CTS Eventim makes moves in US market
CTS Eventim is expanding in North America through a joint venture with US promoters Mammoth Inc and AG Entertainment Touring.
The company says that the partnership will utilise the promoters’ resources and networks to sign ‘top-level’ acts for US and global tours.
Mammoth will bring to the partnership its infrastructure for the booking, promotion, and production of events across the US, while CTS will provide full access to its international Eventim Live network as well as its portfolio of products and services around live events and ticketing.
CTS, a leading ticketer, promoter and venue operator in Europe, says that expanding its presence in the US market is “an essential part of our global expansion strategy”.
The Munich-based operation first entered the North American ticketing market in 2021, causing its share price to reach an all-time high.
“We’re very excited to further build our connections in their network and continue expanding our touring footprint together with CTS Eventim”
CTS will hold a majority stake in the new venture and fully consolidate its financials according to IFRS. The partnership sees the Eventim Live network grow to 38 promoters active around the globe.
“We have really enjoyed getting to know Klaus-Peter, Frithjof and others on the CTS Eventim team,” says Josh Hunt, Mammoth comments. “We’re very excited to further build our connections in their network and continue expanding our touring footprint together with CTS Eventim, AG and all of our co-promoters, friends and partners across the globe. Mammoth was built on mutually beneficial partnerships with our friends, these latest steps with AG and CTS Eventim are a continuation of that philosophy.”
James Crawford, co-owner of AG Entertainment Touring, adds: “This global partnership with CTS Eventim and Mammoth Inc is an exciting opportunity for AG,” says. “Being a part of this collaboration is sure to bring noticeable touring growth to everyone involved and we’re thrilled to be a part of the team.”
Based in Kansas, Mammoth has over 25 years of involvement in concert booking, promotions and production.
The company books events throughout a wide range of venues from arenas to small independent clubs, numerous boutique amphitheatres and historic indoor theatres throughout the country, and also oversees operations and ownership of several theatres.
Mammoth’s upcoming events include concerts with Eric Bellinger, Jerry Cantrell and Jake Wesley Rogers, while AG Entertainment Touring is promoting shows with Future and Kodak Black.
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Måneskin announce RUSH! World Tour
Italian rock band Måneskin have announced their biggest live run to date, the 2023 RUSH! World Tour.
The mammoth trek will see the group headline arenas in North America, South America, Japan and Europe, in addition to their first ever shows in Australia.
Måneskin embarked on their first headline tour of North America last year, selling 100,00 tickets across 25 shows, and will return to headline arenas across the US and Canada, including a landmark show at New York’s Madison Square Garden on 21 September.
The Rome quartet are also heading back to South America, where they will debut in Argentina, Brazil, Chile and Colombia, and will also headline arenas in Japan for the first time.
Måneskin will see play to more than 500,000 fans on their ongoing LOUD KIDS World Tour
The RUSH! World Tour will follow on from Måneskin’s ongoing LOUD KIDS World Tour, which will see them play to more than 500,000 fans. The run has over 20 sold-out European shows still to come, plus festival slots at Glastonbury and Primavera Sound.
The band, who performed to 70,000 fans at Rome’s Circus Maximus in 2022, have already sold more than 220,000 tickets for five special stadium shows in their native Italy in July. Their full list of 2023 tour dates is below.
New tour dates
September 3, 2023 – Hanover, Germany – EXPO Plaza
September 6, 2023 – Nancy, France – Nancy Open Air
September 21, 2023 – New York, NY – Madison Square Garden
September 23, 2023 – Columbia, MD – Merriweather Post Pavilion
September 25, 2023 – Boston, MA – TD Garden
September 27, 2023 – Toronto, ON – Scotiabank Arena
September 29, 2023 – Chicago, IL – Allstate Arena
October 1, 2023 – Detroit, MI – Michigan Lottery Amphitheatre at Freedom Hill
October 3, 2023 – Nashville, TN – Nashville Municipal Auditorium
October 6, 2023 – Irving, TX – The Pavilion at Toyota Music Factory
October 10, 2023 – Los Angeles, CA – Kia Forum
October 13, 2023 – Oakland, CA – Oakland Arena
October 15, 2023 – Vancouver, BC – Doug Mitchell Thunderbird Sports Centre
October 20, 2023 – Mexico City, Mexico – Palacio De Los Deportes
October 24, 2023 – Bogotá, Colombia – Movistar Arena
October 27, 2023 – Santiago, Chile – Estadio Bicentenario La Florida
October 29, 2023 – Buenos Aires, Argentina – Movistar Arena
November 1, 2023 -Rio de Janeiro, Brazil – Qualistage
November 3, 2023 – San Paulo, Brazil – Espaço Unimed
November 20, 2023 – Brisbane, QLD – BCEC
November 22, 2023 – Sydney, NSW – Hordern Pavilion
November 23, 2023 – Melbourne, VIC – Margaret Court Arena
November 25, 2023 – Adelaide, SA – AEC Theatre
November 27, 2023 – Singapore
December 2, 2023 – Tokyo, Japan
December 3, 2023 – Tokyo, Japan
December 7, 2023 – Kobe, Japan
December 14, 2023 – Dublin, Ireland – 3 Arena
December 19, 2023 – Manchester, UK – AO Arena
LOUD KIDS World Tour
February 23, 2023 – Pesaro, Italy – Vitrifrigo Arena SOLD OUT
February 25, 2023 – Turin, Italy – Pala Alpitour SOLD OUT
February 27, 2023 – Amsterdam, Netherlands – Ziggo Dome (previously at: AFAS LIVE) SOLD OUT
March 2, 2023 – Brussels, Belgium – Forest National SOLD OUT
March 3, 2023 – Brussels, Belgium – Forest National SOLD OUT
March 6, 2023 – Berlin, Germany – Mercedes Benz Arena SOLD OUT
March 10, 2023 – Cologne, Germany – Lanxess Arena SOLD OUT
March 13, 2023 – Paris, France – Accor Arena (previously at: Zenith) SOLD OUT
March 16, 2023 – Bologna, Italy – Unipol Arena SOLD OUT
March 17, 2023 – Bologna, Italy – Unipol Arena SOLD OUT
March 20, 2023 – Florence, Italy – Nelson Mandela Forum SOLD OUT
March 21, 2023 – Florence, Italy – Nelson Mandela Forum SOLD OUT
March 24, 2023 – Rome, Italy – Palazzo dello Sport SOLD OUT
March 25, 2023 – Rome, Italy – Palazzo dello Sport SOLD OUT
March 28, 2023 – Naples, Italy – Palapartenope SOLD OUT
March 29, 2023 – Naples, Italy – Palapartenope SOLD OUT
March 31, 2023 – Bari, Italy – Palaflorio SOLD OUT
April 3, 2023 – Milan, Italy – Mediolanum Forum SOLD OUT
April 4, 2023 – Milan, Italy – Mediolanum Forum SOLD OUT
April 6, 2023 – Milan, Italy – Mediolanum Forum SOLD OUT
April 11, 2023 – Barcelona, Spain – Palau Saint Jordi SOLD OUT
26 April 2023 – Zurigo, Svizzera – Hallenstadion (previously at: Halle 622) SOLD OUT
April 28, 2023 – Vienna, Austria – Wiener Stadthalle SOLD OUT
April 30, 2023 – Esch-sur-Alzette, Luxembourg – Rockhal SOLD OUT
May 2, 2023 – Copenhagen, Denmark – The Royal Arena
May 5, 2023 – Milan, Italy – Mediolanum Forum SOLD OUT
May 8, 2023 – London, UK – The O2 Arena (previously at: O2 Academy Brixton) SOLD OUT
May 12, 2023 – Warsaw, Poland – Torwar Hall SOLD OUT
May 14, 2023 – Prague, Czech Republic – O2 Arena (previously at: Malá Sportovní Hala) SOLD OUT
May 16, 2023 – Budapest, Hungary – Budapest Arena (previously at: Barba Negra) SOLD OUT
May 18, 2023 – Riga, Latvia – Mežaparks Grand Stage (previously at Arena Riga) VENUE UPGRADE
19 May 2023 – Tallinn, Estonia – Saku Suurhall SOLD OUT
16 July 2023 – Trieste, Italy – Stadio Nereo Rocco
20 July 2023 – Rome, Italy – Stadio Olimpico SOLD OUT
21 July 2023 – Rome, Italy – Stadio Olimpico
24 July 2023 – Milan, Italy – Stadio San Siro SOLD OUT
25 July 2023 – Milan, Italy – Stadio San Siro
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UK Music calls on minister to block US visa hike
UK Music is calling on business and trade secretary Kemi Badenoch to help block plans for a huge rise in US visa costs for UK musicians and crew.
The organisation has written to the cabinet minister urging her to persuade her American counterparts to drop the “deeply damaging” hike that it says would see fees rise by at least 251%.
In the letter, signed by organisations from across the British industry, UK Music CEO Jamie Njoku-Goodwin highlights the potential impact of the proposed increase in fees by the US Department of Homeland Security for certain types of touring visa fees for non-US citizens.
Music industry leaders are also urging foreign secretary James Cleverly to join efforts to scrap the hike, which is also being fiercely opposed by the American music industry.
“America is one of the most important global markets for British musicians, and breaking into the States can be critical to a musician or band’s career – but this increase in visa fees risks making a US tour unaffordable for emerging acts,” says Njoku-Goodwin. “These deeply damaging proposals would be catastrophic, both for UK artists and for their American audiences who have a huge appetite for British music. These plans must be scrapped.
“We call on ministers to urgently raise this issue with their US counterparts and work with them to avoid an outcome that would be mutually detrimental”
“The UK and US have enjoyed decades of mutually beneficial musical exchange that have strengthened our special relationship and brought huge social, cultural and economic benefits. We should be making it easier for musicians to tour the States, not harder. We call on ministers to urgently raise this issue with their US counterparts and work with them to avoid an outcome that would be mutually detrimental to both our countries.”
In a survey by UK Music members, Music Managers Forum (MMF) and the Featured Artists Coalition (FAC), 70% of their members said the increased visa charges would mean they were no longer be able to tour the USA. Little Simz cancelled her US tour last year, even before the proposed price hikes were announced, citing the financial unviability for an independent artist.
According to the Musicians Union, 96% of their members surveyed said that increased fees will impact the feasibility of future touring, and 26% noted that they will now make a loss on their tours because of this.
Data from trade body LIVE shows that these proposals will put 50% of all UK tours in the USA under threat. The proposals mean that petition fees for the P visa – used for acts to perform temporarily in the US – will increase by 251% from $460 (£385) to $1,615 (£1352) and the O visa – used for a longer-term working visit – would climb by 260% from $460 (£385) to $1,655 (£1,375).
Also, the time for fast processing of applications is being increased from 15 calendar days to 15 working days, without a decrease in costs, for a service that already costs $2,500 (£2,080).
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S Club 7 reunite for UK and Ireland arena tour
British pop sensations S Club 7 will reunite for a UK and Ireland tour this year, to mark their 25th anniversary.
Jo O’Meara, Rachel Stevens, Tina Barrett, Paul Cattermole, Bradley McIntosh and Jon Lee will hit the road again together for the first time since 2015.
The 11-date 2023 tour will kick off at Liverpool’s M&S Bank Arena on 13 October, before visiting cities including Dublin, Glasgow and Newcastle, and ending at London’s O2 Arena on 28 October.
“After eight years it feels amazing to announce that we’re reuniting and performing together again,” they said.
“We’re so excited to bring the S Club party back to our fans across the country to celebrate 25 years of S Club 7”
“We’re so excited to bring the S Club party back to our fans across the country to celebrate 25 years of S Club 7. We can’t even believe it’s been so long. Music and friendship have always been at the core of everything that we’ve ever done. We hope everyone can join us for one big party.”
Originally created by former Spice Girls manager Simon Fuller in 1998, S Club 7 had four UK number-one singles, including Bring It All Back, and a chart-topping debut album.
The group also had their own BBC TV series, Miami 7 – a children’s sitcom based on the lives of the group who had moved to Miami in search of fame. The second series was titled LA 7 after they moved to Los Angeles.
They disbanded in 2003, but came back together in 2014 for the BBC’s Children In Need charity appeal, performing a medley of their best-loved tunes. They went on to release new music and tour the following year.
All SEVEN members of @SClub7 are here! 🙌
Live and exclusive on #TheOneShow at 7pm 👉 https://t.co/kTuZTnDl9U pic.twitter.com/Sbi4z1Rf5F
— BBC The One Show (@BBCTheOneShow) February 13, 2023
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#LetTheMusicMove: Groups oppose US visa changes
The Music Managers Forum (MMF) and Featured Artists Coalition (FAC) have stepped up their #LetTheMusicMove campaign in order to oppose changes to US visa applications.
The UK groups say the newly-proposed increases to filing fees attached to specific visa applications – including O and P artists visas – would result in potentially crippling costs for UK artists looking to tour North America.
#LetTheMusicMove was originally established in June 2021 to campaign for reductions in post-Brexit costs and red tape for UK artists and musicians when touring in Europe, but has extended its focus following the recent announcement by the US Department of Homeland Security (DHS).
Under the proposals, the cost of artists visas increase by more than 250%, which would make performing in the US unaffordable for many emerging and mid-level artists.
“These proposed increases to visa costs would be catastrophic for British artists, and make it unaffordable for many to tour the US,” says MMF chief Annabella Coldrick. “By reactivating and expanding our #LetTheMusicMove campaign we hope to convince the Department of Homeland Security to rethink their culturally destructive proposals.”
“By working strategically, there is still a chance of stopping these damaging changes”
The DHS and the US Citizenship and Immigration Services have opened a comment period until 6 March, allowing US citizens to send public feedback which will then be reviewed and further adjustments considered.
“#LetTheMusicMove provided artists with a unified campaign in which they could voice their concerns about the challenges of touring after Brexit,” says FAC CEO David Martin. “However, these new proposals around US touring visas are equally concerning and, should they be agreed, will only exacerbate the seismic challenges facing the UK’s artists today.
“For that reason, we are asking British artists to commit to three simple actions: to sign up to the campaign, to send us their views, and to submit feedback to the official consultation process. By working strategically, there is still a chance of stopping these damaging changes.”
More than 1,000 artists originally backed the #LetTheMusicMove campaign, including Little Mix, Orbital, Olly Murs, Sampha, Sleaford Mods, Alison Moyet, Nubian Twist, Bicep, AlunaGeorge, Niall Horan, Wolf Alice, Annie Lennox, Biffy Clyro, Idles, Poppy Ajudha, Radiohead, Anna Calvi, Skunk Anansie and Laura Marling.
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Q&A: AEG’s Gary Gersh on talent development
Ever-changing best practice and technological innovation are impacting the live music industry like never before, while important issues such as diversity, equality, and sustainability are being embraced by every sector of the business. In the most recent issue of IQ, we talk to some of the architects who are helping to shape the industry of the future, to quiz them on their blueprints and predictions for how we may all be operating in a few years’ time. This excerpt from the feature sees AEG president of global talent Gary Gersh discuss the importance of talent development, the rise of non-English-speaking artists and the role of streaming.
IQ: What does the live music business look like in 2030? How do you see things changing?
GG: I think the live music scene will be more globally based – we’ll be doing tours all over the world and in countries that we may not have gone in as regularly before. I believe more artists will be coming from countries that we didn’t imagine. And I think streaming will continue to just level this playing field. It’s super exciting.
While the top end of the business is enjoying record numbers, the middle and lower end of touring acts are struggling. What more can be done to support and develop new talent?
We’re in the development business, and we have to continue to take artists from the beginning all the way through the middle and to headliners. If we do it the other way, top-down, you end up not developing talent, and you end up not having the future we all want to have.
Bottom-up is the way we look at it because most artists that are going to be around a long time will not start in the middle or at the top. Even though they may have hits, the lasting power comes from building your audience, market by market, globally. We, as an industry, have to spend more time, money, and resources to be able to develop talent from its earliest days. Or else I think we end up having no middle, which will mean fewer artists getting to be superstars.
“We, as an industry, have to spend more time, money, and resources to be able to develop talent from its earliest days”
As president of AEG’s global touring, where do you see opportunities for growth in the next three years?
Geography and musicality are going to go hand in hand, and we’re going to see music come from all different places in the world. We’re moving toward a situation where alternative music will come from places where English isn’t the most important thing. We’ve just finished sold-out tours with Rammstein, Blackpink, and Karol G, and there’s not a word of English in
any of it. So, I think that’s where we’re going to see opportunities coming from.
What’s the greatest threat to the business currently, and how do we solve it?
I’ve been doing this since I was a young teenager, and I’ve never looked at things as threats to our business. If you look at all that’s going on right now, you can see that there’s a levelling of the playing field around the world through streaming. For example, Karol G puts on a show for Coachella and doesn’t use it anywhere else, but her growth around the world from the stream is gigantic. At the same time, Anitta is playing and Grupo Firme is playing and they’re widening their audiences because the opportunity is just so powerful. The threats that we may perceive are actually opportunities. There is some great new music around, so I think the biggest threat is that people become complacent.
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Q&A: Live Nation’s Lesley Olenik on the future of touring
Ever-changing best practice and technological innovation are impacting the live music industry like never before, while important issues such as diversity, equality, and sustainability are being embraced by every sector of the business. In the most recent issue of IQ, we talk to some of the architects who are helping to shape the industry of the future, to quiz them on their blueprints and predictions for how we may all be operating in a few years’ time. This excerpt from the feature sees Live Nation’s vice president of touring discuss the evolution of the touring landscape, keeping tickets affordable and developing the next generation of headliners.
IQ: How do you see the touring landscape changing globally in the next couple of years, now that we’re in a post-pandemic environment?
LO: We’ll continue to see artists doing more shows across the globe, and all signs point to the fan demand being there to account for that. Touring has always been a significant part of an artist’s career and a key way they connect with their fans at every level and across all genres of music.
With recession looming in many markets and inflation spiralling, a cost-of-living crisis seems like the latest challenge that live music will have to deal with. How can agents, promoters, and artists work together to try to keep tickets affordable for fans?
As the promoter, we work closely with artists and their teams to develop strategies that meet their touring goals from the vision of the show to the financials, which includes how the artist wants to ticket and price their shows. We also pride ourselves on the knowledge we have of markets across the globe and the research we do to make sure ticket prices are comparable and make sense for the fans and artists.
“The average global tour has continued to trend upwards in number of stops, and we anticipate that will only continue”
How do you predict the global touring business will develop in the coming decade, and what impact do you think technology will play in the way fans interact with artists?
We’re already seeing technology connect artists with more fans around the world than ever before through their social platforms and streaming, which gives them a bigger fan base to bring shows to. The average global tour has continued to trend upwards in number of stops, and we anticipate that will only continue over the coming decade. Another great example is how stage production is advancing with technology and becoming even more impressive. We’ll continue to see tech make all aspects of the fan experience more simple and convenient and on a global scale.
What more can be done to support the next generation of headliners, as well as those career acts who rely on their live work to make ends meet?
From my perspective, up-and-coming acts and younger artists are gaining momentum faster than ever before. Due to streaming platforms and social media channels like TikTok, artists have a much greater reach and better opportunity to grow their fanbase at a rapid pace. For other emerging artists, it is about hitting all of the steps from the beginning and connecting with fans.
Playing the clubs and smaller rooms for your day-one listeners, playing festivals to reach new fans and different audiences, and building those up to hit the bigger rooms like arenas. I’ve had the privilege of seeing it first-hand in artists like Billie Eilish who catapulted and Lizzo who dug in and worked the small rooms to the theatres and is now headlining arenas.
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Ed Sheeran to break New Zealand stadium record
Ed Sheeran is set to break the attendance record at New Zealand’s Sky Stadium this week, with 48,000 fans expected at the singer’s sold-out concert.
The 31-year-old brings his +–=÷× Tour (AKA the Mathematics Tour) to the Wellington venue tomorrow (2 February) ahead of two shows at Auckland’s Eden Park next week.
Stuff reports the Sky Stadium concert is on track to top the venue’s current record set by Eminem, who attracted 46,474 fans to his March 2019 date. A Guns ‘N Roses performance at the stadium drew more than 25,000 in December 2022.
“This is the first show of Ed’s Australia and New Zealand tour, and the single largest day event the stadium has ever held”
“This is the first show of Ed’s Australia and New Zealand tour, and the single largest day event the stadium has ever held,” says Sky Stadium chief executive Shane Harmon.
The Frontier Touring-presented gig is scheduled to go ahead despite the recent flash floods and landslides that hit the north island. The “biblical” weather saw a number of major concerts and festivals in New Zealand cancelled, including Laneway Festival and stadium shows by Elton John after Auckland declared a state of emergency.
According to Newshub, bosses at Auckland’s 50,000-cap Eden Park say they are “100% focused” on making sure the venue is “fit for purpose” for Sheeran’s 10-11 February dates after the cricket ground was submerged by heavy rain.
The tour, Sheeran’s first visit to the region since 2018, switches to Australia next month for stops at Brisbane’s Suncorp Stadium (17-19 February), Sydney’s Accor Stadium (24-25 February), Melbourne Cricket Ground (2-3 March), Adelaide Oval (7 March) and Perth’s Optus Stadium (12 March), before heading to the US in May. Sheeran is represented by Wasserman Music’s Marty Diamond in North America and One Fiinix Live’s Jon Ollier for the rest of the world.
Click here to read IQ‘s in-depth feature on The Mathematics Tour.
Sheeran’s previous 255 show ÷ (Divide) run from 2017-19 surpassed U2’s 360° as the highest-grossing tour ever, with a gross of US$776.2 million. It also set a new record for total attendance, at 8,796,567, according to Pollstar data.
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Ozzy Osbourne retires from touring
Ozzy Osbourne has cancelled his long-delayed farewell tour and retired from touring, saying he is “not physically capable” of going out on the road.
The 74-year-old Black Sabbath vocalist’s No More Tours II run launched in North America back in the spring of 2018, with a European leg scheduled for 2019 pushed back due to medical reasons.
The arena shows were finally set for May/June 2023 after further postponements, but have now been pulled entirely.
In a letter posted on his social media channels, Osbourne says his retirement announcement is “probably one of the hardest things I’ve ever had to share with my loyal fans”.
“I have now come to the realisation that I’m not physically capable of doing my upcoming European/UK tour dates, as I know I couldn’t deal with the travel required”
“As you may all know, four years ago, this month, I had a major accident, where I damaged my spine,” says the metal legend. “My one and only purpose during this time has been to get back on stage. My singing voice is fine. However, after three operations, stem cell treatments, endless physical therapy sessions, and most recently groundbreaking Cybernics (HAL) Treatment, my body is still physically weak.
“I am honestly humbled by the way you’ve all patiently held onto your tickets for all this time, but in all good conscience, I have now come to the realisation that I’m not physically capable of doing my upcoming European/UK tour dates, as I know I couldn’t deal with the travel required.
“Never would I have imagined that my touring days would have ended this way. My team is currently coming up with ideas for where I will be able to perform without having to travel from city to city and country to country.”
Osbourne brought the curtain down on his touring days with Black Sabbath six years ago in his native Birmingham, UK. The 2016/17 The End Tour featured founding members Osbourne, Tony Iommi and Geezer Butler and grossed $US85 million at the box office from 81 concerts across North America, Europe, Oceania and Latin America.
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Global Promoters Report 2022 out now
The Global Promoters Report (GPR), a first-of-its-kind resource that highlights the world’s leading promoters and the 40 top markets they operate in, is out now.
The new report, available to subscribers of IQ, is an indispensable guide to the industry’s leading promoters and touring territories.
The inaugural edition includes key summaries of the major players working with international artists, unique interviews and insight into each of the world’s top live music markets and dedicated editorial on key trends and developments across the global live music business.
“The promise of the ‘roaring twenties’ certainly came true this year, with record numbers of shows and sales worldwide,” says GPR editor James Drury. “More shows by more artists, grossing more than ever before – the top 100 tours worldwide brought in $6.2bn this year, eclipsing even the previous record in 2019, according to Pollstar’s 2022 box office data.”
“Each of the market profiles includes overviews of touring conditions for artists at all levels, from stadium-fillers to those looking to break into new territories. With invaluable insights, it presents local conditions, challenges and opportunities, and interviews with the very people who know their home turf best.”
This year’s GPR is available in print, digitally, and on this dedicated year-round mini site. To purchase a print copy of the report, get in touch with [email protected]
A preview version of the Global Promoters Report 2022 is below.
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