IFF brings together 1,000 leading agents and festival bookers each year in London. A mix of focused business meetings, networking sessions, conference programming and showcases see the event typically selling out far in advance.

We asked three longstanding attendees about what they get out of IFF and why it forms a key part in their festival booking calendar.

‍P-C Rae, The British Music Embassy
‍What do you get out of attending IFF from a business point of view?
Catching up with both friends and partners across Europe but in a more business-focused environment than, say, other showcase festivals.

‍What’s your favourite element of IFF personally?
The geographic footprint is very small so you can stack up a huge number of meetings in a very short space of time and the logistics are pretty painless. That everything is in the same area also means more chance encounters (which IMHO generally pan out to be the most valuable afterwards) but without the claustrophobia that can come with being stuck in one building all day.

‍What would you say to someone considering attending IFF for the first time?
The most meeting focused conference of all. Whilst there are panels and showcasing, the distraction is limited and this is one to one b2b focussed activity.

‍”I often end up doing a great deal of business right then and there during the conference”

Skully Sullivan Kaplan, Agent, ATC Live‍
‍What do you get out of attending IFF from a business point of view?
Attending IFF is always a productive experience, and a great opportunity to connect with a diverse spread of people across our industry and the music ecosystem at large. I often end up doing a great deal of business right then and there during the conference, learning lots about the current state of play in many companies and parts of the world, while generally staying on top of the very latest and most relevant developments in the music universe.

What’s your favourite element of IFF personally?‍
I really enjoy getting some face time with so many friends and colleagues, while also making sure it’s time well spent for the artists I represent; securing opportunities, gathering intel, and of course the chance to present some of our most exciting artists in a live setting, to a broad spread of industry professionals. It’s always a very fun week. An intense and tiring one to be sure, but a very enjoyable one too!

‍What would you say to someone considering attending IFF for the first time?‍
I would say this is an invaluable resource, and one that will pay dividends. But you’ve got to come prepared, and ready to put in a serious amount of energy to get the most out of it. I’d suggest you stay super-organized and arrange your scheduled meetings in advance. However, you need to allow plenty of time for those impromptu and unplanned interactions to take place too…some of the best moments happen that way. Remember to check out the showcases, as so many brilliant new artists are on show; and if they can pull off a compelling performance in front of a room that’s seen it all, you can envision a promising future ahead for them.

‍”It is worth every penny”

Pavla Slívová, Head of Booking & Artist Liaisons, Colours of Ostrava‍
‍What do you get out of attending IFF from a business point of view?‍
I really get a lot of done! The enormous concentration of artist agents and festival promoters makes it very effective.

‍What’s your favourite element of IFF personally?‍
I love that you can bump into old friends and new faces especially during afternoon drinks and have very informal and friendly conversation.

‍What would you say to someone considering attending IFF for the first time?
Do it, it is worth every penny. However be organised and schedule as many meetings as you can.

For more information on IFF, click here.

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Key acquisitions helped All Things Considered (ATC) Group more than double its revenue in 2024 in a “landmark year” for the independent music firm.

The company, which houses booking agency ATC Live alongside talent management, merchandising, talent services and events, increased revenue by 111% year-on-year from £24.1 million to £50.9m, according to its newly released FY24 financials.

ATC, which now has five offices globally, credits continued organic growth across all of its divisions, plus the strategic acquisitions of Raw Power Management and promoter Joy Entertainment, for the performance.

“We are delighted to report on a very strong year for ATC, both in terms of trading performance and strategic progress in line with the Group’s vision of building a full-service music business,” says Adam Driscoll, CEO of ATC Group. “Following continued organic expansion and execution against the Group’s M&A roadmap, the Group achieved significant growth, more than doubling revenue, along with materially enhanced profitability.

“At the same time we have continued to invest in the business, ensuring we maintain a robust operating platform as we scale, and we were pleased to welcome artists and managers during the year, expand our footprint with a new US office opening, and bolster our senior leadership team.”

The Group posted adjusted operating EBITDA of £1.6m (2023: loss of £400,000) and a £300,000 loss after tax (2023: loss of £3.1m). Its Artist Representation and Services segments were key drivers, with revenue increasing to £11.4m (2023: £6.6m) and £35.9m (2023: £17.4m), respectively.

ATC Live, whose clients include Jungle, Fontaines D.C., Big Thief, Nick Cave and the Bad Seeds, PJ Harvey, Jamie Webster, The Lumineers and Amyl & The Sniffers, booked 6,300 shows in 2024, with revenue for the division rising by 58.45% to £3.39m, compared to £1.25m last year.

“2024 has been a landmark year for the Group, marked by significant growth and continued alignment across all levels of our business”

The report singles out the success of Nick Cave and the Bad Seeds’ arena tour, which was his biggest selling to date with 363,440 tickets sold across 33 shows.

“We continue to believe that the music industry is undergoing structural change, driven by the changing preference of how consumers choose to experience music,” adds Driscoll. “Our unique integrated music services model is strategically positioned at the heart of this evolution, facilitating a more ‘direct-to-fan’ approach for artists by uniting talent, data, fans and experiences. With the building blocks in place, strong momentum and a robust financial position, we are optimistic about the future.”

ATC’s new Live Events and Experiences segment generated revenue of £3.1 million in 2024, thanks to the production of the On the Beach music festival in Brighton and the launch of the division’s first major project, Hamlet Hail To The Thief, in collaboration with Factory International in Manchester, and The Royal Shakespeare Company (RSC). The production saw 90% of available tickets sold before opening, with “significant interest” in potential international tours.

“2024 has been a landmark year for the Group, marked by significant growth and continued alignment across all levels of our business – artists, senior management and shareholders,” says a statement by co-chairs Brian Message and Craig Newman. “The strength of our strategy was evident in the exceptional performance of many of our major acts.

“Our integrated services model, which has been the driving strategic imperative for the Group, is now proving to be a key differentiator in the market. By offering a diverse and unified range of services, we can create new opportunities for our artists while driving revenue growth for those artists and across our business.

“In summary, we made substantial progress during 2024 and the Group remains well-positioned to repeat this success in 2025 and beyond.”

The firm, which also acquired a majority stake in Easy Life Entertainment earlier this year, promoted Ric Salmon to the newly-created position of chief growth officer earlier this year. ATC listed on the Aquis Growth Market in London in December 2021 after raising £4.15m in its initial public offering (IPO). Its current 90p share price gives the Group a market cap of £14.89m.

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With co-headline runs increasingly emerging as a viable alternative for touring acts, leading agents have broken down the key factors driving the trend.

While the concept is long-established in the live business, the post-pandemic years have seen a noticeable uptick in the number of acts heading out on the road together.

Successful pairings have included Def Leppard & Mötley Crüe, who notched up more than one million ticket sales for their 2022 co-headlining tour of the US and Canada, and Charli XCX & Troye Sivan, who drew nearly 300,000 fans to their sold out 22-city North American run last year.

Other acts to have shared the spotlight include Lynyrd Skynyrd & ZZ Top, Beyoncé & Jay-Z, Death Cab for Cutie & Postal Service, Johnny Marr & The Charlatans, Kesha & Macklemore, Lamb of God & Mastodon, Tim McGraw & Faith Hill and Garbage & Noel Gallagher’s High Flying Birds, to name but a few.

Independent Artist Group (IAG) EVP, head of global music, Jarred Arfa tells IQ that co-headline outings can be an effective way of helping artists stand out from the pack.

“We have always tried to intelligently package artists to not only create more entertainment value for the consumer’s dollars, but also to create special events that get fans really excited about,” he says. “I think this trend will only continue to help artists to try to distinguish themselves even on the arena and stadium level.”

“If a fan can see two or more of their favourite acts on the same bill it’s a compelling reason to go to that show”

Arfa says the most successful joint headline tours involve artists that either come from a similar era or genre.

“I think people want to get super-served in the type of music they like,” he suggests. “A perfect example of this was our sold out stadium tour in 2023 with Def Leppard, Motley Crue and Poison. It was really like a travelling rock festival.”

ATC Live’s Alex Bruford sees obvious positives in the technique.

“The combination of the high volume of artists touring and increasing ticket prices, plus the associated costs of going to a show mean that adding value to the ticket is more important than ever,” he says. “If a fan can see two or more of their favourite acts on the same bill it’s a compelling reason to go to that show.”

UTA agent Olly Ward notes that co-headlining gives two artists the chance to play to bigger audiences, in bigger venues, than they might have done on their own headline tour.

“Artists and their teams are looking for ways to make touring affordable and impactful,” Ward tells IQ. “With such fierce competition for fans’ attention, a strong co-headline bill – if done right – can be create a really exciting proposition for fans: a chance to catch two of your favourite artists together in a unique pairing. It also means the two acts, with similar fanbases, are not headlining the same market at the same time and competing for same audience to buy a ticket.

“If the bill is genuinely standout, the pairing could ignite wider conversation among music fans. In so doing, there is the chance for the ticket sales to outperform what each artist may have sold on their own, respectively. Each artist in such a package would hope to win over the fans of the other co-headliner; so both acts ultimately grow their fanbases.”

“If the fanbases align and there is strong crossover; then the co-headline tour has the chance of doing very well”

Ward adds that other benefits include sharing costs and the show production.

“Playing in bigger venues can enable artists to present a larger scale of show production than they might have done when playing their own headline shows in smaller rooms, and there might be an opportunity to share some of the costs of that production and the wider touring between both artists,” he continues.

Upcoming joint-headlining runs include Kendrick Lamar & SZA, whose Grand National Tour hits stadiums worldwide from next month, and Busted vs McFly, who will share top billing across multiple UK arena dates this autumn, including five nights at The O2 in London. Collective Soul and +LIVE+ also announced their 2025 co-headlining US Summer Unity Tour this week.

“A good joint headline should ultimately feel unique to fans; a once-in-a-lifetime chance to see two great acts together,” adds Ward. “It is not necessary for the artists to be of the same musical genre, but thought should be applied to the fanbases of each artist in the co-headline package. If the fanbases align and there is strong crossover; then the co-headline tour has the chance of doing very well. That is more important than similarity of music between the artists.

“However, for a co-headline tour to truly work for both artists involved, there has to be an acceptance from both sides that the acts are of similar stature and prestige. If there is an imbalance – or perceived imbalance – then the tour will not work.”

That is not the only potential downside, advises Ward.

“Long term, a co-headline tour might have implications for each artist’s value with festivals,” he says. “Conversations with buyers need to be carefully navigated; post co-headlining it may be difficult to prove to a festival buyer your artist’s exact ticket worth; this could have ramifications for your artist’s slots and/or fees.”

“I think you have to have bands with a certain standing – a certain air about them and a certain attitude”

Iconic British bands Suede & Manic Street Preachers, who both rose to prominence in the early 1990s, first teamed up in 2022 to tour North America. They repeated the trick to visit Asia together in 2023, followed by a lengthy UK run last year when they performed at outdoor venues such as Cardiff Castle, Manchester Castlefield Bowl, Leeds’ Millennium Square and London’s Alexandra Palace Park.

The Manics’ agent Scott Thomas of X-ray Touring tells IQ the combination “just felt right”.

“There’s an alchemy to finding something like that,” says Thomas. “I think you have to have bands with a certain standing – a certain air about them and a certain attitude – and certainly with the Manics and Suede, it went together perfectly and they pushed each other on quite a lot live.

“It was tried and tested by the time we got to the UK, and we wanted that to happen before we took it to the biggest market and went outdoors. In general, we alternated [the closing act], so that kept everything fresh. Brett [Anderson, Suede singer] is such an amazing performer, and going out and following him always pushed us, and I’m sure Suede would say the same about the Manics on the nights they were closing. I think it is a rarity that you’re going to get a combination that works that well.”

Simplifying matters was the fact that Suede’s agent – Charlie Myatt of 13 Artists – was a former colleague of Thomas.

“It was very easy,” admits Thomas. “We work with the same promoters, we cooperate and bizarrely, I shared an office with Charlie back in the 90s at ITB when we were both junior agents, so I know Charlie very well and the crews and the artists, crew and management all know each other.

“Generally, it was a collaborative approach and we just split the work between us. As I said, it was a rarity that one could have that happen without someone wanting or needing to dominate, but it dovetailed together very smoothly.”

“We all know it’s an ego business. But I think some people need to step down from their throne in order to be able to play better venues”

Speaking at last year’s International Live Music Conference (ILMC) in London, Independent Artist Group vice-chair Marsha Vlasic suggested the acts do not necessarily have to be a perfect fit.

“As bigger acts are getting off the festivals and going into stadiums, the only way to do it is to piggyback and share the cost of the production,” she said. “It doesn’t have to be completely compatible, it’s just entertainment. When you think of packaging an act… it’s [about], how does this package look in terms of bringing in additional people and different audiences?”

Jan Digneffe of FKP Scorpio Belgium also weighed in, cautioning that convincing all parties of its merits was easier said than done.

“We all know it’s an ego business,” he said. “But I think that some people need to step down from their throne in order to be able to play better venues, and that will make the costs go down. It’s a more fun night for the punter anyway, so I see nothing but advantages. But to get it done, you need everybody on board.”

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Amyl and the Sniffers’ frontwoman Amy Taylor sat down for the ILMC Futures Forum keynote on Friday, recounting how the Australian punk group skyrocketed to global acclaim.

Taylor dug into the cost of touring, keeping audiences safe, and the importance of artist involvement with BBC Introducing’s Abbie McCarthy to close out the final day at the 37th edition of the International Live Music Conference (ILMC), held last week at London’s Royal Lancaster.

Formed in a Melbourne share house in 2016, Taylor, Dec Martens (guitar), Gus Romer (bass) and Bryce Wilson (drums) have taken stages across the world by storm over their near-decade of existence. The BRIT-nominated group – who are represented by agent Alex Bruford and Will Church of ATC Live in Europe/Asia/LatAm – released their third album Cartoon Darkness to critical acclaim last October and will embark on a whirlwind world tour this year in support.

“As an Australian band, we’ve always toured really hard overseas,” Taylor said. “When we first started, we would usually come on tour for like four months at a time, because we were doing the Northern Hemisphere.

“We’d fly over to the UK, do all the UK and Europe, then fly to America and do all of that, because we couldn’t really afford to fly back in between, and we were still not making any money. So there was a lot of sacrifice.”

“The actual music side isn’t an income thing anymore. Playing live is the only income”

Despite churning out music and performing for years, Taylor said the group didn’t turn a profit until after the pandemic. She cited the steep cost of international touring, specifically visa expenses, and how evolving recorded and live music landscapes are hindering artists.

“Nobody’s making money off of physical merch, because of recession and because everyone’s streaming, so the actual music side isn’t an income thing anymore,” she said. “Playing live is the only income. But nobody’s going out to shows because it’s like a changed social environment, like post-Covid. A lot of people don’t really feel comfortable in those spaces, like going to shows is just not a priority when you’re trying to pay the bills, and it’s just one piece of a whole puzzle.”

Amyl and the Sniffers are renowned for their explosive live shows, delivering rough and rowdy shows to hungry fans across the globe. Though anger is a driving emotion behind these gigs, Taylor has prioritised safety for audiences.

“Feminism is at the forefront of our music, and unfortunately in live music spaces, including our own, there’s still so much sexism,” she said.

The group has taken extra measures to try and keep fans safe, including signage across venues calling out racism, sexism, and classism, alongside additional security briefings and on-stage discussion to help stamp out issues at the shows.

“I’d rather go to the conservative places and upset them than fail to make a bit of noise”

“Even with all the things we put in place, it actually still exists. Music is like a microcosm of society and the culture that we live in. It’s a reflection of the society and the culture that we’re living where misogyny can go unchecked and it can bleed into everything.

“I’m really hands-on on the business side of things, not just performance. This year, we’ve got around 90 shows and saying, minimum, there are 1,000 people at that show, that’s at least 90,000 people this year that we have to make sure are safe,” she added.

With an extensive touring record — including support slots for Foo Fighters, Green Day, Fall Out Boy, and Weezer — taking them to venues and festivals around the world, Taylor said the band doesn’t shy away from playing more conservative markets.

“It’s good to talk to those people because, really, they’d be more isolated in those areas,” she said. “To say you had a really religious upbringing, and you couldn’t be a queer person, it’s probably nice to see us freaking out on stage or something like that.

“I’d rather go to the conservative places and upset them than fail to make a bit of noise. That’s what it’s all about.”

On stage, Taylor is also known for her bold and scantily clad wardrobe, something she says she finds empowerment in.

“If I can help it, I won’t let that be dragged through the mud because of ignorance”

“In a lot of my life, I actually don’t feel empowered and I don’t feel liberated, and I feel really trapped and suffocated. Wearing tiny clothes is a way that I feel really strong, and I feel really free. For me, wearing that on stage and being extremely feminine at some points is a way for me to just reclaim that, and show that femininity isn’t weakness.”

A powerhouse on and off the stage, Taylor also highlighted the importance of artists being involved in the business side of things.

“It’s impossible to be across everything, and we have a great team of people that we work with,” she added. “I’m just trying to keep my eyes on as much as I can — I think that’s really important for artists.

“It’s my life and it’s my face… That’s my reputation. And if I can help it, I won’t let that be dragged through the mud because of ignorance.”

Nonetheless, she spoke highly about her management, Simone Ubaldi and Andrew Parisi of Sundowner Artists, and touring teams. Amyl and the Sniffers are also repped on the live scene by Arrival Artists (NA) and Supersonic (AUS/NZ).

“I choose to do something different, and they don’t have to come along with me”

“They always have our best interest at the forefront,” she said. “We’re not like cash cows to anybody, even though we did produce milk.

“We’re actually people to them. We have a voice to all of them, and they do want to hear our inputs and our thoughts, and they’ll rationalise with us, rather than infantilise us.”

With a massive year on the cards — including supporting The Offspring across South America, festival plays like Coachella and Hurricane/Southside, and a headlining trek culminating at London’s 10,250-capacity Alexandra Palace — Amyl and the Sniffers are undoubtedly on an unstoppable trajectory.

Despite their beginnings as a pub-rock band touring small Australian venues, Taylor concluded that the band’s expression and message have since evolved well beyond a more static punk scene.

“It’s a spirit that we embody, full stop, and nobody can take that away, because it’s something that’s within us. It’s like a rebellion and freedom, rather than like something to be gatekept,” she said.

“If they want to stay stuck inside those cages, they can, but I choose to do something different, and they don’t have to come along with me.”

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Australian punk rockers Amyl and the Sniffers have been confirmed as the keynote interview for next week’s ILMC Futures Forum.

The conference for next-generation live music business leaders will return to the Royal Lancaster Hotel in London on Friday 28 February 2025 as part of the ILMC.

For the final session of the day, Amyl and the Sniffers frontwoman Amy Taylor will sit down with BBC Introducing’s Abbie McCarthy to discuss the band’s illustrious live career, her take on the business, and the band’s recent album Cartoon Darkness.

Formed in a Melbourne share house in 2016, Taylor, Dec Martens (guitar), Gus Romer (bass) and Bryce Wilson (drums) have enjoyed a rapid rise over their near-decade of existence.

“The band are on the brink of transforming critical acclaim and cult status into something much bigger”

Their explosive live shows have earned them three sold-out shows at London’s Roundhouse, support slots with Foo Fighters, The Smashing Pumpkins, Weezer, Fall Out Boy, and Green Day, and festival appearances at Glastonbury, Primavera, Best Kept Secret and Bandland. Meanwhile, their firebrand discography has continued to draw critical acclaim, with CLASH dubbing their most recent LP Cartoon Darkness as “The most important moment for rock music in 2024… album of the year”.

This year, the BRIT-nominated band will embark on what looks to be their biggest 12 months yet, including an extensive world tour and appearances at Coachella, Hurricane/Southside and more. As The Guardian wrote, “The band are on the brink of transforming critical acclaim and cult status into something much bigger”.

Amyl and the Sniffers are represented by ATC Live (EU/Asia/Latam), Arrival Artists (NA) and Supersonic (AUS/NZL).

News of the keynote comes after Futures Forum unveiled the full speaker lineup, which includes Connie Shao (AEG Presents), Jess Kinn (One Fiinix Live), Raven Twigg (ASM Global), Dotun Bolaji (Primary Talent International), Beckie Sugden (CAA), Alice Hogg (ATC Live), Kara Harris (Live Nation) and many more.

Passes include a full day of innovative programming, a five-star lunch, refreshments, drinks, and networking opportunities.

For more information or to purchase passes, click here.

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ATC Live has announced the appointment of agent Lucy Atkinson and the promotion of Alice Hogg to a newly created role.

Having started as an assistant at Earth Agency in 2015, Atkinson has built her reputation from the ground up, developing several globally influential acts.

Her 30-strong roster of artists includes Sega Bodega, Erika de Casier, Alice Glass, Debby Friday, Soo Joo and Ecco2k, all of whom will move with her to ATC.

ATC says it will also benefit from Atkinson’s “forward-thinking approach to talent development, encouraging her clients to break new ground beyond live performance”. She has helped broker several innovative brand campaigns, including Ecco2k with Bella Hadid for Marc Jacobs eyewear, Deijuvhs for Versace Jeans Couture, and a collaboration between sim0ne, ASOS and Mixmag at East London’s Colour Factory.

“We’re delighted to welcome Lucy and her artists to the company,” says ATC chief Alex Bruford. “Lucy shares our commitment to deliver the best possible results for artists while maintaining respect for all involved. She has developed an outstanding roster through her tenacious yet personable approach, and the entire team are all incredibly excited to work with her.”

Atkinson adds: “I am super excited to begin this new chapter with my roster at ATC Live. I am really energised by the environment and shared ethos, providing me a place where I can continue to work with groundbreaking artists.”

“I am really energised by the environment and shared ethos”

Meanwhile, former agent Hogg has been promoted to a newly created role as head of tour marketing.

The new department will maximise fan engagement, with tailored marketing strategies across pricing, ticketing and all promotional activities.

Hogg has 15 years of experience across all facets of the live music industry, from event production to talent booking. After stints at Live Nation and UTA, Hogg joined ATC in 2020 and developed a diverse roster of artists including Aaron Frazer, Black Pumas, Cassandra Jenkins, Durand Jones & The Indications, Joshua Idehen and Yuuf. Her roster will continue to be represented by ATC Live.

Commenting on Hogg’s “much deserved” promotion, Bruford says: “The decision to increase our resources around tour marketing is also significant and indicative of the growing range of services that ATC Live can offer our clients. With her wide ranging experience, Alice is the perfect candidate to launch the department and I am delighted we can help her progress in the next stage of her career.”

“In a digital age, tour marketing is one of the key components of a tour’s success”

Hogg comments: “I am thrilled to be stepping up to the position of head of tour marketing at ATC Live. In a digital age, tour marketing is one of the key components of a tour’s success and ensuring we have a proactive and tailored approach for our artists is absolutely paramount. I’m delighted to have found a position that supports our talented roster, and enables us to find even more creative ways to connect our artists with their fans.”

Founded in London in 2011, ATC Live is one of the world’s largest independent agencies, working with over 570 acts such as Amyl & The Sniffers, Adrianne Lenker, Big Thief, Black Country, New Road, Black Pumas, English Teacher, Faye Webster, Fontaines D.C., Good Neighbours, Jamie Webster, Jungle, Nick Cave & The Bad Seeds, PJ Harvey, Royel Otis, Squid, Sleaford Mods, The Lumineers and Yard Act.

ATC Live is part of the ATC Group of companies, alongside divisions in artist management and artist services including merchandising, e-commerce, live streaming, event promotion and experiences.

Alice Hogg will moderate the Tour Marketing: The Industry’s Secret Weapon at next week’s ILMC Futures Forum, while Alex Bruford will moderate Festival Focus: Survive & Thrive.

Tickets for ILMC Futures Forum are still available here.

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All Things Considered (ATC) Group is mulling a switch to the London Stock Exchange after more than doubling its revenue in 2024.

The multi-faceted agency and artist management firm projects FY24 earnings to have reached £50 million (€60m), well up from £24.1m in the previous 12 months. The 2023 figure itself represented a year-on-year increase of 156%, fuelled by the “transformative” acquisition of merchandise company Sandbag that July.

Its adjusted operating EBITDA of £1.5m in 2024 also compares favourably to a £460,000 loss the previous year.

London-headquartered ATC, whose portfolio also includes livestreaming business Driift, listed on the Aquis Growth Market in London in December 2021 after raising £4.15m in its initial public offering (IPO). Its share price currently sits at 102.50p, giving the firm a market cap of £16.96m.

Agency arm ATC Live recorded a “substantial year of growth as a result of robust live touring activity and reflecting strong consumer demand for live events”, according to the group’s FY24 trading and corporate update. Its roster includes the likes of Nick Cave & the Bad Seeds, Fontaines D.C., Amyl and the Sniffers, Royel Otis, Ride, Lottery Winners and Jamie Webster.

“In light of the growth of the group and increasing opportunities available, as well as in response to existing and potential shareholders’ requests to improve share liquidity, the board of ATC is considering moving the public quotation for trading in its shares to a market operated by the London Stock Exchange to support this,” reads the update. “Consideration is at an early stage and further updates will be provided as appropriate.”

“We have entered the new year with the building blocks in place and the scale to capitalise on a growing market opportunity”

Last year, ATC Management announced a majority investment in Raw Power Management, whose clients include Bring Me The Horizon, Bullet For My Valentine, The Mars Volta, Don Broco and The Damned, bringing two of the UK’s leading artist management companies together under one roof. It also acquired a 50% stake in McKeown Asset Management, now called Joy Entertainment Group.

The report notes that ATC “continues to evaluate complementary acquisitions in line with its disciplined approach focused on adding new tangential services within the music value chain and/or bringing new artists to the client base”.

“This has been a year of material advancement for the group, in line with our vision of building a full-service music business that delivers for artists across the music industry value chain,” concludes ATC CEO Adam Driscoll. “We are delighted to report an excellent trading performance for FY24, including the doubling of revenue from FY23 and the delivery of a meaningful uplift in adjusted operating EBITDA.

“Our strategy of building an integrated offering to artists is working, with a value proposition tailored to the unique needs of creators’ businesses and which facilitates direct engagement between artists and fans.

“We have entered the new year with the building blocks in place and the scale to capitalise on a growing market opportunity. With a robust financial position, growing profitability and strong pipeline of visible activity, the board is confident of delivering continued growth in the year ahead.”

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ATC Live agent Alex Bruford has spoken to IQ about Nick Cave & the Bad Seeds’ ongoing Wild God Tour, as it lights up arenas across Europe.

Their most extensive tour to date is being organised by promoter Simon Jones at AEG Presents, with the help of a host of local partners around the continent.

“The 2017 tour was across 29 dates and sold 250,000 tickets, and we were due to tour the Ghosteen record in April 2020, which got pushed back to 2021 and was then eventually cancelled due to Covid, but that would have been across 32 dates,” Bruford tells IQ.

“For the current Wild God Tour, we announced 27 arenas and added second shows in Amsterdam, Berlin, Antwerp, Copenhagen, London, and Dublin, taking the total number of shows to 33.”

Now more than 40 years into their career, Nick Cave & the Bad Seeds have armies of fans around the world, but Bruford – who plotted the band’s 2022 UK and EU festival headline tour – reveals that ATC is utilising all its powers of research to strategise routings for the band.

“We’ve sold over 100,000 more tickets on this run than in 2017”

“When we started working with Nick in 2018, we did a deep dive into the data from all social and streaming sites, album sales, and ticket sales to analyse where the audience are located,” he explains. “We compared this to when he’d last played some of these locations, and we had some interesting results. For example, Lisbon, one of the highest performing cities, had not been visited for over a decade. The show was added to the tour and was one of the fastest selling arenas when we went on sale.

“We used this approach to refine the list of cities and continue to grow the audience, and we worked closely with Nick’s management, tour production team, and promoters, AEG, to deliver the most efficient and effective routing possible.”

And the results have been seismic.

“At the mid-way point of the tour, we had passed the 350,000 sales mark, meaning we’ve sold over 100,000 more tickets on this run than in 2017,” finishes Bruford. “It’s the band’s biggest tour to date by quite some way, and the show is phenomenal.”

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The UK has seen a gradual decline in the length of domestic tours across the last four decades, according to new figures from Music Venue Trust (MVT).

Artists are playing 11 shows on an average tour on the UK grassroots circuit this year, compared with 13 shows in 2014, 18 shows in 2004 and 22 in 1994, according to the findings.

“I would absolutely concur with these figures – the majority of artists we have playing grassroots and mid-level tours are playing shorter tours than ever before,” ATC Live’s Alex Bruford tells IQ.

“Touring is significantly more expensive and the four or five largest shows on the run will often cover the deficit generated from adding additional dates. The artists are often faced with the difficult choice of playing a longer tour to more people and losing money, or playing a shorter tour to fewer people but covering costs and perhaps making a profit. Many just have to choose the latter.”

With an increasing number of artists opting for shorter tours that focus on major cities, fans in regional markets are missing out on seeing their favourite artists.

As DHP Family promoter Scott Kennedy points out, this trend could have a profound impact on the diversity and accessibility of the UK’s music scene.

“The decline in grassroots touring hits working-class artists and regional working-class towns particularly hard,” he tells IQ. “With fewer shows, especially in smaller towns, it becomes much harder for working-class bands to build a following organically and reach new audiences. Rising costs and fewer gig opportunities mean that only those with financial backing can afford to take the risks involved in touring, while others are left out.

“Artists are often faced with the difficult choice of playing a longer tour to more people and losing money”

“As a result, the music scene risks becoming less diverse and more exclusive, shutting out voices that have traditionally driven the most innovative and authentic movements in music. It’s a threat to the cultural fabric of the UK music scene.”

Runway Artist’s Matt Hanner says that while MVT’s figures ring true, his agency is trying to buck the trend of shorter tours where possible.

“We believe investment in these markets can be what eventually contributes to being able to tour sustainably across the UK, even if you are not doing big numbers,” he tells IQ. “Developing a ticket and merch-buying audience in a wider range of cities and towns should be part of the big picture but of course we understand that not everyone has the financial capability to speculate to accumulate.

“Many promoters are still vary wary of pushing up ticket prices for fear of pricing out ticket-buyers, sometimes even if it’s only a couple of extra pounds, so fees remain relatively static while costs have increased. Of course, it’s a vicious cycle and after a couple of campaigns of not playing outside of London and Manchester your audience in the wider regions is likely to decline so there’s then no incentive to expand an artists’ touring.”

Associations such as LIVE have been lobbying for changes that could make touring more financially viable for artists and more accessible for music fans up and down the country.

“Touring in the UK has had to deal with post-lockdown shortages in talent and kit driving up costs, the illegal invasion of Ukraine fuelling inflation in the supply chain, and the disastrous mini-budget spiking interest rates,” LIVE CEO Jon Collins tells IQ.

“Soaring costs while the public has reduced disposable income has forced artists to focus on markets that give the best likelihood of a financial return. Inevitably that means the major cities. With a government committed to the principle of universality, LIVE is firmly of the view that a reduction in the 20% VAT rate on tickets is the quickest way to add liquidity into our market and allow artists, venues and promoters to programme more shows in more towns and cities to the delight of millions.”

“Soaring costs have forced artists to focus on markets that give the best likelihood of a financial return”

While the decline in touring has been mapped in smaller venues, the figures also “reflect what we’re hearing about the mid-capacity and arena level tours,” adds Collins.

The decline at GMV level is further evidenced by the 18.7% decrease in ticket sales in the last two years, per MVT’s research. Ticket sales per GMV in 2022 averaged 22,547, then increased in 2023 to 23,796, before dropping in 2024 to 18,331.

The sharp downturn in ticket sales has resulted in 14.1% decline in gross ticket income from live music 2023 (£134,123,094) to 2024 (£115,206,209).

Meanwhile, the cost of presenting live music at UK GMVs has increased by 11.1% year on year, from £248,936,880 in 2023 to £277,267,285 in 2024.

In more positive news the number of GMVs in the UK remained broadly steady in the last 12 months, where previous years had seen significant falls.

Some artists have vowed to do their part to support the sector, with Coldplay recently pledging to donate 10% of the proceeds from their Wembley and Hull shows to the Music Venue Trust. Last year, Enter Shikari donated a portion of ticket sales from their UK arena tour to MVT.

Culture secretary Lisa Nandy told the Beyond the Music conference in Manchester on Friday that the government is “deeply concerned about the closure of live music venues and the huge challenges that face existing venues right now”, and said the issue is “absolutely at the top of our agenda”.

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Friends and former colleagues of the late ATC agent Chris Meredith have reflected on his legacy on the fifth anniversary of his death.

The much-loved Meredith passed away at the age of 37 in September 2019 after suffering from depression. He worked with artists including We Are Scientists, Sleeper, Fazerdaze and the Veils in his role at ATC Live, and was also festival director at Kent’s Neverworld.

The Christopher Meredith Foundation (CMF) was set up by his family in his memory.

ATC Live founder and MD Alex Bruford tells IQ the organisation’s work, which sees it partner with specialist charities and organisations within the music industry to support those facing mental health challenges, is a fitting tribute to Meredith, whose desire to help others was “so strong”.

“Chris taught me the biggest lesson in life, for which I thank him regularly, about what is important and what is not,” says Bruford. “Too often in our business hard-working, well-intentioned people are chastised for small lapses or mistakes that were out of their control, or for simply doing their job.  If they are doing their best that’s all you can ask – the health and well-being of all is so much more important.

“Chris was part of a generation of agents who prioritised values – respect, support, inclusivity and partnership were so important to him. These are values that we and many others now prioritise within their businesses.”

“His battle with depression highlighted to me the struggle many in our industry face to be able to step away from the job and not feel like you are losing part of your identity”

Ex-ATC agent Matt Hanner, who founded independent UK booking agency Runway Artists in 2020, says he often wonders what path Meredith would have taken had he still been alive through the pandemic.

“He was the entrepreneurial type that would have undoubtedly managed to forge something positive from within the challenges our industry faced,” notes Hanner. “I like to think that he may have joined Steve [Backman] and I on the journey Runway was embarking on and hopefully we have managed to hold onto the values Chris had of working hard particularly for emerging artists and embracing people from all walks of life.

“His battle with depression highlighted to me the struggle many in our industry face to be able to step away from the job and not feel like you are losing part of your identity, and emphasising work-life balance is a key part of how we work as a company – making sure they know they can take breaks and get the support they need when the time comes.

“The work his family are doing to highlight and support mental health challenges is invaluable and I hope that Chris’ legacy continues to be centred around having a positive impact on people as individuals, as he did.”

Jess Kinn of One Fiinix Live remembers Meredith as “funny, witty, charming, kind and generous to a fault”.

“I miss Chris tremendously,” she says. “He was completely committed to everything he did, would drop anything to be there for his friends and family, and found endless joy in the success of others. He was one of the most interesting and inquisitive people I’ve ever met – a deep thinker, extremely intelligent and someone who truly did it for the right reasons.

“I still remember how proud he’d be when he booked a band for the first time, signed a new artist or launched a new venture. Chris had a wicked sense of humour, was a master of the one-liner and his stories would often leave me crying with laughter.

“The music industry can be a tough and lonely place and that’s something that Chris struggled with. This should be a reminder for us all: look after those around us, check in on friends and do the thing most of us neglect – look after ourselves.”

“It is amazing to see the work being done by the Christopher Meredith Foundation to continue his legacy of care for artists and fellow music professionals”

Big Life Management’s Kat Kennedy first encountered Meredith after taking on We Are Scientists as clients.

“He quickly became one of my favourite people thanks to his sense of humour, enthusiasm and creativity and I admired the deeply thoughtful way in which he strategised for his artists,” reflects Kennedy. “It was Chris’s energy and belief that inspired us to achieve We Are Scientists’ biggest London headine show in over a decade in 2019, although he sadly wasn’t there to see it.

“I miss Chris and think of him often. It is amazing to see the work being done by the Christopher Meredith Foundation to continue his legacy of care for artists and fellow music professionals.”

The Pad Presents’ Gareth Barber, director and head booker for Esquires in Bedford, says Meredith was “one of the very good guys”.

“With Esquires being his home venue and Chris being an agent, he’d always send us stuff that we really shouldn’t have had, but I was always really grateful for,” he laughs. “I think about him often and always find myself wondering, ‘What would Chris think about this?’ I just wish I could still ask him.

“His legacy lives on with me in those moments and to now see CMF set up in his name to support his passions is a beautiful thing. I just wish more agents were like Chris and the way he was so personable with everyone he came into contact with.”

Ed Pearson of Academy Events recalls introducing Meredith to Sleeper after their reunion.

“Attending their headline show at O2 Institute Birmingham together, he was so excited to be there, to see his teenage crush Louise [Wener, singer] who he had a poster of up on his bedroom wall as a teenager,” smiles Pearson. “He subsequently became their agent, and we had many more brilliant shows together.

“For me, his legacy reminds me that you can be kind and warm in this business, it doesn’t need to be so ‘dog eat dog’. And what the foundation is doing now is amazing: supporting young underprivileged musicians who need a leg up, as well as giving support to anyone in the music industry who is struggling with mental health issues.

“It has opened up the conversation around mental health and constantly reminds me that no one should ever suffer alone. It’s certainly taught me that I should find the help I need at every opportunity.”

“When I think about Chris, the first thing I see is his mischievous smile and a twinkle in his eyes, and then I immediately remember his kindness and generosity”

In the months after Meredith’s passing, Sleeper, Shame, Ider and Whenyoung performed an intimate memorial concert at O2 Academy Islington in support of two mental health charities: Calm (the Campaign Against Living Miserably) and Mind. Nick Gaunt, the CMF’s head of marketing, says that Meredith’s positive impact on the industry is clear to see.

“From going above and beyond to make sure the artists he was working with could perform, to supporting local venues and maintaining a beautifully unassuming nature with everything between, Chris simply loved music and people,” he says. “The Christopher Meredith Foundation seeks to continue this, as Chris’ legacy, whilst also addressing the industry’s mental health challenges in the hope that one day we will have a music industry where everyone thrives.”

“When I think about Chris, the first thing I see is his mischievous smile and a twinkle in his eyes, and then I immediately remember his kindness and generosity,” adds Bruford, in closing. “He would help anyone out, anyway he could. We recently caught up with his Mum, Sadie, who reminded us, with laughter, how often he’d bring random international bands and their crew back to stay at the family home when they couldn’t afford hotels – this was Chris through and through.

“Amy Taylor, the brilliant lead singer of Amyl and The Sniffers, gave the keynote speech at the Big Sound Conference in Brisbane last week. She ended with ‘Bitch, this is the entertainment industry. Don’t think about it too much.’ Chris would have loved that.”

• Click on the links for more information on the Christopher Meredith Foundation’s key partners Tonic Music, Music Support and Music Minds Matter.

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