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.
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Astroworld injury claims exceed 4,900
Almost 5,000 people have claimed they were injured in last November’s Astroworld tragedy, according to a new court filing.
Ten concertgoers, aged between nine and 27, were killed after a crowd surge during co-founder Travis Scott’s headline set at the 50,000-cap festival in Houston, Texas, promoted by Live Nation and its Scoremore subsidiary. All of those who died suffered from compression asphyxia.
Now, Rolling Stone reports that attorneys Jason Itkin, Richard Mithoff and Sean Roberts, who are acting as “plaintiffs’ liaison counsel”, have tied 732 claims to injuries that required extensive medical treatment, 1,649 to less extensive treatment, and 2,540 for injuries where the severity is still under review.
Earlier this year, the go-ahead was given for hundreds of Astroworld lawsuits to be formally consolidated into a single case . Lawsuits were filed against Scott and promoters Live Nation and Scoremore, along with other parties, in each of the 24 district courts in Harris County. Nearly every claim alleges negligence such as “failures of safety and security rules, crowd control and emergency response measures, and failures to provide adequate security, supervision, training and care”.
Scott performed for the first time in public since Astroworld at the weekend
The Texas Judicial Panel On Multidistrict Litigation ruled that 387 suits, representing almost 2,800 alleged victims, could move forward as one case.
The accused parties have denied all allegations against them relating to the 5 November 2021 disaster.
Last month, the Texas Task Force on Concert Safety (TFCS) made a series of recommendations on how to improve concert safety and help avoid a repeat of the tragedy, including the creation of a centralised Event Production Guide – outlining and encouraging best-practice for event design and crowd control.
“While some level of risk is inherent in any mass gathering, it is the opinion of the TFCS that proper planning will allow Texans to enjoy safe performances, concerts, and other culturally significant events,” it said.
Scott took to the stage at a Miami nightclub at the weekend to give his first public live performance since Astroworld.
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The Great Escape ramps up for ‘historic’ comeback
UK showcase festival and convention The Great Escape (TGE) will return to its in-person format for the first time in two years.
TGE 2022 is set to take place next week (11–14 May) in venues across the seaside city of Brighton, with around 3,500 music industry professionals in attendance.
This year’s edition will showcase 500 emerging artists from all over the world including Baby Queen, Muna, Lynks, Moa Moa, Let’s Eat Grandma and Cassyette.
Running alongside the showcases will be a three-strand conference jointly presented by CMU, which focuses on education, data and video.
“After a two-year absence due to Covid, The Great Escape has been straining at the leash to get back to Brighton to bring the best new music from around the world into the light,” says Rory Bett, CEO of TGE promoter MAMA Festivals.
“Artists have had the gift of time during covid to really engage with their creativity. The 500 stunning bands programmed across 60 indoor venues and outdoor spaces this year, will have some very special and surprising work to perform.”
“Our conference programme seeks to tackle the key issues and questions facing the industry and we will attempt to examine them thoroughly from many different and world authority perspectives. Discovery and networking are always at the heart of TGE and with the current sense of building excitement for the show, mixed with a weather forecast of 21 degrees and a sunny, we plan to come back with a Great Escape for the history books.”
The music + education conference will take place on the first day of the 2022 event, with music educators, music development organisations and the music industry coming together to discuss the best ways to nurture early-career music-makers on and off stage.
“[We’ve] has been straining at the leash to bring the best new music from around the world into the light”
Day two will see the music and data conference, which will put the spotlight on all the ways data now drives success in the music business – from ticketing to marketing and music discovery to streaming.
Finally, the music and video conference will give an overview of how video can be a revenue generator for artists, songwriters and the wider music industry.
CMU and TGE are also presenting a series of keynote in-conversations with guests including music PR legend Barbara Charone, who will be talking through the highlights and key moments of her career in the music industry ahead of the publication of her memoir ‘Access All Areas: A Backstage Pass Through 50 Years Of Music And Culture’.
MP and culture select committee member Kevin Brennan and musician and #BrokenRecord founder Tom Gray will also be in conversation.
Elsewhere, Ed Sheeran’s legal team will be discussing the recent headline-grabbing court battle over the star’s hit ‘Shape Of You’.
Organisers of the event also confirmed Ireland as lead country partner, Music Support as the charity partner and music school BIMM as the education partner.
Delegate passes for TGE are still available and can be bought here.
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IQ 110 out now: ILMC, Phil Bowdery, Fullsteam & more
IQ 110, the latest issue of the international live music industry’s favourite magazine, is available to read online and in print now.
The April issue sees IQ magazine return to physical print for the first time in two years. In what is possibly the biggest-ever issue, readers can view the full conference and events agenda for the in-person return of ILMC (International Live Music Conference).
Elsewhere, IQ celebrates Phil Bowdery’s half century career in live music, 20 years of Finland’s Fullsteam agency, and Hans Zimmer’s latest tour.
This issue also examines the world’s fastest-growing entertainment market, the Gulf States, and profiles ten new tech innovations.
For this edition’s columns and comments, Music Export Ukraine’s Alona Dmukhovska expresses her country’s passion for music and Semyon Galperin speaks of the Russian music sector’s support for their friends in Ukraine.
In addition, ASM Global’s Marie Lindqvist highlights the importance of supporting and bringing young people into the heat of the business as part of ILMC’s Bursary Scheme partnership.
As always, the majority of the magazine’s content will appear online in some form in the next six weeks.
However, if you can’t wait for your fix of essential live music industry features, opinion and analysis, click here to subscribe to IQ for just £7.99 a month – or check out what you’re missing out on with the limited preview below:
Coachella hits ‘Floatchella’ with cease-and-desist
A small town US music festival has changed its name after being served with a cease-and-desist letter by organisers of Coachella.
Held in Mystic, Connecticut, Floatchella is run by the Mystic Chamber of Commerce and the Downtown Mystic Merchants Association and features local bands and a pop-up paddle-craft rally. Its first two editions drew “over 300 paddle craft in the water and scores of people watching on land”.
However, the festival has now been renamed Floatfest, Music on the Mystic River following a complaint from Coachella promoter AEG Presents. It must also dispose of any merchandise bearing the Floatchella logo.
“The Chamber was surprised that our non-profit in the southeast corner of Connecticut garnered the attention of AEG Worldwide”
“The Chamber was surprised that our non-profit in the southeast corner of Connecticut garnered the attention of AEG Worldwide for a Coachella naming situation,” Greater Mystic Chamber of Commerce president Bruce Flax tells CelebrityAccess. “The event was never mistaken as having any association to Coachella for the 1,500 people who attended the last two years. We will lose some money form the merchandise we need to dispose of, but we will weather the storm and the event will live on as Floatfest, Music on the Mystic River.”
AEG has not commented on the case.
It is not second time in recent months that Coachella has moved to protect its trademark. Last year, Goldenvoice sued Live Nation over a music event called ‘Coachella Day One 22’, organised by Twenty-Nine Palms Band of Mission Indians, which was advertised on Ticketmaster.
Bulgaria gains first music showcase and conference
Bulgaria is set to gain its first music showcase and conference festival this spring.
Spike is scheduled to take place between 26-28 May in Plovdiv, one of Bulgaria’s most historic cities.
The event will welcome music business delegates from over 12 countries, including the US and Canada.
The content of the conference will cater to executives in artist booking and management, publishing, royalties, and sync licensing, digital technology workshops and equality and diversity in the music industry.
The event was founded by Boyan Robert Pinter of Bulgarian promoter Pan Harmony, who says: “The festival’s primary goal is to create learning and networking opportunities for Bulgarian artists and professionals and to introduce international delegates to Bulgaria’s music scene. This will be done in the spirit of diversity and inclusivity.
“The festival’s primary goal is to introduce international delegates to Bulgaria’s music scene”
“We are very happy that our event will finally go live. When we took our first steps, we received a lot of international support, which gave us the confidence to continue building this platform for local artists and music professionals. We are very grateful to the city of Plovdiv – EU Capital of Culture 2019 – for being our gracious host, providing us with the perfect backdrop to our activities.”
The Spike showcase will take place across several locations on Plovdiv’s main street, including the Temple Bar, Bezistenа, and Rock Bar Download. A special selection of artists will be chosen to perform at the city’s Roman Stadium, downtown, which was built in the 2nd century AD.
“There are many surprises in store for our international delegates, as we’d like to them to experience the wonderful architecture, delicious food, and the hip, laid-back vibe that Plovdiv can offer,” says Pinter.
The Great Refund Debate
With fans still sitting on event tickets that they bought as long ago as 2019, the industry is facing a dilemma when it comes to who merits a refund and who does not. And as Covid becomes endemic, should refunds remain obligatory for ticketholders who test positive? James Hanley investigates.
The race to contain Covid-19 outbreaks and variants over the last 24 months has been likened to a game of Whac-A-Mole. But as the international live music business begins to emerge from the horror of the pandemic, it will need its own mallet at the ready to combat the litany of fresh problems popping up day-to-day.
One of the more mundane but contentious debates to be sparked in recent months surrounds the matter of refunds. The issue was brought to the fore by Dead & Company and promoter CID Presents’ Playing in the Sand destination festival, which was set for Mexico’s Riviera Cancún over two weekends in January this year.
Amid the omicron surge of late 2021, organisers opened a 48-hour refund window for fans having second thoughts about attending (all ticketholders were ultimately refunded when the event was pulled at the 11th hour due to a spike in infections). However, CID declined to repeat the offer for its other January festivals: Crash My Playa and HootieFest: The Big Splash.
“If, at any point during the two weeks leading up to a particular event, the CDC Risk Assess- ment Level for Covid-19 for the Quintana Roo (Cancún) region of Mexico rises to a Level 4 or Mexico designates the area unsafe to hold an event, we will be offering full refunds to those not wishing to attend the particular event,” said a statement by the promoter. “We continue to recommend buying travel insurance, which may help protect against the risks of Covid-19 and travelling internationally during the pandemic.”
It was a similar situation at Wilco’s Sky Blue Sky “concert vacation” in Mexico, also in Janu- ary, produced by Cloud 9, The Bowery Presents, and Higher Ground Presents, which stressed its no-refund policy and encouraged festivalgoers to purchase travel insurance. “A refund, or the ability to hold one’s spot for a rescheduled date, will be available to purchasers if the event were to be postponed,” Cloud 9 told Billboard.
But far from limited to sun-drenched getaways, the refund question is pertinent at all levels of the industry, in every market across the globe. “There is a set Live Nation policy across the board,” explains Barnaby Harrod of Mercury Wheels, part of Live Nation Spain. “When an event is cancelled, you get an automatic refund. With reprogramming, the original tickets are, of course, valid for the new dates. However, if some- body can’t make the new show, or doesn’t want to, they have 21 days to ask for a refund, and that has been applied across the pandemic.”
Certain events and promoters also offer refunds or a voucher for anyone who is unable to attend due to testing positive. Harrod advises that every claim is assessed on its own merits.
“For exceptional refunds, which are requested outside the established timeframe, we work on a case-by-case basis,” he says. “So in the current climate, where the government has restrictions in place for people who have Covid, if somebody can certify that they have Covid, then they should be entitled to a refund.”
Elsewhere in Europe, AEG Presents France GM Arnaud Meersseman points to France’s “very protective” consumer laws, which allow customers to claim refunds up to five years after the event.
“Obviously, if a show is rescheduled or can- celled, it’s an automatic refund and there’s no discussion there whatsoever,” he tells IQ. “As for no-shows, as of today, they can warrant a refund. But we’ve seen in practice that it’s not really the case, as a lot of people don’t ask for them.
“The last big show I did was December at the Zenith Paris, and out of 6,000 tickets, we had 20% no-shows. The only other big shows I had be- tween September and December were two nights of Nick Cave, but they were seated shows at 2,000- cap each, and we had almost zero no-shows.
“Over here, what most people have done in practice is wait out a month in terms of refund requests, and if those refund requests haven’t come in during that time, we settle off the show basically. But that’s not really the law, I mean, people can ask for refunds after five years. But we’ve noticed that essentially, past one month, there’ll be the odd refund request here and there, but it’s really rare.”
DEAG executive Detlef Kornett says it is difficult to make general statements due to the fragmented nature of the German market but suggests most promoters have maintained a flexible approach to refunds.
“We have demonstrated a lot of flexibility and offered customers the opportunity to re-book their ticket if and when possible, use it for a different show, get a voucher, or in certain instances, even reimburse the ticket value,” he says. “That was true also if they were unable to attend due to Covid.”
DEAG’s UK subsidiary Kilimanjaro Live returned to action in August 2021, staging two arena dates by Gorillaz at The O2 in London. Kili CEO Stuart Galbraith attempts to sum-up the story so far.
“We never get 100% attendance – between 3% and 5% of people indoors and up to 10% outdoors buy tickets and then just don’t come – but we were back up at 95-97% attendance rates all the way through September, October, and November,” he says. “Then as omicron started to come into play and we headed into Christmas, those rates started to drop again to as little as 70% on some occasions.
“When we came back after Christmas, almost instantly, those attendance rates went back up to 95-97%, and that’s where they’ve been ever since. But what was very interesting is that virtually none of the customers who didn’t attend the shows before Christmas asked us for refunds. They’d just decided they weren’t going out and would take it on the chin.”
He continues: “The analogy I’ve used over the last couple of years is that, if you had an EasyJet flight booked that cost you £20 to £40, in my personal experience, I haven’t bothered to ask for a refund on that because I can’t be bothered. It’s just one of those things. However, if I’ve got a transatlantic flight, which is worth several hundred quid or thousands of pounds, I do want a refund on it. And I think that tickets and concert tickets fall into that EasyJet category – I don’t think people can be bothered to ask for the refund, to be quite frank.”
“People have almost been treating a ticket like something they bought off Amazon and saying, ‘Oh, we don’t really fancy that now,’ the day before. And at that point, what do you want the festival organiser to do about it?”
Paul Reed, CEO of the UK’s Association of Independent Festivals (AIF), reveals the organisation took legal advice with regards to refunds last year on behalf of its 90 members – and reached a definitive conclusion.
“The fact is a consumer is not legally entitled to a refund if they’re isolating and not allowed to travel, in the same way as if they were unable to travel for any other reason,” asserts Reed. “The view was that, ultimately, the customer is not due a refund, but I think it’s a decision that has to be up to the individual event. It is entirely at their discretion and there is no obligation. But from speaking to others in the industry, my sense is that it is being assessed on a case-by-case basis, irrespective of the legal situation.”
Reed adds that some AIF members have ex- pressed concerns that a “refund culture” has seeped in among punters.
“Perhaps it’s understandable, but people have almost been treating a ticket like something they bought off Amazon and saying, ‘Oh, we don’t really fancy that now,’ the day before. And at that point, what do you want the festival organiser to do about it?” he sighs. “You’re not due a refund, but I think that mindset has permeated a little bit more throughout festivals and live experiences – customer expectation shifting – and people feeling more entitled to a refund when it is more complicated than that.
“When you buy a ticket, it is binding, and that is all very clear in the Ts and Cs. I think customers need to understand a little bit more about what they’re committed to when they buy a ticket, so I don’t know whether some education is needed around that.”
Fans no longer able or willing to attend events are encouraged to sell on their tickets via face-value resale sites.
“Specific insurance is also available to the customer as a voluntary upsell, and I believe some travel insurance policies also cover it,” says Reed.
Guy Dunstan is MD, ticketing and arenas for Birmingham-based NEC Group, which manages five of the UK’s leading indoor venues including Birmingham’s Resorts World Arena and Utilita Arena, as well as national ticketing agency The Ticket Factory. He tells IQ the company has been proactive on the issue by offering ticket insurance with Covid cover included.
“I know that some venues and ticketing companies have been hit harder than others with regards to the refund situation,” says Dunstan. “We’ve been offering ticket protection insurance to customers for a significant period of time, so the refunds we’ve given have been pretty minimal because we’ve been able to point customers to the fact that they were offered the insurance at the time when they purchased the tickets.
“We were able to get that as cover quite early on in the pandemic through the ticket insurance provider that we work with, and it’s been of real benefit to us. So our sense is that we’re well protected from that moving forward.”
Down under, Live Performance Australia (LPA) administers the ticketing code of practice for the entertainment industry that outlines consumers’ rights to a refund. First released in 2001, the trade body reviewed and updated the code in 2020.
“While the impetus for the most recent changes was the Covid-19 pandemic, LPA was conscious to ensure any updates have a life beyond Covid-19,” says the group’s CEO Evelyn Richardson. “The ticketing code was widely used by the industry pre-Covid and will continue to be the go-to resource about refunds as Covid-19 moves to becoming endemic and beyond.”
Richardson says the LPA expects its members to treat ticketholders fairly if shows are forced to can- cel or are postponed due to government mandates.
“Whether ticketholders are entitled to a refund, exchange or other remedy will depend upon the ticket terms and conditions applicable when tickets were purchased,” she states. “Many companies have a Covid refund and exchanges policy, which sets out if ticketholders will get a refund, exchange or credit note if they are un- well with Covid symptoms, unable to attend the event due to contracting Covid, awaiting test results, [have been] in close contact, or [due to] border closure.”
With the world slowly emerging from the pandemic, the conversation turns to how flexible the live industry will be as things return to something like normal. Richardson indicates there could still be room for a little leeway.
“Ordinarily, if a ticketholder is unable to attend the event because they are unwell or other personal circumstance, they are not entitled to an automatic refund under Australian consumer law,” she says. “However, event organisers always have discretion to provide a refund or other remedy, if they wish, even though there may not be a legal requirement to do so.”
UK prime minister Boris Johnson has already announced the ‘Living with Covid-19’ plan, which has put an end to the legal requirement in England to self-isolate after a positive Covid test. Free testing has also been scrapped, although that isn’t an issue everywhere.
“They’ve never had free Covid tests in Spain,” testifies Madrid-based Harrod. “You would always have to go to the chemist to buy one.”
For Galbraith, however, the ramifications for the sector’s refund policy are obvious.
“Realistically, now that Covid has no legal status over and above any other disease, then that’s it, life is back to normal from an event organiser’s point of view,” he offers. “If somebody has flu, chickenpox, mumps, or whatever, and they can’t go to the show, then, unfortunately, that’s just part of life, and I think the same will be true of Covid.
“In the last two years, we have seen a significant increase in the number of customers taking out personal insurance on their tickets. For a very small percentage of the ticket cost, you can insure your ticket in the way that you can a holiday or anything else. That insurance, in many cases, does actually give you illness cover. So I think that is an easy customer solution going forward.”
“Now the isolation rules have changed, and you don’t have to isolate, then I think it just becomes like any other illness,” agrees Dunstan. “We all have to take a sense of responsibility to make sure that we’re healthy and well [enough] to be going to events. But as for venues and companies that have been offering refunds if you can demonstrate you are Covid positive, I can just see that going away.”
On that point, there appears to be something approaching a consensus.
“Once it is endemic, Covid would most likely not be a reason that entitles you to a refund as such anymore,” muses DEAG’s Kornett.
“At the end of the day, if somebody has gastroenteritis or common flu, or gets grounded by their parents because they have bad grades, do you refund them?” concludes Paris-based Meersseman. “At some point, there is no law in this, it’s going to be commercial practice. Once this virus becomes endemic and breaks out of the pandemic stage, I don’t see us offering refunds for people who have Covid.”
IQ 109 out now: 60 years of Karsten Jahnke Konzertdirektion
IQ 109, the latest issue of the international live music industry’s favourite monthly magazine, is available to read online now.
In the March 2022 edition, IQ editor Gordon Masson reports on 60 years of Karsten Jahnke Konzertdirektion, tracking the company’s journey from humble beginnings to a European cultural powerhouse.
Elsewhere, details of events and social gatherings that await attendees of ILMC 34‘s in-person comeback are revealed, and family show producers provide a health check on the sector.
This issue also sees IQ news editor James Hanley examine international ticket refund policies in a Covid-hit business.
For this edition’s columns and comments, Craig Stanley reflects on the ramifications of Brexit, and Lina Ugrinovska suggests ways in which we can heal and grow from the turmoil and mental anguish of the pandemic.
In this month’s Your Shout, execs including Michal Kaščák (Pohoda Festival/VBPS), Sergii Maletskyi (H2D) and John Giddings (Solo) reveal the weirdest place they’ve watched a gig.
As always, the majority of the magazine’s content will appear online in some form in the next four weeks.
However, if you can’t wait for your fix of essential live music industry features, opinion and analysis, click here to subscribe to IQ for just £5.99 a month – or check out what you’re missing out on with the limited preview below:
Ukrainian promoters: “Right now, it’s a matter of survival”
In what has been described as the biggest conflict in Europe since World War II, promoters and agents in Ukraine have been forced to flee their homes or seek shelter underground. And as local artists seek to halt the spread of misinformation online, any thoughts of future business have been replaced by the basic need to survive.
Speaking to IQ today (28 February), on the fifth day of conflict, executives spoke of their current circumstances, early efforts by those in the live music industry, and future relations between Russia and Ukraine.
Sergii Maletskyi, general manager and talent buyer at Kyiv-based promoter H2D, fled the capital city the day Russia launched its full-scale invasion to head west. He joined the migration which, according to the United Nations (UN), has seen more than half a million people flee their homes to escape the war.
“A lot of people were travelling from east to west so there was bad traffic,” he tells IQ. “It took 14 hours to travel 350 kilometres (217 miles).” But while Maletskyi says the region is “pretty stable” in comparison to others, the threat of danger is still very real.
“Yesterday, we had to hide in the basement three times because an air attack was expected,” he says. “It didn’t happen, luckily, but this is the new reality for Ukraine.”
Since the invasion began on Thursday 24 February, the UN has recorded 102 civilian deaths, including seven children – and more than 300 injured. However, UN human rights chief, Michelle Bachelet, said: “The real figures are, I fear, considerably higher”.
“”We are not focused on the business at this moment – we’re focused on saving lives”
Maletskyi says that the majority of staff at H2D also sought refuge in the east, though one employee is still in Kyiv, barricading in a tube station. “We’re in communication with employees and we’ve paid everyone’s salary for February,” he says. “We’re trying to support them as much as we can.”
Dartsya Tarkovska, co-founder of Music Export Ukraine, also fled the capital – the centre of the conflict – to the western city of Lviv.
“I was born and raised in Kyiv – that’s where my whole life is,” she tells IQ. “We were worried that a war was about to begin so we moved to Lviv a few days before the conflict began. So we were lucky we were able to move safely.”
Of the ten people working for Music Export Ukraine, four of them remain in Kyiv. “They spend most of their time in shelters. It’s a matter of keeping alive and safe,” she says.
Russian president Vladimir Putin’s justifications for the war in Ukraine have been widely dismissed as false by western nations, but with social media platforms and free press now all but outlawed in Russia, the conflict is as much about propaganda as it is boots on the ground. And both Maletskyi and Tarkovska have praised Ukrainian artists for the role they have played on both fronts.
Battling the spread of misinformation, popular Ukrainian acts are attempting to change their cover art on streaming platforms to educate Russian citizens and other countries on the situation in Ukraine.
View this post on Instagram
And it’s not just online efforts that musicians and creative professionals are signing up to. A number of Ukrainian artists, including Andriy Khlyvnyuk from the popular band Boombox, have volunteers for the territorial defence to protect regions against Russian troops.
Meanwhile, this weekend saw hundreds of thousands of protestors take to streets of London, Berlin, Madrid, South Korea and other countries. And according to Maletskyi, colleagues from the international live music business have also been pitching in and doing “everything they can to help”.
However, Maletskyi warns that stakeholders in the domestic live music business will need to remain patient while Ukrainians prioritise their safety.
“I’ve said to all management not to make cancellations public at this stage because it will cause panic and we don’t need it at the moment,” he said. “I’ve asked them to give us a week or two to focus on our safety. After that, we will be ready to manage cancellations, postponements and everything else. Some of them agreed, some of them didn’t.
“We’re doing our best to communicate with all of our partners and everyone is being really understanding that the situation is like nothing we’ve experienced before, so we’re thankful to them.
“We are not focused on the business at this moment – we’re focused on saving lives. All problems with postponements and cancellations will be solved later.”
“The majority of connections with Russia’s industry will be over”
As for future relations with Russia, Maletskyi says he thinks the “bridges have been burned”.
“The percentage of our Russian shows, annually, was about 10-or-15% and all those artists opposed the current government of Russia. I’m not sure about the future shows… I’m not sure I’ll be working with Russian promoters.”
Tarkovska echoes his sentiment, adding: “The majority of connections with Russia’s industry will be over. It started to happen after 2014, when the initial conflict began but there will be more consequences now.”
However, there are some ties to Russia that have proved hard to sever, says Tarkovska. “For the majority of streaming services and distributors, the communication has been happening via Moscow. We have been trying to change that for quite a while.
“We’re saying, if these organisations are not ready to create independent offices in Ukraine, we’re fine going through Poland but we don’t want to go through the Russian offices of these companies.”
For now, however, the Ukrainian live music is focused on more pressing issues: “Right now, it’s a matter of survival and no one cares about the music industry,” says Tarkovska.
ASM Global supports expanded ILMC bursary scheme
ASM Global and the International Live Music Conference (ILMC) are joining forces to dramatically expand the conference’s Alia Dann Swift Bursary Scheme.
The scheme, which was founded in 2018 and named after ILMC’s late longstanding producer, promotes and encourages the next generation of young executive talent.
The expanded programme, backed by ASM Global’s corporate social responsibility platform ASM Global Acts, will see 30 young executives given a free place at this year’s ILMC.
The invitation-only event, taking place in London from 26–29 April 2022, has been the foremost meeting place for live music professionals worldwide for over 30 years, and welcomes 2,000 top professionals across the week.
In addition to the free place, the selected young executives will have a dedicated industry mentor and additional networking opportunities taking place at ILMC, via the ASM Global family.
“Through ASM Global Acts, we’re able to take action and create real opportunity for the next generation of industry leaders”
Chris Bray, executive vice president, Europe at ASM Global, says: “After a difficult two years for live events, it’s exciting to be looking to the future and supporting young executives as the industry recovers from the pandemic. At ASM Global we are committed to investing in people and strengthening communities all over the world.
“Through the company’s ASM Global Acts platform, we’re able to take action and create real opportunity for the next generation of industry leaders, so we are delighted to be partnering with ILMC on the Alia Dann Swift Bursary Scheme and look forward to meeting with the chosen delegates at this year’s event.”
ILMC head Greg Parmley added: “ASM’s shared passion for supporting and developing the next generation of business leaders allows us to supercharge the bursary scheme this year. At a crucial time for the global live music industry, developing a new and diverse range of executive talent is a vital step in both its recovery and future success.”
To apply to the Alia Dann Swift Bursary Scheme, applicants must already be working in the live music business and not have previously attended an ILMC.
The scheme is open to applicants internationally. The closing date for applications is Friday 1 April 2022. Full details of the bursary scheme and an application form are available here.