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FEAT publishes new Stop Touting guide

Anti-touting group the Face-value European Alliance for Ticketing (FEAT) has published a guide showing how agents and promoters can stamp out unauthorised resale with personalised tickets.

Launched by MCT-Agentur CEO and FEAT director Scumeck Sabottka, Stop Touting: A Guide to Personalised Tickets in Europe includes a straightforward, step-by-step guide on how to implement a tout-proof personalised ticketing system without creating long entry queues.

It shows how ticket personalisation can be done successfully and straightforwardly, without risking long entry queues or putting one’s reputation as an agent or promoter on the line,

Stop Touting also surveys the secondary ticketing landscape across Europe, including:

“This guide uses our experience of ticket personalisation, gleaned from multiple tours and arena shows, to show it can be done straightforwardly and successfully,” explains promoter Sabottka.

“We hope to make things a little easier for artists, managers, agents and promoters who want to do the right thing”

“My hope is that the live business will use this pandemic-induced standstill to improve the way we sell tickets, and protect artists, fans and our own businesses from these ticket-touting vampires.”

Adds Nicole Jacobsen, managing director and co-owner of Germany’s Tickets.de: “Personalised ticketing is all about protecting fans from scalpers. I really hope this guide can begin to give the live sector the confidence it needs to make personalised ticketing part of its practice.”

According to Intellectual Research Partners, the secondary ticketing market in Europe was valued at €1.66 billion in 2020, despite the impact of the pandemic, and is expected to grow to €2.29 by 2023.

“Navigating the various markets across Europe, with different ticket laws in different states, can be difficult,” comments FEAT director Sam Shemtob. “With this guide, we hope to make things a little easier for artists, managers, agents and promoters who want to do the right thing.”

To download the free Stop Touting guide, visit the FEAT website.


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Industry urges action on touting via EU’s DSA

In response to the launch of the European Union’s Digital Services Act (DSA), the Face-Value European Alliance for Ticketing (FEAT) has published new recommendations for the future of online ticket resale.

The pan-European anti-touting group, established early last year, has issued further proposals to protect fans from “harmful” secondary ticketing and reduce illegal ticket resale across the EU, following the FEAT-backed ban on ticket bots introduced in April 2019.

Its recommendations are backed by a host of industry associations, including the Spanish Association of Music Promoters (APM), Germany’s BDKV, the Association for Electronic Music, Pearle* and the European Music Managers Alliance (EMMA), and broadly supported by Waterson report author Prof Michael Waterson.

The joint action – which follows more than 50 court cases and initiatives to try and curb secondary across 11 EU member states FEAT surveyed – comes after European commissioners approved initial proposals for the DSA, which aims to offer better protection for online consumers, late on Tuesday (20 October).

“EU action is necessary through to put control of tickets back into the hands of those putting on the shows”

FEAT’s recommendations, which are outlined in a position paper published today (22 Oct), include:

Austrian MEP Hannes Heide, who sits on the European parliament’s culture committee, is supporting the FEAT proposals. He comments: “Ticket resale platforms like Viagogo list and advertise mostly overpriced tickets for sporting or cultural events, usually being sold by commercial traders rather than consumers. They enable the sale of speculative tickets, which the seller does not even own, and sales that contravene the lawful terms and conditions of the ticket. This harms consumers, artists, event organisers and honest ticket sellers.

“In several countries, such as Austria, Viagogo has been legally obliged to disclose the identity of the ticket sellers, which enables defrauded consumers to take action against the seller. In addition, the platform must inform buyers of the ticket’s original face-value price and whether the tickets are personalised.

“While this is a partial victory, it is not enough. The platforms must comply with all requirements of EU law and the authorities of the member states must work together to ensure compliance.”

“European consumers are long overdue secondary ticketing marketplaces they can rely on”

Per Kviman, chair of EMMA, adds: “The growth in ticket resale across Europe through sites like Viagogo and StubHub has undermined the ability of artists to sell their tickets to fans at a fair price they determine. Instead, brokers/touts buy up large volumes of tickets to the most popular shows, falsely inflating prices and limiting access for consumers.

“EU action is necessary through the Digital Services Act to put control of tickets back into the hands of those putting on the shows and creating powers to take down illegally listed tickets. As European managers we back FEAT’s campaign.”

“So much has changed since the e-Commerce Directive came into effect in 2000, and European consumers are long overdue secondary ticketing marketplaces they can rely on,” comments FEAT campaign lead Katie O’Leary.

“That can only happen through better regulation, enforcement and a public performance rating which will put the onus on marketplaces to make sure the tickets that they’re promoting – and profiting from – are accurately depicted, real and guaranteed to gain fans entry into the event. We welcome the result of this week’s plenary vote, which is a step in the right direction.”


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Austrian Supreme Court rules against secondary sites

Austria’s supreme court has ordered ticket resale site Viagogo to better inform its buyers about the identity of ticket sellers, and the type of ticket being sold, before a purchase is made.

The 5 May ruling by the Supreme Court of Justice (Oberster Gerichtshof, OGH) forces Viagogo.at and other Viagogo websites – as well as other secondary ticketing sites selling in Austria – to disclose the identity of ticket sellers, including name and address, and whether tickets are personalised, ahead of ticket purchase.

The verdict also means that for the first time, customers in Austria are protected from losses caused by misleading information or the absence of essential information by sellers, such as travel costs when access to the show is denied.

Furthermore, if Viagogo doesn’t ensure sellers’ compliance with the registration and the disclosure of their identities, the platform itself would be held accountable.

Until now, tickets on secondary platforms operating in Austria were sold anonymously, with buyers not informed when tickets were personalised, leading to them often being denied access to events.

“The verdict is a remarkable step towards a fairer secondary market in Austria”

The case against Viagogo was brought by the trade body for sports and leisure companies of the Upper Austrian Chamber of Commerce, through competition protection group WSV (Wettbewerbsschutzverband). The basis for the lawsuit was the “significantly inflated” prices for tickets sold on Viagogo.at for cabaret events by Monika Gruber and Viktor Gernot, promoted by events agency Stage.

“The verdict is a remarkable step towards a fairer secondary market in Austria, as it not only forces ticketing transparency, but places responsibility at the feet of the platforms themselves,” says a spokesperson for the Face-value European Alliance for Ticketing (FEAT).

Linz-based competition law expert Johannes Hintermayr provided WSV’s legal representation.

“Congratulations to Dr Hintermayr and the WSV, who have led this extraordinary fight, and let it be one step of many towards the creation of an ethical market – which is all the more important in getting the industry back on its feet post Covid-19.”


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“A huge concern”: Live industry reacts to StubHub buy

Controversial secondary ticketing site Viagogo yesterday (25 November) acquired StubHub from eBay in a US$4.05 billion all-cash deal, returning both companies to founder Eric Baker’s hands and eliciting strong reactions across the live music industry.

The sale to Viagogo – a consequence of pressure from eBay shareholders for the company to divest itself of StubHub – followed reported interest from multiple parties, including US resale marketplace Vivid Seats, and saw the e-commerce giant receive almost 13 times its original investment.

As IQ speaks to ticketing experts and commentators, a question on the lips of many is: “Just how did Baker raise the funds for the all-cash deal?”

More technical concerns include what the deal means for the future of the secondary ticketing market; how it may be used to “detoxify” Viagogo’s brand – or not; how regulators will react to the deal; and how much more likely are consumers to get ripped off.


Adam Webb, campaign manager, FanFair Alliance
“This feels like a desperate move from both parties.

“However, news of this acquisition should be a major concern for both audiences and music businesses – especially if Viagogo, a company that recently had a court order hanging over its head and is still the subject of a CMA investigation, uses this process as an attempt to detoxify its brand.

“FanFair will be writing to UK regulators and politicians and we reiterate our advice to music fans to avoid these sites.”

Katie O’Leary, campaign lead, Feat (Face-value European Alliance for Ticketing)
“It’s alarming to think of Viagogo potentially gaining an even greater stronghold in the secondary ticketing market, given it’s been the subject of various legal actions across Europe and banned from advertising on Google globally. (Google last lifted Viagogo’s ban on advertising. For more information, click here.)

“Viagogo claims this will create a ‘win-win for fans’, but further consolidation in the secondary ticketing market would most likely restrict competition, and further negatively impact fans.

“We hope that regulators will have consumers’ best interests at heart when considering this deal, and consider not only the question of Viagogo’s increased dominance but also whether they can be considered a fit and proper owner.”

“We hope that regulators will have consumers’ best interests at heart, and consider whether Viagogo can be considered a fit and proper owner”

Anton Lockwood, director of live, DHP Family
“Coupled with the disturbing news that Google is allowing Viagogo to advertise again, we see this as a step backwards in the fight against inflated price secondary ticketing, Viagogo’s brand has become toxic in the last few years and this seems like an attempt to cleanse it.

“At DHP we stand strongly against unscrupulous traders selling tickets at inflated prices, at the expense of genuine fans – this acquisition can only serve to further that, and we urge the regulators to look very closely at what the new company does.

“We always advise buying tickets from primary vendors or face value secondary vendors who are members of Star to obtain genuine tickets, at the correct price with consumer protection in place.”

Neo Sala, founder and CEO, Doctor Music Concerts
“Viagogo may hope that their reputation will be greenwashed through association with Stubhub, who have historically kept more in line with regulation — but both have a long history of ripping off fans.

“I have no doubt that if this gets cleared it will be bad news for fans, as well as those of us who invest in the live sector. Coupled with the news from Google, it’s really concerning to see things take such a backwards step.”

“At DHP we stand strongly against unscrupulous traders selling tickets at inflated prices, at the expense of genuine fans”

Claudio Trotta, founder, Barley Arts
“In my more than 40 years in the business, this is one of the worst pieces of news I have received.

“It is really scary – first of all, the fact that Viagogo can spend $4 billion in cash is very worrying. Secondly, that Viagogo has bought a competitor that operates in most countries in the world means we are really far away from winning the battle against this cancer – and I do truly believe it is a cancer. I am sure they have made this deal because they absolutely know they can carry on doing secondary ticketing in the majority of countries in the world and circumvent the laws that are in place.

“This is very bad for the future of industry – for music, for punters, and for overall quality. Music is in danger of becoming only for rich people and for fanatics – the only people capable of paying inflated secondary prices.

“We need to do something against this, otherwise live music will be dead in the way we know it. With these prices, there would be no new acts either, which means no more future.

“In Italy, there is a law against secondary ticketing, and also a law on nominative tickets. I am the only one of the major Italian promoters in favour of this law. I think the future is to have complete digitalisation of tickets, and for each to have a unique code. This is the only way to fight secondary ticketing.”

“In my more than 40 years in the business, this is one of the worst pieces of news I have received”

Dave Newton, ticketing professional
“In North America the deal will make no noticeable change as StubHub already dominates the resale market along with having an appreciable share of the primary market (especially in the sports sector) and Viagogo has no presence there.

“But in Europe, Australia, New Zealand and elsewhere, we may see the increasingly toxic Viagogo brand put out to pasture as its market share is folded into the now-established StubHub brand in each of these territories.

“There is a scenario whereby the Viagogo brand is kept alive for a while as a way of deflecting anti-tout activity and attention from StubHub which has been generally been regarded as ‘the best of a bad bunch’ over the last five years. Viagogo could soak up the emotional ire of the media, customers and the events industry while StubHub quietly holds onto its more collaborative and conciliatory reputation.

“Could we see primary ticketing agencies launching resale platforms in Europe if StubHub succeeds in becoming the acceptable face for touting? There may also now be room for significantly-funded new entrants into the space.

“And where does this leave the ticket-buying fan? No less ripped-off, that’s for sure.”

“We may see the increasingly toxic Viagogo brand put out to pasture as its market share is folded into the now-established Stubhub brand”

Annabella Coldrick, CEO, MMF (Music Managers’ Forum)
“On the back of the FanFair Alliance campaign, we’ve seen huge steps to reform the UK’s secondary ticketing market and put a stop to the rip-off, anti-fan practices of sites like Viagogo. For that reason, the announcement is a huge concern.

“The consolidation of the biggest remaining platforms for ticket touts could potentially reverse progress and cause untold harm for audiences and artists alike.”

Rob Wilmshurst, CEO, See Tickets
“I had to check my calendar to make sure it was not April Fools’ Day. I am very, very surprised, not just at the scale of the deal but at where the cash might have come from.

“I am no fan of ticket touting so I can’t say it made my day but it is what it is. In any case, I congratulate Eric for pulling it off.”

Richard Davies, CEO, Twickets
“This is further terrible news for ticketing as two deceitful operators combine forces in order to further turn the screw on the consumer. It demonstrates the need more than ever for a specialist face value resale service that properly serves genuine fans.”

“The consolidation of the biggest remaining platforms for ticket touts could cause untold harm for audiences and artists alike”

Maarten Bloemers, CEO, Guts Tickets
“In five years I expect this to be deemed a total waste of money. It’s a joining of forces of two eerily similar entities companies, the main similarity being that they do not care in the slightest about the consumer they are supposedly serving.

“Technological innovation is making these businesses obsolete, and will put the priority back with the consumer, where it belongs.

Jonathan Brown, chief executive, Star (The Society of Ticket Agents and Retailers)
“We note with interest the news that Viagogo has bought StubHub and will continue to watch developments closely.

“Customers need to know where they can buy tickets reliably from authorised sources and the best way of doing this is to always buy from Star members who have signed up to our code of practice and approved dispute resolution service.”

Adam French, consumer rights expert, Which?
“Viagogo has a long history of ripping off music and sports fans and had to be threatened with court action after failing to provide vital information to customers, so any move to increase its grip on the secondary ticketing sector is likely to be a worry for consumers.

“The regulator should closely examine this deal and the impact it could have on competition in the sector to ensure consumers do not lose out.”

This article will be updated with more reactions as IQ receives them.


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Japan’s ACPC takes tough anti-tout stance

Japanese promoters’ association, the All Japan Concert and Live Entertainment Promoters Conference (ACPC), is calling for a “fairer secondary ticketing infrastructure”.

Following the adoption of Japan’s new anti-touting law, which effectively criminalises touting, the ACPC has issued a statement in which it urges an overhaul of the Japanese ticketing system.

“Ticket touting will not disappear tomorrow,” reads the ACPC statement, entitled ‘Ticket Integrity’. “From better education for consumers to strong enforcement, we will tackle the issue from all angles to help establish a fair ticketing system that truly puts fans first.”

“Ticket touting will not disappear tomorrow”

The association believes that secondary ticketing is among the industry’s “most pressing issues”, as the resale market gets set to reach almost US$15.2 billion by 2020.

ACPC chair Takeo Nakanishi commends the work that the Face-value European Alliance for Ticketing (FEAT) is doing “to encourage better legislation in Europe”, stating that the aim is to establish “a healthy ticketing system worldwide”.

In response, FEAT director Sam Shemtob says the anti-tout alliance “support[s] the ACPC in their work towards preventing ticket touting in Japan at this pivotal time, and are delighted by the impact new anti-touting legislation will no doubt have.

“We are confident that, as the live events industry and governments work together, a fairer ticket resale market can be achieved globally.”


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“Landmark” EU legislation against ticket bots

Members of European Parliament (MEPs) have voted to outlaw the use of automated ticket-buying software or ticket bots, directly addressing the issue of ticket resale for the first time.

The new legislation also requires resellers to declare whether they are professional traders, strengthens existing regulations, and sets the minimum standard by which EU members must abide.

Ticket bots are at the forefront of discussions surrounding secondary ticketing, enabling touts to bulk buy concert tickets and resell at inflated prices. A recent study revealed that bots generate nearly 40% of all ticketing traffic, impacting both primary and secondary ticketing sites.

This is the first time that the European Parliament has set a common standard for ticket resale in cultural and sports events.

The legislation will form part of Annex 1 (#23a) of a revised Unfair Commercial Practices Directive, which lists commercial practices which are unfair in all circumstances and will read: “reselling event tickets to consumers if the trader acquired them by using automated means to circumvent any imposed limit on the number of tickets that a person can buy or any other rules applicable to the purchase of tickets.”

“Everyone apart from touts loses out from bot bulk-buying of tickets”

Conservative MEP Daniel Dalton led the move to implement the legislation as part of the New Deal for Consumers initiative, which aims to strengthen consumer rights. It is hoped that the ruling will allow for more stringent provisions at national level.

“Everyone apart from touts loses out from bot bulk-buying of tickets,” says Dalton. “Real fans are either unable to see their favourite team or artist or are forced to pay many times the face value price, whilst event organisers are seeing their purchasing limits flagrantly violated.

“This first ban at a European level is an important first step, with the possibility to go further in future depending on how the ban works in practice.”

“We welcome the move to curb the use of bots in this first Europe-wide anti-touting law,” states Katie O’Leary of the Face-Value European Alliance for Ticketing (FEAT), an anti-ticket touting organisation dedicated to tackling resale from a continent-wide approach.

“As well as requiring professional sellers to identify themselves, it also enables member states to go further and potentially regulate the resale price of tickets.

“This [harmonised] approach is critical as secondary ticketing companies tend to exploit regulatory gaps between countries”

“Most importantly, this represents the first step in harmonising regulation across Europe. This approach is critical as secondary ticketing companies tend to exploit regulatory gaps between countries. There is still much to be done and we will be campaigning for tougher legislation in the next parliamentary term,” adds O’Leary.

Dr Johannes Ulbricht, a lawyer for German Music Promoters Association BDKV says his company supports the FEAT initiative, calling it “a step in the right direction”. FEAT is also supported by FanFair Alliance, Prodiss and the European Music Managers’ Alliance.

The European Council will formally adopt the legislation in June. Member states will then have a maximum of approximately two years to transpose the amendments into national law. The exact deadline will be set out in the directive once finalised.

In the UK, the ruling will be applicable throughout the two-year Brexit transition period, forming part of the country’s incumbent laws on consumer rights. The new legislation will aid national bodies such as the Competition and Markets Authority and the Advertising Standards Authority.

The UK introduced its own law criminalising ticket bots in 2017. The EU ruling follows the introduction of targeted bot legislation by other governments, including those in the United States, Ontario, British Columbia, South Australia and New South Wales.


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FEAT launch ruffles feathers in Europe

Both major European secondary ticketing sites have responded to the launch of the Face-value European Alliance for Ticketing (FEAT), the continent-wide anti-ticket touting association which broke cover at Eurosonic Noorderslag last week.

San Francisco-headquartered StubHub, a division of eBay, and Switzerland-based Viagogo each issued statements following the launch of FEAT, which is backed by promoters, agents and managers in seven European countries.

While Viagogo’s response doesn’t actually mention FEAT by name, sticking instead to the tried and tested ‘we don’t sell tickets’ spiel – Viagogo “is not the ticket seller”, reads the statement, with the company simply making sure “everything goes smoothly” once “buyer and seller have entered into a transaction” – StubHub’s goes further, saying the company is “concerned by the rhetoric of the newly formed Face-value European Alliance for Ticketing (FEAT) and its potential to harm consumers, especially as we observe the trend of rising average face-value prices”.

“As outlined in the independent Waterson report presented to the UK parliament, the desire to implement price caps is ill-advised and will, among other things, likely drive resale back onto the streets and other parts of the internet, like social media, where enforcement is limited and there are no equivalent consumer protections,” says StubHub’s managing director for its northern EMEA division, Wayne Grierson.

Following on from an IQ comment piece in which he challenged primary ticket sellers to make clear how many tickets go on sale, Grierson says FEAT should instead be advocating for transparency in the primary market. “Fans have the right to understand how many tickets are being made available for sale, and when and at what price, and whether those prices will fluctuate due to demand,” he continues.

“Fans have the right to understand how many tickets are being made available for sale, and when and at what price”

“In the state of New York, it was reported that an average of 54% of tickets never even go on public sale and are instead held back by promoters and primary sellers. When consumers have this information available to them, they can make informed purchasing decisions.”

Referencing recent developments concerning Viagogo – specifically the Consumer and Markets Authority (CMA)’s court order which, among things, compels the controversial platform to end speculative listings and list the face value of tickets – Grierson adds: “[W]e’ve seen the positive effects that regulation can have on the consumer experience across the secondary market. Any further regulation should look comprehensively at the entire industry and focus on protecting consumers, not policies that will have negative consequences.”

This argument would hold more water had StubHub itself not been previously compelled by the CMA to change its business practices, suggests promoter Scumeck Sabottka of Germany’s MCT, one of the founders of FEAT.

“While we agree on the importance of a secure environment for fans to resell tickets when they can no longer attend a gig, we disagree on the need for this to involve price-hiking to the value of €8bn annually,” Sabottka tells IQ, referencing the estimated cost to European consumers for tickets resold above face value. “FEAT advocates for transparency in ticketing, [to which] our website attests.

“However, on that subject, we question why it took a CMA investigation for StubHub to commit to telling UK ticket buyers what they are buying, whether they are buying from a business and whether their ticket might not actually get them into the event.

“Both artists and fans want face value resale”

“Both artists and fans want face value resale. We note the closure of Seatwave and Get Me In! in the UK, the success of face-value resale platforms like Twickets in the UK and Spain, and the fact that countries like Ireland are moving towards a face value resale-only policy. We hope StubHub will catch this wave and work with organisations like ours towards a resale ecosystem that is truly fan-first.”

As for Viagogo, which was given a deadline of last Thursday (17 January) to comply with the court order, the CMA said this morning it has not done so, despite claims to the contrary.

“Following initial checks, the CMA has serious concerns that Viagogo has not complied with important aspects of the court order we secured against them,” reads a statement from the authority. “The CMA has now raised these concerns with Viagogo and expects them to make any necessary changes without delay. If they do not, the CMA will return to court to ensure they do.”

Responding, Adam Webb, campaign manager for anti-touting group FanFair Alliance, says: “Last week, Viagogo passed a strict deadline to comply with a court order and overhaul its business.

“True to form, we have seen little evidence of change. In fact, our concerns with how this website operates have only intensified, and while we welcome today’s update it is now vital that the CMA act quickly and decisively to enforce the law. Viagogo has run out of road.”


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Finding their FEAT: Promoters back new European anti-tout association

Europe’s leading live music professionals have come together to form the Face-value European Alliance for Ticketing (FEAT), an organisation dedicated to the promotion of face-value ticket resale across the continent.

Launched last night at Eurosonic Noorderslag in Groningen, the Netherlands, FEAT will take a continent-wide approach to encourage better ticket resale practices in Europe.

“Governments need to understand speculative ticket resale is an abusive and unethical practice that harms people, and they need to approve laws that make it virtually impossible,” says Neo Sala, FEAT Director and founder of Doctor Music.

The priorities of the initiative include:

FEAT has been functioning under the radar for a while. The group is already involved in EU parliamentary discussions on secondary ticketing and has facilitated the formation of a legal group which coordinates activities on ticketing regulation and works in conjunction with search engines.

“We need to get this right as otherwise fans and artists alike will be robbed by thieves”

Initially focusing on legislation and good practice within the live music industry, the initiative later looks to build alliances with the full scope of the live entertainment industry, including performing arts and sports events.

The alliance will be run by Sam Shemtob, a music business specialist who has been active in the UK’s All Party Parliamentary Group (APPG) on ticket abuse for several years, along with colleagues Katie O’Leary and Dominic Athanassiou.

“We need to get this right as otherwise fans and artists alike will be robbed by thieves,” says Scumeck Sabottka, FEAT Director and CEO of MCT-Agentur. “If we all pull this together and get EU legislation to follow our lead, we can ultimately make it work.”

The alliance hopes to bolster the work of movements such as UK’s FanFair Alliance and the Swiss Ticket Check. Such groups have enjoyed considerable success on tightening up ticket resale on a national scale, but have not managed to shake the impunity of global platforms.

The case of secondary ticketing website Viagogo serves as an example of this impunity. As of today, the site was required to implement substantial changes to its business practices following a court order served in November 2018. However, sufficient changes have not been made.

FanFair Alliance’s Adam Webb comments: “Although a few minor changes have been implemented, some of which may add even more confusion for consumers, we would be astonished if the site is compliant with the terms of its court order.”

A full list of the FEAT founding members is below:

Ben Giezenaar – Co-Founder, Greenhouse Talent, Netherlands (Once in a Blue Moon Festival, Justin Bieber)

Christof Huber – Managing Director, Incognito, Switzerland (Imagine Dragons, George Ezra)

Folkert Koopmans – CEO, FKP Scorpio, Germany (Ed Sheeran, Rolling Stones, Foo Fighters)

Kim Worsøe – Director, ICO, Denmark (The 1975, Sam Smith, Disturbed)

Neo Sala – Founder & CEO, Doctor Music, Spain (Adele, Rolling Stones, Bruce Springsteen, Doctor Music Festival)

Olivier Darbois – Director, Corida, France (Christine and the Queens, Justice – produced worldwide, Kraftwerk, Radiohead – promoted France)

Pascal Van De Velde – Founder & CEO, Greenhouse Talent, Belgium & Netherlands (Elton John, Katy Perry)

Peter Aiken – Managing Director, Aiken Promotions, Ireland (Bruce Springsteen, Rolling Stones, Ed Sheeran, Adele)

Philippe Cornu – Founder, wildpony, Switzerland (Muse, Rammstein)

Scumeck Sabottka – CEO, MCT-Agentur, Germany (Red Hot Chili Peppers, Pearl Jam, Lykke Li, Björk, Rammstein, Florence + the Machine)

Vincent Sager – Managing Director, Opus One, Switzerland (Arcade Fire, Iron Maiden)


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