US live music company floats on stock exchange
US hospitality and live music company Venu has floated on the New York Stock Exchange.
Formerly known as Notes Live, the firm owns the 8,000-cap Ford Amphitheater in Colorado Springs, which launched this summer and is operated in partnership with AEG Presents. It also runs a venue in Gainesville, Georgia.
In March, it announced it had agreed a deal to develop the 20,000-seat Sunset Amphitheater in McKinney, Texas, which will serve as its flagship music venue, and is also planning an $80 million €76m), 12,500-cap outdoor venue in El Paso.
A similar project is also in the works in Oklahoma, and Venue hopes to reach 10 major markets by 2026.
The company initial public offering of 1.2 million shares of common stock is priced at $10 per share, for gross proceeds of $12m (€11.4m).
“We are very excited to be public. That was the goal – to be able to have a company that fans could own”
Venu, which was founded in 2017 by Colorado entrepreneur JW Roth, says it intends to use the net proceeds to “fund the expansion of its business operations, further development of company services, business promotion activities, and for working capital and general corporate purposes”.
It is also looking at general market expansion and “due diligence efforts to explore the opening of new restaurant, entertainment, and music venues”.
“You always think you know what [your company is] worth, but when the public tells you what it’s worth, it’s a whole different experience,” Venu chair and CEO Roth told yesterday’s 27 November) Colorado Springs Gazette.
“When somebody writes a check and gives you money, they trust you. That’s a heavy responsibility. Today is a reward for all of those people who invested.
“We are very excited to be public. That was the goal – to be able to have a company that fans could own.”
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AEG Presents launches Milton Keynes Bowl festival
AEG Presents is debuting a one-day alternative music festival at The National Bowl, Milton Keynes.
Forever Now will launch on 22 June next year and will be the UK sister event of US festival Cruel World, with lineup details to be revealed next week. Tickets start at £85 (€102).
Dedicated to post-punk music, fashion and literature, the gathering will feature two music stages, as well as a third stage, The Echo Chamber, hosted by music journalist John Robb.
“We are delighted to present a festival that reflects the rich heritage of artists in the alternative music field,” says AEG UK CEO Steve Homer. “The day will feature some amazing artists, unique sets, and collaborations not seen on a UK stage before. As the birthplace of alt counterculture, the UK is the perfect home for a festival to pay homage to alternative creative artistry.’’
The Echo Chamber stage will the artistry, movement and culture through in-depth discussions with renowned artists.
“If you feel a nostalgia for an age yet to come whilst still seeking the classic and have a curiosity for the next wave, then this will be a day to get immersed in,” says Robb.
Manchester’s Outbreak Festival will form part of the lineup for AEG’s new Lido Festival in Victoria Park
Presented by AEG’s Goldenvoice division, the promoter behind Coachella and Stagecoach Festival, Cruel World is held annually at Brookside at the Rose Bowl in Pasadena, California. Its fourth iteration is slated for 17 May 2025, headlined by New Order and Nick Cave and the Bad Seeds.
Other acts will include The Go-Go’s, Devo, OMD, Death Cult, Garbage, Madness, ‘Til Tuesday, She Wants Revenge and Alison Moyet.
Earlier this year, AEG partnered with Yungblud to launch one-day festival BludFest, also at Milton Keynes Bowl. Prices were capped at £49.50 for the multi-genre event, which was headlined and curated by the singer-songwriter.
Meanwhile, the firm has revealed that Manchester’s Outbreak Festival will form part of the lineup for its new Lido Festival in London’s Victoria Park next summer. Described as “the biggest outdoor event led by hardcore acts that the UK’s ever had”, the 13 June gathering will be topped by a UK exclusive performance by Turnstile, as well as acts such as Alex G, Sunny Day Real Estate, Danny Brown, Fleshwater, Have A Nice Life and Knocked Loose.
The inaugural London edition will be followed by a two-day event at Outbreak’s usual home of Bowlers Exhibition Centre in Manchester on 14-15 June, headlined by Knocked Loose & Alex G.
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Revenues rise at Sphere Entertainment in fiscal Q1
Revenue and losses both increased at Sphere Entertainment in the company’s latest financial report, as boss James Dolan gave an update on ambitions for a “global network of venues”.
It was confirmed last month that the world’s second Sphere will be built in Abu Dhabi under a franchise model.
In partnership with the Department of Culture and Tourism – Abu Dhabi, the next-generation venue is expected to be similar in scale to the 20,000-cap Las Vegas original and will be located in a “prime spot” in the UAE capital. No timescale has been given for the project.
“The vision for Sphere has always included a global network of venues, and our recently announced plans for a second Sphere in Abu Dhabi mark a significant milestone toward that goal,” says Dolan, Sphere Entertainment’s executive chairman and CEO. “We are confident in the opportunities ahead for Sphere and believe we are well-positioned to drive long-term shareholder value.”
While declining to give details on other potential Sphere destinations, Dolan told shareholders during the fiscal Q1 2025 earnings call that the firm was still “pushing the envelope”.
“We’re certainly interested in future Sphere announcements and expanding into other marketplaces,” he added. “We definitely want to build in multiple places. We’ve built an organisation that can handle the construction of multiple Spheres at the same time. And so yes, we’re still moving.”
“We have some great bands that are coming in over the next year and so I think we will continue to capture their concerts”
Sphere Entertainment reported revenues of $227.9 million for the quarter, up $109.9m on the same period 12 months ago. In addition, it posted an operating loss of $117.6m (an increase of $47.8m) and an adjusted operating loss of $10.2m (an improvement of $47.7m), compared to the prior year quarter.
In September, Sphere hosted its first live sports event – UFC 306 – which became the highest single grossing event at the venue so far, with box office takings of $22m.
That same month, it also debuted exclusive “cinematic experience” V-U2 An Immersive Concert Film at Sphere Las Vegas, based around U2’s groundbreaking show at the venue. Dolan suggested the concept could be repeated with other Sphere performers in the future.
“We shot it, we put it together, and yes, I think it’s a viable product,” said Dolan. “It really is an amazing product when you see it. You feel like you’re at the concert.
“We have some great bands that are coming in over the next year and so I think we will continue to capture their concerts. I wish we could go back to 1965 and capture The Beatles. I’m pretty sure you’d all love to see a live Beatles concert like you are really there, so that’s one we probably can’t do. But we do have some and creating a library of these kind of performances, I think is very valuable… You’re not going to be able to see Bono 20 years from now live, except this way.”
“The formula, which is really the basis for how we designed Sphere, was to be busy 365 days a year with multiple shows”
The Las Vegas Sphere has so far hosted residencies by U2, Phish, Dead & Company and the Eagles’ 28-show residency, which has been extended multiple times due to demand, plus the Darren Aronofsky-directed immersive production Postcard from Earth. Anyma is set to become the first electronic act to perform with stints from 27 December to 1 January and 10 & 11 January.
Dolan stated his belief that being able to host multiple event types on the same day would be a significant revenue driver for the venue.
“If it’s an Eagles show that’s on Saturday and starts at 8pm, we have a show in the afternoon: Postcards from Earth or V-U2 or the other properties that we’re developing,” he explained. “That’s a pretty good use of the capital. It’s going to generate a lot of revenue.
“The formula, which is really the basis for how we designed Sphere, was to be busy 365 days a year with multiple shows. What we wanted to do when we started this thing was to change the venue model.
“We don’t have any problem with acts wanting to play the Sphere. It’s just getting them in and then making sure that we can do these side by side. It’s really important to us.”
Stock in Sphere Entertainment was up 3% to $42.25 today (13 November), giving it a market cap of $1.51 billion.
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Trump wins: What now for the touring business?
Donald Trump’s stunning re-election has sent stocks soaring on Wall Street, while leaving more questions than answers for the touring business.
The Republican candidate, who will become only the second US president after Grover Cleveland to serve non-consecutive terms in the White House, hailed a “magnificent victory for the American people” after defeating Democrat nominee Kamala Harris in what had been predicted to be one of closest races in history.
VP Harris had received the endorsement of a parade of A-list artists including Beyoncé, Taylor Swift, Lady Gaga, Cardi B, Ariana Grande, Olivia Rodrigo, John Bon Jovi, Jennifer Lopez, Billie Eilish and Bruce Springsteen, but lost the crucial swing states that decided the election’s fate.
Live Nation’s share price rocketed more than 8% to an all-time high of $127.64 (€119) in the wake of Trump’s triumph, giving the company a market cap of $29 billion.
The vote will inevitably put the US Department of Justice (DOJ) antitrust lawsuit against the company back in the spotlight. After the case, which is set to go to trial in 2026, was filed in May, Live Nation’s EVP, regulatory affairs Dan Wall was asked about the likely implications a Trump victory would have for the suit.
“That’s a tough one, for sure,” he said. “If we just kind of go back in time and you asked me whether I think that the first Trump administration would have brought this case, I would tell you that I don’t think that any prior administration – Republican or Democrat – would have brought this case. But the circumstances, looking to the future, it would depend a lot on who was appointed to these positions, and that just makes it kind of vulnerable.”
“I think the unpredictability of Trump makes it very hard to assume anything with certainty”
Ticketing reform will be another subject on the agenda as the US House of Representatives – control of which was still up in the air at press time – voted to pass the TICKET Act earlier this year. If enacted, it will enforce all-in pricing, ban speculative ticketing, ban deceptive websites and deceptive website marketing, provide fans with a full refund to cancelled events and require a report from the Federal Trade Commission on BOTS Act Enforcement.
Outgoing president Joe Biden also declared plans to further clamp down on “junk fees” on tickets for events such as concerts.
On the live circuit, international artists are already battling large increases in US visa petition fees, with many acts claiming that touring the US is “no longer viable”. There are also further potential knock-on effects of Trump’s proposed import tariffs for international production, technology and services companies.
Immediate reaction to the result from the music industry to Trump’s victory in the US and UK was in short supply. But as Independent Artist Group EVP, head of global music, Jarred Arfa tells IQ, it is a case of wait and see.
“I think the unpredictability of Trump makes it very hard to assume anything with certainty, though I think it’s safe to assume we will have a DOJ which is friendlier to big corporations and mergers,” he says. “I think the live business will continue to thrive regardless of the election results.”
Phil Rodriguez, boss of Miami-headquartered promoter Move Concerts, adds: “The only possible impact I see is if economy improves and fans have more disposable income, this may result in an increase in concert attendance.
“Other factors may come into play: lower cost of fuel, for example, which impacts many of the costs of touring. We’ll find out soon enough!”
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NIVA appeals to Congress over fake Oasis tickets
The National Independent Venue Association (NIVA) is urging Congress to investigate “deceptive” ticketing practices after discovering thousands of fake tickets already listed for resale for Oasis’ 2025 North American tour.
NIVA says that 9,000 speculative and, in many cases, non-existent tickets for the band’s US and Canada concerts appeared on secondary platforms at prices far above face value ahead of yesterday’s (3 October) presale and today’s general sale.
It is now calling on the Senate Commerce Committee to hold a hearing on predatory ticket practices – including the sale of speculative tickets – upon Congress’ return from recess in November.
“We are sharing examples of speculative and fake tickets from the Oasis shows with Congress because these are among the highest-profile sales that get the public’s and Congress’ attention,” says NIVA executive director Stephen Parker in a letter to Senate committee on commerce, science and transportation chair Maria Cantwell and US senator Ted Cruz.
“The scourge of fake tickets for these shows and so many other lower profile shows deceives consumers and may even lead them to buy flights, hotels, dinners, and more that they can’t recover if they don’t receive the ticket they have purchased or if the ticket they receive does not work.
“The prices for these fake tickets are likely exceedingly higher than the face value of the tickets. We can’t determine the exact markup on the fake tickets given that there are no tickets available for the public to buy, let alone see the price. These price gouged tickets will leave fans with less money to spend on other shows and less money for the food, drink, and merchandise that generate critical revenue for the local communities where these shows happen.”
“We found a significant number of listings with no warning or messages that the tickets were not in the possession of the seller”
The US trade association claims that approximately 4,354 fake tickets for three Oasis shows were listed on StubHub as of the evening of 2 October, with around 3,450 fake tickets listed on Vivid Seats.
“We found a significant number of listings with no warning or messages that the tickets were not in the possession of the seller, including the most expensive tickets across all three nights,” continues Parker. “Even more egregious is messaging on Vivid Seats sharing misinformation with fans that only ‘1% of tickets [are] left’ when again, the official ticket sale has not yet begun.”
IQ has approached StubHub and Vivid Seats for comment.
NIVA, which represents more than 2,000 independent concert venues and related music businesses, is also pressing lawmakers to advance the Fans First Act as part of a comprehensive year-end legislative package to reform ticketing practices in the territory.
Introduced by senators last December, the Fans First Act is designed to help increase transparency in ticket sales, protect customers “from fake or dramatically overpriced tickets,” and hold “bad actors who engage in illegal ticket sale practices” to account.
“What is happening this week with Oasis tickets in the US is alarming, but it pales in comparison to what artists and independent stages see every day”
“What is happening this week with Oasis tickets in the US is alarming, but it pales in comparison to what artists and independent stages see every day from predatory resellers,” adds Parker. “This letter is a defence of consumers and artists everywhere.”
Earlier this week, Oasis announced outdoor shows in the US, Canada and Mexico for next summer – their first gigs in North America since 2008 – supported by special guests Cage The Elephant.
The reunited group went on to confirm four additional shows as part of the tour leg, which is produced by Live Nation and SJM, due to “phenomenal demand”. They will now play Toronto’s new Rogers Stadium (24-25 August), Chicago’s Soldier Field (28 August), MetLife Stadium in East Rutherford, New Jersey (31 August & 1 September), Los Angeles’ Rose Bowl (6-7 September) and GNP Seguros Stadium (12-13 September).
Fans who have purchased tickets and can no longer attend the shows are urged to resell their tickets via the North American tour’s official resale platform Twickets or Ticketmaster Fan-to-Fan in the US and Canada.
Meanwhile, RTE has reported details of almost 100 complaints made to Ireland’s Competition and Consumer Protection Commission (CCPC) over the handling of the 31 August on-sale for the band’s Dublin concerts, which is being investigated by the watchdog.
The UK & Ireland sale was marred by a controversy over dynamic pricing that has sparked multiple inquiries. A statement from Oasis’ management confirmed the model will not be employed for the US, Canada and Mexico shows.
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Semmel Concerts’ road stories with Hans Zimmer
Semmel Concerts’ Oliver Rosenwald has given IQ a glimpse into the world of Hans Zimmer ahead of the Oscar-winning film score composer’s latest European tour.
Zimmer will grace arenas across the continent in 2025 and 2026 with Hans Zimmer Live – The Next Level, which promises a completely new show featuring “groundbreaking electronic soundscapes and a spectacular light production”.
Although project manager Rosenwald remains tight-lipped on the finer details, he is convinced fans will not be disappointed.
“It’s a new tour, a new show, a new concept,” he tells IQ. “It will not be even similar to that what you have seen or experienced before, and I’m 100% sure that everybody will love it. I really hope we will surprise and delight our customers with this one.”
The Next Level will commence in Zimmer’s native Germany at Oberhausen’s Rudolf-Weber Arena on 12 October next year, going on to visit Austria, the Czech Republic, Switzerland, Belgium, the Netherlands, France, the UK and Ireland, Norway, Sweden, Denmark, Poland, Spain and the UK and Ireland.
“Hans is a super pro and a wonderful human, and he loves to be on tour and to make music”
In 2026, it will also head to Scandinavia, Poland and Spain before wrapping up at Portugal at Lisbon’s MEO Arena on March 31. Rosenwald reports that ticket sales have got off to a strong start.
“Our on-sale went very well: after 48 hours, we added second shows at The O2 in London and in Dublin at the 3Arena. We sold 25,000 tickets in three or four days for La Defense Arena in Paris that indoor stadium, which I was not expecting. I’m pretty sure that we will add more shows to these two tour legs within the coming weeks.”
CTS Eventim-backed Semmel is co-producing the tour with Los Angeles-based RCI Global, which was founded by Zimmer and Steven Kofsky, while the UK dates are presented alongside Harvey Goldsmith and Kilimanjaro Live. This month marks a decade since the launch of Zimmer’s maiden live show at Hammersmith’s Eventim Apollo in London.
“For Semmel Concerts, it’s just wonderful,” says Rosenwald. “We started as local promoter for the tour in Germany, Austria and Switzerland in 2017, then we produced The World of Hans Zimmer together with him and RCI, and it kept moving forward.
“Hans is a super pro and a wonderful human, and he loves to be on tour and to make music. For me, it’s just a great honour. Sometimes I wake up and can’t believe I get to do this kind of work with such a cool artist.”
“The first 17 shows in the US went on sale with a very interesting model – a TikTok presale – and we sold over 80% of the tickets in 48 hours”
Indeed, the relationship has developed to the extent that the German firm is partnering on Zimmer’s current tour of North America.
“We are super-happy that we can do a tour with him in the US and have the next one in Europe already on sale,” says Rosenwald, speaking to IQ from America. “It’s interesting and also a little bit challenging in parts for a European company to tour a US-based artist through the US with Concerts West, even if Semmel Concerts is part of Eventimlive. It’s a quite interesting combination, but it’s a wonderful opportunity and all the shows are almost sold out.
“We went on sale only four or five months before the tour, so I was a little bit nervous because in Europe we normally have six or eight months, or even a year, to sell it, which was our experience in the past with Hans Zimmer Live. But the first 17 shows in the US went on sale with a very interesting model – a TikTok presale – which was pretty cool, and we sold over 80% of the tickets in 48 hours and added another three shows.”
The North American leg, which concludes at the T-Mobile Arena in Las Vegas on 12 October, has been an eye-opening experience for the Semmel team.
“Everything is a little bit different in Europe,” smiles Rosenwald, who reveals hopes of expanding the tour to Asia and Latin America. “But here in the US, we have new situations: with unions, with trucking; there is a different kind of mentality when meeting each other. We have part of our European production crew with us working together with the US-based crew.”
“We decided to bring our Ukrainian orchestra to the US because Hans loves them so much”
He continues: “We decided to bring our Ukrainian orchestra to the US because Hans loves them so much, and it was a tricky process to get these visa and work permits done, time-wise. We started that process as soon as we confirmed the tour in January 2024, but some visas were only approved a few days before people had to leave for the US. That was a little bit challenging, but we got there. We had a very good visa agency and they did a marvellous job.”
More than 300,000 tickets were sold for Zimmer’s 2024 European run, The World of Hans Zimmer Tour – A New Dimension, which marked a new chapter in the concert series as the composer participated as the show’s curator and musical director, rather than performing live on stage himself. Previously, his acclaimed 2023 European tour played to almost 400,000 fans in the spring and was completely sold out.
“It’s not a situation where there’s a big orchestra and the composer is doing his thing; it’s more like a rock show sometimes,” reflects Rosenwald. “It’s the genius behind the music of Dune, or James Bond, or The Lion King, and you would think his normal environment is the studio. But then you see him on the stage and you realise that is also his natural environment. That somehow makes it unique.”
Revisit IQ‘s 2022 feature on Hans Zimmer Live here.
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Lauryn Hill sued by Fugees bandmate over axed tour
Lauryn Hill is being sued for fraud and breach of contract by Fugees bandmate Pras Michel in relation to the group’s cancelled 2023/24 tour dates.
The Fugees’ 2024 North American outing was set to feature Hill, Michel and Wyclef Jean, but was axed in August, with the singer blaming “sensationalism and clickbait headlines” for hurting ticket sales. Hill had previously curtailed the second half of their 2023 run, citing “vocal strain”.
Michel’s lawsuit – filed this week in the Southern District of New York – says last year’s tour was on track to be “a huge commercial success, since most of shows for the entire arena size tour were sold out in advance”.
However, the suit, which Hill has blasted as “baseless” and “full of false claims and unwarranted attacks”, alleges the vocalist mismanaged the budget to the extent that it became “so bloated with unnecessary and, most likely fictitious, expenses, that it seemed designed to lose money”.
Accusing Hill of “arrogance” and “narcissistic tendencies”, it claims she “was taking 40% of the tour guarantees and tour net profits ‘off the top’ for herself, leaving the remaining 60% to be split equally between Hill, Pras and Wyclef”.
“This action will be aggressively defended and defeated”
The filing further alleges that Hill “unilaterally rejected” a $5 million offer for the trio to perform at this year’s Coachella without informing her bandmates, since “her ego was bruised” that No Doubt would receive top billing.
Michel, 51, was convicted of illegal lobbying last year following a trial at the US District Court in Washington.
In a statement to Variety, which obtained the lawsuit, Hill’s attorney Howard King said: “It is particularly disappointing that the suit fails to reveal that Pras was grossly over advanced for the last tour to help him pay his mounting legal bills. His failure to show appreciation for the financial help Ms. Hill has afforded him in his time of need is disappointing. This action will be aggressively defended and defeated.”
Michel will not be joining Hill and Jean on the Fugees’ imminent European arena tour, which is due to begin later this month.
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Dermot Kennedy plans global Irish music festival
Dublin singer-songwriter Dermot Kennedy has announced the launch of a brand new global Irish music festival, Misneach.
The 32-year-old is planning the annual celebration of Ireland’s musical heritage to coincide with the St Patrick’s Day, with the first edition set for March 2025.
Misneach, which means ‘Courage’ in Gaelic, will be held next March across two cities with strong Irish links: Sydney, Australia on 16 March and Boston, US on 18-19 March. The twin festivals promise to focus on Irish music through lineups curated by Kennedy in partnership with Ireland Music Week.
“For so many years now I have watched the St Patrick’s Day celebrations in so many different cities with a massive sense of pride,” says CAA-represented Kennedy. “I’ve always been so moved by the way Irish history and culture is celebrated all over the world. But I’ve also had the feeling that, for a country so rich in culture, I didn’t see it being represented fully in these events worldwide and I wondered, could we change that?
“With this inaugural year we hope to begin an annual tradition that will enrich the St Patrick’s day celebrations around the world with music and the arts, by showcasing some of the best new and established Irish musical talent, as well as musical talent of the Irish diaspora.
“I’ve been lucky enough to feel the love that the world has for Ireland and its music, and I’m so excited to be starting something very special”
“We will also be giving back to the communities in Ireland and the host cities. I’ve been lucky enough to feel the love that the world has for Ireland and its music, and I’m so excited to be starting something very special.”
Kennedy revealed the plans for the festival during an appearance yesterday (2 October) at Ireland Music Week in Dublin.
Featuring contemporary and traditional Irish artists, as well as participants from all over the world representing the Irish diaspora, the first edition of Misneach will see Kennedy and other major artists playing headline shows, as well as higlighting emerging local artists.
Kennedy has chosen the rising talent to be sponsored by Culture Ireland, in partnership with Ireland Music Week, with Big Love, Cliffords and Fynch selected to take part.
In Boston, a Misneach showcase at Brighton Music Hall will be held on 18 March before Kennedy headlines a multi-artist bill at the city’s TD Garden the following day. The Sydney edition will be a full outdoor festival on 16 March following the city’s official St Patrick’s Day parade. The full festival lineup will be announced shortly.
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CAA sues Range Media, alleges theft of information
Creative Artists Agency (CAA) is suing management company Range Media Partners in the US, accusing the firm of stealing confidential information.
The explosive lawsuit, filed in the Superior Court of the State of California for the County of Los Angeles, describes Range, which works with talent such as Jack Harlow, Rita Ora, Shaboozey, Pentatonix, Saweetie and PartyNextDoor, as “an unlicensed talent agency built on deceit”.
It alleges that Range’s founder – former CAA agent Peter Micelli – sought a “shortcut to success” by finding “four highly-paid CAA leaders to act as his accomplices” in the run-up to launching Range in 2020. CAA identifies Range co-founders Jack Whigham, David Bugliari, Michael Cooper and Mick Sullivan as the alleged “accomplices” who “carried out a scheme designed to give Range an unlawful competitive edge”.
It accuses the agents of “posing as loyal CAA members, sitting shoulder to shoulder in confidential CAA meetings about clients and business, all while covertly working to benefit Range and themselves, and to harm CAA”.
“Range’s founders publicly announced its launch in August 2020,” reads the filing. “However, in truth, by August 2020, Micelli and the accomplices had spent months stealing confidential information from CAA for Range’s benefit.”
The complaint, which demands a jury trial, continues: “Specifically, Micelli and the accomplices sought to benefit Range by breaching their obligations to CAA and causing other CAA employees to do the same. The accomplices, working in concert with Micelli, induced other CAA employees – who the Range founders knew were bound by confidentiality and loyalty obligations to CAA – to assist in stealing CAA’s confidential information.
“CAA will fiercely protect the agency against improper market conduct and the misuse of its confidential information”
“The Range founders understood they were engaging in misconduct and tried to cover their tracks to avoid getting caught: urging more junior CAA employees to download encrypted messaging apps to avoid CAA detecting their communications, and directing CAA employees to export confidential information for delivery to certain of the accomplices’ personal email accounts and cellphones. The accomplices did all this while still working as senior CAA leaders and talent agents.”
Furthermore, CAA claims the company’s business model is “the pursuit of unlawful profit through deception” by not registering as an agency to circumvent the WGA Code of Conduct.
“Range skirts rules that California legislators and artists’ guilds put in place to protect those working in the entertainment industry,” adds the lawsuit. “The core ‘trick’ of Range is that it acts as a talent agency but labels itself a management company,” it says. “Range thereby engages in lucrative transactions foreclosed to law-abiding talent agencies.”
In a statement to IQ, CAA counsel Elena Baca of Paul Hastings LLP adds: “CAA is prepared to prove that Range Media was formed through dishonest conduct and, as reflected in other public, pending legal proceedings about Range’s failure to comply with arbitration subpoenas, has concealed evidence of its founders’ actions.
“Peter Micelli, along with his accomplices who were at CAA while founding Range, conducted a lengthy scheme to enrich themselves in ways that violated their contracts and legal obligations to CAA, talent guild regulations, and ethical boundaries, as CAA will demonstrate in court. CAA will fiercely protect the agency against improper market conduct and the misuse of its confidential information.”
IQ has approached Range Media for comment.
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Austin City Limits stage to be battery-powered
Promoter C3 Presents is partnering with Reverb’s Music Decarbonization Project to power a stage at Austin City Limits (ACL) Music Festival in the US, solely on a hybrid battery system.
The 75,000-cap Texas event’s IHG Hotels & Resorts stage will deploy more than 1 MWh of battery storage capacity, minimising the run time of biodiesel generators providing significant fuel and emissions savings.
In addition, the giant shade tents at food court ACL Eats, the West Entrance of the festival, and a variety of backstage areas will also be powered on hybrid battery systems.
The move follows the piloting of a similar initiative at this year’s Lollapalooza in Grant Park, Chicago.
“Following this year’s highly successful and history-making battery-powered main stage at Lollapalooza, we are excited to bring this sustainable solution to Austin City Limits Music Festival,” says Jake Perry, director of operations and sustainability at C3 Presents.
“We have set a goal to build a more sustainable future for music festivals, which involves implementing solutions that make our operations more energy efficient and reinventing how we look at power.”
ACL Fest 2024 will be held from 4-6 & 11-13 October at Zilker Park, topped by headliners Dua Lipa, Tyler, The Creator, Chris Stapleton, Blink-182, Sturgill Simpson and Pretty Lights.
“Decarbonising power is the future for the music industry and every industry”
“We’re thrilled to partner with ACL Fest and the team at C3 Presents for this effort,” says Tanner Watt, Reverb director of partnerships. “Decarbonising power is the future for the music industry and every industry. What’s happening this year at ACL Fest is an important step towards eliminating our reliance on fossil fuels and reducing greenhouse gas pollution.”
Battery-powered shows have also been embraced by artists including Bruce Springsteen, Lukas Graham and Dave Matthews Band, plus venues such as the Netherlands’ Johan Cruijff ArenA.
Indeed, Eilish’s long-standing link-up with environmental nonprofit Reverb resumed last Sunday (29 September) with the launch of the singer’s Hit Me Hard and Soft tour at Québec’s Centre Videotron in Canada. The collaboration has previously resulted in more than $1 million donated to environmental, greenhouse gas reduction, and climate justice projects.
Sustainability efforts on the tour will include reducing greenhouse gas pollution, decreasing single-use plastic waste, supporting climate action, and updating concession offerings to promote and encourage plant-based food options with Support+Feed. A portion of the proceeds from ticket sales in North America will go to Reverb, while Reverb Eco-Villages will be set up at two locations in the main concourse of every show.
Last week meanwhile, Massive Attack announced a weekend of live music in Liverpool, featuring IDLES and Nile Rodgers, under the banner Act 1.5 presents, in the wake of their groundbreaking eco-friendly concert in Bristol in August.
The weekend event at Liverpool’s M&S Bank Arena from 28-30 November will build on the sustainability methods first trialled at the Bristol show.
Over the summer, Coldplay, Live Nation, Warner Music Group and Massachusetts Institute of Technology announced an advisory committee for their study of the live music industry’s carbon footprint.
- The latest issue of IQ features Green Guardians 2024 – our annual list of sustainable innovators.
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