Blue Swede Shoes: Sweden market report
As one of the world’s songwriting strongholds, Sweden has been a Nordic powerhouse for live music for decades. But nowhere is immune to the challenges of post-pandemic cost increases.
If the comeback from the pandemic meant it was party time in Sweden, as gig-goers poured out of confinement to rediscover the sensation of live entertainment, there is just a touch of a hangover in the air in 2024.
Sweden has had a wobbly time of late, its economy contracting last year and the Swedish krona slipping against not only the dollar and the euro but also the krone of neighbouring Denmark.
Although there is probably no need for a whip-round just yet as Sweden remains one of Europe’s wealthier, more mature markets and a strong destination, even if its buying power has diminished slightly – but for now, Sweden at large is paying close attention to the price tags when it goes shopping.
“Basically, we are having a good year. We have a fair number of international tours – not as many as last year but that’s understood,” says Thomas Johansson, Live Nation’s venerable chairman, international music, who is also chairman of the Nordics and Baltics.
“But the business on some shows – not just Live Nation shows – reflects the fact that people are more aware of ticket prices; basically, because the Swedish krona, not dissimilar to the Norwegian currency, has been at an all-time low versus the pound and the euro and the dollar, so prices are relatively high.”
“If you push the ticket price, people will not buy because they can’t afford it”
The combination of the weak krona, stagnant wages, and high interest rates means the Swedish demand for live fun in 2024 has started to find its elastic limit.
“If you push the ticket price, people will not buy because they can’t afford it,” says Johansson. “You need to be careful with ticket prices – I have always thought that, not just now.”
When you factor in historically high touring costs – not to mention the fear of military engagement with Sweden’s easterly next-door neighbour but one–it all adds up to a slightly delicate moment.
“This is a good year for us,” says AXS general manager Jay Sietsema, adopting the positive-yet-nuanced tone of most Swedish executives just now, “but it’s been up and down across the market. Sweden came out of the pandemic really strong, and then inflation went crazy, and the market really flattened for a while, and now I think we’ve hit a stable point. What I’m hearing from the promoters is that it’s more and more expensive for the artists to come, but I think demand remains steady.”
On the face of it, this is not obviously a market in the throes of austerity. Pink, Bruce Springsteen, and Taylor Swift have been through Stockholm’s Strawberry Arena this year – pre-and post-name-change from its Friends Arena incarnation – along with numerous other international and local tours. Sweden Rock in Sölvesborg went off well in June, and another Live Nation event, August’s Luger-promoted Way Out West in Gothenburg, has plenty of well-earned cachet.
But equally, festivals such as All Things Live’s Big Slap in Malmö and Live Nation’s Lollapalooza Stockholm have opted out this year – the former for good, the latter for a period of reflection. Festivals, of course, are struggling across the continent, but Sweden is too small a market to simply put the show on and hope for a miracle, and consequently, its portfolio of major events remains a little fluid.
“Sweden must be the country that has had the most big festivals close down”
“Sweden must be the country that has had the most big festivals close down,” says All Things Live’s David Maloney. “There’s really only Way Out West and Sweden Rock still going strong after all these years. All the other festivals are gone.”
So, by all accounts, this is a year of adjustment, with plenty of decent business being done against a backdrop of realism. As Svensk Live operations manager Joppe Pihlgren points out, a marginally slower year in Sweden represents a return to normality, coming after two years that were supercharged by consumer savings and unbridled supply and demand. If the going seems a little tougher now, he suggests that’s because the bounce couldn’t go on forever.
“At the end of ’22, when we got free from the pandemic, everybody was very enthusiastic for live shows, and people had saved a lot of money, there was a lot of support, the market was very boosted,” says Pihlgren. “But, if you have a record year, everything has to go up the next year, such as artist fees, and the market can’t support that.”
In the meantime, Sweden marches on – not quite booming but still pretty good. In the three key cities of Stockholm, Gothenburg, and Malmö, there are plenty of shows; ASM Global’s Avicii Arena is out of action this year for a major refurb and will return in 2025; meanwhile, Eurovision came and went in Malmö, striking a blow for gender inclusivity even as it became another conduit for anger at the war in Gaza.
Economic prognoses suggest that the worst has passed for Sweden and that strong fundamentals will keep it clear of further recessionary after-shocks. A slightly cloudy day may already be brightening up.
“There has been a negative perception, with the high interest rates, the inflation, the war, and I think that has stabilised,” says Sietsema. “And we’re seeing that there’s still a huge interest in music, in theatre and events and sports, and that the crowds continue to grow. The demand has not lessened. The challenge is to not let inflation run away with everything so the prices get too expensive. But I’m optimistic for the Swedish market. As I said, the demand is still looking good.”
“Sweden has always been a competitive market”
Promoters
The powerful Live Nation Sweden sits at the heart of the live giant’s Nordic and Baltic network – roughly 90 of its 200 staff in the region are based in Stockholm. Its operations reflect the fact that, while Sweden is a perennially formidable touring market, it also remains one of the world’s most productive pop music hubs.
“Before we did Live Nation,” says Johansson, giving a history lesson few people need, “we looked after a band called ABBA. After that, we did a band called Europe, and after that, we did Roxette worldwide, and we did fantastic business.”
These days, Johansson’s focus is broad, but Swedish talent remains a priority, from Ghost to the newly rebooted Roxette.
“One act in particular that we have worked with for a couple of years is Benjamin Ingrosso,” he says. “We are doing nine outdoor shows for his tour starting the end of July, and he is headlining one of the Way Out West dates. We have sold about 95% of the tickets, sold out the [Olympic] stadium in Stockholm at 31,000, and it’s looking like every show will be sold out at various capacities. But again, the tickets are correctly priced, and people can afford to see it.”
Luger, Live Nation’s ‘indie’ division, also remains busy, masterminding the Way Out West festival and delivering a heavy slate of gigs, with Bright Eyes, Headie One, and The Soundtrack of Our Lives among those doing the rounds this year.
FKP Scorpio has been active in Sweden since 2011, absorbing local indie Woah Dad! in 2019, along with its founders Niklas Lundell and Joel Borg. The promoter is predictably industrious, with recent shows including a Massive Attack tour warm-up at Gothenburg’s Filmstudio and Ne-Yo’s first Swedish concert since 2010 at Hovet in Stockholm, as well as Ed Sheeran shows at Strawberry Arena next summer.
“Sweden has always been a competitive market,” says Borg. “Niklas and I have been working together for over 15 years. We co-founded Way Out West in 2007 while working at Luger/Live Nation, and before that, we ran clubs and magazines. Now, we continue with initiatives like Rosendal Garden Party.”
“One thing is always certain: people will always want to attend a great concert or experience a world-class festival”
This summer, FKP also began hosting live music events at Drottningskärs Citadel, on the archipelago island of Aspö, off the coast of the naval city of Karlskrona, with Petter, Uno Svenningsson and Eric Gadd making up the first set of shows.
“Sweden is still a small country,” says Borg. “The krona has been weak, and the market has struggled with post-pandemic bottlenecks. Prices have gone up, yada yada – same for everyone. But one thing is always certain: people will always want to attend a great concert or experience a world-class festival.”
All Things Live was behind Sweden’s three Taylor Swift shows in May, with each night breaking the previous night’s record for attendance at the then Friends Arena, ultimately drawing 178,679 people in total and making a large contribution to a 3% spike in Sweden’s core inflation rate that month. For all of the talk of mega-tours’ effect on local economies, Maloney doesn’t appreciate the widespread surge pricing that now goes hand in hand with such shows.
“Overall, it is an important show to do – for Stockholm, for the artist, for the audience,” says Maloney. “It is good for everybody, but what is spoiling the market – and this is a problem for all the major shows – is the €100 hotel room that suddenly costs €700. If restaurants and hotels are going to take such liberties, it is going to have a negative effect on sales.
“Secondary ticketing is something we can work on and try to prevent, but when you do a show and the guy running the hamburger joint facing the venue just earned more money than I did because he charged €30 for a burger and a Coke Zero, then that’s not right.”
Healthier, again, is the strength of domestic acts – perhaps one of the more positive legacies of Covid, which of course took international artists off the menu for two years.
“The domestic market in Sweden now is bigger than it’s ever been,” says Maloney. “All the Swedish tours we have done with Veronica Maggio, HammerFall, or Evergrey have done amazing business. That’s something we are really concentrating on now.”
Read part two of the Swedish market report, which focuses on festivals and venues, here.
Get more stories like this in your inbox by signing up for IQ Index, IQ’s free email digest of essential live music industry news.
Our House… Behind the scenes of The 1975’s tour
As one of the biggest arena acts on the planet, The 1975 have been making headlines wherever they go for the past 20 years. Having just brought the curtain down on their third consecutive year on the road, their fanbase continues to grow, making their efforts to rewrite the rulebooks on sustainable touring all the more impressive. Derek Robertson learns just what it takes to take such a cultural phenomenon on the road.
Can you have too much of a good thing? Clearly, The 1975 think not. For an A-list arena band, they have been remarkably prolific – aside from releasing an album every two years since 2016, they’ve also toured behind them relentlessly: 18 months and 150 shows for I Like It When You Sleep, For You Are So Beautiful Yet So Unaware Of It; a 24-month world tour behind Music For Cars; and a seven-leg, 96-date stint doing their At Their Very Best show. And barely a month after that wrapped on the 13th of August 2023, they were back on the road in Atlanta starting Still… At Their Very Best – another 66-date, worldwide jaunt – in support of their fifth studio album, Being Funny In A Foreign Language.
Even taking into account the enforced breaks during the pandemic, that’s quite a workload – particularly when you consider some of the bands’ struggles with mental health and the pernicious effects of fame. Yet manager Jamie Oborne says that after the Music For Cars tour was interrupted by lockdowns (while first rescheduled, the remaining shows for that tour were ultimately cancelled), “we collectively had a desire to tour, and Matty (Healy, frontman) was very excited about doing a show that was ‘different’ to what people expected or had seen in an arena before. It felt like the right time to get back on the road.”
Work it real good
“The boys love to work,” says Maarten Cobbaut, tour manager. “The first real break they had from their intense schedule was the pandemic, but within a week of restrictions being lifted and everything, they were back in the studio working on new music. They are just so passionate about what they do and put so much of themselves into the music and these shows.”
And these shows for Still… At Their Very Best are, unsurprisingly, fairly close in terms of concept, setup, and logistics as the At Their Very Best show. “An evolution, not a revolution,” as Oborne puts it. “It was part of the same cycle, but so much had happened since the tour commenced that Matty felt a creative need to highlight this evolution. The plan was always to use this tour cycle to market Being Funny In A Foreign Language, so we didn’t really see it as two separate tours.”
“The Finsbury Park show sold out instantly, and it was clear the fanbase was still growing on this cycle”
“Both UK runs were all part of the global touring for Being Funny In A Foreign Language, and weren’t seen as separate projects,” adds Matt Bates of Primary Talent, the band’s agent. “Of course, the first run was billed as At Their Very Best, with the second run having a slightly different name, but they very much coexisted together. And there was a lot of demand – the Finsbury Park show sold out instantly, and it was clear the fanbase was still growing on this cycle.”
Treading the boards
The show itself was certainly “different” – both from what you’d expect from an arena band and from their previous bombastic show for Music For Cars. That tour was “really big and ambitious,” says creative director and show designer Tobias Rylander. “We really went for size and technology with massive LED screens and automated cubes. But for At Their Very Best and Still… At Their Very Best, we wanted to be very analogue – Matty wanted the show and design to be more personal and really show them as a band.”
Healy is, says Rylander, always very conceptual in the approach for each era and tour. While the design for the previous tour reflected social media and internet behaviour, “This time around Matty wanted the show and design to be more personal and show them as a band,” explains Rylander.
“Matty wanted it to reflect their history as friends and a group, while also focussing on them as a live act and musicians. He wanted the stage to reflect how they recorded this last album live, together in the studio. He knew he wanted a house, and some sort of living room. And he wanted it to be focusing on the I-mag camera. No video content: just live camera. That’s how I started to design and look at the house. To always have a good background and setting for the camera shots.
“We looked at anything from Ingmar Bergman to Steven Spielberg for inspiration and references,” adds Rylander; Stanley Kubrick and avant-garde theatre were other touchstones (one review described the show as being: “part performance art, part stage play, part Charlie Kaufman movie about a rock star in crisis.”)
“I always remain amazed by the creative ideas of Matty and the band”
Our house
The design eventually started to take on a life of its own as it developed – it literally became Matty’s “home,” housing his memories. “It’s monochromatic and anonymous at the same time; it can reflect and take the shape of anyone’s childhood memories or their new memories leaving the show,” says Rylander. “It’s a very inviting and inclusive set.”
The first half of the show has almost no “effect” lighting and looks more like classic theatre than a rock show. “That’s something we’ve never done before, and something that’s not very common these days – I think we are the only rock band tour out there that brings a whole ‘Broadway’ set,” says Rylander.
And for the second leg of the tour, they kept all the theatrical parts and added a large, curved video screen behind the set that allowed them to add set extensions and environmental backgrounds. “We could go from night to day in a very beautiful way, but also play some really fantastic bits of video content reflecting older tours and eras from the past,” he adds. “And using the upstage video screen as a theatrical set extension like we do – I don’t think I have seen that on stage before.”
“I always remain amazed by the creative ideas of Matty and the band,” says Matt Bates. “The show was brilliant theatre while not losing the ethos of what makes the band so special in the first place. It truly showed a band at the top of their game creatively and musically, and, in their own words, ‘at their very best.’”
Boys on film
As noted above, video – shot live and intimately – was key to the whole look and feel of the show. Head of video Ed Lawlor has been with The 1975 since 2016 and was tasked with turning concept into reality while ensuring the solution was practical enough for a world tour. “We didn’t want to compromise on providing the best IMAG show possible for the budget – the design brief was ‘cinematic’ – so it was an easy decision to focus on one thing and do it well,” he says.
“It was clear early on that the band and management wanted larger than normal IMAG screens, and we wanted the classic projection look rather than LED”
“It was clear early on that the band and management wanted larger than normal IMAG screens, and we wanted the classic projection look rather than LED. On the initial US tour, we specified two Panasonic PT-RZ31K projectors per side on a 24’ Stumpfl screen from PRG rental stock, which was the largest off-the-shelf option available,” he adds. “On returning a year later to larger venues, the management requested a bigger option – at that point, we commissioned a 32’ Stumpfl screen, which was the largest practical option in a fast-fold product. This required an increase to 3x PT-RZ31K per side, which is the brightest arena IMAG projection I’ve heard of in a while.”
As for the cameras, Lawlor decided to do 3G well rather than 4K on the cheap, so specified four Sony HDC-2500 channels and a Ross Carbonite 2 M/E PPU from PRG UK. This was augmented with four Panasonic AW-UE160 and an RP150 control panel, with additional fixed shots from Marshall CV503-WPs.
Screen time
Those IMAG screens are very much larger than normal for arena touring, and so Lawlor and his crew worked closely with both PRG and AV Stumpfl to find a solution that allowed for rear projection in a fast-fold type frame with no central member that would obscure the beam. PRG have also been working with The 1975 since 2016 and, says Stefaan Michels, sales director for PRG UK, “our partnership has grown stronger over the years – we’ve fostered a close relationship with their tour and production management team, and one that extends beyond their time on the road.”
PRG’s brief was scalability, and the integration of new equipment tailored specifically for this production. Michels had to ensure the duplication of rig setups between Europe and the US, as well as customising equipment to meet the tour’s unique requirements. “Implementing A-B-C rig configurations was essential for maximising efficiency and flexibility throughout the tour,” he says, “and we made specific equipment choices based on detailed specifications provided.”
For example, one significant consideration was the need for different sizes of projection screens to suit the dimensions of various venues. For larger arena shows in the US and UK, they incorporated a large USC Hi Res LED wall to deliver high-resolution visuals that could effectively engage the audience across expansive spaces. Additionally, custom-made, large projection screens equipped with additional 31K laser projectors were also used, particularly in venues with specific lighting conditions or sightline challenges.
“We had to come up with a system that kept Matty safe but also ensured that, if the worst happened, it was safe for a rescuer to go out and assist”
Another specific choice was the decision to utilise Ereca Stage Racer 2s, a decision driven by the need to minimise the deployment of copper cabling on a daily basis. “This choice not only reduces setup time but also enhances flexibility, allowing for swift adjustments as tour requirements evolve, as they inevitably do over the course of an extensive tour like this one,” says Michels. “Moving multiple 3G video signals even over medium distances caused problems on the first leg of the tour, as it required coaxial cable to be both modern and in good condition, which is a challenge to maintain on tour when local labour is in use,” adds Lawlor. “This was another factor in the decision to adopt the Stage Racer 2s.”
Hanging about
All in all, this setup provided a modest challenge for head rigger Simon Lawrence – “simply 120 points going to the roof and a relatively small weight of 50 tonnes.” But there was one area of concern – at one point, Healy climbs upon onto the roof of the “house” to perform a song, on top of the front apex. “Like any artist, Matty wants to be as free as possible when performing, and initially, he felt he should have no safety systems at all, but when he is nearly six metres up in the air above the stage, this is not possible,” says Lawrence. “So we had to come up with a system that kept Matty safe but also ensured that, if the worst happened, it was safe for a rescuer to go out and assist.”
Rounding out the suppliers, All Access provided the front of house mix position stage (a B stage set piece) and built a custom lift for this, while TAIT provided a TAIT Mag Deck rolling house stage. “The Mag Deck design incorporates magnetic corner blocks for alignment and a shear keyway to reduce the number of legs needed to support the decking structure,” says Bullet,
TAIT’s business development manager – UK. “This reduced the amount of product that needed to travel on the road and the time needed to load in and load out, ultimately saving on costs.”
On the road again
Moving all this around was the responsibility of Natasha Highcroft, director of Transam Trucking. “We supplied 15 low-ride height production trucks, plus one merchandise truck for the UK, and eight production trucks plus one merchandise truck for the European leg of the tour, all superbly handled by our lead driver, David Isted,” she says. “As with most tours, keeping to the EU legislation on drivers’ hours and statutory weekly rest periods can prove difficult when parking and access is restricted. Fortunately, with an understanding production and accommodating promoters, we were able to facilitate breaks whilst keeping to budget.”
Bussing was provided by Beat The Street; in total, they ran four 16-berth double-deck Setra’s for the crew and two 12-berth Van Hool Super-highdeckers for the band. “Plotting band bus moves can be a bit of a challenge when day drivers are mixed in with overnight drivers, as it becomes difficult to get the drivers their required weekly breaks,” says Garry Lewis, the company’s transport manager. “So, it was agreed to add a second driver to each band bus, which gave us the flexibility to make it work as seamlessly as possible for the band party.”
“Our focus, as a community of creatives, is always to try and limit the negative impact touring has on the environment”
Sustainability has long been an issue dear to the band’s heart, and on this tour, they were determined to do all they could to lessen its carbon footprint and impact on the environment. “The set design put a real focus on the structural elements being reusable or recyclable, and many of the items that make up the set-build will end up back in stock at the supplier end – this is quite unique,” says Oborne. “Our focus, as a community of creatives, is always to try and limit the negative impact touring has on the environment. It’s by no means a perfect solution, but we are pretty committed to chipping away at our impact on the environment.”
Indeed, the modular nature of the set is something of a first. “It’s a renewable scenic technology, and this is the first time this product has been taken out for a live touring show,” says production manager Josh Barnes. “We wanted something that would really give us the aesthetic finish that we were looking for, in terms of being robust and feeling like the walls are actually the walls of a house and not just a flimsy, flat set. But also, be something that could be transported in the most sustainable, cost-effective way possible and be renewed or recycled at the end of the campaign.”
He goes on: “We ended up partnering up with PRG scenic through their Belgium and Las Vegas offices and worked with them on creating the house out of a product called InfiniForm – basically, it’s a 50 x 50 mil aluminium box section that allows you to cut it and add corners, reels, braces, fixings, or whatever you need. Then, once the frames are made, they were clad in aluminium honeycomb, which is a lightweight, hard-wearing wall surface.
“And, at the end of the campaign, they’re just going to be stripped back into component parts and used by the next project. There’s no ongoing storage needed, and there’s no waste in terms of bits and pieces that would just normally get thrown away if it were a custom build.”
This also meant that the band was able to drop their air freight requirements from 40 pallets down to just 17 for the entire show. Coupled with the decision to carry a smaller production around mainland Europe, requiring only eight trucks instead of 16, this allowed the production team to significantly cut the tour’s carbon footprint and make some impressive cost savings.
“One of the things that we’ve really focussed on for this tour is crew welfare, and trying to look after people’s mental health”
Take a break
Looking after the planet is a noble endeavour, but the band are also at pains to look after people – specifically, their people. “One of the things that we’ve really focussed on for this tour is crew welfare, and trying to look after people’s mental health,” says Barnes. This effort started before the tour even hit the road – after rehearsals, several training days were scheduled with an American organisation called Safe Tour, covering topics such as wellness on the road, mental health first aid, pronoun training, and some bystander intervention training. “It was really beneficial to everybody involved in the project to set them up for success on what was, and still is, quite a long run,” he adds.
Crew rest was another priority, something that’s always a struggle given the nature of long days on the road. “Getting the right amount of rest between shows is really important,” says Barnes. To that end, they’ve been careful not to set loading times for arrival or very early in the morning, instead choosing “about an hour after we expect to arrive, to give the crew enough time to actually plan their mornings. We can also adjust show and door times as well, to assist if we need to leave slightly earlier one night or start later the next day.”
The quality of crew rest has been improved, too. “So not just a single day off where you arrive at a hotel, but a day where you can sleep in a bed and not set an alarm,” says Barnes. “Effectively, two days off, or one full day off, every few weeks – that was a real win being able to work that into the schedule.” Hotels are pre-booked, so people can access their rooms direct on arrival at 10am or whenever and are required to have a number of amenities to help the crew unwind; a gym, a sauna, a pool, spaces to relax, and convenient access to nature, parks, or wildlife. “Options beyond just sitting in a bar drinking.”
And this emphasis on physical health extends to the available food, with nutritionally balanced meals available on the buses and through catering, plus plenty of non-alcoholic beverages and 0% beers. Crew members can make individual food choices through an app, and while the band themselves tour with a personal trainer to keep them in shape, things like being able to walk to a venue from the hotel, and that downtime is actually downtime, are prioritised. “These things help in a number of ways – it’s financial, it’s sustainability, and it’s improving welfare,” adds Barnes. “They’re all important aspects to us.”
Much in demand
As one of the most popular acts of the new millennium, the band is in tune with its global fanbase, striving to make its touring activities as sustainable as possible and speaking out on issues on behalf of underrepresented communities. An infamous onstage kiss in Malaysia between Healy and bassist Ross McDonald last July continues to have repercussions, but that hasn’t stopped promoters internationally from booking the act.
“We sold out four O2 Arena shows this time, plus 40,000 tickets on this album campaign in the UK alone”
Unsurprisingly, given the stature and popularity of the band, Still… has been a roaring commercial success, too, with sold-out shows all across the globe. “We sold out four O2 Arena shows this time, plus 40,000 tickets on this album campaign in the UK alone,” says Bates. “Their fanbase continues to grow year on year, and while that does make the tours easier to sell, we like to launch the show with significant marketing for the first announcement,” says Luke Temple of SJM Concerts. Both Arena Birmingham and the two Manchester dates sold out in a weekend; Temple says the plan was always to do two at the latter, “but I’ve no doubt they could have sold out a few more.”
It was a similar story north of the border, in Glasgow. “The band played Glasgow Hydro in January 2023, then headlined TRNSMT Festival in July 2023,” says Dave McGeachan of DF Concerts. “We were thinking we would leave Glasgow off the 2024 tour, but we decided to add a show at the OVO Hydro. Then we had to add a second night due to demand, which also sold out – quite incredible sales within 13 months.”
In Sweden, the band sold out Stockholm’s Tele2 Arena – “their biggest show in our territory yet,” says Natalie Ryan-Williams of Luger. “Over the years, their fanbase has expanded, and with them being the phenomenon they now are, we knew people were going to travel in from all over Sweden – and even some internationally.”
The possibility of multiple shows in Spain was considered, but, says Cindy Castillo of Mad Cool, venue availabilities and logistical constraints prevented it. “The demand was certainly there, indicating the band’s strong draw in this area,” she says.
Two nights were possible at Amsterdam’s AFAS Live – even if they were nearly a month apart – and, says Friendly Fire’s Roel Coppen, “they were the band’s fastest-selling arena headline shows to date. They played Best Kept Secret in 2023, but we had no issues with these new dates – we could cater to different audiences with different shows within 12 months.”
“You can just about see anyone attending a The 1975 show nowadays – they really attract people from all backgrounds and generations”
Even in more developing territories, these shows have really connected to local fans. “The situation in continental Europe is quite different from the UK, especially in Central Europe,” says Anna Vašátková, head of marketing and PR for Rock For People in Czechia. “The band isn’t played on the radio very often and there’s not as much media coverage, so we’ve had to do all the heavy lifting ourselves. We did quite a massive marketing campaign, including outdoor, radio spots, and extensive use of online media.”
Coppen also noted something else on this run – a broadening of their fanbase. “I do see there’s been a steady, growing interest from other demographic groups and also journalists have been getting more excited about the band in recent years,” he says. Ryan-Williams has noticed something similar. “You can just about see anyone attending a The 1975 show nowadays – they really attract people from all backgrounds and generations, which is a beautiful thing to see.”
“The 1975’s appeal spans various age groups and genders, and their music has definitely attracted a diverse audience transcending age and gender boundaries,” adds Castillo. “It resonates with listeners across generations, from teenagers to older adults, probably thanks to its relatable themes and catchy melodies.”
Success is no accident
Beyond the accolades and acclaim, beyond the facts and figures, this tour has been a resound- ing success. And not just for the legions of happy fans. Everyone IQ speaks to has high praise for the way the band and their team have gone about everything and how they treat all those who encounter them. “Over the years, The 1975 has evolved into more than just a client; they have become like a second family to me,” says Michels. “The professionalism, collaboration, and welcoming spirit displayed by everyone involved transcend mere business relationships.”
“It is always our pleasure to work with The 1975, their production, and their management teams,” says Meegan Holmes of 8th Day Sound, a sentiment echoed by Roy Hunt, Christie Lites’ global account manager. “Every individual involved has demonstrated a high level of professionalism, commitment, and passion that has made this journey memorable,” he says. “The synergy between the band and the crew created an atmosphere of mutual respect and cooperation, while management has been nothing short of supportive, ensuring a seamless and enjoyable tour. Overall, it has been a remarkable experience that speaks volumes about the dedication and talent of everyone involved.”
Fittingly though, band manager Oborne attributes the success to all of those who work so hard to make the shows happen – and who help the band shine. “When I think about The 1975 touring, I can’t help but think about how dedicated and committed to the show our crew are,” he says. “The professionalism and dedication are something we simply could not be without. I am very grateful to all those behind the scenes who turn up day in day out and make the entire thing work. It’s quite something to witness.”
Get more stories like this in your inbox by signing up for IQ Index, IQ’s free email digest of essential live music industry news.
Adam Börjesson to lead Live Nation Sweden/Luger
Live Nation Sweden and Luger, Sweden’s leading music agencies, have found a new head of agency in Adam Börjesson.
He joins the nation’s leading music agencies from Amuse, an independent record label and music distributor in Stockholm. There, he worked as its head of commercial development, building on previous experiences at Universal Music, Jubel, and his own record company Astronaut Recordings.
“I have worked closely with both Luger and Live Nation in various contexts for a long time and am really looking forward to taking on this assignment,” Börjesson says. “They are two industry-leading brands that care about artists, sustainability and corporate culture, and I see enormous potential in developing the offer and advancing the positions further.”
The strategic move to coordinate the two leading agencies’ leadership is poised to improve symbiotic relations between the two companies and their artists, organisers, and partners, per a press release.
“Through an increased focus on collaboration and pooling of forces, we see that we can have positive effects for our entire business”
“We have the luxury of having two strong, differentiated and clearly profiled agencies under the same roof, something we are very keen to maintain and strengthen. Through an increased focus on collaboration and pooling of forces, we see that we can have positive effects for our entire business,” says Mattias Behrer, CEO of Live Nation Sweden.
Börjesson will be responsible for day-to-day leadership and personnel responsibility beginning 1 October, along with leading alongside Luger CEO and founder Ola Bronquist.
Additionally, Live Nation has recruited Julia Carlsson to the role of agent in the Swedish department. Carlsson has previously worked with the company in project management and production.
Get more stories like this in your inbox by signing up for IQ Index, IQ’s free email digest of essential live music industry news.
Way Out West smashes attendance record
Swedish festival Way Out West has reported its highest attendance yet, with 55,000 fans flocking to the recent edition.
Blur, Wizkid, Boy Genius, Caroline Polachek and Sam Fender appeared on the bill for the three-day event (10–13 August) in Slottsskogen park, Gothenburg.
The festival – which launched in 2007 – is organised by Luger, a Nordic promoter owned by Live Nation.
“Despite starting off the week overcoming a major storm and heavy rain, when we opened the gates to the site on Thursday the sun was shining and we were blessed with great weather across almost the entire weekend,” says Luger’s Natalie Ryan-Williams.
“This edition was really special to us, and we ended up with a new attendance record of over 55,000 unique visitors, having the most attended day in the history of the festival on the final day.
“Making each festival as if it were the last is our motto”
“We are very happy to find that even in a time of financial difficulty the audience – which includes a younger generation finding their way to us – seems to want to prioritise coming to the festival and for that, we are very thankful. Making each festival as if it were the last is our motto, but the truth is that we always look forward to being back next year – hopefully without any storms!”
Alongside its usual musical offering, Way Out West this year partnered with Swedish streaming titan Spotify to mark hip-hop’s 50th birthday and celebrate its cultural impact in the country.
On one of the festival’s largest stages, the two companies presented a live showcase featuring new and emerging talent, as well as some of the most prominent names in Swedish hip-hop history. Dizzy, Jelassi and Mohelá topped the line-up for the stage.
In addition to Way Out West, Luger organises Åre Sessions, Lollapalooza Stockholm (Live Nation) and Malmö & Beyond, and co-organises Popaganda. The company also promotes over 300 shows a year.
Way Out West will return to Gothenburg between 8–10 August 2024.
Get more stories like this in your inbox by signing up for IQ Index, IQ’s free email digest of essential live music industry news.
Live Nation & Luger launch ‘The Shuffle Ticket’
Live Nation and its Luger subsidiary have launched The Shuffle Ticket, a scratchcard-style promotion offering fans tickets to a randomly selected concert in Sweden.
For 300 SEK (€27), fans will receive two tickets to an event in Stockholm, Gothenburg or Malmö between February and September 2023, but will not discover what show they will be seeing until scratching off their ticket post-purchase.
“When you buy the ticket at shuffleticket.se, a physical ticket is sent to your home,” fans are advised. “Scratch it, and you’ll find a link to your digital tickets.”
The promotion features more than 100 shows of all sizes, including gigs by artists such as Bruce Springsteen, The Weeknd, Arctic Monkeys, Coldplay, First Aid Kit, Louis Tomlinson and The Chats, as well as festivals including Lollapalooza Stockholm, Way Out West, Summerburst and Melodifestivalen.
Designed in collaboration with creative collective Forsman & Bodenfors, the initiative is mainly aimed at younger music fans.
“We hope The Shuffle Ticket will give young people the chance to discover new music in an exciting way”
“We hope The Shuffle Ticket will give young people the chance to discover new music in an exciting way,” says Luger project manager Christa Murley, as per Little Black Book.
“During 2022, ticket sales went up again after two years of a negative trend caused by the pandemic,” notes Live Nation Sweden CEO Mattias Behrer. “People are eager to hear live music again. Our new ticket encourages young people to be a part of a new concert experience.”
The first ticket drop took place yesterday (25 January) and sold out in minutes, with further sales to take place on 1 February and 8 February.
Emilie Olsson Lignell, project and campaign manager at Live Nation Sweden, adds: “Putting a playlist on shuffle is a great way to discover new favourites, so why not do the same with live shows? We hope many young people will find their new favourite artists.”
Get more stories like this in your inbox by signing up for IQ Index, IQ’s free email digest of essential live music industry news.
Major Scandi festivals hail bumper comebacks
Last week saw some of Scandinavia’s best-known festivals welcome back record numbers of music fans.
Norway’s Øya Festival (Øyafestivalen) reported a total attendance of 88,000 over four days (or 22,000 per day) at this year’s sold-out edition, smashing its previous record of 80,000 in 2019.
The Superstruct-backed festival returned to Oslo’s Tøyen Park last week (9 and 13 August) with headliners Gorillaz, Florence + the Machine and Nick Cave and the Bad Seeds.
“The festival was fantastic,” Jonas Prangerød, press manger for Øya, tells IQ. “Artists, staff, volunteers and, of course, the audience enjoyed Øya finally being back. People came very early to the festival area and there was a good crowd for every band and artist.
“Both new talent and the big, established favourites impressed. I think a lot of people have got a few new favourite acts now. The warm weather suited Øya’s comeback really well. The whole week was as good as we could hope for.”
Sweden’s Way Out West also broke its own attendance record, drawing 50,000 unique visitors over three days (11–13 August) to its 2022 edition.
The Luger-promoted festival once again took over Gothenburg’s Slottsskogen city park, offering performances from the likes of Tame Impala, Beabadoobee and Fontaines D.C.
“The whole week was as good as we could hope for”
“Way Out West 2022 could not have ended up better,” Filip Hiltmann, marketing and communications manager for Way out West, tells IQ.
“After two years of silence, it felt great to finally be back in Slottsskogen doing what we do best. The sun was out the whole weekend (a rare phenomenon in Gothenburg!) and we experienced first-class sets from the likes of Burna Boy, Nick Cave & The Bad Seeds, First Ait Kit, Fred again… and many more. We can’t wait to be back next year, mark down 10–12 August 2023 in your calendars.”
Elsewhere in Scandinavia, Finland’s Flow Festival celebrated an attendance record of 90,000 over two days (12–14 August) or 30,000 per day.
The Superstruct-backed festival took place in the Finnish capital of Helsinki this past weekend (12–14 August), with performances from more than 160 acts including Jamie xx, Princess Nokia, Bikini Kill, MØ and Fred Again.
Notably, Gorillaz’s performance at Flow was the band’s first-ever appearance in Finland.
Next year’s Flow dates have already been set for 11–13 August, 2023, and a limited number of Super Early Bird tickets went on sale yesterday (15 August).
Other festivals that took place over the weekend, elsewhere in Europe, include Superstruct’s Sziget (Hungary), Follow The Step’s Fest Festival (Poland) and Boomtown Fair (UK).
Get more stories like this in your inbox by signing up for IQ Index, IQ’s free email digest of essential live music industry news.
Ladieslovehiphop fest teams with LN Sweden & Luger
Swedish collective Ladieslovehiphop (LLHH) has partnered with Live Nation Sweden and Luger on the 2022 Ladieslovehiphop Festival.
The boutique festival, which debuted at Trädgården in Stockholm in 2019, returns from 19-20 August at Fållan & Slakthusområdet in Stockholm with an eclectic women-led line-up led by Stefflon Don, Ayra Starr, Ivorian Doll, Baby Tate, Shaybo and Dreya Mac.
Founded in 2014 as a DJ collective and club concept by childhood friends Nataša Marijana, Rebecca Tegegne and Linda Nápoles, LLHH has evolved into a cultural and creative movement.
“The festival presents both up-and-coming and internationally claimed headliners in hip-hop, R&B, afrobeats and their sub-genres”
“It feels amazing to finally have a proper festival summer after these past two years,” say Marijana and Tegegne. “We have curated a line-up of artists and DJs that we truly love and believe our community are excited to see perform.
“We will transform Stockholm’s very own meatpacking district into an indoor and outdoor festival area where our visitors can enjoy concerts during the day and dance all night long to DJ sets. Besides a carefully selected line-up, the festival will offer tasty vegetarian food, art installations and much more.”
Live Nation Sweden promoter Karolina Kozlowska adds, “Ladieslovehiphop, along with the booking agencies Luger and Live Nation Sweden have curated a line-up with the most interesting names in popular culture today. The festival presents both up-and-coming and internationally claimed headliners in hip-hop, R&B, afrobeats, and their sub-genres. Together, we offer a great mix of everything in pop music right now for all the music lovers out there.”
Curated across three stages, the event will also offer art installations and exhibitions, with each night culminating in DJ sets from the likes of Uncle Waffles and Jordss. A two-day pass costs SEK1,255 (€120).
Get more stories like this in your inbox by signing up for IQ Index, IQ’s free email digest of essential live music industry news.
Luger expands into Norway
Swedish concert promoter and festival organiser Luger is expanding into Norway, opening an office in Oslo to strengthen its presence in the Scandinavian market.
Luger now operates in three Scandinavian markets, adding to its Swedish headquarters and its Danish office, which opened in Copenhagen in 2018, led by Sarah Sølvsteen.
The expansion into Norway follows the bolstering of a fellow European promoter’s presence in the country last month, with FKP Scorpio’s acquisition of a majority stake in booking agency Nordic Live.
Luger’s new Norwegian office will be headed up by Torgeir Gullaksen, a veteran promoter with over 20 years’ experience putting on shows and events in the country. Gullaksen joined Gunnar Eide Concerts (now Live Nation Norway) in the late 90s, founding his own promotions company, Goldstar (now FKP Scorpio Norway), in 2005.
The Luger Norway head has worked with acts including Arctic Monkeys, Queens Of The Stone Age, Radiohead, Rival Sons, Tame Impala, The Black Keys, Ben Howard, Arcade fire, Belle & Sebastian and Michael Kiwanuka.
“My aim is to firmly establish Luger as a strong brand in Norway”
“I’m delighted to be joining the Luger family and look forward to working close with Ola and the rest of the team,” comments Gullaksen. “Over the last 20 years or so, I’ve had the pleasure of working with Luger on both international and domestic acts and consider them the best in class in developing new talent over here.
“My aim is to firmly establish Luger as a strong brand in Norway and continue working with the acts I already have existing relations with, as well as become the natural promoter for emerging acts in Norway.”
Luger Sweden MD Ola Broquist adds that Gullaksen is “a great person, a great promoter and a music lover – the ultimate combination.”
Luger is one of the Nordic’s leading promoters, as well as acting as an agency and tour producer for Swedish artists. The company promotes over 300 a year, in addition to festivals including Way Out West, Åre Sessions and – together with C3 and Live Nation Sweden – Lollapalooza Stockholm.
Get more stories like this in your inbox by signing up for IQ Index, IQ’s free email digest of essential live music industry news.
Xenia Grigat joins Luger Denmark
Three months after stepping down from her role at Down the Drain Concerts, Xenia Grigat, one of Denmark’s most experienced concert promoters, has joined Luger Denmark.
Luger, a Swedish promoter and booking agency owned by Live Nation, expanded into Denmark in early 2018 when it opened an office in Copenhagen. At Luger, Grigat will lead the company’s Danish expansion, as it transforms from being an agency for local artists to promoting shows by international acts.
Sarah Sølvsteen, director of Luger Denmark, comments: “There are good days and then there are absolutely fabulous days, like today, when we can announce the addition of Xenia Grigat to our Danish Luger team. With her sublime taste and love for her artists, Xenia is a perfect match with Luger Denmark’s philosophy and values, and it makes me really proud that she has chosen to become part of our team.”
Ten acts, including Lord Siva, Efterklang, Ida Laurberg and Hugorm, have joined Luger Denmark this year. They join a roster that includes established artists such as Mø, the Minds of 99, Jada and Phlake.
Grigat, named head of international artists, explains: “I’ve had amazing 12 years working at Beatbox and then Down the Drain promoting shows and festivals, but the time is right for me to take the next step in my career. The opportunity to create a new chapter with Luger Denmark and their team is an offer I can’t resist.
“The time is right for me to take the next step in my career”
“I’m really looking forward to getting started and present artists, agents and managers with a variety of new opportunities, such as our extended Scandinavian reach.”
Adds Ola Broquist, director of Luger Sweden: “It’s a big day for our Scandinavian Luger family. In Sweden, we have clearly seen the synergies when working with both Swedish and international artists under the same roof and how it benefits the artists. With the new offerings structure in Denmark, we will collectively be positioned much stronger in the Scandinavia market.”
“We have clearly seen how Luger Sweden has been able to develop their business for a number of years by heavily focusing on their artists as both agent and promoter,” says Jesper Christensen of Live Nation Denmark. “With Xenia Grigat’s addition to the team, we will have a star capacity on board, which will strengthen Luger Denmark’s position both locally and internationally.
“I have great respect for Xenia as a promoter, and have always admired her unique ability and special care for the many strong artists she has worked with over the years”.
From today (1 November), Luger Denmark’s team consists of Sølvsteen, Grigat, Emma Markvad, Dorthe Hyllested, Freja Becker Anthonsen and Martin Rintza.
Get more stories like this in your inbox by signing up for IQ Index, IQ’s free email digest of essential live music industry news.
Luger’s Fredriksson to oversee LN Sweden partnerships
Luger co-founder Patrick Fredriksson has been appointed director of partnerships for Live Nation Sweden.
Fredriksson (pictured), who co-founded the Swedish promoter with Ola Broquist in 1991, becomes responsible for all Live Nation/Luger partnerships across their concerts, festivals and artists in Sweden, with immediate effect.
In his new role, Fredriksson’s focus on business development and building creative partnerships around Luger’s portfolio of events, which includes festivals such as Way Out West and Åre Sessions.
“There are few people with as much experience of our industry as Patrick,” says Therése Liljedahl, the newly appointed CEO of Live Nation Sweden. “With Way Out West, he has shown the way and set a new standard for how to delive commercial partnerships around events in a modern and creative manner.
“There are few people with as much experience of our industry as Patrick”
“I am also very happy and proud that, with Patrick’s new role, we finally have a partnership department for all our joint operations [Live Nation and Luger].
“How we create and develop partnerships and events is something I’m passionate about, and being more involved in these projects will be very exciting,” adds Fredriksson. “Creative and thoughtful partnerships are hugely important for us and our partners – and equally important to our visitors.”
Luger is a wholly owned subsidiary of Live Nation.
Fredriksson last month joined the board of directors of Swedish promoters’ association Svensk Live.
Get more stories like this in your inbox by signing up for IQ Index, IQ’s free email digest of essential live music industry news.