Movers & Shakers: UTA, AEG, DWP
Music agents Zach Iser and Caroline Yim have joined UTA, where both will serve as partners and agents in the music department.
The Los Angeles-based pair join UTA from WME, which they joined in 2021 as partners and co-heads of hip-hop and R&B. Prior to that, they were with CAA for three years.
Both have a proven track record of working with some of the biggest names in hip-hop and R&B, including Anderson. Paak, Doechii, Kehlani, SZA and Future.
“We’ve long admired the way Zach and Caroline discover, nurture and build the careers of artists,” says UTA president David Kramer. “We’re thrilled to welcome them to UTA and have our clients benefit from their command of the hip-hop and R&B arena. We will continue to invest in music and remain focused on providing our artists with the absolute best pathway to thrive.”
Elsewhere, AEG global partnerships veteran Paul Samuels has been elevated to president, having clocked in 17 years as executive vice president.
In the US, Danny Hayes is leaving Danny Wimmer Presents, where he has served as chief executive and partner for more than a decade. Wimmer will resume the top position.
During Hayes’ time at the company, DWP has grown into one of the largest rock festival promoters in the country with a staple of events that include Aftershock Festival in Sacramento, Bourbon and Beyond and Louder than Life in Louisville, Inkcarceration in Ohio, Sonic Temple in Columbus, Ohio and Welcome to Rockville in Daytona Beach, Florida.
Kerem Turgut, meanwhile, has announced his departure from All Things Live Middle East, where he was a promoter for over a year. The 2023 New Boss, who has previously worked at Dubai Opera and Zorlu Performing Arts Centre in Turkey, has not announced his next role.
“We’ve long admired the way Zach and Caroline discover, nurture and build the careers of artists”
Live entertainment company Opry Entertainment Group (OEG) has named Tim Jorgensen as vice president of operations on its Austin, US, team.
In the new role, Jorgensen will lead OEG’s Block 21 businesses in the city, including ACL Live, 3TEN and W Austin. In addition to leading strategic direction for the Block 21 complex, he will oversee day-to-day operations at ACL Live and 3TEN. Jorgensen will report directly to Gary Scott, COO at Opry Entertainment Group.
Jorgensen previously worked at ASM Global, overseeing arenas, stadiums, convention centres and theaters and helping launch the Thunder Ridge Nature Arena in Missouri. He also recently served as president of full-service production labour company Crew One Productions, leading strategic acquisitions and overseeing its festival division. He previously held leadership roles at Live Nation and House of Blues Entertainment.
Defected, the UK-based record label and festival promoter, has appointed Steven Braines as its new head of events.
Starting this month, Braines will take over from Nick Mizzi who departs the business in May. Braines will report into Defected’s global director of events & talent George Pritchard, driving the strategies for the touring Defected, Glitterbox and D4 D4nce brands.
Braines co-founded the award-winning international label and inclusive events series He.She.They alongside Sophia Kearney, launching events in more than 20 countries, including takeovers with Glastonbury, Coachella, a multi-year residency at Amnesia Ibiza and collaborations with brands such as Apple, Adidas and Ballantines.
Braines, who was recognised in IQ‘s first-ever LGBTIQ+ List, will continue to fulfil his commitments at He.She.They alongside his new role at Defected.
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FOCUS Wales dedicated to ‘healthier future for music’
FOCUS Wales, the country’s largest music industry event, returns to Wrexham between 8–10 May.
The conference and showcase event brings together over 400 industry professionals and more than 250 artists from across the globe.
This year’s conference is dedicated to building a healthier future for music, exploring evolving best practices, artist well-being, sustainable industry growth, and fostering a more equitable landscape for both performers and industry professionals.
Neil Ingham, executive director of Samaritans, will open Focus Wales 2025 with a keynote on the transformative impact of deep, empathetic listening in suicide prevention. Cardiff University will return to share updates on Prosiect Pūtahitanga, reflecting on music and language connections between Cymru and Aotearoa, alongside a visiting delegation from New Zealand.
Another session, led by PPL, will examine evolving priorities for labels, artists and their teams, weighing the balance between data-driven strategies and more traditional, fan-focused campaigns. Speakers will include Katherine Cantwell (Heavenly Recordings), Brad Kulisic (Lambrini Girls/Pigsx7), and Joe Howden (Dark Arts Digital). Meanwhile, Meg Devereux (Marshall) will be joined by Nova Twins and Henca Maduro (New Skool Rules Festival) to explore ways to better support grassroots musicians in building sustainable, long-term careers.
LIVE, meanwhile, will host a panel exploring what it takes for artists to break through to headliner status in 2025 and beyond, with insights from Nicklas Damkjær (Roskilde), Dev Sherlock (SXSW), Connor Cupples (Crosstown Promotions), Megan Evans (Deer Shed Festival), and Beckie Sugden (CAA Agency).
This year’s conference is dedicated to exploring evolving best practices, artist well-being, sustainable industry growth and more
British Council Wales will lead a discussion on the role of showcasing in fostering peaceful cultural exchange, with contributions from Ísleifur Thorhallsson (Iceland Airwaves), Alona Dmukhovska (Music Export Ukraine), Cecilia Soojeong Yi (DMZ Peace Train Festival), Asifuzzaman Khan (Dhaka International Folk Festival), and Login Kochishki (PIN Conference).
The Music Venue Trust will host a hands-on workshop to help attendees articulate their ethical values and demonstrate social responsibility — key factors in securing funding and building a resilient, future-proof industry. In addition, a series of panels and workshops will be presented by leading industry organisations such as PRS Foundation, PRS for Music, Sound Roots, Beacons Cymru and Eisteddfod Genedlaethol, alongside the festival’s new media partner, IQ magazine.
Beyond the conference, FOCUS Wales will facilitate international partner showcases hosted by M for Montreal, BreakOut West, Nova Scotia Music Week, Catalan Arts, Spanish Wave, CNM France, Westside Music (Sweden), Way Up North (Denmark), Wide Days (Scotland), and more to be announced.
Among the guests heading to Wrexham this May are KEXP’s Senior Programming Advisor & Variety Mix DJ/Host Kevin Cole, journalist and podcaster Mark Sutherland, Jose Marihno and Caroline Thiévent from Radio France Internationale (RFI), Jean-Louis Brossard, co-founder of the legendary French festival Transmusicales, Michel Attia, Head of Bookings and Events at Austrian national radio station FM4, Paola Wescher, director of booking at Last Tour PT and founder of Latina in Brazil, and Anne Runge, a curator and promoter who programmes Northern Germany’s acclaimed Fusion and at.tension festivals.
The FOCUS Wales industry conference will take place alongside the festival’s 250+ strong lineup of artists performing across 20 stages in Wrexham city centre over the three-day event.
Delegate passes are on sale now via focuswales.com. Passes grant access to all conference events, private networking sessions, the pre-festival showcase, the online delegate database, and all live performances with priority entry.
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Equal pay, a seat at the table: Women demand equality
Equal pay has been named the top accelerator for gender equality by women working in the international live music business.
With International Women’s Day taking place tomorrow (8 March) under the theme of Accelerate Action, IQ asked executives to name one thing that would make the industry a more equitable environment for women.
“To create a more equitable industry for women, equal pay is essential—without it, there is little incentive to stay or advance,” says Jana Posth, festival director of Rock am Ring in Germany.
Rauha Kyyrö, FKP Scorpio’s co-president of touring & artist development, reiterated the sentiment, adding: “Regardless of an employee’s gender, the industry should pay equal wages.”
But as many executives pointed out, transparency around salaries is the first step to eradicating the gender pay gap. Wasserman Music’s Flo Noseda says that this should start early in the process, when companies are advertising a position.
“Let’s see who’s really delivering progress and who’s delivering rhetoric”
“[Adverts] that say “competitive” or “DOE” usually means “underpaid” and when there is no gauge at all it can waste people’s time and mean that people (especially women) can be underpaid from the offset,” she tells IQ.
One Finiix Live’s Jess Kinn would like the transparency to go a step further, with companies forced to publish everything from policies to promotions.
“I’d like to see a body with teeth – like the DCMS – survey the top 50 music companies in the UK with questions about how their gender equality policies are actually working in practice eg: What proportion of your promotions went to women in the last year? What proportion of your leadership team are women? What are you doing to encourage women into the industry? Make the results public, then we can really see who’s delivering progress and who’s delivering rhetoric.”
Having spent the majority of her career as “the only woman in certain rooms,” ASM Global’s Anna Sjölund has called for better representation in the boardroom.
“Women belong in all places where decisions are being made. It shouldn’t be that women are the exception,” she said, quoting Ruth Bader Ginsburg, the late American lawyer and fierce advocate for gender equality and women’s rights.
“Stop defining us by our gender e.g. a female agent”
“In our industry there are still plenty of rooms where the women are the exception and the ones that have the power to change that are the men in majority,” she continues. “If you never leave your seat – no one else gets the chance to fill it.”
Sam Oldham, venue director at The O2, agrees but warns companies that it’s not enough to just have token representation at the table. “Actively seek out diverse perspectives. Make a concerted effort to ensure all voices are heard and provide a safe space to do so, in which minorities feel comfortable coming forward with their views.”
As Ticketmaster’s Sarah Slater points out, the board room isn’t the only place that women’s voices and ideas should be heard and praised. “Hype women up—especially when they’re not in the room. Create space for their voices where they’re often overlooked. Amplify their work, share opportunities, and make sure they get the recognition they deserve. No gatekeeping—just lifting each other higher.”
CAA agent Beckie Sugden, meanwhile, is keen to remind the industry that colloquial language plays a key role in gender equality.
“Stop defining us by our gender e.g. a female agent etc,” she says. “I’ve never heard anyone say male agent before so why is this defining tag necessary for women? In my example I am an agent that happens to be a woman not a female agent! I have to check myself on this also as it so deeply entrenched in how we talk about ourselves and women in general. Until the language and narrative, we use daily changes nothing will change. The tags reinforce us as second class citizens on so many levels!”
“Pay us equally, respect our boundaries, and stop expecting us to do your admin!”
As Mojo’s Kim Bloem underscored in her Q&A, flexible hours and working conditions are crucial components for women juggling a career and motherhood.
Roundhouse’s Lucy Wood echoes this sentiment, adding: “I think it would be a great thing for organisations to adopt a policy of allowing parents to expense evening/night care costs, in my case this would be covering babysitting while I’m out at gigs, but could be for anyone with caring responsibilities more generally.”
LIVE’s Gaby Cartwright, meanwhile, says that raising awareness among individuals who do not menstruate or experience menopause is crucial to making the industry a more equitable environment.
“It’s important to highlight how menstruation and menopause can significantly impact both the day-to-day lives and professional experiences of individuals in the workplace, especially within the industry,” she tells IQ. “By fostering this understanding, we can create more supportive and inclusive environments that accommodate the needs of all employees.”
Put simply by Raven Twigg, ASM Global: “Pay us equally, respect our boundaries, and stop expecting us to do your admin!”
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Amyl and The Sniffers to deliver Futures Forum keynote
Australian punk rockers Amyl and the Sniffers have been confirmed as the keynote interview for next week’s ILMC Futures Forum.
The conference for next-generation live music business leaders will return to the Royal Lancaster Hotel in London on Friday 28 February 2025 as part of the ILMC.
For the final session of the day, Amyl and the Sniffers frontwoman Amy Taylor will sit down with BBC Introducing’s Abbie McCarthy to discuss the band’s illustrious live career, her take on the business, and the band’s recent album Cartoon Darkness.
Formed in a Melbourne share house in 2016, Taylor, Dec Martens (guitar), Gus Romer (bass) and Bryce Wilson (drums) have enjoyed a rapid rise over their near-decade of existence.
“The band are on the brink of transforming critical acclaim and cult status into something much bigger”
Their explosive live shows have earned them three sold-out shows at London’s Roundhouse, support slots with Foo Fighters, The Smashing Pumpkins, Weezer, Fall Out Boy, and Green Day, and festival appearances at Glastonbury, Primavera, Best Kept Secret and Bandland. Meanwhile, their firebrand discography has continued to draw critical acclaim, with CLASH dubbing their most recent LP Cartoon Darkness as “The most important moment for rock music in 2024… album of the year”.
This year, the BRIT-nominated band will embark on what looks to be their biggest 12 months yet, including an extensive world tour and appearances at Coachella, Hurricane/Southside and more. As The Guardian wrote, “The band are on the brink of transforming critical acclaim and cult status into something much bigger”.
Amyl and the Sniffers are represented by ATC Live (EU/Asia/Latam), Arrival Artists (NA) and Supersonic (AUS/NZL).
News of the keynote comes after Futures Forum unveiled the full speaker lineup, which includes Connie Shao (AEG Presents), Jess Kinn (One Fiinix Live), Raven Twigg (ASM Global), Dotun Bolaji (Primary Talent International), Beckie Sugden (CAA), Alice Hogg (ATC Live), Kara Harris (Live Nation) and many more.
Passes include a full day of innovative programming, a five-star lunch, refreshments, drinks, and networking opportunities.
For more information or to purchase passes, click here.
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All aboard: ILMC 37 sells out
The largest-ever International Live Music Conference (ILMC) has sold out, with over three weeks to go.
The leading gathering of international live music executives will return to London’s Royal Lancaster Hotel between 25-28 February, with a record 2,500 professionals in attendance.
This year’s new-look, refreshed programme includes Question Time, which will see top industry leaders tackle questions submitted by conference delegates, and Meet The Fans – a fan focus group that gives the industry a chance to hear directly from regular gig-goers.
Another new element, Middle East Live supported by OVG, will comprise two dedicated sessions on the rapidly expanding region: a state of the nation review and a venue focus.
As previously announced, Superstruct co-founder James Barton will be the Hotseat interview for ILMC 37. A raft of other industry heads have also joined the bumper programme.
“We’re very pleased to have sold out ILMC almost a month before the event and the team is incredibly busy preparing every aspect of the conference to ensure this is the best edition ever,” says ILMC managing director Greg Parmley.
“ILMC is an event that exists for its members, providing a valuable opportunity to discuss some of the biggest issues facing the industry, and we are pleased that it maintains its position as the must-attend conference for international live music execs.”
“The team is incredibly busy preparing every aspect of the conference to ensure this is the best edition ever”
Passes are still available for Futures Forum (Friday 28 February), Touring Entertainment LIVE (Wednesday 26 March), and the Green Events & Innovations Conference (Tuesday 25 February).
Taking place on the final day of ILMC, Futures Forum brings together the people who currently define the business with the emerging execs who are driving its evolution.
Panel topics this year include new booking strategies for festivals, evolution of venues, tour marketing, new global touring markets, alternative revenue streams for artists, a series of 12-minute soapbox sessions, and much more.
Running alongside the core ILMC programme, Touring Entertainment LIVE gathers the world’s top show and exhibition producers, rights holders, venue operators, and promoters for a dedicated day on this multibillion-dollar sector.
Panels include Lands of Opportunity, in which CTS Eventim’s Susan Gloy-Kruse looks at the hottest touring products; Find the Gems examines changing tastes and where to find the next big show; Marketing Masterclass will see FKP Scorpio Entertainment’s James Cassidy discuss ways to maintain interest in a product and maximise marketing effort; and Making Waves involves a high-level discussion with some of the industry’s senior execs.
The 17th edition of GEI takes place on the first day of ILMC and includes sessions such as How Fan Travel F*cks Up Your Carbon Balance; Act 1.5 & Beyond, which evaluates Massive Attack’s recent proof-of-concept, low-carbon gig; sustainable disabled event access in No Climate Action Without Us; plus topics such as greener touring, water & sanitation, food & drink, a keynote conversation, and the 2025 International AGF Awards.
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ILMC 37: Industry leaders join bumper programme
The countdown is on to the 37th International Live Music Conference, with a raft of new speakers joining the conference’s largest-ever programme.
The leading gathering of international live music executives will return to London’s Royal Lancaster Hotel between 25-28 February, with around 2,500 professionals expected to attend.
With five weeks to go, executives from FKP Scorpio, AEG Presents, Live Nation, Oak View Group and ASM Global have joined the speaker line-up.
FKP Scorpio’s Folkert Koopmans joins The Open Forum on Wednesday 26 February, while FKP’s Rauha Kyyrö is set to chair Ethics & Activism: Adapting to artist and fan views.
Festival Formats: Survive & thrive sees Alex Bruford from ATC Live take the chair, and Kelly Stelbasky from AEG Presents joins Pricing the Ticket: Balancing expectations.
The Venue’s Venue adds Tom Lynch from Live Nation EMEA, and Marie Lindqvist from ASM Global takes the chair for Wellness vs The Industry. The speaker lineup so far can be found here.
As previously announced, Superstruct co-founder James Barton will be the Hotseat interview for ILMC 37.
This year’s ILMC ushers in a new-look, refreshed programme, with session formats that range from question times to fan focus groups and panels to keynotes.
This year’s ILMC ushers in a new-look, refreshed programme, with session formats that range from question times to fan focus groups and panels to keynotes
A new element of the conference is Middle East Live supported by OVG, which will comprise two dedicated sessions on the rapidly expanding region: a state-of-the-nation review and a venue focus.
Other new additions to the programme include Question Time, which will see top industry leaders tackle questions submitted by conference delegates, and Meet The Fans – a fan focus group that gives the industry a chance to hear directly from regular gig-goers.
The Arthur Awards 2025 and the Gala Dinner will return on Thursday 27 February, with just a handful of tickets left.
Similarly, tickets for the third edition of London Calling – now rebranded as Soho Calling – are flying off the shelf. The showcase event takes place on Wednesday 26 February, bringing together over 20 exciting emerging artists to six of Soho’s iconic stages: The 100 Club, 21Soho, The Lower Third (presented by DIY Magazine), Phoenix Arts Club, The Social, and The Forge.
Performers include Tom Aspaul (UK), Monster Florence (UK), Giift (DK), Bluai (BE), Kai Bosch (UK), Lola Moxom (UK), Punchbag (UK) and Really Good Time (IE).
Also taking place on Wednesday 26 February is Touring Entertainment LIVE, which will offer a full day of big-brand live entertainment, exhibitions and touring family shows. The Greener Events and Innovations (GEI) Conference will tackle sustainability in the live sector throughout Tuesday 25 February and Futures Forum will offer a programme geared towards young and early-career live music professionals on Friday 28 February.
Key partners on ILMC 37 include Live Nation, Ticketmaster, CTS Eventim, ASM Global, Tysers Live, BWO Entertainment, AXS, Showsec, DEAG & LMP Group.
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Second round of ILMC’s bursary scheme closing soon
The second round of the Alia Dann Swift Bursary Scheme, supported by ASM Global, will close for applications on 3 January.
The scheme offers 30 young executives a full complimentary delegate pass to the 37th edition of ILMC at London’s Royal Lancaster Hotel between 25 and 28 February 2025.
Each bursary recipient will also be twinned with a dedicated industry mentor and benefit from additional networking opportunities both during and after the conference.
ASM has agreed to extend the scheme in 2025 to include six months of additional mentoring consisting of five monthly meetings post-ILMC, and access to the firm’s senior management during that period for any questions.
The long-running programme is intended to provide a route for live music’s brightest upcoming executives to participate in ILMC for the first time and build their network. This year will see the 150th mentee attend ILMC as part of the long-running scheme.
Places for the 2025 bursary are allocated in three rounds, ending 22 November, 3 January, and 7 February. More information can be found here.
“Nurturing the next generation is essential to keeping our industry alive”
“Nurturing the next generation is essential to keeping our industry alive,” says Chris Bray, president of ASM Global Europe. “Whether it’s emerging creatives, talented artists, or future executives and agents, there’s no shortage of remarkable talent ready to make their mark. At ASM Global, through ASM Global Acts, we’re proud to create meaningful opportunities that help young professionals take their first steps in the live entertainment business.
“Our partnership with ILMC’s Alia Dann Swift Bursary Scheme is a key part of this mission. With just 30 bursary places up for grabs and applications still open, now is the time to apply. We look forward to meeting the 30 bursary recipients next February at ILMC and celebrating their role in shaping the future of our industry.”
Founded in 2018, the bursary scheme is named after the late Alia Dann Swift, ILMC’s long-standing producer, who was instrumental in both bringing talent into the industry and supporting and encouraging new ILMC members.
Meanwhile, the countdown is on to the ILMC, which also comprises Greener Events and Innovations (GEI), Touring Entertainment LIVE and Futures Forum.
Around 2,500 live music executives are expected to attend the four-day conference, which also includes The Arthur Awards and Central London showcase event, Soho Calling.
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Northern Might: Norway market report
Bergen boy Kygo’s hour-long set to launch his fifth album this summer – a live performance on a dizzying outcrop of rock in front of the Hardangerfjord, with a helicopter-delivered Steinway, Sigrid, and a string section – distilled a certain stereotypical picture of Norway: heart-stopping scenery, healthy-looking people, yearning songcraft, generous budgets.
If the first three of those are dependably true, the last is a bit more moot these days. Norway has always had plenty of spending power, its oil wealth making it one of the wealthier countries in the world. But in recent years, the macroeconomic pendulum has swung the other way. The Norwegian krone is at a historic low in 2024, effectively running at a 30% discount compared to a decade ago.
That’s good news for tourists but bad news for promoters, who have traditionally enticed a deluxe range of talent to a gloriously pretty but out-of-the-way northern European country of around 5.5m people.
“Things are changing in the Nordics, and the discrepancy between the currencies is quite visible,” says Erik Egenes, acting general manager of Oslo’s by:Larm festival and conference. “The Danish krone is very strong compared to the Swedish [krone] and especially the Norwegian [krone]. It is not easy to book international acts when the costs are 20% higher compared to last year.”
The odd part of Norway’s predicament is that its economy remains strong. But with nervous global investors seeking bigger, safer currencies, local interest rates low, and oil losing ground against renewable energy, the krone doesn’t buy as much talent as it once did – especially given that Norway isn’t necessarily a useful stop on the way to anywhere else.
“The festivals and the events that attract a younger audience were struggling this year”
“Some of the big acts are only doing one city in Scandinavia now,” says Egenes. “And even in the 1,000-cap venues, a lot of touring acts can’t justify coming for the fees Oslo provides.”
Like almost any market you might name, the big acts remain more popular than ever on Norway’s larger stages – hence shows such as Bruce Springsteen’s visit to Bergen in July (to follow two huge Oslo shows the summer before) and Ed Sheeran’s two-night stand at Oslo’s Ullevaal Stadion next year, which is due to set a new stadium record, with 36,000 fans signed up for each night.
Meanwhile, festivals such as Superstruct’s Øya, Live Nation’s Tons of Rock, and the independent OverOslo, while not immune from painful costs, were among the winners in a country of many, many festivals.
Yet, there is a frustrating unpredictability about much of the market that promoters elsewhere will recognise. “The big acts sell the tickets, no matter what time of year or where you are, but the festivals and the events that attract a younger audience were struggling this year,” says Live Nation Norway managing director Martin Nielsen.
“A lot of the festivals did much worse than they have previously done.”
“Norwegian artists were almost seen as second-class filler, just to fill the gaps between international acts, and that’s changed”
One consequence is the emergence of a wave of Norwegian talent that can now be found selling out arenas that were almost exclusively reserved for international acts no more than a decade ago.
Local dance-pop giant Kygo is comfortably Norway’s biggest star, and though he’ll be at the Unity Arena near Oslo and Trondheim Spektrum in November, he’ll fill any Norwegian venue having previously sold out the Ullevaal in 2022.
Meanwhile, Alan Walker, Girl In Red, Aurora, Sigrid, and the evergreen A-ha all wield significant international and domestic clout, while Susanne Sundfør, merely a critical favourite abroad, has latterly become a festival and arena headliner at home, with two shows at Spektrum in September.
“Norwegian artists were almost seen as second-class filler, just to fill the gaps between international acts, and that’s changed,” says long-serving promoter Peer Osmundsvaag, founder of PiPfest, formerly of Atomic Soul and the local branch of All Things Live.
“The quality has improved, the management has improved, they’ve become more professionalised, and they’re delivering really good shows.”
Where Norway is concerned, while it may be small, it isn’t necessarily straightforward
While international eyes generally turn to Oslo, in reality, Norway is a remarkably geographically diffuse place, and cities such as Bergen, Trondheim, Stavanger, and Tromsø all operate as markets – and talent hubs – in their own right, given their remoteness from the capital and from each other.
“I’m in Bergen right now, which is a seven-hour drive from Oslo,” says Egenes. “Then you have Trondheim, which is a seven-hour drive in a different direction, and Stavanger, which is eight hours in another direction.”
Tromsø in the far north, meanwhile, is further from Oslo than Oslo is from Paris. So, where Norway is concerned, while it may be small, it isn’t necessarily straightforward.
Promoters
Oslo’s promoting lineup holds few surprises for observers of the Scandinavian – or broader European – business, with Live Nation, FKP Scorpio, All Things Live, and Øya owner Superstruct all much in evidence, alongside a smattering of independents.
Live Nation Norway brings a steady lineup of international stars, as well as festivals including Tons of Rock and Neon in Trondheim. In 2020, it acquired Bergen Live, which has consistently drawn megastars to the second city among the fjords of western Norway, its visitors including The Stones, Metallica, and Coldplay, in addition to Springsteen this summer.
“People’s margins are still as bad as they were this year; there’s no positive signs from the banks or any better interest rates”
“That was the biggest show in the history of the western part of Norway,” says Nielsen. “We had 45,000, and Bergen’s not a big city – about 290,000 people, 470,000 in the broader region. A lot of people travelled in, but still, that’s a big one.”
Nielsen isn’t sure whether the market just had a cold in 2024, or something more long-lasting, but he says the signs for next year are currently heartening.
“We will do well in ’25 – that’s my feeling,” he says. “So far, for next year, we’ve gone out with Justin Timberlake, which is a big name, and I’ve placed him in Trondheim [at the EC Dahls Arena], where he’s never been, and it’s selling very well.
“I’ve booked Imagine Dragons for Neon Festival, which is obviously the biggest headliner Neon has had, and it’s the only festival that Imagine Dragons is doing on their European tour, so not unexpectedly, that’s also doing quite well. We have gone on sale with a lot of shows recently and almost all have performed well or very well. Teddy Swims for example played Rockefeller (1,300-cap) in May this year, and now he has sold out Oslo Spektrum for his show in February, which is nothing but amazing.
“People’s margins are still as bad as they were this year; there’s no positive signs from the banks or any better interest rates. So maybe it’s because the summer is over, and people are happy to look forward to something else, but it’s just a feeling I’ve got, from the announcements we’ve had, that ’25 is going to be good.”
“Domestic artists are doing very well”
All Things Live Norway, launched on the foundations of Friction and Atomic Soul Booking at the time of the initial Waterland-backed roll-up in 2018, has continued to bulk up in the ensuing years. It added Bergen-based management, booking, and promoting group Stageway in 2022 and acquired Oslo-based festival specialist HES last year.
Like others, Gry Mølleskog, CEO of both the group and its Norway operation, notes the strength and diversity of Norwegian artists in today’s market. On top of incomers such as Nick Cave & the Bad Seeds at Spektrum, recent All Things Live shows have included Girl In Red and Sundfør at the same arena – as well as 30th anniversary-celebrating local hip-hoppers Klovner I Kamp in the hilly Torshovdalen park in Oslo in August.
“Domestic artists are doing very well,” says Mølleskog. “We have just sold 75,000 tickets for Åge Aleksandersen in Trondheim [at Lerkendal Stadion] next year. He is a legend – the whole of Norway loves him so much, and he is also playing big outdoor shows in several cities, including Oslo [Voldsløkka] and Bergen [Bergenhus Fortress].
“Two popular solo artists, Ingebjørg Bratland and Odd Nordstoga, have also joined forces again and played 120 concerts in Norway in the past year. They have just announced a Christmas tour, which is also selling out.
“And Mari Boine – she is a Sámi singer, she is 67 years old, and people are just amazed by her voice. She has toured all over Norway this year, and she had three shows at the Opera House in Oslo in October. She is really incredible.”
“We see [our independence] as a little bit of an advantage”
FKP Scorpio, established in Norway in 2018 – and integrating Oslo-based booking agency Nordic Live in 2020 – has plenty of shows on the schedule, ranging from Nils Frahm and Gabrielle at Spektrum and Hans Zimmer at the Unity Arena in 2026 to numerous smaller local and international acts. But Sheeran next summer represents a peak.
“Ticket sales have been fantastic and setting new records at Ullevaal Stadium,” Stian Pride, the company’s head promoter in Norway, tells IQ’s forthcoming Global Promoters Report. “And it’s definitely our high-water mark, too – we’re extremely grateful to get the opportunity to present this singular artist in Norway.”
In such a consolidated environment, big-hitting independent promoters are rare, though one of those, Sky Agency – which balances artist shows with a bulging festival portfolio, as well as a management stable and a label – isn’t sure that’s a drawback.
“We see [our independence] as a little bit of an advantage,” says Trond Opsahl, Sky Agency CEO and co-founder. “We own our own company, and we work 24-7 to make it a success. If it goes the wrong way, it’s our own money, so we really need to be on top of it.”
Opsahl was speaking a day or two after a local Sky act, production and DJ duo Broiler, had sold out the Unity Arena for next March. “25,000 tickets in less than eight minutes,” says Opsahl. “We sold out Spektrum earlier this year in three minutes – that’s 10,000 tickets – so we knew they were really popular, but you never quite know how things are going to go.”
With All Things Live, Peer Osmundsvaag oversaw the two largest ticketed live music events in Norway’s history – Eminem at Oslo’s Voldsløkka, which drew 55,000 people in 2018, and Rammstein, who pulled 60,000 fans to Bjerke Travbane horse track in 2022.
He has been independent again since leaving ATL in July, and frankly recommends it, though he is keeping quiet about future plans beyond PiPfest. “Independence should almost be something that everyone in the industry has to do every three years for six months,” he says. “Being on the outside, being in the trenches, does sharpen the senses and makes you search a little harder for the truth, be it ticket pricing or just questioning the things you would usually do.”
Part two of the Norway market report will be published in the coming days.
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Countdown to LIVE Awards 2024 as first winner named
As The LIVE Awards 2024 draws closer, the winner of the Lifetime Achievement Award has been revealed.
Kanya King CBE, founder and CEO of the MOBO Group, will receive the top honour of the evening for her role in driving forward and improving the UK’s live music business.
Since 1996, the UK’s MOBO Awards has celebrated music of black origin such as Hip Hop, Grime, RnB/Soul, Reggae, Jazz, Gospel, and African music.
MOBO is said to have played an “instrumental role” in the careers of numerous UK artists such as Stormzy, Craig David, Rita Ora, Ms Dynamite, Krept and Konan, Chip and Kano.
Beyond the awards, MOBO supports undiscovered talent in music via MOBO UnSung, and across the wider creative industries via the MOBO Season and MOBOvation Talks. Meanwhile, its newly established charity, MOBO Trust, aims to support young people in the creative industries via a MOBO Fund and an all-new MOBO Academy.
“At MOBO, we’ve always believed in the transformative power of live events”
“It’s an honour to be named the 2024 recipient of the LIVEtime Achievement Award, and I am incredibly thankful to LIVE for this recognition,” says Kanya King CBE, founder & CEO of The MOBO Group.
“At MOBO, we’ve always believed in the transformative power of live events—not just as a showcase for music but as a vehicle for change. Whether it’s supporting the NHS in saving lives or using the MOBO Fringe Festival to lower school exclusion rates, we strive to ensure our events leave a lasting legacy. This award is a tribute to everyone who shares that vision, and I look forward to celebrating with the live music community on December 11th.”
Gaby Cartwright, head of partnerships at LIVE & The LIVE Awards, adds: “Kanya is a worthy recipient of our most prestigious award. She is a true trailblazer and her work promoting and staging so many music, film and entertainment events, including the groundbreaking and hugely influential MOBO Awards over almost three decades, is testament to her talent, tenacity and vision. We can’t wait to celebrate her career!”
The third annual instalment of The LIVE Awards will take place on Wednesday 11 December at Troxy in east London.
The Awards span 14 categories paying tribute to venues, promoters, agents, ticketing companies, grassroots venues, festivals, production suppliers, brand partnerships and more.
View the full list of 2024 finalists here. Tickets to the event, which is in association with Skiddle, are also on sale now on the website.
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ILMC Futures Forum gears up for fifth edition
ILMC Futures Forum, the biggest gathering of young and emerging professionals working in the international live music industry, is returning for a fifth edition in 2025.
The one-day conference will take place at London’s Royal Lancaster Hotel on Friday 28 February 2025, the final day of the International Live Music Conference (ILMC).
More than 500 executives, including ILMC delegates, will explore the evolution of the live music business during the biggest-ever edition of Futures Forum.
Attendees can expect non-traditional conference formats, dynamic discussions, immersive workshops, mentoring opportunities, and TED-style ‘Soapbox’ presentations by thought leaders.
The agenda will once again be steered by a council comprising some of the brightest minds in the business, alongside affiliated associations, the ILMC agenda team and the IQ editorial team.
The 2025 flagship will capitalise on the success of Futures Forum’s 2024 satellite events, which included an artist development workshop hosted alongside MMF and a series of Soapbox Sessions curated alongside LIVE.
More than 500 executives will explore the evolution of the live music business during the biggest-ever edition of Futures Forum
Futures Forum has taken place in 2019, 2020, 2023 and 2024 featuring keynote interviews with Dua Lipa and her father Dugi, Team Mumford & Sons (Lucy Dickins, Ben Lovett and Adam Tudhope), Wasserman Music’s Marty Diamond and and Team Kilimanjaro Live (Stuart Galbraith, San Phillips and Alan Day).
The 2024 edition of Futures Forum included speakers such as Connie Shao (AEG Presents), Holly Rowland (Wasserman Music), Marc Saunders (The O2), Beckie Sugden (CAA), Sally Dunstone (Primary Talent), Vlad Yaremchuk (Atlas Festival), Niklas Magedanz (Goodlive Artists) and Kerem Turgut (All Things Live).
Futures Forum takes place as part of ILMC, which runs from 25-28 February 2025 at London’s Royal Lancaster Hotel.
The 37th edition will welcome around 2,500 live professionals to explore ‘current’ affairs, plumb the depths of the business, and chart the new waves of headliners, as they navigate the ever-changing seas of the live music industry.
Passes for Futures Forum 2025 start from £149 + VAT. For more information or to buy tickets, click here.
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