Live music giants move to bolster operations
Live Nation, UTA, WME and AXS have all moved to bolster their ranks with a series of notable appointments.
Dan Wall, who retired from global law firm Latham & Watkins earlier this week, has joined Live Nation as EVP for corporate and regulatory affairs.
Wall has been a key advisor to Live Nation for more than 12 years, previously providing guidance as lead outside counsel while a partner at Latham & Watkins. His new role will enable him to continue providing strategic counsel to the firm.
“Live Nation has been a special client to me, so about three years ago I floated the idea of this continuing relationship,” says Wall. “I am grateful to Michael [Rapino, CEO] and Joe [Berchtold, CFO] for allowing me to continue our work together and I am excited by the challenge.”
“Dan has been a trusted advisor and partner and he will no doubt continue to be a valuable asset to the team,” adds Rapino.
“The addition of Paul and Ceci, with their web of expertise… is another powerful signal about the trajectory of our company”
Elsewhere, leading talent agency UTA has added Main Street Advisors CEO Paul Wachter and Nexus Management Group founder Ceci Kurzman to its board of directors. Wachter will serve as the board’s chairman.
“The addition of Paul and Ceci, with their web of expertise in entertainment and technology, finance and corporate governance, is another powerful signal about the trajectory of our company and the work we are doing on behalf of our clients,” says Jeremy Zimmer, UTA co-founder and CEO.
The appointments support the recent growth and diversification of UTA’s business, including its acquisitions of UK talent and literary agency Curtis Brown Group and entertainment and marketing advisory firm MediaLink, as well as the strategic partnership forged with global private equity firm EQT.
“When we brought in EQT last summer as UTA’s largest minority investor, we together recognised the value of adding experienced outside voices to the board to help us continue to pursue our goals,” adds Zimmer. “Both Paul and Ceci are passionate about artists and culture and recognise the importance of how UTA can continue to lead into the future. We could not be more fortunate to have them stepping into these roles.”
“These promotions showcase the breadth of our client roster and how far we can go in servicing our artists”
Rival agency WME, meanwhile, has upped seven partners and 12 agents in its music division across its global offices in the US, UK and Australia.
Jared Rampersaud, Levi Jackson, Doug Singer, Henry Glascock, Dave Bradley, Brendan Long and Bradley Rainey are promoted to partners, while Henry Delargy, Kidder Erdman, Phillip Richard, Josh Sanchez, Anna Horowitz, Tom Larger, Brendan Moylan, Becca Chisholm, Caleb Fenn, Carter Green, Kanan Vitolo and Morgan Carney are elevated to agents.
“These promotions showcase the breadth of our client roster and how far we can go in servicing our artists,” says Lucy Dickins, WME’s global head of contemporary music and touring, and Becky Gardenhire, co-head of WME’s Nashville office. “We are so proud of the leadership and ingenuity each of these individuals has demonstrated, and we look forward to what they will achieve.”
Finally, The Music Network reports that AEG-owned ticketing company AXS has hired Andrew Travis to run its new Australia and New Zealand JV with Frontier Touring. Travis is a former CEO of Australian rules football club Gold Coast Suns, and was most recently COO of Melbourne & Olympic Parks, home to Rod Laver Arena, AAMI Park, John Cain Arena and Margaret Court Arena.
“I am delighted to be joining the team at AXS and to have been given the opportunity to lead this exciting expansion into the Australia and NZ market,” says Travis. “I look forward to super serving venues to optimise their ticketing operations and drive improved customer outcomes and satisfaction.”
“We are thrilled to have Andrew lead AXS’ entry into the vibrant Australian and New Zealand live event market,” adds AXS CEO Bryan Perez. “His extensive experience as an industry leader in sports and entertainment venues gives him a keen insight into their goals and ambitions and the challenges they’ve had realising them. He is the right person to help AXS address those challenges in a new and innovative way to the benefit of fans, artists and team throughout the region.”
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“The desire for stability has created a hotbed of M&As”
The world has thrown up many challenges in the last few years – none more so than in the festival and live events sector. Let’s rewind to January 2020 when the UK exited the European Union. That withdrawal triggered a multitude of different rules and regulations, saddling the UK sector with a significant amount of red tape, including the international customs document CPD Carnet.
Suddenly, the free flow of music acts between the UK and the EU, as well as further afield from the US – where acts used to fly into the UK as a stop-off on the way to European festivals – was being disrupted, adding both cost and complication to live event schedules.
Then, if the post-Brexit challenge wasn’t enough to make festivals harder to organise and host, along came a global pandemic that would place the UK’s withdrawal from the EU into an entirely new light. Covid-19 had a profound effect on the sector, with national and international regulations putting a firm stop to live events, resulting in cancellations on a scale never witnessed before.
M&A is being seen as a viable way of securing the future of festivals, with collaboration helping to drive growth
Loss of income subsequently caused staff to leave the sector, resulting in shortages of skilled workers, as well as the seasonal shortages hitting the wider hospitality and leisure sectors. While 2021 provided a Covid bounce-back for some, other festivals suffered from the return of overseas travel. Inflation and cost increases have created additional challenges, with headlines about the rising prices of festival tickets.
Set against the backdrop of a cost-of-living squeeze, there are clearly limits to the costs that can be passed on. With the impact of increased red tape, prolonged periods of falling revenue, rising costs of doing business, and low reserves, many in the industry are now looking for ways to ensure future stability for their festivals.
Given the pressures facing the industry since 2020, you might expect many to hunker down and wait for the headwinds to turn in their favour. But the desire for stability has driven consolidation in the sector and created a hotbed of mergers and acquisitions (M&A) activity. Customs clearances, queues, and costs aside, M&A is being seen as a viable way of securing the future of festivals, with collaboration helping to drive growth. This has resulted in a strong appetite across the sector.
Acquisitions are also happening due to the desire to diversify and add additional revenue streams for promoters
Standout deals include the sale of UK promoter and event organiser UK Live to Kilimanjaro Holdings Limited. The UK subsidiary of DEAG – the German live entertainment giant – acquired 90% of shares in UK Live. In 2022, DHP Family, one of the UK’s biggest national independent promoters, bought into alternative independent music festival Bearded Theory’s Spring Gathering.
Interestingly, both deals, which BDO advised on, ensured the founders/creative drivers behind those festivals were kept at the forefront of the festival delivery, demonstrating the importance of festivals finding a home that will value their ethos and spirit and respect their history.
Traditionally, festival groups have acquired other complementary businesses to enable them to access talent and be in a position to offer multiple events/ venues to play at during any given season or year – placing them in a better position to (a) guarantee preferred artists and (b) secure better rates.
Rebuilding, protecting, and growing the sector will be key in 2023
Collaboration within larger groups will of course aim to bring synergies to drive growth and reduce costs, but acquisitions are also happening due to the desire to diversify and add additional revenue streams for promoters – income via tours can be quite cyclical, as opposed to festival income which, although seasonal, happens every year. They also enable music companies or promoters to access new genres or markets. As we near 2023, what does the following year have in store for the sector?
Rebuilding, protecting, and growing the sector will be key in 2023. What’s more, festivals will continue to evolve, with technological advancement at events – from cashless systems, advanced security systems, to VR/augmented reality – together with a strong focus on [environmental, social and governance] at events and festivals, as promoters review their supply chains whilst also continually meeting changing consumer needs.
The good news is there is cautious optimism for the festival scene in 2023, as the threat of recession and softening of consumer spending potentially drives the staycation market, ensuring an active group of festival-goers are more ‘present’ than they were compared to 2022, when there was a post-Covid surge in overseas holidays/travel.
James Fieldhouse is managing director, mergers and acquisitions, at accountancy and business advisory firm, BDO LLP.
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Q&A: AEG’s Gary Gersh on talent development
Ever-changing best practice and technological innovation are impacting the live music industry like never before, while important issues such as diversity, equality, and sustainability are being embraced by every sector of the business. In the most recent issue of IQ, we talk to some of the architects who are helping to shape the industry of the future, to quiz them on their blueprints and predictions for how we may all be operating in a few years’ time. This excerpt from the feature sees AEG president of global talent Gary Gersh discuss the importance of talent development, the rise of non-English-speaking artists and the role of streaming.
IQ: What does the live music business look like in 2030? How do you see things changing?
GG: I think the live music scene will be more globally based – we’ll be doing tours all over the world and in countries that we may not have gone in as regularly before. I believe more artists will be coming from countries that we didn’t imagine. And I think streaming will continue to just level this playing field. It’s super exciting.
While the top end of the business is enjoying record numbers, the middle and lower end of touring acts are struggling. What more can be done to support and develop new talent?
We’re in the development business, and we have to continue to take artists from the beginning all the way through the middle and to headliners. If we do it the other way, top-down, you end up not developing talent, and you end up not having the future we all want to have.
Bottom-up is the way we look at it because most artists that are going to be around a long time will not start in the middle or at the top. Even though they may have hits, the lasting power comes from building your audience, market by market, globally. We, as an industry, have to spend more time, money, and resources to be able to develop talent from its earliest days. Or else I think we end up having no middle, which will mean fewer artists getting to be superstars.
“We, as an industry, have to spend more time, money, and resources to be able to develop talent from its earliest days”
As president of AEG’s global touring, where do you see opportunities for growth in the next three years?
Geography and musicality are going to go hand in hand, and we’re going to see music come from all different places in the world. We’re moving toward a situation where alternative music will come from places where English isn’t the most important thing. We’ve just finished sold-out tours with Rammstein, Blackpink, and Karol G, and there’s not a word of English in
any of it. So, I think that’s where we’re going to see opportunities coming from.
What’s the greatest threat to the business currently, and how do we solve it?
I’ve been doing this since I was a young teenager, and I’ve never looked at things as threats to our business. If you look at all that’s going on right now, you can see that there’s a levelling of the playing field around the world through streaming. For example, Karol G puts on a show for Coachella and doesn’t use it anywhere else, but her growth around the world from the stream is gigantic. At the same time, Anitta is playing and Grupo Firme is playing and they’re widening their audiences because the opportunity is just so powerful. The threats that we may perceive are actually opportunities. There is some great new music around, so I think the biggest threat is that people become complacent.
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Slowthai announces UK pub tour with £1 tickets
Award-winning British rapper Slowthai has announced a tour of UK pubs, with tickets available for £1.
The six-date ‘Best Night of Your Life’ outing will kick off on 28 February at the Independent pub in Sunderland and will wrap up at The Black Prince in his hometown of Northampton on 3 March.
The tour, which is supported by Jagermeister, echoes the rapper’s previous budget-friendly 2019 tours: the ’99p tour’ and a £5 ticketed tour.
“It’s important to me that people can have access to me and my music”
“I make music for myself but I wouldn’t be where I am without my fans,” says Slowthai. “It’s important to me that people can have access to me and my music so I wanted to go to some new places and play this album first. Times are tough for a lot of people and working with Jägermeister has helped me keep tickets to only a quid.”
The ‘Best Night of Your Life’ tour will see the rapper perform his first headline shows in a year, in support of his recently-announced third album ‘Ugly’.
Slowthai joins a slate of artists including Tom Grennan, Rina Sawayama, Paul Heaton and The Big Moon that have capped the prices of their tickets or merchandise in a bid to help fans in the UK weather the cost of living crisis.
Q&A: Live Nation’s Lesley Olenik on the future of touring
Ever-changing best practice and technological innovation are impacting the live music industry like never before, while important issues such as diversity, equality, and sustainability are being embraced by every sector of the business. In the most recent issue of IQ, we talk to some of the architects who are helping to shape the industry of the future, to quiz them on their blueprints and predictions for how we may all be operating in a few years’ time. This excerpt from the feature sees Live Nation’s vice president of touring discuss the evolution of the touring landscape, keeping tickets affordable and developing the next generation of headliners.
IQ: How do you see the touring landscape changing globally in the next couple of years, now that we’re in a post-pandemic environment?
LO: We’ll continue to see artists doing more shows across the globe, and all signs point to the fan demand being there to account for that. Touring has always been a significant part of an artist’s career and a key way they connect with their fans at every level and across all genres of music.
With recession looming in many markets and inflation spiralling, a cost-of-living crisis seems like the latest challenge that live music will have to deal with. How can agents, promoters, and artists work together to try to keep tickets affordable for fans?
As the promoter, we work closely with artists and their teams to develop strategies that meet their touring goals from the vision of the show to the financials, which includes how the artist wants to ticket and price their shows. We also pride ourselves on the knowledge we have of markets across the globe and the research we do to make sure ticket prices are comparable and make sense for the fans and artists.
“The average global tour has continued to trend upwards in number of stops, and we anticipate that will only continue”
How do you predict the global touring business will develop in the coming decade, and what impact do you think technology will play in the way fans interact with artists?
We’re already seeing technology connect artists with more fans around the world than ever before through their social platforms and streaming, which gives them a bigger fan base to bring shows to. The average global tour has continued to trend upwards in number of stops, and we anticipate that will only continue over the coming decade. Another great example is how stage production is advancing with technology and becoming even more impressive. We’ll continue to see tech make all aspects of the fan experience more simple and convenient and on a global scale.
What more can be done to support the next generation of headliners, as well as those career acts who rely on their live work to make ends meet?
From my perspective, up-and-coming acts and younger artists are gaining momentum faster than ever before. Due to streaming platforms and social media channels like TikTok, artists have a much greater reach and better opportunity to grow their fanbase at a rapid pace. For other emerging artists, it is about hitting all of the steps from the beginning and connecting with fans.
Playing the clubs and smaller rooms for your day-one listeners, playing festivals to reach new fans and different audiences, and building those up to hit the bigger rooms like arenas. I’ve had the privilege of seeing it first-hand in artists like Billie Eilish who catapulted and Lizzo who dug in and worked the small rooms to the theatres and is now headlining arenas.
Pumpkins take The World Is A Vampire to Australia
The Smashing Pumpkins are taking their The World Is A Vampire touring rock festival to Australia in 2023.
Presented by One World Entertainment, the band will be joined by Jane’s Addiction, Amyl & The Sniffers, RedHook, Battlesnake on the 10-city rock “carnival”, with local acts opening each night.
Stops include Stuart Park, Wollongong (15 April), the 20,000-cap Sandstone Point Hotel (16 April), Sydney’s Hordern Pavilion (18 April), Newcastle Entertainment Centre (19 April), Hastings Foreshore (22 April), Kyral Castle, Ballarat (23 April), Adelaide Entertainment Centre (26 April), PICA Port Melbourne (27 April) and Nepean Aerospace Park, Penrith (29 April), before wrapping up on at Broadwater Parklands on the Gold Coast on 30 April.
In addition, the shows will feature professional wrestling matches between Billy Corgan’s NWA and the Wrestling Alliance of Australia”
Tickets cost from A$178.90 to $209 (€116 to €136).
In addition, the shows will feature professional wrestling matches between Smashing Pumpkins’ frontman Billy Corgan’s National Wrestling Alliance (NWA) and the Wrestling Alliance of Australia (WAOA).
As previously announced, the Pumpkins are partnering with Live Nation-owned Latin American giant Ocesa to debut the festival in Mexico at Ocesa’s Foro Sol (cap. 65,000) stadium, on 4 March. Interpol, Turnstile, Peter Hook & The Light, DeafHeaven and The Warning are also slated to perform at the first edition, along with Ekkstacy, Chelsea Wolf, Margaritas Posridas, In The Valley Below, El Shirota and Acid Waves.
Ed Sheeran to break New Zealand stadium record
Ed Sheeran is set to break the attendance record at New Zealand’s Sky Stadium this week, with 48,000 fans expected at the singer’s sold-out concert.
The 31-year-old brings his +–=÷× Tour (AKA the Mathematics Tour) to the Wellington venue tomorrow (2 February) ahead of two shows at Auckland’s Eden Park next week.
Stuff reports the Sky Stadium concert is on track to top the venue’s current record set by Eminem, who attracted 46,474 fans to his March 2019 date. A Guns ‘N Roses performance at the stadium drew more than 25,000 in December 2022.
“This is the first show of Ed’s Australia and New Zealand tour, and the single largest day event the stadium has ever held”
“This is the first show of Ed’s Australia and New Zealand tour, and the single largest day event the stadium has ever held,” says Sky Stadium chief executive Shane Harmon.
The Frontier Touring-presented gig is scheduled to go ahead despite the recent flash floods and landslides that hit the north island. The “biblical” weather saw a number of major concerts and festivals in New Zealand cancelled, including Laneway Festival and stadium shows by Elton John after Auckland declared a state of emergency.
According to Newshub, bosses at Auckland’s 50,000-cap Eden Park say they are “100% focused” on making sure the venue is “fit for purpose” for Sheeran’s 10-11 February dates after the cricket ground was submerged by heavy rain.
The tour, Sheeran’s first visit to the region since 2018, switches to Australia next month for stops at Brisbane’s Suncorp Stadium (17-19 February), Sydney’s Accor Stadium (24-25 February), Melbourne Cricket Ground (2-3 March), Adelaide Oval (7 March) and Perth’s Optus Stadium (12 March), before heading to the US in May. Sheeran is represented by Wasserman Music’s Marty Diamond in North America and One Fiinix Live’s Jon Ollier for the rest of the world.
Click here to read IQ‘s in-depth feature on The Mathematics Tour.
Sheeran’s previous 255 show ÷ (Divide) run from 2017-19 surpassed U2’s 360° as the highest-grossing tour ever, with a gross of US$776.2 million. It also set a new record for total attendance, at 8,796,567, according to Pollstar data.
Beyoncé announces 2023 Renaissance world tour
Beyoncé has announced her first tour in seven years: the Renaissance World Tour 2023.
The hugely anticipated outing will kick off on 10 May at Stockholm’s Friends Arena before working its way through stadiums in Europe and the UK over the course of this spring and summer.
The tour’s North American leg starts on 7 July in Toronto and continues through to the autumn before concluding on 27 September at New Orleans’ Caesars Superdome.
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The 41-date tour also includes an extensive run of UK dates, including London’s Tottenham Hotspur Stadium on 29 and 30 May and Cardiff, Edinburgh and Sunderland set for 17 May, 20 May and 23 May respectively.
The new outing, in support of Beyoncé’s latest album ‘Rennaisance’, is produced by her management, production, entertainment company and record label, Parkwood Entertainment, and promoted by Live Nation.
The 41-year-old’s last tour was 2016’s Formation world tour. That show, in support of her sixth album ‘Lemonade’, saw her perform in Sunderland, Cardiff, London, Manchester and Glasgow, totalling over 300,000 tickets in the UK alone.
Renaissance World Tour dates:
May 10, 2023 – Stockholm, SE – Friends Arena
May 14, 2023 – Brussels, BE – King Baudouin Stadium
May 17, 2023 – Cardiff, UK – Cardiff Principality Stadium
May 20, 2023 – Edinburgh, UK – BT Murrayfield Stadium
May 23, 2023 – Sunderland, UK – Stadium of Light
May 26, 2023 – Paris, FR – Stade de France
May 29, 2023 – London, UK – Tottenham Hotspur Stadium
May 30, 2023 – London, UK – Tottenham Hotspur Stadium
June 08, 2023 – Barcelona, ES – Olympic Stadium
June 11, 2023 – Marseille, FR – Orange Velodrome
June 15, 2023 – Cologne, DE – Rhein Energie Stadion
June 17, 2023 – Amsterdam, NL – Johan Cruijff Arena
June 21, 2023 – Hamburg, DE – Volksparkstadion
June 24, 2023 – Frankfurt, DE – Deutsche Bank Park
June 27, 2023 – Warsaw, PL – PGE Narodowy
July 8, 2023 – Toronto, ON – Rogers Centre
July 12, 2023 – Philadelphia, PA – Lincoln Financial Field
July 15, 2023 – Nashville, TN – Nissan Stadium
July 17, 2023 – Louisville, KY – L&N Federal Credit Union Stadium
July 20, 2023 – Minneapolis, MN – Huntington Bank Stadium
July 22, 2023 – Chicago, IL – Soldier Field Stadium
July 26, 2023 – Detroit, MI – Ford Field
July 29, 2023 – East Rutherford, NJ – MetLife Stadium
Aug. 01, 2023 – Boston, MA – Gillette Stadium
Aug. 03, 2023 – Pittsburgh, PA – Acrisure Stadium
Aug. 05, 2023 – Washington, DC – FedEx Field
Aug. 09, 2023 – Charlotte, NC – Bank of America Stadium
Aug. 11, 2023 – Atlanta, GA – Mercedes-Benz Stadium
Aug. 16, 2023 – Tampa, FL – Raymond James Stadium
Aug. 18, 2023 – Miami, FL – Hard Rock Stadium
Aug. 21, 2023 – St. Louis, MO – Dome at America’s Center
Aug. 24, 2023 – Phoenix, AZ – State Farm Stadium
Aug. 26, 2023 – Las Vegas, NV – Allegiant Stadium
Aug. 30, 2023 – San Francisco, CA – Levi’s Stadium
Sept. 02, 2023 – Inglewood, CA – SoFi Stadium
Sept. 11, 2023 – Vancouver, BC – BC Place
Sept. 13, 2023 – Seattle, WA – Lumen Field
Sept. 18, 2023 – Kansas City, MO – GEHA Field At Arrowhead Stadium
Sept. 21, 2023 – Dallas, TX – AT&T Stadium
Sept. 23, 2023 – Houston, TX – NRG Stadium
Sept. 27, 2023 – New Orleans, LA – Caesars Superdome
Ozzy Osbourne retires from touring
Ozzy Osbourne has cancelled his long-delayed farewell tour and retired from touring, saying he is “not physically capable” of going out on the road.
The 74-year-old Black Sabbath vocalist’s No More Tours II run launched in North America back in the spring of 2018, with a European leg scheduled for 2019 pushed back due to medical reasons.
The arena shows were finally set for May/June 2023 after further postponements, but have now been pulled entirely.
In a letter posted on his social media channels, Osbourne says his retirement announcement is “probably one of the hardest things I’ve ever had to share with my loyal fans”.
“I have now come to the realisation that I’m not physically capable of doing my upcoming European/UK tour dates, as I know I couldn’t deal with the travel required”
“As you may all know, four years ago, this month, I had a major accident, where I damaged my spine,” says the metal legend. “My one and only purpose during this time has been to get back on stage. My singing voice is fine. However, after three operations, stem cell treatments, endless physical therapy sessions, and most recently groundbreaking Cybernics (HAL) Treatment, my body is still physically weak.
“I am honestly humbled by the way you’ve all patiently held onto your tickets for all this time, but in all good conscience, I have now come to the realisation that I’m not physically capable of doing my upcoming European/UK tour dates, as I know I couldn’t deal with the travel required.
“Never would I have imagined that my touring days would have ended this way. My team is currently coming up with ideas for where I will be able to perform without having to travel from city to city and country to country.”
Osbourne brought the curtain down on his touring days with Black Sabbath six years ago in his native Birmingham, UK. The 2016/17 The End Tour featured founding members Osbourne, Tony Iommi and Geezer Butler and grossed $US85 million at the box office from 81 concerts across North America, Europe, Oceania and Latin America.
AEG unveils Re:SET artist-curated concert series
AEG Presents has unveiled new artist-curated outdoor concert series Re:SET, which is set to hit 12 cities across four US regions this summer.
Headlined by LCD Soundsystem, Boygenius and Steve Lacy, the series will take place over four weekends in June and create a “unique, localised experience”, with each headliner curating the lineup for their respective day.
Boygenius will be supported by Clairo, Dijon, and Bartees Strange; LCD Soundsystem will be joined by the likes of Jamie xx, Idles, Big Freedia and L’Rain, and Lacy will spotlight James Blake, Toro y Moi, and Fousheé.
Tickets start at US$99 (€91), with each day featuring full sets from every artist, on one stage with no conflicts.
“We challenged ourselves to conceive an event that would give both the artists and the fans a different experience”
“We challenged ourselves to conceive an event that would give both the artists and the fans a different experience,” says Gary Gersh, AEG’s president of global touring and talent. “At the end of the day, they both want the same thing: great locations, incredible sound, fantastic sightlines, and the best local options for food and drinks. Re:SET is a very fairly priced, artist-driven weekend where you can hang with friends and enjoy an evening of amazing music.”
Conceived as an artist and fan friendly alternative to the standard summer concert experience, each weekend will see three cities in the same region hosting, with each Re:SET headliner playing each city on consecutive days. Each venue will also feature food and drinks from local restaurants, bars, and breweries.
The event will run from 2-25 June, launching in California with shows by LCD Soundsystem at Frost Amphitheater at Stanford, Bay Area; Steve Lacey at Brookside at the Rose Bowl, Los Angeles; and Boygenius at Thrive Park at Snapdragon Stadium, San Diego. It will also visit Atlanta, Dallas and New Orleans (9-11 June); New York, Boston and Washington DC (16-18 June); and Nashville, Chicago and Columbus (23-25 June).
Re:SET is also partnering with digital marketing platform Propeller on a philanthropic initiative taking place on each site. Propeller will work with local charities, as well as a national sustainability partner, on a flyaway promotion to send a fan to any Re:SET date, with travel and hotel included.