IQ 135, the latest issue of the international live music industry’s leading magazine, is available to read online now.

In the May 2025 issue, Hanna Ellington goes behind the scenes of Usher’s Past Present Future residency tour. She also teamed up with Gordon Masson to speak with some of the leading professionals involved in the continuing rise of country music.

In the latest instalment of The Architect series, Masson also sat down with Herman Schueremans to speak about his role in developing the market in his native Belgium and beyond.

Adam Woods turns his focus to India in our latest market report, exploring the subcontinent’s live music scene and its highly promising trajectory.

Meanwhile, Derek Robertson spoke with professionals in the live audio sector to discover some new technological series made in the space, while Eamonn Forde delved into the growth market of diaspora shows.

Nine months on from Legends’ blockbuster acquisition of ASM Global, Chris Bray tells IQ about the merger process and their hopes for the future.

For comments and columns, Electric Castle’s Oltea Zambori questions what’s next for sustainable live music, while OCESA’s Jorge Cambronero details how Shakira is making history across Latin America.

A selection of magazine content will appear online in the next four weeks but to ensure your fix of essential live music industry features, opinion and analysis, click here to subscribe to IQ – or check out what you’re missing out on with the limited preview below:

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Legends and ASM Global have promoted James Harrison to VP of programming, UK and Europe.

Harrison, who joined ASM in 2017, has 16 years of programming experience across leading venues and organisations such as LW Theatres, ATG and Live Nation.

He is responsible for managing the company’s central programming team and overseeing music, comedy & entertainment bookings alongside colleague James Taylor, who manages the UK/EU sports and new business bookings.

Harrison is also credited as a driving force behind the strategic restructuring of the Legends/ASM UK programming team, as well as the diversification of the firm’s venue portfolio, which includes arenas such as Manchester’s AO Arena, OVO Arena Wembley and Leeds’ First Direct Arena, plus the firm’s concert hall division, made up of Connexin Live Hull, York Barbican, Sheffield City Hall, New Century Hall Manchester and Becketwell Live Derby.

“I’m very grateful for the trust and belief that ASM Global have placed in me and our team – I believe the team is the best in the business, and our offering is unrivalled,” says Harrison. “We’re at a very exciting point in the company’s history and I’m looking forward to continuing to lead the programming team and grasping all the opportunities to come.”

“James is the rare breed executive who seamlessly straddles both the creative chaos and the business hustle of live music entertainment”

This year, Harrison is spearheading programming for the upcoming launch of Derby’s Becketwell Live, a major new live entertainment hub for Derby, and delivering an expanded 2025 schedule of 1,000-plus shows across the group.

“James is the rare breed executive who seamlessly straddles both the creative chaos and the business hustle of live music entertainment,” adds Brian Celler, SVP & head of programming and content at Legends/ASM. “He has a deep understanding and instinct for live event touring, a sharp eye for deals that benefit artists, their teams, our venues, and the vision to shake things up.

“James conceived this new programming structure, and it is setting us up for growth across every level – grassroots clubs to iconic stadiums.”

Separately, Kristofer Åkesson has joined Legends and ASM Global as marketing and communications director for the Nordic region. He will be responsible for marketing, communications and PR strategy for the company’s growing regional venue portfolio which includes venues such as Sweden’s Avicii Arena, Strawberry Arena, 3Arena, Hovet, Södra Teatern and Finland’s Kulttuuritalo.

“I’m looking forward to using my experience to further develop and elevate the brands, business and the guest experience across our incredible venue portfolio in the Nordics, at a time where live experiences, including sports, music and more, are more sought after than ever before,” says Åkesson.

“Kristofer is well-respected in the industry and has a deep understanding of the world of live entertainment”

Previously, Åkesson spent almost a decade at Live Nation Sweden as both head of PR, and marketing & communications director. Since late 2024, he has worked in a consultancy role for Stockholm Live, the Swedish branch of Legends and ASM.

“Kristofer is well-respected in the industry and has a deep understanding of the world of live entertainment, from the promoter and venue perspective and also the commercial aspects of the business,” adds Marie Lindqvist, SVP operations, Europe at Legends and ASM. “I have no doubt that he will be a great addition to our team in supporting the growth of our existing business in the Nordics and also to position Legends and ASM Global in Europe.”

Meanwhile, André Jürgens, founder of Germany’s Reload Festival, has joined the Wacken Open Air management team as co-MD alongside Thomas Jensen and Holger Hübner, who have been shareholders in Reload for more than a decade.

“We are continuously strengthening our team to continue creating the best conditions for the successful implementation of the festival,” says a joint statement from Jensen and Hübnersay. “We are therefore very pleased to have gained André Jürgens as a new additional managing director for Wacken Open Air. He lives music, is a man of the trade, and will provide additional impetus with his expertise.

“André will form a three-person leadership team with us, rejuvenating the team and providing excellent support to our metal community with his experience.”

“If it hadn’t been possible to continue Reload, I wouldn’t have accepted the opportunity”

Jürgens, who will continue to be involved behind the scenes at Lower Saxony’s Reload, describes his hiring as a “crowning achievement”.

“As if the coach of local club St. Pauli gets an offer from a Champions League club. No coach on this planet would say no to that,” he says. “This is a crowning achievement. I simply can’t pass up this opportunity. But it’s also a crowning achievement for the entire Reload Festival and the work everyone puts in there.

“I’m not giving up on Reload. This was also the subject of discussions with Wacken officials from the very beginning. If it hadn’t been possible to continue Reload, I wouldn’t have accepted the opportunity.”

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Sam Fender has become the first international artist to headline Italy’s newest arena.

The British hitmaker graced the 5,000-cap ChorusLife Arena in Bergamo on 13 March – his only Italian tour date this year. Tickets for the show sold out two months in advance.

The venue, which has upcoming concerts with artists including Patti Smith and Italian singer-songwriter Loredana Bertè, is supported by Legends and ASM Global and is said to offer “best-in-class facilities, cutting-edge acoustics and a selection of premium hospitality areas”.

“ChorusLife Arena is a game changer for Italy’s live entertainment scene”

“ChorusLife Arena is a game changer for Italy’s live entertainment scene,” says Joe Rizzello, VP and general manager of ASM Global Italy. “We’re thrilled to welcome fans to this world-class venue, starting with what was a simply unforgettable night featuring the incredible Sam Fender. 2025 is already looking like a huge year for the ChorusLife Arena, with close to 100 events already booked – a true record for Italian arenas of this size.”

The arena is part of the ChorusLife district project, an urban redevelopment initiative aimed at blending entertainment, technology and community spaces. CAA-represented Fender recently extended his 2025 UK summer tour with the addition of three new dates.

The first of the new shows will be held in Manchester’s Wythenshawe Park on 16 August, before he takes to the Royal Highland Showgrounds in Edinburgh the following week 22 August as part of the Scottish capital’s Summer Sessions series.  On 28 August, Fender will headline the VITAL Festival at Boucher Road Playing Fields, Belfast.

The shows will follow the 30-year old’s previously announced European and US tours through the spring, plus three sold-out stadium gigs at Newcastle’s St. James Park (12-15 June) and London Stadium (6 June). He will also appear at Radio 1’s Big Weekend festival in Sefton Park, Liverpool, on 24 May.

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ASM Global’s trio of Stockholm venues are reporting “great demand” for events in 2025, the company’s Tobias Ekman tells IQ.

Ekman is general manager of Sweden’s largest stadium, Strawberry Arena (cap. 60,000), as well as the capital’s 3Arena (45,000) and Avicii Arena (16,500).

Strawberry Arena will host concerts by Guns N’ Roses (4 July) and Ed Sheeran (22-23 August) this summer, while 3Arena will welcome Imagine Dragons (5 June), Iron Maiden (12-13 June), Kendrick Lamar & SZA (9 August), Volbeat (17 October) and Sabaton (13 December). Both venues are multipurpose stadiums with retractable roofs.

Avicii Arena, meanwhile, recently reopened after a year-long redevelopment project and has upcoming nights with the likes of Sabrina Carpenter, Billie Eilish, Tate McRae, Kylie Minogue, Pitbull, OneRepublic and Hans Zimmer Live.

“We entered this year with a great demand for our venues,” says Ekman. “With Avicii Arena just modernised and open we already see high volume of bookings in a wide range of events – 3Arena and Strawberry Arena are looking at double-digit sold out stadium shows combined.”

Avicii Arena’s $92 million revamp included brand-new stands and seating, improved food and beverage offerings, enhanced acoustics and a new retractable interior roof, as well as new premium experiences including luxury suites, social lounges and party booths.

“We compete not only in Sweden, but also in the northern Europe region for tours”

Ekman is confident the improvements have kept the venue, which opened in 1989 and was originally known as Stockholm Globe Arena, ahead of the curve.

“There is always competition among venues for content that we respect, but we feel we are very competitive here with a modernised Avicii Arena,” he says. “We compete not only in Sweden but also in the northern Europe region for tours so we make sure to keep enhancing our venues and services every day.”

Ekman, who was formerly CEO of artist and promoter agency Jubel and has previously served in senior commercial roles for Live Nation in Sweden and the US, does not believe 2025’s huge year of stadium concerts will have any negative ramifications for the arena business. Moreover, he notes that the traditionally quiet summer season for arenas is “much shorter now”.

“The demand for live events overall in Stockholm and Sweden is at a very high level,” he says. “ASM Stockholm can provide venues from 3,000 up to 60,000. As these opportunities exist in Stockholm, it creates demand even outside Sweden which leads to demand for stadiums, arenas and clubs.”

In closing, Ekman lists his objectives for the months ahead as to “make sure that every day we keep improving our venues and services towards promoters, artists, teams and fans so we can efficiently help everyone deliver their work at the highest level for the best overall experience”.

Read IQ‘s recent health check on the UK arena market here.

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The International Live Music Conference’s annual deep dive into the venue sector delved into new markets, capital city residencies and the impact of 2025’s huge stadium summer on arenas.

Oak View Group (OVG) International’s Rebecca Kane Burton, Marie Lindqvist of ASM Global Europe, Live Nation EMEA’s Tom Lynch and Ignacio Taier of Argentina-based Grupo Quality convened for ILMC 37’s The Venue’s Venue: Anchor Topics session at London’s Royal Lancaster, chaired by James Drury.

Kane Burton brought up OVG’s investment alongside Live Nation in Lagos, Nigeria, while Lynch discussed LN’s new live entertainment space, The Dome, in Johannesburg, South Africa.

“It’s a huge market with a massive population,” said Lynch. “It’s an emerging market, not without its challenges to build new venues, to open venues, etc, but we’re seeing international artists starting to play there. We’ve got Tems in a few weeks and Central Cee’s going down there, but then a huge domestic talent pool as well. So Johannesburg’s somewhere we see a huge future.”

Lindqvist spoke of ASM’s projects in Italy, Spain and Portugal, as well as the UK.

“Italy is a very interesting market for us,” she said. “We’re involved in two new builds outside Milan: one in Bergamo, which will have its first show in a couple of weeks, and another project in Cantù, also in the Milan district. Here in the UK, it’s such a big market if you compare it to the rest of Europe, so we’re opening up in Derby in just a few weeks.”

“There’s been an increase in the amount of tickets that we’re selling and the amount of shows that we’re promoting, so there’s definitely an audience”

Taier, meanwhile, referenced Live Nation and subsidiary DF Entertainment recent 40-year agreement to operate Buenos Aires’ Luna Park.

“There’s a need for more venues everywhere, and Latin America in general,” he says. “We have seen more venues in Colombia, Brazil and other places, so I think that’s a constant.”

He added: “There’s been an increase in the amount of tickets that we’re selling and the amount of shows that we’re promoting, so there’s definitely an audience. The thing is, all costs have gone up, ticket pricing has come down, so there’s a problem there. But in general, tickets are selling, so there’s an opportunity.”

However, Lynch suggested the market was still currently under-served in terms of mid-size venues.

“I sat on [the ILMC] stage on the old hotel five years ago and talked about that gap in 4,000-5,000 cap rooms, and we’ve not really moved on a huge amount,” he observed. “And when we look across Europe, actually, there’s that huge gap still. We’ve got plenty of large scale clubs here in the UK, the US is coast to coast and France is okay. But in every other country, you tend to have 2,000-cap theatres and then an arena, so artists are trying to do two, three, four, night runs to fulfil the needs of their fans and that’s not necessarily very efficient.

“We’ve got a venue in Amsterdam, AFAS Live, and if I could pick AFAS Live up and put it in every major city in Europe, I would do. It’s intimate enough that you’re playing to maybe 2,000-3,000 fans, but you’ve got a big production, you’ve got high ceilings, you’ve got a good PA and it feels like an arena show.”

“A capital city without an arena just doesn’t make sense”

Taier agreed that being able to offer a level of versatility was ever-more important.

“That’s really key nowadays, because we can configure it venue for the amount of people that we expect,” he said. “Therefore we can make sure the fan experience is at its best, and the artist also is performing to a full venue, even if that venue is not really full. We can host general admission ticket shows like parties or [club events to] fully seated shows.”

Lynch also revealed his excitement at Live Nation’s mission to restore Finland’s Helsinki Halli to the arena international touring map. Live Nation has taken on a 20-year long-term lease to operate the venue, which is scheduled to reopen this spring after being mothballed for the past three years due to sanctions on its previous Russian ownership.

“A capital city without an arena just doesn’t make sense,” he said. “Wherever the touring goes, artists want to play in capital cities.”

Be that as it may, the panel raised concerns that certain regional markets were being neglected as major tours increasingly focused on the capitals. Taier said the trend was particularly noticeable in Argentina.

“Many shows go to Buenos Aires, the capital, and they just stay there,” he said. “They don’t come to B-markets or C-markets and that is something that really affects us, but we can understand it. There are a lot of artists that prefer to travel less and do more nights at the same place.”

“You’re creating a barrier between those that can afford and those that cannot – and many young fans cannot”

Lindqvist admitted to fears that some younger fans from outside the capital cities could be priced out of attending as a result.

“You have to buy an expensive ticket, and then on top of that, possibly buy airfare and hotels, so I think you’re just creating a barrier between those that can afford and those that cannot – and many young fans cannot,” she said.

“We all know that you don’t start to go to gig when you’re 30 or 40. You start when you’re a teenager. Building that kind of passion and love for music starts at an early age, and we’re providing a barrier to that. I think we’re going in the completely wrong direction, and we’re also diluting the cultural life in cities that are not the A-markets.”

She added: “Why would a city or a private developer invest in new venues or infrastructure and so forth, if the shows aren’t coming to the city? So I think it’s a worrying development that we need to take seriously.”

Nevertheless, Lindqvist dismissed suggestions the rise of stadium shows could have a negative effect on ticket sales for arena productions.

“I think it’s two separate businesses,” she argued. “Maybe, on the other hand, it’s just creating more buzz around live music and people that get to experience a big stadium show will hopefully go to more arena gigs. We’re having a strong stadium year, but we’re also having an extremely strong arena year in most markets, so I think it’s just good for the industry.”

Summing up, Kane Burton stressed that the industry had a collective responsibility to make sure the right artist was playing the right space.

“Thinking about our buildings and thinking about real estate, there’s a massive opportunity,” she concluded. “There’s some huge spaces, right across the world, that just don’t get used in three quarters of a year. What’s good for one city in one space is good for the entire city. So from an ecosystem point of view, I think we should embrace it.”

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Brett Parker has been appointed chief financial officer and chief operating officer of the combined Legends and ASM Global business.

A seasoned executive with extensive experience in strategic finance and business operations, Parker joins Legends after more than two decades as an executive leader at Lucky Strike Entertainment, where he transformed the business from a single entertainment centre location into a public company with hundreds of locations across North America.

Dan Levy, CEO of Legends, said, “His track record in scaling businesses and driving strategic growth will be invaluable as we bring together Legends and ASM Global and expand our global impact.”

Parker arrives at Legends during a period of significant growth and opportunity following the August 2024 acquisition of ASM Global. As the companies integrate into a single entity, Parker will oversee all financial operations and planning while “playing a vital role in developing and driving company strategy to ensure long-term success,” according to a release.

Elsewhere, Marc Sousley joins Australia’s Frontier Touring as tour director. ​Previously a senior promoter at Live Nation-backed Secret Sounds, Sousley has delivered tours from artists such as The 1975, Tate McRae, Lizzy McAlpine, Father John Misty and more, as well as local artists, Ruel, Dope Lemon and Peach PRC. ​

Prior to working at Secret Sounds, he worked in Austin, Texas with US-based C3 Presents, producers of Lollapalooza and Austin City Limits. He moved to Australia with C3 in 2012, when the company acquired a share of music festival Big Day Out. ​

“[Parker’s] track record in scaling businesses and driving strategic growth will be invaluable as we bring together Legends and ASM Global”

Susan Heymann, COO of Frontier Touring, says: “We are excited to have Marc join our team. He comes into the company with over two decades of experience, strong industry relationships and an approach that aligns perfectly with Frontier’s ‘artists and fans first’ philosophy.”

Also in Australia, TEG has announced that its head of commercial Simon Cahill and SXSW Sydney’s general manager Jono Whyman have been appointed co-managing directors for SXSW Sydney.

Cahill will also retain existing commercial responsibilities and has been appointed to TEG’s chief commercial officer.

These changes follow Colin Daniels’ decision to step down from the SXSW Sydney managing director position, a role he has held since the event’s inaugural year in Australia.

Daniels, who is a founding partner of Handsome Tours, remains in the TEG family, holding a position on the SXSW Sydney Board.

TEG Group CEO and SXSW Chair Geoff Jones comments: “First and foremost, I would like to personally thank Colin for his dedication and hard work over the years. Colin has done an outstanding job in building a passionate Team, successfully launching SXSW Sydney, and ensuring the vision for this world-leading Event is set for the future. His leadership has been instrumental, and I am grateful for his contributions.”

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Venue executive Chris Bray has been appointed president of Europe for the combined Legends and ASM Global business.

Manchester-based Bray, who previously served as ASM’s president of Europe, will oversee the company’s business operations throughout the UK and Europe in his expanded role.

New York-headquartered premium experiences company Legends completed its blockbuster $2.325 billion acquisition of venue management giant ASM last August.

“The combination of Legends and ASM Global means we can take fan and guest experiences to the next level while creating even greater value for our partners worldwide,” says Legends CEO Dan Levy. “With a strong presence across the UK and Europe – spanning iconic venues, premier events, and world-class hospitality – we’re in an incredible position to set new standards in sports and entertainment.

“The growth opportunities in this region are exciting, and with Chris’ deep expertise and leadership, we’re confident in the road ahead.”

“This is an incredible opportunity as we accelerate our growth ambitions globally”

Bray, who joined ASM in January 2022, has more than 30 years of experience in commercial operations, entertainment, and strategic development within the high-street retail, leisure, and hospitality industries. He previously spent 15 years at Sodexo, where he held various executive board positions including a six-year stint as CEO of its sports and leisure division.

Under Bray’s leadership, the firm won new contracts with Utilita Arena and Sheffield City Hall, LX Factory in Portugal, and Olympia London. Bray has also overseen the company’s investment in its existing venue, including the £70 million redevelopment of AO Arena in Manchester, a multimillion-pound reimagining of Utilita Arena Newcastle, and a year-long transformation of Sweden’s Avicii Arena, among others.

“This is an incredible opportunity as we accelerate our growth ambitions globally,” adds Bray. “Over the past few years, we’ve witnessed significant expansion in Legends and ASM Global in Europe. This reflects the exceptional capabilities of our European teams and the trust our clients have in our ability to deliver world-class experiences for their guests and fans.

“I’m truly looking forward to collaborating with the teams to build on the outstanding work we’ve accomplished.”

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Sweden’s Avicii Arena reopened last weekend after a year-long closure for an ambitious redevelopment project.

Phase one of the redevelopment, led by ASM Global’s Stockholm Live and the City of Stockholm, was unveiled as Swedish synth-pop group KITE took to the stage for a sold-out show.

With a total investment of approximately $92 million, improvements to the Stockholm arena include brand-new stands and seating, improved food and beverage offerings, enhanced acoustics and a new retractable interior roof.

The seating redesign brings a slightly higher total capacity in the 16,500-capacity arena, including an increased floor capacity.

Elsewhere, the back-of-house redesign includes new rigging capacity, faster event transitions, and adaptable staging enabling more ambitious productions and a wider variety of events. The arena can now transition from hockey to concerts faster than ever.

New premium experiences, including luxury suites, social lounges and party booths, will be introduced soon.

“The crown jewel of all arenas in Sweden has, since its opening 35 years ago, always been Avicii Arena”

“At Legends and ASM Global we take pride in pushing the boundaries for what can be done in an arena,” says Marie Lindqvist, SVP operations at Legends and ASM Global Europe. “The iconic Avicii Arena is a great example of how innovation, engineering and the passion to elevate the customer experience can transform an arena and take it into the future. Together with our long-term partner City of Stockholm, we are investing in the future by making Avicii Arena the best arena of its kind in the Nordics.”

Tobias Ekman, general manager of Avicii Arena, adds: “The crown jewel of all arenas in Sweden has, since its opening 35 years ago, always been Avicii Arena. With its unique design and history, this iconic multi-arena has now been modernised and transformed on all levels to ensure that Avicii Arena continues to be the premier concert and sports venue in the Nordics, attracting even more and larger events for at least another 35 years. This also creates great value for Stockholm, both financially and culturally.”

The venue, which was originally known as Stockholm Globe Arena and previously as Ericsson Globe, opened in 1989.

In 2021, it was renamed Avicii Arena after the late Swedish DJ who took his own life, with ASM declaring the venue a “global symbol for mental illness prevention”.

Other venues run by ASM’s Stockholm Live include Tele2 Arena (40,000-cap.), Hovet (9,000-cap) and Annexet (3,400-cap.).

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The final round of the Alia Dann Swift Bursary Scheme, supported by ASM Global, will close in two weeks on Friday 7 February.

The scheme offers 30 young executives a complimentary delegate pass to the 37th edition of ILMC at London’s Royal Lancaster Hotel between 25-28 February 2025. Each recipient is twinned with a dedicated industry mentor.

The scheme is supported by ASM Global’s corporate social responsibility platform, ASM Global Acts, whose aim is to protect the environment, invest in people, and strengthen communities around the globe.

For ILMC’s 36th edition in 2024, Manchester’s Bridgewater Hall CEO Andrew Bolt was paired with Judith Potts, programming manager at ICC Belfast, and Emily Haigh, Live University Union live music event manager.

“Attending ILMC is something I would never have been able to do without the bursary. Having the opportunity to attend for free meant I could network and learn without any pressure,” Haigh says.

“It definitely felt daunting at first, it is a huge conference with people from all over the world. Having Andrew to talk to meant it didn’t feel so lonely at first and it was a nice friendly face to see each morning before the day started.”

“There is a responsibility for successful companies like ASM Global to ‘give back’ to the industry”

Expanded by ASM for 2025, the bursary scheme now includes six months of additional mentoring consisting of five monthly meetings post-ILMC, and access to the firm’s senior management during that period for any questions.

Bolt says he saw value in sharing his experiences with rising executives like Haigh and Potts, and welcomes the expansion of the scheme.

“It is important to be available to assist anyone who may be looking to develop their career in the industry,” he says. “Of course, experience can only be gained by doing, but the lessons from experience can be passed on and for those who might be interested in some insights I have gained, I’m happy to share.

“I believe there is a responsibility for successful companies like ASM Global to ‘give back’ to the industry. It’s also very smart industry practice, as these programmes provide the company with a chance to see the next generation coming through and be influential in how that may provide positive outcomes for both the company and the mentee.”

Through the scheme, Potts says she gained connections with a network of venues, in addition to personalised career development through small group and individual sessions.

“It’s a lasting connection that will always be available throughout your career”

“For the industry as a whole, mentorship is extremely valuable as industry experts are able to transfer their knowledge to upcoming leaders. These experts will also highlight challenges which the industry has overcome and help to develop skills for dealing with future challenges, helping to shape the industry and how it develops,” she says.

Potts and Haigh both highlighted how facilitated mentorship can help mitigate the gap between rising professionals and seasoned leaders, during ILMC and beyond.

“Sometimes it’s hard to reach out and ask for help or advice,” adds Haigh. “Facilitated mentorship means you have a ready and willing person to give you advice, and the pressure is taken off because you don’t feel like a burden.”

After a fulfilling first edition, Haigh plans to return for her second ILMC this year.

“I have grown so much over the last 12 months, and this is partly because I have a great support network to ask questions to and get a second opinion when I feel uncertain,” she says. “It’s really nice to have someone in your corner, and it’s a lasting connection that will always be available throughout your career.”

“The industry as a whole benefits from the programme”

Bolt echoes the same sentiments, highlighting how the scheme is beneficial for mentors and mentees alike.

“The feedback I have received from past mentees has been very encouraging to me and I’ve felt it has been worth my professional time to support the programme,” he says. “I’ve also noted from their comments that mentees have appreciated the perspectives and thoughts I have shared.

“On that level, I believe the industry as a whole benefits from the programme.”

Active since 2018, the programme — named after the late Alia Dann Swift, ILMC’s long-standing producer — is intended to provide a route for live music’s brightest upcoming executives to join the ILMC network. This year, the 150th mentee will attend the annual conference as part of the scheme.

The scheme is open to international applicants and encourages applicants from a diverse background. Application information can be found here.

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ASM Global has named Ticketmaster as its ticketing partner for the new Becketwell Live in Derby, UK.

The 3,500-capacity venue is set to open later this spring with a programme comprising concerts, family events, sports and conferencing.

The venue will utilise Ticketmaster’s marketing and distribution technology to reach fans of all genres, according to a release.

In addition, ASM Global has renewed its partnership with Ticketmaster for the exclusive ticketing of Sheffield venues Utilita Arena Sheffield and Sheffield City Hall.

“2025 is shaping up to be an exciting year. We’ve already taken on major new contracts with Utilita Arena and Sheffield City Hall, both of which are set for investment and enhancements, and we’re thrilled to soon unveil the state-of-the-art Becketwell Live in Derby,” says Chris Bray, president of ASM Global Europe.

“We’re thrilled to soon unveil the state-of-the-art Becketwell Live in Derby”

“Our mission is always to deliver excellence, particularly when it comes to the fan experience. This begins the moment a fan decides to purchase a ticket, which is why we’ve partnered with Ticketmaster to ensure a seamless and unforgettable experience for everyone visiting these three extraordinary venues.”

Andrew Parsons, managing director of Ticketmaster, adds: “ASM Global renewing these Sheffield partnerships and choosing to work with us on their impressive Becketwell Live plans solidifies their confidence in our team’s ability to deliver an exceptional fan experience. We look forward to taking these venues to the next level.”

Becketwell Live’s programme so far includes concerts from Wet Wet Wet and Fleetwood Mac and ABBA tribute acts. Other live entertainment includes a comedy show with Miriam Margolyes and a live recording of the popular podcast Saving Grace.

ASM Global’s UK portfolio also includes Manchester’s AO Arena, Leeds’ first direct arena, London’s OVO Arena Wembley, and more.

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