Copenhagen’s Royal Arena up for sale
Denmark’s Royal Arena is being put up for sale by its current owners, the Municipality of Copenhagen and the private architectural association Realdania.
The €200 million arena opened in 2017 in the Ørestad South area of Copenhagen after substantial investment from both owners.
Since opening, the 17,000-capacity has been operated by Live Nation Entertainment subsidiary Danish Venue Enterprise, which has brought rafts of international artists to its stage.
Acts such as Metallica, Olivia Rodrigo and Rod Stewart have performed at the Royal Arena, while Billie Eilish, Jonas Brothers and Childish Gambino will grace its stage before the end of the year.
“Today, Royal Arena attracts world-class cultural events, sports, and music to Copenhagen with great success,” stated Copenhagen’s Mayor Lars Weiss in a press release.
“This should continue into the future, but since the arena’s success no longer depends on our ownership, we’ve decided to sell our shares. The proceeds can then benefit other important projects.”
“Since the arena’s success no longer depends on our ownership, we’ve decided to sell our shares”
Danish Venue Enterprise holds a lease for the venue until December 2046, and this agreement will remain intact following the sale.
In IQ‘s 2024 Global Arena Guide, Dan Hammer, CEO/MD at Royal Arena/Danish Venue Enterprise, said the next 12–18 months are “looking really sold for the arena, with an incredibly diverse range of artists on the books”.
“The health of the live entertainment market in Denmark is good,” he added. “Obviously, Copenhagen is an attractive city for both international artists and fans, and thankfully, we have some competent promoters doing everything in their power to present some of the world’s greatest artists in Denmark.”
Alongside high-profile concerts, the Royal Arena has also hosted major sporting competitions such as the European Swimming Championships in 2017, the Ice Hockey World Championships in 2018, and the Men’s Handball World Championships in 2019.
In other venue news, The Roig Arena, a new multi-purpose venue scheduled to open in Valencia in 2025, has joined the European Arenas Association (EAA).
The 18,600-capacity venue will be the home of Valencia Basket Club as well as hosting concerts and other entertainment. It is being funded by and named after Spanish entrepreneur Juan Roig, the billionaire owner of the Spanish Mercadona supermarket chain. Costing €280m, it will be the largest capacity arena in the country.
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Live Nation to operate Saudi venue Maraya
Live Nation Arabia has secured a deal to manage operations at Maraya, a multi-purpose venue in AlUla, Saudi Arabia.
This is under a three-year partnership agreement with AlUla Development Company, a Public Investment Fund Company.
The venue has more than 25 indoor and outdoor spaces, including a 550-seat state-of-the-art-theatre which has hosted concerts with Mariah Carey, John Legend, Andrea Bocelli and Usher.
Maraya is also the largest mirrored building in the world, for which it has held the Guinness World Record since 2020.
“We look forward to partnering with AlUla Development Company to elevate Maraya into a world-class entertainment destination that attracts global audiences,” says president of Live Nation Arabia, James Craven.
“Maraya’s top-tier audio-visual facilities – combined with Live Nation’s international operational expertise – set the stage for unparalleled events”
“This collaboration promises unforgettable experiences for both audiences and artists, pushing boundaries in live entertainment, and positioning Maraya as a must-visit venue for both locals and tourists.”
By partnering with Live Nation Arabia, AlUla Development Company says it aims to elevate Maraya into a unique entertainment destination that celebrates AlUla’s culture while attracting and investing in a global audience.
Saudi Arabia also has one of the largest populations in the Middle East, with nearly two-thirds of Saudis under the age of 30, reinforcing the impact that investing in entertainment can have in the region, the firm adds.
“We are excited about the next phase of our partnership with Live Nation Arabia,” says Fabien Toscano, CEO of AlUla Development Company.
“This collaboration signifies our commitment to preserving, enhancing and showcasing AlUla’s natural beauty and rich heritage. Maraya’s top-tier audio-visual facilities – combined with Live Nation’s international operational expertise – set the stage for unparalleled events and new standards for entertainment in the heart of AlUla.”
Live Nation Arabia has been operating in the region since 2008. It has promoted a diverse range of events in the Middle East including concerts with Imagine Dragons, Usher, Dua Lipa, Westlife, Robbie Williams, Wiz Khalifa, Calvin Harris and David Guetta.
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LGBTIQ+ List 2024: Sam Oldham, The O2
The LGBTIQ+ List 2024 – IQ Magazine’s fourth 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 fourth 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. Catch up on yesterday’s interview with Sam Booth (he/him), director of sustainability at AEG Europe.
The series continues with Sam Oldham (she/her), venue director of The O2.
Sam brings a wealth of experience from 20+ years working in venue management. Overseeing all aspects of The O2’s operations, production, guest experience and various contractor management, Sam’s dedication and enthusiasm upholds the venue’s commitment to excellence.
As the former venue director at The Roundhouse, Camden, Sam was responsible for venue operations, events, visitor experience, sustainability, security, technical and production, special projects and H&S. She also sat on the Diversity & Inclusion Working Group.
Sam’s expertise has cemented her place as a trusted voice within the industry and is often invited to share her knowledge on security, safeguarding and H&S-related panels. Earlier in her career, Sam led operations at Mountain High Ski Resort, California, and was operations director at the National Ice Centre & Motorpoint Arena, Nottingham.
Tell us about the professional feat you’re most PROUD of in 2024 so far.
The work we’ve done around accessibility at The O2 is fantastic and I’m really chuffed that first and foremost, we’re doing it well, and secondly that our staff and partners have wholeheartedly thrown themselves into it. The teams at The O2 have really engaged with this project, and we’ve already had feedback from guests who may have previously been nervous or sceptical about attending a large venue, thanking us for making their experience so seamless. The fact that we are making live entertainment accessible and available to all makes me very proud.
“Diversity and allyship within our industry are so important”
What challenges are you facing in the venue business currently?
Recruitment for hourly event staff remains a big challenge for our industry, in particular in the midst of the cost-of-living crisis and off the back of the pandemic. Our event teams are the face of our business, and having a skilled frontline workforce is absolutely key to us delivering a great guest experience.
How do you see the live music business developing in the next few years?
I would love to see more women and members of the queer community get the opportunity to showcase how incredible they are. Diversity and allyship within our industry are so important, and I hope that in the future we are celebrating even more artists like Madonna and Kylie who for years have been firm champions of the community.
“I’m so proud of what we’ve achieved so far”
How do you promote inclusivity in your workplace and bring together queer employees?
Our Pride Employee Network Group is brilliant at this. I am one of the group’s leads, and over the past few years, we’ve run a range of events geared towards allyship, inclusion and education. From more serious talks and webinars about personal experiences of being in the queer community to our latest Drag Bingo night with Miss Aisles earlier this year (which was epic!), I’m so proud of what we’ve achieved so far, and we’ve got lots more to come this year…
Name one thing the industry could do to be a more equitable place.
LIVE does a really good job with talks and seminars and ILMC has some great panels – if more organisations can follow suit we’ll continue to raise awareness and celebrate success.
“I would love to see more women and members of the queer community get the opportunity to showcase how incredible they are”
How do you celebrate Pride?
I might nip into Ye Olde Rose and Crown in Greenwich and sing along to a few show tunes…
Shout out your biggest ally in the live music industry.
Helen McCabe and Jay Bourley. They’ve both been fierce allies to me throughout my career and have really had my back.
Shout out any LGBTIQ+ cause(s) you support.
Stonewall. They’re an amazing charity who I try and support in any way I can. They’ve played such a huge role in shaping the history of our community and continue to influence hearts and minds across the world. So inspiring.
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LGBTIQ+ List 2024: Caterina Conti, 432 Presents
The LGBTIQ+ List 2024 – IQ Magazine’s fourth 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 fourth 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. Catch up on yesterday’s interview with Buğra Davaslıgil (he/they), a senior booker and talent buyer at Charmenko in Türkiye.
The series continues with Caterina Conti (she/her), an operations manager at 432 Presents in Glasgow, Scotland.
Caterina grew up in Imola, a small town near Bologna in Italy. Her journey with music started at the age of nine, and she started her first band aged 14. Since then, music has been her unwavering companion. Conti attended higher education at the University of Bologna, studying Management and Marketing, juggling studies with gigs. After graduation, she moved to the UK to follow her passion for music.
In 2016, Conti pursued a Master’s in International Events Management in Glasgow. Post-graduation, she worked in the hospitality industry, swiftly moving to management roles in different venues across Glasgow. In 2018, Conti started her journey at 432 Present as an intern for 6 months and then started working as a show rep.
The pandemic halted live music until late summer 2021. In autumn 2021, Conti started to work in live music again, stepping into the role of operations manager for a few festivals. Since November 2021, she’s been working full-time as operations manager at 432 Presents, overseeing the company’s day-to-day operations and ensuring that budgets are balanced and targets met.
Tell us about the professional feat you’re most PROUD of in 2024 so far.
We do a lot at our office, lots of different projects to be proud of, but what satisfies me more is the positivity in our team. My role is about managing our team and making sure the spirits are high to deal with stressful situations. A friendly work environment with staff that supports each other is extremely valuable to me and I am very proud of being part of it!
“The crisis of the grassroots music venues is real and is impacting our jobs and the music industry”
You moved from your hometown of Bologna to Glasgow – what attracted you to Glasgow’s music scene?
The British music scene has always inspired me. Many of my favourite bands are from the UK, and I’ve always aspired to immerse myself in this world. Glasgow stood out as the perfect fit for me. It’s energy, an endless array of activities, and the promise of live music every single night.
Coming from a very different musical landscape in my hometown, Glasgow’s scene felt like a breath of fresh air. The abundance of intimate venues and the sheer talent of local artists made it an irresistible choice. It was clear to me that I had to become part of this community of passionate music enthusiasts and advocates.
As a local promoter, what are the most pressing challenges you’re facing?
We are a small independent promoter company organising some 700-900 events a year and operating two grassroots music venues in The Hug and Pint and The Voodoo Rooms. Alongside most small businesses, we are facing very challenging circumstances operating in these economic conditions. Rates and costs are higher every year, without any financial help from anyone. The crisis of the grassroots music venues is real and is impacting our jobs and the music industry. As a local promoter, we try our best to keep smaller venues alive and full of amazing acts, making sure that those stages for upcoming artists are protected. I’m proud to spend most of my time building resilience into our organisations so that we will be around for many years to come.
“By creating an environment where all employees feel valued and respected regardless of their background, the industry can become a more equitable and welcoming workplace”
How do you see the live music business developing in the next few years?
The fundamental demand for quality live music has never been stronger as more and more artists at the highest level present maxed-out ticket prices. The developing section of the market will become increasingly price-sensitive with a focus on the quality of artists and venues. The challenge will be to be able to meet the demand and manage to keep alive the grass music venues where smaller artists start.
Name one thing the industry could do to be a more equitable place.
I think actively promoting and hiring individuals from underrepresented groups, creating safe spaces for marginalized voices and implementing policies that combat discrimination and bias. By creating an environment where all employees feel valued and respected regardless of their background, the industry can become a more equitable and welcoming workplace. I think there has been a great effort to have minorities represented in the music industry but there is still a lot to be done to wipe out the patriarchy. The top executives of the largest music companies are still mostly men and mostly white (mostly straight).
“Coming from a very different musical landscape in my hometown, Glasgow’s scene felt like a breath of fresh air”
Is there a queer act that you’re itching to see live this year?
I think it’s going to be Lambrini Girls again! I’ve had the pleasure of catching their act before, even sharing the stage with them alongside my band, BIN JUICE, during their Glasgow gig. Great energy and super fun band! The party does not stop with them! Their infectious energy and mad performance never fail to leave a lasting impression. It’s always a blast with them!
Do you have a favourite queer space in Glasgow?
There are a few queer safe spaces in Glasgow. The majority are also great small music venues. My favourites are The Hug and Pint in the Westend, Rum Shack Southside, and for late-night dance Stereo in town.
How do you plan to celebrate Pride this year?
I just bought a house with my partner, so we will celebrate by having a barbeque in our garden with our friends hopefully on a sunny day in Glasgow!
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Vampire Weekend to launch tour with ‘rare’ eclipse show
Indie rock band Vampire Weekend will launch their latest tour with a special gig in celebration of the total solar eclipse passing through North America today (8 April).
The sold-out alfresco performance at Texas’s Moody Ampitheare will kick off at noon CST, with the 5,000-capacity venue to plunge into darkness for three minutes between 1:35 and 1:38 PM as Austin reaches totality.
Today, the path will cross from Texas and Arkansas up to New York and Maine, along with parts of Mexico and Canada.
The outdoor gig formally kicks off their Only God Was Above Us arena tour, which will see the NYC-based band perform across North America, the UK, and Europe over the next year. Their fifth studio album of the same name was released last Friday.
The show will be streamed for free on Live Nation-owned platform Veeps. Attendees of the live event will receive eclipse glasses.
Several music events are popping up along the path of totality, offering a multi-day experience for the “once-in-a-lifetime” event
Today’s solar showcase — the last North American total eclipse for 20 years — has prompted mass tourism to the totality path, with nearly four million tourists expected to spend up to $1.6 billion, according to Business Insider.
Capitalising on the rare phenomenon, celebratory events have popped up across the country, including travel company Atlas Obscura’s Ecliptic Festival in Arkansas. Taking place through today, the four-day festival in Hot Springs features headliners Deerhoof, Blonde Redhead, Allah-Las, Shannon & The Clams, and Angel Olsen.
In Texas, the Texas Eclipse Festival is offering a “once-in-a-lifetime” experience, with their four-day camping event being headlined by Paul Oakenfold, Big Gigantic, Tycho, and Subtronics, along with hundreds of other performers across six stages.
Yet, nothing will be programmed during the period of totality, with founder Mitch Morales telling Billboard the organisers don’t “need to augment that experience”.
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SSE Arena Belfast adopts Amazon technology
The SSE Arena in Belfast has become the first indoor arena in Europe to integrate Amazon’s Just Walk Out technology, enabling checkout-free shopping.
The technology will be used in the Pay & Away shop, located on the first floor of the 11,000-capacity arena. Once open, guests will enter the store by using their chosen contactless payment method at the entry gate, with the technology then detecting what customers take from or return to the shelves and creating a virtual shopping session.
When guests finish shopping, they can leave without waiting in line, and their chosen payment method will be charged for the items taken.
Just Walk Out technology has already been rolled out in venues including TD Garden in Boston, Lumen Field in Seattle, and Scotiabank Arena in Toronto.
“This checkout-free concept is a radical next step in optimising the customer journey”
“Providing the best experience every time sits at the core of everything we do at The SSE Arena, Belfast and we’re continually looking at ways to enhance our offering,” says Dermot McGinn, group head of food and beverage at The Odyssey Trust.
“We’re incredibly proud to be working alongside Amazon to bring Just Walk Out technology to our venue, and becoming the first arena in Europe to introduce this checkout-free concept is a radical next step in optimising the customer journey. Through a blend of convenience and speed, the introduction of this innovative new technology will ensure that our visitors can get back to the heart of the action as soon as possible, both during events and at Belfast Giants home games.”
Amazon’s Just Walk Out technology is made possible by artificial intelligence like computer vision and deep learning techniques, including generative AI, to help accurately determine who took what in any retail environment, according to a press release.
The e-commerce giant built synthetic datasets to “mimic millions of realistic shopping scenarios including variations in store format, lighting conditions, and even crowds of customers to ensure accuracy in any environment”.
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OVG names president of premium and global strategy
Oak View Group (OVG) has announced the appointments of Josh Pell to president of premium experiences and global strategy and Katee LaPoff to chief technology officer.
Pell will continue to report to Steve Collins (president global venue development) and Francesca Bodie (chief operating officer).
In her new role, LaPoff will continue to report to Collins, as well as Ade Patton (chief financial officer) and Chris Granger (president of OVG360).
“I have been privileged to work with Josh for almost a decade and with Katee more than twice that time,” says Collins. “I was excited when each joined OVG and today I am extremely proud to see these two dynamic leaders promoted into expanded roles that recognise not only their accomplishments but also the confidence we all have in their abilities to propel the company forward. Katee’s vision and depth of experience, make her the ideal person to develop the technology strategy across all of OVG’s businesses. Josh’s first-hand knowledge at almost every level of hospitality management will continue to distinguish OVG’s premium level foodservice and retail experiences at our venues.”
LaPoff adds: “Our Oak View Group leaders and teams have an unwavering commitment to innovation and disruption in the sports and live entertainment industry. Nowhere is the entrepreneurial spirit more important and relevant than technology, where pushing the boundaries is critical to staying ahead. I am thrilled to step into the CTO role and continue to work across divisions to deliver tech strategies that add value for our partners while bringing teams and artists closer to their fans.”
“I am extremely proud to see these two dynamic leaders promoted into expanded roles”
Pell comments: “Attention to detail is what continues to set Oak View Group venues apart, creating a truly premium atmosphere for all our guests. The opportunities to ‘Wow’ our guests and enhance the entire venue experience are endless. I’m excited for the opportunity to continue to explore unique, innovative approaches to our hospitality offerings leveraging our design and planning team, our world-class partners, and state-of-the-art technology.”
In her new role as CTO, LaPoff will lead the technology team, fostering innovation and collaboration across OVG’s businesses.
Over the last three years, LaPoff has served as Oak View Group’s senior vice president of project management and technology where she was responsible for the global strategy and execution of venue technology, including those at the Moody Center, Acrisure Arena, and CFG Bank Arena.
Prior to OVG, LaPoff was the SVP of Technology at Madison Square Garden Companies for 10 years.
Pell, in his new role, will oversee Oak View Group’s e-commerce platform and all premium opportunities, and will continue to manage OVG’s hospitality, food & beverage, and technology design initiatives globally.
He will have P&L oversight over all owned and operated food and beverage programs and direct the development of additional revenue opportunities. In his previous role as SVP, global hospitality strategy planning and development, Pell was instrumental in the hospitality design and rollout of the Moody Center, Acrisure Arena, and CFG Bank Arena programmes.
Prior to joining OVG in 2022, Josh held a variety of senior positions at T-Mobile Park, Chase Center, and Petco Park.
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Leeds’ first direct arena celebrates 10 years
Twenty-four years. TWENTY-FOUR! That’s how long the good people of Leeds lived without a music arena befitting the city’s status as the UK’s fifth largest and a hotspot of innovation, culture, and creativity. Instead, Leeds’ 750,000-odd residents, and artists, had to traipse down the M1 to Sheffield or cross the Pennines to Manchester to get their arena-sized music fix.
“It’s weird to think back to the early Kaiser Chiefs days in Leeds, and how quickly, as a band, we reached a level where there wasn’t anywhere for us to play in our home city,” says the band’s bassist, Simon Rix.
“Leeds was the largest city in the UK without a large-scale music and entertainment venue,” adds Kevan Williams, Leeds Arena’s head of marketing. “The people here are passionate about music and live events, and it was deeply frustrating they had to travel for miles to see their favourite artists.”
But the lean years finally ended on 24 July 2013, when the first direct arena threw open its doors to the public (fittingly, Bruce Springsteen, a working-class hero from another blue-collar town, provided the entertainment). Ten years on, it’s time to celebrate not just this anniversary and the positive impact the arena has had on the city but to look forward to its next decade and how the arena is gearing up to thrive as an example of what a 21st-century music venue should be.
“There was huge public demand from the people of Leeds to build something in their city”
When the Queens Hall closed for good in 1989, it left a sizable hole in Leeds’ cultural scene. With live music being one of the city’s cultural lifebloods, fans were spoilt for choice when it came to smaller venues such as The Cockpit, The Wardrobe, The Warehouse, and, of course, the world-renowned Brudenell Social Club, but the Queens Hall’s demise left the O2 Academy Leeds (formerly known as Town and Country Club) and its 2,300 capacity as one of the very few venues suitable for bigger, more established acts and events.
Naturally, the clamour for a solution to this became too loud to ignore.
“Prior to the first direct arena opening, music fans from the city would have to travel over an hour to other arenas in the North of England,” says Martin McInulty, the arena’s general manager. “So there was huge public demand from the people of Leeds to build something in their city.”
That demand led to consultations with the council and its inclusion in the Vision for Leeds 2004 – 2020; the project eventually became one of the city’s 12 stated priorities. The Leeds Initiatives then formed a Cultural Facilities task group to consider possible options; they investigated the viability of a Leeds Arena, the refurbishment of existing buildings and venues, and other potential projects such as a concert hall.
Angry Mob
At the same time, campaigners, including the York-Shire Evening Post, local artists such as the Kaiser Chiefs, and local businesses and residents, lobbied for a new arena to be built in the city. This resulted in a widescale “Leeds needs an arena” campaign that was publicised nationwide and drew widespread support from the cultural community.
In addition to local demand, various studies outlined the economic, cultural, and social impact of such an arena. It was thought that it could bring in up to 900,000 additional visitors annually, adding up to £25m to the local economy.
Job creation was another benefit – one study predicted over 300 direct, full-time equivalent roles would be required, with further jobs created in the construction sector. And, of course, tourists and out-of-towners weren’t the only thing a new arena would attract – other businesses and organisations would be drawn to Leeds, too. “An attractive venue displays an auspicious future with a dynamic business environment,” stated one study.
“Utilising the early concepts of the amphitheatre, this layout optimises sightlines and the guest experience”
Eventually, and unsurprisingly, the task group recommended that the council proceed with the development of a 12,500-seat arena – and concrete plans were set in motion. With funding in place from Leeds City Council, additional public funding from Yorkshire Forward, and some commercially funded revenue, Claypit Lane, in the Northern Quarter of the city centre, was chosen as the site for the new arena, and the council decided that they themselves would proceed as the developer. Designed by the council’s own team with a budget of £60m in mind, the proposed venue was notable in a number of ways.
All Roads Lead to Leeds
For a start, its central location was seen as a positive; it sits just ten minutes’ walk from Leeds train station, three bus stations are all within walking distance, and there are over 7,500 car parking spaces within a 15-minute walk. The building itself was modelled on a giant insect’s eye, with the external design utilising a honeycomb design based on a Voronoi diagram, and the façade was designed to change colour or pattern depending on the show or mood of the arena at the time.
Innovation wasn’t limited to the outside, either. According to McInulty, the arena was also the UK’s first fan-shaped bowl, a design that allowed the venue to achieve the largest capacity possible given the size of the site.
“This alternative layout means that guests are never any further than 68 metres away from the stage – typically, this can be 95 to 110 metres in traditionally designed arenas – with the nearest seats being only a few metres away and allows every seat to directly face the performance area,” he says. “Utilising the early concepts of the amphitheatre, this layout optimises sightlines and the guest experience.”
“The layout, and the building itself, was designed with easy modification and retractable seating to meet the changing requirements of a diverse event schedule”
It also makes for a far more intimate experience than one might expect from a venue with a capacity of 13,871. Divided into a floor-standing area and two raised banks of seats that rise high above the stage, the design also gives spectators the best acoustic experience from any position; interestingly, even the sound mixing desk can be situated in different places. And it’s flexible; the layout, and the building itself, was designed with easy modification and retractable seating to meet the changing requirements of a diverse event schedule, which could be anything from theatre to family events, ice dance shows, and indoor sports.
“Impressive” is an understatement. But such an ambitious build came with a unique set of challenges. For a start, the city centre location and tight space constraints meant construction access was restricted; this was particularly challenging with regard to the transport and delivery of materials, especially the two 500-tonne mobile cranes required.
Furthermore, the combination of such a central location and acoustic performance also presented problems – specifically, how to keep the noise at an acceptable level for those living close by. Planning conditions stipulated that external noise levels had to be 10dB lower than ambient noise levels outside the building, a criterion that didn’t come cheap for a building big enough to swallow a football pitch (a clever solution was eventually found by contractor BAM, together with acoustic consultant Arup).
The sheer size of the roof presented a number of unique issues, too. A single-span design, 70 metres across at the widest point and supported by 14 seven-metre-deep trusses, meant that concreting was a delicate, yet intensive, operation. BAM discovered that the biggest concrete pump in the UK had a reach of just 63 metres, which was not long enough to cover the whole roof (lots of piping was installed just to get the concrete up, a significant undertaking itself). And the wet mix needed for the fibre-reinforced cement couldn’t cope with the roof’s slope; steel mesh was used instead, allowing for the use of a less viscous concrete. All in all, some 2,500 tonnes of it were required to finish the job.
“The arena embodies our Yorkshire roots”
Friends in High Places
In total, though, construction took just a year; ground was broken in May 2012, with the building officially completed the following May and delivered to ASM Global, who have run the venue since day one. The same month, telephone and Internet bank First Direct were announced as the arena’s sponsor, its name officially becoming the first direct arena (stylised as first direct arena) – an association that continues to this day. Such deals are commonplace now but weren’t so much back then. So, what prompted this relationship?
“The arena embodies our Yorkshire roots, and the first direct arena partnership gave us the opportunity to show up in an ‘un-bank’ way, meaning in a place you wouldn’t usually expect to see a bank,” says Sloane Cross, First Direct’s head of marketing. “At the time, our marketing was based around the idea of being an ‘unexpected’ bank, so it was a really good fit. The partnership also allowed us to be part of something that our customers are really passionate about – live music and entertainment – and solidified our heritage as a proud Yorkshire-based bank.”
The bank has its branding all over the arena itself and is visible across various other platforms, including digital and print advertising, the arena’s website, and social media channels; all aspects that Cross feels are important. “As a digital bank, the first direct arena is our only physical asset, and it means we have a visible presence in the centre of Leeds, the home of First Direct. It allows us to increase our brand awareness and for a much wider audience to know who we are.”
Such sentiments are echoed by Lauren Tones, the arena’s head of sponsorship and branding. “It’s appealing for online brands to use a live entertainment venue as their only physical touch-point for customer engagement,” she says. “It becomes a space where they can bring their brand and values to life, as well as reward loyal existing customers and acquire new ones. Plus, it’s beneficial for both the venue and the naming rights partner to have a strong workforce based locally.”
“We can ensure that there’s sufficient opportunity for our existing partners to fully activate and engage with our visitors”
As such, First Direct can offer perks for employees at the venue and use it as an exciting option outside the office to engage with clients and prospects. They also reward their own customers. “We engage them with offers and promotions and regularly offer tickets through prize draws,” adds Cross. “And our customers who attend any event at the arena can claim a VIP lanyard that gets them free chips, water, and ice cream.”
Of course, First Direct aren’t the arena’s only commercial partner, but they do set the standard of what’s required in terms of commitment and values. “Each of our partners enhances the experience of visiting a live entertainment venue,” says Tones. “Whether it’s First Direct offering free chips and ice cream to customers, Sky offering a free premium pre-show experience in their Sky VIP lounge, or [telecoms provider] Three giving fans the chance to gain early access to tickets, they each do something to elevate the fan experience.”
“That’s why our approach is to prioritise quality over quantity when it comes to sponsorship,” she adds. “Every time, we ask: ‘How much value is this partnership going to bring to the customer experience?’ If we avoid a cluttered landscape, we can ensure that there’s sufficient opportunity for our existing partners to fully activate and engage with our visitors without having to compete with many other brands for attention.”
Bossing It
The very first performance was, as mentioned above, Bruce Springsteen, on the 24 July 2013 – a very special show indeed. “That event was amazing!” says Kerryn Duckworth, head of operations. “Meeting those first fans who came to the arena gave me goosebumps and is a memory that will stay with me.” But the official grand opening came later, on 4 September of that year, with an equally special guest – Sir Elton John, playing to a packed house.
Since then, the venue has gone from strength to strength and has more than proven its worth to the city of Leeds on both an economic and cultural level. “Strong demand from the public is evident
in the number of tickets we sell annually – over 600,000,” says McInulty. “However, the majority of our customers live within a 25-mile radius.”
“The nature of the venue’s shape lends itself to being more user friendly – it feels right for both artist and the fan”
The building was named Best New Venue in the World in 2014 by the Stadium Business Awards, and the list of those who’ve graced its stage is impressive: Leonard Cohen, Prince, Kylie Minogue, Fleetwood Mac, Ed Sheeran, Chris Rock, Whoopi Goldberg, and Cirque du Soleil, are just a few of the A-list stars to have performed there. Proving its flexibility and diversity, it’s also played host to Strictly Come Dancing, the Harlem Globetrotters, Disney on Ice, the MOBO Awards, the BBC Sports Personality of the Year Award, and even the 2014 Tour de France Grande Départ Team Presentation.
Indeed, sport has become an important part of what makes the venue so cherished. “Some of my favourite memories have been hosting our very own World Champion boxer, Josh Warrington, the Leeds Warrior,” says Kevan Williams. “The venue wasn’t designed specifically for sport, but the atmosphere that’s generated during the walkouts sends shivers down my spine and will live long in my memory.”
But it is, of course, music where the first direct arena has really made its mark. “The room is flexible and allows for multiple configurations, which is really helpful when looking at different types of artists,” says Andy Smith of Futuresound. “I’ve promoted artists like Lewis Capaldi, Dermot Kennedy, Ben Howard, and Bon Iver, where the super theatre-type layout really suits the artist and their audience, but we’ve also promoted acts like Catfish and the Bottlemen, Fall Out Boy, and Sam Fender, who work equally as well. Plus, the sound clarity for Bon Iver was like nothing I’ve ever heard before – even in the hard-to-reach places in that room.”
Steve Homer of AEG Presents agrees. “The nature of the venue’s shape lends itself to being more user friendly – from 3,000 people upwards, it feels right for both artist and the fan,” he says. He also adds that its flexibility means it’s a fantastic place for both bigger and smaller acts, so adding it to itineraries becomes much easier.”
“Once you get past the spine of the country and look to add other arenas to a tour, Leeds is currently the next one on the list, which is a great statement for the venue. But it’s also great to use in its smallest format and convince artists it will still be an intimate experience, which is definitely one of its appeals – it’s easy to grow shows.”
“We’re committed to staying at the forefront of food and beverage in this space”
Having emerged from the pandemic with the core team intact and with a greater appetite than ever before – from both fans and artists – for world-class events and shows, the arena and ASM Global team are firmly fixed on the future. First up this year was the renewal of the naming rights deal.
“At ASM Global, we value our long-term relationships,” says Tones. “Our priority was to explore renewal with First Direct before considering alternative options – we’ve had a strong ten years with First Direct, and their team feels part of our own. So we are keen to explore more ways to make a visit to this arena more memorable with First Direct.”
“Also expanding was the food and beverage offering. They refurbished all their bars to give them a much more contemporary feel and have invested heavily in cutting-edge technology to prepare amazing quality food. “In the last year, we’ve opened The Mixer, two Gallery areas, Sky VIPs lounge rollout, and a completely new food offering in our 11 retail bars,” says Marcus Sheehan, head of food and beverage.
“And we’re committed to staying at the forefront of food and beverage in this space. Coming up soon is a really exciting range of projects, including cocktails and a new range of hot snacks and many other initiatives, such as working with local food businesses in our retail areas to continue to bring authentic food and drink offers that also help support our local grassroots food suppliers and producers.”
It’s a similar story with premium experiences. With a variety of them on offer at the venue – and a huge range of show-by-show premium packages – they opened both The Mixer and The Gallery in 2022; “Both delivered on time and on budget,” says Lisa Turton, head of premium experience, with pride. “We’re always on the lookout for the next space that can be transformed into a new premium area, and I think technological developments will improve and change the way premium is sold and fulfilled over the next ten years.”
“There is no ‘us and them’ scenario – everyone in the venue is one team, and that has contributed to its great success over the last decade”
Technology is a common touchpoint with the team of future developments. The introduction of 5G throughout the venue is opening up the potential for greater development, particularly around increasing the speed of service on the arena concourse (it’s now the first fully enabled 5G venue in the UK, thanks to a partnership with Boldyn Networks), while a brand-new Wi-Fi solution was recently installed. And there’s also the introduction of new digital screens across the concourses and two large digital screens to be installed externally above the front doors. “This will allow us to give our partners more brand presence and to add targeted OOH media packages to our offering,” says Tones.
And of course, no modern venue would function without the hard work of its security staff and stewards. “I love working at the first direct arena, as do the Leeds staff base – the team are great and have been over the last ten years,” notes Showsec’s Thomas Bailey.
“I’m fortunate to have been associated with the venue for all those years, and the hard work and dedication of the team has never faltered in all that time. There is no ‘us and them’ scenario – everyone in the venue is one team, and that has contributed to its great success over the last decade.”
Merch Ado
With merchandising, “we’ve just started this journey, and we have lots of exciting projects and investments coming up in the near future,” says Phil Jones, commercial director for national merchandise, the venue’s merchandise partner. “Ensuring there’s an adequate supply across all stands is paramount, and, where possible, for busy shows, we try to ensure presales are done via merchandise units outside the venue. But in the future, merchandise sales will take on more digital means via pre-ordering and post-event delivery, self-service kiosks, and any tech to help speed up and continually improve the customer journey.”
“Leeds fairly quickly became one of the must-play venues on an arena tour, driven by the local population taking the venue to its heart”
Sustainability, now such an important topic, is front of mind, too. “We are working on our sustainability projects and ASM Acts initiatives, such as working towards achieving Greener Arena status and switching to LED lighting, monitoring energy usage, and trying to minimise food and general waste,” says Duckworth.
But ultimately, it all comes down to music and putting the fan experience front and centre. “It’s important to get a wide variety of shows into the venue – the arena should cater for as many people as possible and have a balance and good mix across the year,” says James Harrison, programming director of ASM Global.
“We’ll need to be mindful of other arenas coming online in the UK in the next few years, with competition for tour dates being stronger than ever, but with such a strong market, a top-class team, and an amazing venue that keeps investing in itself, there’s no reason why the first direct arena can’t continue to go from strength to strength.
Because, as he puts it, “Leeds fairly quickly became one of the must-play venues on an arena tour, and as much as its facilities and layout help, that’s driven by the local population taking the venue to its heart – the local population has been really engaged from day one.”
Local artists, too, for whom the first direct arena didn’t just fill a need – it’s a source of pride, inspiration, and, well, a home. “I love an away day as much as anyone, but having an arena in our home city means we get a homecoming gig on every tour,” says Kaiser Chiefs’ Rix. “We’ve already had a lot of great times in the venue, and I always look forward to the next time. It’s also great to know that huge global superstars like Drake and Mariah Carey get the full Leeds experience, as well as obviously bringing people and money to the city. I picture them all staying at The Queens [hotel] and nipping to the market to get some food at lunchtime.”
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Plans submitted for Printworks reopening
Plans for the reopening of Printworks have been submitted to the local council, which could see the London superclub return by 2026.
The acclaimed 6,000-capacity nightclub and events venue shut down on 1 May 2023 and looked set to close for good after Southwark Council gave the go-ahead for it to be converted into offices.
But in May 2023, an agreement was reached for the venue to continue to operate in some form.
Today, property developer British Land and its partner AustralianSuper, one of the country’s largest pension funds, have submitted a detailed proposal to the council to redevelop the site in Rotherhithe into a permanent cultural venue.
The pair are in exclusive talks with Broadwick, the company that ran Printworks through a six-year temporary consent, to operate the new venue.
“What appeals to us about it is that it’s creating a new piece of city and a new district for London”
The reimagined space would occupy half of the existing building and would include a new rooftop terrace space for performances, rehearsals, product launches or curated talks, as well as a smaller performance space called The Inkwells. The other half will be turned into offices for 1,500 workers, and shops.
Printworks forms part of British Land and AustralianSuper’s £6 billion Canada Water project in London’s Docklands. Forty buildings are planned with up to 3,000 new homes – of which 35% will be affordable – and offices with space for 20,000 workers.
British Land and AustralianSuper hope to receive planning permission for ‘Printworks 2.0’ within the next few months.
“What appeals to us about it is that it’s creating a new piece of city and a new district for London,” Emma Cariaga, co-leader of the project for British Land, told The Guardian. “We intend to create a permanent cultural venue and put it on the map globally. Over the last six years, Printworks has become an iconic venue for electronic music and one of the top five clubs in the world. But our plans seek to push that to deliver a much broader programme.”
Printworks reportedly attracted more than 2.5 million visitors in its six years of being open and hosted over 300 concerts, including with Skepta, Gorillaz and Seth Troxler.
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The O2 hails record-breaking year for ticket sales
The O2 in London sold over 2.5 million tickets in 2023, setting a new record for the AEG-operated venue.
The new milestone surpasses 2.3 million tickets sold in 2022 and supports a 9.3% increase in year-on-year ticket sales since 2019 (excluding Covid years).
Since opening in 2007, the 20,000-capacity venue has welcomed 100 million visitors, sold over 30 million tickets, and most recently hosted its milestone 3000th event with Tom Jones on 17 December.
In 2023 alone the arena hosted 216 events, including a record number of residencies with Peter Kay, Elton John, Micky Flanagan, Madonna and Chris Brown.
The O2 has also seen a rise in first-time performers in the arena this year from 12 artists in 2022 to 24 artists in 2023, including the likes of Ateez, Wu-Tang Clan, 21 Savage, SZA and Louis Tomlinson.
Since opening in 2007, the venue has sold over 30 million tickets, and most recently hosted its milestone 3000th event
“Our record-breaking ticket sales continue to position The O2 as the world’s busiest arena and we look forward to building on this legacy in 2024 and beyond,” says Steve Sayer newly promoted senior vice president and general manager at The O2.
“It really is thanks to the fans, but we also couldn’t provide a best-in-class experience at The O2 without the support of our partners, including our ticketing partner AXS, who have been integral to this record-breaking year of ticket sales, and our naming rights partner Virgin Media O2, who have had another incredible year with Priority tickets. Here’s to all of the fans, bands and brands who’ve supported us this year – we can’t wait for what’s to come in the new year.”
Alongside a record-breaking year of ticket sales, The O2 has also won a string of industry awards in 2023, including ‘Venue of the Year’ at the London Venue & Catering Awards, and ‘The LIVE Green Award’ at The LIVE Awards. The venue is also nominated for The Venue Award as part of ILMC’s Arthur Awards.
This year also saw The O2 launch its very own Green Rider, an ‘industry-leading’ document outlining sustainable choices for incoming tours and productions.
In 2024, the venue is set to host the world’s first carbon-removed events, in collaboration with carbon removal experts CUR8 and sustainable event specialists A Greener Future, at The 1975’s headline shows in February 2024.
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