While the A-list tours break box office and attendance records, there’s a fear that those high-end, high-priced tickets are causing a vacuum for the career touring mid-tier acts. James Hanley looks back on some of the concerns raised during ILMC 36.

In many an argument, the truth often lies in the middle. And that is exactly what the global touring biz is grappling with, as it faces up to a potential mid-tier crisis. Clowns to the left of me, jokers to the right…

On the surface at least, business is red hot – the embodiment of the smartphone fire emoji, if you will. Records are being smashed left, right, and centre on a monthly (sometimes even weekly) basis. The worldwide top 100 tours earned $9.2bn in 2023 – up 46% on the previous year – according to Pollstar’s year-end charts. Attendance was up 18.4% in total tickets sold to 70.1m. Gross from the top 100 stadiums and arenas rose 35% and 29%, respectively.

It doesn’t end there: Taylor Swift’s Eras Tour became the first in history to surpass $1bn in revenue and is projected to gross another $1bn this year. Swift led a touring boom in 2023, with more tours than ever grossing above $300m (three), $200m (seven) and $100m (17).

But while the numbers don’t lie, they don’t tell the whole story either. Delve beyond the spectacular headline figures and a more complex picture emerges – a puzzle that was the talk of the town at ILMC 36 in London last month. It’s widely known that production costs have rocketed post Covid, and with margins on mid-level shows far tighter than arena and beyond, some promoters are saying that the economics of some tours now just don’t add up.

“At the top end of the business, it’s clearly in rude health,” says CAA’s Maria May, chair of Open Forum: The all-stars, the conference’s traditional state-of-the-nation opening address. “But there’s a flip side here, with grassroots festivals and venues reporting closures and challenges. “We’re also fully aware that in the middle and lower range, it is tough – really tough. And at the 1,000-3,000-cap level, there are reports of artists who are deciding not to tour at all. The budgets simply don’t add up, and artists are just not going on the road.”

“Unless the industry stimulates solutions to the mid-level of the market, we have a massive time bomb”

The UK’s Music Venue Trust declared that 2023 was the worst year for UK venue closures since its launch a decade ago, while UK trade body the Association of Independent Festivals reports that more than 21 UK festivals have now announced a postponement, cancellation, or complete closure in 2024.

So, as A-list tours reach new heights, is live music’s bread-and-butter business stuck in the starting blocks? For Eleven Management co-founder Niamh Byrne, the answer is a resounding “yes.”

“From a mid-level point of view, it’s really, really tough, and I feel like we have a big conundrum,” says Byrne, whose roster includes Bastille, Blur, and Catfish and the Bottlemen. “There is no live business without artists and audiences, and we shouldn’t be hammering fans to make that make sense. There needs to be something done in order to be able to invest and drive culture because, ultimately, that’s what it’s all about.”

As mid-level acts rely on touring for their income, one potential safeguard being touted is for collection societies to consider providing breaks for mid-sized shows. “We’re losing tours, events, and festivals because of the spiralling costs of everything, which in turn means the royalty societies will suffer exponentially. To protect themselves, as well as their members, they should consider some kind of discounted rate,” states one European festival executive.

“Everyone talks about grassroots touring being difficult, or the 1% at the top making too much, but the middle is where the crisis really is. And it’s the ancillary value of those bands not touring, or touring less, that’s the biggest problem. Unless the industry stimulates solutions to the mid-level of the market, we have a massive time bomb.”

“It’s becoming harder and harder for artists to reach a point where they actually make a profit on touring”

Given the widening gap between the superstars and the rest, One Fiinix Live founder Jon Ollier questions whether “boom and bust” would be a more apt description of the modern circuit.

“It feels to me like it’s becoming harder and harder for artists to reach a point where they actually make a profit on touring,” he offers. “It’s either massive and it makes money, or it’s small and it’s not.

“You’re not seeing those artists get up to 3,000-cap level, stay there, and churn that over as their career. You’re seeing them blow through that barrier into arenas and make money, or struggle underneath that.”

Finland-based Fullsteam founder Rauha Kyyrö agrees it is becoming increasingly difficult to make money on shows below arena level.

“If we have enough touring on a club- and medium-size-level, we can probably cover our overheads and make it work somehow, but we will need the stadium [concerts], or very successful festivals, to make money,” she says. “Touring, for me, is more [for] artist development actually.

“That [200-300-cap club] level has always been about developing, but now it feels like you’re also just investing at the 1,500 [capacity level], instead of at least getting your costs covered.”

“The biggest [touring acts] make more money than ever – but I don’t see the ones that are still in the investing phase making a living out of it”

She adds: “I also own a management company, and not many of the artists make a lot of money on basic touring. Some do – the biggest ones make more money than ever – but I don’t see the ones that are still in the investing phase making a living out of it. That’s where you need to find someone to pay for it, I guess.”

Be that as it may, legendary agent and Independent Artist Group vice-chair Marsha Vlasic maintains the predicament does not represent uncharted waters for the sector.

“Way before the pandemic, even way before any economic problems, bands came and did 20- to 30-city tours in a van and put the time and effort into it,” she recalls. “They stopped at every radio station and record store and promoted their music. They didn’t make money then.”

Indeed, those principles still form the backbone of the promoting trade, nods Mercury Wheels/Live Nation Spain’s Barnaby Harrod.

“[With] bands coming through, it’s always been about investing in them,” he says. “People [being] prepared to break even or to make small amounts of money to invest in the band so that they will come back and do the 2,000/3,000 [capacity shows] and then into the arenas and stadiums if we’re lucky.”

“As long as we have a market outside the market – where certain organisations can ask for twice the price that is on the ticket – then tickets are not expensive enough”

Germany-based DEAG founder and CEO Peter Schwenkow supports Live Nation chief Michael Rapino’s recent assertion that ticket prices “are still not high enough,” referencing the secondary ticketing market.

“As long as we have a market outside the market – where certain organisations can ask for twice the price that is on the ticket – then tickets are not expensive enough,” he argues.

Nevertheless, even in the face of rising costs, Kyyrö floats the idea of reducing ticket prices and treating club shows as loss leaders in a bid to entice more people through the doors and elevate acts at a faster rate.

“In order for any of that to make any financial sense, the ticket prices will have to be at a level where it’s actually not an introduction to the market anymore,” she says. “You actually need to have fans. So is it then better that we just make the ticket price €10 and take that hit? Because we’re gonna take the hit anyway, and then at least it helps us grow the artists to the next level faster. I think it’s an interesting conversation.”

However, lowering prices is simply not a realistic option, contends Jan Digneffe of FKP Scorpio Belgium.

“We have to keep [bringing these bands over and putting] them in front of an audience at a cost. Because if we [don’t] keep doing that as promoters, then we’re ambushing our own industry”

“I think that’s difficult,” he says. “Ticket prices are not high enough, but I think we can all agree that they shouldn’t be any higher – they should be as low as possible for everybody – so we’re kind of stuck in that situation. […] We have to keep [bringing these bands over and putting] them in front of an audience at a cost. Because if we [don’t] keep doing that as promoters, then we’re ambushing our own industry, and we will get in trouble.”

Digneffe points to ingrained issues, disclosing that the promoter’s fee for a sold-out show at a prominent Belgian club remains the same as it did more than 20 years ago.

“Everything is getting more expensive,” he says. “Somebody is getting the extra money – ticket prices are actually going up. But on that level, where it is important to help build artists, it’s clearly not going in that direction, and I think that is a problem.”

And the challenges are not limited to certain markets, adds Digneffe – similar hurdles are popping up across the board.

“We are all seeing the same things,” he notes. “If it’s a very big show, you can earn money. From the moment you take it down a level, it’s getting a lot harder. There is still a little bit of money to be made, but we all know with the smaller clubs, it’s the last 50 or 100 tickets that will make the difference between making some money or losing some money. And you need a whole lot of them to get somewhere to be able to cover your costs. So, indeed, if your bigger arena tours are not there or your stadiums are not there, I see an alarm light flashing.”

“There’s a whole generation that doesn’t leave their rooms, and they know an act by one song. They don’t even have the desire to go for the live experience”

Kyyrö, who was recently promoted to president of touring & artist development at FKP Scorpio, suggests the sector is also battling competition from other forms of media, such as the burgeoning video game market.

“I think we’re losing out on a lot of young people going to the shows to get that experience because, first of all, the ticket prices are high, and also the market has changed in other ways, too,” says Kyyrö.

“It actually might be a better 90-minute experience to play Fortnite than to go and see a little show,” she muses. “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.”

US-based Vlasic, who collected the prestigious Bottle Award during ILMC 36’s Arthur Awards, acknowledges that the shift in habits among younger people was a contributing factor to the status quo.

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

“It’s all about the streaming, and if I hear more streaming numbers, I’ll go crazy. It’s just maddening – and streaming numbers don’t sell tickets”

Furthermore, Vlasic laments the obsession with streaming numbers, which she blames for distorting an artist’s worth on the live scene. “You still go out, and you’re still looking, you still hope, but you don’t get the calls from the record companies,” she sighs. “It’s all about the streaming, and if I hear more streaming numbers, I’ll go crazy. 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.”

Veteran promoter and Live Nation Spain chair Pino Sagliocco bemoans the lack of support for up-and-coming talent, which he believes cuts to the heart of the matter.

“I think the problem is that we don’t do enough to build a bridge to help younger talents who are asked to try and make a living every day,” he says. “That’s why I’m so proud to help develop burgeoning Spanish musicians while convincing local politicians that we need a sponsorship break. We have the funds to support these artists through the banks, and I feel that is really important.”

Moreover, Digneffe suggests the time and attention given to huge global tours by established top-tier acts is to the detriment of those both in the mid-tier and at the start of their careers.

“What is frustrating everybody about these world tours is this cherry picking that’s going on all the time,” he continues. “I don’t want to be like a preacher in a church or anything, but 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.”

“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”

Indeed, there appears to be an audience malaise for some of the bread-and-butter acts – those artists and musicians that rely principally on live for the majority of their income and therefore regularly tour every 12-24 months are, anecdotally, not seeing the same ticket sales anymore. Fans that know those artists will come around again soon, seem less willing to buy a ticket, whereas the high value stadium shows that do not come around every year are more unique and doing better than ever.

With increasing frequency, co-headline and packaged tours are coming to the fore as a means of sharing the load. Proponents include Mötley Crüe & Def Leppard, Suede & Manic Street Preachers, The Charlatans & Johnny Marr, Stone Temple Pilots & +LIVE+, Pixies & Modest Mouse, I Prevail & Halestorm, and Green Day, Fall Out Boy & Weezer.

While such combinations have proved particularly popular among the rock fraternity, Vlasic suggests 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 says. “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 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, and that will make the costs go down”

Though Digneffe applauds the idea, he advises that persuading all parties of its merits can be easier said than done.

“I think it’s an interesting idea, but you have trouble getting everybody on board,” he says. “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.”

Vlasic also implores artists to embrace VIP ticketing, admitting that the reluctance of some acts to do so – notably those outside the United States – is a growing source of frustration.

“VIP is huge,” she says. “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.”

“Sometimes, going through hardships and recessions can be a really good thing”

Putting a more positive slant on the current state of play, Eleven’s Byrne shares her conviction that difficult periods can spur innovation.

“Sometimes, going through hardships and recessions can be a really good thing,” she says. “It’ll force us to become more innovative with our ideas, and I’m looking forward to exploring new ways of doing things, as well as opening up lots of international markets.”

Wrapping up, DEAG’s Schwenkow attempts to finish on a similarly optimistic note.

“I think this is my fourth real recession,” he concludes. “And I love recessions because people don’t buy new houses, apartments, cars, washing machines; they’re spending their money on live entertainment. We had a terrific ’22, we had a very, very good ’23, and ’24 looks great as well.”

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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 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 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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Legendary agent and Independent Artist Group vice-chair Marsha Vlasic collected the prestigious Bottle Award during ILMC 36’s Arthur Awards.

The Oscars of the international live music business were attended by 470 of the industry’s top brass last night (29 February) in the midst of a sold out ILMC 36, which attracted 1,500 delegates to London’s Royal Garden Hotel.

Awards were handed to 11 winners at ILMC’s ‘Big Bang’ Gala-xy Dinner, with CAA’s Emma Banks reprising her role as host. The top promoter gong went to Steve Homer of AEG Presents, while the Second Least Offensive Agent category was won by Wasserman Music’s Tom Schroeder.

Live Nation’s Andrea Myers was named Most Professional Professional, and Ticketmaster’s Bhavika Patel was crowned The People’s Assistant.

“Congratulations to all of the nominees and winners at this year’s Arthur Awards”

“Congratulations to all of the nominees and winners at this year’s Arthur Awards,” says ILMC MD Greg Parmley. “Congratulations in particular to this year’s Bottle recipient, and live business icon, Marsha Vlasic!”

For more than two and a half decades, The Arthur Awards have been handed out during ILMC.

The shortlist of nominees in each category are decided by a committee of 150 industry professionals. Winners are then decided by a combination of an open vote of all ILMC members and IQ Magazine readers, and a closed panel of judges made up of senior industry figures.

The full list of Arthur Awards 2024 winners was as follows:

THE VENUE AWARD (FIRST VENUE TO COME INTO YOUR HEAD)
Hallenstadion, Zurich

THE PROMOTER AWARD (THE PROMOTERS’ PROMOTER)
Steve Homer, AEG Presents

THE AGENT AWARD (SECOND LEAST OFFENSIVE AGENT)
Tom Schroeder, Wasserman Music

THE FESTIVAL AWARD (LIGGERS’ FAVOURITE FESTIVAL)
Wacken Open Air

THE PRODUCTION SERVICES AWARD (SERVICES ABOVE & BEYOND)
The Tour Company

THE PROFESSIONAL SERVICES AWARD (MOST PROFESSIONAL PROFESSIONAL)
Andrea Myers, Live Nation

THE ASSISTANT AWARD (THE PEOPLE’S ASSISTANT)
Bhavika Patel, Ticketmaster

THE TICKETING PROFESSIONAL AWARD (THE GOLDEN TICKET)
Bryan Perez, AXS

THE INDUSTRY CHAMPION AWARD (THE UNSUNG HERO)
Andy Franks, Music Support

YOUNG EXECUTIVE AWARD (TOMORROW’S NEW BOSS)
Daniel Lopez, Live Nation España

THE BOTTLE AWARD
Marsha Vlasic

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US-based talent agencies APA and Artist Group International (AGI) have merged to form Independent Artist Group (IAG).

New York’s AGI was founded in 1986 by Dennis Arfa and is owned by the Yucaipa Companies, the private-equity group controlled by billionaire investor Ron Burkle, which also made a strategic investment in LA-headquartered APA (Agency for the Performing Arts) in 2021.

The merger announcement sees Arfa appointed chair of IAG’s music division, with AGI president Marsha Vlasic named vice-chair and APA president Jim Osborne becoming CEO. The new full-service agency promises to intensify competition in the international live music agency landscape, which had been largely consolidated by just four companies – CAA, Wasserman, UTA and WME.

“This was the natural next step in our evolution and made in the best interests of our valued artists,” says Arfa. “We have admired how Jim Osborne and their colleagues have been market leaders in creating brand expanding, non-touring revenue opportunities for their clients and we are excited to build on that success with them and look forward to integrating under the Independent Artist Group banner.

“We are excited to grow our music touring footprint especially with APA’s roster of urban and comedy artists, which augments what we have built at AGI. The combination of artists, agents and offices provides us with a tremendous platform with exciting growth possibilities in the touring and crossover space, which is our plan.”

“This new partnership with AGI and our rebrand to Independent Artist Group is another major step that elevates us within the agency landscape”

The deal brings APA clients such as 50 Cent, 2 Chainz, Fetty Wap, Deep Purple, Mary J Blige and Lauryn Hill, and AGI’s roster, which includes the likes of Billy Joel, Rod Stewart, Smashing Pumpkins, Linkin Park, Metallica, Noel Gallagher, Motley Crue, The Strokes and Iggy Pop, under one roof.

“Dennis Arfa and his exceptional colleagues at AGI are revered in the industry, having built a spectacular artist roster and a sterling reputation,” says Osborne. “The great news is we have already established a tremendous working relationship with them through shared representation on some of their most valued artists. This new partnership with AGI and our rebrand to Independent Artist Group is another major step that elevates us within the agency landscape.”

Deadline reported last week that APA head of music Bruce Solar would be departing the agency alongside a number of other agents. Paquin Artists Agency announced the acquisition of APA’s Canadian business earlier this month.

Yucaipa also has interests in London-based agencies X-ray Touring, ITG and K2, US promoter Danny Wimmer Presents and agency Day After Day Productions, and Spain’s Primavera Sound festival, as well as management company LBI Entertainment and sports agencies ISE and Steinberg Sports.

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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, Marsha Vlasic, president of Artist Group International, and Michele Bernstein, founder of Michi B Inc. and former partner at WME, talk livestreaming, vaccines and getting prepared for ‘Live 2.0’…

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?
MV: Other than spending much-valued time with my family I really can’t think positive about having our lives controlled and halted this way.

MB: The ability to reset and make space for new ideas and concepts.

How has news of the coronavirus vaccine news changed the conversations you are having with artists, management, promoters, festivals, etc.?
MV: I think most people are cautiously optimistic because we are all in such need of some good news.

We really don’t know when the bell will ring and when, and how fast it will be distributed, although the news coming from the UK is more promising.

MB: Conversations are very different. Plans are now very tentative and subject to change at a moment’s notice.

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?
MV: Streaming has been very strong for me – my client Norah Jones charted as number one on Pollstar; Neil Young has done some beautiful live streams; Band of Horses have also, just to name a few of my encounters.

Having said that, hopefully it will not replace the live experience. I have had some success with the live streams, but there is nothing like the live show!

“Hopefully some amazing music will come out of bands’ experiences during this time”

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?
MB: We don’t know what the world will be like as we open up again.

That having been said: not flooding the marketplace with on sale traffic, remaining mindful and cautious that both volume and timing will play key roles in our shared recovery.

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?
MB: Plan to seed the marketplace with some new content and redraft a new timeline/plan that includes a myriad of platforms.

MV: Hopefully there is always room for one more! I am sure every market will be saturated… Competition will be healthy, I hope.

Finally, are there any bad habits the industry had that you are hoping might disappear when normality returns?
MV: I don’t believe so – business is business, and competition is healthy.

MB: Turning thoughtlessness into thoughtfulness.

MV: Hopefully – I use that word again – some great, amazing music will be coming out from bands’ experiences during this time. That could be really exciting.

I want my fucking life back!

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As we enter the new decade, IQ caught up with leaders from the global live music business to reflect upon the development of the industry over the past ten years, as well as looking forward to what we can expect in the 2020s.

Following on from Q&As with UTA’s Neil Warnock, AEG’s Jay Marciano, and Move Concerts’ Phil Rodriguez, in the hot seat today is Marsha Vlasic, president of Artist Group International and agent to the likes of Neil Young, Iggy Pop, the Strokes and Elvis Costello…

IQ: The role that agents play in artists’ careers has undoubtedly changed over the last ten years. Considering the advent of global touring, and the various new income streams available to artists, how do you see this role evolving?
MV: As far as the agent’s role and the other income streams, unfortunately we are not a part of that. We are not directly involved in the other streams, but hopefully it helps us increase ticket buyers.

Looking ahead, what do you perceive will be the biggest challenges for the live music sector in the 2020s?
To continue building careers that will be long lasting.

What more could the constituent parts of the music industry be doing to deliver a better proposition to both artists and fans?
Figuring a way to exploit and share music that will allow an artist to gain new fans.

“My personal highlights have been keeping my clients and enjoying what I do”

Consolidation has been a constant theme of this decade. Looking ahead, how do you see the balance between the industry’s key corporations and the remaining independent players?
I think there will be fewer and fewer independent players.

Topics such as inclusion, diversity and mental health are commonly discussed these days. How is the live business shaping up compared to other sectors?
These are topics that cannot be buried or ignored anymore. It is completely out in the open, and hopefully that will continue to help people with problems feel safe to come out with it. There are many avenues and places in the music industry that people can seek help.

What are your own personal highlights from the last decade?
Staying relevant! Keeping my clients and enjoying what I do.

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Live Nation’s president of international touring, Phil Bowdery, returned as host for this year’s standing room-only Opening Forum, which saw six heavyweights gather to discuss the last 12 months in the business, hot-button industry issues and the looming threat of Brexit.

After running through some of the headline figures from 2018 – the largest tour was Ed Sheeran’s ÷, which grossed US$432.4m from 93 concerts in 53 cities, with Taylor Swift’s Reputation in second – Bowdery asked what the trend towards rising ticket prices, coupled in many cases with falling attendances, outlined in IQ’s European Festival Report 2018 means for the industry’s future growth.

Deutsche Entertainment AG (DEAG) CMO Detlef Kornett said that while his company experienced healthy growth last year – and that sales of top-end tickets continue to grow – less wealthy fans are increasingly finding themselves priced out of shows. “Twenty per cent of the population in Germany now can’t afford to go to a show,” he explained. “The P1s keep increasing, but the lower end is a concern.”

Coda agent Alex Hardee said while he didn’t have any statistics to hand (“not that that’s stopped me before!”) he feels the overall market is “flat”. “You’re never going to have a problem selling [new, hot acts like] Billie Eilish, but it’s more difficult with bands on their second, third albums… Record labels are the strongest they’ve been since the ’80s, but the live industry feels like it’s plateauing slightly.”

Tim Leiweke, the ex-AEG CEO who now leads venues company Oak View Group (OVG) – which used the conference to launch its new London-based OVG International division – cautioned that the business “need[s] to address whether we’re pricing people out of concerts”, especially if the global economy takes a downturn.

Solo Agency’s John Giddings countered: “Every time we put a show on sale, it seems to sell out. People want to go out and have a good time.” He revealed that his Isle of Wight Festival 2019 had sold more than 30,000 tickets before it had announced a single artist.

“Fortnite is a $60bn business, and it doesn’t charge to play. … I think there’s a lot to be learnt from that”

However, he added: “We push ticket prices all the time – the artists want more money, venues want that peripheral income – so there must be a level it reaches when we say it’s enough.”

Marsha Vlasic of Artist Group International (AGI) said AGI had a great year, with the likes of Billy Joel, Def Leppard and Metallica continuing to sell out shows. She said her biggest concern for the future is “who are the next headliners, and how do we get the next generation of acts to that level?”.

Asked about the impending merger of AEG Facilities and SMG, and the new company, ASM Global’s, potential to rival OVG, Leiweke said he doesn’t think “two [companies] coming together is ever good”, predicting that “they’re going to get challenged in the UK, they’re going to get challenged in Germany and elsewhere in Europe…” He also revealed that OVG’s lawyers are “looking at it” on anti-competition concerns.

Returning to ticket pricing, and the value of the market, artist manager Bill Silva argued that the live music industry – predicted to top $30bn in 2022, according to the latest PwC data – is actually small fry compared to the videogames business, where many IPs rely on a free-to-access model.

“Fortnite is a $60 billion business, and it doesn’t charge to play,” said Silva. “That’s one game that’s bigger than our entire industry by a multiple [of two]. I think there’s a lot to be learnt from what’s going on there – people are spending their time on that activity, rather than music and concerts – there’s a model around engagement and experience that encourages them to spend.”

“It’s the old drug dealer model,” he joked. “‘First one’s on me,’ right? Not that I was a drug dealer…”

Kornett argued the success of games like Fornite could help open up to the live business to a wider audience, using the example of DJ Marshmello’s recent performance in Fortnite, which was seen by 10m people.

“We need to remember we work in a system where other people rely on us”

Following on from ILMC head Greg Parmley’s welcome address, when he paid tribute to the ILMC members who had died in 2018, Silva urged the industry to come together and look after those in need.

“When we watch our artists taking their own lives – Chris Cornell, Chester [Bennington] and now this week Keith Flint – as well as promoters [referencing Croatia’s Jordan Rodić, who committed suicide in January], we need to remember we work in a system where other people rely on us as well.

“I guarantee any of the people around people who have taken their lives would say they did everything they could, or that they had no idea… We all have a lot of fun doing what we do, but I like to end most interaction on a high note and let people know I appreciate and respect them.”

Inevitably, with the UK set to leave the EU (with or without a deal) at the end of this month, talk then turned to Brexit. Several people in the room said they were hedging dollars to prepare for any post-Brexit plunge in the pound. “We’re in a gambling business, and that’s just another gamble we’re taking,” said Giddings.

“We’ve been following everything on Brexit, all the scenarios,” added Hardee, “but what can we do?”

Asked the view from the continent, Kornett said: “Once in a while, it’s good to take the other side. The UK industry accounts for almost 25% of Europe’s, so if it gets harder to get to the UK from Europe our business gets harder. So there should be a vested interest to avoid that.”

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