Missed our regular news updates this year (or recently emerged, Brendan Frasier in Blast from the Past-style, from a nuclear fallout shelter)? Team IQ are logging off for Christmas – so here, in no particular order, are some of the key stories that shaped the year in live music…

#UsToo
In a story that’s set to continue into the new year and beyond, the final few months of 2017 have seen #MeToo – the campaign to stamp out sexual harassment and assault in Hollywood, spurred by the allegations against producer Harvey Weinstein – cross over into the music business, with a growing number of female musicians and execs reporting similar behaviour in our industry.

IQ asked in October if live music has a “Harvey Weinstein problem”, and a number of prominent international female industry figures told us they, too, have been subject to, or witnessed, inappropriate behaviour or sexual assault while working in the live business.

Since then, organised movements campaigning against sexual misconduct in music have sprung up in Sweden (#närmusikentystnar, ‘when the music stops’), Australia (#meNOmore) and the UK (Stop 2018), while the Association for Electronic Music (AFEM) has launched a dedicated, confidential helpline for victims of sexual harassment in the electronic music business.

In the agency world, meanwhile, reps from all major multinational agencies told IQ last month they are intensifying their efforts to ensure the safety of their employees and clients – and CAA has confirmed to IQ it has cancelled its annual Friday pre-Golden Globes party in order to establish a legal defence fund for sexual harassment cases.

Annus terror-bilis
The Manchester Arena attack, the shootings at Route 91 Harvest and BPM Festival, the Reina nightclub bombing and other attacks on innocent fans of live entertainment this year will forever live in infamy – and remain a stark reminder that, despite increased security and the willingness of fans to keep coming to shows, they remain attractive targets for terrorism.

What should also be remembered, however, is the way the industry responded to the evil of these attacks: From the One Love Manchester and We are Manchester charity concerts to the candlelit vigils and fundraising for victims of the Route 91 Harvest attack, those working in live music, just as after the Bataclan attack, stepped up to plate to lend a hand to the victims and all those affected.

Those working in live music stepped up to plate to help to victims of terror

Festival FUBARs…
Who could forget Fyre Festival? Cancelled flights, limp cheese sandwiches and disaster relief tents? A festival that went so badly wrong it’s become a byword for badly organised events – the Giant Cheeseboard, for example, was only this week called “London’s answer to Fyre Festival” – and its promoter arrested by the FBI?

Yes, Fyre Festival this year became the gold standard for festival disasters, but it wasn’t alone. The inaugural Hope & Glory festival – described in the NME as “Fyre Festival with none of the lols” – was called off on its second day amid reports of bottlenecking, queues for facilities and sets being cancelled or running over, while Y Not Festival was cancelled after the site turned into a mudbath as a result of heavy rain.

Canada’s Pemberton Music Festival 2017, meanwhile, was axed with less than two months to go, after its parent companies were placed into administration with debts of almost $10m.

… and tours de force
Despite these headline-grabbing disasters, however, the 2017 summer festival season was a largely successful one compared to last year, when severe weather, including lightning strikes, forced the cancellation of open-air events in Europe and North America.

The organisers of festivals as diverse as Trsnmt (UK), Haven (Denmark), Download (UK), Istanbul Jazz Festival (Turkey), Hurricane/Southside (Germany), Baloise Session and OpenAir St Gallen (both Switzerland), Lollapalooza Paris (France) and BST Hyde Park (UK) all reported healthy attendances in 2017 – and IQ’s recent European Festival Report 2017 revealed that despite increased competition, a majority of the continent’s festival operators feel optimistic about the future of their events.

A majority of Europe’s festival operators feel optimistic about the future of their events

Nation-building
By IQ’s reckoning, Live Nation/Ticketmaster made three more acquisitions than in 2016, when eight companies came under the Live Nation Entertainment umbrella, further bolstering its credentials as the world’s largest live entertainment company.

They were: Bank of New Hampshire Pavilion (venue) in December; United Concerts (promoter) in October; Strobe Labs (data platform) in August; Openair Frauenfeld (festival) in July; Isle of Wight Festival in March; Bluestone Entertainment (promoter) and Ticketpro (ticket agency) in February; and Metropolis Music (promoter) Cuffe & Taylor (promoter), Bottlerock Napa Valley (festival) and CT Touring (promoter) in January.

Rain-grey town, known for its sound…
An IQ/Songkick study revealed in September that the British capital is by far Europe’s live music capital by number of events – and the third-biggest concert market in the world, behind only New York and Los Angeles.

There were 19,940 total live music events in London in 2016 – more than San Francisco (13,672), Paris (11,248) and Chicago (11,224) – and the city is on course to hold its no1 spot in 2017.

Looking ahead to 2018, a raft of new festivals looks set to further cement London’s status as the live music capital of Europe, with AEG and Live Nation/Festival Republic both planning new events and local councils opening up more green space to meet the growing demand for live entertainment.

Live Nation/Ticketmaster made three more acquisitions than in 2016

Google to touts: Don’t be evil
Google last month dealt what could be a fatal blow to the likes of Viagogo and Seatwave, announcing that from January 2018 secondary ticketing sites would be subject to stringent restrictions on their use of Google AdWords.

Under the new measures – which come on the back of UK politicians accusing sites such as Viagogo, StubHub, Seatwave and Get Me In! of violating Google’s Adwords policies on misrepresentation, and increased scrutiny of ticket touting in Britain, Italy, Japan, Spain, Ireland and more – Google will force ticket resellers to list the face value of tickets, make clear they are resale sites and stop implying they are an ‘official’ seller or lose access to AdWords.

Google’s crackdown comes as national authorities, especially in the UK, continue to make life harder for touts, with National Trading Standards last week making four arrests as part of an investigation into the “practices of businesses that buy and sell tickets in bulk”.

The end of the road for ‘industrial-scale’ secondary ticketing, or merely another hurdle to be overcome? Time will tell…

Agency turntable
The booking agency world continued to consolidate in 2017 with a number of acquisitions, mergers and partnerships. Notable was Paradigm which entered into a strategic partnership with the UK’s X-Ray Touring in April and acquired Chicago- and California-based agency Monterey International in August.

Among other moves, July saw Helsinki-based Fullsteam Agency announce that it had acquired Rähinä Live, while September saw K2 Agency swoop for Factory Music. Meanwhile, the ongoing merry-go-round of agents swapping desks between companies continued – and if rumours are to be believed, 2018 will see this trend continue apace.

The booking agency world continued to consolidate in 2017 with a number of acquisitions, mergers and partnerships

In memoriam
In addition to the beloved performers we lost in 2017 (RIP Tom Petty, Chester Bennington, Chris Cornell, Chuck Berry, Greg Allman and many others), several equally revered live music business figures also passed away this year.

Peter Rieger, the founder of Cologne-based promoter Peter Rieger Konzertagentur (PRK), died on 29 January at the age of 63 – “far too young,” said friend and colleague John Giddings. “This has been a sad and dismal week,” added manager and former agent Ed Bicknell. “I’ve lost three dear pals: John Wetton of King Crimson, Asia and UK, Deke Leonard of Man, and now Peter. […] He was a total professional, a pleasure to deal with and funny – definitely funny. Which is what every promoter needs: a sense of humour.”

Another live industry veteran who passed far too young was tour manager, artist liaison and ILMC’s longtime producer, Alia Dann Swift, who died aged 57 in May. “She was the best,” said CAA’s Emma Banks. “A beautiful human being, a great friend, a smart and an inspiring woman.”

“Alia was renowned for her warmth, her tireless support of those around her, a perennial sense of humour and a no-nonsense approach,” added ILMC head Greg Parmley. “She was a widely loved and respected figure in the touring world who will be deeply and entirely missed.”

The live music world was once again rocked in August by the shock death of well-liked Primary Talent co-founder Dave Chumbley after a short illness.

“Dedicated to his artists to a fault, Dave was responsible for many hugely successful careers in the global music industry,” said manager Terry Blamey, with whom Chumbley worked for years representing Kylie Minogue. “He was a talented, wonderful man taken from us way to soon. Lynn and I loved him like a brother, dear friend, and we will miss him dreadfully.”

Other tragic losses to the business in 2017 included ShowSec founder Mick Upton, tour travel agent Mary Cleary, Israeli promoter Shmuel Zemach, Reading Festival founder Harold Pendleton, Washington, DC, promoter Jack Boyle and Live Nation Belgium booker Marianne Dekimpe.

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Peter Rieger, the founder of Cologne-based promoter Peter Rieger Konzertagentur (PRK), has passed away aged 63.

The news was announced today by CTS Eventim – since 2000 the majority stakeholder in PRK – which paid tribute to a man who has provided “thousands of people wonderful memories” and “given numerous artists their breakthrough”.

“We were deeply moved by the death of our longtime business partner and colleague, Peter Rieger,” reads a statement. “We are mourning for a giant of the live entertainment industry.

“The death of Peter Rieger does not just mean a big loss for the industry, but also a farewell to a long-time companion. Our sincere condolences to his family and relatives.”

“We are mourning for a giant of the live entertainment industry”

PRK, founded in 1983, has been led by managing director Klaus-Peter Matziol since 2015, when Rieger retired. A joint statement from the company’s staff and management described the late promoter, who passed on 29 January, as a “passionate and visionary leader” who “guided our company over many decades, creating unforgettable moments in music performance”.

Solo Agency managing director John Giddings says that despite stepping down from his MD role at PRK, Rieger was “still very much hands-on” with the business – and that the two were co-promoting Phil Collins’ shows in Germany later this year.

Giddings, who had known Rieger since the late 1980s, says his friend died “far too young”. “I’m in shock,” he tells IQ. “He was good for a laugh and generous beyond belief, and helped me out a lot when it was starting out.”

“He was good for a laugh and generous beyond belief”

“Peter was a great character who will be dearly missed throughout the industry,” comments Rob Hallett of Robomagic. “We worked a lot together in the ’80s – my fondest memory probably involves him having the first car phone that I had ever seen. We were in Berlin with Kajagoogoo, and while driving past the Brandenburg gate I telephoned my Mum from the car. She was blown away!”

“When I was an agent, he delighted in calling me ‘Robbery Hallett’, he adds. “I can hear him laughing at his own joke now…”

Danny Gillen, the long-serving road manager for Phil Collins, says Rieger “wasn’t just a promoter: he was my friend, as he was to all touring bands and crew. He was a man who loved his job and loved his life. Peter was funny, generous and a real credit to the music business – but most of all he was a loyal man. Loyalty is a thing you can’t buy – you’ve either got it or you haven’t – Peter had it in spades.”

“Peter was a great character who will be dearly missed throughout the industry”

Agent and International Live Music Conference (ILMC) founder Martin Hopewell describes Rieger as “a significant figure in the development of the European live music scene, one of the all-time great German promoters and a highly valued founder member of the ILMC. He was also an elegant, intelligent man who I’m very grateful to have known. Losing people of Peter’s experience and quality diminishes the live industry in a way that can never really be compensated for.”

Marillion drummer Ian Mosley, for whom Reiger promoted several tours in the early 1980s, says he has “very, very fond memories of Peter”.

Fish, the band’s former frontman, adds: “I was so sorry to hear the news of Peter’s passing. He was a great friend and advisor to me in the ’80s and instrumental in breaking Marillion in Germany. His contribution to the music business over the years on so many levels has been immense. A fantastic character with a sense of humour that could light up any venue.

“My sincere condolences to his family. He will be missed by so many that he touched during his time with us.”

“His contribution to the music business over the years on so many levels has been immense”

Mike + The Mechanics singer Tim Howar calls Rieger “a brilliant man and legend”. On behalf of the band, he says: “We will miss you.”

“This has been a sad and dismal week,” says manager and former agent Ed Bicknell. “I’ve lost three dear pals: John Wetton, of King Crimson, Asia and UK, Deke Leonard, of Man, and now Peter. I did many shows with him back in the day when I was an agent, and he worked with Dire Straits and other acts of mine many times.

“He was a total professional, a pleasure to deal with and funny – definitely funny. Which is what every promoter needs: a sense of humour. This year has got off to a gloomy start already.”

“He was a total professional, a pleasure to deal with and funny – which is what every promoter needs: a sense of humour”

Born on 12 April 1953, Rieger promoted some of Germany’s most memorable shows, including high-profile dates by David Bowie, Paul McCartney, Genesis, U2, George Michael, Eagles and Whitney Houston, and Roger Waters’s The Wall – Live in Berlin.

Prior to founding PRK, Rieger worked for Lippmann + Rau before moving to Mama Concerts, where he promoted his first show by an international act: Level 42.

He was named promoter of the year (promoters’ promoter) at ILMC 16 in 2004.

This article will be updated with tributes from those who knew and worked with Peter Rieger as we receive them. If you would like to contribute, please email [email protected].

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