Beckie Sugden moves to ICM Partners/Primary Talent
Beckie Sugden has joined ICM Partners/Primary Talent International as a concerts agent in the company’s London offices.
Sugden moves to ICM/Primary from X-ray Touring, which she joined in 2014.
Over the last seven years, she has built a roster including Anderson Paak & The Free Nationals, Russ, Noname, Mick Jenkins, T-Pain, Ghostemane, Mac Ayres, Soulection, Joe Kay and more, which will move with her to ICM/Primary.
“Beckie is an agent whose reputation in the industry precedes her,” says Matt Bates, managing director, Primary Talent International and ICM Partners head of International/Europe, who announced the news today. “She has an exciting and diverse roster and we are excited to welcome her into the ICM/Primary family.”
“Beckie is an agent whose reputation in the industry precedes her”
Sugden added: “I am absolutely thrilled to be joining the team at ICM/Primary, bringing my 15 years of experience to an already stellar international team. As we all begin to rebuild from the ashes of the pandemic there feels like no better time to join such a progressive, representative and forward-thinking company.
“I’m extremely proud to represent some of the most exceptional and groundbreaking artists around and I look forward to continuing our work together utilising the incredible breadth of resources ICM has to offer as artists’ careers become more multi-dimensional than ever.”
Prior to X-ray Touring, Sugden spent five years at The Agency Group (UTA), and she worked at WME before that. She began her career in live music from her bedroom as founder of her own agency, Mixedtape.
The recruitment of Sugden follows the appointment of Sally Dunstone earlier this year.
Primary Talent International joined forces with ICM Partners in March of 2020 and Matt Bates was named head of international/Europe of the combined entities in February 2021.
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The New Bosses 2020: Sally Dunstone, X-ray Touring
The New Bosses 2020 – the latest edition of IQ’s annual celebration of the brightest young talent in the live business today, as voted for by their peers – was published in IQ 93 this month revealing the twelve promising promoters, bookers, agents, A&R and production experts that make up this year’s list.
To get to know this year’s cream of the crop a little better, IQ conducted interviews with each one of 2020’s New Bosses, to discover their greatest inspirations and proudest achievements, pinpoint the reasons for their success and obtain advice for those hoping to be a future New Boss. Snippets of the interviews can be found in the latest IQ Magazine, with all interviews being reproduced in full online and on IQ Index over the coming weeks. Catch up on the previous New Bosses interview with Artur Kasper from Der Bomber Der Herzen here.
Our next New Boss is Sally Dunstone (30), an agent at X-ray Touring in the UK. Admitting to a lifelong passion for live music, Dunstone moved from Barnsley to London to study music and events management at university. After completing many short-term internships and spells as a casual broadcast assistant across various BBC programmes, she joined Live Nation as a receptionist. After working a year at Live Nation, she moved to X-ray six years ago and has been building an impressive roster ever since.
What are you working on right now?
I am currently working on implementing live strategies for my roster at X-ray. I am grateful to work with a broad spectrum of artists including but not limited to, Jack Harlow, Rina Sawayama, Kelly Lee Owens, Places+Faces, Roosevelt, Maxo Kream, Walt Disco & many more. A part of my job that I love is having a varied roster and I take pride in catering to the differing needs of my clients.
What are some of the highlights of your career to date?
It’s tough to ring-fence specific moments as there have been so many incredible experiences throughout my career so far. The shows that mean the most to me are the ones which feel like a significant turning point in an artist’s career.
A few that immediately come to mind are Places+Faces at KOKO, Rina Sawayama at Heaven and Kelly Lee Owens’s late-night set at End of the Road 2019.
Kelly’s show at End of the Road was the final live show of her first album campaign. The set was flawless, and the crowd had incredible energy. It felt like a celebration for all the team’s hard work on the first album and the beginning of an exciting new chapter for the next album.
Walt Disco’s show at AMP Presents in March also has a poignancy for me as it was the last gig I went to before Covid-19 took hold and venues closed.
What’s the biggest lesson you’ve learnt working in live music?
Never be afraid to ask questions or take advice. Learning from my colleagues has helped benefit my clients greatly throughout my career.
“Right now, I’m concentrating on ensuring that all bases are covered for my clients in all eventualities”
Did you always want to be an agent?
I have been passionate about music for as long as I can remember. From attending Leeds Festival and seeing The Strokes for the first time aged 11, I knew that live music was my vocation. As a teenager, I would often attend three or four shows a week and did whatever I could to get my foot in the door within the industry.
What impact has Covid- 19 had on your job?
The impact of Covid-19 across the entire industry has been profound. It has been heartbreaking to see the rug pulled from under the live sector and very little financial support to help venues and businesses continue operating.
From a business perspective, there is a lot of uncertainty in the industry right now, so I am concentrating on ensuring that all bases are covered for my clients in all eventualities. I am also focusing on being proactive and continuing to keep the long term goals and vision for each artist at the forefront of everything.
Do you have a mentor in the industry?
I am grateful to Beckie Sugden who has provided endless support to me throughout my time at X-ray and taught me a lot about being an agent and the wider industry landscape in general. Beckie’s determination continues to inspire me every day. I have also learned a lot from Josh Javor at X-ray whose encyclopaedic knowledge of venues, capacities and festival routings never ceases to amaze me. Both Beckie and Josh have done a lot to shape my career and I appreciate that greatly.
“I have had many doors slammed in my face over the years and have always found a way to get myself in the room”
What does the live music industry do well, and what can we do better?
The live music industry still has a long way to go in terms of equality and diversity. There have been improvements in recent years however there needs to be more inclusion and opportunities for BAME and LGBTQ+. There is also space for attitudes towards women in the workplace to improve and I would welcome seeing more women in senior management positions.
What advice would you give to someone who’s new to the business?
Ask questions and take advice. Believe in yourself and be determined. I have had many doors slammed in my face, figuratively and literally, over the years and have always found a way to get myself in the room. Where you can, surround yourself with people you enjoy working with. To build a viable business for yourself, you are going to need to work a lot of hours and this is so much easier when you like the people you work with.
What are the biggest challenges you’re facing currently?
Much like all the live sector, navigating Covid-19 and the unchartered territory is currently the biggest challenge I face.
Where would you like to see yourself in ten years’ time?
I plan to continue expanding and building my artists’ careers and still see myself working as an international touring agent.
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IQ launches monthly agency playlist
IQ has today launched a monthly new music playlist, with tracks curated by a selection of major booking agencies. The first playlist features contributions from agencies including CAA, Paradigm, ICM Partners, 13 Artists, X-ray Touring, United Talent, ITB and ATC Live.
The playlist complements IQ’s popular New Signings page, which keeps the live industry updated about which new, emerging and re-emerging artists are being signed by agencies.
“Each track is handpicked by our agency partners…we want to spread the word on some of the best new music out there.”
“The touring and festival businesses may be at a standstill, but there’s no shortage of great music that’s being discovered and represented by the world’s leading booking agencies,” says IQ editor Gordon Masson.
“Each track is handpicked by our agency partners. By bringing together some of the most compelling emerging artists, and new tracks by established names, we want to spread the word on some of the best new music out there.”
The tracklisting for the first playlist, ordered by agency, is below…
|13 Artists||Holly Humberstone||Falling Asleep at the Wheel|
|Max Pope||Just Friends|
|Nito NB||Too Late|
|The Academic||Anything Could Happen?|
|Russ Millions||Out of Order|
|ATC Live||Lazarus Kane||Night Walking|
|Fontaines D.C.||Hero's Death|
|Chicano Batman||Color My Life|
|Rayowa||The Only Night|
|ICM Partners||India Shawn||NOT TOO DEEP (feat. 6LACK)|
|Flo Milli||Beef FloMix|
|Jelani Aryeh||Stella Brown|
|Anna of the North||Dream Girl|
|Emotional Oranges||West Coast Love|
|ITB||The White Buffalo||Problem Solution|
|Vincent Darby||Baby Oh I|
|Megan O’Neill||Devil You Know|
|Bad Touch||Too Much of a Good Thing|
|Lonely The Brave||Bound|
|Paradigm Agency||Lola Young||Same Bed|
|Remi Wolf||Photo ID|
|Bruno Major||The Most Beautiful Thing|
|Khurangbin||Time (You and I)|
|United Talent Agency||Arlo Parks||Black Dog|
|House of Pharaohs||AM to PM|
|Daði Freyr||Things About Things|
|Samantha Harvey||Get to Know You|
|X-Ray Touring||Kodaline||Saving Grace|
|Dead Pony||Everything is Easy|
|Chubby & The Gang||Speed Kills|
Going Dutch: What to expect from ESNS 2020
Much of the European music industry is preparing for its yearly pilgrimage to the Netherlands, as conference and showcase festival Eurosonic Noorderslag (ESNS) is set to commence tomorrow, 15 January, in the Dutch city of Groningen.
Combining a daytime conference programme with a packed evening showcase schedule, ESNS 2020 welcomes Switzerland as its focus nation this year, with over 20 emerging Swiss acts performing throughout the event and aiming to impress in the European Talent Exchange Programme (ETEP), which saw success for ATC Live-repped punk rockers Fontaines DC last year.
The 2019 European Festival Awards kick off proceedings on Wednesday evening, hosted by IQ Magazine’s Gordon Masson and A Greener Festival’s Claire O’Neill, and featuring performances from artists including Swiss singer-songwriter Marius Bear.
Wacken Open Air founders Holger Hübner and Thomas Jensen are set to receive the lifetime achievement accolade at the ceremony, which will see winners crowned across 15 categories.
Over 150 panels, along with keynote interviews, workshops and networking opportunities, will take place at ESNS 2020
Over 150 panels, along with keynote interviews and workshops, will take place at ESNS 2020 from 16 to 19 January at conference centre De Oosterpoort, with a new city-centre location, Forum Groningen, hosting sessions over the weekend.
Highlights of the conference programme include ‘the Dickins Dynasty’, which sees ITB co-founder Barry Dickins and his daughter Lucy, head of WME’s UK music division, and son Jonathan, founder and CEO of September Management, in conversation with ILMC MD Greg Parmley, as well as a keynote interview with Isle of Wight Festival and Solo Agency’s John Giddings.
Other notable sessions include a keynote from Ticketmaster’s Don Pawley, ‘the Agents Panel’ with Paradigm’s Paul Buck, ATC Live’s Alex Bruford, X-ray Touring’s Beckie Sugden and CAA’s Maria May, and a panel on boutique festivals featuring representatives from Openair St.Gallen, Bluedot/Kendal Calling, Westway Lab and Release Athens.
ESNS 2019 attracted over 42,000 guests from 44 countries, including 4,100 conference delegates and representatives from 423 festivals, and showcased 342 acts across more than 40 stages.
Final day of IFF underway
Following a packed opening two days of panel discussions, networking events, speed meetings, parties and showcases in Camden, north London, the final day of the International Festival Forum 2019 is finally upon us.
Kicking off proceedings was the ‘Niche Work (if you can get it)’ panel, moderated by award-winning IQ news editor Jon Chapple and featuring Pohoda festival boss Michal Kaščák, Mojo Concerts promoter Maarten van Vugt, CAA electronic music agent Maria May, Montreux Jazz Festival’s head of programming Michaela Maiterth and Seaside Touring’s Thomas Kreidner.
The panel of experts in non-rock events, with representatives from the jazz, electronic music, heavy metal and hip-hop scenes, explored the merits of genre-specific festivals.
Topics discussed included the rise of urban music and the electronic music explosion, jazz’s longevity and the success of some large heavy metal events, such as Wacken Open Air. Pohoda boss Kaščák mentioned the importance of opening up the space up for everyone, stressing that “quality is always key, whatever the niche”.
Fan demographics also came into play, with panellists discussing the difficulties of handling younger, more inexperienced fans and the various security issues this can throw up. Hip-hop shows and certain, more mainstream, electronic acts draw a younger crowd. “Cancellations still cause a lot of headaches for us in the urban music business, which leads to a lot of disappointment among fans,” said van Vugt. “The more mature our crowd gets, the more they’ll understand this.”
The oft-talked about penchant for comfort among festivalgoers was also discussed, as the panel attempted to pinpoint the type of fan that is most likely to be unfazed by getting down and dirty. Ravers definitely don’t mind the mud, confirmed May, as long as the sound system is “amazing”. Metal fans are also not fussy, added Kreidner, whereas Pohoda fans value clean toilets above all else, joked the Pohoda boss.
“Cancellations still cause a lot of headaches for us in the urban music business, which leads to a lot of disappointment among fans”
Elsewhere on the final day of IFF 2019, delegates reflected on the previous day’s showcases, which included an entertaining performance by multi-platinum-selling band the Darkness. The band’s frontman Justin Hawkins joked that the show brought him back to the good old days, performing in intimate London grassroots venue the Garage.
Other showcases came from Sports Team (Matt Bates, Primary Talent), Pengshui (Beckie Sugden, X-ray Touring) and Whispering Sons (Franky Roels, Toutpartout), as well as a country-focused showcase by Dutch artists including Jarreau Vandal (Michael Harvey-Bray, Paradigm).
Plenty more music has also been scheduled for the final day of IFF, with showcase sessions presented by ITB, Paradigm and ATC Live, with acts including Charlotte (Alex Hardee, Paradigm), London-based six-piece Black Country, New Road (Clemence Renaut, ATC Live) and guitar trailblazers Life (Steve Zapp, ITB).
Wrapping up IFF’s fifth anniversary event in style, a joint birthday party will be held with European metal festival behemoth Wacken Open Air (30 this year) and Japan’s Summer Sonic’s (20 this year) later on in the evening.
The International Festival Forum takes place in Camden from 24–26 September, with festival and agency delegates from 40 markets represented.
Biggest-ever IFF 2019 sells out
The fifth edition of the International Festival Forum (IFF) has sold out in advance of the 24 to 26 September event, with 800 delegates attending from 40 markets, 40 agency showcases and a keynote interview with Rock Werchter’s Herman Schueremans.
The invitation-only event for festival bookers and booking agents takes place in Camden, North London. This year’s edition has doubled the amount of networking space around the main venue, Dingwalls, and introduced pop-up agency offices on both days.
“We’ve grown a bit again this year, so have had to pay off a few market stall holders to make room,” says ILMC MD and IFF co-founder Greg Parmley. “Looking back over the last five years we’ve been very lucky – not just with the weather, but fortunate to have had tremendous support from our agency partners, many who’ve backed IFF since year one.”
Partner agencies on IFF include 13 Artists, ATC Live, CAA, ITB, Paradigm, Primary, Solo, WME, UTA and X-ray Touring. Artists confirmed to perform during the various agency showcases include Squid, Sports Team, Life, Happyness, Chinchilla, Niklas Paschburg, Easy Life and multi-platinum-selling rockers the Darkness.
“We’ve grown a bit again this year, so have had to pay off a few market stall holders to make room”
Conference topics at IFF 5 include festival billing, consolidation, competition from new market entrants, gender splits on line-ups, and niche events, while the IFF Keynote interview is Rock Werchter founder and Live Nation Belgium head Herman Schueremans.
With IFF reaching a milestone fifth edition, amongst the various dinners and events is a joint birthday party on Thursday 26 September with European metal festival behemoth Wacken Open Air (30 this year), and Japan’s Summer Sonic (20 this year).
Other new elements at the event include Knowledge and Green Hubs featuring innovative suppliers and sustainability experts, while hosted speed meetings and a delegate portal return for the third year, supported by the Department of International Trade.
Full event information is online at www.iff.rocks.
UTA and Paradigm to merge?
Could UTA and Paradigm be set to merge? According to a story published yesterday by Billboard, the two agency giants have been in talks for months about a potential merger or acquisition of a controlling stake by UTA.
Written by Amplify founder Dave Brooks, the story alleges that UTA CEO Jeremy Zimmer has been in talks for several months with Paradigm chairman Sam Gores, and that “the recent IPO of Endeavor, which owns agency WME and is seeking to raise $500 million through a public offering, has accelerated the discussions.”
A deal would play to each company’s strengths in the US – UTA’s in comedy, film and TV, and Paradigm’s in music – although with music the dominant focus for both operations in London, the international impact may be more unsettled.
Both companies have grown their business through strategic acquisition in recent years. UTA increased its foothold in music in 2015 by purchasing The Agency Group, while Paradigm has built a significant music presence by tying up agencies including The Windish Agency, AM Only, Monterey International and Morris Higham Management, and Coda and X-ray Touring in the UK.
UTA’s global head of music is David Zedeck, while Paradigm promoted Marty Diamond to the same role in April. According to Billboard, “decisions about leadership of the music department are still being worked out.”
Competitors CAA and WME have both fuelled growth via private equity investments of late, CAA with TPG Capital, Temasek Holdings & China Media Capital, and WME with Silver Lake Partners, Softbank & GIC amongst others. And with UTA having sold a monitory stake to Investcorp and PSP Investments in August 2018, there is speculation that a merged entity could be set for an IPO and that “a new phase of high-level agency mergers and acquisitions will soon begin.”
The news is likely to surprise many in London, where Coda and X-ray Touring occupy separate offices a half mile either side of UTA’s on Pentonville Road. With the two Paradigm-affiliated agencies still operating independently, integrating with UTA could prove challenging.
IQ has approached both UTA and Paradigm for comment.
Read the full Billboard story here.
Show Patrol: Inside Snow Patrol’s live comeback
Back in October 2012, when Snow Patrol were nearing the end of their hugely successful year-long Fallen Empires tour, their manager Peter Mensch flew out to see them play in Santiago, Chile, and offered some choice advice to the Northern Irish rock band.
“I said to them, ‘Gee, let’s not wait three years to make another record,’” he recalls.
Snow Patrol evidently took the advice to heart, as they didn’t take three years to make a follow-up to Fallen Empires. They took seven. “That was not part of the plan,” deadpans Mensch. “They are the band that’s taken longer off than any band I’ve ever managed, so I’m learning on the job. There isn’t a playbook: Seven-year Absences for Dummies.”
The reason for the group’s prolonged withdrawal, singer-songwriter Gary Lightbody explained last year, was down to his personal struggles with writer’s block, depression and alcoholism. Thankfully, the singer gradually overcame his demons, which helped provide the creative fuel for Wildness, Snow Patrol’s seventh studio album, which was released last May, debuting at No. 2 in the United Kingdom, topping the charts in Ireland, and becoming a top-ten hit throughout Europe.
Having not played live in almost five years, 2018 also saw the long overdue return of Snow Patrol to the touring market, beginning with a small run of 900- to 2,000-capacity shows in England, Ireland and America. They were followed by some European festival dates and a three-month stretch supporting Ed Sheeran on a sell-out run of US stadiums. In December, the band kicked off its own European arena tour, which included sell-out shows at Belfast’s SSE Arena, Arena Birmingham, Dublin’s 3Arena, Glasgow’s The SSE Hydro, London’s The O2 and Amsterdam’s Ziggo Dome, as well as dates at Hamburg’s Barclaycard Arena and Berlin’s Velodrom.
“I didn’t know if we’d be able to be as big as we were in 2012. Or if we’d be smaller. Or how much smaller”
“I didn’t know what to expect,” admits Mensch about the Wildness Tour, which continues throughout 2019 and includes 21 dates in North America; headline shows in Dubai, Mexico, Colombia, Paraguay, Chile, Brazil, and Argentina; as well as European festival dates and a 33,000-capacity homecoming concert at Ward Park, in the band’s hometown of Bangor, Northern Ireland.
“I didn’t know if we’d be able to be as big as we were in 2012. Or if we’d be smaller. Or how much smaller,” continues Mensch. “When your last dates are six years apart in some cases, you don’t know [if the fan base is still there]. As your audience gets older they get tougher to motivate… [Snow Patrol] could have just disappeared altogether.”
“When a band is away for seven years there’s always a little bit of a grey area as to what they are going to come back to, especially with such a changed landscape in the industry,” says X-ray Touring’s Steve Strange, who has been Snow Patrol’s agent since their second album, 2001’s When It’s All Over We Still Have To Clear Up, when the band was playing 80- to 200-capacity rooms. Breakthrough album Final Straw, released two years later, and its 4 million-selling follow-up Eyes Open, featuring the huge global hit Chasing Cars, made Snow Patrol one of the UK’s biggest touring rock bands. They’re popularity may have dipped slightly in the years since then, but they’re still a major touring force around the world, as the success of their latest tour proves.
“They don’t have a fickle audience. It’s a very loyal one and my prediction has proved correct,” notes Strange, who says he was “never concerned” about the band’s ability to still move tickets, despite their lengthy time out of the spotlight. “They’re a band that has got a great legacy of hits and that has come back with a very strong record. I’m very happy with where we are. We’re in very good shape for a band that has let a seven-year gap happen between cycles.”
“When a band is away for seven years there’s always a little bit of a grey area as to what they are going to come back to”
X-why-z’s Christian Vadillo-Bilda, who promoted five shows in Germany, notes, “It was hard to predict in the beginning which level of venue we should go for, as the band has been away for such a long time. So we decided to go for a mixture of 5,000-capacity venues to arenas in some markets, and it worked well. We sold out the ‘smaller’ venues and did up to 7,000 tickets on the bigger shows.”
Before Snow Patrol could return to the road, however, a comprehensive review of the band’s live set-up was required, explains long-standing tour manager Neil Mather. “The technology had changed so much in the six years they had been away from touring. We went to the lock-up and there was equipment there that was at least twice the size of what it now is. The backline pretty much required a complete rebuild from top to bottom along with a re-evaluation of the whole set-up.”
Rehearsals subsequently took place in London at Music Bank and SW19 at the start of 2018, ahead of the band’s keenly anticipated live return at London’s Islington Assembly Hall on 11 April 2018, swiftly followed by dates at New York’s Irving Plaza and Hollywood’s Fonda Theater. From there, the band travelled to Ireland for a brief run of intimate club and theatre shows before jetting back to America, where they spent three months performing to over a million people as the main support on Ed Sheeran’s gigantic stadium tour. The invite to open for Sheeran came direct from the singer, who supported the band on their 2012 Fallen Empires Tour and has written a number of songs with Snow Patrol’s Johnny McDaid.
For Snow Patrol, “the Sheeran tour was a fantastic opportunity to reposition the band in the States,” says Strange, who credits it with boosting ticket sales for the group’s headline run of US shows in April and May, many of which have since sold out. As well as reacquainting American audiences with Snow Patrol, the Sheeran trek also gave members and crew the chance to work on plans for their own headline tour.
Continue reading this feature in the digital edition of IQ 82, or subscribe to the magazine here
New signings & rising stars (Jul–Aug 2018)
Phantastic Ferniture (Au)
Agent: Alex Bruford, ATC Live
With their self-titled debut album released by Transgressive on 27 July, momentum is building for Phantastic Ferniture’s Julia Jacklin, Elizabeth Hughes, Ryan K Brennan and Tom Stephens.
The band’s spiritual home may be the garage, but they were born in a bar – specifically the basement of Frankie’s Pizza in Sydney. On Jacklin’s birthday in 2014, a group hug led to all ten participants vowing to form a band. “Only four of us remembered the next day,” notes Hughes.
United by fern puns and a love of leisurewear, the band met up whenever schedules would allow, writing songs and playing smatterings of dates to an increasingly devoted audience. Eventually, it was decreed that this was no side project and an LP should follow. The result is one of the most enjoyable albums of 2018. “It feels really good,” Jacklin says with satisfaction. “It’s like having an alter ego.”
Oh Pep! (Au)
Olivia Hally and Pepita Emmerichs met in secondary school in Melbourne, drawn together by a shared love of songs with no boundaries or expectations. The duo, now both 24, have since released three EPs, but it’s their debut album, Stadium Cake, that truly showcases their uniquely compelling collaboration.
Oh Pep! have been performing for years, first around Australia and touring internationally since early 2015. They’ve performed at CMJ, SXSW and Nashville’s Americana Music Festival, and for Seattle’s KEXP and NPR’s Tiny Desk. The duo has also played Glastonbury, toured with Valerie June, Nathaniel Rateliff and the Night Sweats and Lake Street Dive.
A sophomore album is scheduled for release in October 2018.
The Chats (Au)
Hailing from the Sunshine Coast, the Chats are punk trio Eamon Sandwith, Josh Price and Matt Boggis, who have been making music together since meeting in their high school music class in 2016.
The Chats released their eponymous first EP in late 2016, and followed that up with another EP, Get This in Ya, in July 2017. Despite living in a place where opportunities for bands are scarce, the trio are among a slew of young acts making a name for themselves in Australia’s thriving underground music scene, thanks in no small part to viral anthem ‘Smoko’, which has racked up more than three million plays on YouTube, and brought them to the attention of Queens of the Stone Age, who they will be supporting during their Australian tour in August and September.
Paradigm partner Yucaipa buys into Primavera Sound
American private-equity firm the Yucaipa Companies has made a minority investment in Primavera Sound and Primavera Pro.
Yucaipa, led by Ron Burkle, has an existing presence in the live music market via its joint venture with Paradigm Talent Agency, X-ray Touring, Coda Agency and ITG, which forms part of larger fund for investing in live entertainment.
The Primavera deal, specifics of which were not disclosed, was first reported by Pollstar and confirmed to IQ by both Yucaipa and the festival.
Yucaipa Companies principal Frank Quintero says the two parties “saw each other as a partner who shared the same ethos and vision to continue to grow the brand”.
Primavera Sound is Spain’s biggest music festival, with a daily capacity of 35,000 at the Parc del Forum in Barcelona. It held its 18th edition, headlined by Nick Cave, Björk, the National, Arctic Monkeys, Migos, Lorde and Asap Rocky, from 30 May to 3 June.