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Live stocks hit as coronavirus batters markets

The major publicly traded live entertainment companies have seen the value of their shares decline this week, as stock markets around the world reel from fears over the impact of the Covid-19 coronavirus.

Markets in Europe, Asia and the Americas are suffering their worst week since the global financial crisis of 2008, according to the BBC, with the spread of coronavirus affecting both the global supply chain and consumer demand.

Live Nation CEO Michael Rapino referred to the “resilience” of music fans in the company’s earnings call yesterday (27 February), stating that consumers are still buying tickets worldwide, despite the ongoing spread of Covid-19.

The company’s share price, which reached an all-time high of US$76.08 earlier this month, has fallen by 20% in the past few days, in keeping with the global stock market drop. Shares are back up 2% today, following the publication of strong 2019 financial results.

Shares for German ticketing and promotion powerhouse CTS Eventim have taken a similar hit, falling by just under 20% since last week. Eventim shares reached a record high of €61.30 ($67.27) on 24 January 2020.

“We’re confident that, long-term, the show will happen”

Fellow German company Deutsche Entertainment AG (DEAG), whose shares have climbed almost 30% to €6.30 ($6.92) since mid January, has seen a 22% drop since last week, whereas shares for New York-based Madison Square Garden Company (MSG) have decreased by around 17% in the past week, falling to $261.34.

In Latin America, Sao Paulo-based Time 4 Fun’s shares are also down 22%, from BRL5.41 ($1.20) to BRL4.24 ($0.94). Brazil recorded its first case of coronavirus on Wednesday, marking the virus’ arrival to Latin America.

It is not just live entertainment companies that have suffered in the wake of coronavirus. The S&P 500 index, a measure of the stock performance of 500 large companies listed on US stock exchanges, has fallen 15% from the record high it achieved just last week.

Although coronavirus has already caused the cancellations of thousands of shows across Asia and Europe, not all are worried about the long-term impact. “We’re confident that, long-term, the show will happen,” says Rapino. “The revenue will flow and the fan will show up.”


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Eps appoints new CEO of Scandinavian arm

Event infrastructure supplier eps has expanded its management team, appointing Fredrik Zetterberg as CEO of its Scandinavian division.

Zetterberg joins eps from esports promoter Dreamhack, where he headed up the event operations and logistics department. He previously worked as head of production event technologies and sales at Swedish trade fair organiser Stockholmsmässan.

Bo Teichert, who co-founded eps Scandinavia, will focus on operations and existing customer relationships.

“I am delighted to welcome Fredrik Zetterberg to our eps family,” comments Okan Tombulca, managing director of the eps group, who is among those speaking at the ILMC Production Meeting (IPM) on Tuesday 3 March.

“He brings a wealth of experience, in-depth knowledge, and an understanding of all aspects of our industry. With Zetterberg in our team, we will be able to better meet the needs of our customers in the growing Scandinavian market. By taking this step, we as the eps group are also consistently proceeding our path of steady growth.”

“With Zetterberg in our team, we will be able to better meet the needs of our customers in the growing Scandinavian market”

“We look back on ten successful years and great projects, including Way Out West, Sweden Rock Festival, Bravalla, Lollapalooza Stockholm, Eurovision Song Contest and Ed Sheeran’s concert in Reykjavik,” adds Teichert. “I am pleased to welcome Fredrik Zetterberg as CEO to continue this success story of eps scandinavia.”

Founded in 2010, eps Scandinavia has offices in Stockholm, Sweden, as well as its head offices in Copenhagen, Denmark.

Headquartered in Germany, eps now operates in ten subsidiaries worldwide, including a recently launched Candian division.

Representatives from over 25 countries are attending this year’s IPM, which takes place on the first day of the International Live Music Conference in London. Key issues to be discussed at IPM include event cancellation, the evolution of stage production and expanding markets.


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Switzerland imposes ban on events over 1,000-cap.

The Swiss government this morning (28 February) placed a ban on events of more than 1,000 people, becoming the latest European country to implement widespread measures against the spread of coronavirus.

The number of coronavirus cases in Switzerland has risen to 15, with the first diagnosis being made on Tuesday. More than 100 people are currently in quarantine in the country. The ban follows similar measures imposed in Italy, which has suffered the worst outbreak of the virus in Europe.

“Large-scale events involving more than 1,000 people are to be banned. The ban comes into immediate effect and will apply at least until 15 March,” reads the Swiss government statement.

“The Federal Council is aware that this measure will have a significant impact on public life in Switzerland. However, the move […] should prevent or delay the spread of the disease in Switzerland, thus reducing its momentum.”

Events consisting of fewer than 1,000 people are still allowed to go ahead, provided event organisers undertake a risk assessment first.

The ban has led to the cancellation of events including Star Wars: The Empire Strikes Back and shows by Santana, Alice Cooper and Peter Maffay at the 15,000-cap. Hallenstadion in Zürich.

“Large-scale events involving more than 1,000 people are to be banned”

“Unfortunately, we have to inform you that all concerts have been cancelled until 15 March 15,” reads a post on the venue’s Facebook page. “Tickets will remain valid for any postponement date. The promoter will decide on a final cancellation and on the ticket refund policy.”

A post on the website for the Swiss city’s 5,000-cap. Samsung Hall, where Halsey and Avril Lavigne are scheduled to play before 15 March, reads: “At the moment we do not have any information on how to proceed. Please be patient until we can announce further information here.”

Event space X-TRA, where Stormzy is set to perform on 5 March, states it is “evaluating the impact of all planned events” in response to the government’s decision.

Halle 622 (1,600-cap.), which is hosting acts including Sam Fender and Fat Freddy’s Drop, also advises fans it is “in close contact with the Federal Office of Public Health”. The status of events will be updated on the venue’s website.

Coronavirus has led to the cancellation of many high-profile shows and tours around the world. K-pop stars BTS today cancelled four upcoming dates at Seoul Olympic Stadium (69,950-capacity), as part of their Map of the Soul world tour, with management company Big Hit Entertainment saying it is “impossible to predict the scale of the outbreak” for when the concerts are scheduled to take place in April.

“While we hope that the situation will improve, we must take into consideration the health and safety of hundreds of thousands of guests as well as our artists and the dire impact a last-minute cancellation may have on guests from overseas, production companies and staff,” continues the statement.


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‘Fans are resilient’: Across-the-board growth for LN in 2019

Live Nation exceeded expectations for both revenue and adjusted operating income (AOI) in 2019, according to its just-released full-year financial results, painting a rosy outlook for the year ahead, despite growing concerns of the impact of the Covid-19 coronavirus.

The final year of the 2010s saw the concert giant deliver its ninth consecutive year of growth, with turnover up 7%, operating income up 19% and AOI up 14%, to US$11.55 billion, $324.8 million and $942.5m, respectively.

Revenue from sponsorship and advertising grew 17%, to $590.3m, with festival sponsorship having a particularly strong year, bolstered by the addition of Rock in Rio to the LN portfolio. Some 98 million people attended a Live Nation concert in 2019 – a 5% increase on the previous year – while Ticketmaster grew its AOI 11% and delivered 115m tickets in 31 countries worldwide.

Live Nation shares increased around 1.3% following yesterday’s (27 February) earnings call, though the price – in common with other live entertainment stocks – is still down on the all-time high achieved in February 2020, as the coronavirus continues to spook markets worldwide.

Responding to a query from analyst Brandon Ross, who asked how Covid-19 could affect Live Nation’s business in 2020, CEO Michael Rapino said while he expects to see further cancellations and postponements, there will be no decline in the appetite for live entertainment.

The business is real strong. The consumer still seems to be buying the tickets on a global basis”

“[W]e always talk about the resilience of the concert fan,” he said, “and, as of last night, we had a sellout in Australia on a festival [Splendour in the Grass]. The business is real strong. The consumer still seems to be buying the tickets on a global basis.

“So supply [and] demand will be there. We’re going to take this cautiously as we watch the markets and we assume a hotspot will flare up and a show will be cancelled here and there. But we’re confident that, long-term, the show will happen. The revenue will flow and the fan will show up.”

Rapino also revealed that average ticket prices for the promoter’s arena and amphitheatre shows have increased by double digits since 2017, with sales of dynamically priced Platinum tickets increasing 66% in 2019. Despite this, “concerts remain a great deal for fans relative to other live experiences: our average ticket for a concert at one of our amphitheatres was $46 in 2019, relative to about $75 for an NBA [basketball] game and over $100 for an NFL [American football] game,” said Rapino.

“In summary, 2019 was another strong year for Live Nation, building our global concerts business and driving growth in our high-margin venue, sponsorship and ticketing businesses,” Rapino says in a statement.

“Looking at 2020, we believe that our double-digit fan and show count growth so far this year, against a backdrop of very high artist activity across all venue types and markets, sets up our flywheel to deliver another year of strong global growth.”


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Amsterdam’s GUTS Tickets sets up shop in Korea

The team behind Dutch blockchain ticketing platform GUTS Tickets is launching getTicket, a new ticketing company based in South Korea.

Working together with local partners, GUTS is bringing its anti-tout and anti-fraud ticketing technology to Asia. GetTicket is ready to sell its first tickets, with GUTS stating that “multiple big events” are already lined up.

Founded in 2016, GUTS uses the blockchain-based GET Protocol to register all transactions, allowing organisers to track each ticket bought, alerting them to duplication or above-face-value resale. All ticket bought through GUTS are registered to the buyer’s mobile phone.

Put simply, says the International Ticketing Yearbook 2019, “GUTS has come up with a technology that prevents unwanted third parties intervening in the ecosystem between event organiser and the end consumer.”

“Our mission of becoming the worldwide standard for digital ticketing is nowhere near to complete”

The company has broken multiple blockchain ticketing records, most recently powering the sale for two 35,000-capacity shows by pop star Guus Meeuwis at the Philips Stadium in Eindhoven. GUTS is the official ticketing partner of Dutch festival Oerrock.

GetTicket is GUTS’ first venture outside of the Netherlands.

“Over the 3.5 years since we sold our first ticket, the team has put forth a world-class achievement,” says Maarten Bloemers, founder of GUTS Tickets.

“The fact that we are now getting recognition on a global scale makes me incredibly proud. However, our mission of becoming the worldwide standard for digital ticketing is nowhere near to complete. We won’t rest until we get there.”

Companies in over 40 countries worldwide have shown interest in using GUTS’ white label ticketing solution. Following the launch of getTicket, the company plans on launching its technology in other markets.


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ILMC speaker spotlight: Jo Young, Ticketmaster

With the 32nd International Live Music Conference (ILMC) set to kick off in earnest next Wednesday, IQ has been catching up with some key speakers to hear what they have planned for the most-anticipated event in the live music calendar.

Following the previous speaker spotlight with AEG Europe/EAA’s John Langford, IQ chats with Jo Young from Ticketmaster, who is chairing the Meet the New Bosses: Class of 2020 panel at Futures Forum on Friday 6 March.

She’ll be joined by Solo Agency’s Charly Beedell-Tuck, Live Nation Sweden’s Karolina Hansen, the O2’s Marc Saunders, Primary Talent International’s Matt Pickering-Copley and Move Concerts Argentina’s Melanie Eselevsky, who’ll kick off the day with a discussion of their journey to the top and the skills needed to succeed in the modern live industry.


IQ: What do you expect to be the main talking points of your panel?
This was my favourite panel last year at the first Futures Forum – so the pressure is on to ensure this year’s is just as informative and entertaining! I’ll be asking the panellists how they ended up in their current role; there’s no one path into this industry, so it’s always fascinating to hear other people share how they ended up working in live.

This year I’d like to focus on any recent, positive changes they’ve seen in their time so far in the industry, and what they see as necessary areas for us all to improve for the next generation of new bosses.

How do you anticipate the session panning out with the latest round of New Bosses, as compared to last year?
I’d also like to build on a theme that emerged last year around how we all stay healthy and mindful, and ask them how they look after themselves in the more chaotic moments. There will also be the chance for any audience members to submit questions anonymously, so who knows where that could lead us…

“Last year’s inaugural event was such a breath of fresh air”

Is there anything else you’re particularly looking forward to seeing at ILMC/Futures?
Last year’s inaugural event was such a breath of fresh air – it inspired a lot of optimism to see such diversity in speakers. Hearing other people’s high points, hopes and frustrations was particularly valuable.

I, for one, am most looking forward to seeing the ‘OK, Boomer’ session this year – it’s inspired idea to get the senior execs and more junior counterparts to share experiences (particularly when those people are Phil Bowdery and Anna-Sophie Mertens!).

Meet the New Bosses: Class of 2020 takes place in room 1 at 10am on Friday 6 March.


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Plans unveiled for £350m, 23,500-cap. Manchester arena

Following months of feasibility studies begun in August 2019, Oak View Group (OVG) has confirmed it plans to bring forward a planning application for a new arena in Manchester, in northern England.

With a capacity of up to 23,500, the venue – to be located on the Etihad Campus, the site of Manchester City FC’s Etihad Stadium in Eastlands, east Manchester – would be, by some way, the largest indoor arena in the UK, and go head to head with the city-centre Manchester Arena (21,000-cap.), operated by rival ASM Global.

It would also be the most expensive – the £350 million in private investment funding the project is the most ever spent on an arena in the UK or Europe, says OVG. The new arena would support over 1,000 jobs once it is up and running, and 3,500 during the construction phase.

“We came to Manchester knowing that we needed to develop our proposals in a way that would support the needs and priorities of the entire city and deliver a venue that would enable Manchester to thrive in an evolving entertainment market,” says Tim Leiweke, co-founder and chief executive of Oak View Group. “Through extensive community and city centre consultations, we have understood the local priorities and vision that is transforming Eastlands, along with the ambitions that underpin Manchester’s development as a thriving place to live and visit.

“Our new venue … would place Manchester on the global entertainment map for decades to come”

“Our new venue would attract a wider range of the world’s most exciting events and create thousands of skilled jobs, genuine community opportunities, and significant economic benefits. It would place Manchester on the global entertainment map for decades to come.”

Oak View Group, a venue development, advisory and investment company co-founded by former AEG CEO Leiweke and ex-Live Nation chairman Irving Azoff, launched its London-based overseas division, OVG International, at ILMC 31 last March. The first OVG International project, Santa Giulia Arena in Milan, was announced in June.

OVG’s European Arenas Association-rivalling International Venue Alliance, meanwhile, counts Dusseldorf’s D.Live, Birmingham’s NEC Group and Ascot Racecourse and Silverstone Circuit among its first members.

The venue will have an interior bowl that "brings artists and fans closer together than ever before"

According to OVG, its proposals focus on “five key elements” that bring its “vision of a world-class, next-generation venue to Manchester”:

Meanwhile, an energy-efficient design featuring ‘low-carbon technologies’ and waste reduction measures would make it one of the most sustainable venues in the UK, in line with Manchester’s Zero Carbon 2038 strategy.

“We appreciate the significance of our proposals for the entire city,” continues Leiweke. “We will present our full analysis of the Manchester opportunity along with our plans and are committed to engaging in dialogue and scrutiny throughout the planning process to ensure a second arena is a win-win for the city.”

OVG plans to submit a planning application in the coming weeks. Subject to successful planning approval, the company envisages the venue would take three years to build, with the first events planned to be held in 2023.


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Festival Fever: what to expect from summer 2020

Continuing the series of 2020 line-up announcements, IQ has a look at what Saga Festival, Pitchfork Music Festival and Sea Star Festival have in store, as well as the latest additions to the massive Roskilde and Mad Cool line-ups.

(See the previous edition of Festival Fever here.)



When: 27 June to 4 July
Where: Roskilde, Denmark
How many: 85,000

Roskilde Festival has completed the line-up for its mammoth 50th anniversary edition, with Kendrick Lamar, the Strokes, Haim and Charli XCX among those joining the bill.

The Roots, DaBaby, Dave, Brittany Howard and Bicep also form part of the 110-strong group of new additions.

The newly announced artists join Taylor Swift, Pusha T, Faith No More, FKA Twigs and Tyler the Creator for the festival’s half-century celebrations.

“With this year’s line-up, we do what we’ve always done: look ahead,” comments Anders Wahrén, the festival’s head of programming.

“It has been important to us that festival number 50 points to the future, and that is why 2020 will feature the lowest average age ever among the headliners. You don’t have to have 20 years of experience to perform on the main stage. That era is over.”

Tickets for Roskilde Festival 2020 are available here, with a full eight-day festival pass costing DDK2250 (£257).

“2020 will feature the lowest average age ever among the headliners”

Saga Festival

When: 5 to 7 June
Where: Izvor Park, Bucharest, Romania

Saga Festival, a new three-day event promoted by electronic music specialists Alda and Insomniac, is debuting in Bucharest this summer.

Tiësto, Marshmello, Disclosure, Faithless, Meduza and Sigala are among more than 150 acts performing across five stages at the festival, with recently announced artists including Timmy Trumpet, Vini Vici, Laidback Luke, Denis Sulta and Zara Larsson.

The festival has partnered with Romanian waste management charity Reciclad’Or and conservation organisation WWF, as part of its commitment to securing a low ‘festival footprint’ and promoting understanding of the issues facing the planet.

Tickets for Saga Festival are available here, with a three-day pass priced at RON299 (£52) and VIP options costing RON699 (£123).

Tiësto, Marshmello, Disclosure, Faithless, Meduza and Sigala are among more than 150 acts performing at the festival

Pitchfork Music Festival

When: 17 to 19 July
Where: Union Park, Chicago, USA
How many: 20,000

YeahYeahYeahs, Run the Jewels and the National are headlining US magazine Pitchfork’s flagship Chicago festival this year, with other performances coming from Angel Olsen, Danny Brown, Phoebe Bridgers and Badbadnotgood.

2020 marks the 15th year of the Chicago edition of Pitchfork Music Festival. A spin-off event has taken place in Paris since 2011, promoted by Parisian booking and events agency Super!, and a German edition is launching this year in Berlin, featuring Lianne La Havas, Celeste and Modeselektor.

Tickets for Pitchfork Music Festival 2020 are available here, with day tickets costing $75 (£58) and a three-day pass priced at $185 (£144).

2020 marks the 15th year of the Chicago edition of Pitchfork Music Festival

Sea Star Festival

When: 22 to 23 May
Where: Stella Maris lagoon, Umag, Croatia
How many: 20,000

The brainchild of the team behind Serbia’s Exit Festival, Sea Star Festival is preparing for its fourth outing this year in the Croatian seaside town of Umag.

Hip-hop group Cypress Hill are topping the bill, which features acts including Amelie Lens, Meduza, Umek, Dubioza Kolektiv and Farrago. A welcome party and closing party will take place on 21 and 24 May respectively.

Sea Star is part of Exit’s extended festival network, consisting of Serbia’s No Sleep Festival, Romania’s Revolution Festival and Montenegro’s Sea Dance Festival.

Exit Festival will see performances by David Guetta, Tyga, Fatboy Slim and James Arthur for its 20th anniversary edition this year.

Tickets for Sea Star Festival 2020 are available here, priced at €39 (£33) for international fans and €30 (£26) for locals. Ticket prices will increase on 6 March.

The brainchild of the team behind Serbia’s Exit Festival, Sea Star Festival is preparing for its fourth outing this year

Mad Cool

When: 8 to 11 July
Where: Espacio Mad Cool, Madrid Spain
How many: 60,000

Live Nation’s Mad Cool festival has a big year ahead, with an extra day of programming for 2020.

Royal Blood and Mumford & Sons are the most recent additions to the extensive line-up, joining previously announced acts Taylor Swift, the Killers, Kings of Leon, Faith No More, Billie Eilish, Twenty One Pilots, Foals and Anderson Paak.

Other acts appearing across the three days include Wolf Alice, Placebo, Jamie Cullum, Major Lazer and Khalid.

Tickets for Mad Cool 2020 are available here, with a four-day pass costing €179 (£153).


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ISE departs from Amsterdam with 2020 event

ISE 2020 completed its 15-year stay at RAI Amsterdam on Friday 14 February 2020. The special ¡Hola Barcelona! event held on the final day brought down the curtain on ISE’s residence at Amsterdam’s leading exhibition centre.

Politicians and executives saluted the RAI venue and the city of Amsterdam while looking ahead to the future with the show’s move to the Fira de Barcelona next year.

Against a backdrop of the international health crisis and a storm sweeping across Europe, across its four days ISE 2020 delivered a vibrant exhibition floor and a compelling programme of content that included conferences, keynotes and training.

Mike Blackman, managing director of Integrated Systems Events, comments: “This year’s show demonstrated to us just how determined our attendees were to come to ISE. Many of our exhibitors exceeded their targets for customer engagement and lead generation. The show has delivered on all fronts: as the global industry’s biggest annual forum, as a launchpad for new solutions, as a place to do business and as a source of professional development and education.”

Thought leadership and expert opinion were to be found across many channels at ISE 2020, ensuring that delegates had an abundance of opportunities to ‘Learn. Discover. Be Inspired’.

In the Opening Address, former Disney executive Duncan Wardle gave an engaging and thought-provoking demonstration of how to ‘unleash the creativity within all of us’ – while 14 conferences in two venues addressed business strategies and technology trends across the broadest range of vertical markets ever served by an ISE professional development programme. This well-received line-up included the launch of the Control Rooms Summit, and the creation of the Smart Workplace Track as an offshoot of the Smart Building Conference.

On the Main Stage, jointly organised by ISE, AVIXA, CEDIA and AV Magazine, expert speakers offered thought leadership on a wide range of topics. Attracting a diverse and talented workforce within the AV industry was the focus of a number of these sessions. AVIXA’s Diversity Council Forum featured a keynote speech from BBC Creative diversity director June Sarpong, and in a session organised jointly with WAVE (Women in AV), the AVIXA Women’s Council was addressed by the Hon. Àngels Chacón, minister for business and knowledge in the Catalonian government.

“This year’s show demonstrated to us just how determined our attendees were to come to ISE”

The largest AV Career Day saw over 170 students and faculty from 12 different universities across five countries take part, and AVIXA reported excellent take-up for its FlashTrack sessions, which offered 20-minute presentations on key topics across user experience, design, AV-IT and emerging trends.

Dave Labuskes, CEO of AVIXA, says: “Having now had a few days to reflect on our last ISE in Amsterdam, I am struck by the sheer determination and enthusiasm our AV industry friends and colleagues showed last week. In the face of significant challenges, thousands of people still made the trip to the show, attended conferences and took part in the networking events, awards and parties, and engagement across the show floor was meaningful and important.

“For our part, the AVIXA Conferences, Flash Tracks and Main Stage programme were all very well attended. This year we were gratified to have grown our participation in the AV Career Day. We also launched our new and exciting Digital Art Challenge – a year-long contest to celebrate those artists and creative teams helping to change the way people experience the world.

“And of course, we held the inspiring ¡Hola Barcelona! event on Friday – a chance to thank our great hosts for the last 14 years, the team at the RAI and the city of Amsterdam. We very much look forward now to ISE 2021 in Barcelona.”

CEDIA reported its most successful professional development programme to date, with an increase in uptake of over 50% on last year.

“ISE 2020 has been our best-ever show,” says Tabatha O’Connor, CEO of CEDIA. “Our Professional Development programme proved to be the most popular yet, with registrations at an all-time high. As part of that programme, we ran our first dedicated conference for architects and interior designers, which was a phenomenal success. The CEDIA programme for the ISE Main Stage was well supported, as were the CEDIA Talks hosted on our booth.

“ISE 2020 has been our best-ever show”

“We were also delighted to be part of AV Career Day, welcoming a CEDIA party from Liverpool University. We signed up a record number of new members and enjoyed a great evening with our community at the CEDIA Party, held in the spectacular surroundings of the Johan Cruijff Arena, home of AFC Ajax. CEDIA thanks the city of Amsterdam, and the RAI, for its hospitality over many years, and for an exceptional finale in 2020.”

Outside the RAI, a spectacular projection mapping installation on the upper floors of the complex’s Elicium building – created by ISE and the RAI in conjunction with seven technology partners – presented an unmissable demonstration of AV technologies for ISE attendees and for local passers-by.

In preparation for ISE 2021 in Barcelona, over 80 Spanish professionals from a broad cross-section of vertical markets were invited to ISE 2020 as part of the event’s Special Interest Group programme. Supported by ACCIO, ICEX and Grupo Eventoplus, they took part in a special programme of tours, presentations and networking functions,
culminating in the ¡Hola Barcelona! event.

During ISE 2020, over 950 exhibitors booked their stands for ISE 2021, with 61,968 square metres of stand space sold by the close of the show. This equates to 82% of the available ISE 2021 show floor, and approximately 115% of this year’s exhibition floor space. Reflecting the increasing number of vertical markets that ISE serves, additional Technology Zones for next year include live events and lighting, broadcast and VR/AR/XR.

The content programme at ISE 2021 will be augmented by three new strands produced by TNW (The Next Web), focusing on technology and its impact on society: Growth Quarters, Startup City Summit and The Assembly. This co-operation between ISE and TNW was announced on the first day of ISE 2020.

ISE 2021 will take place at the Gran Via, Fira de Barcelona, on 2–5 February 2021.


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SITG sells record 50k tickets for 20th anniversary

Australia’s Splendour in the Grass festival celebrated its largest ever ticket sale today (27 February), with fans clearing out all 50,000 tickets under an hour.

The festival has sold four times as many tickets for its 20th edition than it did for its inaugural event in 2001. This year’s festival is the biggest ever, marking a 7,500 capacity increase from last year.

The Strokes, Flume and Tyler the Creator are heading up the festival from 24 to 26 July, which will also feature performances from Yeah Yeah Yeahs, Midnight Oil, Denzel Curry and more.

“The response to our 20th edition of Splendour in The Grass has been phenomenal,” says event producer Jessica Ducrou. “We know many people are doing it tough in our local communities at the moment and we’re grateful for the opportunity to bring people together in Byron through the uniting power of music.”

New South Wales is one of the regions most affected by the Australian bushfires, which have been raging through the country since September.

“We never would have thought when we produced our first edition of Splendour back in 2001 that it would resonate and mean so much to so many people 20 years later”

“We never would have thought when we produced our first edition of Splendour back in 2001 that it would resonate and mean so much to so many people 20 years later.”

Harley Evans, managing director of Splendour’s ticketing partner Moshtix, comments: “It’s been Moshtix’s great privilege to be involved in this wonderful event for so many years and the incredible demand for the 20th edition is a testament to the efforts of Jess, Paul, and their amazing team, and the love that the public has for Splendour.

“In difficult times, it will be wonderful to see 50,000 people come together in July to celebrate music and life.”

Moshtix, formerly the biggest independent ticketing service in Australia, was acquired by Ticketmaster in February last year.

Fans can sign up to the resale waiting list here.


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