BRITs Week for War Child unveils 2025 programme
Cat Burns, Kasabian, Clean Bandit, Rachel Chinouriri, Soft Play, Nova Twins, Joy Crookes, Tom Walker, Rag‘n’Bone Man, Frank Turner and Blossoms are among the acts confirmed for the BRITs Week 25 for War Child lineup.
The annual charity concert series features intimate one-off performances from big names in some of the UK’s best venues. Since BRITs Week’s inception in 2009, the shows have raised more than £7 million for War Child to help children whose lives have been torn apart by war.
BRITs Week, which is produced by AEG Presents, BPI, DHL, and War Child, will take place around The BRIT Awards 2025 with Mastercard on Saturday 1 March.
Between 17 February and 5 March, the aforementioned stars will perform across venues including Omeara in London, King Tut’s Wah Wah Hut in Glasgow and De La Warr Pavilion, Bexhill.
Alongside a prize draw to win tickets, a limited number of tickets for each show will go on sale.
This year, DHL is joining as a new partner of BRITs Week 25 via War Child. The multinational logistics firm will provide transportation, distribution, or other logistical support to help the charity reach more children in need and deliver aid more efficiently.
“These shows help to raise crucial money for children caught in conflict, with our long-time partners, War Child”
Simon Jones, SVP of International Touring at AEG Presents, says: “BRITs Week is now in its 12th year and still going as strong as ever. It’s a testament to all of the artists, managers, labels and of course our new sponsors, DHL that keep supporting the event to help keep this wonderful annual industry fixture such a mainstay in the calendar. These shows help to raise crucial money for children caught in conflict, with our long-time partners, War Child. 2025’s edition will be no different, seeing incredible acts in smaller venues, and raising a bucket load of money for a really great cause.”
Clare Sanders-Wright, live music lead at War Child, adds: “BRITs Week is back for the 12th year running and I am ecstatic to announce this year’s stellar line up. The shows for BRITs Week are always so special, giving fans a chance to see their favourite musicians in beloved small venues. Children don’t start wars, and this past year has been devastating, with children bearing the unimaginable cost of conflicts they hold no responsibility for. War Child is forever grateful to the artists and their teams who are giving their time to make these shows happen, in support of War Child’s mission to support and provide a brighter future for children affected by war and to share our mission statement that No Child Should Be A Part Of War – Ever.”
BRITs Week 25 for War Child lineup:
17th February – Cat Burns – MOTH Club, London
18th February – Joy Crookes – Islington Assembly Hall, London
20th February – Rachel Chinouriri – Omeara, London
21st February – Frank Turner – 93 Feet East
24th February – Nova Twins – Omeara, London
25th February – Kasabian, supported by Blossoms – O2 Shepherd’s Bush Empire, London
28th February – Clean Bandit and Friends – The London Palladium
3rd March – Tom Walker – King Tut’s Wah Wah Hut, Glasgow
4th March – Soft Play – Village Underground, London
5th March – Rag‘n’Bone Man – De La Warr Pavilion, Bexhill
Get more stories like this in your inbox by signing up for IQ Index, IQ’s free email digest of essential live music industry news.
LA wildfires: Music industry rallies in support of victims
In the wake of Los Angeles’ devastating wildfires, Live Nation and AEG Presents have joined forces with the Azoff family to hold a benefit concert, FireAid.
Set for 30 January at Inglewood’s Intuit Dome (cap. 18,000), the “evening of music and solidarity” will raise money to support rebuilding affected communities and efforts to prevent future fire disasters throughout Southern California.
Performers and ticket information will be announced in the coming days. Proceeds from the concert will go towards a charity created for this event. The benefit concert will precede the 67th Grammy Awards, set for 2 February at Crypto.com Arena (20,000).
More than 150,000 people have been evacuated as more than 40,000 acres have been burned and 12,000 structures have been destroyed across LA, per NPR. The economic damage could top $50 billion and may rank as one of the most costly natural disasters in US history, according to the Los Angeles Times. At least 24 people have been killed.
The music industry has been hit hard by the ongoing crisis, with countless professionals, technicians, and artists impacted.
A document is circulating with more than 210 individuals and families who have lost their homes, featuring links to financially support them.
“The music community is being so severely impacted but we will come together as an industry to support one another”
In response, the industry is banding together to raise money for those affected.
The Recording Academy and its welfare charity MusiCares have pledged $1 million to support music professionals impacted by the fires through its Los Angeles Fire Relief Effort.
“The entire Grammy family is shocked and deeply saddened by the situation that is unfolding in Los Angeles,” Harvey Mason Jr., CEO of the Recording Academy and MusiCares, said in a statement. “The music community is being so severely impacted but we will come together as an industry to support one another. Our organizations exist to serve music people … and we hope the broader industry will now rally to this cause.”
MusiCares is offering $1,500 in financial assistance and a $500 grocery card to affected music professionals working in the industry for over three years, intended to cover short-term costs.
“MusiCares disaster relief is intended to cover short-term costs, should you incur costs from evacuating (hotel, food, supplies). MusiCares is also able to provide additional support for individuals with considerable impact, including medical issues, damaged music equipment or longer-term relocation needs,” shares the charity.
Beyoncé is donating $2.5 million toward an LA fire relief fund started by her charity, BeyGOOD.
“The fund is earmarked to aid families in the Altadena/Pasadena area who lost their homes, and to churches and community centres to address the immediate needs of those affected by the wildfires,” the organisation announced today.
Multiple organisations are offering direct relief for musicians and music industry professionals, including the Black Music Action Coalition, the Entertainment Community Fund, mental health non-profit Backline, the Sweet Relief Musicians Fund, the Guitar Center Music Foundation, Warner Music’s Social Justice Fund, The 100 Percenters, and others. Billboard is actively compiling a list of available resources.
“Give to people who really truly need it”
Shelby Schenkman, a creators agent at United Talent Agency, is fundraising through The UTA Foundation to purchase clothes and essential items for affected colleagues and external community members. The effort has raised over US$7,500 to date.
Meanwhile, Charli XCX took to social media to urge brands to “give to people who really truly need it”, while American-Mexican band Fuerza Regida rented out a hotel for six days to provide shelter to those displaced.
Arenas around the city have cleared their music schedules for the month, with sporting programming also facing disruptions.
Last week, LA radio station ALT 98.7 cancelled the iHeartRadio ALTer EGO festival, which was set to return to Inglewood’s Kia Forum (cap. 17,505) last Saturday (11 January). Incubus, The Lumineers, Cage The Elephant, Glass Animals, The Offspring, St. Vincent, Fontaines D.C., The Head and the Heart, and Damiano David were all set to perform.
Kia Forum’s next scheduled concert is set for 1 February with K-pop group aespa.
Following FireAid, Intuit Dome’s next concert is on 22 February with Mexican band Los Tucanes De Tijuana. The arena cancelled a show with rapper Rod Wave last Wednesday (8 January).
A cancellation has not yet been announced for Calibash, the area’s “biggest Latin pop concert of the year,” set for this Saturday (18 January) at Crypto.com Arena. Maluma, Wisin, Xavi, Manuel Turizo, Emilia, and more are set to perform.
No music programming is scheduled for SoFi Stadium (70,000). The NFL announced the playoff game will move to Arizona’s State Farm Stadium (63,400) tonight (13 January).
Get more stories like this in your inbox by signing up for IQ Index, IQ’s free email digest of essential live music industry news.
AEG Presents enlists Weston Hebert as VP global touring
AEG Presents has installed Weston Hebert as vice president of global touring, based out of the firm’s Nashville offices.
Hebert joins the company from Live Nation, where he most recently served as talent buyer.
In his new role, Hebert’s responsibilities will include driving touring strategies and initiatives across the global market, reporting to president of global touring, Rich Schaefer.
“When Rich and I first spoke about this opportunity, I jumped at the chance to join the AEG Presents family,” says Hebert. “Rich and the global touring team have cultivated an exceptional sense of collaboration & community with the artists, managers & agents they work with. I’m excited to contribute to the ecosystem they’re fostering, which drives artist development & growth in all facets of the business.”
“We’ve been watching Weston’s development as a touring promoter from afar and have been impressed by his relationship”
Schaefer adds: “We’re very excited to welcome Weston to global touring, boosting our presence in Nashville. We’ve been watching Weston’s development as a touring promoter from afar and have been impressed by his relationships with the artist community, managers and agents and his impeccable taste in music. We’re looking forward to Weston being a significant contributor to our team.”
Hebert began his career in 2015 at WME Nashville, focusing on the international expansion of the agency’s country touring business.
In 2018, Weston joined Live Nation as a talent buyer in the Great Lakes region, overseeing bookings and programming at venues including Andrew J Brady Music Center, The ICON Festival Stage and Bogart’s & The Bluestone.
He also successfully booked and promoted tours for emerging artists such as The Red Clay Strays, Gavin Adcock, and Lawrence.
Get more stories like this in your inbox by signing up for IQ Index, IQ’s free email digest of essential live music industry news.
2025 festivals: Rock en Seine scores Chappell Roan exclusive
Rock en Seine has secured Chappell Roan’s one and only performance in France in 2025.
The US star will headline the opening night of the Paris event, slated for 20–24 August at Domaine National de Saint-Cloud.
She joins a rich lineage of Rock en Seine headliners which includes Lana Del Rey, Billie Eilish and Arctic Monkeys.
Also set to perform on the opening day of the festival are London Grammar, Suki Waterhouse and Luvcat – currently the only other acts announced for the 20th edition.
Rock en Seine is promoted by AEG Presents, which acquired the 40,000-capacity festival in 2017 in partnership with media investment group LNEI.
In 2022, Rock en Seine GM Matthieu Ducos and AEG European festivals boss Jim King previewed a new era for the festival, which they said has “the potential to be one of the world’s leading city-based festivals”.
Elsewhere, Czech Republic’s Rock For People is also gearing up for its 30th anniversary edition, adding a fresh slate of acts to the bill.
Sex Pistols ft Frank Carter has been named as the final headliner for the event, joining Avenged Sevenfold, Slipknot and Linkin Park.
Rock For People have also announced that the landmark edition will be extended to a fifth full day
Organisers have also announced that the landmark edition will be extended to a fifth full day headlined by Guns N’ Roses, with support from Rival Sons and more.
Four-day festival ticket holders have the opportunity to purchase Sunday’s programme at a discounted price.
An additional 40 acts have also been announced including Biffy Clyro, Kneecap, AWOLNATION, Marc Rebillet, Sigrid, New Jersey, Lorna Shore, Battlesnake, Refused, Eagles Of Death Metal, Circa Waves, The Ghost Inside, Deafheaven, Kim Dracula, RØRY, Imminence, Mallrat, DVNE, Bad Nerves, Imminence, DVNE, Sylosis, Lake Malice, The Haunt and Urn.
Previously announced acts include Fontaines D.C., IDLES, In Flames, Motionless In White, Poppy, Skillet and Alice in Chains’ Jerry Cantrell.
Rock For People founder Michal Thomes says that 90% of the full-festival tickets are sold out already, six months before the event.
“The bar for the festival is once again being raised and we are seeing a huge demand for tickets that we have never seen before,” he adds.
Last year, booker David Nguyễn told IQ how the festival triumphed over the ‘headliner drought’ to produce the record-breaking 2024 edition.
Rock for People 2025 takes place 11–15th June 2025 at Park 360, Hradec Králové, Czechia.
Get more stories like this in your inbox by signing up for IQ Index, IQ’s free email digest of essential live music industry news.
Yungblud and AEG confirm Bludfest sequel
Bludfest, the “affordable” UK festival curated by Yungblud and promoted by AEG Presents, is returning for a second year.
The one-day event debuted at The National Bowl, Milton Keynes, this summer. Headlined by CAA-repped Yungblud, real name Dominic Harrison, it hosted an 11-act lineup also including Lil Yachty, Soft Play and The Damned.
The “music, arts and lifestyle” festival attracted 30,000 fans and sought to combat rising ticket prices across the business by capping admission at £50 (€60).
The sequel, which will be held at Milton Keynes Bowl on 21 June 2025, will again be topped by Yungblud, with Chase Atlantic as main support. Blackbear, Denzel Curry, Peach PRC, JXDN, Luvcat, Master Peace, Cliffords and Rachel Chinouriri, who will headline the second stage, are also confirmed for the eclectic bill.
“What we created this year was unimaginable,” says Yungblud. “You start an idea inside your head and you never believe it will come true but then it does all because of the fucking people and the fundamental idea that we all just wanna be together.
“We did it and we’re gonna do it all over again. Bludfest year 2 is upon us, a little bit bigger and a little bit better”
“This wasn’t just a show, we built a fucking world. I truly want to thank all who came this year. You make each other shine, you emit such a light – a light that I believe is the answer to all the bullshit is going on in the world
“We did it and we’re gonna do it all over again. Bludfest year 2 is upon us, a little bit bigger and a little bit better.”
Alongside live music, Bludfest offered activations across the venue “to encourage community and connection,” including a ‘Make A Friend’ tent that encouraged fans to connect and make new friends, free photobooths to document their Bludfest experience and a Yungblud museum showcasing artefacts from across his career.
In addition, designated safe spaces and mental health welfare areas were available to attendees, while one of the festival bars was remodelled to emulate Yungblud’s favourite pub, Camden’s The Hawley Arms.
The singer-songwriter has also previously shared his ambitions to take Bludfest worldwide.
Get more stories like this in your inbox by signing up for IQ Index, IQ’s free email digest of essential live music industry news.
Stadium tours: Why 2025 could be biggest year yet
With massive tours from the likes of Coldplay, Oasis, Dua Lipa, AC/DC, Lana Del Rey, Shakira, Ed Sheeran and Guns N’Roses in the pipeline, 2025 promises to be the biggest year yet for stadium concerts.
Following a relatively quieter season in 2024 (in part, due to the Paris Olympics), Live Nation chief Michael Rapino declared that 2025 would be a “monster stadium year” – and it’s not hard to see why. While no single act is likely to come close to the financial might of Taylor Swift’s $2 billion-grossing The Eras Tour, the combined talent sitting at live music’s top table should more than make up for it.
Artists including Linkin Park, Imagine Dragons, Billy Joel, My Chemical Romance, Olivia Rodrigo, Robbie Williams, Bruce Springsteen and The E Street Band, Kendrick Lamar & SZA, Stereophonics, System of a Down, Catfish and the Bottlemen, Stray Kids, Sam Fender and Iron Maiden are all set for next summer’s circuit. But despite the intense competition, demand remains strong.
“We can already see it with the various success stories and there are some more impressive tours to be announced,” AEG Presents SVP of international touring Simon Jones tells IQ. “Our stadium business has grown significantly over the past few years and we have some huge wins on the board for next year, which is very exciting.”
Like AEG, German-headquartered FKP Scorpio worked on the Swift and Sheeran tours. FKP announced additional dates for Sheeran’s 2025 European +–=÷× (Mathematics) Tour after selling more than 600,000 tickets in an hour.
“The live music industry in general is poised for significant growth in 2025”
“With stadium shows of Ed Sheeran and Taylor Swift, our 2024 was surely something very special, but 2025 is shaping up to be very successful regardless – another set of well over 20 stadium shows with Ed Sheeran in Europe will continue our success in this area,” says FKP CEO Stephan Thanscheidt.
“The live music industry in general is poised for significant growth in 2025, and the stadium business will surely be no exception from this. This expansion is driven by increasing consumer demand for live experiences fuelled by flagship concerts and residencies of global superstars and the proliferation of large-scale events in general.”
Other recent case studies for the industry include Lana Del Rey shifting more than 300,000 tickets for her 2025 stadium tour, Dua Lipa’s first show at the 90,000-capacity Wembley Stadium in London selling out in five minutes and Shakira selling out 13 stadiums with nearly 700,000 tickets sold in less than two hours.
Demand for these mega concerts isn’t limited to the usual markets either – A-list artists are being pulled to all corners of the globe. Next year, Coldplay will perform their biggest-ever show at the 100,000-capacity Narendra Modi Stadium in India, Sheeran will become the first-ever international artist to perform in Bhutan and Guns N’ Roses will play their first-ever shows in Saudi Arabia, Georgia, Lithuania and Luxembourg.
Venues are evidently keen to capitalise on the demand. In the UK, Anfield, home to Liverpool Football Club, has been gradually increasing its live music programming since 2019 following a successful redevelopment.
In previous years the ground has hosted performances from the likes of Bon Jovi, Take That, Elton John and The Eagles but 2024 set a new benchmark for concerts. A three-night stand from Taylor Swift on The Eras Tour and two concerts from P!nk on her Summer Carnival Tour drew over 250,000 visitors to England’s fifth-largest stadium.
“To have the biggest solo artist in the world arriving for three nights at Anfield”
“To have the biggest solo artist in the world arriving for three nights at Anfield was amazing and exactly the type of event we wanted when we started concerts back in 2019,” says Phil Dutton, VP of ticketing and hospitality at Liverpool FC.
“This summer was a perfect opportunity to showcase what Anfield has to offer as a concert venue and we look forward to building on that again in 2025.”
With six concerts confirmed for the summer of 2025 – including Dua Lipa, Lana Del Rey, Bruce Springsteen and Billy Joel – Anfield is gearing up for its biggest-ever year.
“Concerts are a very important part of the club’s strategy now. Anfield is an iconic stadium and we are keen to see it used throughout the year – not just for football but to host the world’s biggest artists,” Dutton adds.
“It is certainly something that a lot of venues are looking at more aggressively now. Since Covid it is clear that the music industry is on an upward curve so of course stadiums want to be part of that growth.”
Meanwhile, Liverpool’s city rivals Everton FC are currently building a new stadium that promises to provide “the very best visitor experience” for both football matches and concerts.
“Becoming a live music venue is a major component of our commercial strategy”
With the ability to host events between 5,000 capacity and 52,000, the Bramley-Moore Dock ground will be the biggest stadium to come on stream in the UK since Tottenham Hotspur Stadium, which has hosted acts such as Beyoncé, Lady Gaga and P!nk. Everton FC has similar ambitions for its live music offering.
“We want it to be recognised as a ‘must play’ venue by the world’s best sports stars and the biggest music artists,” Everton’s head of events Suzie Parker‑Myers tells IQ. “Becoming a live music venue is a major component of our commercial strategy.
“Everton Stadium will be a unique event campus – no other stadium has a footprint that is so adaptable to such a wide spectrum of events. In addition to in-bowl concerts, The Plaza in front of the stadium is perfect for outdoor music events or civic gatherings and benefits from the amenities located on the ground level concourse.”
Further afield, the Philippines has pledged to build a ‘Taylor Swift-ready’ stadium by 2028, after missing out on the star’s juggernaut tour, while Bulgaria’s top promoter has declared the market is open for stadium shows and Mexico’s biggest promoter Ocesa has opened the world’s first purpose-built music stadium.
In terms of emerging markets for stadium tours, AEG’s Jones has his eye on Asia and the Middle East.
“If the timing is right and an artist has put the work in prior, stadiums are there for the taking in Asia,” he tells IQ. “There are some fabulous stadia on the continent and on top of that, some incredible new facilities are being built. In the Middle East, demand there increasing year on year so another stadium in the area would be very much welcomed. The thirst and appetite are there for people to buy tickets to see shows!”
“Ticket prices have increased in recent years, and people tend to spend more on the big shows”
So what can the growth of stadium concerts be attributed to and more importantly, what does it depend on?
“We’re seeing fans being more selective about what they spend their money on,” suggests Jones. “Ticket prices have increased in recent years, and people tend to spend more on the big shows, with the big presentations and wanting to see them in more comfortable surroundings. Fans love a spectacular stadium show and gradually we are seeing more artists reach stadium-level business, before some may have expected them to. It’s buoyant times and great to see.”
Thanscheidt puts the surge down to several factors. “Artists increasingly rely on live performances as a primary income source, audiences seek immersive experiences, and stadium concerts offer a unique atmosphere,” he says. “Technological advancements also play a role in their success because enhanced sound, visual technologies or stage design have improved the quality and excitement of large-venue performances significantly and offer new means of expression.”
Stadium tours have also become increasingly hot commodities in cities’ efforts to boost tourism and create an economic impact.
Earlier this year, it was reported that Singapore struck an exclusivity deal with Taylor Swift and her promoters to make the island nation her only Eras tour stop in Southeast Asia. Unsurprisingly, Singapore’s investment in Swift paid off, with the government later crediting live music with helping to rejuvenate tourism in Singapore.
In another high-profile case, it emerged that the Western Australian government paid A$8 million to subsidise two Coldplay concerts.
“Everything works in peaks and troughs, but this current stadium boom could well be here to stay as long as the value is there”
“Our concerts over the past five years have helped to boost the local economy by more than £31 million and also provided thousands of jobs for local people,” says Liverpool FC’s Dutton.
AEG’s Jones believes the upward trajectory of stadium shows will rely on the continued evolution of the venues.
“I’ve had the fortune of putting shows on in some of the world’s best stadiums and also others that have proved – shall we say – challenging when it comes to staging shows. The newer venues coming online that are thinking properly about dual usage, true fan and artist experience are where we will see the most success and enable this boom to be maintained.”
Indeed, the capability to host live music has become a top priority for stadiums wanting to play a bigger role in culture and generate new income streams.
Looking ahead, both FKP and AEG expect the global stadium concert market to maintain its growth trajectory into 2026 and 2027.
“Everything works in peaks and troughs, but this current stadium boom could well be here to stay as long as the value is there for people within the price they’re being asked to pay versus the comfortability, presentation quality and overall experience for ticket buyers,” says Jones.
Thanscheidt adds: “This outlook is supported by ongoing consumer demand and the continuous evolution of live event experiences. The advantages for artists speak for themselves, but let’s not forget one big caveat: We are only talking about a slice of the live business that is solely accessible to the biggest names in the industry. That’s why we will make sure to not lose our focus on artist development and other more intimate forms of live entertainment.”
Get more stories like this in your inbox by signing up for IQ Index, IQ’s free email digest of essential live music industry news.
A $2bn juggernaut: Taylor Swift wraps up Eras Tour
After 149 shows, five continents, upwards of 10 million attendees and an unprecedented box office gross, Taylor Swift’s epoch-defining The Eras Tour has come to an end.
Produced by Taylor Swift Touring and promoted by AEG Presents and Messina Touring Group, the 21-month global trek launched in the US in March 2023 at State Farm Stadium in Glendale, Arizona and wrapped up last night (8 December) at BC Place in Vancouver, Canada.
Citing data from the singer’s production company, the New York Times reports the outing attracted 10,168,008 fans, bringing in an astronomical US$2,077,618,725 (€1.96 billion) in ticket sales, setting a new bar for an international concert tour. Merchandise is also estimated to have generated an additional $400 million (€378m).
“We have toured the entire world,” Swift told the 60,000-strong Vancouver crowd. “We have had so many adventures. It has been the most exciting, powerful, electrifying, intense, most challenging thing I’ve ever done in my entire life.
“We’ve got to perform for over 10 million people on this tour. I want to thank every single one of you for being a part of the most thrilling chapter of my entire life to date – my beloved Eras Tour.”
Eras last year became the first tour in history to surpass $1bn in revenue, wrestling the top-grossing crown from Elton John’s 2018-23 Farewell Yellow Brick Road Tour, which ended with a $939.1m haul, as per Billboard Boxscore.
Swift’s record is likely to stand considerably longer, with its nearest contender – Coldplay’s ongoing Music of the Spheres World Tour – up to $1.14bn at last count – although Coldplay lead the way in terms of overall attendance (10.3m).
“You’re talking about a genuine global superstar at the peak point of their career”
Eras has never failed to garner headlines ever since its controversial 2022 US presale, which saw a record 2.4m tickets shifted in a single day, while three Austrian dates were cancelled in August this year due to a terror threat.
The tour format featured a setlist of around 45 songs split into 10 acts representing each of Swift’s studio albums. The average ticket price was $204, with the economic benefits of staging an Eras residency for host cities even earning its own term – “Swiftonomics”.
IQ explored how Swift has captured the zeitgeist like no other artist in decades upon the conclusion of the tour’s European leg at London’s Wembley Stadium in August. The 34-year-old performed eight gigs at the London venue – more than any other city in the world.
“Essentially, you’re talking about a genuine global superstar at the peak point of their career,” Featured Artists Coalition CEO David Martin told IQ. “We’ve seen similar cultural phenomenon before with the likes of Michael Jackson, Coldplay and Beyoncé. Taylor Swift is the most popular artist in the world right now, and the level of demand and hyperbole surrounding the Eras tour is completely detached from the rest of the live music market.”
The Wembley run confirmed her as the biggest-selling female artist to ever perform at England’s national stadium, in addition to setting a new bar for the longest residency of a solo artist at Wembley and equalling the overall record set by Take That’s 2011 Progress Live.
“She has become multi-generational, appealing to fans of hers from her earlier eras, to younger fans who have discovered her music in recent years,” ” added International Artist Group’s Jarred Arfa.
Meanwhile, the 2023 concert film Taylor Swift: The Eras Tour earned $261.7m globally, according to Box Office Mojo, becoming the highest-grossing concert/documentary film in box office history.
Get more stories like this in your inbox by signing up for IQ Index, IQ’s free email digest of essential live music industry news.
AEG Presents partners with Germany’s MCT Agentur
AEG Presents has formed a strategic partnership with German-based MCT Agentur, intended to expand the reach of both firms in Europe and beyond.
MCT was founded as an independent promoter in 1984 in Herne, North Rhine-Westphalia, by entrepreneur Scumeck Sabottka and two friends.
Since relocating to Berlin in 1999, it has nurtured both international and domestic artists from club to arena and stadium level.
Clients have included Rammstein, Lou Reed, Radiohead, Pearl Jam, Tom Waits, New Order, Marilyn Manson, Kraftwerk, Robbie Williams, Florence and the Machine, LCD Soundsystem, Massive Attack, Björk, Four Tet, Katy Perry, Red Hot Chili Peppers, Tamino, Sigur Ros, Janelle Monae, Blur and Moby, among others.
“Scumeck has built a business that’s an enviable one, and he built it from the ground up,” says Jay Marciano, AEG president and CEO. “AEG Presents has historically been a home for entrepreneurs who have a keen eye towards scaling their businesses while maintaining what’s unique and critical to their success.
“You need a teammate you can trust and Jay and I trust each other. It’s as simple as that”
“I’ve always loved working with Scumeck and MCT whenever our companies have the chance to do business together; I’m so excited that we will have the chance to do so in a more meaningful way on an ongoing basis. I’m thrilled to welcome MCT to the family.”
Sabottka explains his friendship with Marciano stretches back a number of years.
“We would meet for coffee during my yearly trips to Los Angeles, and during one of those meetings we began talking about a way we could work together,” he says. “I wanted a partner who shared my vision of how our business should run and could provide some extra muscle in my corner when needed.
“Concert promotion is still a gamble – that’s what makes it fun – but it’s a full-contact sport at times. You need a teammate you can trust and Jay and I trust each other. It’s as simple as that.”
Get more stories like this in your inbox by signing up for IQ Index, IQ’s free email digest of essential live music industry news.
AEG Presents launches Milton Keynes Bowl festival
AEG Presents is debuting a one-day alternative music festival at The National Bowl, Milton Keynes.
Forever Now will launch on 22 June next year and will be the UK sister event of US festival Cruel World, with lineup details to be revealed next week. Tickets start at £85 (€102).
Dedicated to post-punk music, fashion and literature, the gathering will feature two music stages, as well as a third stage, The Echo Chamber, hosted by music journalist John Robb.
“We are delighted to present a festival that reflects the rich heritage of artists in the alternative music field,” says AEG UK CEO Steve Homer. “The day will feature some amazing artists, unique sets, and collaborations not seen on a UK stage before. As the birthplace of alt counterculture, the UK is the perfect home for a festival to pay homage to alternative creative artistry.’’
The Echo Chamber stage will the artistry, movement and culture through in-depth discussions with renowned artists.
“If you feel a nostalgia for an age yet to come whilst still seeking the classic and have a curiosity for the next wave, then this will be a day to get immersed in,” says Robb.
Manchester’s Outbreak Festival will form part of the lineup for AEG’s new Lido Festival in Victoria Park
Presented by AEG’s Goldenvoice division, the promoter behind Coachella and Stagecoach Festival, Cruel World is held annually at Brookside at the Rose Bowl in Pasadena, California. Its fourth iteration is slated for 17 May 2025, headlined by New Order and Nick Cave and the Bad Seeds.
Other acts will include The Go-Go’s, Devo, OMD, Death Cult, Garbage, Madness, ‘Til Tuesday, She Wants Revenge and Alison Moyet.
Earlier this year, AEG partnered with Yungblud to launch one-day festival BludFest, also at Milton Keynes Bowl. Prices were capped at £49.50 for the multi-genre event, which was headlined and curated by the singer-songwriter.
Meanwhile, the firm has revealed that Manchester’s Outbreak Festival will form part of the lineup for its new Lido Festival in London’s Victoria Park next summer. Described as “the biggest outdoor event led by hardcore acts that the UK’s ever had”, the 13 June gathering will be topped by a UK exclusive performance by Turnstile, as well as acts such as Alex G, Sunny Day Real Estate, Danny Brown, Fleshwater, Have A Nice Life and Knocked Loose.
The inaugural London edition will be followed by a two-day event at Outbreak’s usual home of Bowlers Exhibition Centre in Manchester on 14-15 June, headlined by Knocked Loose & Alex G.
Get more stories like this in your inbox by signing up for IQ Index, IQ’s free email digest of essential live music industry news.
Young Thug sued by AEG over $16m catalogue sale
AEG is reportedly suing Young Thug over the $16 million sale of his catalogue in the latest chapter of their long-running legal dispute.
As per AllHipHop, the promoter alleges the Grammy Award-winning rapper – real name Jeffrey Williams – violated their deal by selling hundreds of copyrights it says were meant to serve as collateral for an unpaid loan.
AEG is said to have loaned Williams’ record label Young Stoner Life (YSL) $5.25m in 2017, giving the company exclusive rights to his concerts.
However, it alleges that Williams and YSL defaulted on the loan, as well as misrepresenting their ability to fulfil the repayment.
AEG originally launched legal action against Young Thug in 2021
According to legal documents, AEG is seeking the return of the $5.25 million loan, with interest, plus the proceeds the artist received from the 2021 sale of his publishing.
AEG has been approached for comment.
The firm originally launched legal action against Williams in 2021, accusing the rapper of breach of contract. The dispute was set for trial in October 2022, only for it to be delayed after Williams was charged in a separate case.
The 33-year-old agreed a plea deal last month, meaning the matter should now be able to proceed.
Get more stories like this in your inbox by signing up for IQ Index, IQ’s free email digest of essential live music industry news.