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Femnøise launches map of female and non-binary pros

Femnøise, a digital platform aimed at fighting the gender gap on a global level, has launched a new map feature to help locate and connect women and non-binary professionals in the industry and empower them to monetise their skills.

The map allows users to find other music professionals by filtering geographical area, type of activity and musical genres. Profiles can request to connect to each other, send and receive private messages with other users, and participate in forums and discussion groups.

The platform already boasts 2,000 registered users ranging from tour managers to artists, photographers to designers, conductors to bookers.

“Our idea is to serve as a bridge between different needs, and profiles that fit the demand,” says Natalia San Juan, founder and CEO of Femnøise.

“Our idea is to serve as a bridge between different needs, and profiles that fit the demand”

“For example, if you are preparing your tour and need a guitarist or tour manager; if you want to look for a photographer to renew your book or find a designer for the cover of your next album, you can find her on Femnøise. The connections are as diverse as the profiles that connect.”

Users will also be able to create and monetise small courses using the platform’s nano learning functionality, in turn, helping others on the platform to strengthen their skillsets.

Alongside helping professionals to connect and skillshare, the platform will also give visibility to associations around the world which are promoting women and non-binary professionals in the industry and encourage collaboration to find solutions to diminish the gender gap.

The non-profit has received support from the likes of Keychange, the European Music Manager Alliance, the Spanish Ministry of Culture, and the Barcelona local development agency.

Similar initiatives serving women and non-binary people in the music industry have popped up across Europe, including Helvetiarockt’s one-stop shop for festivals, promoters, bookers, producers, musicians and more in Switzerland and Vick Bain’s F-List directory of UK female and non-binary musicians.

 


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GEI13 will honour ‘transition and transformation’

Registration is now open for the Green Events & Innovations (GEI) conference 2021, which will take place in a virtual format on 2 March 2021.

The 13th edition of the conference on sustainability in events is presented by A Greener Festival (AGF) in partnership with the International Live Music Conference (ILMC), which is also taking place virtually from 3 to 5 March.

Noting that the number 13 is associated with upheaval and destruction – and with a nod to the pandemic – organisers say GEI13 will honour the theme of transition and transformation.

The conference will reflect on how the industry can be ‘both receptive and active to co-create a better future,’ taking in topics including transport; food systems; equality and inclusivity; health and wellbeing; power systems; design; and materials usage for circularity and more.

“We’ve seen the determination during this difficult year to keep the eye on the ball and come together for sustainability”

Some of the first confirmed speakers include Dale Vince, (Ecotricity, UK); David Ojay (Naam Festival, KE); Tom Schroeder, Paradigm Agency (UK); Gina Perier, Lapee (DK); Gordon Masson, IQ Magazine/ILMC (UK) and Claire O’Neill, AGF (UK).

“We’re really happy to be launching this edition of GEI, be it online,” says Claire O’Neill, AGF co-founder and GEI producer.

“We’ve seen the determination and commitment from all parts of the events industry during this difficult year, to keep the eye on the ball and come together for sustainability, despite the financial hardships we all face.”

GEI13 will welcome industry leaders, professionals, visionaries, governments and all individuals and organisations working to bring environmental and social sustainability to the live events, sports and creative sectors.

The event is now on sale via Ticketsellers, with £35 limited launch price tickets available while they last.


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47% decrease in new artists touring Europe

The number of new artists touring Europe has fallen by nearly 50% in 2019–20, according to a new report that illustrates the impact of ongoing venue closures on emerging acts.

Research by Liveurope, an EU-backed association of 16 music venues, shows a 47% decrease in new acts touring in Europe compared to 2018–19. According to the organisation, which is calling for more aid at a European level, “the circulation of European artists, in particular emerging ones, can only return to pre-crisis levels if ambitious and targeted EU support is deployed.”

“After months of closure, our venues are faced with substantial economic losses and extended temporary lay-offs,” says Liveurope coordinator Elise Phamgia.“In this context, the safety net that our platform provides to them will be all the more crucial to help them continue bringing the diversity of European music to their audiences.

“After months of closure, our venues are faced with substantial economic losses”

“Scaling up the [funding] envelopes allocated to initiatives like ours would allow us to continue our mission, and support a greater number of music venues across the continent in their efforts to strengthen the European dimension of their line-ups.”

Liveurope members include Brussels arena Ancienne Belgique, Luxembourg’s Rockhal, Melkweg in Amsterdam and London’s Village Underground.

A recent report by the European Commission recommends an increase in the amount of funding for initiatives such as Liveurope in the upcoming EU budget.

 


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DEAG turns a profit in first nine months of 2020

Germany’s Deutsche Entertainment AG (DEAG) made money in the first nine months of 2020, its latest financial results reveal, turning a profit of €300,000 in quarters one to three, even against the backdrop of the Covid-19 pandemic.

The Berlin-based company, which trades on the Frankfurt stock exchange, turned over €39 million in January–September (compared to €123.1m in the same period last year), resulting in earnings before interest, tax depreciation, and amortisation (ebitda) of €0.3m.

In Q3 (July to September) alone, ebitda was €0.6m, with DEAG attributing the success to new event formats, significant cost cutting (the firm has almost halved its spending this year) and €10m worth of insurance compensation. (DEAG revealed in March it is “fully covered” for coronavirus-related disruption.)

For the full year 2020, DEAG expects to at least break even, according CEO Peter Schwenkow, who says the company already has over €100m in sales for 2021, along with liquidity of around €50m.

“In view of the Covid-19 pandemic, we are comfortable with our results for the first nine months of 2020,” comments Schwenkow.

“We are comfortable with our results for the first nine months of 2020”

“Although large parts of our visible operational business are currently suspended, the DEAG team is working behind the scenes to continue our growth course successfully as the pandemic ebbs away and finally comes to an end.

“The breakthrough in the development of vaccines in November brings a tailwind for our entire industry. We have significantly reduced our cost base and are taking advantage of available promotion and support programmes in our core markets. We are currently already planning for the opening of the market and a new start in live entertainment.

“In addition to our core markets of Germany, Switzerland and the UK, we are also present in Ireland through our joint venture Singular Artists. We are seeking contact with artists and management, preparing the expansion of our successful formats and developing new offers.”

DEAG says its ticketing business, comprising MyTicket and the UK’s Gigantic, is becoming “increasingly important” for the company’s bottom line, adding that MyTicket now includes additionally functionality to ensure social distancing at events.

The publishing of DEAG’s latest financial results follows that of German rival CTS Eventim, which revealed last week it has lost just under €18m in 2020 to date.

 


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Virtually Live: ILMC 33 launches with Azoff keynote

The organisers of the International Live Music Conference today (25 November) launched ILMC 33, the 2021 edition of the conference and the first in an all-virtual format.

Without the physical confines of a conference space, the annual event – which typically welcomes 2,000 professionals annually – will programme an expanded schedule of panels, meetings, workshops and keynotes.

Also announced today is ILMC 2021’s first keynote interview, featuring legendary music executive Irving Azoff. Hosted by Ed Bicknell, The (Late) Breakfast Meeting with Irving Azoff sees Azoff join the raconteur and former Dire Straits manager to discuss his remarkable career in music, from managing Eagles and Jon Bon Jovi to running Ticketmaster and being inducted into the Rock & Roll Hall of Fame.

Given the unprecedented circumstances, next year’s ‘Virtually Live’ ILMC will be opening its doors to non-members for the first time, allowing a wider range of live music professionals to attend.

“It’s important that the whole business is able to come together at such a pivotal time for the industry’s recovery,” explains ILMC head Greg Parmley. “With that in mind, we’ve decided to open up ILMC to the wider live music family for the first time, ensuring as many delegates are possible are able to exchange ideas and benefit from each other’s expertise.”

“It’s important that the whole business is able to come together at such a pivotal time for the industry’s recovery”

ILMC 33 also includes a fully online version of the Arthur Awards, the live music industry’s Oscar equivalents, which feature several new award categories – including Unsung Heroes and Tour of the Decade, which will be voted for live on the night. The ILMC Production Meeting (IPM) and Green Events & Innovations Conference (GEI) will both precede ILMC on Tuesday 2 March.

Confirmed speakers for ILMC 2021 already include Tim Leiweke (Oak View Group), Bob Lefsetz (Lefsetz Letter), Emma Banks (CAA), Sam Kirby Yoh (UTA), Tony Goldring (WME), Tom Windish (Paradigm) and Phil Bowdery (Live Nation). The first conference sessions will be announced in the coming days.

In addition to three days of conference sessions, the digital ILMC platform will feature hosted networking lounges, speed meetings and virtual exhibition spaces, while a schedule of nighttime events also includes a series of livestream showcases from emerging artists.

Last year’s conference programme included keynotes from Peter Rudge and team Mumford & Sons, and guest speaker slots from executives including David Zedeck (UTA), Phil Rodriguez (Move Concerts), Roberta Medina (Rock in Rio), Ashish Hemrajani (BookMyShow), Detlef Kornett (DEAG), Maria May (CAA), Scott Mantell (ICM Partners) and Jim King (AEG Presents). The full 2021 agenda will be published in January.

Companies supporting ILMC 33 include Live Nation, Ticketmaster, CTS Eventim, Showsec and Tysers.

For more information, visit the new ILMC website, which invites the industry’s top gamers, avatars and cyberpunks to join us in the conference mainframe from 3 to 5 March 2021.

 


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Claudio Trotta awarded Milan’s gold medal

Italian promoter Claudio Trotta has been officially recognised by the city of Milan for his 40-year service to music.

The Barley Arts founder and Slow Music president has been awarded the gold medal of the Ambrogino d’Oro – only one of 15 given out by the municipality each year.

The Bureau of Milan City Council which decides the winners has commended Trotta for his ongoing fight against secondary ticketing; his “visionary” to launch iconic festivals such as Sonoria and organise Italian tours with the likes of Bruce Springsteen; and his promotion of sustainability which earned Barley Arts a Greener Festival Award.

“I have become part of a list of people, who since 1946, the City of Milan recognises as having given their city everything they could for the supreme and superior good that is the community,” says Trotta.

“Seeing my courage rewarded so publicly is a powerful incentive to continue on my path”

“Now, more than ever, it is vital to share hope, passion, affection, harmony, respect and vision of the future for those who are yet to be born and for humanity as a whole. I’ve made a lot of mistakes in my life but I’ve always had the courage to act according to my visions, no matter the cost to myself.

“Seeing my courage rewarded so publicly and the reasons that supported my Ambrogino expressed vividly, is a powerful incentive to continue on my path.

“I would like to underline that a man alone can do nothing if he is not supported by a community; whether that be family, teamwork or even strangers who are kindred souls, they share in their daily lives my same priorities and struggles. Thank you everyone for this award, it represents real and heartfelt satisfaction.”

The official ceremony takes place every year on 7 December – the feast of Sant’Ambrogio, the patron saint of Milan – and the prizes are delivered by the city mayor.

 


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Directory of UK female musicians launches

Today marks the launch of the F-List, a directory of UK female and non-binary musicians to be used by promoters, festival bookers, commissioners, music supervisors and “those scratching their heads over the fact they don’t know any female artists”.

The resource, launched by equality campaigner Vick Bain, provides details of more than 4,500 musicians across all genres of music and is free to use.

Bain first uploaded the directory as a sprawling online spreadsheet but after proving popular, she has re-launched it as a fully-searchable, not-for-profit website.

“The problem for women in the UK music industry is they are still in the minority when it comes to professional work,” Bain told BBC Radio 4’s Today.

“Only 20% of musicians signed to record labels are women and about 15% of festival headliners are women. So they don’t have much presence, professionally, even though they consist of nearly half of all music degree students.”

The F-List will launch alongside a concurrent community interest company that will champion equality and diversity in the industry. IQs New Boss Alex Ampofo is among those on the board of directors for the company.

“Only 20% of musicians signed to record labels are women and about 15% of festival headliners are women”

“We are going to raise awareness, we’re going to create initiatives to help facilitate training and development, we are going to increase knowledge about gender inequality,” said Bain. “We want to be a major authority for promoting women in music.”

British-Indian-American sitarist and composer Anoushka Shankar will be the inaugural president of the enterprise.

“The F-List is the first initiative of its kind to give female artists and musicians a platform where they can be discovered,” says Shankar.

“Its breathtaking thoroughness and scope nullifies any excuses from people in the music industry who blame a lack of representation and diversity by saying there’s a dearth of women to hire. But it’s also a supportive network that can transform the music industry into a place that better represents, and reflects, the richness and diversity in British society.”

Helvetiarock, a Swiss association and networking platform pushing for gender equality in the live music industry, launched a similar directory earlier this month.

The resource, located at MusicDirectory.ch, will serve as a one-stop shop for women and non-binary professionals, including festivals, promoters, bookers, producers, musicians and more.

 


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Michael Chugg: “We’re all saying let’s look at 2022”

IQ editor Gordon Masson sits down for a Zoom chat with veteran Australian promoter Michael Chugg to discuss his decision to branch out into recorded music, the return of international touring, the domestic situation in Australia and, of course, the long-term impact of Covid…

IQ: What’s been keeping you busy during the last few months?
MC: The label and management side of my business is doing very well. We’re having lots of success with the albums and doing a lot of streaming events – we’ve done about 80 or 90 streaming events with our acts now. Lime Cordiale just had a No.1 album and eight nominations for the ARIA Awards; Sheppard have just played the Aussie Rules grand final in Brisbane last weekend, which was very exciting. I’ve also been helping Gudinski with a lot of his streaming shows, as well as series two of The Sound, which is a rock and music television show that he is involved with and got onto ABC – that starts again next week and I’ve been helping him with that.

We’re about to sign a big deal with a young artist called Mia Rodriguez, who is definitely worth checking out on YouTube. Chugg Entertainment is now part of the Mushroom empire, which I could not have done at a better time really. But Chugg Music is my own thing. I’ve always been involved with Australian music, but I started Chugg Music eight years ago with Sheppard and with Lime Cordiale, and it’s just built from there. My partner in it is Andrew Stone and I’ve got a team of people who work on it. And at least it’s given me something to focus on or I’d be going fucking stir crazy without it.

“Chugg Music has given me something to focus on…I’d be going fucking stir crazy without it”

You opened a Chugg Music office in Bangkok earlier this month. Would that have been possible had you still been full on with promoting concerts this year?
I’ve been dabbling in Asia since around 89 when I did a gig with Bon Jovi. But not having any live touring, I’ve had a lot of time to look at things and then a friend of mine who had been running a music business in Bangkok for BEC-TERO rang me up one day to say he was out of a gig, so I asked him if he could do some work there for me because Sheppard have had a couple of hits up there.

So he started to work on it and then started to see what else we were doing – getting enquiries from Japan about Lime Cordiale stuff, for instance. So after five months we could see there was a business and we decided to open up properly with a Chugg Music office. Gudinski and I have both tried over the years to do things in Asia – we’ve both done quite a few shows up there – we had Laneway [festival] in Singapore for a few years, for instance – and it’s not the easiest market. But there has been a lot of interest recently in the Australian acts, through streaming and things like that, so why not give it a go?

It looks like international touring could be a bit stagnant, to say the least…
Yeah, well ten days ago I got a call from Canberra, from one of the advisors there, and they told us that the borders will not open until 2022. That’s in general – the mainstream – but they’re still trying to do the tennis in January. There won’t be any audiences though.

The Melbourne Cup, on 3 November, our big horse race, won’t have any crowds. But for the tennis in January, they are going to start letting people into the country – and the Indian cricket team is coming in a few weeks’ time. They will be playing cricket and nobody will be there, except maybe in Brisbane and Adelaide, where they’re starting to have limited audiences. There were 30,000 people at the Aussie Rules grand final in Brisbane, but now it’s gone back to 5,000 people for anything else.

I can’t see any touring here until 2022. A friend of mine who works for the premier of New South Wales also told me that’s what they’re talking about.

“When it all comes back and we get to a decent level, there should be quite a bit of Australian touring”

While that remains the situation, is this the greatest opportunity you might have to develop domestic talent?
It’s definitely a good time. Domestic talent here develops anyway, but obviously we’re looking to see what we can do with the acts we can work with. However, it’s also harmed the local acts. If we had not gone into lockdown, Lime Cordiale would be playing 10,000-capacity arenas right now. When it all comes back and we get to a decent level, there should be quite a bit of Australian touring.

We could do a tour now and go play to 30%-capped theatres and things like that, or go play small outdoor shows, but you can’t get into any of the fucking places. At the moment, the borders between Queensland and New South Wales, and New South Wales and Victoria, and South Australia and Victoria are all closed, so you can’t do a national tour right now.

A couple of my bands have played small, 5,000–6,000-capacity festivals in Darwin lately, and there are very few restrictions on audiences in Perth, but nobody can get there, so that’s really only an option for local acts, and that’s it.

But there are some positives. So if it keeps going the way that it is, maybe by Christmas all the internal border restrictions might come down and we can start thinking more seriously about shows.

But we have not announced Laneway – we moved the dates to March, but we haven’t announced because we can’t. If we were to put it up now and there was an outbreak of Covid some- where and they closed things again in January, then we’d lose a heap of money.

Do you think the model for live music needs to be revised on the back of Covid?
They’re planning a big outdoor show for 12,000 people in Adelaide for New Year’s Day with local Australian acts – but at the moment they can’t use Melbourne acts – and the Covid restrictions that have been laid down mean everybody has to be seated. The restrictions are not going to break the bank, but obviously all the toilets and the bars and all the social distancing measures are going to cost money.

We could nearly go ahead with CMC Rocks, our big country festival in Queensland in March. We get about 20,000 people and 11,000 or 12,000 of those camp, but as things stand, if you want to have a campsite, people have got to be 15 metres apart, so you’re fucked, you can’t do it.

“The Live Nation global touring concept might become a thing of the past”

Do you think the spirit of cooperation between rival companies will continue after Covid is gone?
Good fucking question. Look, there has always been a bit of an unwritten code down here. Yes, there’s always squabbling, fighting over tours and artists, but it was an agreement that worked. The Live Nation global touring concept might become a thing of the past. Before all that started, if you had an act, nobody else would go and bid against you. That was pretty much how it was down here.

If Michael Coppel had an act, I would not go after it. The only reason I would, is if the act decided they didn’t want to go with him any more. But the Live Nation thing came along where they were buying acts for the world and for a while Gudinski and ourselves managed to hold on to acts, but then, with the likes of Coldplay and another couple of acts, they would just throw another US$20–30m at them, saying that if they want this money, they’ve got to get rid of Chugg or Gudinski or they’re not going to get the world tour.

I don’t think that situation will be quite as severe as it could have been, and I also think a lot of acts who did those sort of deals, in reflection, probably won’t do them again, because you go from having relationships in 40 or 50 countries with people you’ve worked with for 10 or 15 years or whatever, and all of a sudden they are no longer involved. I know that a lot of the acts who went down that route have regretted it.

“In all the conversations we’re having with agents – and the same with Gudinski – we’re all saying let’s look at early 2022”

When do you think we will see the next Chugg-promoted concert?
I’d love to tell you it will be before June next year, but I doubt it will be before January 2022. We’ve had a couple of the big Australian acts ask us if we’d like to do their tours, but as I said earlier, to go ahead and put something on sale right now would be inviting drama.

We had a couple of postponed Elton John shows that we were going to do in January 2021 and they’ve now been rescheduled until January 2023. But in all the conversations we’re having with agents – and the same with Gudinski – we’re all saying let’s look at early 2022.

One of our big current affair shows on TV did a thing about the companies that supply the coffee machines and barista set-ups for the big shows and conferences: country-wide they were doing about 150 a week and sometimes as many as 100 a day. And they reported they had done four in the past nine months.

People who build exhibitions have not built a single one in nine months. Factories that live on the conference and theatre shows have been idle – there’s no work and everybody is fucked. It’s terrible, but I’ve got to say how great Michael Gudinski has been – everybody is still on the payroll and everyone is still getting paid.

 


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Beyond solidarity

The Black Lives Matter movement and Black Out Tuesday galvanised many teams to reflect, connect with Black communities, and come together as a global music industry in solidarity against anti-Black racism, bigotry and prejudice. And the momentum for change kept up in the UK through Black History Month celebrations.

It is also great to hear a groundswell of ‘building back better’ discussions to ensure that the industry’s Covid-19 recovery allows the music community to act on systemic injustice, inequitable financial benefit and the many barriers that prevent underrepresented creators and professionals from fulfilling potential and forging long-term successful careers.

We know the pandemic disproportionately impacts underrepresented groups and we must counteract that with a greater sense of urgency. At PRS Foundation, we know we will play a vital role in recovery and in shaping the future of music to build a stronger, connected and sustainable music community.

We have made much progress to address gender inequality, launching Women Make Music in 2011, achieving gender balance across our grants programmes in 2018, and co-founding the global Keychange movement, which has over 370 music companies working together towards achieving gender balance by 2022.

“Goodwill amounts to little more than window-dressing if not followed up by commitments, action and accountability”

And we are building on our strong track-record for inclusivity and industry collaboration to develop a long-term ambitious programme to power-up Black creative and executive talent.

To bring about meaningful and lasting change, public solidarity is not enough. Goodwill amounts to little more than window-dressing if not followed up by commitments, action and accountability.

So, what does action and change look like? And to paraphrase the ever-inspiring Keith Harris, OBE, how do we seize the momentum to avoid this becoming “another false dawn in terms of equality in the industry”?

If you don’t know where to begin, you are not alone. Perhaps you feel that personal action may not be enough. Or that the pandemic means you or your company cannot contribute financially.

Or perhaps you’re one of the hundreds of first-time organisation grantees receiving lifeline support from the Culture Recovery Fund or similar Arts Council funds across the UK. You might not know where to start when it comes to the crucial commitment you have made to increase organisational diversity and the diversity of audiences, visitors and/or participants.

I want to stress that there are already very clear pathways to meaningful change. You don’t need to reinvent the wheel. You can connect with the many who have worked tirelessly for decades on diversity and inclusion, or to brand new collectives and initiatives launched this year. And there has never been a bigger opportunity (and responsibility) to come together to address social injustice.

“You don’t need to reinvent the wheel. Connect with the many who have worked tirelessly for decades on diversity and inclusion”

Below are some individuals, initiatives and organisations whose work might inspire you:

Black Music Coalition (BMC) – launched by senior music execs following Black Out Tuesday, the BMC set out five priorities to tackle discrimination in the UK music industry, followed by a must-read manifesto that includes the creation of a resource pack available to music companies.

Nadia Khan – the Women in CTRL network has 800 members and its Seat at the Table report sparked considerable commitments to improve board representation at UK trade bodies.

Ammo Talwar – through the UK Music Diversity Task Force, Ammo has been working tirelessly with colleagues on the 2020 Diversity Report.

Michael Rapino – the Live Nation CEO set global commitments and ambitious targets to build diversity by 2025. Crucially, he is committed to holding himself accountable – something our Keychange pledge has been encouraging for years.

Oslo World – have adapted to the pandemic with an innovative 3D virtual festival and, acting on their ‘Solidarity’ theme, have made all tickets free, with optional donations going to the Beirut music scene.

Creative responses – Native Instruments’ Covid-19 response saw them collaborate with artists to launch a donation-based charity sound pack, benefitting initiatives including Keychange and Heart n Soul. And we’ve had two indie companies donating in-kind support (e.g. residencies/marketing campaigns) to grantees of our Sustaining Creativity Fund.

Personal commitment – countless thousands have been donating to vital causes to support the music ecosystem during the pandemic. Beggars CEO, Paul Redding, swam for 16 hours across the English Channel to raise over £120,000 for a new racial inclusivity programme and for Sweet Relief’s Covid-19 fund in the US.

 


Joe Frankland is CEO of PRS Foundation.

CTS Eventim losses just €17.7m in 2020

Thanks to insurance compensation, the introduction of ticket vouchers in key markets and tens of millions of euros’ worth of cost cutting, CTS Eventim has lost just €17.7 million this year, the company’s latest financial figures reveal.

The Munich-based, pan-European live entertainment giant released its fiscal results for the first nine months of 2020 today (19 November), with the headline figure a 79% decline in turnover, to €228.7m, in financial quarters one to three.

However, showing earnings before interest, taxes, depreciation and amortisation (ebitda) at a modest -€17.7m – and assets of nearly €800m in cash and cash equivalents – the report illustrates the relative strength of CTS Eventim’s financial position as the business heads into an uncertain winter.

Commenting on the figures, CTS Eventim CEO Klaus-Peter Schulenberg says: “We have been convinced since the outbreak of the pandemic that the stresses imposed on our company must be seen as a trial of our strengths. That is the basis on which we act. There is no such thing as standstill.”

Key to the better-than-expected financials is the introduction of ticket voucher schemes, which allow promoters to offer credit, instead of cash, for postponed shows, in Germany, Italy and elsewhere.

“In the midst of this crisis, especially, we continue to bank on our strengths”

According to Schulenberg, the company has also made cost reductions worth a “double-digit-million [euro] figure” in 2020, with investments also “reduced to a minimum”, while insurance pay-outs for cancelled shows organised by its owned promoters have brought in another €43.3m this year.

“In the midst of this crisis, especially, we continue to bank on our strengths, namely technology and industry know-how,” continues Schulenberg, highlighting a new partnership with the European Handball Federation, as well as ticketing deals with football clubs Werder Bremen and Hannover 96, as evidence of the continued popularity of its platform in the sporting world.

“This is how we continue to convince our customers, both new and existing,” he adds.

For sports and live entertainment clients, meanwhile, Eventim is (like rivals Ticketmaster and See Tickets) offering a reengineered ticketing package designed to help promoters organise Covid-secure, socially distanced events. “Maintaining minimum distancing and logging visitor data are the prime focus,” says the company.

 


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