Manchester’s Co-op Live is celebrating welcoming the one millionth fan through its doors – just under ten months since its inaugural performance.

The UK’s largest live entertainment arena (cap. 23,500), which launched last May with a hometown concert by Elbow, passed the milestone this week prior to the first of two Teddy Swims concerts (10 & 16 March) at the venue.

The celebration included a surprise giveaway of a pair of complimentary tickets to a future show, a £50 Ticketmaster giftcard courtesy of the ticket agent, a signed Teddy Swims poster, Co-op Backstage Club upgrades, and £40 to spend in a local Co-op.

The £365 million facility – a joint venture between Oak View Group (OVG) and City Football Group – has hosted prestigious events such as the UFC and the MTV EMAs, as well as indoor shows by the likes of Paul McCartney, the Eagles and Pearl Jam.

“I couldn’t be more excited about the shows and events we have already hosted, and the ones to come”

This year has seen shows by Snow Patrol and Trivium, among others, with Sabrina Carpenter set to play Co-op Live tonight and tomorrow (13-14 March). Acts including Bruce Springsteen and The E Street Band, Tyler, the Creator, Burna Boy, Robbie Williams and Billie Eilish are also set to follow over the next few months.

“2025 is our first full year in operation, and I couldn’t be more excited about the shows and events we have already hosted, and the ones to come,” Co-op Live general manager and SVP Guy Dunstan tells IQ.

“We’re coming up to a year since opening, and now is the time to maximise on our success. Our schedule is the strongest I have seen, and our fan and artist feedback continues to back up our drive to offer a world-class experience. But we aren’t one to stand still, and my focus is on ensuring we drive forward and upward – locking in more world-class events, bringing even more excitement, with plenty more innovation to set us apart.”

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UK arena bosses have weighed in on the sector’s biggest issues in 2025 – and debated whether the stadium boom is hurting the indoor circuit.

The arena market boasts an abundance of top talent, with upcoming tours by stars such as Sabrina Carpenter, Billie Eilish, Teddy Swims, Gracie Abrams, Usher, Pulp, Andrea Bocelli, Chase & Status, Bryan Adams, Olly Murs, Katy Perry, Tyler, the Creator, Tom Grennan, The Lumineers, Lil Baby, Jamiroquai, Central Cee, Busted vs McFly and Kylie Minogue.

But with Post Malone becoming the latest A-lister to announce a summer stadium run, joining around 30 artists from Oasis to Beyoncé in headlining music’s biggest stages, does something have to give?

“The fan demand for live entertainment is stronger than ever, and although we are always competing to some extent, there’s no harm in a wider choice for fans across the board,” says Guy Dunstan, SVP and GM at Manchester’s Co-op Live (cap. 23,500), speaking to IQ.

“There will always be differing levels or artists taking to different sized venues, and at Co-op Live we’re even seeing some of the staple outdoor artists like Bruce Springsteen, Eagles and Pearl Jam opt to return to an indoor venue of our scale and size. It’s testament to the strength of the industry, that these events can co-exist.”

Gemma Vaughan, GM of Manchester’s 23,000-cap AO Arena is equally confident there is enough room for everyone.

“Manchester is lucky enough to be a city that’s home to two arenas, a plethora of smaller independent venues and two stadiums that also host live events,” she says. “We’ve been at the heart of Manchester’s music scene since 1995, we’re confident we’ll continue to thrive alongside all of our neighbours.”

“Fans only have a limited amount of discretionary spend”

Indeed, Steve Sayer, SVP and GM at London’s 20,000-cap The O2, says it is shaping up to be a year to remember for both stadiums and arenas.

“With stadium gigs, it tends to be a little bit cyclical: you’ll have a strong year and then the next year isn’t quite as strong, so it could potentially be perceived as having an impact on arena shows,” he contends. “But we’re certainly confident when we look at the diary – and not just this year, but next year as well – that the show count forecast remains strong.”

North of the border however, Rob Wicks, MD of Aberdeen’s P&J Live, admits to harbouring reservations on the subject, stressing: “Fans only have a limited amount of discretionary spend.”

Nevertheless, Wicks, who lists the cost of touring, the cost of living crisis and closures of grassroots venues among his chief concerns for the business, reports the 15,000-cap Scottish arena is still on track for a stellar year.

“The venue sold 31% more tickets in 2024 than it did in 2023 and is on track for a similar increase in 2025, which is really encouraging,” he tells IQ.

John Drury, VP and GM of London’s OVO Arena Wembley (cap. 12,500), sees both sides of the argument, but tells IQ it’s a case of so far, so good.

“There’s no doubt that a rising number of outdoor shows and festivals can widen the market and lead to some challenges in arenas, but so far for us at Wembley we’re not seeing a downside,” he reports. “2024 was a record-breaking year for Wembley and 2025 is shaping up to be as strong, if not stronger. Significantly, we hosted over 50 first-time headline acts last year, which shows the current strength of the arena market in the UK.”

“The arena landscape is really strong in comparison to 2024,” nods Utilita Arena Newcastle GM Caroline James. “Maybe it is already having a positive impact?”

“Anything that brings massive profile to the sector is a good thing – particularly if it reminds people to buy tickets for other gigs!”

Dom Stokes, general manager of Utilita Arena Sheffield (cap. 13,600), shares similar sentiments – suggesting that a rising tide lifts all boats.

“I think it’s positive,” he argues. “Anything that brings massive profile to the sector is a good thing – particularly if it reminds people to buy tickets for other gigs! A strong stadium season can lead to offshoot events in the arenas. In Sheffield, we have often found an opportunity to use our huge space for rehearsals.”

Stokes describes 2025 as a “transitional year” for Utilita Arena Sheffield, which joined the ASM Global venue network last month alongside Sheffield City Hall.

“However, product is strong and the investment planned in both front of house and back of house areas is very exciting,” he adds. “Ticket sales for all our genres are strong, but ticket buyers continue to buy a long time in advance or very late. There doesn’t seem to be very much in between.”

It is a similar story at the 11,000-cap Utilita Arena Newcastle, where James projects a “fantastic year both for private events and live events”, but points out that ticket trends “seem to be all or nothing”.

“Late purchasing is still very apparent,” she advises, adding that an increasing number of events are going to the bigger cities and missing regional venues.

“UK arenas generated £100 million in VAT in 2023: £60m on ticket sales and £40m on ancillary income”

OVO Arena Wembley’s Drury goes into detail on the issues at the top of his in-tray right now as chair of the National Arena Association.

“Since coming back from Covid, costs have continued to rise, which puts pressure on our margins,” he notes. “We’re also of course aware that production costs are also rising, putting the squeeze on from all angles. To add to this, we are concerned that a proposed increase in business rates designed to hit the major warehouse operators of online sales will also affect arenas disproportionately – we feel that an adjustment of the proposed raises should be made for our businesses.

“We of course already contribute massively to the government coffers: we employ huge numbers locally, contribute millions of pounds to our local communities – studies show £100 per person average spend in the community from each arena show – and also pay a big part in positively impacting the mental wellbeing of our millions of guests.”

Drury also backs trade body LIVE’s calls lower VAT rates in line with many other European countries “where 20% is unheard of”.

“UK arenas generated £100 million in VAT in 2023: £60m on ticket sales and £40m on ancillary income,” he says. “A cut would help the grassroots sector massively but also if we were able to divert a portion of our VAT income back to those most in need in our industry we could and should pretty much become a self-financing industry.

“If, for example, we could plough back 5% of the VAT we raise on tickets as part of a wider VAT cut for our events, that would have meant £3m going back to grassroots in 2023 alone.”

“Grassroots venues are an incredible part of the broader live music ecosystem”

In late 2024, IQ reported the UK live music industry was edging towards a deal which would see more stadium and arena tours agree to include a contribution towards grassroots support after a meeting with culture minister Chris Bryant MP.

The ministerial roundtable followed the government’s plea to the live industry to introduce a voluntary ticket levy to support the grassroots music sector in its response to the Culture, Media and Sport (CMS) Select Committee’s report.

“What the minister asked for – and was looking for – was momentum,” says The O2’s Sayer. “From our perspective, we’ve always said that grassroots venues are an incredible part of the broader live music ecosystem. We’ve got a collective responsibility to ensure that we can put together a solution that’s equitable and works and actually delivers funds to the venues and the artists that really need that support.

“From what I can see, and the conversations that I’m having, I’m confident there will start to be momentum this year around the levy and hopefully, over time, that will start to generate the sort of funds the grassroots desperately needs.”

The struggles of the grassroots sector are also at the forefront of Vaughan’s mind.

“It’s no secret that rising touring costs are proving challenging across the live entertainment industry, but I think the more relevant question is how does that affect our grassroots musicians and venues?” queries the AO Arena boss. “If these artists are unable to perform, how can they graduate through the talent pipeline and become our next headline act?

“As one of the UK’s largest entertainment venues, we’re extremely conscious of our position, and this is something we’ve been working closely with Music Venue Trust and Manchester’s wider community as a whole. Especially as we turn 30 this year, it’s more prevalent than ever to ensure that we’re protecting grassroots from the top down, or there will be no arena sector for us in the next 30.”

“We’re seeing fans wanting a more focused consumer experience”

On the programming front meanwhile, Vaughan detects a consumer shift in genres, particularly K-Pop, where “Manchester is rivalling the likes of London when it comes to talent and demand”.

“There’s also been a substantial shift in what our fans expects not only from their favourite artists, but venues too,” she continues. “Fans are looking for authentic experiences that go beyond their Instagram stories, they’re wanting connection. Experiential experiences are not to be overlooked, so that will be another key priority for us this year.”

Across the city at the rival Co-op Live, Dunstan is revelling in the arena’s first full year of operation, with UK arena exclusives from the likes of Bruce Springsteen and The E Street Band and Robbie Williams on the horizon in H1 2025.

“The appetite for content has been immense,” he observes. “Amongst it, we’re seeing fans wanting a more focused consumer experience, from quality food and drink, to pre- and post-show entertainment, well beyond VIP and hospitality.”

He concludes: “There’s significant attention on arenas and the part they play in the wider music ecosystem; perhaps more than ever, with vital conversations around ticket pricing, support for the grassroots sector, ticket levies and more.

“It’s a very exciting time to be part of the industry, and to work collaboratively to balance the various needs of all levels with an increase in fan experience and expectation. It’s this that rings loudest, with fans rightfully wanting the best possible experience in exchange for their hard-earned money.

“It’s great that things are being shaken up, and we’re proud to be at the forefront of many of these timely conversations and their subsequent changes.”

• ILMC’s annual deep dive into the arena sector, The Venue’s Venue: Anchor Topics, will take place at the Royal Lancaster Hotel at 9.45am on Thursday February 27.

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The UK’s largest arena Co-op Live has announced that NEC Group veteran Ben Sharman is joining the Manchester venue as its new director of booking.

Sharman’s arrival coincides with Co-op Live director of strategic programming, Katie Musham’s move into Oak View Group International, where she will continue to grow Co-op Live’s programme of bespoke events and support OVG in its expansion across Europe and the rest of the world.

With over a decade of experience in the live events and entertainment industry, Sharman’s achievements include account managing British Athletics’ commercial partners in advance of the London 2012 Olympic Games and securing major sponsorships for Aston Villa Football Club in the Premier League.

He joined the commercial partnerships department at the NEC Group in 2014, transitioning into arena programming in 2017. In late 2022, he was promoted to head of programming for Utilita Arena Birmingham and bp pulse LIVE.

Sharman led the arenas to record-breaking financial success including programming tours such as Genesis’ The Last Domino? Tour and Peter Kay’s Better Late Than Never tour, as well as delivering the 2022 Concert for Ukraine, which raised £13 million for the Disasters Emergency Committee.

“When the opportunity to work with the UK’s largest arena came, it was impossible to turn down”

“Joining Oak View Group and Co-op Live marks an exciting new chapter in my career after an incredible 11 years at the NEC Group, for which I’m deeply grateful,” says Sharman.

“When the opportunity to work with the UK’s largest arena came, it was impossible to turn down. I’m eager to bring my experience in venue programming and strong industry relationships to cement Co-op Live’s status as a must-play venue in the global live events industry.”

Gary Hutchinson, executive vice president global touring and content, Oak View Group International adds: “We are delighted to welcome Ben Sharman to Co-op Live. His impressive career trajectory, unmatched expertise, and industry relationships make him the perfect choice to lead our booking strategy. We’re confident that Ben’s vision will further elevate Co-op Live as a premier destination for world-class events, and continue our established record for hosting the world’s most exceptional artists.”

Sharman’s appointment comes after NEC Group veteran Guy Dunstan was enlisted as Co-op Live’s new general manager and SVP.

Dunstan took the helm on 21 October as the interim general manager Rebecca Kane Burton became EVP of venue management for OVG International.

In 2025, Co-op Live is set to welcome a host of global talents such as Sabrina Carpenter, Tyler, the Creator, Bruce Springsteen, Lionel Richie, Hans Zimmer, and more.

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With the end of 2024 in sight, IQ presents a look back the biggest live music industry stories from the past year. Revisit the most notable moments from the last 12 months below – and there is only one place to start…

A $2bn juggernaut: Taylor Swift wraps up Eras Tour

After 149 shows, five continents and an unprecedented box office gross, Taylor Swift’s The Eras Tour came to an end in Vancouver, Canada, in December.

The epoch-defining 21-month trek garnered an all-time record US$2,077,618,725 (€1.96 billion) at the box office after selling more than 10.1 million tickets, with the economic benefits of staging an Eras residency for host cities even earning its own term – “Swiftonomics”.

The run’s 80 shows this year raked in $1,043,421,552 (€993.4m) from 5.2m ticket sales at an average ticket price of $200.27 (€190.68). IQ explored how Swift captured the zeitgeist like no other artist in decades upon the conclusion of the tour’s European leg at London’s Wembley Stadium in August.

Coldplay’s Music of the Spheres World Tour was a distant second in the tour rankings – grossing $421.7m, having moved 3.3m tickets for 54 concerts (average ticket price: $128.05). The ongoing run has also made history after claiming the overall record for tickets sold on a single tour, shifting 10.3m tickets since commencing in March 2022, and is already the second highest-grossing ever.

The top 10 list was completed by P!nk (367.3m), Luis Miguel ($261.5m), Bruce Springsteen & The E Street Band ($251.3m), the Rolling Stones ($235m), Bad Bunny ($210.9m), Zach Bryan ($199.2m), Metallica ($179.4m), and Madonna ($178.8m).

Global investment firm buys Superstruct for €1.3bn

American global investment firm KKR acquired festival giant Superstruct Entertainment from Providence in a €1.3 billion deal.

Fellow private equity firm CVC also went on to secure a stake in the firm, which owns and operates over 80 music festivals across 10 countries in Europe and Australia, including Wacken Open Air, Parookaville, Tinderbox, Sónar, Øya, Benicàssim, Kendal Calling and Boardmasters.

Superstruct was launched in 2017 by Creamfields founder and former Live Nation president of electronic music James Barton and Roderik Schlosser while at Providence.

IQ charted the increasingly close links between the international touring industry and PE here.

Meanwhile, Superstruct’s Barton will give his first interview in the company’s history at next year’s International Live Music Conference (ILMC).

Oasis confirm 2025 reunion tour

Legendary British rock band Oasis confirmed they are reuniting for a 2025 world tour.

The Gallagher brothers last performed together in August 2009, when they split following a backstage bust-up at France’s Rock en Seine.

The Oasis Live ‘25 Tour was the biggest concert launch ever seen in UK and Ireland, with more than 10 million fans from 158 countries attempting to buy tickets for the group’s first shows since 2009.

However, the unprecedented demand soon gave way to a dynamic ticketing controversy that has prompted multiple inquiries. There was widespread media coverage of fan anger after customers were offered “in demand” tickets for more than twice the advertised face value under surge pricing after queuing online for several hours.

Dynamic pricing was subsequently not employed for the group’s other tour dates in North America, South America, Asia and Australia, which have all sold out.

Adele’s Munich run ‘a milestone in music history’

The team behind Adele’s historic German run hailed acclaimed show as “a milestone in music history”.

More than 730,000 tickets were sold for the singer’s 10-night stint at a giant pop-up stadium in Munich, held between 2-31 August. The “bespoke” outdoor venue boasted a 220m x 30m LED screen, supplied by Solotech, which has been certified by Guinness World Records as the Largest Continuous Outdoor LED Screen (temporary) ever built.

Alongside the venue, the 75,000-square-metre Adele World – which included an authentic English pub, a fairground wheel, karaoke, Farmers Markets, merchandise and a typical Bavarian beer garden with live entertainment – attracted 500,000 visitors.

“We could not simply use a blueprint of another project – we had to start from scratch,” said Live Nation GSA CEO Marek Lieberberg, who co-promoted the residency with Klaus Leutgeb, CEO of Austria’s Leutgeb Entertainment Group.

“Before this started, I said: ‘Never before and never again.’ Now, I would say, ‘Never before but maybe again.

“It’s a milestone in music history, for sure. And it seems too good to waste. But if we ever did something like this again, it has to cater to the specific vision of the artist, like this one has.”

Co-op Live Manchester bounces back

A whirlwind first six months for Manchester’s Co-op Live (cap. 23,500) saw the UK’s largest live entertainment rebound from its delayed opening.

The £365 million facility hosted prestigious events including the UFC and the MTV EMAs, as well as indoor shows by Paul McCartney, the Eagles and Pearl Jam.

NEC Group veteran Guy Dunstan joined in October as its new general manager and SVP, with Rebecca Kane Burton, formerly of The O2, LW Theatres and Sodexo Live, becoming EVP of venue management for OVG International.

Originally slated to join the OVG fold over the summer, Kane Burton was parachuted in as interim boss of Manchester’s Co-op Live in April, as the venue’s launch was pushed back two weeks following a series of hitches. It ultimately launched on 14 May with a triumphant hometown concert by Elbow.

“I think any of us now, if we hear any Elbow music, will cry tears of joy, because that’s the moment we finally got the doors open and ready and away,” Kane Burton told IQ. “And then June just was amazing, because it was just literally back-to-back gigs and you start becoming a very well-oiled machine.”

CTS Eventim wins race to acquire See Tickets

CTS Eventim acquired Vivendi’s festival and international ticketing businesses in a €300 million deal.

The agreement included See Tickets and a portfolio of 11 festivals including the UK’s Love Supreme and Kite, as well as Garorock in France. Vivendi concert halls including L’Olympia concert hall in Paris, plus See Tickets France and Brive Festival, are not part of the deal.

The French firm’s ticketing and festival activities acquired by CTS collectively produced €137 million in revenues in 2023.

“With See Tickets and its festival operations, Vivendi has established two notable players in the ticketing and live entertainment sector,” said CTS CEO Klaus-Peter Schulenberg.

“The acquisition supports our internationalisation strategy and will also benefit artists and their managers, as we will be able to offer even more seamless services on a global scale. We look forward to collaborating with our new colleagues on shaping the future of live entertainment.”

DOJ sues Live Nation over alleged ‘monopoly’

The US Department of Justice (DOJ) launched an explosive lawsuit which could seek to break up Live Nation-Ticketmaster after alleging the company has violated antitrust laws.

LN and Ticketmaster, who merged in 2010, are accused of using their “power and influence” to “insert themselves at the centre and the edges of virtually every aspect of the live music ecosystem”.

The suit, which was filed in May in the United States District Court Southern District of New York, claims: “Through a self-reinforcing ‘flywheel’ that Live Nation-Ticketmaster created to connect their multiple interconnected businesses and interests, Live Nation and Ticketmaster have engaged in numerous forms of anticompetitive conduct.”

The defendants vigorously contest the claims, with the case set to go to trial in 2026.

Live Nation’s share price rocketed to an all-time high in the wake of Donald Trump’s election victory in November, and the company has said it is “hopeful” the imminent administration change will have a positive impact on its antitrust battle.

Second Sphere venue location revealed

The world’s second Sphere venue is to be built in Abu Dhabi, it was revealed.

Sphere Entertainment and the Department of Culture and Tourism – Abu Dhabi confirmed the longstanding rumours, announcing they will work together to bring the next-generation project to life in the UAE capital.

Since opening the $2.3 billion Sphere in Las Vegas, US, in September 2023, Sphere Entertainment has pursued plans to develop a global network of Sphere venues, with the expansion expected to provide “significant growth potential and drive new revenue streams”.

“The vision for Sphere has always included a global network of venues, and today’s announcement is a significant milestone toward that goal,” said Sphere Entertainment executive chair and CEO James Dolan. “Sphere is redefining live entertainment and extending the reach of its transformative impact. We are proud to collaborate with DCT Abu Dhabi to develop Sphere in their city.”

The partners say the venue will be located in a “prime spot” in Abu Dhabi and echo the scale of the 20,000-cap Las Vegas original, which has so far hosted residencies by U2, Phish, Dead & Company and the Eagles’ ongoing run, as well as the Darren Aronofsky-directed immersive production Postcard from Earth.

CAA trio appointed co-heads of global touring

Creative Artists Agency (CAA) announced senior agents Emma Banks, Darryl Eaton and Rick Roskin as co-heads of global touring.

The trio, all long-time senior members of the firm’s leadership team, will oversee the department’s continued international growth and build upon the work of predecessor Rob Light, who was named CAA MD earlier in the year after a quarter of a century as head of global touring.

“With the most talented team of agents ever at one agency, and serving the most influential artists in the world, we see unlimited opportunities ahead,” said Roskin, Eaton and Banks. “The live business has never been stronger nor had more momentum, and artists have never had more ways to express themselves and grow their careers, making this an absolutely incredible time to help chart CAA’s path for the future.

“We’re fortunate to have shared in the success, stability and uniquely strong culture that the department has enjoyed under Rob’s outstanding leadership. Our vision, and commitment moving forward, is to foster cutting-edge ideas that drive the market and ensure that CAA remains the most exciting and empowering agency for the industry’s best agents and artists to thrive.”

Live legends remembered

SJM Concerts director Chris York, one of the UK’s leading and most respected promoters, died in July aged 55 following a long illness.

Over the course of 30 years, York worked with artists including Oasis, Foo Fighters, Green Day, The Chemical Brothers, Lily Allen, Massive Attack, Robert Plant, Underworld, Lorde, Morrissey, Placebo, Suede and Stereophonics.

In a statement, SJM said it was “deeply saddened” at news of his passing. York joined the Manchester-based company in 1993, forming a “solid and unshakeable partnership and friendship” with founder Simon Moran.

“We have lost a leader, a mentor a force of nature and a friend,” said the firm. “His loss will be felt keenly by all the staff at the company and by many industry professionals and artists around the world. His influence and personality will live forever within SJM Concerts.”

The music world also lost Mean Fiddler founder and festival pioneer Vince Power in March, aged 76. The Irish promoter helped change the face of the music industry, working across festivals such as Glastonbury, Reading & Leeds, Phoenix, The Fleadh, Madstock and Spain’s Benicassim,

Power opened the Mean Fiddler venue in Harlesden, London, in 1982, which formed the springboard for his Mean Fiddler Group empire.

“Vince’s passing is a massive loss to the music industry and to me personally,” said Festival Republic MD Melvin Benn. “A visionary with a willingness to take risks to enable his vision but always with a humbleness that belied his importance. We had an amazing 20 years together that helped shape the music industry as we know it now.”

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OVG International’s Rebecca Kane Burton and venue boss Guy Dunstan have peeled back the curtain on a whirlwind six months for Manchester’s Co-op Live.

The UK’s largest live entertainment arena at 23,500-cap, the £365 million facility has rebounded from its delayed opening to host prestigious events including the UFC and the MTV EMAs, as well as exclusive indoor shows by the Eagles and Pearl Jam.

NEC Group veteran Dunstan joined last month as its new general manager and SVP, with Kane Burton becoming EVP of venue management for OVG International, leading Oak View Group’s global business development strategy for its facilities, sports, entertainment and hospitality divisions.

“I’m six weeks in and we’ve delivered quite a few shows – we’re into five shows on the run this week – and I’m loving it,” says Dunstan. “It’s just an amazing building to be running. I feel very fortunate and positive about having this role. I keep reminding the team that we’re six months into a journey, and should still be learning and evolving, but we’re in really great shape.”

Kane Burton, whose CV includes stints at the helm of London’s The O2 and Alexandra Palace, and CEO at LW Theatres and Sodexo Live, tells IQ that her move to the company – which saw her reunite with former AEG executives, OVG chief Tim Leiweke and OVG International president Jessica Koravos – felt “very natural and obvious”.

“It’s a great privilege to be able to harness all the great brain power that exists within OVG”

“When I ran The O2, it was Tim who employed me originally and that was a great honour and a privilege,” she says. “Tim is just a force of nature; he’s dynamic, he’s driven, he’s passionate, he’s ambitious and he doesn’t sit still. He’s always wanting to push for something better and that was a real appeal to come back and work for him in the new setup at OVG.

“Working with someone with that passion and leadership – who will change the dial, is not scared to do things differently and will rip up the rule book if he needs to – is incredibly exciting. And what’s even better for me is there’s a very strong female leadership team at OVG as well: Francesca [Bodie] is our COO and Jessica Koravos is my boss.”

Kane Burton describes her role, which covers the UK and Europe, as “far-reaching”.

“I’ve not really worked outside the UK before, so it’s a great opportunity to meet good people who are doing brilliant stuff with their facilities, but might just need a bit of help making their ambitions come true,” she explains. “Everyone talks about having a destination venue. There’s a lot of chatter about how you sweat these assets harder, and improve the fan experience, but there are very few companies or individuals who’ve got the capability and the experience to make that happen.

“It’s a great privilege to be able to harness all the great brain power that exists within OVG, with all that energy and yet the cash behind us, to then go out and make some of these visions a reality.”

Originally slated to join the OVG fold over the summer, Kane Burton was parachuted in as interim boss of Manchester’s Co-op Live in April following the resignation of the general manager, as the venue’s launch was pushed back two weeks following a series of hitches.

“My career has been full of challenges – I seem to like them – but I could see firsthand we were on the cusp of something special”

“I was in the middle of some gardening leave at the time, expecting to join on 1 July. And then Jessica very kindly invited me to Rick Astley [in April], which was a test event,” explains Kane Burton. “Whilst that event was obviously fraught with challenges, it showed off to people like me – who had no skin in the game at that time – what an amazing building they had on their hands.

“To then be asked four days later to lead the charge was daunting, and it would be a lie to say that wouldn’t be daunting for anybody. I could see a team that were feeling raw, tired, desperate to deliver the promises that had been made.”

She continues: “My career has been full of challenges – I seem to like them – but I could see firsthand we were on the cusp of something special and that keeps you going when you’re still up at two, three in the morning, wading through paperwork and getting everything in order. That gets you through.”

Co-op Live ultimately launched on 14 May with a triumphant hometown concert by Elbow.

“Obviously, Elbow was a huge moment,” reflects Kane Burton. “I think any of us now, if we hear any Elbow music, will cry tears of joy, because that’s the moment we finally got the doors open and ready and away. And then June just was amazing, because it was just literally back-to-back gigs and you start becoming a very well-oiled machine.”

A particular milestone was mixed martial arts event UFC 304, which took place at Co-op Live on 27 July and didn’t begin until 11pm – with the main event not commencing 3am – to meet the standard PPV start time in the US.

“The confidence is reinstated very firmly in this place”

“They started coming in at 10am, and at 6am we still had a full arena,” marvels Kane Burton. “So to bring it back to Manchester after 10 years of absence and do the first all-nighter in a building that two and a half months before, was a bit behind and needed to get itself open, was one hell of a feat. It was safe, it was well run, it was a brilliant customer experience and it got us global reach.”

The experience garnered from the night helped prepare the team for hosting another event of international interest – the 30th anniversary MTV EMAs on 10 November.

“We’re never complacent, but it’s like, ‘We’ve done UFC, now we’ve got MTV. Let’s get used to being in the spotlight and own that,'” shares Kane Burton. “Each time we do major events and prove to partners of different scale and size the capability of not only the building, but the credibility of our team, it builds confidence. And I can see that Guy will now be able to pull in bigger and better events as we roll, because the confidence is reinstated very firmly in this place.”

Dunstan joined the venue from Birmingham-based NEC Group, where he was the MD of arenas. As well as overseeing the management of the Co-op Live’s executive team, he is tasked with guiding the strategic leadership of the facility as SVP, as well in addition to helping develop its commercial and operational strategy.

“I’m very passionate about Birmingham and a proud Brummie,” says Dunstan. “I spent 28 years working there and a lot of people thought I’d be there till it’s time to retire. But over the last year, I thought about my career and I’m at an age where I thought I needed to find a new challenge and a new opportunity.

“Rewind back to the ILMC where OVG was announced, and then Co-op Live was announced, and I cast an envious eye at what I knew was going to be a groundbreaking venue and an organisation led by Tim, who is a pioneer. So when the role became available, I thought this was a great opportunity for me at this stage of my career.

“There was a lot of shock when I went out and said, ‘I’m leaving,’ but I think a lot of people put two and two together very quickly. It was the worst kept secret in the industry since the Oasis reunion!”

“My dream is that we’ll have a few more flagships in the UK and across Europe… You can expect London in the pipeline”

Upcoming acts at Co-op Live include Paul McCartney, Bruce Springsteen and The E Street Band, Robbie Williams and Billie Eilish, as the arena continues to attract stadium-level artists.

“Outdoor shows used to be a completely different market to the indoor market, but what we’ve seen over the summer period is Pearl Jam and the Eagles playing outdoors and then coming to play here at Co-op Live. We’ve got that again next summer with Bruce Springsteen playing at Anfield and here, and we’ve got a great programming team who are really proactive in seeking those opportunities.”

He continues: “Looking ahead over the next 12 months, it looks really positive. But you can’t sit waiting for artists to be routing tours, we’ve got to be proactive in terms of content. We’re putting on a West End musical theatre show, Manchester at the Musicals, on 20 December, which we only announced last week and put together over a few weeks before.

“That demonstrates to me that there’s a great opportunity to bring content into the arena market that wasn’t there before, and we feel it can become a regular part of our annual calendar. We’ve got to continue to do that, because we can’t wait for the phone to ring – we’ve got to make things happen ourselves.”

Kane Burton trumpets Co-op Live as a “very important flagship” in the territory and a “fantastic showcase to demonstrate what OVG stands for”.

“My dream is that we’ll have a few more flagships in the UK and across Europe, but I will never, stop having a passion for this place,” she adds. “I’d never worked outside of London before, so they finally managed to move me up north and I will always have a soft spot for Manchester and what we’ve managed to achieve here. It’s really important as part of the OVG ecosystem and showing everyone what we’re capable of. So I’m very proud and I know it’s in very safe hands.”

Leiweke, of course, revealed plans to build “the greatest arena in the world” in London, during this year’s ILMC in March. While details remain scarce, the CEO told delegates that the venue giant will plant its flag in England’s capital city, which he called “the greatest market in the world for music”.

“Tim’s talked very loudly and proudly about his ambitions, so you can expect London in the pipeline in the UK,” confirms Kane Burton. “Why wouldn’t we? It’s an important capital market. There are two arenas in Manchester, why not put more into London?”

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Performances by global stars such as Pet Shop Boys, Busta Rhymes, Raye, Shawn Mendes and Peso Pluma lit up the 2024 MTV EMAs at Manchester’s Co-op Live.

The show, which was hosted for a third time by Rita Ora, marked the awards’ 30th anniversary and was broadcast in over 150 countries.

Featuring a set inspired by Manchester’s music heritage and warehouse party legacy, last night’s (10 November) production was the first time the event had been staged in the city.

Benson Boone opened the show in acrobatic fashion, suspended in the air playing a golden grand piano, while other performers included The Warning, Le Sserafim, Teddy Swims and Tyla.

The inaugural MTV EMA Pop Pioneer recipients, Pet Shop Boys closed the show alongside local string players the Manchester Camerata with a cover of David Bowie’s All The Young Dudes followed by West End Girls, celebrating the single’s 40th anniversary.

Taylor Swift topped the winners list, netting trophies for Best Video with Fortnight (feat. Post Malone), Best Artist, Best Live and Best US Act. Swift, who sent a video acceptance speech from her tour in the US, was followed by three-time winner Tyla, who scooped her first ever MTV EMAs for Best Afrobeats, Best R&B and Best African Act.

The show also featured an emotional tribute to the late Liam Payne from Ora, who collaborated with the former One Direction singer on the 2018 hit For You (Fifty Shades Freed).

First held in Berlin, Germany in 1994, the EMAs had most recently been staged in the UK at London’s OVO Arena Wembley in 2017.

The 2023 EMAs were cancelled last October “out of an abundance of caution” amid the escalation of the Israel-Gaza conflict.

Full List of 2024 MTV EMA Winners

BEST SONG

Sabrina Carpenter – Espresso

BEST VIDEO

Taylor Swift ft. Post Malone – Fortnight

BEST ARTIST

Taylor Swift

BEST COLLABORATION

LISA ft. Rosalía – New Woman

BEST NEW

Benson Boone

BEST POP

Ariana Grande

BEST AFROBEATS

Tyla

BEST ROCK

Liam Gallagher

BEST LATIN

Peso Pluma

BEST K-POP

Jimin

BEST ALTERNATIVE

Imagine Dragons

BEST ELECTRONIC

Calvin Harris

BEST HIP-HOP

Eminem

BEST R&B

Tyla

BEST LIVE

Taylor Swift

BEST PUSH

LE SSERAFIM

BIGGEST FANS

LISA

Full list of 2024 MTV EMA Worldwide Winners

BEST AFRICAN ACT

Tyla

BEST ASIA ACT

BINI

BEST AUSTRALIAN ACT

Sia

BEST AUSTRIAN ACT

RAF Camora

BEST BRASILIAN ACT

Pabllo Vittar

BEST CANADIAN ACT

Shawn Mendes

BEST CARIBBEAN ACT

Young Miko

BEST DUTCH ACT

Roxy Dekker

BEST FRENCH ACT

Pierre Garnier

BEST GERMAN ACT

AYLIVA

BEST INDIA ACT

Mali

BEST ISRAELI ACT

Noa Kirel

BEST ITALIAN ACT

Annalisa

BEST LAT AM CENTRAL ACT

Manuel Turizo

BEST LAT AM NORTH ACT

YeriMua

BEST LAT AM SOUTH ACT

Dillom

BEST NORDIC ACT

Zara Larsson

BEST POLISH ACT

Daria Zawiałow

BEST PORTUGUESE ACT

Bárbara Bandeira

BEST SPANISH ACT

Lola Indigo

BEST SWISS ACT

Nemo

BEST UK & IRELAND ACT

RAYE

BEST US ACT

Taylor Swift

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US-based venue management giant Oak View Group (OVG) is rolling out its full suite of venue service offerings in the UK and Europe.

The announcement comes nearly six months after the opening of OVG’s Co-op Live in Manchester (cap. 23,500), the UK’s largest indoor concert venue.

The new suite of services, available to venue operators in the respective markets, ranges from venue development, management, premium hospitality and food service, booking, sponsorship sales, marketing, and more.

Led by Jessica Koravos, president, OVG International and Chris Granger, president, OVG360, the international venue services team includes several veterans of the UK live entertainment and sports industry.

Rebecca Kane Burton, recently announced executive vice president of venue management, will focus on growing OVG’s venue services in the UK and Europe, after acting as interim GM at Co-op Live. Burton previously led Sodexo Live!, LW Theatres and The O2.

“As owners and operators ourselves, we care deeply about the challenges facing venue owners today”

Sam Piccione and Alex Reese will continue their leadership in commercial strategy and sales services. The division provides a suite of strategic sales services including sponsorship valuation, commercial revenue modelling, sponsorship and premium hospitality strategy and sales delivery. In addition to Co-op Live, current clients include Aviva Studios, Birmingham City FC, EF Pro Cycling, AS Roma and Lloyd Webber Theatres.

Michalis Fragkiadakis, vice president of hospitality strategy, OVG International, will lead hospitality innovation, building on the 2023 acquisition of Rhubarb Hospitality Collection. Michalis has over 20 years of experience in the entertainment and hospitality industries, with a background in strategic operational delivery including his previous role at Levy by Compass.

Gary Hutchinson, vice president of booking and commercial partnerships at OVG International and MD Chrysalis Leisure Management, will continue to lead content development and strategic partnerships internationally.

Katie Harel joins as vice president of marketing, OVG International, transitioning from her role as global VP of marketing for Rhubarb Hospitality Collection, which will fall under her newly expanded role. Harel has over 20 years of luxury hospitality experience, working for renowned establishments like The Lanesborough and The Dorchester as well as the Mandarin Oriental Hotel Group and The Langham in Hong Kong.

“In just a few short months, Co-op Live has welcomed nearly one million fans and is setting new standards for artists and fans alike,” says Jessica Koravos, president, OVG International. Co-op Live offers an integrated fan experience from parking and ticketing to premium spaces that elevate fan engagement and generate valuable operator revenue. We are keenly aware of the challenges and opportunities facing venue owners. Our suite of service offerings is rooted in that knowledge and experience and paired with experts who have forged their careers in the European live entertainment and sports landscape, bringing real value to our clients.”

Chris Granger, president OVG360, adds: “As owners and operators ourselves, we care deeply about the challenges facing venue owners today. Our unique partnership approach, coupled with our mission of positive disruption in the live entertainment and sports space, has fuelled our growth over the last 3 years. With our collection of expert team members with deep backgrounds in UK and European live experiences, we now have the ‘boots on the ground’ to authentically and consistently partner with venue owners to meet their needs.”

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Welcome to the final part of IQ Magazine’s 2024 Green Guardians – our annual recognition of those eco-warriors and innovators at the forefront of the battle to make the live entertainment industry more sustainable.

The Green Guardians is spearheaded by IQ and an international panel of sustainability experts to highlight and congratulate companies and organisations who are improving the live music business when it comes to being more environmentally friendly.

This year’s list includes 22 entries across a wide range of event suppliers, campaigners, and solutions providers, all of whom are working tirelessly to reduce the carbon footprint of the live entertainment business.

IQ will publish entries across all categories over the coming days, and you can find the whole cohort in the latest edition of IQ here.

Co-op Live

New on the UK scene, Co-op Live opened its doors in May this year with sustainability at the heart of the Manchester venue.

Working with Aniron, a leader in commercial and industrial solar energy solutions, the arena has 3,300 solar panels on the roof of the downtown venue.

Once fully operational, the panels will yield nearly 1m kWh per year to aid in powering the building, which also features energy-efficient heat pumps, rainwater recycling, reusable cups, and locally sourced materials and food. The arena also plans to be zero-waste to landfill.

With a focus on fan travel, Co-op Live and Transport for Greater Manchester created a groundbreaking sustainability initiative allowing fans to travel for free on designated routes with an event ticket. An anticipated 1m fans will utilise the initiative over the next year.

Latitude Festival

The Suffolk-based UK festival began trialling hydrogen power across their event with a new partnership utilising GeoPura’s Hydrogen Power Units (HPUs) for clean energy at this year’s event (see GeoPura profile). The Festival Republic event, held from 25-28 July, replaced traditional diesel generators with zero-emission HPUs to provide clean electricity. The move aligns with the event’s Green Nation Sustainability Charter, which outlined its goals of reducing its carbon footprint and protecting the environment.

In addition to this change, the festival also used HVO biofuel in its generators, making these major power sources entirely fossil fuel-free. Climate and environmental groups, like Greenpeace, were also given space to engage with attendees about their efforts.

GeoPura’s CEO, Andrew Cunningham, praised Latitude: “By introducing reliable, zero-emission power, organisers are not only lowering the carbon footprint of the event but also enhancing the overall experience for all involved with cleaner air and quieter operations.”

Latitude’s initiative marks a new chapter for festivals and events moving toward renewable energy sources, reflecting a growing commitment to reduce emissions at these communal gatherings.

GEI17

Always at the forefront when it comes to green tech and systems to reduce carbon footprints, the Green Events & Innovations Conference (GEI) gathers leaders and innovators in the live sector to network and accelerate discussions around environmental and social best practice.

With many industry initiatives targeting a zero-carbon future, how the live sector moves towards a greener business framework has become a critical issue. GEI brings together experts, government reps, and cutting-edge organisations, to identify, share, and implement practical actions and holistic measures to help with this critical transition.

Conference sessions cover topics such as transport, energy, food, equality & inclusivity, climate justice, design & materials usage for circularity, while developers showcase various products and systems that can be used to help achieve sustainability goals.

2025’s edition will be held 25 February, the day before ILMC and in the same venue.

Øyafestivalen

The annual Norwegian music festival has tapped into its city’s power grid rather than use fossil-fuelled generators in an effort to protect its location in Oslo’s Tøyen Park. As a result, Øya says the festival site is fossil fuel-free, and organisers are aiming to have a completely emission-free site within the next few years.

Food at the event is almost entirely organic and mostly vegetarian or vegan, motivated by the desire to reduce the festival’s carbon footprint. All food packaging is compostable and turned into biogas – a renewable energy source made from the breakdown of organic waste – post-event, while all non-water beverages are served in reusable cups.

Staff have achieved a material recycling rate of roughly 75% as the festival’s garbage is hand-sorted onsite into 15 different categories. The event is committed to reusable products and regenerative energy sources, evidenced by its varied initiatives.

As a leader in festival sustainability, Øya publishes an environmental handbook for other outdoor festivals and events and is one of the Green Producers Tool developers, helping measure and reduce emissions for the entertainment and event industries.

Ecotricity Grid Faeries

The brainchild of sustainability entrepreneur Dale Vince OBE, founder of Ecotricity, and Claire O’Neill, A Greener Future co-founder, Grid Faeries is the world’s first 3MWh battery for the festival market. Debuting at Glastonbury Festival in June, the product powered the entire Arcadia Spectacular arena.

The system has also powered WOMAD’s Charlie Gillett stage with 100% green energy and Massive Attack’s Act 1.5, a one-day large-scale climate action accelerator event in Bristol, UK.

The founders are hoping to roll out Grid Faeries to more events next year and are also working nationwide in the UK to bring grid connection to commonly used event sites to make diesel generator usage a thing of the past.

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Bruce Springsteen and The E Street Band have expanded their 2025 European tour, adding eight new concerts including a pair of rare arena shows in the UK.

Beginning at Manchester’s Co-op Live on 17 & 20, the performances – which are in addition to previously rescheduled dates in Marseille, Prague and Milan – will bring the group to cities they didn’t play in 2023-2024.

New shows are planned across England, France, Germany and Spain, taking in venues such as Liverpool’s Anfield Stadium, Stade Pierre Mauroy in Lille, Deutsche Bank Park in Frankfurt and Estadio Reale Arena in San Sebastian.

The legendary band ranked No.4 in Pollstar‘s Q3 report on the highest-grossing tours of this year so far, garnering $201.5 million from 1.38 million tickets sold for 33 concerts.

This month, they will also travel to Canada for eight more shows beginning on 31 October in Montreal and running through 22 November in Vancouver — which will mark their 114th total show since returning to the road in 2023.

The announcement of new 2025 tour dates arrives shortly before the release of Road Diary: Bruce Springsteen and The E Street Band, a Thom Zimny-directed film coming to Hulu and Disney+ on 25 October.

Bruce Springsteen and The E Street Band’s full list of 2025 European tour dates is as follows:
May 17 – Manchester, England – Co-op Live
May 20 – Manchester, England – Co-op Live
May 24 – Lille, France – Stade Pierre Mauroy
May 31- Marseille, France – Orange Velodrome (rescheduled from May 25, 2024)
June 4 – Liverpool, England – Anfield Stadium
June 11 – Berlin, Germany – Olympiastadion
June 15 – Prague, Czech Republic – Airport Letnany (rescheduled from May 28, 2024)
June 18 – Frankfurt, Germany – Deutsche Bank Park
June 21 – San Sebastian, Spain – Estadio Reale Arena (Anoeta)
June 27 – Gelsenkirchen, Germany – Veltins Arena
June 30 – Milan, Italy – San Siro Stadium (rescheduled from June 1, 2024)
July 3 – Milan, Italy – San Siro Stadium (rescheduled from June 3, 2024)

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The UK’s largest arena Co-op Live has announced that NEC Group veteran Guy Dunstan will be joining the Manchester venue as its new general manager and SVP.

Dunstan will take the helm from 21 October, with current interim general manager Rebecca Kane Burton becoming EVP of venue management for OVG International, leading OVG’s global business development strategy for its facilities, sports, entertainment and hospitality divisions.

Dunstan, who brings more than 25 years of experience in the live arena industry, joins Co-op Live from Birmingham-based NEC Group where he was the MD of arenas, responsible for the city’s Resorts World Arena and Utilita Arena for four years. He has also been active for more than a decade with the National Arenas Association, holding the positions of chair, vice-chair and steering group member.

In his new role as GM, Dunstan will oversee the management of the 23,500-cap venue’s executive team. In addition, he will be influential in guiding the strategic leadership of Co-op Live as SVP, as well as being instrumental in developing its commercial and operational strategy.

“It’s a privilege to be joining the team at Co-op Live and leading the UK’s largest live entertainment arena after its impressive opening season hosting world-class acts,” says Dunstan. “The design, technology and acoustics of the arena are the best I have experienced throughout my time in the industry, so I’m excited to build on its success so far and put Co-op Live further on the world stage to add to Manchester’s cultural legacy and music heritage.”

“As we move into the next chapter of the venue’s story, Guy’s leadership will be a significant asset in helping us achieve our goals”

A joint venture between Oak View Group (OVG) and City Football Group, the £365 million Co-op Live has put on over 35 events since opening in May this year, with more than 900,000 tickets sold. The venue has already hosted exclusive events including the Eagles’ final UK shows, Pearl Jam’s only indoor concerts on their most recent tour and the first UFC event in Manchester since 2016.

Dunstan’s appointment comes as Co-op Live confirms over 25 additional shows for the remainder of 2024, including the MTV EMAs, which will be held in Manchester for the first time this November. Upcoming concerts include Paul McCartney, Billie Eilish, Janet Jackson, Glass Animals, Charli XCX, The Script, Slipknot, Teddy Swims, Andrea Bocelli and Sabrina Carpenter.

“Guy has a wealth of experience in leading live entertainment venues, so we’re thrilled to be welcoming him to the team at Co-op Live and the wider OVG Group,” says Jess Koravos, president of OVG International. “As we move into the next chapter of the venue’s story, Guy’s leadership will be a significant asset in helping us achieve our goals for Co-op Live to become the most sustainable arena in Europe and a first-choice venue for artists and fans worldwide.”

Kane Burton, whose CV includes stints as boss of London’s The O2 and Alexandra Palace, and CEO at LW Theatres and Sodexo Live, was drafted in at Co-op Live in April, amid the venue’s protracted opening.

In its first four months, the arena has also driven forward its commitment to raise £1 million annually for the Co-op Foundation to support good causes, alongside wider charitable involvement including a recent donation to Liam Gallagher’s chosen charity, Happy Doggo.

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