The decade in live: 2017
The start of a new year and, perhaps more significantly, a new decade is fast approaching – and while many may be thinking ahead to New Year’s Eve plans and well-meaning 2020 resolutions, IQ is casting its mind back to the most pivotal industry moments of the last ten years.
The memories of a turbulent 2016 were left far behind in 2017, as the concert business enjoyed a record-breaking twelve months, as the year’s gross revenue and number of tickets sold saw 2013 finally knocked off the top spot.
The success of the live business in 2017, however, was somewhat overshadowed by a number of devastating terror attacks, with the Manchester Arena bombing, the shootings at Route 91 Harvest and BPM Festival, the Reina nightclub shooting and other incidents targeting music fans.
In response to the tragedies, the live industry united and made a positive impact, in the form of the One Love Manchester and We are Manchester charity concerts and candlelit vigils and fundraising for victims of the Route 91 Harvest attack.
Elsewhere, the booking agency world continued to consolidate through 2017, with a number of acquisitions, mergers and partnerships while Live Nation welcomed several more promoters, festivals, ticketing agencies and venues to its fast-growing family.
2017 in numbers
The live music business reached new heights in 2017, with the top 100 tours worldwide generating a record US$5.65 billion, up almost 16% from the previous year.
The number of tickets sold throughout the year also saw a notable increase from the year before, climbing 10.4% to 66.8 million, at an average price of almost $4 more per ticket than in 2016, at $84.60.
Eleven tours surpassed the $100m mark in 2017, with U2 topping the year-end charts having generated $316m on their Joshua Tree tour. Guns N’ Roses narrowly missed out on $300m, grossing $292.5m on the Not in this Lifetime tour.
Coldplay came in next, as the band’s A Head Full of Dreams tour made $238m. Bruno Mars’ 24K Magic tour was also successful, grossing just over $200m, whereas Metallica’s WorldWired tour generated $152.8m.
Depeche Mode, Paul McCartney, Ed Sheeran, the Rolling Stones, Garth Brooks and Celine Dion were the other acts whose 2017 tour earnings exceeded $100m.
2017 in brief
A lone gunman attacks New Year’s revellers at the Reina nightclub in Istanbul, resulting in the death of 39 people and injuries to a further 70. Two weeks later, four are killed and 12 injured during a shooting at the BPM Festival in the coastal resort of Playa del Carmen, Mexico.
AM Only and The Windish Agency rebrand as Paradigm Talent Agency, signalling the next phase of their joint ventures, launched in 2012 and 2015, respectively.
Global asset management firm Providence Equity Partners acquires a 70% stake in Sziget Festival and reveals plans to launch eight to ten branded festivals, with James Barton, former president of electronic music for Live Nation, leading the international expansion.
AEG Live finalises negotiations to acquire New York-based promoter/venue operator The Bowery Presents.
Ticketbis, the multinational resale operation acquired by eBay in May 2016, is rebranded as StubHub, bringing to an end the Ticketbis name across Europe, Asia and Latin America.
Live Nation enters the Middle East’s biggest touring market with the acquisition of a majority stake in Bluestone Entertainment, one of Israel’s leading promoters.
Iron Maiden’s decision to use paperless tickets on the UK leg of The Book of Souls arena tour helps reduce the number of tickets appearing on secondary sites by more than 95%, according to promoter Live Nation.
Live Nation acquires a controlling stake in the UK’s Isle of Wight Festival.
The Australian leg of Adele’s Live 2017 tour makes concert history after playing to more than 600,000 people over eight stadium dates.
Sziget Festival 2017 © László Mudra/Rockstar Photographers
In the biggest primary deal so far for the world’s largest secondary ticketing site, StubHub is named the official ticket seller for Rock in Rio 2017.
Creative Artists Agency increases its investment in the Chinese market via a new alliance with private equity firm CMC Capital Partners.
Luxury Ja Rule-backed boutique event, Fyre Festival, descends into chaos on its first day, with visitors to the Bahamas site comparing conditions to a refugee camp.
22 people, including children, lose their lives after a suicide bombing at Manchester Arena, for which Islamic State terror claims responsibility. The attack targets people leaving the 21,000-cap. venue at the end of an Ariana Grande concert.
Pandora Media announces the sale of Ticketfly to Eventbrite. Despite purchasing the company for $450m less than two years ago, it sells for a package worth $200m.
AEG invests in Immortals, one of the world’s leading esports teams, with professional players in the North American League of Legends, Counter-Strike: Global Offensive, Super Smash Bros, Overwatch and Vainglory leagues. The team will now play their Los Angeles tournaments and matches at AEG’s LA Live entertainment district.
The organisers of ILMC announce the launch of the Event Safety and Security Summit (E3S), a one-day meeting focusing on security at live events.
The reality of Fyre Festival © Here_Comes_the_Kingz/Reddit
Helsinki-based Fullsteam Agency acquires Rähinä Live, whose roster includes some of Finland’s biggest hip-hop and pop artists.
Oak View Group, which counts Irving Azoff and Tim Leiweke among its founders, completes its acquisition of Pollstar, adding the US-based concert business magazine to its portfolio of trade titles.
Madison Square Garden Company makes a significant move into the esports sector by acquiring a controlling stake in Counter Logic Gaming.
Paradigm Talent Agency acquires Chicago- and California-based agency Monterey International, including its 14 agents and 200 acts.
Live Nation launches in Brazil with former Time for Fun (T4F) chief entertainment officer Alexandre Faria Fernandes at the helm.
Three quarters of staff at Function(x), the online business founded by former SFX Entertainment CEO Robert Sillerman, are effectively laid off, with the company telling investors it lacks the funds to pay them.
A sovereign wealth fund controlled by the government of Saudi Arabia, says it is forming a new SR10 billion ($2.7bn) investment vehicle in a bid to kick-start the kingdom’s entertainment sector.
Music returns to Manchester Arena as a capacity crowd turn out for We are Manchester, a benefit concert that raises funds for a memorial to the victims of the 22nd of May bombing.
The We are Manchester charity concert drew a full-capacity crowd at the 21,000-cap. arena © Showsec
A gunman kills 58 people and injures a further 546 at the Route 91 Harvest country music festival in Las Vegas. Local resident Stephen Paddock targeted the concertgoers from the 32nd floor of the nearby Mandalay Bay hotel.
WME-IMG rebrands as Endeavor, with company assets that include martial- arts promoter, UFC; ad agency, Droga5; Professional Bull Riders; the Miss Universe Organization; Frieze Art Fair; management companies, Dixon Talent and The Wall Group; and joint ventures such as Euroleague Basketball and esports championship ELEAGUE.
Ticketmaster confirms its long-rumoured expansion into Italy. The launch of Ticketmaster Italia, headquartered in Milan, follows the end of the exclusive long-term online partnership in Italy between Ticketmaster’s parent company, Live Nation, and CTS Eventim-owned TicketOne.
After 11 years in East London’s Victoria Park – now exclusive to AEG – Eat Your Own Ears’ Field Day Festival will head to Brockwell Park in South London. Live Nation’s Lovebox and Citadel are also rumoured to be moving to Brockwell Park.
Secondary ticketing websites will, from January 2018, be subject to stringent restrictions on their use of Google AdWords, as the search-engine giant cracks down on ticket resellers’ controversial use of its online advertising platform.
Leading self-service ticketer Eventbrite announces a series of new partnerships, rolling out integrations with events guide The List, festival package provider Festicket, word-of-mouth ticket sales platform Verve, and brand ambassador software Ticketrunner.
Michael Rapino, CEO of Live Nation Entertainment since 2010, will remain in his role until at least 2022 after signing a new five-year contract worth up to $9m per annum. Also re-upping are leading execs Kathy Willard, Michael Rowles and Joe Berchtold.
Primary Talent’s Dave Chumbley (1960-2017) picks up his Platinum Endurance Arthur Award at ILMC 25 © ILMC
Who we lost
Peter Rieger, founder of German promoter Peter Rieger Konzertagentur (PRK); Joseph Rascoff, business manager to the Stones, David Bowie, U2, Sting and more; ILMC’s long-time producer Alia Dann Swift; ShowSec International Ltd founder Mick Upton; Dave Chumbley, Primary Talent International director; Mary Cleary, former booker and tour manager; American singer-songwriter Tom Petty; pioneering concert promoter Shmuel Zemach, founder of Zemach Promotions; Australian country music promoter, agent and artist, Rob Potts; Linkin Park frontman Chester Bennington; Reading festival founder Harold Pendelton; Washington, DC, promoter Jack Boyle; Live Nation Belgium booker Marianne Dekimpe; rock and roll pioneer Chuck Berry.
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Live music revenues to top $30bn for first time
The decade-long live music boom is set to continue well into the 2020s, with the value of the international concert business projected to reach US$30 billion for the first time within five years, according to new figures from PricewaterhouseCoopers (PwC).
The latest edition of PwC’s respected annual review of the planet’s entertainment industries, the Global entertainment and media outlook 2018–2022, reveals live music revenues – ticket sales plus sponsorship – will increase at a compound annual growth rate (CAGR) of 3.3% from 2018 to 2022, reaching $30.55bn ($24.36bn of it from ticket sales) in 2022.
In the recorded sector, meanwhile, streaming continues its inexorable march towards dominating consumption, with physical sales and downloads projected to slide by -9.6% and -23%, respectively. Music streaming, by contrast, will grow at a CAGR of 18% over the next four years.
Even with that growth, however, streaming will still fall short of reversing the events of the last decade, when live shows overtook recorded music as the chief generator of music revenues. (In the UK, according to collection society PRS for Music, the switch happened in 2008, with North America following suit a few years later.) According to PwC, the 2022 gap will be to the tune of $7bn+, with streaming revenues worth $23.36bn.
“Worldwide music tours remain dominated by big-hitting, mature artists”
As evidenced by the biggest tours of 2017, when U2, Guns N’ Roses, Metallica, Depeche Mode, Paul McCartney and the Rolling Stones took six of the ten top spots, heritage acts are still doing the biggest business. According to the firm’s analysts, “worldwide music tours remained dominated by big-hitting, mature artists,” with the aforementioned six “out[doing] the majority of younger acts”.
Outside of rock and pop, “electronic dance music (EDM) continues to draw large crowds,” the report continues. “These events are expanding internationally. Miami’s highly successful Ultra Festival markedly increased its overseas presence in 2017 and is now putting on events in Latin America, Europe and Asia, as well as South Africa. Mexico’s BPM Festival also is in expansion mode, and last year took its format to Portugal for the first time. The outfit says it is scouting additional locations.”
The positive news for the live music business comes comes amid still-growing consumer demand for other forms of live entertainment, says PwC, with ticket sales for esports events, for example, projected to rise at a CAGR of 21.1% through 2022.
The report also suggests the barriers between different forms of entertainment are beginning to break down (a phenomenon dubbed ‘Convergence 3.0’), with greater synergies between live events and sectors such as ecommerce, licensing and consumer products.
“The appeal of the live experience endures”
This convergence, it says, is “creating an ever-expanding group of ‘supercompetitors’ and specialised, niche brands that are striving to secure the engagement and spending of increasingly demanding consumers” – who “reject one-size-fits-all content experiences.
“As a result, it’s vital for companies, ranging from supercompetitors to fan-focused niche players, to use data analytics and AI to personalise their offerings. And the appeal of the live experience endures.”
“To succeed in the future that’s taking shape, companies must revisit every aspect of what they do and how they do it,” says Christopher Vollmer, global advisory leader for entertainment and media at PwC US, commenting on the Outlook’s findings. “This means going above and beyond in how they envision their business, generate revenues, create and organise their capabilities, and build and retain trust. And given the pace and scale of change under way, speed is vital.
“For many companies, the models, assets, practices and capabilities that support their businesses today will simply not be enough in the future. Standing still is not an option.”
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Ticket sales grow 88% in Australia in record-breaking 2017
Major international tours, including stadium and arena shows by the likes Adele, Paul McCartney, Guns N’ Roses, Bruce Springsteen, Justin Bieber, Drake and Ariana Grande, drove ticket sales to new highs in a “record-breaking” 2017 for the Australian live entertainment business, according to new figures from industry body Live Performance Australia (LPA).
LPA’s latest Ticket Attendance and Revenue Report reveals that ticket sales revenue from contemporary music concerts grew a staggering 87.8%, from A$440.1 million (US$312m) in 2016 to $826.1m (US$585m) in 2017, reaching its highest level since LPA began compiling the figures in 2004. The increase was fuelled by both significant growth in attendance (+49.6%, to 8.5m) and a 23.9% increase in the average ticket price, to $105.73 (US$75).
“The growth in contemporary music revenue is primarily due to the large number of prominent acts with arena or stadium tours that attracted large crowds and toured to almost all the five major cities [Sydney, Melbourne, Brisbane, Perth and Adelaide] in 2017,” according to the report. Other arena- or stadium-level acts on tour last year included Sia, Elton John, Midnight Oil and Cat Stevens (Yusuf).
The figures do not include contemporary music festivals, although they also experienced strong growth, with the sector posting a 26% increase in revenue, to $100.7m (US$71.3m), and attendance, to 850,000.
“The live performance industry continues to contribute significantly to our economy and cultural ecology”
Overall, across all live performance categories – ballet and dance, children’s/family events, circus and physical theatre, classical music, comedy, contemporary music, festivals (multi-category), festivals (contemporary music), musical theatre, opera, special events, and theatre – ticket sales revenue increased 31.7% and attendance 22.6%.
“The live performance industry had a record-breaking year in 2017,” according to LPA’s chief executive, Evelyn Richardson.
“The live performance industry continues to contribute significantly to our economy and cultural ecology,” she comments. “In 2017, 23 million tickets were issued to live performance events, generating total ticket sales revenue of $1.88 billion. That’s more than the combined attendances at AFL [Australian Football League], NRL [National Rugby League], soccer, Super Rugby, cricket and NBL [National Basketball League] in 2017.”
An infographic, courtesy of LPA, showing figures for the last nine years in contemporary music, is below. For more information, read the full Ticket Attendance and Revenue Report here.
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Spanish live business up 21% in 2017
Last year brought good news for the live music industry in Spain: the fourth consecutive year of growth for the live music market, with €223.2 million generated – an increase of 20.6% on 2016.
One of the explanations for the improvement of the health of the live sector is the reduction of cultural VAT from 21% to 10%, and 2017’s figures are above those of 2012, the year in which VAT was increased. The latest statistics reflect the attractiveness of Spain as a destination for major international tours, with millions of tickets sold to shows by the likes of the Rolling Stones, U2 and Maluma.
Also key to the market’s strength are the recent legal victory against collection society SGAE over tariffs, Google’s new restrictions on secondary ticketing sites and the admission of the Association of Music Promoters (APM) to the European Live Music Association.
The biggest international tours of 2017 were Ricky Martin, who played to 115,806 people at 13 shows; Guns N’ Roses, who drew 91,200 people to his concerts in Madrid and Barcelona; and Colombian star Maluma, whose nine Spanish shows were seen by 70,914 people. The visits of the Rolling Stones, Bruno Mars, U2, Aerosmith and Ed Sheeran were also major events in the cultural calendar of 2017.
The latest statistics reflect the attractiveness of Spain as a destination for major international tours
However, the biggest success story was Spanish singer-songwriter Malendi, whose 37 Quítate las gafas (Take off your glasses) tour dates attracted 208,972 spectators. Other stand-out domestic successes included Joaquín Sabina, David Bisbal, Vanesa Martín or Manuel Carrasco.
Despite the positive developments outlined in the latest edition of APM’s Live Music Yearbook, there are still several challenges facing the industry, including small profit margins for many small and medium-sized companies and the fight against online ticket resale.
The promoters’ association, therefore, continues to search for an “adequate legal solution” to these challenges, including through further European integration. By joining the European Live Music Association (ELMA), APM hopes to “face the problems of the sector from a European perspective”, with ELMA seen as “the appropriate framework to support the sustainable development of the live music industry”.
Industria Musical is the leading Spanish-language music business website, with readers from Spain, Latin America and the United States. With daily news, reports and analysis, as well as training and digital consultancy services, IM serves as a digital reference platform for the Hispanic music industry.
Another year of record growth for Live Nation
As predicted by CEO Michael Rapino in November, Live Nation Entertainment has posted a seventh consecutive year of record-breaking growth, turning over nearly an extra US$2bn – a remarkable 24% increase in revenue – in 2017.
Speaking to investors yesterday, Rapino (pictured) said he sees “strong growth for years” in the global concert market, of which Live Nation is by far the biggest player, “as fans globally drive demand, artists are touring more, and sponsorship and ticketing benefit from the concerts flywheel”.
That value of that flywheel grew even more, with LN’s concerts division worth $7.9bn (up 26%) in 2017, while concert attendance – from a reported 30,000 shows in 40 countries – grew 21% to 86 million. “Given our plans to further monetise our fan relationships, I expect this will translate into a continued strong growth in concerts AOI [adjusted operating income] in 2018,” said Rapino.
Across the company as a whole – including sponsorship and ticketing (Ticketmaster) – revenue was up 24%, AOI up 15% and free cash flow up 21%, with all delivering their strongest-ever AOI results.
Losses did, however, widen in the fourth quarter (Q4) of 2017, as a result of the company’s $110m legal settlement with Songkick.
Among Ticketmaster’s greatest successes in 2017, continued Rapino, was the introduction of the Verified Fan initiative, which aims to verify the ticket-buyer is a genuine “fan” by asking them to register for a presale in advance, then emailing codes to buyers it predicts will use the ticket rather than resell it.
“In 2018, I expect us to further consolidate our global concerts position”
“Through the year, we worked with over 80 artists on Verified Fan, selling three million tickets and saving fans over $100 million relative to what they would have spent on the secondary market to buy these tickets,” he said. “As we look to 2018, it will continue to be a top priority to evolve Verified Fan, while also building out a full suite of services that continue to give artists greater control of how their tickets are priced and distributed.”
However, “at the same time,” Rapino continued, “we’ve also continued to improve our marketplace, already by far the largest ticketing marketplace in the world. We remain focused on building the inventory available to fans, adding new clients and expanding our secondary listings.”
Looking ahead to 2018, Rapino expects Live Nation “to further consolidate our global concerts position while enhancing our on-site hospitality business and capturing additional pricing opportunities.
“We believe that our sponsorship business will continue driving double-digit growth as more brands look for that direct connection with music fans. And a more effective Ticketmaster marketplace, along with further alignment with artists, should continue to build on Ticketmaster’s success.”
“The combination of macro trends and our demonstrated ability to execute provide great confidence in our ability to grow the business for many years to come,” he concluded.
Top 100 tours grossed $5.65bn in 2017
The 100 biggest concert tours of 2017 collectively generated a huge US$5.65bn in revenue – a 15.8% year-on-year increase – in a “record-crushing” year for the international live music business.
That’s according to the 2017 edition of Pollstar’s traditional year-end special features, which track the value of the year’s biggest tours, promoters, arenas, festivals, individual concert grosses and more. The top 100 worldwide tours chart, topped by U2’s Live Nation-promoted Joshua Tree 2017 tour, also shows the tickets sold by the top 100 reached a new record high of 66.79 million – a 10.4% increase on 2016.
Average ticket prices rose by nearly 5% to $84.63, with 11 tours generating more than $100m worldwide – U2, Guns N’ Roses, Coldplay, Bruno Mars, Metallica, Depeche Mode, Paul McCartney, Ed Sheeran, the Rolling Stones, Garth Brooks and Celine Dion – compared to 2016’s seven.
Tickets sold by the top 100 tours reached a new record high of 66.79 million – a 10.4% increase on 2016
This, says Pollstar, demonstrates that “the most successful artists are clearly getting better at recapturing some of the revenue that had leaked into the secondary ticket market”, with Taylor Swift’s tout-beating ‘slow ticketing’ model putting her in pole position for the biggest tour of 2018.
Other headline year-end figures include Live Nation once again taking the number-one promoter spot, reporting a record 52.2m tickets sold, followed by AEG Presents (14.4m tickets), Mexico’s Ocesa (4m), Feld Entertainment (3.2m) and SJM in the UK (2.4m); Goldenvoice’s Coachella generating 2017’s biggest festival gross, at $114.6m over two weekends; and the UK punching above its weight in the top 100 arenas chart, with first-placed The O2, third-placed Manchester Arena and fourth-placed SSE Hydro leading a British invasion of the top five.
The top 20 venues, especially, show the “importance of the growing global concert market”, says Pollstar – confirming the findings of PwC, which noted the business is becoming “increasingly international”, earlier this year – with only seven located in the US; five are in the UK, two in Mexico and one each in Germany, Spain, Canada, France, the Netherlands and Belgium.
2017: The year in review
Missed our regular news updates this year (or recently emerged, Brendan Frasier in Blast from the Past-style, from a nuclear fallout shelter)? Team IQ are logging off for Christmas – so here, in no particular order, are some of the key stories that shaped the year in live music…
In a story that’s set to continue into the new year and beyond, the final few months of 2017 have seen #MeToo – the campaign to stamp out sexual harassment and assault in Hollywood, spurred by the allegations against producer Harvey Weinstein – cross over into the music business, with a growing number of female musicians and execs reporting similar behaviour in our industry.
IQ asked in October if live music has a “Harvey Weinstein problem”, and a number of prominent international female industry figures told us they, too, have been subject to, or witnessed, inappropriate behaviour or sexual assault while working in the live business.
Since then, organised movements campaigning against sexual misconduct in music have sprung up in Sweden (#närmusikentystnar, ‘when the music stops’), Australia (#meNOmore) and the UK (Stop 2018), while the Association for Electronic Music (AFEM) has launched a dedicated, confidential helpline for victims of sexual harassment in the electronic music business.
In the agency world, meanwhile, reps from all major multinational agencies told IQ last month they are intensifying their efforts to ensure the safety of their employees and clients – and CAA has confirmed to IQ it has cancelled its annual Friday pre-Golden Globes party in order to establish a legal defence fund for sexual harassment cases.
The Manchester Arena attack, the shootings at Route 91 Harvest and BPM Festival, the Reina nightclub bombing and other attacks on innocent fans of live entertainment this year will forever live in infamy – and remain a stark reminder that, despite increased security and the willingness of fans to keep coming to shows, they remain attractive targets for terrorism.
What should also be remembered, however, is the way the industry responded to the evil of these attacks: From the One Love Manchester and We are Manchester charity concerts to the candlelit vigils and fundraising for victims of the Route 91 Harvest attack, those working in live music, just as after the Bataclan attack, stepped up to plate to lend a hand to the victims and all those affected.
Those working in live music stepped up to plate to help to victims of terror
Who could forget Fyre Festival? Cancelled flights, limp cheese sandwiches and disaster relief tents? A festival that went so badly wrong it’s become a byword for badly organised events – the Giant Cheeseboard, for example, was only this week called “London’s answer to Fyre Festival” – and its promoter arrested by the FBI?
Yes, Fyre Festival this year became the gold standard for festival disasters, but it wasn’t alone. The inaugural Hope & Glory festival – described in the NME as “Fyre Festival with none of the lols” – was called off on its second day amid reports of bottlenecking, queues for facilities and sets being cancelled or running over, while Y Not Festival was cancelled after the site turned into a mudbath as a result of heavy rain.
Canada’s Pemberton Music Festival 2017, meanwhile, was axed with less than two months to go, after its parent companies were placed into administration with debts of almost $10m.
… and tours de force
Despite these headline-grabbing disasters, however, the 2017 summer festival season was a largely successful one compared to last year, when severe weather, including lightning strikes, forced the cancellation of open-air events in Europe and North America.
The organisers of festivals as diverse as Trsnmt (UK), Haven (Denmark), Download (UK), Istanbul Jazz Festival (Turkey), Hurricane/Southside (Germany), Baloise Session and OpenAir St Gallen (both Switzerland), Lollapalooza Paris (France) and BST Hyde Park (UK) all reported healthy attendances in 2017 – and IQ’s recent European Festival Report 2017 revealed that despite increased competition, a majority of the continent’s festival operators feel optimistic about the future of their events.
A majority of Europe’s festival operators feel optimistic about the future of their events
By IQ’s reckoning, Live Nation/Ticketmaster made three more acquisitions than in 2016, when eight companies came under the Live Nation Entertainment umbrella, further bolstering its credentials as the world’s largest live entertainment company.
They were: Bank of New Hampshire Pavilion (venue) in December; United Concerts (promoter) in October; Strobe Labs (data platform) in August; Openair Frauenfeld (festival) in July; Isle of Wight Festival in March; Bluestone Entertainment (promoter) and Ticketpro (ticket agency) in February; and Metropolis Music (promoter) Cuffe & Taylor (promoter), Bottlerock Napa Valley (festival) and CT Touring (promoter) in January.
Rain-grey town, known for its sound…
An IQ/Songkick study revealed in September that the British capital is by far Europe’s live music capital by number of events – and the third-biggest concert market in the world, behind only New York and Los Angeles.
There were 19,940 total live music events in London in 2016 – more than San Francisco (13,672), Paris (11,248) and Chicago (11,224) – and the city is on course to hold its no1 spot in 2017.
Looking ahead to 2018, a raft of new festivals looks set to further cement London’s status as the live music capital of Europe, with AEG and Live Nation/Festival Republic both planning new events and local councils opening up more green space to meet the growing demand for live entertainment.
Live Nation/Ticketmaster made three more acquisitions than in 2016
Google to touts: Don’t be evil
Google last month dealt what could be a fatal blow to the likes of Viagogo and Seatwave, announcing that from January 2018 secondary ticketing sites would be subject to stringent restrictions on their use of Google AdWords.
Under the new measures – which come on the back of UK politicians accusing sites such as Viagogo, StubHub, Seatwave and Get Me In! of violating Google’s Adwords policies on misrepresentation, and increased scrutiny of ticket touting in Britain, Italy, Japan, Spain, Ireland and more – Google will force ticket resellers to list the face value of tickets, make clear they are resale sites and stop implying they are an ‘official’ seller or lose access to AdWords.
Google’s crackdown comes as national authorities, especially in the UK, continue to make life harder for touts, with National Trading Standards last week making four arrests as part of an investigation into the “practices of businesses that buy and sell tickets in bulk”.
The end of the road for ‘industrial-scale’ secondary ticketing, or merely another hurdle to be overcome? Time will tell…
The booking agency world continued to consolidate in 2017 with a number of acquisitions, mergers and partnerships. Notable was Paradigm which entered into a strategic partnership with the UK’s X-Ray Touring in April and acquired Chicago- and California-based agency Monterey International in August.
Among other moves, July saw Helsinki-based Fullsteam Agency announce that it had acquired Rähinä Live, while September saw K2 Agency swoop for Factory Music. Meanwhile, the ongoing merry-go-round of agents swapping desks between companies continued – and if rumours are to be believed, 2018 will see this trend continue apace.
The booking agency world continued to consolidate in 2017 with a number of acquisitions, mergers and partnerships
In addition to the beloved performers we lost in 2017 (RIP Tom Petty, Chester Bennington, Chris Cornell, Chuck Berry, Greg Allman and many others), several equally revered live music business figures also passed away this year.
Peter Rieger, the founder of Cologne-based promoter Peter Rieger Konzertagentur (PRK), died on 29 January at the age of 63 – “far too young,” said friend and colleague John Giddings. “This has been a sad and dismal week,” added manager and former agent Ed Bicknell. “I’ve lost three dear pals: John Wetton of King Crimson, Asia and UK, Deke Leonard of Man, and now Peter. […] He was a total professional, a pleasure to deal with and funny – definitely funny. Which is what every promoter needs: a sense of humour.”
Another live industry veteran who passed far too young was tour manager, artist liaison and ILMC’s longtime producer, Alia Dann Swift, who died aged 57 in May. “She was the best,” said CAA’s Emma Banks. “A beautiful human being, a great friend, a smart and an inspiring woman.”
“Alia was renowned for her warmth, her tireless support of those around her, a perennial sense of humour and a no-nonsense approach,” added ILMC head Greg Parmley. “She was a widely loved and respected figure in the touring world who will be deeply and entirely missed.”
The live music world was once again rocked in August by the shock death of well-liked Primary Talent co-founder Dave Chumbley after a short illness.
“Dedicated to his artists to a fault, Dave was responsible for many hugely successful careers in the global music industry,” said manager Terry Blamey, with whom Chumbley worked for years representing Kylie Minogue. “He was a talented, wonderful man taken from us way to soon. Lynn and I loved him like a brother, dear friend, and we will miss him dreadfully.”
Other tragic losses to the business in 2017 included ShowSec founder Mick Upton, tour travel agent Mary Cleary, Israeli promoter Shmuel Zemach, Reading Festival founder Harold Pendleton, Washington, DC, promoter Jack Boyle and Live Nation Belgium booker Marianne Dekimpe.