UK arena bosses have weighed in on the sector’s biggest issues in 2025 – and debated whether the stadium boom is hurting the indoor circuit.

The arena market boasts an abundance of top talent, with upcoming tours by stars such as Sabrina Carpenter, Billie Eilish, Teddy Swims, Gracie Abrams, Usher, Pulp, Andrea Bocelli, Chase & Status, Bryan Adams, Olly Murs, Katy Perry, Tyler, the Creator, Tom Grennan, The Lumineers, Lil Baby, Jamiroquai, Central Cee, Busted vs McFly and Kylie Minogue.

But with Post Malone becoming the latest A-lister to announce a summer stadium run, joining around 30 artists from Oasis to Beyoncé in headlining music’s biggest stages, does something have to give?

“The fan demand for live entertainment is stronger than ever, and although we are always competing to some extent, there’s no harm in a wider choice for fans across the board,” says Guy Dunstan, SVP and GM at Manchester’s Co-op Live (cap. 23,500), speaking to IQ.

“There will always be differing levels or artists taking to different sized venues, and at Co-op Live we’re even seeing some of the staple outdoor artists like Bruce Springsteen, Eagles and Pearl Jam opt to return to an indoor venue of our scale and size. It’s testament to the strength of the industry, that these events can co-exist.”

Gemma Vaughan, GM of Manchester’s 23,000-cap AO Arena is equally confident there is enough room for everyone.

“Manchester is lucky enough to be a city that’s home to two arenas, a plethora of smaller independent venues and two stadiums that also host live events,” she says. “We’ve been at the heart of Manchester’s music scene since 1995, we’re confident we’ll continue to thrive alongside all of our neighbours.”

“Fans only have a limited amount of discretionary spend”

Indeed, Steve Sayer, SVP and GM at London’s 20,000-cap The O2, says it is shaping up to be a year to remember for both stadiums and arenas.

“With stadium gigs, it tends to be a little bit cyclical: you’ll have a strong year and then the next year isn’t quite as strong, so it could potentially be perceived as having an impact on arena shows,” he contends. “But we’re certainly confident when we look at the diary – and not just this year, but next year as well – that the show count forecast remains strong.”

North of the border however, Rob Wicks, MD of Aberdeen’s P&J Live, admits to harbouring reservations on the subject, stressing: “Fans only have a limited amount of discretionary spend.”

Nevertheless, Wicks, who lists the cost of touring, the cost of living crisis and closures of grassroots venues among his chief concerns for the business, reports the 15,000-cap Scottish arena is still on track for a stellar year.

“The venue sold 31% more tickets in 2024 than it did in 2023 and is on track for a similar increase in 2025, which is really encouraging,” he tells IQ.

John Drury, VP and GM of London’s OVO Arena Wembley (cap. 12,500), sees both sides of the argument, but tells IQ it’s a case of so far, so good.

“There’s no doubt that a rising number of outdoor shows and festivals can widen the market and lead to some challenges in arenas, but so far for us at Wembley we’re not seeing a downside,” he reports. “2024 was a record-breaking year for Wembley and 2025 is shaping up to be as strong, if not stronger. Significantly, we hosted over 50 first-time headline acts last year, which shows the current strength of the arena market in the UK.”

“The arena landscape is really strong in comparison to 2024,” nods Utilita Arena Newcastle GM Caroline James. “Maybe it is already having a positive impact?”

“Anything that brings massive profile to the sector is a good thing – particularly if it reminds people to buy tickets for other gigs!”

Dom Stokes, general manager of Utilita Arena Sheffield (cap. 13,600), shares similar sentiments – suggesting that a rising tide lifts all boats.

“I think it’s positive,” he argues. “Anything that brings massive profile to the sector is a good thing – particularly if it reminds people to buy tickets for other gigs! A strong stadium season can lead to offshoot events in the arenas. In Sheffield, we have often found an opportunity to use our huge space for rehearsals.”

Stokes describes 2025 as a “transitional year” for Utilita Arena Sheffield, which joined the ASM Global venue network last month alongside Sheffield City Hall.

“However, product is strong and the investment planned in both front of house and back of house areas is very exciting,” he adds. “Ticket sales for all our genres are strong, but ticket buyers continue to buy a long time in advance or very late. There doesn’t seem to be very much in between.”

It is a similar story at the 11,000-cap Utilita Arena Newcastle, where James projects a “fantastic year both for private events and live events”, but points out that ticket trends “seem to be all or nothing”.

“Late purchasing is still very apparent,” she advises, adding that an increasing number of events are going to the bigger cities and missing regional venues.

“UK arenas generated £100 million in VAT in 2023: £60m on ticket sales and £40m on ancillary income”

OVO Arena Wembley’s Drury goes into detail on the issues at the top of his in-tray right now as chair of the National Arena Association.

“Since coming back from Covid, costs have continued to rise, which puts pressure on our margins,” he notes. “We’re also of course aware that production costs are also rising, putting the squeeze on from all angles. To add to this, we are concerned that a proposed increase in business rates designed to hit the major warehouse operators of online sales will also affect arenas disproportionately – we feel that an adjustment of the proposed raises should be made for our businesses.

“We of course already contribute massively to the government coffers: we employ huge numbers locally, contribute millions of pounds to our local communities – studies show £100 per person average spend in the community from each arena show – and also pay a big part in positively impacting the mental wellbeing of our millions of guests.”

Drury also backs trade body LIVE’s calls lower VAT rates in line with many other European countries “where 20% is unheard of”.

“UK arenas generated £100 million in VAT in 2023: £60m on ticket sales and £40m on ancillary income,” he says. “A cut would help the grassroots sector massively but also if we were able to divert a portion of our VAT income back to those most in need in our industry we could and should pretty much become a self-financing industry.

“If, for example, we could plough back 5% of the VAT we raise on tickets as part of a wider VAT cut for our events, that would have meant £3m going back to grassroots in 2023 alone.”

“Grassroots venues are an incredible part of the broader live music ecosystem”

In late 2024, IQ reported the UK live music industry was edging towards a deal which would see more stadium and arena tours agree to include a contribution towards grassroots support after a meeting with culture minister Chris Bryant MP.

The ministerial roundtable followed the government’s plea to the live industry to introduce a voluntary ticket levy to support the grassroots music sector in its response to the Culture, Media and Sport (CMS) Select Committee’s report.

“What the minister asked for – and was looking for – was momentum,” says The O2’s Sayer. “From our perspective, we’ve always said that grassroots venues are an incredible part of the broader live music ecosystem. We’ve got a collective responsibility to ensure that we can put together a solution that’s equitable and works and actually delivers funds to the venues and the artists that really need that support.

“From what I can see, and the conversations that I’m having, I’m confident there will start to be momentum this year around the levy and hopefully, over time, that will start to generate the sort of funds the grassroots desperately needs.”

The struggles of the grassroots sector are also at the forefront of Vaughan’s mind.

“It’s no secret that rising touring costs are proving challenging across the live entertainment industry, but I think the more relevant question is how does that affect our grassroots musicians and venues?” queries the AO Arena boss. “If these artists are unable to perform, how can they graduate through the talent pipeline and become our next headline act?

“As one of the UK’s largest entertainment venues, we’re extremely conscious of our position, and this is something we’ve been working closely with Music Venue Trust and Manchester’s wider community as a whole. Especially as we turn 30 this year, it’s more prevalent than ever to ensure that we’re protecting grassroots from the top down, or there will be no arena sector for us in the next 30.”

“We’re seeing fans wanting a more focused consumer experience”

On the programming front meanwhile, Vaughan detects a consumer shift in genres, particularly K-Pop, where “Manchester is rivalling the likes of London when it comes to talent and demand”.

“There’s also been a substantial shift in what our fans expects not only from their favourite artists, but venues too,” she continues. “Fans are looking for authentic experiences that go beyond their Instagram stories, they’re wanting connection. Experiential experiences are not to be overlooked, so that will be another key priority for us this year.”

Across the city at the rival Co-op Live, Dunstan is revelling in the arena’s first full year of operation, with UK arena exclusives from the likes of Bruce Springsteen and The E Street Band and Robbie Williams on the horizon in H1 2025.

“The appetite for content has been immense,” he observes. “Amongst it, we’re seeing fans wanting a more focused consumer experience, from quality food and drink, to pre- and post-show entertainment, well beyond VIP and hospitality.”

He concludes: “There’s significant attention on arenas and the part they play in the wider music ecosystem; perhaps more than ever, with vital conversations around ticket pricing, support for the grassroots sector, ticket levies and more.

“It’s a very exciting time to be part of the industry, and to work collaboratively to balance the various needs of all levels with an increase in fan experience and expectation. It’s this that rings loudest, with fans rightfully wanting the best possible experience in exchange for their hard-earned money.

“It’s great that things are being shaken up, and we’re proud to be at the forefront of many of these timely conversations and their subsequent changes.”

• ILMC’s annual deep dive into the arena sector, The Venue’s Venue: Anchor Topics, will take place at the Royal Lancaster Hotel at 9.45am on Thursday February 27.

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The LGBTIQ+ List 2023 – IQ Magazine’s third annual celebration of queer professionals who make an immense impact in the international live music business – has been revealed.

The ever-popular list is the centrepiece of IQ’s third Pride edition, sponsored by Ticketmaster, which is now available to read online and in print for subscribers.

To get to know this year’s queer pioneers a little better, we interviewed each of them on the development of the industry, the challenges that are keeping them up at night and more.

Throughout the next month, IQ will publish a new interview each day. Check out yesterday’s profile with Boyan Pinter, founder/director at SPIKE Bulgarian Music Showcase in Sofia, Bulgaria.

The series continues with Scott Robson (he/him), event manager at ASM Global in Newcastle, UK.

Scott Robson is a 34-year-old gay event manager from Newcastle, UK. Robson was originally a performer and after training in London and travelling the world he decided he needed a change and went back to university to study event management at the University of Sunderland before completing a masters in international marketing at Newcastle University. Robson now lives in the northeast with his partner of six years, their two dogs – Betsy and Dotty – and their cat Sylvia (named after the one and only Sylvia Rivera). They also host a weekly show on Pride Radio talking about queer art, politics, and pop culture.

Tell us about the professional feat you’re most PROUD of in 2023 so far.
So, a main goal of mine since starting to work for the Utilita Arena Newcastle was to make it queerer. The great thing is, the team has been fully on board, and we have looked at many ways in which we can make our venue a safe space for everyone. Whilst working on Yungblud, I was asked to assist in providing a gender-neutral toilet. After looking at our space and assessing what the guests needed, I was able to provide 40 gender-neutral toilets for the event. This has then translated into drawing up plans and having gender-neutral toilets available as a permanent fixture at the arena. This may seem like a small win but for many of our guests, this opens the door to them feeling welcomed and loved. The signs look super cool, too.

Name one queer act you’re itching to see live this year.
Janelle Monae would be amazing to see. Everything about her is amazing and they are a strong representation of what it is to be a powerful, talented, and inspirational member of the LGBTQIA+ community. There are a few other people I would love to see who don’t identify as queer, but their continued support doesn’t go unnoticed, Dolly Parton, Cher and Lady Gaga are of course queer icons in their own right and I would die if I got the opportunity (although I have already seen Cher a few years ago and quite frankly I’m still recovering).

“It’s probably not best practice to get drunk and apply for jobs, but here I am, almost two years later, in a job that I love”

What advice could you give to young queer professionals?
I have a few pieces of advice that I like to think I keep in mind every day at work. Always be yourself. If people don’t like that, that isn’t a reflection on you. Take up as much space as possible; don’t be afraid. Be present. Give your heterosexual colleagues the space to ask questions. This also opens the door to a deeper connection and bonds. Additionally, you might be the key to opening their minds, and you might learn something, too.

What’s the best mistake you’ve ever made?
This question really had me stumped. I have made a million mistakes in my 34 years. Some of them embarrassing, some funny, but all memorable. The one that changed my life the most was during Covid. Events were at a standstill, and I was on the job hunt; I was feeling a little insecure. Every job I looked at had the wildest job description, and I had anxiety every time I read them. So, one night I decided to have a drink or two – many of us have had a few wines and ordered things from the internet – but I got sidetracked and applied for each of those jobs. It’s probably not best practice to get drunk and apply for jobs, but here I am, almost two years later, in a job that I love! So, I think the best mistake was me thinking I needed ‘Dutch courage’ to apply for jobs I was clearly qualified for, because it taught me a lesson: never discount yourself, go for it, what’s the worst that could happen?

“There have been massive leaps in accessibility over the years, but financial exclusion is still a massive issue”

In terms of challenges in the industry, what’s currently keeping you up at night?
Accessibility is a major concern for me; we have so many artists, icons, and performers pass through our venues, and not everyone has the opportunity to attend. There are many reasons – financial, accessibility, or distance – and I would love to work on a way to make space for these people to be part of it. I never went to a lot of live music events growing up because it was difficult for my parents to attend with both my sister and I. My sister has a genetic disorder, and so this makes the experience more difficult. There have been massive leaps in accessibility over the years, but financial exclusion is still a massive issue, and for those that live in rural areas and never get the chance to attend big events because of the cost and distance involved, if we could develop the technology or tailormade experiences (at a reduced rate and with buy-in from the promoters, artists and managers) for families with these experiences, I would sleep way better. No one should be excluded.

How do you see the live music business developing in the next few years?
During Covid, the events industry had to get creative, and it was amazing to see new spaces created in order for people to attend and participate in events. Once the lockdowns were fully released, the new spaces disappeared. But I wholeheartedly believe the future of the events industry is an amalgamation of both. The real-life experience can never be overruled by the digital one, but mixing both elements could see a massive growth in engagement for the audiences and allow new technologies to influence the guest experience. With the surge in VR, I think it’s only a matter of time until we are using this technology as a permanent fixture in our events. I mean, we have ABBA breaking records in London, as you read this, so who knows what could be next.

“We have seen major improvement in ticket reselling, but there is much more that needs to be done”

Name one thing you’d like to see the live music business change.
Ticketing. We have seen major improvement in ticket reselling, but there is much more that needs to be done. We have seen artists and management limit the number of tickets sold per person, but the problem is still rife. If there could be a way to monitor it more closely, our events would become way more accessible as people won’t be out-priced by people buying multiple tickets with no intention of ever using them.

Name one thing the industry could do to be a more equitable place.
There are many things we need to do, but sometimes the most basic act can be the most beneficial. We need to keep talking, learning about each other, our struggles, our aspirations, and hopes and fears, will inevitably create more understanding. If we do this in our venues and places of work, this culture will expand. Sure, we can make policies and practices, but if we don’t believe in it, realistically, it’s just a bit of paper with writing on it. We need to make the change happen on the ground. Learning about someone makes us care, and if we care, we will be proactive in the change. Treating someone equitably regardless of job title or position, learning everyone’s names and a bit about them. So, supporting each other, in my opinion, will create the connections and conversations, which will inevitably create the space for a more equitable environment for all.

“Utilita Arena Newcastle see my queerness as my superpower and not an affliction, and honestly, I would have to agree”

Shout out to your biggest ally in the live music industry.
My biggest ally in the live music industry is the team at Utilita Arena Newcastle. Starting a new place can often be scary, but when you’re queer, there is the added stress of whether there will be someone there who doesn’t ‘get you,’ and this can be a massive issue. About a month after I started, I missed out a full block of seats. I was mortified and upset about the whole situation. Upon arriving at work the next day, our electrician, Mark, saw me visibly upset. He took me to one side and gave me the space to explain why I felt the way I did, and he gave me the pep talk of all pep talks. This gave me the strength to pick myself up and move forward. There was no judgment in that moment; he didn’t care that I was queer; all he knew is that a member of his team was upset, and he needed to help rectify the situation. [The team at] Utilita Arena Newcastle have always been supportive of me. I’m free to be as gay as I want! Their support influences my work, and they see my queerness as my superpower and not an affliction, and honestly, I would have to agree.

“Suicide doesn’t care about sexuality, and the people at this charity are so supportive and passionate about people”

Do you support any LGBTIQ+ cause(s)?
Northeast Social Group is based in Newcastle, and they create spaces for queer people to meet up, communicate, and share without judgment. Cat is a powerful human with a heart of gold. Cat and the team work endlessly to make sure they create spaces for all. They also work and support many other queer events, charities, and networks in the region.

Pride Radio is a queer-run media centre and radio station based in Pelaw, based out of the Pride Media Centre. They support the community by creating queer docuseries and starting queer conversations, as well as housing many queer businesses and providing space for trans people to change into more comfortable clothing outside of their home environment.

Lastly, If U Care Share Foundation. They are a suicide prevention, intervention, and support charity based in Chester-le-Street. Suicide doesn’t care about sexuality, and the people at this charity are so supportive and passionate about people and making sure you’re supported in a time of need and after. They work so hard all year around and operate from donations, so any help would be greatly received. These causes really make a difference in the region, and without them, the region would be a less special place.

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ASM Global has appointed Caroline Ginnane as general manager of Utilita Arena Newcastle.

Ginnane has been working as the venue’s interim GM, head of sales and marketing, having joined the arena in 2018.

Originally from London, Ginnane emigrated to New Zealand following her gap year working in hospitality and has worked across venues including theatre, arenas, stadiums and large community venues in the UK, New Zealand and Doha.

“I’m delighted that Caroline remains an integral part of the Utilita Arena team, taking up her new role as the venue looks ahead to an exciting 2023,” says Marie Lindqvist, ASM Global’s SVP operations Europe. “Caroline has demonstrated exceptional business acumen and leadership skills, and always works with such positive energy – skills which undoubtedly make her a fantastic fit for this role.

“The North East is an important market for ASM Global – with a busy Utilita Arena and the development of The Sage, and alongside our senior team members like Caroline, we have great confidence for the future here.”

The venue has upcoming shows with the likes of Lewis Capaldi, Peter Kay, Kiss and The 1975.

“We will continue to work together to deliver incredible events for the North East region”

“I am thrilled to be taking on the role of permanent general manager at the Utilita Arena Newcastle as part of the ASM Global family,” adds Ginnane. “I am fortunate to work alongside an incredibly passionate and talented team and we will continue to work together to deliver incredible events for the North East region.”

Ginnane will also drive forward staff development and training, plus supporting the venue’s partners on their charitable giving missions via Food and Fuel poverty and Cash for Kids.

ASM Global will also operate Newcastle Gateshead Quays arena and conference centre development The Sage, which is scheduled to open in 2024 as the centrepiece of a £260 million regeneration scheme.

The venue will support the region’s businesses by unlocking access to new customers and international markets through commercial and promotional opportunities, providing an estimated £70m annual boost for the local economy, creating 2,000 jobs.

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