The latest industry news to your inbox.


I'd like to hear about marketing opportunities


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

AEG Europe names Kylie Taylor first VP of comms

The European arm of AEG has appointed former Getty senior comms figure Kylie Taylor to a new position overseeing comms across the continent.

Taylor takes the role of VP of communications at AEG Europe, which operates venues including The O2 and Eventim Apollo in London and festivals such as American Express BST Hyde Park and All Points East in London.

AEG Europe said that in her new role, Taylor becomes an advisor to the European operation’s senior leadership team and oversees all aspects of external and internal comms, providing strategic and creative communications leadership.

“From media relations to global partnerships, to working across the company’s sustainability agenda, which is at the forefront of the industry, the role has also been appointed to deliver the company’s inclusive culture programme in collaboration with the people team,” the company stated.

“It’s rare that you fall in love with both a role and a company – I’m pinching myself”

It’s the first time AEG Europe has had someone in place to lead comms for the overarching company, although some venues such as the O2 have their own comms teams.

Taylor says: “It’s rare that you fall in love with both a role and a company – I’m pinching myself and am beyond thrilled to be joining the team. The business already has such amazing initiatives and a great framework in place which jumped out at me as unique during the interview process; I’m really excited to help bring this to life.”

She joins AEG Europe from Getty Images, where she had worked for more than 11 years, most recently as senior director, global corporate communications.

AEG Europe’s other venues include the Barclaycard Arena in Hamburg, the Mercedes Benz Arena in Berlin and the Accor Arena in Paris.


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.

Kehlani announces UK, European, N.America tour

Kehlani has announced details of a UK, European and North America tour that will run from July through to December, this year.

The multi-platinum singer-songwriter will hit the road in support of her new critically acclaimed album ‘Blue Water Road’, which was released last month.

Produced by Live Nation, the 28-city North American leg kicks off on 30 July at ​​Red Hat Amphitheater in Raleigh, NC, making stops in Miami, New York, Houston and more before wrapping up in her hometown of Oakland on 30 September.

The 15-city European leg will commence on 17 November in Copenhagen, Denmark, visiting cities including Berlin, Paris and London before concluding in Manchester on 12 December.

Kehlani will be supported by Rico Nasty on the North America dates and Destin Conrad across all dates.

See the full routing below. Dates marked with an asterisk are not Live Nation shows.

Sat Jul 30 – Raleigh, NC – Red Hat Amphitheater

Mon Aug 01 – Miami, FL – FPL Solar Amphitheater

Wed Aug 03 – Atlanta, GA – Coca-Cola Roxy

Fri Aug 05 – Charlotte, NC – Charlotte Metro Credit Union Amphitheatre

Sun Aug 07 – Washington, DC – The Anthem

Tue Aug 09 – New York, NY – Radio City Music Hall

Fri Aug 12 – Boston, MA – Leader Bank Pavilion

Sat Aug 13 – Bridgeport, CT – Hartford HealthCare Amphitheater

Mon Aug 15 – Philadelphia, PA – Skyline Stage @ The Mann Center

Tue Aug 16 – Pittsburgh, PA – UPMC Events Center

Wed Aug 17 – Cincinnati, OH – The Andrew J Brady Music Center

Fri Aug 19 – Minneapolis, MN – The Armory

Mon Aug 22 – Detroit, MI – Fox Theatre

Wed Aug 24 – Toronto, ON – Budweiser Stage!

Fri Aug 26 – Chicago, IL – Byline Bank Aragon Ballroom

Sun Aug 28 – Indianapolis, IN – TCU Amphitheater at White River State Park

Tue Aug 30 – Houston, TX – Bayou Music Center

Thu Sep 01 – Austin, TX – Moody Amphitheater

Sat Sep 03 – Dallas, TX – South Side Ballroom

Tue Sep 06 – Denver, CO – Fillmore Auditorium

Fri Sep 09 – Las Vegas, NV – The Chelsea @ The Cosmopolitan of Las Vegas

Sat Sep 10 – Los Angeles, CA – YouTube Theater

Wed Sep 14 – Phoenix, AZ – Arizona Federal Theatre

Thu Sep 15 – San Diego, CA – Cal Coast Credit Union Open Air Theatre

Sat Sep 17 – Portland, OR – Theater of the Clouds @ Moda Center

Sun Sep 18 – Seattle, WA – WAMU Theater

Wed Sep 21 – Vancouver, BC – PNE Forum!

Fri Sep 30 – Oakland, CA – Oakland Arena

Fri Oct 21 – Honolulu, HI – Waikiki Shell*!

* Not A Live Nation Date | ! Citi Presale Not Applicable

Thu Nov 17 – Copenhagen, Denmark – Grey Hall

Fri Nov 18 – Stockholm, Sweden – Annexet

Mon Nov 21 – Oberhausen, Germany – Turbinhalle*

Tue Nov 22 – Berlin, Germany – Tempodrom*

Thu Nov 24 – Zurich, Switzerland – Komplex 457

Sat Nov 26 – Vienna, Austria – Gasometer*

Sun Nov 27 – Munich, Germany – Zenith*

Tue Nov 29 – Milan, Italy – Fabrique*

Wed Nov 30 – Paris, France – Salle Pleyel

Sat Dec 03 – Tilburg, Netherlands – O13

Sun Dec 04 – London, UK – Brixton Academy

Wed Dec 07 – Dublin, Ireland – Olympia

Fri Dec 09 – Glasgow, UK – O2 Academy

Sat Dec 10 – Birmingham, UK – Academy

Mon Dec 12 – Manchester, UK – Victoria Warehouse

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.

Kendrick Lamar unveils mammoth worldwide tour

Kendrick Lamar has announced an extensive worldwide tour for 2022 which comprises arena shows in the US, Europe, Australia and New Zealand.

The news comes after Lamar, one of the world’s most critically and commercially acclaimed rappers, released ‘Mr. Morale and the Big Steppers’, his fifth album and first in five years.

Lamar’s last album, ‘DAMN’, famously became the first non-jazz or classical recording to win the Pulitzer Prize and to win five Grammys.

The rapper’s newly announced tour, dubbed ‘The Big Steppers Tour’, will kick off in the US on 19 July and culminate in New Zealand on 16 December.

The worldwide run is promoted by Live Nation and sponsored by Amazon Music, Rotation and Cash App

Support comes from American rapper Baby Keem (all dates) and Tanna Leonne (select dates), both of which are signed to Lamar’s record label, pgLang.

The worldwide run is promoted by Live Nation and sponsored by Amazon Music, Rotation and Cash App – customers of which can bag the first tickets to the tour.

Lamar’s last headlining tour came in 2017 in support of DAMN, and similarly toured the US, Europe, Oceana and Asia.

According to Pollstar Boxoffice reports, the DAMN Tour grossed $41.4 million with 452,387 tickets sold in 36 shows in North America.

Lamar averaged 9,789 tickets per show and $790,018 gross, which this new run is expected to easily surpass.

See dates for The Big Steppers Tour below.

Tue Jul 19 – Oklahoma City, OK – Paycom Center

Thu Jul 21 – Austin, TX – Moody Center

Fri Jul 22 – Houston, TX – Toyota Center

Sat Jul 23 – Dallas, TX – American Airlines Center

Sun Jul 24 – Miami, FL – Rolling Loud

Wed Jul 27 – Tampa, FL – Amalie Arena

Fri Jul 29 – New Orleans, LA – Smoothie King Center

Sat Jul 30 – Atlanta, GA – State Farm Arena

Sun Jul 31 – Nashville, TN – Bridgestone Arena

Tue Aug 02 – Charlotte, NC – Spectrum Center

Thu Aug 04 – Washington, DC – Capital One Arena

Fri Aug 05 – Brooklyn, NY – Barclays Center

Sat Aug 06 – Brooklyn, NY – Barclays Center

Sun Aug 07 – Long Island, NY – UBS Arena

Tue Aug 09 – Philadelphia, PA – Wells Fargo Center

Wed Aug 10 – Boston, MA – TD Garden

Fri Aug 12 – Toronto, ON – Scotiabank Arena

Sat Aug 13 – Toronto, ON Scotiabank Arena

Sun Aug 14 – Detroit, MI – Little Caesars Arena

Tue Aug 16 – Columbus, OH – Schottenstein Center

Thu Aug 18 – Milwaukee, WI – Fiserv Forum

Fri Aug 19 – Chicago, IL – United Center

Sat Aug 20 – St. Paul, MN – Xcel Energy Center

Sun Aug 21 – Kansas City, MO – T-Mobile Center

Tue Aug 23 – Denver, CO – Ball Arena

Wed Aug 24 – Salt Lake City, UT – Vivint Smart Home Arena

Fri Aug 26 – Portland, OR – Moda Center

Sat Aug 27 – Seattle, WA – Climate Pledge Arena

Sun Aug 28 – Vancouver, BC – Rogers Arena

Tue Aug 30 – Sacramento, CA – Golden 1 Center

Wed Aug 31 – Oakland, CA – Oakland Arena

Thu Sep 01 – Oakland, CA – Oakland Arena

Tue Sep 06 – San Diego, CA – Viejas Arena at San Diego State University

Wed Sep 07 – Anaheim, CA – Honda Center

Fri Sep 09 – Las Vegas, NV – T-Mobile Arena

Sat Sep 10 – Phoenix, AZ – Footprint Center

Tue Sep 14 – Los Angeles, CA – Crypto.com Arena

Wed Sep 15 – Los Angeles, CA – Crypto.com Arena

Fri Oct 07 – Amsterdam, NL – Ziggo Dome

Mon Oct 10 – Prague, CZ – O2 Arena

Tue Oct 11 – Berlin, DE – Mercedes-Benz Arena

Thu Oct 13 – Hamburg, DE – Barclays Arena

Sat Oct 15 – Copenhagen, DK – Royal Arena

Mon Oct 17 – Stockholm, SE – Avicii Arena

Wed Oct 19 – Oslo, NO – Telenor Arena

Fri Oct 21 – Paris, FR – Accor Arena

Mon Oct 24 – Stuttgart, DE – Scheleyerhalle

Tue Oct 25 – Zurich, CH – Hallenstadion

Wed Oct 26 – Laussane, CH – Vaudoise Aréna

Fri Oct 28 – Antwerp, BE – Sportpaleis

Sun Oct 30 – Cologne, DE – Lanxess Arena

Mon Oct 31 – Frankfurt, DE – Festhalle

Wed Nov 02– Glasgow, UK – OVO Hydro

Thu Nov 03 – Leeds, UK – First Direct Arena

Fri Nov 04 – Newcastle, UK – Utilita Arena

Sat Nov 05 – Birmingham, UK – Utilita Arena

Mon Nov 07 – London, UK – The O2

Tue-Nov 08 – London, UK – The O2

Sun Nov 13 – Dublin, IE – 3Arena

Wed Nov 16 – Manchester, UK – AO Arena

Thu Dec 01 – Perth, AUS – RAC Arena

Sun Dec 04 – Melbourne, AUS – Rod Laver Arena

Thu Dec 08 – Sydney, AUS – Qudos Bank Arena

Mon Dec 12 – Brisbane, AUS – Entertainment Center

Fri Dec 16 – Auckland, NZ – Spark Arena


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.

Hans Zimmer Live: Claiming victory over adversity

When Hans Zimmer Live made its debut in Hamburg on 11 March, the wave of emotion across an audience who had been starved of live entertainment for the best part of two years was palpable. And those scenes were reflected by everyone involved in the spectacular production.

“The tour was originally scheduled for Spring 2020, so when we had our first show in Hamburg, somebody from our social media team found out that we had announced that show 858 days ago,” reports Christoph Scholz from Semmel Concerts, which is co-producing the tour with RCI Global.

“There were definitely people in that audience who had sat on their tickets for more than two years, so the sense of relief and enjoyment was immense.”With an office in Hamburg, Semmel Concerts promoted that opening night. “It was very emotional,” says Scholz. “There was enormous tension on stage and backstage. But the audience, the crew, and the artists were simply very happy to be together again, and the atmosphere was special.”

A world apart
At press time, Vladimir Putin’s war on Ukraine was still raging, and thoughts of that senseless conflict are never far from the Hans Zimmer Live touring party, some of whom were forced to flee their country following the Russian invasion.

“Our originally scheduled orchestra is the Odessa Opera Orchestra from Ukraine,” reveals Scholz. “Within the first 72 hours of the conflict, ten musicians and their families were able to make it out to safety. But that was only about half of the orchestra and the others were unable to leave Ukraine. As a result, we’ve renamed it Odessa Opera Orchestra & Friends because we cast musicians from elsewhere in Europe.

“We were following the IQ newsletter every day, monitoring everywhere that was closing the doors”

“On the opening night, Hans introduced the band first after his first song, and there were standing ovations. It was a very touching moment. But we’ve had lots of standing ovations, since. The support has been just phenomenal.”

Getting the tour out of the starting blocks has been a monumental task, especially with so many false starts to contend with. “At Semmel, we were already hosting arena shows for domestic acts in Germany last year – between the end of August to mid-November we had 430,000 people attend our shows,” reports Scholz.

“So, when we met Hans Zimmer for a production meeting in early September last year, we were confident we were all set to kick-start the tour and go full steam ahead.” But in November, everything ground to a halt. “Suddenly, Germany restricted events again; the Netherlands never really reopened; Belgium shut down… we were following the IQ newsletter every day, monitoring everywhere that was closing the doors,” says Scholz.

Point of no return
With Zimmer being one of Hollywood’s most in-demand creators, his diary is continually jam-full. But along with Semmel and RCI Global, he was determined to make the tour happen as early in 2022 as possible. “We gambled a little bit,” admits Scholz. “In early January, when all of Europe was really closed, we had a large production meeting with Hans, and everybody agreed that we should just pencil in the dates and go for it.”

“We lost a lot of freelancers [during the pandemic] because they had to move on and find other jobs”

Initially, the tour was set for a mid-February debut, but with many governments still reluctant to allow venues to reopen, those dates were delayed and simply moved to the latter part of the routing. Still, being one of the first tours out on the road means the supply chain issues that event organisers around the world are having sleepless nights about, were not such a problem for those involved in Hans Zimmer Live. But it doesn’t mean they were non-existent.

Sebastian “Deichkind” Bülowius of back-line suppliers Captured Live is providing all the backline gear, as well as four backline techs on the road. He tells IQ, “We lost a lot of freelancers [during the pandemic] because they had to move on and find other jobs. I would say about 10-15% have decided to stay in the [new] job rather than returning. That means we’re expecting 85-90% of people to return as freelancers, which is positive, but a 10-15% loss of staff is still significant.”

Highlighting the spiralling cost of even the simplest materials, Bülowius says, “We had to get a couple of cases built for equipment. But ordering wood is getting more and more expensive, so that makes it really challenging.” Prices are also high on the agenda for Oliver Rosenwald, who as senior project manager at Semmel booked the entire European tour for Hans Zimmer Live and is currently in charge of operations on the road.

“We’re facing big problems to get our crews together, and it seems many riggers have just gone missing,” Rosenwald reports. “With Genesis and some other productions out on the road at the same time as us – even though there are not many tours out there at the moment – trucks and buses are already getting rare, so it could be very tough when more productions hit the road.”

“We’re facing big problems to get our crews together, and it seems many riggers have just gone missing”

On that transport side, Leo Steffen of Germany-based Trucking Service says they are overjoyed at getting back to touring. “The drivers are extremely happy, even if there is still a bit of uncertainty about the next few months as far as Covid restrictions are concerned,” he says.

“But they are glad to be travelling, not only with their Trucking Service colleagues and familiar crews again, but also to be out around the continent meeting new faces and facing new challenges that have developed over the long touring break.”

Those sentiments are shared by Hannes Hauser of personnel transport providers Beat The Street. “Everybody that came back to take over their buses again has been very excited, as they were sick of just sitting at home or of the alternative jobs some of them did. I only hear very good feedback from the drivers to finally be on the road again, doing what they like the most.”

However, if ever a reminder of the pandemic is needed, even as the first shows were entertaining sold-out arenas in Hamburg, Stuttgart, Dublin and London, in Italy restrictions were still limiting audiences to 60% capacity, while many other territories remain on a knife-edge and could be subject to restrictions being reimposed at any time, should Covid infection rates spike.

The spectre of Brexit also looms large. Border control issues have generated more paperwork, but one disappointing aspect experienced by the touring party was the number of Ukrainian musicians prevented from travelling to the UK.

“It was a very big challenge to get the Odessa orchestra and their families over the border to safety”

“It was a very big challenge to get the Odessa orchestra and their families over the border to safety, and we’ve rented houses and apartments for the families of our Ukraine musicians,” says Rosenwald. “Everywhere in Europe has been great, as they did not require any visas or work permits for our Ukrainian citizens. But that wasn’t the case with the UK, and we had to leave six or seven of our musicians at a hotel in Germany because they could not get their visas in time.”

Another supplier working hand in hand with the producers has been Satis & Fy – a longstanding partner for Semmel, according to project manager Lui Helmig. He explains that for the current tour, “All technical trades are controlled 360° from our house: lighting, sound, rigging and stage and scenic construction come directly from us for the Hans Zimmer tour, and for video technology we work with Video Bär.”

Helmig adds, “We put the crew together with the production management of Semmel Entertainment… when 15 [trucks] left our location in Werne for the start of the tour, it was a very emotional moment for all of us after two years of pandemic, because it’s finally really starting again.”

As good as it gets
With the tour effectively mothballed for two years, one of the producers’ biggest achievements was keeping the original production team and suppliers on board.

“With Hans, people are very loyal so we managed to keep everyone – suppliers, venues, promoters – who were originally working on the 2020 tour,” says Scholz. “Certainly there were changes within the crews, but every company stayed on board, even though we’ve all been extremely nervous. To be honest, we couldn’t fully guarantee that the tour would happen, but we’ve been welcomed with open arms because we’re the first large-scale arena show that many of venues have had for a long time.”

As the first post-Covid production to visit a number of arenas, the task of devising the tour’s hygiene concept fell to Rosenwald, who quickly realised that placing the tour party into a ‘bubble’ was not the solution. “The bubble is an illusion,” he states. “You cannot prevent people going for breakfasts in hotels, or going to bars and restaurants, so all you can do is take as many precautions as possible.”

“To be honest, we couldn’t fully guarantee that the tour would happen, but we’ve been welcomed with open arms”

Thankfully, Rosenwald was able to prove his hygiene concept with Semmel during a ten-city tour of France in autumn last year. “Basically, you cannot be part of the tour unless you are three-times vaccinated,” he explains. “FFP2 masks are worn by everyone in the tour party, and we’re also testing everyone regularly for the virus.

“Meanwhile, we’ve asked local promoters to test their own staff and wear masks when they deal with the touring party, and we have a hygiene manager on the road with us who makes sure that local crew are also tested.”

Despite the odd case, here and there, the plan has worked well. “It’s nerve-wracking,” says Scholz. “It was a lot of work for Oliver, but everybody was very flexible. It’s clear to everybody – each venue owner, each artist, each crew member, each supplier – that we work in uncertain times and that we all need to live with the unknown now. Covid can strike at any time – in the first week of production rehearsals in Berlin, for instance, we had three or four cases including two of our crew chiefs who were locked for almost ten days in their hotel rooms. But, just as Her Majesty the Queen did recently, they were able to do ‘light work’ while we conducted rehearsals and all that.

“It’s good that things are calming down because a couple of months ago one Covid case would lead to mass panic in production output – Broadway and West End shows would shut down, or film shoots would be postponed. But that seems to be changing.”

“We did The World of Hans Zimmer tour with five or six trucks… this tour has a total of 13 trucks”

It’s complicated
While the current tour has had numerous challenges to overcome, what many in the business may not realise is that the scale of the production is enormous compared to previous Hans Zimmer outings.

“We did The World of Hans Zimmer tour, which was a smaller production with five or six trucks compared to this tour, which has a total of 13 trucks,” reveals Trucking Service’s Steffen. “Logistically, Hans Zimmer Live is more of a challenge in almost every way. Not only is there more equipment and personnel on the road, but the tour in general is a lot longer and covers more countries. This was also the first time we’ve been in the UK, post-Brexit, with a production this size, which made careful planning and customs preparation even more important than usual.”

One newbie to the world of Hans Zimmer is lighting designer John Featherstone, who nevertheless has been a friend of the composer since before the pandemic. “We have a lot of friends in common, but I first met Hans when he was doing a bespoke private show,” he explains. “He is always looking for new and exciting ways to deliver his music and vision to the audience, so it was inspiring to work with him on the concept for this tour.”

While other film-score-based shows simply match images from the movies to the music, that was not going to work with Hans Zimmer Live, which with a stage full of virtuoso musicians was always going to be more of a live concert than a scripted set.

“This was also the first time we’ve been in the UK, post-Brexit, with a production this size”

“The way Hans composes and the way in which the musicians interpret their roles means it was never going to be as iterative as other shows,” continues Featherstone. “You have to lean into the movies, for sure, but it was interesting to hear the way Hans approaches projects in collaboration with the film’s director, and then devise the lighting design in a similar way.”

The result is amazing. With about 20 virtuoso musicians on stage, there are astounding solo performances constantly throughout the show, while the impressive video screens above the stage and projections behind the 20-something-piece orchestra complement Zimmer’s compositions, which touch on blockbusters such as Gladiator, Pirates of the Caribbean, Dune, The Last Samurai, The Lion King, The Dark Knight and others.

“Dark Knight is bombastic and tortured, whereas Last Samurai is far softer and melancholic, and Lion King is obviously completely different. But the lighting and images allow the musicians to do their own thing without having to stick to a script or in time with certain scenes on a video,” adds Featherstone, who also had to design a system that could be tailored to work everywhere from the low, 12-metre height confines of Stuttgart, through to the soaring expanses of The O2 Arena.

A league of their own
The show itself is extraordinary. Like a latter-day Prince, Zimmer surrounds himself with the crème de la crème of musicians and artists, while the tour is Zimmer’s first to involve dancers and even an aerial artist to wow the audience.

Zimmer and his business partner, Steven Kofsky were originally persuaded to take his music to the fans by legendary impresario Harvey Goldsmith, who promoted their first shows in October 2014 at Hammersmith Apollo in the UK. Now, while Semmel and RCI have taken over as producers, Goldsmith remains involved co-promoting the shows with Kilimanjaro Live at The O2 Arena and the AO Arena Manchester.

“Unfortunately, because of Covid, we had to postpone not once but twice”

“Unfortunately, because of Covid, we had to postpone not once but twice, so the fact that most people still had their tickets was a minor miracle,” states Goldsmith. “But they are a unique audience: very wide ranging but people who love the movies. The audience in London just went nuts.

“It is a big show, but then all of his shows are big, as he likes the spectacle of it,” he adds. “When you look at the quality of the musicians, that’s what makes it very unique – every one of them playing on that show is a star.”

Co-promoter Stuart Galbraith from Kilimanjaro Live says, “The Hans Zimmer Live shows in the UK were some of the strongest we have seen come through the pandemic. The fans were absolutely dedicated – 95% of them hung on to their tickets through the postponements and the tour, unlike many others, continued to sell strongly. But is it any wonder when Hans continues seems to release an award-winning soundtrack every month?!”

In Ireland, MCD’s Noel McHale who promoted the show at Dublin’s 3Arena, agrees. “It’s great to see crowds coming through the doors, all excited and buzzing to be going out to gigs again,” he says. “The Hans Zimmer Live show sold out two years ago and 99% held on to their tickets – people were really looking forward to this one.” And the fans were not disappointeded. “The show is genuinely spectacular – there were standing ovations: it was a sonic and visual feast,” says McHale.

But he isn’t surprised. “I go back a long way with Oliver and Christoph from Semmel Concerts, and I’ve promoted Hans Zimmer with them many times. They know how to put a great production team together and always find ways to improve on previous productions. Hans always finds the best musicians for his shows – stunning virtuoso players, every one of them.”

“The show is genuinely spectacular – there were standing ovations: it was a sonic and visual feast”

Another contributor keen to applaud the producers is Bülowius at Captured Live. “They’ve done a really good job: everything they did in advance to make sure that all these shows were going to happen the way they are – that was a lot of work. We’re showing everybody that it is possible, again, to just do it: to tour all over Europe,” he says.

That’s music to the ears of Rosenwald. “Hans Zimmer Live is a much bigger show and it’s been more challenging for everyone,” he notes. “People have fallen out of their routines because they haven’t done the stuff they were doing in the last few years, at least not in the in the way they’d done it before.” However, he notes that morale is high. “The entire feedback that I’ve had from the production side has been really good,” he tells IQ.

And that’s one of the reasons people are so happy to buy into Rosenwald’s hygiene concept. “As local promoters, we have a duty of care to Hans, his band, orchestra and crew to look after them when they come visit and keep them safe and healthy so they can continue to tour,” says McHale. “With over 250 people in the backstage area, everyone bought into our safety plans – everyone from the local crew to riggers to caterers and all production and venue staff wore masks all day, kept a safe distance, and continually used the sanitisers.”

A Monster in Paris
At IQ’s press time, the tour had loaded out of its three triumphant back-to-back shows at the Accor Arena in Paris and was on its way back to Germany for a date in Munich. Rosenwald comments, “I’m very proud that we managed to sell-out two nights at The O2 Arena in London, at the Hallenstadion Zürich, and at the Ziggo Dome in the Netherlands, but I’m even happier that we’ve sold out three nights at the Accor Hotels Arena in Paris!”

Friendly Fire promoter Rense van Kessel sold out the Ziggo Dome dates. He tells IQ, “We got so used to rescheduling things in the past two years that we all have become kind of experts on it. But we have been working so closely with the venue, ticketing company, our own staff, etc, on so many [events], that we worked out a very good functioning script [to communicate with ticket holders] which makes it all very smooth.”

“We got so used to rescheduling things in the past two years that we all have become kind of experts on it”

Unfortunately, a positive Covid test ruled van Kessel out from seeing the show himself. However, he reports that everyone involved with the Amsterdam dates was buzzing with excitement. “It is a great show of power from the Zimmer and Semmel teams that they managed to pull off a tour of this magnitude, production, number of people on the road, etc, in such challenging times,” he says. “Many would have pulled the plug, but they did everything they could to stay positive and do everything to get it on the road. And they succeeded. That is very impressive.”

By the end of the tour, the production will have played 30 dates to more than 300,000 fans across 15 nations, giving Hans Zimmer the undoubted title of biggest international tour since the pandemic closed venues more than two years ago.

Plans for the next part of Zimmer’s live career are still unconfirmed, but Los Angeles-based CAA agent Chris Dalston has been tasked with securing future dates. “The idea is to get the US tour, East Coast, on sale after the European tour finishes in June,” Dalston tells IQ, explaining that major cities like Miami, Tampa, Atlanta, Chicago, Washington DC, Montreal, Toronto, Atlantic City, Boston and New York are in the reckoning.

He reveals that further legs of the tour are being considered for Australia and Asia “at the end of ‘22 or early ‘23,” while a West Coast jaunt for North America could also be scheduled around that. Beyond then, promoters, producers and fans alike are already waiting in anticipation of what one of the greatest composers of our time will do next. “Hans has changed the entire genre of film music,” says Scholz. “It’s not the typical orchestra sitting in front of a screen and playing music to a film and the classic conductor. It’s a rock band, presenting the biggest film scores on Earth in a rock-pop show.”

The last word, however, goes to the maestro himself. “I try to write music in the studio that can live without the film, because I owe it to the director,” says Zimmer. Talking of the current tour, he states, “I don’t show a single frame of film because I am arrogant enough to believe that the music can stand on its own two feet.”

And noting that he shares the stage with musicians who are political refugees from South Africa and Venezuela, as well as the Ukrainian orchestral members, Zimmer concludes, “This orchestra is precious. It’s important that we get to go across the world with these people because it will remind you of all the times that art and artists are there to bring peace to this world.”


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.

Arcade Fire announce world tour for 2022

Canadian indie rock band Arcade Fire have announced details of a new world tour, set to take place later this year in support of their new album ‘WE’.

The UK and Europe leg will kick off in Dublin on 30 August, stopping at arenas including the O2 (cap. 21,000) in London, Mercedes Benz Arena (17,000) in Berlin and Ziggo Dome in Amsterdam (17,000) before concluding on 1 October.

The North American leg of the tour will begin in Washington D.C. on 28 October, visiting arenas such as Barclays Center in Brooklyn (19,000), the Kia Forum in Los Angeles (17,505) and Scotia Bank Arena in Toronto (19,800) on 1 December – the band’s final stop.

Arcade Fire will be joined by  Feist for the UK and European dates, while Beck will join them to play acoustic sets in North America.

The band has partnered with the social and environmental justice non-profit PLUS1 on the tour to ensure that £1/$1/€1 from every ticket will go to KANPE, a foundation committed to supporting the most vulnerable communities in Haiti.

Tickets for all tour dates will go on general sale this Friday (13 May).

Arcade Fire are represented by CAA in the UK, Europe and South America.

The 'We' Tour, Arcade Fire


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.

Brexit: Summer tours saved by temporary legislation

Over 100 European summer tours put at risk by the post-Brexit trade deal will be able to go ahead, thanks to extensive lobbying from LIVE and others.

Under cabotage restrictions now in force across the whole of Europe following the UK’s exit from the EU, trucks carrying tour equipment over 3.5 tonnes are limited to just three stops before they have to leave the EU and return to the UK.

However, the British Department for Transport (DfT) has now agreed to bring in a short-term, temporary license that would allow the ‘big five’ haulage companies to operate their vehicles under both GB and EU operating licenses according to where their vehicles are needed for a particular tour.

Craig Stanley, tour producer for Marshall Arts and chair of the LIVE touring group, says he identified more than 110 European tours scheduled to take place this summer that were at risk because of cabotage restrictions – all of which can now go ahead.

“This mechanism is most welcome news for the industry,” says Stanley. “Extensive lobbying by LIVE and others in the live music industry means that the government now has a clear understanding of the complexities and issues faced by the whole sector,” he says.

“The government now has a clear understanding of the complexities and issues faced by the whole sector”

According to Stanley, secretary of state for transport Grant Shapps has committed to lay amendments to existing transport regulations before parliament after the summer recess to secure the formal implementation of dual registration.

However, in order to be registered in the EU, concert haulage companies will need a European yard which, as Stanley points out, is a huge expense. “They’d need a bonafide office that is tax registered and upholds all the regulations of that country,” he explains.

Therefore, while the live music industry has welcomed dual registration as a quick workaround solution, it is still calling for a cultural exemption to allow the free movement of trucks.

“The cultural exemption needs to be reciprocal because the UK has its own cabotage regulations, which means that the Europeans are prevented from coming to work here as we are prevented to go and work there,” explains Stanley.

LIVE is continuing to lobby the British government and Strasbourg to allow haulage operators of all sizes using different types of vehicle to move freely between shows.


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.

Maluma breaks WiZink’s attendance record

Colombian singer Maluma last night (5 April) broke the attendance record for Madrid’s WiZink Center, with an audience of 17,412.

The Latin superstar, who is undertaking his Papi Juancho Europe Tour 2022, opted for a 360º format which meant the venue’s maximum capacity of 17,453 could be used.

The record was previously held by American heavy metal legends Metallica, who also used the 360º format and drew 17,267 fans to their 2018 concert.

The record was previously held by American heavy metal legends Metallica, who also used the 360º format and drew 17,267 fans

The WiZink Center says it deployed its maximum organisational capacity, including 704 workers, to make the Maluma concert possible.

This included 226 technical professionals, lighting, sound, assemblers, loading and unloading operators, 252 people in the security device, health services, fire prevention technicians, ushers and access controllers; and another 172 in restaurant services, bars, and kitchens; in addition to another 54 professionals in other different tasks.


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.

Shawn Mendes extends mammoth world tour

Shawn Mendes is to play a total of 99 arena shows on his world tour, after extending the North America leg with 13 additional dates.

The 23-year-old Grammy-nominated Canadian singer/songwriter is due to visit North America, Europe and the UK on his year-long jaunt, dubbed Wonder: The World Tour.

On the first leg, which kicks off on 27 June in Portland, Oregon, at the Moda Center (cap. 19,980) and runs through to August, Mendes will be joined by Dermot Kennedy.

More dates for the UK and Europe, Latin America, Asia, and Australia/New Zealand legs are to be announced shortly

The second leg of the tour, which will run from September to October, will be supported by Tate McRae.

Among the 13 additional shows are an extra date at Brooklyn’s Barclays Center (19,000), new shows in St.Louis and San Diego, as well as one in his hometown of Toronto.

The UK and European legs of the tour, which were rescheduled due to the pandemic, begins in May 2023. The UK leg is promoted by AEG Presents’ Messina Touring Group.

More dates for the UK and Europe, Latin America, Asia, and Australia/New Zealand legs are to be announced shortly.

Mendes is represented by Nick Matthews at Paradigm Talent in Europe and Matt Galle at CAA for the rest of the world.


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.

Unprecedented number of new fests to launch in ’22

FKP Scorpio is the latest promoter to add to an unprecedented number of new festivals launching this season.

The CTS Eventim-backed promoter today announced a trio of new festivals, set to take place in Sweden, Norway and Denmark during the second weekend in June.

Rosendal Garden Party (SE) will take place on the Djurgården island in Stockholm, with headliners The Strokes, Florence + The Machine, The National and Tyler, The Creator.

Loaded (NO) will see up to 7,000 people watch artists such as Wilco, Sharon Van Etten and Susan Sundfør at the Vulkan Openair Amphitheatre in Nedre Foss, Oslo.

Syd for Solen (DK), organised by FKP’s Danish subsidiary smash!bang!pow!, is slated to take place in Søndermarken Park, Copenhagen, with headliners Liam Gallagher, The National and Jungle.

The German powerhouse is also gearing up to launch a new open-air festival in Berlin called Tempelhof Sounds, in collaboration with Dreamhaus and Loft Concerts.

FKP isn’t the only live music behemoth set to expand its stable of events this year. Fellow German promoter Goodlive will finally launch its new Munich-based event Superbloom, after two pandemic-related postponements.

FKP Scorpio announced a trio of new festivals, set to take place in Sweden, Norway and Denmark

In the UK, AEG and Team Love are launching a new 30,000-capacity metropolitan festival, Forwards, in Bristol. Kilimanjaro is planning a new “indie and alternative sounds” festival in Norwich called Neck of the Woods. And Festival Republic is adding to its triple bill of August bank holiday festivals with Electric City.

Elsewhere in Europe, Tomorrowland and Rock Werchter have joined forces to launch Core, a new two-day festival in Brussels. While, Last Tour, the Spanish festival organiser and concert promoter behind Bilbao BBK Live, has announced not one but two new European fests – Cala Mijas in Spain and Kalorama in Portugal.

Meanwhile, the US festival calendar has gained a pair of reggaeton festivals with Goldenvoice’s California Vibrations, and Sueños Music Festival (Dreams Music Festival) from the producers behind Baja Beach Fest, Chicago’s Reventon Promotions, and Lollapalooza.

Alongside these brand new events, a raft of longstanding festivals are branching out to new markets. Primavera Sound, which already holds events in Barcelona and Porto, is shipping its brand to Los Angeles (US), Sao Paulo (BR), Santiago (CL) and Buenos Aires (AR) in 2022. While Sonar and Rolling Loud are each taking their tried-and-tested formulas to Portugal this year.

Elsewhere in the 2022 festival calendar, a crop of new indie events are putting a spin on the traditional greenfield affair. In It Together (UK) is encouraging festivalgoers to bring their grandparents for free, Velio Festival (UK) is reinventing the wheel with its cycling format, and Barley Arts’ Comfort (IT) is offering fans a more relaxing festival experience.

Meanwhile, some new festivals are ditching the greenfield blueprint altogether. 8 festival (LT) is scheduled to take place in a former 20th-century prison while Hammership will draw metal fans to the high seas.

The impending summer season will also see the launch of festivals serving underrepresented communities such as Flesh (UK), Let’s Get Free (US) and Strength of a Woman (US).


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.

The Rolling Stones announce European stadium tour

The Rolling Stones have announced a 60th-anniversary tour of Europe, including two dates at AEG’s American Express Presents BST Hyde Park.

The ‘Sixty’ tour will commence on 1 June, visiting stadiums in Munich, Liverpool, Amsterdam, Bern, Milan, London, Brussels, Vienna, Lyon, Paris, Gelsenkirchen and Stockholm.

The 14-date run will see the band performing at the home of Liverpool FC, Anfield, for the Stones’ first Liverpool show in more than 50 years.

The tour will also mark the band’s return to London’s BST Hyde Park for the first time since 2013 when they played two sold-out shows to 130,000 fans.

The rock legends have a storied history with Hyde Park, with their 1969 Stones In the Park show becoming one of the most famous concerts of all time.

“Nobody brings it like the Stones when they’re on home turf in London”

Jim King, CEO of European Festivals at AEG Presents, says: “Whenever Hyde Park is mentioned, it’s impossible not to think of the Rolling Stones.

“Two nights on 25 June and 3 July cap off an incredible lineup for BST Hyde Park 2022 but nobody brings it like the Stones when they’re on home turf in London.”

The London and Liverpool dates are the first UK shows that the Stones have announced since the death of their drummer Charlie Watts last year.

As with their ‘No Filter’ US dates last year, Watts will be replaced by Steve Jordan, a session musician who has played with the band since the 1980s.

Watts, who joined the band in 1963, died of an unspecified illness last August at the age of 80.

See tour dates for the Rolling Stones’ ‘Sixty’ tour below.

01 – Wanda Metropolitano Stadium – MADRID, SPAIN
05 – Olympic Stadium – MUNICH, GERMANY
09 – Anfield Stadium – LIVERPOOL, UK
13 – Johan Cruijff ArenA – AMSTERDAM, NETHERLANDS
17 – Wankdorf Stadium – BERN, SWITZERLAND
21 – San Siro Stadium – MILAN, ITALY
25 – American Express Presents BST Hyde Park – LONDON, UK

03 – American Express Presents BST Hyde Park – LONDON, UK
11 – King Baudouin Stadium – BRUSSELS, BELGIUM
15 – Ernst Happel Stadium – VIENNA, AUSTRIA
19 – Groupama Stadium – LYON, FRANCE
23 – Hippodrome ParisLongchamp – PARIS, FRANCE
31 – Friends Arena – STOCKHOLM, SWEDEN


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.