How BC Place capitalised on the stadium show boom
Canada’s BC Place Stadium has recorded the highest annual attendance in its 42-year history, driven by increased music programming.
The 54,500-capacity venue in Vancouver, British Columbia, has enjoyed an upward trajectory in attendance, economic impact and revenue in the last three years, reaching a peak of 1.2 million attendees in 2024.
At the same time, BC Place’s music programming has quadrupled since before the pandemic to eight concerts per year – reflecting a wider trend of sports stadiums capitalising on the stadium show boom.
Last year’s slate included the three-night finale of Taylor Swift’s Eras Tour, the record-breaking opening of Diljit Dosanjh’s Dil-Luminati Tour, The Rolling Stones’ Hackney Diamonds Tour and the two-day Coast City Country festival.
“A big part of our success last year comes down to the relationships we’ve built within the industry,” BC Place general manager Chris May tells IQ.
“One of the biggest benefits of being the last stop on the Eras Tour is that we got to learn from fifty cities who hosted before us”
“For example, we built a great relationship with Messina Touring Group during Ed Sheeran’s Mathematics Tour [2023], which was our highest-attended concert in history. The results from that show helped bring Taylor Swift’s Eras Tour to BC Place.”
May says the stadium was committed to giving Swift’s $2bn juggernaut tour “the finale it deserved” on 6–8 December 2024 and that, based on the feedback from fans and the star’s team, they hit the mark.
“One of the biggest benefits of being the last stop on the tour is that we got to learn from fifty cities who hosted before us,” he says. “Our goal was to ensure when the Eras Tour left Vancouver, that they would say ‘BC Place was the right place to end, the right place to honour the journey we’ve been on’.
“With a building of our size, having a tour come and sell the place out is when our venue truly shines. We’re proud to play a role in bringing world-class music to Vancouver, and it’s a win for the city too.”
The Eras Tour had an estimated $157 million economic impact on Vancouver, accounting for almost 40% of the stadium’s total economic impact in 2024. Last year, the stadium injected $405m into the local economy, up from $135m in 2022.
“Diljit Dosanjh’s show was a cultural and generational moment for many in the community”
Another 2024 highlight for BC Place was a sold-out show on Diljit Dosanjh’s Dil-Luminati Tour, which made history as the largest-ever Punjabi music concert outside of India.
“Once again it comes down to our focus on community,” says May. “It started with our team having a strong relationship and open conversations with Live Nation about how we can better serve the many diverse cultural diasporas in British Columbia.
“With our province being home to one of the largest South Asian populations outside of India we saw a gap in the market, and along with the folks at Live Nation, we filled it,” says May. “Once we decided to move forward with the show, we knew right away it was going to be a huge success, the reception from fans was incredible and tickets sold out immediately. It wasn’t just another gig, this show was a cultural and generational moment for many in the community, and for Diljit to then announce his world tour from Vancouver…it was an unforgettable experience.”
Community engagement has been a top priority for BC Place as it welcomes more music fans, May adds.
“There’s our BC Place Community Benefit Programme, which raised $2 million for charities last year, and our collaborations with local Nations on initiatives like the Indigenous welcome during Coldplay’s Music of the Spheres tour. We always try to create special moments for people here, and I think that mentality has helped attract people to our stadium.
“It’s a big priority of ours to keep this momentum going [with concerts]”
While concerts have become an increasingly important part of BC Place’s business, May reiterates that the venue is first and foremost a sports stadium and home to the BC Lions and the Vancouver Whitecaps FC.
“It’s a big priority of ours to keep this momentum going [with concerts] however, we are a multi-purpose venue. So, it’s about balancing the needs of both sides of the business,” he says.
“But it’s not just about bringing in big concerts and sporting events,” he continues. “Diversifying our event lineup is extremely important to us,” he continues. “Last year, we hosted the World Supercross Championship, Diner en Blanc on our field.
“This year we have quite a few renovations and upgrades underway, which has led us to get creative and explore new ways to utilise the building while certain areas are under construction. All that’s to say – we are always looking for unique event ideas and love to think outside the box.”
Looking to the future, May says he expects BC Place’s programme to go from strength to strength – especially as the venue prepares to host the FIFA World Cup next summer.
“There’s definitely no slowing down for us,” he says. “In the next couple of years, we’re set to host some of our biggest events yet, like the Gold Cup this June and of course the FIFA World Cup. We’re also working on upgrades and renovations to get BC Place ready for the World Cup, which will help us attract even more exciting events. Like I always say – there’s no finish line. We’re always looking for the next big thing.”
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North Macedonia clubs shuttered after fire tragedy
Dozens of venues in North Macedonia have been shuttered for not holding valid licences in the wake of the deadly Pulse nightclub fire.
Fifty-nine people died, including six minors, and 197 were injured after a blaze ripped through the Kočani club in the early hours of Sunday (16 March) during a concert by domestic hip-hop act DNK. The government declared seven days of national mourning to honour the victims.
Reuters reports that 13 people have been remanded in custody for 30 days as investigations continue into the fire, which state prosecutor Ljupco Kocevski says was caused by a “chain of omissions and illegal actions by officials”.
The government ordered a three-day inspection of nightclubs and cabarets across the country in the aftermath of the tragedy, with spokesperson Marija Miteva reporting that only 22 of the 50 establishments inspected in several cities were found to have valid licences.
“For all premises with expired licenses or no licence at all, the state market inspectorate has ordered the suspension of activities until all necessary documents are reviewed and validated,” said Miteva.
DNK’s 43-year-old singer Andrej Gorgieski was among those killed in the tragedy
The Pulse fire is believed to have been ignited by sparks from pyrotechnic devices as DNK were playing on stage. The group’s 43-year-old singer Andrej Gorgieski was among those killed.
According to officials, the club – a converted carpet warehouse – was at double its 250 capacity and had obtained its licence illegally. Multiple safety violations were also detected, while interior minister PanceToskovski told reporters there were “grounds for suspicion that there is bribery and corruption” surrounding the venue.
People congregated at Macedonia Square in the capital Skopje on Tuesday (18 March) to pay tribute to the victims, with funerals held across the country yesterday (20 March). Anti-corruption protests have also taken place.
The incident was the deadliest nightclub fire since 64 people died in a blaze at the Colectiv club in Bucharest, Romania, a decade ago.
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Our 2025 policy platform can empower the UK’s live industry
2025 is shaping up to be an exciting and impactful year for LIVE as we establish the LIVE Trust (more on that below) and see our partnership with the Labour government deliver policy advances that address concerns and unlock opportunities for all in live music. Advances that will supply the economic growth for which the government is so desperate and send a clear message to the global live music industry that the UK remains the best place to tour.
To truly have an impact and deliver the best possible trading environment for us all, we need to focus our efforts where they matter most. The groundwork was laid in our 2024 manifesto, so now, our 2025 policy platform can empower the UK’s live music industry. And we do this work knowing we have a UK government that values our sector as an economic powerhouse, bringer of
joy, and source of soft power on the global stage. A government that believes in the power of music and wants to see more opportunities for more shows and festivals in more towns and cities across the UK.
The LIVE 2025 policy platform has six focus areas:
Kickstarting growth – Strengthening the sector and wider economy
LIVE will leverage its strong relationship with government and its plans for a new industrial strategy (launching this spring), to put live music at the heart of economic policy for the first time. This is an opportunity to push forward on reforms to VAT, tax, and business rates while also seeking export support, planning reform, improved skills provision, and investment to accelerate the green transition.
LIVE is committed to working closely with government to continue to improve and strengthen Martyn’s Law prior to it going live in 2027
Breaking down barriers to opportunity – Addressing the damage to EU touring post-Brexit The government is committed to delivering improved touring arrangements and access to more economically viable live performance opportunities. Negotiations with the EU will commence in the near future, and LIVE will play a pivotal role in ensuring government understands the required outcomes and has the most compelling data and evidence available with which to argue its case.
Ensuring a safer Britain – Making Martyn’s Law work for everyone
Live music has always prioritised its audiences and the public, with venues and events placing great emphasis on staffing, training, and procedures to deliver engaging and safe experiences. Martyn’s Law is an important new piece of legislation that needs to be implemented in a way that works for everyone. LIVE is committed to working closely with government to continue to improve and strengthen Martyn’s Law prior to it going live in 2027.
Making the UK a clean energy superpower
LIVE is committed to helping build a sustainable live music sector by accelerating its transition to net zero through increased funding and technical support and continuing to shape a unified vision for climate action in the UK’s live music sector. Delivering robust regulation of the secondary ticketing market, LIVE has worked closely with government on their plans for ticketing with a view to countering touts and secondary platforms while ensuring steps to increase visibility around pricing are appropriate.
“There is so much more we could be doing if the climate was right”
Establishing the LIVE Trust
In response to the crisis in grassroots music, the LIVE Trust has been created to deliver vital funding in support of grassroots venues, festivals, and the artists that play them and promoters that work with them. LIVE, alongside its members, has been at the forefront of developing the LIVE Trust and will play a key role in overseeing these efforts to safeguard the grassroots, boost the wider economy, and strengthen relationships with government.
Separately and together, the component parts of this policy platform show our values as a sector – partnership, inclusion, progression. Our sector generated over £6bn for the UK economy in 2023, but there is so much more we could be doing if the climate was right. And the crisis in grassroots music shows that interventions are needed to relieve the pressure on the venues, festivals, artists, and promoters that drive this critical layer of our ecosystem. LIVE will continue to act as a critical friend that will hold those in power to account while seeking to galvanise policies that align with the government’s own missions to kickstart economic growth, break down barriers to opportunity, ensure a safer Britain, and make the UK a clean-energy superpower. There are so many positive wins to be secured off the back of this partnership approach. I look forward to writing about them in IQ this time next year.
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RFU threatens to leave Twickenham over concert row
England’s Rugby Football Union (RFU) has threatened to relocate from Twickenham to Birmingham or Milton Keynes in a row over the number of concerts the stadium is permitted to hold.
The 82,000-cap southwest London venue, now known as Allianz Stadium Twickenham for sponsorship reasons, is scheduled to undergo a revamp from 2027 costing up to £663 million (€793m), but is currently allowed to stage just three non-rugby events per year, restricted to 55,000 capacity.
Moreover, it is unable to host more than two events consecutively and only one of shows can take place on a Friday – restrictions that RFU chief Bill Sweeney says resulted in it missing out on the London leg of Beyoncé’s 2025 Cowboy Carter Tour to Tottenham Hotspur Stadium, which is welcoming the singer for six nights this June.
“Part of the renovation from 2027 means we are in discussions with Richmond Borough Council to stage more non-rugby events,” Sweeney told the Business of Sport podcast. “For us, it is three [events] and we are only allowed one on a Friday,” We have had the Rolling Stones. We could have had Beyoncé but she wanted three nights and we are only allowed two nights consecutively.”
The RFU, which owns the venue, says it is empty for 340 days a year and is appealing to the authority to increase the annual amount to 15 events at full capacity. According to the Guardian, Tottenham Hotspur Stadium is permitted to host 30 non-football events a year, while Wembley can stage 32.
“There are plenty of places that would like to have us there. Birmingham, Milton Keynes would love to have us”
Along with the Stones, acts such as U2, Eminem, Depeche Mode and Metallica have all played the venue over the past decade.
At present, Twickenham has just one music show on sale for this summer – K-pop touring spectacular SMTown Live on 28 June. And Sweeney, who faces a vote of no-confidence at a special general meeting on 27 March, said upping its concert limit was vital in terms of making the renovation financially viable.
“We are saying, ‘If we are going to invest £600m into the Allianz – and we have a study which shows how much economic value it contributes to the borough… you are going to have to work with us in terms of an increase in the number of events we can stage in order to monetise the stadium,” he said. “There are plenty of places that would like to have us there. Birmingham, Milton Keynes would love to have us there.
“It would be a tough call for us. It would be very difficult. I don’t know how we would justify the investment in the stadium if we can’t get the increase in the event licences.”
IQ has approached the RFU for comment.
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‘Changing the narrative’ on the grassroots crisis
BBC Radio DJ Steve Lamacq has called for the narrative to be changed on grassroots venues as the embattled sector bids to turn the tide.
Lamacq, who has chaired UK trade body LIVE since 2023, made the plea during ILMC’s Grassroots Touring – Early-Stage Strategies panel, which looked at how the circuit can turn on a new generation of fans to the more intimate venue experience.
“I don’t think we spend enough time telling people just how great these venues are,” said Lamacq. “There are a lot of stories about venues closing and the pressures they’re under. It must sound so grim… if you’re a 17-year-old, you’re probably thinking, ‘Well, these places must be shit. They’re all closing, it sounds rubbish.’
“If you change the narrative [to], ‘These places are really exciting, you can have an amazing time,’ then I think we encourage people to think differently about it. It’s a safe, brilliant, exciting, creative environment, and that’s what we should be telling people – that you’re missing out, in fact, if you don’t go.”
Moderator Sarah Slater of Ticketmaster UK began the session at London’s Royal Lancaster by reeling off statistics highlighting how touring in the UK has changed “dramatically” over the past 30 years.
“To put things in perspective, in 1994 an average grassroots tour had 22 dates across 28 different locations,” she said. “By 2024… that number has been cut in half, with just 11 dates in 12 major cities.”
“We’re losing all of the grassroots venues in the communities outside of the big cities”
UK-based independent agent Jule Konrad noted some of the complications that had arisen from that shift.
“When the tours used to be longer, you could go to some of the B/C markets,” they said. “Now, with the smaller bands, we don’t go there because they’re not worth enough tickets, so we focus on the major markets. With the bigger artists, if they get 5k in the bigger cities, they don’t want to play for 1k or 2k in the smaller markets, and we’re losing all of the grassroots venues in the communities outside of the big cities.”
Andreas Moeller, who works as a promoter for Konzertbuero Schoneberg in Germany, said the industry could benefit by emphasising the “community” element of live music.
“It’s more about bringing people together,” he said. “Music is wonderful, and most of us are fans. We’re coming from the fan side of things, and we love to be in these small venues and maybe be part of the start of a career.”
MD of boutique Athens venue Piraeus Club Academy, Sophia Kouroumali is also assistant director at Xlalala Presents, the company behind Greece’s longest-running music festival Rockwave.
“We do a bit of both: grassroots in our venue, which is 400 capacity, and then we try to develop those bands to make it to the next stage and come to our festival, hopefully, which is 30,000 capacity,” she explained. “We’re trying a lot of ways to encourage younger artists to take part and audiences to give them a chance, which is becoming more and more challenging.”
A recent initiative has seen Kouroumali launch a competition for new bands, with a festival slot up for grabs for the winners.
“There’s no social media involved,” she said. “They come, they play. We have five bands every gig… and the audience votes, grading every band from five to one. So we’re trying to encourage people to actively listen. Don’t just come and see your friend’s band, don’t just come and see a band that you saw on TikTok or whatever, come and listen to the music live and be a part of it, and you will be the one deciding if this band performs on a major stage.
“The first gig had 27 tickets [sold], and then the second gig had 116 and now we’re already getting phone calls for the third gig. So people are expressing an interest. We see this paying off hopefully, and it creates an atmosphere that is so adorable, because you see bands from 17-year-olds to 60 playing on the same stage, congratulating each other, discussing their strategies, and their audience is blending so they’re finding their people.”
“You are creating so many problems further down the line if you take away the places where the younger generation can go”
Lamacq rejected the assertion that acts were now breaking on social media platforms such as TikTok, rather than on the live scene.
“It’s not like the Spice Girls played Bedford Esquires,” he argued. “There’s always been acts like that and there still will be, and I think that’s a bit of a red herring. There are still big pop acts and they do it in a different way, but bands with a longer career will start out quite often down at the grassroots, and that’s the point we have to get across.”
He continued: “I think [the government] shy away from the music industry in general because they don’t understand it and they think it’s a big commercial thing. But we have to explain to them how culturally important it is and how important it is in so many other ways, because every time you take away a venue from a town which has nothing else for young people, then where do they go? You are creating so many problems further down the line if you take away the places where the younger generation can go.”
Moreover, Lamacq added the business needed to make sure it has “the ear of the next generation” and was putting on “the sort of music and the sort of events that they want”.
On that note, Kouroumali stressed the importance of spreading the word to the younger demographic.
“Grassroots venues may be culturally important but, to me at least, they often feel like they’re becoming irrelevant to younger generations,” she said. “They learn music through Spotify… and they’re almost unaware of the process, so we’re trying to get the message across that The Beatles started from a grassroots venue, or Shakira, or Taylor Swift, whoever is relevant.
“We’re making it a friendlier place and a more open place… One of our major plans for the next season is to have afternoon shows that can cater for the whole family.”
“After the pandemic, people are reluctant to go out. They’re staying in a lot more”
Kouroumali added that the venue was also considering loyalty programmes and ticket offers to entice fans.
“What we’re going to start implementing, hopefully sometime before the end of this season, will be a 1+1 ticket, so you can get a ticket for one gig and then get the second one for half price. Maybe that will encourage people to go out more because another thing – and I think it’s more general than just grassroots venues – is that after the pandemic, people are reluctant to go out. They’re staying in a lot more.”
Lamacq ended with a rallying cry extolling the virtues of grassroots venues, saying there was an irreplaceable magic to seeing an emerging band play to 200 people at the start of their career.
“The best Catfish And The Bottlemen gigs were at Southampton Joiners, Clwb Ifor Bach and wherever else I saw them on that tour,” he said. “The band at their absolute hungriest, not a care in the world. It was fantastic and spontaneous and hot and thrilling – tell people that.
“There’s nothing wrong with big stages and big productions… and it’s lovely when you see 60,000 people come together for one jubilant night at an arena. But it’s also amazing when there’s just two of you, or even if you’re on your own, and you take away that memory of that night. That’s the best thing about grassroots venues for me.”
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TCT reveals curator for 2026 concert series
Robert Smith has been revealed as the next guest curator of Teenage Cancer Trust’s annual concert series at the Royal Albert Hall.
The Cure’s frontman has long been a supporter of the charity series, having previously performed two classic shows in 2014 and in 2006. He was also heavily involved in the TCT’s UNSEEN campaign during lockdown – helping the charity raise funds for those struggling during that period.
Smith is no stranger to curating events, having assembled the line-up for the 2018 edition of Meltdown Festival, which was held at the Southbank Centre and saw performances from Mogwai, The Psychedelic Furs, The Church and Nine Inch Nails.
He will personally curate the 2026 edition of Teenage Cancer Trust after series founder Roger Daltry stepped back.
Speaking about the new role, Smith said: “Teenage Cancer Trust does the most fantastic work, and it is a great honour – and a real thrill – to be asked to curate the 2026 shows at the Royal Albert Hall. I can promise it will be a very memorable week!”
Daltry, who will continue as a Teenage Cancer Trust honorary patron, has fundraised and advocated for the Trust – the only UK charity dedicated to providing specialised nursing care and support for young people with cancer – for nearly a quarter of a century.
“With The Cure’s long and outstanding support for Teenage Cancer Trust, Robert appreciates the vital work this charity does”
Since launching the series at the historic London venue in 2000, Daltrey has persuaded superstars such as Paul McCartney, Oasis, Muse, Florence + The Machine, Ed Sheeran, The Cure, Arctic Monkeys, Coldplay and Take That, to perform unique, one night only gigs to raise money for Teenage Cancer Trust, generating more than £32 million from ticket sales in the process.
“It has not been easy to find the right curator for the week of concerts in aid of Teenage Cancer Trust at the Royal Albert Hall, but it’s with great excitement that I can announce that Robert Smith has signed up for 2026,” comments Daltry.
“With The Cure’s long and outstanding support for Teenage Cancer Trust, Robert appreciates the vital work this charity does. The concerts have become an essential fixture in the music calendar, featuring some of the world’s greatest artists. It has been a challenge to find the right person to take them on – but Robert, a true musical great, is the perfect curator for the 2026 concerts.”
This year’s Teenage Cancer Trust series runs from 24–30 March, with headliners including The Who, The Corrs, James Arthur, a comedy night hosted by Micky Flanagan, as well as the Sex Pistols, who will be performing with Frank Carter.
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AEG hires regional GM for Indigo & Watford venues
AEG Presents has appointed Lisa Mart to the newly created position of regional general manager of Indigo at The O2 and Watford Colosseum.
Mart, who will be based in London, brings more than 15 years of experience across the live events and venue industry, will be responsible for overseeing the commercial and operational performances of both venues.
She has spent the past 13 years with ATG Entertainment, initially serving as front of house manager at New Wimbledon Theatre and later as general manager.
She joined The Alexandra, Birmingham, in 2016 as theatre director and has most recently been venue director at Swansea Building Society Arena, where she managed the full venue launch and opening.
“I am really honoured to be joining the AEG Presents team as part of their exciting mid-size venue expansion,” says Mart. “This role is a really perfect culmination of my previous experience – both Indigo at The O2 and Watford Colosseum have impressive and iconic histories to date, and I am looking forward to celebrating that whilst taking advantage of their incredible potential.”
Mart will report to AEG Presents UK group venues operations director Stuart Dorn.
“We are delighted to welcome Lisa to AEG Presents, a key team member as we continue to grow our mid-size venue portfolio,” says Dorn. “She brings a wealth of experience, which will help with both the establishment of Watford Colosseum and the continued growth of indigo at The O2, which will host over 200 shows in 2025.”
Watford Colosseum is set to reopen in the autumn following a multi-million-pound refurbishment as AEG’s mid-size venue expansion gathers pace, with the Olympia music venue in London also set to launch in 2026 as part of the wider £1.3 billion regeneration of Olympia.
“The Middle East is home to an incredible range of innovative brands, and I look forward to showcasing their value on a global stage”
Earlier this week meanwhile, AEG Global Partnerships appointed Fadi Zouein to the role of VP, global partnerships, Middle East.
In the newly created role, Zouein will focus on developing strategic partnerships with Middle Eastern brands for the company’s portfolio of global assets. He will be responsible for identifying brand partners from the region and introducing opportunities across AEG venues including LA’s Crypto.com Arena, The O2 in London and multi-purpose arena projects in APAC, as well as festivals such as Coachella, BST Hyde Park and Rock en Seine.
“Our Global Partnerships business is unrivalled in its ability to create innovative campaigns and sponsorships that enable brands to build deeper relationships with their customers, and I’m looking forward to seeing the growth and value that Fadi can unlock not only for our business, but among our future business partners from the Middle East,” says Paul Samuels, EVP of AEG Global Partnerships.
Zouein joins from Al Jazira Club, where he was group chief commercial and marketing officer.
“I am truly excited to join AEG Global Partnerships,” says Zouein. “The Middle East is home to an incredible range of innovative brands, and I look forward to showcasing their value on a global stage through dynamic, strategic partnerships.”
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Sam Fender christens Italy’s latest arena
Sam Fender has become the first international artist to headline Italy’s newest arena.
The British hitmaker graced the 5,000-cap ChorusLife Arena in Bergamo on 13 March – his only Italian tour date this year. Tickets for the show sold out two months in advance.
The venue, which has upcoming concerts with artists including Patti Smith and Italian singer-songwriter Loredana Bertè, is supported by Legends and ASM Global and is said to offer “best-in-class facilities, cutting-edge acoustics and a selection of premium hospitality areas”.
“ChorusLife Arena is a game changer for Italy’s live entertainment scene”
“ChorusLife Arena is a game changer for Italy’s live entertainment scene,” says Joe Rizzello, VP and general manager of ASM Global Italy. “We’re thrilled to welcome fans to this world-class venue, starting with what was a simply unforgettable night featuring the incredible Sam Fender. 2025 is already looking like a huge year for the ChorusLife Arena, with close to 100 events already booked – a true record for Italian arenas of this size.”
The arena is part of the ChorusLife district project, an urban redevelopment initiative aimed at blending entertainment, technology and community spaces. CAA-represented Fender recently extended his 2025 UK summer tour with the addition of three new dates.
The first of the new shows will be held in Manchester’s Wythenshawe Park on 16 August, before he takes to the Royal Highland Showgrounds in Edinburgh the following week 22 August as part of the Scottish capital’s Summer Sessions series. On 28 August, Fender will headline the VITAL Festival at Boucher Road Playing Fields, Belfast.
The shows will follow the 30-year old’s previously announced European and US tours through the spring, plus three sold-out stadium gigs at Newcastle’s St. James Park (12-15 June) and London Stadium (6 June). He will also appear at Radio 1’s Big Weekend festival in Sefton Park, Liverpool, on 24 May.
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AEG Presents to open new venue in Austin, Texas
AEG Presents is planning to open a new 4,000-cap indoor venue in Austin, Texas, in the first quarter of 2027.
The purpose-built venue will anchor the 109-acre mixed-use development River Park in the US city’s Riverside neighbourhood.
Developed by Presidium and Partners Group, River Park is designed to be an “urban oasis” for Austin, with AEG’s venue serving as its “cultural heartbeat”.
“We have always wanted to build a venue from the ground up in Austin, but we wanted to make sure the timing and location were right, and we had partners aligned with our vision,” says Shawn Trell, AEG Presents’ EVP and chief operating officer.
The venue promises to feature “state-of-the-art sound and lighting, luxury suites, VIP seating, and best-in-class hospitality, as well as “spacious, artist-friendly dressing rooms, green rooms, and top-tier production capabilities”.
“We have always wanted to build a venue from the ground up in Austin”
Details on opening dates, first performances, venue name and ticket sales will be announced in the coming months.
As well as live music, the venue will also host private events, including corporate functions, weddings, conferences, awards shows and fundraisers.
“We’re thrilled to bring a new venue to Austin, a city that lives and breathes live music,” says Robin Phillips, VP of AEG Presents Southwest. “Our mission is to bring something new to the city that both honours the legacy of Austin and feels completely unique. Whether it’s a headlining show from a national touring act, or a local artist’s breakthrough moment, we want this space to feel like home for musicians and fans alike.”
The birthplace of South By Southwest (SXSW) conference and festival and self-styled “Live Music Capital of the World.”, Austin gained a new arena in 2022 with the launch of 15,000-seat arena the Moody Center.
“This project will strengthen Austin’s rich musical legacy, create new opportunities for artists, fans, and the local economy,” adds Austin mayor Kirk Watson. “We look forward to welcoming AEG Presents to our city.”
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15 detained after deadly North Macedonia club fire
Fifteen people have been detained in the wake of the devastating blaze at Pulse nightclub in Kočani, North Macedonia that killed at least 59 concertgoers and injured more than 150 others.
The venue had been hosting a concert by hip-hop duo DNK, attended by around 500 people, when the fire started at 2.35am local time on Sunday 16 March.
The government has declared seven days of national mourning to honour the victims.
“Most of the dead suffered injuries from the stampede that occurred in the panic while trying to exit,” Kocani hospital head Kristina Serafimovska told AFP. “Seventy of the patients have burns and carbon monoxide poisoning.”
Interior minister Pance Toskovski said the fire is believed to have been ignited by sparks from pyrotechnic devices as the band were playing on stage.
“The sparks caught the ceiling, which was made of easily flammable material, after which the fire rapidly spread across the whole discotheque, creating thick smoke,” he told a press conference.
“The most important thing is to find out all the facts and evidence necessary for the follow-up measures. We must remain calm while taking all these steps so that something like this doesn’t happen again.”
The incident is the deadliest nightclub fire since 64 people died in a blaze at the Colectiv club in Bucharest, Romania, in 2015
Kočani is a town located around 100km east of the capital Skopje. Toskovski told reporters there were “grounds for suspicion that there is bribery and corruption” surrounding the nightclub – a former carpet warehouse – which was at double its 250 capacity and did not hold a valid licence.
Initial inspections on Sunday uncovered various “abnormalities” including “deficiencies” in the venue’s fire-extinguishing and lighting system said Biljana Arsovska, a spokesperson for the public prosecutor’s office.
Those detained include the venue owner and former government officials, reports the BBC.
In response to the tragedy, the government has ordered a three-day inspection of nightclubs and cabarets across the country, starting today (17 March).
The incident is the deadliest nightclub fire since 64 people died in a blaze at the Colectiv club in Bucharest, Romania, in 2015.
The case also appears to be strikingly similar to the 2003 fire at The Station venue in Rhode Island, US, which killed 100 people and injured 230 after pyrotechnics ignited flammable acoustic foam in the walls and ceilings around the stage.
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