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Top Euro promoters speak out on new Covid spike

A handful of top European promoters have spoken to IQ about the impact the latest Covid spike is having on the continent’s live music business.

Record daily infections have been reported in Germany and the Netherlands, while Austria and Belgium have introduced new measures. In the UK, Northern Ireland is following Scotland’s lead in introducing Covid passports to gain entry to venues.

In France, however, the government has just lifted capacity restrictions on standing at indoor concerts following a campaign by French live music association Prodiss.

“France is always different to everywhere else,” laughs Paris-based promoter Arnaud Meersseman, who says he senses “clouds on the horizon”.

“There is a general sense that whilst Germany and Austria have rather low vaccination rates, it is very worrisome that countries such as Belgium and Netherlands – that have a vaccination rate close to ours – are in the situation they are in. So there is some anxiety,” he tells IQ.

Meersseman suspects new rules could be introduced at a government meeting next week after president Emmanuel Macron fired a “warning shot” in a public address earlier this month.

You start losing territories like Holland and Germany and suddenly your tour isn’t viable economically anymore

“We were at 12,000 cases a day a week ago, and now we’re at 20,000,” says the AEG Presents France head. “So it’s getting to that point where it trickles and then suddenly, boom, it becomes exponential.

“I don’t think we’ll go back into full lockdown. But in terms of our business, well, there’s not much going on anyway – even for domestic acts – in November and December. I think there could be some impact there, we’ll see. But I’m not very positive about it and I’m not feeling super positive about January/February either.

“Domestic tours, maybe they go ahead in February/March. But for international tours, it feels highly unlikely that anything happens between January and March because you start losing territories like Holland and Germany and suddenly your tour isn’t viable economically anymore.”

He adds: “You can see that the weather definitely has an impact. If you look at Spain, Italy and Portugal; on top of having extremely high vaccination rates, they’re having very nice weather and their cases aren’t rising. It’s as soon as you get people back inside, basically, that the cases are rising again.”

Rock Werchter founder Herman Schueremans explains that, with Belgium entering a semi-lockdown this weekend, concert-goers for Saturday’s performance by Bazart at Antwerp’s Lotto Arena will be required to wear masks, whereas those attending the band’s first show tomorrow night will not.

“It’s a bit of a strange situation,” remarks the Live Nation Belgium boss. “But even though we know a percentage of the audience will not show up, we’re happy that our sold-out shows in November and December can all happen at full capacity. It’s key for the artists and their teams, and the venues, suppliers, security teams and crew, as well as our team.”

People don’t trust the shows in the near future will take place

Pascal Van De Velde of Greenhouse Talent reports that ticket sales for concerts in Belgium over the next two to three months have been “decimated” by the worsening situation.

“People don’t trust the shows in the near future will take place,” he says. “And people don’t feel like going anymore, as they think it’s no fun with the masks, etc.”

It is a similar state of play in Austria, where Goodlive Concerts MD Silvio Huber describes the current picture as a “mess”. Proof of a negative PCR test will be needed to attend concerts in Vienna from tomorrow, with a return to a full lockdown in the coming days looking increasingly likely.

“Restrictions are going to change every few days,” says Huber. “In the federal states of Salzburg und Upper Austria, the situation is out of control. Shows have been cancelled there already, and hospitals are getting their teams ready for triage as they are running out of intensive care beds slowly, but surely.

“Furthermore they have just announced there will be will a lockdown in Salzburg und Upper Austria from Monday onwards. We will see tomorrow if the rest of the country will join them. I’m pretty sure we will see a nationwide lockdown.”

Scores of shows in the Netherlands were postponed earlier this week after the Dutch government imposed a new partial lockdown. A capacity limit of 1,250 has been imposed on venues, with restrictions due to last until 4 December at the earliest.

We had to cancel or postpone all shows above 1,250-cap

“We had to cancel or postpone all shows above 1,250-cap, at least for three weeks and even beyond those dates,” says Jan Willem Luyken of Mojo Concerts. “Indoor, fixed seated shows can still happen with limited capacity, with proof of vaccine, negative test or [natural immunity from a previous positive test]. Bars and catering need to be closed from 8pm, so it’s a very complex situation indeed, and we’re still figuring it out.”

In light of the fresh measures, Luyken says the Dutch government has announced an extension of support programmes for the live event industry and cultural sector.

Germany’s Event Management Forum (EMF), which consists of five major organisations including live music associations BDKV and LiveKomm, has urged the German government to meet with music industry representatives before imposing new restrictions on the business. Outgoing chancellor Angela Merkel has called the country’s current Covid situation “dramatic” and said a fourth wave of the virus was hitting Germany with “full force”.

BDKV chief Jens Michow earlier laid bare the stark financial impact of the pandemic on the business.

“In the 20 months of actual lockdown, the loss of sales for concert, tour and festival organisers alone was around €3.5 billion by the end of last year,” he said. “By the end of 2021, the loss in sales will add up to at least €8.5bn.”


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Belgium’s inaugural Arena 5 concert series draws 50,000

The inaugural edition of Belgium’s Arena 5 concert series drew around 50,000 people over the course of seven weeks.

The series was the initiative of Brussels Expo, Ghent-based promoter/agency Greenhouse Talent and Festival Les Ardentes who built a brand new stage for the festival at the Place de Belgique, among the exhibition halls of Brussels Expo.

Having launched Arena 5 in July, the promoters were frequently forced to adapt the festival in line with ever-changing Covid-19 restrictions.

“Flexibility of capacity and configuration has proven to be a major asset in the face of rapidly changing health measures,” says Greenhouse Talent.

“”Flexibility of capacity and configuration has proven to be a major asset in the face of rapidly changing health measures”

“The first concerts in July began in front of a seated audience and with respect for social distancing. In August, the green light was given for the organisation of a test event where more than 5,000 fans of techno were able to unleash for the first time without masks or social distancing thanks to the Covid Safe Ticket. It was a successful event, which marked the start of a series of other parties with even more people – up to 7,500 people.”

SCH, Peggy Gou, Feu Chatterton, Hooverphonic, Amelie Lens, Charlotte De Witte, Peggy Gou, 2ManyDjs and Tale of Us were among the international and domestic acts that performed at Arena 5 between 22 July and concluded on 12 September.

The organisers have confirmed that Arena 5 will return in summer 2022 for a second edition.


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Market report: Belgium

As it is with property, so it is With smallish European countries: it’s all about location, location, location.

Belgium is the 34th biggest (or 16th smallest) nation in Europe by area – it would fit into France 18 times. But it might just be the best-positioned country on the continental mainland, with French, German, Dutch and Luxembourgian borders, and just two hours by train from London.

“We are the best-situated country in Europe,” concurs Pascal Van De Velde of Ghent-based promoter/agency Greenhouse Talent. “If you come from the UK to Germany, you drive through Belgium, and vice versa. If you come down from Scandinavia to southern Europe, you go through Belgium. Logistically, there is always a date for Belgium. And the market is good.”

Well, that’s true. Belgium might be small, but it’s packed – the 13th most-populous European country, with 11m inhabitants, 97% of whom live in towns or cities. So you’re always near a venue; you’re wealthier per head than the UK and France, and not far behind Germany; and in addition to a fairly world-class calendar of tours, you’ve got some of Europe’s biggest festivals in Rock Werchter, Pukkelpop, Dour, Graspop and Tomorrowland.

Then again, few countries have escaped entirely without injury these last few years, whether economic or of a more sinister kind. In common with an ever-growing list of countries, Belgium was the focus of a devastating terrorist incident when three co-ordinated suicide bombings in Brussels on 22 March 2016 killed 32 civilians and three perpetrators. One of many results of the attacks was to put a dent in the live business for much of the remainder of the year.

In January, Belgium lowered its threat level from three to two, judging another attack to be ‘unlikely,’ but while the audiences have come back, the promoters don’t soon forget. “The terrorist attacks were rough, especially the times when they were happening,” says Van De Velde. “And then in the slipstream of it, just security-wise – I can’t say that acts cancelled but putting the shows together was really nasty and difficult because the acts were scared and the audiences were reluctant.”

“We are the best-situated country in Europe”

“But it’s picked up,” he reflects. “It picks up again. When first the Bataclan attacks happened, and then, of course the Brussels attacks, that was huge. The market is very vulnerable, but it recovers fast. People want to go out and see shows, and it moves on. People get sort of used to the situation, you know?”

It takes a little while, though. In the summer of 2016, even a super-festival like Rock Werchter had a tricky year, its attendance 4,500 down on the previous year, compounded by heavy rain in the run-up. “Some people stopped going to shows in 2016 due to terrorism,” says Werchter founder and Live Nation Belgium CEO Herman Schueremans, “but they seem to have realised in 2017 that it doesn’t make sense to sit at home, and they decided to live again and enjoy shows and festivals in 2017.”

Last year, says Schueremans, things were resoundingly back to normal. “It appears that they made up in 2017 what they missed in 2016. Of course, the bills of the festivals and the multiple, top-quality tours helped to achieve that. And it looks as if that trend is confirming itself in 2018, both festival- and indoor-wise. Religion and politics divide; music unites.”

Sometimes, it unites in unusual ways. In May, Night of the Proms promoter PSE joined with Werchter, Pukkelpop and GraciaLive to protest local performance rights organisation Sabam’s January move to raise tariffs across the board. Among the increases is a 30% spike in festival rates to 3.25% of box-office receipts, and a 16% hike for larger shows to 3.5%.

PSE’s Jan Vereecke accused Sabam of “simply abusing its monopoly – it is offering no additional services in exchange for the price increase.” Since then, talks have been ongoing, with no resolution yet reached. PwC estimates the value of the Belgian live business at $322m (€261m), and the fact that IQ is reporting at a time of ongoing prosperity and restored calm needn’t mask the fact that Belgium is a more unusual country than many.


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