‘The industry has well and truly bounced back’
“It’s a really interesting time,” says Steve Homer, CEO of AEG Presents UK, an understatement that’s echoed by several major promoters in one of Europe’s largest music markets. “There are some great sales and tours but still some acts out there, that would in previous times be performing much better, are struggling to gain any momentum. It results in a bit of a head scratch for promoters.”
A head scratch indeed. The UK has found itself facing a unique set of challenges and opportunities in 2022, some thrust upon it and others very much of its own making. On the plus side, as the initial post-pandemic downturn in ticket sales eases, there has been much for the major players to celebrate. Festival Republic, the country’s premier festival promoters, in charge of Latitude, Wireless, and others, comfortably sold out its flagship Reading & Leeds weekend in August. Glastonbury 2022, the first edition of the legendary event since 2019, was a storming, largely rain-free success. All genres have bounced firmly back from the pandemic, too – Homer, who has seen tickets fly off the web for tours by Michael Bublé, Diana Ross, Pet Shop Boys, and Blondie this year, points to Rammstein’s sell-out tour as “a triumph for rock music in a market where people are saying rock is a dying genre. It is so encouraging to see a rock act at the top of their game play sell-out stadium shows.”
Promoters, from the international level of Live Nation and SJM Concerts to the independent likes of Crosstown Concerts, have seen an incredibly busy year, as the post-pandemic backlog of artists wanting to tour has played out. “We are still playing catch up from the pandemic,” says Homer. “The displacement of artists touring over the past two years has skewed the market, and it’s going to take a while to get back to something that can be predicted in the same way, or as close to, as it was before.” He advises a cautious approach. “Taking a no-risk strategy for the next 12 months is a good starting point.”
“The live industry has well and truly bounced back this year and continues to work towards pre-pandemic business, making up for lost time”
Others have thrown themselves headlong into the challenge. In Scotland, DF Concerts had a record-breaking summer, with 33 major outdoor, stadium, or festival events bringing £72.4m into the Scottish economy between June and August, on top of the 1,000 smaller gigs they put on this year. “The live industry has well and truly bounced back this year and continues to work towards pre-pandemic business, making up for lost time,” says DF’s CEO Geoff Ellis. “We were involved in bringing some huge tours to Scotland this summer, including Harry Styles’ Love on Tour; Coldplay’s Music of the Spheres world tour; The Hella Mega Tour with Green Day, Fall Out Boy, and Weezer; Billie Eilish; Haim; Liam Gallagher; and Calvin Harris all in Glasgow. And we are very proud to have promoted the biggest ever shows by a Scottish artist with two sold-out Hampden Stadium shows for Gerry Cinnamon this year.”
Ellis and DF take much personal satisfaction in the success of his two shows at Falkirk Stadium with The Killers, the first time the venue had been used for such large-scale gigs, and in the Coldplay tour, having worked with the band since they were playing 300-capacity venues including Glasgow’s legendary King Tut’s back in 1999. He also lauds their commitment to environmentally friendly touring. “With Coldplay and Billie Eilish, in particular, it’s great to see everything come to life that they are so passionate about when it comes to making touring sustainable,” he says. “It was a real eye-opener and something that I hope more tours take into consideration going forward.”
At another major UK promotion company, Kilimanjaro, CEO Stuart Galbraith looks back on the company’s busiest year ever, with 750 shows on sale at one point. “To then deliver all of those one by one,” he says, “whether it was Craig David, whether it was Simply Red, whether it was Hans Zimmer in arenas, Bring Me The Horizon, just getting through the workload and a similar workload at theatre-level [was amazing]. This summer we had a tremendous return with Belladrum festival, Scotland’s biggest camping festival. We weren’t able to run in 2020 or 2021, so coming back in ‘22 was both challenging but hugely rewarding. Challenging because after not doing it for three years there were many things that were automatic that had been forgotten, but the reception by the audience and the satisfaction to the team at running a sold-out festival was just brilliant.”
“Brexit caused the problems we all knew it would”
Galbraith sees holding onto his team through the pandemic as just as great an achievement as the company’s musical revival. “Not having to lay anybody off during the pandemic,” he says, “we’re very pleased to have been able to keep the team together.” The effects of lockdown did ripple through into 2022, however. “We’ve seen the lasting effects of the pandemic through this summer,” he says. “We’ve got two or three tours left that are rescheduled or re-rescheduled twice, three times rescheduled, and other than that we’re now into new product. The summer had some huge successes but also had some huge challenges. But I’m hoping that we will see next summer be a much more normal marketplace.”
Kilimanjaro saw some form of normality begin to return with the arrival of a copper-topped hero. “One of the first tours that we had to play this summer that was not affected by Covid was Ed Sheeran,” Galbraith says. “We were able to go on sale with Ed in late September last year when there was a period of time where everybody thought that Covid was gone and then to be able to play that tour starting in May and running through to July, and in his case running through September in Europe, it placed itself perfectly, so people didn’t have any Covid effect to deal with.” He, too, repeats the UK promoter mantra for 2022: “It’s been an interesting year.”
Interesting due to its perfect storm of post-pandemic challenges. “Brexit caused the problems we all knew it would,” says Homer, referring to the much-publicised barriers to international touring for UK acts arising from Britain’s withdrawal from the EU. The additional visa, cabotage, and carnet issues have reportedly seen British artists’ international festival bookings fall by 45% since 2019 and increased costs to the point of making European tours unfeasible for smaller acts – Best for Britain CEO Naomi Smith has claimed that Brexit is “strangling the next generation of UK talent in the cradle.” Likewise, international acts have been discouraged from playing the UK by the increased red tape.
“Exchange rates have created the real financial issues for artists”
At the same time, the UK has suffered the same increased production costs due to the Ukraine war-fuelled inflation and post-pandemic labour shortages in the industry that much of the rest of the world has. But they’ve been exacerbated by the government’s lack of support for – often freelance – music industry workers and musicians, and the local cost-of-living crisis being deepened by Liz Truss’s short-lived but disastrous tenure as PM. The collapse of the pound and the ensuing recession following Truss’s mini budget was swiftly followed by the cancellation of UK tours by the likes of Animal Collective, Santigold, and Sampa the Great, citing the economic impossibility of making them work.
“It’s hard to tell whether it’s Brexit, whether it’s a recession, or whether it’s war, but all of them have had a combined effect to make it harder for artists to be on the road,” says Galbraith. “We’re certainly seeing a difficulty at mid-level for international touring acts, especially American acts that we’re potentially paying in local currency but are incurring most of their costs in US dollars. With the exchange rate as it is, and then you add to it supply chain issues, increased costs, etc. You can see that it’s difficult for acts, and certainly we’ve lost some tours at that theatre-level where acts have just turned around to us and said, ‘we can’t afford to come.’ Equally, we’ve got other tours that we’ve been working on for a long time that were waiting to be confirmed that have just now disappeared, again because the global conditions don’t lend themselves to make financially viable touring possible. That’s not the case at stadium-level or to some extent arena-level where there’s obviously profits to be made, but certainly at survival touring-level, it’s very tough.”
“Exchange rates have created the real financial issues for artists,” says Homer. “The dollar rate is so poor currently [that] a lot of US artists are considering [not] touring in the UK and Europe – this could have a real impact on the mid-range to smaller artists.”
“The audiences are here, ready and waiting, and there is a really strong artist pipeline over the next couple of years”
Galbraith also raises concerns over potential power cut measures that the UK government is suggesting to combat the current energy crisis – “as is the case in Germany, I’m sure that most countries will not be prioritising entertainment locations for priority power supplies. Those will go first to hospitals and to domestic residences” – and that insurance policies won’t cover shows cancelled due to Covid.
“I think most people now approach Covid like any other disease, and flu is a good comparator,” he says. “If you’re too ill to sing or you’re too ill to perform, then fine, we lose the show. But just because you’re now testing positive doesn’t mean that you’re necessarily not going to go on. What it does mean, though, is that with every insurance policy having Covid as an exclusion, if somebody can’t sing because they’ve got a cough or a cold or similar symptoms, you’ve got to get a doctor’s note to prove whether they have Covid or not because the irony is, if they’ve got flu, we can claim on insurance, if they’ve got Covid, we can’t.” He does, however, see a silver lining to the UK’s problems in terms of increased demand for local festivals next year. “The pound being so weak in the international markets now, package holidays will be more
expensive,” he says, “so it could be that summer ‘23 becomes a staycation year.”
Indeed, the major UK promoters are all largely optimistic about the coming year. “2023 is looking similar in terms of the scale of shows that we are going to have,” says Ellis. “Already we’ve announced stadium shows with Harry Styles, and Mötley Crüe & Def Leppard; greenfield shows with Arctic Monkeys and Muse; plus TRNSMT and Connect Festival, with more outdoor shows to come. The audiences are here, ready and waiting, and there is a really strong artist pipeline over the next couple of years – there are so many young artists coming up in Scotland at the moment, such as Katie Gregson-MacLeod, Bemz, Cara McBride, Dylan John Thomas, Ewan McVicar, Frazi.er, and so many more, and the genre of music is very varied – from acoustic singer-songwriters; rap and hip-hop; indie, pop, and everything in between. So, it’s looking like we’ll be back stronger than ever in terms of the offering of live music and the number of artists on tour.”
“We’re seeing strong attendances at club nights, showcase nights, and on the pub circuit”
“Demand has come back fine at most levels, with the exception of the older-audience level,” says Galbraith. “Certainly, theatre, musical theatre, and classical [are] slower to come back than contemporary rock and pop. If you speak to any orchestra manager or sinfonia or symphonic hall, they’ll tell you that their attendances are anything between 20 and 30% down still. […] I think the strong [acts] will get stronger, and the weak will get weaker. As people head into what widely seems to be accepted as a recession, instead of going out three or four times in a year or a month, people will go out two or three times or once or twice, and they’ll go out to see their favourites. So, I think you’ll see many stadium tours and arena tours that will do great business, but you will see potentially less of them.”
And the key to breaking through in such an unpredictable climate? Galbraith cites a dedicated approach to digital marketing and good old-fashioned talent. “The best method is to just have good-quality music,” he says. “Quality will out. There are more and more routes to market and methods to find a customer base. We’re seeing strong attendances at club nights, showcase nights, and on the pub circuit. But I think it’s just to continue to write great music and, if you’re able to and you can afford to, then gig and build it that way.” Interesting times, it seems, are best embraced.
Rob Hallett’s Robomagic company went independent again after three years under Live Nation. The longstanding promoter has decades of experience in the industry, as an agent and promoter with Barrie Marshall’s Marshall Arts, Mean Fiddler, and then establishing AEG Live in the UK in 2005, before establishing Robomagic ten years later.
“At the moment, if you choose well, and you get your marketing right, things work well,” says Hallett. “I think the market still seems buoyant.
“I’m old enough to remember the last big recession, and we still got through it as an industry and people will still want to go to shows. People want to be entertained. So, I’m hopeful that we’ll get through this.”
The Global Promoters Report is published in print, digitally, and all content is also available as a year-round resource on the IQ site. The Global Promoters Report includes key summaries of the major promoters working across 40+ markets, unique interviews and editorial on key trends and developments across the global live music business.To access all content from the current Global Promoters Report, click here.
Burna Boy announces historic London Stadium gig
Burna Boy is set to become the first ever African artist to headline a UK stadium.
Promoters Robomagic Live and Coko Bar have announced details of the Afro-fusion star’s Love, Damini Stadium concert, which will take place at the 60,000-cap London Stadium on Saturday 3 June 2023.
The Grammy Award-winning 31-year-old already made history this past April by becoming the first Nigerian act to headline the 20,000-cap Madison Square Garden in New York.
“Together with our partners at Cokobar we are proud to bring the spectacle that is a Burna Boy show, to London Stadium for the very first time,” says a joint statement from Robomagic chief Rob Hallett and Ropo Akin, CEO of Coko Bar, which specialises in promoting African artists throughout Europe.
“It will be a landmark first for him or any solo African artist here in the UK”
“Here at London Stadium we are always looking to break new ground with our live events, so we are honoured to host the debut UK stadium show for Burna Boy,” adds Graham Gilmore, CEO of London Stadium. “It will be a landmark first for him or any solo African artist here in the UK, so it promises to be a special night at the stadium next June.”
Real name Damini Ogulu, Burna Boy previously starred at London’s OVO Arena Wembley (cap. 12,500) in November 2019 and The O2 (20,000) in August 2021. Last week, he presented his manager and mother Bose Ogulu with the Manager of the Year Award at the 2022 UK’s Artist & Manager Awards.
PHOTO (L-R): Ropo Akin, Burna Boy, Bose Ogulu, Rob Hallett and Graham Gilmore
Get more stories like this in your inbox by signing up for IQ Index, IQ’s free email digest of essential live music industry news.
Rob Hallett’s Robomagic leaves Live Nation
Robomagic, the live entertainment venture founded by veteran promoter Rob Hallett, is leaving Live Nation effective immediately after three years with the company.
The company comprises of Robomagic Live, a boutique touring division, and Robomagic 360, which describes itself as encompassing “touring, recording, publishing and artist/brand management”.
TLC, Sleaford Mods, Goldie and Boy Better Know are among the artists on Robomagic’s roster, as well as Duran Duran, who Hallett represented as an agent in the 80s.
The two companies jointly promoted shows including UK dates by HER, Why Don’t We, Lemz and Jammer of Boy Better Know.
“I feel very positive about the future and embracing the new normal. Enhanced by new technology, the industry will bounce back in a big way. I would like to thank everyone at Live Nation, for their support over the last three years, and look forward to the next instalment of Robomagic Live,” says Hallett.
“I feel positive about the future and embracing the new normal. Enhanced by new technology, the industry will bounce back”
The statement also says Hallett is determined to be ahead of the “ongoing curve” and is keen to develop a smaller, more flexible company, that is well-positioned to benefit from this new landscape.
Hallett established Robomagic in January 2015, following his exit from AEG – where he established AEG Live in the UK in February 2005.
Hallett was instrumental in growing the profile of the company (now AEG Presents) internationally.
Highlights of his AEG tenure include Prince’s landmark 21-night residency at the O2 in London in 2007; three Bon Jovi stadium treks; Cohen’s successful 2008–10 comeback tour; and the debut of BST in 2013 with two huge shows by the Rolling Stones.
He also oversaw global tours for the likes of Leonard Cohen, Justin Bieber and Jennifer Lopez and the launch of British Summer Time Hyde Park.
Prior to joining AEG, he was a director of Mean Fiddler Music Group (later MAMA & Company, now owned by Live Nation), after a decade as an agent and promoter at Barrie Marshall’s Marshall Arts.
Get more stories like this in your inbox by signing up for IQ Index, IQ’s free email digest of essential live music industry news.
Rob Hallett’s Robomagic joins Live Nation
Rob Hallett – the veteran promoter and live music exec who, as president of international touring at AEG Live, oversaw global tours for the likes of Leonard Cohen, Justin Bieber and Jennifer Lopez and the launch of British Summer Time Hyde Park – has joined Live Nation, IQ can reveal.
Robomagic, the live entertainment venture Hallett founded following his exit from AEG in April 2014, is now officially “a Live Nation company”, and the two companies are jointly promoting several upcoming shows, including UK dates by HER, Why Don’t We, Lemz and Jammer of Boy Better Know. Past Robomagic/Live Nation productions include Tower of Song: A Memorial Tribute to Leonard Cohen in Montreal last November and Boy Better Know’s O2 Arena takeover in August.
Hallett established AEG Live in the UK in February 2005, and was instrumental in growing the profile of the company (now AEG Presents) internationally. Highlights of his AEG tenure include Prince’s landmark 21-night residency at the O2 in London in 2007; three Bon Jovi stadium treks; Cohen’s successful 2008–10 comeback tour; and the debut of BST in 2013 with two huge shows by the Rolling Stones.
Robomagic is now officially “a Live Nation company”, and the two companies are jointly promoting several upcoming shows
Prior to joining AEG, he was a director of Mean Fiddler Music Group (later MAMA & Company, now owned by Live Nation), after a decade as an agent and promoter at Barrie Marshall’s Marshall Arts.
Hallett established Robomagic – which comprises Robomagic Live, a boutique touring division, and Robomagic 360, which describes itself as encompassing “touring, recording, publishing and artist/brand management” – in January 2015. The company’s artist roster includes TLC, Sleaford Mods, Goldie and Boy Better Know, as well as Duran Duran, who Hallett represented as agent in the ’80s.
Other new Live Nation partnerships in 2018 include the acquisitions of US promoter Frank Productions and the remaining ticketing assets of Songkick.
Both companies were unavailable for comment.
Get more stories like this in your inbox by signing up for IQ Index, IQ’s free email digest of essential live music industry news.
Don’t fancy Glasto mud? Come to Fulham, says FOLD
For Glastonbury-goers apprehensive about the mud, traffic congestion and threat of further rain awaiting them at Worthy Farm this weekend, promoter Rob Hallett has a solution: Go to FOLD Festival instead!
Hallett’s Robomagic announced this afternoon that all Glastonbury Festival ticketholders who all “can’t face the thought of battling the elements” in Somerset this weekend can exchange their tickets for a weekend pass to the Niles Rodgers-curated festival at Fulham Palace – along with Robomagic’s Caught by the River Thames, the first festivals to ever be held at the palace in its 750-plus-year history – instead.
“FOLD Festival is tent-free and promises that its guests will be mud- and rain-free, with a dry weather forecast for the whole weekend”
FOLD (or ‘Freak Out Let’s Dance’), headlined by Labrinth, Beck and Rodgers’s Chic (pictured), promises that its guests “will be mud- and rain-free, with a dry weather forecast for the whole weekend”.
Those tempted by the offer – and who are happy to take the financial hit: day tickets for FOLD start at £54 (£162 for the weekend), while a three-day Glastonbury pass would have set you back £228 – should simply arrive at the FOLD Festival box office and exchange their Glasto ticket for a FOLD one “on the day(s) of your choice”.
IQ spoke to Hallett in January about the securing of Fulham Palace as a venue, which Hallett he described as “an amazing coup”, especially in light of its being that rarest of things: “a new site in central London in 2016”.
Get more stories like this in your inbox by signing up for IQ Index, IQ’s free email digest of essential live music industry news.