Indie Champs 2024: evenko, Greenhouse Talent & more
To celebrate the hard work of the numerous independent operators that make the live entertainment industry such a vibrant – and growing – business worldwide, IQ is publishing its inaugural Indie Champions list.
Our shortlist of 20 companies were chosen by the IQ readership and have headquarters across 11 different nations but service live events the world over, thanks to their various satellite offices and the artists and partners they work with.
The Indie Champions will become an annual staple of IQ, so if your company did not make it onto this year’s debut list, fear not, as you have a full ten months to prove your credentials to friends, colleagues, and business partners ahead of next year’s nomination process.
IQ will continue to publish entries across all categories over the coming days, and you can find the whole cohort in the latest edition of IQ here. Find part one, which includes Alter Art, Crosstown Concerts and more, here.
evenko (CA)
One of Canada’s largest independent promoters, evenko produces nearly 1,600 music, family, and sports events throughout Quebec, the Atlantic provinces, and the eastern United States on an annual basis. Its key events include hugely successful music festivals OSHEAGA Music and Arts Festival, FUEGO FUEGO, îLESONIQ, and LASSO Montréal, while throughout the year, the company regularly presents shows by Disney on Ice, Cirque du Soleil, and several Broadway shows.
In 2024, evenko’s four festivals attracted more than 270,000 music lovers of all genres – îLESONIQ (55,000), OSHEAGA (147,000), FUEGO FUEGO (35,000), and LASSO Montreal (35,000) – while the company also promoted shows by the likes of Madonna, Burna Boy, Olivia Rodrigo, Andrea Bocelli, Noah Kahan, Snoop Dogg, Missy Elliott, Charli XCX, Troye Sivan, Cyndi Lauper, Justin Timberlake, and Sabrina Carpenter. It will round off the year with performances by Bruce Springsteen, Iron Maiden, Cirque du Soleil, Sebastian Maniscalco, and Russell Peters.
Legendary acts such as Green Day, the Smashing Pumpkins, and Justice appeared as part of the lineup for OSHEAGA’s 17th edition
The company’s festival lineups in 2024 included acts like SZA, Chappell Roan, Maluma, Noah Kahan, Sam Hunt, Tiësto, Rauw Alejandro, and Eric Church, while legendary acts such as Green Day, the Smashing Pumpkins, and Justice appeared as part of the lineup for OSHEAGA’s 17th edition.
Jelly Roll and Bailey Zimmerman are set to headline the fourth edition of LASSO Montréal country music festival next August, and the company will promote shows by Kylie Minogue, Jerry Seinfeld & Jim Gaffigan, Heart, Kane Brown, and more at Montréal’s Bell Centre in the coming year.
Fource (CZ)
Anthony Jouet founded Fource in 2011, after finding himself working in Prague as a consultant in-house promoter at the city’s O2 Arena. “I felt there was a gap in the market, but I was frustrated to be tied to arena shows, so I told my boss, Jacob Smid, and between us we set up Fource to specialise in artist development,” he explains.
The idea was a success and, in 2017, Fource opened a second office in Warsaw, Poland.
“Our business model is based on artist development. So usually, we begin at club level with the artists that we decide to work with. And then we develop them in the market and work with all the possible venues in town up to arena level. 95% of what we do is promote shows.”
“It was very important that we are accountable for everything that we do”
Jouet’s approach to artist development is taking everything in-house. “We have our own ticketing [team], we do our own production, and we have our own marketing team, rather than doing what other players do here, which is relying on venues to promote their shows. For me, it was very important that we are accountable for everything that we do.”
Now employing eight people in Prague and five in Warsaw, the organic growth of Fource sees the company now promoting around 100 shows a year in Czechia and 80 in Poland.
Gérard Drouot Productions (FR)
Founded by Gérard Drouot in 1986, Gérard Drouot Productions (GDP) has become a pillar of concert production in the French music industry, while its name is recognised, appreciated, and trusted by artists and their fans all over the world. Now run by the late founder’s son, Matthieu, the company remains fiercely independent through its continual desire to renew itself and to approach each tour and event as a unique project, requiring creative marketing and promotional strategies.
As a lover of jazz, Gérard Drouot quickly added rock and pop, and more recently, rap, to the company’s portfolio, while film concerts have also become a speciality.
Despite the death of Gérard in 2022, GDP has a bright future ahead of it
GDP’s reputation revolves around relationships built on trust, offering artists opportunities to go beyond the norm to produce memorable performances, be they in a 400-seat venue or at the massive Stade de France. Despite the death of Gérard in 2022, GDP has a bright future ahead of it, with Matthieu Drouot overseeing 600 shows per year, including a raft of upcoming shows whose eclectic range is emphasised by the likes of Fally Ipupa, Frank Turner & The Sleeping Souls, Shaârghot, The World of Hans Zimmer, Cradle of Filth, and Laura Pausini.
Greenhouse Talent (BE)
Founded by Pascal Van De Velde in 2005, Greenhouse Talent has become the largest indie concert promoter in Benelux, with 50 employees across Belgium and The Netherlands organising around 1,500 events annually for 1.5m fans. Van De Velde’s promoting career began when he was a teenager, and his pathway to launching Greenhouse saw him working for Belgian independent Make It Happen before that became part of the SFX/Clear Channel/Live Nation stable in 2001, where he worked as a consultant before creating his own operation.
“We promote international and domestic shows, we are a booking agency, and we organise festivals, comedy, and family shows,” says Van De Velde. “We do it all: production, marketing, admin, legal, and ticketing; and our mission is to remain talent-driven and participate in the growth process of our artists, based on a personal approach tailored to the artist’s career demands.”
“We do it all”
Among the company’s cornerstone events are Gent Jazz (57,000 attendees in 2024) and Netherlands events such as Zuiderpark Live (25,000), Spoorpark Live (22,500), and Country to
Country festival (10,000).
Looking ahead, Greenhouse has sold more than 200,000 tickets for a series of 40th anniversary shows for Clouseau at the Sportpaleis in Antwerp, and two sold-out shows with Nick Cave & The Bad Seeds at the same venue. And in the Netherlands, the company will host UB40 at Ziggo Dome, Fally Ipupa at RTM Stage, NCT Dream at Rotterdam Ahoy, Max Richter at Carré, and Kaleo at AFAS Live before the end of this year.
Karsten Jahnke Konzertdirektion (DE)
The company was officially founded in 1962 by Karsten Jahnke, who finally turned his hobby of promoting concerts into a business. These days, it offers touring services in Germany, Austria, and Switzerland, as well as local shows in Hamburg, including, for the past 49 years, Stadtpark Open Air from mid-May to mid-September.
The company is involved in festivals like Reeperbahn, MS Dockville, Spektrum, Habitat, Vogelball, Elbjazz, Überjazz, and Baltic Soul Weekender. Touring clients include The Cure, Beck, Childish Gambino, BLACKPINK, ATEEZ, Branford Marsalis, Cypress Hill, Diana Krall, Gianna Nannini, Gregory Porter, Erasure, Herbie Hancock, Ludovico Einaudi, Nils Landgren, Portishead, Royel Otis, Taylor Swift, Thundercat, Tower of Power, Sasha Velour, Walk off the Earth, Trixie & Katya, Van Morrison, and Wu-Tang Clan.
It offers touring services in Germany, Austria, and Switzerland
With a staff of 50 employees, this year, the company promoted two shows with Taylor Swift at Hamburg’s Volksparkstadion; tours with Joss Stone, Diana Krall, Sean Paul, Cypress Hill, Birdy, Garbage, Kaleo, Childish Gambino, Gianna Nannini, Gregory Porter, and Tower of Power, amongst many others; around 1,200 shows in the GAS region; and 350-400 shows in Hamburg each year.
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Arthur Fogel: ‘We haven’t hit peak touring by any measure’
Arthur Fogel, Live Nation’s chairman of global music and president of global touring, has spoken to IQ’s Global Promoters Report 2024 about the evolution of the business.
Known for building the planet-spanning industry we see today, Fogel’s regular clients include Beyoncé, Sting, Madonna, Peter Gabriel, and Lady Gaga.
Having started his promoting career at a Toronto club called The Edge, he joined Michael Cohl’s Concert Productions International (CPI) in 1981. Just a few short years later, he was behind The Rolling Stones’ 1989 Steel Wheels Tour, which spanned 20 countries, grossed $170m, and became the biggest tour of all time (at the time).
Since then, he’s organised top-grossing tours such as Madonna’s 2008-2009 Sticky & Sweet Tour, U2’s 360° Tour from 2009-2011 and Beyoncé’s Renaissance World Tour in 2023. He was even involved with one of the game-changing shows of recent years – U2’s residency at The Sphere in Las Vegas.
Fogel shared his perspective on the future of global touring in an extensive interview with GPR editor James Drury.
“I think next year is going to be another banner year”
“We’re just on our way,” he says. “I don’t think we’ve hit a peak by any means. There are still other parts of the world to open up. There’s no end to the accessibility that people have to artists and music, and so I think that it will continue to develop and will get stronger than it currently is.
“If you look broadly over the period of coming out of Covid, I think what we’ve all seen is the development of multiple new genres and a new generation of fans, and it’s all led to a perfect storm of a very healthy business that shows no signs of slowing down. That’s great for all of us. Can it get a bit crowded at times in certain places? Yes. There’s certainly a very high volume of activity, but at the end of the day, I think that certainly the top end of the business has hit a level that I don’t think any of us could have imagined. It’s really quite astounding. It’s a testament to how our world has embraced live shows and the ease of which that can be accessed around the world.
“Last year, the stadium-level activity was unprecedented. This year, there’s been a bit of a decrease in terms of stadium volume, but the arena-level volume is extremely, extremely high. Looking to 2025, I think it will shift back to unprecedented levels of stadium business globally. But at the same time, I don’t really see the arena business falling back particularly, so I think next year is going to be another banner year.”
Fogel also shared his perspective on dynamic pricing, new touring territories and the top end of the business.
Read the full interview in the Global Promoters Report 2024, available in print, digitally, and on this dedicated year-round mini site. A preview version is below.
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Live Nation to build 50k-cap open-air stadium
Live Nation Canada plans to open a new open-air, seasonal stadium in Toronto next summer.
At 50,000-capacity, the new Rogers Stadium on the former Downsview Airport will be the biggest purpose-built concert venue in the country.
In a press conference this morning, Live Nation said it expects the stadium to host 12–15 performances a year but that it will not be home to a sports team, nor will it be open during the winter.
The stadium will have a limited life as the site will be transformed into residential housing in the coming decades, though the developer declined to share the length of Live Nation’s multi-year lease.
The temporary stadium will boast 30,000 seats and a removable stage, allowing big-name artists to bring in their own customised stages.
“In a global touring market, artists have a lot of choices, and we need to make sure we’re not missing out on anything in Toronto”
Live Nation says the new development will build on the demand for stadium-level tours in Toronto, which is Canada’s most populous city and one of the biggest concert markets for major touring acts in North America.
“In a global touring market, artists have a lot of choices, and we need to make sure we’re not missing out on anything in Toronto,” said Erik Hoffman, Live Nation Canada’s president of music, at the conference.
Live Nation will continue to host summer concerts at Toronto’s Rogers Centre, which is also named after Canadian media giant Rogers Communications.
The Downsview site has a long history of hosting live music events, including the 2003 benefit concert Molson Canadian Rocks for Toronto concert (aka SARSstock) which featured Rolling Stones, Rush and AC/DC.
The site has also been home to festivals such as Veld and Riot Fest, and was the site of the 2012 stage collapse that killed Radiohead drum technician Scott Johnson.
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Music Glue shares D2F ticketing goals
Music Glue head of business development Marion Sosnowicz has hailed the growth of direct-to-fan ticketing following successful tie-ins with acts such as Enter Shikari, Gerry Cinnamon and James Blunt.
The e-commerce platform and self-styled “one-stop shop” has offices in the UK, Canada and Australia, and helped British rock band Shikari to their first-ever chart-topper last year with their seventh studio album A Kiss for the Whole World.
“Fans could preorder the album to get the access to the ticket presale for their underplay tour in early 2023 and arena tour in late 2023,” Sosnowicz tells IQ. “Seventy percent of their album sales were through their Music Glue store, with the album reaching #1 in the UK charts in April 2023.
“We also ran the same presale mechanism for James Blunt and his latest album, where we sold tickets for his arena tours in the UK and Europe. We have worked on the campaign for the reissue of his first album this year as well, where we tied in the announcement with the ticket fan presale. We’ve found it is always a great way for artists to increase their sales significantly.”
The company started doing direct-to-fan ticketing back in 2007 and prides itself on providing artists and their teams with control over their ticketing, as well as low booking fees. Clients have the option of selling tickets for their shows on their own store, powered by Music Glue, without using third-party ticketing websites.
Successful worldwide partnerships over the last couple of years have included Mitski, Gerry Cinnamon, Bear’s Den, Yard Act, Sleaford Mods, Self Esteem, Nation of Language, James Marriott, Fat Dog, Within Temptation, Villagers and Pigs Pigs Pigs Pigs Pigs Pigs Pigs.
“The most precious and important relationship is between the artist and their fans”
“I believe artists and their teams see an opportunity to build a connection with their fans and show that they care about them,” says Sosnowicz. “It’s important for them to make sure the experience to purchase tickets is as seamless as possible, so buying tickets direct from the artist’s store helps. The most precious and important relationship is between the artist and their fans, and we, as a company, will always fight very hard to protect that.
“We have the expertise and technology to deliver the best fan-friendly solution and help artists to show that they care about their fans and give them the best customer experience.”
Music Glue, which recently launched an online marketplace called Venndr where acts can sell their tickets, music, merchandise and fan club memberships, is currently working on an improved ticketing app, as well as a new integration with AXS.
“Our e-tickets are and have always been compatible with all venues’ scanning equipment, but we are also working on an integration with AXS where Music Glue customers get AXS tickets sent to them directly,” explains Sosnowicz. “New features will also include a waiting list, competition tickets, and fan resale.”
She adds: “I would like to get hundreds more bands on our new platform. We are looking to do more and more ticket presales worldwide – UK, Europe, North America – and sell thousands of tickets. The ultimate goal is to get bands to use Music Glue and power all elements of their artist’s online presence from a single location.”
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Shawn Mendes returns to live with intimate shows
Canadian pop star Shawn Mendes is returning to the road with a series of intimate theatre shows in the UK and the US.
The 25-year-old singer-songwriter has announced six “special” concerts in August and October at theatres in Woodstock, London, Nashville, Brooklyn, Los Angeles, and Seattle.
The For My Friends And Family Only outing will see Mendes perform his upcoming album Shawn (due on 18 October) from start to finish.
It will kick off at Bearsville Theater in Woodstock (NY) on 8 August, marking his 26th birthday and the release of the first two singles from Shawn, Why Why Why and Isn’t That Enough.
He’ll take the stage at Theatre Royal Drury Lane in London the following week, and then Nashville’s Ryman Auditorium, Brooklyn’s Brooklyn Paramount, Los Angeles’ The Ford, and Seattle’s Paramount Theatre in October.
Aside from the 500-capacity Bearsville Theatre, all the venues range between 2,000 and 3,000 capacity – a major departure from his previous tours, the majority of which have been extensive arena runs.
“Music really can be medicine. Two years ago I felt like I had absolutely no idea who I was”
“I wanted the first shows back to be special and to play this album for you live in the places we recorded it,” Mendes wrote on Instagram. “I’ve never played an album top to bottom before but it’s already one of my favourite shows I’ve ever rehearsed.”
The intimate outing sees Mendes return to the stage for the first time since cancelling his world tour in 2022 to prioritise his mental health.
Wonder: The World Tour was due to span 87 shows across the US and Europe but the pop star called it quits after just seven shows.
Referring to the cancellation in his Instagram post, Mendes added: “Music really can be medicine. Two years ago I felt like I had absolutely no idea who I was. A year ago I couldn’t step into a studio without falling into complete panic. So to be here right now with 12 beautiful finished songs feels like such a gift.”
Fans will be randomly selected for the opportunity to buy tickets to the For My Friends And Family Only tour after signing up for registration. Those looking to attend the London show will have to pre-order the new album via Mendes’ official UK web store.
Shawn Mendes is represented by Nick Matthews at Wasserman Music in Europe and Matt Galle at CAA for the rest of the world.
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LGBTIQ+ List 2024: Chris May, BC Place Stadium
The LGBTIQ+ List 2024 – IQ Magazine’s fourth annual celebration of queer professionals who make an immense impact in the international live music business – has been revealed.
The ever-popular list is the centrepiece of IQ’s fourth Pride edition, sponsored by Ticketmaster, which is now available to read online and in print for subscribers.
To get to know this year’s queer pioneers a little better, we interviewed each of them on the development of the industry, the challenges that are keeping them up at night and more.
Throughout the next month, IQ will publish a new interview each day. Catch up on yesterday’s interview with Caterina Conti (she/her), an operations manager at 432 Presents in Glasgow, Scotland.
The series continues with Chris May (he/him), general manager at BC Place Stadium.
Chris May, general manager at BC Place Stadium in Vancouver, has more than 15 years of dynamic leadership experience in global event management. With a diverse portfolio ranging from live concerts, musicals, and TV telethons to overseeing international touring logistics, May has overseen the successful execution of events on six continents, welcoming millions of guests.
Since joining BC Place, May has been instrumental in driving its growth and diversification. Notable highlights include securing the stadium as a host venue for FIFA World Cup ’26, setting new records for the most concert nights in a year at BC Place and the most attended concert ever with Ed Sheeran’s Mathematics Tour in September 2023, and most recently, the launch of Coast City Country Festival in collaboration with Live Nation.
Tell us about the professional feat you’re most PROUD of in 2024 so far.
This April we launched our first-ever country music festival, Coast City Country, right in the heart of downtown Vancouver. Hosting 50,000 attendees daily with an indoor-outdoor experience (not to mention, during the festival off-season), was a huge achievement and no small feat. Extraordinary collaboration between our stadium team and Live Nation is what made it possible.
“My job is to create space and amplify the voices of those who don’t have the level of privilege I do”
Your colleagues in the international live music industry have praised you for being a “fantastic ally” for LGBTIQ+ people. What does that allyship look like?
For me, being an ally to the LGBTIQ+ community is about recognising my privilege within this community as a cis-gendered white individual. It’s about leveraging that privilege to carve out space and extend support to those within our community who face systemic challenges. My job is to create space and amplify the voices of those who don’t have the level of privilege I do. My role is not to determine the path of our community, it’s to ensure that people who have had a more challenging journey than me are leading the way and I’m supporting them in the best way I can, and they want.
What’s your most pressing challenge in the industry at the moment?
Our foremost challenge is in advocating for ourselves. Secondly, reshaping perceptions of our stadium. And importantly, finding a way to do these things through a lens of diversity, equity, and inclusion, while embracing the principles of Truth and Reconciliation as a venue located on the traditional Coast Salish territory of the xʷməθkwəy̓əm (Musqueam), Skwxwú7mesh (Squamish), and Səl̓ílwətaʔ/Selilwitulh (Tsleil-Waututh) Nations. Truth and Reconciliation involves confronting historical injustices and fostering healing and understanding among communities. In our context, it means acknowledging and addressing past wrongs and working towards a more equitable and inclusive future.
“We all need to work together to develop what’s next and continue fostering a vibrant industry and ecosystem… This collaboration not only nurtures fresh talent but also opens doors for diverse experiences and perspectives to flourish”
How do you see the live music business developing in the next few years?
As the stadium business booms, it’s important that we aren’t losing focus. I aspire to be part of an industry where the big dogs are champions for emerging talents and venues. We all need to work together to develop what’s next and continue fostering a vibrant industry and ecosystem. Imagine a scenario where established venues, promoters, and investors actively engage with emerging talents, smaller venues, and grassroots initiatives. This collaboration not only nurtures fresh talent but also opens doors for diverse experiences and perspectives to flourish. It’s about creating beneficial partnerships where each player contributes to the growth and evolution of the industry. Without a focus on development, there won’t be a foundationally secure industry in the future.
Name one thing the industry could do to be a more equitable place.
In North America, the industry has serious work to do in making sure folks with accessible needs get fair treatment from start to finish when attending a show. It starts with ticket buying – right now in North America, accessible tickets are generally available for any guest to purchase – we need to ensure accessible tickets are reserved exclusively for those who need them. The next step is enhancing the overall stadium experience to cater to diverse needs. In September 2023, we hosted Coldplay for two nights on their Music of the Spheres World Tour, and their accessible seating options, focus on sustainability, and commitment to diversity and accessibility set an inspiring example for all of us.
“The Vancouver Pride Parade and Festival is my favourite queer space and event, and it holds a special place in my heart — it makes me proud to call Vancouver home”
Is there a queer act you’re itching to see live this year?
I can’t wait to catch another Orville Peck show. It’s been a couple of years since I last saw him perform, and he has a strong Vancouver connection (in addition to being all-around fabulous).
Do you have a favourite queer space/venue in British Colombia or Canada?
The Vancouver Pride Parade and Festival is my favourite queer space and event, and it holds a special place in my heart. Being one of the largest celebrations in the country, the whole city comes alive in early August. It makes me proud to call Vancouver home.
How do you celebrate pride?
Professionally, we celebrate by participating in the parade, and through our Pride Pit Stop patio party, which we run alongside the Pride Festival at the finish line for the parade (located right at our stadium). Personally, my husband and I, along with our 7-year-old son, host an annual pride brunch. From 7am to noon on parade day we host 50+ people, complete with a mimosa bar and Caesar bar (the Canadian Bloody Mary, for those who are wondering).
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Mayhem Fest to return for first time since 2015
Touring heavy metal festival Mayhem is to return this year as a one-off event, prior to a full-scale comeback in 2025.
The festival was last held in 2015, with a planned 2020 return ultimately shelved due to Covid, but has now been confirmed for 12 October at the 65,000-cap Glen Helen Amphitheatre in San Bernardino, California, US.
Presented by Hit Parader in partnership with Live Nation, it will be headlined by Bad Omens and feature the likes of Parkway Drive, Architects, Jinjer, Poppy Kittie, August Burns Red, Seven Hours After Violet, We Came As Romans, Suicide Silence, After The Burial and Throwdown.
Also announced are Born Of Osiris, Mothica, Hanabie, Peyton Parrish, Darkest Hour, Unearth, Brutus, It Dies Today, EscuelaGrind, Holy Wars and Roman Candle.
“Thank you to all of the artists who have brought this back to life with us”
“Thank you to all of the artists who have brought this back to life with us,” says a social media post from organisers, who plan to resurrect the event as a touring festival from summer 2025.
Mayhem, which previously comprised up to 30 tour dates at arenas and amphitheatres across the US and Canada, was created by Vans Warped Tour founder Kevin Lyman and is now being headed up by Hit Parader owner Ash Avildsen, CEO of Sumerian Records.
First staged in 2008, the festival has starred bands including Slipknot, Disturbed, Marilyn Manson, Killswitch Engage, Korn, Rob Zombie, Megadeth, Slayer, Motörhead, Avenged Sevenfold and Trivium.
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LGBTIQ+ List 2024: This year’s queer pioneers unveiled
IQ Magazine has revealed the LGBTIQ+ List 2024 – the fourth annual celebration of queer professionals who make an immense impact in the international live music business.
The list is once again the centrepiece of IQ’s annual Pride edition, sponsored by Ticketmaster, which is now available to read online and in print for subscribers.
The 20 individuals comprising the LGBTIQ+ List 2024 – as nominated by our readers and verified by our esteemed steering committee – are individuals that have gone above and beyond to wave the flag for an industry that we can all be proud of.
The fourth instalment comprises agents, promoters, venue directors, bookers, consultants, sustainability experts, talent buyers, managers and sound engineers from across the world.
In alphabetical order, the LGBTIQ+ List 2024 is:
Anna Sjölund, EU programming director, ASM Global (SE)
Ary Maudit, sound engineer/producer, RAK Studios/Strongroom/Saffron Records (UK)
Buğra Davaslıgıl, senior talent buyer, Charmenko (TR)
Caterina Conti, operations manager, 432 Presents (UK)
Chris May, general manager, BC Place Stadium (CA)
Dustin Turner, music marketing agent, music touring, CAA (US)
Emma Davis, general manager/agent, One Fiinix Live (UK)
Gwen Iffland, senior marketing & PR manager, Wizard Live (DE)
Jason Brotman, founder, Five Senses Reeling (US)
Joona Juutilainen, Booking Assistant, Fullsteam Agency (FI)
Luke Mulligan, director, Circa 41 (AU)
Paul Lomas, booker, WME (UK)
Pembe Tokluhan, production/founder/diversity consultant, Petok Productions (UK)
Priscilla Nagashima, VP of engineering, DICE (UK)
Rhys France, corporate & private events booker, CAA (UK)
Rivca Burns, acting head of music, Factory International (UK)
Ross Patel, green impact consultant & board member, LIVE/MMF (UK)
Sam Oldham, venue director, The O2 (UK)
Sam Booth, director of sustainability, AEG Europe (UK)
Zoe Maras, founder & artist services, Joyride Agency (NZ)
Throughout Pride Month (June), IQ will be publishing full-length interviews with each person on the LGBTIQ+ List 2024.
However, subscribers can read the full Pride edition now. Click here to subscribe to IQ from just £8 a month – or see what you’re missing out on with the limited preview below.
Check out previous Pride lists from 2023, 2022 and 2021.
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Canada doubles annual budget for festivals
Canada’s performing arts festivals will benefit from CA$31 million (€21m) in federal funding across the next two years.
The aid, which will be distributed via the Canada Arts Presentation Fund (CAPF), is nearly double the current annual supplementary funding for the programme, which has received $8 million per year since 2019.
This aid benefits nearly 1,600 organisations in every province and territory and contributes to sustaining 78,000 cultural jobs.
A portion of the new funding is already earmarked for festivals including Montreal circus festival La TOHU, Montreal dance and theatre event Festival TransAmériques, the Vancouver Fringe Festival, Quebec’s Sherbrooke Film Festival and Festival des traditions du monde.
“The CAPF increase will provide partial, yet essential, relief and is another step in the right direction”
The Canadian Live Music Association (CLMA), which has been advocating for an increase in the fund, welcomed the news. “We would like to thank the government for its recognition of the pressure our industry is under,” said CLMA president & CEO, Erin Benjamin. “The CAPF increase will provide partial, yet essential, relief and is another step in the right direction.
“We also hope the Canada Music Fund (CMF) increase, announced on 24 March, will directly address pressures the commercial side of the live music industry is facing, especially independent live music venues. Together, these increases represent a critical opportunity for Canada’s touring infrastructure, and will have immediate impact for artists, tourism and the future of live music across the country.”
CLMA is part of the #FutureOfLive coalition, a collective of 34 performing arts associations, that has been drawing attention to the difficult circumstances in the performing arts industry.
The budget also confirmed the government’s previous announcement of a $32 million annual increase to the Canada Music Fund, which CLMA had campaigned for alongside other music organisations like CIMA and SOCAN.
The Canada Music Fund supports the granting bodies FACTOR and Musicaction, which provide assistance for recording, marketing, touring and more.
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Canadian live industry calls for urgent support
The Canadian Live Music Association (CLMA) is calling on the government to provide emergency support for endangered venues, festivals and events.
In advance of next month’s federal budget, the group warns that independently-operated and non-profit venues and festivals continue to endure a host of challenges – to the detriment of emerging talent.
“These stages are key to artist development and growth, and the urgency has never been greater for these small businesses and organisations as they endure ongoing impacts of the pandemic and rising inflation,” says the CLMA. “Cost of goods and services have nearly tripled, and labour shortages and supply chain issues compound to threaten the ability of many to remain operational.
“Without smaller spaces for artists to grow, the sustainability of Canada’s live music sector is uncertain. So too are the well-known benefits to tourism, job creation, private sector investment, and access to artistic performances that improve our mental and physical well-being, and change our lives.”
“The future of live music and live performance, and the careers of artists, are at great risk”
Canada’s national industry association is appealing to the federal government to increase funding through the Canada Music Fund, the Canada Arts Presentation Fund (CAPF) and the Building Communities through Arts and Heritage (BCAH) programme as part of the 2024 budget.
“By taking action today, the federal government can help to ensure our sector can continue to help support artists – especially emerging artists – provide places for musicians to perform, create transformative experiences for audiences, and confidently impact all Canadians – economically, socially and culturally,” adds the organisation.
“The future of live music and live performance, and the careers of artists, are at great risk. The CLMA cannot stress enough. Now is the time for this government to address these three vital programmes with permanent funding increases.”
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