High-level “disruptors” Mark Cavell (Sony Music Masterworks) and Mariano Otero (Fever) were the focal point of yesterday’s Touring Entertainment Live (TEL) finale at the International Live Music Conference (ILMC).

The two industry game-changers were interviewed by ILMC’s James Drury in the Making Waves keynote at London’s Royal Lancaster Hotel.

As president of Sony Music Masterworks, Cavell has overseen the expansion of his company from a classical and Broadway music label to a power player in live entertainment, while Otero is SVP of business development at online global discovery platform Fever, which has used data-driven insights to recommend personalised activities since its creation in 2014.

Having laid out his vision to enlarge Sony Music Masterworks’ live division (which now encompasses 14 creative companies including RG Live, Proactiv, Luna Entertainment Group, and Terrapin Station Entertainment, among others), Cavell aims to bring in more niche markets in an industry whose tastes continue to diversify — especially for an increasingly open-minded younger audience.

“Alongside the family entertainment space, we’re also leaning heavily towards including anime and gaming in our repertoire,” he said, noting how genres such as K-pop and J-pop have seamlessly entered today’s Western cultural landscape.

“While certainly a niche phenomenon, we’ve continued to see a major growth in anime’s popularity but there isn’t a lot to offer out there from an experiential or live concert standpoint,” Cavell added. “We saw what Fever have done with Candlelight and how they’ve made classical music appeal to the younger generation, and we firmly believe that we can do the same for anime.

“We’ve been approached by Japanese artists’ labels and managers to potentially promote and offer live anime concerts”

“We’ve been approached by Japanese artists’ labels and managers to potentially promote and offer live anime concerts, which have proven popular in Japan, to a Western audience. While there is a question over whether anime fans are willing to see the artists on stage, there is massive potential for them to be hugely successful.”

Fever has grown into a marketing and entertainment behemoth now valued at $2 billion. According to Otero, data is a key component in its success with its online marketing tool Secret Media, which acts as a viral city guide at 120 locations around the world.

“We have around 300 million monthly interactions between Secret Media and our visitors, which gives us plenty of data to test out a hundred different concepts every week,” he said. “We use Secret Media to scope out what’s going on in a particular city, identify what types of entertainment have a higher potential demand, and explore other areas of the business.”

As mentioned by Cavell, one of Fever’s major success stories has been its Candlelight concerts, which offer intimate live performances by local musicians in a candlelit setting.

Originally focused on classical music, the series has expanded to include jazz, pop, and film scores and is now featured in over 200 cities, attracting five million attendees.

“To no surprise, the 25-35 demographic wasn’t buying live classical music concert tickets, so we started experimenting with different assets and combined the idea of hosting those concerts inside these intimate, candle-lit settings,” said Otero. “All of a sudden, we’re seeing younger people take their dates to Candlelight. The concept created an entirely brand new market for us.”

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A debate on emerging markets and how to best navigate them kicked off the second edition of Touring Entertainment Live (TEL) in London as part of the International Live Music Conference (ILMC).

Helmed by Terrapin Station’s Jonathan Shank, TEL – the opening Lands of Innovation session featured SESLive’s Alison Goldsmith, Liz Gonzalez of Golden Peak Live, David Goldberg of TPG and Cirque du Soleil’s David Pitman, in which they discussed the most exciting territories to break through right now, the various challenges they’ve faced in specific markets, and the importance of local feedback and government support.

Goldsmith, whose company has played a leading role in the Middle Eastern live entertainment market since their establishment two decades ago, detailed SESLive’s expansion into other countries within the Gulf region.

“While the UAE is fairly well-established at this point with so many fantastic spaces and a full event calendar all year round, we’ve also been working in Kuwait, Bahrain, Qatar, and Saudi Arabia in recent years,” she said. “There is a fantastic opportunity to break through in those interesting markets, but it’s just finding the right project at the right time,” also noting how vital it is for them to receive great support from both governmental partners and local enterprises.

Another emerging opportunity arises in India, where Goldberg’s TPG have closely been working with BookMyShow — the country’s largest ticketing & promotions platform — in offering novel live entertainment experiences across a Bollywood-centric market.

“India isn’t there yet when it comes to suitable arenas for extravagant shows”

“It’s still a nascent industry in India,” he recalled. “We had produced Cirque du Soleil’s debut shows in Mumbai and Delhi, brought over the NBA’s first ever games in the country, and ended U2’s Joshua Tree Tour in Mumbai — all taking place between 2018 and 2019. This is a testament to the increasing ease of access of all types of content via streaming and social media platforms.”

However, Pitman — who’s worked with Goldberg in bringing Cirque du Soleil over to India — lamented the lack of viable infrastructure in a developing Indian market.

“India isn’t there yet when it comes to suitable arenas for extravagant shows,” he said, with Goldberg adding that while local authorities recognise the benefit live entertainment brings, more work needs to be done to build arenas that can cater to expansive & large-scale productions. “Not every arena needs to be a Madison Square Garden, but the potential in building a large venue that can house 15,000-plus attendees akin to Manchester’s Co-op Live Arena is possible,” he said.

Such circumstances inspired Pitman to come up with creative solutions on circumventing the lack of spacious indoor arenas in India. “Together with David [Goldberg], we created a “little big top” without all the regular accoutrements that would usually come with our shows, and that ended up being a 1,500-seater extravaganza called Bazzar that was presented in that tent,” Pitman recalled.

Gonzalez, who’s responsible for overseeing the global booking of Pixar’s largest exhibition Mundo Pixar Experience, explained how the Argentine government’s lack of support is a hindrance to exporting domestic talent across Latin America and beyond.

“There is a danger of showcasing too many IP-driven productions such as Disney in a calendar year”

“In Brazil, promoters are able to book free shows for local talents, and the Mexican government throws a lot of support behind the arts,” she said. “However, we never receive this level of backing from the Argentine government, and getting sponsors is incredibly difficult nowadays,” adding that the capital city-centric Argentine market needs to prioritise exporting talent more than anything.

“Alongside trying to get government funding, it is our greatest challenge right now,” she said.

With the Middle Eastern market’s increasingly prominent role in global live entertainment, any issues with infrastructure and government support tend to be minimal for now. However, Goldsmith presented a different hurdle that could be an issue in the near future.

“While 2024 was an amazing year for content, there is a danger of showcasing too many IP-driven productions such as Disney in a calendar year,” she said, also wondering if there could be a potential over-saturation of family entertainment content in the near future. “It’s on us to find that balance.”

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Sony Music Masterworks (SMM) president Mark Cavell and Fever SVP Mariano Otero are set to give a joint keynote interview at ILMC’s Touring Entertainment LIVE.

The leading executives will star in TEL 2025’s closing session Making Waves at 5.15pm on Wednesday 26 February at London’s Royal Lancaster Hotel.

Chaired by ILMC’s James Drury, the pair will share insights into their game-changing strategies, their growth stories and explain why they’re so bullish about the potential for touring entertainment.

Cavell has transformed record label SMM into a significant player in the touring entertainment sector through the expansion of its live division. Following an acquisition spree, it now encompasses 14 leading companies including Backyard Cinema, Black Ink Presents, Black Sky Creative, Culture Creative, GEA Live, The Luna Entertainment Group, MAC Global, Proactiv Entertainment, RG Live, RoadCo Entertainment, Roast Productions, Seaview, Senbla, and Terrapin Station Entertainment.

Otero, meanwhile, joined Fever in 2020 to lead the company’s expansion in the Americas, just as the business saw a 10x growth. He now oversees global expansion, strategy, and leads the business development team.

Otero, who has also held strategic roles at Bain & Co, Google, Goldman Sachs and Uber, will chart the firm’s growth to becoming a billion dollar business, and share insights into its data-led strategy.

The keynote will be the culmination of an event packed with business insights, networking opportunities and more

Passes are still available for TEL, which runs alongside the core ILMC programme and gathers the world’s top show and exhibition producers, rights holders, venue operators and promoters for a dedicated day on the multibillion-dollar sector.

The keynote will be the culmination of the specialist event, which will be packed with business insights, unrivalled networking opportunities and more.

Other panels include Lands of Opportunity, in which CTS Eventim’s Susan Gloy-Kruse looks at the hottest touring products; Find the Gems examines changing tastes and where to find the next big show; while Marketing Masterclass will see FKP Scorpio Entertainment’s James Cassidy discuss ways to maintain interest in a product and maximise marketing effort. The full programme can be viewed here.

In addition, there are just a few slots remaining for TEL’s Quickfire Session – your chance to present your touring shows to a room full of promoters and venues. Led by Manon Delaury of TEO, the whistlestop tour through the best of touring entertainment is a hop-on, hop-off format, ensuring a fast-paced and entertaining session. To take part, email [email protected] with the subject header: I want to present at the Quickfire Session.

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The largest-ever International Live Music Conference (ILMC) has sold out, with over three weeks to go.

The leading gathering of international live music executives will return to London’s Royal Lancaster Hotel between 25-28 February, with a record 2,500 professionals in attendance.

This year’s new-look, refreshed programme includes Question Time, which will see top industry leaders tackle questions submitted by conference delegates, and Meet The Fans – a fan focus group that gives the industry a chance to hear directly from regular gig-goers.

Another new element, Middle East Live supported by OVG, will comprise two dedicated sessions on the rapidly expanding region: a state of the nation review and a venue focus.

As previously announced, Superstruct co-founder James Barton will be the Hotseat interview for ILMC 37. A raft of other industry heads have also joined the bumper programme.

“We’re very pleased to have sold out ILMC almost a month before the event and the team is incredibly busy preparing every aspect of the conference to ensure this is the best edition ever,” says ILMC managing director Greg Parmley.

“ILMC is an event that exists for its members, providing a valuable opportunity to discuss some of the biggest issues facing the industry, and we are pleased that it maintains its position as the must-attend conference for international live music execs.”

“The team is incredibly busy preparing every aspect of the conference to ensure this is the best edition ever”

Passes are still available for Futures Forum (Friday 28 February), Touring Entertainment LIVE (Wednesday 26 March), and the Green Events & Innovations Conference (Tuesday 25 February).

Taking place on the final day of ILMC, Futures Forum brings together the people who currently define the business with the emerging execs who are driving its evolution.

Panel topics this year include new booking strategies for festivals, evolution of venues, tour marketing, new global touring markets, alternative revenue streams for artists, a series of 12-minute soapbox sessions, and much more.

Running alongside the core ILMC programme, Touring Entertainment LIVE gathers the world’s top show and exhibition producers, rights holders, venue operators, and promoters for a dedicated day on this multibillion-dollar sector.

Panels include Lands of Opportunity, in which CTS Eventim’s Susan Gloy-Kruse looks at the hottest touring products; Find the Gems examines changing tastes and where to find the next big show; Marketing Masterclass will see FKP Scorpio Entertainment’s James Cassidy discuss ways to maintain interest in a product and maximise marketing effort; and Making Waves involves a high-level discussion with some of the industry’s senior execs.

The 17th edition of GEI takes place on the first day of ILMC and includes sessions such as How Fan Travel F*cks Up Your Carbon Balance; Act 1.5 & Beyond, which evaluates Massive Attack’s recent proof-of-concept, low-carbon gig; sustainable disabled event access in No Climate Action Without Us; plus topics such as greener touring, water & sanitation, food & drink, a keynote conversation, and the 2025 International AGF Awards.

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The Touring Entertainment Report (TER) 2024, a resource that puts the global business of touring theatre, shows and exhibitions in focus, is out now.

From Cirque du Soleil to Jurassic World, the second edition delves into this multi-billion dollar sector of the live entertainment industry.

The report follows the launch of Touring Entertainment LIVE, a new one-day event at ILMC that brought together the world’s top show and exhibition producers, rights holders, venue operators, and promoters.

The second annual Touring Entertainment Report, available to subscribers of IQ, includes:

• Showstoppers – a showcase of some of the most innovative and exciting touring product
• Key features on the most pressing issues facing the industry
• Critical insight through interviews with top industry figures
• Q&As with leading producers and creatives
• Top tips for how to be more sustainable
• A guide to the Middle East market

“It’s a fascinating time in the touring entertainment business,” says TER editor James Drury. “With increasing demand for content, growing numbers of productions, and imaginative new experiences hitting the road every year, it’s a dynamic and fast-moving business. But growth brings challenges, as we explore in this edition. From the lack of venue availability in Europe to creating more sustainable productions, we reveal top tips from experts on how to navigate some of the questions facing many companies.”

The Touring Entertainment Report 2024 is available exclusively to IQ subscribers in print or as a digital magazine. Subscribe now and view the full report.

A preview version of the Touring Entertainment Report 2024 is below.

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The full programme for Teo Live – the annual online event for the international touring exhibitions community – is now live.

The fourth edition of Teo Live will take place on 23 May between 15:00–17:30 CEST and will focus on new practices and productions in international touring exhibitions.

Participants can enjoy a “lively” marketplace of touring exhibitions with more than 25 presentations, as well as opportunities to meet with producers and specialist providers in dedicated online rooms.

Presenting partners include American Museum of Natural History, Contemporanea Progetti, Culturespaces Studio, Dala Projects, Disgusting Food Museum, E/M Group, Exhibits Development Group, Expona, Flying Fish, Grand Palais Immersif, Grande Experiences, Imagine Exhibitions, Lumen Studios and Musée de la civilisation, Québec.

Also set to present are: MuseoScience, Museum d’Histoire Naturelle de Toulouse, Natural History Museum, Nomad Exhibitions, PANART Connections, Royal Ontario Museum, AHHAA Science Centre, Science Museum Group, The Design Museum, Walt Disney Archives, together Promotion GmbH, World Touring Exhibitions, Universcience – Cité des sciences et de l’industrie & Palais de la découverte.

Among the providers and producers available for meet-up opportunities are EFM Global Logistics, Look2innovate, IQ Magazine, c2c Proyectos Culturales, Kunstpalast Düsseldorf, lililillilil and Project Holocene.

As previously announced, the upcoming event’s keynote will focus on cinema and live experience practices for touring exhibitions with Oscar-winning nature documentary director Luc Jacquet and digital artist and live shows creative director Charles Sadoul.

Teo (Touring Exhibitions Organisation) recently hosted two special conference sessions dedicated to the latest trends and experiences in international touring exhibitions, for the Touring Exhibitions Pavilion 2024.

The Pavilion will took place in Paris on 16-17 January as part of Museum Connections, an international trade fair focusing on the business and sustainable challenges of museums, cultural and touristic venues, which has been running for 25 years.

Teo CEO Manon Delaurey recently appeared at Touring Entertainment Live, which debuted at ILMC on Friday 1 March.

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Industry leaders in live entertainment production gathered to kick off ILMC’s inaugural Touring Entertainment Live (TEL) and share their thoughts on ‘The State of the Nation’.

Chaired by Imagine Exhibitions’ Tom Zaller, the panel — which included guest speakers Liz Koops (Broadway Entertainment Group), Jenny Sirota (RoadCo Entertainment), James Harrison (ASM Global) and David Pitman (Cirque du Soleil) — discussed topics such as booming demand and higher costs, technological advancements, an over-reliance on established IP, and a lack of venues.

Zaller started by bringing up the effects of a post-Covid environment.

“Consumer demand is booming in certain areas, and inflation is causing issues for some of us in certain places,” he explained. “We’re also seeing different types of ticketing deals and dynamic pricing, but we’re also seeing production, operational, and labour costs rise.”

Koops, whose Broadway Entertainment Group has established itself as a key player in the Middle Eastern market with their productions of Disney classics, reckoned that while the increasing interest in the Gulf states is always a positive (“Doing 77 shows of Shrek across the region and within three cities in Saudi Arabia, Kuwait, Bahrain, Dubai, and Qatar was phenomenal!”), there was still a problem affecting the burgeoning territory.

“The touring world and circuit is getting smaller, unfortunately”

“There’s been genuine interest in developing the market, but while there are many more opportunities nowadays, there aren’t enough venues to accommodate the increasing demand,” she said.

That sentiment was shared by Pitman, who referenced certain geopolitical factors to explain dwindling availability in territories Cirque du Soleil used to sell out in.

“We used to tour Russia for 12 weeks, which isn’t going to happen for a long time now,” he said. “Prior to Covid, we held our ice show Crystal in Ukraine, the big venue in Helsinki [Helsinki Halli] is still shut, and there’s the situation in Israel as well to consider. The touring world and circuit is getting smaller, unfortunately.”

Another major point of discussion was the reliance on familiar IP, which the panel agreed made it difficult for original productions to get booked.

“There’s been such a massive spike in ideas being developed and everyone wants to get stuff out there, but especially after Covid, people crave the big IPs more,” explained Sirota. “It’s “comfort food”, they want to buy tickets to something they recognise,” adding that while the US doesn’t share the same experiences with venues as other territories, it’s still difficult to book fresh programming at present. “Especially with costs going up, it’s a real risk for producers to book anything that’s not heavily branded right now.”

“Customers tend to respond more in secondary and tertiary markets because it’s something different for them. There’s not as much competition”

Sirota also expressed concerns over heightened travel costs and a lack of transport availability.

“Trucking is incredibly expensive, and in terms of availability, buses for tours are booked up from 10 to 100 weeks,” she said, adding that it’s highly unlikely they’ll reduce their fees due to fuel prices anytime soon. “There’s so many shows nowadays, and there should be more trucking and bus companies to keep up with such demand.”

The panel soon moved on to entering new and developing territories. While Asia and the Gulf states have been her company’s bread and butter, Koops also stressed the importance of established markets that are smaller by comparison.

“We found that working with local promoters in the Eastern European markets has been incredibly successful for us,” she said, citing high demand in the likes of Croatia and Slovenia that enables her to develop multi-week touring opportunities.

“You don’t necessarily need to be in the A+ markets like London, Paris, or Berlin to have a successful touring production,” added Harrison. “Customers tend to respond more in secondary and tertiary markets because it’s something different for them. There’s not as much competition, so there’s more opportunities for fresher productions.”

To close out the panel, Zaller asked each guest for a one-word answer on what they’d like to change the most: Pitman responded with logistics, both Harrison and Sirota wanted more original shows, while Koops wished for more venues.

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As one of the keynote interviews during Touring Entertainment Live (TEL) at ILMC, producer Svana Gisla gave a fascinating insight into the creation and operation of ABBA Voyage.

The smash hit show has so far has sold more than two million tickets for the shows in its purpose-built arena in London. And Gisla told delegates that the need to duplicate the tech for the groundbreaking production may soon become reality, as its owners and operators explore building more facilities to entertain fans around the world.

Gisla began by speaking about her background working for a division of Ridley Scott Films, where she was involved in making music videos for the likes of Madonna, Coldplay, the Rolling Stones, Beyoncé and Kylie Minogue among others.

Having created a company with a Swedish film director in 2015, she detailed working with David Bowie in the last six months of his life, and how she swore she would not work with music again. “Then ABBA called,” she laughed.

“In the beginning, we thought it might be a concert and a production that we could take on tour, but it cannot – that is impossible. It needed its own space, so it actually felt very normal that we would build our own arena, so I found myself going around London looking for land… and we found an old car park in the Olympic Park, infested with rats – it was perfect!”

“When you have a team of people who are all already excelling in their fields, and then they raise their game even higher, how can you fail?”

Explaining how the creation of the show happened across various pandemic lockdowns, Gisla noted that the production had to marry the digital world with the physical arena. “Light is the connector – we have five different lighting systems,” she said. But she confessed that there was a fear that if they did not get everything perfect, ABBA Voyage could have become just like watching a film.

Noting another moment that had the potential to end the project, she revealed that during the motion capture element of creation, “The whole project nearly derailed when the boys found out that they would have to shave their beards.”

Costing £141 million, the entire venture was funded privately from Swedish investors. Responding to a question from moderator James Drury, Gisla stated, “The size of it did not scare me because when you have a team of people who are all already excelling in their fields, and then they raise their game even higher, how can you fail?”

Answering a question from a TEL delegate, Gisla shot down suggestions that the ABBA Voyage team is working to create similar shows for other artists. Indeed, she also put the record straight about the many erroneous reports in the press about other companies claiming to be behind the show.

Gisla also ran through some of the astonishing statistics behind ABBA Voyage, saying that the show attracts 21,000 people each week and to date has sold more than two million tickets. “25% of the visitors come from overseas, and 80% of those come to London just to see ABBA,” she said noting that an economic impact study found that the production had generated £322 million for the local area in its first year.

“25% of the visitors come from overseas, and 80% of those come to London just to see ABBA”

Digging further into the numbers she said that 70% of the staff working on ABBA Voyage were hired locally, while the company does its best to be part of the community in its East London location.

“You cannot just come in and take – you have to give something back,” she said. “We do workshops for the local schools and explain to the kids how we did the show, giving them the experience behind the scenes of one of the most high tech shows ever created.”

Describing the purpose-built arena as “the least demountable demountable building,” Gisla concluded that although it is impossible to take the production on the road, its creators are in talks to duplicate the venture in the likes of the United States, Australia and elsewhere in Europe. “It’s a complicated beast, however, because you need to have one million visitors per year to make it a viable business,” she added.

Leading executives from the world’s biggest and most successful touring shows and exhibitions gathered for the inaugural TEL on the final day of this year’s sold out ILMC to discuss the challenges and opportunities facing the multi-billion dollar sector.

Companies attending included ASM Global, Live Nation, FKP Scorpio, Kilimanjaro Group, Neon, Semmel Exhibitions, Fever, TEO, RoadCo Entertainment, Terrapin Station Entertainment, Cirque du Soleil, Harlem Globetrotters, Imagine Exhibitions, Broadway Live, Pophouse Entertainment, Layered Reality.

AEG Europe, Great Leap Forward, Science Museum London, lililililil, Imagine Exhibitions, Universcience, Proactiv Entertainment, Let’s Go Company, MB Presents, World on Ice, Expona, Slam Dunk Entertainment, World Concert Artists, Grand Palais Immersif, Fierylight and Opus One were also in attendance.

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The conference programme for the first edition of Touring Entertainment LIVE, which is set for London’s Royal Lancaster Hotel on Friday, March 1, is now complete.

Leading executives from the world’s biggest and most successful touring shows and exhibitions will gather to discuss the challenges and opportunities facing the multi-billion dollar sector, topped by keynote sessions from ABBA Voyage producer Svana Gisla and theatre legend Richard Lewis.

The final schedule includes the State Of The Nation session, which will see Tom Zaller (Imagine Exhibitions), Liz Koops (Broadway Entertainment Group), David Pitman (Cirque du Soleil) and Jenny Sirota (RoadCo Entertainment) survey the key issues facing the sector. Susan Vargo (Moonbug Entertainment) will chair a panel on The A&R of IP, featuring Sana Ali Aamir (Fever/Secret Media Network), Kurt Baker (NEON Global) and Andrew McGuinness (Layered Reality).

Semmel Concerts’ Christoph Scholz will be looking at Standing Out In A Crowded Market with Ryan Amstad (Pophouse Entertainment), James Cassidy (FKP Scorpio Entertainment UK Ltd), John Langford (AEG Europe) and Marine Tanguy (MTArt Agency). Unify Productions’ Heather McGill will host an expert panel looking at the Trends For 2024/25. Meanwhile, Manon Delaury (TEO) and Jessica Willig-Rosenstein (Fever) will also host Quickfire Sessions featuring short pitches of new touring content.

“We’re really excited to welcome some of the leading names in the touring entertainment industry to this inaugural event”

TEL takes place on the final day of this year’s sold out ILMC, but one-day passes for the specialist event are still available.

Companies attending include ASM Global, Live Nation, FKP Scorpio, Kilimanjaro Group, Neon, Semmel Exhibitions, Fever, TEO, RoadCo Entertainment, Terrapin Station Entertainment, Cirque du Soleil, Harlem Globetrotters, Imagine Exhibitions, Broadway Live, Pophouse Entertainment and Layered Reality.

Also confirmed are AEG Europe, Great Leap Forward, Science Museum London, lililililil, Imagine Exhibitions, Universcience, Proactiv Entertainment, Let’s Go Company, MB Presents, World on Ice, Expona, Slam Dunk Entertainment, World Concert Artists, Grand Palais Immersif, Fierylight and Opus One.

“We’re really excited to welcome some of the leading names in the touring entertainment industry to this inaugural event,” says ILMC MD Greg Parmley. “With so many influential decision-makers in attendance, we’re looking forward to some really fruitful conversations at Touring Entertainment LIVE.”

Full information about Touring Entertainment LIVE is on the ILMC website here.

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