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IQ Tour of the Year 2022: Ed Sheeran + – = ÷ x

It’s 8.29 pm at Dublin’s Croke Park, 23 April 2022. The sense of anticipation among the 82,000 fans present – here to see Ed Sheeran kick off his fourth world tour, the +–=÷× Tour (AKA the Mathematics Tour) – is building to fever pitch; a giant red and yellow screen in front of the stage has been displaying a ten-minute count down, and there’s just one minute to go.

When it hits zero, the screens go up and Sheeran launches into Tide, the opening track of his fifth studio album, 2021’s =; a joyous frenzy and outpouring of celebration ensues.

“Magic” is how the Irish Examiner describes it; “a show that will live long in the memory,” adds the Independent. “When the music started, to hear and see the audience’s reaction and share their excitement, was really emotional,” says Helen Himmons, +–=÷×’s production manager. “To be standing there experiencing so many original, custom-designed elements all coming together for the first time in front of 82,000 people was exhilarating,” adds Bren Berry of Aiken Promotions, who was responsible for all ten of Sheeran’s Irish dates.

But that night was just the start; over 53 more shows in 2022 Sheeran wowed fans and critics alike and truly put on a show for the ages. From the sheer number of fans that he entertained to some of the groundbreaking production elements and the success of touring such a mammoth show in the challenging post-Covid environment, it’s no surprise that we have awarded Sheeran and his team IQ’s Tour of the Year award for 2022.

Galway Girl(s and Boys)
The anticipation in Dublin wasn’t just because Sheeran is one the world’s biggest pop stars and musical icons or that he has a particularly passionate fanbase in the Emerald Isle (in total he sold 410,000 tickets in Ireland, incredible for an island with less than 7 million inhabitants). It was also the first major outdoor concert in Ireland in three years, following the Covid-19 pandemic. “We sold 225,000 tickets in the first hour,” says Berry, “and if the dates had been available, we could have sold extra shows in Limerick and Belfast.”

But being the first large, outdoor event post-Covid also brought challenges. “The venue, local council, and suppliers all had different opinions about what should happen regarding Covid-19,” adds Berry. “There was also quite a bit of debate in the media about conditions that should be applicable for what was really the first big show in Ireland for three years.” The show – and the tour so far – went off without a hitch though; no mean feat considering its scale.

“We sold 225,000 tickets in the first hour and if the dates had been available, we could have sold extra shows”

And the numbers themselves are mind-boggling. Over 3.1m tickets sold, generating over £200m in revenue. 125 crew spread over three separate teams (plus 80 local crew at each venue); 84 trucks hauling over 56 tonnes of gear; a unique, custom-built stage design that had never been toured before; brand-new, state-of-the-art pyro effects; and even discussions with the UK government at Cabinet level.

Chief architects behind the tour, alongside Sheeran, are artist manager Stuart Camp and agents Marty Diamond from Wasserman Music for North America and Jon Ollier from One Fiinix Live for Europe and the rest of the world.

Revealing the detailed planning for the Mathematics production, Camp says, “We were talking about this show before we completed the Divide tour in the summer of 2019. The in-the-round idea has been knocked back and forth for several years, but this was the time to take the plunge – although the pandemic did throw a curveball, so we did consider going to a more standard end-on show given the uncertainties regarding what touring would look like.”

Explaining why the tour visited the markets and venues that it did across Europe, Ollier tells IQ, “You can only do what you do in the short season of weather window for stadium shows, and that’s sort of what dictated our tour routing in 2022. Certainly, there were no ‘filler’ dates or markets on the European tour leg.”

Turning to the actual show itself, Camp says, “We just wanted to do something that we hadn’t done before…to make the show as special and unique as we could.”

That remit fell upon the shoulders of production designer Mark Cunniffe, who notes, “It’s a huge show in terms of industrial presence, but it has a very theatrical feel and attention to detail that give it its unique look.”

But the complexity of the production was daunting, and Sheeran’s agent discloses that the core team initially worked on two concepts, just in case the more ambitious option would not work. “The caution on our part was in our expectations as we emerged from the pandemic,” says Ollier. “Our attitude was simply to have a good crack at it to see what we could achieve.

“We just wanted to do something that we hadn’t done before…to make the show as special and unique as we could”

“We worked on the ‘plan B’, involving a traditional end-on stage, in parallel, flipping between the two concepts as we worked out what was feasible financially as well as logistically and from an engineering perspective. The watershed moment was when Ed decided that he had to deliver the best show possible to the fans because everyone had endured such a lot during the pandemic, and he wanted to give them something they could remember for the rest of their lives. So that’s the moment we dumped the idea of the end-on stage and put all our efforts into the show being in-the-round.

“What everyone has put together is the most ambitious tour I’ve ever worked on; the fact we were trying to pull it off while we were in the pandemic made it all the more complicated but also all the more satisfying.”

And hinting at the groundbreaking nature of the setup, artist manager Camp adds, “By far the most extraordinary feature of the show is the structural cable net system. Whist it’s an existing architectural principle, it has never been toured before and is rightly considered to be the first of its kind in the touring entertainment industry.”

Beautiful People
The complexity of that system was developed over the course of 12 months, with Sheeran’s team working with Cunniffe and Himmons to come up with the initial concept before approaching Jeremy Lloyd at Wonder Works to see if it was possible from an engineering perspective. They then engaged Stage One to see if it could be constructed in such a way to make it tourable – could it be put together in the four days they had at each venue prior to the show, then dismantled and removed within 24 hours?

It was a tough challenge.

“I’ve always wanted to present Ed in the round, as I believe that’s the perfect way to get him closer to as many people in the audience as possible,” says Cunniffe. “Once he was happy with that concept, I busied myself designing a show that didn’t have the obligatory use of a four-post roof system, as that would have obscured the artist’s view of the audience. After a great deal of blue-sky thinking, I came up with a structural support with a cable net system that was as aesthetically pleasing as it was functional. It was also a unique design that hadn’t been toured before.”

Such cable net systems are usually supported by some form of permanent structure, typically a roof. Team Sheeran’s challenge was creating an in-the-round setup with no supporting pillars for the stage, screens, or PA – essentially trying to suspend 56 tonnes of equipment on a temporary rig, and one that was relatively quick to build and dismantle. Thanks to some clever engineering, a lot of innovation, and the construction of many custom elements, Cunniffe and co. made it a reality.

“The watershed moment was when Ed decided that he had to deliver the best show possible to the fans because everyone had endured such a lot during the pandemic”

“What we have is a central round stage with a circular ‘halo’ of video and lighting that rises up from the stage floor and suspends in the air,” says Himmons. “It’s held there by a complex cable net system, which is tensioned between six red ‘masts’ – these masts provide a rigging opportunity for plectrum-shaped IMAG video screens and audio hangs and the bases of them are also used as satellite stages for the band members.”

“To make the show efficiently tourable, an important part of the production design was to ensure that as many processes as possible could occur concurrently,” adds Lloyd. Thus, once the masts and cables were installed, along with some advance equipment, production worked in two teams, on opposite masts, ensuring the structure was loaded as evenly – and as quickly – as possible. Similarly, while all this was going on, the stage was constructed off to one side; when the cable net was done, the stage was simply rolled into place.

The resulting show was the event of the summer for millions of fans – and that will be the case for millions more in 2023, 24 and 25, according to Camp.

“2023 will see us go to Australia and New Zealand – a place so close to our hearts and always a joy to tour in – though also the first shows we have done there since the passing of Michael Gudinski, so it will be very poignant,” states Camp.

“Then we are onto the Americas: North America from April to September before we go for some shows into Central and South America. 2024 will hopefully see us go through southeast Asia and the European markets we weren’t able to visit this year, and I envisage the tour coming to a close in summer 2025.”

That’s music to the ears of the many promoters and partners involved in Sheeran’s career.

Salomon Hazot, of Saloni Productions, has worked with Sheeran “since his first show in a club” and is constantly impressed by how “he does all that is required to make things work.”

His two shows at the Stade de France could have been three, he says, but adding another was logistically impossible – the stadium was booked. But the show was, Hazot says, “really unbelievable. There was such a buzz, many French industry people came to the show to see how it worked.”

Steve Tilley of Kilimanjaro Live first promoted Sheeran back in 2009, and says, “The production was next level and really spectacular – they rewrote the rules on what can be achieved in terms of the way they designed and built the whole setup. Every night, I stood and watched in awe.” He adds that it’s an “absolute joy and an honour to be part of the team and work with Ed – everyone involved behaves with pure class and professionalism.”

“They rewrote the rules on what can be achieved in terms of the way they designed and built the whole setup”

FKP Scorpio chief Folkert Koopmans notes that despite Covid and “the extreme circumstances our society and economy find themselves in, this was probably his best-selling tour ever. The enormous ticket demand ensured the list of concert dates grew longer and longer – there was at least one extra show in almost every tour city.” He adds that the tour was “really something very different and special – working with him and his team feels like travelling with family. He’s never stopped being ‘just Ed,’ which is why his story as an artist is relatable – and he’s worked very hard to be where he is right now.”

In Switzerland, Johannes Vogel, owner and director of AllBlues Konzert AG, says that within hours of the first show going on sale, they announced a second – both sold out incredibly quickly (47,500 for both nights). “The production was not just huge and spectacular – it was made to help Ed deliver the best shows possible,” he says. “The level of intimacy for a stadium show and how close he was to the fans was extraordinary – it felt like being in a club with 50,000 others!”

In Austria it was a similar story – 130,000 over two nights, with 70% of the fans in Vienna being female. “The whole concept was incredible,” says Ewald Tatar of Barracuda Music, “and he’s one of the friendliest artists we have ever met. It’s always very professional working with Ed and his team, and we are very proud to be part of this ‘family’ for Austria.”

“It’s quite extraordinary how Ed beats his own sales records every time, and these shows were no exception, with four shows gone in about 48 hours,” says Xenia Grigat of Denmark’s Smash!Bang!Pow! “It’s spectacular to do an in- the-round show – it’s a treat for fans – but this one was in a different league. And the fact that there’s a lot of the same people working with Ed as when he first started out says a lot about the artist and the work environment he has created – everyone on the team is a pleasure to work with.”

“The production was genuinely incredible,” adds Simon Jones of AEG, who has worked with Sheeran for over 11 years. “It’s an engineering masterpiece, and by going to an in-the-round setup, he reached more people – it lent itself so well to the way he performs, which is so inclusive.” Jones also touches on another important element for the +–=÷× Tour – ticketing. “Ed’s main mantra is to protect his fans from unscrupulous touting and from being taken advantage of. So, we always put stringent anti-secondary measures in place, which require an extra couple of layers prior to purchasing.”

“It’s quite extraordinary how Ed beats his own sales records every time, and these shows were no exception, with four shows gone in about 48 hours”

“I think there’s a real legacy to this tour in terms of the ticketing strategy,” says FKP Scorpio’s Daniel Ealam. “We felt that in a post-pandemic world, there really needed to be a way of doing ticketing at this level in a regimented digital way, so we set about writing a comprehensive Ticketing Principles document with various rules for our ticketing partners to adhere to, to protect Ed’s fans. Our ticketing partners in the UK at Ticketmaster, Eventim, See, Gigantic, and AXS really bought into the idea that our tickets needed to stay with the person who bought it, unless sold through an official face-value reseller. This was rolled out throughout Europe and ran really smoothly.”

To fulfil that wish, CTS Eventim’s EVENTIM. Pass was put to the test, with its digital and personalised ticket abilities. “We used EVENTIM.Pass exclusively for the first time in ticket sales for Ed Sheeran’s European tour,” says Alexander Rouff, CTS Eventim’s COO. “After the start of presales, more than 1m digital tickets for the tour were sold in eight countries within a very short time.”

He explains, “The ticket purchased via EVENTIM.Pass can only be accessed on the smartphone using the EVENTIM.App – it is securely stored there, and the associated individual QR code for admission authorisation is only displayed shortly before an event. This and other security features largely prevent unauthorised resale, forgery, and misuse.”

The new system worked “100%” claims Rouff.

Indeed, there was only one attempt at fraud, and “it was detected and prevented by the missing security features of the ticket.” For fans of paper tickets, the company also offered EVENTIM. Memory Tickets. “The Memory Ticket for Ed Sheeran’s tour design was very well received by fans,” adds Rouff.

The A Team
Taking such a mammoth production on the road demands that Sheeran has two advance systems – basically the six red masts, cable net systems, and the satellite stages for the band. These leapfrog each other, so each advance team prepares every other venue. “But there was only one version of the universal production – sound, lights, video, automation, performance stage – so that was loaded in and out for every show,” adds Himmons.

Making sure the production equipment gets from A to B to Z is Global Motion who have been working with Sheeran since he first started playing arenas a decade ago.

“Getting back to work, post-Covid, has been great, but it’s been a bit of a nightmare in terms of finding people who want to work – it’s still not back to normal,” says Global Motion director Adam Hatton. “However, for a huge tour like this, the solution is all in the planning and thankfully team Sheeran are fantastic at that.”

Hatton reports that while for most clients concerned about sustainability, the advice is to simply take less gear on the road, for the huge spectaculars, like Mathematics, that isn’t always possible. “We decided to sign up to DHL’s sustainability programme which offers ways to offset carbon, as well as using electric trucks, etc, where possible.”

“For a huge tour like this, the solution is all in the planning and thankfully team Sheeran are fantastic at that”

And applauding the brains behind the Mathematics Tour, Hatton adds, “The show is extremely impressive – seeing a stadium show in the round is amazing. There were huge logistical issues to overcome to get this show on the road, but when you see the result, it makes everything worthwhile, and it’s been a pleasure to be involved with everyone who has made the tour possible.”

Working hand-in-hand with Global Motion were the trucking partners, who arguably faced the tour’s biggest dilemmas thanks to Brexit making the landscape even more complicated in what was already a Covid-challenged environment.

For the universal production element, KB Event were once again entrusted – the company has been working with Sheeran since 2012. In total, 27 Mega Box Artics and 5 Mega Curtain Side Arctics were required, each with a lead driver and two support leads. But with the tour starting in the Republic of Ireland, moving into the UK, and then touring for three months in mainland Europe, registrations and permits proved tricky to coordinate.

“Because of the Cabotage issues and the solutions we managed to agree with the UK government, all of the trucks on the tour had to be EU-registered vehicles,” says KB Event CEO, Stuart McPherson. “This gave the added complication that all the experienced UK drivers that had worked on previous Sheeran tours had to be sent to Ireland to sit their EU DCPC qualifications before the tour started. This also meant that replacement, standby, and substitute drivers all had to hold EU qualifications, too. This is an issue we have never had to deal with before and presented serious challenges and expenses getting everything in place before the tour started up.”

The proposed routing and show schedules also presented numerous logistical issues, again due to Brexit and the many new rules and regulations now in force regarding cross-border working. To get around this, KB engaged with the UK government and DfT, alongside trade association LIVE and the Road Haulage Association.

After months of negotiation, the UK government decided they would consider a duel registration option, where a company that has registered businesses in the EU and the UK (as long as both held a valid operator’s licence) could switch their EU trucks onto and off a UK operator’s licence. But with this not coming into law until August or September 2022, and the tour starting in April, things looked bleak.

“It’s an engineering masterpiece, and by going to an in-the-round setup, he reached more people”

The power of Sheeran – and the hard work of his transport suppliers – prevailed when a solution was proposed that would see the UK authorities adopt a short-term, temporary fix to get the industry through the summer. “This was accepted and pushed through cabinet just four weeks before the tour started,” says McPherson. “And I can tell you, we all slept a lot better that night!”

With KB Event handling the universal production, the two advanced systems were transported by Pieter Smit. They also faced challenges. “It was extremely difficult to get new trucks in Europe,” reports Steve Kroon, head of sales and relations. “We were lucky that through our extensive network, we found several brands that could deliver trucks with the highest emission class (Euro 6) – we had DAF, MAN, Ford, and Mercedes-Benz.” Kroon reveals it’s the first time the company has toured such a big production using renewable diesel. He adds, “We’re proud to be the first trucking company to have actually entered Sunderland’s Stadium of Light by truck and trailer combination – it was close and narrow, but we did it.”

There were plenty of other issues to solve for an outdoor, temporary, in-the-round setup. To ensure that no waterproofing or covers were required, everything – be it video, lighting, staging, or special effects – had to be IP65 rated. “A lot of time was spent sourcing, and in some cases, manufacturing from scratch, equipment that fulfilled this particular brief,” says Cunniffe.

Furthermore, the nature of stadium pitches or open, soft ground provided another challenge to overcome. “With the outer perimeter of the stage revolving, the entire performance stage has to be completely level in order for it to move,” says Himmons. “As we were not working on flat arena floors this was a challenge, specifically on the greenfield sites we played. And the floors also had to be able to take the weight of the show – some stadiums had underground car parks, directly beneath the pitch, so we had to look at our build process and crane movements, making sure we kept weight evenly distributed during the build, as well as consulting on how to support the floor from below because of the void underneath.”

I See Fire
Pyro was another element where the production and design team wanted to add something new. Tim Griffiths of Pains Fireworks was brought in to create some exciting effects; he didn’t disappoint. The brief, he says, was to “create something spectacular that could be repeated each night within the confines of the set. The incredible floating LED halo was the obvious place for us to mount close-proximity pyros, but the most exciting idea was trying to create a moment at the beginning of the concert using daylight effects. We decided to go for coloured, daylight smoke mines, which are the latest innovation of the past few years. They look stunning when fired in bright daylight and created an incredible rainbow feature four times at the start of each show.”

“Ed has set the bar high now, and I genuinely believe this is the most spectacular and ambitious live show on Earth”

Griffiths also utilised eleven of the latest liquid flame heads from German manufacturer, Galaxis. “The new Galaxis L-Flame was only released last year, and we had ordered the first batch in the UK, used them last summer, and knew that they would look fantastic built into the revolving stage,” he says. “The flame pumps sit under the stage and feed the heads with liquid IPA. The biggest challenge initially was to refine the flame heights and get a consistent flame using smaller nozzles than those supplied to reduce the height and avoid burning the lighting rig.”

Although the sell-out tour could have added extra dates in key cities, Camp admits the approach was a little more cautious than it may normally have been. “The live industry was still re-finding its feet when we put our shows on sale for ’22,” says Camp. “I think it was the first stadium tour to go up post pandemic, and we did the same level of business here in Europe as the last tour.”

Confirming the total of 3.1m ticket sales across Europe during 2022, agent Ollier reveals the next tour leg in Australasia will account for another 700,000 tickets. He says, “Of course, a production of this size doesn’t come without its challenges and there are always going to be bumps on the road and nuances, but Ed has set the bar high now, and I genuinely believe this is the most spectacular and ambitious live show on Earth.”

Talking of Sheeran’s development as an artist, Camp adds, “He really has just simply grown in ability and confidence. This is the first tour we have used a band – albeit only for a quarter of the set – but it has bought another dimension and enabled Ed to perform songs that were previously tricky with just one man and a loop pedal.”

Mathematics’ added element of supporting musicians was just one of multiple surprises to entertain and enthral millions of fans.

The emotion and ambition of that opening show in Dublin rolled all over Europe and is set to be repeated across four additional continents before returning to Europe in 2024. As Bren Berry says of that opening night: “You go all in, roll the dice, hold your breath, and hope you hit the jackpot, which of course Ed and his brilliant team have done with this incredible, ground-breaking show. The opening night worked like a dream – the in-the-round atmosphere was electric, and Ed absolutely smashed it out of the park. I can still see the utter delight on his face coming off the stage.” It’s a sight that sets to be replicated a few more times as the rest of the world gets to experience the +–=÷× Tour in all its brilliance and glory.



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FKP Scorpio sells 2.2m tickets for Ed Sheeran tour

FKP Scorpio has revealed it sold just shy of 2.2 million tickets for Ed Sheeran’s + – = ÷ x European tour, which wrapped up last night at Frankfurt’s Deutsche Bank Park stadium.

The company promoted 36 of the singer-songwriter’s 52 concerts in Europe this year in cooperation with the European offices of the Hamburg concert agency and partners,

A total of 2,167,034 digital tickets were sold across the 36-show run, which began at Dublin’s Croke Park on 23 April, with 560,000 of them for German stadium dates in Gelsenkirchen, Munich and Frankfurt.

“The success of the + – = ÷ x Tour is simply unprecedented”

“Superlatives are the order of the day with Ed Sheeran, but the success of this tour is and remains simply incredible,” says FKP Scorpio CEO Folkert Koopmans. “We already achieved a clear seven-figure ticket result on the previous tour with 1.4 million tickets sold but that was over a period of three years. The success of the + – = ÷ x Tour is simply unprecedented.

“Due to the size and number of concerts, this tour was of course an immense effort for all involved and I would like to very much thank our partners Kilimanjaro in UK and All Blues in Switzerland for the great cooperation – as well as the teams of our subsidiaries FKP UK, FKP Sverige, FKP Poland, FKP Belgium, Smash!Bang!Pow! in Denmark and Fullsteam in Finland. Ed Sheeran creates a unique live experience with his concerts for millions of people, with countless thrilling moments and we are all proud to be a part of it.”

Sheeran, whose agent is Jon Ollier of One Fiinix Live, recently set a new record for ticket sales in Denmark, shifting 160,000 tickets to four shows in the capital city.

“My personal goosebump moment on this tour was the duet with Taras from the Ukrainian band Antytila, with whom Ed performed his song 2step live in Warsaw’s PGE Narodowy stadium and then called the whole band onto the stage bathed in blue and yellow light,” adds Koopmans. “The solidarity of the Polish audience with these young men and their war-torn compatriots was simply overwhelming!”

To mark the last stop of the Lego House singer’s European tour, Koopmans had the stage of recreated from thousands of the popular bricks including hundreds of LEGO figures, and presented it to Sheeran as a gift. The + – = ÷ x Tour resumes for its scheduled final leg in Australia and New Zealand next February.

“Own Our Venues is an initiative I’m really passionate about getting behind”

Sheeran’s previous 255 show ÷ (Divide) run from 2017-19 surpassed U2’s 360° as the highest-grossing tour ever, with a gross of US$776.2 million. It also set a new record for total attendance, at 8,796,567.

The 31-year-old superstar has also thrown his weight behind the UK Music Venue Trust’s (MVT) Own Our Venues campaign to take control of the freeholds of grassroots music venue premises and bring them under a protected status of benevolent ownership.

“Own Our Venues is an initiative I’m really passionate about getting behind,” says Sheeran. “Small, independent venues are so, so important to the music community, and I’ve played some of my favourite gigs of my career in these rooms. We’ve got to do all we can to protect these beautiful venues that we’ve all come to love for years to come.”

MVT CEO Mark Davyd adds: “With the Own Our Venues project gathering steam, we are incredibly pleased to get Ed’s support for this initiative – he knows this sector incredibly well and understands how important it is.”


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Ed Sheeran smashes ticket sales record in Denmark

Ed Sheeran has set a new record for ticket sales in Demark, shifting 160,000 tickets to four shows in the capital city.

The European leg of Sheeran’s + – = ÷ x (‘mathematics’) stadium tour went on sale in September 2021, with 100,000 tickets to the Copenhagen shows selling in approximately 100 minutes. The rest was purchased within just 48 hours.

Promoter smash!bang!pow! and its minority stakeholder, FKP Scorpio, say the ticket sales are “beyond comparison” in Danish music history.

The shows took place between Wednesday and Saturday last week (3–6 August) at Øresundsparken, a new 40,000-capacity outdoor area in Tårnby built by the Copenhagen-based promoter and booking agency.

Xenia Grigat, senior promoter at smash!bang!pow!, says: “I’ve worked with Jon Ollier [agent at One Finiix Live] and Ed Sheeran’s team in Denmark since the first album cycle, from club shows to arenas – first green fields (86,000 tickets in 2019) and now these unbelievable and impressive numbers from Copenhagen.

“smash!bang!pow! executed the shows beyond everyone’s expectations”

“Seeing an artist grow and leave a mark with old and new fans, as Ed Sheeran did over the four shows, is truly extraordinary. A production of this scale has been in preparation for over a year and there’s a big team behind going above and beyond to make this happen, both locally and in the artist team.”

FKP Scorpio CEO Folkert Koopmans congratulates his Danish division on the successful production: “Back in 2018, when we partnered with smash!bang!pow!, we both knew that we wanted to expand the size of the company and the size of their productions.

“We’re only four years in, and that is including a long period with Covid-19. Nonetheless, smash!bang!pow! have more than doubled their office, and they’ve broken the Danish ticket record by far. In addition to that, they executed the shows beyond everyone’s expectations, getting great feedback from audience and press. The whole team should be very proud.”

The European leg of Sheeran’s + – = ÷ x tour continues tomorrow (10 August) in Sweden before visiting Finland, Poland, Austria, Germany and Switzerland.

The last leg kicks off in early 2023 and will see Sheeran return to Australia and New Zealand for the first time in five years.


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FKP Scorpio Norway hires promoter Tim Salvesen

FKP Scorpio Norway has bolstered its international department with the addition of experienced promoter Tim Salvesen.

Salvesen has six years’ experience as a promoter with All Things Live, having worked with artists such as Dave, Phoebe Bridgers, Mac DeMarco, Jacob Collier, Black Midi, Whitney, Rufus Wainwright, Ezra Collective, Priya Ragu, Clairo, Jimmy Eat World, KSI, Soccer Mommy, Slowthai and Snail Mail.

“FKP Scorpio Norway is continuing to grow, and I’m delighted that my former colleague Tim Salvesen has decided to join us,” says head promoter Stian Pride. “I have been really impressed by how quickly he’s developed as a promoter, and I’m confident that our office is the perfect place for him to take further strides forward.

“Tim has always been on the front foot when it comes to discovering, working with, and developing emerging talent. This is central to how we work at FKP Scorpio, and we’re certain that Tim will be a perfect fit here – professionally, but also on a human level.”

“His talent to discover and develop new artists and his personality as a promoter fit well into our company ethics and values”

International artists promoted by FKP Scorpio Norway include Bon Iver, Band of Horses, Hans Zimmer, The National, Big Thief, Tash Sultana, Snoop Dogg, Fontaines DC, Daniel Nogren, Sparks, Nils Frahm, Colter Wall, Shame and Weyes Blood.

“I am very happy to welcome Tim in the FKP Scorpio team,” adds Folkert Koopmans, CEO of FKP Scorpio Group and winner of Festival Organiser’s Organiser at last week’s 2022 Arthur Awards. “His talent to discover and develop new artists and his personality as a promoter fit well into our company ethics and values. Also, Tim and his artist roster are a valuable addition to our international booking team.”


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FKP Scorpio launches show production division

FKP Scorpio has launched a new company specialising in musicals, shows and family entertainment.

FKP Show Creations, has confirmed a live adaptation of the hit TV show The Masked Singer as its first project, which will tour 13 arenas across Germany. Other productions are set to include Paw Patrol Live and Dita van Teese’s Glamonatrix.

The firm will be managed by Jasper Barendregt, formerly director of festival production at FKP Scorpio, alongside CEO Folkert Koopmans.

“This long-planned start-up allows us to explore new and exciting avenues”

“This long-planned start-up allows us to explore new and exciting avenues,” says Barendregt. “I am very much looking forward to the challenges ahead, even though I will miss the festival business after twelve exciting and fulfilling years.”

Barendregt’s previous role will be taken over by Benjamin Hetzer, who has worked in festival production for FKP since 2012. As event manager, he has overseen events such as Southside, Highfield and A Summer’s Tale since 2015 and is also responsible for the new Tempelhof Sounds festival in Berlin.

“I am very excited about my new task and would especially like to thank our team, which has also shown consistency in the past years of the pandemic and does a great job in every situation,” says Hetzer. “I am proud and grateful to work with this team to plan our festivals again in the future.”


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International Festival Forum 2021 marks a return to form

After 2020’s online-only version, the International Festival Forum (IFF) enjoyed a successful return to a physical event in late September, as more than 600 delegates registered for the event that focuses on booking agents and festivals.

Enthusiasm for IFF was evident at the opening party, hosted by UTA, where many delegates renewed acquaintances with colleagues they had not seen in the flesh since the International Live Music Conference (ILMC) in March 2020.

With agency partners reporting oversubscribed speed-meetings at their pop-up offices around Camden, the conference element included a number of pre-recorded sessions, covering such topics as Your Next Headliner – Climate Action; Festival Playground – the Future of Music Festivals; Festival Insurance in a Post-Pandemic World; and Counting the Cost of Brexit.

The keynote saw CAA’s Maria May interviewing Festival Republic chief Melvin Benn and FKP Scorpio founder Folkert Koopmans, who delivered an optimistic message about the future of the business.

“[Festival Republic] is starting new festivals in 2022… we’ve got to try and keep up with Folkert”

Both men noted that there had been no dialogue between the live music industry and the government prior to Covid, meaning much of the last 18 months had been spent educating politicians and persuading them to help support the business.

Quizzed by May about what could be done to help emerging talent, given that many festival line-ups have rolled over into 2022, Benn revealed that he would be launching new events next year. “I am starting new festivals in 2022,” he said.”I’ve always got to have at least one because I try to keep up with Folkert. So, we’ve got at least one or two next year, and that will give new talent the opportunity to start getting to play to a bigger audience.”

“When I hear that Melvin is doing two or three new festivals, we might do four,” quipped Koopmans. However, he admitted that staffing was a problem and along with spiralling costs it means there will be some tough choices to make, so establishing any new showcase festivals might have to wait.

But he predicted that not only will the 2022 season go ahead, but “It will be the biggest year ever. And I suppose the next years will just grow. I’m super optimistic.”

“There might not be a complete shutdown, but booking a European tour in February, at the height of flu season, will be a huge risk”

Benn concluded that the industry can also take a lead on sustainability. “Now it feels like everybody is on the same page – artists, managers, promoters, agents, suppliers and fans – and collectively there’s a lot we can do together and that needs to be one of the greatest collaborations that the music industry can continue with.”

Elsewhere, The Agency Business panel examined the recently announced CAA and ICM Partners acquisition, with panellists agreeing that the deal could provide opportunities for independent agencies, while former CAA staffer Jon Ollier admitted to being “fascinated” by the merger, noting that CAA will be determined to preserve the company’s culture.

And it was Ollier, now boss of One Fiinix Live, who shared his belief that one potential outcome of the Covid pandemic may be that the industry will lose its winter season. “There might not be a complete shutdown, but booking a European tour in February, at the height of flu season, will be a huge risk. So why not follow the sun around the globe to mitigate that risk?”

ATC Live head Alex Bruford noted that rebuilding consumer confidence would be a major challenge, while he predicted a more flexible approach to touring where acts may put on a series of arena dates at short notice as market conditions change.

“AEG’s Jim King called out the scandal of guest-list ticketing fall-off, which has been 40% on some shows”

The conference’s opener involved a Therapy Session where delegates shared stories from the past 18 months, alongside plans to rebuild and reopen their various markets for live events.

With Barnaby Harrod (Mercury Wheels) and Claire Courtney (Earth Agency) onstage to represent the different parts of the business, those in the room heard a number of tales, with arguably the most inspiring related by Georg Leitner of GLP, who revealed that Syrian refugees are being recruited by security firms in Germany to help that sector get back to full strength ahead of the 2022 season.

Paradigm’s Clementine Bunel, meanwhile, moderated The Roaring 20s? where she and her guests examined whether the rest of the decade could be a golden era for live music. And while the future could indeed be rosy, multiple challenges were identified, not the least of which will be sharp rises in ticket prices to cover spiralling costs – an issue that Lowlands Festival’s Eric van Eerdenburg warned could prevent young fans from attending.

And noting increased drop-off rates at recent live events throughout Europe, AEG’s Jim King called out the scandal of guest-list ticketing fall-off, which has been 40% on some shows, compared to 10-12% normally. “It’s outrageous,” he blasted.

The afternoon and evening programmes at IFF once again featured some of the hottest emerging talent on the rosters of ITB, Earth Agency, Paradigm, Primary Talent & ICM Partners, Marshall Live, X-ray Touring, and ATC Live, while Music Venue Trust used the occasion to bring down the curtain on their nationwide Revive Live Tour, as well as sponsoring the closing IFF party.

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Benn, Koopmans line up for IFF 2021 keynote

Melvin Benn and Folkert Koopmans, two of Europe’s most successful festival promoters, have been announced for a unique double keynote interview at the International Festival Forum in London in September.

For the IFF Keynote, Benn, the managing director of Festival Republic, and Koopmans, who holds the same role at FKP Scorpio, will be interviewed by Maria May, head of electronic/international at CAA, who’ll quiz the two industry leaders on recent events, what shape the recovery will take and what comes next for the summer scene.

“Expect 60 minutes of deep insight and expertise,” say organisers, “in what is sure to be a standing-room only session” for which early arrival is strongly recommended.

After going online only in 2020, the International Festival Forum will return this September as a physical, non-socially distanced event, complemented by an online pass for delegates who are unable to travel.

The first major live music industry gathering in 18 months, IFF 2021 will kick off with the opening party on Tuesday 28 September and end late on Thursday 30 September. The invitation-only event for music festivals and booking agents will feature the usual mix of showcases, conference sessions, keynotes, pop-up up offices, networking events and more.

The two industry leaders will speak on recent events, what shape the recovery will take and what comes next for the summer scene

The first booking agency partners for IFF 2021 were announced earlier this month, with longstanding supporters United Talent Agency (UTA), X-ray Touring, Paradigm Talent Agency, ATC Live and Primary Talent International/ICM Partners all returning for 2021, while Earth Agency joins as a partner for the first year. All partner agencies will showcase their hottest new artists, festival-ready for 2022.

The provisional schedule for IFF, including details of conference panels, showcases and venues, is now live on the IFF website. Some 800 delegates, including all the major international music festivals and agents, are expected to attend this year’s IFF, which returns to Camden, north London, for the sixth year.

New for this year will be an online element which allows all delegates to watch back every conference session on demand for up to 30 days after the event. For anyone who can’t travel to London, meanwhile, an online-only registration is also available.

Over 120 music festivals have already confirmed their attendance at IFF 2021, with a quarter of tickets sold with nearly three months to go. Discounted summer rate passes for IFF, which include meals, drinks and more, are available now for £315, saving £30 on the late-summer rate. Click here for more info.


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IFF puts finishing touches to biggest programme yet

The Interactive Festival Forum (iFF) has announced two Soapbox Sessions panels for the event taking place on 2 and 3 September.

The first 55-minute session will invite five industry experts to deliver quick-fire presentations on a range of specialist topics including agency roster analysis, socially distanced events and mental health.

Soapbox Sessions: Five in 55 will see ROSTR co-founder and CEO, Mark Williamson, present highlights from an analysis of 650+ agency rosters with ROSTR: The Agency World in Numbers.

Deer Shed director and AIF member Kate Webster will deliver a Soapbox Session on Deer Shed Basecamp, the festival’s socially distanced, sold-out camping weekender with AIF presents: Touching Base.

Tim O’Brien – professor at Jodrell Bank Centre for Astrophysics at the University of Manchester (the site of AIF member festival Bluedot) – will reprise a much-loved talk from a previous AIF Festival Congress with AIF presents: Sounds of Space.

Geoff Dixon will present exclusive new research on festivalgoers’ confidence about returning to live events over the next 12 months

In Soapbox Session Covid-19: You Are Here, Dr Mark Salter, consultant for global health at Public Health England, will update delegates on the latest international developments in the fight against Covid-19, including the search for a vaccine, as well as how public health authorities are planning for the months ahead.

Finally, Getting Back to Work: The Fan’s Perspective Vivid Interface will hear Geoff Dixon present exclusive new research on festivalgoers’ confidence about returning to live events over the next 12 months.

Another new addition to the conference schedule is The Lost Causes, a series of presentations from specialists covering diversity, accessibility, and mental health and welfare.

Attitude Is Everything‘s Gideon Feldman will deliver Accessibility: Building Back Better, Keychange‘s Francine Gorman will present Equality: Representation Matters and festival booker-turned-psychotherapist Tamsin Embleton will educate delegates on Mental Health: Minding the Gap.

Today’s announcement follows the news that CAA board member and London co-head Emma Banks, Paradigm’s head of global music, Marty Diamond, and FKP Scorpio MD Folkert Koopmans are joining the conference.

With just over one week to go until iFF, and with passes increasing in price on 1 September, secure your place and save money by registering here. Tickets are still just £50 inc. ALL fees.


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Next wave of industry elite announced for iFF

Another round of free-thinkers, ground-breakers, and industry stalwarts has been announced for the Interactive Festival Forum (iFF) in two weeks’ time.

The two-day livestream event, taking place on 2 and 3 September, is expected to host over 400 professionals from festivals and agencies across the globe.

Among the most recent speakers to join the programme is CAA board member and London co-head Emma Banks, Paradigm’s head of global music, Marty Diamond, and FKP Scorpio MD Folkert Koopmans.

The three industry heads will discuss adapting deals, escalating fees and the impact of the “lost year” on ticket pricing during the Ticket Price, Artist Fees and Deals panel, moderated by ILMC head Greg Parmley.

Elsewhere in the iFF schedule, Live Nation Belgium/Rock Werchter CEO Herman Schueremans joins the lineup for The Big Rebuild: Festivals bounce back.

Fullsteam Agency promoter Aino-Maria Paasivirta will chair the Refunds, Deposits & Force Majeure session, with Mojo Concerts’ Kim Bloem joining Sziget Festival CEO Tamás Kádár, Primary Talent partner Peter Elliott, and Glastonbury Festival’s general counsel, Ben Challis, to complete the panel.

Emma Banks and co. will discuss adapting deals, escalating fees and the impact of the “lost year” on ticket pricing

Meanwhile, Live Nation Sweden’s president of festivals and concerts, Anna Sjolund, will chair This Is Why We Do It, with Independent Talent head Duncan Heath, Fruzsina Szep, Paradigm partner/agent Alex Hardee and Martin Elbourne (Glastonbury/DMZ Peace Train) completing the lineup.

Also announced, Sophie Roberts from United Talent Agency is added to Shifting Landscapes: Covid’s effect on corporate relationships, joining Alex Bruford (ATC Live), Arnaud Meersseman (AEG Presents), Matchbox Live CEO Theresho Selesho,  and IQ Magazine staff writer Lisa Henderson.

IFF also welcomes Henrik Bondo Nielsen & Morton Therkildsen (Roskilde Festival) and Nick Morgan from We Are The Fair to the New Threat, New Risks workshop, which features Paleo Festival/iSSUE’s Pascal Viot too.

Lastly, Bella Concerts head Isabelle Pfeifer and MightyHoopla’s Jamie Tagg join the already announced Rob Gibbs (Progressive Artists) and Nika Brunet from MetalDays on Survival Stories: The Independents and psychotherapist Tamsin Embleton (Music Industry Therapist & Coaches) will speak about mental health and wellbeing during Soapbox Sessions: The Lost Causes, alongside Attitude is Everything’s Gideon Feldman and Youth Music’s Daniel Williams.

To view the full conference schedule, click here. Passes are currently £50 including fees until September, register here.


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Scorpio CEO to open All Artists Agency in Berlin

Folkert Koopmans, CEO and founder of German promoter FKP Scorpio, is opening All Artists Agency in Berlin, with former Four Artists deputy managing director Markus Grosse leading the management team.

The new agency will work with both national and international artists and will also comprise an independent events department, led by Four Artists’ head of events Dierk Stritzke-Bodenstein.

The founding of All Artists Agency follows German regulators’ blocking of the purchase of Four Artists by FKP Scorpio parent company CTS Eventim in 2017.

Alex Richter, the co-founder and managing director of Four Artists, which represents artists including Seeed, Marteria, Scooter, the Lumineers, the Black Eyed Peas and Jimmy Eat World, left the company in November last year.

Grosse comments: “I have known and appreciated Folkert and his team for over 15 years. I can’t think of a better set-up for my colleagues, myself and our artists. I thank him for his trust and look forward to the collaboration and challenges.”

“I can’t think of a better set-up for my colleagues, myself and our artists”

“Having known some members of the current All Artists team for many years, I am very happy to continue cooperating with them on a new level,” says Koopmans, who says it “feels very good” to have Grosse is on board to help “control the agency’s future”.

“As an agency, we want to be reliable partners to our artists, regardless of the phase that their careers may currently be in. Artist development is our priority and, of course, we will be happy if we can build long-lasting and evolving relationships [with our clients],” adds Koopmans.

One of Europe’s leading promoters, FKP Scorpio organises several hundred concerts per year. Its festival portfolio includes Germany’s Hurricane, Southside, Highfield, M‘era Luna, Plage Noire and Rolling Stone Beach, as well as international events Provinssi (Finland), Sideways Helsinki (Finland), Garden (Sweden), Greenfield (Switzerland) and Best Kept Secret (the Netherlands).

FKP is present in ten European markets, most recently launching a Belgian branch, headed up by Live Nation Belgium veteran Jan Digneffe.

Further updates can be found here, by subscribing to the All Artists Agency newsletter.


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