Ed Sheeran details first N.America tour in five years
Ed Sheeran has announced details for the North American leg of his + – = ÷ x (Mathematics) tour, visiting stadiums across the continent for the first time in five years.
The 21-date tour will kick off on 6 May at AT&T Stadium in Arlington, Texas, before wrapping up on 23 September at SoFi Stadium in Inglewood, California.
Support comes from Khalid, Dylan, Rosa Linn, Cat Burns, Maisie Peters and Russ on differing dates (see below).
The tour marks Sheeran’s first return to North America since his 2018 Divide outing, which became the highest-grossing concert tour of all time.
The British singer-songwriter recently wrapped up the European leg of the Mathematics tour, in support of his album of the same name.
The 31-year-old is represented by Marty Diamond and Ash Lewis at Wasserman for US and Canada, and Jon Ollier at One Finiix Live for the rest of the world.
See Sheeran’s Mathematics North American tour dates below.
06 – AT&T Stadium Arlington, Texas, US *
13 – NRG Stadium, Houston, Texas, US *
20 – Raymond James Stadium, Tampa, Florida, US *
27 – Mercedes-Benz Stadium, Atlanta, Georgia, US *
03 – Lincoln Financial Field, Philadelphia, Pennsylvania, US *
10 – MetLife Stadium, East Rutherford, New Jersey, US *
17 – Rogers Centre, Toronto, Ontario, Canada ^
24 – FedExField, Landover, Maryland, US ^
01 – Gillette Stadium, Foxborough, Massachusetts, US ^
08 – Acrisure Stadium, Pittsburgh, Pennsylvania, US ^
15 – Ford Field, Detroit, Michigan, US ^
22 – Nissan Stadium, Nashville, Tennessee, US @
29 – Soldier Field, Chicago, Illinois, US @
05 – GEHA Field at Arrowhead Stadium, Kansas City, Missouri, US @
12 – U.S. Bank Stadium, Minneapolis, Minnesota, US @
19 – Empower Field at Mile High, Denver, Colorado, US @
26 – Lumen Field, Seattle, Washington, US #
02 – BC Place, Vancouver, British Columbia, Canada #
09 – Allegiant Stadium Russ, Las Vegas, Nevada, US +
16 – Levi’s® Stadium, Santa Clara, California, US +
23 – SoFi Stadium, Inglewood, California, US +
* = w/ Khalid and Dylan
^ = w/ Khalid and Rosa Linn
@ = w/ Khalid and Cat Burns
# = Khalid and Maisie Peters
+ = w/ Russ and Maisie Peters
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Metronomy, Stormzy latest acts to call off tours
Tour cancellations are mounting, with Metronomy and Stormzy becoming the latest artists to scrap plans.
In the last couple of months, Santigold, Arlo Parks, Shawn Mendes, Sam Fender, Russ, Wet Leg and Disclosure have all cancelled dates due to mental health concerns, while Placebo, alt-J, Pale Waves and Anthrax have scrapped appearances due to “logistical issues”.
Yesterday (29 September) English electronic group Metronomy followed suit, pulling the plug on their upcoming tour of North America.
“Touring America is one of the most expensive and exhausting things a band can do,” wrote the band in a post on Instagram.
“When you’re a young band, that time spent touring the states is the only way that you would want to spend it. But, when you’re a little older and a little wiser, you start weighing up the time you spend on the road against the time you spend with loved ones at home,” it continued.
“Right now, it doesn’t make sense for us to come I’m afraid. We’ve had an incredibly busy year of gigs and festivals and now need to afford some of the same time and attention to our home lives.”
The tour was due to kick off this October but the majority of shows have now been postponed until May 2023. The band will still play their Los Angeles show at The Wiltern on 27 October and at the Pepsi Centre in Mexico City two days later as planned.
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Meanwhile, Stormzy has called time on his Australia and New Zealand tour due to “circumstances beyond my control”.
“It is with the heaviest of hearts that I have to inform you guys that due to circumstances beyond my control, I must cancel international commitments for the remainder of the year which includes my Australian and New Zealand tour,” a statement from the rapper reads.
“You guys have waited so patiently and I am so sorry that this has to happen after all these ups and downs. I love you guys and I promise I will be back as soon as I can with a show that’s bigger and better than ever.”
Stormzy was set to perform at Spilt Milk festival as well as headline shows at HBF Stadium in Perth, two nights at the Hordern Pavilion in Sydney, Riverstage in Brisbane, John Cain Arena in Melbourne and AEC Theatre in Adelaide.
The shows were originally scheduled for 2020 before being halted by the pandemic. Many fans have waited close to three years for the shows after buying tickets. It was set to be Stormzy’s first appearance in Australia in five years.
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Santigold becomes latest artist to pull tour
Santigold has become the latest artist to pull the plug on a tour, citing a smorgasbord of issues that leave her “simply unable to make it work”.
Her North American tour, ‘Holified’, would have kicked off in Atlanta next month and wrapped up in California by November.
In a lengthy statement posted on her social media channels, the US artist has cited difficulties with inflation and the post-pandemic touring industry among the reasons for the cancellation.
She also said that the financial and emotional toll of touring after the pandemic has left her with “anxiety, insomnia [and] fatigue”.
“I will not continue to sacrifice myself for an industry that has become unsustainable for, and uninterested in the welfare of the artists it is built upon,” she wrote.
Santigold says she “thinks it’s important for people to know the truth of what it’s like out here for artists”
The US artist added that she “thinks it’s important for people to know the truth of what it’s like out here for artists,” and that she doesn’t “believe enough of us are talking about it publicly.” She also said that she’d further elaborate on the reasons for her cancellation in the future.
Santigold is one of many artists to cancel a tour or shows due to similar reasons. Arlo Parks, Shawn Mendes, Sam Fender, Russ, Wet Leg and Disclosure all recently cancelled dates due to welfare concerns, while Placebo, alt-J, Pale Waves and Anthrax are among the acts to cancel due to “logistical issues”.
Santigold concluded her statement by assuring ticket holders that they’d receive refunds, as well as promising them access to her VIP membership for early releases, announcements and other “exclusive experiences… create[ed] just for this group.”
The singer’s Holified tour would have been in support of her fourth studio album, ‘Spirituals’, which was released earlier this month. She is represented by UTA in North America and Andy Duggan at WME rest of the world.
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Placebo postpone North American tour
Placebo have postponed their entire North American tour just two days before it was due to begin, citing “visa and logistical issues”.
The British rock band were due to launch the tour in Canada at the 990-cap Vancouver’s Commodore Ballroom on Sunday (4 September) before switching to the US.
The 10-date run – the group’s first US tour in eight years – was scheduled to conclude with a two-night stand at Brooklyn Steel (cap. 1,800) in New York from 18-19 September.
“We are devastated to announce the postponement of our North American tour… This is due to unprecedented visa and logistical issues beyond our control,” says a statement published on the band’s social media channels.
“We are doing everything we can to reschedule the tour as soon as possible”
“We are so disappointed and frustrated and so very sorry to let our US fans down after waiting so patiently for us to come and play for you. We are doing everything we can to reschedule the tour as soon as possible and we will announce the rescheduled dates soon. Please hang onto your tickets which will remain valid for the rescheduled dates. Refunds will be available at point of purchase.”
The Brian Molko-fronted band are due to return to action in Europe next month, kicking off at Frankfurt’s Festhalle on 1 October.
Live Nation grows Latin division with new hires
Live Nation has boosted its Latin touring operation in North America with the triple hire of Ricardo Taco, Claudia Valencia and Maritsa Restrepo.
A veteran independent promoter, Taco has partnered with LN and other promoters over the past 15 years in Ontario, Canada, working with acts including Wisin Y Yandel, Ozuna, Maluma, J Balvin, Farruko, Arcangel, Jerry Rivera and Rosalia.
He will lead Live Nation Canada’s Latin music strategy nationally, working closely with LN chair Riley O’Connor to further grow Latin artists’ touring presence in the market. He will also act as the liaison between Live Nation’s SVP of global touring Hans Schafer, and the company’s Latin booking team across the globe.
In addition, he will help develop Latin touring shows for Canadian venues of all sizes, and will soon expand into the country’s festivals and outdoor properties.
“Canada is a strong Latin music market and our new key touring hires will help set the strategy to continue building on our expansion”
Elsewhere, Valencia has joined the firm as tour director based out of Guadalajara, Mexico. She will be tasked with building and executing business strategies for LN’s Latin tours for artists such as Pepe Aguilar, Sebastián Yatra, Wisin Y Yandel, and Los Ángeles Azules.
Valencia worked closely with best-selling Latin artist Maná for over a decade, before working as tour rep for Live Nation and independent talent manager at Vibras Lab.
Restrepo, meanwhile, comes on board as a ticketing coordinator, based out of Los Angeles, California. Having previously worked at various box offices, such as at The Classic Center in Athens, Georgia, she will assist with tour set-ups, facilitate promotions, and aid in the communication between artist teams and venues, while also helping roll out various day-to-day projects.
“We have steadily grown our Latin division at Live Nation with experts who understand the music and represent Latin fans, allowing us to better service our artists,” says Schafer. “Canada is a strong Latin music market, and our new key touring hires will help set the strategy to continue building on our expansion to reach new audiences throughout North America.”
Shawn Mendes extends mammoth world tour
Shawn Mendes is to play a total of 99 arena shows on his world tour, after extending the North America leg with 13 additional dates.
The 23-year-old Grammy-nominated Canadian singer/songwriter is due to visit North America, Europe and the UK on his year-long jaunt, dubbed Wonder: The World Tour.
On the first leg, which kicks off on 27 June in Portland, Oregon, at the Moda Center (cap. 19,980) and runs through to August, Mendes will be joined by Dermot Kennedy.
More dates for the UK and Europe, Latin America, Asia, and Australia/New Zealand legs are to be announced shortly
The second leg of the tour, which will run from September to October, will be supported by Tate McRae.
Among the 13 additional shows are an extra date at Brooklyn’s Barclays Center (19,000), new shows in St.Louis and San Diego, as well as one in his hometown of Toronto.
The UK and European legs of the tour, which were rescheduled due to the pandemic, begins in May 2023. The UK leg is promoted by AEG Presents’ Messina Touring Group.
More dates for the UK and Europe, Latin America, Asia, and Australia/New Zealand legs are to be announced shortly.
Mendes is represented by Nick Matthews at Paradigm Talent in Europe and Matt Galle at CAA for the rest of the world.
Imagine Dragons extend blockbuster world tour
Multi-platinum Grammy award-winning band Imagine Dragons have added three more dates to their extensive Mercury World Tour.
The North American leg of the tour, produced by Live Nation, will be extended with dates in Allentown (16 February), Seattle (5 March) and Montreal (4 May).
The 2022 tour kicks off on 6 February at FTX Arena (cap. 21,000) in Miami, Florida, making stops across North America and Europe before wrapping up on 16 July at Lollapalooza in Paris, France.
The entire tour, which celebrates the release of their latest album ‘Mercury – Act 1’, includes a total of 53 dates at arenas, stadiums and festivals.
The North American leg of the tour will be extended with dates in Allentown, Seattle and Montreal
The European leg comprises 18 stops across the continent, including several major festivals, like I-Days in Italy (11 June) Pinkpop in the Netherlands (19 June) and Rock Werchter in Belgium (2 July).
Luxembourg’s Rockhal Open Air (16 June), Poland’s Open’er Festival (29 June) and Spain’s Mad Cool Festival (7 July) are also part of the Mercury World Tour routing.
Stadium dates include Luzhniki Stadium (cap. 81,000) in Moscow, Russia, Ernst-Happel Stadion (51,000) in Vienna, Austria, and Letnany Airport (60,000) in Prague, Czech Republic.
Tour support will be provided by MØ and Grandson in North America and Lany in Europe.
Imagine Dragons are represented by James Whitting at Paradigm Talent Agency and Corrie Martin at Wasserman Music.
Operation Phoenix: How arenas are getting back to business
Scientists and epidemiologists predict that the winter months will see another peak in cases of Covid-19, so as arena management around the world draw up plans to cope with their busiest year ever, Gordon Masson, with the help of the European Arenas Association, learns about some of the strategies to reopen venues – and keep them open. In the first part of this serialised feature, executives from the European arena business discuss how they’re getting back to business.
Major concerts and tours are taking place throughout North America and Europe, but scratch the surface and it’s obvious that the coronavirus pandemic is far from over, as many territories still have social distancing restrictions in place, or outright bans on mass gatherings.
In the UK, meanwhile, the entire business is awaiting the findings of the Manchester Arena Inquiry, although the ramifications of that will doubtless have an international impact, too.
Nevertheless, a cursory chat with anyone in the arenas sector yields similar responses: venues are massively oversubscribed for 2022 and 2023, and the volume of shows and tours in the diary mostly surpasses the levels of business enjoyed in 2019.
European Arenas Association (EAA) president Olivier Toth notes that, as the restrictions change on a regular basis, the association’s recent survey of its members only captures a moment in time – in this case, 25 November. Given that the survey was conducted before the omicron variant became an issue, the data is certain to change in the coming days and weeks.
“With capacity restrictions, we see strong differences between the northern part of Europe and the southern part of Europe”
“I was hoping that things would change and everybody would be able to reopen, go to full capacity and all of that good stuff. Yeah. But unfortunately, it’s the other way round. So it remains complicated,” says Toth.
Nevertheless, Toth believes the EAA survey was important to gauge the disparity of restrictions throughout the organisation’s membership – and indeed, all 36 members of the EAA submitted data to help in that regard.
“With capacity restrictions, we see strong differences between the northern part of Europe and the southern part of Europe,” he reports. “In northern venues and western venues, nobody has restrictions. In the south, however, we see no restrictions for 56% of our colleagues, while 44% do have to work with restrictions. In central Europe, it’s 75% working with restrictions, while in eastern Europe, it’s similar with 71% having to deal with capacity restrictions.”
“Those restrictions will, again, be variable, and there it becomes very complex because they change between countries, but they also change between regions. One example that struck me: we were talking to friends [at an arena in southern Europe] and whereas in my part of Europe everybody thinks and believes that Covid digital certificates are the way out for our sector, this particular venue doesn’t use them.
“[The focus has evolved through the intervening 18 months, and reopening is more about vaccines, tests, face masks, crowd size
“They’re not going to check [certificates] at the entrance, at least not at a time when they participated in the survey. But, on the other hand, they need to keep the bars closed. They need to keep wearing masks and seated shows are mandatory. So no standing.”
Such disparities mean that coming up with an overarching guideline to help arenas across the continent to reopen is – at present – an impossible task. That’s certainly the case for some of the major venue operators, internationally.
Ron Bension, president and CEO of ASM Global, notes that while there is no set plan to cover every arena in the company’s portfolio, that network of venues provides its own cumulative strength. “When [the pandemic] initially happened, the focus was on cleanliness, containing the air and those kinds of things to ensure that people were safe and that people didn’t get [the virus]. That’s evolved through the intervening 18 months, and reopening is more about vaccines, tests, face masks, crowd size.
“The good thing about ASM Global is we’ve got more than 300 buildings around the world. The advantage we have, and our clients have, is that we’re giving them global data on a real-time basis as to what’s happening in the marketplace, and what to be prepared for: it’s rich, more narrative data, about what happened, what we did, how did it work, and what does that mean for you? And if we can provide that to our clients and customers and act upon it in a proactive way, then we and our clients are winners.”
“[OVG] is in a very good position with the new buildings because of all the technology we’ve been able to deploy”
At Oak View Group, executive vice president Brian Kabatznick notes that the company is in a unique situation, given that it is able to integrate Covid mitigation measures into the construction of its properties.
“We’re fortunate with the ten new arenas we’re opening because there are two methods of Covid mitigation – retrofitting existing buildings or opening new buildings where you’ve got the touchless systems, the HEPA filters, the ability to take fresh air from the outside and run that through the arenas on a much more efficient level. So from an arena perspective, we’re in a very good position with the new buildings because of all the technology we’ve been able to deploy, effectively and efficiently,” says Kabatznick.
“We’re the largest developer of arenas in the world, we’ve invested $5.5billion (€4.9bn) in deployed capital. For Oak View Group (OVG), we’re able to move very quickly and efficiently as an investor, operator, developer, builder, financer. But the first ten arenas are the tip of the iceberg. The next tranche will be similar, major markets, OVG coming in as investor operator, usually with a local partner.”
Quizzed on what steps ASM has taken to ensure the safe reopening of its buildings, Bension points to the collaboration with Drexel College of Medicine to create VenueShield, which he describes as “the number one safety protocol for coming back to business.”
He continues, “It’s not rocket science: it’s just very detailed protocols for backstage, offices, front of house, artist areas, convention centres, meeting rooms, front desk, ticket taking. We take each area and figure out: What are the touchpoints? What are the interface points? And what do we need to do to ensure guests’ safety at those points, ensure cleanliness at those points? What do we need to do at the end of the day, and before opening, to ensure that we can get the venue up for the next day’s business? It’s extremely detailed.”
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Omicron live music restrictions: World update
As the new Omicron variant of coronavirus takes hold, IQ has updated the latest restrictions affecting major international touring markets. This update complements our European list which can be read here.
Below you’ll find the latest information on certification schemes, social distancing requirements, mask mandates, capacity restrictions and lockdowns affecting key live music markets around the globe.
Please note that we will aim to keep this article as up-to-date as possible but all information is subject to change.
To submit an update to this, please get in touch. This article was last updated on Thursday 16 December.
To read about the Omicron restrictions affecting European markets, please click here.
As of 27 November, the operating capacity of indoor events has increased to 80%. Entry to indoor events requires attendees to show their green pass and a negative PCR test result received within 96 hours.
Attendees at indoor events must also undertake an EDE scan at public entry points and wear a mask.
As of 16 November, mass events in outdoor spaces can take place at 100% capacity. Attendees over 18 years of age must provide proof of at least one dose of the vaccine, and wear a face mask during the event.
In New South Wales, face masks, proof of vaccination and Covid-19 Safe Check-in are not required. Retail and businesses are no longer required to have a Safety Plan.
In Victoria (and from 17 December, Queensland too) many leisure and entertainment facilities, such as live music venues, can only open for attendees and staff who are fully vaccinated or exempted. Capacity limits and social distancing will not apply.
South Australia is currently operating under Level 1 restrictions which means venues are limited to 75% capacity for seated events and 50% for standing events. Covid Management Plans required for events of more than 1,000 people. Masks are required for shared indoor public spaces.
Though Western Australia remains in a ‘state of emergency’, events and concerts are permitted to go ahead at full capacity. However, businesses must provide a Covid Safety Plan and maintain a contact register. Events with more than 500 patrons are required to complete a Covid Event Checklist or Plan.
In November, the Brazilian government increased the capacity limit for music venues from 70% to 100% with proof of vaccination.
In Ontario, Canada’s capital city and its biggest live music market, new restrictions came into effect on Sunday 19 December.
Under the new rules, music venues and many other indoor public settings will be limited to 50% capacity. Event spaces are required to close by 23:00.
Canada’s live music restrictions vary from province to province.
See the latest guidelines for each of the regions here: Alberta, British Columbia, Manitoba, New Brunswick, Newfoundland and Labrador, Northwest Territories, Nova Scotia, Nunavut, Ontario, Prince Edward Island, Quebec, Saskatchewan, Yukon.
Restrictions vary across the country but the majority of regions are on step 3 (preparation) or step 4 (initial opening) of the national five-step reopening plan.
During step 3, seated concerts in closed spaces (such as music venues) can take place at 50% capacity if all attendees show a Mobility Pass verifying full vaccination. If there is food consumption, it is reduced to 30% capacity.
Seated concerts in open spaces (such as open-air venues) can take place at 60% capacity with a Mobility Pass. If there is food consumption, it is reduced to 40% capacity.
In non-seated closed spaces, events can take place with up to 100 people (sans Mobility Pass) or 500 people (with Mobility Pass). In non-seated open spaces, events can take place with up to 200 (sans Mobility Pass) or 1,000 (with Mobility Pass).
Attendees at all non-seated venues must be able to maintain social distancing (1m without food consumption, 1.5m with).
Masks are required in all public spaces.
Life is largely back to normal but regional lockdowns have been imposed every time there are new outbreaks of the virus.
Mask-wearing is compulsory, as is keeping a two-meter social distance, except in restaurants, cafes, offices, workplaces, gyms, shopping centres, beaches and public and entertainment parks, where a one-meter rule applies.
Outside, you must wear a mask unless exercising, eating or drinking, at a barbershop or salon, in a car with people from the same household, or if you’re alone.
Live entertainment and activities are permitted in restaurants, cafés and shopping malls. Events with free movement – such as standing concerts – are now allowed again, with a maximum of 5,000 people. Vaccination is required for these events.
At the beginning of November, the Japanese government eased its 10,000-capacity limit on mass gatherings such as concerts following a steady decline in coronavirus cases.
Events across the country can now admit 5,000 people, or 50% of capacity – whichever is larger – while large-scale spaces are permitted to welcome more than 10,000 spectators in Tokyo and other regions previously under a state or quasi-state of emergency. However, events that will involve fans shouting and cheering will be capped at 50% of capacity.
See more information on event restrictions here.
Mexico is currently following a colour-coded system (red, orange, yellow, green) which is updated every two weeks.
Currently, all states are coded yellow (resuming limited activities but with precaution) or green (resuming normal activities but with precaution).
Concerts can only take place in green-coded states. See the colour codes for states here.
Since the beginning of this month, New Zealand has been operating with a traffic light system, under which each region has been assigned a colour (green, orange or red) based on vaccination rates and the spread of Covid-19 in the community.
A region’s colour determines the set of restrictions by which it has to abide.
In regions assigned ‘red’, venues using vaccine certificates are limited to 100 people with one-metre social distancing. In ‘orange’ regions, these venues face no limits on gatherings at events, retail, hospitality. Venues that don’t use vaccine certificates are not permitted indoor or outdoor events under red or orange.
Every region aside from Northland will move to orange at 23:59 NZST on 30 December. These settings will stay in place until 17 January when the cabinet will review. Prime Minister Jacinda Ardern said she expected many areas would move to green at that point.
As of 1 October 2021, South Africa is operating under an adjusted Alert Level 1 which indicates a “low Covid-19 spread with a high health system readiness”.
Under Alert Level 1, leisure and entertainment facilities, whether indoors or outdoors, must close at 23:00. Nightclubs are closed to the public.
Face masks are mandatory for every person when in a public place and 1.5 metres social distancing must be maintained.
Entertainment facilities are limited to a maximum capacity of 750 people for indoor venues and 2,000 people or less for outdoor venues – with social distancing. Smaller venues are limited to 50% capacity.
It was announced on 16 December that South Korea will reimpose curfews on businesses for an initial two weeks from Saturday 18 December.
Public places such as concert halls and cinemas will be permitted to operate until 22:00, while restaurants, cafes and other nightlife venues will have to close at 21:00.
The measures, announced on Thursday (16 December), come a month and a half after the government initiated a phased reopening plan. Amid record highs of Covid-19 infections, the cabinet has gradually rolled back the policy.
Restrictions may vary from state to state – check the US government website for the latest guidance.
New York City
On 13 December, governor Kathy Hochul announced that masks will be required to be worn in all indoor public places unless businesses or venues implement a vaccine requirement. This measure is effective until 15 January 2022, after which the state will re-evaluate based on current conditions.
California is fully open for business with no capacity limits or physical distancing requirements.
For indoor events with 1,000 or more or outdoor events with 10,000 or more, attendees age 3 and older must provide proof that they are fully vaccinated or have received a negative Covid-19 test.
Unvaccinated persons are required to wear masks in all indoor public settings. It is recommended that fully vaccinated people also wear masks in these settings.
CTS share price peaks after N.America expansion
CTS Eventim’s share price is at an all-time high following its expansion into the North American ticketing market.
For the first time in the Munich-based company’s history, its share price has peaked at €65.80 – up almost 10% in the last five days.
The spike comes days after CTS, the second-largest ticketing company in the world, announced its goal to “establish an alternative to the dominant providers in the US and Canada” as it began selling tickets for its first US client, Big Apple Circus, on 26 September.
Before the start of the coronavirus pandemic, CTS was selling more than 250 million tickets for around 800,000 events every year, making it the world’s second-largest provider of ticketing solutions and the number one in Europe.
“North America is the most attractive market in the world for live entertainment and ticketing”
Klaus-Peter Schulenberg, CEO of CTS Eventim, says: “North America is the most attractive market in the world for live entertainment and ticketing. The platform eventim.com puts us in an ideal position to benefit from the restart there.
“The sale of tickets for Big Apple Circus is a first step on this journey. We are already in discussions with potential partners and customers about making our cutting-edge ticketing systems available to them soon.”
The Big Apple Circus is being co-produced by veteran entertainment executive Michael Cohl, a longtime promoter of bands like The Rolling Stones who briefly served as chairman of Live Nation in 2008.
Last year, CTS and Cohl formed the joint venture EMC Presents with the goal of bringing leading international artists to stages in the United States and Canada.
The move is CTS’s second foray into the US market. In 2009, Live Nation partnered with CTS Eventim to launch Live Nation Tickets, a platform intended to challenge Ticketmaster’s dominant position in North America.
Before it was launched, Live Nation pulled out of the deal and merged with Ticketmaster instead, a move which led to CTS Eventim suing for breach of contract. The disagreement was settled in arbitration in 2013.
This summer also saw the launch of Eventim Live Asia. The new company, headquartered in Singapore and led by CEO Jason Miller, focuses on the rapidly growing live entertainment markets in China, Japan, South Korea, Singapore, Hong Kong, Taiwan, Indonesia, Thailand, Vietnam, Malaysia and the Philippines.