The German touring sector is gaining a new awards ceremony as a successor to the Live Entertainment Award (LEA).

First held in Hamburg in 2006, the LEA had been held at Frankfurt’s Festhalle since 2011 and grew into one of the industry’s most prestigious awards shows, but was discontinued two years ago and the organisation behind it dissolved.

However, national trade association the BDKV has now announced the Best Of Live Award (BOLA), which aims to recognise outstanding achievements in live entertainment. The event will debut on 9 December during the gala dinner of the the organisation’s general meeting at the Hotel Palace Berlin.

“The Best Of Live Award is the prize we’ve all been hoping for,” says Sonia Simmenauer, president of the BDKV and chair of the BOLA Jury. “We celebrate the people behind the scenes who make the live experience possible with passion and professionalism. This award brings our community together – in the spotlight and full of appreciation.”

“With the Best Of Live Award, we are creating a platform for excellence, innovation, and collaboration – while strengthening the industry’s network”

The ceremony will be presented by comedians Jeannine Michaelsen and Jan van Weyde and will include nine categories representing the breadth of the industry.

“With the Best Of Live Award, we are creating a platform for excellence, innovation, and collaboration – while strengthening the industry’s network,” says BDKV MD Johannes Everke. “A particular challenge was ensuring that all segments of our broad industry could be represented and have their say. Accordingly, the categories are broadly defined; one half of the jury represents all of our departments, and the other half is made up of experts from around us. And the final vote by our members ultimately makes this award a truly collaborative project.”

All BDKV members can submit proposals from 1 August, with the announcement of the nominees by a jury of members and industry experts to follow on 16 October.

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.

German trade association the BDKV is launching a coaching network for entrepreneurs, managers and industry employees.

The move, which marks an expansion of the BDKV Academy, reflects the technological advances, changing production conditions and new audience expectations impacting the modern business.

It will tackle topics such as generational change and company succession, team structure, communication and leadership, stress prevention, resilience and work-life balance and cultural change and employer attractiveness.

“In moments of pressure to change, good advice is worth its weight in gold,” says BDKV president Sonia Simmenauer. “Here, we create added value for the resilience and future viability of our companies in the concert and event industry.”

Coaches will include industry veterans Mareike Bergunde, Florian Brauch, Astrid Eckstein, Gudrun Kaltwasser, Tina Krüger, Julia Labonte-Stoy, Anne Löhr and Nike Ostendarp, with the network forming the third pillar of the BDKV Academy alongside traditional continuing education and psychosocial support.

The initiative will include access to regular webinars, workshops and presentations, as well as individually bookable coaching sessions and workshops at exclusive special rates.

“In these changing times, economic success is no longer achieved solely through expertise or good planning – new solutions emerge from multi-perspective thinking, resilient teams, and adaptive structures,” explains BDKV MD Johannes Everke. “With our new coaching offering, we provide support along this path.”

“Awareness means taking responsibility for ensuring that everyone feels comfortable and welcome at our events”

Earlier this month, the organisation published a new guidebook, Awareness in the Event Industry, which offers approaches for implementing awareness structures in a “meaningful and feasible way”.

The guidebook compiles experiences from companies of various sizes and event formats, providing targeted references to existing offerings, materials and contact points.

“This handbook is a true collaborative success and demonstrates that the topic has long since reached the heart of the industry,” says Everke. “Awareness means taking responsibility for ensuring that everyone feels comfortable and welcome at our events. This often doesn’t take much, and the guide offers a few practical suggestions.”

Sabrina Sapone, who contributed to the guidebook as a local events manager at A.S.S. Concerts & Promotion, adds: “Awareness isn’t a rigid concept – it’s a process that can be integrated into any organisation. We’re pleased to be able to share our experiences in this guidebook and hope it motivates others to engage with the topic. Especially in the fast-paced world of events, clear attitudes and structures help everyone involved.”

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.

Germany’s live industry grew by 20% on pre-pandemic levels to generate €5.6 billion in 2023, as plans to launch a national grassroots fund gather pace.

Trade body the BDKV delivered the results from the Music Industry in Germany 2024 study during its annual general meeting.

While the report will be completed in December, BDKV president Sonia Simmenauer stressed the picture was not as healthy lower down the touring circuit.

“When we were asked this year how the industry was doing, our answer was always, ‘Very good, but not for everyone,'” said Simmenauer. “On the one hand, the record reports of major shows and a 20% increase in industry sales compared to 2019 are brilliant. Live entertainment gives people a lot, especially in today’s changing times. But 2024 will also be a year in which cost explosions and sluggish advance sales will increasingly put many small and medium-sized events in financial difficulty.

“The entire music industry needs the courage of event organisers to present new topics and develop artists,” she continues, as per Music Woche. “More than ever, the upcoming stars are developing on real stages. Our goal is for concert life to be able to exist from small to large. We call it the ‘Circle of Live’ when up-and-coming acts in the club eventually become headliners. And that is what secures both our broad concert life and our economic success.”

On a related note, inspired by existing schemes in the UK and France, federal foundation LiveKultur is planning to launch the Live Music Fund Germany as a response to the “increasing challenges facing the live music ecosystem in Germany”, particularly for grassroots venues and emerging acts.

“Rising costs for energy, production, and operations, combined with a slow recovery post-pandemic, have left many smaller clubs and festivals struggling to survive,” board member Felix Grädler tells IQ. “These venues are the foundation of our cultural fabric. Our aim with the Live Music Fund is to provide targeted financial support to these critical spaces.”

By funding small concerts, first tours for new artists and grassroots festivals, LiveKultur hopes to create “sustainable opportunities for young talent and preserve the vibrant diversity of live music in Germany”.

“We are inspired by similar initiatives, such as the UK’s voluntary ticket levy but also the CNM in France”

“The fund is not just a financial instrument; it is a cultural initiative to safeguard the future of live music for artists and audiences alike,” says Grädler.

Funding is expected to come from a mix of public and private contributions, including partnerships with ticketing companies, a voluntary ticket levy, and support from industry stakeholders and state fundings.

“We are inspired by similar initiatives, such as the UK’s voluntary ticket levy but also the CNM [National Music Center] in France, and believe now is the time for Germany to take bold steps to protect its live music heritage,” he adds.

IQ‘s recently published 2024 Global Promoters Report gives an overview of the German market, which became the centre of the live music universe when it hosted Adele’s Munich residency, which brought 730,000 fans to a specially constructed stadium at the Munich Messe across 10 shows in August.

“The Adele residency has been the absolute highlight of the year,” said Marek Lieberberg, CEO of Live Nation GSA. “I believe that something historic was created here in our fast-moving age that will have a big impact for a long time to come.”

Also this year, Live Nation promoted Coldplay’s three Munich and three Dusseldorf shows, two more Munich shows for Metallica at the Olympiastadion, and a sold-out run of Travis Scott dates in Frankfurt, Cologne, and Hamburg.

Taylor Swift also came to Germany for seven shows – in Gelsenkirchen, Hamburg, and Munich, with FKP Scorpio and Karsten Jahnke Konzertdirektion working with AEG Presents on promoting duties – while Semmel Concerts racked up stadium shows for Herbert Grönemeyer and outdoor concerts for Roland Kaiser, with a new international arena show for Hans Zimmer Live – The Next Level, set for 2025 and 2026.

“The market is strong but there is a lot for people to chose from,” said Semmel Concerts’ Sina Hall. “Being realistic with expectations and mindful about pricing and production is key. It’s harder for newer acts because large numbers of big artist touring is pulling money out of the market.”

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.

Germany’s Federal Association of the Concert and Event Industry (BDKV) has officially launched its women’s network, BDKV Female Voice.

The network aims to increase the visibility of women in the event industry, promote equal opportunities and create a space for exchange, support and further training. All women in BDKV member companies are invited to take part.

Coordinated by BDKV board member Verena Krämer, participants from a wide range of member companies came together in a workshop in Frankfurt in July, where topics were discussed to determine goals and tasks for the group.

“Together we have set clear goals for the BDKV Female Voice network and can now get started,” says Krämer. “We have given ourselves the opportunity to achieve more diversity in our industry, establish positive role models and promote new careers. The industry will benefit from taking a stronger women’s perspective.”

“BDKV Female Voice is an asset for the industry and fits very well with our task as an association”

The network’s next meeting will take place on Tuesday 17 September as part of the Reeperbahn Festival in Hamburg, with a further gathering planned as part of the BDKV general meeting on 13 November 13.

“BDKV Female Voice is an asset for the industry and fits very well with our task as an association to support companies in social change, to leverage new potential and to make us more attractive as a place to work,” adds BDKV MD Johannes Everke. “Many thanks to the women in the industry who are committed to this and support the network.”

BDKV installed a new board, spearheaded by Sonia Simmenauer as president, at the start of last year and also joined gender equality initiative Keychange.

PHOTO (L-R): Tina Krug, Berit Baumhoff, Sabrina Theisen, Michaela Schneider, Madeline Falkenhahn, Johanna Holthöwer, Sarah Zimmermann, Melanie Becker, Annika Verheyen, Ulrike Schirrmacher, Nadine Rüffert, Verena Krämer, Francesca Herget, Natascha Vebre, Astrid Eckstein.

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.

The German federal government has put an end to its cultural energy fund, set up to help institutions and organisers with increased energy bills caused by the war in Ukraine.

The Culture Energy Fund (Kulturfonds Energie) was said to proportionately subsidise “additional energy costs” for eligible recipients between January 1 2023 to April 30 2024. The government initially earmarked €1 billion for the fund, when it was announced in January 2023.

However, the fourth and fifth funding tranches of the fund have been cancelled after the German government imposed a budget freeze on 21 November 2023, though applications filed before that date will be honoured.

“The Energy Cultural Fund was actually messed up from the start”

According to reports from the German industry, many venues did not apply for funding from the Culture Energy Fund because the application process wasn’t worth the payout. Event companies, meanwhile, were not allowed to apply themselves.

The fund also drew criticism for the fact that festivals and open-air events were not eligible because they do not take place in “closed rooms”.

“The Energy Cultural Fund was actually messed up from the start because it ignored the economic realities of our industry and couldn’t help us much,” Johannes Everke, managing director of BDKV, told Musik Woche. “Nevertheless, we were surprised at how quietly it has now been discontinued.”

Everke went on to say the association was “happy that the funding programmes of the BKM, the KulturPass and the festival funding fund do not appear to be negatively affected by the budget freeze”.

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.

Germany’s Music Industry Forum is calling for the nationwide culture pass to be expanded after more than half a million young people downloaded the app in its first few months.

Since June, 18-year-olds living in the country have been able to access the federal government scheme, which provides them with €200 to spend on 2.2 million products, including concert and theatre tickets, in an effort to strengthen cultural participation.

However, politicians are yet to confirm whether the pilot project will continue next year, leading to the joint appeal by members of the forum – which comprises the BDKV, venue body LiveKomm, music publishers’ organisation DMV, Association of Independent Music Companies (VUT), Society of Music Merchants (SOMM) and recording industry body BVMI.

“The culture pass is a valuable instrument for strengthening the cultural participation of young people, especially if they have not previously been given access to culture,” says a statement from the group. “The culture pass not only provides a low-threshold entry and a wide range of offerings, but also supports social interaction and thus social cohesion. Cultural participation plays an important role in actively committing to our pluralistic society and its democratic values.

“Bookstores, cinemas, concert organisers, theatres, orchestras, museums, record stores and music retailers have been extremely committed to supporting the project right from the start and have already put together an impressive offering for culture pass users in a short space of time.”

“We are firmly convinced of the potential of the culture pass and would find it a devastating signal… to not give the pilot project any opportunity for further development”

It continues: “We are firmly convinced of the potential of the culture pass and would find it a devastating signal – both for young people as well as for the cultural workers and cultural places in our country – to not give the pilot project any opportunity for further development after its promising start.”

Similar initiatives have been rolled out in Spain, France and Italy with the aim of generating new consumption habits, post-pandemic.

“There is always a lot of work behind innovative projects like this – in society, business, sport and culture alike – to make them noticeable in the long term,” adds the German coalition. “This is all the more true if they are intended to be effective across society and across the board. This is exactly what the culture pass is pursuing, which is already part of the political agenda in other European countries.

“In order for this impressive pilot project to become a long-term success, it is now time to give it a real perspective on a political basis and to continue the culture pass in the 2024 federal budget at an undiminished level. This is the only way to ensure that the resources that have been raised so far are used sustainably, that the infrastructure that has been built is continuously developed and that the offer will have its full effect over the long term.”

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.

Trade body BDKV has given its backing to demands for a cultural noise regulation to protect Germany’s clubbing landscape.

Noise protection regulations and building regulations are set to be revised in the country under the “ Technical Instructions for Noise” (TA Rausch) law.

Currently, cultural noise – which refers to noise that arises from music venues, operas, theatres and concert halls – is assessed as “commercial and industrial noise”. But LiveKomm, which represents more than 500 music venues in Germany, has presented proposals for a cultural noise regulation alongside the Federal Foundation LiveKultur as part of its #clubsAREculture campaign.

“Cultural sound is an indispensable part of our coexistence,” says Anna Blaich from LiveKultur. “A corresponding regulation underlines the recognition of live culture as a valuable culture worthy of protection and support.”

The BDKV is supporting the call for change, saying that music and sound from clubs and music venues, open air events and festivals “should be measured by its cultural and social added value”, as opposed to being “equated with industrial noise”.

“It is on these stages that many newcomers find their audience and mature into top stars who later fill entire halls”

“The current legal situation according to TA Rausch endangers the basis for cultural-urban life,” says BDKV MD Johannes Everke. “Cities and countries rightly adorn themselves with their cultural life and see the institutions, music clubs and festivals as an important contribution to cultural participation and location attractiveness.

“In addition, these music venues in particular offer essential spaces for promoting young artists… It is on these stages that many newcomers find their audience and mature into top stars who later fill entire halls. Together with LiveKomm, we are therefore pursuing the goal of ensuring that the legal situation and cultural policy reflect these values. We have to resolve the contradiction that society wants a vibrant culture, but not in its own backyard.”

The organisation is also showing solidarity with LiveKomm’s additional demand that music clubs be recognised as cultural venues in building regulation (BauNVO).

“Laws and rules have to arrive in the 21st century, otherwise acceptance will disappear for the system,” adds LiveKomm board member Marc Wohlrabe. “Club culture and cultural noise have no place in what has been the case so far long-standing administrative classifications with sex cinemas and arcades in the BauNVO and as commercial noise in the TA noise.”

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.

German trade association the BDKV has appointed two new sustainability officers to replace the outgoing Mike Keller.

Sarah Lüngen and Katrin Wipper from The Changency – a consultancy for sustainable change in the music industry – will succeed Markthalle Hamburg convention centre MD Keller, who took on the newly-created role at the start of 2023.

BDKV installed a new board, spearheaded by new president Sonia Simmenauer, at the start of the year and identified sustainability as one of the core topics of its work.

“We always understand sustainability in its entire complex spectrum: ecological, social and cultural sustainability are closely interlinked,” says Simmenauer. “Our measures in the spirit of sustainability therefore concern environmental protection, personnel or audience issues, equality and the contribution of culture as a whole to sustainable development.”

“Anyone who does not develop further in terms of sustainability today will soon have a difficult time,” adds BDKV MD Johannes Everke. “Let us look up, for example the EU Green Deal. In the short term, we therefore provide our members with up-to-date information and further training options. In the medium term, we are aiming for a practical sustainability certificate for the concert and event industry.

“The fields of action are numerous and diverse. We would therefore like to thank Mike for the very good work up to this point and look forward to continuing it with our new sustainability partners, the knowledgeable and committed experts from The Changency.”

“Together we can learn from and with each other to become more systemically sustainable and fair as an industry”

The Changency was founded by Lüngen and Wipper back in 2021 and has already created a portfolio of visionary projects – many of them with BDKV members. The Changency creates practical concepts for more sustainability at concerts and festivals, offers individual advice, supports communication campaigns and conducts studies.

“Our vision is to be part of the best party in the city: a party that manages to combine the passion and radiance of culture with a better, fairer way of life for everyone,” says a statement from the duo. “Sustainability that is fun, offers opportunities and shows solutions through creative ideas.

“We stand for motivation instead of resignation and are therefore very happy about the opportunity to shape the present and future of the concert and event industry together with the BDKV and its members. Together we can learn from and with each other to become more systemically sustainable and fair as an industry.”

Everke went on to praise Keller for setting the BDKV off on the right track.

“In eight months, Mike has set the course to make the topic of sustainability more transparent and better known within the association and across the industry and the public,” he says. “This starts with his always open ear and advice for our members and continues with the establishment of regular sustainability online sessions. In addition, his presence for the BDKV at industry-relevant sustainability conferences such as the SECON or Green Culture Conference and of great value for our members.”

Keller adds: “I am very grateful for this opportunity to advance the topic of sustainability with the BDKV. Katrin and Sarah’s continuation is the right decision for the BDKV. My path now continues in this direction. I wish Johannes, the entire BDKV and The Changency team much success in their upcoming tasks. The BDKV will certainly attract a lot of attention in this area.”

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.

German trade body BDKV (Federal Association of the Concert and Event Industry) has united with awareness association Act Aware to help ensure “fulfilling and safe experiences” for live event attendees.

Act Aware,  which has already worked with festivals such as Reeperbahn, MS Dockville and Deichbrand, supports organisers in the development and implementation of their own awareness concepts.

The new alliance will start with a digital get-together to develop the range of information and advice and provide a code of conduct, together with new contract templates, for BDKV members.

“The greatest possible guarantee of safe spaces for each and every individual are elementary for the enthusiasm and togetherness at live events,” says Sonia Simmenauer, president of the BDKV. “The incomparable feeling of community has always made events and concerts indispensable institutions of our societies and democracies. What that means can be felt today, when the social debate heats up and moments that create identity can be beneficial for society.

“It is all the more important to raise awareness of harassment and abuse, to actively counteract cases and to prevent them from happening, whether in front of or behind the scenes. Act Aware can help us a lot here as an initiative for more awareness at events, and the BDKV forges a logical and powerful alliance with Act Aware.”

“We have now established a new partnership with Act Aware, which, through practical experience, networking and commitment, is a great enrichment for the entire industry”

Since 2020, BDKV members have had the opportunity to receive individual advice and information from the Themis Confidence Center against sexual harassment and violence in the cultural sector.

“In the current social debate about abuse of power in culture, sport, science or business, the BDKV offers its members more and more information and concrete support with their own competence and in some cases long-standing partners such as Themis, Key change or speaking time for you,” says BDKV MD Johannes Everke. “We have now established a new partnership with Act Aware, which, through practical experience, networking and commitment, is a great enrichment for the entire industry and, above all, for all spectators: inside at concerts and live events.”

In June, the BDKV added its support to the Alliance against Sexism coalition, led by family minister Lisa Paus, who proposed changes for the music business including protective areas for women at concerts and the use of “awareness teams” to regularly check what is happening backstage. It also joined the international Keychange gender equality initiative in March this year.

“We look forward to offering an exchange opportunity together with the BDKV, in which the focus is on working together on anti-discriminatory measures,” adds Sarah Bergmann of Act Aware. “Our credo is: Initiate awareness in a process from the inside out! And this societal change can best be implemented if we join forces.”

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.

In the wake of sexual misconduct accusations being levelled at Rammstein frontman Till Lindemann, German trade association BDKV has added its support to the Alliance against Sexism.

The Alliance against Sexism coalition is led by family minister Lisa Paus, who has proposed changes for the music business including protective areas for women at concerts and the use of “awareness teams” to regularly check what is happening backstage.

The BDKV is offering to contribute its experiences and measures to the initiative to provide “the greatest possible guarantee of safe spaces for everyone”. The organisation recently launched a new advisory and information service on the topic of sexual abuse, and stresses that it “resolutely opposes harassment and abuse, whether in front of or behind the stage or at the workplace”.

“The industry is taking note of the current debate very carefully,” says Johannes Everke, MD of the BDKV. “In all of this, we do not see any systemic or specific problem across our entire industry. Rather, it is a fundamental societal problem that power structures or power imbalances are repeatedly abused. It is therefore urgently necessary to deal with this and to find ways to prevent it. We will do our part to actively help solve the problems.”

The move comes amid a string of allegations regarding Lindemann’s behaviour, which Rammstein deny.

The Guardian reports that multiple women have come forward to describe a systematic process whereby young female fans were recruited, either on social media or at concerts, to have sex with Lindemann during and after Rammstein shows. The selected women are said to have been given access to a so-called “Row Zero” – a restricted area directly in front of the stage.

The claims followed one fan’s allegation that her drink had been spiked at an afterparty in Vilnius, Lithuania last month.

“The accusations have hit us all very hard and we take them extremely seriously”

Rammstein are currently in the midst of a four-night spell at Munich’s Olympic Stadium as part of their European tour. The German rock band’s management has reportedly hired a law firm to investigate the allegations internally, but no criminal investigation has been launched.

Rammstein said on Twitter: “With regard to the allegations circulating on the internet about Vilnius, we can rule out the possibility that what is being claimed took place in our environment.” In a subsequent Instagram post, the band added they were taking the situation “extremely seriously” but asked not to be prejudged.

“The accusations have hit us all very hard and we take them extremely seriously,” reads the statement. “To our fans we say: It is important to us that you feel comfortable and safe at our shows – in front of and behind the stage. We condemn any kind of assault and ask you: Do not participate in prejudgments of any kind toward those who have made accusations. They have a right to their point of view. But we, the band, also have a right — not to be prejudged either.”

The Rammstein Stadium Tour is due to run until August, with shows later this month planned in Slovakia, Switzerland, Spain and Portugal.

Gadget ABC, promoter of the group’s 17-18 June concerts in Bern, tells Blick: “As always, we are working in coordination with the authorities, the venue and other partners on various measures to ensure the safety of all concert visitors and employees. Among other things, specialised care teams are on duty.

“Just as we take the allegations against Till Lindemann and Rammstein seriously, we also uphold the principle of the presumption of innocence. We are in contact with the management of the band.”

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.