Donald Trump’s tariffs have dominated the global discourse for weeks, wreaking havoc on the stock market and creating a “climate of uncertainty” for the international touring business.

The American president last week paused higher tariffs for 90 days (a baseline 10% tax will still apply), but the trade war with China has ramped up with Trump raising tariffs on the country to 145% and China responding with a 125% rate on US imports.

On Friday (11 April), the White House exempted smartphones, computers and some other tech devices from the “reciprocal” tariffs, although Trump has since warned the exemptions will be short-lived.

Peter Heath, MD of PLASA, the lead international membership body for suppliers of technologies and services to the event and entertainment industries, tells IQ the tariff issue was the talk of the town at last week’s Prolight + Sound trade show in Frankfurt, Germany.

“The general consensus is that everybody’s waiting to see what happens next,” reports Heath. “The way that Trump and the administration work, things are kind of fluid, so most of the people I spoke to were saying, ‘Actually, we can’t do anything at the moment.’

“The biggest challenge for many of them is that the supply chain for their products is global – they might get some component parts from the Far East, America and Europe, and then that product may be put together in China. Some organisations, clearly, have started to do models to see what impact that has on their business, and others are just waiting to see what the final version of it is.”

“Clearly, the tariffs are unwelcome… People are still having to wait before they can make firm decisions”

Heath, who has more than 30 years’ industry experience and was previously head of Europe for Japanese music technology giant Roland Corp, elaborates on what that modelling could entail.

“If I’m a manufacturer and 75% of my business is in Europe and the UK, and 25% is in the US, then I’ve only got a 10% tariff on 25% of my business, so how can I spread that load?” he explains. “Can I bury that 10% across the whole of my business, or do I have to put it on the American side? Can I take a little less margin? Can I save a point by using a different component?

“If they’re relying heavily on parts and construction in the Far East – specifically China – then do they need to bring that into Europe? I’m sure some larger companies are looking at those kinds of scenarios.

“Clearly, the tariffs are unwelcome. And not only that, but they aren’t confirmed yet so people are still having to wait before they can make firm decisions about how they run their businesses going into the future.”

Heath suggests that if America’s standoff with the United States persists, it could have further unintended consequences for the European market.

“If the tariffs remain ridiculous, then how China responds is a bigger concern than America in some ways – because the tariffs on Chinese goods coming into Europe are nowhere near the tariffs for Chinese products going into America,” he argues. “China might re-divert all its energies to Europe, in which case a lot of product could be arriving in Europe, flooding an already busy market.”

There is a growing understanding of the likely ramifications of the tariffs for the live industry

While there remains far more questions than answers regarding Trump’s ever-changing plans – leaving many still reluctant to stick their heads above the parapet – there is a growing understanding of the likely ramifications for the live industry.

Some experts have raised the prospect of additional rules limiting the entry of foreign acts into the US, increasing the cost of work permits or complicating the entry visa process. FKA Twigs recently dropped out of this year’s Coachella and the remainder of her April tour dates in North America, due to “ongoing visa issues.”

Dank Live director Esben Marcher, meanwhile, surmised that a global trade war would affect the amount of US bands touring Europe.

“Production costs, which have been on the rise since after Covid, will most likely grow, making it more expensive for all organisers and promoters to set up shows or festivals,” he added.

The prospect of economic depression, perhaps leading to lower disposable income for consumers and hurting ticket sales, is a chief concern.

“One of the greatest worries – which has broad economic implications – is that the trade war will lead to decreased overall consumer spending on entertainment, affecting ticket sales and attendance at live events,” said Canadian Live Music Association (CLMA) president and CEO Erin Benjamin.

“Common sense would dictate that if prices go up, this will result in less disposable income and this may have a detrimental impact on fans buying tickets,” agreed US-based Move Concerts boss Phil Rodriguez, with the caveat that “it really is way too early to be certain of anything”.

“What’s happening right now, might not be happening next week”

Chris May, GM of Vancouver’s BC Place stadium in Canada, spoke of the likelihood of increased costs for goods such as merchandise, as well as building materials, technology and F&B.

Shadows Fall frontman Brian Fair, who works for instrument manufacturer and distributor St Louis Music, expanded on the tariffs’ effect on the music instrument market in a recent blog.

“Our landing costs have sky rocketed and those costs are being turned into higher prices that will unfortunately be handed down to the consumers,” he posted on Threads. “Some of these brands used to be made in the US but that priced them entirely out of the market so production shifted to overseas many years ago.

“I work directly with Main St. brick and mortar music stores, some that are barely scraping by. These increases, no matter how small, will make it even more difficult for these stores to survive. I am by no means an expert on international trade but I am seeing the damage caused by these tariffs first hand and this is just the beginning. Hope there is still a market left once the dust clears.”

Elsewhere, ticketing specialist Tim Chambers laid out concerns for artists including “higher shipping/customs fees, increased visa and performance tax issues, restriction on cross-border collaborations”.

“Also, merchandise is typically mass produced in the Far East or South America and could also be impacted, and in the medium-term instrument costs could increase due to the global supply chain of components,” he added.

Then again, as has been the case since day one, the situation is subject to change. As John Rostron, CEO of the UK’s Association of Independent Festivals, puts it: “What’s happening right now, might not be happening next week.”

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Country music superstar Garth Brooks has cracked the top 10 of the highest-grossing Las Vegas residencies of all time with his Plus ONE show at The Colosseum at Caesars Palace.

Brooks has sold 99% of available tickets for the 72-show run, which has generated more than US$130 million at the box office since opened in May 2023.

The feat sees the 63-year-old overtake Bruno Mars at Park MGM ($124.5m) and Lady Gaga’s Enigma + Jazz & Piano ($110m) to rise to #8 in the Vegas residency rankings, reports the Las Vegas Review-Journal.

“Garth’s extraordinary enthusiasm and involvement throughout the entire process were everything a promoter could hope for,” says Bob Roux, president of US concerts for promoter Live Nation. “Garth truly treated every aspect of what was accomplished as a genuine partnership. His showmanship, incredible song catalogue, and his rapport with his audience created unforgettable moments night after night.”

Upcoming residencies at the 4,300-cap Colosseum include Kelly Clarkson, Josh Groban and Alanis Morissette.

All of us at Caesars Entertainment are honoured to have had Garth Brooks bring his vision for this residency to The Colosseum

“All of us at Caesars Entertainment are honoured to have had Garth Brooks bring his vision for this residency to The Colosseum,” adds Caesars Entertainment president & COO Anthony Carano. “Having seen this show go from conception to completion, watching firsthand as Garth and his team created 72 uniquely special live music experiences that deeply connected with fans and celebrating the music and stories that can only come from the enduring legacy Garth has created is something we will never forget.”

The Vegas box office list is headed by Celine Dion’s groundbreaking 2003-07 A New Day… Colosseum residency, which earned $385.1m from 2,814,577 ticket sales across more than 700 shows. Dion also occupies second place with 2011-19 follow-up Celine, according to Billboard, which took $296.2m and sold 1.74m tickets over 427 nights.

U2’s 40-night stint at the Sphere in 2023/24 is the third highest-grossing Las Vegas residency, with takings of $244.5m. The top 10 also includes two entries by Elton John: 2004-09’s The Red Piano ($166.4m) and 2011-18’s The Million Dollar Piano ($131.2m), Britney Spears’ Britney: Piece of Me ($137.7m) from 2014-17 and Dead & Company’s 2024 Dead Forever: Live at Sphere run, which topped $131.4m.

Revisit IQ‘s feature on how Vegas has transformed from a glitzy casino town to the hottest entertainment market in the world here.

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Shares in live music companies rebounded on a historic day for Wall Street after American president Donald Trump paused higher tariffs for 90 days.

While a baseline 10% tax will still apply to all countries except China, along with a 25% rate for all aluminium, and steel imports, but higher rates of up to 50% for dozens of other countries – dubbed the “worst offenders” by Trump – have been put on hold.

Trump said he had reached the decision because more than 75 countries had not retaliated against the US and had called “to negotiate a solution to the subjects being discussed”.

In response, the European Union has delayed retaliatory tariffs on the US for 90 days. But the US’ trade war with China intensified as Trump raised tariffs on the country to 125% after China responded to the president’s initial 104% tariff with an 84% levy on American goods.

An already turbulent week for the market took another twist following Trump’s tariff pause, leading to historic gains on the stock market as the S&P 500 rocketed 9.52% – its best day since 2008 and third-best day since World War II. In addition, the Nasdaq jumped 12.2% – its biggest since 2001 – and the Dow Jones was up 7.9%.

However, US markets were down upon opening this morning as Nasdaq fell 2.8%, the S&P 500 2.1% and Dow Jones 1.6%.

The touring business has been holding its own on the stock market in comparison to many other industries

Across the touring business – which has been holding its own on the stock market in comparison to many other industries – Live Nation closed 11% up yesterday at $131.75, Sphere Entertainment soared 19% to $30.97 and MSG Entertainment climbed 11% to $31.99, while live music firm Venu Corp rose 6% to $8.87 and streaming platform Spotify was up 10% to $569.06.

K-pop companies HYBE and JYP Entertainment ascended 7% and 4% respectively, with SM Entertainment roughly flat. MENA streaming service Anghami, owner of Dubai-based event management company Spotlight Events, was up 3.5%.

German-headquartered live entertainment giant CTS Eventim was also up 4% today to €93.30 as European markets rallied.

IQ has been speaking to a number of touring figures around the world about the “climate of uncertainty” the tariffs have brought to the business, with a common concern being the prospect of higher ticket prices and a reduction in disposable income for consumers. There were also fears of a decline in international touring.

“Whilst there is a belief that live entertainment is essentially recession-proof, that’s only so long as consumers continue to prioritise going to events within an increasingly challenging macro-economic environment,” ticketing expert Tim Chambers tells IQ.

“Our landing costs have sky rocketed and those costs are being turned into higher prices”

Danny Pelchat, of Quebec, Canada-based tour producer and promoter EMM Williams Productions, reports it has been business as usual up to this point.

“At this point in time we are in full creation mode and do not have immediate incidence from our southern neighbours,” he says. “Our next production will hit the road next summer, so we don’t have concerns now. Our contacts, worldwide, seem to operate as usual.”

Meanwhile, Brian Fair, who works for instrument manufacturer and distributor St Louis Music and is frontman of US metalcore band Shadows Fall, posted a lengthy blog on his Threads account about the tariffs’ effect on the music instrument market.

“Our landing costs have sky rocketed and those costs are being turned into higher prices that will unfortunately be handed down to the consumers,” he says. “We have tried to avoid increases where ever possible but a lot of it is unavoidable. Some of these brands used to be made in the US but that priced them entirely out of the market so production shifted to overseas many years ago.”

Fair said that “brick and mortar” music stores were already “barely scraping by”, adding: “These increases, no matter how small, will make it even more difficult for these stores to survive.”

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The live music world is coming to terms with US president Donald Trump’s sweeping tariffs, amid fears of an impending global trade war.

Stocks took a hit and the dollar plunged to a six-month low in the wake of the American commander-in-chief’s announcement of a “baseline” 10% tax on all imports into the US, to be applied on every country from this Saturday (5 April).

The European Union faces a 20% tariff, while higher rates of up to 50% will be imposed on dozens of other countries dubbed the “worst offenders” by the president. Trump declared yesterday (2 April) as “Liberation Day” when confirming his plans – which he insists will make America rich again – during a 50-minute speech at the White House.

Meanwhile, with Trump having raised levies on Chinese imports to 20% last month, China’s new 34% rate means it will now face a combined total tariff of 54%.

Although the full implications for the international touring business remain to be seen, there are expectations the tariffs will impact equipment manufacturers and production equipment in particular, with  increased costs for goods such as building materials, as well as technology, F&B and merchandise.

“This ‘tariff war’ just started – let’s see where it goes and how long it lasts”

Agent Jarred Arfa, EVP, head of global music, for Los Angeles-headquartered Independent Artist Group (IAG) admits to concerns.

“I do worry that tariffs here in America will lead to further inflation on basic goods and services, leaving less discretionary income for entertainment like concerts,” he tells IQ. “There is just a lot of uncertainty in the economy now, which will have a negative impact on consumer sentiment. Hopefully, this is all short lived.”

Phil Rodriguez, boss of Miami, Florida-headquartered Latin music promoter Move Concerts, argues it is too early to gauge the impact on touring.

“Common sense would dictate that if prices go up, this will result in less disposable income and this may have a detrimental impact on fans buying tickets,” he surmises. “But it really is way too early to be certain of anything. This ‘tariff war’ just started – let’s see where it goes and how long it lasts.”

President of Toronto-based BAM! Baird Artists Management Consulting Robert Baird observes that Trump’s tariffs “have sent the world economy reeling”.

“That cannot be good for the arts,” says Baird, a former president of North American Performing Arts Managers and Agents (NAPAMA). “A depressed economy will mean less disposable income and that will hurt the box office. Global tariffs will result in higher prices and higher prices will mean that global touring will be more expensive. And the profit margins for most artists are slim already, so decreased touring is imminent.

“Add all of this to the political climate in America and we see a narrowing of the possibilities for touring to North America for foreign artists.”

“I fear that a global trade war will affect the amount of US bands that tour Europe”

Offering a European view, Esben Marcher, director of Danish live music trade body Dansk Live, points to several potential results of the tariffs.

“Production costs, which have been on the rise since after Covid, will most likely grow, making it more expensive for all organisers and promoters to set up shows or festivals,” he contends. “The way US bands tour will probably be affected in some way, too. To my knowledge the Trump administration is aiming for tariffs on goods, not services, but I fear that a global trade war will affect the amount of US bands that tour Europe.”

Marcher adds, however, that his greatest concern is how the tariffs will affect the overall economy and the purchasing power of the audiences.

“In a situation with rising tickets prices as a result of higher production cost and high inflation, I fear that the positive development we have experienced in the last couple of years will come to a end,” he contends.

Last month, the Paris-based Organisation for Economic Co-operation and Development (OECD) projected the tariffs would lead to global growth slowing to 3.1% in 2025 and 3% in 2026, while revising its inflation forecast upwards by 0.3 percentage points to 3.8%, compared to its Economic Outlook in December.

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US president Donald Trump yesterday signed an executive order, flanked by long-time supporter Kid Rock, which claims to bring “common sense” changes to live event ticketing.

With the secondary ticketing market coming under regulatory pressure in numerous countries, President Trump became the latest political leader to identify the issue as one which cuts through to consumers, claiming that fees had “gotten worse and worse with time”.

The executive order, while welcomed by some in the live music industry, committed to little new action, requiring various branches of the US government to “take enforcement action to prevent unfair, deceptive, and anti-competitive conduct in the secondary ticketing market”.

While Kid Rock claimed the order was a great “first step” and said he would like to see a cap on resale prices, there was no indication that the White House was considering such a move.

“Anyone who’s bought a concert ticket in the last decade, maybe 20 years — no matter what your politics are — knows that it’s a conundrum,” said Kid Rock.

“You can buy a ticket for $100. By the time you check out, it’s $170. You don’t know what you’ve been charged for. But, more importantly, the bots, they come in, they get all the good tickets to your favourite shows you want to go to, and then they’re relisted immediately for 400-500% markup.”

“Scalpers and bots prevent fans from getting tickets at the prices artists set, which is why we support any meaningful resale reform”

In a statement released with the executive order, the US government said the live business “has become blighted by unscrupulous middle-men who impose egregious fees on fans with no benefit to artists”.

Writing on X, Live Nation President and CEO Michael Rapino said: “Big thank you to President Trump and Kid Rock for taking ticket scalping head-on, which protects American consumers and artists.

“Scalpers and bots prevent fans from getting tickets at the prices artists set, which is why we support any meaningful resale reforms — including more enforcement of the BOTS act, caps on resale prices, and more.

The move comes in the same week that the UK consultation on the secondary market closes, with the Labour government widely expected to follow it with legislative proposals to restrict the activities of the sector.

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Electronic dance music visionaries Insomniac and Tomorrowland are joining forces for the first time ever to launch UNITY at Sphere in Las Vegas.

In the first chapter in a series of collaborations between the two festival creators, the “groundbreaking audiovisual spectacle” will arrive at the $2.3 billion next generation venue for three nights on 29-31 August.

Belgium’s Tomorrowland will merge its Planaxis, Adscendo and Orbyz relams with US-based Insomniac’s Beyond Wonderland, Escape Halloween and Electric Daisy Carnival into an “all-encompassing sensory voyage”, with the promoters “fusing their most iconic dreamscapes into a breathtaking, guided adventure”.

“Through the past decades, we both have strived to create festivals and experiences around the world that foster beautiful, unique communities of individuals,” says a joint statement from the companies. “Music is our universal language, the dance floor our sanctuary, and every one of you, our family. We can’t thank you enough for being such an integral part of the journey with us.

“We join together to create a brand-new experience that harnesses the magic, love, and awe-inspiring moments within our events”

“Now, for the first time in history, our worlds become one. In UNITY, we join together to create a brand-new experience that harnesses the magic, love, and awe-inspiring moments within our events—and there’s no better stage on earth than Sphere.”

The soundtrack will blend dance music anthems with new orchestral compositions and accompaniments, with each show to climax with surprise special guest DJ performances.

UNITY will become the Sphere’s second electronic music headline event following Afterlife presents Anyma ‘The End of Gensys’ Live. The solo project of American DJ and producer Matteo Milleri, Anyma staged a 12-night residency, beginning on 27 December last year and wrapping up earlier this month.

Separately, Dead & Company kicked off their second stint at the 17,500-seat/20,000-cap venue on 20 March, with upcoming 2025 residencies also announced by Kenny Chesney and Backstreet Boys.

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Following months of rumours, secondary ticketing marketplace StubHub has filed for an initial public offering (IPO) in New York.

The company, which operates as Viagogo outside North America, originally planned to go public last summer with a target valuation of US$16.5 billion only to later postpone the move, reportedly due to unfavourable market conditions.

But it has now pressed ahead with its SEC filing, which sets out its “mission” to be the “global destination for consumers to access live events and experiences”.

“We believe we operate the largest global secondary ticketing marketplace for live events,” reads the prospectus. “Our business model has achieved scale with high growth and generated significant revenue, profit and cash flow. We connect fans around the world with sellers who use our marketplace to reach passionate fans and price tickets efficiently.”

The firm says that buyers from over 200 countries and territories purchased more than 40 million tickets from over 1m sellers on its marketplace in 2024, reporting that its revenue rose 29.5% year-on-year to $1.77 billion. It posted a net loss of $2.8m – attributed to increased costs and expenses – compared to a net profit of $405.2m in 2023 and a net loss of $261m in 2022.

“We believe the international secondary ticketing market represents a $23 billion opportunity over the medium term”

“We believe we are the leader in the $18 billion North American secondary ticketing market based on our GMS [gross merchandise sales] for 2024 as compared to similar metrics of our largest competitors for 2024,” it continues. “We believe the international secondary ticketing market represents a $23 billion opportunity over the medium term as these markets continue to be penetrated by global digital commerce.

“We are also growing in the $132 billion global original issuance market and believe we can help enable the distribution and recovery of approximately $22 billion in unsold tickets through our marketplace.”

Viagogo announced its acquisition of StubHub for US$4.05bn in 2019 in a landmark deal that brought together the world’s two largest secondary ticket sellers, and placed Viagogo founder and CEO Eric Baker back in control of the company he co-founded in 2000.

The sale was approved by the UK Competition and Markets Authority (CMA) after Viagogo was forced to sell its international business due to competition concerns.

In its IPO filing, StubHub acknowledges that its business is subject to a “number of risks and uncertainties”.

“Our business depends on supply and demand for and continued occurrence of large-scale sports, concerts, theatre and other live events, and any decrease in the number of such events or the willingness of consumers to attend such events could have a material and adverse effect on our business, financial condition and results of operations,” says the document.

“This indicates a recovering US IPO market with owners seeing a window of opportunity to go public”

StubHub also notes that “changes in internet search engine algorithms and dynamics, or any limitation or discontinuation of support by such search engines for our paid search results, could have an adverse impact on traffic for our sites and ultimately, our business, financial condition and results of operations”.

Viagogo was banned from advertising on Google globally in July 2019 after the latter came under fire from lawmakers for allegedly accepting advertising money from sites listing tickets fraudulently. The ban was quietly lifted four months later.

The Face-value European Alliance for Ticketing (FEAT) – which is dedicated to the promotion of face-value ticket resale across the continent – has said that it is estimated that Google is responsible for driving two-thirds of traffic to Viagogo.

Meanwhile, the UK government launched a consultation into the secondary ticketing market in January, with measures being considered including a new cap on the price of resale tickets, alongside plans to limit the number of tickets resellers can list to the maximum they are allowed to purchase on the primary market. Various other legislative initiatives relating to resale are also already in place in other territories.

Alluding to the state of play, StubHub notes: “We operate in international markets and are subject to risks associated with the legislative, judicial, accounting, regulatory, political and economic conditions specific to such markets, which could adversely affect our business, financial condition and results of operations.”

Furthermore, it states: “We have identified material weaknesses in our internal control over financial reporting. If we fail to remedy these material weaknesses, experience additional material weaknesses in the future or otherwise fail to continue to design, implement and maintain effective internal control over financial reporting, we may not be able to accurately report our financial condition or results of operations which may adversely affect investor confidence in us and, as a result, the value of our Class A common stock.”

Nevertheless, Josef Schuster, CEO of financial institution IPOX, describes StubHub as “one of the most closely watched IPOs this year”.

“StubHub’s filing follows on the recent filings of other high-profile deals set to go public soon, including CoreWeave and Klarna,” he tells Reuters. “This indicates a recovering US IPO market with owners seeing a window of opportunity to go public.”

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Live music executives in Canada have warned the touring industry faces a “climate of uncertainty” due to Donald Trump’s trade tariffs.

The US president imposed sweeping tariff hikes on Canada and Mexico last week, although some have been paused until 2 April. He also raised levies on Chinese imports to 20%.

Trump, who has called for Canada to become America’s 51st state, previously said he was taking action “to hold Mexico, Canada, and China accountable to their promises of halting illegal immigration and stopping poisonous fentanyl and other drugs from flowing into our country”.

A 25% tax on steel and aluminium products from all countries was imposed last week, with Canada and the EU both announcing retaliatory tariffs in the developing trade war.

Speaking to reporters aboard Air Force One, Trump said 2 April would be a “liberating day” for the US, with a new wave of levies to be introduced.

“It’s going to be reciprocal — in other words, whatever they’re charging, we’re charging,” he said. “Then in addition to that, on autos, on steel, on aluminium, we’re going to have some additional tariffs.”

“The current tariff war will create a climate of uncertainty for venues in the United States who hire artists”

Amid the ever-changing situation, Robert Baird, president of Toronto-based BAM! Baird Artists Management Consulting, advises on the likely consequences for live music.

“The current tariff war will create a climate of uncertainty for venues in the United States who hire artists: their funding may be in jeopardy and their clientele may be diminished simply because people will have less discretionary income,” he tells IQ. “A depressed economy due to the tariff will not allow for the flourishing of live performing arts.”

A former president of North American Performing Arts Managers and Agents (NAPAMA), Baird also points to potential additional hurdles for international touring acts.

“I am concerned that there may be additional rules coming which would limit the entry of foreign artists into the United States, whether by increasing the costs of work permits or putting increasing impediments on the entry visa process,” he adds.

“We could see increased costs for goods and materials such as building materials, technology, food and beverage, and merchandise”

Chris May, general manager of Vancouver’s BC Place stadium, which has hosted acts such as Coldplay, Ed Sheeran and U2, as well as the finale of Taylor Swift’s Eras Tour, breaks down some of the more granular implications.

“The potential impacts of tariffs on the live events industry will depend on each venue or company’s specific operations,” he says. “However, as with many industries, we could see increased costs for goods and materials such as building materials, technology, food and beverage, and merchandise.

“Fortunately, BC Place has always prioritised working with Canadian suppliers whenever possible, which puts us in a strong position to mitigate the effects of tariffs and limit any associated cost increases.”

May offers his thoughts on how the situation could play out from here – both for better and for worse.

“BC Place is thankful to have strong relationships with many Canadian partners and suppliers, and we remain committed to supporting the local economy,” he notes. “However, the worst-case scenario would involve a decline in tourism to British Columbia, which could result in fewer visitors for events, especially those travelling from the US. Depending on the event, many of our attendees come from south of the border, contributing not only to our ticket sales but also to the local economy.

“While it’s difficult to predict how things will unfold, we remain optimistic and committed to maintaining BC Place as an open, inclusive space. We look forward to continuing to welcome our friends from the US and showcasing the beauty of our province.”

“The past few years have shown us how resilient and adaptable our industry can be in the face of global uncertainty”

BC Place is gearing up to welcome AC/DC next month in advance of a multi-night run by Canadian homegrown hero The Weeknd this July, and May is determined not the let the outside issues distract from the venue’s core focus.

“Our goal of providing exceptional experiences for our guests and continuing to host world-class events remains the same,” he tells IQ. “While tariffs may present some challenges, our team is proactively working on solutions to ensure we continue delivering value for both our fans and partners.

“The past few years have shown us how resilient and adaptable our industry can be in the face of global uncertainty, and we have come out the other side stronger. BC Place’s commitment to overcoming challenges and evolving with the changing landscape has always been key to our success, and we’re confident that we’ll continue to thrive despite any external challenges.”

The Paris-based Organisation for Economic Co-operation and Development (OECD) today (17 March) published its latest Interim Economic Outlook. It projects the tariffs will lead to global growth slowing to 3.1% in 2025 and 3% in 2026, while revising its inflation forecast upwards by 0.3 percentage points to 3.8%, compared to its Economic Outlook in December.

Due to being hardest hit by the tariffs, the impact on Canada and Mexico is expected to be the most substantial, with the OECD now predicting Canada’s economy to expand by 0.7% this year and next, down from the previous forecast of 2% for both years.

Meanwhile, Mexico is projected to contract by 1.3% this year and a further 0.6% in 2026, having previously been expected to grow by 1.2% and 1.6%, respectively.

The US’ forecast has also been downgraded to 2.2% for 2025 and 1.6% for 2026, compared to 2.4% and 2.1% in the last outlook.

“The global economy has shown some real resilience, with growth remaining steady and inflation moving downwards. However, some signs of weakness have emerged, driven by heightened policy uncertainty,” says OECD secretary-general Mathias Cormann. “Increasing trade restrictions will contribute to higher costs both for production and consumption. It remains essential to ensure a well-functioning, rules-based international trading system and to keep markets open.”

“Today’s political reality creates an opportunity for our industry to help lead through these turbulent times”

Canadian Live Music Association (CLMA) president and CEO Erin Benjamin says the trade war is quickly raising significant concerns within Canada’s live music industry.

“Tariffs are expected to have multiple direct and indirect impacts on live music businesses and organisations, including increased operational costs,” she says.

“Today, one of the greatest worries – which has broad economic implications – is that the trade war will lead to decreased overall consumer spending on entertainment, affecting ticket sales and attendance at live events.”

However, Benjamin is keen to accentuate the positives amid the ongoing uncertainty.

“These three things are as true today as they ever have been – Canada’s live music industry is a cultural and economic powerhouse, our incredible home-grown artists embody the essence of Canadian identity, and, concerts have always meant positive impact for tourism, job creation, artist development, and economic growth,” she says.

Benjamin references the CLMA’s public awareness campaign, #CanadaIsLiveMusic, which was recently launched “to better highlight the potential for growth our sector represents”.

“Today’s political reality creates an opportunity for our industry to help lead through these turbulent times,” she continues. “With new, compelling economic data in hand, #CanadaIsLiveMusic sends a strong signal that our industry is more than ready to be an even stronger catalyst for, and champion of, a resilient Canadian economy.”

In closing, Benjamin extends a warm welcome to Canada’s new prime minister and Liberal Party leader Mark Carney, who succeeded Justin Trudeau as PM earlier this month.

“The CLMA welcomes Mr Mark Carney as the new leader of the Liberal Party, and looks forward to working with all political parties to harness the true power of live music, creating a legacy of cultural vibrancy, increasing jobs, economic resilience, and community connection for generations to come,” she finishes.

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AEG Presents is planning to open a new 4,000-cap indoor venue in Austin, Texas, in the first quarter of 2027.

The purpose-built venue will anchor the 109-acre mixed-use development River Park in the US city’s Riverside neighbourhood.

Developed by Presidium and Partners Group, River Park is designed to be an “urban oasis” for Austin, with AEG’s venue serving as its “cultural heartbeat”.

“We have always wanted to build a venue from the ground up in Austin, but we wanted to make sure the timing and location were right, and we had partners aligned with our vision,” says Shawn Trell, AEG Presents’ EVP and chief operating officer.

The venue promises to feature “state-of-the-art sound and lighting, luxury suites, VIP seating, and best-in-class hospitality, as well as “spacious, artist-friendly dressing rooms, green rooms, and top-tier production capabilities”.

“We have always wanted to build a venue from the ground up in Austin”

Details on opening dates, first performances, venue name and ticket sales will be announced in the coming months.

As well as live music, the venue will also host private events, including corporate functions, weddings, conferences, awards shows and fundraisers.

“We’re thrilled to bring a new venue to Austin, a city that lives and breathes live music,” says Robin Phillips, VP of AEG Presents Southwest. “Our mission is to bring something new to the city that both honours the legacy of Austin and feels completely unique. Whether it’s a headlining show from a national touring act, or a local artist’s breakthrough moment, we want this space to feel like home for musicians and fans alike.”

The birthplace of South By Southwest (SXSW) conference and festival and self-styled “Live Music Capital of the World.”, Austin gained a new arena in 2022 with the launch of 15,000-seat arena the Moody Center.

“This project will strengthen Austin’s rich musical legacy, create new opportunities for artists, fans, and the local economy,” adds Austin mayor Kirk Watson. “We look forward to welcoming AEG Presents to our city.”

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A 37-year-old man has been charged with swindling a St Louis talent agency out of US$270,000 (€248,000) over a fake festival booking.

Joshua Adam Eldridge was arrested in Nashville last week, having been indicted in the US District Court in St Louis, Missouri on one count of wire fraud.

He is accused of fraudulently obtaining $270,000 from a talent booking agency in St. Louis, Missouri with false claims about a concert appearance by a “national recording artist”.

It is alleged that Eldridge made a series of claims in March and April of 2024, including that he had an existing relationship with the act and was talking to her about performing at that year’s Afro Nation Detroit festival. Eldridge also allegedly sent the booking agency fake screenshots of texts with the artist’s creative director.

The indictment says that while Eldridge did make a request to the artist through a third party, the offer was rejected.

After the victim wired $270,000 for the artist to Eldridge, he is alleged to have used the money for living expenses

After the complainant wired $270,000 for the artist to Eldridge, he is alleged to have used the money for living expenses, including airline tickets, clothing and accessories.

When the alleged victim confronted Eldridge about a planned concert by the act the same month in Detroit, Eldridge is said to have promised to return the deposit, complete with a “fabricated refund agreement” between Eldridge and the artist’s creative director, the indictment says.

The FBI investigated the case, which is being prosecuted by assistant US Attorney Kyle Bateman.

The US Department of Justice has not disclosed the name of the booking agency or artist involved.

Afro Nation Detroit 2024 was held over two days last August, featuring the likes of Rema, Lil Wayne, Asake and PartyNextDoor.

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