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FAMILY SHOWS BACK ON THE ROAD THE GREAT REFUND DEBATE 60 Years of

KARSTEN JAHNKE KONZERTDIREKTION

109 AN ILMC PUBLICATION MARCH 2022 | £25 | €25

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IQ109 CONTENTS Cover: Little Simz at The BRIT Awards © JMEnternational

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38 NEWS

FEATURES

COMMENT AND COLUMNS

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

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ILMC 34's In-Person Comeback Details of events and social gatherings that await attendees of April’s Brave New World-themed ILMC 60 Years of Karsten Jahnke Konzertdirektion From humble beginnings to European cultural powerhouse, KJK is ignoring suitors to remain a family business The Great Refund Debate Examining international ticket refund policies in a Covid-hit business Family Values Family show producers provide a health check on the sector that traditionally hooks the next generation of fans

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One Year On – Brexit Blues?

Craig Stanley reflects on the ramifications of Brexit and the ongoing battle to remove restrictions on crossing borders Connecting the Dots Lina Ugrinovska suggests ways in which we can heal and grow from the turmoil and mental anguish of the pandemic Your Shout Where’s the weirdest place you’ve watched a gig?

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SENDING

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TO UKRAINE

s I write these words, terrifying footage of military vehicles, aircraft, and personnel invading Ukraine are playing out across news channels around the world.

ILMC and IQ have many friends in the country, so I just want to send all of our love to the friends, family, colleagues and neighbours of Andrew M, Alexander S, Dima C, Alona D, Ervins Z, Evelina G, Sergii M, Lidiia K, Andrei A, Anastasiia V, Vlad Y, Sergey M, Sasha Y, Tetiana K, Maksym K, Dmytro S, Oleg K, Andrii M, Viktor O, Tetiana M and Dartsya T. If there is anyone I have missed, apologies, but believe me, every single one of you is in our thoughts, and we pray you stay safe and that peace returns to your streets very soon. And, of course, that love extends to our Russian friends as well, as we know this will impact on your lives, too.

It’ll be interesting to see what the repercussions will be in the days and weeks to come – and not just in Russia and Ukraine, but also in other countries in the region. The UEFA Champions League final, originally due to be hosted by St Petersburg in May, will now be played in Paris, while Formula 1 has cancelled its 2022 Russian Grand Prix in September. It’s likely that artists might follow suit, hampering the prospects for the Russian live music industry, festivals, and venues in their recovery from the pandemic. Only time will tell if such a reaction will also hit other Eastern and Baltic territories.

Turning to the more trivial matter of the content in this issue of the magazine, on page 24 we celebrate the 60th anniversary of Karsten Jahnke Konzertdirektion, where as well as learning some of the history of the company, its principals detail how they have weathered the pandemic storm, rejected takeover offers, and reveal their sober approach to the company’s future growth.

Our news editor, James Hanley, talks to experts around the world about the thorny issue of ticket refunds (page 38), both at present and as the pandemic status is downgraded country by country so that Covid-19 simply becomes another form of illness.

And we examine the family entertainment sector (page 42) to learn how certain producers managed to work throughout the pandemic, while plans for new productions and spectaculars remain mothballed, ahead of a full return to normal trading conditions.

And finally, for everyone planning to be in London for ILMC in April, we also have a taster of the various events and social gatherings that you can expect from ILMC 34 (page 16). We sincerely hope that peace will prevail and that we will have friends and colleagues from both Russia and Ukraine in the bar with us, toasting a successful return to business – and normality – in the year ahead.

ISSUE 109 LIVE MUSIC INTELLIGENCE IQ Magazine Unit 31 Tileyard Road London, N7 9AH info@iq-mag.net www.iq-mag.net Tel: +44 (0)20 3743 0300 Twitter: @iq_mag Publisher ILMC and Suspicious Marketing Editor Gordon Masson News Editor James Hanley Staff Writer Lisa Henderson Advertising Manager Gareth Ospina Design Rather Nice Design Sub Editor Michael Muldoon Head of Digital Ben Delger Contributors Craig Stanley, Lina Ugrinovska Editorial Contact Gordon Masson gordon@iq-mag.net Tel: +44 (0)20 3743 0303 Advertising Contact Gareth Ospina gareth@iq-mag.net Tel: +44 (0)20 3743 0304 ISSN 2633-0636

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IN BRIEF INDEX The concert business digest

French concert organiser Speakeasy joins forces with Paris rock club Supersonic to launch new national promoter, Take Me Out.

Germany’s Event Management Forum pleads for the government to follow the lead of other European nations and drop all Covid restrictions.

Rolling Stone acquires a majority stake in Life is Beautiful, a music and arts festival held annually in Las Vegas, Nevada.

The International Live Music Conference announces the first round of sessions for the in-person return.

Live Nation is handed a boost in its lawsuit against insurer Factory Mutual over its failure to cover the promoter’s “severe and unanticipated” losses stemming from the pandemic.

The producers behind Baja Beach Fest, Chicago’s Reventon Promotions, and Lollapalooza announce a new Latin Reggaeton festival in the US.

Ticketmaster partners with technology provider Redeam on a “one-stop shop” to help fans buy tickets to live events when booking trips.

Runway Artists expands its team with four new hires and launches a new live showcase event for the music industry.

Lithuanian promoter 8 Days a Week announces a new festival at a century-old former prison in Vilnius.

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The late Steve Strange is honoured at the annual Pollstar Awards held, at The Beverly Hilton’s International Ballroom in Los Angeles.

Australian collection society APRA AMCOS announces it will pay members AUS$1.5 million (€940,000) in live performance royalties for concerts that were cancelled due to the latest Covid wave.

Foo Fighters and PinkPantheress become the latest big-name artists to announce virtual concerts in the metaverse.

Dansk Live warns promoters that Denmark’s live industry will continue to be challenged despite reopening.

Coldplay perform a free show in Dubai in support of Expo 2020 Dubai’s Programme for People and Planet.

The promoter behind a host of UK open-air concerts by artists such as McFly and UB40 featuring Ali Campbell has gone bust.

Artist-backed metaverse firm Everyrealm closes a $60million (€54m) funding round.

Environmental nonprofit A Greener Festival announces the recipients of the A Greener Festival Award in 2021.

Oak View Group is hired by The Football Association to expand and diversify sponsorship, content and other opportunities at London’s Wembley Stadium.

Gracia Live’s Sam Perl tells IQ the company is determined to press ahead with blockbuster shows in Belgium and France in the next few weeks despite ongoing restrictions.

The Lumineers partner with environmental non-profit Reverb to embark on another ‘climatepositive’ tour.

ASM Global announces plans to host what is billed as the largest job fair in live entertainment history across four continents next week.

DHP Family links up with alternative independent music festival Bearded Theory’s Spring Gathering.

The Great Escape Festival announces the launch of The Steve Strange Award, in honour of the legendary X-ray Touring cofounder, who died last year.

The New Zealand government announces plans to extend its insurance scheme for large-scale events by another year.

Rock Werchter founder Herman Schueremans tells IQ that the festival’s record sell-out is a sign of things to come, as he gears up for his busiest festival summer in years.

Organisers of Europe’s biggest K-pop festival reveal international expansion ambitions after adding a second day in Frankfurt, Germany.

In Brief

GET INVOLVED Dutch promoter Mojo launches a new platform featuring hundreds of festival jobs, in a bid to counteract the major staff shortage in the sector.

Eventim Live Asia appoints Samantha Tzovolos as managing director for Singapore and Mike Galt as senior vice-president of touring for Asia.

Live Nation’s Cuffe & Taylor secure an exclusive five-year deal to programme live music events at The Piece Hall in Halifax, UK. ASM Global and the International Live Music Conference (ILMC) join forces to dramatically expand the conference’s Alia Dann Swift Bursary Scheme.

London’s legendary Wembley Arena is renamed OVO Arena Wembley.

Encore, the live performance app co-founded by American rapper Kid Cudi, raises $9 million (€7.9m) in seed funding.

Major European live music markets such as Germany and England share fears over the impending festival season.

DEAG CEO Peter Schwenkow predicts a record 2022 after the German government unveiled its roadmap back to full-capacity live events.

A new tourism campaign launches to promote Glasgow’s music scene to potential visitors from across the UK.

The O2’s roof is severely damaged by the worst storm to hit the UK in three decades.

Sam Fender’s agent Paul Wilson tells IQ about the BRIT Award winner’s international strategy ahead of his biggest UK headline shows to date this summer.

The Dutch government announces a three-step plan for reopening, which will see nearly all restrictions dropped by the end of February.

Snapchat users can now discover live events in more than 20 countries, thanks to a new partnership with Ticketmaster.

Ten Coachella lifetime passes auctioned off as part of a nonfungible token (NFT) series sell for a combined $1.5 million (€1.3m).

Def Leppard & Mötley Crüe’s rescheduled co-headlining tour of the US and Canada is extended after notching up more than one million ticket sales.

Festival organisers behind the newly formed United Festival Force tell IQ about the benefits of banding together.

Oak View Group secures an “industry-first” debt financing deal to fund the construction of east Manchester’s new Co-op Live Arena.

Bring Me The Horizon reduced their tour emissions by 38% during their six-date arena run in the UK, according to sustainability experts A Greener Festival.

Paul McCartney announces details of his first live shows since 2019.

BTS’s Permission to Dance On Stage concerts are set to be the biggest South Korea has seen since the beginning of the pandemic.

Promoters in Germany warn “many questions remain unanswered” about the country’s reopening, despite the promise of a long-awaited “Freedom Day” next month.

The English live music industry welcomes the government’s plans to lift all remaining coronavirus restrictions.

AEG Presents teams up with events company Team Love to launch new 30,000-cap metropolitan festival Forwards Bristol in the UK. DF Concerts announces The Royal Highland Centre, near Edinburgh, as the location for the revival of Connect Festival.

Black Rebel Motorcycle Club is the latest act to be announced for Under the Southern Stars, Australia’s first concert series featuring international artists since the March 2020 lockdown (see page 8).

Ben Lovett’s TVG Hospitality announces the closing of $50million (€45m) in new funding to expand its team and venue portfolio in the UK and US. K-pop juggernauts BTS announce a four-night residency at the Allegiant Stadium in Las Vegas,

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Visit the website for our subscription options. info@iq-mag.net Japan’s leading promoter, Creativeman, says it is “seeing light at the end of the tunnel” as restrictions are gradually lifted.

Italian live music trade body Assomusica urges the country’s prime minister to provide a roadmap for the sector’s reopening to ensure the summer season can go ahead.

Maroon 5 announce their first-ever Middle East tour, with three Live Nation-promoted dates confirmed for the region this spring.

Always Live, an initiative envisioned by the late Michael Gudinski to revitalise Victoria’s live music scene, will launch with a concert from the Foo Fighters.

Primavera Sound 2023 will be held in two different Spanish cities, Barcelona and Madrid, across two weekends.

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Analysis

EURO MARKETS LIFT COVID RESTRICTIONS

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t the end of two years of uncertainty and upheaval, there finally appears to be light at the end of the tunnel for the global touring business, as multiple European markets began to roll back Covid restrictions in the last month.

England’s live music industry hailed the removal of Covid-19 measures, necessitated by high immunity and falling death rates among the population, as a “huge, welcome relief” but warned of the need for ongoing government support.

“With spiraling costs and thousands of companies struggling with pandemic debt, it’s crucial that government does not abandon and set the sector adrift just as it starts to tread water again,” said a spokesperson for trade body LIVE. “We are calling for a reverse to the planned hike in VAT rates and the imminent end to business rates relief in order to avoid further business closures and job losses within our sector.”

Meanwhile, the Association of Independent Festivals (AIF) warned of a ‘perfect storm’ heading for the UK festival season, with the supply chain crisis, workforce shortages, and the effects of Brexit chief among its concerns.

“We may be emerging from the shadow of the pandemic in the UK, but this year will not be a case of ‘back to business as usual’ without critical support for festival organisers,” said AIF CEO Paul Reed. “That’s why we’re calling on the government to aid our recovery and maintain the current reduced 12.5% rate on tickets beyond the end of March, as well as looking at some form of government-backed loan scheme for suppliers to alleviate some of these pressures and encourage investment in the festival supply chain.”

England followed in the footsteps of Denmark, Sweden, the Netherlands, Finland, Germany, Austria and Switzerland in announcing plans to lift all remaining limits.

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Promoters in Germany advised that “many questions remain unanswered” about the country’s reopening, despite the promise of a long-awaited so-called “Freedom Day” next month. Most Covid curbs will be axed from Germany’s Freedom Day – 20 March – although “low-threshold basic protective measures,” such as mask wearing, will still apply.

The Event Management Forum, which includes live music bodies BDKV and LiveKomm, expressed its relief at the “steps back towards normality,” but said the plans required “considerable clarity” from the government, particularly around capacity limits.

“Should it mean that capacity restrictions are perhaps only reduced but basically continue to exist, the event industry would still be a long way from a Freedom Day,” said Professor

Jens Michow, president of live music association BDKV. “Cost-efficiency presupposes that we at least have the chance to generate 100% income with 100% costs. To do this, we must be able to use the hall capacities to the full. As long as we don’t have this chance, we will still not be able to speak of normality in our economic sector.”

LiveKomm chair Axel Ballreich added that certain assurances were still needed from the government.

“It must now be ensured that outdoor events can take place in summer without any restrictions,” he said. “This includes standing room, without a mask, dancing and partying. If we do not receive this security immediately, we will have to cancel events now out of fairness to our guests but also in the interest of minimising damage.”

DEAG CEO Peter Schwenkow acknowledged the myriad of issues facing the touring industry but shared his confidence for the months ahead.

“We are very much convinced we will see a record year, just by delivering the 5,000-plus shows we have on sale,” he told IQ. “Probably not with the full profit margins, due to lack of personnel and by accepting higher costs of ticket prices from 2020 and 2021, but still strong.”

Elsewhere, Switzerland lifted almost all pandemic restrictions from 18 February, with Austria following suit from 5 March.

“It’s about time, after two years of uncertainty, worries, and nearly no shows,” said Goodlive Artists Austria’s Silvio Huber. “On the other hand, we will face lots of challenges, and 2022 will be a tough ride for sure. The market is packed with shows, there is an immense lack of experienced local crews, and we will see a significant rise in production costs, rentals and more.

“Additionally, we shouldn’t forget that we are not used to a pre-pandemic workload yet! I guess

“We shouldn’t forget that we are not used to a pre-pandemic workload yet! I guess this will be the hardest challenge for our industry this year. I’m really looking forward though as I’m convinced we will overcome all these difficulties” Silvio Huber | Goodlive Artists Austria

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Analysis

HEAVYWEIGHT INVESTORS FLOCK TO TVG

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en Lovett‘s TVG Hospitality announced the closing of $50million (€45m) in new funding to expand its team and venue portfolio in the UK and US, backed by a heavyweight list of investors.

The financing round was led by Nat Zilkha and Gibson Brands, with music industry participants including C3 Presents, Irving Azoff and Oak View Group (OVG), Mike Luba, Don Sullivan, Justin Kalifowitz, Andrew Bergman, Coran Capshaw, Ron Laffitte, Adam Tudhope, Lucy Dickins and Tom Windish; alongside musicians Ryan Tedder, Maggie Rogers and Ted Dwane.

Founded by the Mumford & Sons musician and his brother, Greg Lovett, TVG currently operates three London venues, with multiple sites under development in the US, including the Orion Amphitheater in Huntsville, Alabama.

“We are thrilled to be working with TVG on this next chapter of their venues,” declared Irving Azoff, chairman/CEO of The Azoff Company and OVG co-founder. “Ben and his team are approaching the venue space in exactly the right way – you have to put the artist and the fan at the centre of every thought process. That’s the key, and TVG are both artists and fans whilst also knowing a thing or two about hospitality. We hope to support them on their mission in any way we can.”

STORM EUNICE BATTERS THE O2

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ondon venue The O2 was forced to close for a week after its roof was damaged in one of the worst storms to hit the UK in decades.

An estimated 1,000 people were evacuated from the AEG-operated building on 18 February after Storm Eunice ripped a hole in its exterior tent fabric.

“There has been no actual collapse or structural damage to the building, but due to the nature of the canvas material that covers The O2, it has come loose in high winds and looks quite dramatic,” said station commander Chris Kamara of London Fire Brigade.

Rapper Dave’s two-night stand, set for 21-22 February, was rescheduled to 28 February/1 March, but all other shows went ahead as planned, starting with UB40 featuring Ali Campbell on 25 February.

The hole in the fabric caused by the storm will remain visible for some time while a permanent solution is put into place, but the venue clarified that damage is limited to an isolated area within The O2’s Icon Outlet shopping centre, a section of which will remain closed while essential works continue into the coming weeks. A new entrance tunnel has been constructed near Entrance Hof Thousands to allow guests to enter and exit the venue safely, protectedprofessionals from the elements. read “Confirming our reopening after such a short closure is huge testament IQaevery day. Make to everyone who is working so hard to get us open again,” added Sayer, sure Steve you get the The O2’s VP and GM. “Safety will always be our number-one priority.”

© Sharon Forbes

this will be the hardest challenge for our industry this year. I’m really looking forward though as I’m convinced we will overcome all these difficulties.”

However, Italy’s live music sector was still waiting for the green light to restart, with Assomusica demanding a clear roadmap to recovery be set out in March to enable the summer season to go ahead.

“The operators in the sector are really tired, and we would all like to go back to doing our job – in the squares, in the stadiums, in the sports halls – and bring the audience back to relive the emotions that only live music can offer; to restart our sector,” said the trade body’s president Vincenzo Spera. “The situation of discrimination in the live sector is becoming unsustainable. If we do not have certain dates and clear rules very soon to [enable us to] face the spring and summer season, the live sector risks collapse.”

And despite Denmark having become the first country in the EU to lift all coronavirus measures, live association Dansk Live warned reopening would not be a “silver bullet” for the sector.

“Not only has the audience not yet fully returned to the concerts, many places are challenged on the crucial voluntary commitment and also the prices of things like materials, which are sky-high,” said head of secretariat Esben Marcher.

Outside of Europe, Australia reopened its international border for the first time in nearly two years and has announced Under the Southern Stars, the country’s first concert series featuring international artists since the lockdown of March 2020.

Promoted by Andrew McManus’s One World Entertainment, Under the Southern Stars comprises 12 shows across Australia in March, with Black Rebel Motorcycle Club, Cheap Trick, Stone Temple Pilots and Bush serving as rotating headliners across the tour.

And in Japan, where restrictions are gradually being loosened, leading promoter Creativeman confirmed that its marquee festival Summer Sonic will return to Tokyo and Osaka this summer for the first time since 2019.

The 1975 and Post Malone were recently announced as headliners of the festival, due to take place on 20–21 August simultaneously at ZOZO Marine Stadium and Makuhari Messe Event Hall in Chiba, a suburb of Tokyo, and at the Maishima Sonic Park in Osaka. Other international artists lined up for the event include Carly Rae Jepsen, Kasabian, The Libertines, Måneskin, Megan Thee Stallion, The Offspring, Primal Scream, St. Vincent, and Yungblud.

“More and more artists are reaching out and eager to visit or revisit Japan,” said Creativeman’s Layli Odamura. “We, as a promoter, are ready for the live market to return, and we will continue to assess the situation with the government.

There will be multiple headline shows happening towards the autumn onwards too.”

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NEW SIGNINGS & NEW MUSIC

LISTEN TO ’S ‘NEW MUSIC’ AGENCY PLAYLIST HERE

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

CONNIE CONSTANCE AGENT

Sarah Joy ATC Live

KARA JACKSON AGENTS

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(UK)

K (US)

Rob Challice & Clementine Bunel Paradigm

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rawing on a diverse palette that ranges from jazz, reggae and dub to the late 70s/early 80s punk and indie that was obsessed over by her record-collector stepdad, Connie Constance’s compositions have always been both soulful and innately defiant. She is a refreshingly frank storyteller, recounting compelling, real-life encounters, be it feeling wildly out of place at boujee dinner parties (Monty Python) or the surreal date she had taking shrooms at a safari park (Costa Del Margate).

On WOAH she uses a wild trip to Los Angeles to reflect on her journey so far, which finds her uttering in disbelief, “How did a little town kid / Picky afro that didn’t fit in / Make all of this from her bedroom / Never should have doubted.”

Inspired and more determined to push boundaries than ever, Connie’s next chapter promises to be even more exciting than the last.

ara Jackson is a poet, prison abolitionist, and jazz vocalist who uses her voice, activism, and multidisciplinary art to document her lineage of divine womanhood in a country that demands its erasure.

Hailing from Oak Park, Illinois, her writing has been recognised nationally in her home country, where she served as the third National Youth Poet Laureate from 2019-2020. Jackson is also the author of Bloodstone Cowboy (Haymarket Books, 2019). “Being a youth poet laureate is an honour and privilege to me,” she says. “I am grateful for the opportunity to use my poems as catalysts for changes much larger than poetry.”

Supporters in the music community include Noname, Clairo, Moses Sumney, Jamila Woods, Sen Morimoto, Phoebe Bridgers, Kacey Musgraves, Nnamdi, Jean Deaux and Kaina, as well as Adele’s manager Jonathan Dickins, whose September Records label will be releasing Jackson’s highly of Thousands anticipated debut album in autumn 2022. professionals read Agents Clementine Bunel and Rob Challice are currently IQ every day. Make exploring ideas for song and spoken word performances in the sure you get 2022 and 2023.

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New Signings

ARTIST LISTINGS Abraham Alexander (US) Olly Hodgson, Paradigm Alicia Creti (US) Noah Simon, UTA Amy Wiles (UK) Cecilia Chan, Paradigm ayrtn (UK) Mike Malak & Nick Matthews, Paradigm Bad Boy Chiller Crew (UK) Sol Parker & Suzie Melki, Paradigm Baker Grace (US) Sol Parker, Paradigm BEX (UK) Steve Zapp, ITB BloodMoon (US) Michael Harvey-Bray, Paradigm Cannons (US) Ryan Penty, Paradigm Cauzer (UK) James Smith, Earth Agency Chelji (UK) Mike Malak & Tom Schroeder, Paradigm Chloe Adams (UK) Ryan Penty, Paradigm Connie Constance (UK) Sarah Joy, ATC Live Denis Coleman (UK) Sol Parker, Paradigm Ed Carlsen (IT) Kai Lehmann, Cabin Artists Eddie Chacon (US) Sinan Ors, ATC Live Ellauro (UK) Tom Schroeder, Paradigm Ethel Cain (US) Matt Pickering-Copley, Primary Fabio & Grooverider and The Outlook Orchestra (UK) Clive Mill, Earth Agency Florentia (UK) Jason O’Regan, Earth Agency Georgia Ku (UK) Kara James, ITB Graphic Nature (UK) Christina Austin & Paul Ryan, UTA Harvey Jay Dodgson (UK) Alex Hardee, Paradigm ionnalee (SE) Cecilia Chan, Paradigm

Ishi Vu (SE) Junior Simba (UK) Justus Bennetts (US) Kara Jackson (US) Kemi Ade (UK) Kiki Rockwell (NZ) Miss Grit (US) Nathan Dawe (UK) November Ultra (FR) O. (UK) Oden & Fatzo (FR) OhEm (UK) Oxxxymiron (RU) Pablo Brooks (DE) RealestK (CA) Regard (US) Renao (UK) SIDEPIECE (US) Spill Tab (US) TASH (UK) The Caracal Project (FR) Tom A. Smith (UK) Uffie (US) Vanessa Maria (UK) Walker County (US)

Jan Bouwhuis, Earth Agency Ollie Seaman, Earth Agency Ryan Penty & Mike Malak, Paradigm Rob Challice & Clementine Bunel, Paradigm Daniel Turner, Earth Agency Sol Parker, Paradigm Colin Keenan & Graham Clews, ATC Live Max Lee, UTA Jules de Lattre & Nikos Kazoleas, UTA Clemence Renaut & Roxane Dumoulin, ATC Live Ollie Seaman, Earth Agency Sally Dunstone, Primary Talent Mike Malak, Paradigm Kai Lehmann, Cabin Artists Mike Malak & Alex Hardee, Paradigm Cris Hearn & Cecilia Chan, Paradigm Mike Malak, Paradigm Paul McQueen, Primary Talent Mike Malak, Paradigm Giulia Spadaro, ITB Francesco Caccamo, Primary Talent Alex Hardee & Chris Smyth, Paradigm Lucy Atkinson, Earth Agency Daniel Turner, Earth Agency Olly Hodgson, Paradigm

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

LAST MONTH 1 69 24 61 2 35 37 19 13 5

PREDICTIONS FOR MARCH 2022

ARTIST NIGO (JP) MUNI LONG (US) IAYZE (US) SMILE, THE (UK) DREAMER ISIOMA (US) BAILEY ZIMMERMAN (US) YUNG KAYO (US) JISOO (KR) MADDIE ZAHM (US) ISHOWSPEED (US) FRESCO TREY (US) JESSICA DARROW (US) GAMES WE PLAY (US) CAT BURNS (UK) LUUDE (AU) ISABEL LAROSA (US), FLOWEROVLOVE (US), JX.ZERO (US), JBEE (UK), NEMZZZ (UK)

Artists not in the current top 15, but growing quickly

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

FEBRUARY 2022

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Comment

One year on – Brexit Blues or Golden Fields of Opportunity?

LIVE touring group chairman, Craig Stanley, reflects on the practical ramifications of Brexit and the ongoing battle to remove restrictions on crossing borders

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week is a long time in politics – a year is a lifetime. It has certainly felt like that in the past twelve months since the UK finally left the EU in January last year.

Throughout that time, I have chaired a group of committed industry figures that make up the LIVE Touring Group.

We have been unravelling what Brexit really means for the concert touring industry, working with government departments to make clear the consequences of our new relationship with Europe. Until now, the real implications have been masked by Covid-19 restrictions, and the full impact is only just beginning to be felt as we start touring once again.

So, what has happened? What have we learnt? And more importantly, what hurdles remain for both sides of the Channel as we adjust to the new relationship? As Europe re-opens after Covid-19, the post-Brexit news isn’t all bad but, then again, it’s not all good – and it could be much better.

The root of the issues can be traced back to the hastily negotiated Trade and Co-operation Agreement (TCA) that, despite running to over 1,400 pages, barely mentions culture and entertainment. Lord Frost, the UK government’s lead negotiator, may have left, but the legacy of his oversight remains. Meeting other government officials re-enforced how little they know about how our industry works and the scale of our economic contribution. Happily, after a year of intense lobbying by LIVE and many other interest groups, the wheels of power have begun to turn, and the concerns of our sector are now firmly on the political radar.

The UK’s live music industry is larger than the fishing and steel industries combined and eclipses all other industries in successfully exporting ‘Brand Britain’ to the world. In the UK, the sector provides employment for well over 200,000 people, of which more than 33,000 are reliant on international touring for their livelihoods.

Brexit may be done; it now needs to be finessed so that it works for all. It is not only British musicians, suppliers and crews that will lose out – those on the continent will suffer

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too. European promoters rely on British bands, equipment, and technical expertise to deliver shows that fill concert venues and sell out festivals from Sicily to Helsinki. European music fans love British music, and the feeling is entirely mutual. All we want is to be able to keep this international collaboration alive and let the music play.

Europeans have as much responsibility as their British colleagues to lobby their own governments to make things happen. When the UK left the EU, it lost its voice with European policy makers. European restrictions will only be lifted if European artists, businesses, and music fans make enough noise to get their politicians interested to bring about change. A case in point is the successful campaign waged by the UK industry, working in conjunction with their Spanish counterparts, which resulted in the Spanish government’s U-turn on their tough immigration stance on British nationals working in entertainment. Those restrictions were eventually lifted, paving the way for a litany of Spanish festivals and gigs to take place this summer featuring British artists.

At the start of the year, the focus was firmly on the threat posed by post-Brexit immigration restrictions across the EU. The campaign by Carry On Touring demonstrated the depth of feeling across the sector, attracting well over a quarter of a million signatures to its petition for Europe-wide visa-free work permits for touring professionals and artists. This ‘ask’ remains firmly on the table, but the current frosty relationship between Westminster and Strasbourg suggests it may be a long road to implementation.

Visa-free access was provided within the TCA for UK nationals going to the EU, and vice versa for Europeans coming to the UK. However, this visa-waiver came with a deadly catch. We are only allowed to spend 90 days in the EU within any 180-day period. Musicians and crews will no longer be able to move from one tour to the next if they exceed the 90day limit, especially as the limit includes down days and holidays spent in the EU. Thousands of The good news? Much uncertainty has now beenprofessionals reread

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ASSOCIATION PARTNERS

tpG TOUR PRODUCTiON GROUP

26 APRIL 2022 REGISTER NOW ROYAL GARDEN HOTEL, LONDON

ASSOCIATION PARTNERS

GETTING SOCIAL AT

AN EPIC THREE-DAY ADVENTURE

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hile the full ILMC conference programme will be announced over the coming weeks, this year’s premier gathering of the international live music business will be all about the social events.

With Covid now ‘officially’ over for some and key markets in the process of reopening, ILMC 34 will be the first big international meet-up the business has had in two years. And as delegates set out to explore new opportunities and reshape the global business during the conference, it’s the socialising and events that make ILMC truly unique. In other words, it’s the fun stuff that will matter most this year...

K TUESDAY 26 APRIL L The ‘Call of the Wild’ Opening Party 18:00–21:00 After nearly two years ‘in the wild,’ the live music world’s most valiant explorers will finally be able to shake off their crampons and unpack their rucksacks at The ‘Call of the Wild’ Opening Party.

This international celebration will reunite friends and colleagues, with complimentary booze (not to mention energy-giving provisions) on hand to welcome everyone as the business gets back together.

K WEDNESDAY 27 APRIL L The WME Happy Hour 18:00–19:00 Kicking off Wednesday night at ILMC, the team at WME invites delegates to join them for the most popular inperson event this side of the pandemic. With 60 minutes of complimentary booze and snacks, it’s a chance to relax and unwind in the company of the industry’s top explorers and the whole WME team.

All delegates are welcome to attend, but be warned… it’s a popular event so early arrival is most definitely recommended.

REVIVE LIVE SHOWCASE 19:00–21:00 With support from the UK’s National Lottery, the Music Venue Trust’s Revive Live shows have played a huge role in restarting the grassroots sector. Spotlighting some of the best new emerging talent as well as household names taking the stage in small venues, it’s a fabulous initiative. And it’s coming to ILMC… more details shortly.

THE MVT POP QUIZ 21:30–23:00 Calling all those music buffs and knowledge nerds, the firstever pop quiz at ILMC invites individuals and teams to enter this slightly barmy and fully interactive pop quiz. Expect great music, fun facts and plenty of prizes. Hosted by the guys and gals at MVT, it’s a pop quiz, but not as you know it…

The ‘Up the Ante’ Poker Tourney 21:30–0:00 The ‘Up the Ante’ Poker Tourney will see around 50 explorersturned-cardsharps battle it out for some spectacular bartab prizes (to be redeemed in any of the Royal Garden Hotel’s bars) in this fierce annual competition.

Players can either sign-up when they register or email marketing@ilmc.com to secure a place at the tables.

Alternatively, if you really like a gamble, enquire about any last-minute places on the night. Proceeds go to Stagehand, the live production welfare and benevolent fund.

The ‘Pass-tures New’ Table Football Competition 00:00–03:00 A late-night game of quick reactions and occasionally even skill, The ‘Pass-tures New’ Table Football Competition will see players compete in pairs for both international glory and the world’s tiniest trophy.

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

IL L K THURSDAY 28 APR

ala G ’ s r o o d In t a e r G e ‘Th ur Awards Dinner & Arth00 19:30–00:

Royal Albert Hall in 2021. around the globe from The ra awards ved t-lo bes s’s ines essed explorers will discove bus l-dr On arrival, tired but wel The international live music e urs nds r-co usa fou tho r, With wed by a five-sta erson in 2022. champagne reception, follo – The Arthurs – are back in-p , est ld, high y wor ver the the to und fs aro che als ng fession st prepared by award-winni fea of votes compiled from pro fine the of n ise , of course, a selectio s a platform to recogn delectable standards. And The Arthur Awards provide a handful of lucky with , stry indu the of ch. rs wines to mat backstage sta is the glamorous Sheraton cherished statuettes.

The venue for the evening winners taking home the er , ival fest de II-listed ballroom and Silv er, agent, venue, As if seeing the top promot Grand Park Lane. With its gra ses, mu the , cian ugh Gre eno and not ls was wal their gongs rned with palladium leaf ado ery Gall ticketer and more receive Art ss r ure cula don’s most specta ed by the pioneering advent Sheraton Grand is one of Lon whole affair will be compèr rns to the physical the retu a tion for a lavish jamboree.

Emm loca t ks! fec Ban a per Emm the s Deco spaces and extraordinaire Mis nds usa tho to live d ame stre ion was stage after the virtual edit

KJ Concerts’ ‘Big 60’ Happy Hour 18:00–19:00

Karsten Jahnke’s company celebrates its 60th anniversary this year, and to mark such a prestigious milestone, they’re inviting all ILMC delegates to raise a complimentary glass with them.

The ‘Big 60’ Happy Hour takes place just as the day’s conference sessions wind up, and before delegates head off to the ILMC Gala Dinner & Arthur Awards or head out elsewhere.

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

Match of the Year Football 19:30–21:30 This annual football match involves players from the UK

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pitting themselves against those from the rest of the world in a 90-minute display of bravery and epic skill.

Buses will transport players from the Royal Garden Hotel to The Hive Stadium in north London and back, and all registered ILMC delegates are invited to play. To get on the pitch, contact lou@ilmc.com.

The ‘I Will Survive’ Campfire Karaoke 22:30–02:00 The ‘I Will Survive’ Campfire Karaoke is always the scene of a multitude of aural crimes, all of them against music. Expect some adventure-themed performances as this expedition into the sonic unknown stretches, almost unbearably, into the early hours of Friday morning and incorporates The Arthur Awards after-show party.

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

K FRIDAY 29 APRIL L The ‘Over & Out’ Closing Drinks 17:30–20:00

To wrap up both ILMC and the Green Events & Innovations Conference (which takes place during the day), delegates of both events are invited to put down their binoculars and explore the Royal Garden Hotel’s well-stocked bar for a glass of wine or three.

And with the party wrapping up around 20:00, there’s still plenty of time to enjoy Friday evening in London immediately afterwards…

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If you’re a future industry leader or have great upcoming talent on your team, then check out this year’s Alia Dann Swift Bursary Scheme, which is offering 30 complimentary ILMC places to young executives in the business, as well as mentoring at the conference and more, thanks to ASM Global who have stepped in to support it.

The expansion of the scheme this year comes via ASM Global’s corporate social responsibility platform, ASM Global Acts, which launched in October 2021 to protect the environment, invest in people, and strengthen communities

around the globe.

Any young executive already working in the live music business (suggested age of 30 and under) who has not previously attended an ILMC can apply. Successful applicants will be twinned with a dedicated industry mentor and benefit from additional networking opportunities both during ILMC and afterwards via the ASM Global family.

The scheme is open to international applicants and encourages applicants from a diverse background.

More info at 34.ilmc.com/bursary.

To commemorate the untimely loss of X-ray co-founder Steve Strange, this year’s delegate bar is dedic ated to the veteran agent who passed away in Octob er last year. A legendary figure in the business, both ILMC and X-ray could think of no better way to honou r Steve’s memory than to highlight his legacy in the place where the international live music business gathe rs both to do business and to collectively let its hair down .

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An epic adventure to explore uncharted territory and new frontiers

Shaping the new international live music business

G

FI

V

E

REGISTRATION NOW OPEN 34.ilmc.com/register

S A T H TA R E R D LO E R O LO H NN Y C H D H O A AT H O T L IO H N E N L H ,

LONDON | 26–29 APRIL 2022

Daring expedition made by possible by…

THE ARTHUR AWARDS

FEATURES

PL ATI N U M

ASSOCIATION

GOLD

S I LVE R

MEDIA

ASSOCIATE

SERVICES

>REGISTERING FOR ILMC

If you’re either a seasoned ILMC member or representatives from your company have attended previously, you can go ahead and register at 34.ilmc.com/register.

For new delegates who have never attended an ILMC before, including those delegates that registered for our virtual event in 2021 and who hadn’t previously attended an in-person ILMC, please check out the New Delegate Process at 34.ilmc.com/register.

WHAT IS IT AND WHAT’S INCLUDED? An ILMC pass isn’t just a badge of honour worn proudly by the most daring and intrepid individuals across the worldwide live business… it also comes with plenty of other stuff! Read on for some of the additional perks:

— Access to all panels, presentations, networking areas, and most events.

— Access to the Green Events & Innovations (GEI)

conference on Friday 29 April.

— Access to on-demand recordings of all ILMC sessions for 30 days after the conference.

— An invitation list restricted to the industry’s top movers and shakers.

— Five-star lunches and tea & coffee breaks.

— Heavily discounted room rates for registered delegates throughout ILMC. — Access to the ILMC Networking Scheme.

— The first-class facilities of a top west London hotel.

— The Globetrotters Conference Guide, which includes contact information for all delegates.

— An ILMC delegate bag.

— Free entry to shows across London throughout ILMC. — Significant prizes to be won with proceeds going to charity.

— Discounts in local restaurants and eateries.

34.ilmc.com/register

at many of to announce th e are delighted tertainment en e nies in the liv the top compa pport to ILMC in added their su business have have in bringing ey dence that th nfi co e th ng help ni 2022, underli nd the world to ners from arou rt pa wards d to an te s ra ue colleag lly and accele ess internationa sin bu rt ta ks kic . levels of activity inum partner, pre-pandemic reveal our plat to d ou pr ly ar ul ic rt rtner, CT S pa e pa r ar We ketmaster; silve Tic r, ne rt pa DE AG, ld rs, ASM Global, Live Nation; go partners, Tyse e at ci so as d an Eventim; sec. mel TA DC, and Show players are Sem is lineup of key th g gaforce, Me t, en m Also joinin ain rt Group, Feld Ente w Vie k y more.

Oa an , m ts d Concer Universe, an etrotters, eps, ob mpetition, Gl co m e th rle of Ha d e Th pany stays ahea m co ur yo or re To ensu ting@ilmc.com osser on marke contact Chris Pr y remaining an s us 0302 to disc +44 (0) 203 743 tions. d marketing op sponsorship an

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K NEW WORLD L EXPLORERS’ ITINERARY Tuesday 26 APRIL 2022

09:00–17:00 10:00–18:00 10:00–18:30 11:00–16:00 13:00–21:00 18:00–21:00 Various

IPM Registration Desk open IPM (ILMC Production Meeting) Association Meetings (invitation only) Association Summit (invitation only) ILMC Early-Bird Registration The ‘Call of the Wild’ Opening Party Access All Areas Shows

Wednesday 27 APRIL 2022

09:00–20:00 09:30–11:00 10:00–10:30 10:00–late 10:00–18:00 10:00–18:00 12:30–14:30 Various 18:00–19:00 17:00–21:00 21:30–23:00 21:30–00:00 00:00–03:00

Registration Desk open The Uncharted Terri-tea & Coffee Break New Delegates’ Orientation Strangey’s Delegate Bar open Conference Sessions Association Meetings (invitation only) The ‘Survival of the Fattest’ Lunchtime Buffet Access All Areas Shows The WME Happy Hour Revive Live Showcase The MVT Pop Quiz The ‘Up the Ante’ Poker Tourney The ‘Pass-tures New’ Table Football Competition

Thursday 28 APRIL 2022

07:00–10:00 09:00–18:00 09:30–11:00 10:00–late 10:00–18:00 12:30–14:30 13:30–14:00 16:00–17:00 16:00–19:00 18:00–19:00 19:30–21:30 19:30–00:00 Various 22:30–late

Breakfast Available Registration Desk open The Tea, Coffee & Whittling Break Strangey’s Delegate Bar open Conference Sessions The ‘Scouting for Grills’ Lunchtime Buffet Nikos Fund Grand Prize Draw Feld’s ‘Dawn of Civil-ice-ation’ Ice Cream Break Association Meetings (invitation only) KJ Concerts’ ‘Big 60’ Happy Hour Match of the Year Football ILMC’S ‘The Great Indoors’ Gala Dinner & Arthur Awards Access All Areas Shows The ‘I Will Survive’ Campfire Karaoke

Friday 29 APRIL 2022

07:00–10:00 09:00–17:00 09:30–11:00 10:00–18:00 10:00–18:00 10:00–18:00 12:30–14:30 17:30–20:00 18:00–20:00 Various

Breakfast Available Registration Desk open The Sustainabili-tea and Coffee Break Strangey’s Delegate Bar open Conference Sessions GEI (Green Events & Innovations Conference) The Vegan Veg-Out Delegate Lunch The ‘Over & Out’ Closing Drinks International AGF Awards Access All Areas Shows

THE NO T-SO-SM ALL PRIN T

A full list o f terms a nd condit be found ions can online, bu t please n ote: • ILMC co nference sessions not be vid may eoed or re corded • Children are not allo wed in th conferen e ce areas • Confere nce pass es must b worn at a e ll times • Lost pass es will inc ur a replacem ent fee

Magazine

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60

YEARS OF KARSTEN JAHNKE KONZERTDIREKTION

© Yvonne Schmedemann

For a company in live music, reaching its 60th anniversary is a remarkable achievement. For Karsten Jahnke Konzertdirektion, the feat is all the more incredible as its founder is still working, every day, watching as his grandson, Ben Mitha, develops the business and ensures its successful future. Gordon Masson reports.

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Feature_60 Years of Karsten Jahnke Konzertdirektion

Beginnings

When Karsten Jahnke registered the company name back in 1962, the enthusiastic music man had already been immersed in his favourite genre –jazz – since the decade before but admits that running a company that would allow him to indulge in his passion was never really a goal.

“The first jazz ball I promoted was 1959 for a band of a friend,” he recalls. “Afterwards, I remember receiving a letter from the authorities telling me that I needed a type of licence to put on such a show.”

At the time, Karsten was working in an export company in Hamburg, but with his evenings free, he would organise shows when he found the time and otherwise spent his waking hours listening to jazz records and trying to contact the representatives of the artists he liked best.

Finally, in 1962, his employer persuaded him it was maybe time to chase the dream, and with the registration of Karsten Jahnke Konzertdirektion (KJK), he took possession of the licence that local government had been urging him to obtain for his concerts and events.

“When I started, I had one assistant and one freelancer because I have no knowledge about the technical side of things, so I made sure to have an expert for the technology,” he tells IQ. “I had a fantastic start because I was working with a German ‘nonsense’ group called Insterburg & Co. and every year we had between 80-150 soldout shows with capacities of 1,000-2,000. So for ten solid years, we made money.”

The success of the boutique KJK operation also attracted the attention of Germany’s powerhouse promoters, and Karsten would often find himself working with Marcel Avram and Marek Lieber-

berg at Mama Concerts, as well as Fritz Rau, who dominated the German market from the 1950s right through to the 80s. Those collaborations saw Karsten working with the likes of David Bowie, Stevie Wonder, Santana, and Neil Diamond, expanding his roster beyond its jazz routes.

Indeed, while losing money on the odd show was, of course, part of the reality of being a promoter, the first time Karsten experienced real difficulties was 20 years into his career. “It was 1983, and Marius Müller-Westernhagen cancelled a tour one day before it was scheduled to start,” says Karsten. “I was insured by an English company who said they would pay, but all of a sudden it was six months later, so I employed an English lawyer, and after 18 months we got the money, which at that time was DM650,000.

It was a lot of money [about €330,000 in today’s money], and if we had not got it back, the company would have been bankrupt.”

While a passion for the art lies at the heart of everything Karsten does, he is a realist when it comes to working in the industry. “I like music, but it makes no sense if you like the music and you can’t make money,” he states. “We had a lot of successful tours and, okay, sometimes you lose some artists – Depeche Mode we lost, Herbert Grönemeyer we lost. But some, like The Dubliners, we’ve booked for their entire 40 years. And we still have Peter Gabriel and we still have The Cure, so to be honest, I’m really happy.”

Keeping it in the Family

Although Karsten was always keen to keep his

Testimonials To successfully operate for so long in this business and in the face of everchanging economic, political and social trends and challenges, is not just a simple product of professionalism and economic calculation – it takes much more than that, just as it takes more than a certain age to be a grand seigneur.

For this reason, I associate KJK and above all its founder, with greatness, passion, loyalty, integrity, and unbreakable optimism, rather than with a focus on profit optimisation and positive balance sheets.

Karsten, you have long been one of the outstanding personalities in our industry – nationally as well as internationally. You have become a role model, not only as an entrepreneur and managing director but also as a person who always sees the positives first, appreciates tradition just as much as innovation, and as someone who has never lost his curiosity and passion for music.

KJK has become synonymous with continuity, reliability and fairness.

Dear Karsten & team, celebrate and let yourselves be celebrated – you definitely deserve it!

Folkert Koopmans | FKP Scorpio

© Franklin Hollande

Karsten is one of the true gentlemen in our business and a promoter who cares about the artists he works with. He has passed on his passion to Ben who will carry the Karsten Jahnke torch into the future and the next chapters of the company.

Nigel Hassler | CAA

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I had the pleasure of working for Karsten at the beginning of the 70s, in his early – and my very, very early – days of our music industry. After a few months in the office, Karsten sent me on tour, which finally made me move to Berlin about one year later!

I’ve learned a lot, especially that you better order spirits on commission instead of buying them with a discount (only Karsten will know what I mean).

Congratulations, Karsten, on a really impressive career as a passionate gentleman promoter.

Peter Schwenkow | Deutsche Entertainment AG Wow, 60 years of Karsten Jahnke Konzertdirektion! It’s so great to see a family Thousands of business thriving, with lovely people at the helm. Massive congratulations to professionals read Karsten, Ben, and the team, and here’s to another 60 years!!

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60 Years of Karsten Jahnke Konzertdirektion_Feature

© Yvonne Schmedemann

Karsten & Ben

eponymous company within the family, sons Torsten and Heiko found careers elsewhere, albeit Torsten still designs many of the company posters and artwork, while Heiko curates ÜBERJAZZ Festival and works with the company’s booking team on certain acts. Instead, the family business skipped a generation, with grandson Ben Mitha assuming the CEO role in 2014 alongside his grandfather and long-time chief Hauke Tedsen as the company’s three general managers.

But it wasn’t always a certainty that Ben would take over the reins.

“During my school days, there was always this soft push and wish of Karsten to get somehow involved in the company,” he reveals. “But I kept my options open to do something different. So when I finished my A levels, it was a choice for me to either go into sports journalism or go Karsten’s way.”

The decision was made during an open house visit to Hamburg University. “Part of the programme was a journalism lecture,” says Ben. “There were, like, 2,000 people in there and

“It’s a privilege to promote music that you like, and even better if you don’t lose money” Karsten Jahnke | Founder

about 2,000 more trying to get in. So I realised, no matter how good I think I am, pursuing a career as a journalist would be challenging. So I made the decision to go into music business and never regretted it.”

Keen to learn his trade, Ben found a role as an intern for Ted Kurland in Boston, while embarking on dual studies for both a bachelor degree and a merchant degree. “After three years, I had both degrees, and then I just started working my way through at KJK, starting as a booker and working my way up to managing director as I assumed more and more responsibilities.”

“Of course, he started really when he was three years old in the StadtPark during the sum-

mer,” interjects Karsten. “Little Ben was always around, and he loved it.”

“It’s true,” says Ben. “My mom did the box office at Stadtpark, so I was always hanging around and playing in the bushes and stuff like that. So I suppose I got the experience from very early on.”

Karsten describes Ben’s path to the top as natural. “As a school pupil, he started to work at the company during his holidays. And after his A Levels, he started his own company, Digga Events, a full-service agency for security and stage personnel that now also handles concert production. So when he decided to join our company, it seemed like a very logical next step, and I was really happy to have a family member on-board to Magazine

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Feature_60 Years of Karsten Jahnke Konzertdirektion Karsten with The Hollies

have him leading the company into the future.”

And Ben’s impact on KJK’s activities over the past decade has been obvious. “When I started at the company, I started to open up the general roster in a more diverse and wider way,” he explains. “So we are now in a position where we pretty much have a specialist or a booker with knowledge of pretty much every genre except the classical market and German folklore (schlager) business, which we don’t cover.

“While Karsten loves jazz, I originally come from the hip-hop and urban world,” he adds. “There are a few names I’m working with now, like Cypress Hill, Wu-Tang Clan, Nas, J. Cole, who definitely are some heroes from my teenager years. It makes me proud to be a small, tiny part of their art.”

That passion for music is something passed down the generations, and Ben is in no doubt

about the legacy his grandfather has created for the family.

“Karsten’s 70th birthday was a big party at the Schauspielhaus in Hamburg with 1,200 guests,” recalls Ben. “It was remarkable how many domestic and international stars showed up – Paul Weller, The Dubliners, Nils Landgren, Til Brönner, Herman van Veen, Justin Nozuka – as well as loads of politicians and celebrities. It was really impressive to see how many people travelled to Hamburg just to honour this guy.”

And he says his first trips to the Royal Garden Hotel similarly underlined his grandfather’s status in his eyes. “The first ILMCs I joined Karsten at, I could see that everybody knew him, everybody liked him, everybody respected him and

Testimonials We here in Germany, use “Hanseatischer Kaufmann” as a synonym for an honourable merchant. That’s exactly what Karsten Jahnke is. And he loves music from the bottom of his heart. A perfect combination!

Just a few years ago, Karsten and his wife had a big wedding anniversary.

To celebrate, they went to a Ludovico Einaudi concert, which his and my company had produced together in Hamburg´s 02 Arena. The couple talked to the artist, listened to the show, had a drink with us, and then they walked away holding hands. I was deeply impressed, not many couples would act like that after being in the business for so long.

Peter Hohensee | Bremme & Hohensee I have known and been very proud to work with Karsten Jahnke for many of his six decades in the industry. Karsten is all about the music and has recognised excellence in many genres – long before the artists became famous.

It has been great to share many magic moments with him at numerous shows across the years. He’s a man of honour and integrity – always true to his word. I think everyone is so happy to see that Ben and Karsten’s entire team have the same dedication, so that KJK will certainly “keep swinging” for many more decades to come.

With warm respect…

Barrie, Jenny, Doris & everyone at Marshall Arts Working with Karsten and his team has been a great pleasure from day one of our venue in Hamburg. Actually, he promoted the first public concert ever at Color Line Arena (Barclays Arena) on 10 November 2002: The Cure.

Karsten is one of the very rare true gentlemen in our industry – he lives up to values like trust, partnership, and honesty. Sharing time with Karsten is always inspiring!

Ben is following the path set by Karsten, and I have no doubt he will lead the agency into a bright future.

Cheers to the next 60 years!

Uwe Frommhold | AEG Germany Wonderful people and superb promoters – here’s to another 60 years!

Shaun Faulkner | X-ray Touring

Thousands of

Congratulations on 60 years, Karsten! What an achievement! Working with you professionals read and Ben is always such a pleasure. Here’s to many more years!

IQ every day. Make Brian Cohen | WME

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sure you get the whole picture…

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Dear Karsten, I love You !

I always loved You. You are a friend and a reliable partner of the first hour.

I will always remember the days in 1968 when we did Pink Floyd together.

At that time we both learnt what a „full house“ means.

Happy 60th Business Anniversary! Keep on rockin‘ Much love, Marcel

KARSTEN JAHNKE A true music man Many congratulations on sixty great years Proud to have shared so many memories with you Here’s to the next swinging decade!

Warmest wishes Barrie, Jenny, Doris and all the Marshall Arts family

1 Whittlebury Mews West, Dumpton Place, London NW1 8HS T + 44 (0)20 7586 3831 marshall-arts.com

Feature_The Great Refund Debate

THE GREAT REF With fans still sitting on event tickets that they bought as long ago as 2019, the industry is facing a dilemma when it comes to who merits a refund and who does not. And as Covid becomes endemic, should refunds remain obligatory for ticketholders who test positive? James Hanley investigates.

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T

he race to contain Covid-19 outbreaks and variants over the last 24 months has been likened to a game of WhacA-Mole. But as the international live music business begins to emerge from the horror of the pandemic, it will need its own mallet at the ready to combat the litany of fresh problems popping up day-to-day.

One of the more mundane but contentious debates to be sparked in recent months surrounds the matter of refunds. The issue was brought to the fore by Dead & Company and promoter CID Presents’ Playing in the Sand destination festival, which was set for Mexico’s Riviera Cancún over

The Great Refund Debate_Feature

FUND DEBATE two weekends in January this year.

Amid the omicron surge of late 2021, organisers opened a 48-hour refund window for fans having second thoughts about attending (all ticketholders were ultimately refunded when the event was pulled at the 11th hour due to a spike in infections). However, CID declined to repeat the offer for its other January festivals: Crash My Playa and HootieFest: The Big Splash.

“If, at any point during the two weeks leading up to a particular event, the CDC Risk Assessment Level for Covid-19 for the Quintana Roo (Cancún) region of Mexico rises to a Level 4 or Mexico designates the area unsafe to hold an event, we will be offering full refunds to those

not wishing to attend the particular event,” said a statement by the promoter. “We continue to recommend buying travel insurance, which may help protect against the risks of Covid-19 and travelling internationally during the pandemic.”

It was a similar situation at Wilco’s Sky Blue Sky “concert vacation” in Mexico, also in January, produced by Cloud 9, The Bowery Presents, and Higher Ground Presents, which stressed its no-refund policy and encouraged festivalgoers to purchase travel insurance. “A refund, or the ability to hold one’s spot for a rescheduled date, will be available to purchasers if the event were to be postponed,” Cloud 9 told Billboard.

But far from limited to sun-drenched geta-

ways, the refund question is pertinent at all levels of the industry, in every market across the globe.

“There is a set Live Nation policy across the board,” explains Barnaby Harrod of Mercury Wheels, part of Live Nation Spain. “When an event is cancelled, you get an automatic refund.

With reprogramming, the original tickets are, of course, valid for the new dates. However, if somebody can’t make the new show, or doesn’t want to, they have 21 days to ask for a refund, and that has been applied across the pandemic.”

Thousands of Certain events and promoters also offer read reprofessionals funds or a voucher for anyone who is unable to IQ every day. Make attend due to testing positive. Harrod advises sure you get the that every claim is assessed on its own merits.

whole picture…

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FAMILY VALUES Feature_Family Values

While the live entertainment industry ponders when casual ticket buyers will regain the confidence to return to events, the family entertainment sector is confident the demand among its customers is stronger than ever. Gordon Masson reports.

L

ike other sectors in the live industry, the world of family entertainment has been hit hard over the past couple of years, removing a vital part of the overall jigsaw given that family shows often introduce children to their first taste of live events.

One major casualty of Covid-19 was Cirque du Soleil, which had been one of the world’s most successful live entertainment enterprises since it launched in 1984. But when the pandemic struck, the company had to suspend all 44 of its active shows around the world and temporarily lay off more than 4,600 staff. With debts of more than $1billion (€0.9bn), it was forced to file for bankruptcy protection before a consortium including former MGM Resorts CEO Jim Murren and Canadian investment group Catalyst Capital bought the business in November 2020.

Manu Braff of Belgium-based MB Presents has his own Cirque story. “When the first lockdown happened we were all set-up and ready for the opening night of Cirque du Soleil’s Corteo in Antwerp. The decision basically pulled the plug on everything from one day to another. Then,

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reality hit and the lockdown weeks turned into months… and years. However, slowly but surely we turned the business around. As museums were allowed to stay open, we promoted and produced six exhibitions over 18 months in Belgium and abroad.”

With markets gradually reopening, producers of family entertainment shows may have a slight advantage over their live music touring peers, as their ability to drop into markets for short periods, such as school holidays, allows them to take advantage of reopened venues, whereas the music side is still relying on multiple markets to lift restrictions to facilitate tour routings.

“During the pandemic, the family entertainment worked best of all – with seated family audiences this was the ‘safest’ way to enjoy entertainment even during these challenging times,” says Georg Leitner of Austria-based Georg Leitner Productions (GLP). “For instance, in December and February we had a sold-out three-week run with Cirque de Glace in Riad, Saudi Arabia.”

It’s a benefit that GLP’s new head of show acts and family entertainment, Birger Gaetjens, is looking to fully exploit. “The family entertainment sector has a clear advantage and will con-

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Family Values_Feature

tinue to do so in the coming months because it is scalable and can comply with country-specific corona rules,” he notes.

Steven Armstrong, vice president EMEA for Feld Entertainment, agrees, “Our Disney On Ice shows have been out there in the US since probably October or November of 2020, so pretty much all through Covid,” he tells IQ. “We started internationally back in September of 2021 when we visited Abu Dhabi, and since we've gone through the UK and parts of Europe.”

Nonetheless, there are challenges. While children have been the demographic least at risk from coronavirus, their grandparents (who often pay for tickets and accompany them to live events) remain among the highest risk members of so-

ciety for Covid, presenting just another obstacle among the myriad that producers, and the promoters who hire their shows, are currently facing.

GLP’s Gaetjens opines, “Although children and young adults are least affected, the infection rate is highest in [that demographic]. What we notice is that children's shows work better in some countries because the corona policy works better. Family entertainment is partially exempt from corona measures because there are very good concepts. What organisers should know is that during the pandemic and beyond, our concepts are safe, scalable, have a corona concept, and are still profitable.”

Kenneth Svoldgaard, co-CEO of Denmark -based CSB Entertainment, tells IQ, “I'm not wor-

ried about the family business at all. I have three kids of my own – aged 5, 11 and 14 – and none of them have been very ill. So I don't really think that we have need to worry.”

However, he recognises that there are issues at the other end of the age range. “We are representing a couple of offers for the Christmas market where we have an older demographic, and that’s a little more problematic because they're the most vulnerable in society,” he says.

And Svoldgaard has first-hand experience of dealing with the concerns of the older generations. “They're the people who have asked theof Thousands most questions, and that's why we have hadread to professionals have more staff at venues when the event is for IQ every day. Make an older demographic, to make sure people keep

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FAMILY VALUES Feature_Family Values

While the live entertainment industry ponders when casual ticket buyers will regain the confidence to return to events, the family entertainment sector is confident the demand among its customers is stronger than ever. Gordon Masson reports.

L

ike other sectors in the live industry, the world of family entertainment has been hit hard over the past couple of years, removing a vital part of the overall jigsaw given that family shows often introduce children to their first taste of live events.

One major casualty of Covid-19 was Cirque du Soleil, which had been one of the world’s most successful live entertainment enterprises since it launched in 1984. But when the pandemic struck, the company had to suspend all 44 of its active shows around the world and temporarily lay off more than 4,600 staff. With debts of more than $1billion (€0.9bn), it was forced to file for bankruptcy protection before a consortium including former MGM Resorts CEO Jim Murren and Canadian investment group Catalyst Capital bought the business in November 2020.

Manu Braff of Belgium-based MB Presents has his own Cirque story. “When the first lockdown happened we were all set-up and ready for the opening night of Cirque du Soleil’s Corteo in Antwerp. The decision basically pulled the plug on everything from one day to another. Then,

42

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reality hit and the lockdown weeks turned into months… and years. However, slowly but surely we turned the business around. As museums were allowed to stay open, we promoted and produced six exhibitions over 18 months in Belgium and abroad.”

With markets gradually reopening, producers of family entertainment shows may have a slight advantage over their live music touring peers, as their ability to drop into markets for short periods, such as school holidays, allows them to take advantage of reopened venues, whereas the music side is still relying on multiple markets to lift restrictions to facilitate tour routings.

“During the pandemic, the family entertainment worked best of all – with seated family audiences this was the ‘safest’ way to enjoy entertainment even during these challenging times,” says Georg Leitner of Austria-based Georg Leitner Productions (GLP). “For instance, in December and February we had a sold-out three-week run with Cirque de Glace in Riad, Saudi Arabia.”

It’s a benefit that GLP’s new head of show acts and family entertainment, Birger Gaetjens, is looking to fully exploit. “The family entertainment sector has a clear advantage and will con-

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Family Values_Feature

tinue to do so in the coming months because it is scalable and can comply with country-specific corona rules,” he notes.

Steven Armstrong, vice president EMEA for Feld Entertainment, agrees, “Our Disney On Ice shows have been out there in the US since probably October or November of 2020, so pretty much all through Covid,” he tells IQ. “We started internationally back in September of 2021 when we visited Abu Dhabi, and since we've gone through the UK and parts of Europe.”

Nonetheless, there are challenges. While children have been the demographic least at risk from coronavirus, their grandparents (who often pay for tickets and accompany them to live events) remain among the highest risk members of so-

ciety for Covid, presenting just another obstacle

ried about the family business at all. I have three

and young adults are least affected, the infection rate is highest in [that demographic]. What we notice is that children's shows work better in some countries because the corona policy works better. Family entertainment is partially exempt from corona measures because there are very good concepts. What organisers should know is that during the pandemic and beyond, our concepts are safe, scalable, have a corona concept, and are still profitable.”

Kenneth Svoldgaard, co-CEO of Denmark -based CSB Entertainment, tells IQ, “I'm not wor-

However, he recognises that there are issues at the other end of the age range. “We are representing a couple of offers for the Christmas market where we have an older demographic, and that’s a little more problematic because they're the most vulnerable in society,” he says.

And Svoldgaard has first-hand experience of dealing with the concerns of the older generations. “They're the people who have asked the most questions, and that's why we have had to have more staff at venues when the event is for an older demographic, to make sure people keep

kids ofHUMAN my own – aged 5, 11 and 14 – and none of among the myriad that producers, and the pro-THE WE CREATE EXPERIENCES THAT UPLIFT SPIRIT moters who hire their shows, are currently facing. them have been very ill. So I don't really think AND BRING PEOPLE TOGETHER. GLP’s Gaetjens opines, “Although children that we have need to worry.”

Magazine

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Feature_Family Values

“We all are more open to understanding the promoters’ point of view.

You can’t expect them to risk everything while you just behave like nothing has happened”

Harlem Globetrotters star, Wham, sits on the basket ring during yet another incredible oncourt performance

Corrado Canonici | World Touring Exhibitions

socially distanced, clean their hands, get to the seats, and all these kinds of things.”

Feld’s experience with the higher age groups of customers has been fascinating.

Looking at the grandparent segment of Feld’s patrons, he says, “Originally, they were a bit more cautious than the 20 year olds who wanted to go to a concert, but over time we've seen parents and grandparents come at the same rate, if not even more than they would have come pre-Covid. We were in Sheffield when it looked like the UK was going to shut down and the week of shows actually went really well, compared to pre-Covid times – it was almost the feeling of ‘this might be our last chance to do this for a while, so let's go out and do it now.’

“But the silver lining is that there's definitely demand for product to come out.”

That’s also been the experience of MB Presents. “We combined the extra time we suddenly had available with the creativity of our team and created new productions and exhibitions,” syas Braff, naming Expo Dino World, the Middelkerke Sand Sculpture Festival, and Lanterna Magica among the company’s pandemic successes.

“We felt lucky that we could actually work and at the same time offer our clients a moment of distraction from all the negative stuff happening around them,” says Braff

of getting back to business because, like Armstrong, it can see that the demand is there.

Arnold Bernard, director of international booking for the Harlem Globetrotters, sums up the optimism. “One of the key indicators for us was the number of people who held on to their tickets from all the shows we had to postpone.

We were one week into a four-month tour of Europe when we had to shut down in March of 2020. Two years later, we still have over 85% of those tickets out. This really is a testament to the strength of our brand.”

Corrado Canonici of World Touring Exhibitions tells IQ that demand remains high. “When Covid started, the few guys who decided to continue touring our exhibitions found a few difficulties because some people were worried and you had less audience. But then, when we brought our 3D exhibition to Germany in April or May last year, people were just assaulting the venue because they just couldn't stay home anymore.”

But Canonici believes a new seasonal pattern has emerged during the pandemic years. “When we got to November last year, everything slowed down until February and then we will restart in March/April, so the general feeling is that we are all going towards a kind of a seasonal activity from March to October,” he says.

High Demand

The Exhibitionist

Despite the pandemic shutting down family shows around the world, the producer community has remained buoyant about the prospects

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Having made the decision to concentrate only on touring exhibitions a number of years ago, Canonici says that bold step paid dividends

when the rest of the touring world ground to a halt in March 2020.

“Exhibitions started to work much earlier for obvious reasons,” he notes. “You can go to an exhibition with a mask; you can go to an exhibition while maintaining social distancing; you don’t need a 5,000-seater arena, you can do it in an exhibition space. So exhibitions never really completely stopped working during the pandemic.”

He adds, “The company has been concentrating on just exhibitions for a few years now because we just found it more civilised, easier, nicer.

Being independent in the exhibition world is still possible, so I like the idea that we can still have crazy ideas, pursue our ideas, finance our ideas, and all of this can be done. But with music, nobody would ever give me the new Adele. No way.”

And while the rest of the live entertainment business is scrambling to find venues for artists and shows, Canonici has none of that hassle.

“Our venues are usually not really music venues.

Arenas are just too busy anyway with concerts, so they would never ever give an exhibition two months of their time because they make far more money [with] 30 concerts in two months.

So our venues are conference centres, exhibition centres, museums, malls. We know that there are many places you can go, which are usually not music places. So we don't feel the pinch of that too much.”

Future Planning

Like many organisations crippled by the pandemic, the Harlem Globetrotters used the enforced pause to reinvigorate their strategy. “We used the downtime to really evaluate what we did, the why and the how,” says international booking director Bernard. “In the family entertainment world, we tour every month of every year. We don’t normally get to take some time out to reimagine our brand. To be able to get that time was refreshing and inspiring.”

Thousands of Canonici also used the opportunity to ex-read professionals pand the remit for World Touring Exhibitions.

IQ every day. Make “When we saw that there were a few months of the sure you get less work, we opened up to not just producing

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“Luckily, so far, it hasn’t been mandated that kids who are under a certain age need to be vaccinated, so we’ve managed to be able to have shows. But if that changes going forward, we could run into problems” Steven Armstrong | Feld Entertainment

11th hour to buy tickets. “I don't think people are afraid of getting infected; they’re just sick and tired of having bought a ticket and then things keep getting postponed.”

Nonetheless, he reports that longer term, confidence is building. “We have a lot of shows on sale for autumn this year, and sales have been incredible. So I think people expect that things will be back to normal for shows in September, October, November.”

In addition to tribute acts for the likes of Queen and Dire Straits, CSB has Lord of the Dance on sale for its 25th anniversary tour, among many other shows. “We are very optimistic looking forward,” says Svoldgaard. “I think people are, in general, excited about coming out to see shows again. The issue we have right now is shows that we have this spring.”

Looking at his order book, Canonici reports, “We had Monsters of the Sea, which toured Ukraine for over a year. That's now going to Russia for a year and probably more, fingers crossed. Our 3D exhibition is doing very well. Elsewhere, we have Dinosaurs in Belgium now; Science is going to go to Lithuania; and Lego always does very well.

He adds, “It's all moving nicely, but it's not the same. You can't have the same sold-out shows you had before. It's very difficult to get back to the 100,000 visitors in three months. But it's still turning over decent numbers.”

New Productions?

While excitement among family ents producers and promoters is building, any expectations for new spectaculars might have to be put on the backburner for a year or so.

Canonici reveals, “At the time of Covid, we were supposed to go out with a new exhibition: The Art of Interactive Digital. We'd developed about 85% of this production when Covid arrived, so we just pulled back. Considering the ongoing situation, we think we'll maybe delay another year going out with that one.”

Braff comments, “We still see a lot of tours being postponed to 2023. Luckily some tours are also restarting, like Corteo, which will finally happen in June 2022, two years after it was originally planned. We will continue to further develop our own productions and family entertainment brands, with eyes on the interna-

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tional markets. We have currently productions planned and presented in six new international markets, so we are positive.”

Armstrong surmises the situation well. “It's very risky to launch a new product, especially one that doesn't have a big brand behind it, because of the level of investment it takes to get them up and running,” he says.

“I would say it's going to be the latter end of 2022 before we're going to start seeing some of the bigger productions start touring again. But for newer brands, it's a big risk. For us, the relaunch of Ringling Brothers is a calculated risk because it's a brand that's played for hundreds of years in the US. Whereas if you're bringing out something that, perhaps, has been on TV for a couple of years but not really toured, I think that they're going to hold off until 2023, at least.”

Ongoing Challenges

The success of the family entertainment business getting back to work before other industry sectors has been an impressive achievement.

But there is a bag full of spanners waiting to be thrown into the engine…

Svoldgaard, for example, says CSB is experiencing availability issues. “A lot of promoters are holding dates but not necessarily confirming venues. But it’s tricky to say ‘Okay, we are now ready to sign a contract and maybe even pay a deposit,’ especially when you have multiple artists and shows that have been moved four or five times.

And underlining one massive dilemma that is becoming apparent throughout the touring world, he says the pandemic’s impact on crew and other essential personnel has been devastating.

“It’s a very big worry,” says Svoldgaard. “We have a tribute to Tina Turner coming in May, and I was hoping and expecting we could bring everything from the UK because I prefer to have the original production of it. But the UK producer cannot find a [crew] who can commit to being away for a couple of weeks. So we’re looking to source it locally, but it's not easy – I’ve already had two production companies turn it down because it’s at the time of the year when the summer festivals start, so they don't have enough equipment or manpower. I have found another production company in Denmark who can do it, but I'm a little bit worried about the pricing.”

MB Presents had the ingenious idea of organising outdoor events such as the Middelkerke Sand Sculpture Festival

“Challenges?” says Armstrong, citing a list.

“There are weeks where you can’t make it work due to local legislation or state legislation or countries just shutting down before you can get there. And then there are the challenges of travelling people around with Covid tests, PCR, immigration, Brexit, transportation, and all that stuff.

“Even if the country itself is open, it doesn't mean that infrastructure and the supply chain is ready. Take Australia, which hasn't had events for a long time. Although you can get into Australia now, and you can potentially do the event and book the venue, are all your suppliers going to be ready? A lot of those suppliers have let people go, and they’re not rehiring people until events restart. If you're one of those first events, you're going to struggle. We know that casual staff at venues is an issue – we’ve ordered 30 vendors for our merchandise but only 12 would show up. But it's all just part of slowly getting that big machine rolling again.”

Armstrong continues, “If you look back, there was a lot of hope this time last year. Now, it feels like there’s more than just hope: things are being put in place to enable us to move forward.

So I think ‘22 will be better than ‘21. But I don't think it'll be fully back until mid-2023.”

“Slowly, the world will return to normal,” concurs Harlem Globetrotters’ execThousands Bernard. of “We’re seeing it now, but it won’t be a full reo-read professionals pening overnight. There will beIQsetbacks alongMake every day. the way but the setbacks will be shorter and less sure you get the severe each time. We will get there.”

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Your Shout

Michal Kaščák and his band VBPS found a very convenient venue in Trenčín

Where’s the weirdest place you’ve watched a gig?

TOP SHOUT Definitely from my drum chair at the first ever public concert of my punk band VBPS on the WC stage in the city of Trenčín’s House of the Army.

As it is a barracks, they have some of the biggest toilets in Europe, and our “stage” was located in the area of the pissoirs (urinals) where there was enough space for the band, the audience, and also any “boys in need,” as the toilets were open as usual, which made it a real punk event. The gig was also streamed… to the main hall at the event.

The promoter of the gig was Slovak underground hero Luboš Dzúrik, and the toilets were our only condition to play the show. It was a huge success, and since then we have played several ‘gutbuckets’ in Slovakia and also at Macedonia’s Taksirat festival where the promoter, Login the Great, launched a new format of show in Skopje, using the WC in the MKC venue. Last year, I saw two bands performing there during the PIN international music conference.

Michal Kaščák | Pohoda Festival / VBPS

We were doing a lot of shows in a bunch of weird venues here in Kiev, including a helipad, an abandoned film studio, Hillsong Church, and the aviation museum.

But the best venue I’ve been to was for a Björk show in Dalhalla – an open-air theatre in a former quarry in Sweden.

Sergii Maletskyi | H2D

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The weirdest gig location was for me back in 1994 when I organised Quart Festival in Kristiansand. We did a night event at an old military cannon location called Møvik Fort Batterie Vara. The venue was a bunker built to protect one of Europe’s largest cannons during World War 2. The fort was built to control Skagerrak between Norway and Denmark.

Toffen Gunnufsen | Slottsfjell

The weirdest place has to be deep below Bond Street tube station. The standard of music was fantastic. About 20 people were entertained and everyone contributed.

Ed Grossman | Brackman Chopra LLP Skipping a couple of my own (including playing on a truck at a demo in Amsterdam, and a riverboat deck in Moscow where the gear had to be winched precariously over a stretch of water), it’s got to be Pere Ubu at Chislehurst Caves in 1978. The band were at their ferocious best. We punters arrived by special coach. And the gig became an instant legend. I guess the record company picked up the tab. Good move.

Nick Hobbs | Charmenko About 16 or 17 years ago, Kaizers Orchestra played Pulpit Rock high above a Norwegian fjord. It was a two-hour treck to get there and similar coming back – cold, icy, snowy, scary. But awesome.

Martin Elbourne | The Great Escape Silent Disco made for some special locations.

The weirdest one I co-produced with Greenwich Comedy Festival was Arthur Smith performing standing on the roof of the Old Royal Naval College, with his audience watching and listening through headphones from the grounds. Of course, any passers-by stopped to look up as well.

Is it a bird..? Nope, just Arthur Smith.

Sytske Kamstra | IPM Inside the caves of Gibraltar for Suzanne Vega.

John Giddings | Solo I once saw Kasabian perform in the Cabinet War Rooms – Winston Churchill’s underground

The weirdest combination of venue/genre was the Midsummer Opera Gala at the Drive-In Theatre in Düsseldorf 2020 – opera performed with a full symphony orchestra on a parking lot transformed into a “concert-venue for cars.” The pop-up venue was an immediate reaction right at the beginning of the first lockdown in Germany. D.LIVE installed and developed this drive-in concept and over 90 events took place. 100,000 visitors were able to watch films, experience concerts, and dance in their cars. We staged live concerts, shows, a pole vaulting competition, boxing, and DJ sessions, as well as weddings and an Easter service.

But for me, the most fabulous evening was the Midsummer Opera Gala by the Deutsche Oper am Rhein. Seventy people performed excerpts from popular operas such as Carmen, The Barber of Seville, La Traviata and Nabucco on the huge cinema stage, for a sold-out crowd of motorists. The opera audience brought their own picnics with cloth napkins, fine foods and wine, opened the sunroofs of their cars and listened to the classical sounds of the singers and the orchestra underneath the stars of the perfectly mild summer evening. Sounds kitschy but everything just came together perfectly that night!”

Daniela Stork | D.LIVE

ADVERTISING ARTWORK The entrance to the Cabinet War Rooms in London

bunker in Westminster – meaning the sound had nowhere to go except bounce back off the reinforced concrete walls. It was 18 years ago, and my ears are still ringing.

Gordon Masson | IQ Perhaps not the weirdest but definitely memorable: Gogol Bordello at the Grand Kremlin Palace in Moscow.

Tobbe Lorentz | UTA

Not so much watched, as had the dubious honour of having to coordinate the arrival of Mr Blobby and his entourage at Noel Edmond’s Garden Party at Doncaster Racecourse in June 1993. They arrived in five helicopters (Blobbycopters) – one for Mr B, one for Mrs B, one for Baby B, and two for the luggage) – and the resulting crowd hysteria that was generated meant I had to ensure that we had a full team of Blobbyguards to get them safely around the venue.

We did it all again in August ‘93 at Haydock Park Racecourse, and I knew then that I’d reached the peak of my career.

Jon [J.C.] Corbishley | The Safety Officer Although blessed with some of the most spectacular outdoor concert venues in the world up here in the far north, I must say that the weirdest and most memorable gig location I have ever visited is the Emanuel Vigeland Mausoleum in Oslo. The dark high-vaulted room is covered with fresco paintings named vita (life). The theme

of the vita is eroticism and man’s sexual instinct.

It’s life and death, heaven and hell, sun and blazing fires of hell. It’s deeply disturbing yet extremely beautiful. Because of the delicate fresco paintings, the mausoleum is maintained at about 14 degrees Celsius year-round. Due to the resonance in the mausoleum, sound has a 19-20 second delay, which really adds to the experience – for both artist and audience. Truly spectacular! Over the years, artists such as Diamanda Galás, Supersilent, and Sondre Lerche have held gigs here.

Tone Østerdal | Norwegian Live Music Association

Does my front room count? I was 19 years old, a vet nurse, living in the vet’s mansion with a bunch of other nurses, and I threw a big party for a friend’s 18th birthday, including two bands.

The house was a listed haunted house and had beamed ceilings that meant only short people could stand upright.

Sharon Richardson | K2 Agency

Blobby blobby blobby!

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