Arthur Awards 2021: Winners crowned at Royal Albert Hall
Some of the biggest names in the international live music industry were honoured last night in a special end-of-decade edition of the Arthur Awards, which streamed live to ILMC delegates from London’s most iconic venue, the Royal Albert Hall.
Sponsored by ASM Global, the glittering ceremony was presented in style by the hostess with the mostest – a hilarious Emma Banks (CAA) – who refused to let the lack of a live audience put her off her stride, switching her dress from hazmat suit to ballgown, and her drink from vodka and beetroot juice (in honour of the late Michael Gudinski) to Clorox bleach (a homage to a US president much less missed), with effortless aplomb.
Joining Banks at the 150-year-old Royal Albert Hall, which was honoured with the Arthur of the Decade for best venue, were a handful of venue staff and award winners, with hundreds more nominees and conference attendees tuning in from deep in cyberspace.
Normally a separate, ticketed event, the Arthurs – the Oscars of the live music industry – threw open its virtual doors for 2021, inviting all ILMC delegates to attend the ceremony, which was livestreamed from 18.30 to 19.30 yesterday (4 March).
Among the Arthurs 2021 winners were SJM Concerts’ Simon Moran, who won the Arthur of the Decade for the Promoters’ Promoter; Glastonbury Festival, whose organiser Emily Eavis picked up the award for Liggers’ Favourite Festival; and Steve Strange of X-ray Touring, who was there in person to collect his Arthur of the Decade for Second Least Offensive Agent.
Ed Sheeran’s record-breaking ÷ won tour of the decade, while Swiss industry legend André Béchir picked up the special Bottle Award
Ed Sheeran’s record-breaking ÷ (Divide) tour won tour of the decade, with production manager Chris Marsh collecting on Sheeran’s behalf, while Swiss industry legend André Béchir was close to tears as he picked up the special Bottle Award for lifetime achievement.
In full, the Arthur Awards 2021 winners are…
The Promoter’s Promoter (Arthur of the Decade showdown)
Simon Moran, SJM Concerts
Liggers’ Favourite Festival (Arthur of the Decade showdown)
Second Least Offensive Agent (Arthur of the Decade showdown)
Steve Strange, X-ray Touring
Services Above & Beyond (Arthur of the Decade showdown)
Beat the Street
The Gaffer (Arthur of the Decade showdown)
Chris Marsh (Ed Sheeran)
The People’s Assistant (Arthur of the Decade showdown)
Sarah Donovan, Live Nation UK
Tomorrow’s New Boss
Alexandra Ampofo, Metropolis Music
The Unsung Hero (2021 award)
Sandra Beckmann & Tom Koperek, Alarmstufe Rot
The Ultimate Venue’s Venue
Royal Albert Hall
Tour of the Decade
The Bottle Award
André Béchir, abc Production
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Paradigm–Wasserman deal ‘close to the finish line’
Paradigm Talent Agency and US sports agency Wasserman are believed to be close to finalising a deal that would see Wasserman take over Paradigm’s music business and assets.
Wasserman, led by founder and CEO Casey Wasserman, has been in acquisition talks with heavily indebted Paradigm since at least last summer, with Casey believed to be keen to absorb Paradigm’s usually profitable music division into his Wasserman business, which manages US$4.2 billion worth of contracts for athletes, sports broadcasters, team coaches/managers and more.
He also formerly owned the Los Angeles Avengers American football team and led Los Angeles’ successful bid to host the 2028 Summer Olympic games.
Reporting in June, The Wrap described how Tom Gores, the younger brother of Paradigm founder and CEO Sam Gores, had assumed “functional oversight” of Paradigm. The younger Gores is believed to be looking to recoup the investment he made in Paradigm through his company, Crescent Drive Media, via a deal with Wasserman.
According to Variety, Paradigm had a debt load of around $80 million as of May, run up over a 15-year period of acquisitions, including agencies Peninsula Artists, Little Big Man, the Windish Agency, AM Only and the UK’s Coda Agency.
Sam Gores revealed in June that he had turned down a “historic” offer for Paradigm to be acquired by UTA.
“It feels to me like it’s going to go on another month or so”
Speaking at ILMC today (4 March), legendary artist manager Irving Azoff, who joined Ed Bicknell for the (Late) Breakfast Meeting keynote, revealed that the Paradigm–Wasserman deal is close to completion, predicting that a tie-up between the two companies would be announced later this spring.
“It feels to me like it’s going to go on another month or so,” said Azoff, who worked for Casey’s grandfather, Lew Wasserman, at Universal Music (then MCA) in the 1980s.
Azoff said negotiations with Wasserman began after the UTA deal fell through: “A lot of the agents felt they weren’t consulted and didn’t want to move to a bigger place [UTA],” he explained, “and then Casey came on to advise Tom [Gores] on what to do with the agency.”
“They’re working out some some sharing arrangement on revenues, but most of the agents, as I understand it, intend to move over to Wasserman,” he continued.
“I would say they’re there – they’re close to the finish line. But, as you know, it’s not over until the fat lady sings.”
Paradigm’s music roster includes the likes of Coldplay, Shawn Mendes, Billie Eilish, Ed Sheeran (US), Kacey Musgrave, David Guetta, Sia and Imagine Dragons. The agency, headquartered in Beverly Hills, did not respond to a request for comment.
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Sustainability and diversity top of agents’ agendas
Discussing various big topics such as the post-Covid return to business and sustainability, the main discussion point arising from this year’s ILMC agency panel was diversity and how the business, in general, can be more open to attracting people from different backgrounds.
Session chairman Tom Schroeder of Paradigm Talent Agency admitted to guests Lucy Dickins (WME), Mike Greek (CAA), Sam Kirby Yoh (UTA) and Obi Asika (Echo Location Talent Agency) that prior to the panel he thought his passion, sustainability, would be the main takeaway from the panel, but instead it turned out to be diversity.
Earlier in the session, Schroeder had joked that UTA had been the most aggressive agency during the pandemic, so much so that they had a 50% market share of the panel guests, thanks to the 3 March announcement that the company had acquired Asika’s Echo Location operation.
“When everything comes back we’ll [either] return to being the same idiots or there will be some fundamental change”
And it was Asika who, in tackling a question about race and diversity, recounted a story from his youth where his mother, a sociology teacher, had urged him to read a book by Jock Young who wrote about labelling theory, opening Asika’s mind to the dangers of stereotyping.
“So I was aware from the age of 13 or 14 that I was constantly stereotyped by teachers at my school, by parents of the children, by school friends, and even maybe sometimes myself, because you end up, potentially, becoming that stereotype. It’s a seriously dangerous thing and it happens all over the world,” said Asika.
But he revealed that it was music at university, especially drum and bass, that first allowed him to think of himself as British, as he identified with the music. He added, “We all do it, but if you are judging somebody before you’ve given them a chance, think about how dangerous that can be. And on the other side of it, think about how powerful the industry we work in is – someone who felt that way, because of the love of music, is now sitting here and has just started as the head of the UK office of a global agency, having a talk with all you fine people.”
“The responsibility we have as an industry to become sustainable is something we haven’t thought about enough previously”
Addressing how the industry should approach its return to reopening, Schroeder stated, “There are two schools of thought: one is that when everything comes back we’ll return to being the same old idiots we used to be, or maybe there will be some fundamental change.”
Greek responded, “I do believe there will be fundamental change, but I do see there are certain elements of what we do that are going to end up being the norm again. Ultimately, the responsibility we have as an industry to become sustainable is something we haven’t thought about enough previously. Secondly, it’s important to note how loud our voice is as an industry when we collectively get together – that’s something we can hopefully see grow in the future.”
On a positive note, Dickins stated that she thought there would be a lot of silver linings to come out of the pandemic shutdown, not the least of which would be improvements to people’s life-work balance, and not being at every show, every night.
“We have to work together – not just agents, but also promoters and venues in regard to dealing with government and policy”
Noting that the industry is in a precarious position where huge number of tickets are being sold, Schoeder pondered, “When we get practical on this, how is it going to work? You’ve got festivals spending money on marketing, but no insurance system for the artist or for the promoters and tickets are being sold for events we don’t know are going to happen. At some point, the artist has got to invest some money to make a show to go on the stage, if anything is going to happen. It’s a jigsaw that confuses me every day.”
Greek agreed, stating, “I have sleepless nights about it as well because I’ve committed lots of my clients to lots of different events, but there’s no way of knowing without insurance and all other kinds of stuff… the conversations are about everyone around the artist trying to minimise costs they would incur in advance in order to make a decision as late as possible to do the show. It’s a big concern and some artists can afford to take the risk, while others can’t.”
Kirby Yoh commented, “We have to work together – not just agents, but also promoters and venues in regard to dealing with government and policy. But we can make it better for everybody – safer for the fans and the artists. In my mind, there is not a choice. It’s our responsibility to work together.”
“Just be careful. Make sure you’re not spending too much money unless you really have to”
Dickins noted that some of the problems around agreeing industry best practice involved the competition and legality issues. “But basically I think you have to conduct your business with empathy because every single person has had to go through this [Covid]. So it’s all about sharing information, talking people through each step, and listening to people. As regards different places opening at different times, that’s just something we’re going to have to work around and take on board because every single border is going to have a different issue.”
Indeed, in answer to a question from a delegate, Schroeder suggested that payment plans for advances were being discussed, although he admitted that these could become complicated.
And adding his advice, Asika said, “Just be careful. Make sure you’re not spending too much money unless you really have to. Hold back and focus on the areas that we know are looking positive. I honestly believe we will have shows in the UK this summer, but I have a policy of spreading my bets – I’m not focussing on any huge festivals this year, I’m spreading things across clubs to 5,000 to 10,000 all over the place and anyone who mentions exclusivity is told that I’m not interested.”
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UTA acquires UK’s Echo Location Talent Agency
UTA today announced it has bought Obi Asika’s London-based Echo Location Talent Agency in a deal that will see Asika assume the role of the conglomerate’s UK office alongside Neil Warnock.
Financial details were not disclosed, but in a statement the companies said that the deal “further enhances UTA’s global music footprint and will provide Echo’s clients with access to the company’s full-service resources and capabilities.”
UTA CEO Jeremy Zimmer comments, “Obi and his team have built an impressive business and have done excellent work taking their artists to the next level.
“He is a highly respected leader in the music industry and is well-versed in the global entertainment marketplace. This acquisition further amplifies our efforts to expand UTA’s presence, and I know that alongside Neil, Obi’s leadership, drive, and passion will be a vital addition not only to the UK office, but for UTA at large.”
“Obi is a highly respected leader in the music industry and is well-versed in the global entertainment marketplace”
As co-head of the UK office, Asika will be responsible for driving UTA’s growing music business as well as expanding existing practice areas including comedy, sports, marketing, and other verticals. Asika will report to co-heads of worldwide music, Samantha Kirby Yoh and David Zedeck.
For his part, Asika says, “Throughout the years, Echo has been approached by several suitors, and as we evaluated the agency landscape, UTA’s strength, ingenuity and true commitment to their artists really stood out. UTA was ultimately the perfect fit.
“Jeremy, Sam, David, and Neil have shown strong and thoughtful leadership as they have built out the music division and the company’s global influence. I am so proud of what the team at Echo has achieved and I am fired up as to what we can all accomplish together.”
Joining Asika in the move across London to UTA will be senior agent Belinda Law and staff including Myles Jessop, Tom Jones, Jack Clark, Hannah Shogbola, Kazia Davy and Ishsha Bourguet.
“As [Echo] evaluated the agency landscape, UTA’s strength, ingenuity and true commitment to their artists really stood out”
UTA will also add Echo Location artists such as Alesso, Bugzy Malone, Chase & Status, Davido, Diplo, Galantis, Gorgon City, Giggs, Hannah Wants, Major Lazer, Marshmello, Pendulum, Pa Salieu, Sampa The Great, Teni, Clara Amfo, Mistajam, Charlie Sloth, Ocean Wisdom, DJEZ, and Wizkid to its international roster.
Those Echo clients will now have access to UTA’s full scope of services across multiple practice areas including fine art, licensing, branding, video games, digital content, publishing, television, motion pictures, public speaking and more.
Echo Location was founded in 2012 by Asika and represents a diverse roster of clients across multiple genres, focussing on Afrobeats, Grime, Drill, Hip-Hop and Electronic music.
The acquisition follows a number of deals that UTA has completed during the pandemic period, with the agency’s music division adding several senior executives and agents to its ranks across multiple offices during the past 12 months.
Its new hires include partner and co-head of worldwide music, Samantha Kirby Yoh, who is based in New York; agents Jeffrey Hasson, Brett Saliba and Jenny DeLoach, who are based in Nashville; agents Robbie Brown and Matt Meyer and coordinator Natalie Koe, who work out of Los Angeles; and agent Carlos Abreu, who is based in London.
Prepare for lift-off: IQ 97 marks the launch of ILMC 33
IQ 97, the latest issue of the international live music industry’s favourite monthly magazine, is available to read online now.
In March’s edition, IQ Magazine editor, Gordon Masson, assembles industry heavyweights including Sam Kirby Yoh (co-head of music, UTA), Toby Leighton-Pope (co-CEO of AEG Presents in the UK) and John Reid (Live Nation’s president of concerts in Europe) for an industry health check, 12 months into pandemic restrictions.
Elsewhere, with the International Live Music Conference (ILMC) set to launch this Wednesday, readers and delegates can prepare for liftoff by previewing some of the products and services developers will be presenting (see ILMC Tech Spotlight), and earmarking the ones-to-watch at this year’s agency talent showcases (see Showcasing Talent).
Also in this issue, IQ hands the megaphone to Sybil Bell (Independent Venue Week), Mark Bennett (MBA Live) and Tone Østerdal (Norway’s Live Music Association) for comment pieces on what live is like from where they’re standing.
IQ hands the megaphone to Sybil Bell (IVW), Mark Bennett (MBA Live) and Tone Østerdal (Norway’s Live Association)
IQ’s top newshound Jon Chapple sniffs out what livestreaming pioneers are doing to prepare for post-Covid life (see Streaming’s Bright Future), while the Arena Resilience Alliance reveals its comprehensive manifesto for the safe return of live events.
And Rob Challice (Paradigm), John Giddings (Solo, Isle of Wight), Harvey Goldsmith and other industry pros reveal the most surprising person they met at a gig or added to a guest list in Your Shout.
All that is in addition to all the regular content you’ve come to expect from your monthly IQ Magazine, including news analysis and new agency signings, the majority of which will appear online in some form in the next four weeks.
Whet your appetite with the preview below, but if you can’t wait for your fix of essential live music industry features, opinion and analysis, click here to subscribe now and receive IQ 97 in full.
IQ New Music playlist spotlights ILMC 33 showcase artists
The latest edition of IQ’s New Music playlist goes live today, showcasing the exciting new acts, handpicked by major international agencies and music export offices, that are set to perform at this week’s 33rd International Live Music Conference (ILMC).
Launched last summer, the playlist complements IQ Magazine’s popular New Signings page, which keeps the live industry updated about which new, emerging and re-emerging artists are being signed by agents.
The March playlist features contributions from ITB, ATC Live, Paradigm, UTA and Primary Talent, as well as UK Sounds, Hots (Hungarian Oncoming Tunes), Soundczech and Why Portugal, each of which have picked up to 12 tracks apiece showcasing some of their hottest touring artists.
Listen to the latest selection using the Spotify playlist below – or click here to catch up on the February 2021 edition first.
Separated by agency/export office, the full track list for the March playlist is:
|ITB||Bernhoft, The Fashion Bruises||Lookalike|
|ITB||Bernhoft||All My Loving|
|ITB||Conrad, Pablo Nouvelle||Living For The Weekend
|ITB||Kapil Seshasayee||The Gharial|
|ITB||Kapil Seshasayee||The Item Girl|
|ITB||Mobs, Goldhouse||Big World (Goldhouse Remix)|
|ITB||Nature TV||Only One|
|ITB||Nicole Slack Jones, Guéna LG||I Am Free (Acoustic by Johan Czerneski)|
|ITB||Nicole Slack Jones, Guéna LG||Give You My All (Acoustic by Johan Czerneski)|
|ATC LIVE||Fenne Lily||Top to Toe|
|ATC LIVE||Fenne Lily||For a While|
|ATC LIVE||Los Bitchos||The Link Is About to Die|
|ATC LIVE||Los Bitchos||Pista (Great Start)|
|ATC LIVE||Pillow Queens||HowDoILook|
|ATC LIVE||Pillow Queens||Gay Girls|
|ATC LIVE||Rueben James||So Cool|
|ATC LIVE||Rueben James, Col3trane||My Line|
|ATC LIVE||The Goa Express||Be My Friend|
|ATC LIVE||The Goa Express||The Day|
|Paradigm||Ritt Momney||Put Your Records On|
|Paradigm||Ritt Momney||Something, in General|
|Paradigm||TV Priest||Press Gang|
|Paradigm||JP Saxe, Julia Michaels||If The World Was Ending|
|Paradigm||JP Saxe||Hey Stupid, I Love You|
|Paradigm||Christy||Dancing With Air|
|Paradigm||Christy||On My Mind|
|Paradigm||Upsahl||People I Don't Like|
|UTA||Nubya Garcia||The Message Continues|
|UTA||Nubya Garcia||Lost Kingdoms|
|UTA||Peach Tree Rascals||Mariposa|
|UTA||Peach Tree Rascals||Mango|
|UTA||Skullcrusher||Song for Nick Drake|
|Primary Talent International||BVDLVD, Lil Darkie||Punk!|
|Primary Talent International||BVDLVD||Adderall|
|Primary Talent International||Deema, David Armada||Hash Brown|
|Primary Talent International||Deema, Kish!||Maddie|
|Primary Talent International||Joesef, Loyle Carner||I Wonder Why|
|Primary Talent International||Joesef||The Sun Is Up Forever|
|Primary Talent International||Katy Kirby||Juniper|
|Primary Talent International||Louisahhh||Chaos - Wax Wings Remix|
|Primary Talent International||Miloe||Winona|
|UK Sounds||Cherym||Weird Ones|
|UK Sounds||Gengahr||Before Sunrise|
|UK Sounds||Lady Nade||Ain't One Thing|
|UK Sounds||Lady Nade||Complicated|
|UK Sounds||TrueMendous||That Don't Mean|
|UK Sounds||Dead Pony||23, Never Me|
|UK Sounds||Dead Pony||Sharp Tongues|
|UK Sounds||HMS Morris||Poetry|
|UK Sounds||HMS Morris||Babanod|
|UK Sounds||Elles Bailey||Medicine Man - Acoustic|
|UK Sounds||Elles Bailey||What's the Matter with You|
|HOTS||Jazzbois, Kid Absrakt||Live & Direct - Live|
|HOTS||Wun Two, Jazzbois||Interloop|
|HOTS||Platon Karataev||The Season of Singing|
|HOTS||The Devil's Trade||Dead Sister|
|HOTS||The Devil's Trade||The Iron Peak|
|Soundczech||Lazer Viking||Waiting for the End of the End of the End|
|Soundczech||Lazer Viking||Everyone But U|
|Soundczech||Please the Trees||Missing Feeling Nothing|
|Soundczech||Please the Trees||A Song Is It's Own World|
|WHY Portugal||Whales||Big Pulse Waves|
|WHY Portugal||Lina, Raül Refree||Medo|
|WHY Portugal||Lina, Raül Refree||Cuidei que tinha morrido|
|WHY Portugal||Dream People||People Think|
|WHY Portugal||Dream People||Caroline|
The full ILMC showcase schedule is available from the ILMC 33 website.
ILMC 33 takes place this week, from 3 to 5 March. A limited number of tickets are still available – click here for more information.
One Year On: Industry leaders on the Covid anniversary
Even before ILMC in 2020, a number of countries were beginning to shut down when it came to mass gatherings such as concerts and live entertainment, while for many ILMC 32 attendees, the artist showcases that week in London were the last live performances that they witnessed.
Talk about the coronavirus, back then, swung between the hope that it was just a new form of flu, to fear that we might have to postpone a month or two of upcoming dates. Certainly, nobody was predicting the loss of a full calendar year of events and the redundancies of countless thousands of industry professionals around the world.
Indeed, as the year progressed and restrictions imposed by governments on everyday activities even drilled down to how often you can leave your home, the optimists among us still believed that, maybe, festivals in August and September might happen, allowing indoor venues to reopen in October.
Fast-forward to February 2021, and despite vaccine programmes inoculating millions of people every day, there’s a growing consensus that there might not be any kind of outdoor season in the northern hemisphere until next year, while a few hopeful souls are holding out for indoor shows by November or December, albeit featuring domestic talent rather than international superstars.
“Everybody underestimated the impact of Covid,” admits Christof Huber, general secretary of European festivals organisation, Yourope. “I remember being at the Swiss Music Awards in February last year, on the day when all the big events were banned in Switzerland. But our attitude was that in two weeks we would be back.
“The strange thing is, we could see what was happening elsewhere, but nobody was talking about it. Now though, we’re all working desperately hard and trying everything possible to make things happen. But the general consensus seems to be that Q4 is when we might be able to return.”
The gradual dawning of the reality of Covid-19 has been a harsh lesson for an industry that thrives on optimism and creativity.
“Governments are not using our expertise and instead they are relying on bureaucrats. If we could at least get a seat at the table with them, we could help come up with solutions”
“After the UK government announce on 22 February, we now have a ‘nothing before’ date, which has really helped us,” notes Toby Leighton-Pope, co-CEO of AEG Presents in the UK. “For so long we were operating in the dark not being able to plan for the future. Now we know officially there will be nothing before 22 June and although I’m not 100% confident we will be fully open directly after this, it does give us a decent roadmap to work to.
“I’m not a big fan of socially distanced gigs. Artists rely so much on the vibe for the crowd and seeing so many empty seats from the stage cannot be fun for them. It also doesn’t work financially for the artist, venue or promoter. In a doomsday scenario, if we never get back to full capacities, then I guess we have to deal with it, but for now, I’m not a fan.”
John Reid, Live Nation’s president of concerts in Europe, comments, “The reopening timeline will differ from region to region. The vaccine roll-out is encouraging and will underpin confidence. As that continues to scale we will be able to get back to regular capacities, and we’re still hopeful some events are able to return sometime in the summer.
“We are working with governments, scientists and local authorities to make sure that, as soon as it’s possible to do so, we’ll be there and ready to go. Don’t forget, there are markets in Asia Pacific that are already opening – it was great to see Rhythm & Vines festival taking place in New Zealand over the new year.”
Those regional idiosyncrasies are also highlighted by UTA co-head of music, Sam Kirby Yoh. “The need for industry support varies from country to country,” she says. “Smaller European countries like Norway or Iceland have prominent music scenes, deeply ingrained into their cultures, and their local fundraising efforts have been quite successful. Additionally, if a country’s recovery from Covid-19 is going successfully enough for domestic artists to be able to perform, we anticipate that it will open itself up to artists from nearby countries shortly thereafter.”
Detlef Kornett, Deutsche Entertainment AG’s CMO and head of international business affairs, is more blunt about the year ahead for the live entertainment sector. “I foresee that come March or April, government in the UK, but less so across Europe, will have run out of their reserves and will put on the brake for live music industry grants and support. Whereas continental Europe continues to support the event industry in various degrees, but all the way until the end of 2021 – that type of support is currently not foreseeable in the UK. So I’m afraid that, for us in the UK, the hardest days are yet to come, unless the government-backed insurance plan and flexible furlough schemes fall into place.”
Kornett is brutally honest about the current state of the business. “US artists are shying away and are not committing to anything before, possibly, the end of the year, but most likely 2022,” he says. “The local authorities have already said that no matter what happens they do not want a festival in July. That leaves the big question about what can be done in August, because it won’t work that events are banned until 31 July but then on 1 August you can have 50,000 people in a stadium. It will be gradual, with social distancing and test events, and depending on those results, we may be encouraged to do more. But that gets you to September or October, and it’s hard to see a full O2 [London] on the first of October as well, in the current circumstances.”
“What’s really important now, is to ensure that the industry is ready to ramp up as soon as we get the go-ahead”
Investing time in the future
One consistent observation from many involved in the live music supply chain is that never have they worked so hard but for zero financial gain. Agents and promoters have spent the past year endlessly postponing shows, securing new dates for the tour and making sure everything is in place for the tour to happen, only to have to do the exact same thing weeks and months later. It’s a similar tale for other professions in music.
“There’s a big pastoral role in my job and it’s all about keeping everybody – not just the band members, but everybody in our wider family – motivated and keeping morale up,” says Joyce Smyth, manager of the Rolling Stones. “I’m very fortunate because the Stones have such a terrific work ethic, and right from the outset, Mick’s first question was ‘What can you give me to do? We need some projects!’
“So there has been new music released. The single ‘Living in a Ghost Town ’was rather apt for our times. Goats Head Soup came out as a nice re-release, and it’s quite tricky organising that because the guys are all in different places: they’re not in one same jurisdiction, so it can be a challenge to keep everything cohesive. At the end of the day we had to be innovative and not dwell on what we can’t do and what we feel we’ve lost, but just concentrate on what we can get on with? As Keith would say: we’ve just got to hunker down and get through this.”
It’s a similar story for solo artist Imogen Heap, who tells IQ that uncertainty over Brexit and then the coronavirus forced her to shelve some international tour plans, leaving a blank hole in her usually packed schedule. “But what has come out of that are many new initiatives – lots of projects that would not have come about had I had the usual team of eight people around me, but who have had to go on furlough when there have been no revenues coming in,” says Heap. “It felt like it did ten years ago, without the team and back on my own. But I’ve enjoyed a greater closeness and a reawakening of the relationship with my fans, which is really, really positive and oddly, in a roundabout way, mentally helped to pull me through this period.”
Indeed, with the Stones taking the time to create some new music, Heap reports that she also has been rekindling her love for songwriting. “One of the fans on our weekly call suggested I try meditating,” she explains. “The effect I get from meditation in a ten-minute breathing space, is the same as I’d get when I was improvising with a piano as a child – it creates a calm and a space for everything. The combination of that and speaking with the fans every Thursday brought me out of a really quite awful depression.”
With her fans viewing her improvisation sessions, they noted down their favourite moments and entered them into a spreadsheet for Heap, suggesting which ones they want me her to make music out of. “For seven or eight years I haven’t written a song unless there has been a project associated with it – mainly for financial reasons – but this time there was no reason and it’s just because the fans liked it and I liked it,” she says. “And it feels so good to just be a musician again with no agenda – it feels like I’m 15 again. I’m just writing music because I want to.”
“The fans are loyal to their artists and our festivals – 83% of fans are holding on to their tickets for rescheduled shows, and 63% for festivals, which is incredible”
That element of rediscovery is something that AEG’s Leighton-Pope can draw parallels with. “Personally, I’ve found that everything is not as urgent as we once thought it was,” he says. “That allows us to spend a bit more time to think about things and give more attention to the planning process.
“Taking some time off also has its benefits. Talking to people and realising that not killing yourself with work every day was actually beneficial was a revelation. So, being able to work from home and to spend more time with family and friends helps in all aspects of your life, including work.”
That time off has, perhaps, allowed people to put their work/life balance under the microscope, helping to retain some of the positivity that otherwise might have evaporated after such a lengthy lay-off.
“Of course, everybody is frustrated, but I have not heard any negative vibes in the sense of just giving up,” states Yourope’s Huber. “Everybody is just concentrating on trying to arrange whatever is possible in their own country.”
However, highlighting the fact that no two countries are dealing with the pandemic in the same way, Huber says, “There are a lot of umbrella programmes in the Netherlands and Germany and Austria and Switzerland, for example, but we also hear from people in other countries who have absolutely nothing – zero governmental support – and you can only imagine how frustrating that is. But the people in those situations are the true survivors who try to solve things differently, because maybe they were used to similar situations in previous years. And no matter how difficult it is, even those people are saying that they are going to come back.”
That’s music to the ears of Leighton-Pope, who believes the industry’s work ethic throughout the past year will pay dividends when normality finally returns. “The thing is, if you’re late to the party, then you will miss out – you have to have tours pencilled and venues held and put in all that hard work, even though the dates keep shifting,” he says. “If you’re not ready to go on the day the green light is given, then you’re definitely going to be scrambling to catch up with everyone else who has put in that hard graft.”
Kornett agrees. “For a company that cannot host any events, we’ve all been flat-out busy because you’re chasing the events that you need to postpone or cancel; you’re chasing government grants or subsidies; you’re chasing banks and everyone else for financing; you’re re-projecting the re-project of the re-projected business; and when you’re done with all that, you start from the beginning again…”
“I’m afraid that, for us, the hardest days are yet to come”
For those businesses operating in Europe and the UK, the past few years have been dominated by what the potential fallout from Britain leaving the European Union might be. With that date now passed, what has become apparent is that international touring didn’t even make it on to a list of priorities for policy makers, leaving the industry floundering to find solutions before venues are allowed to reopen.
Issues over work permits and visas have recently received a lot of publicity, thanks to the support of some high-profile artists – notably Elton John – but there are other significant hurdles that the industry at large will have to overcome to allow the successful resumption of international tours.
“With Covid falling as it has, although it has been an absolutely appalling time for everybody, it’s been a really sour blessing, because in an otherwise normal year, the industry would have come apart at the seams,” states Stuart McPherson, managing director of trucking firm KB Event, which has had to find £500,000 (€579,000) to open a new EU-based depot in Dublin.
“I’ve been living this for three years now to try to come up with solutions and options for solutions, because until 23 or 24 December 2020, we were not 100% certain, from our part of the industry, about where we were going. So we had to have different strategies laid out in terms of which button we were going to press in case of whichever scenario we found ourselves in.”
As things stand, McPherson explains that UK trucking companies can no longer legally tour in Europe as a result of Brexit, hence his newly opened European headquarters. “Our choices were threefold: either we do what we’ve done and move into the EU, or we become a domestic-only trucking company and cut our cloth accordingly;, or we shut down and go home. So it was a no brainer – we need our UK company and our EU company.”
Underlining the lack of support the sector has had from government, McPherson adds, “If we had been live and had tours out in January and February, the way we normally have, then we would have been in a world of pain.”
That situation is acknowledged by DEAG’s Kornett, who observes that under current Brexit rules, “Effectively, as a tour, you are better off hiring European trucking companies and equipment, touring Europe, and then going through the border exercise only once when you enter the UK. But what will that mean for all the stage and production companies in the UK? So many businesses will be forced to open European subsidiaries.”
“I’m very fortunate because the Stones have such a terrific work ethic, and right from the outset, Mick’s first question was ‘What can you give me to do?’
For his part, Live Nation’s Reid says, “Partners on all sides are invested in finding the optimal process, and lobbying groups across the UK and Europe are working hard on how to make travel work for touring acts. One up-side of the pause in live is that we have time to plan so that when restrictions are lifted across the markets the industry can still retain its strong position internationally.”
Rather than bemoaning the situation, McPherson is hopeful that his trucking peers will also invest in EU depots. “I know that a couple of our competitors are moving in to Holland, which is great news,” he states. “For the health of the industry, we need as many of the suppliers to be able to service the clients they currently service – if there are not enough suppliers to service everyone, it’s going to be a big problem.”
But the price to remain in the market is steep, as it’s not just the case of having a postal address in the EU. “Legally, we have to replicate the company,” McPherson informs IQ. “To get an operator’s licence for our trucks, you have to have physical parking space for the number of trucks that you want on that licence. So if I want a licence for 50 trucks, I have to have a depot with enough land to park those 50 trucks on it. We also have to have an office to store all the records, and we require a transport manager based in that EU state.”
And the expense does not stop there. All of KB Event’s drivers will now have to pass their Certificate of Professional Competence qualifications in Ireland to allow them to continue to drive in the EU. “Another kicker is that my insurance company cannot insure my trucks in the EU, so I also have to replicate my insurance in Ireland alongside my insurance in the UK: my insurance is £300,000 so I have to replicate that so we can use both fleets. It’s a horrific place to be, but it’s the right thing to do for the health of my business and for the health of my clients.”
Plotting routes to recovery
Presuming there will be enough trucks and suppliers available when markets and borders start to reopen, the plans that industry professionals have been adjusting for the past 12 months follow similar theoretical paths.
“For European touring to resume, major markets, including France, Belgium, the Netherlands, Scandinavia, Spain and Italy, will need to reopen with no quarantines and with venue capacities that make financial sense,” says UTA’s Kirby Yoh. “Australia and New Zealand have to be at a point where fans can travel between countries, with limited or no up-front quarantine costs. This is a similar case with Asia, with particular reference to the importance of Japan.”
Kornett believes we should be focusing more on the strides being made in medical technology to speed up the return of live events. “I don’t think we’re talking about rapid testing enough, as we’re all a bit obsessed with vaccination,” he says. “There are tests out there now that only take three minutes, so logistically, we could ask event attendees either for vaccination proof or give them a quick test to get a reasonable amount of people through the doors within two to three hours. That could save good-sized outdoor events in the summer, as well as moving indoors to arena events in the fall.”
“We need to look after each other, because things are really tough”
Stones manager Joyce Smyth is cautiously open to the idea of fans being asked for proof of vaccination, but notes, “It all depends on the jurisdiction of the country you are playing in and the rules in that particular territory. And I also wonder who pays for all of this, because I can see the venues wanting to pass the admin cost on to the promoters, who will want to pass it to the artists, and that then is passed on to the fans, so it becomes a tricky proposition. But if it’s what is required to open up, then we’re going to have to do it.”
Leighton-Pope is a fan of health screening. “I like the idea of the vaccine passport and the idea of the whole world having one, which might force anyone who had not had the vaccine to join the club. I’m hoping that by the summer, maybe 75% of the UK population will have had the vaccine, and then we need a plan – a vaccine passport could be part of that – but more to the point, we need a plan that the government will support.”
The matter of government support is a major issue for Yourope’s festival organisers, who are frustrated by the lack of communication from their respective policy makers. “Everybody has worked very hard to come up with concepts that might work, but we’re not getting any feedback from governments,” reports Huber. “We hear nothing about under what circumstances it might be possible to be back under full capacity, or even when we will be allowed to do business again in any format.”
He continues, “Our business is very flexible. We saw that last summer with people finding ways to go back into business, and not just for themselves – it’s for the artist, for our employees, and we need to keep the sponsors aboard otherwise they will leave to different sectors. So it’s a multilayered thing that we need to go back to business. But we’re just not getting the communication about which circumstances will allow this.”
One serious area of concern is the prospects of the business successfully reopening if there is a shortage of skilled professionals available to help artists get back out on the road.
“What’s really important now is to ensure that the industry is ready to ramp up as soon as we get the go-ahead, so supporting crew and freelancers has never been more important,” says Reid. “Crew Nation has raised over [US]$15m, helping 15,000 live music crew members across 48 countries globally, and we hope to help even more until we can come back in full. And we’ll also be advocating for prep and planning, so shows can be teed up to play as soon as it’s safe – given the longer lead times required to tour we need to be adjusting along the way so we don’t have crew spending extra months on the sideline once society begins to reopen.”
“Talking to people and realising that not killing yourself with work every day was actually beneficial was a revelation”
It’s a problem recognised by everyone. KB Event’s McPherson tells IQ, “[Covid] has been brutal on the freelance workforce, but we’ve been working with stage managers and production managers to try to find them van jobs or labouring jobs or just anything to try to help them out. We need to look after each other, because things are really tough.”
Reid adds, “The whole industry has been working hard to support the ecosystem that we rely on, but it’s undoubtedly been tough all round for people who work in live events. People are eager to get back to work and we’re confident we’ll be able to staff up appropriately as things ramp up.”
Smyth reveals that the Stones have been playing their part, by “aligning with organisations and groups who are trying to help crew survive this – and not just our crew, as that’s the easier part and we can look after our own. But there is a whole industry out there and we are in danger of losing this expertise unless something is done. So we’re involved in campaigns that raise awareness – governments could definitely provide a little more help than they already are.”
UTA’s Kirby Yoh believes that Covid has laid bare some of the weaknesses in the live sector. “The live music industry’s previous system was more fragile than we had realised and did not provide enough support for vendors, crews, venues, artists and more,” she states. “It is important that we strengthen our infrastructure to include more provisions for these parties. Also, Covid-19 has reinforced the importance of artist representation when dealing with the industry’s governing bodies.”
Meanwhile, Kornett says DEAG has been working with its partners throughout the pandemic in an effort to keep them solvent. “When you work on big events for multiple years, you end up being vertically integrated with some of your suppliers, so we went out with some of them and applied to run testing centres and vaccination centres – it’s building the set, thinking about ingress and egress – so it’s what we’re used to. That obviously isn’t going to save anyone’s bacon, but it’s at least something toward paying the bills.”
And for her part, Heap observes, “The end of live music has given artists the time to look at all their revenue streams closely, so that’s why people are beginning to speak out about the rates they get from streaming, for instance, and that campaign for fairer treatment is gaining support now.”
While Heap has been working diligently for a number of years on her own Creative Passport scheme, helping music makers to access, update and manage their own data, she is quick to add, “I’m very grateful to the people who are going into Parliament to speak about all of these things on our behalf. I’m doing my own little bit from my corner through the creative passport, trying to help ease of flow between different services and trying to make sure you have all the required verifications, but there’s only so much we can do.”
“In many ways it’s been a beautiful time and I’ve felt very supported and creatively free. It just hasn’t brought in any money”
With everyone looking forward to the long-awaited return of live music, whenever that may be, the professionals that IQ spoke to were universally upbeat about how people have pulled together to weather the storm of the past year.
Live Nation president Reid says one of the key lessons he has learned over the past year is to “never take anything for granted.” He applauds Live Nation staff for their hard work throughout the crisis, and admits to being pleasantly surprised by the patience of fans. “Our teams are innovative and have pivoted to adapt to the unimaginable challenges that the last year has thrown at us,” says Reid. “The fans are loyal to their artists and our festivals – 83% of fans are holding on to their tickets for rescheduled shows, and 63% for festivals, which is incredible.”
Accepting the success that livestreaming has had during the past year, AEG’s Leighton-Pope nonetheless counters, “Professionally, I did not get into the music industry to spend my time on Zoom, or to watch concerts on my computer. I love the live interaction and that’s why I like being in this business – and we’re finding out that is really hard to replicate.
“The live streams that I’ve seen are like good TV shows, but I have not had a hair-on-the-back-of-my-neck moment watching anything on my computer like I do at a gig, bar, club, stadium or festival.” When it comes to Covid’s lessons, he adds, “I’ve learned that we can work from home very capably: the idea of being in an office for five days a week now sounds antiquated.”
Stones manager Smyth also tips her hat to the fans, and voices hopes that after more than a year without events, the scalpers and touts will be confined to history. “The whole secondary market is terribly pernicious,” she says. “I can see the scale of it because I follow our ticket refunds. Lots of wonderful fans have held on to their tickets for our postponed shows in the States, even though I’m sure lots of them are suffering and have maybe lost their jobs. It’s apparent, however, that much of the returned inventory is from brokers – it’s not the fans who have managed to buy blocks of tickets. So what is going on there? We’ve talked about it endlessly and I hope this lockdown situation is an opportunity for somebody clever to clean this up a bit.”
UTA’s Kirby Yoh says that fan loyalty coupled with the growing desire for live entertainment should negate the need to slash ticket prices when on-sales restart. “We would need to re-evaluate ticket pricing once touring resumes, based on local economies,” she says. “At this point, we don’t think a widespread drop in ticket prices would be necessary for fans to return to live shows, as there will be a real appetite for people to see shows again.”
But she is determined to make sure that strides made in recent years regarding equality are not swept under the carpet. “Much work still needs to be done to increase diversity and equality within the industry,” she stresses. “I encourage everyone to get involved in Diversify the Stage, Noelle Scaggs’ initiative focused on improving hiring practices and bringing more underrepresented individuals into the live music and touring sectors of the business.”
“I feel that, more than ever, we are all working in the same business and there’s a lot of dialogue and positive exchange, so hopefully we will come out of this stronger”
Heap says, “I think we are at a turning point. But sometimes you have to hit rock bottom first. I don’t know if we’re at rock bottom, but we must be pretty close.” And she adds, “In many ways it’s been a beautiful time and I’ve felt very supported and creatively free. It just hasn’t brought in any money. So now I’m making music as a hobby, but I’m also doing big commercial projects for money and that’s totally fine.”
McPherson says the cross-industry collaboration has been remarkable during the past year. “[The pandemic] has driven a lot more cooperation between the different disciplines in how we find a way through this and I’m hopeful that once we come out the other side of this, there will be a lot more cooperation, working together to ultimately deliver what our clients need,” he says.
Huber concurs, “I feel that, more than ever, we are all working in the same business and there’s a lot of dialogue and positive exchange, so hopefully we will come out of this stronger in the long run.” And he hopes that governments, sooner rather than later, will realise that engaging with the live entertainment industry could facilitate a swifter end to Covid restrictions. “One of the key jobs of a promoter is to plan events that keep everyone safe, but the governments are not using our expertise and instead they are relying on bureaucrats. If we could at least get a seat at the table with them, we could help come up with solutions.”
Kornett is doubtful, musing, “The EU looks at someone organising a concert in the same way as somebody who is restoring a castle – he has to bring materials and special instruments to work on an 11th century castle. So whatever they do for our industry, they will have to do for everyone else, too.” But he is quietly confident that the medical community will come up with answers to accelerate live music’s resurrection. “I’m convinced there will be further progress in medical treatment and vaccinations, and that might help us find our way back to a more normal way of life, hopefully even sooner than we expect.”
Indeed, when touring does become a reality again, there is a very real danger that every band in the world will want to be out performing at the same time. Such problems don’t phase manager Smyth, though, as she and her organisation prepare for the Rolling Stones’ 60th anniversary year in 2022.
“Right now, it seems like it would be a wonderful problem to have,” she concludes.“Oh dear, four acts want to have the Albert Hall on the same night. Well, somehow we have to make it work… matinees!”
Read this feature in its original format in the digital edition of IQ 97:
This article forms part of IQ’s Covid-19 resource centre – a knowledge hub of essential guidance and updating resources for uncertain times.
Turning adversity into opportunity
Every year, one in five people in the UK experience mental health issues, and in a year like no other, mental health has become an even greater issue. With the music business facing such uncertainty, people are struggling, many of whom have never experienced these issues before.
In our industry, discussing the topic of one’s own mental health can be seen as a weakness. But in spite of recent years being the most challenging of my life, today I am mentally the strongest I have ever been. By offering insight into my own experiences, I hope it may help those who are struggling and can’t see a way forward right now.
I joined the Agency Group in 2013 with no roster and limited connections. I worked tirelessly to sign artists and network, going to gigs every night, taking every meeting I could, and attending every possible industry event. I loved it. However, sometimes we can get lost in the pursuit of our ambitions, and eventually my health was affected. At the start of 2016, I was hospitalised with GERD, acid leaking from my stomach, and forced to work from home.
I realised that I was doing what I loved and had to fight my way back, just as I had fought my way in
I was due to return to the office on 15 February, after a trip to Sweden for Where’s the Music. In a heartbreaking turn of events, my clients Viola Beach and their manager, Craig Tarry, died in a tragic accident a few hours after performing at the festival. Nothing could have prepared me for the situations I would face in the aftermath while struggling to grieve for each of the five men, whom I called friends. I tried to give as much comfort as possible to their families, and it wasn’t until later that I realised the effect it all had on me.
A few weeks after the accident, my mum became ill and two close personal friends also suddenly passed. The combined pressure of my work, home and personal life being in turmoil, without a support network, made me feel very isolated and lonely.
I have never been one to ask for help, and in those moments, I wasn’t sure how. I believe there were people who wanted to help, but I don’t think they knew how either.
Over the next two years, I became despondent, paranoid, irrational and short tempered. I fell out with people. I stopped doing things I loved. I was miserable.
Changes were needed, but as I started to make positive steps, I had a huge setback. A few weeks after leaving a previous agency, I watched helplessly as my roster started to appear on other agencies’ websites. The phrase, “if you want loyalty, get a dog’’, is synonymous with our industry, and every agent and promoter knows the feeling of frustration and powerlessness when losing a client. I had been incredibly proud of my client retention rate and losing nearly my entire roster in a short space of time was tremendously painful. But I used the fact that I never had the urge to quit as motivation. I realised that I was doing what I loved and had to fight my way back, just as I had fought my way in.
I opened up to friends and loved ones, and with their support, put my energy into making small steps each day. Ben Kouijzer, a friend and colleague, reinvigorated my passion for reading by suggesting (audio) books that opened my mind to the importance of sleep, exercise, and health. These, in turn, contributed to positive thinking, understanding gratitude and goal-setting.
If you are reading this and are finding things difficult, understand that you are not alone
I devoured books on the history of the entertainment business and read everything that I could. This learning gave me the foundation to grow, understanding that change is inevitable, and that everyone experiences setbacks and knockdowns. It’s not about why something is happening, but about how you react.
I took this knowledge and invested in myself. I set short-, medium- and long-term goals, created healthy routines, exercised, visualised my future, and made time for doing things I love, including the one passion that never left – live music!
Starting my own agency, MBA Live, has given me the freedom to grow and service my clients on my terms, cultivating my own passion. I’m grateful to the artists and managers that trust me to deliver, the promoters that always take my calls, and to my wife, Polly, whose support has given me the foundation to create and build a profitable business, even within the difficulties of the global pandemic.
If you are reading this and are finding things difficult, understand that you are not alone. It isn’t a weakness to ask for help – it takes strength to start the conversation. Everyone is different but the most important thing is to seek professional help.
I’m encouraged by the efforts being made by people in power to make a positive change to ensure there is support for people when they need it and, more importantly, to identify issues and offer help before it’s needed.
It’s not always easy to ask for help. If you see someone whom you think is struggling or acting out of character, then reach out and check in with them. It will mean more than you think.
Matt Bates named head of international for ICM Partners
Primary Talent International director Matt Bates has been named head of international and head of Europe for ICM Partners in a leadership reshuffle following the recent resignation of ICM’s head of worldwide concerts, Rob Prinz.
Prinz, who stepped down voluntarily to return to being a full-time touring agent for ICM, is succeeded by Mark Siegel, with Robert Gibbs becoming the agency’s head of music. The three new appointments were announced by Chris Silbermann, CEO of ICM Partners.
“Mark Siegel, Robert Gibbs and Matt Bates are universally respected within our agency and the music business at large,” says Silbermann. “Through their hard work and dedication to their clients and the team here at ICM, they epitomise the true meaning of leading by example.”
Elsewhere, Steve Levine remains co-head of worldwide concerts, while Peter Elliott continues as managing director of the UK’s Primary Talent, which joined forces with ICM last March. Scott Mantell remains co-head of ICM international, based in Los Angeles.
Siegel is a New York-based ICM partner who has been with the agency for more than 25 years. He was formerly head of music. Gibbs, a 14-year veteran of, and partner in, ICM was previously head of contemporary music.
“Mark Siegel, Robert Gibbs and Matt Bates are universally respected within our agency and the music business at large”
Bates has been in the business more than 20 years (15 of them with Primary) and remains on the London-based agency’s board, alongside Peter Elliott and Ben Winchester.
“We have empowered a talented, diverse and forward-thinking leadership team to best represent our clients and reap the rewards of the investments we have made in the live events business,” continues Silbermann. “We are all looking forward to a booming 2022 and beyond as the audience returns to experience the artists and concerts they love and have greatly missed.
“This diverse team combines the wisdom of experience with a forward-thinking, next-generation enthusiasm, giving our clients a dynamic leadership team and representation department built not only for success today, but into the future.”
Alongside the new appointments, ICM has established a new ‘Next Gen Concerts Leadership Committee’ designed to pave the way for the next generation of concert department leaders. It initially includes agents Jacqueline Reynolds-Drumm, Yves C. Pierre, Ari Bernstein and Mitch Blackman.
“I am extremely humbled and excited to be given the opportunity to step into a new role within ICM concerts,” comments Siegel. Chris Silbermann and Rob Prinz led the charge over the past year to grow our division and lay the foundation for ICM concerts to be a leader in the industry for years to come.
“The foundation Rob Prinz built in the concert division has left ICM in a formidable position from which to navigate the exciting new world of live music”
“We have created a talented, diverse, and forward-thinking leadership team who I am proud to work alongside in our commitment to best represent our incredible clients. They are the reason we strive every day to be better than yesterday, and I cannot think of a better group of agents, assistants and support staff who display their commitment and passion daily to that end.
“As I step into this new role, I do so knowing I am surrounded by an incredible team, including my partners Steve Levine, Rob Gibbs and Matt Bates, and I am eager to continue the work that has propelled this department forward. I am equally excited to work with Jacqui, Yves, Ari and Mitch as they step into an active leadership role. To Rob Prinz, my colleague and more importantly my friend, thank you for your tireless work and leadership, especially over the past year, which resulted in the tremendous growth of our department. I look forward to continuing to have you as a partner and a colleague for years to come.”
Adds Bates: “Since Primary joined with ICM 12 months ago, the support and vision I have seen from Chris Silbermann has been exceptional, which is reflected in the department’s growth and expansion. The foundation Rob Prinz built in the concert division has left ICM in a formidable position from which to navigate the exciting new world of live music, which is about to open up globally.
“I am looking forward to working alongside Mark Siegel and Rob Gibbs in their new roles and our incredible team of agents, who will lead ICM to the forefront of the live music business.”
ILMC 33: One week to go
There is just one week to go until the global concert industry comes together again for the International Live Music Conference (ILMC), which returns as virtual event from 3 to 5 March 2021.
Hundreds of leading figures from across the global live music business are contributing to ILMC’s digital debut, as well as this year’s ILMC Production Meeting and Green Events and Innovations Conference (GEI), which take place on 2 March. The ILMC conference schedule now features the largest line-up of guest speakers at any live music conference ever, with more than 250 speakers in attendance.
Over 1,000 delegates will attend ILMC 33, including executives including Irving Azoff (Azoff Music), Klaus-Peter Schulenberg (CTS Eventim), industry commentator Bob Lefsetz, Emma Banks (CAA), Tim Leiweke (Oak View Group), Jason Danter (Lady Gaga/Madonna), Lucy Dickins (WME), Pandora founder Tim Westergren, Sam Kirby Yoh (UTA) and Mumford & Sons’ Ben Lovett.
The 33rd edition of the top global platform for concert and festival professionals features 60+ meetings, workshops and keynotes across three days, alongside 50 showcases from new artists, presented by top booking agencies and export offices. Within the ILMC schedule, new event brand PULSE is a day of discussion around the intersection of technology and live music, and the Experience Economy Meeting (TEEM) focuses on non-music content.
“This is a crucial moment to bring the global live music business together”
The Arthur Awards, the live music industry’s Oscar equivalents, will stream live from the stage of the Royal Albert Hall as the iconic venue celebrates its 150th anniversary.
Companies supporting ILMC 33 include Live Nation, Ticketmaster, CTS Eventim, ASM Global, Showsec, Tysers, Hearby & Semmel Concerts.
ILMC head Greg Parmley says: “This edition of ILMC will mark one year since the live music business began to shut due to Covid-19, and it takes place just as markets around the world are pushing forward with plans to reopen.
“This is a crucial moment to bring the global live music business together to define its restart.”
The full schedule and details of all sessions and speakers are available at 33.ilmc.com. If you haven’t already, there is still time to secure your ILMC 33 pass at the discounted spring rate of £139/£159 until 18.00 GMT this Friday (26 February).