Live Nation to operate New Zealand theatre
Live Nation New Zealand is to operate a new theatre in New Zealand’s fastest growing city in partnership with Waikato Regional Property Trust.
Set to open in Hamilton in late 2025, the 1,300-cap Waikato Regional Theatre will host music concerts and other live events including comedy, theatre and family entertainment.
The new venue is also intended to boost economic development – expanding Waikato’s night-time economy and domestic tourism, while creating employment opportunities and pathways for industry professionals.
“We can’t wait to bring some top-tier local and international talent to the stage in Hamilton,” says Mark Kneebone, MD of Live Nation New Zealand. “It’s a diverse and growing city and we relish our role in contributing to the regional arts and entertainment communities across Aotearoa as custodians of this venue.”
“Live Nation is thrilled to contribute to the effort to elevate arts and entertainment in the Waikato while bringing our global network and venue management expertise to what will be a world-class theatre,” adds Live Nation Australasia COO Alex Klos. “This wouldn’t be possible without the incredible belief and investment from the Waikato community and Waikato Regional Property Trust to make this venue a reality.”
“Our partnership with Live Nation is the single most effective way to realise the vision for the theatre project”
Live Nation will programme the venue which will also include community access for cultural organisations and institutions.
“Our partnership with Live Nation is the single most effective way to realise the vision for the theatre project, as it guarantees the top international and national touring shows can and will visit, that local productions have a top-of-the-line fully resourced venue on their doorstep, and that community, cultural and civic access is affordable and well supported logistically,” says Ross Hargood, chair of the Waikato Regional Property Trust.
“This agreement with Live Nation delivers on our promise to ‘Share the Stage’ and means the Waikato Regional Theatre now has a sustainable and resilient business model that will offer fantastic experiences to audiences, hugely invigorate the Hamilton CBD, and realise substantial economic benefits and advantages for the wider city and region.”
Live Nation oversees a venue portfolio across New Zealand including Spark Arena and the Tuning Fork in Auckland and San Fran in Wellington.
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Australia moves to ban dynamic ticket pricing
The Australian government is moving to outlaw dynamic ticket pricing as part of a sweeping crackdown on “unfair” trading practices.
Prime Minister Anthony Albanese has vowed to tackle dynamic pricing – where a product’s price changes during the transaction process – plus ‘drip pricing’, where fees are hidden or added throughout the stages of a purchase.
The reforms under Australian consumer law will also target “tricky tactics” employed by business such as hotels and gyms, and are aimed at “easing the cost of living and getting a fair go for consumers and suppliers”.
“We’re taking strong action to stop businesses from engaging in dodgy practices that rip consumers off,” says Albanese. “Today’s announcement puts businesses engaging in unfair trading practices on notice. Hidden fees and traps are putting even more pressure on the cost of living and it needs to stop.”
The announcement represents something of a U-turn for the government, coming only 24 hours after an interview aired with federal arts minister Tony Burke in which he said “surge pricing” was “not something we’re looking at at the moment”.
Plans to ban dynamic pricing follow the outcry over the ticket sale for Oasis’ 2025 reunion dates in the UK and Ireland, which prompted widespread fan anger and multiple inquiries after customers were offered “in demand” tickets for more than twice the advertised face value under surge pricing after queuing online for several hours. A similar controversy also erupted over Green Day’s Sydney show next March, for which “in demand” tickets were offered for up to almost A$500 (€306).
Oasis have announced they will not be employing dynamic ticketing for their overseas shows including their Australian tour, which visits Melbourne’s Marvel Stadium (31 October and 1 & 4 November) and Sydney’s Accor Stadium (7-8 November) next year.
“Dynamic pricing remains a useful tool to combat ticket touting and keep prices for a significant proportion of fans lower than the market rate”
“It is widely accepted that dynamic pricing remains a useful tool to combat ticket touting and keep prices for a significant proportion of fans lower than the market rate and thus more affordable,” said a statement from Oasis’ management. “But, when unprecedented ticket demand (where the entire tour could be sold many times over at the moment tickets go on sale) is combined with technology that cannot cope with that demand, it becomes less effective and can lead to an unacceptable experience for fans.”
Elsewhere, Live Nation Australasia president Michael Coppel has slammed ABC TV’s Four Corners’ investigation into the company’s role in the Australian music landscape as “lazy journalism”.
The Music for Sale documentary, which aired on Monday (14 October), claimed the vertical integration model of owning venues, booking agents, ticketing and promoting businesses was enabling the firm to control the concert industry at the expense of local players.
“I feel disappointed, I feel shabbily done by,” Coppel told TMN. “I thought it was lazy journalism. It was a lot of disaffected industry competitors given a platform to whinge.
“I think it picked us out as the cause of everything that’s wrong with the industry. As if we’ve got some aberrational business model when in fact, our two major competitors with similar market shares have got the same business model, vertically integrated companies with interests in different areas, agency, venues, merchandising everything else.
“There’s certainly a crisis going on in,” he added. “It’s a post-Covid artifact. And a cost of living crisis. It has nothing to do with what we’re doing. And we’re not forcing them out of business.”
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ANZ records tumble for P!nk’s Summer Carnival Tour
P!nk’s Summer Carnival Tour is poised to break the record for the most stadium concerts by any artist touring Australia and New Zealand.
The American singer launches the Live Nation-produced run, which will stop in 10 cities for 20 shows across 44 days, with two nights at Sydney’s Allianz Stadium this weekend (9-10 February).
Summer Carnival is already the biggest selling AU/NZ tour ever for a female artist and is set to place her among the top three biggest selling artists ever in the region, with close to one million fans expected to attend her dates in Sydney, Newcastle, Brisbane, Gold Coast, Melbourne, Adelaide, Perth, Townsville, Dunedin and Auckland.
“I said it was going really well but ‘I’ve got a challenge for you. Ed Sheeran did 18 concerts on his last stadium tour, and if you do add one more city, you’ll break his record,’” Live Nation Australasia chair Michael Coppel tells the Daily Telegraph. “She said ‘Let’s do it!’
“At this point we are over 850,000 tickets and she will sell 900,000 before we’re done, which will probably make it the second biggest tour ever in Australia [trailing only Sheeran in terms of ticket sales]. It will be the biggest ever tour by a female artist.”
The imminent tour will also see P!nk reach the milestone of more than three million tickets sold across her career in Australia and New Zealand – comfortably the highest number of tickets sold in those countries by any artist.
“One of the reasons Australians loves P!nk is she has put the time into coming here for more than 20 years,” says Coppel, who recalls the star’s first visit to the region in 2004.
“She sparked something with Australia because she is who she is, and the albums got bigger and bigger, and the tours got bigger and bigger”
“That first tour was a real struggle,” he explains. “She didn’t have an audience here yet, we sold 25,000 tickets over six shows, and we lost a lot of money as the promoter. But then she sparked something with Australia because she is who she is, and the albums got bigger and bigger, and the tours got bigger and bigger.”
Joining P!nk as special guest on the tour will be multi-platinum award-winning Australian singer and songwriter, Tones And I.
“P!nk was really keen on having Tones open because she wants to be empowering of female artists,” adds Coppel. “You’ve seen in America she had Pat Benatar and her good friend Brandi Carlile play.”
The blockbuster trek is also returning to Europe between 11 June and 25 July, before returning to North America. P!nk also recently announced a second outing in North America for 2024, dubbed P!nk Live.
IPM will also delve behind the scenes for the Inside P!nk’s Summer Carnival session on 29 February at this year’s ILMC. Key individuals from the production and team will walk through the tour to discuss just how it came together, the key challenges it has faced, and how the production has delivered such monumental impact.
Confirmed for the panel are Okan Tombulca of eps, alongside Marshall Arts’ Barrie Marshall and Craig Stanley, while production manager Malcom Weldon – the recipient of this year’s IQ Gaffer Award – will join the discussion from on tour in Australia.
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Live Nation consolidates Asia-Pacific division
Live Nation has announced the appointment of a number of senior leadership roles intended to unify its Asia-Pacific division.
Roger Field, currently CEO of Live Nation Australia and New Zealand, has been named president of Live Nation Asia Pacific, with Mark Kneebone taking on the new role of managing director of Live Nation New Zealand and Kei Ikuta promoted to president of Live Nation Japan.
Paul Antonio, currently president of Asia and the Middle East, moves to the new role of chief operating officer of Live Nation EMEA, reporting to John Reid, president of Live Nation EMEA.
Field (pictured) joined the company in 2010 to set up Live Nation Australia alongside Luke Hede (currently vice-president of touring). Following Live Nation’s acquisition of Michael Coppel Presents in 2012, Field has led the growth of the Australian and New Zealand businesses, initially as COO and then CEO from 2017.
In his new role, Field will oversee all of Live Nation’s businesses across the Asia-Pacific region, reporting to Live Nation Asia Pacific chairman Alan Ridgeway. Michael Coppel will continue as chairman of Live Nation Australia.
Serving as co-head of promotions for Australia and New Zealand since 2018, Kneebone’s new role will see him oversee all Live Nation’s businesses in NZ, reporting to Field. Stuart Clumpas retires from his role as chairman of LN New Zealand, but will continue as a consultant for the company, as well as a shareholder in Spark Arena.
“The cohesion of a true Asian-Pacific organisation presents significant opportunities for growth”
In Japan, Kei Ikuta takes over from John Boyle, who had served as president since January 2018 and is now moving back to work with Live Nation in Los Angeles. Under Boyle’s leadership, Live Nation’s profile and scale has grown significantly, launching Download in 2019, being appointed international booker for new Tokyo Olympic venue Ariake Arena and growing the company’s show count and market share. Ikuta, who joined the company earlier this year from Japanese promoter Udo Artists, will report to Field.
Commenting on the new hires, Ridgeway says: “The appointment of these roles provides us with the opportunity to further align our Australian, New Zealand and Asian businesses.
“Roger comes to the role with an impressive record of success and is in a great position to lead our growth strategy as he leverages our resources across the whole region. I wish Roger, Mark and Kei all the best in their new roles in taking our businesses forward in this new era, and thank Paul, Stuart and John for their hard work and dedication in establishing our presence in Asia, New Zealand and Japan.”
“I want to thank Alan for giving me the opportunity to lead the talented teams across the division,” adds Field. “The cohesion of a true Asian-Pacific organisation presents significant opportunities for growth, not only for our business but for the professional development of our people and relationships.
‘New Zealand continues to prove itself as a market that leads the way in the return to live and Mark is a proven leader who has played a critical role in our overall success. This appointment further solidifies our commitment to NZ and will affirm the market as a significant player in the global live industry.”
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Australian biz unites for safe reopening strategy
The Live Entertainment Industry Forum (LEIF), a new initiative that aims to to ensure fans can return safely to live events when restrictions on mass gatherings are lifted, has been formed by Australia’s biggest live entertainment companies.
LEIF’s mission is to “support the COVIDSafe reactivation of events with live audiences across Australia” when restrictions are eased in July, according to the body. (COVIDSafe is Australia’s coronavirus contact-tracing app.) “LEIF will put in place a comprehensive, flexible, all-of-industry reopening and risk-management strategy that meets the needs of the public, governments, sporting bodies, venues, performers and industry, with safety at its core.”
LEIF comprises all major Australian live businesses, including promoters Live Nation, TEG, Frontier Touring, Chugg Entertainment and AEG; agency WME; venues Melbourne Cricket Ground, Sydney Cricket Ground, Marvel Stadium, Melbourne Olympic Parks and Adelaide Oval; venue operators ASM Global, Venues West and Venues Live; musical producer Michael Cassel Group; and associations Live Performance Australia, Venue Management Association and Australian Festivals Association.
Led by an executive committee headed by former Cricket Australia chief James Sutherland, the forum says will work in conjunction with governments, sporting bodies, venues and audiences to “build confidence in the industry’s preparedness to operate safely, flexibly and sustainably and explore how industry can be supported by governments during its gradual return”.
“I am proud that we stand united to work together”
LEIF will develop measures regarding cleaning and sanitisation, crowd management, physical distancing plans, health monitoring and contact tracing, with the objective of restarting an industry responsible for more than 175,000 Australian jobs. The objective is to safely restart an industry which supports over 175,000 Australian jobs and feeds other sectors hit hard by COVID-19 such as tourism, transport and hospitality.
“This pandemic has brought our industry to a complete standstill. The thousands of cancelled sporting events, concerts, festivals, theatre, family and comedy shows, and all the associated revenues related to them, can never be replaced,” comments Sutherland.
“Our industry was the first to close during Covid-19 and it will be one of the last to fully reopen. The cultural, creative and sports industries supports the livelihoods of around 175,000 Australians, many of whom are casual or part time. The industry also contributes an estimated $150 billion to the Australian economy. Our live events have a huge economic flow on effect: we support jobs in airlines and other transport companies, hotels, pubs, restaurants and retail establishments of all sizes all over Australia.
“We need a clear roadmap to get our industry back to work, while playing a bigger role in the post-Covid-19 economic recovery of our nation. We are committed to working with all states and territories, especially with their chief medical and health officers. We will develop COVIDSafe best practices and a world-leading response to revive our industry, get people back to work and bring fans back together throughout Australia through the unbeatable power of live events.”
“We must put aside our natural competitive instincts so we can all bring large-scale live events back to the Australian people”
“Our industry has to work together at this challenging time. We must put aside our natural competitive instincts so we can all bring large-scale live events back to the Australian people safely,” says Geoff Jones, CEO of TEG. “We want to work closely with the federal, state and territory governments to create solutions that get our industry up and running again and help get the many thousands of people who support our industry back to work. We want to bring fans back and jobs back, safely.”
Roger Field, CEO of Live Nation Australasia – who also serves on the executive committee alongside Sutherland and Jones – adds: “Live events and mass gatherings are not solely for recreational purposes – they play a crucial part in the fabric of Australian life.
“Just as sport plays an important role in promoting healthy behaviours, so too do music and the performing arts. The positive impact culture brings to society is not only seen both psychologically and in social wellbeing, but in the fact that the live events industry contributes hundreds of thousands of jobs, which flows on and effects the whole economy.
“I am proud that we stand united to work together to make the return to events a reality and for the people of Australia to enjoy the power of live once again.”
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Industry reps, politicians urge lock-out laws axing
An inquiry into Sydney’s night time economy has highlighted support from politicians including lord mayor Clover Moore and industry professionals for the scrapping of controversial lock-out laws.
The number of live music venues in Sydney has halved since the New South Wales (NSW) government introduced lock-out laws in 2014. The regulations restrict last entry to 1.30 a.m. and drinks licensing to 3 a.m. at bars, pubs, clubs and music venues in Sydney’s central business district (CBD) entertainment precinct.
Following an independent review in 2016, the NSW government relaxed regulations by half an hour for live entertainment venues.
The legislation was introduced following an increase in alcohol-related violence and antisocial behaviour in the city centre.
Speaking at a night time economy committee meeting, the city’s lord mayor Moore stated that “Sydney has lost its reputation over the five years following the introduction of the lock-out laws and associated measures.”
Moore said the laws have had a “devastating impact” on the city’s nightlife and night time economy.
The problem, according to Moore, lies in the failure to distinguish between well run and badly run venues.
“If the lockout laws are removed – we are recommending that they should be – we would be able to incentivise well-run venues, and penalise poorly-run venues”
“If the lockout laws are removed – we are recommending that they should be – we would be able to incentivis[e] well run venues, and penalis[e] poorly run venues,” Moore told the committee.
Live Nation Australasia chief executive, Roger Field, showed his support for the removal of lock-out laws at the close of the hearing on Monday 12 August.
Field referenced the “reputational damage” caused by the lock-out laws “both in Australia and internationally”, based on feedback from artists and their international touring team.
Justin Hemmes, owner of Australian hospitality giant the Merivale Group which operates venues including RNB Fridays, Ministry of Sound, Chinese Laundry and the Beresford, has also weighed in on the issue.
Originally an advocate for the regulations, Hemmes stated the laws “must go now”, adding that the measures had become an “embarrassment” for the city and its nightlife.
The parliamentary committee will report the conclusions of the hearing to NSW premier Galdys Berejiklian in September.
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Australia’s new Festival X to debut this year
Festival X, the new Australian touring festival co-founded by Richie McNeill’s Hardware, ex-Stereosonic promoter Onelove and Live Nation Australasia, is set to launch in three cities this November.
The festival, announced last August but ultimately postponed until 2019, fills a slot left in the Australian festival calendar by dance music event Stereosonic, co-founded by McNeill and Onelove’s Frank Cotela, which at its peak could shift nearly 300,000 tickets across five shows.
In its first year, Festival X will visit open-air venues in Brisbane (RNA Showgrounds, 29 November), Sydney (Sydney Showgrounds, 30 November) and Melbourne (Melbourne Showgrounds, 1 December), “showcasing the best artists from across the world and within Australia to fans right across the Eastern seaboard”.
Headliners are Calvin Harris, Armin van Buuren and Lil Pump, with other performers including Steve Aoki, Blueface and Alison Wonderland.
Hardware Corp founder McNeill comments: “As they say, good things come to those who wait. We’re super excited to be working with Onelove again and the Live Nation team to put together an incredible mix of music in the electronic, pop and urban realms. There are so many amazing artists right now and some amazing creatives we have been working with.
“Something very special is happening here and we’re super-excited about it.”
Adds Cotela: “As we kick off the summer festival season in Australia once more, we hope to create an event that showcases entertainment on the scale we’re known internationally for, with massive artists, epic event production and a focus firmly on fun.
“We’re super excited to be working with Onelove again and the Live Nation team”
“Australia’s most successful electronic music promoters teaming up with the world’s largest touring company can only mean a great day for everyone. Festival X is looking ‘xtra-large’ and we can’t wait.”
Festival X represents McNeill and Cotela’s first collaboration with a major multinational since Totem Onelove Group, owned by the now-defunct SFX Entertainment, was placed into bankruptcy in May 2016. At the time, Onelove was owed US$10.7 million by SFX.
Stereosonic was effectively axed in 2015, after the 2016 edition of the festival was put on indefinite hiatus following SFX’s bankruptcy.
The new festival is organised by Onelove Music Group, a separate entity not connected with SFX.
Formed as a collaboration between industry leaders and teams behind some of Australia’s leading festivals,
Roger Field, CEO of Live Nation Australasia, says: “Festival X is set to wow Australian fans with the best local and international talent, while showcasing a new and exciting festival experience. X is the ultimate pre-summer party fans have been waiting for and deserve. Australia, get ready…”
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LN announces new NZ festival, Soper Reserve Series
Live Nation has announced the launch of a new summer music festival series at Soper Reserve in Tauranga, New Zealand, next year.
The company hopes Soper Reserve Series, which will launch in January 2020, will attract 28,000 live music fans over an eight-show period. The 3,500-capacity greenfield site, located in Mt Maunganui, on the Bay of Plenty, will be programmed exclusively by Live Nation, which plans to bring “a diverse range of local and international acts” to one NZ’s most popular summer holiday destinations.
Live Nation New Zealand’s co-head of promotions, Mark Kneebone, comments: “The Soper Reserve Series is going to be a terrific addition not only to the region, but the overall New Zealand music landscape. By utilising Live Nation’s global expertise and resources, we are extremely excited to be bringing a world-class event to Soper Reserve that will attract a diverse range of acts, including some of the biggest names in music locally and globally.”
“Continuing to develop New Zealand as a touring market of international profile remains a priority for Live Nation”
Live Nation stages hundreds of concerts in New Zealand annually, with 2018 tours including Maroon 5, Post Malone, SZA, Red Hot Chili Peppers with Fleetwood Mac, Metallica, U2, Troye Sivan and Little Mix. Last year, Live Nation acquired a stake in major music festival Rhythm & Vines, and staged Childish Gambino’s festival, Pharos, in Tāpapakanga Regional Park in Orere, near Auckland.
“Continuing to develop New Zealand as a touring market of international profile remains a priority for Live Nation,” says Live Nation Australasia. “Finding a fantastic new venue such as Soper Reserve and creating groundbreaking and exceptional experiences like the new summer festival series is the cornerstone of our strategy.
“We are particularly excited when these opportunities land outside of major capital cities and we look forward to bringing a truly memorable experience to the Tauranga region in 2020 and beyond.”
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LN launches accessibility initiative in Australasia
Live Nation and Ticketmaster have partnered with Get Skilled Access, a consultancy co-founded by three-time Paralympic gold medallist Dylan Alcott, to improve accessibility across its venues and companies in Australia and Zealand.
The partnership also aims to bring together the wider Australasian industry to “create a more inclusive and accessible experience for fans with disabilities”, according to Live Nation. It has already seen Get Skilled Access provide accessibility training to 150 Live Nation employees in Australia and New Zealand, as well as consult on accessibility for Live Nation’s stadium tours, including the upcoming U2 Joshua Tree 2019 tour.
Ticketmaster, meanwhile, is testing an enhanced online booking experience on its website and app to give disabled customers more flexibility and choice of tickets.
In a joint statement, Roger Field, CEO of Live Nation Australasia, and Maria O’Connor, managing director of Ticketmaster Australia and New Zealand, say: “Every fan has the right to equal access of live entertainment. We’re delighted to be working closely with Dylan Alcott and Get Skilled Access to make sure that real change happens. It is essential that the industry comes together to achieve this, and now is the time for us all to find solutions.”
“It’s Get Skilled Access’s and my mission to help people understand disability by driving organisations to be more inclusive,” comments Alcott. “With my passions being sport and music, it’s a game-changer to work with Live Nation and Ticketmaster to make live more accessible and inclusive for all.
“now is the time for us all to find solutions”
“If we can start by getting more fans with accessibility needs to events, not only we will change people’s lives through the power of live, but we will improve the industry overall.”
The partnership kicked off with a joint address by Alcott and his Get Skilled Access co-founder, Nick Morris, to 400 venue industry professionals at the recent Venue Management Association Asia-Pacific Congress.
“Thanks to Live Nation and Ticketmaster, the tools and safe conversation that was presented to us in that one hour was the most beneficial conversation I have had at a conference in years,” says Bernie Haldane, deputy director and head of programming and presenter services at Auckland Live.
In the UK, Live Nation and Ticketmaster are members of the Ticketing Without Barriers Coalition, which aims to improve the ticket-buying experience for disabled and deaf audiences.
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LN Australasia appoints new brand partnership president
Live Nation has announced the appointment of Greg Segal to president of brand and partnerships for Australia and New Zealand.
Segal takes on the newly created position after serving as managing director of Sydney agency mixitup, which he founded in 2006.
Since Live Nation acquired a majority stake in mixitup in 2013, Segal has been responsible for the creation and leadership of the current brand partner programme, forming partnerships with Optus, Amex Air New Zealand, Spark NZ, Virgin Australia and more.
“Since we originally partnered with Greg in 2013, he has developed world-class brand partnerships for the Australian and New Zealand markets,” says Alan Ridgeway, chairman of Live Nation Asia Pacific. “We welcome working more closely with Greg to build on both existing and new brand partnerships in his new role with Live Nation.”
Russell Wallach, LiveNation’s global president of sponsorship and media, adds: “Greg has a proven track record of creating ground-breaking brand partnerships and this opportunity will see him leading a team of specialists in Australia and New Zealand to craft end-to-end solutions for leading brands in music and entertainment.”
“Greg [Segal] has a proven track record of creating ground-breaking brand partnerships”
Segal, who will be based in Sydney and report to Ridgeway and Wallach, says, “Over the last few years we have built a great team and a fantastic group of brand partners. I am excited to be able to continue to work with the team to deliver unforgettable live experiences to music fans across Australia and New Zealand”.
2018 was a record year for Live Nation Australia with high-profile tours including Pink, Taylor Swift, Bruno Mars and Shania Twain. This year brings Red Hot Chilli Peppers, Fleetwood Mac, Maroon 5, Metallica, Childish Gambino and Post Malone and more to the country.
Live Nation, the world’s largest concert promoter, has had a presence in Australia since 2012, when it acquired Michael Coppel Presents (MCP). MCP was later rebranded Live Nation Australia with Coppel as chief executive (he became chairman in March 2017, handing over the CEO reins to Roger Field).
Once mainly ran by independents, the touring landscape in Australia recently lost its last major indie promoter, as Michael Gudinski’s Frontier Touring joined forced with global concert conglomerate AEG Presents. Gudinski had merged with fellow Australian promoter Michael Chugg’s Chugg Entertainment in April.
Another leading independent promoter down under, Paul Dainty of the Dainty Group, sold his business to TEG, the parent company of leading ticketing platform Ticketek, in 2016.
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