There’s a special kind of magic that descends upon arenas and theatres during the festive season – and no, we’re not talking about C-list celebrities indulging in slapstick humour and cheeky one-liners in the same pantos year after year. We’re referring to the thrill of family entertainment and best-selling shows like Disney on Ice, The Snowman, and more contemporary fare such as The Fairytale of New York.

Such shows don’t just pack out seats – they bring in the next generation of eventgoers, making kids’ eyes light up and turning once-a-year visitors into lifelong fans. For arena execs and producers, these performances are golden – they’re the moments where memories are made, loyalty is forged, and footfall skyrockets in the most joyful way possible.

But how do these shows keep things fresh, enticing families to return season after season? The business behind the curtain is a well-oiled machine, balancing nostalgia with novelty and seasonal blockbusters with strategic programming throughout the year. From the meticulous planning of show content – jokes for all ages, multi-generational appeal – to the latest tech upgrades and irresistible merch, producers are constantly evolving. Throw in marketing strategies that target both parents and kids, and it’s clear that family entertainment is far more than just a show; it’s a well-timed, carefully orchestrated experience designed to shape audiences for life.

According to Jon Conway of World’s Biggest Productions Ltd, a gap in the market existed because many typical tours wind down in mid-December, leaving theatres and arenas with empty calendar days. “Only Disney were touring family product in a few venues over Christmas,” he says; 30 years of experience meant he understood the market more than most, leading him to start his company – responsible for Elf the Musical – in 2015.

And he wasn’t the only one. “Prestige Productions realised there was a gap for additional Christmas shows that weren’t panto,” says the company’s Ross Mills. That led to them developing, among others, The Fairytale of New York, So This Is Christmas, and The Overtones Good Times Tour. And, in short order, such shows have become key revenue generators on both the arena/theatre side and the production/promotion side.

“These shows sell tens of thousands of tickets for us”

“These shows sell tens of thousands of tickets for us,” says Mills, the co-producer and executive director of The Fairytale of New York. “Fairytale sold nearly 150,00 tickets alone in 2023.”

“Our The Snowman tour is generally our biggest and longest output of work each year,” comments Rachel Whibley, managing director of Carrot Productions. “It would be hard to imagine the company being financially viable without it.”

Of course, there is more than one aspect to ‘success’ here. Partly, it’s the simple economics of selling enough tickets to make such shows profitable enough; as Richard Perry of Credwch Limited, responsible for the Cardiff Christmas Festival, puts it, “Our events require big investments in event infrastructure, which always puts a strain on commercial returns.”

But it’s also an opportunity to develop some brand loyalty, either to a particular venue or type of show, and as these are family events, to enchant the next generation of event-going fans so that they’ll return every year, well into adulthood.

“Certain shows become traditions for people to come to, and it’s so wonderful to see audiences coming back year after year as part of their seasonal celebrations,” says Ollie Rosenblatt, CEO of Senbla, the company behind the live-in-concert version of Disney’s The Muppet Christmas Carol.

“With our Hey Duggee and Bluey productions, we’ve been fortunate enough to be many children’s first experience of live theatre,” says Cuffe & Taylor’s Benjamin Hatton. “There’s something magical about live performance that can’t be replicated by watching a screen,” adds Martin McInulty, GM of first direct arena in Leeds, noting that such experiences don’t simply develop a love for live events. “Who knows what exposure to such events may lead to – some may take inspiration and pursue a career within the industry.”

“We are an audience feeder system for the entire live events industry”

“Every kid remembers their parent/s or grandparent/s taking them to their first show – that creates magical moments, and in turn drives them to bring their own children,” says Denis Sullivan, VP of international tours for Feld Entertainment. “We are an audience feeder system for the entire live events industry.”

Perhaps the best example of this is to be found at London’s The O2. “Since first coming to The O2 back in 2007, Young Voices have performed at the venue over 80 times and introduced over 650,000 children to the venue,” says the European vice president of venue programming, Emma Bownes. “Not only do many of those children return as live music fans in future years, but a recent Nielsen report found that 43% of parents attending Young Voices go on to research future O2 events and 33% book a ticket. That’s a whole new audience for us.”

It’s behind you!
An obvious issue with festive shows is the reliance on classic IP and themes to ensure familiarity yet delivering something fresh and new each year to keep fans interested and coming back. For some, such as Cuffe & Taylor, this is not such a big issue. “We consider any production if we know the audience will respond well, even if there’s some overlap,” says Hatton. “Pantomime is a great example – audiences come back year after for the quality, not necessarily for complete novelty.”

“I’d say it’s the one time of the year where not straying too far from what people are used to is even more important, so we don’t want to reinvent the wheel,” concurs Rosenblatt. “Christmas is about tradition – that means the same things over and over again but done with love.”

“People like consistency – this is important with Christmas,” says Lucy Noble, artistic director of AEG Presents UK and the producer of Christmas orchestral concerts at the Royal Festival Hall in London. “Of course, I mix it up, but the most important factor is to deliver excellence and build the brand in a positive way – that way, people will come back.”

“No two shows are ever the same – it’s the beauty of live that anything could and does happen”

Yet for others, refreshing much-loved events is essential to keeping them relevant – and profitable. “Over 100,000 fans come to see Disney on Ice at The O2 each Christmas, and to ensure these families keep returning, it’s really important that the show’s content varies from year to year,” says Bownes. This variation includes a “unique theme, look, and feel,” according to Sullivan from Feld, the company behind Disney on Ice – “we’re always updating the shows with new content,” he says.

Another of their extravaganzas, Monster Jam, is, he adds, a “fantastic example” of changing things up. “No two shows are ever the same – it’s the beauty of live that anything could and does happen. Evolving the show and the tech behind it is a process that never stops, and we have dedicated R&D teams working constantly to push the boundaries.”

For Monster Jam, those boundaries are mostly bigger, higher, and noisier. For more traditional stage shows, the challenge is to impress fans and audiences accustomed to CGI and the seamless special effects of TV and film within the confines of a finite – and often technically limited – space. “We constantly strive to up the ‘wow’ factor,” says James Shone, MD of Shone Productions (The Magical Adventures of Peter Pan). “We incorporate innovative set designs, outrageous costumes, and special effects, such as 3D animations and flying-without-wire systems.”

“We have a life-size galleon that sails 15 pirates around the arena floor in Peter Pan, and a snowball fight with 6,000 people in Elf,” adds Conway. He cautions, though, that what makes his shows work is “heart” and ensuring a very human connection. “It’s about making everyone feel part of a special experience, even in a big auditorium.”

It’s beginning to sound a lot like Christmas
Some festive shows however, by their very nature, eschew such technical and visual wizardry. Lucy Noble’s shows rely on “the most amazing orchestras – and the focus should be on them.” Similarly, IMG’s Film Concerts Live present major films in concert venues with a live orchestral accompaniment, the focus being very much on the music.

And then there’s a whole evening’s worth of family entertainment in spiegeltents, a concept imported from – but still prominent in – Germany and Austria. “It is tradition for families in German-speaking countries to attend a show or musical during the festive season,” says Ralf Kokemüller, managing director and producer for Limelight Live Entertainment GmbH. “Occupancy over Christmas is very high.”

“We always keep the show to a maximum of one hour and ten minutes, to keep the children engrossed and run multiple shows on key weekends”

“We are a little more than ‘just’ a show,” says Michaela Töpfer, general manager of Palazzo Produktionen GmbH, of their three-and-a-half hour events. Consisting of a stage spectacular – “always full of comedy and breathtaking acrobatics,” she says – a four-course menu from a local chef, and a mirror tent, the capacity for each performance is typically around 450 people, and they do five to six shows a week.

“We have great light and sound but no screens – we create our effects with haze,” she says of their USP. It’s a remarkably popular – and durable – format. “Last season, we had 150,000 guests from November 2023 to March 2024 – half of that comes from the B2B sector – and we have two spiegeltents up all year round – in Berlin and Vienna.”

Something for everyone
Töpfer notes that in her shows, jokes are often aimed at adults but remain family-friendly – on Sundays, children get half-price tickets. This is often a key tension within live family entertainment – appealing to multiple generations in terms of humour, cultural references, themes, and even duration.

“Always inoffensive, always a sing-along treat,” says Perry of his productions. “Plus, we always keep the show to a maximum of one hour and ten minutes, to keep the children engrossed and run multiple shows on key weekends.”

“It’s important to have a balance – people need to be wowed and engaged by what’s physically going on, but the script and the narrative get more attention from the adults,” says Rosenblatt. “Absolute quality does cross generations.”

That “something for everyone” ethos is often present in the very IP the show is based on, making it easy to market as fun for all the family. “Christmas movies, like Home Alone, include jokes and themes for all generations – the slapstick scenes are hilarious for the kids,” says Femke Lenau, director for film with orchestra and conductors for IMG Artists Europe. “And some films aren’t just a generational bridge – they’re a cultural bridge, too, so work just as well in non-English speaking markets.”

“You need to make a big splash at launch but save enough budget to maintain momentum as you approach opening – that’s the trickiest part”

“We don’t ever dumb down,” says Whibley. “The innate humour in all the Wallace & Gromit shows we stage is great for this as there is something for everyone on many different levels.”

When it comes to marketing, many smaller productions focus on the local – stage schools, councils, charities, and local sponsors. Partly, this is due to the community aspect of such shows and building something that can grow and thrive organically. For bigger “destination” type events, though, it’s a mix of the traditional – billboards, ads in print publications – and the new, such as paid and organic social media posts, TikTok, and cleverly using data.

Ross Mills says Prestige Productions spends seven figures annually on various forms of marketing, creating both regional and national campaigns; Jon Conway notes that “legacy media does not show returns anymore – we are constantly evolving new marketing patterns.”

As always, timing can be everything – as is not spending unnecessarily. “You need to make a big splash at launch but save enough budget to maintain momentum as you approach opening – that’s the trickiest part,” says Hatton.

There are monsters amongst us
As for the future, those working in this sector are keenly aware of the need to continuously develop, diversify, and expand their offering – resting on their (Christmas) laurels is not an option. “Spectacle” seems to be the watchword for many; as Benjamin Hatton says, noting Live Nation’s interest in AEW Wrestling and Hot Wheels Monster Trucks, “Who wouldn’t want to see a giant monster truck flying 60 feet across an arena?”

Jon Conway is developing an “experience walkaround show rather than just strictly performance led,” something he believes to be a major new developing market, while Ollie Rosenblatt thinks the time is right for more artist-driven, concept-based shows. Plus, he adds, “non-traditional circus, magic, and acrobatic shows are all great entertainment for the whole family – these are exciting for the market.”

“These events are shared experiences of joy and celebration”

A Zombies versus Descendants show may, according to Emma Bownes, be in the pipeline – “I’m really excited to see that!” she says – and it’s also natural that immersive and AI content remains ripe for exploitation and experimentation, particularly with regards to existing TV, film, and gaming IP. “We’re keeping our eye on new productions and ideas, such as innovative takes on classic stories and unique themed experiences, such as dinosaurs and superheroes,” says Shone. “The fresh concepts are generating buzz and piquing the interest of both audiences and industry professionals.”

But, cautions Perry, “I think there’ll be a huge demand for the traditional, the simple, and the wholesome, too – we’ll stick to that.”

After all, that’s what keeps the festive show tradition strong – and keeps generations flocking back. “At this time of year, people are after a communal experience and something fun and joyous they can bring their families to,” says Noble. Deliver that and you’re onto a winner.

“These events are shared experiences of joy and celebration,” adds Hatton. “And what better way to celebrate family and friendship than through a great show or concert.”

The business of family ents and touring exhibitions is the focus of ILMC Touring Entertainment LIVE, a dedicated one-day event that takes place in London on 26 February during ILMC. More info: 37.ilmc.com/tel

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The team behind Disney Jr. Live’s debut international tour have discussed the magic and mechanics of staging children’s first concert experience.

The multi-billion dollar business of touring theatre, shows and exhibitions is going from strength to strength, with the second edition of Touring Entertainment LIVE set for Wednesday 26 February as part of the International Live Music Conference (ILMC) in London.

Disney has put its unique stamp on the family entertainment format with Disney Jr. Live On Tour: Let’s Play! On the heels of a successful run in North America, the immersive concert experience opens in the UK with a “limited engagement” at London’s Royal Festival Hall on 15-16 March 2025, before being rolled out across Asia and the Middle East.

The tour unites production company Terrapin Station Entertainment with Sony Music stablemates Senbla (UK) and Barcelona’s Proactiv, which will handle UK and international promoting duties, respectively.

“This is a perfect example of how several divisions within Sony can all partner to create an unforgettable experience,” Terrapin’s Jonathan Shank tells IQ. “The show has been performed over 400 times in the US in the last handful of years and sold over 700,000 tickets. It has been one of the most successful preschool touring properties over the last decade here in North America.”

“Disney advocated for this tour to go global and has been such a supportive partner”

Disney Jr, Live On Tour features an interactive musical performance that includes singing, dancing, 3D special effects and acrobatics. Tickets start at £19.50 (€23.50).

“It was a long time goal for us to bring this show and all these iconic characters – Mickey, Minnie, Goofy, Spidey – to London,” says Shank. “Ollie [Rosenblatt, Senbla CEO] and I have been talking about the idea of bringing this production to the UK since about 2018. Ollie is beyond the perfect partner to help bring this show to the UK, and is perfectly suited to make this into global production, which is what we intend to do.

“Disney advocated for this tour to go global and has been such a supportive partner, so it’s been a big team effort and it’s off to an absolutely incredible start. I feel like that the UK audience is really embracing Disney Jr.”

Shank, who won a Grammy in 2009 for his role in creating the Global Drum Project album, is credited as a pioneer in bringing intellectual property to the live stage, with past productions such as Disney Junior Dance Party On Tour, Peppa Pig Live! and The Fresh Beat Band Live generating more than US$80 million at the box office.

“The work that Jonathan has done in the US is exemplary,” enthuses Rosenblatt, who was elevated to SVP Masterworks Live at Sony Music earlier this year. “You can tell by the number of shows they’ve done, how long it’s been going and the number of tickets sold that it’s a high quality product – and we like dealing with high quality shows and experiences.”

The show features hits from several popular Disney Jr. series, including songs written by Fall Out Boy frontman Patrick Stump

Senbla has become renowned for its work within the films in concert format – most recently with Spider-Man: Into the Spider-Verse, with Avatar the Last Airbender also set to tour in early 2025.

“We have a long history with Disney – we already work with them across multiple film titles – so it made sense for us to try and bring this to the UK as well,” says Rosenblatt. “There has been an enormous growth in the Disney Jr. brand in the UK, mainly through Disney+, which has really helped expand the offering into the UK market because, historically, it was a very US-centric property. Timing is everything with these things and you can’t manufacture that; you have to wait for the right time.”

He adds: “The show deserves to go global. It’s done incredible business, and that is testament to the hard work that Jonathan and Terrapin have done over many years with Disney to grow and develop this brand. So for us to be able to bring it into the UK is a great privilege, and the early signs are that the audiences are delighted it’s here as well.”

The show features hits from several popular Disney Jr. series, including songs written by Fall Out Boy frontman Patrick Stump.

“A lot of the songs featured in the Spidey segments were written by Patrick, which brings a bit of that vibe and energy into the show,” explains Shank. “It’s a very high energy, highly choreographed, acrobatic, high performance skill-type show. It’s just a lot of fun.”

“The beauty of this kind of show is that the characters are evergreen”

A core goal for the tour’s organisers is to give young audiences their first taste of music and theatre.

“It’s magic for the kids to see the character they love up on stage and in some cases, get to meet them, and it’s special for us to be able to bring that opportunity to families,” notes Rosenblatt. “Quality always prevails – if you bring a great show to an audience, there’s no reason why they’re not going to come back – and the beauty of this kind of show is that the characters are evergreen. If you’re enjoying it at the age of seven and eight, you might have moved onto something else by the time you’re nine and 10, but there’ll be another seven and eight-year-old enjoying the characters.”

Furthermore, Rosenblatt sees limitless potential for similar productions in the future.

“The expansion in IP gives a great opportunity to bring things to the stage that people know and love,” he finishes. “A big part of the growth is in being able to find a solution to translating what people see and engage with on screen, onto the stage. But it takes experts and high quality producers like Jonathan to understand the vision and understand what that takes.”

The Touring Entertainment Report (TER) 2024, a resource that puts the global business of touring theatre, shows and exhibitions in focus, is out now.

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Senbla CEO Ollie Rosenblatt has spoken to IQ about his goals for the promoter and his expanded role at parent firm Sony Music Masterworks (SMM).

A division of Sony Music Entertainment, SMM acquired a controlling stake in UK concert promotion and production business Senbla five years ago. Its portfolio also includes producer and promoter RG (Raymond Gubbay) Live; Barcelona-based Proactiv; Roast Productions Backyard Cinema; Holland-based GEA Live and Dubai-based promoter MAC Global.

Just this week, meanwhile, it announced a majority investment in Los Angeles-based experiential production and design company Black Sky Creative, whose recent projects include Stranger Things: The Official Store; AC/DC Official Dive Bar Takeover at the Power Trip Festival; the Olivia Rodrigo Tour Fan Experience; and Britney Spears – The Zone immersive fan experience.

“We’re very powerful in non traditional global business now, not just in terms of artist touring, but right across the board: family entertainment, theatre and experiential, and production,” says Rosenblatt. “We’ve got a really interesting, diverse, mixed portfolio of business now, We’ve done a lot in a few years as we continue to grow and broaden our remit. We also have a large focus on IP within the business, and on trying to create assets using IP.”

Rosenblatt took on the position of SVP Masterworks Live at Sony Music earlier this year, advising SMM president Mark Cavell and the broader Masterworks Live team by helping to identify future acquisitions and partnerships.

“I still run Senbla day-to-day, but my wider role at Sony is really exciting,” he explains. “It’s a more formalised role around what I was dipping my toe in beforehand. It’s really about growing this business globally, structurally, in the right way – driving efficiencies across all our businesses – and making acquisitions that are going to help feed the global landscape. I wanted to grow not only Senbla, but also the global business, and these opportunities came about from the network that I operate in.”

He continues: “We look at [potential acquisitions] in terms of, what can this add to the group? Can it add real value? Is it in a territory we’re not currently in? Or can it boost another area of the business? So it has to fit in, but we’re not only looking at promoters, we are looking right across the board.”

“Sony is unbelievably supportive and entrepreneurial from the top down”

Rosenblatt goes on to hail Sony’s backing as “fantastic”.

“They are unbelievably supportive and entrepreneurial from the top down,” he says. “It’s amazing to see and it’s an incredible place to work; they’ve got this brilliant ethos and this shift in their direction to focusing broader than just recorded music is really exciting. And we’re not slowing down, they want to keep growing and keep building.”

A key area of development for Senbla has been within the films in concert format – most recently with Spider-Man: Into the Spider-Verse, which has its Japanese premiere this month. The production will run at venues across the UK in September and December, with Avatar the Last Airbender also set to tour in early 2025.

“The film in concert business continues to grow massively,” notes Rosenblatt. “We moved into not just promoting them, but owning global licences on certain films, which has enabled us to supercharge those products internationally – utilising all the businesses within Sony to produce more film in concert shows than probably any other company in the whole world.”

London-based Senbla hired John Empson, best known for promoting Eden Sessions and Wilderness, in 2020 to lead the company’s experiential events business. Last year, the firm launched boutique 7,000-cap UK concert series On The Mount at Wasing, which returned to Berkshire in June with headline performances by Sophie Ellis-Bextor, Paolo Nutini, Crowded House, Jungle and Underworld.

“John’s predominantly focused on our outdoor business, and he’s fantastic,” says Rosenblatt. “Wasing is a special site, and we’re excited to continue to build and develop that. Launching something fresh is always hard in the first year, but we made huge strides and this year felt like an even bigger breakthrough.”

“We’re focusing on beautiful, iconic sites with iconic artists”

The unique eco woodland venue – a natural amphitheatre surrounded by trees in the grounds of Wasing, Berkshire – had previously hosted the Glade dance music festival in the mid-late 2000s.

“Artists absolutely love playing there and it’s just not another concert in a greenfield site,” adds Rosenblatt. “We work with the whole estate to try to drive their ethos into what we’re presenting for the audience. And again, we’re going to be back next year for another run of events in this most spectacular outdoor site.”

Senbla has upcoming concerts with the likes of Rickie Lee Jones, The Shires, Tubular Bells Live in Concert, Ron Sexsmith, Boyzlife, Ward Thomas and Wet Wet Wet. Rosenblatt has also worked on special shows by Quincy Jones, Ennio Morricone and Burt Bacharach.

“We’re focusing on beautiful, iconic sites with iconic artists,” he says. “Our touring business, a mix of artists, film in concert, family entertainment and theatrical – all the stuff we’ve always been doing, but more of it. It’s a busy old time at Senbla.”

Rosenblatt also pays tribute to Bacharach following the songwriting legend’s death last year aged 94.

“He was an amazing age, but it didn’t diminish the huge loss I and people around the world felt,” reflects Rosenblatt. “I started promoting him when I was so young and it was never lost on me how incredible it was to work so closely as I did with him, and get to present his music, and it’s still not lost on me to this day. Those opportunities and experiences are so rare because there was no one like him, and I don’t think there ever will be.”

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A new UK concert series on the natural amphitheatre The Mount in the grounds of Wasing in Berkshire has been announced for summer 2023.

Presented by Sony-backed promoter Senbla, the inaugural line-up for On The Mount will feature headline sets from Gabriels (22 June), Jack Johnson (25 June), Primal Scream (30 June), Ben Howard on (1 July) and Sigur Ros (2 July). Further shows will be announced in due course.

The spectacular woodland venue previously hosted the Glade dance music festival in the mid-late 2000s, and currently hosts the Medicine Festival.

“We’re delighted to bring such a diverse and wonderful line-up to the inaugural year of On The Mount, with artists that match the beauty and spectacular nature of The Mount at Wasing,” say On The Mount curators John Empson and Ollie Rosenblatt of Senbla. “We can’t wait for audiences to really experience something different on these summer evenings beneath the stars and surrounded by the woodland.”

“We are thrilled to announce our partnership with Senbla to deliver an unforgettable line-up of outstanding artists and trailblazing creative entertainment”

The On The Mount events will be preceded by an intimate Summer Solstice opening event on 21 June.

“Nature is the cornerstone for everything and as a linchpin between people and planet, Wasing connects heart and soul with the extraordinary ecological world around us,” says Wasing Estate CEO Andrew Perkins. “We are exceptionally excited to launch The Mount, bringing audiences and artists together to harmonise in nature and community through restorative musical experiences.

“We are equally thrilled to announce our partnership with Senbla to deliver an unforgettable line-up of outstanding artists and trailblazing creative entertainment, alongside Wasing’s very own unique and culturally diverse launch event; a cutting-edge curation celebrating revitalising indigenous, world and contemporary music.”

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Senbla, the Sony-backed promoter and producer based in the UK, has acquired a majority stake (51%) in live music and production business, GEA Live (General Entertainment Associates).

Amsterdam based GEA Live has been developing and producing shows worldwide since 2003, most notably for the late Italian producer Ennio Morricone for the final six years of his career, which encompassed more than 100 arena concerts in Europe.

GEA Live has specialised in the development and exploitation of IP in a live setting, producing official legacy tours such as Elvis Live on Screen, or career highlights productions with composers like James Newton Howard and Giorgio Moroder, as well as in-concert productions of well-known television and film franchises.

The acquisition will see Senbla collaborate with GEA Live on a range of projects including the Live in Concert version of Netflix’s hit series Our Planet (narrated by Sir David Attenborough), a space project with the European Space Agency with music by film composer Ilan Eshkeri, and a new arena show curated by Ennio Morricone.

“Senbla and [CEO] Ollie Rosenblatt have been trusted allies throughout the years,” says Floris Douwes, CEO and co-founder of GEA Live.

“[We want] to bring the best entertainment to fans, whilst engaging IP and rights owners [for] maximum commercial return”

“The new partnership came about almost organically and sets us up for further sustainable growth into new markets. The synergetic advantage it creates, to mutually develop and produce IP with a strategy that is both global in appeal as well as locally informed, is second to none.”

Ollie Rosenblatt, CEO of Senbla, adds: “As we continue to build momentum and scope in the business, I am delighted our next European chapter is with Floris, Ton and the wonderful team and shows they have built at GEA Live. We have a range of creative ideas we are developing, which match our ambition to bring the best entertainment to the fans, whilst really engaging IP and rights owners to provide maximum commercial return”.

The new alliance follows Senbla’s 2020 acquisition of boutique UK festivals Strawberries and Creem and The Cambridge Club.

Through Sony Masterworks, Senbla has also acquired businesses in the experiential space, family entertainment and theatre – both in the UK and the US – most notably Terrapin Station Entertainment and Seaview Productions.

Past Senbla events include concerts by Burt Bacharach, Diana Ross, Marc Almond, Michael Bublé, Ennio Morricone and Quincy Jones, and screenings with live orchestra of Love Actually, Harry Potter, Star Wars, Beauty and the Beast and Joker.

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London-based concert promoter Senbla celebrates the success of the inaugural Apollo Nights Summer Series, which took place from 16 to 20 July in partnership with the 5,000-capacity Eventim Apollo.

The promoter has confirmed that the concert series will return for a second year in July 2020.

The five-night long debut series saw performances from Marc Almond and George Benson, as well as two joint shows from Burt Bacharach and Joss Stone.

Non-dining tickets for the Apollo Nights Summer Series were priced from £39.50 for Marc Almond and £45 for other shows.

Guests could also opt for a dining experience, curated by chef Bryn Williams.

“When I first came to visit the newly restored Apollo, I was struck by what a beautiful venue this really is,” comments Senbla managing director Ollie Rosenblatt. Since opening in 1932, the grade II-listed venue has hosted acts such as the Beatles, David Bowie, Queen, Robbie Williams and Kylie Minogue.

“When I first came to visit the newly restored Apollo, I was struck by what a beautiful venue this really is”

Rosenblatt explains that the idea to “combine the best of food with music” came from viewing award shows at the venue.

“The response and feedback from both consumers and artists have been overwhelmingly positive,” adds Rosenblatt. “For 2020 the aim is to build on this.”

Darren Murphy, general manager of the Eventim Apollo, says he was “delighted” to collaborate with Senbla to put on the concert series.

“It was a rare opportunity to work with a promoter who brings music experiences to life and it was a delight to host the shows with these talented artists in our iconic venue,” says Murphy.

Senbla puts on more than 200 concerts and shows a year throughout the UK. Sony Music Masterworks recently took a majority stake in the promoter, as both look to expand offerings in the live industry.

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Sony Music Masterworks, a division of Sony Music Entertainment, has acquired a majority stake in UK concert promotion and production company, Senbla.

Senbla founder and chief executive Ollie Rosenblatt will continue to run the company, working alongside Sony Masterworks’ chief operating officer Mark Cavell and UK label head Sarah Thwaites.

“The combination of Senbla with Sony Music Masterworks gives us a broader platform to grow opportunities in live performance,” comments the Senbla boss, who says he is “delighted” with the new partnership.

Cavell says the deal is “exactly the right move” for Masterworks, as the Sony Music division continues to build on a “very successful live business”.

“The combination of Senbla with Sony Music Masterworks gives us a broader platform to grow opportunities in live performance”

Sony Music took full control of UK-based show producer Raymond Gubbay Live (RBL) last year, in a deal with Germany’s Deutsche Entertainment AG (DEAG).

According to Cavell, the acquisitions “provide the perfect platform to grow the business in the UK and overseas.”

Founded in 2011, Senbla puts on more than 200 concerts and shows annually across the UK. The promoter has worked with artists such as Joss Stone, Burt Bacharach, Sophie Ellis-Bextor, Soft Cell and Beverley Knight.

Last year, Senbla teamed up with content creation company Wisebuddah to put on Quincy Jones: A Life in Song at the AEG-owned O2 Arena. Senbla has led productions including Star Wars in Concert, the Apollo Nights Summer Series and Electric Soul Festival.

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