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UK live revenue slumps for second straight year

Despite the return of full capacity concerts, royalties from the UK live sector fell 29.2% last year to just £8 million (€9.5m) according to collection society PRS for Music.

The total represented a £3.3m year-on-year decline and a huge 85.2% (£46m) reduction since the pre-pandemic year of 2019.

PRS, which represents the rights of over 160,000 songwriters, composers, and music publishers, cites the postponement of high-profile tours by acts such as Elton John, Dua Lipa and Eagles for the slump, along with the impact of Covid restrictions and reduced public confidence.

Moreover, there was an 84% drop in the number of live performance setlists reported to the organisation in 2021, falling from 124,000 in 2019, to 19,300. However, it notes that 2022 has begun with fresh optimism, with more than 240 major tours featuring PRS members planned throughout the UK and beyond.

Revenues are not expected to return to pre-pandemic levels until 2023

PRS CEO Andrea Czapary Martin told the BBC that revenues are not expected to return to pre-pandemic levels until 2023.

However, the body still delivered significant growth, with a 22.4% increase in overall revenues to £777.1m, on a constant currency basis, buoyed by a 45.6% (£83.9m) year-on-year increase on a constant currency basis in royalties collected from music played online to £267.8m.

Music streaming accounted for the largest proportion of online revenue, contributing £225.5m to the overall online income, up 42.5% (£67.2m) since 2020, and 45.5% (£70.5m) since 2019.

PRS distributed £677.2m in royalties to its members in 2021 – a 3.2% (£22.2m) decline on 2020, but just 1.3% (£8.8m) below 2019 figures.

“The entire organisation has embraced the chance to adapt and innovate”

“2021 was a successful year that further cements PRS for Music’s place as a world-leading, innovative rights management organisation,” says Martin. “In exceptional circumstances, and still with a recovering marketplace, we recorded a 22.4% year-on-year growth in revenue to £777.1m. The 45.6% growth in online meant we collected £267.8m – an extra £83.9m on 2020. The 59.6% uplift in public performance is encouraging as it reflects a marketplace, like the economy, that is getting back to business. Significantly, it underlines the organisation’s ability to adapt to all market sectors to fully monetise and protect the value of the music rights entrusted to us.

“Covid-19 has overshadowed my two full financial years as CEO of PRS for Music, but has given me and the whole PRS team, the opportunity to really focus on the importance and value of the work PRS does on behalf of its members and how we can better serve them in all areas of what they do.

“For all businesses, these have been unprecedented and challenging times. However, I believe we grasped that opportunity, and the entire organisation has embraced the chance to adapt and innovate. It will be from these solid foundations that we can meet our vision of becoming a billion-pound society in royalties paid out, while further strengthening our systems and partnerships, all with a cost-to-income ratio of below 10%.”

 


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DEAG on the road to recovery after strong 2021

Deutsche Entertainment (DEAG) has reported a strong fourth quarter and a significant increase in revenue and earnings in the financial year 2021.

The Berlin-based live entertainment group saw its revenue hit €91 million in 2021, up 82% from €49.9m in 2020.

In addition, EBITDA (earnings before interest, taxes, depreciation and amortisation) rose by 144% from €9m in 2020 to €22.1m in 2021.

DEAG says the increases in earnings and revenue are down to “a significant upturn in operating activities” in the second half of 2021.

The promoter and ticket agency owns businesses in Germany, Switzerland, the Republic of Ireland and the UK – which has been fully open since last summer.

“DEAG has weathered the pandemic comparatively well over the past two years, which have not been easy for the entire live entertainment industry due to Covid-19,” says professor Peter Schwenkow. “We stand on strong legs, have successfully continued our expansion course in Germany and Europe and are currently experiencing an increasing return to normal for our business activities in all our core markets and high demand for tickets for concerts and events.”

“We are excellently positioned for future growth with our broad portfolio of events and our strong financial position”

Last year, the company delisted from the stock market after 23 years as a listed company, with CEO Peter Schwenkow telling IQ that DEAG could raise more funds as a private company than on the financial markets.

The company later announced it raised more than €6m to fund future acquisitions in “key markets” such as literary events production company Fane Productions in the UK.

“We are excellently positioned for future growth with our broad portfolio of events and our strong financial position,” continues Schwenkow. “Our ticket sales are at an above-average level and we have started the current year with plenty of tailwind.

“In the UK, booking levels are already back to pre-crisis levels and in our other core markets they are approaching 2019 levels again, the year before the corona pandemic broke out. We will offer visitors hundreds of events over the next few months and set off event fireworks.”

Schewnkow recently told IQ the company was seeing a 50-80% increase in ticket sales compared to pre-pandemic.

In view of the recovery in its core markets, strong ticket sales and growth from the companies acquired in 2021, DEAG says it expects a significant improvement in EBITDA and further revenue increases in 2022.

 


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Rapino predicts ‘strongest multi-year period ever’

Live Nation’s share price is on the rise in the wake of the company’s latest quarterly report, with 45 million tickets already sold for its 2022 shows.

The results covered both Q4 last year and 2021 as a whole, when revenue hit $2.7 billion and $6.27bn respectively, compared to $237.3 million and $1.86bn for the same periods in the Covid-ravaged 2020.

The stockmarket reacted positively to the numbers, with shares jumping more than 7% to $125.28, although just short of the all-time high of $127.50 reached after the promoter’s Q3 2021 figures were released last November, before settling at $120.44 at close of play.

“Over the course of 2021, we saw the strength of live events,” Live Nation CEO Michael Rapino told investors. “The year started in the midst of the pandemic, but by summer fans were returning to shows, and by the end of the year, we had a record pipeline of concerts, ticket sales and advertising commitments for 2022.

“Restarting our concerts business in the second half of the year, we put over 17,000 concerts for 35 million fans in 2021, mainly in the US and UK markets. In the final five months of the year, in the US and UK, we had over 15 million fans attend our outdoor events: festivals, stadiums, and amphitheatres, nearly 25% higher than during the same period in 2019.”

“I believe this is just the start of what will be the strongest multi-year period ever for the concert industry”

He added: “The two-year wait for artists and fans is over. Never have the tailwinds to our business been so strong, and I believe this is just the start of what will be the strongest multi-year period ever for the concert industry.”

Focusing on 2022, ticket sales are up 45% on 2019 levels, with the concert giant citing last year’s acquisition of Latin American power player Ocesa Entretenimiento as a key factor in the accelerated growth. LN reported that eight artists have already sold in excess of 500,000 tickets for their tours this year, including Bad Bunny, Dua Lipa and Billie Eilish. Ticketing revenue came to $487.7m for Q4 and $1.13bn for the year in its entirety.

“Our ticketing business had the dual benefit of strong ticket sales for events in 2021, while also being the first of our businesses to benefit from our 2022 pipeline,” said Rapino. “Ticket sales were at a record pace across every metric with October, November and December being our top three months ever for ticketing gross transaction value, excluding refunded tickets. And the fourth quarter and second half of the year also set records for a quarter and six-month periods.”

“We have a lot of confidence that 2023 and beyond look very good”

Rapino and LN president/chief financial officer Joe Berchtold also weighed in on the higher than usual no-show rates at concerts since the restart, with both suggesting the issue had been overstated.

“I think there’s been a lot of reporting by anecdote out there, as opposed to reporting by collective facts. And I don’t think our experience is any different than the industry is, as a total,” he said. “First of all, arenas in 2019, if you look at the number of people that showed up for a concert versus the number of people that bought tickets, it ran at 93% in 2019. That number thus far, in 2022, over the past six weeks is running at 91%. So not materially different from the 93% for the total of 2019.

“For our theatres and clubs, the smaller shows, you tend to have a slightly higher no-show rate. And that number was 87% in 2019. It’s running at 83% in 2022. So I think if you first of all recognise that there were a number of shows that have taken place over the past few months that were rescheduled, and when shows get rescheduled, people will naturally forget about the show or have a conflict different than what they originally had, it’s probable that accounts for all or almost all of that difference in the attendance level.”

Commenting on media reports, Rapino said: “I think they were saying as 15%, 20% weren’t showing, but again, they weren’t taking into account that on a normal year, 7%, 8% of people don’t show up to shows, so you’re already starting at that level.”

Berchtold also gave an insight into the intense level of activity expected next year, adding that plans were well ahead of where they would be at a similar stage, pre-pandemic.

“Right now, I have in front of me a list of 40 some tours for 2023 that are either confirmed or in our pipeline,” he said. “Normally, at this point, a year from earlier, we’d have a list of five to 10. So yes, we have a lot of confidence that 2023 and beyond look very good because there is a lot of pent-up supply, there is a lot of pent-up demand, and we expect it’s a multi-year run.”

 


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AGF reveals top green festivals and events of 2021

Environmental nonprofit A Greener Festival (AGF) has announced the recipients of the A Greener Festival Award in 2021.

Launched in 2007, the AGF Awards is the gold standard for festivals and events to reduce their environmental impact.

In the latest round of awards, eight events across five countries have been recognised including Paradise City (Belgium), Elrow Town (Netherlands) and Deep Tropics (US).

Recipients received awards across four categories: outstanding, highly commended, commended and improvers.

The festivals and events were awarded based on a rigorous assessment, site visit and post-event analysis of their sustainability actions, with assessors looking at 11 areas, including transport, waste, power, water and local area impacts.

According to AGF, the standards have been developed over 15 years in consultation with 1000s of events, event services, suppliers and sustainability experts across key areas assessed.

The 2021 AGF Awards will be presented during the Green Events & Innovations Conference (GEI 14) and International Live Music Conference (ILMC 34) on Friday 29 April at the Royal Garden Hotel, London.

“We’re impressed by these events that not only took place but also reduced negative environmental impacts”

AGF CEO Claire O’Neill says: “We’re impressed by these events that not only took place in 2021, which was a feat in itself, but also maintained and developed their actions to reduce negative environmental impacts and enhance positive community impacts.

“We’re happy to be able to award this certification. Record numbers of events worldwide have applied for AGF certification in 2022. This shows the appetite and need for genuine action for sustainability, and the expectation from audiences and local authorities alike for events to prove their minimum environmental standards.”

Gilles De Decker, co-founder of Paradise City Festival, adds: “Claiming you are sustainable means taking responsibility. AGF has been auditing Paradise City Festival for several editions now and it is thanks to their valuable feedback and detailed analysis of the ecological footprint of our festival that we can improve year by year. So this recognition as one of the most sustainable festivals worldwide means a lot to our team.”

Joel Atchinson, regenerative design and co-founder, Deep Tropics, comments: “Working in collaboration with the AGF team was incredibly rewarding and expansive! Even with the great success of producing a climate positive event, the depth of their survey and data collection revealed several blindspots of which we are very grateful to have identified. We feel like our team has a clearer roadmap, and a more refined approach to build on into 2022 and beyond!”

A full list of AGF Award winners for 2021 is below:

Paradise City (Belgium)
“Outstanding” A Greener Festival Award 2021

elrow Town (Netherlands)
“Highly Commended” A Greener Festival Award 2021

Cridem pel Clima (Spain)
“Commended” A Greener Festival Award 2021

Deep Tropics (USA)
“Commended” A Greener Festival Awards 2021

Festival de la Luz (Spain)
“Commended” A Greener Festival Award 2021

Lost Village (UK)
“Improvers” A Greener Festival Award 2021

Madblue (Spain)
“Improvers” A Greener Festival Award 2021

South Summit (Spain)
“Improvers” A Greener Event Award 2021

 


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Korea scene cautious despite 2021 resurgence

South Korea’s performing arts sector is remaining cautious despite rebounding by nearly 80% year-on-year in 2021.

As Covid restrictions on concert halls and theatres were eased,  the scene generated 307.1 billion won (€226.9 million) last year – 78.4% up on the 172.1bn won (€127m) garnered over the previous 12 months, according to Korea Performing Arts Box Office Information System data.

At 234.6bn won (€173.6m), revenue from musicals accounted for 76% of the entire market, while classical concerts brought in 33.4bn won, up from 8.5bn in 2020.

Choi Seung-hee, of musical production firm Seensee Company, says the growth in revenue was partly due to the relaxation of social distancing measures.

“Theatre-goers became less concerned as we entered the second year of the pandemic”

“More importantly, theatre-goers became less concerned as we entered the second year of the pandemic,” she tells the Korea Herald . “Having said that, we still face uncertainty due to the pandemic and it’s difficult to make a firm plan for the year.”

The industry is hopeful of more performances by both domestic and overseas artists in 2022, including concerts that have been delayed due to pandemic.

“Situations overseas are as important as domestic situations for a company that introduces a lot of foreign artists. So it is really difficult to say that this year will be much better than last year,” adds Annie Jeong of classical music production company Vincero. “So we keep our fingers crossed.”

Korea’s first ever metaverse gig, the K-Vibe Concert, was staged last month by the Ministry of Culture, Sports, and Tourism and the Korea Tourism Organisation.

Hosted by Asia’s largest metaverse platform Zepeto, the XR show featured acts from the first to the fourth generation of K-pop, including BoA, SHINee’s Key, Aespa, DJ Raiden, Brave Girls, Mommy Son, and Wonstein.

Meanwhile, construction is ongoing on AEG and CJ LiveCity Corporation’s new K-pop-focused entertainment complex in Goyang City, Seoul.

Set to open in 2024, the 1.8 trillion won (€1.3 billion) development comprises the 20,000-capacity CJ Live Arena and an outdoor performance space capable of accommodating 40,000 people.

Centrally located between five of Korea’s largest cities, AEG projects the new venue, which has been delayed due to licensing issues, will attract more than 20 million visitors annually.

 


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IQ 107 out now: Industry heads map the road ahead

IQ 107, the latest issue of the international live music industry’s favourite monthly magazine, is available to read online now.

In the January 2022 edition, industry leaders from around the world share their thoughts about the state of the industry and the recovery of the sector, over the coming weeks and months.

Elsewhere, the IQ news team looks back at the trends, deals, events and, of course, the Covid restrictions that made the headlines during 2021.

On page 34, IQ Magazine editor Gordon Masson explores the benefits that blockchain technology can offer the live music industry.

For this edition’s columns and comments, Wayne Forte details the process behind producing his critically acclaimed Mad Dogs & Englishmen documentary, and Richard Davies urges the industry to adopt a more strategic approach in its efforts to beat ticket touts.

And, in this month’s Your Shout, Dan Steinberg (Emporium Presents), Rob Challice (Paradigm), Mark Davyd (Music Venue Trust) and Nick Hobbs (Charmenko) describe their best moments of 2021.

As always, the majority of the magazine’s content will appear online in some form in the next four weeks.

However, if you can’t wait for your fix of essential live music industry features, opinion and analysis, click here to subscribe to IQ for just £5.99 a month – or check out what you’re missing out on with the limited preview below:


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Harry Styles crowned 2021’s top ticket seller

Harry Styles has been named as 2021’s top worldwide ticket seller, while the Rolling Stones had the highest-grossing tour, according to Pollstar‘s year-end rankings.

Styles sold 669,051 tickets for his Love on Tour arena dates, generating $86,723,984 (€76,916,720), to lead the way ahead of The Hella Mega Tour starring Green Day, Fall Out Boy and Weezer, which moved 659,062 tickets. The Top 5 was rounded off by Dead & Company at No.3 with 588,658 ticket sales, Dave Matthews Band at No.4 (583,399 sales) and Phish at No.5 (572,626).

Completing the Top 10 were Jonas Brothers (No.6, 528,630), Luke Bryan (No.7, 522,966), the Rolling Stones (No.8, 516,624), Chris Stapleton (No.9, 516,395) and Alanis Morissette (No.10, 499,296).

By every measure, 2021 was both quantitively and qualitatively better than 2020

However, the Stones were head and shoulders above the rest when it came to revenue. The band, whose legendary drummer Charlie Watts died in August, generated $115,498,182 (€102,474,854) from their shows – almost $30m clear of their nearest contender, Styles.

“What a difference a year makes,” wrote Ray Waddell of Pollstar owner Oak View Group. “By every measure, 2021 was both quantitatively and qualitatively better than 2020, which was catastrophic.

“Every chart in last year’s Year End issue marked a precipitous drop in shows, revenues, ticket sales and all other touring metrics. This year, however, is a markedly different story, especially Q4, which augers exceedingly well for 2022.”

 


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UK festivals plot comebacks as optimism grows

A growing number of UK festival operators are confident their events should take place in some capacity this summer, bolstered by plans to allow full-capacity outdoor shows in England from June (as well as a viral tweet from Reading and Leeds Festivals).

British prime minister Boris Johnson announced on Monday (22 February) that all lockdown measures should be lifted in England from 21 June, theoretically allowing large outdoor events such as festivals to take place with no restrictions. Industry response to the announcement was largely positive, though live music businesses and associations are seeking more clarity as to what will be possible.

Speaking after the announcement, Paul Reed, CEO of the Association of Independent Festivals, said he is “optimistic that many of our member festivals may be able to go ahead in some capacity later on this year. There are still, however, some urgent points of clarity that need to be made around the exact requirements that festival organisers will need to meet, in particular around testing and Covid certification.”

Also optimistic about this summer is Festival Republic, which tweeted yesterday that, “following the government’s recent announcement”, its Reading (105,000-cap.) and Leeds Festivals (75,000-cap.) “can’t wait to [welcome] fans back to the fields” this summer:

The sister festivals are scheduled for Friday 27 to Sunday 29 August and boast a largely British line-up, though there are several international artists – including Americans Madison Beer, Fever 333, Ashnikko and, notably, headliner Post Malone – booked to perform.

“We cannot wait to open our gates and welcome both fans and artists”

Speaking to the NME last month, Festival Republic managing director Melvin Benn said that while the festival sector is relying on “the vaccine first and testing second”, his ‘Full-Capacity Plan’ would allow for major events to go ahead even before the UK achieves herd immunity to the virus. “It could be a mix of both,” he explained. “I feel that we can get away with shows purely on testing. It’s immensely hard work, but operationally doable and hopefully unnecessary. The Full Capacity Plan was always based on verification of being clear of Covid, or clear of being in danger of Covid.

“The vaccination, and verification that you’ve had it, would give you that safety of knowing that you’re not going to get super ill. It will work, providing that they can get the majority of the people in the country vaccinated, and as long as there are enough people at the event who have been vaccinated.”

Among the other UK festivals that have indicated they will take place this summer – all after the key date of 21 June – are pop-punk event Slam Dunk, Americana weekender Black Deer, drum’n’bass festival Hospitality Weekend in the Woods and a new one-day London event, Wide Awake.

Slam Dunk said on Tuesday (23 February) that both Slam Dunk North in Leeds and Slam Dunk South in Hatfield (both 22,000-cap.) would be pushed back to September from their original dates in May.

In a statement, the independent festival said it had already predicated that the original dates would not be feasible and had, “of course, been working hard on rescheduled dates”.

Slam Dunk has yet to announce its 2021 line-up although organisers say it should “remain very similar” to 2020’s cancelled event, which would have featured Sum 41, Don Broco, NOFX, Billy Talent, the Used and more.

“Following the government’s recent announcement, we can’t wait to get back to the fields this summer”

Black Deer, meanwhile, is taking place just a week after originally planned, returning to its 20,000-capacity Eridge Park site in Kent on 25–27 June.

The 2021 festival is headlined by Van Morrison, Wilco, the Waterboys and Robert Plant’s band Saving Grace, with other performers including Lucinda Williams, the Dead South, Imelda May and Drive-By Truckers.

Speaking to Access All Areas, Black Deer promoter Gill Tee said the festival is “planning for a full-capacity event” in June, and that “ticket sales are moving towards that number”.

Wide Awake, a new festival of “leftfield indie, post-punk, electronic, techno and jazz” which was originally due to debut in 2020, takes place on 3 September at Brockwell Park in south London (formerly home to Field Day) with artists including Black Midi, Songhoy Blues, Tinariwen, A Certain Ratio and Erol Alkan.

Organiser Marcus Weedon, who co-founded Field Day in 2007, comments: “We’re incredibly excited to finally be able to bring this very special show to London this September. It’s been a tough year for everyone, not least the festival and event industry, and we have been working very hard to ensure Wide Awake is brilliantly curated with the safety of everyone at the forefront.

“We cannot wait to open our gates and welcome both fans and artists in what is going to be an incredibly special event this year.”

 


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Schwenkow predicts open-air shows this summer

Concert promoters should be able to stage outdoor events, as well as smaller indoor shows, this summer, DEAG’s Peter Schwenkow has predicted.

“When we have around 80% of people who have been vaccinated, by June or July, we should be able to hold smaller and open-air events,” Schwenkow, CEO of the German promoter, told yesterday’s Tagesspiegel.

Schwenkow also said that organisers should be free to restrict entry to events to those who have already had the coronavirus vaccine, or who can produce a negative Covid-19 test at the door, reports the DPA news agency.

“Why not let 2,000 people into the [Berlin] Philharmonie when they have all been tested and vaccinated? Organisationally and technically, this is not a problem,” he continued. “The question is whether you can find an official who would approve it.”

“Why not let 2,000 people into the Berlin Philharmonie when they have all been tested and vaccinated?”

Speaking to IQ last month, Schwenkow said he sees 2021 as a year of largely domestic touring and smaller shows, with a full return to normality in summer 2022 through a combination of vaccines and rapid testing.

“It’s a miracle that they could develop the vaccine in under 12 months,” he said, “but the miracle is there. By end of the year, everybody who wants to be will be vaccinated.

“We have been wishing since March that someone could help us out of this, and now they can. Of course, speedy testing and vaccinations are easier for 5,000 people than 80,000, so while the former I think will be possible by winter [2021] we’ll have to wait until summer 2022 to have the full 80,000 people at our Nature One festival, for example.”

He echoed this prediction in the Tagesspiegel interview, saying it would be at least April or May 2022 before international artists – especially Americans – will be touring Germany, presenting a unique opportunity for “local entertainers”.

 


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Robert Grima: ‘We need the whole ecosystem to succeed’

As the worst year in the history of the live music business finally nears its end, IQ caught up with several industry leaders ahead of the new year, asking for their predictions for 2021, as well as the lessons they can take forward from 2020.

Here, Robert Grima, president of Live Nation Spain, speaks about the logistics of putting on 18 shows this summer while the pandemic raged, and why the industry must no longer take the live experience for granted when concerts return…


IQ: This year has been difficult, to put it mildly, but have there been any positive aspects you are taking forward from this annus horribilis?
RG: Yes, 2020 has also been a year of reflection and, especially, of cooperation in the live music sector. The sector has come together to give visibility to live music events as part of the culture and lives of many people, showing our professionalism and effectiveness and the efforts of promoters to give continuity to the sector, despite the circumstances.

How has news of the coronavirus vaccine news changed the conversations you are having with artists, management, promoters, festivals, etc.?
We as a global company are totally focused to getting back to the shows we all know and love, and there is a great focus on many ideas and protocols that will help us improve the service to fans and deliver a quick return.

Livestreamed shows have shown that fans will pay to see their favourite acts remotely. How do you imagine this technology might develop when regular touring activity resumes?
The impact of livestreamed shows in Spain has been similar to in other countries. Livestreaming has proved to be a good complement to live, and additionally can be a marketing add for our artists through these times.

It is a model that, in the future, can coexist with the live show as an additional offer for the fan in some cases, but the experience of a live show is unique and irreplaceable.

“Once we are all able to come back there is going to be incredible pent-up demand waiting on the other side”

What advice or encouragement can you give to those who were hoping to break through in 2020, knowing that the market is going to be overcrowded with onsales when the industry gets back to work?
Live is one of the best ways for artists to grow their engagement with fans, and once we are all able to come back there is going to be incredible pent-up demand waiting on the other side.

I would encourage them to focus on playing live, not stopping, even if it means performing with reduced capacity for longer, because it has been proven that fans respond and artists enjoy it. And it’s the best way for artist to maintain and grow their engagement with fans.

Despite the high numbers of Covid-19 cases in Spain, you were still able to host some Crew Nation events. How did you achieve this, and what challenges did you have to overcome?
Yes, we hosted 18 Crew Nation Presents shows in La Riviera over the summer with the aim of supporting and giving visibility to crews that work in live events. The shows were a great success. Artists love playing live, and the fans got to go to shows in a summer when, in many places, live music was on pause. Additionally, and really importantly, the crew were supported by the events at a really hard time, looking after the whole ecosystem of live.

This was all made possible because we collaborated closely with the local authorities and adapted protocols to the new regulations, which have been effective and used throughout the series.

As Spain/Portugal are often either the first or last dates of European tours, do you think the Spanish market’s return to business will be different to other territories around the world?
No, it does not have to be different. Fans continue to await concerts with the same enthusiasm, and Spain will continue to be an attractive country for artists. I actually believe that there will be a boost in the live sector once we get back.

“I hope that from next year we all can be in the moment and grateful for every show we get to be a part of”

The way various rival firms have cooperated and collaborated for the common good during the pandemic has been impressive. What hopes do you have that closer industry bonds can continue post-Covid-19?
My hope is that once and for all we can cooperate together in all moments, not only in difficult ones. What we have really seen is that the live industry is an ecosystem and we need all of it to succeed.

What do you think the biggest challenges are going to be for Live 2.0, and how do you think industry leaders can best guide the business as things reopen?
We have spent the summer working hard with local authorities to guarantee artists, fans and crews that the concerts are taking place in a safe environment. This is what promoters and artists across the world will be focusing on, and what we have proven so far to be possible. The parameters may continue to change but we will, as always, work with local authorities and health advisers to get as many artists in front of their fans as possible.

With the Crew Nation Presents shows we demonstrated that not only promoters are taking the new restrictions seriously, but that the fans are, too. I think that’s the best sign of things to come once we can fully reopen.

Finally, are there any bad habits the industry had that you are hoping might disappear when normality returns?
It’s easy to get swept up in the day to day, and I hope that from next year we all can be in the moment and grateful for every show we get to be a part of. Let’s not ever take live music for granted.

 


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