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

Swede Sensation: Sweden Market Report

When arena-dwelling Swedish metal band Sabaton attempted to get back out on the road again in early 2022, the challenges of late-pandemic international travel soon scuppered the plan. So it was replaced with another: a tour of just about everywhere in Sweden.

“We did 30 dates and sold 40,000 tickets,” says promoter David Maloney of All Things Live Sweden. “It was unique because no one has done a tour like that, ever, in Sweden. We played markets where we sold 2,000 tickets in a town where 4,000 people live.

“They are an arena band – they have a show next year at the [former] Globe in Stockholm, and they’ve sold 10,000 tickets for that. But rather than sitting at home complaining, they said, ‘Fuck this shit, we’ll go out on tour. If there’s a stage and a roof, we’ll play there.’ And we played places in Sweden I had never even been to.”

Maybe we’re not on the brink of a world in which every band has to rip up small Swedish towns like Mölnlycke, Ålmhult, or Ronneby to make a living, but Maloney still believes there is a lesson here.

“In one sense, that’s the way it has to be in future,” he says. “If you want to play for an audience maybe you have to change your whole way of thinking. Especially for local bands. There’s a limited amount of big stages, a limited amount of festivals, a limited number of people.”

With its sturdy and experienced promoters, its plentiful festivals, and its smallish population, it is true that Sweden is not an easy place in which to innovate, and it is hard to find pockets of demand that aren’t being catered for by someone.

“We are quite a mature and well-developed and well-exploited market,” says FKP Scorpio partner and promoter Niklas Lundell. “If you want to develop a new concept and you think you are going to be on your own,” he notes wryly, “maybe Scandinavia is not your priority market if you know what I mean.”

“We are quite a mature and well-developed and well-exploited market”

With the exception of some small clubs in Stockholm where rents have rendered the grassroots business model inadequate, Sweden has more or less everything it needs. World-class venues? Check. Well-heeled audiences? Definitely.

A spot on every serious European touring schedule. No problem. Big, loud festivals and cool boutique ones? No need to ask twice.

Sweden is a model of a compact, modern market, with three very viable touring cities in Stockholm, Malmö, and Gothenburg. And at the mass-market end of the scale, at least, the post-pandemic boom has been a thoroughly fulfilling experience.

“It’s doing very well,” says Thomas Johansson, father of the Swedish live business and Live Nation’s chairman of international music and Nordics.

“We have just finished a bunch of outdoor shows: Iron Maiden, Rolling Stones, Lady Gaga all sold out stadiums. Then, we had a lot of other shows that have done very well all over Scandinavia, so I would say the business is good.”

As with any prosperous market, Sweden in the first year after the pandemic gives every appearance of being in the form of its life, but as always, the glory of the packed-out arenas and stadiums does not necessarily reflect right across the business.

“The shows that are suffering most from poor ticket sales in the post-Covid period are the ones that would usually sell 700-2,000 tickets,” says Edward Janson of increasingly diversified rock and metal specialist TADC, formerly Triffid And Danger Concerts.

“The big shows are doing well but it’s rather difficult in the middle segment these days”

“The smaller club shows are doing okay, and the big shows are doing well. But it’s rather difficult in the middle segment these days,” he adds, noting that ticket sales are currently around 25 to 30% down.

Johansson notes a similar trend when it comes to artists a little further down the scale. “Generally, the big artists are doing very well, whether they are local or international,” he says. “The mid-range artists are a little softer, the smaller club acts, too. Basically, it’s because there are so many tickets on sale. A lot of people were sitting with tickets for 2020, and then all of a sudden they were sitting with tickets for 2021, and when 2022 came around they already had five or six tickets booked.”

Certainly, there are challenges, even for an affluent market like Sweden. “There is huge competition now, since almost all artists are touring at the same time,” says Janson. “And inflation is rising, and the Swedish krona is getting weaker compared to the dollar and the euro. With that said, during the upcoming winter, I’m sure that it will stabilise and that ticket sales will go back to where they were before the pandemic.”

Svensk Live, the local live music body that gathers together clubs, festivals, promoters, and agents, recently launched its Life is Live campaign with performing arts group Svensk Scenkonst, aimed at encouraging fans to return to live events at all levels. Operations manager Joppe Pihlgren says there is a strong sense of industry cohesion around such initiatives.

“We have 270 members in Svensk Live,” he says. “We have the big companies, but they also understand that if you don’t have the grassroots then ultimately everything else suffers. We had that kind of [indie vs corporate] struggle a little bit more in the past, but we have got all these people very much together now.

“We have a youth organisation where [Live Nation] bring in volunteers to work for Lollapalooza. And we have a climate project as part of Way Out West – though we also do things with FKP Scorpio.”

“There is huge competition now, since almost all artists are touring at the same time”

And while Sweden may be a highly mature market, with plenty of corporate interest, it is also a major global pop and rock producer with plenty of self-esteem, and one in which local identity remains strong. Pihlgren, himself a home-grown rock star as the frontman of veteran Swedish band Docenterna, is heartened by the rise of local acts to arena and even stadium level.

“Before, it was just Springsteen and the big international artists who could fill up a stadium, but now you have [Gothenburg-born star] Håkan Hellström selling out [four nights in August at Gothenburg’s] Ullevi stadium. Laleh also sold it out in the summer, and we have a lot of smaller acts coming through.”

Historically one of Live Nation’s safest markets, Sweden hasn’t got a great deal more perilous for the business’s biggest player lately. As well as taking the lion’s share of the stadium and arena touring business, the corporate owns leading indie and Way Out West founder Luger and holds majority shares in the Summerburst and Sweden Rock festivals, as well as being the local custodian of Lollapalooza since 2019.

As thrill-starved punters all rush to the biggest concerts they can find, the current conditions were made for Live Nation. “This year has been a fantastic vintage,” says Johansson. “And 2023 is shaping up to be yet again an enormous year. We put Bruce Springsteen on sale a month ago – two Copenhagens, two Oslos, and three Gothenburgs – and we sold 400,000 tickets in a day.”

FKP, very much the challenger to Live Nation in the Nordic markets and elsewhere, helped to spearhead the increasingly ubiquitous tendency among Nordic promoters to operate across the region and has had a full set of Scandinavian offices for around five years.

“We are super, super close,” says Lundell. “It has been good to unite our forces and see what we can do jointly, and whoever is best placed to take a lead can basically do it for all four territories.”

“For your own health it’s hard, because ticket sales have picked up really late”

Among its Swedish exploits this year are ten Ullevi stadiums for Ed Sheeran and three for Rammstein; one and four, respectively, for Swedish stars Laleh and Håkan Hellström; shows for Gorillaz; and a new festival, the Rosendal Garden Party, and an older one, Where’s The Music in Norrköping.

“I think there is definitely potential to develop [in the Nordics], but it is also one market, or several markets, that have been dominated by one player,” says Lundell. “So it is about just slowly growing and showing that there’s an alternative and that we can do a good job with both big and small shows and be creative and fast. Showing that there is not a monopoly situation here, that there’s other promoters to speak to.”

The Waterland-backed All Things Live was born in 2018 as a pan-Scandinavian operator built from Denmark’s ICO; Norway’s Friction and Atomic Soul; and Sweden’s Blixten & Co and Maloney Concerts, and had scarcely formed when Covid struck.

“It was an exciting time because we actually had a chance to work together as a group,” says Maloney. “And then it was a bit of an odd feeling, that we were ready to go and then nothing. But now it’s all great.”

Coming out of the pandemic, all promoters have had to learn the new language of the market, including highly unpredictable, occasionally heart-stopping sales patterns.

“I have to say that the big shows we are doing, at least, have sold really, really well – although for your own health it’s hard, because ticket sales have picked up really late,” says Maloney. “We did one show with Green Day in June [at Stockholm’s Tele2 Arena], and in the last two weeks sales just exploded. We came to the level we wanted to be, but a month before the show we were thinking, ‘What’s going on?’ It’s a new chapter, you don’t have anything to go on.”

As the Sabaton example shows, Maloney remains passionate about the idea of creative thinking be- tween promoters and artists. “The thing that we want to remain is independent,” says Maloney.

“This year, we had time to try new products such as climate-friendly fuel”

“We want to have artists come first, and that is our whole point. On some occasions, we will make a deal for all four Nordic countries. Sometimes we just do it in Norway or Sweden or Finland or Denmark. But we want to have the flexibility to work with the artist rather than telling them, ‘This is what we need to do, or nothing.’”

TADC, meanwhile, has diversified while maintaining its roots in rock and metal. Upcoming shows include Manowar, Helloween, Uriah Heep, and WASP, but this year it has sold 10,000 tickets for 50 Cent and also staged Simply Red, Don McLean, and The Beach Boys.

“When TADC started in 2015, our focus was mainly on rock and metal,” says Janson. “Still the majority of our shows are within rock and metal, but we have broadened our focus a lot. During 2023 we will do even more shows in other types of music.”

TADC expanded into Norway and Denmark in 2021 and maintains offices in Stockholm, Gothenburg, Oslo, and Copenhagen. “Sweden, Norway, and Denmark are definitely still different markets with different cultures, but we’re in a good position when we can make offers for all three countries,” says Janson.

Everyone knows just how much pain festivals, in particular, suffered in 2020 and 2021, as their annual glorious moment was, in most cases, snuffed out not just once but twice. So 2022 has been a major relief for Sweden’s big names, including 30-year-old rock and metal festival Sweden Rock, which returned in June to Norje in southern Sweden for the first time since 2019, with Volbeat, In Flames, and Guns N’ Roses at the top of the bill.

“It was great to be back. Even better than I hoped,” says man-ageing director Jon Bergsjö. “Our visitors, artists, and staff were very positive and enjoyed the festival.” One silver lining of the three-year lay-off was the time to plan, says Bergsjö, with particular emphasis on experience – waiting times, F&B choice, clean toilets – and sustainability.

“We make changes every year to become more sustainable,” he says. “This year, we had time to try new products such as climate-friendly fuel, and we got a lot further in getting all our food stands to make better choices about cutlery, plates, and other single-use products. We even started serving the draft beer and drinks in specialised paper cups.”

“We ended up selling 50,000 tickets in a market like Malmö that has never had this kind of event before”

Luger’s Way Out West was the first Swedish festival to shout about sustainability, and it is now meat-free, milk-free, and climate-trans- parent. It returned in August with Robyn, Nick Cave & the Bad Seeds, Burna Boy, and First Aid Kit.

Elsewhere, in no order of size, Swedish collective Ladieslovehiphop (LLHH) partnered with Live Nation Sweden and Luger on the 2022 Ladieslovehiphop Festival. The boutique festival, which debuted at Trädgården in Stockholm in 2019, returned on 19-20 August at Fållan & Slakthusområdet in Stockholm with an eclectic female-led line-up starring Stefflon Don, Ayra Starr, Ivorian Doll, Baby Tate, Shaybo, and Dreya Mac.

Of the other Live Nation-related festivals, the two-day electronic Summerburst Festival returned to Ullevi in Gothenburg in June, and Lollapalooza Stockholm – the first Lolla in the Nordics – finally got its second edition in July by the water in Gärdet, with Imagine Dragons, The Killers, Pearl Jam, Lorde, and Post Malone on board.

The big event of the year for All Things Live in Sweden is the acquisition of Malmö’s Big Slap Festival. Founded in 2013, the previously one-day event was one of Sweden’s largest electronic dance music festivals, with a daily capacity of around 15,000 attendees. This year, All Things Live bumped Big Slap up to two days, relocated it from Tallriken park to Nyhamnen on the city’s waterfront, got Justin Bieber on board and was vindicated in doing so.

“We ended up selling 50,000 tickets in a market like Malmö that has never had this kind of event before. People talk about Malmö being Sweden’s Miami, and we could see that at Big Slap.”

TADC has two festivals in Gefle Metal Festival and Atlas Rock, both in Gävle on Sweden’s Baltic Sea coast. “Gefle Metal Festival has grown into an event that fans of extreme metal see as an event that you need to go to,” says Janson. “This is the place where you meet all the other fans of the music and see the bands that don’t play at any of the other festivals.

“This year, we also did the first edition of our new festival Atlas Rock, with acts like Scorpions, Alice Cooper, and Black Label Society. We believe that this also will be an established festival very soon with an audience that keeps returning.”

“The market in Sweden has recovered great from the closedown during the pandemic”

The promoter is also exploring ways of keeping its flagship Gefle Fest active year-round, with a smaller indoor edition in the winter and a Gefle Metal Cruise in the spring. FKP Scorpio’s four-day Rosendal Garden Party launched this year as part of a trio of new festivals also including Loaded in Norway and Syd for Solen in Denmark. It took place on the Djurgården island in central Stockholm, with headliners The Strokes, Florence + The Machine, The National, and Tyler, The Creator, and drew 10-15,000 a day.

“It was a really good first year, and the experience was fantastic,” says Lundell, who also senses a return to old ways of independent creative thinking in the festival market. “Ten to 15 years ago, all the festivals went from being run by a bunch of patient souls out in the nowhere lands to becoming part of a bigger strategy and a new framework,” he says.

“That is maybe going back on itself a little bit. I think people will move away from concentrating on the urban markets, and I think a lot of fantastic new ones will be popping up around the country.”

ASM Global’s Stockholm Live has the capital’s venue market pretty well cornered. Since 2008, the company (as AEG Facilities) has operated the 6,000-14,500-capacity Avicii Arena (formerly the Ericsson Globe), the 8,100-cap Hovet, and the 3,400-cap Annexet. In 2013, it added the new Tele2 Arena in south Stockholm, with configurations for between 18,000 and 37,000, and in 2017 took over the 30,000-57,000-cap Friends Arena in Solna in Stockholm County, north of the city centre.

Last year, ASM Global signed a long-term lease to manage the Södra Teatern, a theatre venue with a capacity of up to 600, and Mosebacketerrassen, a rooftop terrace that can accommodate around 2,000 people.

“The market in Sweden has recovered great from the closedown during the pandemic, and after being up and running for a couple of months, we do see an increasing demand for live acts again,” Stockholm Live event sales director Jenny Blomqvist told IQ’s Global Arenas Guide.

“The challenge for the industry in Sweden is to get back to its previous strength again, focusing on all the staff rehires we need, at the same time as educating and developing our organisation for the coming months of events – all this while delivering the acts in our arenas today.”

“Today we face a completely new challenge in trying to foresee even the next six months”

And as for everyone, the future is suddenly harder to read, in all kinds of ways. “Today we face a completely new challenge in trying to foresee even the next six months, as the market is not acting as it did before the pandemic,” says Blomqvist. “International shows are released with shorter sales periods than previously – two to five months – so whereas in previous years we would have known by now how the summer of 2023 would be, today we are still releasing shows for 2022. So we have to be even more flexible in our calendars and have tighter deadlines in all we do.”

The change to the name of the venue known as The Globe, or Globen in Swedish, came as a tribute to local DJ and producer Avicii. The iconic building is now also a hub for initiatives focused on young people’s mental health, in cooperation with sponsors [home improvement store] Bauhaus and [insurance company] Trygg-Hansa.

Also new, in a very different vein, is the introduction of AXS’s new AXS Mobile ID ticket across the Stockholm Live venues. The ticket is non-transferable, except through AXS, and is intended as an antidote to the illicit secondary market.

“What we see with Rammstein, Ed Sheeran, and these other big artists is they want personalised tickets; they don’t want their tickets to end up on the secondary market at ten times the price, and this is a way to guarantee that,” says Jay Sietsema, AXS general manager, Sweden.

Other key venues in Sweden include the Malmö Arena, which has a capacity of 13,000 for sports (predominantly ice hockey) and 15,500 for concerts, and, of course, the Ullevi Stadium. The stadium’s all-time crowd remains the 70,144 pulled by local boy Håkan Hellström on 5 June 2016 – beating the old record of 70,091 set the previous night, and comfortably exceeding the 69,349 that came through the turnstiles two days later.


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.

FKP Scorpio Sweden appoints Johanna Beckman

Concert and event promoter FKP Scorpio Sweden has appointed Johanna Beckman as senior creative curator and promoter, reinforcing its booking department.

Beckman joins FKP Scorpio Sweden from Stockholm venues Trädgården/Under Bron, where she was a creative director.

“It feels super exciting to take on this assignment – to have the opportunity to arrange concerts and events in various sizes, and at the same time being able to use my broad knowledge when it comes to booking fun programs,” says Beckman.

“It’s brave of FKP Scorpio to invest during the current situation and I’m extremely exhilarated to be involved in developing the company.”

Božo Rasic, MD at FKP Scorpio Sweden, says: “Johanna is well known for her great instinct when it comes to creating good programs, something we look forward to developing at FKP Scorpio Sweden.”

“It’s brave of FKP Scorpio to invest during the current situation and I’m exhilarated to be involved in developing the company”

Beckman has been a mainstay in the Swedish live music industry, racking up 17 years of experience as a talent buyer, a manager for acts including Dungen and Jenny Wilson, and a festival and event organiser.

She is also known for developing and programming Gagnef (cap. 3,000), a boutique and alternative Swedish festival which hosted its final edition in 2018, and helping to launch artist collective Ingrid in 2012.

Beckman is currently booking acts for Norwegian festival By:Larm, which takes place in Oslo in February.

Next year, FKP Scorpio Sweden, headquartered in Stockholm, will celebrate its 10th anniversary. Since launching in 2011 the Swedish offshoot has organised concerts and tours for artists including Ed Sheeran, Sam Smith, Björk, Rammstein, Leonard Cohen, Jennifer Lopez, Lana Del Ray, Justin Bieber, Bastille, The Lumineers, The Sounds, Primal Scream, The Tallest Man On Earth, Youth Lagoon and Frightened Rabbit.

The portfolio of the Swedish offshoot of FKP includes the festival Gather Weekender in Stockholm.


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.

FKP Scorpio acquires Swedish promoter Woah Dad Live

Through its Swedish division, FKP Scorpio has acquired Stockholm-based promoter Woah Dad Live.

FKP Scorpio Sverige, part of the Hamburg-based FKP Scorpio group, has taken a 100% stake in Woah Dad Live AB, formerly a division of Telegram Studios’ record company/booking agency, Woah Dad!.

As part of the deal, Woah Dad Live executives Niklas Lundell and Joel Borg, formerly of Live Nation’s Luger, join FKP Scorpio Sverige as shareholders and board members. The two companies will jointly produce and promote all future events, with Woah Dad Live retaining its identity.

FKP, majority owned by CTS Eventim, is one of Europe’s leading festival and concert promoters, while Woah Dad Live has worked with artists including Robyn, Juice Wrld, Håkan Hellström, Post Malone and Asap Rocky. Its festival brands, meanwhile, include Smash Fest and Daze Days.

The new partners have already begun working together: FKP and Woah Dad are jointly promoting four shows by Hellström at Ullevi stadium in Gothenburg, each with a capacity of around 70,000, which sold out in a matter of hours.

“We are happy to welcome new members to the FKP Scorpio family”

Other joint projects include two Rammstein stadium shows and Björk’s concert at the Ericsson Globe arena this September.

“FKP Scorpio has a stable backbone and a well organised structure that will be perfect for us now when growing and taking more ground over here,” says Lundell. “We’ll bring new ideas and many years of experience in the Scandinavian market into our partnership.”

Folkert Koopmans, managing director of FKP Scorpio, which has been active in Sweden since 2011, adds: “We have been working with Woah Dad Live before and are proud of what we have achieved and accomplished. We want to be the best partner for our artists and for the fans.

“The expertise in our teams when it comes to the Scandinavian market will help us to reach this goal. We have a lot to look forward to and are happy to welcome new members to the FKP Scorpio family.”


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.

‘A lot of good things are happening’: Sweden market report

Politically idealistic, economically sturdy, and with a knack for a bittersweet pop song, Sweden is the kind of country other European nations might easily envy. Who wouldn’t want to futuristically lead the world in cashless payments, or be the planet’s biggest exporter of pop music per head? But to imagine Sweden doesn’t have everyday problems of its own is to succumb to an unrealistic stereotype.

Last year, for example, Sweden became the first country to lose a music festival – its biggest, no less – to a rape scandal, after reports of four rapes and 23 sexual assaults at Bråvalla’s 2017 event forced organiser FKP Scorpio to shelve it for 2018, and then scrap the tainted brand entirely.

Meanwhile, in November 2017, performers including Zara Larsson, Robyn, First Aid Kit and Icona Pop were among almost 2,000 women in the Swedish music business who put their names to a petition decrying the sexual harassment they point out is endemic in the industry.

But what perhaps still marks Sweden out is its reaction to such issues. Numerous major festivals worldwide have unwittingly played host to sexual assaults, but only in Sweden – where the problem was undeniably extreme – has the event in question fallen on its own sword. And in another pointed response, Gothenburg this summer saw the launch of  The Statement, the world’s first large-scale festival exclusively for women, transgender and non-binary people.

In answer to the petition, not only have the local and regional bosses of Sony, Universal and Warner lent their support and pledged to act, but trade association Musiksverige announced that the quest for a more inclusive industry – “free from antagonistic behaviour, sexual harassment and abuse” – would henceforth take precedence over all its other activities.

All right, Sweden has its failings, but no one can accuse it of refusing to address them.

“I think a lot of good things are happening – the whole #MeToo movement, gender equality progression in festival line-ups – all of that I think is great,” says Ola Broquist, co- founder of booking agency and Way Out West promoter Luger.

All right, Sweden has its failings, but no one can accuse it of refusing to address them

He suggests that, in airing its dirty laundry, Sweden is ahead of many countries who would prefer to bury their own. “In Sweden, we are starting to look at the solutions. I think if you don’t address these things, then you definitely have a problem.”

Setting these things to one side, if it’s possible entirely to do so, live music fares very well in Sweden. Domestic and international revenue from the Swedish music industry amounted to SEK10 billion (£852 million) in 2016, of which concert revenue accounted for 55% (SEK5.5bn or £466m). Between 2009 and 2016, Swedish music industry revenue, domestic and international, increased by just over 50%.

Individual festivals may rise and fall, but overall audiences remain strong and incoming tours are generally guaranteed to stop in Stockholm. There are practical concerns: the krona is toiling at its lowest levels against the euro since the financial crisis of 2009; the club scene in Stockholm is under a familiar kind of threat from high rents and typical city pressures; the touring market often verges on saturation; and there has been a rash – not music-related but still dramatic – of hand grenade attacks in Swedish cities. But by and large, Sweden is bearing up.

“I think generally we have a pretty healthy business up here,” says Live Nation Sweden’s joint managing director Anna Sjölund. “We have a steady flow of acts that want to play here and people who want to go to shows. From time to time, we have acts who say they don’t want to come up here and they finish in Germany, but most of them, we do get.”

There’s no disputing that Live Nation is by far the strongest promoter in Sweden. In fact, given its full concert schedule and the imminent arrival of a Swedish Lollapalooza due to take place in central Stockholm next June – to add to Way Out West, Summerburst, Sweden Rock and other festivals in its stable – some argue that Live Nation is more dominant in Sweden than in any other nation in the world.

In many ways, it earned its dominance fair and square, building its modern business on the foundations laid down by EMA Telstar, which was bought up in 1999, and whose founder Thomas Johansson remains Live Nation’s Stockholm- based chairman of international music.

“Live Nation has, and always has had, a firm grip on the Swedish market”

Live Nation Sweden added Luger to the fold in 2008, and has more recently bought majority shares in Summerburst and Sweden Rock festivals, as well as shaping up to bring in Lollapalooza in 2019.

“Live Nation has, and always has had, a firm grip on the Swedish market,” says Tobbe Lorentz, United Talent Agency’s Malmö-based senior vice president. “With this expansion, Live Nation controls most aspects of the festival circuit in Sweden.”

Since November 2017, Live Nation Sweden has been under Sjölund and Therése Liljedahl, with a staff of about 115, and business is predictably good.

“We have had a very good year, lots of great shows,” says Sjölund. “We had the fantastic stadium shows with Guns N’ Roses, Jay-Z & Beyoncé, Foo Fighters, and Eminem through Luger. For once, the Swedish summer didn’t get rained away – it’s been really hot, really nice. Really healthy arena business, too. And we are catching our breath now and putting things in place for next year.”

Luger operates as a distinct company within Live Nation, while sharing expertise on certain projects, says Broquist. Lollapalooza is one such joint venture, and Luger is also upping its game in big shows, with Eminem, Coldplay and Mumford & Sons among those it has lately promoted on the biggest stages.

“We will never stop doing the smaller ones – that’s the backbone of the whole thing for us – finding new acts and growing with them,” Broquist adds. “But it is interesting to step up and do some bigger shows as well.”


Continue reading this feature in the digital edition of IQ 80, or subscribe to the magazine here

Jetty signs FKP Scorpio, expands to Norway

Swedish event management software company Jetty has agreed two new partnerships, including its first deal with a client in neighbouring Norway.

Its first Norwegian customer is Oslo theatre Det Andre Teatret (pictured), with the deal of “strategic importance to the company in several ways,” explains Jetty CEO Dan Sonesson. “First, it is Jetty’s first business in Norway, and partly an entry into a new [market] segment: institutions, which includes activities such as theatres, opera houses and dance societies.

“Institutions are an area we have not previously been active in, but the Jetty event management system works well and this sector has the potential to become a major future market, both locally and globally.”

“We are very pleased and proud to start a partnership with FKP Scorpio Sweden”

The second new agreement is with FKP Scorpio Sweden, part of Germany’s FKP Scorpio group, the Stockholm-based promoter of Where’s the Music? festival, as well as shows across Sweden.

“We are very pleased and proud to start a partnership with FKP Scorpio Sweden, and that they have chosen Jetty as their event management system,” continues Sonesson.

Jetty AB sells and operates Jetty, a business management system for events and festivals that launched in 2011. Its clients include Roskilde Festival, Göteborg & Co, Liseberg, Svenska Konståkningsförbundet, Malmö city, Stureplansgruppen Event, Epicenter and the city of Stockholm.

The company closed a successful initial public offering on 16 October, raising SEK 10,062,500 (US$1.1m) ahead of a listing on the Spotlight Stock Market.


Get more stories like this in your inbox by signing up for IQ Index, IQ’s free email digest of essential live music industry news.