IQ120 Preview

Cover photo: Sir Elton John at Resorts World Arena, Birmingham on 26 March 2023

© Ben Gibson

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RAISE THE STAKES

It’s only halfway through the year and, in my opinion, the show has already been stolen. At the Grammy Awards in February, Kim Petras became the first transgender woman to win best pop duo/group performance. I watched, with tears in my eyes, as Sam Smith (whose name is the first on the winning song, Unholy) stepped aside for Petras to claim the spotlight and demanded the audience be upstanding for her, in an act of true allyship. As always, these firsts are bittersweet. On one hand, it’s incredibly moving to see arguably the world’s best-known music awards recognise trans and non-binary talent. On the other hand, it’s 2023… It’s really time to raise the stakes.

This is a call to arms that’s echoed by this year’s LGBTIQ+ List finalists on page 22. Throughout the interviews, there’s a recurring message: the industry must work harder to represent and support trans and non-binary professionals in the industry. In fact, that was my number-one goal for this year’s Pride edition. So, I wanted to take this opportunity to guide you through this issue, whilst highlighting professionals from these communities that appear in the following pages. But before I do, I want to say (yet another!) huge thank you to Ticketmaster who have sponsored the Pride issue for a third consecutive year – we could not have brought you this issue without them.

On page 16, we again ask agencies to spotlight some of the queer acts available for festival and headline show bookings for Loud & Proud. Promoters, please pay special attention to trans and nonbinary stars Alice Low (ATC Live), Kae Tempest (CAA), and Leith Ross (PlayBook Artists). On page 14, we pass the mic to diversity ambassador and trans woman Saskhia Menendez, who proposes a charter to support and empower trans and non-binary individuals in the business. Menendez also appears on our most diverse LGBTIQ+ List yet, with our first-ever finalists from Japan, Slovakia, Bulgaria, New Zealand, Portugal, and Canada.

On page 62, we delve into the big business of drag entertainment, nodding to some of the queens playing with boundaries of gender expression. And on page 34, we pay homage to our king, Elton John, with a report about his swansong tour. Beyond Pride-specific content, Lars Brandle delves into the vibrant live music markets in Australia (page 70) and New Zealand (page 84), while DJ Mag’s Carl Loben weighs up electronic music’s impact on live events (page 52).

Once again, IQ would like to wish the LGBTIQ+ community a very happy Pride. Our inboxes are open for the community, not just this month but all year round. Let’s raise the stakes together.

Lisa Henderson Pride Editor

ISSUE 120

LIVE MUSIC INTELLIGENCE

ISSN 2633-0636

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INDEX IN BRIEF

The concert business digest

Billy Joel confirms his historic ten-year run at New York’s Madison Square Garden will conclude with his 150th show at the venue in July 2024.

HYBE, the South Korean music agency behind BTS and Ariana Grande, reportedly looks to raise around $380m to fund acquisitions in the US.

Live music professionals raise further questions about Google’s influence on the secondary ticketing market.

Tyler, the Creator’s Camp Flog Gnaw Carnival plans to return to Dodger Stadium in Los Angeles on 11 and 12 November.

The UK’s Association of Independent Festivals (AIF) reveals its events are on course to attract a total audience of 3.3m in 2023.

Snoop Dogg postpones his upcoming Hollywood Bowl concerts with Dr Dre in solidarity with the Writers Guild of America over their ongoing strike.

Taylor Swift announces the first round of international dates for her Eras Tour

Denmark’s NorthSide enjoys a successful second edition at its new site after experiencing teething problems at its debut in Eskelunden last year.

Coldplay say they have cut their carbon emissions by almost half on their record-breaking Music of the Spheres Tour compared with their last stadium tour.

Superstruct buys majority stakes in London-based festivals Mighty Hoopla and Cross the Tracks, as well as Austria’s Snowbombing.

Music Venue Trust CEO, Mark Davyd, pens an open letter to Coldplay on the back of the band’s historic Etihad Stadium shows in Manchester asking them to pledge support for grassroots venues.

The debut of Slam Dunk Festival in Italy surpasses expectations by drawing around 30,000 attendees across three days.

The opening of Manchester’s Co-op Live is pushed back to April 2024.

Wheelhouse Agency, a new specialist booking enterprise focused on Australasia’s growing market for Americana and country music, launches down under.

Guns N’ Roses’ show in Vigo, Spain is set to go ahead after being thrown into doubt due to an “administrative error.”

Organisers of Austria’s Nova Rock invest hundreds of thousands of euros in site improvements ahead of this year’s festival.

Fix the Tix, a coalition of 30 USbased organisations across live entertainment, unveils its plan for ticketing reform.

Primavera Sound Madrid’s first day proper is cancelled for “safety reasons” due to adverse weather.

In the wake of sexual misconduct accusations being levelled at Rammstein front man Till Lindemann, German trade association BDKV adds its support to the Alliance against Sexism.

Taylor Swift’s Eras Tour continues to smash records after millions of people attempted to buy tickets for the singer’s first concerts in Argentina.

Afrobeats festival Afro Nation announces it is debuting in Lagos, Nigeria, later this year.

Poland’s festival summer rapidly diminishes with the cancellations of two major events: Kraków Live and On Air.

AIF launches a new campaign and fund aimed at increasing access to festivals for people aged 18+ across the UK.

Coldplay’s all-conquering Music of the Spheres Tour races past yet another milestone after racking up more than 7m ticket sales.

Paquin Artists Agency becomes “Canada’s largest booking agency” with the acquisition of APA’s Canadian business, home to artists such as Nickelback and Billy Talent. Marc Geiger and his company SaveLive are sued by the owners of a US venue, The Alibi, for breach of contract, interference, and fraud.

Argentina’s Los Fabulosos

Cadillacs set a new attendance record by drawing 300,000 fans to a free show in Mexico City.

A Chris Stapleton concert is called off due to “hazardous” air-quality levels in New York caused by smoke from Canadian wildfires. Thousands of professionals read IQ every day. Make sure you get the whole picture…

STADIUM TOURS REPORT MONSTER BUSINESS

confirms his historic New York’s Garden will 150th show July 2024.

Korean music

The stadium touring era has taken hold of the concert business as a record five tours grossed more than $100m in the first six months of 2023.

Denmark’s NorthSide enjoys a successful second edition at its new site after experiencing teething problems at its debut in Eskelunden last year.

In an industry-first, blockbuster tours by Taylor Swift ($300.8m), Bruce Springsteen & The E Street Band ($142.6m), Harry Styles ($124m), Elton John ($110.3m), and Ed Sheeran ($105.3m) all hit the nine-figure mark in H1 2023, according to Pollstar

BTS and Ariana reportedly looks to raise fund acquisitions professionals raise about Google’s secondary

try a big boost over the last couple of years, and that trend continues and is growing.”

And with ongoing and impending tours by artists such as Beyoncé, The Weeknd, U2, and Metallica not yet factored into the 2023 rankings, the gulf between the A-listers and the rest looks set to continue to accelerate markedly.

Speaking to IQ, Isle of Wight Festival promoter John Giddings reports that “business is booming” in the UK in the wake of this year’s sold-out event, which was headlined by Pulp, George Ezra, the Chemical Brothers, and Robbie Williams.

Guns N’ Roses’ show in Vigo, Spain is set to go ahead after being thrown into doubt due to an “administrative error.”

music division at the newly formed Independent Artist Group, tells Pollstar. “No matter what’s going on in the economy, they are as close to bulletproof as you can get.”

Afrobeats festival Afro Nation announces it is debuting in Lagos, Nigeria, later this year.

The Solo Agency boss also worked on Beyoncé’s recent Renaissance stadium dates and Madonna’s upcoming Celebration tour for Live Nation. With Festival Republic, meanwhile, Solo is staging Dog Day Afternoon, a one-off outdoor show at Crystal Palace Park on 1 July, featuring Iggy Pop, Blondie, and punk supergroup Generation Sex.

Coldplay say they have cut their carbon emissions by almost half on their record-breaking Music of the Spheres Tour compared with their last stadium tour.

The live music Top 10 is completed by Red Hot Chili Peppers ($91.5m), Coldplay ($65.4m), Daddy Yankee ($60.5m), Bad Bunny ($49.1m), and Luke Combs ($47.2m).

“It’s a very select group of artists who are in the stratosphere with demand to see them on a whole other level,” Dennis Arfa, chair of the

Superstruct buys majority stakes in London-based festivals Mighty Hoopla and Cross the Tracks, as well as Austria’s Snowbombing.

Organisers of Austria’s Nova Rock invest hundreds of thousands of euros in site improvements ahead of this year’s festival.

Pollstar‘s Top 100 worldwide tours show a 64.7% upturn in average show gross compared to 2022, along with a 49.3% rise in average tickets sold and a 10.3% hike in average ticket price. The top grossing promoters were Live Nation ($1.66bn), AEG Presents ($423.2m), Mexico’s OCESA ($327.8m), and Australia’s Frontier Touring ($189m) and TEG ($143.8m).

Poland’s festival summer rapidly diminishes with the cancellations of two major events: Kraków Live and On Air.

“You’re seeing the strength and the conviction of the consumers,” says Live Nation president of US concerts Bob Roux. “The shift in discretionary spending to live events and experiences over [buying] things has given our indus-

Fix the Tix, a coalition of 30 USbased organisations across live entertainment, unveils its plan for ticketing reform.

AIF launches a new campaign and fund aimed at increasing access to festivals for people aged 18+ across the UK.

“Beyoncé sold out to the rafters, we’ve sold out Madonna in the autumn, we’ve got Iggy Pop and Blondie at Crystal Palace Park a week on Saturday, and we’ve obviously got some acts at Glastonbury, so there’s a lot knocking around,” says Giddings. “Business is booming – booming! I was really worried at Christmas about the costof-living crisis, but it doesn’t seem to be evident – people want to go out and have a good time and enjoy themselves.”

Creator’s Camp Flog plans to return Stadium in Los Angeles November.

Association of Festivals (AIF) reveals course to attract of 3.3m in 2023.

postpones his Hollywood Bowl Dre in solidarity Guild of America ongoing strike.

announces the first international dates for

Music Venue Trust CEO, Mark Davyd, pens an open letter to Coldplay on the back of the band’s historic Etihad Stadium shows in Manchester asking them to pledge support for grassroots venues.

The debut of Slam Dunk Festival in Italy surpasses expectations by drawing around 30,000 attendees across three days.

The opening of Manchester’s Co-op Live is pushed back to April 2024.

Wheelhouse Agency, a new specialist booking enterprise focused on Australasia’s growing market for Americana and country music, launches down under.

Primavera Sound Madrid’s first day proper is cancelled for “safety reasons” due to adverse weather.

Coldplay’s all-conquering Music of the Spheres Tour races past yet another milestone after racking up more than 7m ticket sales.

TAYLOR SWIFT RULES THE WORLD

In the wake of sexual misconduct accusations being levelled at Rammstein front man Till Lindemann, German trade association BDKV adds its support to the Alliance against Sexism.

The unprecedented demand for Taylor Swift’s Eras US stadium tour has been echoed around the globe.

Paquin Artists Agency becomes “Canada’s largest booking agency” with the acquisition of APA’s Canadian business, home to artists such as Nickelback and Billy Talent.

Ticketek says more than 4m people across Sydney and Melbourne attempted to buy presale tickets for the singer’s Australian dates.

Taylor Swift’s Eras Tour continues to smash records after millions of people attempted to buy tickets for the singer’s first concerts in Argentina.

The Victorian government has triggered anti-touting measures by declaring the 2024 tour a “major event,” with reselling tickets for above 10% face value prohibited after some tickets appeared on a secondary ticketing platform at a 249% markup.

A Chris Stapleton concert is called off due to “hazardous” air-quality levels in New York caused by smoke from Canadian wildfires.

ro at Estádio Olímpico Nilton Santos from 1719 November and a further three shows at São Paulo’s Allianz Parque from 24-26 November, promoted by Tickets for Fun.

Marc Geiger and his company SaveLive are sued by the owners of a US venue, The Alibi, for breach of contract, interference, and fraud.

However, some fans were allegedly threatened with violence by scalpers while waiting in line to buy tickets in São Paulo in June. Police removed 30 suspected touts from the queue and made at least ten arrests.

Argentina’s Los Fabulosos Cadillacs set a new attendance record by drawing 300,000 fans to a free show in Mexico City.

Over in South America, in excess of 3m people attempted to buy tickets for Swift’s DF Entertainment-promoted three-night stint in Argentina at Buenos Aires’ 65,000-cap River Plate Stadium. It was a similar story in Brazil, where unseemly scenes during the on-sale prompted calls for stiffer punishments for touting in the country, where tickets were reportedly being offered for sale in-person and online at up to 10x face value.

Swift will play three nights in Rio de Janei-

In response, congresswoman Simone Marquetto tabled the “Taylor Swift Act,” new legislation that would increase the maximum sentence for ticket touting from two to four years in prison and fines of up to 100x the original price of the tickets, which in Swift’s case range from 190 to 1,050 reals (€36 to €201).

Widely expected to become the highest-grossing concert trek of all time, The Eras Tour generated $300,804,808 from its first 22 nights, on total ticket sales of 1,186,314, according to Pollstar Tickets for the recently announced 2024 European leg go on sale in mid-July.

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Currently, there is nothing in place across the creative sectors to acknowledge, support, and protect trans and non-binary professionals or educate allies that are hoping to learn more about these communities. Equality, diversity, and inclusion remain crucial for the continued success and development of the music industry, and therefore we must recognise and address the inequalities faced by trans and non-binary people working within it.

A trans and non-binary charter would provide a framework addressing some of these systemic failures. It would be a commitment from the business to protect the rights of trans and non-binary individuals, which would also highlight important issues these communities face. A charter would lay out commitments to empower trans people in their career progression, safeguard their rights, and provide them with equal opportunities – and educate others.

I am pleased to announce that the F-List for Music has kindly agreed to support such a charter.

We will be seeking the support of all the major players and organisations across the music and entertainment industries whilst also ensuring that we can fairly assess its validity. A charter like this will boost productivity, enhance idea-sharing and, in turn, promote a healthier and more representative workforce.

The Trans Charter would lay out five main commitments:

Legal protections

Protecting and supporting trans and non-binary individuals’ human and legal rights within the music and entertainment industries is absolutely essential. The Equality Act 2010 is the main legislation in the UK that prevents discrimination based on various protected characteristics, including gender reassignment. This law prohibits discrimination in various areas, such as employment, education, and other provisions in the goods and services industries. Additionally, the Gender Recognition Act 2004 provides a legal process for transgender individuals to obtain legal recognition of their acquired gender. However, this Act has been the subject of ongoing debates and discussions regarding potential reforms to make the process more accessible and streamlined. For example, each country has its own laws regarding gender recognition and self ID, and currently in the UK you need a gender recognition certificate to be recognised in law as your preferred gender.

Address harassment, discrimination & transmisogyny

In a [UK] survey by the Musicians Union in 2018, 76% of trans respondents said they had experienced discrimination in the music industry. This figure is most likely to be a lot higher now, due to increased rates of hate crimes in the UK. A charter would address some of the issues around harassment, bullying, and discrimination and establish preventative guidelines for organisations, businesses, and even artists. The charter would also establish routes of reporting abuse, and outcomes will be measured and supported by the charter.

Equal access to services

The trans community face barriers to entry, such as a lack of meaningful opportunities; representation; educational and financial accessibility; violence, harassment, and discrimination. A charter would set out specific measures to ensure the trans community have access to equal opportunities and training and funding opportunities, reducing inequalities and further promoting inclusivity.

Education & awareness

Better training materials, workshops, roundtables, as well as conferences and events, are needed to increase awareness of the community and trans history, as well as systemic failures and barriers. These things would help allies better understand how to support trans people through the talent pipeline. By promoting education and inclusion, misconceptions can be changed and prejudices challenged. The charter would also address the gaps in data collection for trans people. Currently, pay gap data for trans men, trans women, and non-binary people is not being collected. The charter would ask for this to be reported in order to measure any disparities.

Representation & empowerment

The charter will provide the trans community with a voice and empower them to shape policies and practices that positively affect their lives and help drive meaningful change. It will allow for people’s concerns to be heard and expressed, ensuring decisions are made in everybody’s best interests.

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Saskhia Menendez is a trans woman and a diversity ambassador for Keychange, The F-List for Music, and LIVE

“We need a commitment from the industry to protect the rights of trans individuals”

Idon’t take for granted the responsibility I have when my queer artists trust me to represent them. It’s not just about booking shows, it’s about making sure they feel safe and supported throughout their careers. The artists I work with in the queer space and beyond are outspoken and deeply connected to culture and their communities. I match their passion and do everything I can to make sure they’re treated correctly and won’t hesitate to call out injustices.

I’ve always been led by the music when it comes to building my roster, but there is an affinity I’ve found with queer artists and the community, which I myself am apart of and feel deeply connected to.

Trust and openness are a huge factor when building an artist’s live career, and I always aim to create a caring, considerate, judgement-free environment.

I’ve been fortunate when booking the headline acts for festivals that I’ve been in a position of power to help curate the line-up in some instances. I’ll work closely with Years & Years’ team, who are very passionate in this area, to ensure as diverse a line-up as possible.

It’s a joy to be able to put the emerging queer talent on these shows or get them on the promoters’ radar for when the time is right. I’m seeing more goodwill out there from promoters and conversations in the last few years that were never happening before, from 50/50 gender splits to queer inclusivity to racial diversity… but there is still a long way to go.

It’s a balancing act between prioritising diversity/inclusivity at these shows whilst still ensuring there is enough ticket buying power. Unfortunately, the openness to queer marketability and mainstream potential is a more recent development, and there is not as much queer talent at the top as there deserves to be. I could count on my hand the queer festival headliners we have right now in this country.

There’s a level of sensitivity and understanding that is necessary to navigate spaces to ensure queer artists’ and their audiences’ comfortability and safety. I always request gen-

der-neutral toilets, [British sign language] interpreters, and work closely with artist management on how we can create safe spaces. For example, Years & Years with Nando’s offered any fans attending their headline shows alone to meet up with fellow concertgoers at the restaurants before the show. We’ve tried to implement this going forward with other artists and their fans to create a network where fans can chat before the show and try and buddy-up beforehand.

Recently, I booked an act on a show, and they brought to my attention that one of the speakers on the line-up had been spreading transphobic hate speech, and they no longer felt comfortable. We made the decision to pull them from the show.

Making sure my artists feel supported is the main priority.

Supporting other artists within the community is important; for example, Years & Years had an all-queer line-up for their arena tour last year, and Alice Longyu Gao (co-agent with Emma at One Fiinix Live) announced an all-queer line-up for their May debut headline tour. I also think it’s essential to work with a diverse pool of people on the touring crew. It’s a privilege to work with the Trans Creative Collective who are committed to providing trans, non-binary, and female crew.

Seeing my queer artists doing incredible things is hugely satisfying for me, from Years & Years headlining Mighty Hoopla and Standon Calling; The Aces selling out their EP release show in under ten minutes; July Jones winning the Music Moves Europe Award this year; and Queer House Party taking over a ton of stages across festivals and events (Flipper’s Roller Boogie Palace, Latitude Festival & Sziget Festival) in the UK and Europe.

To see the rise in opportunities for queer artists and be a part of it is phenomenal. Long may it continue and we’ll see even more queer headliners in the next five years. PADAM!

Jess Kinn is an agent at One Fiinix Live

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“I could count on my hand the queer festival headliners we have right now in this country”

JESS KINN

“Seeing my queer artists doing incredible things is hugely satisfying for me… To see the rise in opportunities for queer artists and be a part of it is phenomenal”

LOUD & PROUD

ALICE LOW

(UK)

AGENT Sarah Joy | ATC Live

Low has steadily toured for the last 12 months, sharing stages with acts like Aldous Harding, Cate Le Bon, and Black Midi. With support from BBC 6 Music and publications such as Clash DIY, The Quietus, The Independent, Dork, and The Forty-Five, her avant-garde performance, unhinged energy, and emotional lyrics have carved a niche that suggest an artist doing things entirely on their own terms. Her off-kilter pop is reminiscent of Hunky Dory-era Bowie and, lyrically, she speaks candidly and with irreverent humour about her transition. Last year, Low won the Triskel Prize and recently came off tour with Cate Le Bon. Her debut EP Transatlantic Sugar is out now.

CALUM SCOTT (UK)

AGENT Jon Ollier | One Fiinix Live

With his powerful voice and soul-baring songwriting, Calum Scott creates the kind of deeply resonant songs primed to accompany the most meaningful moments in our lives. Since the release of his 2017 breakthrough single, You Are The Reason, the UK-based artist has heard from countless fans across the globe who’ve used the platinum-selling smash as the soundtrack to major events such as weddings and end-of-life rituals and those who’ve turned to his music for solace when enduring tremendous heartbreak and loss. In the making of his sophomore album, Bridges, Scott doubled down on his commitment to transform his most intimate experiences into songs that lift the spirits and strengthen the heart – a move that profoundly clarified his own sense of purpose.

As marks its third annual Pride edition, we again spotlight some fast-emerging and noteworthy queer acts and artists to pay close attention to. This year’s Loud & Proud profiles include acts represented by ATC Live, CAA, ITB, One Fiinix Live, Playbook Artists, Primary Talent, Solo, and UTA.

KAE TEMPEST (UK)

AGENTS Lizzie Ford & Paul Wilson | CAA

Kae Tempest is a writer and musician from Lewisham, south London. Their first two solo albums, Everybody Down (2014) and Let Them Eat Chaos (2017), were nominated for the Mercury Prize. Their third, The Book of Traps and Lessons (2019), was shortlisted for an Ivor Novello Best Album award. Alongside music, they have released several poetry collections, a Sunday Times-bestselling novel, The Bricks That Built the Houses (2017), and the book-length essay On Connection (2020). Their play, Paradise (2021), premiered at the National Theatre in London. The Line is a Curve (2022), their fourth and most recent album, is about letting go of shame, anxiety, isolation, and falling instead into surrender.

LEIT ROSS

(CA)

AGENT Eleanor McGuiness | Playbook Artists

Leith Ross is a songwriter, singer, and artist born and raised in a small town outside of Ottawa, Ontario, Canada. They’ve recorded and released two projects and have a new one underway. Ross draws inspiration from the likes of Lucinda Williams, Dolly Parton, Disney movie soundtracks, High School Musical, and their dad’s horrible parodies of all of the above. Their songs attempt to explore themes of gut-wrenching and cheesy love, silliness, and extreme existentialism. Recent singles, We’ll Never Have Sex, Orlando, and (You) On My Arm, are drenched in the above and ready to be listened to wherever you can find them. Leith Ross is coming soon to some kind of live venue near you!

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Once again, IQ is placing LGBTIQ+ executives at the forefront of our annual Pride issue with the third LGBTIQ+ List.

Our most diverse list yet celebrates LGBTIQ+ professionals from all corners of the globe, who are making an impact in the international live music business and beyond.

This year’s top 20, as nominated by our readers and verified by our esteemed steering committee, are paving the way for a more diverse and inclusive industry – one that we can all be proud of. Without further ado....

ADEM HOLNESS

(He/him/his/they/their/ theirs)

Head of contemporary music, Southbank Centre

London, UK

Tell us about the professional feat you’re most PROUD of in 2023 so far. Straight in with a pun, love it. Well, I’m right in the middle of delivering Red’s (formerly known as Christine & The Queens) Meltdown. Meltdown is the longest-running artist-curated festival in the world. Red is the youngest-ever curator. With this being my first Meltdown, having only started at Southbank less than a year ago, it’s been amazing for the two of us silly queer kids to make something that we both feel really proud of.

Name one queer act you’re itching to see live this year.

Am I allowed to say one of my own shows? Is that bad? Because it’s Honey Dijon. We’ve got her doing a huge takeover of our site in September, including her performing with an orchestra – it’s going to be wild!

What advice could you give to young queer professionals?

Be yourself and find a good support network outside of work.

What’s the best mistake you’ve ever made?

Contacting an artist’s management that I didn’t hold the relationship with and nearly getting a major show pulled as a result. I learned the power of good relationships in our business and not overstepping. In a way, I feel like we should all be making mistakes all the time because failing is how we learn.

In terms of challenges in the industry, what’s currently keeping you up at night?

Ticket sales! Particularly for the smaller- to mid-level acts. I just hope that we are protecting enough space for people at the grassroots and emerging levels to be able to build amazing careers.

Name one thing you’d like to see the live music business change.

I’d like to see more people from my communities in leadership positions.

Do you support any LGBTIQ+ causes?

The Chateau, which was a queer venue in southeast London, and we are bringing it back for the opening night of Red’s (aka Christine and the Queens’) Meltdown!

AMY GREIG

(She/her/hers)

Booking agent, Runway Artists

London, UK

Amy@runwayartists.com

Tell us about the professional feat you’re most PROUD of in 2023 so far.

That’s tough! In terms of things that have been announced at this point, I would say Babymorocco’s upcoming Space 289 headline is a big one. A lot of hard work from the whole team has gone into getting to this stage, and the show itself has a lot of surprises in store; he’s going to kill it.

Name one queer act you’re itching to see live this year.

Ethel Cain.

What advice could you give to young queer professionals?

I’m not sure I’m qualified to answer this one just yet; ask me again after my next birthday!

Name one thing you’d like to see the live music business change.

The idea that live music professionals should stay in their genre lane. Nobody is really listening to music that way anymore. Why are we working that way?

Name one thing the industry could do to be a more equitable place.

Give more opportunities to young professionals. I’m 20 but also a student. I think that’s an asset, having an understanding of what shows my peers are going to but also being at six of those shows a week. I think that outweighs any potential inexperience from a young person really. I’m really fortunate to have been shown the ropes by our office; we need more people like Matt [Hanner, founder Runway Artists] and Steve [Backman] who are willing to help young agents learn.

Shout-out to your biggest ally in the live music industry.

Matt and Steve from our office. The best guys I know!

“As a queer community, we are strong and we are not going anywhere”

Roman Samotný | Queer Slovakia

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BEYOND THE YELLOW BRICK ROAD

Photography © Ben Gibson

Having set a new world record for the highest-grossing tour in history, Elton John will bring the final curtain down on an extraordinary 50-plus years of touring when he takes to the stage at Stockholm’s Tele2 Arena on 8 July. Gordon Masson talks to some of the people who made the extraordinary Farewell Yellow Brick Road tour a reality…

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Having completed the final UK shows on his farewell tour, Sir Elton John headlined Glastonbury Festival with a historic performance that set new records for a Glasto crowd, as well as attracting more than 7 million viewers who tuned into the BBC to witness live coverage

Can’t DragDownus

As numerous US states make moves to ban live drag performances, Werq the World, the official RuPaul’s Drag Race tour, is defiant in its success. Lisa Henderson speaks to the pioneers behind the multimillion-dollar world tour, as well as some of the drag promoters working outside of the RuPaul world.

With 380,000 tickets sold and more than 100 shows booked, Werq the World 2023 is the largest drag tour to ever take place. Launched in 2017, the annual outing showcases a medley of drag queens from RuPaul’s Drag Race, the smash-hit reality TV series in which queens compete to become America’s next drag superstar. The award-winning show, which has launched spinoffs in several other countries, sees drag icon RuPaul and a roll call of guest judges critique the queens on runway walks, lip-sync battles, and impersonations. Since the TV show launched in 2009, it has racked up 16 seasons and become a global phenomenon. With the TV show producing a fresh conveyor belt of talent and hordes of new fans each year, an annual companion tour was a no-brainer for Werq the World producer Voss Events.

“Someone like Beyoncé or Lady Gaga has to make a whole album before they tour – which could – and does – take years,” says Voss Events CEO, Brandon Voss. “Instead of making an album, we make a TV show that comes out every single year, so the numbers are a lot bigger than you might think because we're constantly touring. We’re doing 4,000-6,000-capacity venues in the US and 8,000-seaters in Europe – which are big numbers in and of themselves, but we’re doing it annually, too. As soon as this tour wraps, we're planning the next one with a new batch of queens that are on season 16 [of RuPaul’s Drag Race] right now.”

This self-perpetuating cycle – along with the increasing popularity of the TV show – perhaps explains how Werq the World has snowballed from selling 30,000 tickets to 380,000 in just five years. This autumn, the multimillion-dollar pro -

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Photography © Marco Ovando

MARKET REPORT AUSTRALIA

AUSSIE RULES!

Frontier promoted Ed Sheeran’s three shows at Suncorp Stadium in Brisbane earlier this year © Zak Walters

Floods, bushfires, Covid-19 –Australia’s live music industry has felt all the forces of nature in recent years, and by most accounts, has made a stellar comeback.

For a population of 25m, Australia’s live industry punches above its weight class, a space where a singer can sell 1m tickets on a single tour (Ed Sheeran’s Divide) and another can play – and fill – 58 arena shows (P!nk’s Funhouse).

It’s not all fun and games. Touring Australia, a country roughly 4,000 km wide – a distance greater than London is from Moscow – the concerts space has its complexities. The soaring cost of travel, haulage, and booking acts; ongoing pressure on inner-city venues from developers; and a shortage of skilled professionals, many of whom left the industry during the pandemic, are just some of the challenges faced by promoters and others in Australia’s live music ecosystem.

But with a new federal government in power, one that’s sympathetic to the music industry, and a bonanza of major tours performing well at the box office, optimism is high.

So business is back, although it’s not what it was.

For a continent as vast as Australia, some things are surprisingly the same wherever you go. Drive for days and the language, currency, and power-points remain the same. And all across the country, there’s an enormous appetite for live entertainment. Getting a show on the road, however, is never a cinch.

“Right now is a very exciting time to be an Australian music fan,” says Geoff Jones, CEO of live entertainment, data, and tech giant TEG. “Since the end of the pandem-

ic, we’ve seen many artists flock to Australia to play for their Aussie fanbases, which has played a major part in boosting the economy.”

Among them, stadium treks by Guns N’ Roses (TEG Dainty), Ed Sheeran (Frontier Touring), Harry Styles and Red Hot Chili Peppers (Live Nation Australia) – all visiting these parts within the space of three months.

And while cost of living and inflation is a big issue that’s impacting Australians, “consumers have been highly resilient and are still keeping money aside to watch their favourite artists perform to crowds of thousands,” Jones adds.

“We’re still seeing buying patterns lean much closer to the festival or show date, and we expect last-minute purchasing to remain part of the landscape,” notes Zac Leigh, CEO and founder of Tixel.

In the most recent summer (December 2022-March 2023), “Something like 20% of the tickets listed on Tixel were traded for less than 50% of the face value of the ticket and we believe the oversupply was due to things like illness, Covid isolation periods, inability to travel, and the clutter of rescheduled events,” Leigh explains. Now, less than 5% of tickets trade at that level – signs that the market is returning to a demand-supply equilibrium for tickets.

The backlog of shows after twoand-a-half years of Covid disruption and market and border closures resulted in a “huge summer touring season” across concerts and festivals, explains Evelyn Richardson, chief executive of Live Performance Australia (LPA), the trade body for the live entertainment industry.

The data isn’t yet in; the most recent figures were captured for LPA’s Ticket Attendance and Reve-

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“I think the per-cap spending in Australia is the highest in the world. It’s just so engrained in the culture to see live music and sport”

Adam Wilkes | AEG Presents Asia Pacific

With a population approaching just 26 million, Australia punches way above its weight in terms of ticket sales for live music tours and events. And bouncing back from the Covid pandemic with a new culturally savvy government, the demand from fans only seems to be increasing. Lars Brandle reports.

REMOTE CONTROL

With the pandemic in the rear-view mirror, concerts have returned to New Zealand, or Aotearoa as it is increasingly being referred to by many inhabitants, and touring is back in full force – mostly – in the world’s most remote market.

Lars Brandle reports.

The home of the legendary Flying Nun Records, and the birthplace of Lorde, Broods, Benee, The Beths, stadium-fillers Six60, and many others, New Zealand has a thriving music scene. With a population of more than 1.6m, Auckland remains NZ’s biggest market. But a glance at touring itineraries reveals the country’s touring landscape has hotspots on both islands.

Ed Sheeran’s 2023 Mathematics Tour of New Zealand (promoted by Frontier Touring) dropped into Sky Stadium in the capital, Wellington, and Auckland’s Eden Park – the nation’s home of rugby.

Rod Stewart played Forsyth Barr Stadium in Dunedin and Mission Estate Winery in Hawke’s Bay in April 2023, and blink-182 will visit in February 2024 (both Live Nation) with dates at the 12,000-capacity Sparks Stadium in Auckland and the 9,000-capacity Wolfbrook Arena in Christchurch.

When the Foo Fighters drop by in January 2024 for Frontier Touring, Dave Grohl and co will rock out on both islands with a trek that includes Auckland’s GO Media Stadium (Mt Smart Stadium), Christchurch’s Orangetheory Stadium, and Wellington’s Sky Stadium.

“We are back from the pandemic,” notes Brent Eccles, director of Eccles Entertainment, the full-service booking agency and concert promoter. “It does feel like there are changes in our market. But that might be generational.” Venues and cities all across Aotearoa have “become more professional” and are “keen to work with promoters to get international artists to come to town.”

Formed by Brent and Helen Eccles in 2000, Eccles Entertainment exclusively represents Frontier Touring, Illusive Presents, Chugg Entertainment, Arena Touring, and Roundhouse Entertainment in NZ.

The challenge, he continues, is making shows work on all levels in a busy marketplace. The sweet spot for ticket prices “is all-important, and we need to set these uniquely for NZ.”

The good; the not so good NZ’s music scene is vibrant, and Kiwis rarely miss out on the big tours, although the problems promoters are faced with are many and varied. The tyranny of distance can’t be adjusted; it’s a challenge doing business in this stunning part of the world, whose Scottish influences can be spotted in town names from Invercargill to Dunedin, Balfour and more.

Caroline Harvie-Teare, chief executive at Venues Ōtautahi, reports “a strong return in international acts” and, “in some respects, exceeding pre-pandemic levels.” Mark Gosling, general manager for Spark Arena, says business “has been fantastic this year,” with shows “selling well albeit later than pre-Covid.”

Rising costs across the live music ecosystem are another issue giving promoters headaches. And the spectre of a recession was confirmed in June 2023 when NZ’s central bank raised interest rates to a 14-year high. The country is now in a “technical recession” as the economy shrank in the first quarter. Locals, who are already feeling the pinch from inflation, will also feel the sting of higher mortgage repayments. Whether it has a marked impact on discretionary spending, for concert tickets and food and beverage at shows, remains to be seen.

The NZ market “on most levels has always been solid, and they love their music,” says legendary Australian concert promoter Michael Chugg. “NZ radio is far more supportive than Australia,” and its fans plug into a “club and university circuit, with a few wineries and some beautiful regional town halls,” he notes. “It’s a strong local market for local and Australian bands and smaller internationals.”

Venues sizes, however, have always been a problem, notes Chugg. “For decades, you played outside, or you did venues up to around 3-4,000 [capacity].” Wellington, the capital, “desperately needs an indoor arena,” he adds. Having to use ferries to move equipment between islands, and “the cost of sitting around for two to three days makes it tough.”

Endeavour Live promoted Fatboy Slim at Gibbston Vally Winery in Queenstown earlier this year

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The time has come for you to lipsync for your life. Which song are you choosing and why?

TOP SHOUT

My go-to is always Don’t Stop Me Now by Queen. This song has some of the best air drums and guitar, makes me feel like I can take on the world every time, AND just so happens to feature one of the biggest queer icons in history. Who can resist?!

Georgie Lanfranchi | Only Helix

The Joke by Brandi Carlile.

The song that pops up at the moment is Simply the Best by Tina Turner. The reason for choosing this song is to honour one of the most influential queens and role models in music!

Jonas Sjödén | Live Nation Sweden

Rhinestone Cowboy by Glenn Campbell – just for the chance to wear a fringed cowboy jacket and Stetson covered in rhinestones!

Doug Smith | Ticketmaster

Me Against The Music – Britney Spears and Madonna. Britney and Madonna are the most iconic allies out there, and this song is the perfect opportunity to rope in a friend (or a crush) and get sassy together. Plus, if you bomb the performance, at least you’re not entirely to blame…

Lisa Henderson | IQ Magazine

It’d have to be my (guilt-free) guilty pleasure: Rogue Traders – Way To Go. Plus, it helps that I already know all the words!

Joel Siviour | Seismic Talent

Romy – Strong. Because her music, stories, allyship, and texting is everythang!

Patrick Ehrhardt | Goodlive

Miley Cyrus – River. I love the free-flowing lyrics, and it’s current!

Mark Fletcher | Manchester Pride

No Scrubs – TLC (with the Left Eye rap) because it’s a perfect song for strutting your stuff, as well as serving face.

David Davies | Double D Live

George Michael – Fast Love. A subliminal intro from a young age to the queer community, that would always allow me to feel free, and now a song that summarises my previous dating history before finding the love of my life, my wife. Now, it’s a slow love!

Nadu Placca | The Zoo XYZ

Shania Twain – That Don’t Impress Me Much. Why? Because Shania??? Such a banger! It is so nostalgic for me; the song was released when I was three years old, and I can safely say it’s been the soundtrack to my adulthood. She’s like, Brad Pitt? So what? I’m Shania Twain...

Raven Twigg | ASM Global

Easy by Maniac from the Flashdance Original Soundtrack! You’ve got to pick something you can show off them dance skills to.

Cloe Gregson | Manchester Pride

Lizzo – I Love You Bitch. Sending positive energy and empowerment to all my queer colleagues and friends. The song slaps!!

Sean Hill | UTA

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HERE

Steven Braines | HE.SHE.THEY.

The Gossip – Standing in the Way of Control. Paul Bonham | MMF Accelerator