ESNS: Innovations shaping the future of live music
During a panel session at the 2025 Eurosonic Noordenslag (ESNS), a group of executives shared the recent music tech innovations they predict will change the global live scene.
Hosted by Music Tech Europe co-founder Yvan Boudillet, panellists included MusicTech Japan MD Takayuki Suzuki, shesaidso co-director Maiju Talvisto, ComeTogether co-founder Stathis Mitskas and Effenaar director Jos Feijen.
Major themes revolved around best practices for fan engagement, utilising data to expand reach and strengthen engagement and unique attributes of their specific markets.
Feijen launched the discussion by highlighting the experimental work Effenar Lab is focusing on, including measuring audiences’ emotions via brainwave to deliver a better live experience and the creation of digital twins in holographic form.
Initiatives like these create “a completely different way of thinking about how to involve in your audience”, Feijen says.
Placing fans at the forefront of live experiences is key, as echoed by Suzuki. He delved into the ‘superfan’ culture of Japan and explained exclusive artist or promoter fan clubs, in which audiences pay a fee — which helps fund the label and artists’ activity — and get access to exclusive pre-sale access, among other benefits.
“It’s a transformation of the value chain and the mindset of the fanbase,” he says.
Advancements in ticketing were another core theme of the discussion, as ComeTogether’s Mitskas, shesaidso’s Talvisto and Music Tech Europe’s Boudillet discussed how best to harness and utilise ticketing data.
“Live is a perfect lab for more than music”
Boudillet posed how to capture and utilise secondary ticketing data to further expand data sets for artists and touring markets, while Mitskas conceptualised individual-to-individual link distribution to help build accurate and engaged data sets.
Maiju highlighted Coldplay’s combination of activism and ticket sales to further their ideologies, specifically within their own fanbases.
She went on to discuss how technology could help mix up and expand bookings across one-off shows and festival lineups, with inclusion being a necessary facet of fan engagement.
“Festival booking, for example, is very pale and very male … Hopefully tech would help diversify lineups and ease bookings and make it easier to tap into a whole sector that could be used much more,” she says.
On a general point, the panellists also flagged the need for walls between artist teams, labels, promoters, and ticketing companies to be reduced to create a more cohesive approach to live experiences.
The conversation wrapped up with a nod to how live could lead to further developments in non-cultural spheres, like medical and educational advancements.
“Live is a perfect lab for music and more: it’s for society,” Boudillet concluded.
Get more stories like this in your inbox by signing up for IQ Index, IQ’s free email digest of essential live music industry news.
Superstruct acquires Boiler Room from Dice
Festival giant Superstruct Entertainment has acquired live music and broadcast platform Boiler Room from ticketing firm Dice.
Founded by Blaise Bellville in 2010, dance music specialist Boiler Room broadcast events spanning 120 markets last year.
“We are proud to welcome the talented team at Boiler Room, who have managed to consistently grow the platform over the last 15 years whilst maintaining a distinct cultural approach,” says Superstruct CEO Roderik Schlösser. “This partnership perfectly aligns with Superstruct’s mission to celebrate and amplify cultures through creativity, collaboration, and live entertainment. Boiler Room is in the best position it has ever been and we are excited to support them in their promising future ahead.”
Boiler Room’s team will continue to lead the business under the new ownership, bolstered by support from Superstruct’s “global resources and expertise”. In addition, Dice will remain the official ticketing partner for Boiler Room.
“As we turn 15 and enter our next stage of growth, we’re excited to be partnering with Superstruct for this chapter,” says Bellville. “We feel in good company with their roster of brands, they offer us new opportunities to grow, whilst understanding the importance of staying true to the authenticity that, at its core, is what makes Boiler Room special.”
Private equity firm CVC secured a stake in Superstruct in October last year – just weeks after KKR’s acquisition of the festival behemoth was given the green light. Fellow global investment giant KKR acquired Superstruct from Providence for €1.3 billion in June.
“Boiler Room is an incredible brand and the team is exceptional, creating cultural-defining moments time and time again”
Superstruct owns and operates over 80 music festivals across 10 countries in Europe and Australia, including Wacken Open Air, Parookaville, Tinderbox, Sónar, Øya, Benicàssim, Kendal Calling and Boardmasters.
The company was founded in 2017 by Schlosser and Creamfields founder and former Live Nation president of electronic music James Barton while at Providence. Barton will be the Hotseat interview for ILMC 37.
Boiler Room, meanwhile, was previously acquired by ticketing and event discovery platform Dice in 2021.
“Boiler Room is an incredible brand and the team is exceptional, creating cultural-defining moments time and time again,” adds Phil Hutcheon, Dice CEO and founder. “It has been a hugely successful three years and they have a great future ahead with Superstruct, a company we know very well.”
It was reported last summer that Dice was in discussions to sell a “significant stake” that would value the company at hundreds of millions of dollars.
Get more stories like this in your inbox by signing up for IQ Index, IQ’s free email digest of essential live music industry news.
What does Trudeau’s exit mean for Canada’s live biz?
The Canadian Live Music Association (CLMA) has set out to IQ what the industry wants to see from a new government following Justin Trudeau’s resignation after nearly a decade as Canada’s Prime Minister.
“The resignation of prime minister Justin Trudeau undoubtedly marks a turning point for our country as the world grows ever more complex, competitive, and small,” Erin Benjamin, president & CEO, CLMA tells IQ.
“Looking forward to a bright future for the live music industry, the CLMA is actively deepening awareness of the critical role live music plays in the Canadian economy. Harnessing Canada’s touring infrastructure creates a significant and scalable competitive advantage for Canadians and for all levels of government and is essential for our artists so that they can continue to create and share the music we love and need.
As with other live music markets around the world, Canada’s business has been grappling with mixed fortunes in the past year.
At the top end, major tours from the likes of Tate McRae, Green Day, The Rolling Stones, and Taylor Swift (whose Eras Tour closes in Vancouver in December) all rolled through the North American nation in 2024.
Meanwhile, behemoths like Live Nation and Oak View Group are capitalising on the parade of A-list artists with new venues – the former with a new open-air, seasonal stadium in Toronto and the latter with projects including the $300m Hamilton Arena Project.
At the same time, other players in the industry are struggling with a convergence of inflation, changes in fan behaviour, lingering effects of the pandemic and the cost of doing business.
“Harnessing Canada’s touring infrastructure creates a significant and scalable competitive advantage for Canadians”
“On January 30th, the CLMA will be releasing significant data and analysis from the first-ever economic impact study of the sector,” continues Benjamin. “The timing of the report is meant to inspire future policy that will reflect the industry’s place and true potential for growth within Canada’s cultural and economic framework, expanding and leveraging current and future impact.
“She added: “The CLMA looks forward to working in collaboration with Canada’s next government, confident in the understanding that protecting and growing Canada’s live music infrastructure directly results in more jobs, major economic impact for cities and towns, and more performance opportunities for Canadian artists. The CLMA thanks Prime Minister Trudeau for his years of devoted service to Canada.”
Read more about Canada’s live music market in the Global Promoters Report, Global Arena Guide and the International Ticketing Report.
Get more stories like this in your inbox by signing up for IQ Index, IQ’s free email digest of essential live music industry news.
Bonnaroo introduces ‘world’s largest’ 360° stage
Tennessee’s Bonnaroo Music & Arts Festival has unveiled an Infinity Stage for its 2025 edition, touted as the “world’s largest” 360° live music experience.
Backed by UK-based music technology company Polygon Live, the new venture aims to deliver a fully immersive experience for attendees with speakers positioned overhead and around the hemispherical stage.
“Our offering, however, is not just about sound. It’s designed to tap into almost every sense: sound, sight, scent and touch. It’s a multisensory environment that stimulates and amazes, and keeps our audiences coming back for more,” explains Polygon.
Featuring “spatialised sound and synchronised lights,” the structure will be erected alongside five pre-existing stages – three main and two tents – in the main festival area, known as Centeroo.
Dedicated programming is expected for the stage, with a lineup announcement expected this week.
Infinity Live is reportedly a North American first, with Polygon Live staging iterations across Asia
The four-day pop/rock festival, which welcomed 70,000 people last year, is set to return to Manchester, Tennessee for its 22nd edition from 12-15 June. Bonnaroo is produced by Superfly Presents, which also produces San Francisco’s Outside Lands Music Festival, and AC Entertainment.
Infinity Live is reportedly a North American first, with Polygon Live having staged iterations at Thailand’s Wonderfruit Festival and Singapore’s AFTER 2049, an electronic music event held before the country’s Formula 1 Grand Prix.
Polygon Live will also launch a bespoke three-day festival in London this May, dubbed the UK’s “largest outdoor spatial audio festival”.
Polygon Live LDN will be the first event to utilise Polygon Productions’ dual-dome design, with each stage boasting “five times the speakers a stage of similar size would use”, said Polygon during its December announcement.
The inaugural edition is set for 2-4 May 2025 at Crystal Palace Park and will include performances by Arooj Aftab, Gold Panda, Halina Rice, and Jon Hopkins.
Get more stories like this in your inbox by signing up for IQ Index, IQ’s free email digest of essential live music industry news.
HYBE to introduce facial recognition for events
K-pop giant HYBE has sparked privacy concerns after announcing it is to introduce an optional face-scanning entry system for shows in South Korea.
The Face Pass, which will replace ticket checks, will be piloted at boy band TWS’ 42:Club fan event, which runs from 14-16 February at the Handball Gymnasium in Seoul’s Olympic Park.
The tech combines finance app Toss’ facial recognition service with the ticketing platform of Korea-based Interpark Triple. HYBE says that fans will be able to register their facial data through Interpark before the shows, with the twin benefits of speeding up the entry process while also deterring touts.
“With a one-time facial registration, fans can enter venues easily and conveniently, enhancing their overall experience,” says Kim Tae-ho, HYBE’s chief operating officer. “We aim to expand this service globally to create a comfortable environment where fans worldwide can enjoy performances seamlessly.”
“Facial data is sensitive biometric information. Entrusting it to Interpark, HYBE and Toss raises questions about how it will be processed”
Face Pass users will be able to quickly enter events through gates equipped with cameras.
Fans will also be permitted to opt out of using the technology and instead go through a separate ticket verification process at designated booths. Nevertheless, the Korea Times reports the announcement has led fans to express reservations over privacy and security.
“Facial data is sensitive biometric information. Entrusting it to Interpark, HYBE and Toss raises questions about how it will be processed,” says one user on X. “Like past leaks of resident registration numbers or phone numbers, facial data could become vulnerable to breaches. The risk of misuse is real.”
Get more stories like this in your inbox by signing up for IQ Index, IQ’s free email digest of essential live music industry news.
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.
Get more stories like this in your inbox by signing up for IQ Index, IQ’s free email digest of essential live music industry news.
IQ 132: Maria May, The Gaffer, Sum 41
IQ 132, the latest issue of the international live music industry’s leading magazine, is available to read online now.
The December/January issue marks 30 years in the agency business for electronic music pioneer Maria May and 20 years in the concert business for German mainstay Wizard Live.
Elsewhere, Coldplay production manager Chris Kansy takes home The Gaffer Award (again!), Derek Robertson talks to the crew behind Sum 41’s farewell outing and Adam Woods health-checks the historically robust live music industry in Austria.
Primavera Sound and Roskilde discuss gender-balanced festival lineups, CAA’s Chris Ibbs celebrates the rise of women to the top of global touring and WME’s Meera Patel defines the role of agency tour marketers.
This issue will also deliver a round-up of the last 12 months and a glimpse at what 2025 might have in store.
A selection of magazine content will appear online in the next four weeks but to ensure your fix of essential live music industry features, opinion and analysis, click here to subscribe to IQ – or check out what you’re missing out on with the limited preview below:
Fortnite virtual concert draws record 14m players
Online video game Fortnite has announced a new virtual concert record after drawing 14.3 million concurrent players to Remix: The Finale on Saturday (30 November).
The concert, which featured performances by Snoop Dogg, Ice Spice, Eminem, and a posthumous tribute to Juice WRLD, significantly surpassed the previous record of 12.3 million concurrent players for the Travis Scott concert in 2020.
It also surpassed the records set by Snoop Dogg & Ice Spice’s Times Square event earlier this year, the Big Bang event featuring Eminem concert in 2023 and the Doctor Doom fight this year.
The 15-minute Remix: The Finale showcased unique “dreamscapes” for each artist, culminating in a special moment dedicated to Juice WRLD.
The late rapper’s world premiere of Empty Out Your Pockets served as a finale, with players transforming into crystal butterfly forms during the performance.
The concert significantly surpassed the previous record of 12.3 million concurrent players for the Travis Scott concert in 2020
In addition to the 14.3 million concurrent players that joined the concert, more than three million people streamed it online according to Fortnite.
The game’s largest event of any kind was for the fictional Marvel character Galactus in 2020, which drew 15.3 million players.
Fortnite‘s virtual concerts gained enormous traction during the Covid-19 pandemic but the game has consistently drawn impressive audiences through concerts with A-list stars and partnerships with festivals such as Coachella.
The game has also continued to trial new formats, from playable concerts with acts including Karol G to the Fortnite Festival game mode headlined by the likes of The Weeknd, Lady Gaga, Billie Eilish and Metallica.
Other artists that have performed in the game include Ariana Grande, Marshmello, Steve Aoki, Deadmau5, Easy Life and J. Balvin.
In November 2021, Epic Games acquired Rock Band and Guitar Hero creator Harmonix “to create musical journeys and gameplay for Fortnite”.
Get more stories like this in your inbox by signing up for IQ Index, IQ’s free email digest of essential live music industry news.
ILMC unveils largest-ever programme for 2025
The International Live Music Conference (ILMC) has unveiled its largest-ever programme for the 37th edition, which will take place at London’s Royal Lancaster Hotel between 25-28 February 2025.
In the new-look, refreshed programme, session formats range from question times to fan focus groups and panels to keynotes.
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.
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, while other conference topics across the three-day event include ethics & activism, marketing, the arena market, festival formats, electronic music, fan data tools, wellness, a series of genre spotlight sessions, and a workshop programme including live music insurance, green riders, visas and programming gender-balanced events.
“We have gone back to first principles this year and completely refreshed the conference agenda”
Session chairs include Emma Banks (CAA), Rauha Kyyrö (FKP Scorpio), Sally Dunstone (Primary Talent International), Marie Lindqvist (ASM Global), Dan Steinberg (Emporium Presents), Tom Zaller (Imagine Exhibitions) and Clementine Bunel (Wasserman Music).
“We have gone back to first principles this year and completely refreshed the conference agenda, ensuring that we continue to deliver on ILMC’s core mission of being the premier place for the international live music business to discuss its most important issues,” says head of ILMC Greg Parmley.
“It’s the biggest ILMC agenda yet, and we’re excited to deliver the new sessions and formats in February.”
Running alongside the core ILMC programme, Touring Entertainment LIVE will offer a full day of big-brand live entertainment, exhibitions and touring family shows on Wednesday 26 February, and the Greener Events and Innovations (GEI) Conference will tackle sustainability in the live sector throughout Tuesday 25 February.
Friday at ILMC runs as Futures Forum, with an additional delegation of young and early-career live music professionals invited to attend sessions on festival booking, emerging markets, tour marketing, alternative revenue streams and more.
Key partners on ILMC 37 include Live Nation, Ticketmaster, CTS Eventim, ASM Global, Tysers Live, BWO Entertainment, AXS, Showsec, DEAG & LMP Group.
Over 2,500 live music professionals will take part in the 2025 ILMC programme, with full details available at 37.ilmc.com.
Further sessions will be announced in the coming weeks.
Get more stories like this in your inbox by signing up for IQ Index, IQ’s free email digest of essential live music industry news.
Movers and Shakers: New hires at OVG, Eventim, AXS
Oak View Group (OVG) International has hired Matt Owen as booking projects manager in London.
The US-based venue management giant’s international projects include Co-op Live in Manchester and Arena São Paulo in Brazil.
Owen joins OVG from London’s Wembley Stadium where he was programming manager, booking artists including Taylor Swift, Green Day, AC/DC and Bruce Springsteen.
He started at the 90,000-capacity stadium in 2019, serving as a customer engagement manager for almost four years before becoming programming manager in 2022. He has previously held roles at Tottenham Hotspur Football Club and West Ham United FC.
Meanwhile, Nick Griffith has been appointed as senior director of business development for Europe at AXS Europe.
Nick Griffith has been appointed as senior director of business development for Europe at AXS Europe
Prior to joining AXS Europe, Griffith spent 11 years at Ticketmaster, most recently in the role of vice president, global client ops/sales operations – global.
He has also held roles in international sales operations, and UK-based sales operations and client development.
Elsewhere, Australian concert organiser Destroy All Lines has hired renowned promoter Scott Mesiti.
Mesiti co-founded his own touring company MJR Touring in 2012, which was acquired by TEG in 2019. Following the acquisition, he became head of touring for TEG MJR Live.
Mesiti has promoted artists such as Hans Zimmer, Snoop Dogg, Ice Cube, Cypress Hill, 50 Cent, Six 60, The Jacksons, Sia, Steel Panther, Evanescence, James, Salt & Pepa, Sean Paul, Shaggy and UB40, and festivals including Valleyways and Knotfest.
Australian concert organiser Destroy All Lines has hired renowned promoter Scott Mesiti
Finally, Vlad Enăchescu has been appointed general manager of ticketing company Eventim Romania.
Enăchescu was previously the president of the CSM Bucharest women’s handball team. A former journalist for TVR and DolceSport, he is also a renowned sports commentator in Romania.
“I happily accepted the offer because I like challenges,” says Enăchescu in a statement.
“It gives me the opportunity to be active in the vicinity of my passions: sport and art. I was always a frequent consumer of shows and culture, but also a constant presence in sports halls and arenas.”
Get more stories like this in your inbox by signing up for IQ Index, IQ’s free email digest of essential live music industry news.