TOURING AT THEIR VERY BEST
MID-LEVEL
TOURING Crisis or Cruising? COUNTRY MUSIC It’s Gone Global
BARNABY HARROD 10 Lessons from 25 Years
A roundup of the latest acts that have been added to the rosters of
Cover photo: The 1975 at Dublin’s 3Arena in January 2023 © Jordan Curtis Hughes
ILMC 36 Report
Detailing some of the highlights from our space mission-themed edition of the International Live Music Conference
28 Mid-level Touring: Crisis or Cruising?
Exploring the difficulties facing the midtier of the live music touring business 32 Country State of Mind
Gordon Masson examines the rapid rise of country music around the world 44 Deft Punk
Mercury Wheels co-founder Barnaby Harrod celebrates 25 years as a promoter 54 Our House... Behind the scenes of The 1975’s Still... At Their Very Best tour
64 Jung at Heart
Adam Woods talks to professionals in Switzerland’s thriving industry for this edition’s market focus
AND COLUMNS 14
Your network is your net worth
Pembe Tokluhan shares the inspiration behind launching a company that strives to increase representation of women, trans, and non-binary people working behind the scenes of live events
15 Understanding your audience
Creative comms guru Ella McWilliam monitors the rapidly changing media landscape and provides tips on how festivals can entice Gen Z to become ticket-buying customers
76 ILMC Members’ Noticeboard Members’ photographs from ILMC 36
78 Your Shout
What was your favourite highlight from ILMC 36?
Too often, I find myself as a music journalist writing about terrorism. As an industry whose purpose is to bring joy and positive life-affirming moments to fans, it's particularly cruel, making the massacre at Crocus City Hall, near Moscow, on 22 March (see page 8) shocking beyond words, not least because it followed the trend of the perpetrators broadcasting their attack on the Internet and social media platforms.
At press time, the Russian authorities raised the number of people killed to 143, while 80 others remain hospitalised, many in a critical condition.
We’ve all seen security and screening measures at venues get tighter in recent years, on the backs of such atrocities as the Manchester Arena bombing, but as Crocus City Hall, Supernova Sukkot in Israel in October, and the terror attack on the Bataclan in Paris in 2015 prove, if people with assault weapons turn up intent to kill and maim, there’s very little you can do to prevent it. But the fact that terrorists have identified live events as a soft target is a worrying development that governments everywhere will now be examining.
France has effectively banned large-scale events so that security forces can concentrate on keeping athletes and audiences safe throughout the duration of the Paris Olympic Games, and I suspect that might not be the last time that a government stymies activity in the live entertainment sector, going forward.
On a lighter topic, it barely feels like a month has passed since so many of you made your way to the Royal Lancaster Hotel in London for ILMC 36 – the largest gathering of industry professional we’ve ever had across the five decades that the conference has spanned. There were 1,500 delegates, but add in the attendees of GEI, Futures Forum, Touring Entertainment LIVE, London Calling, and the gala dinner, and participation was close to 2,500.
Most encouraging was that a quarter of ILMC delegates were first-timers to the conference, and witnessing the enthusiasm of the younger execs who flooded in for Futures Forum on the final day, it’s good to know that the business will be in safe hands for decades to come.
For a reminder of conference highlights or to catch up if you were unable to attend, see the ILMC 36 Report on page 16.
One of the main-room sessions during the event examined the crisis that’s affecting the mid-level tier of touring – a dilemma that James Hanley examines on page 28.
Elsewhere in this issue, we also have our first-ever report on the country music genre, the growth of which is outpacing general expansion in a number of key markets around the world and whose artists are increasingly finding themselves being booked for headline tours and mainstream festival slots. Find out more on page 32.
Talking of popular acts, Derek Robertson talks to the various personalities behind the scenes of the 1975’s recently finished Still… At Their Very Best tour on page 54, while I had the pleasure of spending some time with Britborn Spanish promoter Barnaby Harrod (see page 44) as he and the company he established with wife Elie celebrate 25 years in business.
And if all that isn’t enough to see you through to the next issue of IQ –which incidentally will be our annual Pride takeover – then Adam Woods has picked up his alpine horn for a quick trip to Switzerland for this edition’s market report (see page 64).
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Oak View Group’s Co-op Live venue is set to open in April as planned after being granted a licence by Manchester City Council, despite various objections.
The UK’s Association of Festival Organisers is to hand over operations to the Association of Independent Festivals following the retirement of general secretary Steve Heap.
Amsterdam’s Paradiso cancels more than 2,400 tickets being sold on resale platforms at inflated prices for a large number of upcoming shows.
Jack Harlow is to launch a new music festival this May in his hometown of Louisville, Kentucky.
The Thai government reveals ambitions to become a ‘strong hub’ for international concerts and festivals.
Brixton Academy sets its reopening date, as well as details of the first concerts since the venue closed in December 2022, after a fatal crowd crush that left two people dead.
French trade association Prodiss rebrands following a merger with the National Union of Private Theatres (SNDTP) and the Union of Cabarets and Music Halls (CAMULC).
The Botanique concert hall in Brussels confirms it was the target of a foiled terrorist attack, which resulted in the arrest of three minors and one adult.
Coachella festival announces a partnership with NFT marketplace OpenSea to launch a series of unique collections that promise to “usher in a new paradigm in the live event and ticketing industry.”
Respected music agent and former artist manager Nigel Morton dies following a short illness.
UK live music trade body LIVE describes chancellor Jeremy Hunt’s latest budget as “another missed opportunity” after calls for a reduced VAT rate on ticket sales went unheeded once again.
Mad Cool details a series of improvements that will be made to the festival ahead of the 2024 edition, including a decrease in capacity.
Raye dominates the 2024 BRIT Awards with a record-breaking six wins from seven nominations.
UK-based independent booking agency Upsurge hires Philippe Van Leuven from Bandwerk in Belgium as the company’s first EU agent.
Thousands of concertgoers attend the inaugural Montreux Jazz Festival Miami, which featured a surprise appearance from actor Will Smith.
Live Nation president/CFO Joe Berchtold tackles issues around ticketing, breaking artists, and the company’s “hyperlocal” touring strategy at Morgan Stanley’s Technology, Media & Telecom Conference.
Manchester’s AO Arena officially launches its brand-new VIP bar and restaurant as part of its £50m redevelopment.
German heavy metal festival Wacken Open Air offers a novel form of payment for its pre-festival showcase, encouraging fans to “pay with your blood,” in an attempt to bolster blood donations.
Venue operator Academy Music Group announces the appointment of former Wembley Stadium director Liam Boylan as CEO.
The music world mourns Mean Fiddler founder and festival pioneer Vince Power, who dies at the age of 76 (see page 8).
The final night of Australia’s Pitch Music & Arts festival is cancelled following an “extreme fire danger warning,” hours after the suspected drug-related death of a 23-year-old attendee.
Scottish festivals Let’s Rock and Party at The Palace join forces for a new partnership.
A US appeals court upholds a ruling that Lizzo can keep her $5m booking fee for a cancelled 2020 festival in Los Angeles.
South by Southwest says it “fully” respects the decision of dozens of artists to pull out of this year’s event in protest of the festival’s ties to the US Army and defence industry.
Kilimanjaro Live’s umbrella company KMJ Entertainment acquires a majority stake in live promoter and producer ShowPlanr.
Two people are convicted by a UK court of fraudulently and dishonestly buying and reselling tickets for high-profile concerts by acts including Ed Sheeran.
Switzerland’s Gadget abc Entertainment Group secures a majority stake in the Stars in Town festival, which takes place in Schaffhausen.
US entertainment company Notes Live strikes a preliminary agreement for the development of a 20,000-seat open-air venue in McKinney, Texas.
Glastonbury Festival drops its first lineup announcement for 2024, unveiling Dua Lipa, Coldplay, and SZA as headliners.
AEG Presents enters into a “historic” partnership with US-based Latin music promoter Cárdenas Marketing Network (see page 10).
Music industry figures in the UK welcome Labour leader Sir Keir Starmer’s pledge to introduce new legislation to cap ticket resale if the party wins the next general election.
Dutch violinist and conductor André Rieu’s debut performance in Abu Dhabi breaks the record for the biggest-selling classical concert in the UAE.
More than 700,000 tickets were sold for U2’s groundbreaking residency at the Sphere in Las Vegas, which wrapped up in early March, the venue reveals.
Swiss promoter act entertainment launches the Waterfront Festival – a new boutique music event that will take place in Zurich this summer.
Colombian promoters Breakfast Club and TBL Live join forces to create a new entertainment company Breakfast Live (see page 10).
Malaysia’s live music trade body ALIFE (Arts, Live Festival and Events Association) threatens to take legal action against those who call for the cancellation of concerts in the country.
Usher’s residency at the O2 in London as part of his 2025 European tour stretches to a tenth and final show.
Manchester’s iconic Night & Day Café is to continue as a music venue and nightclub, following a lengthy court battle over a noise complaint.
The arrests of two men uncover an alleged plot to murder an unidentified rapper at a gig in Austin, Texas, during South by Southwest.
Dua Lipa announces a string of European amphitheatre dates in the run-up to her summer festival headline appearances.
AEG Presents announces an exclusive multi-year partnership with professional golf tour LIV Golf (see page 10).
Site preparation has finally begun on the long-awaited YTL Arena Bristol, in the southwest of England.
Singer-songwriter Yungblud announces a new UK festival, with a view to launch the event worldwide.
Australia and New Zealand’s love affair with P!nk shows no signs of abating after the singer’s Summer Carnival Tour took her ticket sales in the territory past 3m.
Lady Gaga is to revive her Jazz & Piano Las Vegas residency this summer.
Moby announces his first European tour in over ten years to celebrate the 25th anniversary of his fifth album Play – one of the best-selling electronic albums of all time.
Live music powerhouses record big six-month gains on the stock market, with CTS Eventim sailing to its highest-ever share price.
California’s court of appeals dismisses Metallica’s lawsuit demanding more than $3m in losses for concerts cancelled due to the pandemic.
A new report measuring the economic impact of Glastonbury Festival reveals that last year’s event cost £62m to stage.
Organisers of Travis Scott’s Astroworld festival were allegedly warned about the overcrowding issues in 2021 that led to a fatal crowd crush.
Semmel Concerts acquires the Metronom Theater in Oberhausen, a 1,800-capacity venue in northwest Germany that has been closed since 2020.
The Canadian Live Music Association calls on the government to provide emergency support for endangered venues, festivals, and events.
Coachella expands its dance offering in 2024 with a new stage dedicated to the genre.
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Paléo booker Dany Hassenstein hails the Swiss festival’s longstanding bond with its audience after all 200,000 tickets for the 2024 event sold out in just 21 minutes.
Spain’s Association of Music Promoters reveals the domestic live music sector generated more than €578m in 2023 – the highest figure ever recorded.
DEAG founder and CEO Peter Schwenkow uses his 70th birthday party to announce he is handing over operational management of DEAG to co-CEO Detlef Kornett.
UK promoters FKP Scorpio UK and Communion Presents merge to form Communion ONE (see page 10).
Swifties attending the star’s three Stockholm concerts are expected to spend half a billion kroner (€43.6m) in the city.
Russia charges four people with committing an act of terrorism over the 22 March massacre at Crocus City Hall (see page 8).
Russia has charged four people with committing an act of terrorism over the 22 March massacre at Crocus City Hall.
At least 143 people were killed and more than 150 wounded in the assault on the concert hall in the town of Krasnogorsk on the outskirts of Moscow.
Gunmen stormed the venue prior to a gig by veteran Russian rock band Picnic, who had been due to perform two shows over the weekend with a symphony orchestra. Around 6,200 people are thought to have been in the venue at the time, with the attackers setting fires that engulfed it and causing the roof to collapse.
“People in camouflage broke into Crocus City Hall and started shooting before the start of the concert,” reports Russia’s state news agency TASS.
The Islamic State (IS) group has
claimed responsibility for the atrocity –the deadliest terror attack on Russia in two decades – and posted video evidence showing attackers firing on the crowd.
"We heard shots, and then they got louder and louder and louder,” an eyewitness told Sky News. “And when I saw the staff running down the hall and behind the stage, I realised this was a terror attack.
"Then, when we got to the first floor, there were already people killed, many, many bodies. Groups of two, three, five people. When I turned to my right, there were 15 people killed there."
TASS says the four suspects have been officially identified as citizens of Tajikistan and have been remanded in custody until at least 22 May. The men were arrested in the Bryansk region, 400km south-west of the Russian capital, around 14 hours after the attack. All appeared to have been
beaten before the 24 March hearing at Basmanny District Court in Moscow.
All entertainment and mass events were cancelled across Russia in the wake of the incident, and a day of mourning was observed for the victims.
According to a statement by Moscow’s mayor, Sergei Sobyanin, “A terrible tragedy occurred in the Crocus City centre. My condolences to the loved ones of the victims. I gave orders to provide all necessary assistance to everyone who suffered during the incident.”
On 7 March, the US Embassy in Russia issued a security alert saying it was monitoring reports that “extremists” had “imminent plans to target large gatherings in Moscow, to include concerts.”
Russian officials have alleged, without evidence, that Ukraine had “prepared a window” for the terrorists to cross the border from Russia into Ukraine – a claim Kyiv has dismissed as “absurd.” The US also says that IS “bears sole responsibility.”
“There was no Ukrainian involvement whatsoever,” says US National Security Council spokesperson Adrienne Watson. Meanwhile, France has raised its terror level to the highest level, with President Emmanuel Macron stating the group allegedly behind the Russia attack had also recently attempted multiple attacks in France.
Mean Fiddler founder and festival pioneer Vince Power passed away on 9 March at the age of 76.
Working across festivals such as Glastonbury, Reading & Leeds, Phoenix, The Fleadh, Madstock, Hop Farm, and Spain’s Benicàssim, the Irish promoter is credited with helping change the face of the music industry.
“It is with great sadness that we confirm the passing of Vince Power,” reads a statement from his family. “A visionary entrepreneur who enhanced and influenced the music industry significantly, whilst always being a dedicated, loving father and a loyal friend to so many.”
County Waterford-born Power sold his Mean Fiddler Group venue and festival empire to Clear Channel – now Live Nation – in 2005 and went on to set up ventures including Vince Power Music Group and Music Festivals plc. He took over the running of Dingwalls, a 500-cap venue in Camden Town, London, in 2020.
Glastonbury Festival and Taylor Swift’s Eras Tour have emerged as beacons of the wider economic benefits of live music.
Commissioned by the festival’s organisers and carried out by research specialist Fourth Street, Glastonbury’s Economic Impact Summary 2023 found last year’s event in Somerset to have had a “significant positive economic impact,” generating around £168m for UK businesses, including £32m for local firms.
The report was based on a survey of 643 festivalgoers, plus an online survey of 354 staff and 148 volunteers, along with 30 telephone interviews with local businesses.
Festivalgoers were estimated to have spent £1.6m in the wider Somerset community, 50%
of which was spent in local shops and supermarkets. Around 900 attendees stayed in local hotels and B&Bs during the event, contributing around £450,000, with 4,000 staying in privately run offsite campsites, spending in the region of £6.5m.
Crew working for Glastonbury were estimated to have spent about £900,000 with local businesses outside the event during their time on site, while festival volunteers are estimated to have spent a further £500,000. There were more than 10,000 volunteers in 2023.
The festival also sustained more than 1,100 UK jobs, 325 of which were based in Somerset. An additional 1,750 people worked directly for the event over shorter periods of time.
It also revealed that last year’s event, which welcomed more than 140,000 ticket-holders for high-profile sets from the likes of Elton John, Arctic Monkeys, Guns N’ Roses, Lana Del Rey, Wizkid, Lizzo, Blondie, and Cat Stevens, cost £62m to stage. General sale tickets were priced £335.
Elsewhere, Taylor Swift has been credited with helping to boost Singapore’s growth forecast, with one economist forecasting the singer’s six concerts at Singapore National Stadium will add S$300-400m to the city-state's economy.
DBS Bank economist Chua Han Teng told CNA that the concerts are estimated to add around 0.2 percentage points of GDP to Singa-
pore's economy.
"Such large-scale popular events will help to bolster Singapore’s position as a thriving live music entertainment venue in the long-term," he says.
The shows became the subject of international controversy, however, when Thailand’s prime minister claimed Singapore had struck an exclusivity deal to prevent the singer from performing any other Eras tour dates in Southeast Asia.
During his keynote address at the iBusiness Forum 2024 in Bangkok, Thai PM Srettha Thavisin said he was told the Singapore government offered $2m to $3m per show as part of the arrangement, after enquiring why the tour would not be stopping in Thailand.
The culture ministry and the Singapore Tourism Board admits working directly with concert organisers but declined to confirm either the amount of the grant or the existence of an exclusivity deal.
“It is likely to generate significant benefits to the Singapore economy, especially to tourism activities such as hospitality, retail, travel, and dining, as has happened in other cities in which Taylor Swift has performed,” says a joint statement.
Singaporean hotels and airlines reported that demand for flights and accommodation around the dates of Swift’s residency had increased up to 30%.
AEG Presents and US-based Latin music promoter Cárdenas Marketing Network (CMN) have entered into a “historic” partnership.
The strategic alliance will create “the world leader in live Latin music” and will lead to the development of “elevated and expanded experiences” for artists and audiences globally.
“We are excited to partner with AEG Presents, one of the most powerful global forces in live entertainment,” says music entrepreneur and CMN founder and CEO Henry Cárdenas. “I have known Jay Marciano for over 40 years and have deep respect for all his accomplishments and the tremendous business that he has built at AEG Presents. Together, we look forward to making an even greater impact on the explosive growth in the Latin market.”
Founded in 2001, Chicago-based CMN promotes global tours by artists such as Marc Anthony, Bad Bunny, J Balvin, Daddy Yankee, and Nicky Jam. Most recently, it launched the largest
global Latin music tour with Luis Miguel.
“Henry is a true entrepreneur and visionary, and what he and his team have built is simply awe-inspiring,” says AEG Presents chair and CEO Jay Marciano. “We have been looking to expand our presence in Latin music and concerts for quite some time, and it was important that we took the time to find the right partner; we found it in Henry and CMN.”
AEG has also announced an exclusive multi-year partnership with professional golf tour LIV Golf. From this spring, AEG Presents and its Concerts West subsidiary will book musical acts and produce live concerts for LIV Golf tournaments around the globe, including talent booking, artist management, show and venue planning, creative development, and technical production.
The breakaway golf circuit is financed by the Public Investment Fund, the sovereign wealth fund of Saudi Arabia.
Elsewhere, promoters FKP Scorpio UK and Communion Presents have merged to form Communion ONE.
It will be led by a board including MDs Daniel Ealam, Mazin Tappuni, and Scott O’Neill. The non-executive leadership team is formed by Communion’s MD Jamie Emsell; Communion co-founders Kevin Jones and Ben Lovett; FKP Scorpio CEO and founder Folkert Koopmans; and promoter Carlo Scarampi as a partner.
Communion ONE’s team has promoted artists such as Ed Sheeran, Noah Kahan, Sam
Nigeria’s first purpose-built arena is set to open in Lagos at the end of next year.
The $100m, 12,000-cap arena is projected to host 200 events each year on Victoria Island, an affluent area that serves as the city’s main business and financial centre.
The consortium delivering the project includes Live Nation, Oak View Group, Tayo Amusan (chairman of real estate company Persianas Group), the Nigeria Sovereign Investment Authority, Yinka Folawiyo (chairman of the Yinka Folawiyo Group), Nigerian investment fund Adino Capital, and MBO Capital.
“Nigerian artists are some of the most influential in the world right now and yet they have nowhere to play in their home market,” says OVG chair and CEO Tim Leiweke. “We want to change that.”
Fender, Lewis Capaldi, Phoebe Bridgers, Mitski, TEMS, the War on Drugs, and Laufey.
“Bringing our two brilliant teams together and combining our shared experience, resources, and perspectives is the most natural thing in the world,” says a joint statement by Ealam, Tappuni, and O’Neill.
In addition, Colombian promoters Breakfast Club and TBL Live have joined forces to create new entertainment company Breakfast Live. The combined firm plans to stage around 60 events in 2024.
“At TBL Live, we are fans of the fans, and this union of forces and talents will open a new chapter in the entertainment industry,” says Andrea Valencia, CEO of TBL. “Two Colombian companies synergise to create opportunities for the audiences, bringing them closer to their favourite artists.
“Starting today, we are Breakfast Live, and we are here to host the best stories, moving emotions through music and culture.”
Both Breakfast Club, which was founded in 2013, and TBL Live, launched in 2018 by CLK, will continue to operate other business verticals independently from event promotion.
“Today, our paths cross to reach new horizons,” adds Carlos Franco, CEO of Breakfast Club. “From now on, we cease to be simply a club, and we become a platform for tireless creators, eternal visionaries, and dream makers that we will bring to reality with the same love with which they were imagined.”
Live Nation EMEA president John Reid adds: “Nigeria and Africa more broadly present massive opportunities to touring artists when it comes to connecting with their global audiences. This brand-new, 12,000-capacity venue will open up Nigeria to international stars, and Nigerian artists will benefit hugely from having an arena to showcase their talents in front of a home audience.”
Leiweke has also opened up on plans to build “the greatest arena in the world” in London.
“London has the O2 and Wembley – it needs another great arena,” he said during the Hotseat interview at ILMC.
“The west side of London needs a new arena, and the city can handle two or three arenas,” he continued. “If you look at LA, they have the Intuit Dome, The Forum, Crypto, Hollywood Bowl, the Greek Theatre, and Honda Center down in Anaheim. So, technically, you have six buildings in the marketplace. And by the way, we have the new Acrisure Arena down in Palm Springs. So look at the competition in that marketplace.
“London needs an arena as good or better than OVG’s Co-op Live or Intuit Dome or the Sphere or Madison Square Garden. London’s the greatest market in the world for music, end of story. Why don’t we build the greatest arena in the world for London?”
AGENT Sarah Thereze Nelsey | Midnight Mango
With a sound that echoes the dream space of the Cocteau Twins fused with the dark romance of Suede and Placebo, beautiful mechanica use melody and power to create a thrilling live experience.
Now in its second incarnation, the band comprises founder Graham Sampson, Dougal Clunie, Ian Medany, Steve Bellamy, and Warren Farr. Over the course of some 30 shows, the quintet has supported Heaven 17, Big Country, Jesus Jones, A Flock of Seagulls, Spear of Destiny, Chrystabell, Toyah, the Primitives, the Woodentops, and Martin Rev.
Singer Sampson has also provided music for independent film and has had his work inducted into the British Library Sound Archive to provide a permanent record of songwriters of this era. His music was also featured in the short, independent film Dandelions by Alina Portnova.
33 Below (NZ)
4batz (US)
Tom Jones & Jamie Waldman, UTA
Brent Smith & Lauren Marker, Wasserman Music
Alessandra (NO) Tom Matthews & Anastasia Klochkivska, UTA
Amie Blu (UK/FR)
Andromedik (BE)
Andy Goodwin (UK)
Ash (EG)
Ashley Hutchings (UK)
Kazia Davy & Jacob Simone, UTA
Francesco Caccamo, Primary Talent International
Matt Bates, Primary Talent International
Jules de Lattre & Max Lee, UTA
Nick Wilson, Midnight Mango
AGENT Rob Gibbs | Progressive Artists
Described by CLASH as “carefully etched indie folk,” Melbourne-based Rowena Wise delivers songs with a sense of honesty, holding space for all of life’s beauty and messiness. Her storytelling is like a close friend offering heady ruminations on love, loss, and alienation while providing gentle courage and empowerment.
Dubbed a “lyrical assassin,” she has a voice that can caress you in one breath and carve you apart in the next. Live, Rowena’s depth and relatability quickly draw the listener in over breezy guitar work and conversational lyricism.
With her debut album, Senseless Acts of Beauty, on the horizon, Rowena is poised to make her mark as “a menacing force in indie-pop’s next generation” (Pilerats), cementing her as a compelling voice in the indie music scene and beyond.
asiris (US)
Automatic (US)
Babehoven (US)
Tom Matthews, Alana Gitt, Alexis Lesko & Maria Kanatous, UTA
Adele Slater, Wasserman Music
Nikita Lavrinenko, PlayBook Artists
beautiful mechanica (UK)
Black Sherif (GH)
Blanco (UK)
Bloody Civilian (NG)
Bradley Simpson (UK)
Brandi Cyrus (US)
Caleb Calloway (US)
Cameron Whitcomb (CA)
Charlotte Haining (UK)
Coi Leray (US)
Sarah Thereze Nelsey, Midnight Mango
Rebecca Prochnik & Shanae Dennis, Wasserman Music
Dotun Bolaji & Jack Herron, Primary Talent International
Shanae Dennis, Wasserman Music
Oliver Ward, Nikos Kazoleas, David Zedeck,
David Galea & Janet Kim, UTA
Nate Sokolski, Wasserman Music
Juan Toro, Wasserman Music
Jonathan Insogna & Matt Runner, Wasserman Music
Tom Jones, UTA
Brent Smith & Matt Elam, Wasserman Music
Coupdekat (UK)
Scott Schreiber, Tom Jones, Carlos Abreu, Max Lee, Sam Kirby Yoh & Zoe Swindells, UTA
Crystal Murray (FR) Jules de Lattre & Kayleigh Lawrence, UTA
d4vd (US) Brent Smith, Len Chenfeld & Lauren Marker, Wasserman Music
Dent May (US)
Disko Cowboy (US)
Dizzee Rascal (UK)
Doghouse Derelicts (UK)
Nick Parker & The False Alarms (UK)
Oneman (UK)
Orchestral Qawwali Project (UK)
Ovy on the Drums (CO)
Guillaume Brevers, Hometown Talent
Beth Morton, UTA
Max Lee & Gary Howard, UTA
Sarah Thereze Nelsey, Midnight Mango
douovelle19 (UK) Jack Clark, Jamie Waldman & Kayleigh Lawrence, UTA
DRIIA (UK)
Dutch Criminal Record (UK)
Ena Mori (PH)
Future (US)
Hitty (UK)
Ian Prowse & Amsterdam (UK)
Imogen and the Knife (UK)
Sarah Thereze Nelsey, Midnight Mango
Jack Herron, Primary Talent International
Ethan Proctor, Midnight Mango
Juan Toro & Ryan Soroka, Wasserman Music
Papa Roach (US) Corrie Martin, Anna Bewers & Geoff Meall, Wasserman Music
Pauric O’Meara (IE)
Pencil (UK)
Penny Mob (UK)
Petch (TH)
Hannah Shogbola, UTA
Louise McGovern, Midnight Mango
Oliver Ward & Zoe Swindells, UTA
Brent Smith & Lauren Marker, Wasserman Music
Jack Clark, UTA
Sarah Thereze Nelsey, Midnight Mango
Matt Bates, Primary Talent International
Infinity Song (US) Guillaume Brevers, Hometown Talent
Jack Browning (UK)
JGrrey (UK)
Juliet Ivy (US)
Lu Re (UK)
Lubiana (UK)
Joe Frampton, Midnight Mango
Ed Thompson & Sam Lister, ATC Live
Pink Thomas, Midnight Mango
Geoff Meall, Wasserman Music
Poppy Ajudha (UK) Caitlin Ballard, ATC Live
Rainbow Girls (US)
Remember Monday (UK)
Rowena Wise (AU)
Royal & The Serpent (UK/EU)
Andy Reed, Midnight Mango
Beth Morton, UTA
Rob Gibbs, Progressive Artists
Christina Austin & Anastasia Klochkivska, UTA
Sam Wills (US) Marlon Burton, ATC Live
samxemma (UK)
Andy Reed, Midnight Mango
Dotun Bolaji, Primary Talent International
Matt Bates, Primary Talent International
Hannah Shogbola, UTA
Will Marshall, Primary Talent International
Lucky Love (FR) Jules de Lattre, Christina Austin & Zoe Williamson, UTA
Major League DJz (ZA) Shanae Dennis & Alex Hardee, Wasserman Music
Marem Ladson (US/ES)
Sally Dunstone, Primary Talent International
Sari Schorr (US) Andy Reed, Midnight Mango
SASAMI (US) Clemence Renaut, ATC Live
Sawyer Hill (US)
Seafood Sam (US)
Sham 69 (UK)
Duncan Smith, PlayBook Artists
Mk.gee (US) Tom Schroeder & Michael Harvey-Bray, Wasserman Music
Mohamed Ramadan (EG)
Chris Smyth & Alex Hardee, Wasserman Music
Sally Dunstone, Primary Talent International
Sarah Thereze Nelsey, Midnight Mango
Sophia Violet (UK) Hannah Shogbola, UTA
Sublime (US) Corrie Martin, Fred Zahedinia & Anna Bewers, Wasserman Music
The Early November (UK) Guillaume Brevers, Hometown Talent
The Smyths (UK)
Mike Malak, Wasserman Music
Monobloc (US) Lola Mitchell, 13 Artists
Morgan Wade (US) Adele Slater & Olly Hodgson, Wasserman Music
Mouth Culture (UK) Obi Asika, Zoe Swindells & Anastasia Klochkivska, UTA
MRCY (UK)
Murkage Dave (UK)
Alex Bruford, ATC Live
Dave Jennings, Toucan Talent
MYNK (UK) Steve Taylor, ATC Live
Sarah Thereze Nelsey, Midnight Mango
Tyler Ramsey (US) Stuart Kennedy, ATC Live
underscores (US) Pete Nash, Sally Dunstone & Matt Pickering-Copley, Primary Talent International
Unpeople (UK)
Video Age (US)
Warren G (US)
James Osgood & Zoe Swindells, UTA
Joren Heuvels, Hometown Talent
Obi Asika, Chris Jordan, Janet Kim, Sarah Casey & Sammy Gardiner, UTA
Yamê (FR) Clementine Bunel, Wasserman Music
“You can’t be what you can’t see; representation is key”
I’m a multidisciplinary backstage creative who specialises in live audio, stage production, and tour management, with a background in youth work, public speaking, and diversity consultancy.
Only 5–7% of the audio industry comprises women; if I’m being generous, maybe 1% are women of colour. That’s uncomfortable at times because it’s always, “Where’s the sound man?” When I’m the sound woman, I’m undermined a lot. I’m not going to be able to pick up that flight case without every Tom, Dick, and Harry saying, “Can we give you a hand?”
Growing up, I thought I’d be a big DJ in Ibiza and then realised there might not be a lot of life in that, so I honed my interest in sound systems and was really fascinated by cones inside speakers and soldering. So I took an apprenticeship in a venue to learn how to write a contract and how to send an email; I wanted to become comfortable in the professional world after leaving college. Going into that space allowed me to excel, and I stayed there for four years. During that time, I was supported by an amazing man called Franklyn Sweeney, who has been mentoring me since the age of 15. He taught me that all you need is hope. All you need is someone to just see you. Frank saw me for who I was and who I could become. That gave me the confidence to enter spaces like this that might be a bit daunting. It gave me the confidence to go out and talk to people. What I quickly realised was that your network is your net worth. It’s not what you know, it’s who you know. From there on, I took every job that came my way. I was happy to fill up skips or unload a truck.
sible career paths for them to get into. I’d like Petok to be the go-to place for hiring women, trans, and non-binary people working behind the scenes, screens, and lens. The biggest achievement for Petok is to have our global database used by major festivals, record labels, and independent organisations.
It’s been an amazing journey for us. Currently, we have 180 associates in Petok Productions from Nigeria, Zimbabwe, Australia, Canada, US, Europe, and India, to name a few. We’ve recently been funded by Nile Rodgers’ We Are Family Foundation, who are supporting us on this journey of growing the company. (I was Nile Rodgers and Chic’s tour assistant over the last couple of years.) And it’s been a privilege to show young people that the world is their oyster.
What’s been amazing is how many organisations have shown an interest in working with us. We have been able to do quite a lot of consultancy with organisations such as AMC, BBC, and Netflix. We’ve also managed to grow Petok Academy, which is our arm for training, shadowing, and mentoring.
It’s amazing for me to get to where I am and share that with others. If you’re somebody who feels as though you’re the only one in the room, please talk up. And if you’re somebody who acknowledges that your advantage may offset somebody else’s disadvantage, please do that. Allyship isn’t just saying, “I’m not homophobic” or “I’m not racist,” it’s also about standing up for people from marginalised communities or disadvantaged backgrounds when they’re not there. You can’t be what you can’t see; representation is key.
In 2019, I quit my job to launch Petok Productions, to increase representation of women, trans, and non-binary people working behind the scenes, screens, and lens. At first, I just walked around with business cards. I didn’t know what it was at that time, but I was just sick and tired of not having space for people who looked like me or came from marginalised communities or disadvantaged backgrounds – which accounts for a lot of the community that I grew up in.
The longer term goal for Petok Productions was always to offer mentoring opportunities. I’m passionate about making sure that the younger generation is shown that these are pos-
This comment piece was taken from Pembe’s Soapbox Session, which took place at ILMC’s Futures Forum 2024.
Pembe Tokluhan is a backstage creative specialising in sound engineering, stage management, tour management, and live music production. She is the founder of Petok Productions.
petokproductions.com
“Music is still at the heart of what customers want. But we’re learning that audiences are seeking out more than just the lineup”
There’s been a massive shift not only in audience demands, but also in the media landscape, and what’s happening in the live music industry.
For a PR company, audience is everything: understanding who they are, what they like to do, and what they enjoy doing when not at festivals. What are they passionate about? What do they really think about your event?
2023 was an interesting year for festivals, as there was a lot of change. The market is very saturated – there are over 800 festivals in the UK alone, and it’s growing, and becoming busier year on year.
Costs across the board are up. Insurance has ballooned, artist fees are higher than ever, while general supplier budgets have spiralled. It’s a difficult time for promoters, who have to navigate these rising expenses by increasing ticket prices, but not so much that they alienate the consumer.
tial memories.
For Gen Z, creative content is on the rise. Attention spans are getting shorter, and the content they’re consuming is shorter. The younger generation is reverting to non-traditional mediums like TikTok or Instagram to stay informed. We need to grasp how to work with these growing channels to be able to engage and show us where our audiences are.
People are socialising, but they’re not going to as many events as before. That’s a definite shift in behaviour.
So how do bookers and programmers stand out in this crowded market?
There is a 33% increase in payment plans for festival tickets. Customers are feeling the pinch, and we need to support them. Payment plans are a good solution.
There is still a lack of diversity across festival programming, despite consumer research indicating that people want more, not just ethnicity, but also from a gender point of view.
A significant proportion of our audiences are hot on sustainability, too. Promoters know that live events create an impact, but working with sustainability minded suppliers, or finding ways to offset or reduce that impact is key. And being open and transparent is important; audiences have a strong desire to see that.
Music is still at the heart of what customers want. But we’re learning that audiences are seeking out more than just the lineup. They want to see what you’re doing with onsite lectures, workshops, and debates; wellness and wellbeing opportunities; and sustainability practices.
Gen Xers and millennials are seeking different experiences that can enrich their lives – they’re looking for things that are unique and different. By bringing this into your programming, people are prepared to spend more to create experien-
And then there’s an influencer dominance. 70% of people buy because of influencer recommendations. Finding out who your audiences follow and leaning into that with your campaigns can reap dividends.
Invite media, influencers, and content creators to your festival to experience first-hand what you’re doing. It’s a fantastic shop window that can drive great content as well.
Explore affiliate programmes around working with influencers and content creators. Giving them a kickback on tickets is a great way of being able to elevate and utilise some of their follower numbers. Always favour quality over quantity when it comes to partnerships. It can be very tempting to work with multiple media and brand partners –focus on those who share your audience and values.
Print, TV, and radio news assets shouldn’t be ignored –they are an important part of all campaigns, allowing you to authentically tell the story of your experience through earned media. But be aware that these might now be for an older demographic. Media staffing has been massively reduced. So think about how you can support media houses by making sure that you can provide them with fully formed feature angles, give access to your events, and partner them with spend where appropriate and possible.
Overall, never cookie-cutter when it comes to your campaign strategy. Figure out what you need to achieve, what your objectives are, and who your audience is. Where are they reading their news? Where are they listening to music? Where are they showing up? Once you have that information, you can build a campaign around it that will help elevate your event and drive those all-important ticket sales.
Ella McWilliam is co-founder and CEO of creative communications agency Full Fat. wearefullfat.com
Mission ILMC 36 is now complete, and for the 1,500 explorers from 55 countries who attended, it just ‘might’ have been our best edition yet. Sadly, we were ‘outta space’ before some could register, but the Royal Lancaster Mothership was a well-equipped launchpad for explorations into the international live music business.
Alongside keynote conversations with Jay Marciano, and Tim Leiweke & Francesca Bodie, ILMC saw three packed days with topics ranging from festivals, ticketing, and booking agencies to misogyny, withholding tax and mental health. From a case study of P!nk’s current record-breaking tour, to support for grassroots venues, it was a broad agenda indeed this year.
ILMC 36 also featured Futures Forum, the one-day event for young live music execs, and the launch of Touring Entertainment LIVE for family show and touring exhibition specialists. And it’ll be hard to forget either the 500-guest strong Arthur Awards this year or Jarvis Cocker’s impromptu performance at the Green Events & Innovations conference that took place the day before ILMC lifted off.
What struck the ILMC team this year was the tangible positivity in panel rooms, meeting spaces, and in
the restaurants and bars around the conference. ILMC reflects the live music business at large, and with much of the business seeing record levels of ticket sales and receipts, that positivity translated throughout the hotel this year.
We must say a huge thank you to all our sponsors for their generous support and to the chair people and speakers who donated their time and expertise to the various panels.
The following pages feature summaries of each day, details on this year’s London Calling shows, and comment from the worthy winners who went home with a coveted 2024 Arthur Award.
If you were there, a massive thank you for making the effort. And if you missed it, we’ll be launching ILMC 2025 this autumn. Stay tuned for more information soon…
TUESDAY 27 MARCH
A host of top names within the live entertainment and environmental sectors gathered for the 16th edition of GEI, the industry’s leading conference for sustainability.
The day opened with the lively Presenting Ecosystem Collapse: Sponsored by Oil and Gas panel, which aimed to educate the audience on how major music and sporting events can avoid tarnishing their reputations by choosing sponsors with honourable intentions. Citing BP’s sponsorship of a festival in Basingstoke (in which BP Pulse’s EV chargers are advertised for festivalgoers with electric cars), Luke Howell of Hope Solutions wondered whether there would be pushback from NGOs and charities towards outdoor events that sign up to such partnerships.
GEI also hosted a conversation about the gamechanging potential of the 1975’s recent landmark “carbon-removed” gigs at The O2 in London. Chaired by AEG’s John Langford, the session brought together AEG Europe’s Sam Booth, Mark Stevenson of CUR8, and Claire O’Neill from A Greener Future.
“For us at AEG Europe, a carbon-removed event essentially means measuring everything that goes on in the duration of these events,” Booth explained, further elaborating that massive amounts of audience data must be collected before the agency can then pay to have the carbon “physically removed” from the atmosphere.
When quizzed by Langford on providing a snapshot for future carbon-removed gigs, O’Neill suggested it was a “mixed bag,” where responsibilities are divided between different entities. “In the case of The O2, the venue is responsible for anything to do with electricity and gas within its confines, the food & beverage is on the catering company that brings them to the venue, the performers are responsible for their movements to and from the venue, and so forth,” she said.
Stevenson also confirmed that CUR8 was in talks with other acts about incorporating carbon-removed concerts as part of their upcoming shows and tours.
“We’ve been in touch with Metallica, and Lars Ulrich is
very keen on this,” he shared.
Another innovative concept pored over at GEI was the use of mycelium as sustainable material for building props and sets for touring acts. Hosted by Louder Than War’s John Robb, the Greening the Stage panel saw TAIT’s Carol Scott highlighting the necessity of sustainable practices in the live entertainment industry.
“I think we’re truly the first generation to fully comprehend what sustainability really means,” said Scott. “We’re actually a part of nature itself, and we need to understand that sustainability must be a key part of everyone’s life… We’re actually here to create music on a planet that’s alive and thriving, so I am very optimistic that we’re going to make good choices going forward.”
GEI’s conference programme concluded with renowned producer and EarthPercent founder Brian Eno sharing the stage with Pulp frontman Jarvis Cocker, to sound off on the importance of a healthy planet, with the latter gracing the audience with a visual exploration of his biophobia – a fear of nature. “I first realised that this condition was a problem for me when my now ex-wife glued together pages of Mary Motley Kalergis’ illustrated book GivingBirthbecause I would feel faint at the most explicit images of women giving birth,” Cocker explained.
Explaining his new outlook on life, Eno stated, “I didn’t suddenly want to give up being an artist to solely become a climate campaigner. But I thought, ‘Why don’t I just carry on being an artist, make the money I can make, and give it to the people who are doing the work?’”
Denouncing hopes of a technological fix to the climate crisis, Cocker noted, “There seems to be a worrying tendency for people to solve the problem of mankind’s effects on the environment by meddling some more.” Reading an extract from the book Salmon: A Red Herring, he said, “[This is] a very good example of what happens when man tries to play God… ‘under the weight of accelerated growth, spines curve, tails shorten, and jaws bend. More than 90% of farmed fish are deformed.’ How much faith does that give you in a technological fix for climate change?”
WEDNESDAY 28 MARCH
The International Live Music Conference’s annual stateof-the-nation opening session lived up to its billing, as senior industry leaders tackled hot topics including the venue boom, ticket prices, and breaking talent.
Chaired by CAA’s Maria May, the Open Forum: The allstars featured panellists Chris Bray of ASM Global, Niamh Byrne of Eleven Management, DEAG boss Peter Schwenkow, and Live Nation Spain chair Pino Sagliocco.
May cited Pollstar figures that showed the worldwide top 100 tours generated $9.17bn in 2023 – up 46% on the previous year. Gross from the top 100 stadiums and arenas also increased 35% and 29%, respectively. “At the top end of the business, it’s clearly in rude health,” said May. “But there’s a flip side, with grassroots festivals and venues reporting closures and challenges.”
Schwenkow noted, “This is my fourth real recession. And I love recessions because people don’t buy new houses, apartments, cars, washing machines; they’re spending their money on live entertainment.”
Bray discussed the recent renovation work at ASM’s AO Arena in Manchester, UK, and the impending opening of Oak View Group’s Co-op Live venue in the city. “Competition is driving standards,” he said. “There’s a fight to get the best talent in the venues, and that’s not just here in the UK, it’s across the world.”
Sagliocco, meanwhile, recalled attending U2’s residency at the Las Vegas Sphere. “It’s one of the most incredible venues I’ve ever seen,” he said. “[The public] don’t want to be seeing the same thing over and over again. They’re looking for a new experience, and I think that the Sphere is a tremendous [vehicle] to do that.”
Byrne, however, agreed with May’s suggestion that there are issues for mid and lower range acts, amid re-
ports of some artists at the 1,000-3,000-cap level opting not to go on the road due to it not being financially viable. “There is no live business without artists and audiences, and we shouldn’t be hammering fans to make that make sense. There needs to be something done in order to be able to invest and drive culture because, ultimately, that’s what it’s all about,” said Byrne.
Wednesday sessions included conversations on sponsorship, artists, teamwork, mental health, and extreme weather.
Elsewhere, panel highlights included Cliff Fluet, founder and MD of Eleven, hosting a session about the transformative potential of artificial intelligence on the live music and entertainment sector, while during the traditional Festival Forum session, moderator Jules de Lattre of UTA suggested the lack of headliners is partly down to the boom in arena and stadium tours.
Rising costs at festivals were also a major talking point, but Jan Quiel of Wacken Open Air countered, “There are bits and pieces to cover those costs. We’ve been doing VIP packages and making a little extra on glamping, which we only started doing a couple of years ago.”
Wednesday’s keynote saw ILMC’s Greg Parmley quizzing father and daughter Oak View Group executives Tim Leiweke and Francesca Bodie, who spoke about the company’s rapid global expansion, as well as long-term plans for the construction of a new arena in London.
“The west side of London needs a new arena, and the city can handle two or three arenas,” stated Leiweke. “If you look at LA, they have the Intuit Dome, the Forum, Crypto, Hollywood Bowl, the Greek Theatre, and Honda Center down in Anaheim. So, technically, you have six buildings in the marketplace.
“London’s the greatest market in the world for music, period, end of story. Why don’t we build the greatest arena in the world for London?”
Discussing Manchester’s Co-op Live building, Leiweke said: “It’s the largest single investment in the history of our industry internationally. It’s the most expensive arena ever built outside of North America.” The venue, which is due to open in April, will be the world’s second carbon-neutral arena after the firm’s Climate Pledge Arena, with UBS Arena slated to follow.
“We as a company are going to continue to build these arenas and make sustainability a priority and a way of life in our culture, and then hopefully, it will inspire our industry to come along with us,” said Leiweke.
The two executives also discussed the importance of the recently announced arena in Lagos, Nigeria, and the challenges of operating in an underdeveloped market. “We’ve identified Africa, from a content perspective, as an important strategic investment because they have so many great artists but nowhere to play,” said Bodie.
Leiweke added: “I predict 12 more arenas are gonna get built by us or somebody else in Africa because we’ll show people that it works and when it does work, it can be a pride point of that entire community. Wait to see what it does for emerging artists that are coming out of Nigeria. It’s going to give them a platform and a voice.”
Thursday’s ILMC programme provided delegates with the most packed daily programme in the conference’s history, with a multitude of options in terms of debate, including news from the emerging markets in the Gulf states; the annual Venue’s Venue and Agency Business sessions; ILMC production sessions; marketing tips and hints; workshops on touring & taxation and insurance; a tranche of specialist Latin Live gatherings; and much more.
In the wake of the recent UK government’s Misogyny in Music report, key figures from the industry came together to discuss the “endemic” misogyny and discrimination in the music industry.
Moderated by Eunice Obianagha (Enspire Management/UK Music), the panel considered the report’s recommendations and what more the live music business can do to combat misogyny and sexual harassment in the workplace.
Christina Hazboun, PRS Foundation/Keychange, said: “The core problem is mainly white cis men being in leading positions and the normativity that comes with the gender expectations and behaviours that come with that. This is very problematic for many women.”
While the top end of the business is booming with record earnings for A-list tours, the Touring: The bread & butter business session focused its attention on the potential crisis emerging in the mid-level.
Addressing the topic of festival headliners, Finland-based Fullsteam founder Rauha Kyyrö warned against an over-reliance on big-name talent. “If you’re really dependent on getting those few big names, then that’s going to kill your budget,” she said. “You’re probably not even going to make any money unless you sell out.”
The rise of joint headline and packaged tours was
also touched upon, with Marsha Vlasic, president of Independent Artist Group, suggesting, “It doesn’t have to be completely compatible; it’s just entertainment. When you think of packaging an act… it’s [about] how does this package look in terms of bringing in additional people and different audiences?”
Mercury Wheels/Live Nation Spain’s Barnaby Harrod, meanwhile, remained hopeful that the tried-and-tested approach to building rising stars will still bear fruit going forward. “We have to get out and support the new acts,” he said. “It’s [about] supporting bands, keeping doing those 200- and 300-cap shows, and enjoying them.” See page 28 for more on this topic.
Dynamic ticketing took centre stage during the Ticketing: At what price? panel, as participants debated whether the growth of market-based pricing in the US will be replicated in other international markets.
AEG Presents exec Arnaud Meersseman speculated there would be “massive pushback” against the practice across France. “It’s also a question of accessibility, and fans are likely to end up wondering whether gigs will only be reserved for the rich in the not-too-distant future,” he warned.
However, AXS exec Chris Lipscomb predicted that dynamic pricing will increase in prominence sooner than most think. “Ten percent of all UK shows may al-
ready be sold under dynamic pricing,” he said. “In a couple of years, I’d expect that number to increase by 30%40% and maybe even rise higher to 70%–80%.”
Another major talking point was the perception that tickets must be bought as soon as they go on sale. “Obviously, nailing the on-sale is absolutely critical, but marketing the shows via a long-term campaign with the artists up until the actual event is just as important,” said Ticketmaster UK’s Sarah Slater, citing the concert industry’s shift towards post-sale engagement.
And Meersseman believes more fan education is needed, noting, “Most people think that if they can’t get tickets within the first hour, they’ll end up being scammed when attempting to purchase them at a later time.”
Thursday’s programme concluded with the final ever (Late) Breakfast Meeting hosted by raconteur and former artist manager Ed Bicknell, who was bowing out after 23 years on the mic. His guest for the final curtain was AEG Presents chair and CEO Jay Marciano, who shared insights of his day-to-day workload, as well as his predictions for the future of the business; backstage tales of Chuck Berry, James Brown, and Prince; plus Taylor Swift’s all-conquering Eras Tour
On the future development of the business, Marciano said: "It’ll continue to be rapidly impacted by technology. There are people here who are more qualified to talk about this topic than I am, but AI is going to change everything, including the creative process. What we see on stage, how it’s presented, its use in the studio, how artists will creatively work with one another…
“Many of the young artists I talk to don’t want to be limited by just one creative medium. Once upon a time, they simply just wanted to be, say, the best guitar player in the world. I hate to use the words ‘brand extension’, but nowadays they wanna branch out into films and other things. They don’t want to be pigeon-holed into one thing.”
FRIDAY 1 MARCH
With hundreds of delegates aged under 30 and more than 40 expert speakers on hand to inform, educate, and advise, this year’s edition of Futures Forum was the biggest yet, with many ILMC regulars also in attendance to meet the next generation of industry leaders.
Programmed specifically for young live music business professionals, the Futures schedule included mentoring opportunities, a pop quiz, a number of informative 15-minute Soapbox Sessions, and various networking forums, including coffee breaks, lunch, and a closing drinks party.
Highlights from the day included the highly popular Now That’s What I Call 2024, where Midnight Mango’s Louise McGovern encouraged Gurj Summan (Live Nation, UK), Kerem Turgut (All Things Live, UAE), Niklas Magedanz (Goodlive Artists, DE), and Caitlin-Finn Ballard (ATC Live, UK) to divulge their artist tips for the year ahead, with each panellist sharing three tracks from artists they are excited about, while providing background on the artists’ journeys, live careers, and more.
The session again proved to be one of the most talked about in the ILMC agenda, ending with a queue of interested delegates waiting to find out more about the featured acts from the various speakers.
Other discussions included an examination of A&R in 2024, a fun agents versus bookers format, a panel examining the evolution of music festivals, and various case studies from A Greener Future, before the team behind DEAG-owned UK promoter Kilimanjaro Live offered a few pearls of wisdom in the 2024 Futures Forum keynote interview.
Talking about the need to find new revenue streams, Kili founder Stuart Galbraith told delegates, “We’ve deliberately in the last seven years diversified [into] more businesses where there is a better margin [with] less risk. That enables us to justify running a concert promoting business that, to be quite frank, as a standalone business is suspect. However, the fact that you can send an email and say that we promote Ed Sheeran or we promoted Live 8 or we work with Andrea Bocelli, opens so many doors, and it’s still a very, very crucial part of our business.”
Heavy hitters in the fields of production, IP, venue management, design, and more congregated for Touring Entertainment LIVE, a new event for the family entertainment and touring expos sector.
Kicking off with the State of the Nation round table, panel moderator Tom Zaller, president and CEO of Imagine Exhibitions, stated, “Consumer demand is booming in certain areas, and inflation is causing issues for some of us in certain places. We’re seeing different types of ticketing deals and dynamic pricing, but we’re also seeing production, operational, and labour costs rise.”
Other major talking points involved the restrictions placed by certain territories due to geopolitical issues. “We used to tour Russia for 12 weeks, which isn’t going to happen now,” explained Cirque du Soleil touring director David Pitman. Liz Koops, CEO of Middle Eastbased powerhouse Broadway Entertainment Group, meanwhile, stressed the importance of smaller markets: “We found that working with local promoters in countries like Croatia and Slovenia have been incredibly successful for us,” she said.
Keynote interviews at TEL included ABBA Voyage producer Svana Gisla and renowned theatre producer and writer Richard Lewis, while delegates also participated in a discourse about The A&R of IP, where the intricacies of balancing intellectual property, creativity, and data-driven decision-making were detailed.
“When we're looking at a project, we have to ask ourselves how broad or niche the appeal is,” explained Kurt Baker, SVP at Neon Global. “For example, Hunger Games doesn’t appeal to everybody, but on the other hand, Jurassic World is considered evergreen content… kids will always love dinosaurs.”
Elsewhere, John Langford, COO of AEG Europe, emphasised the value of audience engagement as a key factor in such a competitive market. “It’s easy to host 200 people in a club or a bar, but when you get to arena shows, it gets more difficult,” he explained. “It’s about making people feel that they want to come to not just see acts like the 1975, but the O2 as well. It’s about intimacy.”
Kate Bailey, senior curator and producer at the V&A Museum, highlighted the necessity to attract younger demographics. “We did a touring show last year on African fashion, which was very popular not just here but in the US and other parts of the North American continent as well,” she said.
Rounding off the maiden edition of TEL was a light-hearted session entitled We’ve Got 99 Problems & Here’s How We Solve Them, where guests debated topics from pricing strategies at family shows to the industry needing to be “smarter” about venue choice.
(FIRST VENUE TO COME INTO YOUR HEAD)
The Arthur Award is a great recognition of our outstanding achievements and our role as a leading venue in the live entertainment industry. It reinforces our ambition to establish Switzerland, and therefore the Hallenstadion, as the preferred choice for international artists and promoters and to further strengthen our reputation as a first-class venue. I would also like to thank my team and all the promoters for their efforts over the last few years. It's a great feeling to be celebrated by the entire live entertainment sector!
Philipp Musshafen, Hallenstadion
(THE PROMOTERS’ PROMOTER)
It’s an honour to be nominated (and I have been on a number of occasions). Now to win it is very sweet indeed. To do a job that I love is a great reward in itself, but to be recognised by your peers is special.
Steve Homer, AEG Presents
(SECOND LEAST OFFENSIVE AGENT)
Receiving this award felt like a huge privilege – so much more so considering it is voted for by people who have to put up with me week in and week out. 2024 feels super exciting. There are huge challenges in every direction you look – but I think there are also opportunities to come up with the answers – from sustainability to diversity to the cost-of-living crisis that has impacted all of us. It feels like a brave new era, and I am really excited to be part of it.
I am hugely blessed to have a wonderful team around me that do so much of the heavy lifting – so thanks to Dan, Elektra, Lucy, Monica, and Taylah, too. We have a great company full of great people doing great things –and I feel very proud of everything we have accomplished. But I also feel very proud to work in such an exciting industry, with so many inspirational people.
Thanks to the ILMC for the accolade – and I would also like to officially announce my retirement from all panels – as I seem so utterly incapable of getting through one without putting my foot in my mouth.
Tom Schroeder, Wasserman Music
(LIGGERS’ FAVOURITE FESTIVAL)
After such a challenging edition of the festival last year, we are very honoured to win this award and really appreciate the fact that our friends in the music industry saw the extra effort we put into the event.
It was heart-breaking that we couldn’t welcome all fans onsite. Those who stayed home were the heroes for sure. They made it possible that the event could take place in the end and that everyone who was onsite already or very close by could enjoy Wacken Open Air 2023.
We want to dedicate this award to our fans, the citizens of Wacken, the authorities, all our partners working in the production, management, agents, artists, and last but not least to the whole W:O:A crew for once again showing outstanding teamwork.
Jan Quiel, Wacken Open Air
(SERVICES ABOVE & BEYOND)
Heartfelt thanks to ILMC and all who nominated and voted for us for our Arthur Award. Providing “Services Above and Beyond” is something we strive for. For The Tour Company to be recognised for this is truly special, and we are grateful. We’d also like to give a shout out to our fellow nominees; we were in great company.
Louise Fisher, The Tour Company
(MOST PROFESSIONAL PROFESSIONAL)
I am delighted to win this year’s Arthur Award for Most Professional Professional. Thanks to everyone who voted for me and many congratulations to all the other winners and nominees.
The Arthur Awards is a wonderful event and attending 2024’s event as a nominee and then the honour of winning certainly made the evening extra special. I feel very lucky to work in this incredible industry, which has faced so many challenges over the last few years but has emerged stronger than ever. Whilst this is an individual award, I accept it on behalf of the LNE Legal team and also for all of us who keep the engine room of ‘live’ running; from one professional to another: good job.
Andrea Myers, Live Nation
(THE PEOPLE’S ASSISTANT)
It's an honour to win this award and be recognised for the work [that] assistants/EAs do behind the scenes. I want to say a big thank you to all the incredible people I work with at Ticketmaster and Live Nation.
Bhavika Patel, Ticketmaster
(THE GOLDEN TICKET)
It’s an extraordinary honour to receive this Arthur Award as it is the culmination of the incredible journey that AXS has been on for the last decade. To be recognised as the top of the industry is such a rewarding achievement, and credit really goes to our incredibly passionate and dedicated teams at AXS all around the world. We share our wins together and this is an award our whole team celebrates. We are all so grateful for the recognition and as we continue to expand around the world, we look forward to showing more partners and fans the reason we were selected as the best of the best.
Bryan Perez, AXS
(THE UNSUNG HERO)
I am truly honoured to accept this award on behalf of Music Support. It has been an incredible journey over the last eight years, but this recognition is testament to the hard but wonderful work Music Support do. It would not be possible without our incredible team, and they deserve this more than me.
Please keep supporting us. Your colleagues who are struggling need more help than you could possibly imagine.
Andy Franks, Music Support
(TOMORROW’S NEW BOSS)
Winning this award is an incredible honour. It represents not only personal achievement but also the support of mentors, colleagues, friends, and family who have helped me along the way. I especially want to thank Nacho [Córdoba] and Robert [Grima], for trusting and teaching me daily. This recognition motivates me to continue working with perseverance and passion.
Daniel Lopez, Live Nation España
I’m not a great writer or great speech writer, but I do have to tell you winning that award just absolutely blew me away! I am still reeling it from it.
When the presenter was speaking, I honestly was texting my husband and friends that I was really relieved that I didn’t win the Agent award since I hate public speaking. I was listening to Martin in the background, and several minutes into his speech, things started to set off red flags: “someone [from] across the pond; someone in the agency business; someone I haven’t met before; someone who has paved the way; someone from a less than privileged background…” My heart started racing. I said to myself: “OMG, could he be talking about me? NO! COULDN’T BE!" And then he said my name.
This is really a true honour to be recognised by the ILMC. I really can’t express how much this really means to me. Thank you, thank you.
Marsha Vlasic, Artist Group International
Wednesday night at ILMC saw the second edition of the London Calling showcase programme, featuring 17 acts on the stages of five iconic venues in and around Soho. Repeating last year’s successful launch of the event, many of the featured acts performed significant underplays, in small, intimate club settings, for the benefit of ILMC delegates.
Artists who performed:
August Charles
b1n0
Babymorocco
Backroad Gee
Emilia Tarrant
Forgetting The Future Freekind.
Gia Ford
Hyphen
Lala Hayden
Luna Morgenstern
Lyvia Mavica
Noah and the Loners Nxdia
The New Eves Yiigaa
The London Calling concept once again proved popular with delegates - hundreds of whom made their way along Oxford Street to 21 Soho (in collaboration with Ticketmaster), The Lower Third (presented by UTA), The 100 Club (presented by Music Venue Trust), the Spice of Life, and Phoenix Arts Club.
Special thanks to all of the musicians who entertained everyone, as well as FORM and Kili Presents who helped organise the shows. Supporters of London Calling included Amplead, Mad Cool Festival, Music Venue Trust, NME, The Spanish Wave, Ticketmaster, and United Talent Agency.
While the A-list tours break box office and attendance records, there’s a fear that those high-end, high-priced tickets are causing a vacuum for the career touring mid-tier acts. James Hanley looks back on some of the concerns raised during ILMC 36.
In many an argument, the truth often lies in the middle. And that is exactly what the global touring biz is grappling with, as it faces up to a potential mid-tier crisis. Clowns to the left of me, jokers to the right… On the surface at least, business is red hot – the embodiment of the smartphone fire emoji, if you will. Records are being smashed left, right, and centre on a monthly (sometimes even weekly) basis. The worldwide top 100 tours
earned $9.2bn in 2023 – up 46% on the previous year – according to Pollstar’s year-end charts. Attendance was up 18.4% in total tickets sold to 70.1m. Gross from the top 100 stadiums and arenas rose 35% and 29%, respectively.
It doesn’t end there: Taylor Swift’s Eras Tour became the first in history to surpass $1bn in revenue and is projected to gross another $1bn this year. Swift led a touring boom in 2023, with more tours than ever grossing above $300m
(three), $200m (seven) and $100m (17).
But while the numbers don’t lie, they don’t tell the whole story either. Delve beyond the spectacular headline figures and a more complex picture emerges – a puzzle that was the talk of the town at ILMC 36 in London last month.
It’s widely known that production costs have rocketed post Covid, and with margins on mid-level shows far tighter than arena and beyond, some promoters are saying that the eco -
nomics of some tours now just don’t add up.
“At the top end of the business, it’s clearly in rude health,” says CAA’s Maria May, chair of Open Forum: The all-stars, the conference’s traditional state-of-the-nation opening address. “But there’s a flip side here, with grassroots festivals and venues reporting closures and challenges.
“We’re also fully aware that in the middle and lower range, it is tough – really tough. And at the 1,000-3,000-cap level, there are reports of artists who are deciding not to tour at all. The budgets simply don’t add up, and artists are just not going on the road.”
The UK’s Music Venue Trust declared that 2023 was the worst year for UK venue closures since its launch a decade ago, while UK trade body the Association of Independent Festivals
Paloma Faith sets out on an extensive UK tour in April © GoodFon.com (creative commons)
reports that more than 21 UK festivals have now announced a postponement, cancellation, or complete closure in 2024.
So, as A-list tours reach new heights, is live music’s bread-and-butter business stuck in the starting blocks? For Eleven Management co-founder Niamh Byrne, the answer is a resounding “yes.”
“From a mid-level point of view, it’s really, really tough, and I feel like we have a big conundrum,” says Byrne, whose roster includes Bastille, Blur, and Catfish and the Bottlemen. “There is no live business without artists and audiences, and we shouldn’t be hammering fans to make that make sense. There needs to be something done in order to be able to invest and drive culture because, ultimately, that’s what it’s all about.”
As mid-level acts rely on touring for their income, one potential safeguard being touted is for collection societies to consider providing breaks for mid-sized shows. “We’re losing tours, events, and festivals because of the spiralling costs of everything, which in turn means the royalty societies will suffer exponentially. To protect themselves, as well as their members, they should consider some kind of discounted rate,” states one European festival executive.
“Everyone talks about grassroots touring being difficult, or the 1% at the top making too much, but the middle is where the crisis really is. And it’s the ancillary value of those bands not touring, or touring less, that’s the biggest problem. Unless the industry stimulates solutions to the mid-level of the market, we have a massive time bomb.”
Given the widening gap between the superstars and the rest, One Fiinix Live founder Jon Ollier questions whether “boom and bust” would be a more apt description of the modern circuit.
“It feels to me like it’s becoming harder and harder for artists to reach a point where they actually make a profit on touring,” he offers. “It’s either massive and it makes money, or it’s small and it’s not.
“You’re not seeing those artists get up to 3,000-cap level, stay there, and churn that over as their career. You’re seeing them blow through that barrier into arenas and make money, or struggle underneath that.”
Finland-based Fullsteam founder Rauha Kyyrö agrees it is becoming increasingly difficult to make money on shows below arena level.
“If we have enough touring on a club- and medium-size-level, we can probably cover our overheads and make it work somehow, but we will need the stadium [concerts], or very successful festivals, to make money,” she says. “Touring, for me, is more [for] artist development actually.
“That [200-300-cap club] level has always been about developing, but now it feels like you’re also just investing at the 1,500 [capacity level], instead of at least getting your costs covered.”
She adds: “I also own a management company, and not many of the artists make a lot of money on basic touring. Some do – the biggest ones make more money than ever – but I don’t see the ones that are still in the investing phase making a living out of it. That’s where you need to find someone to pay for it, I guess.”
Be that as it may, legendary agent and Independent Artist Group vice-chair Marsha Vlasic maintains the predicament does not represent uncharted waters for the sector.
“Way before the pandemic, even way before any economic problems, bands came and did 20to 30-city tours in a van and put the time and effort into it,” she recalls. “They stopped at every radio station and record store and promoted
their music. They didn’t make money then.”
Indeed, those principles still form the backbone of the promoting trade, nods Mercury Wheels/Live Nation Spain’s Barnaby Harrod.
“[With] bands coming through, it’s always been about investing in them,” he says. “People [being] prepared to break even or to make small amounts of money to invest in the band so that they will come back and do the 2,000/3,000 [capacity shows] and then into the arenas and stadiums if we’re lucky.”
Germany-based DEAG founder and CEO Peter Schwenkow supports Live Nation chief Michael Rapino’s recent assertion that ticket prices “are still not high enough,” referencing the secondary ticketing market.
“As long as we have a market outside the market – where certain organisations can ask for twice the price that is on the ticket – then tickets are not expensive enough,” he argues.
Nevertheless, even in the face of rising costs, Kyyrö floats the idea of reducing ticket prices and treating club shows as loss leaders in a bid to entice more people through the doors and elevate acts at a faster rate.
“In order for any of that to make any financial sense, the ticket prices will have to be at a level where it’s actually not an introduction to the market anymore,” she says. “You actually need to have fans. So is it then better that we just make the ticket price €10 and take that hit? Because we’re gonna take the hit anyway, and then at least it helps us grow the artists to the next level faster. I think it’s an interesting conversation.”
However, lowering prices is simply not a realistic option, contends Jan Digneffe of FKP Scorpio Belgium.
“I think that’s difficult,” he says. “Ticket prices are not high enough, but I think we can all agree that they shouldn’t be any higher – they should be as low as possible for everybody – so we’re kind of stuck in that situation. […] We have to keep [bringing these bands over and putting] them in front of an audience at a cost. Because if we [don’t] keep doing that as promoters, then we’re ambushing our own industry, and we will get in trouble.”
Digneffe points to ingrained issues, disclosing that the promoter’s fee for a sold-out show at a prominent Belgian club remains the same as it did more than 20 years ago.
“Everything is getting more expensive,” he says. “Somebody is getting the extra money –ticket prices are actually going up. But on that level, where it is important to help build artists, it’s clearly not going in that direction, and I think that is a problem.”
And the challenges are not limited to certain markets, adds Digneffe – similar hurdles are popping up across the board.
“We are all seeing the same things,” he notes. “If it’s a very big show, you can earn money.
From the moment you take it down a level, it’s getting a lot harder. There is still a little bit of money to be made, but we all know with the smaller clubs, it’s the last 50 or 100 tickets that will make the difference between making some money or losing some money. And you need a whole lot of them to get somewhere to be able to cover your costs. So, indeed, if your bigger arena tours are not there or your stadiums are not there, I see an alarm light flashing.”
Kyyrö, who was recently promoted to president of touring & artist development at FKP Scorpio, suggests the sector is also battling competition from other forms of media, such as the burgeoning video game market.
“I think we’re losing out on a lot of young people going to the shows to get that experience because, first of all, the ticket prices are high, and also the market has changed in other ways, too,” says Kyyrö.
“It actually might be a better 90-minute ex-
perience to play Fortnite than to go and see a little show,” she muses. “If you look at what’s happened with gaming, just as an example, it’s developed so much faster than our live experience has. But the price of the live experience is going up all the time.”
US-based Vlasic, who collected the prestigious Bottle Award during ILMC 36’s Arthur Awards, acknowledges that the shift in habits among younger people was a contributing factor to the status quo.
“There’s a whole generation that doesn’t leave their rooms, and they know an act by one song,” she says. “They don’t even have the desire to go for the live experience. They’re very content with their group chats and TikTok and just discovering new songs, not artists. That’s the worrisome generation, because they don’t even think about going to a live show.”
Furthermore, Vlasic laments the obsession with streaming numbers, which she blames for
“We have to keep [bringing these bands over and putting] them in front of an audience at a cost. Because if we [don’t] keep doing that as promoters, then we’re ambushing our own industry”
Jan Digneffe | FKP Scorpio Belgium
Suede & Manic Street
Preachers co-headline on summer dates this year
© Gonzales Photo / Alamy
Scottish singer-songwriter Tom Walker tours widely in Europe this year
distorting an artist’s worth on the live scene.
“You still go out, and you’re still looking, you still hope, but you don’t get the calls from the record companies,” she sighs. “It’s all about the streaming, and if I hear more streaming numbers, I’ll go crazy. It’s just maddening – and streaming numbers don’t sell tickets. I’ve always prided myself in working with career artists. How do we develop groups? It’s a really frightening thought.”
Veteran promoter and Live Nation Spain chair Pino Sagliocco bemoans the lack of support for up-and-coming talent, which he believes cuts to the heart of the matter.
“I think the problem is that we don’t do enough to build a bridge to help younger talents who are asked to try and make a living every day,” he says. “That’s why I’m so proud to help develop burgeoning Spanish musicians while convincing local politicians that we need a sponsorship break. We have the funds to support these artists through the banks, and I feel that is really important.”
Moreover, Digneffe suggests the time and attention given to huge global tours by established top-tier acts is to the detriment of those both in the mid-tier and at the start of their careers.
“What is frustrating everybody about these world tours is this cherry picking that’s going on all the time,” he continues. “I don’t want to be like a preacher in a church or anything, but cherry picking also comes with a responsibility to look after the next generation. No one is doing that at the moment, and I think that’s a real problem. The promoters that find solutions for that will help keep our business healthy.”
Indeed, there appears to be an audience malaise for some of the bread-and-butter acts –those artists and musicians that rely principal-
ly on live for the majority of their income and therefore regularly tour every 12-24 months are, anecdotally, not seeing the same ticket sales anymore. Fans that know those artists will come around again soon, seem less willing to buy a ticket, whereas the high value stadium shows that do not come around every year are more unique and doing better than ever.
With increasing frequency, co-headline and packaged tours are coming to the fore as a means of sharing the load. Proponents include Mötley Crüe & Def Leppard, Suede & Manic Street Preachers, The Charlatans & Johnny Marr, Stone Temple Pilots & +LIVE+, Pixies & Modest Mouse, I Prevail & Halestorm, and Green Day, Fall Out Boy & Weezer.
While such combinations have proved particularly popular among the rock fraternity, Vlasic suggests the acts do not necessarily have to be a perfect fit.
“As bigger acts are getting off the festivals and going into stadiums, the only way to do it is to piggyback and share the cost of the production,” she says. “It doesn’t have to be completely compatible; it’s just entertainment. When you think of packaging an act… it’s [about], how does this package look in terms of bringing in additional people and different audiences?
“[But] so many of them want to headline on their own, and the market is saturated. I don’t know how the summer’s going to do this year –and everybody’s gone on sale so much sooner.”
Though Digneffe applauds the idea, he advises that persuading all parties of its merits can be easier said than done.
“I think it’s an interesting idea, but you have trouble getting everybody on board,” he says. “If you look at the metal and the hard rock scene,
there is a lot more going on, and there is a lot more understanding between bands as well.
“We all know it’s an ego business. But I think that some people need to step down from their throne in order to be able to play better venues, and that will make the costs go down. It’s a more fun night for the punter anyway, so I see nothing but advantages. But to get it done, you need everybody on board. You need the agents to be on board. You need the management to be on board.”
Vlasic also implores artists to embrace VIP ticketing, admitting that the reluctance of some acts to do so – notably those outside the United States – is a growing source of frustration.
“VIP is huge,” she says. “We had a package two summers ago that broke every record. But I have artists that just won’t do it. And it’s so frustrating because, again, they don’t understand the value of it. It’s actually mostly non-American artists that don’t allow it. But it’s such a big source of additional income.”
Putting a more positive slant on the current state of play, Eleven’s Byrne shares her conviction that difficult periods can spur innovation.
“Sometimes, going through hardships and recessions can be a really good thing,” she says. “It’ll force us to become more innovative with our ideas, and I’m looking forward to exploring new ways of doing things, as well as opening up lots of international markets.”
Wrapping up, DEAG’s Schwenkow attempts to finish on a similarly optimistic note.
“I think this is my fourth real recession,” he concludes. “And I love recessions because people don’t buy new houses, apartments, cars, washing machines; they’re spending their money on live entertainment. We had a terrific ’22, we had a very, very good ’23, and ’24 looks great as well.”
Historically bolstered by cowboy western movies and the likes of US servicemen stationed around the world, country music has been something of a niche international genre. But now, with a multigenerational audience and impressive growth figures around the planet, country music is everywhere, with acts appearing on mainstream festival stages and selling out arenas. Gordon Masson reports.
With the likes of Beyoncé and Lana Del Rey set to release country music albums this year, countless million new fans will be switching on to the genre, further elevating its success both at home in the United States and around the world.
Statistics show that country music was the second most popular genre in the US last year, behind only pop and rock, while it also showed year-on-year sales and streaming growth of more than 20% in 2023, according to American publi-
cation Newsweek.
And that growth curve is being replicated internationally where promoters are exploiting newfound interest in the genre to organise concerts and festivals for a loyal fanbase, which is expanding rapidly with an eager – and younger – set of converts.
Underlining that progress, the streaming of country music in the UK has grown by 380% in the past five years, and one in every 100 tracks streamed there is reportedly a country song.
“The UK is one of the strongest international markets for country music, and it has been build-
TAKK had Brad Paisley at The Hall in Zurich in late February
© loadsofmusic.com
ing steadily for many years, but most recently, we’ve seen an explosion in the genre with ticket sales doubling and tripling and several artists selling out UK arena shows in minutes, such as Morgan Wallen, Shania Twain, and Chris Stapleton, all of whom we work with,” says Anna-Sophie Mertens, VP touring for Live Nation UK.
“Morgan Wallen played his first European show last December at The O2 [arena], which sold out in minutes, and we are already able to bring him back to headline Hyde Park six months later; this simply underlines how fast country music is growing and the size of the audience it can now reach.”
The growth of the country genre in the UK has been helped by radio presenter Baylen Leonard, originally from Bristol, Tennessee – the birthplace of country music – but who has been living in London for the last 24 years.
While working at the BBC, Leonard recalls he always wanted to broadcast country music. “If it was a bank holiday and everybody else was away, they’d let me do a country show, which helped
them cotton on to the fact that country music was a thing, so I started doing that more on Radio 2 with Bob Harris and then moved into commercial radio when Absolute and Bauer launched their commercial radio country station,” he says.
“I’d also always wanted to do a festival, and somewhere along the way, I was linked up with U-Live and met [general manager] Dawn Jones, who I now do the Long Road Festival with. Dawn and U-Live are very robust and know what they are doing, because I’m not a promoter. But I do know the country music industry, so we trust each other and do our thing.”
Having launched the first event in 2018, Leonard reports that debut attracted about 12,000 fans. “In terms of looking at a heat map, the audience comes from all over the UK, and that was one of the reasons we located it in the Midlands so it was easily accessible, because lots of people come from Scotland and the likes of London, Bristol, and Birmingham. There are also a chunk of people that will fly over from Europe.”
Another European operation expanding its presence in the country scene is TAKK ab Entertainment, which formed in July last year when it brought together three generations of promoters – Swiss business pioneer André Béchir, TAKK Productions founder Sebastien Vuignier, and IQ new boss Théo Quiblier.
“André promoted all the major country artists back in the years, including Johnny Cash, Garth Brooks, Dolly Parton, The Chicks, Willie Nelson, and many more,” states Vuignier. “He was also doing a country music festival at the 12,000-cap Hallenstadion every year in the 1980s. This created a strong country music fanbase in Switzerland, which we can still count on today.
“We strongly believe in the genre, and we put a lot of effort into convincing artists and entourages to include Switzerland in future tours. Thanks to a strong fanbase, we are able to reach really good figures, and we recently had sold out shows with Luke Combs and Brad Paisley, for instance.”
Across the border in Germany, Wizard Promotions is another long-term specialist. Speaking to IQ from Nashville, Wizard managing director Oliver Hoppe says that country music has been the company’s second-biggest genre, after rock, for many years.
“It’s interesting in Europe, where now you have Live Nation coming in strong, and AEG is building good things, but we’ve been doing country for a long time – we promoted Dolly Parton and Garth Brooks back in the day, and we did Brad Paisley’s first show in Germany,” says Hoppe.
“Back in 2014, the Country Music Association [CMA] decided it was going to put a bigger focus on Europe, and that’s ramped things up, but we’ve been working with country acts long before that. At the moment, the market is quite strong, and most acts come back to Germany and do better figures each time.”
Further north, Live Nation Norway’s Vegard Storaas is also following a long tradition of country music promoters. “Our company founder,
Rune Lem, had a poster of Garth Brooks from 1994 when he sold out Spectrum in a matter of minutes, so country has had a strong foothold here for a long time.
“There are nearly 5 million people in the US claiming Norwegian ancestry, which is almost equal to Norway’s own population. When people came back to Norway from the States, it created some sort of cultural bond between the two countries, and the music came with them. I think there are similar situations in Ireland.”
Detailing the recent local growth in the genre, Storaas says, “Before Covid, there were maybe two to four acts visiting us each year and going into the semi-big venues. You had Brad Paisley coming every once in a while, or Garth Brooks, or Shania Twain doing her thing. But the constant stream of American artists coming and playing for the theatre-capacity audience is something new, and it’s happening throughout the year. We also have a domestic group of artists, but they have their own musical direction, which is different from Nashville – they’re somewhere between country and Bruce Springsteen.”
Having specialised in the country genre for the past five or six years, Storaas says he’s witnessed a sea change. “After Covid, the willingness of American artists to invest in coming to Norway really changed – it’s gone from two or three per year to 20-30, including neighbouring
CANADA (Source: Luminate)
32% growth in on-demand streams for country music in Canada from Q4 2022 to Q4 2023. For reference, the total music industry in Canada grew by 18% within the same period.
GERMANY (Source: GFK)
32% growth in on-demand audio and video streams through the entire 2023 calendar year compared to 2022. This is nearly triple the growth rate of the overall industry for streams in Germany during that same period.
UK (Source: OCC)
Country music’s audio and video streams grew by 40% in 2023, outpacing the UK music industry by 4x (UK market grew by 10.6% in 2023). Country is the fastest-growing genre in the UK (40%), outside of Christmas (44.5% growth).
USA (Source: Luminate)
22% growth in on-demand audio and video streams for country music in 2023. For reference, the industry growth rate for on-demand streams was 15% in 2023. Country music’s streaming growth rate more than doubled from 2022 (+10%).
genres like bluegrass and Americana.”
He points to Luke Combs as the potential catalyst. “For his world tour, he sold out, upgraded, and again sold out all his rooms in Europe,” reports Storaas. “That showed Nashville that there’s a big market here, and the reason Americans are just coming to Norway is because they can now see on their streaming charts that sometimes Norway ranks number five, behind the US, Canada, the UK, and Australia. That’s a really strong fanbase for a small population.”
That support is backed up by Norway’s P10 Country radio station being one of the most listened to in the nation. “The big record labels look at trends and see that Gen Z is pushing up the streaming numbers for country artists, so I think more acts will be encouraged to record country music tracks,” adds Storaas.
There’s also been a noticeable difference in the way that American-based country acts are viewing the rest of the world when it comes to career planning.
“We’re finding that more younger acts are visiting here from very early on in their careers because they want to grow internationally as much as they want to grow in the US market,” comments Sina Hall at Semmel Concerts in Ger-
© Mushroom Creativehouse
Brian Purnell
“At WME, we’ve seen our volume of international country touring activity increase by 50% over the past few years”
Shannon Saunders | WME
many. “So sometimes our country shows start out in the small caps, and then we go up all the way to the arenas, depending on what artist is coming along.”
That pattern is also acknowledged by agents Sarah Casey and Beth Morton in UTA’s London-based HQ, who have been working hard to develop business internationally for the company’s country music clients.
“We are working with artists earlier than ever to develop international strategies for them,” confirms Morton. “It used to be that US artists would develop over there and then think about touring [internationally], whereas more of the clients that we’re working with now are considering international at the same time as they start thinking about the US. For example, Oliver Antony wanted to start his tour in Europe: we started in Scandinavia and finished in Ireland, and his shows blew out in minutes, especially in the UK. Dylan Gossett is another really good example. He kicked off his global tour in Europe, and again, those shows sold out in a matter of hours.”
Morton cites UTA client Megan Maroney as one of the rising stars to watch. “She came over to do a UK tour last August, and we just put a September tour on sale for her. She’s very keen to go into markets that aren’t just the UK, so she’s going into Scandinavia, we’re opening up Switzerland, as well as Netherlands and Germany.
“What’s brilliant about her is that her management have been really focused on trying to build out Europe, the UK, and Australia from quite an early stage. Her hit, Tennessee Orange, was such a huge viral moment for her that she could have been booked every weekend throughout the US, but her management were keen to carve out time to come to Europe and Australia, too.”
That trend is embraced by Mertens at Live Nation. “Artists are developing international careers early at club- and small-theatre-level, and they love the experience and reception they get from their UK fans and [therefore] commit to international for many years to come. This has led to some US country artists selling more tickets in London than they do in the US, as they are so well received over here.”
She continues, “Australia, Canada, and the UK are leading the charge, followed by the Netherlands, Scandinavia (Norway, Sweden, Denmark), and Germany all now being part of most country artists’ touring schedules. This is sometimes extended into Belgium, France, and Spain for the right acts, and artists can easily have a two- to three-week window across Europe for touring these days.”
Semmel’s Hall hopes that period of commitment for fans of country music will be further extended as the genre becomes more popular.
“It can be tricky with American country acts because their international touring periods tend to be very short, meaning we cannot have them playing as extensively as we would with other international talent. But country stars coming to Europe was once a rare event, whereas now they seem to be a lot more enthusiastic, so it’s moving in the right direction,” she says.
Hall also details differences in the way that fans in Germany and fans in America consume music. “The US is very single-driven because of country radio. But here in Germany, if people like an artist, they will listen to their entire catalogue.” That, she says, has led to some interesting moments for those acts who ask their fans for song requests. “People hold up signs [for] all kinds of stuff, where artists are like, ‘Oh, my God, no one ever has requested this song before. How do you guys know this one?’ And then they are astonished when everybody can sing along.
“So artists are learning how respectful and tuned in people are to their storytelling and lyrics here in Europe, whereas at home in America, where it’s single-driven, it can be all about getting your own momentum and fighting for it. It’s quite a nice change of scenery to come over here and have such a respectful and appreciative audience.”
Fellow German promoter Hoppe, with whom Semmel has copromoted a number of country acts, observes, “The cycle of breaking country acts in the United States is much more streamlined because if they are picked up by country radio, it can really accelerate. In Germany, as with most places internationally, we don’t have that media, so the way acts build their fanbase is by playing in the market. That’s why we encourage acts to come to Germany early in their careers to begin that build.
“What we’ve found with some acts is that they are capable of going to London to play to maybe 3,000 people, and then when they see that the German show might be in a 1,500-cap venue, they decide it’s not financially worth it. But if they do it and build up sensibly, then it does pay off in the end.”
Agent Shannon Saunders at WME in Nashville confirms that enquiries for her clients are picking up from overseas. “Interest in country music touring is certainly growing outside of North America,” she says. “At WME, we’ve seen our volume of international country touring activity increase by 50% over the past few years. Not only are we seeing substantial increases in ticket sales for these artists on headline touring, but we are also receiving more interest than ever from contemporary festivals to include these acts on their lineups.
“The UK and Australia have traditionally been the strongest non-NA markets for the country genre; however, we are seeing some exciting new growth in South Africa, Switzerland,
ZACH BRYAN • LUKE COMBS • KEITH URBAN
KACEY MUSGRAVES • DYLAN GOSSETT
LAINEY WILSON • OLD DOMINION • BRETT YOUNG
KIP MOORE • BRETT ELDREDGE • MEGAN MORONEY
SCOTTY MCCREERY • JORDAN DAVIS
and across Scandinavia. I suspect these trends will continue further into mainland Europe and into South America over the next few years.”
Summing up the evolution of the genre, veteran agent Neil Warnock at UTA says, ““Considering the state of play 17 odd years ago, working with the likes of Johnny Cash and Dolly Parton, we’re now seeing a tsunami of interest in country music around the world. The perception change has been like night and day.
“By having such a great relationship with our Nashville office, we’ve developed something of a fraternity between Europe and America, but it has taken a long time to get to where we are.”
Warnock adds, “What’s most encouraging to me, is seeing the young artists and young managers more involved in developing acts outside of Nashville, having the trust in agents and promotors here, and ultimately seeing the value in Europe and the rest of the world. Country is really a catch-all for so many genres and styles, so we’re going to see more crossover of artists into other areas, where they’ll only continue to be accepted in more mainstream spaces going forward.”
Hall explains that Semmel first became involved in country music in 2018. “That’s when we made the strategic decision to work in the genre,” she says. “We felt there was the potential for it to break out of a niche and move into the more mainstream market. But to do that it would need a strategic approach, especially when it comes to marketing and communication.”
As a result, Semmel founded its Sound of Nashville brand for anything in the country or Americana field. “It was based on the idea that we needed to start out with small club shows, which usually don’t have a lot of marketing budget. So we’d kind of bundle them a little bit to get the most out of the budgets,” continues Hall.
“Funnily enough, right after we decided to do that strategic approach with Sound of Nashville, AEG approached us about the C2C festival in Berlin, and that obviously made total sense with our setup. We launched the first C2C in 2019, with Keith Urban, which sold out rightaway. Then we came back with an extra day for a three-day festival in 2020, which was one of the final events before the lockdowns came along.”
While the ban on live events was brutal, Semmel pushed ahead with its Sound of Nashville planning. “We did a lot of editorial content and reached out to artists to keep building those relationships. We did a couple of livestreamed
© Jens Fricke
shows, but we also took the Berlin C2C footage from 2020 and turned that into a three-hour stream that we broadcast on the date that C2C 2021 was supposed to happen. So there was a lot of activity on our side during the pandemic to keep the spark going.”
And that investment in the concept is paying dividends. “When we started out in 2018, we looked at all the data that we had access to, and the demographics told us that the average age for anything country music-related was 55 years and up. But if I pull that data now, we’re looking at an average age of 35, which is significantly younger in a very short time.”
WME’s Saunders also believes the genre grew during the coronavirus crisis. “The heart of country music has always been with the songwriting. We saw significant growth in country music streaming during the pandemic, as consumers were drawn to music that reflects the human experience in such an authentic and universal way,” says Saunders. “This streaming growth has not slowed down. And now, with the return of the touring business, the live shows hold up.”
The genre’s continuing expansion is in no small part down to the hard work of the Country Music Association and its board, of which both Sina Hill and Anna-Sophie Mertens are directors.
“I joined the CMA board in 2020, becoming a vocal ambassador and advocate for what has traditionally been a niche genre outside of the US,”
“The market is definitely increasing in size. And I think this is just the beginning”
Vegard Storaas | Live Nation Norway
says Mertens, who has been a fan of the genre for most of her life, courtesy of her parents’ record collection.
Mertens developed and launched Live Nation UK’s first country event Highways in 2023, in partnership with the Royal Albert Hall. “The inaugural event featured Kip Moore, Morgan Wade, Jackson Dean’s UK debut, and Stephen Wilson Jr. whilst also hosting additional events such as Highways Songwriters Round, Country for Kids, Late Night Special, Official After Show Party with media partners Absolute Radio Country, and a month-long exhibition of the Nashville Portraits by Jim McGuire,” she tells IQ.
That debut last year was such a success that the 2024 edition of Highways has been extended to two days and nights of programming at the Royal Albert Hall. But Mertens acknowledges that events like CMC Rocks in Australia and the travelling C2C extravaganza in Europe paved the way for her and others to follow.
“The big development is that we are now seeing far more headline touring playing in bigger buildings, and with audiences growing, we are making compelling offers to get acts over for hard ticket tours,” says Mertens. “New events like Highways offer a different and very exciting offering to artists and fans alike.”
Agent Morton concurs. “The landscape, especially when it comes to festivals, seems to be getting busier,” she observes. “In the UK, there’s also the likes of Black Deer, which is an Americana and country-leaning festival, and there are new properties in Australia as well. Frontier, who promote CMC Rocks, launched Ridin’ Hearts last year in Sydney and Melbourne, for example, and and Semmel Concerts in Germany are launching the Sound of Nashville event this year.”
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ANDRÉ BÉCHIR IS THE PIONEER OF COUNTRY MUSIC IN SWITZERLAND. HE PROMOTED A COUNTRY MUSIC FESTIVAL AND SHOWS THAT FEATURED LEGENDARY ARTISTS SUCH AS JOHNNY CASH · GARTH BROOKS · DOLLY PARTON THE CHICKS · TAMMY WYNETTE · WINNIE NELSON KRIS KRISTOFFERSON · ROY ORBISON AMONG MANY OTHERS.
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Indeed, Semmel will promote 20-30 Sound of Nashville-branded events throughout Germany this year. But that’s hopefully just the tip of the iceberg.
“As country music grows in more countries, hopefully the international timeframes will expand so that Nashville is not just cramming in Europe, UK, and Australia within a threeweek time period,” says Hall. “At the moment, that’s all you get when you’re international. But I think we will see more touring as acts realise they need that to really break the market… It takes more than one show in Berlin to break the entire German market.
“You need to be aware that because of country’s range, it will attract different fans. There is not necessarily just one country fan who consumes everything, so you have to market artists differently if it’s Zach Bryan or Luke Combs or Kacey Musgraves,” opines Hall. “Knowing those nuances and being tuned into what’s happening in Nashville, what the labels are doing, and the feedback we’re getting from our community are absolutely essential to do the right marketing.”
At Frontier Touring, COO Susan Heymann says, “CMC Rocks has been building the profile of country music in Australia since 2008. Our business has been focused on bringing international country artists to Australia and building the local scene through the large audiences that the international acts draw for the festival.”
She recalls, “When we started in the genre, there were only a handful of international acts who considered Australia or New Zealand as a market worth putting the time into.” But she doesn’t blame them. “An artist can make more money playing a state fair or rodeo a couple of hours from where they live as they’ll make
“There is generally a lot more crossover with country music these days. Country is now cool!”
Jack Dowling | SJM Concerts
spending two weeks touring internationally.”
Nonetheless, the metrics are changing. “There are now a lot more artists who see this as a market worth investing in. We’re now at a point where we’re selling out the festival every year, we feature 16-20 internationals on the bill, we’ve started building a sister event called Ridin’ Hearts, and we’re touring international country artists yearround, outside of the festivals,” says Heymann.
While the rollout of more events in markets where strongholds of fans have been consuming country music for years is a welcome development, Morton believes brand-new markets could be on the horizon.
“It’s pretty early stages, but I am hearing about a potential country music festival starting in the Middle East, either the end of this year or beginning of next,” she reveals. “More and more promoters in Scandinavia, Switzerland, Italy, Spain, and France are getting involved, while Live Nation are particularly keen to get into this space. But with artists like Megan Moroney and Dylan Gossett, we’ve had all the major promoters come to us wanting to work with them.”
And she is also witnessing more mainstream avenues open up. “We had Brittney Spencer open for Bruce Springsteen at BST Hyde Park last summer. That was an amazing look for her. The War and Treaty are our clients, and they’re performing at Love Supreme this summer, which is a jazz festival. So we’re definitely seeing more mainstream festivals try and get into this, as well as mainstream media starting to cover
the genre as well. Dylan Gossett got one of his first plays on radio in the UK on Radio 1, and for a tastemaker like Jack Saunders to be playing a country artist like Dylan on Radio 1, I think is brilliant for the genre.”
AEG Presents promoter Rachel Lloyd works closely with SJM Concerts in promoting C2C in London, Glasgow, and Belfast. She has been working in country music since 2017 but says she has been really focussed on the genre since returning to AEG Presents in 2021.
“The C2C team has driven the growth of UK country touring out of the festival, and we promote a large number of tours each year, from clubs to arenas and beyond,” says Lloyd. “It’s a great model. To be able to introduce new artists at the festival, put them in front of excited fans and the media, and then bring them back for headline touring, hopefully over and over. Ashley McBryde is a great illustration of this, she worked her way up from the [C2C] Spotlight Stage and now does incredibly solid numbers over here.
“The wave of artists that first came over [for C2C] all reported back the same thing – that UK audiences are some of the best in the world. That tempted more and more to follow, and the exponential growth of the fanbase over here pushed US teams to take it seriously.”
The Long Road Festival in the UK features some unique performance areas, such as the Front Porch Stage
While C2C currently plays to audiences in England, Scotland, Ireland, Germany, and the Netherlands, at TAKK, Vuignier is hopeful the juggernaut will one day expand its routing to Switzerland. “We have been trying hard to get C2C over to Zurich, but at the moment, the festival is only running over two weekends. However, we are closely and constantly talking to all parties involved, and we are trying to get the C2C acts to play mid-week shows in Zurich, inbetween both weekends.”
He continues, “Drake Milligan, who sells out 5,000-cap venues in the US, played the 500-capacity Mascotte around C2C and enjoyed it a lot. This was his very first headline show in Europe, and he played for almost two hours instead of the 90 minutes planned, because the audience was so hot.”
In the UK, Jack Dowling at SJM Concerts has been working in partnership with AEG’s Lloyd for two years. “Chris York was the original pioneer of C2C from our company over a decade ago and deserves a huge amount of credit for where the genre is in the UK,” he states, adding, “C2C Presents is a combination of SJM and AEG; we promote a lot of tours outside of the festival under that banner in the UK.
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“We are seeing a lot more US-based acts looking to build their business in the UK from the off – they are coming in at grassroots venues, circa 250 capacities. The genre really has exploded here in the last few years, and people have seen it’s a market to invest in early.”
And Dowling is one of the many execs who is excited by what is being referred to as ‘the Beyoncé effect.’ He tells IQ, “I think this is really helping to get the youth into the market. They hear these songs and do a bit of digging into what else is out there. Similarly, people are listening to great acts like Hozier, then they find Zach Bryan because of it. There is generally a lot more crossover with country music these days. Country is now cool!”
That’s hardly news to Baylen Leonard and his team at the Long Road Festival. But his plans for future editions of the festival are simple. “While we want to grow, it’s step by step, slow and steady, because we want to maintain what the festival is, without losing sight of our values,” he says. “If you grow too big, you can lose that special atmosphere. And I think that’s one of the things people really like about the Long Road.”
Looking to the future, Mertens comments, “I am particularly excited for artists such as Lainey Wilson, Tyler Childers, Jordan Davis, and Brett Young who are all doing phenomenal business in the UK. Both Lainey and Tyler are having an incredible career moment, and both will no doubt be headlining arenas in the not-so-distant future.”
On Beyoncé’s new country album, Cowboy Carter, Mertens adds, “I hope it will help see some of the more mainstream outlets – radio, TV, all genre playlisting in streaming – dive deeper into the genre and embrace it, giving current country acts a chance. Add in Shania Twain also playing Hyde Park and landing the coveted
legends slot at Glastonbury 2024, another huge moment for the genre.”
At Frontier in Australia, Heymann notes, “Mainstream artists having country albums may not resonate with the core country fans, but the appeal of country music is so much broader than what the core fans want, so it can only help build that audience and introduce indie and pop fans to new artists and music they might not otherwise explore.”
Wizard boss Hoppe says, “The new Beyoncé album will definitely have an impact, but I see it as more of a stepping stone to help develop the market even more.”
Considering Lana Del Rey’s forthcoming album, too, AEG’s Lloyd echoes Hoppe’s sentiment. “They are such mega artists that they need
to be treated like outliers to the conversation generally,” she says. “But by the sheer statistics of their reach, they will make people take notice, so if they use their platforms to highlight other artists or musicians firmly in the genre, they will create new fans.
“What would be great is to see them, or any other artist who claims the genre, invite country or Americana artists as supports on tour. That would be huge for so many emerging artists and really put the spectrum of country music directly in front of people. I’m a firm believer that there is a country sound for everyone, so I hope all this will encourage fans to do some digging.”
Saunders at WME is also embracing the Beyoncé effect. “Ultimately, this helps to widen the lane for what it means to be a country artist, creating more opportunities for all,” says Saunders. “The country music genre is more sonically diverse than ever before. I welcome any creators who want to collaborate and push boundaries to create great music for everyone to enjoy.”
In Norway, Storaas predicts busy times ahead. “The market is definitely increasing in size. And I think this is just the beginning,” he says. “Maybe 15 years ago, indie was the number-one genre; ten years ago, it was EDM; five years ago, it was rap. So maybe country could now be number one for a couple of years.”
Live Nation colleague Mertens concludes, “We are certainly seeing younger fans at concerts, especially in the 18-35 age bracket, which is super exciting. At Megan Moroney’s first London show, for instance, we saw an overwhelming amount of young fans, mainly female, and what was even more interesting was seeing fans wear t-shirts of acts such as Imagine Dragons, Troye Sivan, and others. It blew me away as I wasn’t quite expecting that association, which made me very excited for the future.”
Having given up his native England in the 1980s, Barnaby Harrod enjoyed a successful decade in a punk band, before fate – and love – saw him pursuing a backstage role. Now celebrating 25 years of Mercury Wheels, he (with the guidance of wife, Elie) has become one of Spain’s top promoters. Gordon Masson discovers ten of the key lessons learned by Barnaby during his fascinating career.
orn in Cambridge, Barnaby Harrod spent his first four years in the northern English city of Newcastle before the family returned south to London, where he stayed until the age of nine.
“We then moved to Oxford, but we moved back to London when I was 13, so I spent all my teenage years around Ladbroke Grove and Portobello Road,” he tells IQ.
And it was there where his love for music blossomed. “I was born in 1965, so I was 11 in 1976 when punk broke,” he says. “My uncle took me to see my first gig when I was 12: the Boomtown Rats, with Bob Geldof, and it was amazing. Just going to that one gig got me into music forever, and I started listening to the Ramones and the Sex Pistols and the Clash, as well as going to gigs in London, in 1977, 78, 79, as a teenager.”
While he wasn’t necessarily academic at school, Barnaby was a promising footballer, but punk rock soon took over his life. “I got into the first 11 football team in my penultimate year, but in my final year, they put me back into the second 11 because by that time I was too much into music, having a drink down the pub, and enjoying myself.”
Always ahead of his time, Barnaby took a gap year when he left school. “I pulled on a backpack and went to South America – I was 18 – and I
went to Ecuador, Peru, Bolivia, and Chile. You couldn’t go to Argentina at that time if you were English because it was just after the Falklands War.” However, armed with the rudimentary Spanish he had learned at school, that adventurous trip planted a hispanophile seed, and on his return to the UK, he enrolled at University College London to study Modern Iberian Latin American Studies.
“When we lived in Oxford, my mother always had lodgers. They were mostly students, but one of our lodgers – Philip Lloyd-Bostock – was a Spanish don, and he was the one who got me interested in Spanish. He was a wonderful man, and he inspired me to learn Spanish and read Spanish literature, which completely changed my life.”
In his second year at university, he completed a four-month exchange course in Córdoba. “I loved it, and I connected straightaway with the Spanish people. When I went on Interrail with my friends, I always felt like a tourist in France and Italy and Greece. But as soon as I got into Spain, I felt instantly at home. That’s been the way I felt about Spain from the very beginning.”
Disillusioned by university, Barnaby poured himself into music, joining a pub band in Lon-
don called The Pleasure Splinters. “We never did anything, but I played bass and sang a bit of backing vocals. Then I joined another band, the Disco Dagos, where I played a bit of guitar, but they didn’t really come to anything either.”
But the pull of Spain was too much to ignore and because his birthday coincided with the running of the bulls in Pamplona, he decided that’s what he should do, having read about the event in Ernest Hemingway’s Fiesta
Displaying the steely nerve that every promoter requires, he took £100 that his father had gifted him for his birthday and took a risk. “I went to the Golden Horseshoe Casino on Shaftesbury Avenue (London), played roulette, and walked out with £1,000. And the next morning, I went to a travel agent and bought a flight to Barcelona because that was the nearest place to Pamplona.”
Having met a couple of friendly Pamplona locals, he found himself staying in a flat overlooking part of the bull run. And then came the day when he joined the spectacle. “It was absolutely terrifying,” he states. “At the bottleneck that enters the bullring, I managed to catch my hand against a gate, and I snapped my little finger. So, a few hours later I was in hospital with my fractured finger while others were there, covered in blood,” he laughs. “But I had a wonderful time and at that point everything seemed a bit aimless in the UK, so I thought I’d try to move to Spain.”
Ever practical, he returned to the UK to undertake a course teaching English as a foreign language, which was his only weapon when he relocated to Madrid in March 1989. “I actually thought of going to Barcelona, but I was friends with Robin Wills, who was the guitarist in a band called the Barracudas, and he told me that Madrid was more rock and roll – more nightlife, more bars, more fun, so I took his advice.”
Wills also put Barnaby in touch with a DJ called Kike Turmix. “He was also the singer for
The Pleasure Fuckers. Through him, I became firm friends with the band’s two American guitarists – Norah Findlay and Mike Sobieski – and when they kicked the bassist out a few months later, they asked if I wanted to join the band.”
Barnaby’s first show took him back to a familiar setting. “It was in Pamplona, of all places, a year after I had run with the bulls, but this time playing in a punk band. It was wild.”
It’s possible to earn a living doing something you love
Touring extensively with the band across Spain and beyond, The Pleasure Fuckers started to build a fanbase, and what began as a part-time endeavour, soon became a full-time affair. “We made enough money to live on, and the whole thing lasted about ten years,” states Barnaby. “There’s not a single town in Spain we didn’t play – I remember going to places where they didn’t have tarmac roads and there would be donkeys tethered in the corner and stuff.”
The band also toured around Europe, but it’s a show in the United States that Barnaby proclaims as one of his onstage highlights. “The tour was a double bill with another punk band called Nashville Pussy, and we were in Seattle, which was really exciting because that’s where the Sub Pop label was, and we knew a lot of people from other bands who came along to see us. It wasn’t a huge venue, but still, it was sold out to 700 people, and we were headlining that night. It was just this amazing feeling of ‘We’ve done it – we’ve made it.’ And the next day we played Bend, Oregon with four people in the room...”
Another band highlight was in Spain at the inaugural Festimad festival in Madrid where
The Pleasure Fuckers appeared on the same stage as Rancid and Rage Against the Machine. “We played at about eight o’clock in the evening, and I remember looking over to the left, and all the guys from Rancid were there, nodding their heads to the music. A couple of songs later, I looked over to the right, and all the guys from Rage Against the Machine were there, nodding their heads.
“Festimad followed closely by the the US tour were great. But they proved to be the zenith of our career, we just didn’t know it at that point.”
However, it was a show in Switzerland that would provide Barnaby with his biggest life-changing moment. “One of our promoters was called Elie Muñiz, and it was like Cupid had fired his arrow: we just fell in love. And when the tour ended two months later in October 1997, she moved to Madrid.” Twenty-six years later, Cupid is still at work, while Elie and Barnaby’s son Zack (17) is studying for his international baccalaureate, ahead of plans to attend university in his father’s native England.
“When I met Barnaby I was working as a promoter for the Vendetta Agency in Switzerland,” says Elie. “In an extremely unprofessional manner, I decided to leave everything for the sexy bass player of the band I was promoting! And here we are twenty-five years later!”
While Elie knew how to promote shows and had developed relationships with agents in London, that world was a mystery to Barnaby.
A gentleman of the industry with a big heart. Always a real pleasure to talk music with Barnaby! Whether it’s Mumford or James Blake’s shows, we’ve always had a good time and result!
Lucy Dickins | WME
Barnaby is one of the nicest people I have ever met. In fact, I sometimes tell him that he is too good, and he needs to be a bit tougher. I met him first at an ILMC, twenty something years ago, when Robert Grima introduced us at the bar, and we just clicked. From there, we have enjoyed a fantastic relationship, and it’s great to see that he has done so well. I really love and respect Barnaby, and now that he is part of Live Nation Spain, I get to see him a bit more often, and it’s always a pleasure.
Gay Mercader | Live Nation
Barnaby is the best partner to work with on a project like 1001 Músicas de la Alhambra. He is dedicated, creative, and empathetic in conveying to the artists the need to be aware of where they are and that they are going to perform in one of the eight wonders of the world.
Pepe Rodríguez, Proexa
“But I did know everyone at all the venues in Spain – literally everywhere up to 1,000 or 1,500cap. So we decided to set up as promoters. Prior to that I had been doing a bit of tour managing and I realised that in a lot of cases a bit more professionalism was needed – I’d arrive at a venue and nothing had been prepped. In fact, often I’d get to the venue and there was no one there. It was chaos. And I thought to myself, ‘I could do this a lot better.’”
The very first tour came courtesy of Russell Warby, then at the Agency Group. “It was a band called Royal Trux – an alternative rock band from the US, who we did three shows with. I went up to San Sebastian to welcome them and then came down to Madrid, where we had about 200 people in a 300-cap venue, meaning we lost money. But it was a great way to start, although I didn’t really have an idea of what I was doing.
“I’d been used to touring with The Pleasure Fuckers where, literally, we’d sleep on the promoter’s floor. Obviously, I wasn’t gonna ask Royal Trux to stay on my floor, but I tried too hard – I booked a cool hotel in a Bohemian area of Madrid. But I quickly realised that the band just wanted a nice clean hotel with 24-hour reception. And so that began a very quick learning curve of how to deal with bands. I had to change my initial way of doing things – The Pleasure Fuckers way – into something more professional.”
Barnaby’s experience of life on the road proved invaluable. “I realised how important it was for the band to just feel at ease, so I’d make sure the backstage looked nice by bringing candles, nice food, and decent coffee so that it would smell good in the morning when people arrived. I’d basically go out of my way to make the tour manager and the band felt relaxed, because I knew how important that is, especially at smaller levels.
“When you’re touring in a van playing smaller capacity venues, you’re often far from home and missing your loved ones. And if you just feel a bit of love, then it can make such a difference for the whole day. If the band’s relaxed, then they’re more likely to have a great gig. So having done all that time on the road with The Pleasure Fuckers definitely stood me in good stead.”
That level of attention does not escape the
talent. Rick Astley comments, “Working with Barnaby is truly amazing. He exudes professionalism and knows the business inside out, all whilst making it fun. He knows the best restaurants and wine in Spain, so who can’t love that?!”
Sharon Corr says, “I love working with Barnaby and Elie! They’re great people with an incredible knowledge and experience of the industry and music. We have become great friends over the years, and I always look forward to working with them, knowing that they pay great attention to all the details necessary for a great concert, venues, ticket sales, and a super show. Barnaby and Elie are fantastic at what they do!”
American quintet The National agree. “Barnaby has been a stalwart supporter of The National from our earliest days touring in Europe and has taken good care of us on stage and off,” the band say in a statement. “We look forward to more concerts together and seeing him standing backstage, sharp dressed as ever.”
“The greatest thing about working within Live Nation is that they are incredibly hands-off. I’ve never been told not to do anything. The only directive is to try to make shows work”
Presenting an Atlético de Madrid shirt to Ed Sheeran on his June 2019 visit to the club’s Metropolitano Stadium
Establishing the company and working with emerging talent saw Elie and Barnaby throwing themselves into Mercury Wheels with a passion that meant they were involved in the business 24/7 in those early days.
“The first act we had a hit with was Moby, who had just released Play,” Barnaby tells IQ. “We got pretty lucky. The agent was Ian Huffam, and for Mercury Wheels it was our first big international thing. Moby had been to Spain before, playing small venues like 300-capacity. But on the back of Play, we sold out a 1,200-cap club in Barcelona and about 1,800 in Madrid. But I was still green, so I’d be there to help with the load-in and the load-out because we didn’t have specific local production that we could rely on.
“In fact, we were still doing business via fax at that point. My friend, Mark Kitcatt, who ran Richard Branson’s Caroline imprint in Madrid was crucially benevolent as we started out and generously gave Elie and I some space in his warehouse. We had one computer between us, and we were surrounded by thousands of Prodigy records because The Fat of the Land was huge at the time.”
As the company’s reputation grew, Mercury Wheels were asked to help with booking the new Isladencanta Festival in Majorca. “Year one, we booked Ladytron and maybe one other band, and it all went so well that in the second year, we were asked if we could book the entire event. But then, of course, it went pear-shaped because the organiser didn’t have the money he said he did. But we’d booked it all, and we bought the Strokes for their first ever show in Spain through Russell Warby – he was always there and has been continually supportive to us. I remember Russell actually playing me one of their songs down the telephone, and we paid $1,000 because it was before the record was released. But then it
blew up and we kept putting the Strokes higher and higher on the bill.”
Now a long-time agent at WME, Warby comments, “We first worked together on the mighty Royal Trux back in 1998, which only seems a minute ago. Barnaby is a lovely soul. His enthusiasm for music always shines through and he has great taste… in suits and literature, too.
“I remember telling him how much I enjoyed reading Laurie Lee’s As I Walked Out One Midsum-
mer Morning and that it made me want to walk across Spain. He told me he loved that book also… so much so that he was inspired to move to Spain and actually did!”
Fellow WME agent David Levy adds, “It’s as much a pleasure to do business with Barnaby today as it was when I first met him as a small independent promoter. Transferring to a larger company, he hasn’t lost any of his excitement to make things happen.
Always impeccably dressed and always with a smile on his face, Barnaby is a ray of light whenever you see or speak to him. He’s an absolute joy to work with, and I would trust any artist in his care. Here’s to 25 more wonderful years.
Beckie Sugden | CAA
Barnaby is one of the best professionals I’ve ever met. Moreover, he’s one of the best human beings I’ve ever encountered. Every time you spend two minutes on a call with him, or have some beers around a conference or show, you always leave feeling better than when you arrived. In a people business, this is key.
Fernando Montes | WME
In a world of data analysis, streaming numbers, and being drowned in content, I think Barnaby is someone with a rare skill these days of being a real music person who can spot a winner and genuine talent at the early stages… and he always knows the best tapas gaffs in Madrid.
Nick Matthews | Wasserman Music
When I think of Spain, Barnaby is and has been the first person I would turn to over the past 25 years. He’s always been a consummate professional (as well as a friend), and we’re delighted to see him acknowledged by IQ for his many contributions within the region, of which I am sure there will be many, many more to come.
Ian Fintak | 33 & West
“Perhaps the act I’m most grateful for his work on is Rick Astley because when we first took Rick on, lots of promoters weren’t ready to look at him in a contemporary way, but Barnaby immediately understood what we were trying to do and was one of the first promoters to really support him.”
And that respect extends across multiple agencies. Alice Hogg at ATV Live states, “I first met Barnaby a decade ago when I was a shiny new agent at UTA. He wanted to book one of my artists at a boutique festival I’d never heard of at the time, and I made him pay the full fee upfront as I didn’t trust him (not yet understanding Mercury Wheels was part of Live Nation and they were absolutely good for the cash.) Little did I know he’d turn out to be the most trustworthy of them all, and I’d end up working alongside him on global Live Nation tours one day.
“Every call I’ve ever had with Barnaby (even when it’s bad news), I’ve put the phone down smiling. He’s a pleasure to do business with and a great friend.”
ATC Live founder Alex Bruford recalls his first encounter with Barnaby, vividly. “It was at the Moby Dick in Madrid. We were outside the venue, and he walked up in his trademark suit and shades, looking far cooler than anyone in the band. To this day, he still looks cooler than the bands! My artists love hanging out with Barnaby
in Madrid – it’s almost always a tour highlight. Bruford adds, “Barnaby is a brilliant and mercurial promoter, often coming up with unique plans to launch tours and always bringing his incredible sales analysis and projections to the table. He’s been an absolute rock for me, hugely supportive of myself and ATC Live since my first day as an agent. On top of that, he’s taken me for some of the most enjoyable meals in my life, and I consider him a true friend.”
“Booking the Strokes was important for us, but behind the scenes, we were suffering immensely because the money wasn’t there. So, in 2001, through no fault of our own, we went bankrupt, even though we’d booked an amazing bill for Isladencanta, including Goldfrapp and the Jon Spencer Blues Explosion.”
That episode resulted in Mercury Wheels having to take out a loan to get back on its feet. “You learn who to go into business with,” notes Barnaby, but on the back of that lesson, he and Elie secured a partner to take care of the financial side of things and were able to keep working with Isladencanta with great success.
“The following year, we had Oasis and the Libertines. And then we did one more edition with Iggy Pop and Supergrass, but the cops came in and closed it down at midnight because there was a new government in Majorca that didn’t want to do the festival because they were getting pressure from the people who ran the island’s nightclubs. That was the end of it. In a way, I was happy to get out, but when I think about who we booked, it was pretty amazing, even though it was like walking on a knife edge the whole time. And it obviously helped give us credibility with the agents and allowed us to start doing bigger shows.”
With the confidence of the agents growing,
“I always felt like a tourist in France and Italy and Greece. But as soon as I got into Spain, I felt instantly at home. That’s been the way I felt about Spain from the very beginning”
Barnaby had a discussion with then Free Trade employee Jon Ollier about a young act he was working with called Ed Sheeran. “We talked about going to the Apollo in Barcelona, which was 1,000-cap, but it did not happen on that tour because they had to change the routing or something. But on Ed’s next tour, we did a 4,500-cap Sant Jordi Club in Barcelona, and the cut-down arena in Madrid, which we started at 5,000-cap and went right through to 8,000 or 9,000.
“Ed Sheeran remains the only person to have played the three venues in the San Jordi complex in succession. First the Sant Jordi Club, then the Arena which is 17,000-capacity, and then the stadium, which is 54,000, stepping up on each consecutive tour. But the confidence was always there because on that first visit, Mark Friend, Ed’s tour manager, said to me, ‘Next time, we’ll be playing the arena.’ So we went to look at the arena. And when Ed played the arena on the following tour, Mark said, ‘Next time, we’ll go to the stadium,’ so we went to look at that, too. And it happened.
“Ed gave Mercury Wheels our first arena show. And then he gave us our first stadium show.”
It’s possible to be independent and benefit from corporate assistance
Having made a big impression on the Spanish live music market, it was only a matter of time before the corporate giants made an approach, and in 2014, Live Nation Spain chairman Pino Sagliocco invited Barnaby for lunch. “He asked me if I’d ever thought about becoming part of a bigger com-
Barnaby has been Spain’s bestattired promoter since 1999
pany. I was unsure, but he said, ‘This is your chance. The train’s come into the station, but it’s only here once, and it’s not going to stay forever.’ So, we negotiated and eventually we reached an agreement that was good for all of us. And we officially linked up with Live Nation in 2015.”
Unlike other LN deals, the corporate parent did not acquire Mercury Wheels, however. “They never bought us,” explains Barnaby. “We’re under their umbrella, and we work within the structure of Live Nation, but we’re still independent. I always think of it as like one of
those sub labels that are under the major record labels but who have their own independence within the major.”
Nevertheless, the benefits of that lunch with Sagliocco are obvious as the association with Live Nation enters its tenth year, and Barnaby admits that alongside Elie, Sagliocco has been one of his greatest mentors. “When we do the big stadium shows, there’s a lot of money involved, and there’s a lot of legal stuff with the contracts, the rental of the venues, the marketing, the security, etc. Live Nation’s managing director in
I’m lucky enough to be a personal fan of all the bands that Barnaby promotes at Madrid WiZink Center, such as the National or Twenty One Pilots, so I enjoy every time that I have to deal with him.
He is one of the best people in the industry. Spanish music wouldn´t be the same without him. He is such an outstanding person that I am very proud to call myself his friend.
Paz Aparicio | WiZink Center
Barnaby, not only is he often the best-dressed gentleman in the room, but he also looks great on a bike. It’s been a real pleasure getting to know Barnaby and his family over the years.
Rob Challice | Wasserman Music
When I met Barnaby, along with Elie, at his first festival in Majorca, which he curated and promoted in 2003, I thought he was too well-dressed and nice of a promoter to last in this business. Twenty-five years on, he’s still a nice guy, dressing well, promoting, and someone I can call a good friend.
Congratulations on 25 years, Barnaby.
Henry McGroggan | Central European Organisation
Spain, Paco Martinez, runs an incredibly tight and efficient ship.
“Paco’s ability and speed with the numbers is second to none in the business, and Elie & I have learnt an incredible amount from him. So having that team of Live Nation behind you makes things a lot smoother.
“At the same time, because we maintain a level of independence, we can be very nimble and act quickly to jump onto new projects. The greatest thing about working within Live Nation is that they are incredibly hands-off. I’ve never been told not to do anything. The only directive is to try to make shows work.”
With a roster that includes burgeoning act Twenty One Pilots and superstar Dua Lipa, Mercury Wheels continues to get bigger and bigger. “It feels good,” says Barnaby. Indeed, recently he’s added a new axle to the company’s chassis.
“We’re doing comedy now,” he reports. “Five or six years ago, comedy in English wouldn’t have worked in Spain. But thanks to streaming networks and comedy series, English-speaking comics doing routines have become popular here. We did Ricky Gervais, which was a big test for us. When he came on stage in Barcelona and
“ There’s not a single town in Spain we didn’t play – I remember going to places where they didn’t have tarmac roads and there would be donkeys tethered in the corner...”
made his first joke, the whole place just cracked up, which was a massive relief. I spoke to Ricky about this, as we had an extra pop-up on Ticketmaster, warning people that the show is fully in English – no subtitles, no dubbing, you must understand it. And you had to tick that box to then be able to buy the ticket. But it works well, so being involved in comedy is very exciting.”
That new string to the bow should see Mercury Wheels promoting between 100 and 120 shows this year. “That’s everything from 200-capacity clubs up to 55,000-cap stadiums, which isn’t bad for a core team of seven people in the office – and sometimes also Pino [Sagliocco], who shares our space whenever he comes to Madrid. He’s an amazing man – very dynamic and engaging, like a rock star – and I’ve been immensely lucky and privileged to learn from him, because he has a very global overview of the business works.”
With Elie and Barnaby investing heavily in Mercury Wheels’ staff, most of the team – Maria Gaudelia, Will Anderson, José Luis, and Ricard Rois – are long-term employees, as was Irene Garcia until very recently, before she moved over to Live Nation’s ticketing dept, while newer additions include Alexandra Karpova, and new canine colleague, Stan, who joins the incumbent pup, Pukki. “When I visited Live Nation in Los Angeles, there are people who walk dogs around the building, which just helps bring people’s stress levels down. There’s actually a Dog Nation programme within the company.”
A big believer in meditation, Barnaby has been on a number of ten-day silent retreats and takes part in weekly mindfulness sessions through the
In good company:
Proexa’s Pepe Rodríguez and Wasserman Music agent Rob Challice
Mindful Nation programme. “It’s important that we all have ways to deal with stress, so I’ve been meditating for the last seven years,” he reveals. “It teaches me to be a witness to my thoughts rather than automatically engaging with every thought that pops into my head! I’m a big advocate of taking care of people’s mental health.”
The love for Barnaby within the Mercury Wheels operation is palpable. Colleague Will Anderson tells IQ, “I had recently moved from London to Madrid [in 2015] and was trying to figure out what the future held having spent ten years in A&R in the UK. As a fellow Englishman in Madrid with a love of music, we immediately hit it off.
“Barnaby was incredibly gracious and generous with his time, explaining how the industry worked in Spain and introducing me to other Spanish music industry contacts. In 2016, after a year or so working outside the music industry, I mentioned that I was keen to get back in, and he said there might be an opening at Mercury Wheels. I joined the company in 2017 and have had the huge pleasure of working with and learning from one of the very best since then.
“Barnaby has not only built Mercury Wheels into the incredible company it is today, but he has done it with humanity, humour, love, and respect for all those he works with, be they his colleagues at Mercury Wheels and Live Nation, artists, agents, managers, tour managers, production crew, or the bar-person at the local 200cap venue. His love of live music remains undimmed, and you only had to see him pogo-ing to Noah and the Loners at ILMC’s recent London Calling showcase to see that love manifested in all its glory!”
Anderson adds, “It would be remiss not to mention Barnaby’s wife and business partner, Elie Muñiz, without whom, as Barnaby regularly acknowledges, Mercury Wheels would not function. It has been an absolute pleasure working with and learning from them both for the last seven years, and I can’t wait to see Barnaby pogo-ing his way through another punk show in
another 25 years’ time!”
Talking of which, The Pleasure Fuckers will be playing a one-off renunion gig at Azkena Rock Festival in Vitoria, this June, marking 25 years since Barnaby’s last show withthe band.
On a professional level, another event Barnaby is looking forward to is Vida Festival in July. “I’ve booked all the international acts onto Vida since its inception back in 2014,” he says. “It’s a gorgeous boutique festival that takes place in the grounds of a country house, 40 mins south of Barcelona. There are two main stages and several smaller stages in the woods including the boat
stage where we had Spanish megastar Rosalia play an unforgettable sunset slot when she was just starting out.
Among the acts Barnaby has managed to secure for this year are headliners M.I.A, James Blake, and Vance Joy. “The philosophy of the festival is to create an amazing experience for the festivalgoer, from the food area under fairy lights in the woods, to the amazing main stages and the world renowned Wild Side Zone,” he says.
“The creative brain behind the festival is the energetic and charismatic Dani Poveda, supported by the ultra efficient Xavi Carbonell.”
With a move to Live Nation’s offices in Madrid imminent, Barnaby is also relishing the creative opportunities this will bring to the Mercury Wheels team. “We’re a very close team and that’s partly because we work in an open office, so I’m really looking forward to the symbiosis that the new arrangement will give us. I personally cannot wait to work closer with Robert Grima, Nacho Córdoba, Daniel López, Julio Ebrat, and Johanna Llorente, while I’m super impressed with the work that César Andión is doing to develop young Spanish acts.
“I love discovering new talent, so I’ve got a lot of time for anyone who is out there doing that. Ultimately, I’m a punk at heart, so I still love doing the 200-cap shows in the sweaty clubs, and I get as much of a kick out of doing the small shows as I do the giant ones.”
I first met Barnaby many years ago when we attended the same school in London. I had no idea that our paths would meet again, and we would end up negotiating deals for shows in various cities around Spain. Barnaby is a great promoter but most importantly, a great person. Congratulations on 25 years in the business.
Tony Goldring | WME
It’s always a pleasure to deal with Barnaby. He has built a very successful career with a great knowledge of the business and has always managed to do this with aplomb and by being a true gentleman.
Many congrats on 25 years, and here’s to many more.
Paul Franklin | Creative Artists Agency
The first time I met Barnaby was in 2000, in a Japanese restaurant at the old town in Barcelona. He was with his wife and partner at Mercury Wheels, Elie Muñiz. Since that dinner we started to work together. They became my local partners for all my shows in Madrid and I became their partner for all their shows in Barcelona until they made a deal with Live Nation.
During all these years Barnaby has been a loyal and honest partner, and a real gentleman. He is a great promoter but above all he is a real friend. We still work together with some of the artists we had been working before their deal with LN, and I hope we keep on working together 25 years more.
Thank you, Barnaby, for these 25 years and for the friendship. Cheers mate! Albert Salmerón | Producciones Animadas
TY SEGALL· CANNONS
MATT MALTESE ·JULIETA · JERSEY·EL COLUMPIO ASESINO · RALPHIE CHOO
LA LUDWIG BAND · DOLORES FOREVER· ROCÍO SAIZ· HABLA DE MÍ EN PRESENTE· PIPIOLAS
MERITXELL NEDDERMANN· TEO LUCADAMO· SID SRIRAM · CLUB DEL RÍO· GEE LANE· AIRU
CLARA PEYA XXL CONCERT INAUGURAL (FEAT. SÍLVIA PÉREZ CRUZ· LEO RIZZI· SALVADOR SOBRAL & MANY MORE)
ARI UP·BESTIES (KOSMOS B2B MR. B)·DRUMMIE·ELI KAPOWSKI
HELIOGÀBAL DJS·MAADRAASSOO·NACHO RUIZ·TALI CARRETO·RED BANANNA
RIDE· SÍLVIA PÉREZ CRUZ · TEMPLES·STANDSTILL
DERBY MOTORETA’S BURRITO KACHIMBA · FERRAN PALAU · MUJERES
MIQUI PUIG DJ · PABLOPABLO · LIME GARDEN · BOYE · INNMIR·SOCUNBOHEMIO
CUCAMARAS ·CIUTAT · MAR PUJOL · SARA TERRAZA · SELVA NUA
ENEIDA FEVER·KATIE LOUISE·MACHINDA RECORDS·ONA SIDEWAYS DJ·TE JODES Y BAILAS DJ·THISORDER
GUILLE MILKYWAY DJ SET· CRYSTAL MURRAY · STEFFEN MORRISON · JOE CREPÚSCULO · WARHAUS
YERAI CORTÉS · ADIÓS AMORES ·JET VESPER · XARIM ARESTÉ · LLUM · PINPILINPUSSIES
LADY AVOCADO & GOLFO DE GUINEA·TRISTÁN!· OKDW
MAMA DOUSHA ·SONIA HEIS DJ
ADRIAN MARTH·CAMILO MATACHÍN·DJ CARXOFA·MARTA MER ULTRA-LOCAL RECORDS DJS·ANGEL CARMONA·DISCOMMON·NANDO COSTA
As one of the biggest arena acts on the planet, The 1975 have been making headlines wherever they go for the past 20 years. Having just brought the curtain down on their third consecutive year on the road, their fanbase continues to grow, making their efforts to rewrite the rulebooks on sustainable touring all the more impressive. Derek Robertson learns just what it takes to take such a cultural phenomenon on the road.
Can you have too much of a good thing? Clearly, The 1975 think not.
“The boys love to work,” says Maarten Cobbaut, tour manager. “The first real break they had from their intense schedule was the pandemic, but within a week of restrictions being lifted and everything, they were back in the studio working on new music. They are just so passionate about what they do and put so much of themselves into the music and these shows.”
And these shows for Still… At Their Very Best are, unsurprisingly, fairly close in terms of concept, setup, and logistics as the At Their Very Best show. “An evolution, not a revolution,” as Oborne puts it. “It was part of the same cycle, but so much had happened since the tour commenced that Matty felt a creative need to highlight this
For an A-list arena band, they have been remarkably prolific – aside from releasing an album every two years since 2016, they’ve also toured behind them relentlessly: 18 months and 150 shows for I Like It When You Sleep, For You Are So Beautiful Yet So Unaware Of It; a 24-month world tour behind Music For Cars; and a seven-leg, 96-date stint doing their At Their Very Best show. And barely a month after that wrapped on the 13th of August 2023, they were back on the road in Atlanta starting Still… At Their Very Best – another 66date, worldwide jaunt – in support of their fifth studio album, Being Funny In A Foreign Language Even taking into account the enforced breaks during the pandemic, that’s quite a workload – particularly when you consider some of the bands’ struggles with mental health and the pernicious effects of fame. Yet manager Jamie Oborne says that after the Music For Cars tour was interrupted by lockdowns (while first rescheduled, the remaining shows for that tour were ultimately cancelled), “we collectively had a desire to tour, and Matty (Healy, frontman) was very excited about doing a show that was ‘different’ to what people expected or had seen in an arena before. It felt like the right time to get back on the road.”
evolution. The plan was always to use this tour cycle to market Being Funny In A Foreign Language, so we didn’t really see it as two separate tours.”
“Both UK runs were all part of the global touring for Being Funny In A Foreign Language, and weren’t seen as separate projects,” adds Matt Bates of Primary Talent, the band’s agent. “Of course, the first run was billed as At Their Very Best, with the second run having a slightly different name, but they very much coexisted together. And there was a lot of demand – the Finsbury Park show sold out instantly, and it was clear the fanbase was still growing on this cycle.”
The show itself was certainly “different” – both from what you’d expect from an arena band and from their previous bombastic show for Music For Cars. That tour was “really big and ambitious,” says creative director and show designer Tobias Rylander. “We really went for size and technology with massive LED screens and automated cubes. But for At Their Very Best and Still… At Their Very Best, we wanted to be very analogue – Matty wanted the show and design to be more personal and really show them as a band.”
Healy is, says Rylander, always very conceptual in the approach for each era and tour. While the design for the previous tour reflected social media and internet behaviour, “This time
around Matty wanted the show and design to be more personal and show them as a band,” explains Rylander.
“Matty wanted it to reflect their history as friends and a group, while also focussing on them as a live act and musicians. He wanted the stage to reflect how they recorded this last album live, together in the studio. He knew he wanted a house, and some sort of living room. And he wanted it to be focusing on the I-mag camera. No video content: just live camera. That’s how I started to design and look at the house. To always have a good background and setting for the camera shots.
“We looked at anything from Ingmar Bergman to Steven Spielberg for inspiration and references,” adds Rylander; Stanley Kubrick and avant-garde theatre were other touchstones (one review described the show as being: “part performance art, part stage play, part Charlie Kaufman movie about a rock star in crisis.”)
The design eventually started to take on a life of its own as it developed – it literally became Matty’s “home,” housing his memories. “It’s monochromatic and anonymous at the same time; it can reflect and take the shape of anyone’s childhood memories or their new memories leaving the show,” says Rylander. “It’s a very inviting and inclusive set.”
The first half of the show has almost no “effect” lighting and looks more like classic theatre than a rock show. “That’s something we’ve never done before, and something that’s not very common these days – I think we are the only rock band tour out there that brings a whole ‘Broadway’ set,” says Rylander.
And for the second leg of the tour, they kept all the theatrical parts and added a large, curved video screen behind the set that allowed them to add set extensions and environmental backgrounds. “We could go from night to day in a very beautiful way, but also play some really fantastic bits of video content reflecting older tours and eras from the past,” he adds. “And using the upstage video screen as a theatrical set extension like we do – I don’t think I have seen that on stage before.”
“I always remain amazed by the creative ideas of Matty and the band,” says Matt Bates. “The show was brilliant theatre while not losing the ethos of what makes the band so special in the first place. It truly showed a band at the top of their game creatively and musically, and, in their own words, ‘at their very best.’”
As noted above, video – shot live and intimately – was key to the whole look and feel of the show. Head of video Ed Lawlor has been with The 1975 since 2016 and was tasked with turning concept into reality while ensuring the solution was prac-
The full scale of the spectacular stage set at The O2 arena in London, where the band have played no fewer than eight times since 2022
PROUD TO HAVE BEEN ON THE 1975 JOURNEY FOR TEN YEARS
Hitting live music’s tight delivery deadlines note perfect.
Experienced International freight management of every stage, to get you on stage.
tical enough for a world tour. “We didn’t want to compromise on providing the best IMAG show possible for the budget – the design brief was ‘cinematic’ – so it was an easy decision to focus on one thing and do it well,” he says.
“It was clear early on that the band and management wanted larger than normal IMAG screens, and we wanted the classic projection look rather than LED. On the initial US tour, we specified two Panasonic PT-RZ31K projectors per side on a 24’ Stumpfl screen from PRG rental stock, which was the largest off-the-shelf option available,” he adds. “On returning a year later to larger venues, the management requested a bigger option – at that point, we commissioned a 32’ Stumpfl screen, which was the largest practical option in a fast-fold product. This required an increase to 3x PT-RZ31K per side, which is the brightest arena IMAG projection I’ve heard of in a while.”
As for the cameras, Lawlor decided to do 3G well rather than 4K on the cheap, so specified four Sony HDC-2500 channels and a Ross Carbonite 2 M/E PPU from PRG UK. This was augmented with four Panasonic AW-UE160 and an RP150 control panel, with additional fixed shots from Marshall CV503-WPs.
Those IMAG screens are very much larger than normal for arena touring, and so Lawlor and
“The Finsbury Park show sold out instantly, and it was clear the fanbase was still growing on this cycle”
Matt Bates | Primary Talent
his crew worked closely with both PRG and AV Stumpfl to find a solution that allowed for rear projection in a fast-fold type frame with no central member that would obscure the beam. PRG have also been working with The 1975 since 2016 and, says Stefaan Michels, sales director for PRG UK, “our partnership has grown stronger over the years – we’ve fostered a close relationship with their tour and production management team, and one that extends beyond their time on the road.”
PRG’s brief was scalability, and the integration of new equipment tailored specifically for this production. Michels had to ensure the duplication of rig setups between Europe and the US, as well as customising equipment to meet the tour’s unique requirements. “Implementing A-B-C rig configurations was essential for maximising efficiency and flexibility throughout the tour,” he says, “and we made specific equipment choices based on detailed specifications provided.”
For example, one significant consideration was the need for different sizes of projection screens to suit the dimensions of various venues. For larger arena shows in the US and UK, they incorporated a large USC Hi Res LED wall to deliver high-resolution visuals that could effectively engage the audience across expansive spaces. Additionally, custom-made, large projection screens equipped with additional 31K laser projectors were also used, particularly in venues with specific lighting conditions or sightline challenges. Another specific choice was the decision to utilise Ereca Stage Racer 2s, a decision driven by the need to minimise the deployment of copper cabling on a daily basis. “This choice not only reduces setup time but also enhances flexibility, allowing for swift adjustments as tour requirements evolve, as they inevitably do over the course of an extensive tour like this one,” says Michels. “Moving multiple 3G video signals even over medium distances caused problems on the first leg of the
TOURING EUROPE & UK 2024
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tour, as it required coaxial cable to be both modern and in good condition, which is a challenge to maintain on tour when local labour is in use,” adds Lawlor. “This was another factor in the decision to adopt the Stage Racer 2s.”
All in all, this setup provided a modest challenge for head rigger Simon Lawrence – “simply 120 points going to the roof and a relatively small weight of 50 tonnes.” But there was one area of concern – at one point, Healy climbs upon onto the roof of the “house” to perform a song, on top of the front apex. “Like any artist, Matty wants to be as free as possible when performing, and initially, he felt he should have no safety systems at all, but when he is nearly six metres up in the air above the stage, this is not possible,” says Lawrence. “So we had to come up with a system that kept Matty safe but also ensured that, if the worst happened, it was safe for a rescuer to go out and assist.”
Rounding out the suppliers, All Access provided the front of house mix position stage (a B stage set piece) and built a custom lift for this, while TAIT provided a TAIT Mag Deck rolling house stage. “The Mag Deck design incorporates magnetic corner blocks for alignment and a shear keyway to reduce the number of legs needed to support the decking structure,” says Bullet,
TAIT’s business development manager – UK. “This reduced the amount of product that needed to travel on the road and the time needed to load in and load out, ultimately saving on costs.”
Moving all this around was the responsibility of Natasha Highcroft, director of Transam Trucking. “We supplied 15 low-ride height production trucks, plus one merchandise truck for the UK, and eight production trucks plus one merchandise truck for the European leg of the tour, all superbly handled by our lead driver, David Isted,” she says. “As with most tours, keeping to the EU legislation on drivers’ hours and statutory weekly rest periods can prove difficult when parking and access is restricted. Fortunately, with an understanding production and accommodating promoters, we were able to facilitate breaks whilst keeping to budget.”
Bussing was provided by Beat The Street; in total, they ran four 16-berth double-deck Setra’s for the crew and two 12-berth Van Hool Superhighdeckers for the band. “Plotting band bus moves can be a bit of a challenge when day drivers are mixed in with overnight drivers, as it becomes difficult to get the drivers their required weekly breaks,” says Garry Lewis, the company’s transport manager. “So, it was agreed to add a
second driver to each band bus, which gave us the flexibility to make it work as seamlessly as possible for the band party.”
Sustainability has long been an issue dear to the band’s heart, and on this tour, they were determined to do all they could to lessen its carbon footprint and impact on the environment. “The set design put a real focus on the structural elements being reusable or recyclable, and many of the items that make up the set-build will end up back in stock at the supplier end – this is quite unique,” says Oborne. “Our focus, as a community of creatives, is always to try and limit the negative impact touring has on the environment. It’s by no means a perfect solution, but we are pretty committed to chipping away at our impact on the environment.”
Indeed, the modular nature of the set is something of a first. “It’s a renewable scenic technology, and this is the first time this product has been taken out for a live touring show,” says production manager Josh Barnes. “We wanted something that would really give us the aesthetic finish that we were looking for, in terms of being robust and feeling like the walls are actually the walls of a house and not just a flimsy, flat set. But also, be something that could be transported in the most sustainable, cost-effective way possible and be renewed or recycled at the end of the campaign.”
He goes on: “We ended up partnering up with PRG scenic through their Belgium and Las Vegas offices and worked with them on creating the house out of a product called InfiniForm – basically, it’s a 50 x 50 mil aluminium box section that allows you to cut it and add corners, reels, braces, fixings, or whatever you need. Then, once the frames are made, they were clad in aluminium honeycomb, which is a lightweight, hardwearing wall surface.
“And, at the end of the campaign, they’re just going to be stripped back into component parts and used by the next project. There’s no ongoing storage needed, and there’s no waste in terms of bits and pieces that would just normally get thrown away if it were a custom build.”
This also meant that the band was able to drop their air freight requirements from 40 pallets down to just 17 for the entire show. Coupled with the decision to carry a smaller production around mainland Europe, requiring only eight trucks instead of 16, this allowed the production team to significantly cut the tour’s carbon footprint and make some impressive cost savings.
Looking after the planet is a noble endeavour, but the band are also at pains to look after people – specifically, their people. “One of the things that we’ve really focussed on for this tour is crew welfare, and trying to look after people’s mental health,” says Barnes. This effort started before the tour even hit the road – after rehearsals, sev-
eral training days were scheduled with an American organisation called Safe Tour, covering topics such as wellness on the road, mental health first aid, pronoun training, and some bystander intervention training. “It was really beneficial to everybody involved in the project to set them up for success on what was, and still is, quite a long run,” he adds.
Crew rest was another priority, something that’s always a struggle given the nature of long days on the road. “Getting the right amount of rest between shows is really important,” says Barnes. To that end, they’ve been careful not to set loading times for arrival or very early in the morning, instead choosing “about an hour after we expect to arrive, to give the crew enough time to actually plan their mornings. We can also adjust show and door times as well, to assist if we need to leave slightly earlier one night or start later the next day.”
The quality of crew rest has been improved, too. “So not just a single day off where you arrive at a hotel, but a day where you can sleep in a bed and not set an alarm,” says Barnes. “Effectively, two days off, or one full day off, every few weeks – that was a real win being able to work that into the schedule.” Hotels are pre-booked, so people can access their rooms direct on arrival at 10am or whenever and are required to have a number of amenities to help the crew unwind; a gym, a
“Our focus, as a community of creatives, is always to try and limit the negative impact touring has on the environment”
Jamie Oborne | Manager
sauna, a pool, spaces to relax, and convenient access to nature, parks, or wildlife. “Options beyond just sitting in a bar drinking.”
And this emphasis on physical health extends to the available food, with nutritionally balanced meals available on the buses and through catering, plus plenty of non-alcoholic beverages and 0% beers. Crew members can make individual food choices through an app, and while the band themselves tour with a personal trainer to keep them in shape, things like being able to walk to a venue from the hotel, and that downtime is actually downtime, are prioritised. “These things help in a number of ways – it’s financial, it’s sustainability, and it’s improving welfare,” adds Barnes. “They’re all important aspects to us.”
As one of the most popular acts of the new millennium, the band is in tune with its global fanbase, striving to make its touring activities
as sustainable as possible and speaking out on issues on behalf of underrepresented communities. An infamous onstage kiss in Malaysia between Healy and bassist Ross McDonald last July continues to have repercussions, but that hasn’t stopped promoters internationally from booking the act.
Unsurprisingly, given the stature and popularity of the band, Still... has been a roaring commercial success, too, with sold-out shows all across the globe. “We sold out four O2 Arena shows this time, plus 40,000 tickets on this album campaign in the UK alone,” says Bates. “Their fanbase continues to grow year on year, and while that does make the tours easier to sell, we like to launch the show with significant marketing for the first announcement,” says Luke Temple of SJM Concerts . Both Arena Birmingham and the two Manchester dates sold out in a weekend; Temple says the plan was always to do two at the latter, “but I’ve no doubt they could
have sold out a few more.”
It was a similar story north of the border, in Glasgow. “The band played Glasgow Hydro in January 2023, then headlined TRNSMT Festival in July 2023,” says Dave McGeachan of DF Concerts. “We were thinking we would leave Glasgow off the 2024 tour, but we decided to add a show at the OVO Hydro. Then we had to add a second night due to demand, which also sold out – quite incredible sales within 13 months.”
In Sweden, the band sold out Stockholm’s Tele2 Arena – “their biggest show in our territory yet,” says Natalie Ryan-Williams of Luger. “Over the years, their fanbase has expanded, and with them being the phenomenon they now are, we knew people were going to travel in from all over Sweden – and even some internationally.”
The possibility of multiple shows in Spain was considered, but, says Cindy Castillo of Mad Cool, venue availabilities and logistical constraints prevented it. “The demand was certainly there, indicating the band’s strong draw in this area,” she says.
Two nights were possible at Amsterdam’s AFAS Live – even if they were nearly a month apart – and, says Friendly Fire’s Roel Coppen, “they were the band’s fastest-selling arena headline shows to date. They played Best Kept Secret in 2023, but we had no issues with these new dates – we could cater to different audiences with different shows within 12 months.”
Even in more developing territories, these shows have really connected to local fans. “The situation in continental Europe is quite different from the UK, especially in Central Europe,” says Anna Vašátková, head of marketing and PR for Rock For People in Czechia. “The band isn’t played on the radio very often and there’s not as much media coverage, so we’ve had to do all the heavy lifting ourselves. We did quite a massive marketing campaign, including outdoor, radio
spots, and extensive use of online media.”
Coppen also noted something else on this run – a broadening of their fanbase. “I do see there’s been a steady, growing interest from older, male, more ‘serious’ music fans – and even journalists – in recent years,” he says. Ryan-Williams has noticed something similar. “You can just about see anyone attending a The 1975 show nowadays – they really attract people from all backgrounds and generations, which is a beautiful thing to see.”
“The 1975’s appeal spans various age groups and genders, and their music has definitely attracted a diverse audience transcending age and gender boundaries,” adds Castillo. “It resonates with listeners across generations, from teenagers to older adults, probably thanks to its relatable themes and catchy melodies.”
Beyond the accolades and acclaim, beyond the facts and figures, this tour has been a resounding success. And not just for the legions of happy fans. Everyone IQ speaks to has high praise for the way the band and their team have gone about everything and how they treat all those who encounter them. “Over the years, The 1975 has evolved into more than just a client; they have become like a second family to me,” says Michels. “The professionalism, collaboration, and welcoming spirit displayed by everyone involved transcend mere business relationships.”
“It is always our pleasure to work with The 1975, their production, and their management teams,” says Meegan Holmes of 8th Day Sound, a sentiment echoed by Roy Hunt, Christie Lites’ global account manager. “Every individual involved has demonstrated a high level of professionalism, commitment, and passion that has made this journey memorable,” he says. “The synergy between the band and the crew created an atmosphere of mutual respect and cooperation, while management has been nothing short of supportive, ensuring a seamless and enjoyable tour. Overall, it has been a remarkable experience that speaks volumes about the dedication and talent of everyone involved.”
Fittingly though, band manager Oborne attributes the success to all of those who work so hard to make the shows happen – and who help the band shine. “When I think about The 1975 touring, I can’t help but think about how dedicated and committed to the show our crew are,” he says. “The professionalism and dedication are something we simply could not be without. I am very grateful to all those behind the scenes who turn up day in day out and make the entire thing work. It’s quite something to witness.”
While the Swiss live music business has always been robust, the recent period of intense consolidation, company mergers, and corporate acquisitions is undoubtedly changing the landscape, with promoters claiming the market is oversaturated and a fierce battle for headline acts. Adam Woods reports.
In a live industry always hungry for wealthy, eager consumers, markets like Switzerland, while small, are to be cherished. In this famously neutral Alpine corner of west-central Europe, there is a billionaire for every 80,000 people – behind only Luxembourg and Hong Kong – as well as one of the lower levels of income inequality among wealthy western nations. Covid, of course, brought with
it grim times that took a while to dispel, but those are emphatically in the rear-view mirror now, having given way to a booming 2023 and a quieter but still prosperous 2024.
“The average ticket prices in Switzerland are significantly higher than in most other European countries, while overall expenditure remains relatively consistent,” says Philipp Musshafen, CEO of Zurich’s Hallenstadion, which hosted approximately 100 events in 2023 and
welcomed around 800,000 visitors.
“The rebound from the pandemic in the realm of public events has largely dissipated, and subsequent events have taken place. It’s safe to say that a certain level of normality has returned both in the lead-up and planning of events.”
Like everywhere else, production is still a challenge. The mid-market is a hard sell, and no one is quite as certain as they once were of what works. Meanwhile,
festivals are losing out to arenas and stadiums for headliners, and maybe a new venue or two would be nice. But all the same, Switzerland remains an extremely good prospect for a show or two.
The country is small – 8.7m people in all – but urban centres such as Zurich, Basel, and Geneva, globalised and highly cosmopolitan, keep it punching above its weight. Promoters have historically focused on their own parts of the country –
Baloise Session’s intimate supper club feel has made it immensely popular with fans from around the world
either the German-speaking cities, such as Zurich, Bern, Basel, and St. Gallen, or the French-speaking, notably Geneva, Lausanne, and Montreux – though corporate-backed promoters are less likely to recognise such distinctions. Many shows are co-promoted, and very few promoters operate in isolation.
“I have to say, if I compare to our German colleagues, the market is very small, but it works very well,” says Stefan Matthey, co-managing
“The pandemic has reshaped consumer behaviours, disrupted supply chains and altered business models, making it harder to predict what will succeed in this new landscape”
Julien Rouyer | Soldout Productions
ticket sales and sponsorship) back near their 2019 pre-Covid peak of CHF437m and on a slow climb towards CHF441m by 2027.
“The feeling in the market remains positive globally, although it varies depending on the sector,” says Julien Rouyer, CEO of Lausanne-based Soldout Productions. “Ticketing is doing great, for instance, while production is struggling with cost increases and staff shortages. The key is to find a balanced scale to maintain a positive trend and stay profitable.”
And, of course, a further imperative is to tend to the health of all parts of the market – the smaller shows and towns, as well as the big shows in the big cities.
them long-serving indie TAKK, which last July climbed aboard the CTS Eventim train, before relaunching in its new TAKK ab Entertainment guise earlier this year under three generations of promoters: Swiss industry forefather André Béchir, TAKK founder Sebastien Vuignier, and comparative youngster Théo Quiblier, promoter of Caroline Polachek, the National, and Wet Leg, among others.
director of DEAG’s newly reconfigured rock specialist Good News Productions. “We talk to each other, sometimes we co-promote. It’s not a war situation like in Germany.”
No surprise that Switzerland tends to be peaceful, possibly helped by the fact that there is plenty to go round. PwC/Omdia’s Switzerland Entertainment & Media Outlook 2023-2027 report puts this year’s projected Swiss live music revenues of CHF430m (from
“The market is generally heathy – especially in the main cities like Zurich, Bern, Geneva, and Lausanne where concert attendance remains strong,” says Mainland Music managing director Derrick Thomson. “Ticket purchases are generally occurring closer to show dates, reflecting shifting consumer behaviour post-pandemic. While this trend may cause initial apprehension among promoters and artists, sales typically ramp up as events approach. However, we’ve observed challenges in smaller markets, particularly for grassroots clubs facing slowed demand.”
Once a stronghold of independents, Switzerland, like so many other markets, bears the heavy stamp of the leading corporate groups these days, with CTS Eventim, DEAG, and Live Nation all strong.
And in a time of adjustment across the promoting sector, some longstanding players are targeting fresh growth, prominent among
“We are at the very beginning of a totally new adventure,” says Vuignier. “Thanks to the advisor agreement with André Béchir, who is a proper legend in Switzerland – the pioneer, with 50 years’ experience – we have access to inestimable knowledge and very strong content. It allows us to have an amazing first year of activity with Taylor Swift, AC/DC, and Pink shows, just to name a few.
“But we haven’t forgotten the DNA of what the old TAKK was –breaking new acts, doing 300-500cap shows. The Last Dinner Party is the highlight of the start of this year. And we can’t wait to have Idles, Beth Gibbons, Khruangbin, Nick Cave and the Bad Seeds, and others.”
Vuignier characterises the new company not as a buy-out but as a new venture in its own right – and one that has been a surprisingly long time coming.
“CTS Eventim didn’t buy TAKK Productions, but both companies joined forces to create a new one,” he says. “I first met [CTS Eventim CEO] Klaus-Peter Schulenberg back in 2010, just one year after founding TAKK Productions. I [was] impressed by his personality and what he [had] built up. But I think it was too early for me to join at that time.
“Fast-forward, when we got in touch again in January 2023 and
AllBlues brought Joe Bonamassa to Hallenstadion Zurich in May 2023
the idea of teaming up with André Béchir came up, it was obvious. A few months later, the company was on its feet. We are now a team of 12, with offices in Zurich and in the French part of Switzerland, and with hundreds of shows lined up.”
Also in transition has been Good News, which has rebuilt its team from the top down this year with the addition of Christian Gremelmayr and Santosh Aerthott, former joint managing directors of Live Nation’s Mainland Music, as well as marketing specialist Patrizia Demont and artist booker Steven Mandel.
“The company is growing, and we have positioned ourselves as the leading rock promoter in Switzerland,” says Matthey. “We still have this wonderful service where we take our artists from baby bands to stadiums if we can.”
Shows at the Hallenstadion for larger acts including Slash and Five Finger Death Punch, meanwhile, round out the upper end of Good News’s range.
The departure of Gremelmayr and Aerthott, along with fellow co-founder Marc Lambelet, repre-
“I have to say, if I compare to our German colleagues, the market is very small, but it works very well”
Stefan Matthey | Good News Productions
sented an end-of-an-era moment for Mainland earlier this year. Founded in 2012 by a group of independent operators including Gremelmayr, Aerthott, Lambelet and Thomson, Mainland was acquired by Live Nation GSA in 2019 and these days organises more than 650 shows annually from Zurich and Lausanne, with Thomson at the wheel.
“We’ve embraced these changes as opportunities,” says Thomson, who notes that 2023 was Mainland’s most successful year to date.
“Talented promoters and staff have stepped into elevated roles, contributing to our success. Our strategy remains focused on expanding our presence across the Swiss market, promoting a diverse range of shows, and further developing our artist roster. Additionally, we’re committed to incorporate more non-music events, including comedy and family shows.”
Forthcoming tours include Olivia Rodrigo, the Jonas Brothers, Troye Sivan, Rod Stewart, Thirty Seconds to Mars, Nickelback, and Karol G – to add to booking responsibilities for Openair Frauenfeld, Gurtenfestival, Openair Gampel, Lakelive Festival, Open Air Lumnezia, Open Air Gränichen, and Big Air Chur.
Another leading Swiss promoter is Gadget abc Entertainment Group, a one-time indie, now one more Eventim-backed big-hitter.
“We had a really good 2023 and a very busy summer, with stadium shows of Bruce Springsteen, Rammstein, and Muse,” says Stefan Wyss, director, concerts and touring. “The festivals were very strong in 2023, and overall, the concert and touring business was solid.
“We expect 2024 to be a little less busy – the schedule for the touring segment is a bit less intense
this year. A lot of domestic and German artists are taking a break after intense touring in 2022 and 2023, and the focus is more on international artists, which means more competition. The demand is still here, but we feel that it’s getting more difficult to sell out shows with regular touring artists in the middle segment.”
Nonetheless, this isn’t a quiet year for Gadget abc by any standard definition, with two sold-out Taylor Swift shows at Zurich’s Letzigrund Stadium – co-promoted with AEG Presents and TAKK – among the bigger shows. Meanwhile, an ever-expanding festival portfolio now includes Schaffhausen’s Stars in Town festival, in which Gadget abc took a majority stake in March, to add to OpenAir St.Gallen, Summerdays, Radar, Seaside, and Unique Moments.
Sister company act entertain-
ment, meanwhile, runs a widely diversified entertainment business, with big concerts and major festivals alongside exhibitions, motorcycle extravaganzas, circuses, and comedians in various languages.
Promoter and artist booking agency Soldout Productions remains independent 18 years since it launched, and in addition to forthcoming shows including PLK, Freeze Corleone, and Gazo at Arena Genève, it recently acquired its first outdoor festival: the long-established Caribana in Crans, on the shore of Lake Geneva. The promoter’s ranks were also recently bolstered by the arrival of Mainland’s Lambelet.
The market outlook remains a slightly mixed one, according to Rouyer. “It does feel different compared to the pre-pandemic period, with a mix of cautious optimism and lingering uncertainty,” he says. “While there’s been some return of
certainty, predicting market trends remains challenging. The pandemic has reshaped consumer behaviours, disrupted supply chains and altered business models, making it harder to predict what will succeed in this new landscape.
“Other challenges facing promoters include evolving regulations and compliance standards; managing cybersecurity risks in an increasingly digital environment; and addressing sustainability concerns as environmental awareness grows. Additionally, talent acquisition and retention, especially in a highly competitive market, can pose significant challenges for promoters striving to build long-term relationships and maintain effective teams.”
Another stalwart independent, Winterthur’s Sheeran-promoting AllBlues Konzert, marks 30 years in 2024, on the back of a strong year with shows by José González, Brad
Mehldau, Joe Satriani, Diana Krall, Ana Moura, Ludovico Einaudi, and others, including the farewell concerts of John McLaughlin, Gilberto Gil, and the Manhattan Transfer.
“Oh yes, 30 years with around 3,000 self-promoted concerts is a long time,” says founder Johannes Vogel. “But it was great, and we are grateful for the privilege of rolling out the concert carpet to such wonderful musicians and artists. And above all, to be economically very successful in our niche, with jazz, world, funk, soul, blues, singer-songwriters – and Ed Sheeran!” Vogel remains an outspoken indie with strong views on the market as a whole, and he makes no bones about how the market has changed in three decades. “You can’t start the same way I did 30 years ago,” he says. “I would even argue that with the density and the speed of the business, it’s no longer possible to
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start from scratch. The big ones are getting bigger and bigger, but that’s also the chance for the small ones in the niche like us.”
And while Vogel agrees that the market is strong, he also believes it is over-saturated.
“We have too many shows,” he says. “This may be due to the fact that the majority of the bigger Swiss annual promoters are no longer independent and belong to one of the event giants. Everyone is fighting for every show. Whether it’s working well or not is not that important, as long as you have the show. No wonder, because who benefits from this overplay? The event giants with their ticket companies or vice versa, starting from ticket one.”
While Switzerland may be prosperous and packed with festivals, from Paléo and OpenAir St.Gallen to
since 1976
Openair Gampel, Openair Frauenfeld, Greenfield, and Rock the Ring on downwards, it isn’t immune to the currents of the global business.
“It was a difficult year to book the festivals,” says Christof Huber, director festivals & events at Gadget abc. “Fewer domestic and German artists are touring in 2024. The competition for international headliners was very intense. We were able to get very solid lineups for our festivals, and they are selling well. However, if I look at the European festival lineups, 2024 isn’t as strong as in previous years.”
Nonetheless, Huber professes satisfaction at a job well done in a challenging environment.
“We have finalised the billings for all of our festivals and sales are very good for all of them,” he says. “We are very happy that the beautiful Stars in Town festival is now part of Gadget. That underlines our strong festival stream, with quality brands such as OpenAir St.Gallen, Summerdays, Seaside, Unique Moments, and Radar.
“The rising costs for artists and infrastructure remain the biggest challenge for festivals,” he adds. “We were able to book good lineups with a lot of young domestic and international artists, which attract the young audiences. Besides this, we constantly work on our festival brands with experiences, look and feel, and new attractions. We are less dependent on our billing than
some of our competitors.”
Paléo programmer Dany Hassenstein echoes the point. “It’s been a tough year, but we are very happy with the outcome: Burna Boy, Sam Smith, Nile Rodgers, Royal Blood, Patti Smith, Mika, Major Lazer, Sean Paul, Khruangbin, the Blaze, Aurora, and Paul Kalkbrenner are the top international names. And we have major French acts such as Booba, Gazo & Tiakola, and PLK completing the bill. We are in particular very proud of a great second tier of the bill, with most of the hot up-and-coming French acts such as Zaho de Sagazan, Sofiane Pamart, Worakls, just to name a few.”
Hassenstein expects the current trend to be a finite one but nonetheless welcomes the invitation to innovate.
“2024 was tough, and 2025 will be, too, but I believe it goes in cycles,” he says. “Ticket sales for headline shows seem to be back to an alltime high, and like everybody else, we can observe all major acts aiming for these tickets and not the festival money. But this can turn around again in a few years. So yes, there’s currently an important lack of available headline acts for festivals and that drives fees to a new max for those available. It’s a bidding situation we are not fully ready to work with. It is pushing us to look out for or create new content. At Paléo, we are doing so in 2024 by opening our stages to new types of performance,
St. Jakobshalle in Basel has been the home to the annual wellness festival, Find your Flow, for a number of years
humour, crossover opera, and even classical music.”
Montreux was recently added to UNESCO’s Creative Cities Network in the music category, and the town’s world-famous jazz festival is reinventing itself in the heart of the town for this year’s edition. A stage will be built on the lake, below the Place du Marché, while the festival will also make a return to its old home at the Casino, once the site of
the 1971 fire memorialised in Deep Purple’s Smoke on the Water. A large number of free stages complete the new layout for this 58th edition, which will accommodate its usual capacity of 250,000 attendees. In a similarly refined vein, Baloise Session in Basel, with its smallscale, supper-club feel, plots a course through rock, jazz, and world music every October and November. Last year, Norah Jones, Ellie Goulding,
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Noel Gallagher’s High Flying Birds, and the opening night of Dave Stewart’s Eurythmics Songbook tour, featuring Joss Stone, were among the more mainstream highlights.
“Last year was extraordinary,” says CEO Beatrice Stirnimann. “We sold our tickets very fast; we had a great lineup,” she adds, though she notes that reinvention is not on the agenda for 2024.
“The design of our event is not going to change, because it is already very special. We have 1,500 seats, with the club tables and the candlelight. People never get bored of that. We just want to bring new artists. We sometimes bring artists back, but there’s so many artists out there, and we just want the brightest variety possible.”
In the past two years, the city of Basel itself has become more directly involved in supporting the festival, which was launched in 1985. “The
city is into it – they are our hosting partner. Baloise is an international festival, artists come from everywhere, and they see how it goes out to the world. Maybe it’s a little bit like what happens in Montreux.”
In February, Soldout Productions announced the acquisition of a majority stake in Caribana Productions, owner of the Caribana Festival brand, taking the promoter into business with festival founder Tony Lerch and artistic director Samuel Galley. The 32nd edition of the 32,000-cap festival will take place in June, with Tom Odell, Birdy, Ofenbach, Bad Omens, Martin Solveig, and Sam Ryder on an eclectic bill, having showcased Lou Reed, Patti Smith, ZZ Top, Katy Perry, and Maroon 5 over the years.
“We’re thrilled about the Caribana acquisition,” says Rouyer. “We aim to preserve the popular and festive spirit of the festival
that has made it so beloved while also seeking opportunities for improvement in hospitality, including a new VIP offer and developing measures related to sustainability and environmental responsibility. We’re also looking into enhancing infrastructure, logistics, and overall visitor experience to make Caribana even more enjoyable and accessible for attendees.”
Also on Soldout’s slate in January was a sold-out edition of the Beat Festival at the 9,000-cap Geneva Arena, including French rap superstar Booba among a strong hip-hop lineup.
“We have launched a new edition of the festival that will happen in Lausanne, at the [10,000-cap] Vaudoise Aréna in December,” says Rouyer. “The Beat remains our flagship indoor event in wintertime, while Caribana – our first open-air festival – opens up a whole range of new
opportunities during the summer.”
Elsewhere, Good News recently entered into a collaboration with rock/metal festival Rock The Lakes –“Switzerland’s most beautiful metal festival” – which takes place at Lake Neuchatel in August.
Meanwhile, CTS Eventim-backed act entertainment launches a new boutique music festival in Zurich this summer. Waterfront Festival will debut at the Kongresshaus Zurich in July, when performers will include Stephan Eicher, Katie Melua, the BossHoss, and the Gipsy Kings.
Other events organised by act include Interlaken’s the Greenfield Festival, which will be headlined by Green Day, Bring Me the Horizon, and the Prodigy between 13 and 15 June.
Between the Hallenstadion, X-TRA, and Komplex 457 in Zurich, the 9,500-cap Geneva Arena and Lausanne’s Les Docks, Switzerland has plenty of well-known venues. It also added a number of new ones in the years before the pandemic, including the Hall (5,000-capacity) and 3,500-cap Halle 622, both in Zurich.
Lausanne’s Vaudoise Aréna opened in September 2019 – a 12,000-cap arena for ice hockey and concerts managed by ASM Global –and this year, among much sport, it will see André Rieu, Patrick Bruel, and Ana Moura, Soraia Ramos & Pedro Abrunhosa.
Geneva’s biggest concert venue, the Geneva Arena, brings big-name gigs and large-scale entertainment and sporting events, with J Balvin, Patrick Bruel, and Mika all booked in this year among a host of tribute and family entertainment shows. Located next to Geneva International Airport, it draws audiences from both France and Switzerland.
In Lausanne, Les Docks attracts medium to large travelling names to its 1,000-cap hall. This summer’s shows including The Pretenders, Garbage, Fontaines D.C. and Sleater-Kinney.
“This new year is off to a great start, with many sold-out shows – even though there are many cultural offerings in the French-speaking part of Switzerland. It seems that people are happy with our programme,” says director and programmer Laurence Vinclair, who strikes a note of caution about diminishing bar takings but is otherwise optimistic.
“And the coming months are shaping up well, too,” she adds. “June is an incredible month, like it was in the years before the pandemic, partly because we benefit from festival tours. I don’t have any secret, except the fact that our venue is well-renowned in the music business for its high-quality welcome – good food, good PA. Also, I’ve good relations with booking agents from 17 years working here. They trust us.”
In Basel, the St. Jakobshalle are-
na, refurbished just a few years ago, features 11 halls, including one that accommodates 12,400.
“In 2023, we experienced a very strong second half of the year,” says CEO Thomas Kastl. “Due to our multifunctionality, we were able to accommodate numerous requests. We hosted large-scale events, such as concerts and sports gatherings with thousands of attendees, as well as smaller
sports and business functions.
“Looking ahead to 2024, our calendar is brimming with exciting events. We anticipate hosting the EHF Euro 2024 Women’s Handball and the European Fencing Championship. Additionally, our lineup includes concerts featuring renowned artists such as Bryan Adams, Laura Pausini, Avenged Sevenfold, Judas Priest, and Hans Zimmer.”
hance its appeal for performers and promoters.”
By far the biggest city in Switzerland, with a population of over 400,000 in the metropolitan centre and more than 1.3m across its wider agglomeration, Zurich has – not to labour the Swiss billionaire point – a greater concentration of the super-rich than virtually any other city in the world per capita. Perhaps billionaires alone are not enough to keep a city’s musical nightlife hopping but a large glut of wealthy young professionals certainly is, and Zurich has plenty of those, too.
“Zurich remains a significant city for tours and shows in Europe,” says Philipp Musshafen at the flagship Hallenstadion. “While the specific events hosted in Zurich may vary due to factors like tour schedules, artist preferences, and logistical considerations, the city consistently attracts a wealth of top-tier entertainment. Moreover, Zurich’s affluent population and robust economy further en-
Zurich’s Hallenstadion is one of the country’s busiest live music venues
The Hallenstadion’s highlights of 2023 were numerous, Musshafen recalls: “Elton John twice, Helene Fischer five times, [ex] president Barack Obama, Sam Smith, Hans Zimmer, Cirque du Soleil, and many more. The initial highlight of 2024 was undeniably winning the Arthur Award for First Venue to Come [into your Head],” he adds.
Meanwhile, the city’s 48,000-cap Letzigrund stadium this summer sees sold-out shows by Taylor Swift (two), AC/DC, and Helene Fischer; Coldplay and Springsteen were among 2023’s visitors.
It might be tempting to characterise Zurich as a city of mega-shows and glitzy nightclubs, but its musical credentials go deeper than that.
“We are lucky to have a good network of 300-500 clubs, including Mascotte, Bogen F, Exil, and Plaza,” says TAKK’s Vuignier. “The 1,100-cap Kaufleuten is beautiful and very central,” he adds, “but it’s so busy that you’ll [rarely] get the date you need.”
At the next level are Volkshaus and X-TRA (both at around 1,500 to 1,600), Halle 622 (3,500), and the Hall (5,000). “But none of these venues has been designed for concerts and mostly not for the sizes of today’s productions,” notes Vuignier. “So it’s always challenging in terms of load in and out, dressing room space, storage space, catering rooms, and so on.”
Like any city with a lot of options, rents are high and venues perennially under threat.
“The demand for shows is strong, and a lot of international artists are playing Zurich,” says Wyss at Gadget abc. “Most shows are selling really well, which is great – we are talking about a big number of shows in a rather small city. But we will be faced with a lack of venues in the next couple of years. We are losing some of them, and with the increasing rents, it will be difficult to get new venues.”
Good News reports strong results in Zurich, too, but Stefan Matthey recognises that scoring homeruns in such a busy city is not always an easy task.
“Lately, we have had a good run with smaller shows, 500 to 800, which is really, really good, even though it’s not so easy to find audiences for the smaller shows,” he says. “On a Friday night in Zurich, you might have 20 shows in different styles, and people just have too much choice.”
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Seeing Marsha [Vlasic’s] reaction when she received the Bottle Award. She had no idea, and it brought her to tears. She pioneered the way for female agents – a great moment!
John Giddings | Solo Agency
Our highlight from ILMC was getting to showcase GUN’s latest album at the 100 Club, where many ILMC delegates enjoyed hearing our new music. Also finally being able to announce having two songs in an upcoming Samuel L. Jackson movie was a major moment for us. Our event was attended by around 30 delegates, 40 journalists, and 200 of our fans.
Brendan Moon | Morsecode ManagementJoining ILMC 2024 and Futures Forum was a great way to explore and discuss with industry peers current and upcoming trends for the live music business. I particularly enjoyed the oppor-
tunity to hear insights from speakers representing different markets and businesses on a few very hot topics, from ticketing dynamic pricing to misogyny in music.
Alice Cerafogli | TicketSwap
Winning the football – great, fairly evenly matched game but we ran out hard fought winners. My highlight was playing the full game, 30 years on from our first ILMC tournament at the old Wembley Stadium. Dick Molenaar for ROTW team also played again this year, and he was a veteran of the 1994 tournament, too.
Geoff Ellis | DF Concerts
Vlad Yaremchuk at the gala dinner. Vlad spoke from the heart, and it’s too easy for us to live in a bubble where the biggest problem we face is our [profit and loss].
Nick Hobbs | Charmenko
When Emma Banks said yes to my marriage proposal on 29 February (leap year)!
It was possibly the best ILMC I’ve been to, to be honest. The panels and people were brilliant, and I’m just glad I was able to be a part of it.
San Phillips | Kilimanjaro Live
It was a great conference: a very unique opportunity to mingle with the crème de la crème of the live music industry from all corners – Europe and beyond. I especially enjoyed meeting the next generation of music biz talent during Friday’s Futures Forum.
Áron Farkas | TicketSwap
I surprised myself by dancing all through the high-energy set of HYPHEN at the 100 Club on Oxford Street. I think that band has an interesting future with their clever lyrics, punk-ish vibe. and funny quips from their frontman. Overall, it was a great conference in a bigger (and better) venue!
Laura Coroianu | Emagic
My [favourite highlight] was from the Latin Live: Promoter’s view panel. [Claudia Arcay from] the Loud And Live team said, with regards to infrastructure, venues, and facilities, “If you have a chance to go to the Middle East, go see all these things that you’ll never be able to afford.” That got the only laugh in-house for what was a great overview of what’s happening there at the moment.
Boyan Pinter | Spike
FROM THE TEAM BRINGING THE BIGGEST COUNTRY MUSIC TOURS AND FESTIVALS TO AUSTRALIA AND NEW ZEALAND!