Campaigners bid to halt Brockwell Park festivals
The potential for conflict between city-based festivals and their residential neighbours has been highlighted by legal action seeking to halt large-scale events in one of London’s busiest parks.
Neighbours of Brockwell Park in South East London, site of a range of large festivals including Mighty Hoopla, Wide Awake, Field Day, Cross the Tracks and City Splash, have crowdfunded more than £30,000 (€35,000) to launch a High Court review of the current licensing process.
The campaign group Protect Brockwell Park cites “ecological damage, loss of public access, flood risks, biodiversity loss and air and noise pollution” as its key complaints. It wants full planning applications to be required for each event, a process that could have a significant knock-on effect not just for gatherings in Brockwell Park, but other events held across the UK.
This week, high-profile local resident and BAFTA-winning actor Sir Mark Rylance joined the fray, saying: “Brockwell Park is a place for people and nature. It is essential to many people’s mental health, to our joy, our healing grief.
“It was a gift to the local community and is held in trust for us by Lambeth. The imposition of high steel walls for Brockwell Live every summer destroys the park for weeks and harms the grass, trees and plant life for months if not for ever. It turns it into a prison camp.”
Campaign founder Jen Hawkins tells IQ the initial legal hearing will take place in “early May” and claims the outcome could impact this year’s planned events.
“Our attempts to engage meaningfully with the council or organisers have been met with only surface-level responses,” she says. “To ensure events suit both the park and community, genuine public consultation is needed – something currently lacking.”
“We understand the importance of Brockwell Park to local residents and take our stewardship seriously”
Brockwell Live, the umbrella group which encompasses festivals run by a number of promoters including Superstruct and Broadwick Live, says it takes its stewardship of the park seriously.
“Brockwell Live delivers a series of free and ticketed events in Brockwell Park with more than half of attendees coming from across Greater London,” reads a statement to IQ. “Celebrating the city’s diverse music and culture, events include the capital’s largest Caribbean and African music festival, a nationally significant queer pop festival and a critically acclaimed celebration of jazz, funk and soul.
“We understand the importance of Brockwell Park to local residents and take our stewardship seriously. We welcome scrutiny and maintain open channels for dialogue with residents, councillors, and community groups at all times.”
Organisers point out that the festivals have donated over £150,000 to local organisations to date through their community fund, and have paid £317,000 to help maintain the park over the past five years. A dedicated community manager and resident hotline is available for engagement with local residents.
Since 2023, the festival organisers have also co-produced the Lambeth Country Show, a free event run by the local authority for 50 years, saving the council over £700,000 last year.
With fan desire for easily-accessible day festivals continuing to grow, it is increasingly bringing promoters and local authorities into potential conflict with local communities. Event organisers are turning to a range of strategies to ensure local residents are onboard with events.
Earlier this year, electronic music event specialists AMAAD announced the launch of BM Park Live, a series of large-scale electronic music events at Boston Manor Park in West London. It has also prioritised community engagement, offering a ballot for local residents, contributions to a park and community fund and a programme that offers local young people their first step into the event production industry.
“We shouldn’t overlook the positive power of city festivals”
Anton Lockwood, director of live at DHP Family, which runs Splendour in Nottingham, points out that city festivals offer an opportunity for people to see a range of “established international artists right on their doorsteps” and provide an easy path into first-time festival-going.
“Urban events are a key part of the live music landscape as this type of event offers a festival experience, without having to pitch a tent in a muddy field – so opens festivals up to people who might not go otherwise – and as such are really important and growing,” he says.
“They also drive tourism into their host cities and, as there’s no camping, will lead to hotel stays and restaurant visits so can contribute hugely to a city’s economy. We urge cities to consider this when assessing the impact of things like traffic and noise.”
Large events run successfully in urban settings across the world, with Yourope General Secretary Holger Jan Schmidt pointing out that the organisation – made up of more than 100 European festivals – has had “inner city festivals as members since our foundation”.
Fruzsina Szép of Goodlive, which runs city festivals Superbloom in Munich and Lollapalooza in Berlin, tells IQ she is fortunate that in both locations, residents are used to frequent large-scale events in the cities’ respective Olympic parks.
Like other organisers of city-based festivals, Superbloom and Lollapalooza Berlin run extensive community engagement and consultation processes and have mechanisms in place for residents to contact event organisers throughout the shows. One very small group of especially impacted residents in Berlin are offered the choice of free tickets to the festival or hotel rooms elsewhere in Berlin for two nights.
“We shouldn’t overlook the positive power of city festivals, which at their best can become one with the city and represent it on the world stage,” she says.
While pointing out that there are differences not just between countries in the acceptance of urban festivals, but between specific cities and communities within them, Schmidt adds that good communication is the key.
“For me, it’s obviously the same as with your personal neighbours. If you want a good relationship, take care of it,” he says.
“You should proactively approach the residents, seek exchange, extend invitations, if necessary in joint dialogue with the authorities. For sure, this will never solve everyone’s concerns and sensitivities, but a good relationship with the majority of the neighbourhood is the basis for dealing with the rest.”
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Age-old problem: Veteran acts’ insurance dilemma
The increasing number of artists now touring well into their golden years are being faced with a dilemma due to the cost of cancellation insurance.
The list of evergreen legends heading out this summer includes Stevie Wonder, 74, Neil Young, 79, Bruce Springsteen, 75, Stevie Nicks, 76, Jeff Lynne, 77, Iggy Pop, 78, and Paul Simon, 83, while 82-year-old Paul McCartney hit the road last year.
Meanwhile, Ozzy Osbourne, 76, who retired from touring on medical grounds in 2023, will take his final live bow when he reunites with Black Sabbath this July to headline all-star UK stadium concert Back to the Beginning.
Industry insiders recently told the Telegraph that “non-appearance” insurance for acts aged in their 70s and above can be between 10-15% of their fee, compared to just 1.5% for a young DJ, with the expense leading some to opt to press ahead and take their chances without cover.
“Statistically, the older the artists get the more probability there is of medical issues causing them to be unable to perform. And that is what pushes the premium rates up,” Tim Thornhill, MD of insurance broker Tysers Live told the British newspaper.
“|’m sure there are bands that tour without insurance… But that’s quite a dangerous situation”
Speaking to IQ, Steven Howell of Media & Music Insurance Brokers explains the decision on whether to take cover ultimately lies with the artist.
“Contingency insurance is primarily covering the artist’s financial losses due to death, accident and illness if this leaves them unable to perform or leads to cancellation of a show or tour,” he says. “As artists get older these risks become more likely to affect a tour, and therefore, the cost to insure against them increases. It is down to the individuals’ attitude to risk as to whether they decide to purchase the insurance or not.”
Miller Insurance’s Martin Goebbels says he is “sure there are bands that tour without insurance”, but describes it as “quite a dangerous situation”, recalling a case involving one of his former clients.
“One of the members became seriously ill and they cancelled a whole raft of shows – basically for a whole summer. And of course, it cost them an absolute fortune,” he remembers. “That impacted everything else they were doing in the following months, like recording, because the tour was meant to make them money and it was a lesson learned. On one hand, they could look at it and say, ‘Well, we haven’t paid a premium for so many years, so we’ve saved on that.’ But of course, they didn’t have that money in the bank, they’d spent it.”
John Silcock, group head of global entertainment for broker Meridian Risk Solutions, which acquired London Market Partners (LMP) Group last year, suggests the current state of play in the sector is a legacy of the pandemic.
“No one knew the rock and rollers would still be rocking and rolling in their 70s and 80s”
“The market suffered billions of dollars of losses, and there was a lot of retraction in terms of available capacity because insurers said, ‘We don’t want to be involved in this anymore,'” asserts Silcock. “As a consequence, rates started to really harden and really increase. I had a client call me up the year before last who said, ‘We’re going on the road again, give me an idea of costs for insurance,’ and it was 3x what they’d paid the last time they went out in 2018.”
Silcock notes that in decades past, the oldest artists undertaking global treks would be middle aged.
“Now, they’re in their 60s, 70s or even 80s, and it’s a very difficult thing for insurers, because when somebody reaches that age, we’re into uncharted territory in terms of the effects that touring might have on them,” he continues. “And actually, the amount of money that’s charged by the cancellation insurers isn’t that high when you consider the ages of the people involved.
“No one knew the rock and rollers would still be rocking and rolling in their 70s and 80s,” he concludes. “But that’s the nature of the business.”
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Movers & Shakers: MTG, AEG, Legends
AEG Presents subsidiary Messina Touring Group has announced a round of promotions.
Nick Ayoub has been promoted to head of digital strategy and operations, where he will lead MTG’s digital operations, streamline internal processes, and develop data strategies to drive efficiency, innovation, and long-term growth.
Kara Smoak has been elevated to director of digital marketing, continuing to lead digital and creative strategy for MTG’s country roster, including George Strait, Kenny Chesney, Eric Church, Blake Shelton, Old Dominion, and Zac Brown Band.
Meesha Kosciolek has been promoted to director of production, MTG Nashville, after five years as a production promoter representative on tours for George Strait, Blake Shelton, and Eric Church.
Alvin Abshire steps into the role of digital operations manager, bringing his experience in scaling operations and executing creative strategy for tours by George Strait, Kenny Chesney, Taylor Swift, Ed Sheeran, and The Lumineers.
Lucy Freeman has been promoted to digital marketing manager, leading campaigns for arena and stadium tours by Ed Sheeran, George Strait, and Kenny Chesney.
“It thrills me to see our MTG team grow as each of these individuals is incredible at what they do”
Madison Machen has been elevated to manager, partnerships and branding, leading strategies for major pop and country tours, including Blake Shelton, Ed Sheeran, George Strait, Kenny Chesney, and The Lumineers.
“It thrills me to see our MTG team grow as each of these individuals is incredible at what they do,” shares CEO Louis Messina. “Watching them achieve new heights makes me so happy. The success of the entire team and everything they touch is my proudest accomplishment.”
Premium experiences company Legends has also announced several promotions, forming an executive team for its college business.
Tim Statezni has been named executive vice-president of college, while Jankoski has been promoted to senior vice-president of college. Lenhardt has been made senior vice-president of college feasibility and strategy. All three execs have more than ten years of experience with Legends.
“At Legends, one of our major differentiators has always been our people. We’re proud to recognise Tim, Dan, and Jay – leaders whose deep experience and more than 40 years combined impact at Legends have been instrumental in the growth of our business and the success of our partners,” said Chad Estis, executive vice-president and chief revenue officer, Legends.
“At Legends, one of our major differentiators has always been our people”
Meanwhile, AEG has promoted Trent Allison to senior director of sales & special events for venues in Georgia and Tennessee. Formerly director of sales, Allison will now oversee special events at The Pinnacle, AEG Presents’ new flagship venue in Nashville, while continuing to oversee The Eastern, Terminal West, Variety Playhouse & Georgia Theatre in Georgia. He will be based in AEG Presents’ Nashville office and report to regional vice president, AEG Presents, Mike DuCharme.
Confirmed360, a provider of premium sports and entertainment experiences, has named Ben Horton as senior vice-president, global business development.
Horton is expected to utilise his expertise in sales leadership, business development and strategic partnerships to drive revenue growth.
Most recently, he served as director of inventory strategy at SeatGeek, where he oversaw the business development strategy for the company’s secondary marketplace. Prior to this role, Horton also held various leadership roles at StubHub.
And finally, booking agent Dennis Meentz has joined Germany’s Just Jazz, one of Europe’s oldest booking and artist management agencies.
“We are particularly excited about the relationships Dennis has cultivated over the years, which will open doors for new opportunities and collaborations,” reads a statement from the company.
“In addition to his impressive background, Dennis will be introducing a some exceptional artists to our roster, as well as booking some of our Just Jazz artists in certain territories (TBA).”
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First lawsuit filed over DR nightclub disaster
The first lawsuit has been filed against the owners of the Jet Set nightclub over the disaster that killed at least 231 people in the Dominican Republic.
More than 400 people were inside the club in Santo Domingo for a merengue concert by 69-year-old singer Rubby Pérez, who was among the victims when the roof collapsed in the early hours of 8 April.
Interior minister Faride Raful told reporters that 189 people had been pulled alive from the rubble, while a dozen are still being treated in hospital.
It was the deadliest nightclub disaster in more than a decade – since 242 people died and over 600 injured at Kiss in southern Brazil in January 2013.
Now, the parents and widow of police lieutenant Virgilio Rafael Cruz Aponte, who died in the Jet Set club tragedy, are seeking manslaughter charges against the 52-year-old venue’s owner and managers, and are also pursuing a civil claim against the authorities.
“This tragedy is not only attributable to the owners and managers of the Jet Set nightclub… but also to Dominican state institutions”
“This tragedy is not only attributable to the owners and managers of the Jet Set nightclub… but also to Dominican state institutions,” reads the filing, as per France 24. “They failed to fulfil their legal duties of supervision, inspection, and authorisation of operations for establishments open to the public.
“The facts described here testify to a chain of structural negligence and security omissions, attributable not only to the managers [and] shareholders of the nightclub, but also to public institutions.
“These institutions, by failing in their duties of inspection, supervision, and control, violated their legal functions and fostered a dangerous environment that culminated in this avoidable tragedy.”
The nightclub’s owner Antonio Espaillat has said he is fully co-operating with the probe into the cause of the collapse.
Local and international experts have been drafted in as part of the investigation, which is is likely to take several months, according to the authorities.
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‘Cancel’ culture: artists vs sponsors
Those in the live industry are well attuned to the need for cancellation insurance for things like adverse weather conditions or travel disruption. But recent years have seen acts pull out of shows and festivals for ideological reasons and opposition to certain types of sponsors being involved. In this chapter from IQ‘s Touring Business Handbook, Lewis Lawrence, senior associate at Russells Solicitors, considers the legal implications for acts who see withdrawing from bills as their most powerful and potent form of protest.
The music industry descends on Brighton in the UK every May, bristling with excitement to see the next wave of emerging artists to perform at The Great Escape. However, in 2024, the festival felt markedly different; it was overshadowed by over 100 artists cancelling their performances due to the festival’s sponsorship arrangement with Barclays, which they claimed had financial ties with arms companies supplying weapons to Israel.
The company denied this, saying in a statement: “We have been asked why we invest in nine defence companies supplying Israel, but this mistakes what we do. We trade in shares of listed companies in response to client instruction or demand and that may result in us holding shares. We are not making investments for Barclays, and Barclays is not a ‘shareholder’ or ‘investor’ in that sense in relation to these companies.”
A growing number of artists have pulled out of events in recent years over concerns about the political affiliations or the ethical values of event sponsors. Over 100 artists cancelled their performances at SXSW 2024 due to the US Army and a defence contractor being partners of the festival. Several well-known artists have also cancelled headline performances in recent years, citing similar reasons in their press statements.
In an increasingly polarised world, many performers feel compelled to distance themselves from brands whose values conflict with their own, to uphold their personal beliefs and/or protect their reputation with fans. This raises questions about how the issue should be dealt with when contracting for performances.
“The damage to a promoter’s reputation in suing an artist could potentially outweigh any benefit of litigation”
HOW THE ISSUE IS DEALT WITH CURRENTLY
In most performance contracts between artists and promoters, artists do not have a contractual right to pull out of a performance based on disagreements over the identity of sponsors. Therefore, in most cases, an artist cancelling a performance under such circumstances technically constitutes a breach of contract.
This potentially leaves the artist open to a claim by a promoter for their losses, which could be substantial. Those losses could include all of the promoter’s costs for the show (e.g. venue and equipment hire, staffing, marketing costs), unless the “limitation of liability” clause in the contract caps an artist’s liability in the circumstances.
Despite this, many artists have been able to cancel shows on this basis without facing significant legal repercussions, with disputes resolved behind closed doors. This is primarily because promoters are reluctant to sue artists.
Firstly, court proceedings in the UK (and most other jurisdictions) are public, meaning that a company’s public image needs to be a factor in deciding whether to initiate litigation – especially where the person or company being sued, such as an artist, has a substantial following. The damage to a promoter’s reputation in suing an artist could potentially outweigh any benefit of litigation.
Secondly, there is an interdependency between booking agents and promoters in the live music industry; promoters are aware of the importance of preserving relationships with companies with whom they often have repeat business.
Thirdly, the concept of “safety in numbers” also plays a significant role here. The collective nature of cancellations by artists for similar reasons can make it difficult for promoters to take a hardline stance, and it can put pressure on organisers to comply with artists’ requests. For example, both of the respective promoters of The Great Escape and SXSW have confirmed that they will be changing sponsors for future events.
“The growing frequency of these cancellations poses a question as to whether or not the current industry approach is fit for purpose”
HOW THE ISSUE CAN BE HANDLED MOVING FORWARD
With the above context in mind, artists already have some de facto protections that deter promoters from litigation against them. However, the growing frequency of these cancellations poses a question as to whether or not the current industry approach is fit for purpose and whether or not new practical measures or contracting changes should be considered.
From a practical perspective, promoters would ideally disclose their sponsorship arrangements as soon as possible when engaging with artists; visibility of sponsorship affiliations at the outset could allow artists to make informed decisions about their participation. However, this does not quite align with how promoters engage sponsorships. For festivals, promoters secure sponsorship deals at various stages, meaning that sponsors may be engaged closer to the event date after artists have already signed performance contracts.
Giving artists a contractual right to cancel performances each time a major sponsorship affiliation is agreed (after an artist has already confirmed their performances) would likely present an unacceptable degree of uncertainty and would be impractical if offered to all artists. Artists with sufficient bargaining power could potentially request a list of “banned” festival sponsors within their performance contracts, but this is perhaps unfeasible. The fluid nature of branding partnerships means such lists would require constant updates and monitoring. Unless the list was short (and exhaustive), it would likely be difficult to negotiate.
For artists performing on headline tours (i.e. not festivals), they do have some level of control over the identity of sponsors, given that their identity should be made subject to mutual agreement in performance contracts. However, venue owners often have their own wider sponsorship deals that may not be within the promoter’s control, making it difficult for promoters to provide comprehensive disclosures regarding all brand associations.
From a contractual perspective, one solution is for artist agents to negotiate a “reputation clause” into contracts, which allows for artists to cancel a performance if the identity of a sponsor could cause harm to the artist’s reputation due to the brand’s political affiliation or ethical stances. This is potentially justifiable from an artist’s perspective, given that some promoters seek to negotiate the same right to terminate a contract against artists (e.g. if an artist commits an act that could harm the promoter’s reputation).
However, a promoter’s concern would be that the principle could be open to abuse. Artists may seek to cancel performances based on subjective interpretations of what constitutes a reputational risk. Given that promoters already bear a lot of risk in funding shows, they may find what could be construed as a wide cancellation right unacceptable. The exact wording of these clauses is important. They can be drafted to read more objectively, which mitigates some of the promoter’s risk.
Promoters could also seek to widen the scope of their ability to terminate their arrangements with sponsors; similar reputation clauses (as mentioned above) are worth considering including in sponsorship agreements. However, there would be practical and financial implications to terminating a sponsorship arrangement, especially if terminated close to an event date. Promoters may struggle to find alternative sponsorship funding, which may be essential for profitability.
“With brand-related cancellations becoming more frequent, informal approaches to the issue may no longer suffice”
CONCLUSION
In an unstable landscape for promoters, facing rising costs and unpredictable ticket-selling metrics, sponsorship income continues to be a key revenue stream for events.
If contracts become too rigid or heavily focused on the identity of sponsors, they may reduce the flexibility needed for promoters to engage in sponsorship deals.
Equally, many artists prioritise their values and their reputation in an environment that is increasingly politically conscious and polarised and are willing to cancel shows (and face the potential repercussions) if an event sponsor’s values do not align with their own.
The interconnected and public nature of the live music industry has led to many disputes being resolved without substantial legal repercussions, and after the fact. However, with brand-related cancellations becoming more frequent, informal approaches to the issue may no longer suffice.
Promoters, agents, and artists may find it necessary to take proactive steps to adapt to these issues and protect themselves and their reputations – whether by revisiting contractual norms, artist booking procedures, or transparency of communication over brand partnerships.
As the industry adapts to these new challenges, it will be essential for all parties involved to strike a balance between the financial risk of promoters, artistic freedom, and reputation, and the realities of the ever-changing politicised public.
- The 2025 edition of The Touring Business Handbook, published in association with Chorus TM, is available in print, digitally, and on this dedicated year-round mini-site. To purchase a print copy of the report, get in touch.
A preview version of The Touring Business Handbook 2025 is below.
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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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Viagogo accused of ‘unlawful practices’ by FFA
FanFair Alliance has ramped up calls for a price cap on resale tickets after accusing secondary ticketing site Viagogo of “misleading and potentially unlawful practices”.
The UK-based campaign group against industrial-scale ticket touting says it has collated a number of potential offences by Viagogo since the government launched its consultation into the resale market back in January.
It alleges the company has engaged in multiple cases of speculative selling and broken the UK Consumer Rights Act by permitting professional touts to list tickets with non-existent seat numbers and incorrect face values, as well as drip pricing and other misleading practices.
“To continue promoting such exploitative and unlawful practices during the consultation period really takes the biscuit,” says FanFair Alliance’s campaign manager Adam Webb. “It reiterates why we urgently need a price cap to stop this ongoing exploitation of fans, and to allow a fair and consumer-friendly model of ticket resale to flourish.”
Labour MP Sharon Hodgson, chair of the All-Party Parliamentary Group on ticket abuse, describes the findings as “outrageous but completely unsurprising”.
“I will continue to work with FanFair Alliance and the government to end this blatant black market once and for all,” she says.
In a statement to IQ, a spokesperson for Viagogo says: “Viagogo takes its obligations under the law seriously and is fully compliant in the UK and with the CMA order.
“Our policies prohibit speculative listings. Any alleged speculative listing that we identify as being speculative is removed from our platform in line with our policy. Sellers found to be in breach of our policy will be dealt with including permanent suspension from using our platform.
“We remain committed to operating a safe, transparent, and lawful marketplace for fans to buy and sell tickets.”
“Eliminating the incentive to harvest tickets is the right thing to do”
The UK live music industry came out strongly in favour of a price cap on resale tickets ahead of the government’s consultation deadline at the start of this month. The FanFair Alliance has advocated for a cap of no more than 10% over face value, while bolstering existing legislation to prevent speculative ticketing and fraud, alongside a dedicated approach to enforcement.
LIVE CEO Jon Collins says the latest examples flagged up by the organisation reinforce “the pressing need for swift government action”.
“Eliminating the incentive to harvest tickets is the right thing to do, will reduce distress caused to fans and open up new economic activity,” he says.
Annabella Coldrick, CEO of the Music Managers Forum (MMF), whose members who established the FanFair campaign in 2016, adds that a price cap on ticket resale is “the only way to end these abuses”.
Last week, the UK’s Advertising Standards Authority (ASA) upheld a complaint by the FanFair Alliance, which challenged the claim made in a podcast advert that “over half the events listed on Viagogo had tickets selling below face value”.
“We considered that the claim, as it would be understood by consumers, had not been substantiated and was therefore misleading,” concluded the ASA.
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FOCUS Wales expands conference programme
FOCUS Wales, the country’s largest music industry event, has expanded its conference programme with a raft of new sessions.
The conference and showcase event, set for 8–10 May in Wrexham, 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.
In line with this theme, IQ will host Watershed Moment – The Next Generation of Music, a panel that will assemble emerging professionals to discuss the evolution of the music business. The session will feature Molly Palmer, founder of a new digital radio station supported by an R&D grant from Radio Cymru; Duncan Smith, booking agent at Earth Agency and former BBC producer and programmer at the Royal Albert Hall and Katie Morgan, a programming manager at ASM Global.
For the first time, FOCUS Wales will feature a live episode of The Money Trench podcast, offering an in-depth exploration of the inner workings of the music industry. Produced by Tape Notes and hosted by PPL, The Money Trench is the brainchild of music journalist Mark Sutherland, whose career spans Billboard, NME, Rolling Stone, Variety and BBC Radio 6 Music.
“This flagship event showcases our homegrown talent whilst strengthening Wales’ position on the global music stage”
In partnership with the conference and showcase event, Eisteddfod Genedlaethol will host a panel on support networks for women in music, featuring Ani Glass, Heledd Watkins (HMS Morris), Adjua and Tara Bandito. This conversation will highlight the support available for women navigating the music industry, including institutional and artist-led initiatives that are fostering opportunities within Wales and internationally.
Building on last year’s discussion, Cardiff University will present a session on music and language in Cymru and Aotearoa, featuring Māori artists Jordyn with a Why and MOHI. This panel will explore the developments of Prosiect Pūtahitanga, offering a unique opportunity for cultural exchange, joined by a delegation from Aotearoa.
These events will take place alongside previously announced panels curated by LIVE, PPL and Music Venue Trust, as well as a keynote talk by Neil Ingham, executive director of Samaritans, discussing the transformative impact of deep, empathetic listening in suicide prevention.
“FOCUS Wales exemplifies the creative spirit that makes Welsh culture renowned worldwide, and we’re very proud to be supporting the organsation via Creative Wales again in 2025,” says minister for culture, skills and social partnership, Jack Sargeant. “As we celebrate its 15th year, this flagship event showcases our homegrown talent whilst strengthening Wales’ position on the global music stage.”
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. Nova Twins, Gruff Rhys and Sprints top the bill.
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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Two killed in crane collapse at Mexican festival
The second day of Mexico’s AXE Ceremonia festival was cancelled after two photographers were killed after a crane carrying a “decorative object” collapsed on the site.
The two-day event at Bicentennial Park in Mexico City was due to conclude yesterday with performances by acts such as Tyler the Creator, Massive Attack and The Marías, but was suspended by local authorities on Saturday evening (5 April).
The Attorney General’s Office of Mexico City has opened an investigation into the incident, which AP reports occurred at around 5.30pm on Saturday when a gust of wind shook the structure, causing it to fall on the photographers.
The festival was promoted by Mexico City-headquartered Eco Live, with marketing assistance provided by Ocesa. Ticket-holders will be refunded.
“With deep sadness, we confirm the passing of the two people who were injured during today’s incident,” reads a statement by organisers. “We are deeply heartbroken by this loss. We are reaching out to their families to support them during this incredibly difficult time and to provide them with all our care and solidarity.
“The safety of our community has always been our priority”
“The safety of our community has always been our priority, and we continue, as from the very beginning, to maintain close collaboration and complete transparency with the authorities. We will continue to share official updates about the event through our social media channels.”
The two victims have been identified as Berenice Giles and Miguel Hernandez, who were both in their 20s and were working as journalists at the festival for Mexican university publication Mr Indie.
“Berenice and Miguel will be remembered for everything they contributed in life,” reads a tribute by the magazine. “Their gaze behind the lens, their sensitivity and their energy are still with us.”
The venue has also released a statement expressing its solidarity with the families and friends of the victims, and pledging to fully cooperate with the authorities.
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CTS Eventim lodges appeal after court judgement
CTS Eventim has lodged an appeal after a German court ruled the pan-European giant breached the Digital Services Act with its methods of offering ticket insurance during the ordering process.
The Higher Regional Court of Bamberg partially upheld a lawsuit filed against the firm by German consumer organisation VZBV, which accused CTS of unduly pressuring customers into buying insurance.
According to the watchdog, ticket-buyers who clicked through to checkout without selecting the initial insurance option were taken to a pop-up window that recommended users purchase ticket insurance “to avoid the hassle and frustration of missing an event”.
Only after clicking the “I bear the full risk” button could tickets then be ordered without insurance.
“Taken together, this crossed the threshold for undue influence,” said the VZBV. “A scenario was created that created fear of a total loss of the purchase price and had a threatening effect.”
VZBV says the court has banned the ticketer from offering insurance to buyers in a “manipulative and misleading manner”.
“The judgement is directed solely against the specific wording currently used in the pop-up in the event of rejection of ticket insurance”
“Such design tricks, also known as dark patterns, are prohibited in the EU under the Digital Services Act,” adds Jana Brockfeld, legal advisor in VZBV’s legal enforcement team.
However, a CTS spokesperson stresses that the ruling is not final and confirms the company has launched an appeal.
“We would also like to point out that the judgement is directed solely against the specific wording currently used in the pop-up in the event of rejection of ticket insurance, but not against the use of a pop-up as a new request per se, or against its other design,” the spokesperson tells IQ.
The court rejected the watchdog’s request to prohibit CTS from offering insurance in the shopping cart for the first time, saying it is “readily apparent” the insurance is optional.
CTS last week confirmed record earnings for 2024.
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