicest people! I could go on forever, but I just can’t believe we’ve done 95 years in our industry between us.

Dave Withey | Arena Group I love Phil. After working with him for over 15 years, you can’t not like and respect the man – he’s been there, done it, got the T-shirt, and still has the energy and drive of a man half his age. Please retire and give everyone else a chance!

Steve Homer | AEG Presents In this cruel and shallow money trench that we call the live music business, where thieves and pimps run free, there is only a handful who both survive and thrive… and then there is Phil: a pioneer, a gentleman, and a scholar. Honest, fair, and reasonable. The very best of the best! A legend like no other.

John Langford | AEG Europe Phil Bowdery is so many things – a booming voice, a man and personality of huge stature, and a master of rhyming slang. He’s also one of those enigmas in the business who can be at the forefront of the cut and thrust of doing deals, but at the same time call everyone “love” (and mean it). Congratulations, Uncle Phil, on an incredible career, and thank you for the support and guidance over the years – even though you fired me twice!

Roger Field | Live Nation APAC

CONGRATULATIONS CONGRATULATIONS F R O M E V E R YO N E AT A S M G LO B A L

INTERNATIONAL P O W E R

P L A Y E R S

50 YEARS

Phil Bowdery 50 Years In Music

Testimonials I have known Phil for most of his life in the live music business.

When I met him, he was a promoter rep, and we spent quite a lot of time together when I was in the UK. Most of it was in the pub. But as Phil’s life in the music business grew and expanded, so did his taste for fine food and wines. We spend more time together now that his job includes the European markets as well as the UK. Phil still takes time out, no matter how busy he is, to have a nice meal and some wine with me whenever I’m in town.

It gives me great pride to see that Phil is being celebrated for 50 years in the entertainment business. And I am honoured, grateful, and proud to call Phil my friend. Phil, may you have as many more years in the business as you wish.

Cheers, LOVE. Mikie Weiss | production manager Great promoter and friend, but even better at judging Parmesan cheese.

Roberto De Luca | Live Nation From the first time I met Phil, as a young Aussie backpacker with no clue about the music business, he was always a source of great support and guidance. Always there to listen and tell me the real story of how this crazy business worked.

A true gentleman and class act. One of the absolute greats.

Mark Yovich | Ticketmaster Walking around the underbelly of a stadium with Phil is for me one of the real gifts of working in the business. Seeing his passion and energy for putting on a show – how he interacts with absolutely everyone across all the intricate elements that make that happen – is really inspiring and something I look forward to every summer.

Congrats on the first 50 years, Mr. Bowdery. Looking forward to all the years still to come.

Andrew Parsons | Ticketmaster

collaboration between industry rivals throughout the pandemic, noting that their willingness to work together for the greater good bodes well as the business recovers.

“When something like a pandemic happens it just makes you realise how much the strength of coming together makes a difference,” he says. “Information is power, and sharing information with each other has worked really well.”

Universal Love

Many of the people that IQ spoke to for this article note Bowdery’s extraordinary communication skills, pointing out his ability to solve problems with ease, as well as the unique relationship he maintains with artists.

Bowdery believes those attributes were picked up through his desire to be in the live music business. “I left school at 15 with no qualifications – I was not academic,” he says. “But I was streetwise, and my education was being on the road: that taught me life. I had to think on my feet, and when you do that you are communicating.”

Hinting at where he honed his legendary negotiation proficiency, Bowdery recalls a game he’d play with musicians in hotels where the goal was to taste all the whisky behind the bar without paying for a drop. “That was all down to communication and building a relationship with the barman. There was no harm done, but it was all about the ‘gift of the gab’.”

He adds, “I’ve always made sure when I go to a club or theatre or wherever that the person who works on the door genuinely knows that they are as important to me as the guy in the office who is paying the band. Let’s face it, if the door isn’t open, nobody gets in. So I try to ingratiate myself with people and I’m

“He’s very humble and unassuming and gets the job done in a world where a lot of managers or agents take an aggressive position” Tres Thomas | Live Nation

Bumping into everyone’s favourite farmer, Michael Eavis, in Nashville’s Ryman Auditorium at the 25th annual Pollstar Awards

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Phil with Tom Jones and some of the team who work on the artist’s tours

50 Years In Music Phil Bowdery

Phil presents friend and client Michael Ball to Her Majesty The Queen at St James’s Palace

Phil Bowdery 50 Years In Music

Testimonials Collectively, we have been working with Phil for almost 41 years… we could’ve got less for mass murder! However, all jokes aside, it’s testament to Phil’s qualities as a manager.

He’s no longer (quite) as scary as he used to be, but he knows what he wants, and he knows how to get things done. He’s well respected, not only by us, but by all his peers and colleagues, and we think 50 years in the business only goes to prove that.

Congratulations, Phil – and please don’t retire anytime soon otherwise we’ll all be out of a job!

Team Bowdery (Sarah, Andrew & Sophia) | Live Nation Phil Bowdery: a man who still gets away (just about) with calling everyone “love” in 2022; terrible to travel with: I constantly arrive at the aircraft door and turn right but am now used to watching him get escorted as he turns left; seems to know every head of security in the world and certainly knows all the catering staff, whether or not it’s his gig.

But if you want to feel real envy, walk past his office door in the week before Christmas to see the hampers and cases of wine that arrive for him. Watching that truck get loaded outside the building as I head home with a box of chocolates and a couple of cards is a good one. Having said that, he runs a great tour – you know he will sell every seat there is and a few more. He’s a truly great promoter.

John Reid | Live Nation

Phil promoted 15 sold-out UK shows for Genesis on their final outing – The Last Domino? tour

not above communicating with everyone. Everyone is equal.”

Being the long-term manager for Michael Ball, and the agent and tour director for Tom Jones, his approach to dealing with artists is equally simple. “You need to have empathy,” he says. “Without artists, we don’t have jobs. We facilitate them to play to an audience: there is no industry without them.”

Changing Landscape

Examining some of the technological breakthroughs he has witnessed during his distinguished career, Bowdery underlines the power of the Internet as a game changer. “It’s changed completely the whole marketing aspect of what we do,” he observes.

“There was a time when it was only the younger artists that benefitted, but now it’s everyone.

“It really hit home with One Direction. Then agent Paul Fitzgerald and managers Richard [Griffiths] and Harry [Magee] tasked us to do the tour without using any print. And we

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Congratulations on your 50 years, Phil. Judging by the set up that’s installed in your venue office on show days, you may be the only promoter with his own rider… and why not – you deserve it!

You’ve been vital to the business our venues have done over the years, and long may that continue. From your days working with Barry Clayman and now with Live Nation, you’ve delivered hundreds of shows to our venues, always with an unfailing ability to know just what’s going to work best.

Most recently, you’ve also shown an admirable commitment to the live industry as a whole in your CPA role, as we’ve navigated the new challenges that a global pandemic has brought. Your guidance and advice has been invaluable. For everything you do, ASM Global respects and salutes you!

John Drury | OVO Arena Wembley I’ve worked for Phil for almost 20 years. Upon arrival for my job interview, I was very nervous, as anyone would be, on leaving even more so. He was a little scary back then!

Having only been in the role a few months, I made an assumption that Tom Jones being Welsh but living in LA, FEU didn’t apply to his fee… Well, that was a big mistake to make, and we all know Phil’s views on assumptions – yes, I got the royal dressing down of never to assume, and needless to say, I’ve never made that mistake again.

His leadership and vision have been a big part of my growth and development at Live Nation. He is a true pioneer in the live music industry. Congratulations on 50yrs in the business. Lots of love.

Kemi Sulu | Live Nation Phil is one of the true gentlemen of our business. Always works in the right way, nothing is ever a problem, and always a pleasure to work with.

Nigel Hassler | CAA

ions Congratularint g such ndu to Phil for e ccessful u a long and s ! sic career in Mu eam The Tysers T

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Phil Bowdery 50 Years In Music

Artistic Notes

Phil with some of his Live Nation team: Seray Hussein, Sophia Burn and Sarah Donovan

How do you feel, Phil? I know you must feel really, really good – we feel good, I feel good – because we are celebrating you and congratulating you for all that you have been able to achieve and accomplish. I just want to thank you for allowing me, through you, to be able to reach the people, to spread some love and spread some music.

I remember when I was working on Sunshine of My Life, and you were kinda playing the drums a little bit, and we were practising and getting it down. Well, those things and those moments on those tours, and all of the things that we have done, I’ve never forgotten.

I look forward again to coming back on the road, performing, to celebrate with you these times and inspiring people, to be a part of making this world a better world.

Talk with you soon. Peace. God bless you.

Stevie Wonder

“I take huge satisfaction [in seeing] how successful he has been. On top of being a great music man, he’s a good guy and he’s great with his staff” Barry Clayman

sold out the entire European stadium tour on social media.”

Reluctant to identify particular gigs as career highlights, Bowdery nevertheless namechecks certain acts. “Tom Jones, who I love, of course,” he states, while he admits he would have loved to have worked with The Beatles and Elvis Presley, especially as he has heard so many legendary anecdotes from Tom Jones about his Vegas days with Elvis.

He also lauds Live Nation chief Michael Rapino for his role in changing the live music business. “I was very fortunate to spend a lot of time with him when he worked in the London office,” Bowdery says. “That’s stood me in good character since because if I need to speak to him – and it’s not something I do that much – he’s always ready to talk. But I think so much of the global growth for the live music business is down to Michael Rapino. His vision is incredible, and he knows what works.”

The Future

With 85-year-old mentor, Barry Clayman, still going strong as a promoter, Bowdery, likewise, isn’t entertaining any ideas of stepping away. Indeed, if everything pans out as planned in 2022, he’s looking at one of his busiest years ever.

“Obviously, the huge success of Coldplay throughout Europe is just enormous, and Harry Styles has two sold-out Wembley stadiums plus Manchester plus Glasgow,” he notes.

“We’re actually getting into holding stadium dates for

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2024,” he reveals. “It’s obvious that the need and desire of everyone to get back to business – and for fans to catch up on two years without live shows – is alive and well.

“I have Genesis, Crowded House, Sting and Westlife going out as the last artists I’ve had to reschedule. Wembley Stadium with Westlife, for example, should have been in 2020 and is now going to happen in ‘22 – we’ve nearly caught up.”

However, as with many in the industry, Bowdery remains concerned over the pandemic’s impact on the live music supply chain. “Talking to major staging contractors, trucking companies, production services, is worrying,” he reports. “It’s all very well me booking a tour, but if the sound isn’t available or if the stage can’t get there, then the artist won’t be able to perform.”

But he’s hopeful that the satisfaction he derives from organising gigs is also felt by others along the length of the supply chain. “There are so many people in our industry that have changed vocation, not out of desire but out of necessity, so we are going to suffer shortages, and that’s why everyone’s working so hard at the moment to try to make sure that they are aligned with their suppliers. But it’s not easy.

“The biggest thrill for me is actually seeing that show that I had the idea for; and then put the deal together, got it on sale, built it; and then standing there watching it. It’s still a rush, and I think lots of people who are involved in working on live music experience the same feelings, so I’m confident that we’ll get some of the people back from the likes of Amazon or whoever they switched their skills toward during the pandemic.”

He adds, “I’ve been very fortunate to work with some of the best acts in the world, from Streisand to Coldplay to Bruce Springsteen to BTS to Tom Jones. But it’s not one particular artist that I associate that feeling of joy – it’s every single show, be it at a club or a stadium, Dave Gahan at Shepherd’s Bush Empire or BTS or Springsteen at Wembley Stadium – the same effort has gone in, in theory, to actually put that together. Getting that satisfaction is what I love.”

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Feature Top Ten Tech

As usual, the International Live Music Conference will provide a platform for the hottest new tech products and services during the New Technology: Future Frontiers quick-fire presentations panel, as well as separate opportunities to showcase new developments at both the ILMC Production Meeting (IPM) and the Green Events and Innovations conference (GEI).

TEN TOP TECH TIPS FOR 2022

As a preview to those must-see sessions, we’re giving you a taster of some of the latest tech that you can expect to see demonstrated during our 26-29 April gathering. Further details on these products and services can be obtained by visiting the relevant websites or by meeting the presenters during ILMC itself…

VatomTM Vatom operates and develops the Vatom platform. Vatom natively incorporates the key pillars of Web3 – an identity-based wallet, developer-first immersive web spaces, and a studio for creating smart NFTs and campaigns, and an NFT marketplace.

The Vatom platform is a purpose-built metaverse suite for connecting brands, fans, artists, and all points in between. Vatom is powering festivals, venues, livestreams, ticketing and radio with a feature-complete toolkit, bringing Web3 and the benefits of the metaverse to the masses.

The Vatom platform is built to scale and can host thousands of attendees simultaneously in the same space, all with video avatars and a fully spatial audio experience.

At the heart of the platform is the world’s first NFT-based crosschain wallet. The Vatom wallet seamlessly connects fans to all their NFT and Metaverse experiences with a one-click set up.

Easy to access for fans, and easy-to-build experiences and campaigns - Vatom is a #NoCode solution so there are no plug-ins and no technical know-how required. Just your browser and a simple webbased URL lets you add web3 to events in real life and online.

Vatom.com

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Dynamic Crowd Management Technology has arrived for event organisers battling with heavy regulation and unaffordable security manpower costs. Until now, security rosters have been set by estimating the maximum staffing required at each point on a worst-case scenario basis. Most of the time these levels are never effectively used or needed. The problem has been providing hard evidence that these levels of staffing are not needed from a customer safety or experience perspective.

Dynamic Crowd Management (DCM) software measures crowd density, flow speed and mood of crowds, and provides advance warning of congestion or aggression, so the mobile deployment of resources can be guided to where they are needed and when.

Using any CCTV vision, DCM software can send crowd data to managers in a control room that is accurate, unbiased, and consistent. The data from multiple sources can be assessed by a single experienced operator, and better decisions can be made due to the better measurement of crowd moods. This allows a scientific assignment of mobile resources: case studies have shown a 30% reduction is possible with better efficiency. dynamiccrowdmeasurement.com.au

Top Ten Tech Feature

GET Protocol

Hearby

GET Protocol is the world's leading NFT ticketing provider, offering frictionless infrastructure for global and local players in the events industry since 2016.

With a focus on bringing the best of cutting-edge technology to mainstream audiences, the company has developed a suite of tools that allow operations of any size to capitalise on the latest benefits brought about by blockchain, NFTs, and other bespoke innovations.

Using GET Protocol's ticket flow, every fan receives their NFT ticket at the moment of check-in, allowing for a heap of new ways for event organisers and attendees to connect beyond the limited timeframe of an event cycle. In short, tried-and-tested innovation, without any of the headaches. get-protocol.io

Hearby provides fun new pathways to find live music shows going on locally. With 3x more shows to choose from – from arenas to small venues in cities across the UK and North America – the company identifies more to explore.

The company claims to cover the 60% of venues that others don’t: the grassroots, the local legends, the intimate musical adventures that happen every night in neighbourhoods. By making shows by grassroots artists as visible as rock stars, Hearby makes it easier for people to find the right vibe for themselves and their friends.

The company’s mission is to make an impact – to get a few more people to a lot more shows. hearby.com

future demand

gigseekr

Having created a system that can change the way in which audiences are understood, future demand’s machine-learning algorithms process millions of data points about events and customer purchases to understand why a person attends a certain show or concert. This enables it to predict demand for an event up to two years in advance with an accuracy of 95%, helping promoters to plan touring schedules far ahead and minimise their risk substantially.

With its exceptional understanding of audiences, future demand also creates a next-generation targeting approach for promoters with its taste clusters – groups of people who share the same interests, behaviours, and motivations. Creating online marketing campaigns was never easier because promoters only have to choose a goal and create a message based on future demand’s topic recommendations – target groups, budget, and channels are all defined automatically. This saves up to 90% in time and increases the ROI by up to 200%, according to the developers. future-demand.com

A live music discovery service that provides its users with instant access to live music listings, gigseekr allows fans to stay up to date with tours, concerts, and the artists of their choice.

For urban festivals, gigseekr offers a unique ‘takeover’ experience, entirely free of charge, that provides a simple and innovative way for a festival to take control and rebrand the gigseekr mobile app.

Having first launched at Liverpool Sound City 2021, the takeover mode gave users real-time information about each of the performances. This has led to gigseekr being shortlisted as a finalist for Music Week’s Live Music Innovation of the Year Award 2022.

The takeover app can be customised, allowing features to be added or removed depending on each festival’s requirements. Some of these features include: festival schedule, venue-capacity warnings, on stage now/next, a ‘clash’ planner, set-time notifications, and colour schemes. gigseekr.com

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Feature Top Ten Tech

CUE Audio

Lapee

CUE Audio was founded with the goal of providing an offline, network-free communications protocol using high-frequency ultrasonic audio as an alternative to Wi-Fi, cell service, and Bluetooth for short-range communications. CUE's technology has been widely adopted across the NFL, NHL, NBA, and over 70 [top] universities in the US, as a way to coordinate tens of thousands of smartphones in-venue to create synchronised fan engagement experiences that otherwise would not be possible with Wi-Fi, Bluetooth, or Cellular infrastructure.

CUE's acoustic modem has also been widely utilised as an IoT protocol and mechanism for detecting proximity. CUE's technology engages over 500,000 users each month and operates in 100s of major arenas and stadiums worldwide. cueaudio.com

Lapee was founded to improve gender equality by giving women the right to pee in a secure and clean environment without waiting in line.

Lapee is a simple and sustainable choice in the sanitation industry.

It is a very durable product with a long lifetime. It is made of recyclable materials and uses no water. The Lapee female urinal units are also stackable in order to save carbon emissions from transportation.

Lapee allows users a touch-free experience and comes equipped with an integrated hand-sanitiser. Due to its open structure, Lapee is auto-ventilated and extremely easy to clean, which makes it an ideal choice for public spaces and outdoor events.

Lapee ensures a cleaner, safer, more efficient option for women and individuals who sit to urinate. With Lapee, there are no more endless lines for the toilets. lapee.dk

Hawkr

Greener Power

Marketed as a merch stand in your pocket, the Hawkr app is a revolutionary new way to sell merchandise at live gigs. It was conceived by former touring artists and festival promoters who felt the merchandise landscape is outdated both for fans and artists. They set out to create a platform that enhances the live music experience for fans.

For artists, Hawkr is packed full of features with no up-front costs, no leftover stock, and no risk. It gives acts the freedom to create virtual merch stands with as many designs as they like, or create exclusive merch drops for one-off shows.

Hawkr is also built with the environment in mind. As it prints-toorder based on live sales data, this mitigates both under- and over-ordering. Hawkr also uses 90% less water and nontoxic vegan inks, making it much more eco-friendly than traditional methods. And with no more boxes being moved around in tour vans, it has a lower carbon footprint. hawkr.app

Greener Power Solutions delivers temporary power in a sustainable way by using large mobile batteries housed in custom-made containers. Since the company was founded in 2018, Greener has saved clients from using more than 1.2 million litres of diesel, not only through its clean battery facilities but also thanks to the company’s smart power planning analysis.

With a stock of more than 60 mobile battery containers, the company already has established customers at events across the Netherlands, Belgium, the UK, and Switzerland, while 2022 promises further expansion into new markets.

Greener says it can provide battery power anywhere, providing electricity for anything from a single cabin, right up to the mainstage. Its technology helps events achieve their CO2 footprint ambitions and can be a powerful tool in persuading local authorities to grant licences by preventing local air pollution and eliminating noise. And while green technology is sometimes criticised for being costly, Greener says its batteries save money when compared to the use of diesel generators alone. greener.nl

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Photography © Frank-Embacher

HANS ZIMMER LIVE It might not be as dramatic as some of the movies that Hans Zimmer has provided the scores for, but the story of his latest tour is truly one of victory over adversity for all involved. Gordon Masson reports.

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hen Hans Zimmer Live made its debut in Hamburg on 11 March, the wave of emotion across an audience who had been starved of live entertainment for the best part of two years was palpable. And those scenes were reflected among everyone involved in the spectacular production.

“The tour was originally scheduled for Spring 2020, so when we had our first show in Hamburg, somebody from our social media team found out that we had announced that show 858 days ago,” reports Christoph Scholz from Semmel Concerts, which is co-producing the tour with RCI Global.

“There were definitely people in that audience who had sat on their tickets for more than two years, so the sense of relief and enjoyment was immense.”

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With an office in Hamburg, Semmel Concerts promoted that opening night. “It was very emotional,” says Scholz. “There was enormous tension on stage and backstage. But the audience, the crew, and the artists were simply very happy to be together again, and the atmosphere was special.”

A World Apart

At press time, Vladimir Putin’s war on Ukraine was still raging, and thoughts of that senseless conflict are never far from the Hans Zimmer Live touring party, some of whom were forced to flee their country following the Russian invasion.

“Our originally scheduled orchestra is the Odessa Opera Orchestra from Ukraine,” reveals Scholz. “Within the first 72 hours of the conflict, ten musicians and their families were able to make it out to safety. But that was only about half of the orchestra and the others were unable to leave Ukraine. As a result, we’ve renamed it

Odessa Opera Orchestra & Friends because we cast musicians from elsewhere in Europe.

“On the opening night, Hans introduced the band first after his first song, and there were standing ovations. It was a very touching moment. But we’ve had lots of standing ovations, since. The support has been just phenomenal.”

Getting the tour out of the starting blocks has been a monumental task, especially with so many false starts to contend with. “At Semmel, we were already hosting arena shows for domestic acts in Germany last year – between the end of August to mid-November we had 430,000 people attend our shows,” reports Scholz. “So, when we met Hans Zimmer for a production meeting in early September last year, we were confident we were all set to kick-start the tour and go full steam ahead.”

But in November, everything ground to a halt. “Suddenly, Germany restricted events again; the Netherlands never really reopened;

Feature_Hans Zimmer Belgium shut down… we were following the IQ newsletter every day, monitoring everywhere that was closing the doors,” says Scholz.

Point of No Return

With Zimmer being one of Hollywood’s most in-demand creators, his diary is continually jamfull. But along with Semmel and RCI Global, he was determined to make the tour happen as early in 2022 as possible. “We gambled a little bit,” admits Scholz. “In early January, when all of Europe was really closed, we had a large production meeting with Hans, and everybody agreed that we should just pencil in the dates and go for it.”

Initially, the tour was set for a mid-February debut, but with many governments still reluctant to allow venues to reopen, those dates were delayed and simply moved to the latter part of the routing.

Still, being one of the first tours out on the road means the supply chain issues that event organisers around the world are having sleepless nights about, were not such a problem for those involved in Hans Zimmer Live.

But it doesn’t mean they were non-existent.

Sebastian “Deichkind” Bülowius of backline suppliers Captured Live is providing all the backline gear, as well as four backline techs on the road. He tells IQ, “We lost a lot of freelancers [during the pandemic] because they had to move on and find other jobs. I would say about 10-15% have decided to stay in the [new] job rather than returning. That means we’re expecting 85-90% of people to return as freelancers, which is positive, but a 10-15% loss of staff is still significant.”

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Highlighting the spiralling cost of even the simplest materials, Bülowius says, “We had to get a couple of cases built for equipment. But ordering wood is getting more and more expensive, so that makes it really challenging.”

Prices are also high on the agenda for Oliver Rosenwald, who as senior project manager at Semmel booked the entire European tour for Hans Zimmer Live and is currently in charge of operations on the road.

“We’re facing big problems to get our crews together, and it seems many riggers have just gone missing,” Rosenwald reports. “With Genesis and some other productions out on the road at the same time as us – even though there are not many tours out there at the moment – trucks and buses are already getting rare, so it could be very tough when more productions hit the road.”

On that transport side, Leo Steffen of Germany-based Trucking Service says they are overjoyed at getting back to touring. “The drivers are extremely happy, even if there is still a bit of uncertainty about the next few months as far as Covid restrictions are concerned,” he says. “But they are glad to be travelling, not only with their Trucking

Service colleagues and familiar crews again, but also to be out around the continent meeting new faces and facing new challenges that have developed over the long touring break.”

Those sentiments are shared by Hannes Hauser of personnel transport providers Beat The Street. “Everybody that came back to take over their buses again has been very excited, as they were sick of just sitting at home or of the alternative jobs some of them did. I only hear very good feedback from the drivers to finally be on the road again, doing what they like the most.”

However, if ever a reminder of the pandemic is needed, even as the first shows were entertaining sold-out arenas in Hamburg, Stuttgart, Dublin and London, in Italy restrictions were still limiting audiences to 60% capacity, while many other territories remain on a knife-edge and could be subject to restrictions being reimposed at any time, should Covid infection rates spike.

The spectre of Brexit also looms large. Border control issues have generated more paperwork, but one disappointing aspect experienced by the touring party was the number of Ukrainian musicians prevented from travelling to the UK.

“It’s important that we get to go across the world with these people because it will remind you of all the times that art and artists are there to bring peace to this world” Hans Zimmer

With “Hans Zimmer Live,” Semmel Concerts and RCI Global proudly presented Europe’s first large-scale arena tour since the start of the pandemic.

Thank you to 130 band and crew members including Hans Zimmer, to our partners and promoters for making history happen!

RCI GLOBAL

Feature_Hans Zimmer

“With Hans, people are very loyal so we managed to keep everyone – suppliers, venues, promoters – who were originally working on the 2020 tour” Christoph Scholz | Semmel Concerts

“It was a very big challenge to get the Odessa orchestra and their families over the border to safety, and we’ve rented houses and apartments for the families of our Ukraine musicians,” says Rosenwald. “Everywhere in Europe has been great, as they did not require any visas or work permits for our Ukrainian citizens. But that wasn’t the case with the UK, and we had to leave six or seven of our musicians at a hotel in Germany because they could not get their visas in time.”

Another supplier working hand in hand with the producers has been Satis & Fy – a longstanding partner for Semmel, according to project manager Lui Helmig. He explains that for the current tour, “All technical trades are controlled 360° from our house: lighting, sound, rigging and stage and scenic construction come directly from us for the Hans Zimmer tour, and for video technology we work with Video Bär.”

Helmig adds, “We put the crew together with the production management of Semmel Entertainment… when 15 [trucks] left our location in Werne for the start of the tour, it was a very emotional moment for all of us after two years of pandemic, because it’s finally really starting again.”

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As Good as it Gets

With the tour effectively mothballed for two years, one of the producers’ biggest achievements was keeping the original production team and suppliers on board.

“With Hans, people are very loyal so we managed to keep everyone – suppliers, venues, promoters – who were originally working on the 2020 tour,” says Scholz. “Certainly there were changes within the crews, but every company stayed on board, even though we’ve all been extremely nervous. To be honest, we couldn’t fully guarantee that the tour would happen, but we’ve been welcomed with open arms because we’re the first large-scale arena show that many of venues have had for a long time.”

As the first post-Covid production to visit a number of arenas, the task of devising the tour’s hygiene concept fell to Rosenwald, who quickly realised that placing the tour party into a ‘bubble’ was not the solution.

“The bubble is an illusion,” he states. “You cannot prevent people going for breakfasts in hotels, or going to bars and restaurants, so all you can do is take as many precautions as possible.”

Thankfully, Rosenwald was able to prove his

hygiene concept with Semmel during a ten-city tour of France in autumn last year. “Basically, you cannot be part of the tour unless you are threetimes vaccinated,” he explains. “FFP2 masks are worn by everyone in the tour party, and we’re also testing everyone regularly for the virus.

“Meanwhile, we’ve asked local promoters to test their own staff and wear masks when they deal with the touring party, and we have a hygiene manager on the road with us who makes sure that local crew are also tested.”

Despite the odd case, here and there, the plan has worked well. “It’s nerve racking,” says Scholz.

“It was a lot of work for Oliver, but everybody was very flexible. It’s clear to everybody – each venue owner, each artist, each crew member, each supplier – that we work in uncertain times and that we all need to live with the unknown now. Covid can strike at any time – in the first week of production rehearsals in Berlin, for instance, we had three or four cases including two of our crew chiefs who were locked for almost ten days in their hotel rooms. But, just as Her Majesty the Queen did recently, they were able to do ‘light work’ while we conducted rehearsals and all that.

“It’s good that things are calming down because a couple of months ago one Covid case would lead to mass panic in production output – Broadway and West End shows would shut down, or film shoots would be postponed. But that seems to be changing.”

It’s Complicated

While the current tour has had numerous challenges to overcome, what many in the business may not realise is that the scale of the production is enormous compared to previous Hans Zimmer outings.

“We did The World of Hans Zimmer tour, which was a smaller production with five or six trucks compared to this tour, which has a total of 13 trucks,” reveals Trucking Service’s Steffen. “Logistically, Hans Zimmer Live is more of a challenge in almost every way. Not only is there more equipment and personnel on the road, but the tour in general is a lot longer and covers more countries. This was also the first time we’ve been in the UK, post-Brexit, with a production this

In Brief

Feature_Hans Zimmer size, which made careful planning and customs preparation even more important than usual.”

One newbie to the world of Hans Zimmer is lighting designer John Featherstone, who nevertheless has been a friend of the composer since before the pandemic. “We have a lot of friends in common, but I first met Hans when he was doing a bespoke private show,” he explains. “He is always looking for new and exciting ways to deliver his music and vision to the audience, so it was inspiring to work with him on the concept for this tour.”

While other film-score-based shows simply match images from the movies to the music, that was not going to work with Hans Zimmer Live, which with a stage full of virtuoso musicians was always going to be more of a live concert than a scripted set.

“The way Hans composes and the way in which the musicians interpret their roles means it was never going to be as iterative as other shows,” continues Featherstone. “You have to lean into the movies, for sure, but it was interesting to hear the way Hans approaches projects in collaboration with the film’s director, and then devise the lighting design in a similar way.”

The result is amazing. With about 20 virtuoso musicians on stage, there are astounding solo performances constantly throughout the show, while the impressive video screens above the stage and

projections behind the 20-something-piece orchestra complement Zimmer’s compositions, which touch on blockbusters such as Gladiator, Pirates of the Caribbean, Dune, The Last Samurai, The Lion King, The Dark Knight and others.

“Dark Knight is bombastic and tortured, whereas Last Samurai is far softer and melancholic, and Lion King is obviously completely different. But the lighting and images allow the musicians to do their own thing without having to stick to a script or in time with certain scenes on a video,” adds Featherstone, who also had to design a system that could be tailored to work everywhere from the low, 12-metre height confines of Stuttgart, through to the soaring expanses of The O2 Arena.

A League of their Own

The show itself is extraordinary. Like a latter-day Prince, Zimmer surrounds himself with the crème de la crème of musicians and artists, while the tour is Zimmer’s first to involve dancers and even an aerial artist to wow the audience.

Zimmer and his business partner, Steven Kofsky were originally persuaded to take his music to the fans by legendary impresario Harvey Goldsmith, who promoted their first shows in October 2014 at Hammersmith Apollo in the UK. Now, while Semmel and RCI have taken over as producers, Goldsmith remains involved

Congratulations and thanks to Hans Zimmer, Semmel Concerts & everyone involved for two incredible nights in Amsterdam

co-promoting the shows with Kilimanjaro Live at The O2 Arena and the AO Arena Manchester.

“Unfortunately, because of Covid, we had to postpone not once but twice, so the fact that most people still had their tickets was a minor miracle,” states Goldsmith. “But they are a unique audience: very wide ranging but people who love the movies. The audience in London just went nuts.

“It is a big show, but then all of his shows are big, as he likes the spectacle of it,” he adds.

“When you look at the quality of the musicians, that’s what makes it very unique – every one of them playing on that show is a star.”

Co-promoter Stuart Galbraith from Kilimanjaro Live says, “The Hans Zimmer Live shows in the UK were some of the strongest we have seen come through the pandemic. The fans were absolutely dedicated – 95% of them hung on to their tickets through the postponements and the tour, unlike many others, continued to sell strongly. But is it any wonder when Hans continues seems to release an award-winning soundtrack every month?!”

In Ireland, MCD’s Noel McHale who promoted the show at Dublin’s 3Arena, agrees. “It’s great to see crowds coming through the doors, all excited and buzzing to be going out to gigs again,” he says. “The Hans Zimmer Live show sold out two years ago and 99% held on to their

Feature_Hans Zimmer

tickets – people were really looking forward to this one.” And the fans were not disappointed. “The show is genuinely spectacular – there were standing ovations: it was a sonic and visual feast,” says McHale.

But he isn’t surprised. “I go back a long way with Oliver and Christoph from Semmel Concerts, and I’ve promoted Hans Zimmer with them many times. They know how to put a great production team together and always find ways to improve on previous productions. Hans always finds the best musicians for his shows – stunning virtuoso players, every one of them.”

Another contributor keen to applaud the producers is Bülowius at Captured Live. “They’ve done a really good job: everything they did in advance to make sure that all these shows were going to happen the way they are – that was a lot of work.

We’re showing everybody that it is possible, again, to just do it: to tour all over Europe,” he says.

That’s music to the ears of Rosenwald. “Hans Zimmer Live is a much bigger show and it’s been more challenging for everyone,” he notes. “People have fallen out of their routines because they haven’t done the stuff they were doing in the last few years, at least not in the in the way they’d done it before.” However, he notes that morale is high. “The entire feedback that I’ve had from the

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production side has been really good,” he tells IQ. And that’s one of the reasons people are so happy to buy into Rosenwald’s hygiene concept.

“As local promoters, we have a duty of care to Hans, his band, orchestra and crew to look after them when they come visit and keep them safe and healthy so they can continue to tour,” says McHale. “With over 250 people in the backstage area, everyone bought into our safety plans – everyone from the local crew to riggers to caterers and all production and venue staff wore masks all day, kept a safe distance, and continually used the sanitisers.”

A Monster in Paris

At IQ’s press time, the tour had loaded out of its three triumphant back-to-back shows at the Accor Arena in Paris and was on its way back to Germany for a date in Munich.

Rosenwald comments, “I’m very proud that we managed to sell-out two nights at The O2 Arena in London, at the Hallenstadion Zürich, and at the Ziggo Dome in the Netherlands, but I’m even happier that we’ve sold out three nights at the Accor Hotels Arena in Paris!”

Friendly Fire promoter Rense van Kessel sold out the Ziggo Dome dates. He tells IQ, “We got so used to rescheduling things in the past two

years that we all have become kind of experts on it. But we have been working so closely with the venue, ticketing company, our own staff, etc, on so many [events], that we worked out a very good functioning script [to communicate with ticket holders] which makes it all very smooth.”

Unfortunately, a positive Covid test ruled van Kessel out from seeing the show himself. However, he reports that everyone involved with the Amsterdam dates was buzzing with excitement.

“It is a great show of power from the Zimmer and Semmel teams that they managed to pull off a tour of this magnitude, production, number of people on the road, etc, in such challenging times,” he says. “Many would have pulled the plug, but they did everything they could to stay positive and do everything to get it on the road.

And they succeeded. That is very impressive.”

By the end of the tour, the production will have played 30 dates to more than 300,000 fans across 15 nations, giving Hans Zimmer the undoubted title of biggest international tour since the pandemic closed venues more than two years ago.

Plans for the next part of Zimmer’s live career are still unconfirmed, but Los Angeles-based CAA agent Chris Dalston has been tasked with securing future dates. “The idea is to get the US tour, East Coast, on sale after the European tour finishes in June,” Dalston tells IQ, explaining that major cities like Miami, Tampa, Atlanta, Chicago, Washington DC, Montreal, Toronto, Atlantic City, Boston and New York are in the reckoning.

He reveals that further legs of the tour are being considered for Australia and Asia “at the end of ‘22 or early ‘23,” while a West Coast jaunt for North America could also be scheduled around that.

Beyond then, promoters, producers and fans alike are already waiting in anticipation of what one of the greatest composers of our time will do next. “Hans has changed the entire genre of film music,” says Scholz. “It’s not the typical orchestra sitting in front of a screen and playing music to a film and the classic conductor. It’s a rock band, presenting the biggest film scores on Earth in a rock-pop show.”

The last word, however, goes to the maestro himself.

“I try to write music in the studio that can live without the film, because I owe it to the director,” says Zimmer. Talking of the current tour, he states, “I don’t show a single frame of film because I am arrogant enough to believe that the music can stand on its own two feet.”

And noting that he shares the stage with musicians who are political refugees from South Africa and Venezuela, as well as the Ukrainian orchestral members, Zimmer concludes, “This orchestra is precious. It’s important that we get to go across the world with these people because it will remind you of all the times that art and artists are there to bring peace to this world.”

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Proactiv Entertainment sets its eyes on the international market after wrapping up a memorable 2021 full of accomplishments and records

I

n the entertainment world, making it through the first year is a hard accomplishment: three decades is an even bigger feat. Succeeding through the last years and overcoming a pandemic that endangered the entertainment industry was a complete utopia. Proactiv Entertainment has accomplished this against all odds and with flying colors.

This year, the live shows, exhibitions, and music concerts promoter founded by Horacio Renna in Barcelona in 1987 will reach the 35-year milestone. This will be the culmination of a dream that started back in the day in a small office, and that has now materialised as Spain’s leader of the entertainment industry.

“It was my vision that if I were to start my own professional venture, I had to accomplish a series of objectives, and without a doubt one of the most important was to make our audiences feel.” With this premise, Horacio Renna founded Proactiv Entertainment in 1987 and that same principle remains the company’s motto and driving force today – ‘Generating Emotions’.

Despite the difficulties, these emotions have been growing exponentially. Last year, for example, Proactiv Entertainment sold more than 700,000 tickets across several events. This gargantuan effort included the simultaneous delivery of three Christmas Gardens in Barcelona, Valencia and Malaga, and the exhibitions Meet Vincent Van Gogh and Barça The Exhibition in Madrid and Dubai respectively.

In past decades, licences of international prestige such as Disney On Ice, which will return to Spain in 2023, celebrating 30 years with Proactiv Entertainment; Harlem Globetrotters; Monster Jam; WWE, or Walking with Dinosaurs helped solidify the company as the leading events promoter in Spain. The way 2022 and 2023 are shaping up, it doesn’t seem that these emotions will stop growing any time soon. Now, the company faces a bright horizon full of new

challenges under the helm of Nicolas Renna, Managing Director.

“It is very clear to me that this new phase will be founded on the pillars of top-tier licences from renowned IPs, globally recognised music artists and the creation of new concepts,” says Nicolas, who since stepping up as managing director opened the Middle East regional office in the UAE in a clear statement of intentions at an international scale, and completed several agreements with entities like FC Barcelona and the Van Gogh Museum in Amsterdam. Moreover, on 5th of April, the company proudly broke the attendance record for the WiZink Center in Madrid with Maluma’s 360º music concert.

These are some of the steppingstones that are constantly leading the company to a new dimension at a global scale and ensure that we’ll be seeing Proactiv Entertainment’s logo attached to some of the world’s most exciting projects in the years to come.

Profile_The Gulf States

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Garrix, and David Guetta played and a reported 180,000 attended the opening night, represents the new face of live music in the Gulf.

That same month, the kingdom also hosted the Formula One Grand Prix, with music from Justin Bieber, Jason Derulo, and A$AP Rocky.

Chris Brown, Black Eyed Peas, James Blunt, Wyclef Jean and Craig David are also recent visitors, courtesy of MDLBEAST’s MDLBEAST Presents arm, which has rapidly built a reputation as the market’s leading provider of musical talent.

“I don’t play for politicians, I play for people,” Guetta told a Soundstorm press conference, side-stepping the criticisms of the regime that remains the main stumbling block to the international performing community’s guilt-free acceptance of the Saudi riyal.

That stumbling block is seemingly getting smaller these days, partly due to the billions at the disposal of a Saudi regime that is investing in entertainment, not only to conjure tourism, but to keep its free-spending domestic audience from travelling abroad in search of fun.

“I would assume that the kingdom is the biggest buying market in the world right now,” says veteran Middle East promoter Thomas Ovesen,

As one of the first regions to re-emerge on the live touring circuit, the Gulf States is undoubtedly the number-one growth spot on the planet right now – thanks in no small part to the Kingdom of Saudi Arabia’s interest in live events. Adam Woods reports.

E

xactly two years ago, at the very moment IQ was producing its last market report on the live market of the Gulf, not to mention gathering the live music community in London for ILMC, the pandemic closed in, and the world shuddered to a halt. We all know what happened next: lockdowns, calendars in the bin, plenty of pain and an ever-extending timescale for the return of concerts.

Every market suffered, and the Gulf was no exception. In the final analysis, the UAE was only fully locked down for around four months and Saudi Arabia for a little over a year, but the hit was a hard one and some restrictions linger on.

Nonetheless, due to a unique set of circumstances, this may also be one regional market that has emerged from the whole mess looking sharper and shinier than when it went in.

In 2022, the Gulf boasts new live venues, new touring connections and, in Saudi Arabia, a booming new territory that has shifted the centre of the region and – albeit not without controversy – greatly boosted the appeal of the region to international acts.

The second edition of MDLBEAST’s Soundstorm festival in Riyadh, a four-day “rave in the desert” last December, where Tiësto, Martin

MAP KEY BAHRAIN

● Al Dana Amphitheater

QATAR

Doha ● Alive Entertainment ● Aspire Logistics ● Liveworks ● Aspire Dome ● Jazz at Lincoln Center ● Qatar International Exhibition

UAE

Abu Dhabi ● Flash Entertainment ● Vibe Events ● du Arena ● du Forum ● Etihad Arena ● Etihad Park Stadium ● Zayed Sports City Dubai ● Broadway Entertainment Group ● Chillout Productions ● Dubai Opera ● EarthBeat Events ● GME Events

● Promoter ● Agent/Promoter ● Venue ● Festival ● Live Nation Middle East ● Sport & Entertainment Solutions ● The Artist Network ● T.O.P. Entertainment ● Al Wasl Plaza ● Caesars Palace Rotunda ● Coca-Cola Arena ● Dubai Media Centre Amphitheatre ● Dubai Opera House ● Dubai World Trade Centre ● Madinat Jumeirah ● Media City Outdoor Amphitheatre ● The Palladium Dubai ● The Rotunda ● Desert Groove ● Emirates Airline Dubai Jazz Festival ● Fiesta De Los Muertos ● What’s On Party in the Park Sharjah ● Sharjah Media Centre

OMAN

Muscat ● Alive Entertainment ● Royal Opera House

SAUDI ARABIA

Jeddah ● King Abdullah Economic City ● MDLBEAST Riyadh ● Diriyah Gate Development Authority ● General Entertainment Authority ● MDLBEAST ● Rotana ● T.O.P. Entertainment ● Diriyah Arena ● Granada Center ● King Fahd Cultural Centre ● King Fahd Stadium ● Victory Arena ● Soundstorm

KUWAIT

● The Al-Abdullah Al-Jaber Al-Sabah International Tennis Complex ● JACC ● Kuwait Arena ● Live Nation

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Profile_The Gulf States The Coca-Cola Arena has been a valuable addition to Dubai’s dramatic skyline

outgoing entertainment director at the Diriyah Gate Development Authority in Saudi. “For me, what is happening with live entertainment in Saudi Arabia is what people used to say was going to happen in China. And while it hasn’t materialised there, we are seeing it here now: Western artists coming in for premium fees and a potential touring market in the region. It’s phenomenal.”

For all its wealth, its tourism, and its appetite for growth, the Gulf as a live music region has never been in a position like this before.

Efforts to develop Abu Dhabi and Dubai as destination markets have yielded wily, pragmatic local industries and plenty of impressive events – including the recent delayed Expo 2020, which brought Coldplay to Dubai’s Al Wasl Plaza in February, among many other highlights. But the emirates’ modest expat-dominated populations and geographical isolation have impeded their efforts to elevate their status on the broader touring map.

The addition of Saudi Arabia to the mix – the 35m-population kingdom having opened its doors in recent years as part of Crown Prince Mohammed bin Salman’s Vision 2030 plan to diversify the country’s economy and develop its public sector – effectively changes everything.

In addition to the artist fees, a particular ap-

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peal of the Saudi market, thinks Ovesen is the presence of a true local crowd.

“People live an expat life in Dubai – they’re probably a bit privileged, sometimes it can be hard to get a reaction out of them,” he says. “But in Saudi, you see the same crowd behaviour you see anywhere else in the world. They are loving it. And they are embracing the opportunity to attend live entertainment. We used to say that the only place in the region where you could get that experience was when we took the show to Beirut or Cairo. But that’s exactly the situation in Saudi.”

The other markets in the region may not be quite as pent-up, but they are certainly ready for the shift. Nine months before the pandemic, Dubai took delivery of its first indoor arena in the Coca-Cola Arena, while Abu Dhabi put the finishing touches to its own Etihad Arena during the lull. Kuwait and Bahrain likewise have impressive new facilities, and talk has inevitably turned to the development of a genuine touring circuit, involving the Gulf States and all manner of roughly proximate markets, from South Africa and India to Turkey and Egypt.

At the time of writing, the Gulf region is preparing for a milestone in this regard: a bona fide three-date tour by an A-list international act, as

“In Saudi, you see the same crowd behaviour you see anywhere else in the world. They are loving it” Thomas Ovesen | Diriyah Gate Development Authority

Live Nation’s Maroon 5 shape up for the Pyramids in Egypt, the Etihad Arena in Abu Dhabi, and Park HaYarkon in Tel Aviv, Israel.

“This is the first time an A-list Western act has been able to do a regional tour, and it sets a great precedent for the future,” says James Craven, president Live Nation Middle East. “Ticket sales have really exceeded even our most bullish forecast, which again really underlines the enduring demand for shows.”

A necessary piece of this particular puzzle has been the recent thawing of relations between the Gulf Cooperation Council (GCC)

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Profile_The Gulf States countries and Israel, which in turn has made it possible for tours to fly directly between the two markets for the first time.

“Having regionally routed runs ensures that bands are able to play for even more fans, rather than playing a one-off show that takes them out of the market for years,” says Craven. “Previously artists would simply fly in for one show in the UAE. But we are now seeing the potential for as many as ten or more dates on a regional Middle East tour.”

In a world still navigating its way out of the pandemic, these are significant and unprecedented moments, and, geopolitics permitting, they suggest the future of live music in the Gulf is likely to assume a very different shape to its past.

Promoters

The promoting landscape in the Gulf is a mixed one, combining heavyweight state-owned promoters (Abu Dhabi’s Flash Entertainment), familiar corporates (notably Live Nation, operating out of Dubai), fast-growing Saudi entities such as MDLBEAST, and a variety of Dubai-based independents, ranging from specialist operators to beach club DJ promoters to wealthy dabblers.

Out of all of them, the meteoric rise of MDLBEAST arguably makes it the promoter to watch, and its ambitions are unlimited by the boundaries of Saudi Arabia, or even those of the Gulf itself.

Scheduled to open in 2025, the Jeddah Arena will be adjacent to the city’s airport

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“We want to be present in the entire region,” says Talal Albahiti, MDLBEAST chief operating officer and head of talent booking and events.

“The Middle Eastern music market is expected to grow up to 16.5% by 2027, reaching $670m [€605m]. MDLBEAST will play a significant role in supporting that growth. We also want to go beyond the region, as we are not only looking to host festivals and concerts in the UAE, Egypt, and Bahrain but also in Greece, Spain, and the US.” MDLBEAST has also been invited to take on live events for circling Western promoters, says Albahiti. “We have been approached by a few European companies to produce their festivals, which was a pleasant surprise and much-deserved recognition to all the team. It shows that our commitment and dedication is being recognised by the international market.”

Clearly, the live market in Saudi Arabia is poised at an exciting but delicate moment, and MDLBEAST is acutely aware of the need to nur-

ture the industry in the proper way if it is to thrive sustainably in the long-term. At its inaugural XP Music Conference in December 2021, it gathered 150 delegates from the Middle Eastern music industry in Riyadh with a view to accelerating the market’s growth.

“For me personally, XP is our most important work because it aims to help build real infrastructure for the music industry in a region where it is currently missing,” says Albahiti. “We need that if we’re going to support local and regional talent and for our organisation to grow.

“We don’t want to be just another music touring company picking global acts and bringing them to Saudi Arabia – our vision is much grander than that. We want to empower, develop, and educate local and regional talents across different genres. I believe that the next Drake of this world will come from Saudi Arabia. If not, then definitely from the Middle Eastern region.”

In its own way, Live Nation has also spent the

“Ticket sales have really exceeded even our most bullish forecast, which again really underlines the enduring demand for shows” James Craven | Live Nation Middle East

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Profile_The Gulf States pandemic nurturing talent in the region – specifically the promoting talent it needs on the ground to broaden the range of playable markets.

“Because of the restrictions in place for a lot of the last two years, we focused on future planning and opening up newer markets like Jordan, Egypt, India, and Kuwait,” says Zaed Maqbool, Live Nation VP talent, Middle East, who has spent years building the foundations for a viable circuit to rival those elsewhere in the world. In this context, the significance of the impending Maroon 5 tour is worth restating.

“Maroon 5 was truly a labour of love,” says Maqbool. “The first ever regionally routed run, an A-list band, and an undying willingness to create a new regional route for Western artists.

It all came together. That one really represents a paradigm shift for touring in the region. We now have offers out for more regional tours – and they’re all big names.”

While it may have taken the roaring engine of Saudi Arabia to jolt the region into a higher gear, the UAE promises to become a significant central strategic point as a Middle Eastern/ Asian/African circuit coalesces – at least according to Live Nation’s thinking.

“India will become a part of the equation,”

Etihad Arena enjoys an enviable location on Abu Dhabi’s waterfront

“Saudi Arabia is a tricky market. It has the demand, but it is difficult to enter” Vassiliy Anatoli | Platinumlist

says Maqbool. “Israel and UAE are already mainstays because of their proximity and the fact that they are mature markets in their own right.

South Africa is also a market we connect to, as Dubai and Abu Dhabi have direct flights. So basically, the UAE becomes the connecting transport hub for the region and beyond.”

With not only a new arena but the well-established 40,000-cap Etihad Park stadium at its disposal – which over the years has witnessed Coldplay, Rihanna, The Stones and others – Abu Dhabi’s Flash Entertainment is, like all promoters in the region, highly prepared for an influx of talent.

“We have been preparing for this moment since back in 2007, 2008,” says Flash CEO John Lickrish. “One of the strategies we thought we were going to implement, or was going to happen organically, was a regional touring circuit.

“We thought it would be Greece, Turkey, Lebanon, ourselves, maybe Bahrain. In fact, we are dealing with content pushed through Israel, Saudi, Qatar, Bahrain… hopefully India – we will see how that develops. Yeah, it’s a great thing. Obvi-

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ously, having more content available takes us out of the position of feeling like everything that comes is something we have to deliver ourselves.”

Not every Gulf promoter emerged from the pandemic intact. Arab Media Group-owned Done Events, with its roster of Dubai-based festivals including RedFestDXB, Blended, and Dubai Jazz Festival, has ceased trading.

Others, meanwhile, have emerged. Former Done Events live events manager Peter Green had already gone out on his own by the time of Done’s demise and now operates as GME Events.

He sold 15,000 tickets in his first year of operation, promoting Russell Peters and Michael McIntyre at the Etihad Arena and The Kooks at the Coca-Cola Arena, as well as several more comedy shows at the Dubai Opera and the Dubai World Trade Centre.

“All of those shows were obviously socially distanced,” says Green. “The venues can obviously take more, but we achieved far more than I thought we would, as a new promoter, with Covid restrictions in place. Shows are coming back

now and restrictions are less, but it is still challenging with the ever-changing Covid landscape.

I think the attitude now, though, is let’s get on with it, and let’s do what we can.”

Other promoters in Dubai include the jazz-focused Chillout Productions, founder of the Dubai Jazz Festival, and The Artist Network, whose events include Desert Groove - formerly Groove on the Grass – at the Dunes Resort in Ras Al Khaimah.

Meanwhile, after three years with the statebacked DGDA project, which is developing the historic town of Ad Diriyah into a national, cultural and tourist centre on the edge of Riyad, Ovesen is poised to return to his promoting roots with new venture T.O.P. Entertainment and will operate as an independent with offices in Saudi and the UAE, but also looking to organise events across Egypt, Kuwait, Bahrain, Qatar and Oman.

Ticketing

The leading ticketing company in the Gulf remains Platinumlist, which operates right across the region. “We sell 80% of UAE entertainment

PROMOTED CONTENT

The Power of Policy – MDLBEAST’s XP Music Conference is driving innovation in the Middle East’s music industry

T

he opportunity for the Middle Eastern music industry has never been greater. As Saudi Arabia continues its transformation and welcomes the world, new doors continue to open for the talent in the region. At the core of this music culture growth is MDLBEAST’s XP Music Conference which, following a breakout year in 2021, has been confirmed for a second edition at the end of November 2022 in the Saudi capital, Riyadh.

XP is a three-day event with a conference and nightlife aspect, created to amplify music futures across the region, through workshops and panel discussions giving the chance for music industry experts and upcoming industry talents to have roundtable and networking opportunities. The conference welcomes uniquely diverse audiences including labels, publishers, talents, NGOs, GOVs, event companies, entrepreneurs, and music media.

The foundations of XP are built on four pillars; talent aims to establish careers in music for local and regional talent while providing new audiences for established artists; scene will map out opportunities to nourish the region’s emerging music industry; impact & social purpose creates dialogue around music, mental health, wellbeing, and diversity in the industry; policy is about making sure the right legislation exists to help build a strong and sustainable music ecosystem.

In the first edition, and true to the purpose of XP, the policy pillar was brought to life beyond just the on-stage activations with tangible action delivered to drive forward the regional music industry. At the event, MDLBEAST confirmed an agreement with ESMAA, the Gulf-based music rights management organization, to support regional and international music artists and composers by ensuring they receive payment for the use

of their work played at all MDLBEAST events; a regional first. Prior to ESMAA, there was no regional entity available to ensure music creators and rights holders were paid when their music was played in venues or in facilities in the Gulf region.

It’s this kind of policy action which can really support the growing music economy in the region and will be a major focus in the upcoming 2022 edition of XP. To elaborate further, we spoke to Vibelab partner and former Amsterdam Night Mayor, Mirik Milan, about his experiences at XP and where he thinks policy can have the biggest impact: “Saudi Arabia has a creative vibrant community waiting for opportunities to express their creativity and this is where the importance of XP lies. Through XP we can maximize the potential of local and regional talents in the Middle Eastern region. There is an evident need for creatives to come together to connect and collaborate. Due to the fact that the creative transformation is young in Saudi, 1policy development is required to give talent access to and ease to create events.

Creating events is very important for promoters, talent, and creatives to have a space to express themselves. If we see policies in the right place and alleviated in some others, we will witness rapid growth in the music industry. This is a very special and unique moment where a heavily resourced country with a huge number of creatives opens to the progression of the music industry, I personally haven’t experienced anything like that before. There are benchmarks around the world that we are learning from and want to implement in Saudi.”

XP 2022 will look to build on the first edition which welcomed 150 local/regional/international industry experts from 26 countries.

This included EDM giants Afrojack and Steve Aoki who led the discussion around paths to success, guiding principles for young talent and what it means to support aspiring DJ’s, producers and creators. 5,000 thousand people attended across three days and 52 sessions in 2021 with leaders in regional policy such as the Saudi Music Commission, Poparabia, ESMAA, the International Music Council, the Saudi Authority for Intellectual Property, and the French society of authors, composers and publishers of music, SACEM, playing significant roles.

Moving forward, XP’s programming will extend across 2022 with pillar activations in Riyadh, Jeddah and Dubai allowing conversations and developments to build over longer periods of time and bigger geographies ahead of the main conference event which will have differing night and daytime activities. This will include talking through the big policy conversations for the region, especially those around copyright, nightlife governance, intellectual property, and non-fungible tokens.

Profile_The Gulf States tickets and have been in KSA for six years,” says managing director Vassiliy Anatoli. “Our turnover in Saudi is larger than in UAE, although it’s hard to say what our market share is exactly.

“Saudi Arabia is a tricky market. It has the demand, but it is difficult to enter. It is hard to get independent event permits for organisers, and the majority of events are funded by the General Event Authority, which imposes the use of stateowned ticketing platforms.”

Anatoli’s perspective on the pandemic is a widescreen one that neatly charts the ups and downs of the entire Gulf market. “We had a very successful Q1 of 2020 that helped us a lot with the rest of the troubled year. Despite the pandemic, many attractions kept operating and that is what we focused on whilst there were no events.

“2021 started well but was swiftly cut off by another spike in cases locally, which halted the industry for another four months. However, by March 2021, Saudi started making plans, and we won the tender for the Formula One Saudi Arabian Grand Prix 2021 and many other major projects, such as Rotana Concerts, the Evolution Exhibition, the Museum of Happiness, and the Diriyah Contemporary Art Biennale.

“Finally, the UAE resumed events in full swing by September 2021, which catapulted our revenues. Another major win was the 2021 Indian Premier League and ICC World Cup, which has sold over 350,000 tickets.”

In the coming years, Anatoli expects the biggest growth to come from Saudi Arabia and Egypt, though he also points to Oman, Bahrain, Qatar, and Kuwait as markets seeing comfortable growth.

Other ticketing outlets in Dubai include bricks-

GME Events promoted The Kooks at the Coca-Cola Arena in February 2022

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“That […] really represents a paradigm shift for touring in the region. We now have offers out for more regional tours – and they’re all big names” Zaed Maqbool | Live Nation Middle East

and-mortar retailer Virgin Megastore, as well as Ticketmaster and Indian giant BookMyShow.

Venues

Dubai’s 17,000-cap arena Coca-Cola Arena, the first permanent, multi-purpose arena in an emirate that had been staging shows on laboriously converted brownfield sites on the edge of the city for years, opened in June 2019. It managed just nine months in operation before Covid closed its doors.

Coca-Cola Arena general manager Mark Jan Kar describes the moment at ILMC 2020 when it became clear what the immediate impact of the encroaching pandemic would be (“I’ve never seen an insurance panel more engaged,” he says) and with precise recall of dates, fills in the story up to the present day.

“Everything came to a complete halt, but we had Iron Maiden in May, and we thought, ‘Okay, we’ll close for a month...’” he says, recalling the initial optimism of the times. “That obviously didn’t happen, but we undertook some behindclosed-doors activities for some government entities. Then we were an Ikea catalogue venue, and we were a venue for a movie set. We were very close to becoming a vaccine centre.”

Over the next year or so, the UAE flexed its restrictions, “and slowly but surely, we went from 1,500 capacity, heavily socially distanced, to 2,500, to 5,000, then 60%, 70%, 80% of capacity, and thankfully, on Feb 15, they announced all restrictions were removed. The only requirement now is that masks must be worn indoors.”

In the same period, after an inevitable delay, Abu Dhabi finally inaugurated its own arena, the 18,000-cap Etihad, part of the AED12bn (€3bn) Yas Bay development project.

“We would have liked to have it earlier; but it’s a really beautiful facility. It’s easy to operate, it’s cost-effective, scalable,” says Lickrish. “We have a host of good commercial partners that have come on board, Etihad being the big one.

It’s next to impossible to make the industry work here without corporate partners, and that’s been a fact for quite some time now. So that’s exciting.

Our corporate boxes are sold out, and now we are just planning content.”

On the schedule at the Etihad Arena for the coming months are Arab pop stars Amr Diab, Sherine Abdel Wahab, and Kadim Al Sahir; Maroon 5; UFC; and the International Indian Film Academy Awards 2022.

The almost simultaneous arrival of two

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Profile_The Gulf States

Soundstorm Festival’s spectacular main stage

world-class arenas in a previously arena-free zone – to add to the Dubai Opera, the Media City amphitheatre and the World Trade Centre, all in Dubai – might be viewed as an embarrassment of riches. But if the competition is unwelcome, no one is saying.

“For us to have a phenomenal venue 130km down the road creates healthy competition,” says Kar. “Both serve a domestic market, and they also allow us to create tours for artists.”

Those tours, of course, don’t necessarily have to come from the Western content machine. A feature of the Middle Eastern market that is occasionally lost on Western eyes is the sheer diversity of its offering.

“For us, Western acts would probably make up 25% to 30% of the content,” says Kar. “The balance is very much Asian content, and that includes Bollywood but also Pakistani and Bangladeshi music.

And then you have got Arabic, where you have the Khaliji music that is popular across the Gulf, but also Lebanese, Iraqi, Egyptian, all with completely different dialects and demographics that would attend. Comparing any one with another is like comparing Bruno Mars with Metallica.”

It is also inevitable that more venues are to come, particularly in the region’s most newly vibrant market. Most of the Saudi events still take place on outdoor sites or in temporary structures such as the 15,000-seat Diriyah Arena near Riyadh, but further building is taking place.

ASM Global will manage the 20,000-cap Jeddah Arena at Airport City, promised for late-2025, while the 25,000-cap Victory Arena in Riyadh is currently undergoing a major facelift.

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With Qatar hosting the FIFA World Cup at the end of this year, there has been a massive construction programme, which could ultimately benefit the local live entertainment scene.

And in Bahrain, three million man hours of work has created the spectacular 10,000-seat Al Dana Amphitheatre, which has literally been carved from the rock of the Sahkir desert (more about that project in IQ’s June issue).

Another territory ready to take its place in a regional circuit is Kuwait, which welcomed a 5,000-cap multi-purpose all-seater arena in March. The Live Nation-managed Arena Kuwait, in Kuwait City’s 360 Mall, targets live enter-

tainment, sports, corporate projects, exhibitions and conferences, and in its first few weeks of operation hosted six sold-out Arabic music concerts and two regional business-to-consumer expos.

“Kuwait is a new market for international and regional promoters and event organisers, as until the opening of The Arena Kuwait, venues and event spaces were limited,” says general manager Ken Jamieson. “Kuwait has an event-hungry population and the response to our first plethora of events has been very satisfying for all concerned. We have a packed calendar for the rest of the year as the demand has been outstanding..”

As the infrastructure expands, of course, so do the challenges of a region with a range of extreme weather conditions and great disparities in both its seasonal habits and venue provision.

“The challenge, believe it or not, is starting to become the seasons,” says Maqbool, wrestling with a circuit that potentially spans thousands of miles across Africa and Asia. “If an artist wants to do a tour in what is called the winter here in the Middle East, we need to take into consideration the different ‘winter’ conditions at each stop of the tour and the implications that has on venue type and timings.

“In the UAE, we have not one but two arenas to play around with, so we’re good the year round. But it’s not the same in Egypt, it’s not the same in India and some of the other markets as well. When it’s our winter, it’s their summer, and vice versa, and that’s a little nuance that sometimes plays into the equation. There’s a fair amount of playing Tetris with the routing, figuring out what works for everybody.”

And, give or take some teething troubles, a bit of geopolitical discord, and some Western liberal reservations, there’s the new regional circuit for you. It may well very come to offer dazzling new horizons for live music – but don’t expect it to be an easy ride.

CONTRIBUTORS

TALAL ALBAHITI | MDLBEAST, VASSILIY ANATOLI | PLATINUMLIST, JAMES CRAVEN | LIVE NATION MIDDLE EAST, PETER GREEN | GME EVENTS, MARK JAN KAR | COCA-COLA ARENA, JOHN LICKRISH | FLASH ENTERTAINMENT, ZAED MAQBOOL | LIVE NATION MIDDLE EAST, THOMAS OVESEN | T.O.P. ENTERTAINMENT

STEAM POWER Feature_20 Years At Fullsteam

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20 Years At Fullsteam_Feature

Having established her company 20 years ago, the story of Rauha Kyyrö’s Fullsteam group is an inspiring odyssey.

Derek Robertson learns how determination, drive and a mantra that puts the artist first, helped build a Finnish powerhouse.

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Feature_20 Years At Fullsteam

rom humble beginnings come great things. That’s certainly how it has panned out for Finland’s Fullsteam, a group of music companies that now encompasses a record label, management services, a booking agency, event organising, and publishing. Currently celebrating its 20th anniversary, it started out like many music industry endeavours – as a hobby for music lover Rauha Kyyrö. “I was still in high school, and I never thought it would become my profession,” she recalls. “My plan was to go and study law! But then music happened…”

Tobbe Lorentz of United Talent, one of the first agents she started to work with professionally, can certainly recall her passion. “My first memory is when Rauha turned up at my home, unannounced, and I opened the door to see this unknown kid with dreads and piercings asking to book my bands,” he says. “I believe my response was: ‘Of course you can. Now go away.’

But I booked Turbonegro with her the week after, and we’ve been working together ever since.”

Booking bands was something that, by then, Kyyrö was already adept at. She started out playing in a band but was, by her own admission, “never the best or most talented musician.” But she had smarts and determination – “I was great at getting things done,” she says. Booking shows, promotion, logistics, and taking care of releases became her domain, and she came up with a novel way of getting her own band shows abroad.

“The easiest way to do that was to book shows in Finland for a Swedish or German band in exchange for getting to play with them in their home countries,” she recalls. “That’s how I first got into the business of booking shows internationally.” Her abilities earned her the nickname “Fixare” (The Fixer) – and she soon found herself dealing with agents who had got her contact details from their artists who had friends in bands she had promoted. To do things officially and pay taxes, she started her first company Sitruunamaailma (which translates as ‘the world of lemons’) with two friends, and then things really took off.

“I started promoting the first ‘bigger’ shows – those with a 900 capacity – and also my first outdoor summer festival,” she says. Bear in mind, this was all before she even left high school – “prodigious” doesn’t even come close.

Yet the financial realities of promoting and booking were somewhat harsh – in the early years, it remained very much a hobby. “I was doing all this while working in a record shop in Helsinki,” she says. Even after starting Fullsteam proper in 2002 – it began life as a record label, Fullsteam Records, and was a subsidiary of her previous company, Sitruunamaailma – her ambitions were modest. “The idea was just to release music for great bands that couldn’t

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The Flaming Lips headline Fullsteam’s first major festival, Pitkä Kuuma Kesä, in Helsinki, 2009 © Mari Herrala

Ed Sheeran performed at Malmi Airport in 2019. The biggest concert event ever organised in Finland, with 108,000 visitors over two days © Jukka Åman

get their music out on the existing labels. And I guess it felt great to have a record label.”

Releasing music was just the start. Kyyrö soon realised there were many things she could do to help her own and friends’ bands, and so the other aspects of Fullsteam began to grow organically. “We did everything ourselves – book the shows, sell merch, release records, and do the PR. We also had a rehearsal room centre with 50 rooms, so we basically just did whatever we wanted […] for our own and our friends’ bands.

It was always some kind of a 360˚ model, but as the business grew and things got more professional, it was necessary to have different companies for different parts of the business.”

Kyyrö admits that it wasn’t until 2004 that she actually got paid for booking shows, when she went to work for Welldone – now Live Nation Finland – for two years. The other Fullsteam

companies continued during that time, and on leaving Welldone in 2006, she founded Fullsteam Agency. “That was the first time I started to get paid from my own company,” she says.

Those early years were characterised by a cando work ethic and DIY spirit, traits that continue to this day and endeared Kyyrö to all those who worked with her in the beginning. Kalle Lundgren Smith of international booking agent Pitch and Smith recalls booking tours with her back in 2000, when she was still running Sitruunamaailma, and being “so impressed with her professionalism. My hardcore band was used to dealing with promoters on a very DIY level, so this was very different. We were even offered accommodation on top of the fees, which seemed like an absolute luxury to us.”

Before they met in real life, Lundgren Smith assumed she was a seasoned pro. “I was picturing

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20 Years At Fullsteam_Feature

“Fullsteam has a very loyal and strong team. It’s like a nice big family of true music lovers with an open and welcoming mindset” Kalle Lundgren Smith | Pitch & Smith

someone far older in my mind. Then, when we finally met in Helsinki, it was this very young punk rock kid with long dreadlocks. We’ve been working closely together ever since.”

Many others express similar sentiments, and it’s a testament to Kyyrö and the company she’s built that so many peers remain friends and colleagues 20 years later. James Rubin of WME, who began working with her 15 years ago through Bad Taste, a Swedish management company and promoter, recalls her being “exceptional in problem-solving and career-building. She always helped with any issues my clients had.”

Paulina Ahokas, managing director of Tampere Hall, remembers being so impressed by Kyyrö’s dogged determination that she badgered colleagues at Music Export Finland to bring her along on an export mission to Japan.

“Rauha was spot-on at every single panel discussion in Tokyo,” says Ahokas. “After the panels, I asked if she needed some help with meetings. She did not. She had a list of names and addresses, a map of Tokyo, and a bicycle – she cycled to the meetings she had sourced herself. I’d been to Japan at least three times, yet knew only half of the companies on her list. I told everyone at Music Export Finland that we would be hear-

TESTIMONIALS Rauha Kyyrö and the whole Fullsteam team have been inspiring characters in the Finnish live music industry since the beginning. Their strong, cool, street-credible and original style in building new concepts; arranging high-quality events for exciting indie bands and also for the headline artists; and, of course, bringing the biggest international stars to Finland, are really something to respect.

Making the world a better and equal place has always been a goal of Rauha and Fullsteam. We have copromoted a number of events with them, and, hopefully, we’ll have many new projects in the future. Much love.

Pietu Sepponen | Sunborn Live & Kesärauha Festival Happy 20 years to Rauha and all at Fullsteam. We are lucky to work with you all, to be guided by your expertise, but more than that, for your kindness and inclusivity and openness in how you work and do business. The meetings we held on how to create an inclusive music industry are some of the proudest moments that in turn helped us create Mother Artists with the best ethos and culture possible.

Always a pleasure, and to many more years ahead! Love from all at Mother Artists xx Natasha Gregory | Mother Artists Congratulations to Rauha, Aino-Maria, Artemi, and all the team at Fullsteam on their 20-year anniversary. Fullsteam’s combination of an unbridled passion for music; highly efficient and effective tour planning; and most importantly, having fun, makes them a joy to work with!

Rauha and her team have been at the forefront of the push for equality, diversity, and inclusivity for all across our industry, for which we are all grateful. Thank you, Fullsteam!

Alex Bruford | ATC Live Negotiation with Rauha is always a psychological and economical collision of interests, [like receiving] lessons from the master, which I deeply honour and look up to.

Aki Roukala | Bättre Folk

1.4m viewers (24% of the Finnish population) witnessed a virtual show in Helsinki city centre on May Day 2020 (during the pandemic), organised by Fullsteam Agency, the city of Helsinki & VR studio, ZOAN

ing a lot more from this rasta-haired dynamo, and damn, I was right.”

And it’s not just in a professional capacity that Kyyrö won people over – taking the “work hard, play hard” mantra to heart, she’s had plenty of fun, too. “I first met Rauha at a showcase festival in Canada,” says Julia Gudzent, co-founder of Misc Berlin, an agency for cultural change.

“We immediately got along really well, and together with Mikko Niemelä from Ruisrock and Nina Howden from Silver Circle Distillery, we founded a synchronised swimming group in the hotel pool. We had the time of our lives and all became best friends right away.”

Since 2006, Fullsteam has continued to grow organically, a slow and steady rise governed by one clear principle – serve the artist. Today, Fullsteam Agency – “by far the biggest company [in the group],” says Kyyrö – serves as a booking agency and event organiser, booking domestic performers into every venue in Finland and bringMagazine

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“I’ve not met a lot of people in the industry who do their job with so much modesty, kindness, and team spirit”

Two sold-out farewell shows for Cheek, the most successful Finnish hip-hop artist of all times, at Lahti Skiing Stadium in 2018 © Henri Juvonen

Julia Gudzent | Misc Berlin

ing international artists to the country (to date, Fullsteam has promoted over 2,000 international acts). They also organise Seinäjoki’s Provinssi Festival and Helsinki’s own Sideways Festival.

On top of this, they represent around 100 Finnish performers, both popular acts and rising talent, and Fullsteam group now includes management, publishing, and record label interests.

But while the businesses are deeply integrated, Fullsteam is not your typical 360˚ company.

“All of the Fullsteam companies work together on some level, but we don’t work in the ‘traditional’ 360˚ way,” says Kyyrö. “We hope to work with all the music companies in Finland, so we do not push for 360˚ deals. They only make sense if it makes sense for the artist and everyone else involved, and to be honest, in most cases it actually doesn’t work that well to have ‘all your eggs in one basket’. But when it does work, it can be really fantastic – we have good examples of that.”

Fullsteam group’s smaller companies remain 100% owned by Kyyrö, and she’s involved in various other businesses, albeit in smaller roles. But Fullsteam Agency is now co-owned by European promoter giant FKP Scorpio, following a merger in 2014.

The deal, says Kyyrö, “Helped us to really enter the festival market and to become more professional in many different ways.” But it wasn’t driven by finances or a desire to wield more clout. “I just really liked the people at FKP Scorpio: simple as that,” she says. “I thought they would support our team in our ambitions to grow but also let us be who we are and work the way we do. They are good, kind people – I appreciate that a lot.”

That added professionalism has manifested itself in various ways. Fullsteam has, says Kyyrö, become a better employer and partner for artists and clients. Her colleagues agree.

“The best part of working as a promoter at

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Rauha Kyyrö © Rio Gandara

Fullsteam is probably the creative freedom that you have; we’re not tied to one or two or even three genres but work with everything that we believe has value – be it money or something else,” comments staffer Artemi Remes. “I’m pretty sure that´s not the case with every big agency in the world. And for me that’s really the greatest thing as it makes every workday and every concert special. Never a dull day!”

Remes says it’s difficult to pick just one highlight from more than 1,000 shows he has promoted over the past 16 years. “But pressed, I’d probably choose the Ennio Morricone concert in Helsinki in 2016. That exceeded all levels of specialness and is one that I’ll probably remember for the rest of my life.”

Summing up the employee experience at Fullsteam, fellow promoter Aino-Maria Paasivirta says, “The great part of working at Fullsteam is that I get to work with so many different kinds of artists – I promote everything from small club shows to arenas and festivals and many different genres, which keeps the job interesting.”

Asked to share her career highlights, to date, Paasivirta states, “Nick Cave’s sold out shows on the Conversations tour was definitely an

TESTIMONIALS We have been very happy working with Rauha and Fullsteam for more than ten years. We have been doing shows together in Finland and abroad. Rauha and her team are trustworthy and pleasant to work with. Congrats for the great success!

Toni Peiju | Till Dawn They Count Rauha and Fullsteam’s influence in the live music scene is very significant in Finland. It is always a pleasure to work with the whole Fullsteam crew, especially with the annual Sideways festival held here at the Helsinki Ice Hall.

Kimmo Oinonen | Helsingin jäähalli I first met Rauha when we were working with Antony and the Johnsons in 2004, after I had contacted a number of promoters to gauge the interest of a European tour to introduce the band and their album. From that moment, we never stopped working together on Antony (now Anohni) and many other beautiful artists.

Rauha’s combination of passion, belief, and enthusiasm extend beyond work into another dimension of pleasure, excitement, and satisfaction.

Rita Zappador | International Music and Arts

THE WORLD’S TOP MEETING OF MUSIC FESTIVALS AND BOOKING AGENCIES RETURNS PASSES ON SALE SHORTLY IFF.ROCKS

Feature_20 Years At Fullsteam amazing experience.” She adds, “I’m very much looking forward to the business finally opening again and the festival summer 2022 and I’m, of course, especially looking forward to Provinssi.

Our last editions have been great, and I’m very proud to be in the booking team.

“Everyone knows working with music is more than a job, it’s a lifestyle, and I can’t imagine a better community to do it with than Fullsteam.”

It hasn’t always been plain sailing, however, and Kyyrö admits to having struggled with “how competitive and mean this business can be sometimes.” Yet she has remained optimistic and never lost her passion. “I’ve always loved being part of this community and feel that I am actually really good at this thing they call the music business.”

Modestly, she feels the company has only recently properly “arrived” and achieved lasting succes. “The first time I felt that wasn’t until the end of 2019, after we’d promoted three historic events in Finland within a year – Ed Sheeran in Helsinki in July 2019, Rammstein in Tampere in August 2019, and Cheek in Lahti in August 2018.

We’d also succeeded in bringing Provinssi Festival back to the top. None of those things were on my bucket list, they just happened when the time was right – or when we were ready for it.”

That’s a view shared by Fullsteam Agency managing director Tuomo Tähtinen, who believes that the platform the company has built means the best is yet to come. “Fullsteam has already come incredibly far, yet there’s still so

TESTIMONIALS Rauha has been a great colleague and friend for many years. How she has built the company to where it is, both in terms of the team and commercial success, in the early years to present day, is a big inspiration for anyone, including myself.

She is an incredible promoter with a strong focus and great intuition for the potential of a certain artist or show. And also great as a person, both on- and off work. Same goes for the entire team. An incredible joy to work with.

Rense van Kessel | Friendly Fire

much potential,” Tähtinen tells IQ. “We have a team that’s capable of anything. And we all know that success shouldn’t be pursued at any cost, but we need to build for the future sustainably and with respect to everyone around us.”

Recently, Fullsteam’s formal successes have been numerous. They are now Finland’s biggest, most important concert promoter and booking agency, for both alternative music and global superstars. Fullsteam Records has won Independent Label of the Year a total of six times and remains a champion and supporter of new, exciting, and unique Finnish music. And, perhaps most impressively of all, Fullsteam scooped a total of seven awards at 2019’s Music & Media Industry Awards Gala, including Booking Agency of the Year, Concert of the Year, and numerous accolades for individual staff.

So, what’s the secret, then? What has made Full-

steam such a successful company and given them – and Kyyrö – two decades of growth, excellence, and a stellar reputation? The accolades are numerous.

“They are music fans first and foremost,” says Geoff Meall of Paradigm Talent Agency. “The first correspondence is always about them wanting to work with the band or act because they like them. In a world of expanding corporatisation, I’ll always have time for companies like Fullsteam.”

Kalle Lundgren Smith agrees. “Fullsteam has a very loyal and strong team. It’s like a nice big family of true music lovers with an open and welcoming mindset. I think Rauha’s single-mindedness and creative mind – combined with her amazing staff – brought them this far.”

Tobbe Lorentz says that it’s “hard work, a great team, having their finger on the pulse, and good timing,” that’s made them so successful; Julia Gudzent agrees. “What makes Fullsteam and

Two sold-out shows for Rammstein in Ratina Stadium in 2019 marked Fullsteam’s first stadia events © Niki Soukkio

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CELEBRATING YEARS OF FULLSTEAM F E ST I VA L S

FINLAND

FINLAND

8.6.2022

16.-18.6.2022

30.6.-2.7.2022

12.-13.8.2022

2022 HIGHLIGHTS Anne-Marie | Arch Enemy | Architects | Aurora | Biance Del Rio | Big Thief Bring Me The Horizon | Caribou | Deftones | Ed Sheeran | First Aid Kit Furure Islands | Gogol Bordello | Hassisen Kone | Jon Hopkins Ensemble José González | King Gizzard & The Lizard Wizard | Korn | Lamb of God Mac DeMarco | Mando Diao | Mogwai | Molchat Doma | Nightwish | NOFX Opeth | Passenger | Paw Patrol Live | Pendulum Live | Róisín Murphy | Sigrid Sigur Rós | Slipknot | Social Distortion | Sparks | The Avalanches | The Hives The Sounds | The War on Drugs | Tom Odell | Tones & I | Yungblud

... and 100+ of others.

WWW.FULLSTEAM.FI

Feature_20 Years At Fullsteam Rauha so special is that they do their work with complete passion, but unlike a lot of other people in the industry, they also take care of themselves and don’t forget to live and celebrate their wins.

And that makes them so much better at their job.”

James Rubin says their “dedication to personal attention, being artist-friendly, and sheer excellence in everything they do has been nothing short of exceptional,” while Xenia Grigat of Danish promoter Smash!Bang!Pow! adds that there’s a “special DNA that defines Fullsteam, and it seems like a workplace that is inclusive and sees the full potential in the team. That’s inspiring, and attracts talented staff and artists.”

For Paulina Ahokas, one of the many who’ve worked with Kyyrö since the very beginning, there are three main reasons behind Fullsteam’s continued rise. “Every single person in the company has the same attitude, the need and desire to excel.

Every person is willing to work harder than anyone else. And every single person in the company knows how to party! I have no idea if this is the recruitment strategy, but I know it has worked.”

And the view internally, from new partner FKP Scorpio, is just as effusive. CEO Stephan Thanscheidt credits their “friendship, loyalty, creativity, attitude, professionality, and a great taste in arts and music,” qualities he says you feel at every single Fullsteam show or event. “Their team, in combination with their family values, is hard to beat. They have an extraordinary spirit; creative and professional entrepreneurship; a great social and political attitude; and good relations with loads of talented artists.”

Certainly, their legacy seems assured.

They’ve brought a lot of live music to Finland that the country might not have been able to enjoy otherwise, from the likes of Disco Ensemble, early emo bands, many Nordic artists, and numerous international superstars. They have blazed a trail for diversity and inclusivity and redefined what a group of music companies – both working together and in separate fields – can achieve on behalf of their artists.

Ultimately, that might be the single biggest

TESTIMONIALS I’ve known Rauha for 15-plus years, and what she has achieved along with the Fullsteam team is not only remarkable, but it has been a joy to watch how their success has grown over the years.

Rauha is a colleague, a friend, and an example to follow. I wish everyone at Fullsteam a happy anniversary, and I’m looking forward to celebrating with them. X Xenia Grigat | smash!bang!pow!

During my 20+ years in the music business, it has always been a pleasure working with Fullsteam. You get the feeling that the artist is in good hands and the promises are kept. When negotiating, I’ve found it easy to deal with Rauha and her team. If all partners were like that, life would be good. Fullsteam is driven by success, but they are driving with love and respect.

Kimmo Valtanen | Universal Music Finland & Baltics In terms of the internationalisation of the Finnish music industry, Fullsteam and Rauha Kyyrö’s long-term work, courage, vision, and truly professional way of working and networking have been invaluable. Largely thanks to Fullsteam, the Finnish music world is as international as it is. And, of course, imports are also essential for exports – the fact that we have an international and professional concert industry.

Kaisa Rönkkö | Music Finland

factor behind Fullsteam’s success – it really is all about the music and the people who make it happen. One anecdote in particular, from Julia Gudzent, encapsulates this attitude perfectly.

“I went to the Finnish music awards show once, and Fullsteam won all the prizes. Rauha took her whole team up on stage because she knew that it was not only her prize, but the whole team that won it. That impressed me so much because I’d never seen this kind of leadership before. I’ve not met a lot of people in the industry who do their job with so much modesty, kindness, and team spirit.”

What then of the future? What focus, hopes, and dreams does Kyyrö have for Fullsteam for the years ahead?

“I really would like us to be the best place to work at and best partner for the people we work

with,” she says. “If we succeed in that we will always be successful. We have truly amazing people working for Fullsteam and close to us, and I truly hope they will stick around, keep up with the shit in the business and shape the company and the music industry to become a better and more inclusive place for everyone.”

So we’ll be back here in another 20 years, with Fullsteam continuing to go from strength to strength?

“I am sure we’ll continue to have many victories, but there are also challenging times ahead of us. I think that at the end of the day, a business like ours is just a bunch of people working together, and I hope there is room for life to happen and for people to grow and pursue their dreams at Fullsteam.”

Your Shout

What are you most looking forward to at ILMC 34?

TOP SHOUT

Besides all the great events, top-class panels, and, of course, the Gala Dinner with the Arthur Award ceremony, ILMCs biggest charm for me always lies in the numerous and sometimes coincidental encounters with international partners. As our business definitely is a people’s business, I’m really looking forward to having some real-life meetings again after all the digital ones. That’s what I’ve been missing the most in the last two years.

Karsten Jahnke | Karsten Jahnke Konzertdirektion

No question: the legendary karaoke night and singing with all the colleagues and friends we haven’t seen in years!

Christian Doll | C2 Concerts The IPM has been part of my life almost since its inception, so imagine how I felt the last couple of years having to sit at home, in front of a screen, talking to people’s heads and shoulders as we ran virtual bloody conferences.

Imagine then how excited I am going to be to be part of a live event. On 26 April, I will be at the IPM, along with new and old friends from all around the world, not just the UK, we are international! We will be talking and listening to each other and learning about subjects relevant to the production industry.

If you want to register or know more about the panels, those attending, etc., go to ipm.live.

See you there!

Carl A H Martin | cahm.uk

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Seeing people in real life. I know it’s all about networking and going to the conferences… but being able to have a coffee with someone you haven’t seen since the last ILMC, apart from on Zoom, is going to be sooooooo amazing! I just hope I haven’t forgotten how to socialise…

Sharon Richardson | K2 AGENCY I am looking forward to getting back to some sort of normality, at least when it comes to meeting old friends and some new, as I do every ILMC. With Covid, Brexit and now the impending WW3 still trying my patience on a daily basis, taking a week out of the office with my friends at ILMC is just what the doctor ordered… and remembering those we have lost since the last gathering over a drink or three, especially my great friend, at the bar named after him. See you all soon!

Adam Parsons | Siren Artist Management Just the thought of being in the same room with the movers and shakers of the music

industry after two years of not being able to travel to ILMC, is beyond exciting. This event is the birthplace of great projects, collaborations, and even long-lasting friendships, and I’m looking forward to meeting up with the generous pool of talent from all corners of the world. We’ve got a lot of catching up to do.

Codruța Vulcu | ARTmania I’m most looking forward to meeting professionals from around the world in person and to discussing how recovery goes on and if there are any lessons learned that may help us in the future.

Renatus Nacajus | ISEG I’m looking forward to representing Berlin’s premier midsize venue, Verti Music Hall, at my first ever ILMC. I am excited to finally meet everyone in person.

Dirk Dreyer | Verti Music Hall Quite simple: seeing everyone in-person.

Everything else is then a bonus. Oh, and, of course, christening Strangey’s Bar and toasting Steve.

Martin Goebbels | Miller Insurance As this will be my first ILMC, I am more than eager to meet up again with familiar and new industry contacts from equally new markets that are desirable for us. We will bring concrete ideas to the ILMC and are curious to see if we can win over one or more interested parties for our CAVALLUNA-vision for the coming years.

After the long dry spell, a live industry meeting still sounds somehow surreal. That may also be the reason for my already existing excitement.

Thomas Mustroph | Cavalluna

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