International ticketing firm PLG has bolstered its presence in the Czech Republic with the purchase of Ticketstream in collaboration with its Czech partner, GoOut.

The deal grows Estonia-hailing PLG’s presence in Central Europe while taking its Czech market share to 34%, according to board chair Sven Nuutmann.

PLG, which was known as Piletilevi Group prior to rebranding at the start of 2025, says it is the leading ticket sales platform in the Baltic States and is the largest ticket sales operator in Central Europe, with operations in Estonia, Latvia, Lithuania, Romania, the Czech Republic, Slovakia and Poland.

“Our goal is to bring the market leaders in ticket sales from different countries under one strong international network to offer customers a broad and high-quality range of services,” says Nuutmann. “Our aim is to achieve a market leader position in all our markets, through which we can offer the most effective sales channel for organisers.

“We continue to implement our strategy and are preparing for several more transactions. For this, we are also raising new capital from foreign markets.”

“The acquisition of Ticketstream, is just one example of the fruitfulness of our cooperation”

Nuutmann describes Lukáš Jandač, chair of GoOut – which was acquired by PLG in 2023 – as an “excellent partner”

“Over the two years we have worked together towards a common goal,” he adds. “His commitment and vision have helped achieve remarkable results. Our first joint investment, the acquisition of Ticketstream, is just one example of the fruitfulness of our cooperation and proves that together we can implement even larger projects.”

Ticketstream CEO Viktor Mastnik says the purchase offers the firm a “great opportunity to partake in PLG’s international experience and top-level technology, contributing their knowledge of local market needs”.

PLG, which is owned by Nuutmann’s investment company Angel Rose Capital and private equity firm BaltCap, issues 15 million tickets per year with a total value of €300 million. In late 2024, it expanded its reach in Romania with the acquisition of Ticketing Nation, which manages the Entertix.ro and Myticket.ro platforms.

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Artist and SoAlive Conference organiser Ruth Koleva moderated a fascinating session concentrating on the health of the markets in the central and eastern European region, covering territories that spanned from the Baltics down to the Balkans and Greece.

She prefaced the discussion by introducing some key states about the region, including that it is home to 160 million people in total population, while in the past couple of years its markets have hosted stadium shows by the likes of Coldplay, Ed Sheeran and Rammstein. Its annual festivals also include iconic brands such as Untold, Exit, Sziget and Pohoda.

And highlighting specific markets and their love of music, Koleva noted that her home country, Bulgaria, reported growth of 40% in terms of recorded music sales, in 2023, while Turkey was even more impressive, with the IFPI stating that recorded music sales were up by more than 95% in the same year.

“Romania and Bulgaria joined the Schengen zone this year, so there are no borders any longer, enhancing touring and performing opportunities,” she said, adding that feasibility in terms of tour routing had also been improved by the construction of new roads and transport links.

Agent Georg Leitner was asked about how he and his peers persuade artists to tour in the region.

“Central and Eastern Europe are not being put in one basket,” he said .”When it comes to the likes of Bulgaria, Romania, Slovakia, Hungary, there is very little discussion with the artist, however when we talk about Albania and Kosovo, we start getting questions. It’s really a matter of how much artist traffic has [historically] been through any particular market.”

“Some shows can sell really well, compared to markets where the artist might have played many times”

Another delegate noted that it can be difficult to even speak to an artist manager or agent, while when a conversation does take place, those representatives often ask for fees that are higher than the artist would expect to demand in western Europe – immediately putting the eastern European business at a disadvantage.

Türkiye-based exec Nick Hobbs countered that said had promoters had to stick to their guns by analysing risk and just saying ‘No’ to unacceptable demands. Koleva agreed, noting that economically it is a struggle for local businesses to sustain fees that are higher in other territories, especially when the local population has lower annual wages.

Agent Andrew Leighton-Pope explained that all new promoters should expect to be asked for 100% of the fee in advance, but that would stop if have proven track record with the agent and their clients. Hobbs told fellow delegates that the higher fees might also relate to artist expenses, as it may cost them more to travel to eastern Europe if it is a one-off show, but lower if it’s more of a tour around the region.

Ivan Milivojev co-founder of EXIT Festival, revealed exchange of artists with Sziget Festival in early days. But those bands are not selling tickets – you rely on headliners to sell tickets, but it can be interesting for programming.

Outlining the opportunities in the region, Koleva observed that a recent show by Nick Cave sold out in just 20 minutes: “So some shows can sell really well, compared to markets where the artist might have played many times.”

“It’s better that we maybe try to take advantage of the fact that we are part of a bigger market, and spread our reach”

Turning to attracting fans from other territories, Hobbs said that some markets and events could benefit from their appeal as quirky settings.

“Exit in Serbia is held in a fortress, while Sziget is on an island in the middle of Budapest, which is a tourist city, so those are unique aspects to talk about and market,” he said, suggesting that other events should look for their unique selling points.

Addressing obstacles in the region, Koleva pointed out that infrastructure, tech, insurance, and performance tariffs could prove tricky from country to country, while Hobbs suggested that each territory needs a strong association to speak with one voice to the government and the local collection societies to argue their point.

“The only thing you can do is fight and convince the government that more shows should take place to benefit the country – they don’t care about copyright royalties being paid to songwriters in America,” said Hobbs. “I no longer distinguish eastern Europe differently from western Europe – it’s just part of Europe. It’s better that we maybe try to take advantage of the fact that we are part of a bigger market, and spread our reach.”

Koleva summed up that while it can be frustrating to miss out on artist tours, those working in the region could flag up a number of incentives to agents and artist managers.

“Taxes can be attractive, economies are stable, there are no borders, except with Serbia, and we already have a lot of shows happening. Most of all, people are hungry for live music, so the potential is definitely there,” she added.

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For decades, the music industry has clung to a narrative about Central and Southeast Europe – too risky, too complicated, not enough money. Meanwhile, fans in the region have been proving that wrong, showing up in record numbers, packing stadiums, and treating live music like a religion. If last year’s massive festival turnouts and stadium shows from Coldplay, Ed Sheeran, and Rammstein weren’t enough to shake off the scepticism, this year’s stadium and arena shows should be a final wake-up call: the game has changed.

The numbers speak for themselves. Poland’s Open’er Festival brings in 110,000+ attendees, Serbia’s EXIT draws 200,000, Hungary’s Sziget sees 530,000+ in peak years, while Romania’s UNTOLD hits 427,000. Boutique festivals like Electric Castle (231,000) are proving there’s still plenty of space for creativity, while Croatia’s INmusic remains a must-hit stop for alternative and indie acts.

This is exactly what The Campfire: Central & Eastern Europe panel at ILMC 2025 will explore. Bringing together industry key players, festival bookers, and promoters, the session will examine both the growing opportunities and key challenges that still need to be addressed for Central and Southeast Europe to take a more prominent place on the global touring map.

While the region offers strong audience demand, expanding festival markets, and lower touring costs, there are still hurdles to overcome – from booking perceptions and infrastructure gaps to local economic factors and industry coordination. With post-pandemic shifts in the live music market, and rising costs prompting artists to rethink their touring strategies, now is the time to reassess the potential of CEE and SEE and discuss what steps need to be taken to strengthen its role in the global live industry.

“Touring here means stretching your budget further while still giving your crew a solid experience”

The stadiums are filling up – so why aren’t more agents paying attention?
While much of the West is facing saturation and stagnation, Central and Southeast Europe are in full-on expansion mode. More stadium and arena shows are happening than ever before. Last year, Rammstein lit up Belgrade, Coldplay and Ed Sheeran sold out Bucharest and Sofia, and this year, Guns N’ Roses and Robbie Williams are taking over Vasil Levski Stadium in Bulgaria. Promoters are evolving, new players are entering the market, and the infrastructure to support large-scale tours is getting better by the day. So why are so many tours still skipping the region?

A secret weapon for touring artists: profitability
Let’s talk about money. Touring in Western Europe is expensive, and with skyrocketing production costs, even mid-level artists are finding it harder to break even. But here’s the trick: Central and Southeast Europe offer a cheaper, logistically smarter alternative, without the downside. Gasoline is up to 40% cheaper than in major Western European markets. Hotels, food, and per diems? A fraction of the price. Touring here means stretching your budget further while still giving your crew a solid experience.

Mobility is better than ever – improved road infrastructure and the Schengen expansion to Bulgaria and Romania means touring across borders is easier and cheaper.

The demand is real. Unlike many oversaturated Western markets, artists playing here can pull in bigger audiences, headline festival slots, and turn a bigger profit – especially if they’re in that sweet spot between established indie and major-label pop.
And who wouldn’t want an excuse to spend a few extra days in the Adriatic Riviera or winter havens of the Bulgarian mountains?

“This isn’t an emerging market – it’s an untapped goldmine”

The booking bias: why is SEE still underrepresented?
For all the growth, there’s still a major imbalance in representation. Central and Southeast European artists remain wildly underbooked at major European festivals. ESNS 2025 featured nine acts from all of Southeast Europe combined—a region that covers 55m people and a music scene that’s just as diverse and innovative as any other.

Even for promoters, it’s not always a fair game. Many SEE-based bookers are forced to pay 100% upfront deposits for artists that their Western European counterparts can secure with more flexible terms. Then there are performance copyright fees (PRO tariffs), which can be disproportionately high in the region – some reaching as much as 8–9% of the total economic value of an event.

A new era of live music In CEE & SEE
Despite the obstacles, the industry is shifting. Live Nation and AEG are expanding their presence, betting big on the region’s long-term potential. Streaming numbers are rising, international festivals are slowly opening their doors to more SEE artists, and independent promoters are breaking old monopolies.

With massive fan demand; cheaper touring, promotion, and rental costs; and a festival scene that’s only getting bigger, this isn’t an emerging market – it’s an untapped goldmine. So which artists and agencies will claim their space before the rest of the industry catches on?

Ruth Koleva is the founder of SoAlive Music Conference in Sofia, Bulgaria. She will chair The Campfire: Central & Eastern Europe at ILMC on 27 February from 14:00-15:00.

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A number of concerts have been cancelled after Storm Boris unleashed severe flooding across central Europe.

The death toll has reached at least 19, with seven confirmed fatalities so far in Romania, five in Austria, four in Poland and three in Czech Republic, with several people missing, and thousands evacuated from their homes.

Elsewhere, Slovakia has declared a state of emergency in the capital Bratislava, while the Hungarian capital Budapest is braced for record high water levels on the River Danube. Italy is also expected to be hit by thunderstorms.

In Vienna, Austria, a headline show by US band Agriculture scheduled for Arena Wien last night (16 September) was called off “due to weather conditions”, although a gig by Peter Fox at Wiener Stadthalle went ahead as planned on Sunday.

Other cancellations include Böhse Onkelz’s 14 September concert at Trabrennbahn, Wels, and televised live music special Starnacht aus der Wachau (Star night from the Wachau), which was planned for 20-21 September. Flooding means the arena site in Rossatzbach must be dismantled.

“Due to the worrying water level of the Danube and the associated official requirements and orders, it is impossible to hold the event safely,” says a statement. “According to the notice, the event site must be cleared… Reconstruction of the event site could not begin until the middle of next week at the earliest and is no longer feasible in terms of time and technology by the planned day of the event.”

Acts lined up for the season finale TV spectacular, which has previously starred the likes of Anastacia and Chris De Burgh, included Andrea Berg, Söhne Mannheims, Patrizio Buanne, the Poxrucker Sisters, Charlien and Aura Dione.

“The weather forecast is so bad that it is not possible to responsibly guarantee that the event would take place”

A source tells IQ the situation is “pretty bad” in the south of Romania but is unaware of any gig cancellations, since the floods have mainly affected small villages – where one local mayor has described the scene as a “catastrophe of epic proportions”.

In Poland, a performance by Shunske Sato and the Wrocław Baroque Orchestra has been relocated from Wrocław to Warsaw as the wave moves towards larger cities from mountainous regions in the south.

Elsewhere, a concert of the Three Sisters in Valečov, Czech Republic has been rescheduled for May 2025.

“The weather forecast is so bad that it is not possible to responsibly guarantee that the event would take place in order, or that it would take place at all,” reports Idnes. “The area is grassy and unroofed, so it could be a problem to get all the equipment there, not to mention the musicians, not to mention the bars.”

David Nguyễn of Rock for People tells IQ that the capital Prague appears to be unaffected at present.

“We just had The Hu [at SaSaZu] three days ago and I think other Prague promoters are doing shows,” he says. “Some people didn’t arrive to the show, so I guess they are from the part of country that is affected by flooding.”

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