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Singapore reopens gradually for vaccinated fans

A maximum of 1,000 people are now permitted at live events in Singapore, as the south-east Asian country continues to lift restrictions cautiously for vaccinated residents.

The 1,000-person limit – which applies to only to events where all attendees are fully vaccinated against Covid-19, or can prove their negative status – includes live entertainment events, spectator sports and conferences, according to the Straits Times. The increase, announced by Singapore’s Covid-19 taskforce, doubles the previous limit of 500 (vaccinated) people, brought in earlier this month.

The city-state, which is home to nearly six million people, is taking a different approach to reopening to countries such as the UK and US, where capacity limits and social distancing regulations have been abolished.

Singapore, said finance minister Lawrence Wong, who leads the multi-ministry taskforce, does not want to open up with a “big bang” like many Western countries have, he told an audience at a hospital yesterday (24 August).

“The objective is to get to the end of this pandemic with as little death and damage as possible”

“Because they already have much higher levels of underlying immunity and protection, many of these countries are more prepared to open up fully,” he said. “They say they have a ‘Freedom Day’, and they are prepared to let the virus run its course through their population.”

In contrast, Singapore has kept infections low throughout the pandemic, with just 50 deaths from Covid-19 in total, and hopes to keep cases at a minimum while opening up, said Wong. The objective, he added, is “to get to the end of this pandemic with as little death and damage as possible, even as we progressively resume most of our normal lives.”

The new 1,000-person capacity limit will apply to those who are fully vaccinated against Covid-19, who have antibodies having recovered from the disease, or who test negative for the virus 24 hours before the expected end of the event in question.

At press time, some 78% of Singaporeans were fully vaccinated against the virus.

 


This article forms part of IQ’s Covid-19 recovery centre – a knowledge hub of essential guidance and updating resources for uncertain times.

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WME investor GIC buys Eventbrite stake

Singaporean sovereign-wealth fund GIC has acquired a 5% stake in Eventbrite.

According to a recent filing with the US’s Securities and Exchange Commission, the self-service ticketing firm has sold 3,813,791 shares, or 5.05% of the its class-A common stock, to GIC (Government of Singapore Investment Corporation), which is wholly owned by the sate of Singapore.

GIC joined forces with the Canada Pension Plan Investment Board in 2017 to invest a combined US$1 billion in WME-IMG (now Endeavor), acquiring roughly 8% of the agency group’s shares, while another Singaporean government-owned fund, Temasek, owns a stake in CAA.

“As restrictions on in-person gatherings eased during Q2 2021, Eventbrite’s creators and their audiences re-emerged in force”

According to the filing, which is signed by GIC senior vice-presidents Celine Loh Sze Ling and Diane Liang, 3,738,791 of the shares acquired by GIC have sole voting power, while the remaining 75,000 have shared voting power with the Monetary Authority of Singapore.

Eventbrite’s share price fell slightly, to $17.69, on news of the transaction, on 13 August, though it remains up around $8 year on year.

Earlier in August, Eventbrite reported a second-quarter net loss of $20.54 million, narrowing from -$38.59 million in Q2 2020. While it continues to face a “significant impact” from the coronavirus pandemic, paid ticket volume is picking up, the company said in its most recent earnings statement. “As restrictions on in-person gatherings eased during the second quarter of 2021, Eventbrite’s creators and their audiences re-emerged in force,” according to Eventbrite CEO Julia Hartz.

 


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CTS launches Singapore-based Eventim Live Asia

Leading international promoter and ticket agency CTS Eventim has announced the launch of Eventim Live Asia, an expansion of its European promoter alliance Eventim Live with a focus on China, Japan, South Korea, Singapore, Hong Kong, Taiwan, Indonesia, the Philippines, Thailand, Vietnam and Malaysia.

The new company, headquartered in Singapore, is led by CEO Jason Miller, who, as senior vice-president of international and emerging markets for Live Nation, led that company’s touring activity across its Asia and the Middle East offices until he stepped down last year.

In addition to Eventim Live Asia, Eventim Live, formed in early 2019, includes 36 promoters in 15 countries, the most recent addition being Matt Schwarz’s DreamHaus in Germany. The launch of Eventim Live Asia, a joint venture with Miller, follows a similar tie-up with promoter Michael Cohl in North America, first announced last year.

“Following on from our joint venture with Michael Cohl in the US market, the launch of Eventim Live Asia marks another key milestone in achieving our strategic objective of offering tours and ticketing around the world,” says Klaus-Peter Schulenberg, CEO of Bremen-based CTS Eventim. “This is a further sign that, as announced, CTS Eventim will emerge from the coronavirus crisis with renewed strength.”

 

Frithjof Pils, managing director of Eventim Live, says: “We’re delighted to welcome Jason Miller to the team. He has extensive experience in our industry in Asia at the highest level and has an excellent network of contacts. He will enable Eventim Live Asia to bring amazing concerts by leading international artists to fans in this major world region. We also want to intensify our work with local artists going forward.”

With Live Nation, Miller produced 80% of the highest-grossing Asian tours for western artists in the past decade, including Bruno Mars, Coldplay, Madonna, Maroon 5 and U2. Prior to joining LN Nation, Miller was an agent at CAA, where he worked with high-profile clients including Beyoncé, Jimmy Fallon, Kanye West and Stevie Wonder.

“The pandemic has created unprecedented global demand for live music and shared experience. With Asia representing over half of the world’s population and its fastest-growing middle class, there is no better time or place to be launching an event promotion company,” says Miller.

“Eventim Live’s tremendous resources, vision, experience, and respect across the live event industry make it the perfect joint venture partner.”

 


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Berlin’s TBO agency opens Asia office

Berlin-based booking agency The Bliss Office (TBO) has joined forces with the Netherlands’ A Plus Artists to launch The Bliss Office Asia, a Singapore-based electronic music agency booking across Asia, Australasia and the Middle East.

By partnering with A Plus’s Michel Kuklinski and Roy Gerritsen, who started the agency last year after leaving Amsterdam- and Hong Kong-based David Lewis Productions, TBO aims to “develop and expand the Asian underground scene, not only for the artists who are already affiliated with The Bliss Office Asia but also for emerging local talent”, according to the company.

TBO-signed artists include DJs Amelie Lens, Pan-Pot, Farrago and Nicole Moudaber.

“Expanding our business in the Asian-Pacific markets always has been high on our list,” say TBO heads Marco Starke and Ugur Akkus. “We strongly believe that now is the time to make steps in the mentioned markets and we are happy to do that with the expertise from Roy and Michel.

“Expanding our business in the Asian-Pacific markets always has been high on our list”

“Both are fully integrated in the Asian-Pacific markets and with their commercial backgrounds, we think we can take some serious steps in the market.”

“Marco and Ugur have a great philosophy and are great people in the industry with an impressive track record. Their roster is top-notch in today’s underground scene and we are more than happy to continue the growth in Asia, Australia and the Middle East,” say Kuklinski and Gerritsen in a joint statement.

The partners have also announced the addition of Kenny Wee, founder and owner of Pure Substance Management (Christian Löffler, YouAndMe, Victor G, Filterheadz), to the Bliss Office Asia team. Along with Starke and Akkus, he will handle all day-to-day business for the new agency.

 


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Road to recovery: A timeline of pilot projects

In August 2020, Germany paved the way for live music pilot projects with Restart-19, an experiment which saw thousands of volunteers to take part in a concert at the Quarterback Immobilien Arena in Leipzig with singer Tim Bendzko.

Since then, similar experiments have popped up across the globe. From Spain to Singapore, test events with as few as 50 participants and as many as 5,000 have taken place to prove to authorities (and the world) that when it comes to safety and security, the live music industry knows what it’s doing.

Below is a timeline of the pilot projects that have taken place since late summer 2020 – all of which have proved, in one way or another, that the live entertainment sector can reopen safely under certain measures – as well as the tests that are on the horizon in 2021.

August 2020

Restart-19
When: 22 August 2020
Where: Quarterback Immobilien Arena, Leipzig, Germany
Who: University Medical Center of Halle
What they said: “[T]he contacts that do occur at an event do not involve all participants. Therefore, events could take place under specific conditions during a pandemic.”
Participants: 1,500

November 2020

Konzerthaus Dortmund (study)
When: 2–3, 20 November 2020
Where: Konzerthaus Dortmund, Germany
Who: Fraunhofer Heinrich Hertz Institute Goslar, ParteQ
What they said: “Concert halls and theatres are not places of infection. […] With our study, we want to ensure that concert halls and theatres may again admit sufficient audiences when they reopen.”

December 2020

Primacov
When: 12 December 2020
Where: Apolo, Barcelona, Spain
Who: Primavera Sound, Germans Trias Hospital, the Fight Aids and Infectious Diseases Foundation
What they said: “A live music concert, staged with a series of security measures that included a negative antigen test for Sars- CoV-2 done on the same day, was not associated with an increase in Covid-19 infections.”
Participants: 1,047

Philharmonie de Paris (study)
When: 16 December 2020
Where: Philharmonie de Paris, France
Who: Dassault Systèmes
What they said: “The combination of face masks with a fresh-air supply built into every seat gives the indoor Philharmonie a similar profile to that of an outdoor space, with a very limited risk of spread from one side [of the venue] to the other.”

Back to Live (SG)
When: 18–19 December 2020 Where: Sands Theatre, Marina Bay, Singapore
Who: AEG Presents, Collective Minds
What they said: “[T]he outcome of such pilots will be critical to our ongoing efforts to allow events of a larger scale to resume in a safe and sustainable manner.”
Participants: 500

February 2021

Because Music Matters
When: 10–14 February
Where: Rockhal, Luxembourg
Who: Rockhal
What they said: “Building confidence among all our stakeholders that live events are a safe environment is so important.”
Participants: 100 per night

Back to Live (NL)
When: 15, 20, 21, 28 February & 6, 7, 20, 21 March 2021
Where: The Netherlands
Who: Fieldlab Evenementen
What they said: “We can now show that we can organise events in a very safe way. […] We hope this can lead to a tailor- made reopening of venues.”
Participants: Varies between events

March 2021

Love of Lesbian
When: 27 March 2021
Where: Palau Sant Jordi, Barcelona
Who: Festivals per la Cultura Segura
What they said: The event had no impact on Covid-19 transmission among attendees, despite the lack of social distancing observed.
Participants: 5,000

The Berlin Philharmonic
When: 20 March 2021
Where: Chamber Music Hall, Berlin
Who: Pilotprojekt, Berlin department of culture
What they said: ‘Zero infections among the 1,000 people who attended the show is further proof that events can be organised safely during the ongoing coronavirus pandemic.’
Participants: 680

April 2021

Jonathan theatre performance
When: 26 April–9 May 2021
Where: Koninklijke Vlaamse Schouwburg (KVS), Belgium
Who: KVS and Belgium’s Ministry of Culture
What they said: “An important observation is that the CO2 value and the relative humidity have barely increased. We saw the figure increase from 500 ppm to 600 ppm, while the maximum permitted value is 1200 ppm. This is of course only a first indication.”
Participants: 50–250

May 2021

Events Research Programme
When: April/May 2021
Where: Sefton Park and Bramley-Moore Dock in Liverpool, Brit Awards in London, The Crucible Theatre in Sheffield and more
Who: Festival Republic, Circus, BPI, the Department for Digital, Culture, Media and Sport and more
What they said: “These test events will be crucial in finding ways to get fans and audiences back in safely without social distancing. We will be guided by the science and medical experts but will work flat out to make that happen.”
Participants: 300–21,000

TBC 2021

Denmark Trials
When: TBC 2021
Where: Denmark
Who: Dansk Live, Divisionsforeningen
What they said: “This should very much lead to a much-needed festival summer and many great concert experiences across the country in 2021.”

Paris test
When: TBC 2021
Where: Accor Arena, Paris
Who: Ministry of Health, Ministry of Culture, St Louis Hospital, Prodiss
Participants: 5,000

Marseille test
When: TBC 2021
Where: Dôme, Marseille
Who: The city of Marseille, Inserm, Béatrice Desgranges (Marsatac, SMA)
Participants: 1,000

 


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Singapore gears up for return of non-distanced shows

Singaporean promoters will be able to stage indoor shows of up to 750 people with no social distancing, provided all attendees can produce a negative Covid-19 test or proof of vaccination against the disease, from 24 April.

Under the next stage of lockdown easing, organisers of live performances at designated venues will be permitted to admit up to 750 attendees with pre-event testing, or 250 without, the Straits Times reports. At press time, Singapore had just 24 new cases of Covid-19, all of which came into the city-state with foreigners who have now been ordered to self-isolate.

Government-approved pilot events, including sports fixtures and business conferences, will also be allowed to have 750 people from the same date, or 250 without testing. Formerly, business-to-business events were limited to 250 attendees, divided into zones of 50.

The pilot conferences and sports events follow Singapore’s first test concerts, held in partnership with the country’s ministry of health and promoted by AEG Presents, which took place just before Christmas.

Organisers of live performances at designated venues will be permitted to admit up to 750 attendees with pre-event testing

A sister classical music event with the Singapore Symphony Orchestra received a more muted reception, according to the Times, with many classical music fans decided not to attend because they didn’t want to undergo pre-event testing, which they feared would be uncomfortable.

While smaller venues should be able to make the 250/750-person capacity limit work, some event organisers are hopeful they will be permitted to go beyond 750 people by the summer months.

The Singapore Chinese Cultural Centre, which organises the annual Sing.Lang festival of Singaporean-Chinese pop music, has asked to have more than 750 attendees at the 2021 event, which takes place in June. Its director of programmes, Lee Ee Wurn, says the centre is planning to stage the concert at the 12,000-seat Singapore Indoor Stadium and is hoping for the largest possible audience.

 


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Singapore to hold largest concerts since lockdown

AEG Presents and Collective Minds are collaborating on the largest concerts Singapore has seen since the government imposed a circuit-breaker lockdown.

The promoters will deliver two shows at the iconic Sands Theatre, Marina Bay Sands on 18 and 19 December, inviting up to 500 participants to watch performances from domestic talent including Benjamin Kheng, Sezairi, Charlie Lim and more.

The concerts, which will take place under the banner of ‘Back to Live’, are part of a Ministry of Health (MOH)-funded Pre Event Testing (PET) pilot programme, initiated to kickstart the local entertainment industry with safe distancing measures and Covid-testing in place.

“We’ve been waiting a long time to be able to experience live music in the flesh. With the gradual resumption of live performances, we’re excited to be part of the MOH-funded (PET) pilot programme for large-scale live music events,” Collective Minds writes in a social media post.

“Hopefully [Back to Live] will serve as a precursor for future large-scale events in Singapore and across the region”

“While the health and safety of the audiences remain the priority, we’re committed to spearheading the road to recovery for the live entertainment industry in Singapore and hopefully [Back to Live] will serve as a precursor for future large-scale events in Singapore and across the region.”

‘Back to Live’ ticket holders are required to take a free Antigen Rapid Test (ART) before attending the event and will only gain entry with a valid negative Covid test certificate.

All one-day ticket holders will need to book an appointment to undergo the ART at any one of the 22 designated clinics.

Tests are recommended to be completed on the morning of the event day and no earlier than 11 pm on the day prior to the event, while all two-day ticket holders will be tested on-site at Marina Bay Sands. These ticket holders will be required to complete the ART on both days from 5:30 pm to 7:30 pm.

Singapore began to relax its circuit-breaker lockdown on 2 June, when a three-phase plan for reopening commenced

The concert will take place with a seated format and dancing and standing will be prohibited. The venue will not be selling food or beverages, though each attendee will be given a complimentary bottle of water. The show is scheduled for 9 pm to give patrons the chance to consume food beforehand.

Tickets for ‘Back to Live’ cost S$55 for one day and S$98 for two days.

Singapore began to relax its circuit-breaker lockdown on 2 June, when a three-phase plan for reopening commenced. The nation is currently in phase 2, ‘Safe Transition’, which started on 19 June and will come to end on 28 December when phase 3 will start.

Phase 3 will impose conditions including the use of TraceTogether, compliance with Safe Management Measures (SMMs), and adequate testing capacity.

In addition, it was announced on 14 December that the Pfizer-BioNTech vaccine was approved for use in Singapore, with the first batch slated for around end of December 2020, and subsequent batches planned throughout 2021.

Singapore’s ‘Back to Live’ pilot concerts follow in the footsteps of Germany’s Restart-19 and Spain’s PRIMACOV. Several ‘Back to Live’ pilot events will also take place in the Netherlands, with the government’s backing, in January.

 


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Magnetic Asia team launches Total Ticketing

The team behind Hong Kong promoter Magnetic Asia (Clockenflap, Sónar HK, Feast) and ticketing platform Ticketflap are rebranding their ticketing division from Asia Ticketing to Total Ticketing in a push to take the brand global.

“From our beginnings as technology experts and event promoters, we are very proud to have been able bring all of our skills and experience together to provide a fantastic ticketing experience for staff, customers and stakeholders alike,” comments Magnetic Asia CEO Mike Hill. “While we remain proud of our Asian roots and will continue to focus on serving the varied markets in the region, we are extremely excited about this new chapter in our evolution to a truly global offering.”

Central to Total Ticketing’s offering is its new Enterprise Ticketing Solution (ETS), designed to meet the needs of promoters, ticket agencies, integrated resorts, attractions and theme parks, and multi-venue businesses such as convention centres, theatres and stadium complexes. The company is active in Hong Kong, Singapore, the Philippines, Japan and the UK.

“We are currently leveraging our feature-rich systems to further diversify”

Peter Gordon, MD of Total Ticketing, explains: “Our ETS has the power to help so many different types of businesses turn their ticketing operations from a cost centre into a profit centre and to open up manifold business development opportunities with valuable new stakeholders.

“As well as helping our clients to transform their ticketing operations and profitability, we are currently leveraging our feature-rich systems to further diversify into cutting edge skill-sharing and booking platforms, live video streaming and immersive audience experiences – with some exciting new product news coming very soon.”

Ticketflap is one of the five major primary ticketing companies in Hong Kong, according to the International Ticketing Yearbook 2019.


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Keeping afloat: Livescape on why the live experience is “irreplaceable”

Asia was the first continent to bear the brunt of the coronavirus outbreak, but not all suffered the peak at the same time.

Speaking to promoters in China and South Korea at the end of March, IQ found that some more stringent restrictions were beginning to be lifted and a “cautious sense of optimism” was settling in, even if the return to touring as we know it is still a long way off.

Now, the situation in countries in southeast Asia, which had staved off sharp spikes in cases until relatively recently, is worsening. Cases in Singapore have begun to rise again, the Indonesian capital of Jakarta has entered lockdown and the Malaysian government has extended its social distancing measure for a second time, until 28 April.

IQ catches up with Iqbal Ameer, CEO of Livescape Group, which operates in all three markets, to discuss government reactions, consumer confidence and the live industry post Covid-19.

 


IQ: What have you learned so far from the Covid-19 outbreak?
IA: The most important thing? That supporting each other brings out the best in people. We’re no stranger to being dealt with shit cards in the deck, and as a company have had crazy challenges over the past ten years. But now this is a global scale, and we’ve really seen the importance of community and how it is a driving force in achieving anything.

We’ve also learnt that adaptability is key in situations like this. We are hard at work in extending our festival brands and our business model to be more digitally focused. We are proud of our festivals that we have built and carry those badges on our chest. The challenge here is to ensure that we continue to deliver the same Livescape experience to our fans during trying times.

When do you think the recovery might start in Asia Pacific and how is the Livescape Group preparing for this?
At this point in time, we are all uncertain about when the actual recovery period is. Although there has been significant advances in Asian countries compared to Europe and America, we are still remaining vigilant – anything can happen.

Asia-Pacific alone has over 51 million people affected in the music industry, and this is no small number

The Livescape Group is based in three countries: Malaysia, Singapore and Indonesia. We are anticipating post-Covid-19 to be vital in economic stimulation, and we are working with the respective government bodies to ensure that events can continue by implementing precautionary measures with a focus on the health and wellbeing of music fans.

We are also pivoting some of our assets to be more lifestyle orientated.

How do you feel about the government response to the situation across the markets you operate in?
We have seen most governments around the region offering stimulus packages to help with the nation’s economy during this unprecedented time. Unfortunately for some of us based in Malaysia, most of it does not benefit us directly. As a member of Alife (Association of the Arts, Live Festivals and Events), Livescape is having continuous open discussions with the Malaysian government about the issues of postponement or cancellations, and are demanding that we are considered as well. Asia-Pacific alone has over 51 million people affected in the music industry, and this is no small number.

However, countries such as South Korea and Singapore have set ideal global practices for other countries to follow suit; which would contribute to the speed of the recovery. With our festival It’s the Ship being based in Singapore, we are thankful for the swift and fast action of the Singaporean government. We support their initiatives to get the arts and live sector up and running as soon as possible. (The Singaporean government has provided a $55 million arts and culture resilience package, including $20,000 grants for digital projects).

What changes might we see long term across the industry, and the festival business in particular?
It is naive to say that this pandemic will not change the core nature of the festival business. Already, we are seeing festivals and artists venturing into the digital space with livestreaming performances along with an increase of creative content being shared out in hopes to connect during this void of live events with their fans and community. Although it is a short-term solution to fill the void of live events, we do not consider this to be a road to recovery, as we believe that the live event experiences are irreplaceable.

We also expect a stronger focus on local talents, due to the nature of the interaction of communities during this period of time, and local gigs would be quicker to pick up post Covid-19.

The global pandemic has impacted the events industry in an unprecedented manner but we are optimistic about the long-term demand for live, experiential experiences

Post Covid-19, people will also be more wary in terms of how they experience live events in large gathering situations. It is then our responsibility as event organisers to ensure that we have procedures in place to address concerns relating to the health and safety measures such as temperature checks and sanitisation booths.

In some ways, people will also come to realise what our company has been preaching for the past ten years: experience comes first. We definitely see a desire for people to connect in person and we will not discount the renaissance of the roaring 20s, an era that was sparked after a period of difficult times.

Being a floating festival, do you foresee any particular challenges with the future of It’s the Ship?
We feel the challenges are across the board for all festivals. I’d be lying if I said no, but we are optimistic and never risk the safety and wellbeing of our shipmates. That has always been a top priority of ours, unfortunately the term “the show must go on” does not apply to us in this situation.

We’ve been transparent with that in our community and in our communications, with a campaign revolving around #StayHomeToComeHome, where we continuously share relevant news and information through our social platforms.

Being a floating festival, It’s the Ship provides a unique experience in terms of venue, as it takes place onboard a ship. The advantage is the fact that the venue puts us in a controlled environment that allows us to manage and plan prior to the event itself. We are also working very closely with the cruise company, which has recently put in place comprehensive health and safety preventive measures for the ease and comfort of our attendees.

At Livescape, we’re thankful to the partners we work with, especially cruise lines that we work with who have offered extremely affordable rates to ensure that It’s the Ship continues its multiple voyages in the years to come.

In Asia in particular, the main challenge would be rebuilding people’s confidence in attending large-scale events

What more general challenges do you think the industry face getting back up to speed?
In Asia in particular, the main challenge would be rebuilding people’s confidence in attending large-scale events. Putting in health and safety preventive measures will be key in reassuring our community.

The global pandemic has impacted the events industry in an unprecedented manner but we are optimistic about the long-term demand for live, experiential experiences! With social distancing being practised globally, audiences will be craving live, interactive experiences more, which will create the opportunity for experiential events to bounce back at a greater scale.

At Livescape, what have you been doing to adapt to life in the wake of coronavirus?
With a strong team in a resilient industry, our team has been taking this time working from home to diversify our business models and digitising our assets and communities. Our core philosophy has remained the same, but our execution will differ, moving towards more digitalisation – something extremely adaptable. This will be more evident once all this is over.

Until then, we will embrace the changes, continue to evolve to adapt to the situation and to be there for our industry, as well as the local communities, to the best of our ability.

Livescape has continued to build relationships and trust with our clients and partners who have approached us with the same vision of diversifying in mind. We work hand-in-hand in developing some very successful campaigns for big and small SMEs alike and we highly recommend that other companies do the same and look into opportunities available.

Remember always: We write the future!

 


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Ticketmaster expands to Singapore, Taiwan

Ticketing giant Ticketmaster is expanding into Asia, establishing a presence in Taiwan and Singapore.

The move, which sees Ticketmaster acquire Taiwanese ticketer Tixcraft and open a Singaporean branch, brings the company’s operations to 32 countries worldwide.

As a result of the expansion, Chad Phillips, former managing director for ApacTic, has been appointed to the newly created role of managing director of Ticketmaster Asia.

The launch of Ticketmaster Singapore following the company’s selection as one of three ticketing partners for Singaporean sports and entertainment complex, Sports Hub, late last year, along with TEG’s Ticketek and Sistic.

Sports Hub incorporates the 55,000 capacity National Stadium and a 12,000 capacity indoor stadium, which serve as the main venues for concerts in Singapore, hosting acts including U2 and Mayday, along with a 3,000 capacity arena and other facilities.

In Taiwan, Ticketmaster takes control of concert ticketing platform Tixcraft, which works with promoters such as Live Nation Taiwan, B’in and iMe Taiwan. Tixcraft founder and managing director KT Chiu will stay on at the company, serving as Ticketmaster Taiwan MD.

“The live entertainment industry across Asia has seen some immense growth and right now is the perfect time to welcome Ticketmaster to Taiwan and Singapore”

“By acquiring market leaders Tixcraft in Taiwan and launching in Singapore, we have established two great bases with talented teams to support the bourgeoning live entertainment scene in Asia,” comments Ticketmaster International president Mark Yovich.

“We are introducing greater levels of service and choice to event organisers across the region and can now provide fans with seamless access to our worldwide marketplace of events.”

Ticketmaster Asia MD Phillips adds: “Over recent years, the live entertainment industry across Asia has seen some immense growth and right now is the perfect time to welcome Ticketmaster to Taiwan and Singapore. I’m hugely excited to be joining the team and look forward to managing the rollout of the world’s most innovative ticketing marketplace.”

The launch of Ticketmaster in Taiwan and Singapore complements Live Nation’s existing concert promotions business across Asia Pacific.

In 2019, the company acquired Singaporean promoter One Production and PR Worldwide in Malaysia, while also making senior appointments to its growing business in China. In December last year, Live Nation Asia launched Live Nation Connects, a new creative marketing agency to connect brands to fans across Asia.

Read IQ’s analysis on consolidation within the ticketing sector here.

Major moves: consolidation sweeps the ticketing sector


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