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Is a mid-level touring crisis emerging?

The litany of challenges facing the live industry – from breaking acts to gaming – came under the microscope in ILMC’s Touring: The Bread & Butter Business session.

Chaired by One Fiinix Live founder Jon Ollier, the panel featured Jan Digneffe of FKP Scorpio Belgium, Mercury Wheels/Live Nation Spain’s Barnaby Harrod, Finland-based Fullsteam founder Rauha Kyyro of FKP and agent Marsha Vlasic, president of Independent Artist Group in the US.

While the top end of the business is booming with record earnings for A-list tours, the discussion focused its attention on the potential crisis emerging in the mid-level.

Kyyro suggested the sector was struggling not only with high ticket prices, but from competition from other forms of media – such as video games.

“I think we’re losing out on a lot of young people going to the shows to get that experience because, well, first of all, the ticket prices are high. And also the market has changed in other ways, too,” she said. “But it actually might be a better 90 minute experience to play Fortnite than to go and see to a little show. If you look at what’s happened with gaming, just as an example, it’s developed so much faster than our live experience has. But the price of the live experience is going up all the time.”

“There’s a whole generation that don’t leave their rooms… They don’t even think about going to a live show”

Vlasic agreed the shift in habits among younger people was an issue.

“There’s a whole generation that don’t leave their rooms, and they know an act by one song,” she said. “They don’t even have the desire to go for the live experience. They’re very content on their group chats and TikTok and just discovering new songs, not artists. And that’s the worrisome generation, because they don’t even think about going to a live show.”

Vlasic added that the reluctance of some artists – particularly those outside the United States – to embrace VIP ticketing was a growing source of frustration.

“VIP is huge,” she said. “We had a package two summers ago that broke every record. But I have artists that just won’t do it. And it’s so frustrating because again, they don’t understand the value of it. It’s actually mostly non American artists that don’t allow it. But it’s such a big source of additional income.”

The subject switched to the topic of festival headliners, as Kyyro warned against an over-reliance on big name talent.

“We gave up on trying to get a seven-figure acts and we just focused on whatever we actually have access to and that the audience actually likes”

“If you’re really dependent on getting those few big names, then that’s going to kill your budget,” she said. “You’re probably not even going to even make any money unless you sell out.

“The key is to build a brand that is not so much dependent on having the number one artist every year. Provinssi, which is a Finnish festival we work with, has been around for over 40 years and it has had its ups and downs. I think the reason it’s now doing so well is that we gave up on trying to get a seven-figure acts and we just focused on whatever we actually have access to and that the audience actually likes. Then it doesn’t need to sell out, but we can still keep it going.”

The rise of joint headline and packaged tours was also touched upon, with Vlasic suggesting the acts do not necessarily have to be a perfect fit.

“As bigger acts are getting off the festivals and going into stadiums, the only way to do it is to piggyback and share the cost of the production,” she said. “It doesn’t have to be completely compatible, it’s just entertainment. When you think of packaging an act… it’s [about], how does this package look in terms of bringing in additional people and different audiences?

“[But] so many of them want to headline on their own and the market is saturated. I don’t know how to the summer’s going to do this year – and everybody’s gone on sale so much sooner.”

Some people need to step down from their throne in order to be able to play better venues

While Digneffe applauded the concept, he cautioned that persuading all parties of its merit was easier said than done.

“I think it’s an it’s an interesting idea, but you have trouble getting everybody on board,” he said. “If you look at the metal and the hard rock scene, there is a lot more going on and there is a lot more understanding between bands as well.

“We all know it’s an ego business. But I think that some people need to step down from their throne in order to be able to play better venues, and that will make the costs go down. It’s a more fun night for the punter anyway, so I see nothing but advantages. But to get it done, you need everybody on board. You need the agents to be on board. You need the management to be on board.”

“The metal thing is true,” added Harrod. “I went to see four metal bands in a 300-cap club in Barcelona. The kids had a great time.”

There was concern, however, about the lay of the land for breaking acts, and the apparent dearth of viable new headliners. Digneffe believed the focus on global tours was hurting those lower down the food chain.

“If I hear more streaming numbers I’ll go crazy. It’s just maddening – and streaming numbers don’t sell tickets”

“What is frustrating everybody about these world tours is this cherry picking that’s going on all the time,” said Digneffe. “I don’t want to be like a preacher in a church or anything, but the cherry picking also comes with a responsibility to look after the next generation. No one is doing that at the moment and I think that’s a real problem. The promoters that find solutions for that will help keep our business healthy.”

Vlasic lamented the obsession with streaming numbers, arguing they can give a false impression of an artist’s worth on the live scene.

“It’s all about the streaming and if I hear more streaming numbers I’ll go crazy,” she said. “It’s just maddening – and streaming numbers don’t sell tickets. I’ve always prided myself in working with career artists. How do we develop groups? It’s a really frightening thought.”

Harrod, meanwhile, remained hopeful that the tried and tested approach to building rising stars would still bear fruit going forward.

“We have to be proactive,” he said. “We have to get out, we have to support the new acts. Push them, get them out, and that’s it. It’s always been that. Nothing is easy. It’s [about] supporting bands, keeping doing those 200 and 300-cap shows and enjoying them.”

 


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Mad Cool promoters prepare new central site

Organisers of Mad Cool Festival are busily finalising preparations on their brand new site for this year’s edition, in an effort to make the event more accessible for fans.

The festival’s management have secured use of a location south of Madrid city centre in the Villaverde District, which is at the centre of long-term plans for development as a cultural hub for the capital city. The three-day festival kicks off next Thursday, 6 July.

Mad Cool’s promoters have inked a pact with Madrid City Council to help transform the Villaverde site, which benefits from extensive public transport connections – a move which will also help meet the festival’s sustainability goals.

“Our main goal is to create a creative and environmentally friendly space of cultural development in Europe, to transform the area into a cultural hub for people who are environmentally conscious as well as lovers of art and music,” says Mad Cool director Javier Arnáiz. “The new site will increase tourism in the area whilst promoting the creation of new jobs in the area.

The proximity of the venue to the city centre is vital to strengthen the ties with the community and to ensure that everyone can enjoy the experience.

“This new location will be more accessible for festival goers, thanks to the extensive transportation network which also facilitates a more responsible and sustainable mobility. The venue capacity is 70,000 pax per day. We have built, everything from the ground, with great infrastructures that are totally prepared for any [inclement] weather, such as the absorption of rain.”

The relocation of the festival, closer to the centre of Madrid, has been embraced by fans, with general access tickets for the Saturday sold out while other passes can still be purchased via Mad Cool’s official channels. Organisers anticipate a large international audience for the event, alongside local residents and buyers from elsewhere in Spain.

In its new Villaverde home. Mad Cool will boast eight stages “with an incredible sound and space to enjoy the three days full of good vibes, music, sun… in the center of Madrid,” notes Arnáiz.

He continues, “Madrid is now one of the essential stops [for] national and international tours. Our line-up consists of 101 bands including huge names such as The Black Keys, Red Hot Chili Peppers, Lizzo, Mumford and Sons, Queens of the Stone Age, Ava Max, Sam Smith, The 1975, Nova Twins, Robbie Williams, Lil Nas X, Kaleo, Morgan, Franz Ferdinand, Tash Sultana, Paolo Nutini, Rina Sawayama, Jamie XX, Primal Scream, Machine Gun Kelly, among others.”

Having established itself as a summer destination for people in the music industry to meet and mingle, Arnáiz adds, “Our goal has always been to create an event and space capable of hosting major music stars, where the venue and its services would be one of the festival’s headliners, and where the audience – all the audience – would feel at home. People are really perceiving it this way, and the festival’s growth and establishment are happening very quickly. The proximity of the venue to the city centre is vital to strengthen the ties with the community and to ensure that everyone can enjoy the experience.”

Tickets for Mad Cool 2023 can be purchased here, with prices starting at €85 + booking fee.

 


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LN Spain sues council in €2m GNR sponsorship row

Live Nation Spain is taking legal action against Vigo council over the voiding of a near €2 million municipal sponsorship deal for Guns N’ Roses’ recent concert in the city.

The promoter stepped up to guarantee the 12 June date at Estadio Abanca Balaidos “out of respect to the fans” after it was plunged into doubt due to an “administrative error”, when local production company Sweet Nocturna allegedly failed to present the relevant documentation.

Sweet Nocturna argued the requested deed was “subject to confidentiality and data protection to which local companies have no possibility of access or management”.

According to El Periodico de Espana, LN Spain president Pino Sagliocco says the GNR show “would never have been possible” without the council’s €1.9m sponsorship pledge, and vows to pursue the authority “with all the laws”. “We have no choice but to claim our rights,” he adds.

The organisers say they are taking legal action to ensure “these bad, arbitrary practices do not happen again for the good of the sector”

The gig, which was attended by around 28,000 people, was described by Sagliocco – who has previously brought acts such as the Rolling Stones, Madonna and Muse to Vigo – as “one of the best concerts in the history of Galicia”. Sagliocco says he pressed ahead with the event given the “emotional and economic consequences”, claiming that cancelling would have undermined Vigo’s “prestige”.

Nonetheless, the organisers allege the show “was in danger at all times due to the malpractice of the Vigo City Council,” adding they are taking legal action to ensure “these bad, arbitrary practices do not happen again for the good of the sector”.

However, a joint press conference by Sagliocco and Sweet Nocturna planned for last Friday (16 June) was cancelled, leading Vigoe to speculate that a settlement may have been reached with the authorities.

Guns N’ Roses, who are represented by ITB outside North America, also performed in Spain at Madrid’s Civitas Metropolitan Stadium on Friday 9 June as part of the European leg of their We’re F’N’ Back! Tour. The US band also has upcoming festival headline dates at Tons of Rock in Norway (21 June), this weekend’s Glastonbury festival (24 June) and BST Hyde Park in London (30 June).

 


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LN Spain allays fears over Guns N’ Roses’ Vigo gig

Next week’s Guns N’ Roses’ show in Vigo, Spain is set to go ahead after being thrown into doubt due to an “administrative error”.

More than 25,000 tickets have been sold for the concert at Estadio Abanca Balaidos on Monday 12 June. But reports surfaced last week that a €1.9 million municipal sponsorship deal for the gig had been declared void after local production company Sweet Nocturna allegedly failed to present the relevant documentation.

According to Vigoe, the firm told Vigo City Council that the requested deed “is not a document that exists as such in most cases”, due to nature of artist contracts.

Around 22,000 tickets were sold for the show on its first day of sale

“On these agreements, there is usually no contract as such, nor some deeds,” it said, arguing that the documentation between the artist and agency/promoter was “of a private commercial nature” and was therefore “subject to confidentiality and data protection to which local companies have no possibility of access or management”.

Nevertheless, Faro De Vigo reports that national promoter Live Nation Spain has guaranteed the GNR event, agreeing to assume the expenses resulting from the sponsorship shortfall “out of respect for the fans”. Around 22,000 tickets were sold for the show on its first day of sale.

The US band, who are represented by ITB outside North America, will also perform in Spain at Madrid’s Civitas Metropolitan Stadium on Friday (9 June) as part of the European leg of their We’re F’N’ Back! Tour. The group also has a slate of festival headline dates including at Graspop Metal Meeting in Belgium (15 June), Denmark’s Copenhell (17 June), Tons of Rock in Norway (21 June) and the UK’s Glastonbury festival (24 June) and BST Hyde Park (30 June).


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Gay Mercader honoured by Spanish government

Live Nation Spain’s Gay Mercader has become the first rock promoter to receive the gold medal for merit in the fine arts (la Medalla de Oro al Mérito en las Bellas Artes) from the Spanish government.

Born Lluís Jordi Mercader Aguilar in Barcelona in 1949, Mercader brought many household names to Spain for the first time, including The Rolling Stones (1976), Bruce Springsteen, Bob Marley (both 1980), Bob Dylan (1984), and Michael Jackson (1988).

In 1973, the Spaniard launched his own company, Gay & Company (later, Gamerco) which was bought by Live Nation in 2006, marking the live entertainment giant’s first foray into Spain.

The Spaniard’s company Gamerco (formerly Gay & Company) was bought by Live Nation in 2006

The purchase brought Mercarder, along with Pino Saggliocco and Roberto Grima, under the Live Nation umbrella.

Spain’s minister of culture and sports, Miquel Iceta, says that one of the reasons for Mercader’s nomination is his organisation of The Rolling Stones’ first concert in Spain, “which was quite an event and put [the country] on the map for the great concert tours of artists such as Bob Dylan, AC / DC or The Cure, among many others”.

In Mercarder’s 40-year career, he has staged nearly 3,400 concerts and counts Keith Richards, Iggy Pop, Patti Smith and Sting among his friends.

 


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Live Nation Spain’s Cesar Andion plots AMF sequel

Live Nation Spain’s Cesar Andion tells IQ he hopes to establish the Andalucía Music Forum as an annual event following its successful launch earlier this month.

The newest gathering for the international music industry in southern Europe debuted at the Albeniz Cinema in Málaga from 5-7 September, attracting 350 delegates and speakers.

Showcases were limited to acts from guest country Mexico, alongside local Andalucían talent.

“We are all super-happy with how everything turned out – it was exactly what I had in my mind when I was designing it,” says Andion. “The attendance was perfect for deep and friendly networking, as we wanted AMF to be a forum and not a big conference fair.

“The vibe was friendly, professional, easy-going, laid back and fun, and Málaga was the perfect spot as a gateway for Latin America in Europe and vice-versa. It’s very different to most of music conferences and we want to keep it that way in terms of the concept, vibe and style.”

“We are also planning another one in Madrid that will be completely different to AMF”

Andion says the biggest organisational challenges concerned the timing.

“We organised it all in just a few months and during the summer, which is quite a hard time to work because everyone is either on holidays or working on festivals,” he says. “But we have a great team with pros in Europe like Ruud Berends (Netherlands) and Ignacia Snadoval (Germany), Fabrizio Onetto and Malfi Dorantes from Mexico, and of course Esteban Ruiz and Erica Romero in Andalucía. The Mad Cool team worked really hard to make it happen and I am very thankful to everyone.”

And not only does Andion now have a sequel in the works, he also has his sights set on launching a sister conference in Madrid.

“We are also planning another one in Madrid that will be completely different to AMF,” he reveals.

AMF is part of the Andalucía Big by Mad Cool project, which also included the new 30,000-cap Andalucía Big Festival, held near Sacaba Beach from 8–10 September, with acts such as Muse, Jamiroquai, Years & Years, Glass Animals, Michael Kiwanuka, Wolf Alice, Franz Ferdinand and Aurora.

“It’s a very ambitious project and has been a total success”

“The project is ‘big’, as it is titled, because it has three ‘legs’ as we say in Spanish: the pro forum, the festival and a tour of Andalucían provinces,” explains Andion. “It’s a very ambitious project and has been a total success. Málaga deserved a big festival as it’s one of the coolest and most visited cities in Spain, but also because it’s the cultural and event capital of Andalucía.

“The festival had incredible vibe, I was really impressed with the audience, which was Spanish in majority but with great attendance of Brits.”

Mad Cool Festival and The Spanish Wave are also teaming up to promote Spanish talent at next week’s International Festival Forum (IFF), ILMC’s invitation-only event for music festivals and booking agents. The event will mark the culmination of a nationwide project to find the best emerging acts from Spain.

Three Spanish artists – Hickeys, Irenegarry and Pablo Drexler – were chosen from more than 500 applications and will perform at the Mad Cool Festival & The Spanish Wave Presents showcase at London’s Camden Assembly from 9pm on Wednesday (28 September).

Spain is the guest country for IFF 2022, which takes place in London between 27-29 September.

 


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Pino Sagliocco appointed UNWTO tourism ambassador

Live Nation Spain chair Pino Sagliocco has followed in the footsteps of the likes of Giorgio Armani and Lionel Messi in being unveiled as the United Nations World Tourism Organisation’s (UNWTO) newest special ambassador.

Italian-born Sagliocco, who will be tasked with championing tourism as a pillar of sustainable development and opportunity in the new role, was recognised both for his career as a promoter and for his support of UNWTO, as illustrated by his presence at the 112th session of its executive council in Tbilisi, Georgia, in 2020.

He received the honour from UNWTO secretary-general Zurab Pololikashvili at a ceremony at the MOM Culinary Institute in Madrid.

“Music and tourism are both powerful vehicles for bringing people together”

“Music and tourism are both powerful vehicles for bringing people together, to celebrate culture and to peace and understanding,” says Pololikashvili. “UNWTO is proud to welcome Pino Sagliocco into our growing family of ambassadors and l look forward to working closely with him to grow sustainable tourism, both in Spain and worldwide.”

Sagliocco has worked with music legends such as Prince, Elton John, Queen, Madonna, the Rolling Stones and Paul McCartney.

In 2017, Sagliocco was appointed a cavaliere (knight) of Order of the Star of Italy, an order of chivalry awarded to those who have boosted the profile of Italy abroad.

The knighthood, granted by the Italian president at the recommendation of the Ministry of Foreign Affairs, recognised what Caserto-born Sagliocco “has worked at ceaselessly for more than forty years: to keep Italian culture alive outside of Italy”.

Other career highlights included Sagliocco’s executive production of the Festival La Nit in 1988 – an event commissioned by the Barcelona 92 Olympic Organising Committee to celebrate the arrival of the Olympic flag to Barcelona.

The event included the official presentation of the song Barcelona by Montserrat Caballé and Freddie Mercury, with Sagliocco coming up with the idea to fuse the two styles and use the two artists.

Revisit IQ‘s feature on Sagliocco’s first 40 years in the music business here.

 


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Live Nation Spain spearheads industry benefit campaign

Live Nation Spain president Pino Sagliocco has galvanised some of the biggest names in the music, sport and film industries for a benefit campaign supporting the music industry.

Under the umbrella ‘The Carbonería del Siglo XXI’, Universal Music Spain, Sony Music Spain and Warner Music Spain have come together to re-record Beethoven’s ‘Ode to Joy’ with more than 40 artists including Queen’s Brian May.

Renowed tennis star Rafa Nadal and film star Paz Vega are among the celebrities who appear in the video for the song, recorded in the studios of The Art House Records in Miami and produced by Grammy-award winner Julio Reyes Copello.

The stars that participated on the record will come together for a benefit concert

The single and the video were launched at a press conference hosted by the Live Nation Spain president in the Atletico de Madrid stadium last Thursday (15 April).

Following the success of the campaign, the stars that participated on the record will come together for a benefit concert as soon as the current Covid restrictions allows.

Sagliocco formed non-profit cultural association Carbonería del Siglo XXI to support and give voice to a sector especially devastated by the pandemic.

The associaton also comprises members of Es Música and Federación de Música, FPM Entertainment, the Latin Grammys and Lionfish Entertainment.

 


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Robert Grima: ‘We need the whole ecosystem to succeed’

As the worst year in the history of the live music business finally nears its end, IQ caught up with several industry leaders ahead of the new year, asking for their predictions for 2021, as well as the lessons they can take forward from 2020.

Here, Robert Grima, president of Live Nation Spain, speaks about the logistics of putting on 18 shows this summer while the pandemic raged, and why the industry must no longer take the live experience for granted when concerts return…


IQ: This year has been difficult, to put it mildly, but have there been any positive aspects you are taking forward from this annus horribilis?
RG: Yes, 2020 has also been a year of reflection and, especially, of cooperation in the live music sector. The sector has come together to give visibility to live music events as part of the culture and lives of many people, showing our professionalism and effectiveness and the efforts of promoters to give continuity to the sector, despite the circumstances.

How has news of the coronavirus vaccine news changed the conversations you are having with artists, management, promoters, festivals, etc.?
We as a global company are totally focused to getting back to the shows we all know and love, and there is a great focus on many ideas and protocols that will help us improve the service to fans and deliver a quick return.

Livestreamed shows have shown that fans will pay to see their favourite acts remotely. How do you imagine this technology might develop when regular touring activity resumes?
The impact of livestreamed shows in Spain has been similar to in other countries. Livestreaming has proved to be a good complement to live, and additionally can be a marketing add for our artists through these times.

It is a model that, in the future, can coexist with the live show as an additional offer for the fan in some cases, but the experience of a live show is unique and irreplaceable.

“Once we are all able to come back there is going to be incredible pent-up demand waiting on the other side”

What advice or encouragement can you give to those who were hoping to break through in 2020, knowing that the market is going to be overcrowded with onsales when the industry gets back to work?
Live is one of the best ways for artists to grow their engagement with fans, and once we are all able to come back there is going to be incredible pent-up demand waiting on the other side.

I would encourage them to focus on playing live, not stopping, even if it means performing with reduced capacity for longer, because it has been proven that fans respond and artists enjoy it. And it’s the best way for artist to maintain and grow their engagement with fans.

Despite the high numbers of Covid-19 cases in Spain, you were still able to host some Crew Nation events. How did you achieve this, and what challenges did you have to overcome?
Yes, we hosted 18 Crew Nation Presents shows in La Riviera over the summer with the aim of supporting and giving visibility to crews that work in live events. The shows were a great success. Artists love playing live, and the fans got to go to shows in a summer when, in many places, live music was on pause. Additionally, and really importantly, the crew were supported by the events at a really hard time, looking after the whole ecosystem of live.

This was all made possible because we collaborated closely with the local authorities and adapted protocols to the new regulations, which have been effective and used throughout the series.

As Spain/Portugal are often either the first or last dates of European tours, do you think the Spanish market’s return to business will be different to other territories around the world?
No, it does not have to be different. Fans continue to await concerts with the same enthusiasm, and Spain will continue to be an attractive country for artists. I actually believe that there will be a boost in the live sector once we get back.

“I hope that from next year we all can be in the moment and grateful for every show we get to be a part of”

The way various rival firms have cooperated and collaborated for the common good during the pandemic has been impressive. What hopes do you have that closer industry bonds can continue post-Covid-19?
My hope is that once and for all we can cooperate together in all moments, not only in difficult ones. What we have really seen is that the live industry is an ecosystem and we need all of it to succeed.

What do you think the biggest challenges are going to be for Live 2.0, and how do you think industry leaders can best guide the business as things reopen?
We have spent the summer working hard with local authorities to guarantee artists, fans and crews that the concerts are taking place in a safe environment. This is what promoters and artists across the world will be focusing on, and what we have proven so far to be possible. The parameters may continue to change but we will, as always, work with local authorities and health advisers to get as many artists in front of their fans as possible.

With the Crew Nation Presents shows we demonstrated that not only promoters are taking the new restrictions seriously, but that the fans are, too. I think that’s the best sign of things to come once we can fully reopen.

Finally, are there any bad habits the industry had that you are hoping might disappear when normality returns?
It’s easy to get swept up in the day to day, and I hope that from next year we all can be in the moment and grateful for every show we get to be a part of. Let’s not ever take live music for granted.

 


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Spanish promoters react to sweeping restrictions

Spain’s live music sector is reckoning with a whole host of new restrictions imposed by the Spanish government and its various communities.

Earlier this week, prime minister Pedro Sánchez and his cabinet declared a six-month state of emergency, set to remain in force until 9 May, with periodic reviews.

The decree will allow Spain’s regional governments to order an overnight curfew to run from 11 pm to 6 am, or to begin and finish an hour earlier or later.

Yesterday (29 October), Catalonia went one step further, ordering the suspension of cultural activities for 15 days, starting from today.

“After some months of lockdown, postponing or cancelling all shows, we had a slight restart with many restrictions and reduced capacities,” says Albert Salmerón of Producciones Animadas.

“And now with the current situation, we have to postpone again the new shows we were programming following all the health and safety rules of the new normality. This means that we will have to keep our companies without any income for a very long time. This is a terrible situation and it’s essential that the Spanish government makes a plan to save the live music industry providing enough budget to cover costs of this lockdown and of the cancellations of shows.

“The expectations were not good but now they are even worse”

Juan Antonio of rock and metal promoter Madness Live agrees, adding that the new measures present a “very hard situation”.

“The expectations were not good but now they are even worse. For Madness Live and so many other companies in the music industry in Spain, which only work with international artists, it’s almost impossible to do anything. Since 11 March we were not able to organise any concert and unless the situation changes drastically, we think it would take much longer,” says Antonio.

“In the end, I think the governments will have to allow us to work coexisting with the virus… How? I don’t know. Maybe when the vaccine is out there for the most vulnerable part of the population, with the fasts tests or a cure. But until then, many employments will be – are being – destroyed, many venues will close and many promoter/booking/management offices will close. Unfortunately, the light at the end of this long tunnel is still far for us.”

Robert Grima, president at Live Nation Spain, however, is determined to charge ahead, working around the restrictions.

“The curfew does not affect the current situation for shows with reduced capacities at seated clubs and theatres, and therefore we will keep working on shows at that level. I am optimistic as concerts and events have not been a point of transmission and we are working with health authorities for test shows to certificate and create protocols to get back to the business asap,” says Grima.

“Unfortunately, the light at the end of this long tunnel is still far for us”

Neo Sala, founder and CEO at Doctor Music, suggested the new restrictions may even have a “positive effect”.

“The current state of emergency is much softer than the one applied last spring as it does not allow the government to lock down the population at home. It does not make any difference as “real concerts” – those with full capacities and no social distancing were not allowed anyway, even without the state of emergency.

“In fact, in the long term, it could have a positive effect for the live music industry as the more contained the people have been, the more hunger there will be for live entertainment when the Covid crisis is over. Our team is going through this situation together and with good spirit, ready to rock as soon as we can,” Sala concludes.

Es Música, the national federation, estimated that the losses in the live music sector due to the pandemic could exceed €1.2m after a year. While The International Monetary Fund recently said that Spain will be one of the developed countries worst affected by the Covid-19 crisis.

 


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