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Covid-safe Lolla Paris to take place in July

The team behind Lollapalooza Paris has joined forces with Parisian couture house Balmain to host a one-day, musical picnic event on 19 July.

The adapted edition of Lolla Paris, which will take place on the original festival weekend at its home at the ParisLongchamp Racecourse, is also put on in collaboration with Michelin-starred French chef Jean Imbert and champagne brand Veuve Clicquot.

C3 Presents and Live Nation France called off the 2020 edition of Lolla Paris, which was set to feature Billie Eilish, Pearl Jam, Asap Rocky, Vampire Weekend and Rita Ora, due to the coronavirus pandemic and ensuing country-wide event ban.

Now, as touring gets set to return to France next month and venues, including stadiums and racetracks from 11 July, are allowed to host up to 5,000 people, a tailor-made Lollapalooza Paris 2020 is to take place.

Fans will sit on picnic blankets designed for the event by Balmain’s artistic director, Olivier Rousteing, and sample a menu prepared by Lolla chef Jean Imbert, accompanied by a bottle of Veuve Clicquot rosé champagne with wine and food pairing.

“[The event] will celebrate a certain French art of living in an exceptional summer setting”

The event will take place in compliance with current sanitary rules and distancing measures.

Tickets go on sale on Thursday 2 July at 10 a.m. CET on the Balmain website. Proceeds from ticket sales will go towards the Global Fund’s Covid-19 response, in collaboration with HIV/AIDS charity (RED).

To further raise awareness and funds, five customised pairs of Balmain trainers and several collector’s picnic blankets will be sold online on the day of the event with all profits raised going to the fund.

Angelo Gopee, general manager of Live Nation France, says the collaboration between Balmain and Lollapalooza, “two emblematic brands with an international reputation”, was “obvious”. “[The event] will celebrate a certain French art of living in an exceptional summer setting.”

“If there was one thing that the months of confinement made very clear, it was how much of life’s beauty that we had taken for granted,” adds Rousteing. “Forced apart, we realised how important it was to be together. Locked inside, we longed for the beauty of springtime in Paris.”

A full programme of content for Lolla Paris 2020 will be available online soon.

 


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Covid-19 restrictions claim major US festivals

Goldenvoice’s Coachella Valley Music and Arts Festival will not take place this year, despite being pushed back six months, as the Covid-19 pandemic triumphs over the last few major US festivals still standing.

The news comes days after the cancellation of C3 Presents’ Lollapalooza Chicago (100,000-cap.), the festival franchise’s flagship edition, which was due to take place from 30 July to 1 August, representing some of the final losses of the 2020 US festival calendar. Events including Live Nation/AC Entertainment’s Bonnaroo (24 to 27 September) and BottleRock Napa Valley (2 to 4 October), both rescheduled, are currently still going ahead as planned.


A weekend-long virtual event will take place over the original festival weekend, showcasing archival footage from Lolla Chicago, as well as the festival’s six international editions.

Coachella (125,000-cap.), along with its country music counterpart Stagecoach, had previously been moved from its original dates in April to October in a bid to circumvent coronavirus restrictions.

However, yesterday (10 June), public health officer Dr Cameron Kaiser announced he was “concerned” that Covid-19 “could worsen” in the autumn.

“Given the projected circumstances and potential, I would not be comfortable moving forward [with Coachella and Stagecoach],” said Kaiser.

“These decisions are not taken lightly with the knowledge that many people will be impacted”

“These decisions are not taken lightly with the knowledge that many people will be impacted. My first priority is the health of the community.”

Kaiser also pointed out that mass gatherings such as festivals fall under the “highest-risk” category in the state of California’s four-step reopening plan, and will only be permitted to restart in the final phase “once therapeutics have been developed.

Coachella 2020 was set to feature headliners Rage Against the Machine, Frank Ocean and Travis Scott over two consecutive festival weekends at the Empire Polo Club in Indio, Riverside County, California.

Thomas Rhett, Carrie Underwood and Eric Church were among those to perform at Stagecoach the weekend after Coachella.

Dates for the 2021 editions of Coachella and Stagecoach have yet to be announced.

Earlier this week, Goldenvoice parent company AEG announced it would be laying off 15% of its workforce and furloughing over 100 employees, in addition to enacting pay cuts across the company.

Photo: Ben_1/Flickr (CC BY-SA 2.0) (cropped)

 


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Luger expands into Norway

Swedish concert promoter and festival organiser Luger is expanding into Norway, opening an office in Oslo to strengthen its presence in the Scandinavian market.

Luger now operates in three Scandinavian markets, adding to its Swedish headquarters and its Danish office, which opened in Copenhagen in 2018, led by Sarah Sølvsteen.

The expansion into Norway follows the bolstering of a fellow European promoter’s presence in the country last month, with FKP Scorpio’s acquisition of a majority stake in booking agency Nordic Live.

Luger’s new Norwegian office will be headed up by Torgeir Gullaksen, a veteran promoter with over 20 years’ experience putting on shows and events in the country. Gullaksen joined Gunnar Eide Concerts (now Live Nation Norway) in the late 90s, founding his own promotions company, Goldstar (now FKP Scorpio Norway), in 2005.

The Luger Norway head has worked with acts including Arctic Monkeys, Queens Of The Stone Age, Radiohead, Rival Sons, Tame Impala, The Black Keys, Ben Howard, Arcade fire, Belle & Sebastian and Michael Kiwanuka.

“My aim is to firmly establish Luger as a strong brand in Norway”

“I’m delighted to be joining the Luger family and look forward to working close with Ola and the rest of the team,” comments Gullaksen. “Over the last 20 years or so, I’ve had the pleasure of working with Luger on both international and domestic acts and consider them the best in class in developing new talent over here.

“My aim is to firmly establish Luger as a strong brand in Norway and continue working with the acts I already have existing relations with, as well as become the natural promoter for emerging acts in Norway.”

Luger Sweden MD Ola Broquist adds that Gullaksen is “a great person, a great promoter and a music lover – the ultimate combination.”

Luger is one of the Nordic’s leading promoters, as well as acting as an agency and tour producer for Swedish artists. The company promotes over 300 a year, in addition to festivals including Way Out West, Åre Sessions and – together with C3 and Live Nation Sweden – Lollapalooza Stockholm.

 


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The decade in live: 2015

The start of a new year and, perhaps more significantly, a new decade is fast approaching – and while many may be thinking ahead to New Year’s Eve plans and well-meaning 2020 resolutions, IQ is casting its mind back to the most pivotal industry moments of the last ten years.

Following on from a strong year in 2014, the live music industry in 2015 continued to go from strength to strength, with fans once again showing willingness to spend money on concert tickets.

After the success of their first all-stadia tour, British boyband One Direction embarked on another mammoth concert tour, which came in at number two on the year-end charts, despite the departure of band member Zayn Malik two months in. The tour was the beginning of the end for the band, which went on indefinite hiatus the following year.

2015 was a busy year in the live business, notably seeing the birth of Tim Leiweke and Irving Azoff’s Oak View Group. It was also the year that the Robert Sillerman’s rebirthed SFX Entertainment began to run into some serious trouble…

 


2015 in numbers

The top 100 worldwide tours grossed more than US$4.7 billion in 2015, up 14% from the year before but falling short of 2013’s $5bn. Ticket sales were also up, increasing by 16% to 59.7m, again lower than the 2013 total of 63.3m. The average ticket price in 2015 was down $3.30 to $78.80.

Taylor Swift was the top touring artist of the year, grossing $250.4m with her The 1989 world tour. The singer generated nearly $200m in North America alone, smashing the previous record of $162m set by the Rolling Stones in 2005.

One Direction also had a successful year with the On the Road Again tour, coming in behind Swift with year-end gross at $210.2m and selling 2.4m tickets, the most of any artist that year. AC/DC made $180m in ticket sales on their biggest tour to date, with U2’s Innocence + Experience grossing $152.2m and Foo Fighters’ Sonic Highway tour totalling $127m.

 


2015 in brief

January
Live Nation takes control of Austin City Limits and Lollapalooza promoter C3 Presents, paying a reported $125m for a 51% stake.

Austrian concert organiser Arcadia agrees a new partnership with four German companies – Four Artists, Chimperator Live, KKT and FKP Scorpio – to found Arcadia Live, a new
concert agency.

Live Nation agrees a joint venture with Thailand-based entertainment firm BEC-Tero. The new company, Live Nation BEC-Tero, will promote concerts by Western, J-Pop and K-Pop artists in the region, a pursuit in which BEC-Tero’s concerts division is already a market leader locally.

February
The Agency Group acquires UK-based electronic music agency Futureboogie, whose roster includes the likes of Bonobo, Crazy P and Nightmares on Wax.

The state of Washington passes a bill to outlaw ticket bots in an attempt to clamp down on the computer software that often prevents humans from buying seats online for concerts and sporting events. The move brings the number of states that have banned bots to 13.

March
A group of artists including Chris Martin, Calvin Harris, Madonna, Rihanna, Beyoncé, Jay Z, Kanye West, Daft Punk, Alicia Keys, Jack White and Nicki Minaj launch a new streaming service called Tidal, which is described as the first artist-owned platform for music and video.

The O2 arena in London announces that it has sold its 15 millionth ticket. The building, which opened in June 2007, has consistently been the most popular live music venue in the world, with research conducted by Media Insight Consulting claiming that 30% of the UK population has attended The O2 complex at least once.

The decade in live: 2015

One Direction perform on the On the Road Again tour without Malik (© vagueonthehow/Flickr (CC BY 2.0))

April
ILMC launches the International Festival Forum, which aims to help strengthen the relationship between event organisers and agents. The London-based event is set to feature partner agencies such as Coda, The Agency Group, Primary Talent and X-ray Touring who will showcase festival-ready acts to promoters from around the world.

Australian media company Nine Entertainment sells its live events companies Nine Live and Ticketek to Asian private equity firm Affinity Equity Partners for AUD$640m ($480m).

May
Sydney-based Soapbox Artists, which grew out of the Australian wing of Ministry of Sound, announces its merger with the Melbourne-based 360 Agency. The combined EDM agencies will be a significant player in the dance market, representing a large roster of DJ and producer talent.

Live Nation acquires a controlling stake in American festival Bonnaroo. Under the terms of the deal, current promoters Superfly and AC Entertainment will continue to programme and run the event.

June
AEG agrees an extended deal with America’s International Speedway Corporation (ISC), allowing the company’s AEG Live division to look at organising concerts at racetracks around the country. ISC owns 13 raceways, including such iconic arenas as Daytona and Watkins Glen.

The Foo Fighters cancel a number of shows after frontman Dave Grohl breaks his leg during a concert in Sweden. Despite a nasty fracture, however, Grohl makes headlines around the world by returning to complete the Gothenburg show, receiving medical attention on stage.

The decade in live: 2015

The main stage at Bonnaroo (© Shawn Mariani/Wikimedia Commons (CC BY-SA 2.5))

July
German promoter Deutsche Entertainment AG and its UK offshoots Kilimanjaro Live and Raymond Gubbay Ltd, have set-up a company to sell tickets for their British shows. MyTicket.co.uk will expand the MyTicket concept that has already been running in Germany for six months.

The Windish Agency and Paradigm Talent Agency agree a partnership deal to form one of the world’s biggest independent agency operations, bringing The Windish Agency together with Paradigm partner agencies AM Only and Coda Music Agency, as well as Paradigm itself.

August
Live Nation Entertainment forms Live Nation Concerts Germany with German concert promoter Marek Lieberberg to promote concerts and festivals in Germany, Austria and Switzerland.

William Morris agent Sol Parker jumps ship to Coda Agency, taking Take That, The Prodigy and Rita Ora with him.

United Talent Agency completes its acquisition of The Agency Group.

Live Nation acquires venue and festival operator MAMA & Company, returning a number of former Live Nation assets to its portfolio.

The decade in live: 2015

Marek Lieberberg (© Sven Mandel/Wikimedia Deutschland (CC BY-SA 4.0)) 

September
Australian promoter Andrew McManus is arrested at Melbourne Airport on charges of money laundering and the importation of 300 kilograms of cocaine. McManus is one of five people arrested in Australia and the United States as part of an FBI investigation.

Disgruntled investors hit SFX with a lawsuit claiming they were deceived with false and misleading statements over the company’s privatisation plans.

Ebay-owned secondary ticketing platform StubHub launches in Germany.

October
Pandora completes a $450m takeover of specialist ticketing agency Ticketfly.

Several preliminary bids are reportedly submitted for EDM promoter SFX in addition to that from CEO Robert Sillerman, who bid to buy back the company for $3.25 per share.

November
SFX promotes former IQ new boss Sebastian Solano to CEO of ID&T North America.

Ex-AEG chief Tim Leiweke forms live entertainment investment firm Oak View Group with Irving Azoff.

December
Ex-Done Events chief Thomas Ovesen is named CEO of new Dubai-based live music company 117 Live.

Live Nation UK vice-president Steve Homer and senior vice-president Toby Leighton-Pope leave the company.

The decade in live: 2015

B.B. King, 1925-2015 (cropped) (© Tom.Beetz/Flickr (CC BY 2.0))

 


Who we lost

Mike Porcaro, bassist for Toto; blues legend B.B. King; John Gammon, Pollstar’s UK/Europe correspondent; veteran promoter and ILMC member, Paul King; Stage Entertainment’s project manager Sjoerd Unger; Live Nation venue chief David Vickers; U2 tour manager Dennis Sheehan.

 


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The New Bosses 2019: Sophie Lobl, C3 Presents

The New Bosses 2019 – the biggest-ever edition of IQ‘s yearly roundup of future live industry leaders, as voted for by their peers – was published in IQ 85 last month revealing the twelve promising agents, promoters, bookers and execs that make up this year’s list.

To get to know this year’s cream of the crop a little better, IQ conducted interviews with each one of 2019’s New Bosses, to discover their greatest inspirations and proudest achievements, pinpoint the reasons for their success and obtain advice for those hoping to be a future New Boss. Snippets of the interviews can be found in the September edition of IQ Magazine.

All interviews have now been reproduced in full online and on IQ Index, but this is not the last you will hear from these promising young execs. The New Bosses will play a key role in the forthcoming edition of Futures Forum, the discussion and networking event for the next generation of industry leaders that debuted at ILMC 31 in March. 

The final new boss is Sophie Lobl (28), global festival buyer at C3 Presents in Texas. Born in London, Lobl made her way to the United States after graduating from Leeds University in the UK. Starting her career at BBC Radio 1, she later went to WME, where she worked her way up from a receptionist to assisting Russell Warby, Ari Emanuel and, finally, Marc Geiger in the LA office.

In 2019, Lobl relocated to Texas to work for C3 in the newly created role of global festival buyer, where she works closely with the European Live Nation team on artist offers for 197 festivals worldwide. (Read the previous interview with United Talent Agency’s Sara Schoch here).

 


What are you busy with right now?
Booking festivals for 2020. We are in the middle of booking all the line ups for next year and about to announce the Austin City Limits schedule!

Did you always want to work in the music business?
Pretty much. I actually initially wanted to work in radio. I produced and presented a couple of shows on my student radio station in Leeds which led me into working as an assistant producer at Radio 1 and 1Xtra – I thought I was going to be Annie Mac! Then I discovered live and booking shows and there was no turning back after that.

What are some of the highlights of your career so far?
Working on Tom Petty’s last tour is one of the greatest memories I’ll ever have. He was a lovely man. Launching Lollapalooza Stockholm is also a true career highlight. We’re very excited for 2020, it looks like we’ll have a great line up.

“I discovered live and booking shows and there was no turning back after that”

How has your role changed since you started out?
It’s changed drastically. I went from working on reception and making coffee, to being (several) agents’ assistants, to now booking and managing my own multi-stage festivals. None of it was planned, but I wouldn’t change it for the world. C3 is an awesome company and I am incredibly excited about the projects I get to work on and also about some of the new projects we have in the pipeline.

What’s the biggest lesson you’ve learnt while at C3?
That’s a big question. I think never being afraid of trying something new is the main one. Launching a festival is terrifying and working in markets that are new to us can be daunting. Luckily, we have incredible partners on our international festivals that save us from losing our jobs.

What, if anything, would you change about how the live industry is run today?
I think just more inclusiveness generally across the board. It really is getting better and there are now far more opportunities for women and other minorities. But that shouldn’t even really be a thing, should it? C3 actually has a majority of women employees, especially in senior management positions. I think other companies are following suit.

“Never being afraid of trying something new is important – launching a festival is terrifying and working in markets that are new to us can be daunting”

What do you do for fun?
Hang out with my French Bulldog. His name is Francis. You should follow him on Instagram (@francislefrenchie).

Do you have an industry mentor?
[Live Nation vice president fo European Touring] Kelly Chappell has been my mentor, saviour and sister since the beginning of time. She really is the best. I don’t know anyone that works harder or that has such an incredible attention to detail as she has. She is so knowledgeable and wise and deserves all the recognition I can give her.

What advice would you give to anyone who wants to get into, or is new to, the business?
Work your bum off. None of this is easy and, although it may look glamorous, it really isn’t sometimes. But the hard work pays off and it really is worth it.

Where do you see yourself in ten years’ time?
Sitting at home with ten french bulldogs? Probably doing exactly what I’m doing now. Maybe just a little better. C3 & S doesn’t really have a ring to it, does it?

 


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Festivals pledge facial recognition ban

Organisers of music festivals including C3 Presents-promoted Austin City Limits (ACL), Live Nation-owned Bonnaroo, independent UK event Shambhala and Pitchfork Music Festival have stated they will not use facial recognition technology at their events.

Other festivals to commit to the ban include Live Nation’s Bass Canyon, Latitude 38 Entertainment’s Bottlerock, Excision’s Lost Lands, USC Events’ Paradiso, Madison House Presents/Insomniac’s Electric Forests, and a handful of independent events in the US, such as Wanderlust, Sonic Bloom and Lucidity.

A representative from Live Nation, which bought into biometric identification company Blink Identity in 2018, told Digital Music News that facial recognition technology is not currently used at any of its events, with any future use of the tech being on a strictly opt-in basis.

The push for a ban on biometric identification technology, which has been introduced at some events in the past few years for security and ticketing purposes, is being led by digital rights advocacy group Fight for the Future, who believe the technology is discriminatory and an invasion of privacy.

“We just launched a new scorecard showing where major music festivals stand when it comes to using invasive and racially biased facial recognition technology on fans”

“We just launched a new scorecard showing where major music festivals stand when it comes to using invasive and racially biased facial recognition technology on fans,” explains Fight for Future’s deputy director Evan Greer.

“Bonnaroo, Austin City Limits, Electric Forest and others have committed to not using biometric surveillance, while Coachella, SXSW, and Riot Fest have refused to make the same promise.”

The campaign has garnered the support of artists including Tom Morello, Speedy Ortiz, Amanda Palmer and Atmosphere, who have all spoken out against the use of the technology at their concerts.

Matt Bettenhausen, senior vice president and chief security officer at AEG, last year commented that he was “not there yet” on the benefits of facial recognition technology as a security feature.

Bettenhausen will share his thoughts on live event security at the Event Safety & Security Summit (E3S) at London’s Congress Centre on 8 October, where the role that facial recognition plays in event security will be discussed in more detail. To register for the event, click here.

 


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C3, Red Light, Another Planet invest in Mixhalo

Mixhalo, an audio tech start-up founded by Incubus guitarist Mike Einziger and his wife, Ann Marie Simpson-Einziger, has raised US$10.7 million to fund its mission to “democratise” concert sound.

Investors in the series-A investment round, led by Foundry Group, include US promoters C3 Presents (Charlie Walker), Superfly (Rick Farman and Rich Goodstone) and Another Planet Entertainment, UK artist management firm Red Light Management, and venture-capital outfits Cowboy Ventures, Sapphire Sport and Defy Partners, reports TechCrunch.

Pharrell Williams was also an early investor in the company, as were WME’s Marc Geiger and mega-producer Rick Rubin, which has raised a total of $15m to date.

Similar to European start-up Peex (which additionally enables listeners to create their own mixes), the Mixhalo app allows fans to listen through headphones to audio direct from the soundboard – ie the mix artists hear in their in-ear monitors – rather than through speakers, for improved sound quality.

“Mixhalo envisions a world where everyone experiences great live audio, regardless of their seat or ticket cost”

The platform also allows artists and concert organisers to offer multiple mixes for a single concert, or feeds from multiple festival stages, allowing users to tailor their concert experience to them.

Mixhalo CEO Marc Ruxin says the company is “definitely solving a problem in music that people don’t realise they have”, comparing it to watching television in the pre-HD age. “Now, sports that’s not in HD looks crappy,” Ruxin explains.

Mixhalo has been deployed at shows by Charlie Puth, Incubus and Metallica, as well as Aerosmith’s current Las Vegas residency, Deuces are Wild.

Ruxin tells TechCrunch he is currently focused on music and sports, but is also open to other working with other sectors, as the technology can also installed in, for example, a theatrical musical with “no technical tweaks.”

“Mixhalo envisions a world where everyone experiences great live audio, regardless of their seat or ticket cost,” comments Ruxin. “We are democratising sound at live events.”

 


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Live Nation to take over Superfly’s Bonnaroo share

Live Nation, which has had a controlling interest in Tennessee-based Bonnaroo Music and Arts Festival since 2015, has announced its intention to buy out the rest of the festival from its co-founder Superfly.

According to Billboard, Live Nation told Bonnaroo minority owners of its plans to exercise a buyout and purchase the rest of the festival.

The transaction will take place before next year’s festival. Although it is believed that a limited role for Superfly is being considered, the company will no longer have a hand in organising the festival, say reports.

Bonnaroo will now be produced by Live Nation-owned C3 Presents and AC Entertainment, which co-founded the festival along with Superfly in 2002 and was acquired by Live Nation in 2016.

Bonnaroo will now be produced by Live Nation-owned C3 Presents and AC Entertainment

The biggest camping festival in North America, this year’s Bonnaroo festival sold out all 80,000 tickets in its first sell-out since 2013. Childish Gambino, Post Malone and Phish headlined the event, which took place from 13 to 16 June in Great Stage Park, Manchester.

Superfly had been hired to produce this year’s Woodstock 50 event but pulled out of the anniversary festival in May, after the Woodstock team lost the backing of its investor.

In 2018, its Phoenix-based festival Lost Lakes was cancelled and in January, the company announced it was not putting on another edition of Denver’s Grandoozy festival.

Superfly also co-produces Outside Lands festival in San Francisco with promoter Another Planet.

 


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ILMC 31: Festival Forum: Fan First?

Chair Codruta Vulcu of Romania’s Artmania festival welcomed the session as co-chair Dany Hassenstein from Switzerland’s Paléo festival offered some facts and figures relating to the state of play.

“The good news is that most people still go to festivals for the music,” said Hassenstein, “but as ticket prices are rising, fans are beginning to voice their concerns.”

ICM Partners’ Ari Bernstein, the sole agent on the panel, stated that “the experience of the audience is first and foremost the most important thing,” in terms of retaining customer loyalty. The agent added he would like to see “fewer multi-genre festivals” to vary the types of artists appearing on festival line-ups.

Jim King of AEG Presents spoke of the highly developed UK festival scene, stating that there is now limited growth in terms of procuring bigger headliners. “It comes down to experience at this point,” said the All Points East and BST Hyde Park promoter. “We need to add as much value to the festival experience as is justifiable.”

Talk turned to catering festivals to different cultural markets, a topic of which C3 Presents’ Sophie Lobl has experience. “We definitely tailor Lollapalooza to the country it’s in, whilst keeping it to the level expected of our brand,” explained Lobl.

“We need to add as much value to the festival experience as is justifiable”

However, in Spain, said Nara Pinto of Mad Cool festival, fans value line-up over experience. “We’re struggling with the experience side of things,” she admitted. “We create that bond with the public through our line-ups.”

King described the key to enhancing any festival experience, saying that “the basics of any event are the critical part,” and stressing that finding, entering and navigating around a festival has to be simple for the fan. “If that fails, then everything else fails.”

Crisis management became the topic of conversation, as Pinto outlined the need for communication in times of difficulty, “people need to know what’s going on.”

The panel moved away from the focus on fans to explore the subject of artists, and how to contend with ever-rising fees. Block-booking an act for multiple events “helps to secure the bands but not to save money,” said Lobl, as panellists agreed that festivals remain line-up driven in essence.

“That’s never going to change,” said King. “Even the best experiential festivals have a lifespan.”

 


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Live Nation’s C3 brings Piknic Électronik to Texas

Canadian-born electronic music festival Piknic Électronik will make its stateside debut next month in partnership with C3 Presents.

Described as a “unique two-day picnic in the park with electronic live music, local food and drink, family-friendly activities and immersive, social experiences”, the inaugural Piknic Électronik Austin will be held in Austin, Texas, park Auditorium Shores on 27–28 October.

Music will be an “eclectic mix of techno, house and disco, showcasing 12 national and local artists on two stages”, with a full line-up to be announced in the coming weeks. Day tickets are priced at US$15 from Front Gate Tickets.

“Austin is the perfect city for our first ever Piknic Électronik on American soil”

Originating in Montreal in 2003, Piknic Électronik events have also been held in Barcelona, Lisbon, Melbourne, Santiago (Chile) and Dubai. The flagship event is a summer-long series which last year ran from 21 May to 24 September, with Seth Troxler, the Black Madonna, Nicole Moudaber and Vincent Lemieux among the DJs performing.

“Austin is the perfect city for our first ever Piknic Électronik on American soil,” says CEO and founder Pascal Lefebvre. “With its world-renowned vibrant cultural scene and its reputation as a particularly festive and inviting city, it is a perfect fit for our brand and C3, a particularly great partner to build it with.”

Live Nation also organises the Austin City Limits festival in Austin, and recently acquired a majority stake Austin-based promoter ScoreMore shows, which owns and operates three festivals of its own.

 


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