Shares in live music companies rebounded on a historic day for Wall Street after American president Donald Trump paused higher tariffs for 90 days.

While a baseline 10% tax will still apply to all countries except China, along with a 25% rate for all aluminium, and steel imports, but higher rates of up to 50% for dozens of other countries – dubbed the “worst offenders” by Trump – have been put on hold.

Trump said he had reached the decision because more than 75 countries had not retaliated against the US and had called “to negotiate a solution to the subjects being discussed”.

In response, the European Union has delayed retaliatory tariffs on the US for 90 days. But the US’ trade war with China intensified as Trump raised tariffs on the country to 125% after China responded to the president’s initial 104% tariff with an 84% levy on American goods.

An already turbulent week for the market took another twist following Trump’s tariff pause, leading to historic gains on the stock market as the S&P 500 rocketed 9.52% – its best day since 2008 and third-best day since World War II. In addition, the Nasdaq jumped 12.2% – its biggest since 2001 – and the Dow Jones was up 7.9%.

However, US markets were down upon opening this morning as Nasdaq fell 2.8%, the S&P 500 2.1% and Dow Jones 1.6%.

The touring business has been holding its own on the stock market in comparison to many other industries

Across the touring business – which has been holding its own on the stock market in comparison to many other industries – Live Nation closed 11% up yesterday at $131.75, Sphere Entertainment soared 19% to $30.97 and MSG Entertainment climbed 11% to $31.99, while live music firm Venu Corp rose 6% to $8.87 and streaming platform Spotify was up 10% to $569.06.

K-pop companies HYBE and JYP Entertainment ascended 7% and 4% respectively, with SM Entertainment roughly flat. MENA streaming service Anghami, owner of Dubai-based event management company Spotlight Events, was up 3.5%.

German-headquartered live entertainment giant CTS Eventim was also up 4% today to €93.30 as European markets rallied.

IQ has been speaking to a number of touring figures around the world about the “climate of uncertainty” the tariffs have brought to the business, with a common concern being the prospect of higher ticket prices and a reduction in disposable income for consumers. There were also fears of a decline in international touring.

“Whilst there is a belief that live entertainment is essentially recession-proof, that’s only so long as consumers continue to prioritise going to events within an increasingly challenging macro-economic environment,” ticketing expert Tim Chambers tells IQ.

“Our landing costs have sky rocketed and those costs are being turned into higher prices”

Danny Pelchat, of Quebec, Canada-based tour producer and promoter EMM Williams Productions, reports it has been business as usual up to this point.

“At this point in time we are in full creation mode and do not have immediate incidence from our southern neighbours,” he says. “Our next production will hit the road next summer, so we don’t have concerns now. Our contacts, worldwide, seem to operate as usual.”

Meanwhile, Brian Fair, who works for instrument manufacturer and distributor St Louis Music and is frontman of US metalcore band Shadows Fall, posted a lengthy blog on his Threads account about the tariffs’ effect on the music instrument market.

“Our landing costs have sky rocketed and those costs are being turned into higher prices that will unfortunately be handed down to the consumers,” he says. “We have tried to avoid increases where ever possible but a lot of it is unavoidable. Some of these brands used to be made in the US but that priced them entirely out of the market so production shifted to overseas many years ago.”

Fair said that “brick and mortar” music stores were already “barely scraping by”, adding: “These increases, no matter how small, will make it even more difficult for these stores to survive.”

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.

CTS Eventim has announced a leadership transition at its Italian subsidiary, TicketOne.

Andrea Grancini, currently general manager, has been upped to CEO, reporting directly to Klaus-Peter Schulenberg, CEO of CTS Eventim.

Grancini has been with TicketOne since its beginning, serving as a general manager and board member since 2018. His career spans 25 years in the business.

Grancini succeeds Stefano Lionetti, who is stepping down from the CEO position, having led TicketOne since 2007.

He will remain closely involved as a member of the board of directors and as general manager, will focus on key areas such as administration and finance.

“The future looks bright, and I can’t wait to work alongside our amazing teams as we keep pushing forward”

During his 18-year tenure, Lionetti is said to have helped expand the company’s presence, enhance its technological capabilities, and build strong partnerships.

He also played a role in TicketOne’s acquisition by CTS Eventim in 2008, further strengthening its market position.

“I would like to extend my sincere thanks to Stefano for his outstanding leadership and the many successes we have achieved together,” Klaus-Peter Schulenberg, CEO, CTS Eventim. “I am pleased that he will continue to contribute his expertise as a member of the board. Congratulations to Andrea on his well-deserved appointment as CEO. I look forward to working alongside him as he leads TicketOne into a promising future.”

Grancini adds: “I’m truly grateful for the trust that Chairman Klaus-Peter Schulenberg and the shareholders have placed in me, and I’m really excited about the chance to lead TicketOne into its next chapter. I would also like to take a moment to sincerely thank Stefano for all these years of collaboration. Together, we have achieved significant results. The future looks bright, and I can’t wait to work alongside our amazing teams as we keep pushing forward, creating innovative solutions for our promoter, clients, and customers.”

Lionetti comments: “It has been an incredible honour to lead TicketOne for the past 18 years. I am proud of everything we have accomplished together. Andrea’s dedication and expertise make him the ideal leader for the future. I am confident TicketOne will continue to thrive under his leadership, and I look forward to supporting him during the transition.”

TicketOne remains the market leader in Italy by some distance, according to the International Ticketing Report 2024.

Promoters, venues, and fans use its services across more than 30,000 events each year and the web platform ticketone.it is Italy’s most successful ticketing shop, with over 80 million visits per year.

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.

Live music stocks are riding the waves of the worldwide market as the fallout from Donald Trump’s sweeping tariffs continues. And in comparison to many other industries, the business is holding its own.

The week’s first few moments of trading saw the S&P 500 fall 3.4%, the Dow Jones drop 3.1% and the Nasdaq dip 4.1%, only for all three indexes to later rally more than 5% in minutes – apparently sparked by now debunked rumours that the US president was considering a 90-day pause on the tariffs.

Live Nation’s share price was reflective of the swings, fluctuating between $113.81 and $123.48, but was down less than 1% at press time. The company’s stock has dropped around 8% in the last five days, outperforming the market’s near 10%.

Shares in streaming service Spotify were up 3% to $517.26 (-6%), and Madison Square Garden Entertainment was fairly flat at $29.54 (down close to 10% in the last five days). Sphere Entertainment was down 1% to $26.35 (-20% in five days), amid concerns over spending levels in Las Vegas – casino and resorts company Las Vegas Sands also slipped almost 5% today and nearly 18% over five days.

Frankfurt Stock Exchange-listed CTS Eventim stock slipped 1% to €88.90 (-5%), but outperformed the MDAX stock index, which fell 3% and 11%, respectively.

Elsewhere in Europe, the FTSE 100 index decreased 4.4% for the day and France’s Cac 40 tumbled 4.7%.

In addition, MENA streaming service Anghami, which owns Dubai-based event management company Spotlight Events, slipped 6% (-20%).

By comparison to US and European stocks, shares in K-pop companies have proved more resilient. SM Entertainment has climbed more than 2% in the last five days but is down 5% today in line with the Korean stock market. Similarly, Korea’s JYP Entertainment was marginally up in the past five days but down close to 6% today, while HYBE declined almost 6% today and 2% in the last five days.

The turbulence follows American president Donald Trump’s 2 April announcement of a “baseline” 10% tariff on all imports into the US, which have prompted fears of a global trade war. The EU faces a 20% tariff, with higher rates of up to 50% to be imposed on dozens of other countries. The president has also threatened China with an extra 50% levy if it does not drop its 34% retaliatory tariffs.

IQ spoke to a number of touring figures last week about the likely impact of the tariffs for the business, with a common concern being the prospect of higher ticket prices and a reduction in disposable income for consumers. There were also fears of a decline in international touring.

And despite the received wisdom suggesting that live entertainment is recession-proof, economist Chris Carey of Media Insight Consulting believes that is no longer the case.

“The old assumption that live music market at large will see any sort of a boost from an economic downturn is likely to be obsolete in 2025”

“Historically, live music has proven itself recession-proof, demonstrated in Will Page’s 2008 paper Recession and Royalties,” he tells IQ. “In those times it played the role of an affordable luxury and a suitable substitute for larger spend, like a holiday. However, the likelihood is that times have changed.

“When you consider the pricing at the top end of the live music market now it means that the biggest live music tickets have actually moved into that luxury category, so won’t feel the boost of displaced spend. And it’s not just the ticket cost, but the cost of the whole event that exaggerates the impact. Leaving the house to enjoy live music – travel, drinks, dinner and tickets, maybe a babysitter – is so much more expensive than streaming from the sofa.”

He continues: “Importantly, that isn’t to say that demand for these exceptional moments won’t be met – unmissable talent remains rare, oversubscribed and unmissable – but the old assumption that live music market at large will see any sort of a boost from an economic downturn is likely to be obsolete in 2025.”

Ticketing expert Tim Chambers agrees there are no guarantees and discusses the knock-on effects for the business.

“From an event production perspective, if retaliatory tariffs are introduced, then artists could expect higher shipping/customs fees, increased visa and performance tax issues, restriction on cross-border collaborations,” he contends.

“Also, merchandise is typically mass produced in the Far East or South America and could also be impacted, and in the medium-term instrument costs could increase due to the global supply chain of components.”

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.

CTS Eventim has lodged an appeal after a German court ruled the pan-European giant breached the Digital Services Act with its methods of offering ticket insurance during the ordering process.

The Higher Regional Court of Bamberg partially upheld a lawsuit filed against the firm by German consumer organisation VZBV, which accused CTS of unduly pressuring customers into buying insurance.

According to the watchdog, ticket-buyers who clicked through to checkout without selecting the initial insurance option were taken to a pop-up window that recommended users purchase ticket insurance “to avoid the hassle and frustration of missing an event”.

Only after clicking the “I bear the full risk” button could tickets then be ordered without insurance.

“Taken together, this crossed the threshold for undue influence,” said the VZBV. “A scenario was created that created fear of a total loss of the purchase price and had a threatening effect.”

VZBV says the court has banned the ticketer from offering insurance to buyers in a “manipulative and misleading manner”.

“The judgement is directed solely against the specific wording currently used in the pop-up in the event of rejection of ticket insurance”

“Such design tricks, also known as dark patterns, are prohibited in the EU under the Digital Services Act,” adds Jana Brockfeld, legal advisor in VZBV’s legal enforcement team.

However, a CTS spokesperson stresses that the ruling is not final and confirms the company has launched an appeal.

“We would also like to point out that the judgement is directed solely against the specific wording currently used in the pop-up in the event of rejection of ticket insurance, but not against the use of a pop-up as a new request per se, or against its other design,” the spokesperson tells IQ.

The court rejected the watchdog’s request to prohibit CTS from offering insurance in the shopping cart for the first time, saying it is “readily apparent” the insurance is optional.

CTS last week confirmed record earnings for 2024.

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.

CTS Eventim chief Klaus-Peter Schulenberg has hailed the company’s international acquisition strategy after confirming record earnings for 2024.

The German-headquartered ticketing and live entertainment giant reported consolidated revenue of €2.809 billion for the year – up 19.1% – alongside adjusted EBITDA of €542.2 million, a 21.9% increase.

Its ticketing segment jumped 22.7% to €879.9m, with adjusted EBITDA ascending 21.1% to €416.5m, boosted by the additions of See Tickets and France Billet, plus Chile’s Punto Ticket and Peru’s Teleticket, to its portfolio over the 12-month period.

“Besides the consolidation of revenue and earnings, these acquisitions will give rise to further positive synergies in future,” says the firm, whose live entertainment strand posted revenue of €1.971bn (+17.6%) in 2024, with adjusted EBITDA of €125.6m (+24.4%).

CTS attributes the success of the division to “the strong local content of national and international promoters”, as well as the “successful operation of several iconic European venues”.

Hit productions included Eventim Live’s Elf The Musical, Formula 1 and Harry Potter touring exhibitions and David Gilmour’s tour of Italy and the US.

“Rising demand, organic growth, ongoing synergies and a successful international acquisition policy are the pillars of our robust growth”

“Rising demand, organic growth, ongoing synergies and a successful international acquisition policy are the pillars of our robust growth,” says Schulenberg. “We have ensured that – in addition to our technologies – our processes and business models are becoming great exports. They are the basis on which we will integrate future acquisitions even more quickly, realise synergies even sooner and enhance our success and attractiveness as a partner for international acquisitions and equity investments.”

CTS’ Arena Milano project in Italy is due to be completed at the end of this year, and the firm was also awarded the contract to build and operate a planned new multipurpose arena in Vienna, Austria, last November.

“Against a backdrop of stable macroeconomic conditions, CTS Eventim is anticipating a moderate rise in both total revenue and adjusted EBITDA in 2025,” concludes the company.

In view of the results, the CTS board is planning a to distribute a record €159.3m in dividends – €1.66 per share to shareholders.

CTS’ share price was flat at just over €100 at press time, giving the firm a market cap of €9.63bn.

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.

Musical patriotism is on the rise in many markets, but Italy still makes for a remarkable case study. Last year, according to FIMI, the local recorded music industry association, Italian releases claimed 84% of the country’s Top 100 album chart. That included, not for the first time, all top ten albums and all top ten singles, where big-selling stars of the moment included double Sanremo Music Festival winner Mahmood, Roman rapper Tony Effe, Neapolitan rapper Geolier and, among a general increase in female representation, female rappers Rose Villain and Anna.

Inevitably, the live industry has prospered in kind, with summers full of stadium shows and victory-lap tours from a seemingly inexhaustible supply of young Italian talent. Prominent stars including Ultimo, Lazza, Sfera Ebbasta, Elodie, and Gazzelle compete with Coldplay, Zucchero, and Bruce Springsteen & the E Street Band for dates at Milan’s San Siro stadium.

Since lockdown, the gold rush has scarcely abated for a second. Italy’s concert industry was worth almost €1bn to the country’s economy in 2023, according to FIMI, using data from IFPI, Deloitte, Italian Society of Authors and Publishers (SIAE), DISMA, and GfK.

The concert sector was the biggest driver of the country’s wider €3.1bn music industry, generating €967.4m from more than 36,000 events that attracted 23.7m spectators. Combined with dance and musical entertainment (€780.5m), the segment was responsible for 56.8% of direct contributions.

“The pre-pandemic numbers of 2019 have doubled – data that testifies to a constantly growing music scene and a professional and dynamic supply chain, capable of organising high-impact events in absolute safety,” Carlo Parodi, president of trade body Assomusica told Milan Music Week in November.

“This year, we have 53, 54 stadiums or open airs, and 39 of them will be local artists”

If 2024 wasn’t quite the year that 2023 was, in some eyes, with a marginally smaller number of stadium tourers on the move, then 2025 promises big things.

“This year, we have 53, 54 stadiums or open airs, and 39 of them will be local artists,” says Roberto De Luca, president of Live Nation Italy. “In ’23, the big international artists toured a lot. In ‘24, they toured a bit less. In ’25, they will tour extensively.”

With a heavy slate of hot young Italian acts, many of them from the fertile trap and rap world, Clemente Zard, CEO of CTS Eventim’s Vivo Concerti, likewise sees only growth. “From what I’ve observed, the Italian music market is buzzing, with growing opportunities in live events, especially as fans return to concerts with enthusiasm,” he says. “The competition is definitely heating up as more emerging artists enter the live industry. International players are also showing increased interest in the Italian market, driving local companies to innovate and stay competitive.”

Longstanding rock promoter Andrea Pieroni of DEAG joint venture MC2 endorses the sentiment. “These are good times, I would say,” he says. “2022 was very challenging after Covid. Then 2023 was a record year, even better than 2019. And 2024 was even better than 2023, for us. People are buying tickets, although the prices have gone up dramatically because of the rise in costs.”

That is not the only challenge in a market bedevilled by concert caps, venue availability, and that Italian speciality: red tape.

“One of the main issues we face as promoters is bureaucracy, which keeps growing every year,” says Di & Gi CEO Mimmo D’Alessandro. “Organising events requires compliance with a lengthy list of regulations and rules, which often vary not only from region to region but even at the municipal level.”

“If you want to have a big success in Italy, you have to sing in Italian”

The length and depth of the pandemic lockdown was a profoundly sore point among Italian promoters, and the perception of limited support grumbles on. In his address to Milan Music Week, Parodi noted that profit-making music companies are not able to access the FNSV [National Fund for Live Performance], locking them out of the “art bonus” tax credit available to individuals, institutions, and companies who support Italian cultural heritage. There are also issues with the availability of larger venues, usage of which is capped and, some say, not always equitably distributed.

For Italian talent, however, this is a golden age of a sort, and there is even a potentially promising export picture. In 2023, revenues from Italian music consumed abroad rose to €26m, according to FIMI. Chief among the international growers, by some distance, is Vivo act Måneskin, the Roman rockers whose global exploits have set a bar for Italian exports that seems unlikely to be beaten soon.

“It’s basically a power trio, at the end of the day, which you don’t really find in pop music anymore,” says Milan-based staging and production specialist Delamaison Productions’ Vittorio Dellacasa, who was production manager on the band’s recent world tour. “I’ve been lucky enough to go around the world with this band that is basically the only Italian band that has had huge success. Last year, we went everywhere. We played all the biggest festivals all over the world. I was shocked by the success they had in Japan. We did four arenas, sold out. It was like The Beatles.”

And yet, while the success of Måneskin might seem to point to a breakthrough for Italian pop, there are also straightforward reasons why such a thing is fairly unlikely.

“If you want to have a big success in Italy, you have to sing in Italian,” says Dellacasa. “The huge success today in Italy is made by all this new trap, rap, and hip-hop stuff. Everyone loves the lyrics, which are all Italian slang, but that is also the reason why I don’t see so much international potential for the big Italian acts. Måneskin became immediately global, but that is because they sing in English.”

Promoters
Give or take a few independents, the Italian live market is a slugfest between heavyweight corporate groups Live Nation and Eventim.

“Italian promoters are investing heavily in their rosters, which has made the market more competitive”

In the Eventim corner is Vivo Concerti – which has cornered the market in the young domestic stars often to be found filling Italian stadiums – along with Di & Gi, Friends & Partners, and Vertigo, which between them cover a wide variety of old and new Italian talent and prominent international names.

Vivo’s youthful cutting edge has seen it rapidly grow its business in recent years, and it remains the live force behind such headline-grabbing homegrown stars as Lazza, Ultimo, Elodie, and Gazzelle – all of whom play Italian stadiums this summer – along with numerous others.

“We’ve recently announced Måneskin’s Damiano David’s world solo tour, which is set to kick off next autumn. The tour will see him take over Europe, Australia, North America, South America, and Asia,” says Zard, who notes that, at home, the rush among promoters to build their domestic business has changed the game a little.

“Italian promoters are investing heavily in their rosters, which has made the market more competitive,” says Zard. “However, Vivo Concerti remains a top choice for emerging acts thanks to our track record of nurturing talent and creating career-defining moments. Many of today’s arena and stadium artists started their journey with us, and we take pride in growing alongside them and building lasting relationships.”

Di & Gi had a strong 2024, from which D’Alessandro highlights Taylor Swift’s two concerts at Milan’s San Siro and David Gilmour’s six shows at the Circus Maximus in Rome. “It was a true honour to host his only concerts in mainland Europe,” he says.

The promoter’s two major festivals, Lucca Summer Festival and La Prima Estate, are once again key areas of focus this year. “We are also excited about hosting major events, starting with The Rolling Stones’ concert at the Stadio Olimpico in Rome,” says D’Alessandro. “Additionally, we will have incredible artists performing on various stages across Italy, including Lenny Kravitz, Tyler, The Creator, Rod Stewart, Nile Rodgers, Nick Cave, and many others. We’re also excited to produce four shows with the great conductor Riccardo Muti – his first tour outside classical theatres.”

“The international artists have higher ticket prices, and the local artists have slightly lower ticket prices, though, of course, they are rising”

In the opposite corner is Live Nation Italy, whose big attractions this year include Bruce Springsteen and the E Street Band at the San Siro (with Barley Arts), Ed Sheeran at Rome’s Stadio Olimpico, a dozen stadiums for Marco Mengoni, and similar numbers for Vasco Rossi and Cesare Cremonini, as well as the Firenze Rocks and I-Days festivals. The latter two hoover up large amounts of international talent, while the stadium market is more typically – though not exclusively – the preserve of the local superstar.

The international and domestic markets operate in slightly different ways, according to De Luca. “The international artists have higher ticket prices, and the local artists have slightly lower ticket prices, though, of course, they are rising,” he says. “But the international artists come one year and then they don’t come back to Italy for another three years. Big local artists play every year – 10, 12, 15 stadiums, selling out every time. The stadiums in ‘25 have been sold out since July last year. But that’s one reason why the local artists have a cheaper ticket price – because they play more often.”

Other international operators are scaling up in Italy, too. Vertigo veteran Andrea Pieroni departed the company – and the group – for his own DEAG-backed MC2 venture at the end of 2023 but continued to fulfil outstanding Vertigo bookings throughout 2024.

“The last show happened a couple of weeks ago,” he told IQ just before Christmas, “so I no longer have any commitment with Vertigo or Eventim. Finally, I can focus totally on MC2 and the new venture with DEAG.”

MC2 specialises in rock and metal, with ambitions to go broader over the next few years. Iron Maiden, Marilyn Manson, Dream Theater, Lindemann, King Diamond, and Pantera are all on the 2025 calendar, along with the less metallic Skunk Anansie, Steven Wilson, and Hooverphonic.

“Not only do we aim to maintain our current positions, which are already satisfactory, but we also want to expand our market share,” says Pieroni. “We are already leaders in the rock and metal sector, and our goal is to grow into other areas of the market as well.”

“I’m particularly proud of the record-breaking AC/DC show at the beautiful open-air RCF Arena in Reggio Emilia”

Independents in Italy need to be smart to stay alive, and there are strong examples, old and new. Claudio Trotta’s Barley Arts, a mainstay of the business since 1979, last year staged around 400 events, the largest of them involving 100,00 tickets for AC/DC in Reggio Emilia, as well as street-food festivals, musicals, and comedy.

“I’m particularly proud of the record-breaking AC/DC show at the beautiful open-air RCF Arena in Reggio Emilia, less than an hour away from Milan, where unfortunately the quality of the open-air venues is very low,” says Trotta.

Barley Arts head of booking Marco Ercolani namechecks Loreena McKennitt’s comeback with two sold-out theatres in spring and six further shows in the summer, and Garbage and Alice Cooper’s only Italian shows.

“We also had The Hives Day, a festival we created in Bologna, obviously headlined by The Hives, with The Interrupters and Scowl playing before them,” says Ercolani.

“We also had Wolfmother’s first time in Sardinia, Xavier Rudd in the middle of the Apennines, Therapy’s sold out 30th anniversary show in Milano, and an awesome solo tour of Peter Hammill, with five full beautiful theatres and churches, almost 50 years after his first Italian run.”

“Our market is in an extraordinary state of excitement”

2025 promises to be equally rich and varied, with confirmations including two dates at the San Siro Stadium in Milan with Bruce Springsteen and The E Street Band (in collaboration with Live Nation Italy); Sam Fender and Tamino with shows already sold out; the highly anticipated returns of Ryan Adams; The The, James Blunt, Europe, Joe Bonamassa, Fantastic Negrito, and The Kenny Wayne Shepherd Band; as well as its STREEAT® Food Truck Festival.

“As the main independent promoter in Italy since 1979, we can guarantee a quality of care and attention to detail that is a real value and often makes the difference,” says Trotta. “The main attitude of Barley Arts over the years has been its big variety. We love developing new acts and genres of many different nationalities, and we are very good at doing big shows, according to the feedback we have from audience and artists, but we also do lots of small and medium shows every year.

“We like producing and promoting musicals like We Will Rock You, comedy and food events, too, like Streeat, the main national event dedicated to food truckers, and we are leaders in all these fields on the Italian market.”

In October 2023, Italian music group Artist First – already a record company, distributor, management stable, publisher, and more – launched its live music promotions division, Artist First Live, positioning it as the market’s first 360-degree operator. A little over a year in, Artist First CEO Claudio Ferrante remains enthused.

“Our market is in an extraordinary state of excitement,” he says. “Ticket sales are high, and public interest in concerts is growing more and more. I’d say the interesting part is that, in our view, despite the big players like Live Nation and Eventim, there is still space for other companies.

“Of course, all of this is extremely challenging, but we don’t focus on making million-dollar offers to artists. We focus on the quality of our work, on the integration of the processes – repertoire, promotion, distribution, and live shows – for artists who require special attention. We don’t want to sign 80 of them.”

“I come from an era where you start from the club. Now, if you do X Factor, you might do a stadium next”

The plan, says Ferrante, is “to grow organically, without rushing. Without fake sell-outs announced to the media that only risk harming careers. We don’t believe in artists who, just two years after their first single, announce stadium concerts.”

Initial successes include UK artist Blue, who sold 40,000 tickets in Italian arenas, and breaking singer and rapper Alfa from Genoa, who sold out dates at the Unipol Forum in Milan in 2024, as well as shows in Padua, Rome, and Florence.

“We are the only Italian company with a 360-degree model,” says Ferrante. “If an artist like Alfa hadn’t been managed according to this model, where everything – from song selection, to production, promotion, marketing, distribution, and finally, live shows – is handled, I don’t think he would have turned out the way he did.”

There are certainly those who believe the current thirst for stadium shows is a phenomenon that may be hard to sustain.

“Stadium shows for Italian artists are a different scenario from the past,” says Dellacasa. “In the past, what happened was that there was a San Siro Stadium or a Rome Olympic Stadium. You had your stage, your gear, your stuff. Now, because of the concentration of promoters, they basically put one stage and they do five shows in a row for five different acts. I come from an era where you start from the club. Now, if you do X Factor, you might do a stadium next.”

“Live performances are the best way to build a career, starting from the very beginning”

Ferrante evidently shares some of the same misgivings but is also convinced that live is the sharpest tool at the disposal of promising new acts.

“Live performances are the best way to build a career, starting from the very beginning,” he says. “In an era where artists pop up everywhere, it’s essential to think concretely about proximity to the fans, even in small clubs.

“Of course, there needs to be an initial core of fans, there needs to be some level of interest in an artist. But I see that it’s increasingly important for people to leave their homes and go see a small artist perform; that’s also the value of a discovery.”

Part two of the Italy market report will be published in the coming days.

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.

Leading Austrian promoter Barracuda Music has formed a joint-venture with Bucharest-based Events to expand into Romania and Bulgaria.

According to the companies, the new Barracuda & Events JV will “redefine the Romanian and Bulgarian live entertainment landscape”, leveraging Events’ local expertise and Barracuda Music’s international reach.

“Our mission has always been to create world-class live experiences, and Romania and Bulgaria are markets with incredible potential,” says Ewald Tatar, CEO of Barracuda Music Group. “By joining forces with Events, we bring together decades of expertise, an unparalleled network, and a shared vision for delivering top-tier events. This partnership marks an exciting new chapter in our expansion into the CEE region.”

Founded in 2004, Barracuda Music is part of the Eventim Live network and was founded in 2004. It has worked with the likes of the Rolling Stones, Ed Sheeran, Iron Maiden, Robbie Williams, One Republic, Jamiroquai, Green Day and Imagine Dragons, among many others. It sold more than 200.000 tickets in the Central and Eastern European markets alone in 2024.

“We are confident that Barracuda & Events will become a key player in shaping the future of live entertainment in the South Eastern European market”

Events, meanwhile, was launched in 2000 and has worked with the likes of the Rolling Stones, Cirque du Soleil, Aerosmith, Linkin Park, Leonard Cohen, The Cranberries and Billy Idol.

“For over two decades, Events has been at the forefront of Romania’s live entertainment industry,” says Sorina Burlacu, CEO of Barracuda & Events. “Teaming up with Barracuda Music allows us to take this legacy to the next level, providing Romanian and Bulgarian audiences with even more spectacular events and attracting some of the biggest international names to our stages.

“We are confident that Barracuda & Events will become a key player in shaping the future of live entertainment in the South Eastern European market.”

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.

CTS Eventim’s share price has sailed past €105 for the first time after the German-headquartered company posted record revenue and earnings for Q4 2024.

CTS stock had peaked at €105.90 at press time, having risen 5% since the markets opened this morning.

Shares in the pan-European entertainment and ticketing giant have soared almost 30% in six months and 16% just in the last month alone, giving the firm a market cap in excess of €10 billion.

According to its preliminary results, consolidated revenue rose by 19,1% year-on-year from €2.359bn to €2.809bn, driven by double-digit growth in both the ticketing and live entertainment segments. The Group’s adjusted EBITDA was up 21.9% to €542.2 million, compared with €444.8m for the previous 12-month period.

Ticketing revenue increased by 22.7% to €879.9m in 2024, while live entertainment revenue climbed by 17.6% to €1.971bn. Adjusted EBITDA amounted to €416.5m (+21.1%) and €125.6 million (+24.4%), respectively.

The company’s full 2024 annual report will be published on 27 March

The company’s full annual report for 2024 will be published on 27 March.

The firm completed its acquisition of Vivendi’s festival and international ticketing businesses, including See Tickets, in a €300m deal last year, while its Peter Rieger Konzertagentur (PRK) and DreamHaus subsidiaries merged last autumn to form a combined company, PRK DreamHaus.

It was also awarded the contract to build and operate a planned new multipurpose arena in Vienna, Austria and is on track to complete work on its Italian venture, Arena Milano, later this year.

CTS’ highlights for 2025 also include the anniversary editions of Germany’s Rock am Ring and Rock im Park.

“CTS Eventim is continuing to deliver stable growth in an increasingly volatile political and economic environment,” said CTS CEO Klaus-Peter Schulenberg during its previous earnings report. “The strategy of boosting rapid expansion and making the portfolio more financially resilient has proved to be key to our Group’s long-term performance.”

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.

Live Nation’s share price has reached a new high, topping $145 for the first time, after rising 11% in the last month alone.

The company’s stock, which peaked at $145.33 so far today (31 January), has continued on an upward trajectory after rocketing over 8% to a then all-time high of $127.64 in the immediate aftermath of Donald Trump’s victory in last November’s US election.

Live Nation has said it is “hopeful” the administration change will have a positive impact on its antitrust battle with the DOJ.

Additionally, LN’s share price has risen 50% over the past six months and 63% in the last year. The firm has a market cap of more than $33.5 billion.

The firm’s president/CEO Michael Rapino was recently named No.1 on Billboard‘s latest Power 100 List, its annual rankings of the music industry’s top executives.

“The word ‘record-breaking’ has become synonymous with Live Nation under Rapino’s leadership”

“The word ‘record-breaking’ has become synonymous with Live Nation under Rapino’s leadership,” states the publication. “In 2024 alone, the first two quarters of the year broke revenue records, while in the third quarter (though down in overall revenue year over year) concerts delivered record profitability.

“Those results stem from consistently promoting shows from some of the biggest acts on the road.”

Rapino came out on top of the list ahead of Universal Music Group chair/CEO Lucian Grainge at No.2, with the top 5 completed by Sony Music Entertainment CEO Rob Stringer, Spotify co-founder/CEO Daniel Ek and Irving and Jeffrey Azoff, who are jointly ranked at No.5.

Other live music figures included in the top 20 were AEG Presents president/CEO Jay Marciano at No.9, Red Light Management CEO Coran Copshaw was at No.19 and Oak View Group chair/CEO Tim Leiweke at No.20.

In further positive stock market news for the business, shares in German-headquartered live entertainment giant CTS Eventim have seen an 11.5% uptick over the past month to €94.70, while Sphere Entertainment’s have risen close to 15% in the same period to $46.17. Madison Square Garden Entertainment Corp is up slightly to $36.30.

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.

CTS Eventim has elevated Marijke van den Bosch to lead the ticketing activity of CTS Eventim Group across the Benelux region.

Van den Bosch was CEO of See Tickets Benelux, which was acquired by CTS Eventim last year. She will oversee the ticketing activity for the See Tickets and Eventim Netherlands brands across Belgium, the Netherlands and Luxembourg, and will report to COO Alexander Ruoff.

The promotion comes as long-serving CTS Eventim Netherlands managing director Henk Schuit stepped down at the end of 2024.

“I would like to thank Alexander and the CTS Eventim Board for their trust, as well as Henk for his achievements over the past two decades. He has built a strong foundation for CTS Eventim Netherlands, which I am proud to build upon,” van den Bosch says.

“I am excited to take on this role, lead the talented teams in Benelux, and contribute to the continued growth of CTS Eventim in the region.”

“We aim to deliver even better and more tailored solutions for our partners and customers”

Schuit has departed the company after two decades to “take a new direction in my career,” he adds.

“I am proud of what we have achieved together at CTS Eventim Netherlands, from strengthening our position in the ticketing market to fostering innovation and collaboration across the industry. I am confident that Marijke will build on this strong foundation and take the company to new heights.”

In June 2024 the Germany-headquartered live entertainment and ticketing firm acquired See Tickets and its associated live entertainment business from Vivendi. The €300 million deal also included a portfolio of 11 festivals.

The company’s Q3 results reflected strong year-on-year growth, reporting revenues above €2bn for the first nine months of 2024, up 16% YOY, despite profitability coming into question. The leadership structure shake-up signals a refresh in the region for the firm.

“Looking ahead, I am confident that Marijke’s expertise and leadership will be instrumental in driving the continued success of our ticketing operations in the Benelux region. With the unified management structure, we aim to deliver even better and more tailored solutions for our partners and customers,” says COO Alexander Ruoff.

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.