When we talk about event cancellations in live music, the immediate conversation usually centres on lost revenues or disappointed fans. But there’s a less visible story that we urgently need to address – particularly when it comes to Black & Asian-led events: the issue of over-policing and discriminatory licensing practices. These aren’t abstract concerns; they’re real-world obstacles limiting opportunities for Black, Asian, and ethnically diverse artists, promoters, venue owners, anyone who works in live music, affecting their careers, cultural impact, and ultimately, the economic health of our industry.

At Black Lives in Music (BLiM), I’ve personally seen countless examples where events led by Black promoters or predominantly featuring Black audiences receive disproportionate scrutiny from police and local licensing authorities. It’s not just about a single cancelled event; it’s about systemic biases affecting an entire community and genre of music.

Earlier this year, I testified at the London Assembly about these ongoing barriers. I emphasised the glaring lack of transparency in licensing decisions. Many promoters/venue managers are left in the dark as to why their events were denied. This lack of clarity doesn’t just frustrate, it actively reinforces inequality. Black and Asian music genres – Afrobeats, Bollywood, drill, gospel, etc – often labelled as non-traditional suffer significantly more scrutiny than other genres.

Too often, we see events stopped based on vague claims about “public safety”

One particularly stark example was an Afrobeats event in 2023 that faced heavy-handed policing and was ultimately shut down. Too often, we see events stopped based on vague claims about “public safety.” Yet this term frequently serves as a blanket justification to shut down conversations, not address actual safety concerns. Adding complexity is the fact that many Black promoters and artists unknowingly end up on controversial watchlists, like the Gangs Matrix, heightening fear and uncertainty when securing venues.

The shadow of Form 696 (abolished in 2017) still looms large, continuing to influence discriminatory licensing decisions. Venues frequently make risk assessments based on outdated or unfounded stereotypes tied to specific genres. When a negative story hits the media, venues stop booking Black artists while continuing to support white artists of the same genre. This double standard creates further barriers, not due to genuine risk but due to ingrained bias.

For those operating internationally, understanding the UK context is crucial. While London, Birmingham, and Manchester might have vibrant multicultural music scenes, promoters from these cities repeatedly share frustrations about discriminatory licensing practices. International counterparts might wonder how this applies elsewhere – well, racial profiling and policing bias- es are not exclusive to the UK; they surface wherever events celebrating Black and minority cultures are staged.

There’s a very real chilling effect on the creativity and entrepreneurial spirit within the Black music community

Significant research by the University of Wisconsin, in partnership with the Urban Community Arts Network, led by Karen Reece, has shed light on over-policing at Black music events in the US. Their ground-breaking study analysed police responses at numerous venues and directly challenged widespread stereotypes unfairly linking hip-hop events with violence. Reece, now part of the REMEL Research Steering Committee, has helped adapt this research framework for London, ensuring that the UK’s approach benefits from international insights and proven
methods to tackle racial biases in licensing.

The consequences of these discriminatory practices run deeper than cancelled events. There’s a very real chilling effect on the creativity and entrepreneurial spirit within the Black music community. Promoters and artists become wary of organising events, fearing financial loss, reputational damage, or increased surveillance. This stifles cultural expression and prevents diverse artists from reaching broader audiences.

BLiM has partnered with The Musicians’ Union, LIVE, the Mayor of London, and other stakeholders to launch The REMEL Project and investigate discriminatory licensing practices, gather data, and create recommendations to ensure transparency and fairness. I urge everyone to support this work by participating in REMEL’s survey. It’s time we acknowledged that cancelling an event due to unfair policing isn’t just business as usual – it’s an erosion of cultural diversity and industry equity. Let’s commit to dismantling these barriers, promoting diverse musical cultures, and ensuring our industry truly reflects the creativity and diversity it celebrates. Take the survey: https://blim.org.uk/change

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We Love Green (FR), Paradise City (BE), Green Gathering (UK) and Øya Festival (NO) have topped the list of the world’s greenest festivals and events in 2024, according to A Greener Future (AGF).

AGF Certification is the world’s first and most comprehensive standard for sustainability in the live events sector, for festivals and events reducing waste, emissions, and enhancing equality and biodiversity.

Forty festivals and events from 14 countries have achieved the certification for 2024, ranging from ‘outstanding’ and ‘highly commended’ to ‘commended’ and ‘improvers’.

These include Les Escales (FR), Bristol Harbour Festival (UK), Paléo Festival (CH), American Express Presents BST Hyde Park (UK), Telluride (US), Sziget Festival (HU), Rosendal Garden Party (SE), UEC Road European Championships (BE) and D’A Film Festival Barcelona (ES).

To be certified, events undertake a thorough assessment based upon the AGF Framework, including self-assessment, site visits, and post-event evidence and data submitted to AGF assessors for an independent auditors’ report. The AGF Framework includes 11 key themes, including local ecosystems & community, travel, food, energy, water, waste, EDI, and governance.

“These events are opting to be held to account, inviting detailed external scrutiny to ensure they are making the grade”

“Whilst the world is slowly catching up with legislation and better practices, it is great to see the festivals and events going the extra mile beyond what is legally required to protect and enhance biodiversity; reduce emissions and waste; prevent pollution; and enact positive change,” says AGF CEO Claire O’Neill. “These events are opting to be held to account, inviting detailed external scrutiny to ensure they are making the grade.”

Norway’s Øya Festival, which has received the ‘outstanding’ qualification for the 11th time, comments: “We have a mission to diligently deliver one of the most sustainable festival experiences worldwide, employing strategies aimed at minimising the negative effects and maximizing the positive effects of our festival on the environment, the society and economy. To achieve the Outstanding certification for the 11th time is an important and motivating testament to our hardworking and passionate staff and volunteers. We are so proud of this recognition, and we are wholeheartedly committed to continuing this work in the years ahead.”

Festivals and events making the grade in 2024 are:

Greener Festival and Event certifications – ‘Outstanding’
Green Gathering (UK)
Øya Festival (NO)
Paradise City (BE)
We Love Green (FR)

Greener Festival and Event certifications – ‘Highly Commended’
American Express Presents BST Hyde Park (UK)
Cambridge Folk Festival (UK)
Dockyard (NL)
The Stopovers (FR)

Greener Festival and Event certifications – ‘Commended’
Bristol Harbour Festival (UK)
The Sun (NL)
Green Man (UK)
HERNAN CATTANEO WEEKEND X BNP (AR)
Come On, Old Man (NL)
Northside (DK)
Paleo Festival (CH)
Rosendal Garden Party (SE)
Sitges – International Fantastic Film Festival of Catalonia (ES)
Sziget Festival (HU)
Open Air St Gallen (CH)
Uber One presents All Points East (UK)
Waking Life (PT)

Greener Festival and Event certifications – ‘Improvers’
Boomtown (UK)
Brockwell Live (UK)
From A Film Festival Barcelona (ES)
The Festival (DE)
elrow Town Madrid (ES)
elrow Town Marbella (ES)
European Short Pitch (FR)
Godiva Festival (UK)
In-Edit Festival (ES)
Garden of Earthly Delights (ES)
Lambeth Country Show (UK)
Monegros Desert Festival (ES)
Phe festival (ES)
Primavera Sound Barcelona (ES)
Rockygrass and Rocky Mountain (US)
RZM Festival (ES)
Telluride (US)
UEC Road European Championships (BE)
We Out Here (UK)

The International AGF Awards, where certified events across a range of green categories will be crowned, will return on 25 February in London.

The awards take place directly after the Green Events & Innovations (GEI17) conference, held in partnership with the ILMC.

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WME parent company Endeavor posted a significant loss for the third fiscal quarter of 2024 but saw revenue gains driven by its talent representation and live sports businesses.

The Los Angeles-based sports and entertainment giant reported revenue of $2.03 billion for Q3, as well as a net loss of $420.4 million – nearly three times larger than the same period last year.

The representation segment was up 11% to $429.2m, attributed to growth in WME’s talent and music businesses and “the continued consumer demand for live music”. This increase was partially offset by decreases in the nonscripted content production business.

WME’s roster includes Justin Timberlake, Adele, Bruno Mars, Pearl Jam, The Killers, Bjork, Foo Fighters, Stormzy, St Vincent, Shakira and Snoop Dogg among others.

The owned-sports segment — which includes TKO, the parent company of wrestling giant WWE and MMA leader UFC, along with Professional Bull Riders, which will soon be sold to TKO — increased revenue by 53% to $735.2m.

“Our owned sports and representation segments delivered solid results driven by continued consumer demand for live events and content”

The events, experiences and rights segment surged to $899.8m (a 145% year-over-year increase) due to On Location’s hospitality business at the Paris Olympics.

“During the quarter, our owned sports and representation segments delivered solid results driven by continued consumer demand for live events and content,” says Ariel Emanuel, CEO, Endeavor. “As we work toward the close of our take-private transaction with Silver Lake, we remain focused on delivering for our clients, partners, and shareholders, maintaining momentum throughout our business, and completing the sale of PBR, On Location and IMG to TKO.”

In April this year, it was announced that Endeavor would be acquired by majority shareholder Silver Lake in a deal valued at $13 billion. The Silicon Valley-based private equity company plans to take Endeavor private next year, as the firm sheds assets.

In October, Endeavor announced an agreement with TKO to acquire Professional Bull Riders, On Location, and event management, digital services, consulting and media rights company IMG in an all-equity transaction valued at $3.25 billion. The deal will increase Endeavor’s stake in TKO by 6% to 59%.

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Live events industry conference and exhibition, the Event Production Show (EPS) is set to return to its usual venue and at full-scale on 8-9 March 2022 at ExCel London, having successfully run with substantial Covid-19 mitigations measures in place in May 2021.

Produced in partnership with Access All Areas (AAA), the EPS conference will feature some of the most senior decision makers in the industry, including London Marathon Events director Hugh Brasher, Ed Sheeran promoter Steve Tilley, Wimbledon Championships operations director Michele Dite and Notting Hill Carnival director Matthew Phillip.

Among the topics to be tackled at the conference will be the future of events, supply chain challenges, diversity, female safety at events, insurance, security, and two sessions focusing on sustainability that will be delivered in partnership with environmental action group Vision: 2025.

Unique in the UK events industry in combining a two-day conference with a dedicated live events industry exhibition, EPS will showcase cutting-edge event production services and products. EPS owner Mash Media said 115 major event supplier companies will exhibit their services and products at the event.

Among the new additions to EPS will be The Fanzone. Aimed at organisers of large scale sporting events; The FanZone will showcase activations, products and services that can be brought to life within fan zone areas at events. The area will also be used as a networking hub during EPS.

“We knew to be able to stand side-by-side with you, we had to deliver a live event”

The event, which is free to attend for industry professionals, will be the first full scale EPS since the pandemic struct. During the height of lockdown, EPS and AAA partnered to deliver a series of 10 webinars supporting and educating more than 5,000 of the event production community.

EPS director Duncan Siegle said that while the webinars proved popular and informative, there was always a determination to deliver a live event in whatever way possible under Covid-safe guidelines.

“We knew to be able to stand side-by-side with you, we had to deliver a live event,” he said. “We had seven date moves, two venue changes, a move from outside to indoors, but regardless we put on the show, in-person, for the industry.

“We’ve spent the last six months getting ready to deliver the best edition of the EPS yet. As events professionals from across the sector prepare for what is shaping up to be an events season like no other, EPS is a knowledge gathering and networking opportunity not to be missed.’’

Registration for the show is now open, free tickets are available here. There are a few stands available, and any companies wanting to participate with the event is encouraged to contact event manager Joanne Knowles at [email protected].

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The Scottish government has earmarked £65 million (€77.8m) in financial aid for culture and events, amid Covid-19 restrictions.

The events sector is set to receive £19.8m (€23.6m) while venues, along with cultural businesses, organisations and independent cinemas, will receive £31.5m (€37.6).

National performing companies that suffered losses over the Christmas period will obtain £2m (€2.3m) while museums, galleries and heritage trusts will secure £1.7m (€2m) in funding. Freelancers in impacted creative sectors will also be bolstered by a £10m (€11.9m).

First Minister Nicola Sturgeon originally announced that £20m would be offered in support for culture and events on 14 December, with the extra £27m in funding for culture and £17m for events being announced last week.

The additional £1m underspend from the existing events budget boosts the total funding package to £65m.

“The ongoing Covid-19 pandemic is once again causing disruption and uncertainty in the culture and events sector”

The financial aid comes after the Scottish government implemented further restrictions on large-scale events and public spaces from 26 December.

Indoor events where attendees are standing are limited to 100 people, seated events are limited to 200 and outdoor events will be limited to 500 people. The new rules will be reviewed on 11 January.

“The ongoing Covid-19 pandemic is once again causing disruption and uncertainty in the culture and events sector, who have already been hit so hard by its impact,” says culture secretary, Angus Robertson.

“We have been engaging with the sector about the impact of the Omicron variant and we are fully committed to supporting culture and events while they recover from the impact of the Covid – and we are aware of just how important they are to Scotland, and indeed the wider recovery from this pandemic.

“These additional funds will help protect the livelihoods of the people working in the sector – and allow us to give further support to freelancers, culture organisations, venues and our national performing companies.”

Since the start of the pandemic, the Scottish government has provided £175m to the culture, heritage and events sector.

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A recent survey carried out by communications agency BCW has found that almost three quarters of Colombians are planning on waiting months before returning to live events and other busy public spaces.

According to Colombian financial magazine Dinero, just over 72% of respondents said the fear of infection would put them off attending an event in the near future, with only 13.8% stating they would be happy to return to events within a matter of weeks.

The results come after large crowds of people gathered in some of Colombia’s cities for the first of three VAT-free days (días sin IVA) last month. The last of the VAT-free days, which allow the public to shop duty free across a range of products in a bid to restart the country’s economy, has been postponed in accordance with Covid-19 restrictions.

Events have been banned in COlombia since mid-March. It is estimated that more than 1.8 million workers have been affected by cancellations in the country.

“Covid-19 has had a significant impact on the events industry as it was the first sector to close down and the only one that the government has not taken into account when establishing public policy on reopening”

According to Satori Sochandamandou, president of the Colombian Association of Event Professionals (Asociación Colombiana de Profesionales en Eventos – Asocolwep), the sector generates COP 15 billion (€3.6m) a year, constituting 2.7% to the country’s gross domestic product (GDP).

“Covid-19 has had a significant impact on the events industry as it was the first sector to close down and the only one that the government has not taken into account when establishing public policy on reopening,” Sochandamandou tells El Espectador.

“At the moment, we are not allowed to carry out any kind of social, cultural, private or public event at home or anywhere else.”

Asocolwep has drawn up a biosecurity protocol to help get events back up and running, based on a staggered reopening of venues, which would see those of 50-capacity or less opening up first and then starting to open bigger venues, with a gradual increase in capacity over the course of six months.

“We are sending a clear message,” says Sochandamandou. “We are in the preparatory stage, briefing all the suppliers on biosecurity issues in a responsible way, so that when things do reopen it can be done in accordance with the regulations, assuring not only the safety of our clients and guests, but also that of everyone who works day to day in this industry.”

This article forms part of IQ’s Covid-19 resource centre – a knowledge hub of essential guidance and updating resources for uncertain times.

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David Walley-owned events businesses Mobile Promotions, Star Events, Bluepeg and Beautiful Minds have merged to become Star Live, a full-service live event and brand experience company.

All business were acquired by Walley, chief executive of corporate event organiser Mobile Promotions, in the last 18 months. The founders of the four businesses will form part of the Star Live senior management team.

Star Live offer a wide range of event services, including staging, crewing, creative sponsorship management, event production and brand activation.

UK-based stage and event structure supplier Star Events was the latest addition to the Walley portfolio, acquired last week.

“We have brought together four companies with a clear vision: to be the full-service live event and brand experience partner for all our clients”

Walley bought up Bluepeg, a brand partnership agency working predominantly with music festivals, in October 2018, along with staffing company Beautiful Minds.

“This is a logical and exciting step for us,” says Walley. “We have brought together four market-leading companies with a clear vision: to be the full-service live event and brand experience partner for all our clients.

“Our new brand identity reflects our heritage combined with a contemporary mindset, fully focussed on creating world-class experiences for our clients and their audiences.”

The new name and brand identity will be adopted by all businesses with immediate effect.

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A recent report has revealed the public health impact of the UK festival and events industry, detailing the level of diesel emissions and carbon dioxide equivalent (CO2e) produced by events each year.

Environmental sustainability management company Hope Solutions and power management specialists ZAP Concepts worked together with event industry professionals to produce the report in the run up to this year’s air pollution-focused World Environment Day on 5 June.

“Our findings show event sites in green spaces have worse air quality than inner-city areas, indicating a huge hidden contributor to the growing public health epidemic from air pollution,” says Hope Solutions director Luke Howell.

“We are releasing this report to open up the conversation with the industry to effect positive and practical change without diminishing customer experience. For the organisers, every litre of diesel not used is saving money and contributing to the fight against climate change.”

The emissions from the 380m litres of diesels used to power events release 1.2m tonnes of carbon dioxide equivalent, the unit used to express the impact of each greenhouse gas in relation to CO2. This is approximately the same level of emissions as the European island country of Malta releases per year.

The environmental impact of the diesel emissions is equivalent to adding 220,000 additional cars to the roads every day.

“The show must go on but it could go on in a far more sustainable manner, without risking people’s health and without risking the planet”

The report suggests that diesel consumption could be reduced by up to 40% on average at each event, with some being able to avoid diesel use altogether through renewables and hybrid battery technologies.

Using mains or grid power can also negate the need for generators but, states the report, is often overlooked and under utilised, especially in urban areas.

The use of more efficient generators would also help to reduce emissions. Monitoring shows that diesel generators are often running well under full capacity, with efficiency ratings of between 10 and 20%.

ZAP Concepts UK head of operations, Rob Scully, says that events could reduce consumption “without risking any loss of power, any blackouts or any detrimental effect on the quality of the events.”

Scully states that “Venue managers and event managers should take professional advice in order to properly direct their power contractor and ensure that available power is matched to actual demand and where possible introduce renewables and other alternatives.

“The show must go on but it could go on in a far more sustainable manner, without risking people’s health and without risking the planet.”

The report draws on data collected by A Greener Festival, Julie’s Bicycle and Powerful Thinking, as well as 20 million data points of electronic monitoring, analysed by ZAP. The full report is available to read online here.

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Veteran concert promoter Harvey Goldsmith has announced the launch of a new specialist events agency, Nvisible, in a bid to create an expert service to help agencies seeking live events success.

Goldsmith heads a team of specialists in his role as chairman at Nvisible, offering creative, design, production and project management services to agencies within the live events and experiential marketing industries.

Nvisible aims to be the “unseen partner” behind popular live experiences, lending an expert hand to event agencies in need of extra help. The agency specialises in live music, sport and entertainment events.

“I am confident Nvisible will be the unseen partner behind some of the most successful events in 2019 and beyond”

Mark Bustard helps lead the team as managing director, building on experience accrued as creative producer for U2. The team’s creative director is Grant Campbell, who has extensive experience in advertising and in the creation of live sport and entertainment experiences. Production director Jim Baggott, project director Luke Carr and technical director Tim Spears complete the executive team.

“Collectively and individually, this team has worked on myriad world-class and iconic live experiences,” says Goldsmith. “I’ve brought them together to create a ‘best in class’ service for agencies wanting to achieve success through live events.”

Goldsmith launches Nvisible with over 50 years of industry experience under his belt: “It feels like the perfect time for Nvisible; I am confident we’ll be the unseen partner behind some of the most successful events in 2019 and beyond.”

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British security firm Templewood has launched a training course, believed to be the first of its kind, to educate event staff on how to properly respond to a terrorist attack.

Designed for first-response staff working in venues that cater for large public gatherings, such as concert venues, stadia, shopping centres, office complexes and airports, the Emergency Response Officer Level 3 qualification was developed in response to “terrorist attacks in major cities, such as those in Brussels, London, Munich, Nairobi, Nice, Orlando and Paris”, says Templewood, encompasses all classes of emergency, including facility failures and building collapse.

The qualification is backed by veteran concert promoter Harvey Goldsmith, who comments: “Having promoted and managed some of the world’s most popular music events, I know how important good security can be to any event of mass attendance. Any training that can enhance the capabilities of both security and event staff alike can only be a positive.”

“It is no longer reasonable to assume that all emergencies can be prevented or handled by security services and police”

Templewood’s Dick Andrews adds: “Any mass congregation puts people at risk, and it is no longer reasonable to assume that all emergencies can be prevented or handled by security services and police. This accredited qualification will be invaluable for first-response staff, enabling them to assist the emergency services and provide lifesaving assistance in the vital 60 minutes immediately after an incident.”

Interested venues should email [email protected] or call +44 (0)333 939 9959 for more information.

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