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Roskilde announces ‘Under 25’ tickets for 2022 event

The organisers of Roskilde festival will release 5,000 extra tickets for the 2022 edition, exclusively for fans aged under 25.

With 80% of guests attending the Danish festival for the first time before they hit their mid-twenties, Roskilde has created the ‘Under 25’ ticket in order to secure a new generation.

“When Roskilde Festival 2022 takes place next summer, we hope to see a lot of first-timers. Those who experience the festival and have that unspoiled, extraordinary experience where everything is seen, heard and felt for the very first time,” says a spokesperson for the festival.

Under-25 tickets will go on sale on 30 November at the same price as the regular full event tickets.

With the addition of the extra 5,000 tickets, the capacity of Roskilde will expand to 85,000 people per day.

Organisers say they are doing their “utmost to deliver three years of development in one festival”

Tickets for Roskilde are in short supply after the festival sold out of full weeklong passes with 14 months to spare.

The only remaining inventory is 5,000 which were refunded after the cancellation of the 2021 event. Those will go on sale this Thursday (14 October).

The demand for tickets is likely to increase following this morning’s announcement of a slate of world-renowned artists.

Artists include Dua Lipa, Tyler, the Creator, Haim, St. Vincent, Arlo Parks, Fontaines D.C., Idles, Kelly Lee Owens and Poppy.

Organisers say they are doing their “utmost to deliver three years of development in one festival” following the cancellation of Roskilde in 2020 and 2021 as a result of the pandemic.

The 2022 event, set to go ahead from 25 June to 2 July 2022, will mark the 50th edition of Roskilde, one of the largest and best-loved festivals in Europe.

 


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CTS share price peaks after N.America expansion

CTS Eventim’s share price is at an all-time high following its expansion into the North American ticketing market.

For the first time in the Munich-based company’s history, its share price has peaked at €65.80 – up almost 10% in the last five days.

The spike comes days after CTS, the second-largest ticketing company in the world, announced its goal to “establish an alternative to the dominant providers in the US and Canada” as it began selling tickets for its first US client, Big Apple Circus, on 26 September.

Before the start of the coronavirus pandemic, CTS was selling more than 250 million tickets for around 800,000 events every year, making it the world’s second-largest provider of ticketing solutions and the number one in Europe.

“North America is the most attractive market in the world for live entertainment and ticketing”

Klaus-Peter Schulenberg, CEO of CTS Eventim, says: “North America is the most attractive market in the world for live entertainment and ticketing. The platform eventim.com puts us in an ideal position to benefit from the restart there.

“The sale of tickets for Big Apple Circus is a first step on this journey. We are already in discussions with potential partners and customers about making our cutting-edge ticketing systems available to them soon.”

The Big Apple Circus is being co-produced by veteran entertainment executive Michael Cohl, a longtime promoter of bands like The Rolling Stones who briefly served as chairman of Live Nation in 2008.

Last year, CTS and Cohl formed the joint venture EMC Presents with the goal of bringing leading international artists to stages in the United States and Canada.

The move is CTS’s second foray into the US market. In 2009, Live Nation partnered with CTS Eventim to launch Live Nation Tickets, a platform intended to challenge Ticketmaster’s dominant position in North America.

Before it was launched, Live Nation pulled out of the deal and merged with Ticketmaster instead, a move which led to CTS Eventim suing for breach of contract. The disagreement was settled in arbitration in 2013.

This summer also saw the launch of Eventim Live Asia. The new company, headquartered in Singapore and led by CEO Jason Miller, focuses on the rapidly growing live entertainment markets in China, Japan, South Korea, Singapore, Hong Kong, Taiwan, Indonesia, Thailand, Vietnam, Malaysia and the Philippines.

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.

 


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Amazon takes palm-recognition tech to venues

Amazon is bringing its palm-recognition technology to music venues, starting with the Red Rocks Amphitheatre in the US.

According to AP, the e-commerce giant has inked a deal with AEG to bring Amazon One to the Denver venue, which sells tickets on AEG’s ticketing site, AXS.

Starting from today (14 September), concertgoers at the 9,525-capacity venue can sign up to connect their palm to a ticketing account by hovering their hand over a device.

Concertgoers only need to sign up once and then can use their palm to get into other shows and events at the venue. An Amazon account is not needed to use it.

It’s the first time the Amazon One technology will be used outside some of Amazon’s stores, where shoppers can pay for groceries by swiping their palms.

Concertgoers only need to sign up once and then can use their palm to get into other shows and events at the venue

Bryan Perez, CEO of AXS, says other venues plan to add the technology in the coming months but he declined to say where or how many. AEG partners with more than 350 stadiums and theatres around the world.

“Concertgoers can get to their seats faster with their palm than holding up their phone to an attendant to scan a bar code. Those who want to scan their palms will have a separate lane to enter,” says Perez.

“You don’t have to fumble around with your phone. Your hand is always attached to your body.”

Addressing privacy concerns, Amazon said it keeps the palm images in a secure part of its cloud and doesn’t store the information on the Amazon One device.

Users can also ask for their information to be deleted at any time, the company added.

 


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Twitter starts to roll out Ticketed Spaces

Twitter has started to roll out Ticketed Spaces, a functionality which will enable some creators to generate revenue from hosting live audio events on the platform.

The new feature follows the launch of Twitter Spaces, a feature that allows users with at least 600 followers to host live audio events.

Artists including Taylor Swift, Nick Jonas and Finneas have already used Twitter Spaces as a way to connect with fans through Q&As and meet-and-greets – combining elements of Clubhouse and Patreon.

Now, with the launch of Ticketed Spaces, artists will have the opportunity to monetise their digital events – which are becoming an increasingly viable revenue stream due to the pandemic.

Back in June, Twitter began accepting applications for Ticketed Spaces as well as Super Follows — which allows users to monetise exclusive and bonus content through monthly subscription fees.

It has now begun rolling out the feature to select iOS users, but the company hopes “to get it to everyone soon.” Among the requirements to host Ticketed Spaces include being over 18 years old, having hosted at least three Spaces within the last 30 days, and having at least 1,000 active followers.

Hosts will be able to sell tickets to their Spaces on the platform and set the price — which can be anywhere from US$1 to $999

Hosts will be able to sell tickets to their Spaces on the platform and set the price, which can be anywhere from US$1 to $999.

Twitter previously stated that it will take a 3% cut of creators’ earnings from Ticketed Spaces. But since the feature is only currently available on iOS, that means that Twitter will be subject to Apple’s 30% in-app purchase fee, so a creator will only see 67% of each ticket sale.

If a creator’s total lifetime earnings on Twitter — including Ticketed Spaces and Super Follows — exceed $50,000, then Twitter will raise its 3% commission to 20%, according to Tech Crunch.

Hosts of Ticketed Spaces will abe able to promote their Spaces by sending notifications to attendees as well as limit the size of their Space, which is not possible with regular Spaces.

Ticketed Spaces would also differentiate Twitter from its live audio competitors, Clubhouse and Instagram, which haven’t enabled advance ticket sales.

More about Ticketed Spaces here.

 


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CTS Eventim ‘optimally positioned’ for reopening

CTS Eventim’s Q2 financial results show that the company is “optimally positioned for the return of live entertainment,” according to CEO, Klaus-Peter Schulenberg.

In the period from April to June 2021, the Munich-based company’s revenue was up sharply compared with Q2 2020, primarily thanks to an uptick in ticket sales.

In the second quarter of 2021, ticketing revenue went up by 283.7%, from €9.4 million to €36.1m. Normalised EBITDA (earnings before interest, taxes, depreciation and amortisation) amounted to €77.6m (previous year: loss of €18.2m). This included around €73m in German coronavirus support.

Before the outbreak of the coronavirus pandemic, around 250 million tickets per annum were marketed using the company’s systems, which include online portals under brands such as eventim.de, oeticket.com, ticketcorner.ch, ticketone.it, and entradas.com.

The company’s live music revenue also improved in the second quarter of 2021, jumping by 81.5% year on year to €11.5m (previous year: €6.3m). Normalised EBITDA amounted to €21.4m (previous year: €1.9m). German coronavirus support contributed around €29m to earnings.

“Ticket sales are recovering, which confirms our view that people are yearning for live entertainment after the pandemic”

“Ticket sales are recovering, which confirms our view that people are yearning for live entertainment after a year and a half of the pandemic,” said Schulenberg. “However, politicians must set out a framework so that it is economically viable for events to be held again. The government support is very helpful but the industry wants to finally be able to earn its money by returning to work.”

He added: “CTS Eventim has taken the coronavirus crisis as an opportunity to further strengthen and broaden its market position by undertaking a number of major strategic initiatives. Going forward, we will be better positioned than ever before, especially internationally, to be able to impress our customers with our services, industry expertise and technology in the live entertainment business.”

During the pandemic, the pan-European live entertainment giant continued the expansion of its Eventim Live promoter network, establishing the Gadget abc Entertainment Group in Switzerlandpartnering with legendary US promoter Michael Cohl, and acquiring a majority stake in the Barracuda Group in Austria.

In 2021, CTS acquired Berlin-based promoter DreamHaus, led by Matt Schwarz, taking the network up to 36 promoters in 15 countries.

The company recently announced plans to build a new €180 million arena in Milan, northern Italy.

 


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China’s live sector gets centralised ticketing system

China’s ministry of culture and tourism has implemented a new centralised ticketing system for the country’s live performance sector.

All domestic ticketing systems for live performances — including music, dance, comedy, and plays — will be linked to a national ticketing information management platform with unified standards for sales, distribution, and refunds.

The China Association of Performing Arts (CAPA), an industry body under the ministry that led the creation of the standards, says that their implementation will effectively curb scalpers as well as help monitor ticket sales and analyse the performance industry.

“With the support of this standard, future performance ticketing information collection and services are oriented to both the industry and the government,” says the CAPA.

“[Now] future performance ticketing information collection and services are oriented to both the industry and the government”

“Only by using real market data to reflect the real market conditions can we strive for more and more accurate policy support for the performance industry. The unified ticket management platform will enable the industry to more intuitively observe the performance industry and market operation status, and provide a data basis for market analysis.”

The platform was launched following criticism of some local and national vendors and event operators for setting aside tickets for “speculation and scalping”.

In an effort to curb such practices, the ministry of culture and tourism in 2017 introduced a new measure that required event operators to sell at least 70% of tickets for commercial performances directly to the public.

The ministry launched the new Performance Ticketing Service and Technical Specification system yesterday (19 August).

 


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CTS Eventim to ticket Austrian Federal Theatres

CTS Eventim has signed a ticketing agreement with the Austrian Federal Theatres Group (Österreichische Bundestheater).

Under the agreement, JetTicket, a subsidiary of CTS Eventim, will provide ticketing services for the group’s theatres from the 2022/2023 season.

The Austrian Federal Theatres Group comprises the Burgtheater (the 1,260-capacity national theatre of Austria), Akademietheater (532), Wiener Staatsoper (1709), and Volksoper (1,261) in Vienna.

CTS Eventim’s JetTicket won the contract against an international field of competitors in a tender.

“We see this [partnership] as evidence of the strength and innovation of the JetTicket 2021 theatre ticketing solution”

Deciding factors included “the strategic security of having an international partner and innovative sales tools that can be adapted to changing needs,” enabling the group to place greater focus on customers and innovation going forward.

Prior to the coronavirus crisis, the Austrian Federal Theatres Group welcomed around 1.3 million visitors and generated revenue of around €57 million annually.

The managing director of the theatre group, Christian Kircher, says: “The results confirm that the decision to put the contract out to tender was the right one from a strategic and economic point of view. Following the opening of the new Federal Theatre box offices in the foyer of the Wiener Staatsoper, this is another sign of the change in our corporate culture toward a stronger focus on customer service, innovation and commercial viability.”

Alexander Ruoff, COO at CTS Eventim, added: “We are delighted to count Austrian Federal Theatres, another world-renowned opera and theatre group, among our customers. We see this as evidence of the strength and innovation of the JetTicket 2021 theatre ticketing solution, which is based on Eventim.Inhouse, the leading software in Europe.”

 


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Endeavor-run biz acquires dynamic ticketing firm

WME parent company Endeavor has acquired Qcue, a software developer for dynamic ticket pricing in the live events industry.

Terms of the deal, which was made through Endeavor’s experiential events firm On Location Experiences (acquired in early 2020), have not been disclosed.

According to The Hollywood Reporter, Qcue’s technology, which helps rights holders optimise ticket pricing and maximise sales based on market demand, will be integrated into On Location’s suite of hospitality offerings.

On Location offers corporate clients and others fans access to marquee events like the Olympic and Paralympic Games, Super Bowl, NCAA Final Four and New York Fashion Week. Its overall list of 150 entities also includes artists and festivals, such as Coachella and Bonnaroo, as well as unique experiences owned by On Location.

Qcue, founded in 2007, provides sports teams and entertainment outfits with ticket pricing, analytics, data visualisation, inventory management and efficiency tools.

“[The deal will bring] top-of-the-line dynamic pricing technology and a stellar team of ticketing experts in-house”

Its clients include Major League Baseball teams, college athletic departments and Australian Football League teams. The company will continue to operate out of its headquarters in Austin after the deal has closed.

In announcing the deal, On Location estimated that Qcue has made more than 35 million price changes, generating more than $300 million in incremental revenue for its partners.

“We are thrilled to join forces with Qcue, bringing top-of-the-line dynamic pricing technology and a stellar team of ticketing experts in-house,” On Location CFO Jon Lavallee said in a press release. “Together, we will optimise On Location’s approach to ticketing and pass that benefit on to our valued partners.”

Along with On Location, Endeavor also owns the IMG sports agency and the Ultimate Fighting Championship (UFC).

The company posted a small profit of US$2.4 million in the first quarter of 2021 – the firm’s first since becoming a public company in April.

 


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The LGBTIQ+ List 2021: Doug Smith, Ticketmaster

The LGBTIQ+ List 2021 – IQ’s first annual celebration of queer professionals who make an immense impact in the international live music business – was published in the inaugural Pride edition (issue 101) this month.

The 20 individuals comprising the LGBTIQ+ List 2021, as nominated by our readers and verified by our esteemed steering committee, have gone above and beyond to wave the flag for an industry that we can all be proud of.

To get to know this year’s queer pioneers a little better, IQ asked each individual to share their challenges, triumphs, advice and more. Each day this month, we’ll publish a new interview with an individual on the LGBTIQ+ List 2021. Catch up on the previous interview with Rauha Kyyrö, head promoter at Fullsteam Agency in Finland here.

 


Doug Smith
He/him/his
SVP field operations UK & Ireland, Ticketmaster
London & Manchester, UK
doug.smith@ticketmaster.co.uk

What advice could you give for young queer professionals?
The sad truth is that so many LGBTQ+ professionals go back into the closet when they begin their first job. My advice is to find a place to work where you can bring your whole true authentic self. Being exactly who you are at work, day in, day out, is fundamental to a happy life and the key to fulfilling your potential.

What one thing could the industry do to be more inclusive?
Recognise that diversity and inclusion is important all year round, not just for one month. Leaders need to talk to their LGBTQI+ employees, regularly. Give them a voice, look at setting up an employee resource group and be an active supporter of it. Being an inclusive employer and an ally isn’t something you can simply tick off your list during Pride month, it’s an ongoing and evolving commitment.

“Recognise that diversity and inclusion is important all year round, not just for one month”

A causes you support.
It’s an absolute scandal that anyone is homeless in our society. I support two charities who both provide support to young homeless people – Centre Point and Albert Kennedy Trust. The latter provides support to LGBTQ+ young people who are facing homelessness or are living in a hostile environment.

What does the near future of the industry look like?
Busy! Very, very busy! The pent-up demand from artists wanting to play and fans wanting to make real-life connections again is colossal. We’re gearing up for a huge outdoor season and then straight into an intense on-sale season, and I couldn’t be happier about it.

 


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Ticketmaster Spain boss leaves after 22 years

After 22 years at the head of the business, Eugeni Calsamiglia is stepping down as CEO of Ticketmaster Spain. He will be succeeded by the company’s CFO, Ana Valdovinos, who said she intends to continue the technological innovation at the company.

Valdovinos was part of the team responsible for integrating Serviticket and Tick Tack Ticket into the global brand. Ticketmaster Spain is the largest ticketing company in the country and sold 7.5 million tickets during the financial year 2019.

On the other side of the Atlantic, dynamic pricing strategies pioneer Scott Holtz has joined AEG Presents‘ Global Touring and Talent division as Vice President, Ticketing Strategy. The newly-created role will see him “expand ticketing strategy and revenue generation efforts across all ticketing platforms, using the latest technologies to make nimble and strategic real-time pricing decisions in an effort to maximise revenue for the division’s touring artists”, according to the company.

Holtz brings 18 years of ticketing experience to the AEG Presents, and was most recently Vice President of Pricing and Distribution at Live Nation.

 


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