x

The latest industry news to your inbox.


I'd like to hear about marketing opportunities

    

I accept IQ Magazine's Terms and Conditions and Privacy Policy

ESNS 2024: Touring heads unpick ‘new normal’

Leading European live executives have advised that ticket pricing is “more important than ever” as the business navigates its current challenges.

The subject was pored over during today’s Touring In ’24: Are There Bumps In The Road? session at the Eurosonic Noorderslag (ESNS) conference in Groningen, the Netherlands.

Moderated by IQ MD Greg Parmley, the panel featured agents Beckie Sugden of CAA and UTA’s Carlos Abreu, as well as Mojo Concerts head promoter Kim Bloem and FKP Scorpio CEO Stephan Thanscheidt.

Netherlands-based Bloem reported the market appeared in rude health at all levels from her viewpoint.

“Tickets are flying out,” said Bloem. “It’s not just the blockbuster shows, it’s the club shows too. We’re not struggling.”

Thanscheidt, who is based out of Germany and is also FKP’s head of festival booking, painted an overall positive if more mixed picture.

“We have so many artists touring. But there are also shows that are not doing so well. It depends on demographics, genre and level of act”

“As a company, we don’t have a problem,” he said. “We have so many artists touring. But there are also shows that are not doing so well. It depends on demographics, genre and level of act.”

Sugden, whose roster includes artists such as Anderson .Paak & The Free Nationals, GloRilla, Noname, Chronixx, implied it was a constant work in progress.

“It’s a supply and demand market,” she said. “As agents, we have to make sure artists aren’t touring too much. And they’re going to other regions. It’s a constantly changing and dynamic market.”

Thanscheidt argued that show calculations were “more challenging and complicated than before”, triggering a debate around the impact of rising costs on ticket prices.

“Getting ticket prices right is more important than ever,” stressed Abreu, who works with the likes of Rosalía, Bad Bunny, Anitta, Morad, Tokischa and Ayra Starr. “There are also creative ways to structure deals with artists who are looking to do meet and greets or VIP packages, etc. You have to understand the demographic you’re selling to.”

Sugden said it was necessary to analyse the market “with forensic detail and check that your ticket prices are competitive”.

“It’s the perfect storm. Everyone’s prices are increasing”

“VIP doesn’t work in every market, so you have to know what works for each market,” she added. “It’s the perfect storm. Everyone’s prices are increasing. But actually with K-pop fans, they’re willing to stick their hands in their pockets. In times of crisis, people want to be entertained.”

Bloem felt the business has been “timid” regarding raising ticket prices in the past and felt the present level of demand indicated there was room for an increase.

“Given how fast tickets are selling, I think we can increase,” she said. “We added €30 to festival tickets this year, but festival tickets can’t be pushed too quickly.”

“This is a real problem,” advised Thanscheidt. “We had sold out festivals but the margins were complete shit. It’s getting better now but you still see festivals struggling.

“Ticket prices are at the limit. Some festivals overpriced and had only 70/80% of their usual audience, which German promoters know is terrible.”

The conversation then turned to dynamic pricing, with Abreu noting it had become “the norm” in the US. “It’s the way the world is going.” he added.

“We have to think differently about how we approach first steps for artists”

Thanscheidt appeared open-minded about the prospect, but pointed out that the European industry was still some way behind its US counterpart in terms of adoption. “I think it will take time but all sauces that can add to the pot,” he said.

In closing, the panellists shared their thoughts on keeping tickets affordable for fans. Thanscheidt brought up the concept of ‘social tickets’, where a small portion of tickets are available to unwaged citizens for a lower price.

“I had a show recently where the artist did a collection after the concert and the artist ended up tripling the guarantee,” responded Sugden. “We’re getting more creative. We’ve got to keep creative with the club scene. We have to think differently about how we approach first steps for artists.”

Abreu added that some artists could afford to do underplays to “give back” to their fans, but accepted it wasn’t always possible.

“We need to think in career terms for artists,” he concluded. “Not just ‘what do we want to make on this next tour’. It’s about where are we going to be in five years.”

ESNS, which recently appointed Anna van Nunen as its new general manager, wraps up its 2024 edition tomorrow. The event also featured the 2023 European Festival Awards. Check out the winners here.

 


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.