European festival bosses are reporting encouraging ticket sales for this summer as events adapt their offerings to keep up with modern trends.

Czechia’s Rock for People has upped the capacity of Park 360 in Hradec Kralove by 25% to 50,o00 for 2025. Guns N’ Roses, Slipknot, Avenged Sevenfold, Linkin Park and Biffy Clyro head its 30th anniversary edition from 11-15 June. It is also planning an exhibition celebrating three decades of the festival along with special programming to mark the milestone.

“Sales are very strong this year,” the gathering’s programme and marketing director Luděk Motyčka tells IQ. “A few months before the festival, we have sold out all categories of four-day tickets and also all Saturday tickets. We are also seeing a growing interest in local and non-English speaking artists.

“Another significant opportunity is working with new artists and developing them, as some of the newcomers have experienced a meteoric rise in popularity.”

Rock for People is also adding a new stage focused on up and coming talent and has expanded its offering of glamping accommodation, with Motyčka observing an increased demand for enhanced “experiences, services and comfort”.

“Premium campsites sold out in 20 minutes, and demand for premium tickets has more than doubled,” he reports.

“Visitors are also more discerning when it comes to dining, they expect a more varied and quality offering – we are increasing the ratio of vegan and vegetarian meals each year. Also, we have introduced a non-alcoholic bar with mixed drinks and non-alcoholic wine.”

“While there’s still strong interest in classic pillars like rock, we’re seeing growing openness to other genres”

Ticket sales are also progressing well at Spain’s 40,000-cap Bilbao BBK Live, which will welcome headliners Kylie Minogue, Pulp, Michael Kiwanuka, Bad Gyal and Raye to Kobetamendi from 10-12 July. Eva Castillo, director of communications for promoter Last Tour, says the new Bono Cuadrilla promotion – which provides six tickets for the price of five – has been particularly well received.

“We’re seeing a positive response, especially for full passes and new formats,” she says.

New features include the launch of late-night club concept GORRIA, with programming curated by collectives like Nítido, En1gma and JUGO3000, while the Basoa forest rave stage is returning to its original circular layout.

“We’re also strengthening our efforts around sustainability and diversity, both in the lineup and the festival environment,” adds Castillo. “We aim to offer a complete cultural experience that goes beyond the concerts.”

Also on the bill are the likes of Alice Phoebe Lou, Amyl And The Sniffers, Bicep presents Chroma AV, The Blessed Madonna presents We Still Believe, Jalen Ngonda, Jessica Pratt, L’impératrice, Makaya McCraven, Nathy Peluso, Obongjayar, Sofie Royer and Wunderhorse.

“Audience tastes have diversified significantly,” notes Castillo. “While there’s still strong interest in classic pillars like rock, we’re seeing growing openness to other genres such as electronic music, emerging pop, and hybrid proposals.

“We’re also noticing that people no longer attend solely for the lineup: they value the setting, the festival narrative, the values it represents, and the chance to discover new artists. Audiences are looking for authentic experiences, emotional connection, and proposals with a clear identity.”

“The sense of community is really strong amongst the public which make them super-keen to attend”

It’s a similar story for Finland’s Flow Festival (cap. 30,000), which will bring Charli XCX, Fontaines D.C., FKA Twigs, Little Simz, Air, Khruangbin, Bicep and Beth Gibbons, among others, to Helsinki between 8-10 August. Artistic director Tuomas Kallio tells IQ that sales are “very strong – actually better than ever before”.

He reveals the festival area is being expanded for this summer’s incarnation, with the site expanding to the courtyards of the Hanasaari power plant, which hosts the event, for the first time. The area will serve as the backdrop for Flow’s biggest DJ/electronic venue Front Yard.

Kallio detects that the Flow audience is getting “even more varied and demographically mixed”.

“As an over 18s-only festival, there are always the new generation of excited young first-timers who just turned 18 and then the Flow veterans who have been going for 20 years and are still going,” he says. “Flow also has a mixture of various subcultures from clubbers to pop fans to foodies or jazz heads that all clash in a positive way.”

Elsewhere in Europe, Switzerland’s Paléo Festival is already a monster success after all 210,000 tickets for 2025 were snapped up last month in just 13 minutes. The Nyon event will host the likes of David Guetta, Queens of the Stone Age, Macklemore, Will Smith, Justice, Simple Minds, Texas, Sex Pistols ft Frank Carter and Skunk Anansie.

“It’s very rewarding to witness the craze and passion of our audience,” says Paléo spokesperson Bastien Bento. “We’re very lucky. It’s hard to decipher for us – I guess the sense of community is really strong amongst the public which make them super-keen to attend.”

“Most festivals need to rethink their business models in order to stay healthy”

Bento details how organisers tinker with the format to keep things fresh – pointing to its Village du Monde project, which is dedicated to Maghreb this year and will showcase 20 artists as well as specific scenography and food and crafts stands from the African region.

“Our lineup this year feels also very eclectic and balanced, so it appeals to a large audience – and the audience reflects this diversity,” he notes. “The preparation is going very well. However, like we usually say internally: just because the stadium is full doesn’t mean the match is already won!”

That is not to say there are no clouds on the horizon for the sector however. Paléo booker Dany Hassenstein notes that in light of the current macroeconomic climate – allied to high headliner fees and production costs – most festivals need to rethink their business models in order to stay healthy and continue offering good value for money.

“This calls for exciting innovations across the industry,” he says. “At the same time, environmental sustainability is becoming an increasingly central concern for the whole events industry.”

Bilbao BBK’s Castillo agrees, adding: “A major challenge is the environmental impact and the need to transform our practices in a real and measurable way. In addition, connecting with new generations demands constant innovation in how we communicate and curate our programmes.”

Kallio acknowledges that rising costs are making life ever-more difficult for the sector, although Flow has been able to ride the storm better than the most.

“Even for Flow it is getting more challenging, but I guess with the very strong fanbase of the brand and sales pattern that breaks records year after year, we might be one of the lucky ones in the industry,” he suggests. “Good overall quality and curation never go out of style.”

“Relying on a single big-name headliner surrounded only by newcomers just doesn’t cut it anymore”

Despite Rock for People’s star-laden bill, Motyčka says a shortage of headline talent due to the popularity of stadium tours is a concern, and also lists challenges relating to the steep rise in production costs, HR costs and artist fees, as well as the impact of the current economic environment.

However, amid the recent ascent of acts such as Travis Scott, Charli XCX, Chappell Roan and Bring Me the Horizon, to name but a few, Hassenstein argues the number of viable headliners is back on an upward trajectory,

“The pool of potential headliners is looking much stronger than it did a few years ago, and it paid off for us in 2025,” he says. “Even though it’s still early, the outlook for 2026 is even more promising.”

Albeit, the overall depth of the programme is of equal importance, adds Hassenstein.

“A strong mix of multiple big names and a diverse lineup across all genres each day is essential,” he contends. “Relying on a single big-name headliner surrounded only by newcomers just doesn’t cut it anymore.”

In conclusion, Castillo is excited about the next evolution of the scene.

“There’s a huge opportunity in rethinking what a festival is and what it can become — turning it into a 360º experience that lives on throughout the year and returns with every new edition,” she finishes. “Embracing more diverse, inclusive and carefully curated proposals allows us to connect with new audiences without losing our loyal base. Digital tools — from data to content creation — help us build community all year round.

“We’re also seeing clear growth in international audiences, opening the door to new collaborations and expansion. Above all, we believe festivals can be platforms for cultural and social impact, with real potential to drive change.”

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

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

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

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

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

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

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

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

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

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

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Rock en Seine has secured Chappell Roan’s one and only performance in France in 2025.

The US star will headline the opening night of the Paris event, slated for 20–24 August at Domaine National de Saint-Cloud.

She joins a rich lineage of Rock en Seine headliners which includes Lana Del Rey, Billie Eilish and Arctic Monkeys.

Also set to perform on the opening day of the festival are London Grammar, Suki Waterhouse and Luvcat – currently the only other acts announced for the 20th edition.

Rock en Seine is promoted by AEG Presents, which acquired the 40,000-capacity festival in 2017 in partnership with media investment group LNEI.

In 2022, Rock en Seine GM Matthieu Ducos and AEG European festivals boss Jim King previewed a new era for the festival, which they said has “the potential to be one of the world’s leading city-based festivals”.

Elsewhere, Czech Republic’s Rock For People is also gearing up for its 30th anniversary edition, adding a fresh slate of acts to the bill.

Sex Pistols ft Frank Carter has been named as the final headliner for the event, joining Avenged Sevenfold, Slipknot and Linkin Park.

Rock For People have also announced that the landmark edition will be extended to a fifth full day

Organisers have also announced that the landmark edition will be extended to a fifth full day headlined by Guns N’ Roses, with support from Rival Sons and more.

Four-day festival ticket holders have the opportunity to purchase Sunday’s programme at a discounted price.

An additional 40 acts have also been announced including Biffy Clyro, Kneecap, AWOLNATION, Marc Rebillet, Sigrid, New Jersey, Lorna Shore, Battlesnake, Refused, Eagles Of Death Metal, Circa Waves, The Ghost Inside, Deafheaven, Kim Dracula, RØRY, Imminence, Mallrat, DVNE, Bad Nerves, Imminence, DVNE, Sylosis, Lake Malice, The Haunt and Urn.

Previously announced acts include Fontaines D.C., IDLES, In Flames, Motionless In White, Poppy, Skillet and Alice in Chains’ Jerry Cantrell.

Rock For People founder Michal Thomes says that 90% of the full-festival tickets are sold out already, six months before the event.

“The bar for the festival is once again being raised and we are seeing a huge demand for tickets that we have never seen before,” he adds.

Last year, booker David Nguyễn told IQ how the festival triumphed over the ‘headliner drought’ to produce the record-breaking 2024 edition.

Rock for People 2025 takes place 11–15th June 2025 at Park 360, Hradec Králové, Czechia.

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To celebrate the hard work of the numerous independent operators that make the live entertainment industry such a vibrant – and growing – business worldwide, IQ is publishing its inaugural Indie Champions list.

Our shortlist of 20 companies were chosen by the IQ readership and have headquarters across 11 different nations but service live events the world over, thanks to their various satellite offices and the artists and partners they work with.

The Indie Champions will become an annual staple of IQ, so if your company did not make it onto this year’s debut list, fear not, as you have a full ten months to prove your credentials to friends, colleagues, and business partners ahead of next year’s nomination process.

IQ will continue to publish entries across all categories over the coming days, and you can find the whole cohort in the latest edition of IQ here. Find part one, which includes Alter Art, Crosstown Concerts and more, here.

evenko (CA)

One of Canada’s largest independent promoters, evenko produces nearly 1,600 music, family, and sports events throughout Quebec, the Atlantic provinces, and the eastern United States on an annual basis. Its key events include hugely successful music festivals OSHEAGA Music and Arts Festival, FUEGO FUEGO, îLESONIQ, and LASSO Montréal, while throughout the year, the company regularly presents shows by Disney on Ice, Cirque du Soleil, and several Broadway shows.

In 2024, evenko’s four festivals attracted more than 270,000 music lovers of all genres – îLESONIQ (55,000), OSHEAGA (147,000), FUEGO FUEGO (35,000), and LASSO Montreal (35,000) – while the company also promoted shows by the likes of Madonna, Burna Boy, Olivia Rodrigo, Andrea Bocelli, Noah Kahan, Snoop Dogg, Missy Elliott, Charli XCX, Troye Sivan, Cyndi Lauper, Justin Timberlake, and Sabrina Carpenter. It will round off the year with performances by Bruce Springsteen, Iron Maiden, Cirque du Soleil, Sebastian Maniscalco, and Russell Peters.

Legendary acts such as Green Day, the Smashing Pumpkins, and Justice appeared as part of the lineup for OSHEAGA’s 17th edition

The company’s festival lineups in 2024 included acts like SZA, Chappell Roan, Maluma, Noah Kahan, Sam Hunt, Tiësto, Rauw Alejandro, and Eric Church, while legendary acts such as Green Day, the Smashing Pumpkins, and Justice appeared as part of the lineup for OSHEAGA’s 17th edition.

Jelly Roll and Bailey Zimmerman are set to headline the fourth edition of LASSO Montréal country music festival next August, and the company will promote shows by Kylie Minogue, Jerry Seinfeld & Jim Gaffigan, Heart, Kane Brown, and more at Montréal’s Bell Centre in the coming year.

Fource (CZ)

Anthony Jouet founded Fource in 2011, after finding himself working in Prague as a consultant in-house promoter at the city’s O2 Arena. “I felt there was a gap in the market, but I was frustrated to be tied to arena shows, so I told my boss, Jacob Smid, and between us we set up Fource to specialise in artist development,” he explains.

The idea was a success and, in 2017, Fource opened a second office in Warsaw, Poland.

“Our business model is based on artist development. So usually, we begin at club level with the artists that we decide to work with. And then we develop them in the market and work with all the possible venues in town up to arena level. 95% of what we do is promote shows.”

“It was very important that we are accountable for everything that we do”

Jouet’s approach to artist development is taking everything in-house. “We have our own ticketing [team], we do our own production, and we have our own marketing team, rather than doing what other players do here, which is relying on venues to promote their shows. For me, it was very important that we are accountable for everything that we do.”

Now employing eight people in Prague and five in Warsaw, the organic growth of Fource sees the company now promoting around 100 shows a year in Czechia and 80 in Poland.

Gérard Drouot Productions (FR)

Founded by Gérard Drouot in 1986, Gérard Drouot Productions (GDP) has become a pillar of concert production in the French music industry, while its name is recognised, appreciated, and trusted by artists and their fans all over the world. Now run by the late founder’s son, Matthieu, the company remains fiercely independent through its continual desire to renew itself and to approach each tour and event as a unique project, requiring creative marketing and promotional strategies.

As a lover of jazz, Gérard Drouot quickly added rock and pop, and more recently, rap, to the company’s portfolio, while film concerts have also become a speciality.

Despite the death of Gérard in 2022, GDP has a bright future ahead of it

GDP’s reputation revolves around relationships built on trust, offering artists opportunities to go beyond the norm to produce memorable performances, be they in a 400-seat venue or at the massive Stade de France. Despite the death of Gérard in 2022, GDP has a bright future ahead of it, with Matthieu Drouot overseeing 600 shows per year, including a raft of upcoming shows whose eclectic range is emphasised by the likes of Fally Ipupa, Frank Turner & The Sleeping Souls, Shaârghot, The World of Hans Zimmer, Cradle of Filth, and Laura Pausini.

Greenhouse Talent (BE)

Founded by Pascal Van De Velde in 2005, Greenhouse Talent has become the largest indie concert promoter in Benelux, with 50 employees across Belgium and The Netherlands organising around 1,500 events annually for 1.5m fans. Van De Velde’s promoting career began when he was a teenager, and his pathway to launching Greenhouse saw him working for Belgian independent Make It Happen before that became part of the SFX/Clear Channel/Live Nation stable in 2001, where he worked as a consultant before creating his own operation.

“We promote international and domestic shows, we are a booking agency, and we organise festivals, comedy, and family shows,” says Van De Velde. “We do it all: production, marketing, admin, legal, and ticketing; and our mission is to remain talent-driven and participate in the growth process of our artists, based on a personal approach tailored to the artist’s career demands.”

“We do it all”

Among the company’s cornerstone events are Gent Jazz (57,000 attendees in 2024) and Netherlands events such as Zuiderpark Live (25,000), Spoorpark Live (22,500), and Country to
Country festival (10,000).

Looking ahead, Greenhouse has sold more than 200,000 tickets for a series of 40th anniversary shows for Clouseau at the Sportpaleis in Antwerp, and two sold-out shows with Nick Cave & The Bad Seeds at the same venue. And in the Netherlands, the company will host UB40 at Ziggo Dome, Fally Ipupa at RTM Stage, NCT Dream at Rotterdam Ahoy, Max Richter at Carré, and Kaleo at AFAS Live before the end of this year.

Karsten Jahnke Konzertdirektion (DE)

The company was officially founded in 1962 by Karsten Jahnke, who finally turned his hobby of promoting concerts into a business. These days, it offers touring services in Germany, Austria, and Switzerland, as well as local shows in Hamburg, including, for the past 49 years, Stadtpark Open Air from mid-May to mid-September.

The company is involved in festivals like Reeperbahn, MS Dockville, Spektrum, Habitat, Vogelball, Elbjazz, Überjazz, and Baltic Soul Weekender. Touring clients include The Cure, Beck, Childish Gambino, BLACKPINK, ATEEZ, Branford Marsalis, Cypress Hill, Diana Krall, Gianna Nannini, Gregory Porter, Erasure, Herbie Hancock, Ludovico Einaudi, Nils Landgren, Portishead, Royel Otis, Taylor Swift, Thundercat, Tower of Power, Sasha Velour, Walk off the Earth, Trixie & Katya, Van Morrison, and Wu-Tang Clan.

It offers touring services in Germany, Austria, and Switzerland

With a staff of 50 employees, this year, the company promoted two shows with Taylor Swift at Hamburg’s Volksparkstadion; tours with Joss Stone, Diana Krall, Sean Paul, Cypress Hill, Birdy, Garbage, Kaleo, Childish Gambino, Gianna Nannini, Gregory Porter, and Tower of Power, amongst many others; around 1,200 shows in the GAS region; and 350-400 shows in Hamburg each year.

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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The 17th edition of IQ Magazine’s New Bosses, in association with Futures Forum, was revealed in IQ 129, recognising 20 of the most promising 30-and-unders in the international live music business. 

To get to know this year’s class a little better, IQ conducted interviews with each one of 2024’s New Bosses, discovering their greatest inspirations and pinpointing the reasons for their success.

As a teenager, Filip started organising concerts for student bands, film screenings, and other cultural events in his hometown of Ostrava, and his efforts were rewarded when Colours of Ostrava offered him a temporary role at the festival. After two years, he was invited to become a full-time member of the festival booking team, starting with Czech and Slovak bands and progressing through smaller international artists to bigger names and headliners.  

What one thing would you like artists, fans, and other music industry professionals to learn about your country to persuade them to visit your events, or to listen to some Czech bands and artists?
I think Czechs in general are very open, honest and friendly. This is what you experience when interacting with Czech artists and promoters but also when attending local events. Overall, we are very easygoing.

As a programmer, are there any particular events, forums or platforms that you visit to try to discover the next big act?
I like SXSW in Austin, Texas, but also Transmusicales in Rennes, France. Eurosonic and IFF are very effective too. However, to discover next big act, it is very valuable for me to speak with colleagues, agents, other promoters and also visit smaller, genre/regional-specific showcases and conferences.

What has been the highlight of your career, so far?
Every year is a highlight. Since 2015, each edition of Colours of Ostrava is groundbreaking for me — each year is different, offers new challenges, opens up new experiences and brings amazing moments to share with tens of thousands of people.

What advice would you give to anyone who is trying to find a job in live music?
Do not try to find a JOB in live music. You should start doing it because you love it, regardless of time or money. The second advice is: always respect colleagues. The live music industry is a teamwork.

“Do not try to find a JOB in live music. You should start doing it because you love it, regardless of time or money”

Your remit also includes the development of the festival – where do you find the inspiration for new ideas, and how do you gauge their success?
I take inspiration from everywhere around me: Media, films, internet, community events, sports events, travelling, leisure activities. Travelling is very important to me. I am trying to be receptive and store everyday impulses and experiences somewhere in the brain. Some ideas stay stored there for years before implementing them into the event.

As the festival is a package of many things, sometimes, it is very hard to measure the success – especially as we need to track emotions and feelings of people. Surveys are useful, data analysis from wristbands too, however, I think, that nowadays, you can get quick feedback from social media, especially from Instagram photos.

Do you have a mentor or anyone you rely on to bounce ideas off?
I am glad to be working with Zlata Holušová. She is the artistic director of the festival and 23 years ago she founded the festival in a city whose cultural and social conditions did not suggest the potential for one of the best international music festivals in Europe at all. She created this festival from scratch based on non-mainstream genres with a desire to discover new artists from all around the world. I think this desire, not to be shallow and fully absorbed by the mainstream despite the size of the event and to try to go to the heart of the music and ideas is very inspiring.

And what about meeting new contacts in the business – are there any conferences, festivals or other events that you have attended that been useful for networking?
I think this matches with the previous question of discovering next big act. Usually, the events that can bring in the new talent can also gather inspiring people who can do things. Nevertheless, I think, that very often, smaller events with 20-30 delegates are better to find real connections which go beyond business. As the live music industry is more a lifestyle than a job, I think, it is very valuable to have deeper relations to understand each other.

“Having more protection and advocacy in case of emergencies and concert cancellations would definitely be beneficial”

As a New Boss, what one thing would you change to make the live entertainment industry a better place?
Everyone involved tends to say that we are all equal partners in this industry. It would be great if this were really the case, both on a legal and on a human level. Everyone is fighting their own battle, but from the festival organiser’s point of view, we are exposed to a huge risk every year. We are now working with budgets in the millions of euros and our potential for success is really uneven compared to the extreme risk. That’s our business, but having more protection and advocacy in case of emergencies and concert cancellations would definitely be beneficial for healthy industry.

What would you like to see yourself doing in five years time?
I hope that I will be doing the same: working with music, exploring the boundaries of art and ideas and bringing joy and deep experience to wide audience.

You’re a big advocate for the Meltingpot programme at the festival. Can you tell us more about it?
I am glad that most of the people coming to our festival are entering the festival venue around lunchtime, so they are enjoying the festival all day all night four days in a row. Since morning, they are attending 13 stages of Meltingpot — panel discussions, interviews, key notes and workshop on the topics such as longevity, AI, ecology, education or world in change. At the moment, we are hosting more than 300 speakers from all around the world at this discussion forum. I’m proud, that our audience is open to listening and talking about different global and personal challenges. At first glance, this is far from a music festival vibe, but at second glance, this is the magic and essence of music – bringing people together, sharing ideas, all in a pleasant, friendly atmosphere, isn’t it?

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Colours of Ostrava programmer Filip Košťálek has spoken to IQ about the 21st edition of the Czech festival.

This year’s instalment returned to Ostrava, the country’s third-largest city, between 17–20 July, with Sam Smith, James Blake, Tom Morello, Lenny Kravitz, Sean Paul and Khruangbin among the top-billing acts.

Here, Košťálek tells IQ how the festival is bridging a generational gap, what the global IT outage meant for them and why it wasn’t the “easiest” year for the event…

IQ: How many tickets did you sell for this year’s edition?
FK: We have not been publishing attendance figures for several years. Since there is no single metric for counting attendance, we consider the quality of artistic performances and visitor satisfaction to be more important. However, we are still one of the largest international festivals in Central Europe.

What are you most proud of with this year’s edition?
I’m very proud of our audience and the overall atmosphere of the festival. This edition showed us once again that our festival is about discovering new original music from all over the world, regardless of genre. Visitors of all generations filled our eight music and 13 discussion stages to the brim, no matter how well-known the performer. Our visitors showed warmth and love to the world’s biggest stars and emerging artists across all four days.

“The outage of the global air traffic clearance system in the middle of the festival was a shocking moment”

What were the main challenges of this year’s event?
The outage of the global air traffic clearance system that hit our performers at European airports right in the middle of the festival was a shocking moment. Although we had made all sorts of plans for replacements and rescheduling, in the end, we were lucky and it only meant rescheduling one show. We are delighted that we were able to deliver all the shows.

How much have costs risen since last year and what measures have you taken to ensure the festival remains profitable?
Overall costs have risen by 20-25% year-on-year, so it is clear that we have had to continuously respond to these significant changes. As we strive to keep the festival as accessible as possible, working with ticket prices is quite sensitive for us – we’ve addressed this by adding new categories that expand the ticket offer while opening up the opportunity for new audiences to attend. At the same time, our commercial partners are helping us a lot, for which we are very grateful!

Nevertheless, the line between the success and failure of festivals is getting very thin. I believe that the current economic setup of the industry dramatically increases extreme risks for promoters compared to the potential profits. We never compromise on quality, but we are forced to think more and more about each item in our budgets.

“Overall costs have risen by 20-25% year-on-year, so it is clear that we have had to continuously respond to these significant changes”

Czechia is one of the only European countries that hasn’t adopted the Euro (though it seems there are plans to) – how does the currency fare when it comes to artist fees?
Of course, this means more work for us in the economic department. We have to monitor exchange rates and buy currency as necessary. But I think we are managing and it doesn’t limit us.

There have been many reports of festivals struggling to book headliners. What was your experience with securing the 2024 lineup?
I think we did very well this year thanks to the support of our agents and the good name of our festival with 23 years of history. It was definitely not the easiest year, but to complain would be blasphemy.

When Sam Smith, a non-binary artist, was announced to play at the festival, there were some uncouth remarks from people on social media. Why do you think that was? Do Czech audiences embrace LGBTIQ+ artists?
It is about the fact that our festival is one of the biggest cultural events in the Czech Republic. This means that we have a truly society-wide reach and impact, reaching the majority of the population, who are not necessarily festival-goers. However, I must say that the Czech Republic is generally a very open and tolerant country.

“We also introduced psychological First Aid for staff and visitors… we know that huge events can be challenging for a lot of people”

Was there anything new or improved at this year’s festival?
No edition is the same, we strive to improve across all departments. To innovate every year. This year, we added two stages: the NYC stage with an eclectic lineup full of music, stand-up comedy, theatre and discussions in a new glamour tent, and the storytelling tent for sharing stories about Indigenous culture and connection with the soul and nature.

We also introduced psychological First Aid for staff and visitors. We know that huge events can be challenging for a lot of people. This service has been warmly received and I am pleased that, in the end, the number of people who had to use this service was less than we had anticipated. This means that Colours of Ostrava is a safe, comfortable and inclusive festival.

Pavla Slivova (head of booking & artist liaisons) said at IFF 2022 that there was a generation gap at the festival and the team needed to refocus its attention on what Gen Z finds attractive. Have you managed to do that?
I think it’s on the right track. This transformation is definitely not a task that can be accomplished in one year but I feel that not only Gen Z, but society in general, is starting to realize again how important it is to meet and have long, intense experiences.

We’re going to work on this step by step, and this year has shown us the right way. I think it’s mainly about communication: the way we receive information is evolving dynamically, and we try to adapt to that so that young audiences understand us, so that they realise the importance of culture, simply so that we speak the same language. At the same time, we are placing even more emphasis on the safety and comfort of visitors. We have introduced psychological first aid and with the help of our partners, expanded the range of relaxation rest areas.

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Rock For People booker David Nguyễn has told IQ how the festival triumphed over the ‘headliner drought’ to produce the record-breaking 2024 edition.

The Czech Republic festival returned to Hradec Králové’s Park 360 between 12–15 June, attracting over 40,000 visitors.

The 29th edition featured the likes of Bring Me The Horizon, The Offspring, Yungblud, The Prodigy, Avril Lavigne, Sum 41, Palaye Royale, Parkway Drive, Pendulum, Enter Shikari and Dogstar Ft. Keanu Reeves.

“If we compare this year’s lineup with the previous year, the headliners are not [as big as] Muse or Slipknot but it worked very well as one package combining lots of bands our fans wanted to see,” says Nguyễn.

The availability of headline talent has been a major issue across the festival industry, with UTA’s Jules De Lattre surmising at ILMC 36: “Major artists have less of a financial incentive to play festivals since the headline touring business is more rewarding than ever.”

“[This year’s lineup] worked very well as one package combining lots of bands our fans wanted to see”

Nguyễn testifies to that, remembering: “Last September when I was at IFF, I already had some headliners pencilled in. Then everyone at the conference was talking about how difficult it was to find headliners and when I got back, mine started to cancel. It was quite tough to find the right bands that go together. In the end, we found a way to make it work.”

In fact, the headliner drought gave Rock For People the opportunity to boost some burgeoning acts up the bill and induct a new class of headliners.

“We had Bring Me the Horizon headline the Friday – who are a new-generation headliner,” says Nguyễn. “And on Saturday, Yungblud headlined, which I think was one of his first festival headline shows.”

Fans were initially critical of Rock For People booking Yungblud in the top spot above more mature acts like Pendulum, says Nguyễn, but the naysayers were won over in the end.

“After the show, we got so many messages from fans saying they’re sorry, they saw Yungblud’s show and said they actually quite liked it,” he says.

“It’s important for us to create new headliners,” he continues. “To be honest, I’m not a fan of these old dinosaur headliners who have played everywhere for the last 30 years.”

The balance of talent across the bill worked well across the festival’s main and second stages, which this year became the same size and alternate performances.

“It’s important for us to create new headliners”

However, Nguyễn hastens to add that packing the bill with tomorrow’s headliners doesn’t necessarily save the festival money on artist fees, especially with the fluctuation of the Czech Koruna.

“Sometimes, if you have to pay the invoice right now and the rate is not good, then we might pay more,” he explains. “I still remember a situation a few years ago when we signed the artists really early so the rate was quite different from what it was at the end of the festival. The deposit and the balance were quite different prices…”

Other challenges for this year’s edition include staffing – particularly in the security department – with the festival “still trying to find a solution for that”.

On the sustainability front, the festival is going from strength to strength. With a goal to be climate-neutral and energy-self-sufficient by 2030, the event employs alternative energy sources, including hydrogen and solar panels, and sorts waste into 18 categories.

The booking team also plays their part in the cause, making it a priority to find locally sourced replacements for items on artist riders, according to Nguyễn.

So with this year’s festival inked in the record books, the only question is how Rock For People is going to raise the bar once again for its 30th edition.

“That’s our question every year because since Covid the festival keeps growing,” laughs Nguyễn. “In 2022, our first year after Covid, we had Green Day and then we were like ‘Oh, what are we going to do next year?’. Then in 2023, we had Muse and Slipknot and the question again was, ‘What are we going to do next year?’. Even though we didn’t have the bigger names this year, in the end, it worked really well. So we’re just going to keep doing what we’re doing.”

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Rock for People is retaining its four-day format and international focus after unveiling Bring Me The Horizon as its first headliner for 2024.

Promoted by Ameba Production, the 40,000-cap Czech Republic festival will return to Park 360 in Hradec Králové from 12-15 June. It expanded from three to four days last year when returning from its pandemic-enforced hiatus.

“Fans come first with us, so when they let us know that they wanted Bring Me The Horizon the most, we did everything we could to make sure they got their wish,” says festival director Michal Thomes. “Booking bands is not a simple thing at all, a lot of circumstances have to come together correctly, such as the band is touring that year, it suits the date and so on. So I am very happy that we managed to do it.”

Three headliners are still to be announced, while other acts confirmed so far include Avril Lavigne, Corey Taylor, Parkway Drive, Pendulum and Keanu Reeves’ band, Dogstar. Four-day tickets start at €156.

“Seeing Dogstar perform with the stellar Keanu Reeves on bass is a dream come true for me,” adds Thomes. “We tried to invite the band back in the 90s, but it didn’t work out and the band was not active for almost 20 years. We are even more happy that it finally happened.”

Founded in 1995, the festival featured in IQ Magazine‘s recent list of ten of Europe’s brightest independent gatherings. Its 2023 line-up starred the likes of Slipknot, Muse, Architects, Machine Gun Kelly, The 1975, Papa Roach, Billy Talent and Nothing But Thieves.

“We take pride in hosting more international talents than local acts, setting us apart from other Czech festivals”

“We take pride in hosting more international talents than local acts, setting us apart from other Czech festivals,” said booker David Nguyen. “Our event emerged as a charitable festival in the quaint town of Český Brod. Its inaugural edition garnered an unexpected attendance of 1,100 visitors, catalysing the journey that lay ahead.

“The resounding success of this modest beginning propelled Ameba Production to elevate the festival into a full-time pursuit, ultimately establishing it as one of the foremost festivals in the Czech Republic. Notably, the event’s evolution prompted a pivotal relocation to the former military airport in Hradec Králové in 2007, a decision that was driven by its burgeoning popularity.

Nguyen acknowledged the increased complications for independent promoters around rising production costs and “skyrocketing” booking fees, in addition to some artists choosing to work exclusively with multinationals, but also noted the benefits of staying indie.

“Remaining an independent entity offers us the freedom to execute our creative vision without constraints, enabling us to curate a unique and authentic experience for our attendees,” he said.

Ed Sheeran will also perform a standalone show at Park 360 on 27 July next year, staged by Ameba Production in conjunction with FKP Scorpio, as part of the Rock for People Concerts series. Tickets, which will include the Park 360 Fan Zone, located in the immediate vicinity, are priced 1,990-2,990 CZK (€81-122).

“I am very happy that we can organise a concert of such a personality and unique musician as Ed Sheeran. The fact that he has chosen Park 360 for his show in the Czech Republic, which is also home to our Rock for People festival, is a huge honour and a milestone for us,” adds Thomes. “It’s proof for us that we are really pushing ourselves every year and our venue can compete with the world’s great arenas.”

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Metronome Prague this year will feature a rap stage showcasing domestic and international talent from the hip-hop, grime and trap genres.

J.I.D (US), Kelvyn Colt (DE) and Frosti (PL) are among the international rappers that will perform on the new stage at the Czech Republic festival.

J.I.D’s performance will mark the first time an American artist has appeared on the main stage of Metronome Prague, which has so far spawned five editions.

J.I.D’s performance will mark the first time an American artist has performed on the main stage of Metronome Prague

The sixth edition of the festival will also see Czech artists such as Supercrooo, PSH live band, Sawsane, LU2 Vinyl Flexer, Annet X, Baby G, Gesto Booth, Pio Squad, DJ Doemixxx and DJ Noir join the female-heavy lineup for the rap stage.

They join previously confirmed artists Jamiroquai, M83, Moderat, ZAZ, Tove Lo, Aurora, Editors, Biig Piig and White Lies, who will perform at the festival between 22–24 June.

Taking place once again at the Prague Exhibition Grounds, the 2023 edition will comprise 80 concerts, taking place across four outdoor stages and three indoor stages.

Adult tickets for Metronome Prague currently start from €96 for a one-day ticket and €135 for a three-day ticket.

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