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South Africa’s largest indoor venue closes

The 20,000-capacity Ticketpro Dome, South Africa’s largest indoor venue, is closing to events and will become a giant used car dealership after owner Sasol Pension Fund sold the building to WeBuyCars.

RX Venue Management, which operated the Johannesburg venue for 20 years, said the venue was unable to operate during the country’s Covid-19 lockdowns, adding that its permanent loss will hit the live industry at a critical time.

Carol Weaving, MD of RX Africa, said: “This is extremely disappointing and heartbreaking for our industry. The Ticketpro Dome has been home to many international concerts and events in South Africa, and this will undoubtedly leave a huge void.

“The constant changes and severity of the Covid-19 restrictions have wreaked havoc amongst our stakeholders and across the supply chain. This has meant we were unable to change the outcome of Sasol Pension Fund’s decision to sell the venue due to a force majeure. We want to thank all our customers, suppliers, and partners for their support over the past 20 years.”

“This is extremely disappointing and heartbreaking for our industry.”

Artists that performed at the Dome include Katy Perry, Pink, Lauren Hill, Lionel Richie, Celine Dion, Pharrell Williams, and Michael Bublé.

In a statement on Facebook, leading South African promoter Big Concerts said: “We are saddened by the news that the Dome will be closing their doors. Since 1998, we have promoted 186 shows at the Dome. To all our friends at the Ticketpro Dome, it’s been a pleasure working with you all, we will miss you terribly!”

The WeBuyCars showroom is expected to have room for 1,500 vehicles, making it one of the largest car showrooms in the world. Handover is expected on 7 September.

 


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ARA publishes analysis of European test events

The Arena Resilience Alliance, the purpose-driven initiative created by the European Arenas Association (EAA), has published a report analysing findings from more than 20 test events hosted at 12 of its partner arenas across Europe.

ARA partner arenas that have hosted test events and experimental studies include AccorHotels Arena Paris, Ahoy Arena Rotterdam, Avia Solutions Group Arena Vilnius, Barclaycard Arena Hamburg, Mercedes-Benz Arena Berlin and Palau Sant Jordi Barcelona.

Quarterback Immobilien Arena Leipzig, Rockhal Luxembourg (2 venues), Saku Suurhall Tallinn, The O2 London, and Ziggo Dome Amsterdam are also affiliated with the ARA and have hosted experiments.

The new report aims to share the experience and insights gathered from those test events – which took place with between 100 and 5,000 participants – in order to provide a framework for the return to live events in Europe.

According to the ARA’s analysis, the total amount of visitors admitted at each event varied from under 5% of normal maximum capacity to over 30%.

The highest capacity events were held at the AccorHotels Arena in Paris which sold 5,000 tickets representing 33% of total capacity and the Palau San Jordi in Barcelona which also hosted 5,000 people which represented 28% of capacity.

“Building confidence amongst all our stakeholders that live events are a safe environment is so important”

The report also notes the varying approaches to safety and preventative measures:

In terms of infrastructure development, arena ventilation and air filtering were found to be the highest priority for all participating venues, with 92% actively monitoring ventilation performance and 8% operating specific air filtration systems.

When it came to customer experience delivery, 100% of venues provided detailed pre-event customer guidance communications and ensured all the onsite staff were given adequate training to be able to deliver the new protocols. Almost 60% of venues offered food and beverage services and 42% operated contactless payment processes.

The report emphasises that, at the time of publication, there are “no recorded clusters of infection from those who attended the test events and there is no published evidence that these events contributed to the spread of the virus”.

It concludes: “From the evidence available to date, it appears that with the correct implementation of safety measures, in particular pre-event Covid testing and the use of the EU Digital Certificate, it is possible to host safe indoor live events.”

“We were pleased to share these findings, with a view to building towards a model that can be scaled”

“Arenas sit at the hub of the live events ecosystem playing a vital role in bringing together all the major stakeholders and playing a crucial role in communities across Europe,” says John Langford, president of European Arenas Association. “Over the past year, ARA has been promoting important dialogue around why we need unified conditions that will allow music, culture and sports to return to arenas and enable arenas to reopen.”

Olivier Toth, CEO, Rockhal in Luxembourg, EAA board member and co-founder of ARA, added: “After almost a year and a half without live events, experiments like our Because Music Matters showcase and other test events that have been taking place across Europe, are an important and positive step forward in testing the safety measures we can employ to support our back to business strategies.

“Building confidence amongst all our stakeholders that live events are a safe environment is so important. We were pleased to share these findings, with a view to building towards a model that can be scaled as the industry continues to work towards the safe and sustainable return of live events.”

Robert Fitzpatrick, CEO, The Odyssey Trust, owners of The SSE Arena, Belfast, EAA Member and co-founder of ARA, commented: “As the advocacy platform for European arenas, the ARA has developed a manifesto, which will be an important tool as we prepare for a return to live events, whilst working to protect the health and wellbeing of our communities and the sustainability of our industry.

“This report publishing the findings of the recent test events provides a further tool to help industry and key EU decision-makers come together and discuss the regional and national frameworks that will help us get back to business.”

See an extensive list of the test events and experimental studies that aim to show a scientific path back to live here.

 


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Tim Leiweke: “Climate change is the fight of our lives”

Oak View Group (OVG) co-founder and chief executive Tim Leiweke has issued a call to arms for the live entertainment industry to take action on climate change.

“Climate change is without a doubt the fight of this generation’s lives,” he tells IQ. “At OVG, we believe that we, along with the whole live entertainment industry, have a unique opportunity to inspire others to take action on this era-defining issue,” adding that sustainability is one of OVG’s core values.

The global sports and entertainment company, along with ecommerce giant Amazon, is a few months out from opening the world’s first carbon neutral venue, Climate Pledge Arena (CPA) in Seattle.

“It hasn’t been easy, but I’m proud and excited that CPA will become the world’s first certified carbon neutral arena when it opens later this year. It’s also going to lead the way with commitments to zero waste from events and using recycled rainwater to service the NHL ice-rink,” explains Leiweke.

OVG and Amazon have set their sights on the 18,100-seat arena becoming ‘the most progressive, responsible, and sustainable arena in the world’ – a commitment underpinned by four goals.

The first goal is to maintain CPA’s carbon elimination by eschewing fossil fuel consumption for daily use; generating renewable energy from onsite solar panels; reducing all carbon emission activities and offsetting those not possible – like transportation – by purchasing credible carbon offsets.

“We have a unique opportunity to inspire others to take action on this era-defining issue”

CPA will also aim to eliminate single use plastics and achieve zero waste by ‘greatly simplifying the supply chain’.

Finally, the arena, home to ice hockey team NHL Seattle, will conserve water via its ‘rain to rink’ system which will harvest water off the roof and collect into a 15,000-gallon cistern. According to OVG, the system will save 50,000 gallons annually.

Other ways the CPA will conserve water include waterless urinals and ‘ultra-efficient’ showers, significant on-site retention tanks reducing stormwater runoff and water bottle filling stations throughout the arena.

Beyond this the CPA will have an advisory committee with partners at Amazon; create transparency and public reporting on initiatives progress; host arena events that celebrate the environment and its commitment to green operations; partner with educational institutions to utilise the arena as a classroom for environmental education.

Leiweke says that OVG is taking the learnings from CPA to guide future projects: “All of our arenas in both the US and around the world, from the UBS Arena in New York to Co-op Live in Manchester, are putting sustainability at the heart of both design and operations”.

If all goes according to plan, the UBS Arena (cap. 19,000) in Belmont Park, New York, won’t be far behind CPA in achieving a carbon-neutral status.

The arena, scheduled to open in time for the 2021-2022 National Hockey League season, is projected to be 100% carbon neutral by 2024 – which will make it the first to do so on the East Coast of the US.

“Climate Pledge Arena is going to lead the way with commitments to zero waste from events”

The UBS Arena is currently being built to achieve Leadership in Energy and Environmental Design for New Construction (Leed) standards.

Elsewhere, Manchester’s Co-op Live (cap. 23,500) is leading the way for environmentally sustainable arenas in the UK, both in terms of design and future commitments.

The roof alone boasts 10,500 square-metres (1.5x a football pitch) of rooftop solar panels, air source heat pumps, high spec insulation and façade designed to reduce cooling and heating requirements.

The venue’s architecture is paired with renewable energy, low carbon technologies and intelligent building controls such as LED lighting design and smart building systems to minimise energy use).

Plus, in a bid to meet Manchester City Council’s 2038 net zero carbon goal, the venue is also using 100% electric fuel.

Taking note from CPA, Co-op Live will also use 100% rainwater harvesting for toilet flushing, bathroom use and water efficient catering, and will aim to be zero waste.

The Co-op Live development is targeting Breeam (Building Research Establishment Environmental Assessment Method) ‘excellent’ accreditation.

Other arenas OVG is currently developing include Moody Center, Austin; Coachella Valley Arena, Palm Springs; Savannah Arena; Cardiff Bay Arena; and Santa Guilia, Milan.

 


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Operation Restart: How EAA members plan to reopen

When the European Arenas Association (EAA) celebrated its 20th birthday back in 2011, the live entertainment industry was in the infancy of a record-breaking run, as live music, in particular, grew in popularity, and venues throughout the continent enjoyed the challenges of ever bigger visiting productions, attracting more and more eager fans.

A year ago, many of the EAA’s 36 member venues were predicting 2020 would deliver yet another record year, but the Covid-19 pandemic soon obliterated such optimism and ten months on from the beginning of lockdown measures, there is still no clear indication about when Europe’s arenas will be able to resume operations.

As a result, the EAA finds itself as the central hub for discussions about strategies for getting back to business, with members in constant contact to help plan how they can safely welcome artists and audiences back into their buildings while also protecting their staff and production crews.

“Our EAA conversations over the past year have highlighted that although we are all in a different situation, country by country and city by city, we’re all actually in the same situation when it comes to the use of the venues,” reports current EAA president John Langford.

“But having conversations facilitated by EAA membership between venue managers in Germany, France and the UK, for instance, alerts you to how people are responding differently and gives us the opportunity to learn from others.”

“Although [countries] are all in a different situation, we’re all in the same situation when it comes to the use of the venues”

One topic that arena bosses all agree on is that any solutions for reopening need to be universal to facilitate artist plans for international touring, meaning that the discussions that the EAA is hosting will be crucial to the recovery of major live events on this side of the Atlantic.

“Communication with our colleagues across Europe is as important right now as it has ever been,” states Mantas Vedrickas, events manager at the Žalgirio Arena in Kaunas, Lithuania.

“The EAA helps us communicate easily, and the sharing of experiences helps us all deal with the situation that we are placed in. It allows the exchange of ideas, and helps find the best ways to implement solutions.”

That sentiment is echoed by arena management across Europe, who are carefully making preparations to get back to business as soon as authorities give them the green light.

Preparations behind closed doors
Many of EAA’s member venues last hosted concerts in March 2020, meaning that they are but a handful of weeks away from having an entire year without shows.

That situation also means that thousands of people have been made redundant, further complicating the task of arena bosses when it comes to opening their venues for audiences.

“Whenever hosting events will be allowed, [Žalgirio Arena] will be all ready to restart”

However, some venues have been more fortunate than others. Vedrickas notes that the Žalgirio Arena has remained open for local basketball team, Žalgiris Kaunas, albeit without fans at games.

“Throughout this entire situation, we have been in constant dialogue with event organisers [and] whenever hosting events will be allowed, we will be all ready to restart,” he pledges.

Representing both the Mercedes-Benz Arena in Berlin and the Barclaycard Arena in Hamburg, Uwe Frommhold VP & COO of AEG Germany tells IQ, “Due to the generous furlough programme of the German government, we have been able to keep our staff on board throughout these tough times for our business. So we will be able to ramp up our workforce fairly quickly, once the situation calls for it.

“Furthermore, we were able to stage several non-concert events – fairs and sports – with reduced capacity, where our hygiene and social distancing protocols were put in practice. So we feel well prepared to gradually bring people back when the pandemic eases.”

In Portugal, Jorge Vinha da Silva, CEO at the Altice Arena in Lisbon, says that outside of the complete lockdown restrictions, the venue had permission to run events at 50% capacity, respecting regulations such as social distancing, reserved seats, hand sanitisers, thermal cameras, a renovated air-conditioning system, and a complete contingency plan approved by health and safety authorities.

The Altice Arena in Lisbon had permission to run events at 50% capacity, respecting regulations

Silva notes, “Of course, there were no international acts, but it was possible to have smaller events with local artists. We also used the venue for TV productions without audiences, and for the corporate side of the business, [we created] virtual or hybrid events.”
Across the border in Spain, the Palacio Vistalegre in Madrid has been put to similar use.

“We did some film and TV shooting during the pandemic while we were not in lockdown or confined, as they need a big space now for the actors, separate dressing rooms, and different and isolated space for extras and bystanders,” says CEO Juan Carbonel.

“In the meantime – with zero income – we invested and did improvements in the facilities as we upgraded air systems and natural air venting, together with [audience signage], new protocols for security and extra cleaning, etc.”

Carbonel says the venue has also created new protocols regarding access strategies to protect arena workers and visiting crews.

Detailing the plans for a return to hosting events at the Arena Riga in Latvia, chairman Girts Krastins says, “Our approach will be based on local health regulations, but as the summer and first months of autumn were relatively relaxed we were able to host some events with spectators and test some procedures.”

Among those tested protocols were designated entrances, sales of socially distanced tickets, disinfection procedures for visitors and staff, clean zones for sports teams, shielded concessions, and safe food packaging.

“Our ice hockey team is still playing at Arena Riga, without spectators, and that allows us to routine our procedures”

Like Vedrickas in neighbouring Lithuania, Krastins has been able to hone some systems thanks to a sports team that calls Arena Riga home. “Our ice hockey team is still playing at our venue, without spectators, and that allows us to routine our procedures and keep [our] employees.”

And highlighting the importance of local trade bodies, as well as the EAA, on a bigger scale, Krastins adds, “Together with our local venue association we have been in touch with health authorities regarding possible solutions for crowd management under Covid-19 and that is one of the reasons why we were able to operate in summer and autumn.”

That foresight in testing and training is a common theme among EAA members.

At Münich’s Olympiapark, general manager Marion Schöne says, “During the first lockdown, we developed and implemented hygiene concepts for all our venues, and leisure and tourism facilities. We also trained employees as hygiene advisors in an in-house training course.

“From mid-May, we received permission to reopen under certain conditions. We were also able to hold daily concerts in the Olympic Stadium for six weeks in the summer, but only for a maximum of 400 people.”

“We were able to hold daily concerts in [Münich’s] Olympic Stadium for six weeks in the summer for a maximum of 400 people”

In Prague, Robert Schaffer, CEO at the O2 arena, reveals that the venue has been used several times, including for online concerts, but otherwise arena staff have taken the time to carry out maintenance programmes. But he remains cautious about the doors reopening.

“We hope that from the second [half of the year] we can start to return to normal,” he says. “Specifically, from September, we can start hosting concerts, especially by domestic artists.” International artists will likely not return until 2022, he predicts.

“Protecting the health of all involved is a top priority for us and we will certainly comply with all effective regulations, whether on capacity, time-segregated entrances to all sectors, temperature measurement, staff testing and, of course, regular disinfection,” continues Schaffer.

At the SEC in Glasgow, which includes the SSE Hydro Arena on its campus, director of live entertainment Debbie McWilliams notes that because it hosted a temporary hospital during the pandemic, staff have benefitted from National Health Service advice when planning for the venue’s return to action.

“We are fortunate to have the input of NHS Scotland as they have implemented best practice in managing hygiene and cleaning of the NHS Louisa Jordan [hospital],” she says.

“We hope that from the second half of the year [the O2 arena, Prague] we can start to return to normal”

And McWilliams acknowledges that instilling confidence among fans will be a major part of the rebuilding process. “Customer communication is pivotal in informing and encouraging responsible fan behaviour,” she says.

“In partnership with Ticketmaster we have enhanced our ticket purchase process to include allocated entry arrival times, potential for carpark advanced bookings, a switch to fully mobile ticket delivery to support reduced contact entry, and we are transitioning all F&B and merchandising to cashless. Our comms plan is being developed to take cognisance of individual audience profiles and their needs.”

Meanwhile, in Paris, AccorHotels Arena director general Nicolas Dupeux applauds his team’s flexibility to adapt to the ever-changing situation. “Since last March, we have been able to organise a number of events,” he says.

“The first one, in June, was part of the annual Fête de la Musique celebrations, broadcast on French television. In record time, we had to prepare to welcome more than 30 artists, and then reorganise in less than three days to welcome 3,000 people, taking into account all the sanitary measures.”

That ability to rapidly reorganise staff and systems to host major events is one of the arena sector’s unique skills. And facilitated by the communication networks that have developed through EAA membership, arena management across the continent are currently updating plans, often daily, for Covid-safe systems that will help relaunch their businesses and welcome fans back into their buildings.

“Since last March, we have been able to organise a number of events [at AccorHotels Arena, Paris]”

The recovery
While there is still no set date that will allow arenas to reopen for business, the EAA’s members are working tirelessly to ensure they remain up to speed with government guidance, as well as best practice procedures advocated by the association.

AccorHotels Arena boss Dupeux sums up the role EAA will have in the venues sector recovery. “Being part of the EAA gives us a great space to exchange with other venues that face the same challenges – managing venues and re-welcoming our fans – and this has proven extremely useful, especially in the current context.

Membership also gives us access to industry benchmarks on recovery stimulus and actions. Being that our venue is so large and specific, EAA is the only space available to do this on a European level.”

Highlighting just how eager he is to kickstart the recovery, Dupeux discloses, “We have been working since the first lockdown on our reopening protocols to ensure the strictest respect for health and safety: social distancing, reinforced cleaning and disinfection procedures, establishing one-way circulation paths, implementing mandatory face-covering rules and deploying hand-sanitiser stations. Our protocol was successfully tested last June.

“On the digital side of things, we have sped the deployment of our touchless solutions (click&collect and cashless payment) to be ready for reopening. We are also ready to gradually reopen with design offers for production with smaller gauges, all with a ready-to-use setup to limit costs.”

“From autumn, business must be running again to some extent, otherwise we see black for the future”

Addressing her expectations for the coming year, Marion Schöne at Olympiapark in Münich, comments, “In our economic plan for 2021, we have assumed that we will not have any operations in the first quarter; from the second quarter, we hope to be able to reopen our tourism facilities but with limited capacities, and in the summer, the first open-air concerts and festivals must be possible again, albeit with conditions.”

But she warns, “From autumn, and at the latest in the fourth quarter, business must be running again to some extent, otherwise we see black for the future.

“We are represented in various nationwide working groups and are trying to convince politicians to develop a roadmap for the restart, together with the event industry. Our great hopes are the vaccinations, certified and inexpensive corona [rapid testing], as well as further studies that show that events can be held safely.”

In Scotland, McWilliams is equally realistic about the path to doors opening. “Assessing the year ahead, we expect promoter focus to be on the summer and the crucial return of festivals. We expect arena business to return in September following a successful festival programme,” she reports.

Noting that forecasts are reliant on the success of the UK’s vaccine programmes, McWilliams explains, “Following this timeline, we are working with Scottish government on a road map back to full capacity, which will include some test events at reduced capacities, building to full capacity.”

“we are working with Scottish government on a road map back to full capacity, which will include some test events”

Arena Riga’s Krastins is similarly pragmatic about the coming year. “Our plan for this year is mainly sports,” he states. “We will probably host the World Championship in ice hockey (with or without spectators) in May till June, then some international competitions in ‘bubble’ format, and then the regular ice hockey season starts in August.

“And if shows resume in September or October, we will be ready. In general, I feel that 2021 will be better than 2020, but definitely nowhere close to 2019.”

In Germany, AEG’s Frommhold is also counting on a revival in the second half of the year. “We are clearly looking at late Q3 and Q4 for larger crowds to be allowed back into the venues,” he comments. “Currently, a lot of shows and concerts are moving out of 2021 into 22.

“In Berlin and Hamburg we are in ongoing conversations with local and regional promoters about shows with limited capacity, whenever this is allowed, to bridge the gap to the start of regular touring. We are hoping for May for such shows to take place, but that is hard to predict. Obviously, a sustained business case and social distancing are mutually exclusive, but those events would send a positive message and get people working,” observes Frommhold.

Altice Arena chief Jorge Vinha da Silva is more optimistic that science can help reduce the impact of Covid-19 and allow mass gatherings to become commonplace again. “I hope by mid-year we can start recovering, especially in the third and fourth quarter when I hope our venues progressively return to full capacity with the evolution of the vaccination process or by mass [use] rapid testing.

“Fan research confirms pent-up demand for live, however, we need to be aware of consumer disposable income levels”

“I believe events will return first in a regional setting, as one of the most important factors is to rebuild consumer confidence and none of us can really evaluate the effect of an inevitable economic crisis. On the other hand, after the pandemic, everyone will be willing to share collective experiences such as concerts and festivals and this will be positive for the industry.”

Advocating “Clear, consistent, positive messaging on all customer touchpoints,” McWilliams agrees with Silva’s summary and concludes that ticket pricing could be a key factor to the success of the industry’s relaunch.

“Fan research confirms there is pent-up demand for live events, however, we need to be aware of the impact on consumer disposable income levels,” she warns.

“In a post-Covid world, there may be lots of choice but attendance could be stifled by a change in purchase practice, with consumers displaying self-protection and a need for security in their spending habits. If ticket prices were lower for a period of time this may help mitigate risk.”

 


Read this feature in its original format, with additional insight from EAA president John Langford, in the digital edition of IQ 96.

NY stadiums, arenas permitted to reopen

New York governor Andrew Cuomo will allow major stadiums and arenas to reopen with a capacity of 10% from 23 February.

The guidelines for reopening will be based on the testing pilot programme conducted by the NFL team Buffalo Bills at the weekend, in which 6,700 fans who presented negative tests, and agreed to contact tracing, attended the game socially distanced

In order for stadiums and arenas to reopen at 10%, all fans and staff planning to attend an event will need to provide a negative PCR test within the 72 hours prior. Fans must also be temperature checked upon entering a venue and will be required to wear face coverings while in attendance.

Indoor arenas must observe enhanced air filtration, ventilation and purification standards, as well as socially distanced seating configurations. The permission applies to stadiums and arenas with a capacity of 10,000 or more.

The Barclays Center (cap. 19,000) in Brooklyn has already announced plans for their first event and will welcome fans back to the arena on 23 February for a basketball game between the Brooklyn Nets and the Sacramento Kings.

“While we continue to fight Covid on multiple fronts, we must also get this economy reopened intelligently and in a balanced way,” said governor Cuomo.

“While we continue to fight Covid on multiple fronts, we must also get this economy re-opened intelligently”

“Live sports and entertainment have long been engrained in the fabric of New York and the inability to hold events has only added to the isolation we have all felt at the hands of this virus.

“Thankfully, our pilot program to reopen Buffalo Bills games to fans was an unparalleled success and now we are taking that model and expanding it to other large venues across the state to not only reinvigorate local economies, but also help bring some fun and joy back into people’s lives as safely as possible.”

Cuomo has also announced that the state will host concerts for the first time in a year as part of the New York Arts Revival programme he announced in January.

More than 300 pop-up gigs will take place between 20 February and 6 September (Labor Day) at venues including the Apollo Theater, Harlem Stage, La Mama, and Alice Busch Opera Theatre.

The governor says the gigs will visit flexible venues with no fixed seating so event formats can be reconfigured to allow adequate social distancing.

In January, Dr Anthony Fauci, chief medical advisor to US president Joe Biden, predicted that live performances could resume this autumn, depending on how widely the Covid-19 vaccine can be distributed by then.

Fauci suggested that if between 70% and 85% of the US population would have to be vaccinated, venues with good ventilation and proper air filters could open without social distancing – though some theatres may ask audience members to continue to wear masks.

 


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Venue Coalition announces booking team reshuffle

After adding ten new arenas to its now 70-strong portfolio, 2017 was a year of “significant growth” for Venue Coalition. Now in 2018, the US venue consultancy organisation has announced two new appointments to its bookings team to keep up with its successes.

A Venue Coalition team member since 2016, Jordan Racine has been promoted to booking/operations manager for the organisation. He brings with him an in-depth knowledge of the inner workings of Venue Coalition as well as previous developed experience with talent booking and festival production.

On his new role, Racine says: “I am beyond happy to be growing as a part of the booking team.

“Each day, I come to work motivated and excited about booking shows for our venue members, and I look forward to serving our clients more in this new role.”

“With the announcement of these new faces, executives at Venue Coalition are excited about both the present and the future of the organisation.”

The second new appointment to the organisation’s booking team is booking manager Teresa Guy. With over a decade of experience in the live music industry working across promoting and booking agencies and radio stations, she brings a wealth of knowledge to the role.

“I’m excited to join the exemplary team at Venue Coalition,” says Guy on the subject of her new role.

“Having worked on the agency and promoter side, it’s great to expand my knowledge base as a venue advocate, working on large-scale events across North America.”

With the announcement of these new faces, executives at Venue Coalition are excited about both the present and the future of the organisation. Executive vice president Andrew Prince has welcomed Racine’s promotion, saying, “We are so proud to have Jordan on our team,” whilst president and founder Jeff Apregan says Teresa Guy’s appointment is a “tremendous asset” to the company.

 


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