UK arena bosses have weighed in on the sector’s biggest issues in 2025 – and debated whether the stadium boom is hurting the indoor circuit.

The arena market boasts an abundance of top talent, with upcoming tours by stars such as Sabrina Carpenter, Billie Eilish, Teddy Swims, Gracie Abrams, Usher, Pulp, Andrea Bocelli, Chase & Status, Bryan Adams, Olly Murs, Katy Perry, Tyler, the Creator, Tom Grennan, The Lumineers, Lil Baby, Jamiroquai, Central Cee, Busted vs McFly and Kylie Minogue.

But with Post Malone becoming the latest A-lister to announce a summer stadium run, joining around 30 artists from Oasis to Beyoncé in headlining music’s biggest stages, does something have to give?

“The fan demand for live entertainment is stronger than ever, and although we are always competing to some extent, there’s no harm in a wider choice for fans across the board,” says Guy Dunstan, SVP and GM at Manchester’s Co-op Live (cap. 23,500), speaking to IQ.

“There will always be differing levels or artists taking to different sized venues, and at Co-op Live we’re even seeing some of the staple outdoor artists like Bruce Springsteen, Eagles and Pearl Jam opt to return to an indoor venue of our scale and size. It’s testament to the strength of the industry, that these events can co-exist.”

Gemma Vaughan, GM of Manchester’s 23,000-cap AO Arena is equally confident there is enough room for everyone.

“Manchester is lucky enough to be a city that’s home to two arenas, a plethora of smaller independent venues and two stadiums that also host live events,” she says. “We’ve been at the heart of Manchester’s music scene since 1995, we’re confident we’ll continue to thrive alongside all of our neighbours.”

“Fans only have a limited amount of discretionary spend”

Indeed, Steve Sayer, SVP and GM at London’s 20,000-cap The O2, says it is shaping up to be a year to remember for both stadiums and arenas.

“With stadium gigs, it tends to be a little bit cyclical: you’ll have a strong year and then the next year isn’t quite as strong, so it could potentially be perceived as having an impact on arena shows,” he contends. “But we’re certainly confident when we look at the diary – and not just this year, but next year as well – that the show count forecast remains strong.”

North of the border however, Rob Wicks, MD of Aberdeen’s P&J Live, admits to harbouring reservations on the subject, stressing: “Fans only have a limited amount of discretionary spend.”

Nevertheless, Wicks, who lists the cost of touring, the cost of living crisis and closures of grassroots venues among his chief concerns for the business, reports the 15,000-cap Scottish arena is still on track for a stellar year.

“The venue sold 31% more tickets in 2024 than it did in 2023 and is on track for a similar increase in 2025, which is really encouraging,” he tells IQ.

John Drury, VP and GM of London’s OVO Arena Wembley (cap. 12,500), sees both sides of the argument, but tells IQ it’s a case of so far, so good.

“There’s no doubt that a rising number of outdoor shows and festivals can widen the market and lead to some challenges in arenas, but so far for us at Wembley we’re not seeing a downside,” he reports. “2024 was a record-breaking year for Wembley and 2025 is shaping up to be as strong, if not stronger. Significantly, we hosted over 50 first-time headline acts last year, which shows the current strength of the arena market in the UK.”

“The arena landscape is really strong in comparison to 2024,” nods Utilita Arena Newcastle GM Caroline James. “Maybe it is already having a positive impact?”

“Anything that brings massive profile to the sector is a good thing – particularly if it reminds people to buy tickets for other gigs!”

Dom Stokes, general manager of Utilita Arena Sheffield (cap. 13,600), shares similar sentiments – suggesting that a rising tide lifts all boats.

“I think it’s positive,” he argues. “Anything that brings massive profile to the sector is a good thing – particularly if it reminds people to buy tickets for other gigs! A strong stadium season can lead to offshoot events in the arenas. In Sheffield, we have often found an opportunity to use our huge space for rehearsals.”

Stokes describes 2025 as a “transitional year” for Utilita Arena Sheffield, which joined the ASM Global venue network last month alongside Sheffield City Hall.

“However, product is strong and the investment planned in both front of house and back of house areas is very exciting,” he adds. “Ticket sales for all our genres are strong, but ticket buyers continue to buy a long time in advance or very late. There doesn’t seem to be very much in between.”

It is a similar story at the 11,000-cap Utilita Arena Newcastle, where James projects a “fantastic year both for private events and live events”, but points out that ticket trends “seem to be all or nothing”.

“Late purchasing is still very apparent,” she advises, adding that an increasing number of events are going to the bigger cities and missing regional venues.

“UK arenas generated £100 million in VAT in 2023: £60m on ticket sales and £40m on ancillary income”

OVO Arena Wembley’s Drury goes into detail on the issues at the top of his in-tray right now as chair of the National Arena Association.

“Since coming back from Covid, costs have continued to rise, which puts pressure on our margins,” he notes. “We’re also of course aware that production costs are also rising, putting the squeeze on from all angles. To add to this, we are concerned that a proposed increase in business rates designed to hit the major warehouse operators of online sales will also affect arenas disproportionately – we feel that an adjustment of the proposed raises should be made for our businesses.

“We of course already contribute massively to the government coffers: we employ huge numbers locally, contribute millions of pounds to our local communities – studies show £100 per person average spend in the community from each arena show – and also pay a big part in positively impacting the mental wellbeing of our millions of guests.”

Drury also backs trade body LIVE’s calls lower VAT rates in line with many other European countries “where 20% is unheard of”.

“UK arenas generated £100 million in VAT in 2023: £60m on ticket sales and £40m on ancillary income,” he says. “A cut would help the grassroots sector massively but also if we were able to divert a portion of our VAT income back to those most in need in our industry we could and should pretty much become a self-financing industry.

“If, for example, we could plough back 5% of the VAT we raise on tickets as part of a wider VAT cut for our events, that would have meant £3m going back to grassroots in 2023 alone.”

“Grassroots venues are an incredible part of the broader live music ecosystem”

In late 2024, IQ reported the UK live music industry was edging towards a deal which would see more stadium and arena tours agree to include a contribution towards grassroots support after a meeting with culture minister Chris Bryant MP.

The ministerial roundtable followed the government’s plea to the live industry to introduce a voluntary ticket levy to support the grassroots music sector in its response to the Culture, Media and Sport (CMS) Select Committee’s report.

“What the minister asked for – and was looking for – was momentum,” says The O2’s Sayer. “From our perspective, we’ve always said that grassroots venues are an incredible part of the broader live music ecosystem. We’ve got a collective responsibility to ensure that we can put together a solution that’s equitable and works and actually delivers funds to the venues and the artists that really need that support.

“From what I can see, and the conversations that I’m having, I’m confident there will start to be momentum this year around the levy and hopefully, over time, that will start to generate the sort of funds the grassroots desperately needs.”

The struggles of the grassroots sector are also at the forefront of Vaughan’s mind.

“It’s no secret that rising touring costs are proving challenging across the live entertainment industry, but I think the more relevant question is how does that affect our grassroots musicians and venues?” queries the AO Arena boss. “If these artists are unable to perform, how can they graduate through the talent pipeline and become our next headline act?

“As one of the UK’s largest entertainment venues, we’re extremely conscious of our position, and this is something we’ve been working closely with Music Venue Trust and Manchester’s wider community as a whole. Especially as we turn 30 this year, it’s more prevalent than ever to ensure that we’re protecting grassroots from the top down, or there will be no arena sector for us in the next 30.”

“We’re seeing fans wanting a more focused consumer experience”

On the programming front meanwhile, Vaughan detects a consumer shift in genres, particularly K-Pop, where “Manchester is rivalling the likes of London when it comes to talent and demand”.

“There’s also been a substantial shift in what our fans expects not only from their favourite artists, but venues too,” she continues. “Fans are looking for authentic experiences that go beyond their Instagram stories, they’re wanting connection. Experiential experiences are not to be overlooked, so that will be another key priority for us this year.”

Across the city at the rival Co-op Live, Dunstan is revelling in the arena’s first full year of operation, with UK arena exclusives from the likes of Bruce Springsteen and The E Street Band and Robbie Williams on the horizon in H1 2025.

“The appetite for content has been immense,” he observes. “Amongst it, we’re seeing fans wanting a more focused consumer experience, from quality food and drink, to pre- and post-show entertainment, well beyond VIP and hospitality.”

He concludes: “There’s significant attention on arenas and the part they play in the wider music ecosystem; perhaps more than ever, with vital conversations around ticket pricing, support for the grassroots sector, ticket levies and more.

“It’s a very exciting time to be part of the industry, and to work collaboratively to balance the various needs of all levels with an increase in fan experience and expectation. It’s this that rings loudest, with fans rightfully wanting the best possible experience in exchange for their hard-earned money.

“It’s great that things are being shaken up, and we’re proud to be at the forefront of many of these timely conversations and their subsequent changes.”

• ILMC’s annual deep dive into the arena sector, The Venue’s Venue: Anchor Topics, will take place at the Royal Lancaster Hotel at 9.45am on Thursday February 27.

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When Aberdeen’s brand new £333 million P&J Live arena opened in September 2019, no one could have predicted it closing just seven months later.

The ASM Global-operated venue, which replaced the former 8,500-capacity Aberdeen Exhibition and Conference Centre (AECC), opened in the northeast of Scotland with much fanfare.

At 15,000-capacity, the purpose-built venue became the biggest indoor arena in Scotland, boasting the largest standing floor in the UK.

In addition to the arena, the 480-square-metre site comprises conference spaces, exhibition halls, restaurants and two on-site hotels, and is located minutes from the international airport.

With the stage set, P&J Live got off to a roaring trade, hosting concerts from the likes of Alice Cooper, Lewis Capaldi, Stereophonics and the Script. But when the Covid-19 pandemic hit in March 2020, the venue closed its doors and became a vaccination centre.

Four years later, the arena has only just completed its first full year of trading. P&J Live’s head of entertainment, exhibitions & marketing Louise Stewart tells IQ how her team got the business off the ground again.

IQ: Last month you hosted two of Elton John’s Farewell Yellow Brick Road shows. How did they go?
LS: It was such a buzz. The city is still talking about it, which is amazing. In a small city like Aberdeen, something like that dominates so much and there’s a spotlight on the venue. Around 55% of the audience wasn’t from the city – the highest we’ve had – and given that both concerts were midweek, that was great. There were people from Inverness, Perth, Dundee, loads of European countries and even America. The feedback was that it was so easy to access, with the airport around the corner and hotels on site. It was our largest seated music act, with 10,000 at each of his two sold-out shows. It was a little compliment that Elton ended up staying for the two nights [in between his Aberdeen shows] as a pose to going home.

“The perception is that we’re off the beaten track but it is a good place to start a tour as we’ve got the availability”

With the opening of the arena, has Aberdeen become a more attractive tour stop for international artists?
Definitely. We would never have been able to get Elton indoors. We had him outdoors at the AECC with 14,000 people because we had land so we were lucky to be able to do that. We could do 8,500 standing at the old place and we can do 15,000 here so that’s a game changer. To be able to do shows like Michael Buble, BBC Sports Personality of the Year, and to break records with Gerry Cinnamon and Lewis Capaldi is amazing. Another difference is the level of experience we can provide for top artists. The old venue was a bit of a shed – I don’t mind a shed, I love a black box-type venue – but this is just a completely different level and once our clients have been here, they grab it with both hands.

Given that P&J Live is now the largest indoor arena in Scotland, could Aberdeen become a higher priority for agents?
I wish it had that effect but I’ve got to be a realist: Glasgow will always be the must-play city, with how well-established it is and also the content that comes out of there. And that’s great for Scotland – we can’t take anything away from that. It also helps us because we do pick up stuff. The perception is that we’re off the beaten track but it is a good place to start a tour as we’ve got the availability and we could pass down to Glasgow, whereas Glasgow would have to be very conscious of what they were doing in terms of rehearsals and production days. So that’s how we try to pitch it. Various agents have said how brilliant the venue is and production teams are so complimentary because the venue is purpose-built so it’s easy to get around and load in and it’s safe which goes a long way.

“I think the perception has always been that venues make all this money but margins are tight”

How was P&J Live’s first full year of trading?
This year is a tough year for us, compared to last year, with energy costs and price hikes. People are definitely more cautious. Aberdeen’s a small market and it’s a big venue, so for us, it’s about trying to be flexible and creative with our content. We have 280 events this year – 50 are entertainment – but we have a mix of business that keeps us going and makes us a profitable business. In terms of energy, costs have probably doubled and not yet stabilised. It’s great that we’re part of ASM Global which can help us and we can benchmark against other venues and other cities. I think the perception has always been that venues make all this money but margins are tight. Also, stadium shows, outdoor stuff and festivals do affect business but hopefully, we’ve got a place in the market somewhere and we can keep pushing away.

How are you diversifying content to keep business going?
In Hall C, for example, we’re doing a lot more smaller shows which have gone down really well. We’re about to announce a standing show with DF Concerts, which we’re really pleased about. The city doesn’t have a 2,000 cap. standing venue so we’re hoping to fill that space. Also, our conference, exhibition and banqueting businesses do really well. And we’ve done a lot with our premium and moved into more ad hoc inventory which is working really well. We’re really fortunate that our premium is popular. We’re always thinking about what other opportunities that we can find.

“The business has changed a lot from what we can see; there’s a lot more short-lead stuff”

ASM Global recently pledged its support to grassroots venues in the UK via Music Venue Trust. How is P&J Live embracing this?
Promoters work so hard on the early part of artists’ careers and some of those acts might reach us one day. I don’t want to muscle in on the stuff that the Lemon Tree or the Music Hall do because that’s their business and without those venues, artists won’t get to the arena level. It’s about that journey. It’s easy to think “Oh, I need to get this, I need to fill that space” but what does that mean to your business in the future? I think that’s really important to look at. In a small city, there’s not a huge number of venues and clubs so it’s about keeping the scene going especially for the big student population. If people can be in the world of live entertainment from a young age and carry that on, it benefits us in the end. So it’s definitely something that we’re passionate about.

Looking to 2024, how is the diary shaping up and how do you see business developing?
Next year the diary is really strong, a lot of pencils in there and a lot of good content. The business has changed a lot from what we can see; there’s a lot more short-lead stuff. We literally announced Jack Whitehall two weeks ago and it’s in October. That [trend] has done a bit of a full circle because it was like that years ago but then we were booking things 18 months in advance. Although, we’ve actually got pencils for entertainment in the diary into 2027 which is unusual but I think there are definitely more short leads because the world we live in is very on-demand now. It’s about whether someone wants to buy a ticket now for 18 months time or if they want to buy a ticket now, for next month or the next six months.

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ASM Global has announced the appointment of Rob Wicks as managing director of P&J Live in Aberdeen.

Wicks, who will join the venue in June, brings 25 years of experience in the sports and events industry, working with rights holders, brands, host venues, governing bodies, promoters and agencies.

He is currently commercial director at Aberdeen Football Club, where he has been responsible for all football club revenue streams, including partnerships and sponsorships, hospitality, ticketing, retail, memberships, marketing, communications, events and new stadium planning.

“On behalf of everyone at ASM Global, I’d like to warmly welcome Rob to the team,” says Marie Lindqvist, SVP operations Europe at ASM Global. “Rob brings with him decades of experience as a widely-respected, innovative and results-driven leader in the events and sports industries. Having seen great success working with renowned brands, events and organisations in Scotland and beyond, Rob will undoubtedly be a tremendous driving force in his new role as P&J Live, a truly versatile and award-winning venue, looks to the future.”

Wicks, who hails from South Africa and has worked in Europe for the past two decades, has delivered projects and events in 25 countries.

“ASM Global is on a clear growth trajectory and P&J Live is a vitally important part of its European venue portfolio”

“ASM Global is on a clear growth trajectory and P&J Live is a vitally important part of its European venue portfolio, so this a very exciting time to be coming on board,” he says. “I see this as a terrific opportunity to play a leading role in Scotland’s new state-of-the-art event complex achieving its full potential. I already know some of the passionate and talented team who operate the venue and having spent the past five years in Aberdeen, I am able to bring a strong network and range of local experience to the role.

“I am really looking forward to working with the team to build upon the great work they have done to date and enhancing the reputation that the venue has established. A great example of this is the Lewis Capaldi concert in January that delivered Scotland’s highest-ever selling indoor show. This sort of success has definitely put P&J Live on the map and instilled further confidence that the venue – and the region – can deliver.”

Opening in 2019, P&J Live is the largest event complex in the North of Scotland, and has upcoming shows with the likes of Michael Bublé, Elton Joh and Pet Shop Boys.

“Some of the key priorities that I see in the short to medium term are to enhance our key stakeholder relationships, better understand our customer base, look at ways to integrate innovative new technology to enhance the customer journey and ensuring there is an outstanding pipeline of world-class conferences and events to look forward to,” adds Wicks.

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Lewis Capaldi has broken the record for Scotland’s highest-selling indoor show.

The 26-year-old Scottish singer-songwriter sold more than 15,000 tickets for his DF Concerts-promoted show at P&J Live in Aberdeen on Monday (23 January), smashing the previous record set by Gerry Cinnamon at the venue in November 2019.

Capaldi, who is represented by Alex Hardee and Ryan Penty of Wasserman Music, was in Aberdeen as part of his 2023 European arena tour.

“Monday’s show was absolutely phenomenal,” says Louise Stewart, interim MD at P&J Live. “The perfect blend of humour and pure talent, Lewis entertained the record-breaking crowd with new music, some classic hits and gave us a few laughs along the way. This is a fantastic accolade for P&J Live and is exactly what the venue was built for.

“We would like to thank DF Concerts & Events for bringing Lewis up the North East of Scotland and to his fans for all their continued support – we couldn’t do it without you. We look forward to continuing to bring a variety of world-class acts to the region.”

“Nearly 15,000 fans from Scotland’s North East standing on the floor has to be seen to be believed”

Operated by ASM Global, the £333 million P&J Live opened in August 2019, replacing the former Aberdeen Exhibition and Conference Centre (AECC). It has upcoming concerts with the likes of Michael Bublé, Elton John and Pet Shop Boys.

“P&J Live was the perfect venue for Lewis’ full-hearted songs and incredible production on his hugely successful arena tour,” adds ASM programming director James Harrison. “Nearly 15,000 fans from Scotland’s North East standing on the floor has to be seen to be believed, a unique sight in UK venues, an incredible atmosphere and a night to remember for everyone that was there.”

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Scotland’s newest live events venue, Aberdeen’s P&J Live, has picked up a Venue of the Year award.

The 15,000-cap Scottish arena, which is operated by ASM Global, came out on top in the Venue of the Year – More Than 20,000sqm category at the AEO Awards, fending off competition from ADNEC – Abu Dhabi National Exhibitions Centre, Excel London, RAI Amsterdam, SEC – Scottish Events Campus, The NEC in Birmingham and The O2 in London.

The event, which is run by the Association of Event Organisers, took place on 24 June at Grosvenor House, Park Lane, London and was hosted by Scottish comedian Kevin Bridges.

“The team very much believes in making small things matter to enable big things to happen”

“We are absolutely thrilled to have picked up this award, especially being such a new venue operationally, while other venues have been open for decades,” says P&J Live MD Nick Waight. “We are lucky to offer a state-of-the-art venue, but the real event delivery is down to the dedicated team of experts in-house who help make the event a reality, and the support of our operating company, ASM Global.

“P&J Live’s team are extremely people-focused, placing great importance on an excellent client customer journey every time. Event organisers and promoters enjoy a seamless experience from sales pitch to event planning and delivery, as well as post-event. The team very much believes in making small things matter to enable big things to happen.”

The £333 million purpose-built venue opened in August 2019, replacing the former Aberdeen Exhibition and Conference Centre (AECC), and has hosted the likes of Rod Stewart, Liam Gallagher, Alice Cooper, Gerry Cinnamon and Michael Bublé. Upcoming concerts include Elton John, George Ezra, Westlife and Justin Bieber.

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