The sky is the limit for country music in Europe, with arena and stadium tours on the horizon for the genre’s biggest stars, according to C2C booker Rachel Lloyd.

The return of the UK edition of Country to Country (C2C) has been confirmed for 13-15 March next year at The O2, London, OVO Hydro, Glasgow and The SSE Arena, Belfast, presented by SJM Concerts, AEG Presents, DF Concerts & MCD in association with Country Music Association (CMA).

Upcoming tours include Alexandra Kay, Kip Moore, Midland, Darius Rucker, 49 Winchester, Old Dominion, Max McNown and Tanner Adell, while Zach Bryan will welcome 180,000 punters to his three-night stand at Dublin’s Phoenix Park in Ireland in June, prior to playing to 130,000 fans at his two BST Hyde Park headline shows in London the following week.

“There was a time when the Eventim Apollo was the pinnacle of what you could do as a country artist in the UK, and now that’s a stop on the way up to arenas and beyond,” says AEG Presents UK promoter Lloyd. “So many artists are touring at Academy and theatre level now, because they’re on their second or third trip to the UK. I don’t think there’s any ceiling: we’re going to have country acts in stadiums in the next few years; it’s on the up and nothing is going to stop it.”

Lloyd, who joined the C2C booking team in 2021 following spells at Warner Music, WME and The O2, outlines the main factors driving the explosion of the genre outside its traditional US heartland.

“Fans have got more access than ever before through streaming, playlisting and online radio, so the barriers for discovery have come down,” she tells IQ. “Over the last 10 years, you’ve seen the growth of acts that are willing to put the effort in and come over and tour in the UK. Even regionally, things are popping up all over because more and more fans are starting to put on their own club nights and writers’ nights.

“Once you know there’s going to be an outlet for your passion – and you can get excited about the fact these acts are coming to play – you can get more into it and you will naturally listen to them more.”

“It’s developed a younger fanbase because some of the artists are a bit cooler”

The CMA’s Brand Power of Country Music in the UK presentation, which kicked off C2C 2025 at The O2 earlier this month, highlighted the genre’s tremendous streaming gains, and Lloyd notes the festival itself is also integral to that development.

“You see the streaming numbers go up before C2C, then you see it peak again after C2C because everyone’s listening to the lineup,” she says. “They’ve really established the fandom, so that’s made a difference. Obviously, we look to the US here for what’s popular – we’re naturally mirroring the growth in the US for the majority– it’s growing there and has been for many years.

“It’s developed a younger fanbase because some of the artists are a bit cooler, a bit more into fashion and brands, and are online personalities. I’ve got a tour with Alexandra Kay in May and she got her start on TikTok. She’s an incredible artist, but that’s where she gathered all her fans. That happens in pop all the time and it’s happening with country acts now as well.”

And while Beyoncé’s move into the country world on her 2024 album Cowboy Carter split opinion to an extent, Lloyd sees her impact as wholly positive.

“I am her number one fan so I’m all on board,” she smiles. “You can’t deny what that’s done for the genre here, with the spotlight she has given it over the last year.”

Indeed, Lloyd believes the current country landscape represents the biggest boom in the UK since the 90s.

“The new styles are more singer-songwriter/Americana-leaning, and that’s really connecting in the UK  because we’ve always loved a singer-songwriter over here,” she observes. “Your Zach Bryans, Sam Barbers and Waylon Wyatts are coming over, and they’re quite palatable. They’re not super ‘yee-haw!’ country, they’re on the fringe of indie and Americana and so that’s a little gateway in for people.

“There are so many touch points for why it’s gathering momentum, and once you’ve got that momentum going, you can’t really stop it because then everybody’s engaged and are naturally going to be fed more.”

“There’s a core fanbase that has been there since the start, but every year you see another crop of new, younger fans”

Europe’s biggest country festival, C2C 2025 was headlined by Lainey Wilson, Dierks Bentley and Cody Johnson. In view of the genre’s enhanced popularity, Lloyd reflects on the event’s current purpose within the wider network.

“We knew it was going to be the most successful one yet in terms of sales and attendance, with more artists than ever, but energy-wise you could feel a shift with everything that’s gone on with the genre as a whole,” she says.

“C2C has always been about bringing over the best in the genre to deliver those arena shows, and then also bringing over the newest talent that’s about to either break or just starting to gain momentum. You’re going to see it before it blows up, and you’ll be able to say, ‘I saw that act play to 500 people, and now look at them,’ so that hasn’t fundamentally changed. There are still plenty of acts we want to get over that haven’t come over yet from the US, and the pool of new talent is growing exponentially, so we’re fighting people off every year.

“I think there will always be a want for diehard country fans to completely immerse themselves in the genre for a weekend. We want to make sure that we are delivering country music first and foremost, but giving them a little taste of what they can get within the genre, so that they go away and listen to the bits that they liked the most. So it’s about growing the ecosystem, because that impacts everybody else and helps us all.”

Launched in London in 2013, the event has expanded to other markets including Scandinavia, the Netherlands, Germany and Australia.

“London’s festival stages are well established now; people know exactly what they’re going to get and we want to make sure we can give that to the other markets as well, so that’s the focus for the future,” adds Lloyd. “I don’t think it’s necessarily ever going to hit a ceiling and plateau, because the genre is changing so much. There’s a core fanbase that has been there since the start, but every year you see another crop of new, younger fans coming in. And there’s more development to be done in Europe as well, so who knows where we could end up next.”

A feature exploring the growth of country music around the world will appear in an upcoming issue of IQ.

Get more stories like this in your inbox by signing up for IQ Index, IQ’s free email digest of essential live music industry news.

AEG Presents has appointed Lisa Mart to the newly created position of regional general manager of Indigo at The O2 and Watford Colosseum.

Mart, who will be based in London, brings more than 15 years of experience across the live events and venue industry, will be responsible for overseeing the commercial and operational performances of both venues.

She has spent the past 13 years with ATG Entertainment, initially serving as front of house manager at New Wimbledon Theatre and later as general manager.

She joined The Alexandra, Birmingham, in 2016 as theatre director and has most recently been venue director at Swansea Building Society Arena, where she managed the full venue launch and opening.

“I am really honoured to be joining the AEG Presents team as part of their exciting mid-size venue expansion,” says Mart. “This role is a really perfect culmination of my previous experience – both Indigo at The O2 and Watford Colosseum have impressive and iconic histories to date, and I am looking forward to celebrating that whilst taking advantage of their incredible potential.”

Mart will report to AEG Presents UK group venues operations director Stuart Dorn.

“We are delighted to welcome Lisa to AEG Presents, a key team member as we continue to grow our mid-size venue portfolio,” says Dorn. “She brings a wealth of experience, which will help with both the establishment of Watford Colosseum and the continued growth of indigo at The O2, which will host over 200 shows in 2025.”

Watford Colosseum is set to reopen in the autumn following a multi-million-pound refurbishment as AEG’s mid-size venue expansion gathers pace, with the Olympia music venue in London also set to launch in 2026 as part of the wider £1.3 billion regeneration of Olympia.

“The Middle East is home to an incredible range of innovative brands, and I look forward to showcasing their value on a global stage”

Earlier this week meanwhile, AEG Global Partnerships appointed Fadi Zouein to the role of VP, global partnerships, Middle East.

In the newly created role, Zouein will focus on developing strategic partnerships with Middle Eastern brands for the company’s portfolio of global assets. He will be responsible for identifying brand partners from the region and introducing opportunities across AEG venues including LA’s Crypto.com Arena, The O2 in London and multi-purpose arena projects in APAC, as well as festivals such as Coachella, BST Hyde Park and Rock en Seine.

“Our Global Partnerships business is unrivalled in its ability to create innovative campaigns and sponsorships that enable brands to build deeper relationships with their customers, and I’m looking forward to seeing the growth and value that Fadi can unlock not only for our business, but among our future business partners from the Middle East,” says Paul Samuels, EVP of AEG Global Partnerships.

Zouein joins from Al Jazira Club, where he was group chief commercial and marketing officer.

“I am truly excited to join AEG Global Partnerships,” says Zouein. “The Middle East is home to an incredible range of innovative brands, and I look forward to showcasing their value on a global stage through dynamic, strategic partnerships.”

Get more stories like this in your inbox by signing up for IQ Index, IQ’s free email digest of essential live music industry news.

The CEO of AEG Presents UK, Steve Homer, has previewed the promoter’s tour pipeline and opened up on its expanding venue portfolio and burgeoning business outside live music.

The company has confirmed 2025 runs with acts including Billy Joel, Bruce Springsteen and Kylie Minogue, Tyler, the Creator, Chase & Status, The Offspring, Olly Murs and The Darkness, with further announcements expected before the end of the year.

Speaking to IQ, Homer believes the firm is “in good shape” for the year ahead.

“The framework of our year is looking very solid at the moment, so that’s encouraging,” Homer tells IQ. “There’s still more arena and stadium stuff to come before the end of the year and other, more perennial theatre tours going out. But 2025 feels like it’s in good shape at the moment. You never count your chickens, but it feels quite promising.”

A personal highlight for Homer will be The Darkness’ 29 March concert at OVO Arena Wembley, which will see the rockers supported by Ash.

“It’s a little bit déjà vu, because I’ve worked with them right from the start and the Permission To Land tour that I did with them over 20 years ago had Ash as support,” he says. “Now it’s come full circle and they’re back supporting them on this tour.”

“The catchment area for Watford is staggeringly big, so to be able to do a Watford and a London show is not going to be difficult”

Earlier this month, AEG announced that Watford Colosseum is officially open for bookings ahead of its 2025 relaunch. The company and Watford Borough Council have signed contracts for the venue, which has a capacity of 2,345 standing/1,189 seated.

It follows its successful relaunch of The Halls Wolverhampton, which reopened in May last year with a special show by Blur.

“Wolverhampton has exceeded its target for live music,” explains Homer. “We’ve had some really strong shows with things like Paul Weller, Liam Gallagher & John Squire and Richard Ashcroft. We’ve also got Bob Dylan coming to do two shows in a couple of weeks and The Prodigy coming before the end of the year, so it’s back on the map.”

He continues: “We’re looking to do an opening series [at Watford] in the same way that we did with Wolverhampton, which will be September ’25. Watford is an interesting one as it had been closed for quite a while, but we’re very much on the front foot in terms of addressing the diary and going out there and selling it. Even though it’s quite close into London, the catchment area for Watford is staggeringly big, so to be able to do a Watford and a London show is not going to be difficult.”

In London, Homer reports that Indigo at The O2 is on track to post its busiest year yet with around 230 shows, while business at Hammersmith’s Eventim Apollo has also remained strong despite the reopening of O2 Academy Brixton (“It’s great to have Brixton back and we’re not seeing a downturn in shows in Hammersmith, which is positive,” he adds). AEG’s 4,400-cap live music venue within the Olympia London scheme, meanwhile, is in line to enter the fray by 2026.

“Other parts of the venue business are not quite as strong,” notes Homer. “The corporate side needs a bit of work. It’s not as exciting as live music, but it’s what pays the bills. So there’s some work to be done there for us, because that market has been variable, to say the least. But on the whole, it’s feeling like it’s in healthy shape.”

“There’s a real focus on keeping the business growing at every opportunity, but music is always the main thing”

Homer also touches upon AEG’s expanded remit outside of music, including its comedy and entertainment division.

“It’s becoming an ever-more diverse but important part of our business, and it’s bringing in significant numbers,” he says. “Out of the 1,500 shows we did this year, it accounts for around 350 and there’s more planned for next year. The broader entertainment side – involving podcasts and gaming and things like that – is becoming far more part of our core business, rather than like a bolt on.

“One thing I think we’ve done well over the past 18 months is develop the other parts of entertainment that we provide – we’ve also got [AEG artistic director] Lucy Noble developing the classical and orchestral side of things. There’s a real focus on keeping the business growing at every opportunity, but music is always the main thing.”

Meanwhile, US country music superstar Zach Bryan has announced an additional date at AEG’s BST Hyde Park after the first night sold out. The US singer-songwriter will now perform at the event on 28 & 29 June 2025.

Read part one of IQ‘s interview with Homer, where he focuses on the resurgence of guitar music, ticket pricing and the company’s latest London festival Lido, here.

Get more stories like this in your inbox by signing up for IQ Index, IQ’s free email digest of essential live music industry news.

AEG Presents UK CEO Steve Homer has talked the guitar revival, ticket pricing and the company’s latest London festival in a new interview with IQ.

The promoter’s 2024 highlights have included concerts with established superstars including Taylor Swift, Bruce Springsteen and The E Street Band, Billy Joel and Nick Cave & The Bad Seeds, but Homer is also encouraged by the fresh talent moving up the ranks such as Doechii, Clairo, Ezra Collective and Paris Paloma.

“I think we’re in a fairly healthy situation,” he says. “It feels like the developing part of the market is quite solid. There are some exciting acts coming through and also the genres are broadening back out again.”

Moreover, after years in the doldrums, Homer suggests that guitar music is returning to the fore, buoyed by the progress of acts such as Last Dinner Party, Fontaines DC, Wet Leg and Vistas.

“Guitars are coming back,” he observes. “It’s not just about solo acts and sitting in your bedroom producing music on your own, there are more bands emerging – which is encouraging for the industry because that was the mainstay of what it was in decades gone by.”

AEG partnered with Yungblud on the first instalment of the singer-songwriter’s one-day festival BludFest at Milton Keynes Bowl in August, which is set to return next year, and hooked up with entertainment brand Recess to stage Recessland – a celebration of Black British culture – at Dreamland Margate in May. Other notable tours included Blue Man Group and Blade Runner Live.

“It’s a competitive landscape – there are a lot of things vying for audience money”

“It’s been varied and it’s been really positive on the whole,” adds Homer. “We haven’t had as many arena tours this year; we’ve had a lot more success in theatres than in the past, but there are far more arenas and stadium tours again next year.

“It’s a competitive landscape – there are a lot of things vying for audience money – so you have to be cognisant of what you’re booking and putting out in the market. I think next year has already set itself out with the Oasis and Coldplay tours, and there are still more top tier stadiums to be announced. If the level of pencils at stadiums come to fruition – which is looking quite likely – that automatically has an impact on money available.”

Homer also shares his thoughts on the current discourse around whether concert tickets are becoming too expensive.

“The way it’s always worked with us in terms of ticket pricing is that the artist, manager and agent are very aware of what they class as their peer group,” he explains. “You’re asked to check what the other artists playing in that arena or stadium are charging so you get a gauge of where to go. And often, because some artists don’t tour for a long period of time, the ticket price that was relevant for them on their last tour has moved on.

“As we all know, the cost of touring has gone through the roof and keeps increasing. Whether it’s labour, whether it’s equipment, or whether it’s transport, it all has a price and that’s not going anywhere other than up.”

“You’re trying to find a ticket price that works for the customer, so it’s a real balancing act”

He adds that the phase of US acts being deterred from coming to Europe due to the cost of touring has not yet fully subsided.

“We saw a period of time not so long ago, and it still happens a bit, where American artists couldn’t afford to come over because the price they need to charge for the ticket would put fans off, so you’re trying to avoid that,” says Homer. “You’re trying to find a price that works for the customer, so it’s a real balancing act to try and not overprice things and be aware of market forces. It’s tough, though. To try and pitch it right is hard.”

Earlier this week, AEG, which already runs BST Hyde Park, All Points East and Bristol’s Forwards in the UK, as well as Rock en Seine in France, announced the newest addition to its portfolio in Lido Festival, which debuts over two weekends next June in London’s Victoria Park.

Jamie xx is the first headliner to be unveiled and will be be joined on 7 June by a specially curated line-up starring In Waves collaborators Romy, Panda Bear, and John Glacier, alongside Arca, Sampha, DJ Gigola, Shy One, Wookie and livwutang. He will also bring his club residency ‘The Floor’ to Victoria Park for a one-off festival showcase, featuring a three-hour set from DJ Harvey.

Saluting the efforts of AEG’s European festivals CEO Jim King and promoter Oscar Tuttiett, Homer suggests the event is aimed primarily at a Gen-Z audience.

“The acts that are being announced are very much a new breed of artists,” he says. “I’m looking forward to seeing how that develops. To find points of difference in a very congested marketplace is quite an achievement, and looking at the lineup I think they’ve achieved all they set out to do. It’s going to be an exciting addition to the London festival landscape.”

The second part of IQ‘s interview with Homer will be published in the coming days.

Get more stories like this in your inbox by signing up for IQ Index, IQ’s free email digest of essential live music industry news.

AEG Presents has announced Watford Colosseum is officially open for bookings ahead of its 2025 relaunch.

The company and Watford Borough Council have signed contracts for the venue, which has a standing capacity of 2,345, or 1,189 seated, and is undergoing an extensive multi-million pound refurbishment programme ahead of its reopening.

Enhancements include a new stage and reopened main entrance, plus major improvements to its mechanical and electrical systems.

“The diary is now officially open for venue bookings and we’re looking forward to connecting with our network to curate an events calendar that resonates with the residents of Watford and its visitors,” says AEG Presents UK CEO Steve Homer. “It’s a real honour to collaborate with Watford Borough Council and to bring our expertise to the ongoing developments of the venue and area.”

The ongoing upgrades to Watford Colosseum, initiated in 2022, focus on sustainability and preservation of the venue’s history. When complete, the project will inject just under £2million into the local economy annually, creating new job and volunteer opportunities.

AEG has also revealed details of 2025 concert series The Warwick Sessions

“This is great news for Watford,” adds Watford mayor Peter Taylor. “AEG Presents UK are globally acclaimed for outstanding venues and live performances. I am delighted that they are now partners with us. This is a significant vote of confidence in our multi-million investment in the iconic cultural landmark. With enhanced facilities, the Colosseum will soon host fantastic performances, boosting our town’s cultural scene and local economy.”

Watford Colosseum is the newest addition to the AEG Presents UK mid-sized venue expansion alongside Eventim Apollo, Indigo at The O2 and University of Wolverhampton at The Halls. AXS, AEG’s global ticketing platform, will be the official ticketing partner for the venue.

AEG has also revealed details of The Warwick Sessions 2025, which will take place at St Nicholas’ Park from 4-6 July next year, headlined by The Stranglers, S Club and Elbow. The concert series will build upon The Castle Sessions, held at Warwick Castle earlier this year.

Promoters Chloe Pean and Rachel Lloyd say: “AEG Presents is delighted to announce The Warwick Sessions for summer 2025 following the success of The Castle Sessions. St Nicholas Park is a unique setting in a town with a great appetite for live music.”

Get more stories like this in your inbox by signing up for IQ Index, IQ’s free email digest of essential live music industry news.

AEG Presents UK’s Georgie Donnelly has shared her ambitions for the company’s rebranded comedy and entertainment division in an interview with IQ.

Donnelly has overseen an intense period of development for the department since becoming AEG’s first head of comedy in the UK in 2022, leading its expansion into other forms of live entertainment.

Previously head of comedy & podcasts at Moment House, Donnelly also served stints as an agent at UTA and established the comedy department at promoter Kilimanjaro Live prior to joining AEG, which already boasted a significant existing comedy footprint in the US.

“The initial conversation was really exciting,” she recalls. “I’d always liked the people I’d worked with there and it’s a very respected company with big reach. So the combination of that powerful network and my passion and knowledge for comedy made the role very appealing.

“AEG already had a foot in comedy, so growing that felt like a natural next step. Obviously we’re a long way from being as established and impressive as AEG’s networks across music, but we’ll strive [to get there].”

Donnelly has worked with the likes of Jonathan Van Ness, Hasan Minhaj, Daniel Howell, Yvonne Orji, and Russell Peters, while her AEG remit also included the London debut of Just For Laughs festival at The O2 in March 2023.

“There were projects I knew I was going to be working on from the off, which were really exciting to me. I knew I’d be hitting the ground running”

“[AEG UK CEO] Steve Homer, in particular, had dipped his toe in comedy and that’s how we originally met – we co-promoted a Rob Lowe show when I was at Kili,” she notes. “[AEG] had done bits like Russell Peters and some podcasts, like My Dad Wrote A Porno, but they hadn’t formally broken into the comedy scene.

“There were projects I knew I was going to be working on from the off, which were really exciting to me. I knew I’d be hitting the ground running and building from there. One was the Just For Laughs London festival [at The O2], and Steve was already working on My Dad Wrote A Porno and The Guilty Feminist [podcasts], so I took those on as well. We produced every single element of the Graham Norton Variety Show at JFL last year and that was a career highlight.”

Notable successes so far have included a tour of politics podcast The Rest is Politics, a book launch by Stranger Things star Millie Bobbie Brown, a live Q&A with Ryan Reynolds at The O2 in London, the Alan Cumming Not Acting His Age one-man show and a live version of BBC radio institution Desert Island Discs, in addition to a performance by Indian comic Zakir Khan at London’s Royal Albert Hall.

“That was first time that an Indian comedian has headlined the Royal Albert Hall and done a full headline show and the first time someone’s done a full show in Hindi at that venue,” says Donnelly. “We’ve grown the number of shows, but also the variety of genres that we’re working on, even more than we anticipated. It’s something I’m quite proud of actually.

“We’ve grown AEG’s UK footprint in comedy primarily, but have also moved into other areas. Podcasts is a big part of that – about 30% of our output – but we’ve also  done book launches, cabaret and musical theatre shows.”

She continues: “Digital creators is another area that we’re really growing. A lot of them have really engaged audiences who want to see their favourite YouTuber or TikToker in the flesh, so it’s good to be part of that scene. We’ve also had some family tours and a tour with Camp Binface, so even political candidates. It’s a long list, which shows the breadth and number of shows that we’re working on.”

“We never want to go in too hot if it is completely new”

Hosted by former Downing Street director of communications and strategy Alastair Campbell, and ex-cabinet minister Rory Stewart, smash-hit podcast The Rest is Politics embarks on its biggest tour to date this autumn – capped by a 12,000-cap arena show in the round at London’s The O2.

“They’ve done London Palladium, the Royal Albert Hall and other theatres around the UK before, and it’s worked beautifully because even though they’re big theatres, you still get that intimacy that people want from a podcast,” says Donnelly. “We don’t want to lose that when we take it to The O2, which is why we decided to do it in the round – so that even people at the back won’t be that far away from the stage.”

Finding the right venue for unproven touring acts, regardless of other metrics, can be a challenge, suggests Donnelly.

“You do have to take a bit of a punt, but social media numbers help,” she says. “When it comes to digital creators, for example, you have their number of followers to go by, but also their engagement rates. But if they haven’t done a live tour, you don’t know if it’s going to work on stage – especially with audiences that are not used to seeing live shows because they’re used to seeing stuff on screens. So we sometimes get quite involved in the creative production, working with their teams to build a high quality show.”

When it comes to setting the correct price point, monitoring other markets can prove useful.

“Some of these shows may have played in America before and we can use that as a little bit of a gauge,” she says. “We never want to go in too hot if it is completely new, whether it’s the first time someone’s toured, or whether it’s just a completely new concept altogether. So the first time, we might be a bit conservative and respond to that depending on how it does.”

“We absolutely encourage people to submit ideas, because I can’t listen to every single podcast or be aware of every TikTok comedian”

Recent highlights have included shows by Canadian comedian Steph Tolev, while tours are coming up with the likes of comics Dylan Mulvaney, Aaron Chen, Maggie Winters and Randy Feltface, as well as reality TV stars Lucinda Light from Married at First Sight Australia and Captain Lee from Below Deck.

The division’s promoting team has tripled to three since Donnelly’s appointment, although she points out there is a “huge” amount of synergy across the various AEG UK offices.

“There is a lot of support and excitement for this department across all the other teams,” she discloses. “We absolutely encourage people to submit ideas, because I can’t listen to every single podcast or be aware of every TikTok comedian, so people are always suggesting acts for me to check out. There is crossover in terms of how it all works.”

And as for the bread and butter of the comedy circuit, Donnelly reports that it is “still going very strong” in the wake of the 2000/2010s boom in stand-up arena tours.

“There aren’t a huge number of comedians who can sell an arena, but there are enough to keep it busy,” she reflects. “But I personally think the sweet spot for comedy is that Hammersmith Apollo-level.”

Get more stories like this in your inbox by signing up for IQ Index, IQ’s free email digest of essential live music industry news.

Leading hip-hop, rap and R&B promoter Chris Wareing has departed AEG Presents UK after 18 months with the company.

Wareing moved to AEG in late 2022 as SVP for global touring, tasked with expanding the firm’s hip-hop and rap presence globally.

Previously, he spent 10 years with SJM Concerts, where he worked with the likes of Stormzy, Dave, Travis Scott and Little Simz, and founded the Gods of Rap tour. An AEG spokesperson confirmed that Wareing had resigned from his position.

Wareing declined to comment when approached by IQ. His appointment was part of a revamp of AEG’s UK operations by CEO Steve Homer, which also saw the hiring of ex-Live Nation veteran Lee Laborde as SVP, promoting division, Lucy Noble, previously of the Royal Albert Hall, as its inaugural artistic director and Paris Harding, formerly of SJM, as promoter.

The exapnsion also saw a handful of other appointments announced as part of its growth and development plans across the venues and touring business, while Georgie Donnelly was named as its first head of comedy.

Get more stories like this in your inbox by signing up for IQ Index, IQ’s free email digest of essential live music industry news.

AEG Presents UK has renamed its comedy arm the Comedy and Entertainment division to reflect its expanded offering of shows.

The company named Georgie Donnelly as its first head of comedy in late 2022, and the department has gone on to branch out into other forms of live entertainment.

Recent events have included a tour of politics podcast The Rest is Politics, a book launch by Stranger Things star Millie Bobbie Brown, a live Q&A with Ryan Reynolds at The O2 in London and a live version of BBC radio institution Desert Island Discs. As a result, its comedy arm is now being repositioned as comedy and entertainment.

“Over the last year we have been building the range of shows that the department promotes so it made sense to have a new name which reflects that,” says Donnelly. “Whilst the comedy scene in the UK continues to be so vibrant, there are all kinds of shows that we’ve found audiences are interested in coming to. We have had a big focus on podcasts for example having grown The Rest is Politics Live show from the London Palladium to the upcoming O2 performance. Myself and the team are excited and energised for the year to come.”

AEG UK has also hired junior promoter Ophelia Francis, with further additions expected to follow

Previously head of comedy & podcasts at Moment House, Donnelly also served stints as an agent at UTA and established the comedy department at promoter Kilimanjaro Live prior to joining AEG.

Variety reports the division, which will continue to promote stand-up comedy from established stars through to emerging talent, has also hired junior promoter Ophelia Francis, with further additions to the team set to be announced in the coming months.

Meanwhile, AEG’s All Points East festival recently named Mitski as its final 2024 headliner. Kaytranada, Loyle Carner, LCD Soundsystem, Justice, Pink Pantheress, The Postal Service and Death Cab for Cutie will also top the bill at the London concert series, which runs in Victoria Park from 16-18 and 23-25 August.

Get more stories like this in your inbox by signing up for IQ Index, IQ’s free email digest of essential live music industry news.

Steve Homer has given IQ an insight into his plans for the next phase of AEG Presents UK after overseeing a revamp of operations at the firm.

Homer took sole charge of the company’s London office following the departure of former co-CEO Toby Leighton-Pope at the start of 2022. Since last autumn, AEG has made a string of significant hirings including Chris Wareing and Paris Harding from SJM, ex-Live Nation veteran Lee Laborde, Lucy Noble from the Royal Albert Hall and Georgie Donnelly as its first head of comedy, as well as announcing a handful of other new appointments.

Speaking to IQ, Homer says he expects the influence of the new arrivals will not be fully felt until next year.

“It takes a while to get going and settle in and I envisage that, by the autumn, we’ll probably start to be firing on near enough all cylinders,” he says. “So for shows going into ’24, I think that’s when we’ll see a significant change in how we’re performing. That’ll give us a good benchmark, so I’m looking forward to seeing what the autumn brings.”

Former National Arenas Association chair Noble, who joined AEG’s European senior leadership team in late 2022, has been tasked with overseeing content creation as well as the production of new events such as Christmas Classics with the Philharmonia Orchestra, which will take place at London’s Royal Festival Hall on 15 December.

“The aim was always to try and get someone of superstar status. That was always a hope, but it was never a guarantee”

“We’re branching out into other entertainment facets, so it’s exciting on that front,” says Homer. “We’re challenging ourselves a little bit in terms of [deviating from] our traditional core markets of entertainment.”

AEG is also basking in the glory of the successful relaunch of The Halls Wolverhampton, which reopened with a special show by Blur last Friday (26 May).

“It couldn’t get much better than Blur in terms of a big name to reopen a venue that’s close to a lot of people’s hearts,” enthuses Homer. “They’re doing warm-ups before their run of festivals and then stadiums in London, so it was great to have them as the first act and it was a great show. The aim was always to try and get someone bigger than the venue – someone of superstar status, as it were. That was always a hope, but it was never a guarantee.

“We’d decided the first day we were going to be open was 1 June, so we started to look at who was available and who was around. So when Blur said they were looking at doing some warm-up shows, but it would have to be at the end of May rather than beginning of June, you suddenly start going, ‘I don’t care if the paint is still wet, I’m going to open it,’ because when you get an opportunity like that, you have to take it. Luckily, all the paint was dry and the bars were open, so it was a great one to have.”

“We’ve got 24 shows from now until the second week of July, mostly in The Civic, and the autumn is looking pretty solid”

Formerly the Wolverhampton Civic Halls, the West Midlands venue – which comprises the 3,404-cap The Civic at The Halls Wolverhampton and 1,289-cap The Wulfrun at The Halls Wolverhampton – had been closed since 2015 while it underwent a multi-million-pound regeneration project in partnership with the City of Wolverhampton Council.

AEG agreed a 25-year deal with the council to run the complex back in 2019, with Crissie Rushton, who has worked with the venue for more than two decades in various capacities, installed as GM back in March. Concerts by McFly, Sugababes and The Vamps also form part of its opening lineup, with acts such as Seal, James, Future Islands, Royal Blood, Babymetal and Suede slated to visit before the end of the year.

“We’ve got 24 shows from now until the second week of July, mostly in The Civic, and the autumn is looking pretty solid,” he says. “We didn’t open the diary much before December ’22, so a number of tours were already in place for the end of this year. But we’re seeing good usage from all the national promoters, some local promoters as well. There’s a real spread of acts coming in on a weekly basis so we’re feeling pretty confident.

“It never had [its own] sound and lighting before – people used to have to bring it in – so we’ve added another element to it. And there is another balcony which has taken the capacity up to the same as Manchester Apollo for standing shows, so it fits into that theatre level.”

“It was interesting talking to some of my American bosses and trying to explain where Wolverhampton was”

For Wolverhampton native Homer, the venue also has a particular resonance as the site of his first concert – The Clash in 1978.

“The first ever gig I went to was there, and I’ve promoted a load of shows there,” he says. “It’s one of my favourite venues anyway, so when the opportunity came up to have it in our portfolio of venues I just said to everyone, ‘We have to go for this. This is a great room.'”

He continues: “It was interesting talking to some of my American bosses and trying to explain where Wolverhampton was and sharing some of the history but there’s a real appetite for mid-sized venues within the company anyway, so once they understood where it was and how it fitted into the history of venues in the UK, it became easy to get them to agree to go forward. But it means a lot – as I jokingly say, but only half jokingly, it gives me a better parking space near the football ground as well, which is not untrue!”

The Halls Wolverhampton joins AEG’s global network of more than 350 owned, operated and affiliated venues. In the UK, these include the Eventim Apollo London, Indigo at The O2 in London and the new live music venue at Olympia London set to open in 2024. It will also manage the 2,000-cap Watford Colosseum when it reopens that same year.

Get more stories like this in your inbox by signing up for IQ Index, IQ’s free email digest of essential live music industry news.

AEG Presents is to manage the 2,000-cap Watford Colosseum when it reopens in 2024 following an extensive multi-million pound refurbishment programme.

The appointment, which follows a procurement process run by Watford Borough Council, comes on the heels of AEG’s partnership with the City of Wolverhampton Council to revive The Halls Wolverhampton, which will re-open its doors on 1 June.

With many original art deco features, the 10,210 square foot Colosseum can accommodate 2,000 people standing or 1,392 people seated.

“We see great potential for this historic venue that has hosted a long list of big names over the years”

“We are delighted to bring live music and entertainment back to the stage at this much-loved venue in the heart of Watford,” says AEG Presents UK CEO Steve Homer. “As AEG Presents continues to expand its network of mid-sized venues around the world, we see great potential for this historic venue that has hosted a long list of big names over the years. From live music and dance to comedy, we’re excited to bring world-class artists back to Watford for the local community to enjoy.”

Watford Colosseum and The Halls Wolverhampton join AEG’s global network of more than 350 owned, operated and affiliated venues. In the UK, these include the Eventim Apollo London, Indigo at The O2 in London and the new live music venue at Olympia London set to open in 2024.

Last December, AEG Europe announced a handful of new appointments within AEG Presents UK as part of its growth and development plans across the venues and touring business. The company also hired Chris Wareing and Paris Harding from SJM, named Lucy Noble, previously of the Royal Albert Hall, as its inaugural artistic director and hired Georgie Donnelly as its first head of comedy .

Get more stories like this in your inbox by signing up for IQ Index, IQ’s free email digest of essential live music industry news.