$10m boost for South Australia’s live music scene
A new AU$10 million government scheme has been launched to support the recovery of South Australia’s music scene.
The See it Live Music Package includes a range of grants, a voucher scheme, mental health support programmes, financing for venue upgrades, a live music advisory council and an events cancellation fund to help the industry bounce back from the Covid crisis.
The Live Music and Event Cancellation Fund, which will be available from July, provides financial assistance of between $10,000 and $250,000 if an event or live music performance is cancelled or rescheduled due to the introduction of Covid-19 restrictions.
“We’re determined to see this industry recover, rebuild and get our musicians back to doing what they do best”
“We’re determined to see this industry recover, rebuild and get our musicians back to doing what they do best,” says South Australian premier Peter Malinauskas. “This industry is a huge supporter of jobs and small business right across our State, to get the scene back and booming will provide more work and a greater injection into our economy.”
Applications have opened for event grants of between $5,000 and $50,000 for SA-based promoters, organisations and businesses to help meet costs, along with venue improvement grants of $5,000 and e-vouchers worth $400 each for venues to host live music.
Meanwhile, $250,000 will be provided to the Support Act music industry charity, which offers a free, confidential phone counselling service staffed by psychologists. The funding will also ensure South Australian music workers have access to a range of industry specific prevention, education and training programmes.
“Live music and performance venues are an important part of South Australia’s economy”
In addition, a $500,000 grant will see live music return to the Royal Adelaide Show’s programme for the first time in 20 years and will feature South Australian and Indigenous artists. The plan also includes the establishment of the Premier’s Live Music Advisory Council, which will bid to leverage the participants’ collective industry connections and expertise.
“South Australia is rebounding, and we want to do everything we can to come back better than before,” adds Adelaide-based MP Andrea Michaels. “Live music and performance venues are an important part of South Australia’s economy and integral to the development and employment of our talented local artists.
“Through these grants we hope to see a whole new calendar of live gigs and festivals during 2022 and 2023, offering audiences a great opportunity to get along to a music performance. Music events in venues, laneways, and public spaces will enrich our state and attract visitors boosting local businesses.”
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LIVE CEO Jon Collins on next steps for key issues
Jon Collins, the recently appointed CEO of live music industry umbrella group LIVE, has spoken to IQ about sustainability, diversity, consumer confidence and the spiking crisis, in the second instalment of a two-part interview.
In the first part of the interview, published last week, Collins discussed his approach to tackling VAT reduction, government engagement, post-Brexit touring and the cost of living crisis.
Here, the CEO sets out the remainder of his key priorities and his plan of action for each, going forward.
“We’re out of the habit of going out and we need to find ways to get people back out”
We’re post-Covid restrictions but still dealing with the impact they’ve had on customers’ confidence to go out to gigs. We’re just finalising some consumer research which found that 14% are reticent. And there is still that tranche of people who did go to gigs beforehand and are saying they’re not quite there in terms of being comfortable to go out. The average person is holding 2.3 tickets from events that have been rolled over so they’re waiting to go to those events before buying something else – in some cases because they don’t have as much disposable income.
You’ve got 55% whose attitude towards attending gigs, in general, has changed – with 20% of those saying they’re going to fewer events overall. Not having as much energy to go out and not thinking about going out counts for 15% each, and 13% say travelling to events now feels like a lot of effort. We’re out of the habit of going out and we need to find ways to get people back out.
One thing we would like the government to do is to encourage people to come out. I think it’s Spain where they gave people a couple of 100 euros to go and spend in their local economy. That drives activity, which drives tax take, so there’s demonstrable value there. But beyond that, we also think there could be a positive communications campaign, a bit like Let’s Do London. We’re world-class at live music, so let’s bang the drum about it.
“We’re looking to do is build out a Green Information Hub which will have the information there in an understandable way”
Live Green chair John Langford has done a brilliant job of corralling everybody around that net zero by 2030 commitment. There’s a whole workstream that flows out of that about how can LIVE support the organisations on our board to then support their members to be able to hit that target – which is not that far away.
There are lots of passionate, informed expert actors in this space – such as Earthpercent, Julie’s Bicycle, Music Declares Emergency etc – and we’re not going to claim to have the same level of knowledge and understanding – but what we do have is an ability to broadcast to the live music industry in an effective way through our structures. So what we’re looking to do is build out a Green Information Hub which will have the information there in an understandable way, sometimes drawn from our own auspices but often we will just be signposting to those brilliant organisations.
I feel very encouraged by how serious LIVE, and the organisations within LIVE, are taking this issue and also by the practical steps that they are taking to really reshape how the industry operates for things like green riders – which is an addendum to an artist’s contract. We’re looking at putting something around sustainability into the contract itself because once both parties have signed that, there’s no wiggle room.
“There’s a risk that diversity, equity and inclusion become a talking shop… we’re pivoting to focus on actions”
There’s a risk that diversity, equity and inclusion become a talking shop. It’s so broad that you can be paralysed. We’re pivoting away from talking about the issues to focusing on actions. The first step is looking at how we diversify the entrance into our industry. We know that there’s huge vacancy across all parts of live music, across broader hospitality, so actually, there’s sound commercial and economic logic to asking: are you looking at the most diverse talent pool possible? By doing that we foster a more diverse, inclusive workforce. You have to supplement that with action taken for people mid-career too and action taken for people who have stepped away from the industry but want to come back. So as ever, these things are multi-dimensional.
We’re doing an immediate piece of work right now with the home office around spiking and tackling that threat within the wider context of delivering safe spaces. It’s such an opaque issue and the evidence base is very difficult to get to. Some people say it’s being underreported and other parties say it’s been overreported. What we care about ultimately, is the safety of our customers. So what we want is to make sure is that we tackle spiking in a way that doesn’t suck resources away from spotting vulnerable people in other circumstances.
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Svensk Live launches Life is Live campaign
Swedish concert trade body Svensk Live has teamed up with performing arts group Svensk Scenkonst on a joint campaign aimed at encouraging fans to return to live events.
The Life is Live initiative has been launched ahead of what is shaping up to be a record year for the country in terms of shows following two years of Covid measures.
“The goal is to encourage and stimulate more people to take part in the living performing arts, which are once again open and accessible to all,” the organisations say in their mission statement. “During the pandemic, gigs and performances have been moved forward in different rounds at the same time as new ones have been added,” it says. “This is one reason why Sweden’s scenes are now heading for a record year in terms of supply.”
The campaign is being shared on outdoor screens in the country, as well as via social media.
“With the campaign, we want to remind you of the wonderful feeling of taking part in performing arts together”
“It is with pleasure that we welcome the audience back to a large and varied cultural offer, where there is something for everyone,” says Svensk Live operations manager Joppe Pihlgren. “During the pandemic, we have strengthened the cooperation between our organisations. The campaign is a result of that and the collaboration will continue.”
The bodies note that while many events are selling better than ever since restrictions were lifted, many people are waiting until much closer to showtime before buying tickets.
“Our members offer the audience a fantastically large and wide range throughout the country,” adds Svensk Scenkonst CEO Mikael Brännvall. “Each performance or concert is a unique event and it adds something extra to share that experience with others. With the campaign, we want to remind you of the wonderful feeling of taking part in performing arts together.”
Sweden announced it was lifting its coronavirus restrictions back in February.
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Live Performance Australia’s message for new PM
Trade body Live Performance Australia (LPA) has called on newly elected prime minister Anthony Albanese to deliver targeted support to the sector as it navigates a fresh set of challenges in the wake of of the Covid storm.
Albanese’s Labor party defeated Scott Morrison’s conservative coalition in the Australian election on 21 May and went on to secure a majority in parliament this week.
Congratulating the PM and his team on their victory, LPA CEO Evelyn Richardson says the live arts and entertainment industry is looking forward to forming a productive partnership with the government.
“Our industry is not looking for handouts”
“LPA stands ready to work with a newly formed Labor government to advance the economic, cultural and social interests of our nation,” says Richardson. “The first priority must be to deliver a revitalised cultural policy this year, with clear strategic priorities and investment to rebuild the industry. We are ready to hit the ground running.
“Our industry is not looking for handouts. We strongly believe that public investment in arts and entertainment delivers significant economic and cultural value. Australia needs a vibrant arts and entertainment industry to contribute to our economic recovery and drive social and cultural wellbeing – at a time when it’s never been needed more.”
Covid-19 stripped the domestic live entertainment industry of AUS$1.4 billion in revenue during 2020, according to a study published last year by the LPA’s Ticket Attendance and Revenue Report. Australia imposed some of the world’s strictest travel bans after shutting itself off in March 2020.
And despite the country reopening its international border in February for the first time in nearly two years, Richardson warns the business is not out of the woods yet.
“We’ve lost billions in revenue plus thousands of people across the industry and now face a severe skill and labour shortage”
“Our industry faces a new set of challenges as we manage the ongoing challenges of transitioning to living with Covid,” she says. “Before Covid, our industry was a vast ecosystem of small, medium and large businesses, sole operators and tens of thousands of performers, artists, creatives and technical crew. We’ve lost billions in revenue plus thousands of people across the industry and now face a severe skill and labour shortage, the worst ever experienced by the industry in living memory.
“Targeted support to rebuild skills, and to underwrite and attract investment will enable us to create jobs, create new work, get more shows on stage, our touring networks re-established, and broaden our audiences both here and internationally. This will support not just our artists and industry, but all the associated upstream and downstream businesses which depend upon live events as stimulus.
“We look forward to working with a new, energised government that values who we are and what we contribute, in the months and years ahead.”
LIVE CEO Jon Collins sets out key priorities
Collins was appointed following a 25-year career running representative organisations in the hospitality industry. His most recent role was as chairman of the Institute of Licensing and the National Licensing Forum. He has also held roles including lead author for the Greater London Authority’s (GLA) Night Time Commission for London and as a senior adviser to UK Hospitality, where Collins focused specifically on late night and music licensing issues.
According to Collins, there is “no shortage” of issues facing the sector but in this first instalment of a two-part interview, he focuses on four of the most pressing matters.
VAT reduction, government engagement, post-Brexit touring and the cost of living crisis are top of the CEO’s agenda and, here, he sets out his plan of action to tackle each item.
“I think a cultural VAT rate of 5% on ticket sales would send a great signal about the government’s attitude to culture and live music within the UK, recognising its role as a driver of tourism, both domestic and international. It would actually boost the government’s Levelling Up agenda too because live music sits right across the country.
“Plus, it would be an economic generator that would make more venues viable and gigs more affordable. It’s going to put more money back in to allow us to keep more money in the industry, which allows us to pay artists better, pay students better, pay bar staff better. And we know that thriving live music venues act as a hub for culture-led regeneration in an area, all sorts of neighbourhoods up and down the country where they’re either defined by an existing music venue or they can be transformed when a venue moves in.
“There are cultural rates in a couple of dozen other countries, which are probably somewhere between 5 and 10%, so we think there’s established precedent elsewhere to say this is a good idea. We need to do another piece of economic research to show that if they cut VAT, the cost will be offset via reduced tax revenue. If you keep venues open and they put on more gigs, you’re getting 5% of a bigger cake than you would have had from the current 20% VAT rate.
“Then there are the other multiplier factors that would benefit the economy but we don’t have those numbers to hand yet, so we need to build that case. If we can get if we can win the arguments with the Treasury, then we might be close to getting the political decision-makers to press the button on it. I would love to think we’re close on this one but my guess would be that it’s a two-year campaign.”
“I think a cultural VAT rate of 5% would send a great signal about the government’s attitude to culture and live music”
Cost of living crisis
“It’s not in any industry’s gift to put more money into the consumer’s pocket, so the first thing we can do add pressure on the government to say they need to take steps to support households so that they do have disposable income and can visit their local gig venues. That money will then go back into the local economy and is a good investment to make. And then you can look at what the government could do to give operators and promoters and festival organisers more leeway to make cheaper tickets available. That brings you back to VAT and also business rates, which is such an outmoded, old fashioned system that just doesn’t work anymore and certainly doesn’t address the balance between the clicks and bricks economies.
“In New York, if a theatre doesn’t have an event on, they don’t pay rates on the auditorium. They only pay rates on the office space that is actually being used or maybe the kiosk on the curbside here. We don’t have that flexibility. So we think now would be a really a sensible idea – if there’s nothing going on in the theatre or a good venue or an arena then give them a break. Otherwise, you end up just constantly trying to make the space being used, which can mean you don’t have the time to actually do any refurbishments in the venue.”
“I want to have half a dozen figures that I can use to say, ‘This is why it’s in your interest to support live music'”
“With LIVE’s multi-year funding and its expanding member base, we’ve definitely sent a message to government that it should take this sector seriously. The thing with policymakers is they change every five minutes. I think the average lifespan of a minister in a role is about 18 months. So you send the message, but you have to keep sending it and refining it and amplifying it.
“Greg [Parmley, former LIVE CEO] worked with Chris [Carey, LIVE chief economist] to produce a robust report very quickly that said this industry has a £4.5 billion GVA and employs 210,000 people. They are take-me-seriously numbers at a time when most people felt our industry wasn’t being taken seriously. If we’re very honest, we probably still feel we’re not taken seriously enough and so that’s another challenge for me is to make sure that government is unable to underestimate us. We will be taking every opportunity we can to put those numbers forward, talk about the industry, how many people we employ, the regeneration that happens, the tourism etc. So we’re talking with multiple partners at the moment to try and pull all of these facts and figures together. I want to have about half a dozen figures that I can use to say, ‘This is why you have to support this sector – this is why it’s in your interest to support live music’.”
“A cultural exemption would just remove all of these [post-Brexit touring] issues”
“The LIVE touring group, brilliantly chaired by Craig Stanley, has done a tremendous job of trying to negotiate through government and then the EU for those post-Brexit touring challenges. But there is more to do because there’s not a stable framework.
“We’ve got the dual registration, which works for the larger specialist hauliers for this summer. We think we’re going to get a statutory instrument, probably when parliament comes back after the summer, around September, that will formalise that. Then there has also been progress on splitter vans, ferries and the Eurotunnel.
“But we know none of this solves the issue for a swathe of hauliers in the squeezed middle as we’re viewing them now. There is no obvious solution [for the squeezed middle]. There may be ways that they could find to step into that dual licensing regime, but that’s not cheap and not straightforward. The dual registration also doesn’t help own-account operators, which is the vast majority of British orchestras because of the particular needs of the classical music sector. So we continue to put the pressure on there.
“One of the things that LIVE was able to achieve just before I joined was to get a seat on the domestic advisory group of the trade and cooperation agreement between the UK and the EU. It’s basically the group that advises the UK government as it looks to shape its relationship with the EU going forward. We want to talk about the bigger ask of cultural exemption for artists and the technic technical teams and kit. I think it’d be almost impossible to get that before 2024 which is when the trade and cooperation agreement is next to be negotiated. So, we’ve probably got a couple of years of trying to make wins in a piece-by-piece way, while having that overarching target of the cultural exemption because that would just remove all of these issues.”
Oz study findings ‘wake up call’ for live business
The Australian live business has been warned the findings of a workforce survey should serve as a wake-up call to the state of mental health in the sector.
Participants in the first Mental Health and Wellbeing in Music and Live Performing Arts study included musicians, songwriters, production crew, managers and producers, with 66% of those surveyed reporting high-to-very high levels of psychological distress – four times greater than the general population.
Conducted this past March and April by the Centre for Social Impact Swinburne, in conjunction with music charity Support Act, the study has identified the need for further improvements in the creative industries.
“Participants in this research identified a need for further financial and mental health support for people working in music”
“Participants in this research identified a need for further financial and mental health support for people working in music and live performing arts, as well as a need for broader change within the sector and government support to enable this,” says research fellow at the Centre for Social Impact Swinburne, Dr Aurora Elmes.
“People want to see action towards improved working conditions and work environments that are safe for everyone’s mental and physical health.”
Covid-19 was a common factor in the results, with more than 47% of respondents losing their jobs as a result and almost two-thirds saying the pandemic had impacted their mental health. In addition, 61% said it had affected their feeling of being part of an industry community, and 56% noted increased feelings of loneliness or social isolation.
Dr Elmes adds that the research indicates that people in music and live performing arts continue to face job insecurity and work environments that can be unsafe for physical or mental health.
“It reveals the ongoing effects of added stressors arising from the Covid-19 pandemic”
“On top of existing issues with working conditions, it reveals the ongoing effects of added stressors arising from the Covid-19 pandemic on people’s work, income, social connectedness, and mental health,” she says.
Additional findings from the survey of more than 1,300 industry professionals included that 35% reported a current mental health condition, 29% reported having an anxiety condition, and 27% reported having depression – all well above the national average.
More than a third reported incomes from their work in music/live performing arts as less than AUS$30,000 per annum, and only 15% said they always felt safe at work.
Read the full report here.
Dutch live sector report reveals corona impact
A new report on the Dutch live music sector has laid bare the dramatic impact of the Covid crisis on concerts and festivals.
The Netherlands’ touring scene enjoyed a record year in 2019, attracting 2.7 million visitors to events, but that figure plummeted to 328,000 in 2020 – with 94% of that year’s shows pre-dating the spring lockdown – according to the new Monitor Festivals & Concerts study published by Respons and the Association of Event Makers (VVEM).
In addition, the number of festivals fell from more than 1,100 in 2019 to a record low of 155 in 2020, before rebounding slightly to 343 in 2021.
“Festivals and concerts are the big corona losers”
“Festivals and concerts are the big corona losers,” says VVEM spokesperson Willem Westermann. “The figures for 2020 and 2021 are dramatic after the records of previous years.
“We hope that 2022 will be the year of recovery. We have seen that the sector has a lot of creativity, but you just have to experience concerts and festivals live.”
The best-attended concert series of 2020 was Holland sings Hazes, with 49,000 visitors. In 2019, the series reached fifth place in the ranking with 68,000 visitors.
In 2021, Dutch party act the Snollebollekes led the list, playing to 100,000 fans over four nights at the Gelredome in Arnhem. The report also notes that the 2021 Amsterdam Dance Event attracted 350,000 visitors across five days.
The Dutch government finally lifted all remaining Covid restrictions on live events in March this year after tireless lobbying from the sector.
The latest on live music’s supply chain crisis
The perfect storm impacting touring’s supply chain ahead of the industry’s biggest summer in years took centre stage at ILMC.
Chaired by Kilimanjaro Live CEO Stuart Galbraith, The Supply Chain: Restock, repair and recruit panel focused on the ongoing issues caused by the sector’s staffing exodus since the onset of Covid-19.
Galbraith noted that, with tens of thousands of freelance workers – and full-time staff – having left the industry over the past 24 months to find jobs elsewhere, shortages remained across the board.
“One of the key problems at the moment – and that’s been the case from last August, September and then through Christmas and now, as we head into what will be undoubtedly the busiest festival season ever in the UK and many other territories – is actually there just aren’t enough staff,” said Galbraith. “So many people have left our industry, whether it be riggers, bar staff, security, truck drivers, etc.”
It’s the task of everybody to bring in new talents and teach them”
Okan Tombulca of eps said that the uncertainty around the restart had deterred a significant section of the workforce from returning.
“A lot of people from the industry had other jobs and they said, ‘Listen, I’m happy to come back. But not only for two or three months, because then I’ll lose my other job,'” he said. “A lot of promoters brought in a lot of young people without any experience and the workload was really high. We saw many people burned out after the three months… It was just too much.”
Tombulca said that training the next generation of backstage talent was of paramount importance.
“It’s the task of everybody: promoters, service companies, that we bring in new talents and teach them,” he said. “We, as eps, were fortunate that we didn’t lose too many people. Nevertheless, we are very, very concerned about staffing.”
“We were trying to do eight months’ work in three months, with probably half the number of people”
Festival Republic’s Becky Grundy, event manager for festivals such as Reading and Creamfields South, described last summer’s season as the most challenging of her 25-year career.
“We were trying to do eight months’ work in three months, with probably half the number of people,” she said. “There was the uncertainty about when things would open up and the availability of equipment, because most of it was tied up on government testing sites. Working under those circumstances, you’re making 1,000 phone calls when you could be normally making 10. But it increased the dialogue between everyone in the industry. We couldn’t have got through it without the support of the suppliers.
“We did seven or eight full capacity events from July through to September and we didn’t really start bringing people back to work on those until May, so it was a lot of work to achieve in a very short space of time.”
ASM Global’s Ailsa Oliver, general manager of Utilita Arena Newcastle, called the circumstances around last year’s restart in the UK as a “nightmare” and said the situation was still some way from returning to normal.
“I’d like to say it’s fine [but] it’s not fine,” she said. “I think we’re possibly getting used to it. Our resilience plans are working. We’re working very collaboratively with our providers locally and really thinking about how we value our workforce and how we encourage people to come back to the industry, or just to join the industry. Because there’s been two years where they didn’t even know there was an industry to come back to.”
Oliver added that staffing costs were up “25 to 50%” in some cases. “Some of that is linked to Covid and hygiene protocols, and additional work is required from that,” she said. “But yeah, it is up to 50%-plus in certain roles.”
“There are no restrictions, but we have a lot of artists coming in who are still very much aware of Covid and want the safety procedures”
CEO of UAE-based Flash Entertainment John Lickrish said the company’s biggest challenge related to content.
“Getting content in a six-hour minimum flight, logistics and operations was really challenging during the Formula One [Abu Dhabi Grand Prix of December 2021] where we had four big concerts and Foo Fighters cancelled at the last minute,” he said. “Trying to get a backup artist, or anyone to come and perform, was next to impossible.
“We were working directly with the airlines and with the authorities to make concessions about Covid, but we couldn’t get the equipment in. We ended up sourcing two people who happened to be in the UAE: one was in Dubai and one was in Abu Dhabi for F1, so it was a bit of a challenge. We used to be able to snap our fingers.”
Xenia Grigat of Copenhagen-based promoter and booking agency Smash!Bang!Pow, brought the session up to speed on the state of play in Denmark.
“We didn’t have a festival season last year, but we did some headline shows,” she said. “Of course, the majority was with local artists – it’s just recently that we have had international artists coming in, with all the challenges that that brings with it.
“There are no restrictions, but we have a lot of artists coming in who are still very much aware of Covid and want the safety procedures that we cannot uphold because we can’t enforce that on the audience any longer. We get it that they want to have the audience wearing face masks and want crew to be tested, which we can do to some extent. But backstage, it’s still taking up resources.”
“Every change is also an opportunity to get to the next level”
Galbraith said that while Covid was “pretty much done” in the UK, there were still knock-on effects relating to neighbouring markets.
“It’s certainly done in the public areas of concerts and backstage pretty much too, but we’ve got artists that are coming in to the UK and touring who are still working on protocols based on what’s happening in Europe,” he said. “And they’ve got to, because they’ve got to go back there – and they can’t go back there with Covid because they have to quarantine there and they’ll lose the shows.”
Ending on an upbeat note, Tombulca suggested how the business could use the crisis to improve its inner workings.
“Every change is also an opportunity to get to the next level,” he said. “This situation is also bringing a lot of new ideas. From the vendors to the service companies, we’re developing a lot of new products, which are more sustainable and need less labour and transport capacities.
“We are forced to do that because we all know at the moment, we might be in a good position, because the demand is higher than the offer. But we all know in two years time, you guys will squeeze us again. So we have to be prepared for it, without doubt.”
ASM Global announces Clorox hygienics partnership
ASM Global has announced a partnership with The Clorox Company to enhance health and wellness in venues across the US.
The multi-year “advanced hygienic” link-up will span ASM’s portfolio of arenas, stadiums, theatres and convention centres, with Clorox products, including disinfecting wipes, hand sanitiser and electrostatic sprayers, used to help protect fans and guests.
To honour Covid frontline responders and health care workers, Clorox will also provide $1 million in tickets to premier sports and entertainment events across the country.
ASM previously initiated a series of hygiene protocols, dubbed VenueShield, in 2020 to provide “trusted protection” for visitors in response to Covid-19.
“Clorox’s industry-leading solutions allow us to continually enhance the quality of our event experiences”
“Since the very start of the Covid pandemic, our focus has been on reimagining the future of live events and preparing clean and safe venues for the return of our team members, athletes, fans, partners and guests,” says ASM Global president Ron Bension. “Clorox’s industry-leading solutions allow us to continually enhance the quality of our event experiences, and we’re excited to partner with them in honouring the heroic workers that have supported all of us as we’ve navigated through the pandemic.”
ASM and Clorox will officially launch their partnership at the Oakland Arena in California on 1 June, prior to rolling it out to the venue giant’s other US facilities, with an eye toward expansion across a wider portfolio of worldwide venues.
“Clorox is committed to supporting people’s health and well-being no matter whether they’re at home or out in the world, which is why we are incredibly excited to be working with ASM Global,” adds Tad Kittredge, VP and general manager at Clorox. “It’s especially rewarding to extend our support to those who have been on the frontlines during the pandemic with the well-earned thanks they deserve.”
LGBTIQ+ List 2022: Submissions now open
Submissions are now open for the LGBTIQ+ List 2022 – IQ Magazine‘s second annual celebration of queer pioneers in the international live music business.
Launched last year as part of IQ Magazine’s first-ever Pride edition, the list highlights and profiles lesbian, gay, bisexual, trans, intersex and queer professionals contributing to, improving, or making an impact in the international live entertainment business.
Anyone who works in the global live music industry can put themselves forward, or be nominated by friends or colleagues.
Anyone who works in the global live music industry can put themselves forward, or be nominated by friends or colleagues
The final list will be decided from nominations, alongside an invited steering committee made up of individuals from key companies across the business and last year’s LGBTIQ+ List.
Finalists from last year will not be eligible for the LGBTIQ+ List 2022, in order to give others a chance to fly the flag. A full list of last year’s 20 outstanding queer professionals can be found here.
To submit yourself or someone you know for the LGBTIQ+ List 2022, email Pride editor Lisa Henderson with details of your nomination, and the reason why they should be on the list.
The deadline for submissions is Wednesday 8 June, giving you three full weeks to spread the word.