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.”

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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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Mad Cool Festival and The Spanish Wave are teaming up to promote Spanish talent at this year’s International Festival Forum (IFF).

Three Spanish artists will perform at the Mad Cool Festival & The Spanish Wave Presents showcase at London’s Camden Assembly from 9pm on Wednesday 28 September. The line-up will be released in August.

The event will mark the culmination of a nationwide project to find the best emerging acts from Spain. With applications open from 2-30 August, the finalists will be selected by the festival and emerging talent showcase platform and export specialist, The Spanish Wave.

Spain is the guest country for IFF 2022

Spain is the guest country for IFF 2022, ILMC’s invitation-only event for music festivals and booking agents, which takes place in London between 27-29 September.

The latest round of guest speakers and conference topics for this year’s conference were unveiled last week.

More than 400 delegates from 26 countries have now signed up, with demand for IFF 2022 passes proving higher than ever.

IFF’s new delegate hub, the Holiday Inn in Camden, will be transformed into IFF Central for three days and host conference sessions, private parties and meetings, and speed dating for attendees.

Full information about this year’s event, including how to apply for a pass, is online at www.iff.rocks.

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The organisers of Mad Cool festival in Madrid have reduced capacity, increased stage numbers and added an extra day to make the 2020 edition “more comfortable and pleasant”.

The fifth outing of Live Nation’s Mad Cool will have a capacity of 60,000, a 25% decrease from the year before. For the first time in 2020, the festival will run for four days, from Wednesday 8 to Saturday 11 July.

Since launching in 2016, Mad Cool has grown rapidly from a starting capacity of 45,000 to 80,000 last year. The festival moved to its current home, which can accommodate 35,000 people per day, in 2018. This “massive growth” has led to some “incidents” in past editions, festival director Javier Arnáiz told IQ in a post-season reflection.

In another bid to tackle overcrowding, the festival will have an additional stage next year – bringing the total number to seven.

“The five-year mark signifies a massive challenge for a festival that always wants to be better and learn from its mistakes”

More space will be also dedicated to rest and relaxation, with a “larger and more varied” food offering.

“We are satisfied to have arrived to where we are with a committed team, top-class artists and, above all, a dedicated audience,” say organisers in a statement. “However, the five-year mark also signifies a massive challenge for a festival that always wants to be better and learn from its mistakes.”

Last year was “tough” for Mad Cool and other festivals across Europe, according to Arnáiz. Sales were lower than usual, which was due to a “lack of headliners” and the strength of previous billings.

“We have to continually work to improve the experience of our audience”, Arnáiz told IQ.

Line-up and ticket information for Mad Cool 2020 will be available in due course.

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European festivals including Amsterdam Dance Event (ADE), Glastonbury Festival, Boomtown and Mad Cool are among the fastest-growing events in recent years, according to new research by StubHub.

The research shows the capacity increases of 50 festivals worldwide, ranking the fastest-growing in terms of percentage growth. Out of the music festivals examined, leading electronic festival and business conference ADE came out as the most rapidly growing event overall.

The multi-venue festival, which this year takes place from 16 to 20 October, has grown to more than 230 times its original size, from just 300 in 1995 to 70,000 in latest editions. Last year, ADE welcomed a record-breaking 400,000 visitors across five days.

Increasing capacity from 1,500 to 135,000 (210,000 including all staff), Glastonbury Festival has the strongest growth of any participating event in terms of raw numbers. New Orleans Jazz and Heritage Festival also showed impressive growth, up to 60,000 capacity from its original 350 in 1970.

Adding more than 11,000 fans per year, Madrid’s Mad Cool festival has expanded rapidly in its four years of activity

Adding more than 11,000 fans per year, Madrid’s Mad Cool festival has expanded rapidly in its four years of activity. The festival, which this year was headlined by Bon Iver and the Cure, has increased capacity by almost 80% since its inaugural edition, from 45,000 to 80,000.

Founded in 2009, the UK’s Boomtown Fair has undergone the biggest growth of the past decade. The event, which started out with just one stage and 1,000 guests, has increased capacity by 65,000 people in its lifetime.

India’s Magnetic Fields festival, founded in 2013, recorded the second fastest growth of the decade, expanding 500% to a capacity of 3,000.

European festivals made up 13 of the top 20 fastest growing events on the list. US festival South by Southwest, Electric Daisy Carnival (Las Vegas) and Ultra Music Festival in Miami also showed strong growth.

Lake of Stars festival in Malawi – the only African festival to appear in the research –also makes it into the top 20, although remaining relatively small. The boutique festival now accommodates 5,000 attendees, up from 700 in its first year.

A full list of results can be found here.

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The 25th anniversary of the Arthur Awards, the international live music industry’s answer to the Oscars, took place at London’s Sheraton Grand Park Lane last night.

The awards – which have a voting pool of over 6,000 of the world’s leading concert business professionals – took place in front of a 350-strong sell-out crowd at the magical ILMC Gala Hou-dinner.

Glastonbury’s Ben Challis hosted the special anniversary ceremony, which saw a line up of guest presenters including WME Entertainment partner Michele Bernstein and WME agent Kara James.

X-ray Touring partner Steve Strange, Artist Group International president Marsha Vlasic and NEC Group chairman Phil Mead were among the list of guest presenters.

“It was wonderful to see the great and good of the international live business rubbing shoulders to recognise their peers”

“The 25th Arthur Awards were an amazing celebration of the talent we have in our industry, which brings joy to so many millions around the world,” says ILMC head Greg Parmley.

“With thousands of votes cast and counted, it was wonderful to see the great and good of the international live business rubbing shoulders to recognise their peers.”

The full list of winners are below:

Venue (First Venue To Come Into Your Head)
Royal Albert Hall, UK

Promoter (The Promoters’ Promoter)
Folkert Koopmans, FKP Scorpio

Festival (Liggers’ Favourite Festival)
British Summer Time Hyde Park, UK

Agent (Second Least Offensive Agent)
Lucy Dickins, ITB

Production Services (Services Above and Beyond)
PRG

Professional Services (Most Professional Professional)
Selina Emeny, Live Nation

New Gig on the Block (New Event)
Mad Cool Festival, Spain

Assistant (The People’s Assistant)
Claire Bewers, Coda Agency

Ticketing (The Golden Ticket)
CTS Eventim

New Business Talent (Tomorrow’s New Boss)
Kevin Jergensen, ICM Partners

Best in Show (Family Show)
Cirque du Soleil

The Bottle Award
Bryan Grant, Britannia Row

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