September
Keeping volunteers on board is hard work
Edward Janson CEO, TADC
The No1 information resource for the live entertainment industry
We thannowarestrongerbefore
Gunnar K. Madsen Managing Director SPOT Festival 2022
3 ● Dutch Agencies join forces ................................................................................................................................. 04 ● Lucy Dickens promoted to global head at WME......................................................................................... 05 ● Reeperbahn restructures and launches new company ........................................................................... 06 ● Industry interviews 08 ● Ed Sheeran breaks ticket record in Denmark ............................................................................................... 12 ● Keeping volunteers on board is hard work ................................................................................................... 14 ● Paul Pacifico to step down .................................................................................................................................. 16 ● UK hospitality organisations write open letter to government ............................................................ 18 ● Sveta Baar joins Liveurope as its first Baltic member ................................................................................ 21 ● UK trio Rock Goddess retires .............................................................................................................................. 22 ● CTS Eventim delivers better results than 2019 ............................................................................................ 24 ● Ole Hertel appointed MD of the Mercedes-Benz Arena Berlin .............................................................. 26 Content VIP News september 2022 ImagIne if you could go to one website and get aLL the contacts you need for the european Live music Industry? WeLL you www.vip-booking.comCan! ® vip-booking.com 145-157 St John Street | London Ec1V 4PW United Kingdom | Phone: +44 (0) 870 755 0092 www.vip-booking.com | vip@vip-booking.com
EBB Music is said to operate with a thorough understanding of artist careers, and this is evident in the amount of thought the company puts into organising events and everything else related to it. EBB Music offers personalised guidance to all of its artists, not simply those who are represented by management. Members of the EBB Music team frequently present at conferences and showcase festivals across the Theworld.roster
Amsterdam based agencies Earth Beat and BLiP join forces to become EBB Music.
Highlights of the EBB Music roster include: Altin Gün, Jambi nai, Otoboke Beaver, Ambassade, Gaye Su Akyol, DMX Krew, Daughters of Reykjavik, WaqWaq Kingdom, YIN YIN, Romper ayo, M I M I
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Dutch agencies join forces
of EBB Music is varied and opinionated. By rep resenting musicians from Africa, Asia, and South America in addition to those from Europe and the United States, EBB Music devotedly aims to fill this gap.
den Bogert, Ronald Keizer and Jerome Williams, the three founders of EBB Music, each bring decades of experience with them.
Over the course of its more than 20 years in business, Jerome`s Earth Beat has established a solid reputation as a tour and concert booking service.
“The foundersthreeofEBBMusic,eachbringdecadesofexperiencewiththem”
Ronald & Jeroen formed BLIP in 2016 with the goal of building a successful agency and dependable partner for their worldwide artists and collaborators. BLIP has significant roots in the left of centre music scene.
Through their recent years-long relationship, the two agencies hope to offer the artists on their now-joined rosters even better services thanks to their combined expertise and Jeroennetwork.van
While Becky Gardenhire, Joey Lee, and Jay Williams will remain in their roles as co-heads of WME`s Nashville office, leading the agency`s country music touring business, Kirk Sommer will continue in his role as global co-head of con temporary music and touring.
ONLINE & INON-SITEBERLIN Funded by Supported by
Berlin‘s voice of the forward-thinkingmusicindustry
moved from London to the Beverly Hills headquarters of WME, started working for the company in 2019. Since her arrival, she has attracted formidable clients and strengthened WME`s position as the top music agency in the Dickins`UK.expanded
Lucy Dickins promoted to global head at WME
5 08-10 Nov 2022 MWM-BERLIN.DE
“I am grateful to the leadership at WME for supporting me in this role, and for my partners and team members I have the privilege of working with every day in the Music division,” said Dickins. “There is no place like WME, and I’m excited for what we will achieve together on behalf of our clients.”
WME has announced that Lucy Dickins has been promoted to global head of contemporary music and touring. She is now the first woman to lead the music division at a major talent Dickins,agency.whorecently
responsibilities include managing all facets of the agency`s touring and current music divisions in Beverly Hills, New York, Nashville, London, and Sydney.
Lloyd Braun, chairman of WME and president of Endeavor Client Group, described Lucy as a “dynamic leader” who “brings strategic vision, energy, and passion to every artist and colleague she encounters.” “Lucy is the ideal leader to guide WME’s contemporary music business as we continue to expand our offerings and opportunities for our clients.”
Reeperbahn restructures and launches new company
Festival GmbH and Inferno Events GmbH & Co. KG formerly developed and operated business sectors, but the new firm, RBX, founded earlier this year, unites them into one corporate body.
VIP-News has talked with CEO Alexander Schulz about the changes and the future for the popular showcase festival.
Reeperbahn Festival, which began as a club festival in 2006, has grown into one of the top venues for emerging musi cians, pop culture in general, and a renowned music industry conference for fans, artists, industry professionals, and the Reeperbahnmedia.
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Reeperbahn Festival GmbH and Inferno Events have been restructured into the formation of RBX GmbH, what is the vision behind the restructuring of the companies?
Producing Reeperbahn Festival in the old structure through two companies with separated teams caused a lot of useless wasted energy. Not only because of parallell operating administration units, but also in several operational units, such as production, ticketing, marketing, etc.
The operational parts responsible for the entire event of both companies are now joined together in the new RBX GmbH and have been given a completely new team-structure. Inferno Events and Reeperbahn Festival GmbH are the two shareholders of RBX GmbH.
Reeperbahn Festival stated earlier this year that it will combine its September major event with its digital activities under the newly formed Hamburg-based firm RBX GmbH.
Alexander Schulz
RBXCEO GmbH
the“Producingfestival through two companies with separated teams caused a lot of wasted useless energy”
FynnPhoto:Freund
...
This year’s program for international music-professionals consists of e.g.:
You used to run a joint leadership with Detlef Schwarte, who is now no longer part of the management, why has this changed?
• Over 50 Showcases, receptions, master classes to be presented through Music Companies, Export Offices, etc.
Audience Development and setting up human resources for
The last 2 years have been tough on the whole Live Music Industry including Reeperbahn Festival, what have been your biggest challenges in the return process?
What are your expectations for this year’s Reeperbahn conference and what are the highlights in this year’s programme?
• About 130 conference-sessions, with main-topics: Challenges and expectations for live-entertainment, Pop in autocratic systems (w/Pussy Riot, Alyona Alyona, Igor Levit, etc.)
Detlef and I have known each other for more than 30 years and were working together at Inferno for about 20 of those years. In order to be appointed into the management of RBX GmbH, I had to leave Inferno, where Detlef remains CEO. One cannot act as CEO of the operational company at the same time as being CEO of the shareholder-company for legal reasons. Detlef works additionally as head advisor for the conference sessions program.
Does the event still receive the same level of financial support from Hamburg City and the German government?
Q6Q5Q4Q3Q2
• Focus Country USA: As a pioneer of innovation, creativity and diversity, the USA has always been an inspiration for Reeperbahn Festival and its drive to make a difference. That is why we are very delighted to welcome the USA as our partner country of Reeperbahn Festival 2022. We invite artists and music business leaders from the U.S. to enter into dialogue with representatives from all submarkets of the European music industry at the Reeperbahn Festival and offer curated One-On-One Match-makings w/A 2IM, AIMP, MMF US, US-Chamber of Commerce, MusicBiz, etc. especially for music professionals from Europe.
What will be the biggest challenges/tasks for you and Reeperbahn Festival in 2023 and the years to come?
Yes, it does. But the federal government would have stopped its grants from 2022 onwards if we had not undergone the transformation into one new company, that would only produce the supported actions around Reeperbahn Festival. The new company should not provide any other businesses, in order to receive governmental support.
• The Anchor International Music Award
Finishing the new team structure and making it workable and competitive and enlarging Reeperbahn Festival’s digital programme options internationally
Although the problems associated with COVID-19 are not completely over, the Live Industry seems to have bounced back stronger than ever in 2022 and the prospects for the future are looking good.
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We asked several promoters how their year has gone so far, how they dealt with the problems they were faced with during the pandemic, what they learnt from it and how they think the industry will change in the aftermath.
interviewsIndustry
We have learnt that it’s important to have rather low overhead costs. If you have that you can survive a crisis and start to prepare for life afterwards.
What have you got in the pipeline for 2023 and what are your expectations for the Live industry as a whole for the coming year?
Even though the last years have seen many agents leave the majors and start their own agencies, we’ve also seen many companies being acquired by major promoters and agencies, what affect do you think this will have on the Live industry?
There’s no doubt that the pandemic has been negative for the Live industry, but many have also experienced some positive things that have come out of the crisis. Have you learnt something new and positive that can be used in the future?
Edward Janson
problems will be over by 2023. There’s obviously problems with inflation and the recession but I’m positive for the live
The pandemic was a good opportunity for TADC to take some time to carefully plan for the future. When the restric tions were lifted we were ready to grow and we employed several new staff members during late 2021. It was obviously challenging times for us as it was for everyone else in the music business but we survived and we are now stronger than before.
RobertPhoto: Hellström
After two years with limited touring the Live industry is now back in full swing, how has 2022 been for your business so far?
As it looks now, we will do more shows during 2023 than we’ve ever done before. We have got some very nice shows coming up, such as three new 50 Cent shows, Arch Enemy / Behemoth in Gothenburg and Stockholm, Lamb Of God / Kreator in Stockholm, a total of 10 Uriah Heep shows and
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Some events, like Gefle Metal Festival and our 50 Cent shows have done really well. But there’s also a lot of shows that haven’t done well. Overall the shows during the spring and summer have sold less tickets than we expected. Having said that, it looks like the winter and spring will be much better.
TADC is an independent promoter promoting around 200 shows per year in Sweden, Norway and Denmark. The company was formed in 2015 by Edward Janson and Chris Rotenius. Besides club shows and arena shows the company promotes the annual festivals Gefle Metal Festival and Atlas Rock.
We are now stronger than before
The live industry needs independent promoters and independent agencies. TADC is now one of the very few totally independent promoters in Scandinavia and we see this as a strength.
On a more personal note, How have you coped mentally with the the largest crisis for many years, have you made any big changes fuelled by the lockdown?
Vibes & Beats is a Showbusiness Production Company, signing national and international artists for The North Music Festival and solo productions over the years. The company marked its pace with intensity and diversity with shows at the country’s biggest venues, from tours to the conception of a new festival.
Despite all the unfortunate events brought by the pandemic over the last two years, 2022 has been very productive although still with some challenges. It demanded the look for new means of booking and communication, from the adaptation to how to advertise and communicate our events, to the way we contact and create new partnerships with companies and investors. Nonetheless we have been received with open arms, creating synergies with all of those who are eager to celebrate Life, Music and all its energy.
On a more personal note, How have you coped mentally with the the largest crisis for many years, have you made
Q3Q2Q1
After two years with limited touring the Live industry is now back in full swing, how has 2022 been for your business so far?
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celebrating music, having that taken in a blink of an eye, it was a hard blow. Having been used to an office full of people with a team spirit and everyone co-operating with every team member, although it was hard to go through, we had the need to persevere and not let the pandemic take away all our work and dedication.
Even though these last years have seen many agents leave majors and start their own agency, we have also seen many companies being acquired by major promoters and agencies, how do you see that affecting the Live industry?
No matter what the industry is, people will always leave to pursue their own goals and dreams, and companies will still work on growing and expanding their names and prestige. In an era where nothing is ever fully static and everything and everyone is always moving, we know one thing for sure – that nothing is ever taken for granted.
We have been working hard to bring back all the power that we have been building throughout the years. North Music Festival had a great response from the bands as well as from the public. Also with our productions that cover a distinct variety of artists, with sold out shows and an amazing response from the public.
The Live Industry is no exception to this rule. With the expansion of the communication tools, the relationships developed throughout the years and with artists, bands, agents and all types of people in the Live Industry, there will always be a connection to people despite the agency or company they have or currently belong to.
So, we did everything in our power to do what humankind does best – create a new culture – adapt to survive. And with this Motto in our minds, despite being physically separated, we all worked together remotely with online meetings and everyone jumping in with more and more creative solutions and inputs, in time we were able to find a new culture within our company.
Saddening to witness work-life as we knew it disappear almost overnight
It’s fundamental to look for people with drive to surround yourself with. From there all kinds of ideas and projects almost create themselves. When you have a place where everyone is giving the best of themselves and help the ones around them build more than good projects and events. Working even closer with artists and agents that have been in projects with us it’s the other fundamental part of what the past years have brought to us. Because the goal is the same for everyone involved – to take the music and the concert spirit once again to everyone.
For 2023 my main goal is the next edition of NORTH MUSIC FESTIVAL, and to continue to diversify my events with the biggest venues in Portugal.
Asitself.for
BlackSagaCali Lives: From
“Good vibes bring great beats”
The North Music Festival (MNF) now known as “The First Festival of the Year” with the slogan “The Compass Points North” is now more than a music festival and we want to continue to grow along with its recognition from the Inventors, Brands, and most importantly from the Public
19.11.2212.11.2210.11.2215.10.2213.10.2229.09.2217.06.2311.11.03.23-14.05.23
Femi The Positive Force Danny Bryant & Bigband Generation Generation
One of the most important things that I have learned from this crisis and I’m taking forward, is that the Connections we create with people will always be the basis for moving on with every type of event we want to create.
my expectations for the Live Industry as a whole, I think that it has all the potential and even more to continue to evolve, because every single day there is a new dream and a new idea being born that can impulse the industry and the world, from a song to an artist, to a company or an agent, to a promoter to the public. One thing we can be sure, as long as we have music, we will always have movement.
to
Bassekou Kouyaté & Ngoni Ba
opderschmelz.lu | dudelange2022.lu
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There is no doubt that the pandemic has been negative for the Live industry, but many have also experienced some positive things that have come out of the crisis. Have you learned something new and positive that can be used going forward?
What have you in the pipeline for 2023 and what are your expectations for the whole Live industry in general for the coming year?
Kuti &
Ed Sheeran breaks ticket record in Denmark
Danish promoter Smash!bang!pow! set up the outdoor arena at Øresundparken for the event.
“Seeing an artist grow and leave a mark with old and new fans, as Ed Sheeran did over the four shows, is truly extraordinary. A production of this scale has been in preparation for over a year and there’s a big team behind going above and beyond to make this happen, both locally and in the artist team.”
“Tickets for the Danish concerts went on sale in September and sold some 100,000 in approximately 100 minutes. “The rest was purchased within just 48 hours. Denmark had never seen anything like it,” according to a promoter statement.
A total of 160,000 people saw Ed Sheeran perform at his four concerts at Copenhagen`s Øresundparken from August 3 to According6.
Xenia smash!bang!pow!SeniorGrigatpromoter
to FKP Scorpio promoter smash!bang!pow!, “ the amount of tickets purchased for the shows is beyond comparison in Danish music history.”
“Nonetheless smash!bang!pow! have more than doubled their office, and they’ve broken the Danish ticket record by far. In addition to that they executed the shows beyond everyone’s expectations, getting great feedback from audience and press. The whole team should be very proud.”
Xenia Grigat, senior promoter at smash!bang!pow!, commented, “I’ve worked with Jon Ollier and Ed Sheeran team in Denmark since the first album cycle – from club show to arenas, the first green fields (86,000 tickets in 2019) and now these unbelievable and impressive numbers from Copenhagen.
FKP Scorpio CEO Folkert Koopmans applauded his Danish division, commenting: “Back in 2018, when we partnered with smash!bang!pow!, we both knew, that we wanted to expand the size of the company and the size of their productions. We’re only four years in, and that is including a long period with COVID-19.
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Keeping volunteers on board is hard work ...?
Many European festivals have relied hugely on volunteers to help run their events in the past but now some are facing challenges after the corona lockdowns of the past 2 years have taken away the eagerness for people to lend a hand.
While some have struggled to attract volunteers, others seem to have been more successful. Every year, there are 16,000 volunteers at SmukFest in Skanderborg and this year they managed to keep the same recruitment levels. “But it has required a lot of hard work with social events and
VIP-News spoke to Danish Live Industry veteran Gunnar Kloppenborg Madsen, who has been working in the Live Mu sic industry for four decades and is Managing Director of the Danish showcase festival SPOT, about the major challenges of attracting festival volunteers.
intensive communication between the festival office and the volunteers over the long shutdown periods” says spokesman Søren Eskildsen.
SPOTManagingMadsenKloppenborgGunnarDirectorFestival
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The German showcase event Reeperbahn Festival has experienced similar problems when it comes to staff with CEO Alexander Schulz saying that Stage-hands, riggers, stage-managers, backliners, front of house staff etc. have vanished forever due to the pandemic. With about 60 venues in four days to be equipped and simultaneously managed, this year’s event has been extremely hard to set up.
- “Corona has made us more individualised. You prioritise your time more and may also have acquired different habits than you had before corona”, says Esben Marcher, Head of the Danish Music Organisation Dansk Live and continued “We get reports from some places that former volunteers say that this year they want the full festival experience rather than taking a break along the way, because now we haven’t been to a festival for two years”
On the other hand, it can make room for grassroots efforts, where the volunteer’s connection to the event or festival becomes more natural.
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“The theirbetweeneconomicatincreasinglygenerationsyoungerarelookingtheconcrete,trade-offtasksandowninterests”
Be good at segmenting which areas they want to use volunteers for and which they want to change the business model to use paid labour.
You have been quoted saying the problem is not just COVID related but has been a pre-pandemic problem as well. If it’s not related to COVID then why do you think it has become hard to find volunteers?
A paradigm shift from value-based (altruistic) motives for volunteering to using volunteering as an economic negotiation model for both parties. Cheap labour for the provider and easy access to cultural experiences for the “volunteer”!
What can festival organisers do to raise the amount of volunteers again?
This is probably also the way many promoters go. Restructuring of the business model, perhaps of the product range and the associated services, so that settlement, mediation, communica tion, and sales can be handled by paid employees. This is partly how it is already, where you pay sports clubs and associations to provide staff or develop alternative forms of payment and exchange deals.
The answer depends on whether we are talking about a continuous decrease in the number of volunteers due to structural and fundamental changes in the sector, whether it is only a corona-related decrease, whether the relative decrease is more about an increase in the number of operators who build on voluntary labour or a combination of them all. This could be a big problem for the experience industry as a whole, both financially and in terms of how it works.
One of the major problems at events and festivals in Denmark and other countries is the lack of volunteers, can you describe how big the problem is from your point of view?
Why do festivals and other major events need volunteers? Is it not possible to get professional staff for all jobs?
The younger generations are increasingly looking at the con crete, economic trade-off between tasks and their own interests. They are trained for that. In Denmark, we are really moving towards smaller cohorts, so numerically there is a lack of hands.
But that development will be difficult to keep up with for many of the small organisers, so that diversity and renewal in the culture may be affected.
At the end of 2022, Paul Pacifico will depart from the UK`s Association of Independent Music (AIM).
Pacifico oversaw the AIM Independent Music Awards` relocation to the Roundhouse for its first-ever live public performance in 2019 during his first three years as CEO. Since then, he has expanded AIM`s calendar of events by launching AIM Sync and Future Independents, and he has grown the organization`s network by creating its Friends of AIM and Platinum Partnership programmes.
AIM has developed an emphasis on fostering community and assisting creative businesses and artists from a variety of backgrounds under Pacifico`s direction. This includes last year`s introduction of AIM`s free Future Independents online conference and the formation of a free Associate Member ship tier, both of which provide access to educational materials and networking opportunities.
By co-developing a new MA Music Business distance learning programme with Middlesex University, which debuted in July, AIM has advanced this aim. Additionally, it has joined with the skills accreditation organisation CLOCK to formally credit on-the-job learning toward degrees like the new Middlesex University MA.
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Paul Pacifico to step down as AIM CEO
Pacifico joined AIM in 2016 after serving as the International Artist Organization`s founding president and the UK`s Featured Artist Coalition`s CEO. He has continued to work as a creative director, session musician, featured performer, and associate professor at Berklee Valencia throughout these jobs.
While Pacifico fought for a more equitable music industry, he occasionally disagreed with other organisations on how to get there. AIM opposed proposed reforms including equitable compensation and user-centric streaming payments during the streaming investigation.
Pacifico will go after “reinvigorating and refocusing its role as the home and voice of a much wider spectrum of UK music business builders, reaching a new generation of creative entrepreneurs,” according to the statement. He has represented the interests of AIM’s members and called for collaboration across the music business during periods of uncertainty caused by Covid-19 and Brexit, as well as speaking on behalf of the sector during Parliament’s inquiry into the economics of music streaming.
Pacifico will serve as CEO through the end of the year even though his formal term ends on October 31. He will work with the board to facilitate a seamless transition.
His decision, according to the organisation, ends his second three-year stint as CEO and the accomplishment of many long-term strategic goals.
“The subsequent growth in AIM’s profile has driven value for its members and helped leave it in its strongest financial position to date,” said the statement.
operators facing average annual bill increases in the region of at least 300%, businesses and jobs in the sector are at grave risk, and the letter sets out the urgent need for the Government and the Conservative leadership contenders to outline a comprehensive support package for the sector.
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Kate ChiefNichollsExecutive of UK Hospitality
“After two incredibly difficult years where venues have had to fight for simple survival, it would be an extraordinary outcome to see them closed and permanently lost because of an energy market that is completely out of control and not fit for purpose. The Government must act to create a genuinely functioning market for energy services that can deliver supply at a reasonable cost or step in to create an affordable supply for businesses”.
UK Hospitality, Night-Time Industries Association, Music Venue Trust, The British Institute of Innkeeping and The British Beer and Pub Association have jointly created the letter, which highlights, “rocketing energy prices (becoming) a matter of existential Withemergency.”hospitality
Five organisations representing the UK hospitality sectors have joined forces to write an open letter to HM Government calling for urgent action on energy prices.
“Hundreds of hospitality businesses across the country are staring into an abyss of closure and possible failure, leading to thousands of job losses; so it’s now or never for Government help and support if this vital sector is to survive the extraordinary threats pushing much of it to the very brink of existence.”
Mark Davyd CEO of Music Venue Trust
UK hospitality organisations write open letter to government
Emma McClarkin Chief Executive of the British Beer and Pub Association
“The Government cannot continue to understate the escalating crisis within the energy sector, the contraction of energy suppliers is compromising the free markets primary purpose of generating competitive rates and service l evels. Limited competition has resulted in energy tariffs that are already unsustainable, and without the Government`s intervention, businesses who have survived the pandemic, supported by public funding, will face further uncertainty, and in many cases, permanent closure.”
Michael Kill CEO NTIA
Steve Alton CEO of the British Institute of Innkeeping
“The majority of our members are single site operators, running small, independent businesses at the heart of their communities. Without urgent action from Government, these vital spaces for social connection, supporting local jobs, supply chains and community groups, will drown under the weight of the rising cost of doing business. In many cases, the impact on their businesses is now worse than that of the pandemic, which has already left them with average debts of £40k per pub. The stark reality of the challenges now facing them cannot be underestimated. Government must act now to ensure we don’t lose these essential local community hubs forever.”
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“Rising energy bills are putting pubs in real jeopardy. Sudden, extreme price hikes are already forcing publicans to make tough choices, from reducing opening hours to cutting options on their menus. We are experiencing a perfect storm that is not only shrinking but eradicating profitability margins. We urgently need an energy price cap for small businesses before extortionate bills cripple pubs and we lose them forever in communities across the country.”
On Friday, the Government saw fit to declare a drought, in the face of inarguableevidence that weather conditions had caused a threat to the nation. The energy crisisis no less of a threat and deserves similar attention. Not all businesses will be able to survive this onslaught, and those that can will be closely considering how they cankeep their costs down just to stay afloat.
An Open Letter to HM Government
Pubs, restaurants, music venues, nightclubs, hotels and wider hospitality have reachedthe point where the conditions for trading are so prohibitive that many venues arealready reducing the hours they open their doors. Others are confronted with the threatof permanent closure. With chronic challenges in the supply chain, labour shortages,interest rates and inflation, rocketing energy prices have become a matter of existentialemergency for businesses in our sector.
Hospitality operators face average annual bill increases in the region of at least 300%,putting at risk businesses and jobs. It is also increasingly clear that a significant numberof energy providers have withdrawn service provision from the Hospitality marketaltogether. The primary purpose of a free market for energy supply to businesses is tocreate competition, which leads to improved services, competitive rates, resilientsuppliers, and the ability to invest in long term and sustainable solutions to energydemand. In the Hospitality sector, there is unequivocal evidence that this primarypurpose is failing.
We urge you not to allow the stasis of party politics to stifle the urgent delivery of action on energy.
The open letter to HM Government
Hospitality provides 10% of jobs and 5% of GDP. It can be a powerful driver ofeconomic recovery and growth for the nation, but it urgently needs a kick start.Business and consumer confidence is suffering, and we urgently need the Governmentand the leadership contenders to outline a support package for the sector.
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Liveurope has welcomed a new venue to the Liveurope family: Sveta Baar is the first member in Estonia and in the Baltics, thus marking a new important step for the growth of its platform. With this addition, Liveurope now unite 22 internationally acclaimed music venues based in 22 European countries.
Sveta Baar is located in the cultural hub of Tallinn and has strived to become a platform and cultural centre to support and encourage the growth of local and international live music. Only three years after first opening their doors, Sveta Baar received the “Venue of The Year 2019” award for their strong independent programming and high production value. Besides the 200 music events Sveta Baar programmes independently each year, it is also one of the venues hosting the Tallinn Music Week.
21 UNIQ U E AND DOU B LY GOOD STUTTGART CATCHMENT AREA: MORE THAN 3 MILLION PEOPLE • HANNS-MARTIN-SCHLEYER-HALLE: UP TO 15,500 SPECTATORS • PORSCHE-ARENA: UP TO 7,500 SPECTATORS • 2022: …JAMES BLUNT, SCOOTER, UDO LINDENBERG, SUNRISE AVENUE, ERIC CLAPTON, ZUCCHERO, JUDAS PRIEST, KISS, FAITH NO MORE, LIMP BIZKIT, BÖHSE ONKELZ, DAVID GARRETT, PARKWAY DRIVE, APACHE 207, DEEP PURPLE, CHRIS DE BURGH, SIMPLY RED, CRO… Tel. +49 (0) 711/9554-40 Fax +49 (0) 711/9554-500 www.in.stuttgart.deinfo@in.stuttgart.deTHE HALL DUO IN NECKARPARK AZ_in_stutt_halfpage_breit_RZ.indd 1 24.06.22 09:31
“It is an honour to be joining Liveurope as we celebrate our 5th anniversary. Liveurope’s support will be crucial in helping us present an even greater diversity of up-and-coming European acts to our audiences in the years to come. We are also looking forward to sparking curiosity and interest from the other venues for some fantastic acts that Estonia and the Baltics have to offer” - Roman Demtsenko, Sveta Baar’s artistic director
Sveta Baar joins Liveurope as its first Baltic member
Sveta Baar is replacing Principal Theater Club as a full member as the Greek venue is currently moving locations and is unable to organise concerts. Principal Theater Club will remain connected to the platform as an associate member and shall resume its full membership in the near future.
The band ends the statement by stating that they are collaborating with Universal on a box set of previously unheard music and live performances.
“We love our fans and appreciate everything you have done. Thank you to our Manager Richard Thompson, and his belief, dedication, and hard work. To our agent Martin Jarvis for
The band has since announced that they would no longer perform live. In a statement on Facebook they say, “With a very sad, heavy heart we have to announce we can’t continue in the present form of Rock Goddess. In this modern world our journey has been a little bit harder.
his faith and understanding. To our father who started and managed Rock Goddess, without whom none of this would have been possible.
“Logistical and financial obstacles playing a big part. After the latest bout of bad luck getting covid in the camp, just before the major festival Barcelona RockFest, it was the straw that broke the camel’s back. So sadly we announce our retirement on the live circuit effective immediately.
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They reassembled in 2013, and in 2015, they performed in Sala Monasterio in Barcelona, Spain, with the original lineup back on stage for the first time in more than three decades.
UK trio Rock Goddess retires due to
“Logistical and financial obstacles”
Rock Goddess has made the announcement that they will no longer perform live. The groundbreaking UK band had been slated to perform at the Barcelona RockFest in Spain in July, alongside Kiss, Megadeth, and Judas Priest, but they were forced to cancel the concert after a case of covid attacked the camp.
Sisters Jody and Julie Turner founded Rock Goddess in South London in 1977, and they rose to fame as the NWOBHM blossomed. After their third album Young and Free received a restricted release in 1988, they first split up. There were brief reunions in 1994 and in 2009.
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“Live entertainment, which many people really missed during the pandemic, is making an impressive comeback this summer, and this is directly reflected in our business performance”
The results for the first half of 2022 were announced by Klaus-Peter Schulenberg, CEO of CTS EVENTIM. “Live entertainment, which many people really missed during the pandemic, is making an impressive comeback this summer, and this is directly reflected in our business performance,” he Accordingstated.
wave of Omicron cases, revenue in the first three months of this year was significantly lower than the first three months of 2019, but the strong second quarter of 2022 meant that the combined revenue for the first two quarters of 2022 was higher than the combined revenue for the first half of 2019.
CTS Eventim continued to show significant improvement in the second quarter of 2022, surpassing its performance for the comparable period in 2019, which was a record year.
In the Ticketing segment, revenue rose to EUR 201.5 million in the first half of 2022 (previous year: EUR 49.6 million), which was slightly higher than in the corresponding period of 2019. In the second quarter of this year, revenue came to EUR 125.0 million (previous year: EUR 36.1 million), which was up sharply compared with the pre-pandemic level in the second quarter of 2019. Normalised EBITDA for the six-month period totalled EUR 88.6 million (previous year: EUR 64.2 million), which was also higher than three years earlier. The figure for the period April to June 2022 was EUR 61.4 million (previous year: EUR 77.6 million), representing a sharp rise compared with the second quarter of 2019.
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The Group’s normalised EBITDA amounted to EUR 129.1 million in the first six months of 2022, following EUR 79.4 million in the prior-year period and EUR 111.8 million in the first half of 2019. As a result of revenue and margin growth in the ticketing business, normalised EBITDA stood at EUR 105.4 million in the second quarter of 2022, compared with EUR 99.1 million in the second quarter of 2021 and EUR 54.7 million in the second quarter of 2019.
“Given the robust relaunch of cultural activities and live events, we are very optimistic that our industry has now finally turned the corner after two very difficult years,” continued Schulenberg. “However, increasing prices, a lack of staff, the threat of an energy shortage and uncertainty about how the pandemic will unfold remind us that the longsuffering events sector has not yet emerged from the crisis. Nevertheless, we believe that CTS EVENTIM is ideally placed to continue seizing opportunities in order to maintain its growth trajectory.”
Despite the healthy business performance in the first half of the year, the Management Board continues to believe that it is not possible to provide a precise forecast for 2022 owing to the uncertainty about the pandemic and the geopolitical situation going forward. Assuming that neither a renewed outbreak of the pandemic in autumn and winter 2022 nor the war in Ukraine and its fallout result in substantial difficulties, the Management Board anticipates a significant year-on-year increase in earnings.
CTS Eventim delivers better results than 2019
Since the coronavirus ban was lifted, a huge amount of concerts and events have been held in all key markets. The legendary Rock am Ring and Rock im Park festivals are examples of how popular they were.
In the Live Entertainment segment, revenue improved to EUR 541.5 million in the first six months of 2022 (previous year: EUR 18.3 million), which was substantially higher than in the corresponding period of 2019. In the second quarter of this year, revenue climbed to EUR 476.4 million (previous year: EUR 11.5 million), up sharply compared with the figure three years ago. Normalised EBITDA amounted to EUR 40.5 million in the first half of 2022 (previous year: EUR 15.2 million), which was slightly higher than in the first six months of 2019. In the second quarter of this year, normalised EBITDA was EUR 44.0 million (previous year: EUR 21.4 million) and thus roughly double the figure for the same period of 2019.
to these figures, the Group`s revenue increased from EUR 65.3 million in the prior-year period to EUR 734.4 million from January to June 2022. Consolidated revenue was also higher than in the first half of 2019 (EUR 696.6 million). This trend was even more pronounced in the second quarter of this year, when revenue increased to EUR 595.1 million, compared with EUR 45.7 million in the second quarter of 2021 and EUR 413.9 million in the second quarter of Due2019.tothe
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Ole Hertel, previously General Manager of the Mercedes-Benz Arena, has been appointed Vice President & Managing Director of the Anschutz Entertainment Group Operations GmbH, the operating company of the arena.
Ole Hertel, Vice President and Managing Director AEG Operations GmbH, Mercedes-Benz Arena: “Both the recent past and the immediate future represent probably the greatest challenges that not only the Mercedes-Benz Arena, but the entire industry has had to and will have to face. I would like to express my gratitude for the trust placed in me by AEG, but above all I value it as recognition of all the employees of the Mercedes-Benz Arena.”
Hertel has been working for the Anschutz Entertainment Group in Berlin since 2008 and was initially responsible for the Events division of the Mercedes-Benz Arena before taking over the position of General Manager in 2020. Before joining AEG, he headed event management at the Olympic Stadium in Berlin from 2004 to 2008.
Ole Hertel appointed MD of the Mercedes-Benz Arena Berlin
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He now also formally assumes overall operational responsibility alongside Uwe Frommhold, Vice President and COO of Anschutz Entertainment Group (AEG), who was previously registered solely as Managing Director of Berlin`s largest arena.
Uwe Frommhold, VP & COO Germany: “Ole Hertel is one of the most proven and competent managers in the German event industry. He helped open the Mercedes-Benz Arena and played a decisive role in its continued success. Therefore, I am personally very pleased to be able to hand over responsibility to him now.
J E T T Y M E A N S T H E E N D O F A L L T H A T A C L O U D B A S E D S Y S T E M F O R T H O S E W H O W O R K W I T H L A R G E A N D S M A L L E V E N T S A L L U S E R S , I N T E R N A L A N D E X T E R N A L , W O R K W I T H T H E S A M E I N F O R M A T I O N A N D A R E U P D A T E D W H E N S O M E T H I N G H A P P E N S S E T U P Y O U R F R E E V E R S I O N , G O T H R O U G H O U R O N L I N E T R A I N I N G A N D S T A R T W I T H Y O U R F I R S T P R O J E C T T O D A Y T I R E D O F R E P E A T E D M A N U A L L A B O U R A N D E N D L E S S E M A I L I N G ? L A C K I N G A S T R U C T U R E D A N D C O M M O N W A Y O F W O R K I N G ? Y O U D O N ' T H A V E C O M P L E T E C O N T R O L A N D O V E R V I E W ? W O R K I N G W I T H D O C U M E N T S , E M A I L I N G T H E M A R O U N D A N D S T O R I N G T H E M I N T H E C L O U D ? A R E Y O U S U R E Y O U H A V E T H E L A T E S T V E R S I O N ? L A C K I N G F E E D B A C K ? C R E A T E S T A G E S , W O R K W I T H L I N E U P A N D O T H E R C O N T E N T P L A N T E C H A N D S E R V I C E N E E D S , S U C H A S B A C K L I N E , S C H E D U L I N G , H O T E L , C A T E R I N G , T R A V E L E T C . K E E P T R A C K O F F I L E S I N O N E P L A C E A N D S H A R E T H E I N F O R M A T I O N W I T H O U R I N F O R M A T I O N L I N K S A C O M P L E T E S Y S T E M F O R T A S K M A N A G E M E N T A N D R E P O R T I N G W O R K W I T H T A S K I N V I T A T I O N S O R S I M P L Y A S S I G N T A S K T O A S P E C I F I C P E R S O N . A P P U S E R S S U B M I T T I M E R E P O R T S A N D C A N H A V E T A S K S R U N B Y S U P E R V I S O R S W W W . J E T T Y . S E F O R T H O S E W H O W O R K W I T H L A R G E A N D S M A L L E V E N T S T R U S T E D B Y T E A M S L I K E Y O U R S .
CSB ISLAND ENTERTAINMENT PRESENTS CONTACT: KENNETH SVOLDGAARD, CEO | KS@CSB.DK | WWW.CSB.DK BROTHERS IN ARMS TOUR
