European festival bosses are reporting encouraging ticket sales for this summer as events adapt their offerings to keep up with modern trends.

Czechia’s Rock for People has upped the capacity of Park 360 in Hradec Kralove by 25% to 50,000 for 2025. Guns N’ Roses, Slipknot, Avenged Sevenfold, Linkin Park and Biffy Clyro head its 30th anniversary edition from 11-15 June. It is also planning an exhibition celebrating three decades of the festival along with special programming to mark the milestone.

“Sales are very strong this year,” the gathering’s programme and marketing director Luděk Motyčka tells IQ. “A few months before the festival, we have sold out all categories of four-day tickets and also all Saturday tickets. We are also seeing a growing interest in local and non-English speaking artists.

“Another significant opportunity is working with new artists and developing them, as some of the newcomers have experienced a meteoric rise in popularity.”

Rock for People is also adding a new stage focused on up and coming talent and has expanded its offering of glamping accommodation, with Motyčka observing an increased demand for enhanced “experiences, services and comfort”.

“Premium campsites sold out in 20 minutes, and demand for premium tickets has more than doubled,” he reports.

“Visitors are also more discerning when it comes to dining, they expect a more varied and quality offering – we are increasing the ratio of vegan and vegetarian meals each year. Also, we have introduced a non-alcoholic bar with mixed drinks and non-alcoholic wine.”

“While there’s still strong interest in classic pillars like rock, we’re seeing growing openness to other genres”

Ticket sales are also progressing well at Spain’s 40,000-cap Bilbao BBK Live, which will welcome headliners Kylie Minogue, Pulp, Michael Kiwanuka, Bad Gyal and Raye to Kobetamendi from 10-12 July. Eva Castillo, director of communications for promoter Last Tour, says the new Bono Cuadrilla promotion – which provides six tickets for the price of five – has been particularly well received.

“We’re seeing a positive response, especially for full passes and new formats,” she says.

New features include the launch of late-night club concept GORRIA, with programming curated by collectives like Nítido, En1gma and JUGO3000, while the Basoa forest rave stage is returning to its original circular layout.

“We’re also strengthening our efforts around sustainability and diversity, both in the lineup and the festival environment,” adds Castillo. “We aim to offer a complete cultural experience that goes beyond the concerts.”

Also on the bill are the likes of Alice Phoebe Lou, Amyl And The Sniffers, Bicep presents Chroma AV, The Blessed Madonna presents We Still Believe, Jalen Ngonda, Jessica Pratt, L’impératrice, Makaya McCraven, Nathy Peluso, Obongjayar, Sofie Royer and Wunderhorse.

“Audience tastes have diversified significantly,” notes Castillo. “While there’s still strong interest in classic pillars like rock, we’re seeing growing openness to other genres such as electronic music, emerging pop, and hybrid proposals.

“We’re also noticing that people no longer attend solely for the lineup: they value the setting, the festival narrative, the values it represents, and the chance to discover new artists. Audiences are looking for authentic experiences, emotional connection, and proposals with a clear identity.”

“The sense of community is really strong amongst the public which make them super-keen to attend”

It’s a similar story for Finland’s Flow Festival (cap. 30,000), which will bring Charli XCX, Fontaines D.C., FKA Twigs, Little Simz, Air, Khruangbin, Bicep and Beth Gibbons, among others, to Helsinki between 8-10 August. Artistic director Tuomas Kallio tells IQ that sales are “very strong – actually better than ever before”.

He reveals the festival area is being expanded for this summer’s incarnation, with the site expanding to the courtyards of the Hanasaari power plant, which hosts the event, for the first time. The area will serve as the backdrop for Flow’s biggest DJ/electronic venue Front Yard.

Kallio detects that the Flow audience is getting “even more varied and demographically mixed”.

“As an over 18s-only festival, there are always the new generation of excited young first-timers who just turned 18 and then the Flow veterans who have been going for 20 years and are still going,” he says. “Flow also has a mixture of various subcultures from clubbers to pop fans to foodies or jazz heads that all clash in a positive way.”

Elsewhere in Europe, Switzerland’s Paléo Festival is already a monster success after all 210,000 tickets for 2025 were snapped up last month in just 13 minutes. The Nyon event will host the likes of David Guetta, Queens of the Stone Age, Macklemore, Will Smith, Justice, Simple Minds, Texas, Sex Pistols ft Frank Carter and Skunk Anansie.

“It’s very rewarding to witness the craze and passion of our audience,” says Paléo spokesperson Bastien Bento. “We’re very lucky. It’s hard to decipher for us – I guess the sense of community is really strong amongst the public which make them super-keen to attend.”

“Most festivals need to rethink their business models in order to stay healthy”

Bento details how organisers tinker with the format to keep things fresh – pointing to its Village du Monde project, which is dedicated to Maghreb this year and will showcase 20 artists as well as specific scenography and food and crafts stands from the African region.

“Our lineup this year feels also very eclectic and balanced, so it appeals to a large audience – and the audience reflects this diversity,” he notes. “The preparation is going very well. However, like we usually say internally: just because the stadium is full doesn’t mean the match is already won!”

That is not to say there are no clouds on the horizon for the sector however. Paléo booker Dany Hassenstein notes that in light of the current macroeconomic climate – allied to high headliner fees and production costs – most festivals need to rethink their business models in order to stay healthy and continue offering good value for money.

“This calls for exciting innovations across the industry,” he says. “At the same time, environmental sustainability is becoming an increasingly central concern for the whole events industry.”

Bilbao BBK’s Castillo agrees, adding: “A major challenge is the environmental impact and the need to transform our practices in a real and measurable way. In addition, connecting with new generations demands constant innovation in how we communicate and curate our programmes.”

Kallio acknowledges that rising costs are making life ever-more difficult for the sector, although Flow has been able to ride the storm better than the most.

“Even for Flow it is getting more challenging, but I guess with the very strong fanbase of the brand and sales pattern that breaks records year after year, we might be one of the lucky ones in the industry,” he suggests. “Good overall quality and curation never go out of style.”

“Relying on a single big-name headliner surrounded only by newcomers just doesn’t cut it anymore”

Despite Rock for People’s star-laden bill, Motyčka says a shortage of headline talent due to the popularity of stadium tours is a concern, and also lists challenges relating to the steep rise in production costs, HR costs and artist fees, as well as the impact of the current economic environment.

However, amid the recent ascent of acts such as Travis Scott, Charli XCX, Chappell Roan and Bring Me the Horizon, to name but a few, Hassenstein argues the number of viable headliners is back on an upward trajectory,

“The pool of potential headliners is looking much stronger than it did a few years ago, and it paid off for us in 2025,” he says. “Even though it’s still early, the outlook for 2026 is even more promising.”

Albeit, the overall depth of the programme is of equal importance, adds Hassenstein.

“A strong mix of multiple big names and a diverse lineup across all genres each day is essential,” he contends. “Relying on a single big-name headliner surrounded only by newcomers just doesn’t cut it anymore.”

In conclusion, Castillo is excited about the next evolution of the scene.

“There’s a huge opportunity in rethinking what a festival is and what it can become — turning it into a 360º experience that lives on throughout the year and returns with every new edition,” she finishes. “Embracing more diverse, inclusive and carefully curated proposals allows us to connect with new audiences without losing our loyal base. Digital tools — from data to content creation — help us build community all year round.

“We’re also seeing clear growth in international audiences, opening the door to new collaborations and expansion. Above all, we believe festivals can be platforms for cultural and social impact, with real potential to drive change.”

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Live Nation has taken on a 20-year long-term lease to operate Finland’s Helsinki Halli, restoring the arena to the international touring map.

Live Nation’s agreement to run the venue, which was announced at ILMC this morning, follows its recent purchase by a consortium led by Finnish investor Heikki Viitikko and Trevian Asset Management Oy.

The former Hartwall Arena has been mothballed for the past three years due to sanctions on its previous Russian ownership.

First opened in 1997, the 15,900-cap Helsinki Halli is the largest arena in Finland. It has been closed since 2020, apart from a brief reopening in 2021. When open, the arena generates more than €100 million for the Helsinki economy annually.

“There has been a gap in the live music scene in Finland since Helsinki Halli closed, and we’re proud to play a part in bringing the arena back to life”

‘There has been a gap in the live music scene in Finland since Helsinki Halli closed, and we’re proud to play a part in bringing the arena back to life,” says Tom Lynch, Live Nation president venues EMEA said. “We can’t wait to get artists back on its stage, and fans back through the doors again.’

Helsinki Halli is due to open in spring 2025, with announcements regarding the first acts coming soon. Discussions are also underway regarding the potential sporting uses of the arena, as the venue was previously home to the local ice hockey team.

‘We have more than one reason to be delighted today,” adds Heikki Viitikko, main owner and chair of Helsinki Halli. “Firstly, Finland’s premier venue is back to local ownership and soon ready to reopen. Secondly, in co-operation with Live Nation, the world’s leading live entertainment company, together we can take the first step on the road to reinventing this industry-leading arena.”

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Finland’s largest indoor arena is finally set to reopen after three years after Helsinki-based real estate company Trevian Kasvu acquired a controlling stake in the venue.

The Finnish capital’s former Hartwall Arena (cap. 15,500) has been mothballed since 2022 due to sanctions on its previous owners relating to Russia’s invasion of Ukraine.

Beverage giant Hartwall ended its 25-year association with the building – since renamed Helsinki Halli – due to its Russian ownership, while scheduled shows by acts such as Kiss, The Cure, Eric Clapton and Queen + Adam Lambert were relocated.

“The negotiations lasted more than two years and proceeded in a spirit of cooperation,” says Reima Södervall, CEO of Trevian Asset Management. “Despite the challenging circumstances, all parties shared the common goal of bringing Helsinki Arena back into operation.”

Previously, the arena was owned by Arena Events Oy (AEO), a company co-founded by oligarchs Gennady Timchenko and Roman Rotenberg.

“Reopening the arena will have a tremendous impact on major events and cultural life”

“With this transaction, we can finally reopen the arena for events,” says Helsinki mayor Juhana Vartiainen. “The three-year closure has significantly limited our ability to host sports events, concerts, and corporate events in Helsinki. Reopening the arena will have a tremendous impact on major events and cultural life, as well as on the economy and attractiveness of Helsinki and the entire country. Additionally, it will contribute to the development of the local service sector.”

The acquisition was contingent upon a change in EU sanctions legislation and required regulatory approvals from the Ministry for Foreign Affairs and the National Enforcement Authority of Finland. An amendment to EU sanctions legislation enabling the transaction was passed in December 2024, with final approvals received this month.

The purchase price will remain with Finnish authorities for the duration of the EU sanctions.

Trevian is also exploring other locations in Finland for multi-purpose arena projects.

Elsewhere, Finnish project management contractor SRV was recently selected as partner to develop the Garden Helsinki scheme, which includes a 19,000-cap multipurpose arena. SRV is also behind a new 9,800-capacity multi-purpose arena scheduled to be built in the town of Hyvinkää by the end of 2026, as well as a separate complex in the southwestern city of Turku.

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After years without an active arena, Finland’s capital is set to become home to two large indoor venues.

It is hoped that Helsinki’s former Hartwall Arena (cap. 15,500) will be able to reopen in late spring after being mothballed for almost three years due to sanctions relating to Russia’s invasion of Ukraine.

Currently owned by Arena Events Oy (AEO), a company co-founded by oligarchs Gennady Timchenko and Roman Rotenberg, the venue is in the process of being sold to investment firm Trevian, pending approval from both the Finnish authorities and the EU.

“We have found a solution that suited us as buyers, that suited the Russian sellers, and a solution that was also potentially acceptable to the authorities,” Trevian CEO Reima Södervall said last month.

Elsewhere, Finnish project management contractor SRV has been selected as partner to develop Garden Helsinki.

The scheme will include a 19,000-cap multipurpose arena and connected hotel, offices, car park and residential buildings in the neighbourhood of Töölö. It will be located close to the Helsinki indoor skating rink, Bolt Arena and Helsinki Olympic Stadium.

“We will bring our diverse experience in similar arena projects in Tampere and Turku”

The company, which previously built Tampere’s Nokia Arena (cap. 15,000), has signed an agreement with Projekti GH Oy, which is overseeing the €800 million project. Described as including “the world’s most modern arena”, construction work is due to start in spring 2026.

SRV is also behind a new 9,800-capacity multi-purpose arena scheduled to be built in the town of Hyvinkää – less than 30 miles from Helsinki – by the end of 2026, as well as a separate complex in the southwestern city of Turku.

“We are delighted to work with Project GH Oy and the City of Helsinki to develop a new event hub in Töölö,” says SRV president and CEO Saku Sipola. “We will bring our diverse experience in similar arena projects in Tampere and Turku. Nokia Arena, developed jointly by the City of Tampere and SRV, includes offices, hotel and apartments and has generated a sense of vitality and substantial economic activity in the city.

“It has also been shown to support the City of Tampere’s strategy and image as an international event city. We believe that Garden Helsinki will provide Helsinki with a similarly significant appeal, stimulation and competitiveness as a city of sports, culture and major events.”

Garden Helsinki was originally due to be completed in stages from 2020 to 2023, but was delayed by the pandemic.

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The European Festival Report (EFR) 2024, a packed annual summary of the biggest trends, happenings, and initiatives on the continent’s festival scene, was published last month.

In this excerpt from this indispensable guide, Ruisrock promoter & co-owner Mikko Niemelä discusses another sold-out edition despite rising challenges, the struggle to secure major headliners, and the cultural responsibilities of festivals.

How was this summer’s festival season for you?
This summer was the 53rd time Ruisrock took place, and it was another great success. We sold out all three days, with 35,000 visitors each day. Feedback from both our audience and artists has been extremely positive, and with everything going as planned, I’m very happy with how it turned out.

One of the highlights was a unique performance on our legendary Ranta Stage by Fröbelin Palikat. They’ve been making music just for children throughout their almost 40-year career, and this was their first show for an adult audience. What happened was incredible: 35,000 people singing, dancing, and playing to the songs they knew from childhood. It was truly a legendary, once-in-a-lifetime show, and we’re proud it happened at Ruisrock.

Our negative issue this year was weather-related. There was a severe storm warning issued for Sunday of the festival. The winds were heavy, and we were already preparing to stop some of the shows on certain stages. But fortunately, the winds eased by evening, so we were able to keep the shows running by rescaling and removing some of the LED screens. It was a good test of our emergency protocols, which worked extremely smoothly.

“People are more cautious about spending on leisure, so festivals really need to ensure the ticket is worth every penny”

What challenges does the festival industry face?
The main challenge is keeping up with rising costs while maintaining a high-quality experience that keeps the business sustainable long-term. As production costs rise, customer expectations are also increasing. People are more cautious about spending on leisure, so festivals really need to ensure the ticket is worth every penny.

We work hard to make sure our entire experience offers value – from the amount of content we provide to the level of service and care we put into it. But it’s essential to keep that balance and evolve with audience expectations if festivals are to stay relevant in the long run.

What trends do you see shaping festivals in the future?
One trend is that the biggest headliners are becoming out of reach even for major festivals, as artists like Adele and Taylor Swift are focusing on exclusive headline shows where they control all aspects and revenue streams. This is pushing festivals to turn to newer emerging talent or nostalgia acts that still have the ability to attract large audiences.

Another trend is the use of technology, which I think we’re only beginning to explore. Festivals remain a very live,
in-the-moment experience, but as the world shifts towards virtual platforms, that will impact festivals, too. What we see on stage and how the festival is experienced could look very different in the future, so we need to keep up with these changes to stay relevant.

And, increasingly, sustainability will be something people expect as a baseline. We have to understand the values of our audience and reflect them in our event planning and production. People might simply decide not to attend if they feel it’s not aligned with what they believe is right.

“With so many global issues, festivals have a responsibility to use their voice for good”

What steps are you taking for DEI (diversity, equity and inclusion) at Ruisrock?
Sustainability is one of our core values at Ruisrock, and we do a lot to make the festival as inclusive as possible on environmental, social, and economic fronts. Our main tool to ensure inclusivity is our Festival Etiquette – a straightforward list of what’s okay and what’s not – and everyone must agree to these rules when they buy a ticket. This makes it easier for attendees to call each other out if someone isn’t following the guidelines.

We’ve also signed the Keychange pledge, programming a balanced 50/50 lineup for several years. For visitor diversity, we give free access to elderly fans over 70, and demand for these tickets is huge. Our island location can be challenging for attendees with special needs, so we work hard to make the site accessible, often with custom support to help them enjoy the festival fully.

What role do festivals play in the cultural landscape?
Festivals have a huge role in providing a platform for different ideas and art forms, exposing people to things they might not experience otherwise. In a world that’s increasingly polarised, I believe festivals play an important role in bringing people together who may not always share the same views.

With so many global issues, festivals have a responsibility to use their voice for good. We attract a lot of attention and have the chance to bring people together to think, connect, and even push for positive change. It’s something I feel strongly about – we can and should use our influence to try and make things better.

The third edition of the European Festival Report, from IQ and festival association Yourope, is available to read online for free.

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All Things Live have announced details of a new two-day festival in Finland, which will focus on Swedish artists.

Raseborg Summerfest 2025 will be headlined by Swedish singer-songwriter Miss Li, supported by a lineup including Bo Kaspers Orkester, Pandora, Linnea Henriksson and KAJ.

The event, which is being staged in collaboration with Noho Partners, will take place on 15-16 August at Stallörsparken in the bilingual town of Ekenäs, where the majority of residents are Swedish speakers.

The site has previously hosted concerts by the likes of Toto and Deep Purple, as well as a number of festivals.

“Swedish-language music has always been an important part of the cultural whole”

“We offer the adult audience a diverse range of current artists, nostalgia and local talents who get to perform on the large stage,” says organiser Zachris Sundell of All Things Live, as per V2. “Swedish-language music has always been an important part of the cultural whole, and this will continue in the future.”

Raseborg Summerfest is the latest in a spate of new festivals set to crop up in Finland next summer.

FKP Scorpio Group’s Fullsteam Agency will bring together domestic talent such as Vesta, Ursus Factory, Giant Robot, Litku Klemetti, Aavikko, for the debut of Teurastamo Festival on 14 June.

The promoter, which held the final edition of Sideways Festival in Helsinki in June, will also launch À la Park at Meripuisto Park in the Finnish capital on 1-2 August, featuring performances from José González, BEHM, Ellinoora and Samuli Putro and Rodeo.

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Finland’s festival landscape will undergo several changes ahead of next year’s summer season, with events moving, launching and stopping.

Radio Nova Festival, launched by the country’s biggest radio station, will take place in Tampere next year after launching in Helsinki in 2023.

The 2025 festival will take place at the lakeside Santalahti Beach Park, within walking distance of downtown Tampere, on 13–14 June 2025.

Jason Derulo, Rita Ora and Alvaro Soler are among the international stars set to perform, while Finnish artists such as Jenni Vartiainen and Behm lead the domestic talent.

The event will take place in collaboration with Bauer Media Group, Tampere-talo Group & Tampere Live.

Elsewhere, while Sideways Festival will not be held at all next summer, its promoter Fullsteam Agency has announced a slate of new events.

Teurastamo Festival, named after the gritty urban and culinary culture centre in Helsinki, will bring together domestic talent and a diverse food offering on 14 June.

“An interesting music programme, a diverse restaurant menu and the unique milieu of Teurastamo form the core of the festival”

Acts such as Vesta, Ursus Factory, Giant Robot, Litku Klemetti, Aavikko, Kissa, Lala Salama, Nössö Nova, Orvokki and Teini-Pää will perform across three outdoor stages.

“An interesting music programme, a diverse restaurant menu and the unique milieu of Teurastamo, combined with a warm summer day and togetherness in the company of old and new friends, form the core of the Teurastamo Festival. The aim is to create an annual tradition of the event as part of the Helsinki festival summer,” says Johannes Kinnunen of Fullsteam Agency.

“Helsinki has room for a new urban festival, and the rugged milieu of Teurastamo is the perfect venue for one. It’s great that food culture, in addition to music, is becoming a strong part of the event,” says Peggy Bauer, CEO of Helsingin Kaupunkitilat Oy, which manages the Teurastamo area.

Live music and a culinary experience will also be top of the agenda for Fullsteam’s other new Helsinki event launching in 2025.

À la Park will take place on 1–2 August 2025 at Meripuisto park featuring performances from Swedish star José González, Finnish pop favorites BEHM, Ellinoora and Samuli Putro, and the supergroup Rodeo.

The event’s restaurant coverage is curated by Finnish chef, catering entrepreneur and media personality Pipsa Hurmerinta.

“À la Park was born from its creators’ passion for music, food and drink. Finland has been missing an event that combines these enjoyable elements in a balanced and modern way. The goal is to create a new annual focal point for the city’s event summer,” says Tuomo Tähtinen, CEO of Fullsteam Agency.

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Finland’s events industry is bracing for a VAT “disaster” that could cause the industry “an additional bill of millions”.

The Finnish government announced earlier this year that VAT on tickets for cultural and sports events will rise from 10% to 14% from 1 January 2025.

It has now emerged that such organisers may have to pay the higher VAT rate for tickets sold at the end of 2024 before it even comes into effect.

The country’s Tax Administration says the tax rate applied to tickets would be determined according to the settlement date agreed between the ticket sales company and the event organiser. If ticket money does not reach the event organiser before the turn of the year, the 14% tax rate will be applied.

Increased VAT may not be requested from the customer, as the tax rate must be based on the applicable law, it added.

“In terms of ticket sales, the end of the year is the best season of the whole year. At the turn of the year, ticket sales companies have up to two or three months worth of ticket money in their customer reserve accounts. It is completely unreasonable that for that sale one would have to pay almost half more value added tax than what the customers have paid for their tickets,” states Mirva Merimaa, CEO of the ticketing company Tiket.

“It is completely unreasonable that for that sale one would have to pay almost half more value added tax than what the customers have paid for their tickets”

“In practice, when there is a delay in the payments received through different payment intermediaries, we should close the ticket office at Christmas, so that the payments can reach our own accounts with certainty before the turn of the year.”

Juhana Stenbäck, CEO of the ticketing company Lipppupiste, backed by CTS Eventim, adds: “As a ticket sales company, we would be taking an absolutely huge business risk if we billed the organisers for all the ticket money before the event, contrary to the normal practices of the industry. We act in our role to protect consumers and their money. It is contrary to common sense and legal sense that this protection of consumers’ interests is causing the industry an additional bill of millions.”

Sami Kerman, CEO of the Event Industry Association, says: “Considering the small margins of the industry, this one technical tax interpretation will have a catastrophic effect on the profitability of the entire next year. In addition, the tax increase itself will cause a decrease in demand, which is apt to plunge the industry into recession.”

The Event Industry Association (Tapahtumateollisuus) – which represents companies including Fullsteam Agency, Live Nation Finland, Warner Music Live and Lippupiste – has been lobbying the government to revoke the tax increase.

Failing that, the association has asked for the increase to be postponed “until the VAT Act has been reformed to take into account the established, consumer-friendly practices of the events industry”.

The Dutch event industry recently claimed a partial victory after a proposed tax hike for the cultural and creative market was shelved for the time being.

The government this year announced plans to raise the VAT rate for the sector by 9% to 21% from 2026, which would lead to a €350 million annual loss in income for the sector.

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The long-running saga over the future of the former Hartwall Arena appears to finally be nearing a conclusion after its Russian owners agreed to sell the venue to a group of Finnish investors.

Currently known as Helsinki Halli, Finland’s largest arena has been mothballed for more than two and a half years since the end of February 2022 due to sanctions relating to Russia’s invasion of Ukraine. The 15,500-cap venue is owned by Arena Events Oy (AEO), which was co-founded by oligarchs Gennady Timchenko and Roman Rotenberg.

Earlier this month, the City of Helsinki announced it was taking legal action as it steps up its efforts to expropriate the venue, which is located in the district of Ilmala. However, IS reports a deal has now been reached with a consortium headed by businessman Heikki Viitikko and is awaiting approval from the EU and Finnish authorities.

While financial details have not been revealed, the publication notes the sale price is believed to be in excess of €60 million, which would go to an escrow (third party) account, monitored by the authorities, until the sanctions are lifted.

“The City of Helsinki’s primary goal has been voluntary sale, as it would best ensure that the arena is taken back into use as swiftly as possible”

“The City of Helsinki’s primary goal has been voluntary sale, as it would best ensure that the arena is taken back into use as swiftly as possible,” says Helsinki’s city manager Jukka-Pekka Ujula. “The city is however not a party to the sales agreement, and is therefore unaware of the contract specifics.”

Beverage giant Hartwall ended its 25-year association with the arena due to its Russian ownership shortly after the war began, while concerts by acts such as Elton John, Dua Lipa, Queen + Adam Lambert, Bjork, Eric Clapton, Kiss and The Cure were either cancelled or moved to other venues.

The City is also planning on buying the plot on which the arena stands from its current owner, the Elo Mutual Pension Insurance Company. The purchase will not impact the ownership of the building.

“The purchase of the plot will do away with the impractical lease arrangement,” adds head of the plots unit at the City of Helsinki Timo Laiho. “By buying the plot, the City will secure a better standing to renegotiate the terms of the lease going forward.”

It was revealed last month, meanwhile, that a new 9,800-capacity multi-purpose arena is slated to open in the Finnish town of Hyvinkää, 30 miles from Helsinki, by the end of 2026.

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The City of Helsinki is taking legal action as it steps up its efforts to expropriate Finland’s largest arena from its Russian owners.

Helsinki Halli (cap. 15,500) is owned by Arena Events Oy (AEO) – a company co-founded by oligarchs Gennady Timchenko and Roman Rotenberg – and has been shuttered since the end of February 2022 due to sanctions relating to Russia’s invasion of Ukraine.

“Making it available for use again is very important for the fields of culture and sports, as well as for major entertainment and business events,” reads a press release from the Finnish capital.

After being repeatedly frustrated in its attempts to facilitate a voluntary sale of the venue, the city is now preparing an application for an expropriation permit, with the application expected to be submitted in November and December.

Finland’s central government will then rule on whether or not to grant the request. However, the city warns the process involves several phases and could be protracted.

“It is difficult to predict its duration and outcome due to possibility of appeals,” continues the authority. “Even if the city is granted the right to pre-possession, it will take at least a year for the city to assume control over the arena and potentially start operations. If there are appeals, the expropriation process could assumedly take several years.”

“Due to payment difficulties, the company that owns the arena has drifted into a situation that also threatens to compromise the building’s condition”

Describing the move as a “last resort”, it adds that the application will be waived if use of the arena can be “secured in another fashion”.

Formerly known as Hartwall Arena, the venue currently owes €212,000 in unpaid rent according to YLE, while its electricity and heating have been cut off, leading to concerns it will fall into disrepair.

“On 30 October, the City of Helsinki submitted an application for a summons to the Helsinki District Court regarding unpaid rent on the Ilmala arena’s leased land,” adds the city. “Due to payment difficulties, the company that owns the arena has drifted into a situation that also threatens to compromise the building’s condition.

“The Helsinki City Board’s decision proposal entitles the city manager to approve, if necessary, the reasonable and appropriate expense to the city that is necessary to secure the technical condition of the arena and to demand payment of the resulting arrears from the party originally responsible for them.”

It was revealed last month that a new 9,800-capacity multi-purpose arena is slated to open in the Finnish town of Hyvinkää, 30 miles from Helsinki, by the end of 2026.

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