IQ Magazine issue 95 Preview, January 2021 by IQ Magazine

95 An ILMC Publication DECEMBER 2020 | £25 | €25

MEET IQ’S UNSUNG HEROES RESORTS WORLD ARENA AT 40

INTERNATIONAL TICKETING REPORT 2020 LATEST COVID MITIGATION KIT

ESNS 2021

The Road to Recovery

Register now for the digital edition of ESNS with panel discussions, keynotes, sessions, speed meetings, network opportunities and lots of new music at esns.nl.

THE EUROPEAN MUSIC PLATFORM

Magazine

ike the all-digital IQ Magazine you’re (not) currently holding in your hands, the leading global gathering of live music professionals is rebooting for 2021, inviting the industry’s top players to join us in the conference mainframe for a special one-off Virtually Live edition of ILMC. With events in the physical world forcing the concert business online, the industry’s leading networking event is similarly embracing this new virtual reality, taking advantage of the lack of physical restrictions to programme the largest and most international ILMC date, with an expanded schedule of panels, meetings, workshops and keynotes streaming live from a server room somewhere in London. In another first, in recognition of March 2021 being such a critical moment on the road to restarting live music, we’re also disabling the password protection on the server-room doors, allowing non-members to attend ILMC for the very first time. That’s right: for this virtual edition, and for the first time in our history, ILMC will be open for both members (those who’ve attended at least two ILMCs before) and non-members to register. Like any physical ILMC, virtual attendees will be able to help shape the conversation about the future of business by participating in conference sessions, with new live voting and Q&As making it easy for everyone to have their say. Other new-for-2021 features include instant

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video speedmeeting sessions that match relevant delegates, digital trade exhibitions, and new lounges and networking areas, allowing delegates to network without the risk of exposing themselves to a dangerous virus (we have very powerful antivirus software). Elsewhere on the ILMC infobahn, the ILMC Production Meeting and Green Events & Innovations Conference return – as do the annual Arthur Awards, which have been overclocked for 2021 to introduce a number of new categories, and which are, for the first time, free for all delegates to attend. Also making a welcome return is the schedule of evening entertainment and networking for which ILMC is renowned, with the poker tournament, Quiz of the Year, networking lounges and showcase gigs among the activities on offer to help delegates relax after a long day cruising the information superhighway. So it’s time to take the red pill, don your Daft Punk helmet and prepare to enter the videodrome for the most virtual, most forward thinking, most technologically advanced ILMC to date. And with tickets priced at just £119/£139 until 29 January, you’ll need to be faster than a speeding lightcycle to ensure you don’t miss out…

ILMC 33: VIRTUALLY LIVE 2–5 MARCH 2021

ILMC

HOW TO HOW TO REGISTER REGISTER

WHO is WHO is PLaYING PLaYING? PLaYING?�

For this virtual edition, and for the first time in its history, ILMC will be open to both members and nonmembers to register. For more information, or to register, visit 33.ilmc.com.

As the leading annual gathering for the international live music community, ILMC guest speakers include some of the industry’s best-known concert promoters, booking agents, artist managers, and venue and festival professionals. Speakers already announced include:

IRVING AZOFF

EMMA BANKS

SAM KIRBY YOH

TIM LEIWEKE

JON OLLIER

BOB LEFSEZT

TOM WINDISH

PHIL BOWDERY

RIC SALMON

NATASHA BENT

TOMMAS ARNBY

ALI HEDRICK

The full agenda, including all guest speakers, will be announced in the coming weeks. Want to participate, or have an idea for a speaker or session? Get in touch with gordon@ilmc.com.

Magazine

TUESDAY TUESDAY 2 MARCH 2 MARCH 2021 2021 09.00–17.00 ILMC PRODUCTION MEETING

In 2021, the ILMC Production Meeting returns to its traditional slot the day before ILMC. The fourteenth edition (IPM 14) will welcome production managers; health, safety and security specialists; crewing companies; sound and lighting companies; venue personnel; tech companies; and production services and suppliers, as well as representatives from promoters, venues, and others with an interest in international event production. According to organisers, next year’s programme is looking “bigger and bolder” than ever before, with additional sessions and speakers from across the globe. Topics slated for discussion at IPM 14 include the latest in concert trucking, sustainability, re-education and crew health and mental wellbeing. The conference has also announced its first slate of speakers for 2021, welcoming many of the industry's preeminent production managers (and former IQ Gaffer Award winners), who will add their expert opinions to main panels Veteran gaffers already confirmed to participate include Chris Kansy (Roger Waters, Nine Inch Nails), Jesse Sandler (Bon Jovi), Bill Leabody (Coldplay), Wob Roberts (One

09.00–17.00 GREEN EVENTS & INNOVATIONS CONFERENCE

The thirteenth edition of the Green Events and Innovations Conference (GEI13) is presented by A Greener Festival (AGF), in partnership with ILMC, and will honour the theme of transition and transformation, says AGF, which notes that the number 13 is associated with upheaval and destruction. The conference will reflect on how the industry can be “both receptive and active to co-create a better future,” with topics including transport; food systems; equality and inclusivity; health and wellbeing; power systems; design; and

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Direction, Sam Smith), Tony Gittins (Depeche Mode), Chris Marsh (Ed Sheeran), Jason Danter (Lady Gaga, Madonna) and Arthur Kemish (Taylor Swift). A ticket to IPM 14 will provide access to all panels, as well as the Production Notes sessions and a selection of breakout discussions shared with the Green Events & Innovations Conference (see below), which takes place simultaneously. Delegates will also have numerous opportunities to network throughout the day, with options to organise one-to-one and private meetings; hang out in networking lounges; visit exhibition stands; and talk with old friends and make new ones, during virtual speed meetings. Each edition of IPM is hosted by a renowned figure from the production world. Previous hosts have included Meagan Walker, Rachel Haughey, Dan Craig, Lee Charteris, Bryan Grant, Keith Wood, John Probyn and Carl AH Martin. The full programme will be published in early February.

materials usage for circularity. Some of the first confirmed speakers include Dale Vince, (Ecotricity, UK); David Ojay (NAAM Festival, KE); Tom Schroeder, Paradigm Agency (UK); Gina Périer, Lapee (DK); Gordon Masson, IQ/ILMC (UK); and Claire O’Neill, AGF (UK). “We’re really happy to be launching this edition of GEI, albeit online,” says Claire O’Neill, AGF co-founder and GEI producer. “We’ve seen the determination and commitment from all parts of the events industry during this difficult year, to keep the eye on the ball and come together for sustainability, despite the financial hardships we all face.” GEI 13 will welcome industry leaders, professionals, visionaries, governments and individuals and organisations working to bring environmental and social sustainability to the live events, sports and creative sectors. Tickets are on sale now. The GEI 13 agenda will also include a selection of breakout discussions shared with the ILMC Production Meeting (see above). The full programme will be published in early February.

ILMC

WEDNESDAY WEDNESDAY 3 MARCH 3 MARCH 2021 2021 10.00–13.00 MORNING SESSIONS

A full morning of panels and workshops featuring the best in the business

13.30–17.30 AFTERNOON SESSIONS

A full afternoon of panels and workshops ahead of the evening entertainment

17.30–19.00 THE HANGOUT

With a day of conference sessions under our belts, it’s time to relax and enjoy the social side of ILMC in the company of cybernetic colleagues old and new. While it’s not going to replace painting the town red in person, sit back and let London come to you with up to 90 minutes of networking and conversation with delegates from across the global village. To find out how to host your own lounge, email: greg@ilmc.com.

18.00–19.00 THE BIG REPLAY

Missed the day’s meetings or joining late from a different time zone or another virtual world, and wondering what you missed? Join the ILMC team and one or two session chairs, as we discuss some of the key points, themes, comments and information from the day. With every single session available to watch back on demand, we understand it can be daunting for new players to know where to start. So if you’re suffering from information overload, make this your spawn point for all the highlights and key takeaways of ILMC day one.

19.00–LATE THE BOB LEFSETZ PODCAST LIVE

Bob Lefsetz, Santa Monica-based industry legend and author of the e-mail newsletter The Lefsetz Letter, hosts a special live-streamed edition of his hit online show.

19.00–21.00 THE ‘ESCAPE FROM REALITY’ QUIZ (OF THE YEAR)

A fixture of the ILMC Gala Dinner, the annual Pop Quiz returns as an online think-’em-up, with players one to 32 going head to head in an epic battle of brains. Expect questions on the industry and the people in it, as well as tests of your general knowledge and assorted popculture ephemera. With some great prizes to be won on the night (and strict penalties for anyone caught googling the answers), it pays to be prepared. So, while we wouldn’t recommend artificially boosting your intelligence with drugs and virtual reality, Lawnmower Man-style, in advance, it certainly won’t hurt your chances. Well, probably not.

21.00–23.00 THE ‘BATTLE ROYALE’ TEXAS HOLD ’EM POKER TOURNEY

As ILMC goes virtual, so too does its venerable annual poker tournament, which this year takes place in a private online casino in the heart of hyperspace. While the entry fee is being waived for this online-only outing, the tourney will continue to raise money for the Nikos Fund, which this year is raising funds for Stagehand, the Covid-19 crew relief fund operated by the Production Services Association. With multiple tournament tables, as well as side competitions for anyone unlucky enough to go out early, it’s set to be another nail biter. Especially as there are prizes on offer for the top three players… Bring courage, determination and, of course, your poker face – cameras will remain on!

Magazine

WEDNESDAY WEDNESDAY 3 MARCH 3 MARCH 2021 2021

10.00–17.30 PULSE

A collaboration with senior booking agent Mike Malak (Paradigm) and digital entertainment expert Yvan Boudillet (TheLynk), PULSE is a new industry platform that sits at the intersection of technology and live events. The first PULSE event will take place within this year’s ILMC, on 3 March, and will comprise a full day of discussion and debate with leading figures from both the live events and technology industries. Companies already confirmed to be taking part include Driift, Moment House, MelodyVR, Maestro, Sansar, Live Nation, The Darkroom, LiveFrom Events and Locomotion. Topics already slated for discussion include The New Fan Experience, considering fan engagement in the plethora of new virtual performance spaces online, with Danny Rukasin and Brandon Goodman (Best Friends Music), Sheri Bryant (Sansar), Ric Salmon (Driift), and Tommas Arnby (Locomotion Entertainment). The Pitch sessions, a spiritual successor to ILMC’s popular New Technology panel, see the best new tech companies queuing up to present their innovations, with host and longtime tech evangelist Steve Machin (LiveFrom), while The Business of Live Tech looks at emerging business models and new deals around tech and music, with Cheryl Paglierani (United Talent Agency), Justin Lubliner (The Darkroom), Lesley Olenik (Live Nation), and Steven Hancock (MelodyVR). Sweet Streams: Best in Class invites the leaders in the live-streaming space to share best practice and insight, with Sara Bollwinkel (Paradigm) and Natasha Bent (Mother Agency); and The Live-streamers’ Guide to Live Music collects a line-up of gamers, streamers and platform heads, including Trivium guitarist and vocalist Matt Heafy, to tell the live sector what’s in store. Access to all PULSE sessions are included in your ILMC delegate pass. Full info on all sessions is at 33.ilmc.com/pulse.

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Your ILMC Your ILMC Pass Pass A delegate pass to ILMC’s virtual 2021 conference includes: ▶ Access to all conference sessions and workshops at the live music industry’s top annual gathering, including TEEM and Pulse@ILMC. ▶ Participation in all online networking elements, including video speedmeeting sessions. ▶ A ticket to the 2021 Arthur Awards, the live music industry’s Oscar equivalents. ▶ Access to all ILMC sessions for one month after the conference. ▶ Admission to an evening schedule of events and live-streamed showcases. ▶ A digital delegate bag stuffed with offers, discounts and new ideas. ▶ A 20% discount on an online subscription to IQ (if purchased as a bundle). ▶ Access to both the ILMC Production Meeting and Green Events & Innovations Conference on Tuesday 2 March for a small upgrade fee.

THURSDAY THURSDAY 4 MARCH 4 MARCH 11.30–17.30 TEEM

The Experience Economy Meeting (TEEM), the world’s only conference dedicated entirely to touring exhibitions and the experience economy, joins forces with ILMC for 2021. Previous attendees will be familiar with popular formats, such as the ‘Flea Market’ presentations that showcase the latest venue-filling productions. Alongside this, expect panels, meetings and demonstrations featuring the world’s most important touring exhibition professionals, including expo producers, promoters, venue bookers, suppliers and more. Previously known as the Touring Exhibitions Meeting (TEM), TEEM formerly took place in locations including Berlin, Munich and Istanbul, organised by Christoph Scholz at Semmel Concerts’ SC Exhibitions. By moving into ILMC for this year’s special virtual edition, all delegates will benefit from these unique sessions at the heart of the touring exhibition and experience world.

ILMC

THURSDAY THURSDAY 4 MARCH 4 MARCH 2021 2021 10.00–13.00 MORNING SESSIONS

A full morning of panels and workshops will be announced shortly

13.30–17.30 AFTERNOON SESSIONS

A full afternoon of panels and workshops ahead of the evening entertainment

12.30–13.30 THE ‘POWER UP’ LUNCH BREAK

YOU BRING THE LUNCH, WE’LL BRING THE COMPANY. A further 60-minute intermission in which to gobble up some powerballs and stretch your legs. All ILMC 33’s networking lounges remain open, so can use the time to meet new contacts, catch up with colleagues, or just watch each other eat. You can also pay a virtual visit to ILMC’s many trade stands, where our partners will be happy to demonstrate and discuss their products, innovations, services or shows.

15.00–16.00 SPEEDMEETINGS

These daily speedmeeting sessions see delegates matched with others by business type courtesy of some particularly clever computer algorithms. Turn up to meet your virtual matches for a five-minute video chat, before being automatically moved on to the next person.

16.30–18.00 THE (LATE) BREAKFAST MEETING WITH IRVING AZOFF

A true industry legend, Irving Azoff – artist manager, venue exec, investor, artist advocate, one-time Ticketmaster CEO and Billboard’s most powerful person in music – added the latest string to his multi-hyphenated bow in 2020, when he was inducted into the Rock & Roll Hall of Fame, receiving the Ahmet Ertegun Award in recognition of six decades at the sharp end of the business. Speaking during the induction ceremony, Don Henley of Eagles paid tribute to the band’s long-time manager, saying: “I don’t think there’s anybody in the music business who has made as big of a difference, over as long a span of time.” From the Eagles to Jon Bon Jovi, Gwen Stefani and John Mayer, to a music empire that includes Full Stop Management, Global Music Rights and sports and entertainment disruptor Oak View Group, this will be a Breakfast Meeting to remember. Azoff will join former Dire Straits manager Ed Bicknell to discuss a lifetime at the top of the business, as the legendary dealmaker chats with one of the industry’s foremost raconteurs…

17.30–19.00 THE HANGOUT

With a second day of conference sessions under our belts, it’s time to relax and enjoy the social side of ILMC in the company of cybernetic colleagues old and new. While it’s not going to replace painting the town red in person, sit back and let London come to you with up to 90 minutes of networking and conversation with delegates from across the global village. To find out how to host your own lounge, email: greg@ilmc.com

18.00–19.00 THE BIG REPLAY

Magazine

ILMC

18.30–19.30 THE ARTHUR AWARDS 2021

20.00–22.00 SHOWCASES

FRIDAY FRIDAY 5 MARCH 5 MARCH 2021 2021

10.00-17.00 ASSOCIATION MEETINGS

For over a quarter of a century, the live music industry’s Oscar equivalents have been handed out during ILMC. Normally a ticketed event, this year the Arthurs is throwing open its virtual doors for all delegates to attend on 4 March 2021. The most prestigious (online) award ceremony of the live music industry calendar lines up for a truly unique edition in 2021. The Arthurs will feature new categories, whilst some of our most popular category winners will line up to decide the Arthur of the Decade, and one special award winner will be determined on the night through a live online vote. Fortunately, the ceremony is in safe hands, as cyberpunktress extraordinaire, Emma Banks (CAA co-head and Bottle Award winner 2020), will host the awards live from ILMC Broadcasting Centre in London. All ILMC 33 delegates are welcome to join the event.

10.00–13.00 MORNING SESSIONS

A full morning of panels and workshops – details will be announced with the full agenda shortly

13.30–17.30 AFTERNOON SESSIONS

A full afternoon of panels and workshops – details of which will be revealed in the coming weeks.

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ILMC 33 is partnering with some of the top export offices and booking agencies in the multiverse to provide delegates with an evening of spectacular live-stream performances featuring some of the best new and emerging talent out there. All showcases will be available to watch back on the ILMC platform after the event, and further details will be published in the coming weeks. To discuss becoming part of the showcase schedule at ILMC, please get in touch.

As usual, ILMC offers meeting space for a number of key industry associations (such as CPA, IJFO, Yourope, EAA, NAA and AIF) to hold their invitation-only annual general meetings.

12.30-13.30 THE ‘PAUSE BUTTON’ LUNCH BREAK

YOU BRING THE LUNCH, WE’LL BRING THE COMPANY. A final intermission in which to gobble up some powerballs and stretch your legs. All ILMC 33’s networking lounges remain open, so can use the time to meet new contacts, catch up with colleagues, or watch each other eat. You can also pay a virtual visit to ILMC’s many trade stands, where our partners will be happy to demonstrate and discuss their products, innovations, services or shows.

ILMC

IQ95 CONTENTS

50 NEWS

FEATURES

COMMENT AND COLUMNS

16 18 22

03 28

Index In Brief The main headlines over the last two months Analysis Key stories and news analysis from around the live music world New Signings & Rising Stars A roundup of the latest acts that have found agents during lockdown

38 50 62

ILMC 33: Virtually Live of Change Details about our spefically themed International Live Music Conference Unsung Heroes 2020 IQ pays tribute to some of the Unsung Heroes who have been putting the welfare of others first during this very challenging year International Ticketing Yearbook Industry leaders from around the world discuss the past, present and future of the ticketing business The Jewel of the Midlands The iconic Resorts World Arena celebrates 40 years Covid: New Year, New Kit Examining the latest armoury in the battle against Covid-19

26 70

Creative Europe's Support for Music European commissioner Mariya Gabriel outlines some of the schemes estbalished in Brussels to ensure live music's survival A Rey of Light Will Larnach-Jones details how organisers recalibrated the Covid-cancelled Iceland Airways to benefit domestic talent Your Shout Whatâ&#x20AC;&#x2122;s the most positive aspect you can take from 2020?

Thousands of professionals read IQ every day. Make sure you get the whole pictureâ&#x20AC;Ś SUBSCRIBE HERE Magazine 11

In Brief

2020 VISIONARIES

s I write this, there are exactly 15 days – a French fortnight – to go until we can kiss goodbye to 2020. And with London going into yet another lockdown, this time under the guise of England’s ‘Tier 3’ Covid restrictions, that’ll be the only thing most of us will be kissing on 31 December. But with the vaccine already flowing through the veins of tens of thousands of people around the world, at least we can enter the new year with the same kind of optimism that we had 12 months ago, when the promise of the new ‘roaring 20s’ decade had some of us, myself included, looking forward to better days. There’s not much point detailing the horrors that 2020 has inflicted on the live entertainment industry, or society in general, as we have all lived through it, and most, if not all of us, have lost friends, family, and colleagues to Covid-19. But as with all crises, certain people rise to the top, often discovering unrealised leadership skills, to help others, be they workmates, family, or complete strangers. Despite being the first industry to shut down because of Covid – and, most likely, the last to reopen – we are all blessed to work in the live entertainment sector: undoubtedly the most creative and caring business on the planet. Our Unsung Heroes feature (see page 28) profiles 12 of the amazing initiatives that are making a difference in these dark times, but there are countless more individuals and organisations who deserve recognition for helping their fellow man, and wherever you are and whatever you do, we applaud you. We know you don’t do it for the plaudits, but nonetheless, I can assure you they do not go unnoticed. Our end-of-year issue also hosts an abridged version of the International Ticketing Yearbook (page 40) – slimmed down for obvious reasons. However, the signs are in there that the live music business is ready to roar back when given the chance, with fans everywhere retaining tickets for postponed events and, more encouragingly, showing confidence to buy tickets for future concerts and festivals in 2021. But let’s not get ahead of ourselves. The misery of coronavirus will be with us for the foreseeable future, so we’ve also provided you with a rundown of some of the latest Covid kit (page 62) that could help events get up and running while conforming to existing virus restrictions. One venue all too familiar with those restrictions is the Resorts World Arena, which should have been closing the year with a series of shows to celebrate its 40th birthday (page 50). Its NEC Group operators are among the heroes of 2020, having transformed their exhibition halls into a temporary hospital to treat Covid patients. There’s a long way to go before everyone receives their vaccine, but at least the medicines are now here, and venues being returned to their intended use is a realistic possibility once again.

ISSUE 95 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 Jon Chapple Staff Writer Lisa Henderson Advertising Manager Steve Woollett Design Philip Millard Sub Editor Michael Muldoon Head of Digital Ben Delger Contributors Mariya Gabriel, Will Larnach-Jones Editorial Contact Gordon Masson gordon@iq-mag.net Tel: +44 (0)20 3743 0303 Advertising Contact Steve Woollett steve@iq-mag.net Tel: +44 (0)20 3743 0304 ISSN 2633-0636

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Helping you return to live.

Virtual Events Digital Tickets Timed Entry Contactless Admission Fan Research Marketing Reach Say hello at business@ticketmaster.co.uk business.ticketmaster.co.uk

IN BRIEF INDEX The concert business digest

NOVEMBER More than 60% of Finland’s live events companies do not expect to survive the next six months, new research reveals. Public live music companies Live Nation, CTS Eventim, and DEAG see their share prices soar following early results from the world’s first effective Covid-19 vaccine. Viagogo offers to sell StubHub’s resale business outside of North America in a bid to address concerns expressed by the UK’s Competition and Markets Authority, which has provisionally halted the $4billon (€3.3bn) merger. Ticketmaster clarifies it will not check fans’ vaccine or Covid-19 test status for access to concerts, although it will allow its promoter clients to do so. Mike Jones, co-founder of UK promoter TEG MJR, launches a new touring business, Europa Concerts, after leaving the former MJR Group earlier in the month. In France, silent ceremonies mark five years since the series of co-ordinated deadly attacks on the Bataclan concert venue, Paris cafés, and the Stade de France.

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Authorities in China announce plans to legislate in order to prevent the organisers of live-stream events from falsifying viewer figures, according to local media.

Coca-Cola Arena in Dubai reopens for an urban music event, welcoming fans for the first time since February, in a Covid-secure format.

Festival promoter The Music Republic announces it will run the under-construction Casal España Arena in Valencia, Spain’s biggest indoor arena, when it opens later this decade.

Lil Nas X garners more than 35m visits for his in-game performance in Roblox, marking a hugely successful debut concert for the online gaming platform.

Artist management company Tap Music launches Tap Sports, a new business offering athlete management, branding, and entertainment services to the sports industry. UTA has filed a lawsuit against Chubb, its insurance company, for allegedly failing to cover any of the $150million (€124m) worth of losses the agency says it has suffered during the coronavirus pandemic. The worth of the UK’s live music industry increased by 17% in 2019, according to UK Music’s flagship annual economic study, Music by Numbers. The Hungarian live music business calls on the government to support the industry by slashing the skyhigh VAT levied on concert and festival tickets.

Spanish festival promoter Bring the Noise launches Rebel Beat Agency, representing some of the biggest urban acts in Spain. Agency ICM Partners wins a legal battle over unpaid commissions from a deal negotiated and procured with AEG for former client Céline Dion. Thanks to insurance compensation, the introduction of ticket vouchers in key markets, and tens of millions of euros’ worth of cost-cutting, CTS Eventim loses just €17.7m in the first nine months of 2020. Pala Alpitour, the second-largest indoor arena in Italy, becomes the first Italian member, and fifth in total, of the International Venue Alliance. Ed Sheeran agent Jon Ollier announces details of his new booking agency, One Fiinix Live, launched

following his recent departure from CAA London. Pete Tong, along with The Heritage Orchestra and its founder Jules Buckley, announce the first show at London’s O2 Arena since the advent of the pandemic in March. DEAG made money in the first nine months of 2020, its latest financial results reveal, turning a profit of €300,000 in quarters one to three. The promoters behind Australian festivals including Bluesfest, Splendour in the Grass, and Falls Festival receive a share of the government’s AU$75m (€46m) Restart Investment to Sustain and Expand (Rise) fund. Madrid’s WiZink Center reopens to 2,000 attendees for the Spanish Padel Tennis Championship, with a number of Covid-19 health and safety precautions in place. In Australia, artists including Tones and I, The Presets, Thelma Plum, Jimmy Barnes, The Veronicas (pictured), and Tash Sultana, sell more than 75,000 tickets for the Great Southern Nights live-stream series, a government-backed concert series that brought more than 1,000 Covid-safe gigs to venues across New South Wales during November.

Analysis

“In the midst of this crisis, especially, we continue to bank on our strengths, namely technology and industry know-how”

Klaus-Peter Schulenberg | CTS Eventim

German football club Hannover 96 has become one of CTS Eventim’s latest ticketing clients

INSURANCE PAY-OUTS HELP GERMAN GIANTS LIMIT LOSSES

ermany’s Deutsche Entertainment AG (DEAG) made money in the first nine months of 2020, its latest financial results, released in late November, reveal – turning a profit of €300,000 in quarters one to three, even against the backdrop of the Covid-19 pandemic. The Berlin-based company, which trades on the Frankfurt stock exchange, turned over €39million in January–September (compared to €123.1m in the same period last year), resulting in earnings before interest, tax depreciation, and amortisation (EBITDA) of €0.3m. In Bremen, financials from larger rival CTS Eventim paint a similarly rosy picture, with the pan-European live entertainment group losing just €17m in the same period. DEAG revealed in March it is “fully covered” for coronavirus-related disruption. For DEAG, in Q3 (July to September) alone, EBITDA was €0.6m, the company attributing

the success to new event formats, significant cost-cutting (the firm has almost halved its spending this year) and €10m worth of insurance compensation. For the full year 2020, DEAG expects to at least break even, according CEO Peter Schwenkow, who says the company already has over €100m in sales for 2021, along with liquidity of around €50m. “In view of the Covid-19 pandemic, we are comfortable with our results for the first nine months of 2020,” states Schwenkow. “Although large parts of our visible operational business are currently suspended, the DEAG team is working behind the scenes to continue our growth course successfully as the pandemic ebbs away and finally comes to an end.” Commenting on his company’s figures, CTS Eventim CEO Klaus-Peter Schulenberg says: “We have been convinced since the outbreak of the pandemic that the stresses imposed on our company must be seen as a trial of our strengths.

That is the basis on which we act. There is no such thing as standstill.” Key to Eventim’s better-than-expected financials is the introduction of ticket voucher schemes, which allow promoters to offer credit, instead of cash, for postponed shows, in Germany, Italy, and elsewhere. According to Schulenberg, the company has also made cost reductions worth a “double-digit-million [euro] figure” in 2020, with investments also “reduced to a minimum,” while insurance pay-outs for cancelled shows organised by its owned promoters have brought in another €43.3m this year. “The breakthrough in the development of vaccines in November brings a tailwind for our entire industry,” adds Schwenkow. “We have significantly reduced our cost base and are taking advantage of available promotion and support programmes in our core markets. We are currently already planning for the opening of the market and a new start in live entertainment. “In addition to our core markets of Germany, Switzerland, and the UK, we are also present in Ireland through our joint venture Singular Artists. We are seeking contact with artists and management, preparing the expansion of our successful formats and developing new offers.” DEAG says its ticketing business, comprising MyTicket and the UK’s Gigantic, is becoming “increasingly important” for the company’s bottom line, adding that MyTicket now includes additionally functionality to ensure social distancing at events. Eventim is similarly offering a reengineered ticketing package designed to help promoters organise Covid-secure, socially distanced events. “Maintaining minimum distancing and logging visitor data are the prime focus,” says the company. “In the midst of this crisis, especially, we continue to bank on our strengths, namely technology and industry know-how,” continues Schulenberg, highlighting a new partnership with the European Handball Federation, as well as ticketing deals with football clubs Werder Bremen and Hannover 96, as evidence of the continued popularity of its platform in the sporting world. of Thousands “This is how we continue professionals to convince our cusread tomers, both new and existing,” he adds. IQ every day. Make CTS Eventim’s revenues were €228.7m – a sure you get the 79% year-on-year decline – in Qs 1–3 2020.

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NEW SIGNINGS

LISTEN TO ’S ‘NEW MUSIC’ AGENCY PLAYLIST HERE

has partnered with a number of agencies to compile a monthly playlist of new music, much of it released by the new signings to their rosters. Among the tracks on January’s playlist are submissions from ATC Live, CAA, ITB, Paradigm, Primary, UTA and WME.

PINK SIIFU AGENT

Darren James-Thomas FMLY Agency

BÜŞRA KAYIKÇI AGENT

(US)

Kai Lehmann Cabin Artists

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eftly shifting between styles, Alabama’s elusive Pink Siifu found underground success in the late 2010s with his experimental blend of genres. Piecing together aspects of his wide-ranging influences, the musician built an extensive catalogue, releasing a total of 46 EPs, albums, and mixtapes throughout the last decade. He played his debut London show in May 2019 with an incredible performance at the Sebright Arms. Since then, he’s been described as “one of the most intriguing musicians in Black music,” by The Fader, after the release of Negro earlier this year. He has since followed that with a collaborative album project alongside Fly Anakin on Lex Records. 2021 will see him tour with a full live band, with dates across Europe including Le Guess Who? Festival in November.

M (TR)

ulti-disciplinary artist Büsra Kayıkçı is a pianist, composer, and interior architect, based in Istanbul. Her latest album, Eskizler, showcases her mastery of the piano, in a style that effortlessly combines classical and contemporary elements, to deliver exceptionally emotive pieces of music. She was selected as finalist for the 27th Istanbul Jazz Festival, while her track, Doğum, has been extensively used and played at the New York Theatre Ballet. Kayıkçı is currently writing and recording her next album, which has already garnered much interest from a couple of labels,Thousands although of no release date has been set as yet. professionals read

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THE WORLDâ&#x20AC;&#x2122;S TOP PRODUCTION SPECIALISTS AND SERVICE PROVIDERS IN A DAY OF DISCUSSION AND NETWORKING

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Leveraging Creative Europe to Support Music Mariya Gabriel, European commissioner for innovation, research, culture, education and youth, outlines some of the schemes that she has helped to set up to ensure live music survives the pandemic

e are all too aware how severely this unprecedented crisis has affected the cultural and creative sectors, in particular the world of music. It was heartbreaking to see clubs and concert halls forced to shut down, leaving the artists and those supporting them without any income. This happened at a time when, due to the changing patterns of music consumption, live acts and concerts had become one of the most important income sources for music performers. My priority was to act quickly, within my remit, to help the cultural and creative sector including the music sector. Over the last eight or nine months, we have seen, on the one hand, the sector’s extraordinary capacity to mobilise and be creative at all levels, but on the other, the need for resources, targeted investment, and greater support in such critical moments. Indeed, it was to music that we turned to keep our spirits up; music has helped us maintain a sense of community at a time when social distancing became the norm. I take this opportunity to thank all the professionals from the music industry for what they gave us. For this reason, there are strong calls for Member States to dedicate at least 2% of national recovery and resilience facility budgets to culture. This would come in addition to other horizontal measures that we introduced to kickstart the economy, which are also beneficial for the cultural and creative sectors. We have promoted these measures and encouraged our partners in the cultural sectors to tap into the possibilities these actions provide. Let me highlight some examples of our recent initiatives to help the cultural sector and music in particular. First, we provided maximum flexibility to the beneficiar-

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ies of Creative Europe, the EU funding programme for the cultural and creative sectors, and allowed them to adjust their projects to the new realities. We also accelerated the selection process for this year’s Creative Europe co-operation projects. This means in practical terms that €48.5million is going directly to both small and large cultural projects that need our support the most in the middle of the pandemic. In May, we launched the Creatives Unite platform to offer a common space for all cultural and creative sectors in Europe and beyond to share their initiatives in response to the crisis. Six months later, it has demonstrated great results, with over 26,000 visitors and 600 published posts. This illustrates the cultural and creative sectors’ tremendous capacity to work together. Second, we came up with quick responses to address the challenges faced by the music sector under our Music Moves Europe initiative. A €2.5m call for proposals, which closed in November, will help support the sector’s recovery and sustainability post-crisis. Environmental, economic and social sustainability of the European music ecosystem is indeed more topical than ever before. We can expect that the post-crisis revival will bring and require structural changes in the way the music ecosystem is operating, and we will be there to support the green, digital, just and social recovery of the sector. We also launched a call for tenders to support European music export, taking into account the specific circumstances of the crisis. The call builds on the study prepared by the European Music Export Exchange with our financial support. Here, again, I would like to congratulate the music sector, which has been, from the very beginning, part of the solution, with the Music Declares emergency Thousands of initiative using the power of music to promote the cultural professionals read

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For the past five years, has published the standalone International Ticketing Yearbook (ITY), highlighting the ticketing business in more than 40 key markets around the world, as the live events business continued to grow. Rather than skipping the 2020 edition, given the lack of concerts, festivals and shows, this year, we are paring back the yearbook to provide an overview of the past few months during the pandemic, and examining what ticketing experts have been working on while the industry plans to get back to business in 2021…

2020 Event Ticket Sales Despite international touring grinding to a halt in March 2020, the ingenuity of artists, event organisers and promoters has provided a limited number of shows and festivals around the world, while pay-per-view live-streaming concerts have also proved popular with fans internationally. Every company IQ spoke to for ITY 2020 states that the sales slump has been unprecedented – mostly down by more than 90% – as physical events have all but disappeared over the past nine months. Reporting its fiscal results for the first nine months of 2020, Europe’s largest ticketing firm, CTS Eventim revealed a 79% decline in turnover,

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to €228.7m, in financial quarters one to three. For its part, Ticketmaster parent company, Live Nation, reported that festivals where fans can retain their tickets for next year’s show had seen approximately 63% of fans are keeping their tickets. The company’s sales and survey data suggests that fan demand will be there when the time is right. “Our refund rate on rescheduled shows remains consistently low, with 83% of fans globally keeping their tickets,” says Live Nation in its latest financial results. “Our recent global survey indicates that 95% of fans are planning to return to live music events when restrictions are lifted, the highest point of confidence since the start of the pandemic.”

The pandemic has taken its toll on markets large and small. In Dubai, Vassiliy Anatoli, managing director of events guide and ticketing platform, Platinumlist, tells a similar tale. “Sales stopped mid-March with lots of refunds to follow. We resumed sales with comedy events in July, which sold out, with most post-Covid events being supported by the UAE government.” Comedy proved successful elsewhere, too. Emil Ionescu, general managing partner of Romania's leading ticket company, iaBilet, says of Thousands local event organisers’ association AROC hasread professionals worked diligently on a reopening plan, with IQ every day. Make promoters able to put on open-air shows to a sure you get the maximum of 500 people from the start of June.

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THE JEWEL OF THE MIDLANDS:

RESORTS WORLD ARENA @ 40!

As Birmingham’s Resorts World Arena reaches a milestone editor Gordon Masson talks to management, anniversary, clients, and admirers about the building’s rich history and the difference it has made to the UK’s venue circuit.

his month should have marked a huge party at Resorts World Arena as the iconic NEC Group venue chalked up its 40th birthday. While those celebrations were inevitably muted, given that 2020 has been the quietest in the building’s long history, IQ could not let the occasion pass without paying tribute to this pioneering arena. Prior to 1980, there had not been many gigs at the National Exhibition Centre, which was opened by the Queen in 1976 as the largest exhibition space in the UK. However, as the fledgling live music business began to grow, promoters were eager to find suitable venues for shows by 70s superstar acts and, more by accident than design, the NEC’s halls started to prove popular for touring acts. At that point, there were no major venues outside of London, where Earl’s Court and Wembley Arena hosted the larger touring acts, so it was a somewhat brave leap of faith that saw NEC’s hierarchy decide to add a seventh hall to the Solihull complex. And so it was, on 5 December 1980, that the Birmingham International Arena made its debut on the UK tour circuit. And what a debut it was! “I was working with Harvey Goldsmith, and the first band to play the venue was Queen,” says Andrew Zweck of Sensi-

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ble Events. “This was the first new arena built in the UK in the 1970/80's [and] I’m very happy to say that it's gone from strength to strength, with lots of additions, improvements, and upgrades over the years, and is really a favourite venue for artists, promoters and, of course, fans.” For his part, Harvey Goldsmith recalls that he first heard about the NEC in 1975 and used the complex a number of times prior to the arena’s construction. “In 1977, Barry Cleverdon, who had become the MD of the NEC, phoned me and said that they were creating a venue in Hall 7 and could I bring a big artist to open the venue. So I brought the first of many major artists, Queen, to the venue.” Goldsmith adds, “At first the venue was a bit rough and ready, but it had a great atmosphere thanks to the Brummie audience. [Prior to that] I had been producing a lot of concerts at Bingley Hall as that was the biggest space in the region, and The NEC was light relief compared to the cattle showroom.” With a history with the arena that dates back to its opening, the list of artists that Goldsmith has taken to the venue is endless. “From The Who to New Kids On the Block to Bruce Springsteen and the Eagles; award shows like Smash Hits and the last show of the original Black Sab-

With its iconic tower, Resorts World Arena has helped transform Europe’s venue circuit over the past 40 years

bath,” he notes. “It is now a great venue, with a fabulous team who run it. It all works – from the ticket selling to the car parks. We are lucky to have this well-run venue, and long may it continue,” adds Goldsmith.

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Those early concerns about the height of the arena roof have, over time, become a selling point for the venue, as its design has helped to foster a reputation as one of the most intimate arena performance spaces in the world. “In 1978, the NEC’s exhibition halls were of Thousands used for a few shows before the arena opened, professionals read and that was the catalyst for theIQ construction every day.ofMake the arena,” says Guy Dunstan, whosure is theyou current get the managing director of arenas for the NEC Group.

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COVID: NEW YEAR, NEW KIT

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A number of vaccines to thwart Covid-19 are on the horizon, but with the programmes of immunisation expected to take the best part of a year, live events will still need special kit and systems to operate, well into 2021. Lisa Henderson looks at some of the latest products and services available to venues and event organisersâ&#x20AC;Ś

Your Shout As there was no Isle of Wight Festival, I joined the Heavy Metal Truants bike ride, which they normally do to Download. I was determined to beat Rod Smallwood, on the road and in donations, so I cycled 677 miles in 12 days and came fifth, raising £20,000 for their charities and winning a bottle of Lemmy’s rum. I was stopped by the police at 5.30am for jumping a red light in Richmond – there wasn’t a car within two miles… Anyway – it was good to do something constructive and to help other people instead of eating and drinking (I did that too). It is a great idea and we should steal it for our festival! John Giddings | Solo Agency

TOP SHOUT

We were blessed with not one but two new grandchildren this year – one from each of our daughters – named Ethan and Ollia. And I’ve found an interest away from the live music business by doing an online Oxford University course in politics. A long-overdue attempt to make up for my last visit to university many years ago, which was spent getting stoned and going to gigs. Mike Donovan | MD Tour Accounting

Gideon Karting | Mojo Concerts

Cycling and cooking for the family have kept me sane this year. I’ve done over 10,000 km, with 125 km of climbing on the bike. Maintaining a schedule beyond Zoom calls is essential for wellbeing. Work-wise, it’s felt like live [music] more than proved its worth; pulling together the live industry and achieving some notable wins with UK Government. Hats off to all involved. Rob Challice | Paradigm

What’s the most positive aspect you can take from 2020?

I started painting again and ended up with an expo at the biggest venues in Holland – Ziggo Dome and Rotterdam Ahoy – via 360-degree stream, a walkthrough, AR and video. This is happening online only on Friday, 18 December (Rotterdam) and Saturday, 19 December (Amsterdam).

Gideon Karting with a selection of his exhibition artwork

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