Slam Dunk Festival founder Ben Ray has teased further expansion could be on the cards for the brand after it wrapped up its inaugural European tour.

The UK’s biggest independent rock festival debuted in May/June at 2,000-capacity clubs in Belgium (Trix, Antwerp), the Netherlands (Tivola Ronda, Utrecht) and Switzerland (Komplex 457, Zurich).

It also returned to France at Lyon’s 5,000-cap L’Amphithéâtre 3000 and Italy at Milan’s 10,000-cap Carroponte, where the near week-long run concluded on 2 June.

“But it’s been really good seeing the brand expand into Europe and seeing what we’ve seen in the UK happen in different European cities,” Ray tells IQ. “Even the smaller ones still felt like Slam Dunk events in spirit and the fact they featured a good and varied bill.”

The Used, Newfound Glory and Neck Deep were the top-billed acts for the majority of the rollout, with A Day To Remember headlining the larger festivals in France and Italy, as well as the flagship UK edition.

“You wouldn’t see some of those bands on tour together, but they all complemented each other,” says Ray. “The fans in Europe were into all of the bands, even though they were slightly different, and it worked well.”

“It feels like something is brewing in Europe for the brand”

Slam Dunk collaborated with local partners in each market: Live Nation Belgium, Jera Presents (Netherlands), Good News Productions (Switzerland), Opus Live (France) and Hub Music Factory (Italy).

“It feels like something is brewing in Europe for the brand,” says Ray. “All of our European promoter partners felt it was an outstanding success and agree that it will continue to build. The spirit of the event is definitely something that will continue to grow.

“We really think we’ve made a wave across Europe that will continue, possibly by moving to other countries or continuing to grow in the countries they’re already in, whether we move cities or remain where we are. We’re starting to plan for next year now and we should hopefully continue to see the growth of the brand across Europe.”

Ray admits the expansion has been a steep learning curve, but is confident Slam Dunk is on the right track.

“I’ve done a lot of festivals and one-off events over the years, but I’m not too experienced in touring, so it was an eye opening experience,” he says. “There were a few issues; it’s different in Europe to the UK and I’d be wrong to pretend that everything went absolutely perfectly. But we’ve learned a lot in terms of how we improve, operate and market the event.

“Ultimately, it’s about finding the right bands that will work across all the territories. It worked really well this year, because we had a lot of bands that were of similar size and I liked the fact that we rotated the bill in some countries. I’m sure every festival promoter will tell you the same: billing seems to be much more of an issue in the UK than it is anywhere else in the world. But thankfully, in Europe, lots of bands rotated places and everybody was happy to make it work and take the brand into Europe. Now, we’ve just got to work out what we’re doing next year.”

“If a new problem suddenly pops up that no one could foresee then fine, but it’s unacceptable if we have any problems on site that we’ve had in the past”

Slam Dunk’s 30,000-cap UK editions, which took place Hatfield Park on 24 May and Temple Newsam in Leeds on 25 May, also rebounded from a rain-hit 2024, reports Ray.

“Sales were great, we nearly sold out, and the bands and the public went away happy,” he says. “We don’t shy away from the fact that we have had issues in the past: the usual things about car park queues, getting in and out, and various onsite issues caused by selling a lot of tickets. But because we’ve had issues in the past, we have dealt with them all.

“I kept on saying to everybody involved that if there has been a problem in the past, we have to make sure that those problems don’t happen again. If a new problem suddenly pops up that no one could foresee then fine, but it is unacceptable if we have any problems on site that we’ve had in the past. There are processes in place to make sure we do not have a repeat of any previous problems, and it worked perfectly.”

IQ reported last week on how a fresh wave of headline-level acts are driving the European rock and metal circuit to its healthiest point in years, and Ray reflects on the genre’s current standing in the music world.

“Rock music has always been strong and it’s remained a constant, but I appreciate it sometimes isn’t in the mainstream as much,” he says. “It’s a good time; the only thing that’s been a problem is the fact that the cost of touring has gone up so much. US bands want to come over to UK and Europe, but the costs are so high at the moment that they can’t afford to come.

“A number of US rock festivals are also doing well and, even though they’re not on the same weekend or even the same continent, I feel like I’m competing with them a lot more for artists. There is a conflict where these bands have agreed they’ll only play three weekends a year, and those three weekends are unfortunately taken up with US festivals. So the cost of touring has that knock-on effect.”

“We were overcautious on some things because we didn’t want to go into our 20th anniversary year with any kind of negativity”

Slam Dunk’s 2025 UK lineup included A Day To Remember, Electric Callboy, You Me At Six, The Used, Alkaline Trio, Finch, Neck Deep, New Found Glory, Twin Atlantic and Less Than Jake.

“It’s all about communication. We have a great relationship with the fans – a lot better than most festivals – because we have a very high rate of returning customers. Some festivals have a big turnover of customers; they have new people coming every year and have to educate those customers in certain ways. We have a great advantage in that most [attendees] have been before and when we put out information, they tend to listen and trust us.”

Past Slam Dunk bills have included the likes of Paramore, All Time Low, Panic! At The Disco, Enter Shikari, Jimmy Eat World, Don Broco, Sum 41 and NOFX. And the pop-punk, emo, metal, and alternative festival is approaching a significant milestone – the 20th anniversary of the first Slam Dunk UK in 2026.

“We want to make it special, of course,” says Ray. “We’re looking at different options, but it is about celebrating in style and we took that into consideration going into this year. We were overcautious on some things because we didn’t want to go into our 20th anniversary year with any kind of negativity. And luckily, we feel like we are set up to go into it with overwhelming positivity.”

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Beats of Pompeii (BoP) promoter Peppe Gomez says the “dual allure” of the UNESCO World Heritage Site has enabled the concert series to widen its horizons for its forthcoming sequel.

Organised by Blackstar Entertainment and Fast Forward, the event debuted last year with a predominantly Italian bill including composer Ludovico Einaudi, as well as global stars John Legend and Russell Crowe.

But 2025’s lineup will feature a more even split of domestic and international acts across its 12 summer shows.

“The goal is to establish Beats of Pompeii as one of Italy’s premier national and international festivals – and I think we’re on the right track,” Gomez tells IQ. “Given this year’s numbers, we’re already seeing a direct, significant economic boost for the area. My ambition is to turn BoP into a model for music tourism and its wider economic potential.”

The series will launch on 1 July with Italian singer-songwriter Gianna Nannini, followed by headline performances from Dream Theater (2 July), Jean Michel-Jarre (5 July), Antonello Venditti (12 July), Stefano Bollani (14 July), Ben Harper (15 July), Jimmy Sax (17 July), Nick Cave (19 July), who will be joined by Radiohead’s Colin Greenwood, Riccardo Muti (24 July), Bryan Adams (25 July), Serena Rossi (29 July) and Wardruna (5 August).

“The selection criteria was driven by the idea of blending international and Italian artists, with a focus on global acts – breaking down musical barriers and exploring the widest possible sonic horizons,” says Gomez. “Last year’s debut edition, which leaned heavily on Italian artists, drew a mostly regional crowd, with 25-30% from other parts of Italy. The only artist with notable international attendance was John Legend.

“This year, with our focus on global acts, the audience profile has shifted dramatically. Some artists are drawing over 50% international attendees, and when you add non-Campania Italian visitors, that number climbs to 82% for certain shows.”

“The chance to experience world-class artists in such a unique, iconic, and mesmerising location draws audiences from around the globe”

The historic Naples venue’s music connection was solidified by the concert film Pink Floyd: Live at Pompeii, which saw the band’s Roger Waters, David Gilmour, Rick Wright and Nick Mason play in a ruined amphitheatre to an audience of the film’s production crew and some local children.

A newly restored version of the groundbreaking 1972 film was screened in cinemas last month, while Gilmour returned to Pompeii to play two solo shows in July 2016. Elton John and King Crimson have also performed at the site. Gomez suggests the venue’s “dual allure” helps it stand out as a concert destination.

“On one hand, the Amphitheatre of Pompeii holds enormous appeal for major international artists, who are willing to make small financial or production sacrifices just to perform in this ancient setting,” he says. “On the other hand, the chance to experience world-class artists in such a unique, iconic, and mesmerising location draws audiences from around the globe, making Pompeii a must-see stop on their tours.”

The artistic director goes on the explain the main logistical challenges of organising shows in Pompeii, stressing that it is an “ancient architectural landmark built in 70 B.C”.

“The biggest challenge is meeting the technical requirements of modern concerts while adhering to the strict conservation protocols set by the Archaeological Superintendency,” he says. “Every step – from setup and teardown to crowd entry and exit – must be executed flawlessly to ensure our festival continues to be seen as an asset, never a nuisance, for years to come.”

“Italy as a whole is seeing a slight dip in ticket sales – in my opinion, due to rising costs, which is making audiences more selective when buying tickets”

In the wake of last year’s sold out debut, BoP’s capacity has been increased from 2,750 to 3,000 seats, split between the floor and the stands. The amphitheatre shows are supported by the Italian culture ministry and the Pompeii Archaeological Park.

Gomez says expectations for this year’s edition are “very high”, with ticket sales for BoP are going “fairly well” in an otherwise sluggish market.

“A few international artists are moving slower – though we’re counting on a last-minute rush,” he says. “Italy as a whole is seeing a slight dip in ticket sales – in my opinion, due to rising costs, which is making audiences more selective when buying tickets.”

Beyond Beats of Pompeii, Blackstar is involved in staging two shows by rising Italian rap star Geolier at Agnano Racecourse (55,000), and 10 Italian artist dates in Naples’ Piazza del Plebiscito (10,000 seated), plus Imagine Dragons’ date at the city’s Stadio Maradona (capacity: 50,000).

“By the year’s end, we’ll have produced over 150 concerts,” adds Gomez.

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The Italian city of Venice is set to gain a new €92m stadium that will host live music and sporting events.

The 18,500-capacity stadium, which can be expanded to 25,000, will host home games for Serie A football club Venezia FC, as well as concerts and rugby fixtures.

The new venue will be located in the wider ‘Bosco dello Sport’ development in Tessera – a €310m multifunctional hub in the northern part of the city, designed to integrate sport, social life, education and wellbeing.

Construction is set to begin in July, and the stadium is projected to be complete in the summer of 2027.

The plans were developed by Maffeis Engineering and Populous, which were awarded the contract by the consortium of companies consisting of Costruzioni Bordignon, Fincantieri Infrastrutture and Ranzato Impianti. The consortium won the tender in March 2024.

“It is a stadium that has not been built in Italy for decades”

The cost of the stadium – which is almost 20km from Serie A club Venezia’s historic Stadio Pierluigi Penzo – will be met by €47m from the Venice Municipality’s surplus and €45m as a loan. The loan has become a necessity since a plan to divert post-COVID funds towards the project was barred by the European Union two years ago.

Overall, for the construction of the entire Bosco dello Sport work, Venice Municipality will take on a debt of €65m, compared to €95 initially planned.

“It is a stadium that has not been built in Italy for decades,” said Venice’s mayor, Luigi Brugnaro, who presented the stadium plans at a special event attended by media and dignitaries. “I am truly proud and excited to present this project today, it is a symbol of rebirth and an example of a city that wants to make it.

“After 50 years of chatter and unfulfilled promises, the time has finally come for us to have one of the most modern and cutting-edge stadiums in the world. It will be an important project not only for our metropolitan area, but for the entire country.”

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CTS Eventim has announced a leadership transition at its Italian subsidiary, TicketOne.

Andrea Grancini, currently general manager, has been upped to CEO, reporting directly to Klaus-Peter Schulenberg, CEO of CTS Eventim.

Grancini has been with TicketOne since its beginning, serving as a general manager and board member since 2018. His career spans 25 years in the business.

Grancini succeeds Stefano Lionetti, who is stepping down from the CEO position, having led TicketOne since 2007.

He will remain closely involved as a member of the board of directors and as general manager, will focus on key areas such as administration and finance.

“The future looks bright, and I can’t wait to work alongside our amazing teams as we keep pushing forward”

During his 18-year tenure, Lionetti is said to have helped expand the company’s presence, enhance its technological capabilities, and build strong partnerships.

He also played a role in TicketOne’s acquisition by CTS Eventim in 2008, further strengthening its market position.

“I would like to extend my sincere thanks to Stefano for his outstanding leadership and the many successes we have achieved together,” Klaus-Peter Schulenberg, CEO, CTS Eventim. “I am pleased that he will continue to contribute his expertise as a member of the board. Congratulations to Andrea on his well-deserved appointment as CEO. I look forward to working alongside him as he leads TicketOne into a promising future.”

Grancini adds: “I’m truly grateful for the trust that Chairman Klaus-Peter Schulenberg and the shareholders have placed in me, and I’m really excited about the chance to lead TicketOne into its next chapter. I would also like to take a moment to sincerely thank Stefano for all these years of collaboration. Together, we have achieved significant results. The future looks bright, and I can’t wait to work alongside our amazing teams as we keep pushing forward, creating innovative solutions for our promoter, clients, and customers.”

Lionetti comments: “It has been an incredible honour to lead TicketOne for the past 18 years. I am proud of everything we have accomplished together. Andrea’s dedication and expertise make him the ideal leader for the future. I am confident TicketOne will continue to thrive under his leadership, and I look forward to supporting him during the transition.”

TicketOne remains the market leader in Italy by some distance, according to the International Ticketing Report 2024.

Promoters, venues, and fans use its services across more than 30,000 events each year and the web platform ticketone.it is Italy’s most successful ticketing shop, with over 80 million visits per year.

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

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

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

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

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

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

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

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

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IQ presents the second part of our Italy market report, where we delve into the country’s festival and venue scenes. Catch up on part one here.

Festivals
Against a backdrop of scorching summers and artist fee challenges, festivals have never found the same traction in Italy as in other European countries. Multi-stage events are rare, as is on-site camping, so the typical Italian festival is typically a concert series, often spread over several weeks, with a handful of acts and one clear headliner each day.

“Italy doesn’t have a lot of the kind of festivals like Lolla or the UK, Belgian, or Dutch ones,” says Roberto De Luca, president of Live Nation Italy. “We have Firenze Rocks, which is like that, but the others, we have a lot of series of events. They are more headline shows, in the same place, on different days.”

Firenze Rocks, Italy’s foremost rock festival, brings Guns N’ Roses, Korn, Green Day, and others down to Tuscany this summer, while I-Days in Milan sprawls across June and July, with shows from Justin Timberlake, Dua Lipa, Olivia Rodrigo, Duran Duran, Linkin Park, and others.

In a country where ticket prices can struggle to meet international artist fees in the middle, concert series are a flexible way to drop touring artists into a format that works for schedules and budgets.

“You know, with events like I-Days, there will be Imagine Dragons playing, either under the flag of I-Days or not,” says De Luca. “In or out, it depends. But in the same area, you know. Lana Del Rey did fantastically well at I-Days last year. This year, we have Dua Lipa performing there, Linkin Park are doing fantastically well. We have many, many artists doing this kind of event. More international than local, in this case. Our local artists prefer playing stadiums.”

“Italy doesn’t have a lot of the kind of festivals like Lolla or the UK, Belgian, or Dutch ones”

Roma Summer Fest is another major Italian concert series, drawing around 170,000 to Auditorium Parco della Musica Ennio Morricone. This year’s lineup ranges from Air, The National, and The Smile to Take That, Tyga, and Ludovico Einaudi, running through June and July with stray shows in September and even October.

Roma Summer Fest promoter Fondazione Musica per Roma (Music Foundation for Rome) announced last summer that it had exceeded €30m in annual turnover for the first time in its history. The Italian organisation, which manages Rome’s Auditorium Parco della Musica and Casa del Jazz venues, reports that revenues topped €32m for 2023 – up 13% on the previous 12 months, while ticket sales increased 25% to close to half a million, generating €13m.

Rock in Roma, launched by Maximiliano Bucci and Sergio Giulianiin2009, brings Black Keys, Sfera Ebbasta, Ghali, Smashing Pumpkins, Tananai, Irama, and others to venues including the Ippodromo Delle Capannelle and the Auditorium Parco della Musica.

Vivo Concerti’s Clemente Zard has spoken of attempting to transform the Italian festival market. Its Fiera Milano concert series stretched to 11 shows last year, with local and international names ranging from Arcade Fire and Black Eyed Peas to Anna and Geolier. This year, J Balvin is on board, with other names to be announced, while August’s Red Valley Festival at Olbia Arena, Sardinia, is a four-day showcase of Vivo’s Italian talent pool.

“Red Valley Festival and Fiera Milano are incredible milestones, demonstrating Vivo Concerti’s ability to innovate across different event formats,” says Zard.“While these festivals set a strong foundation, there’s always room to grow, whether by expanding existing events or exploring new niches that align with evolving audience preferences.”

“Lucca Summer Festival [LSF] and La Prima Estate had outstanding editions last year”

Di & Gi runs the month-long Lucca Summer Festival, founded in 1998. This year’s event brings Alanis Morissette, Antonello Venditti, Till Lindemann, Bryan Adams, Nile Rodgers & Chic, and Scorpions to the Piazza Napoleone, largely in July.

La Prima Estate, its boutique festival billed as “more than a music festival; a holiday experience,” leaned into rock last year, with Fontaines D.C., Kasabian, Dinosaur Jr, and Jane’s Addiction on the bill at Bussola Domani Park in Lido Di Camaiore, Versilia, 30km from Lucca.

“Lucca Summer Festival [LSF] and La Prima Estate had outstanding editions last year,” says CEO Mimmo D’Alessandro. “LSF broke records with 225,000 attendees and featured incredible artists like Ed Sheeran, Eric Clapton, Duran Duran, Smashing Pumpkins, Rod Stewart, and Lenny Kravitz. La Prima Estate continued to solidify its presence with a lot of memorable performances.

“Looking ahead, this year promises another fantastic edition of LSF,” he adds. “Meanwhile, La Prima Estate continues its growth, heading into its fourth edition with a strong indie/alternative lineup featuring artists like Kings of Leon, Air, St. Vincent, Mogwai, Spiritualized, and Yard Act.

“In terms of the types of event people are willing to pay for, there is a growing appetite for unique and immersive experiences. Festivals, boutique events, and concerts that offer something beyond just the performance are becoming increasingly popular. Moreover, the location is becoming an increasingly crucial aspect of the experience. Audiences are seeking venues that can make a performance truly unique, such as historic sites not traditionally associated with music.”

“In terms of the types of event people are willing to pay for, there is a growing appetite for unique and immersive experiences.”

Barley Arts this year shapes up for the fourth edition of Comfort Festival, which moves from Ferrara to a site in the garden of a 16th-century villa in Milan. The boutique festival will be spread over five days during the month of July, with international artists including Warren Haynes Band, Ben Harper & The Innocent Criminals, Wolfmother, and Joe Satriani and Steve Vai’s SatchVai Band.

Among other events to note are the one-day pop-punk, emo, metal and ska-themed Slam Dunk Festival, whose European takeover comes to a close in Italy at Milan’s Carroponte in June. Bands confirmed so far include A Day to Remember, New Found Glory, The Used, Landmvrks, Neck Deep, The Ataris, and Zebrahead.

Late last year, October/ November’s C2C Festival in Turin toasted its biggest-ever edition, with a record number of visitors. The 22nd event attracted 41,000 (up from 35,000 in 2023) for its third consecutive sell-out. A record 33% of the audience came from 47 countries, according to organisers.

Other Italian festivals include techno event Kappa Futur Festival in Turin, drum and bass festival SUNANDBASS in Sardinia, Mi Ami in Milan, and indie event Ypsigrock in Castelbuono, Sicily. Music Innovation Hub’s Linecheck, meanwhile, leads the line for industry conferences, taking place in Milan in November.

“We can’t wait for the Eventim Arena to open in Milan”

Venues
CTS Eventim’s Arena Milano will, according to its developer, become Italy’s largest indoor venue when it opens next year, and in a country that has fully embraced the boom in large-scale events, a purpose-built arena in the capital of its entertainment business is big news. “We can’t wait for the Eventim Arena to open in Milan,” says Clemente Zard.

The €180m, 16,000-cap, multi-purpose facility, which was initially announced in 2021, will also include an outdoor area of more than 10,000 square metres for open-air events. It joins the 12,800-cap, 35-year-old Unipol Forum in the southern Milanese town of Assago, which remains formidably busy through 2025 with local and international headliners.

Initially, the new arena – part of the Milano Santa Giulia urban development project – will be used for the 2026 Winter Olympic and Paralympic Games, with concerts and major events planned for spring 2026. CTS Eventim recently appointed Luca Martinazzoli as managing director of Arena Milano ahead of the new venue’s completion.

Other key arenas on the Italian circuit include Turin’s 15,666-cap Inalpi Arena, the 20,000-cap Unipol Arena in Bologna, the 11,500-seated Palazzo dello Sport in Rome, and the 8,200-cap Nelson Mandela Forum in Florence.

In Rome, the ancient Circus Maximus remains a heavily scalable option. It is reputed to be the biggest venue ever built, with a fourth-century BC capacity of 250,000 for chariot races, though in 2023, there were calls to ban concerts at the site after a rowdy show by Travis Scott triggered earthquake fears. Forthcoming events include Duran Duran, Brunori Sas, and Gazzelle in June.

“Nowadays, [San Siro] is almost exclusively in the hands of Italian artists who perform dozens of shows across Italy during the same summer”

Perhaps inevitably, the boom in stadium-sized spectacles mean demand has quickly begun to outstrip the supply and availability of venues across the nation.

In an open letter to Giuseppe Sala, mayor of Milan, and others, MC2’s Andrea Pieroni last year queried the assignment of dates at the San Siro and called for greater openness between the stadium and the promoting fraternity. Nothing has changed, says Pieroni, whose attempt to place a Rammstein show at the stadium last July was apparently unsuccessful. The concert ultimately took place at the RCF Arena in Reggio Emilia.

“I tried to stir things up a bit, but the situation at San Siro remains the same,” says Pieroni. “Nowadays, the venue is almost exclusively in the hands of Italian artists who perform dozens of shows across Italy during the same summer.

“It forces internationally renowned artists to avoid performing in Milan during the summer months, which is a shame, both for the city and for the fans. I tried to explain these points to the mayor but without much success. It’s a pity.”

Even those with ready access to the San Siro and other Italian stadia face struggles securing sufficient dates, in Milan and elsewhere.

“Our duty is to work to find other stadiums, other towns, like Rome, of course, or Padova or Florence”

“In Milano, we have some difficulties,” says De Luca, “because the city council capped the number of shows in the San Siro area – the stadium, the big horse track, La Maura, and the small horse track, Snai. We can play, let’s say, eight shows in one place, six shows in another, and the other 19 in the stadium. So, you can imagine that you quickly arrive at the point that we cannot promote any additional artists, because the number of shows is already done. So we have to go somewhere else.

“In Bologna, we have the same situation,” he adds. “We can play even fewer shows, seven in total during the summer. So, our duty is to work to find other stadiums, other towns, like Rome, of course, or Padova or Florence. But in Florence, we cannot use the stadium in ‘25 or ‘26 because they are doing renovations.”

One result of the finite capacity in the two biggest cities, says Zard, is that the map is expanding in healthy directions. “Beyond Milan and Rome, which continue to thrive with a growing number of events, smaller towns are emerging as vibrant hubs for more intimate performances,” he says.

“Naples, in particular, is gaining global recognition. Its rise as a cultural hotspot, fuelled by its success in cinema, football, and its local culture, is drawing more international acts such as Anfisa. The city’s warm and passionate community, combined with its unique atmosphere, is placing Naples on the map in the live entertainment industry.”

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Musical patriotism is on the rise in many markets, but Italy still makes for a remarkable case study. Last year, according to FIMI, the local recorded music industry association, Italian releases claimed 84% of the country’s Top 100 album chart. That included, not for the first time, all top ten albums and all top ten singles, where big-selling stars of the moment included double Sanremo Music Festival winner Mahmood, Roman rapper Tony Effe, Neapolitan rapper Geolier and, among a general increase in female representation, female rappers Rose Villain and Anna.

Inevitably, the live industry has prospered in kind, with summers full of stadium shows and victory-lap tours from a seemingly inexhaustible supply of young Italian talent. Prominent stars including Ultimo, Lazza, Sfera Ebbasta, Elodie, and Gazzelle compete with Coldplay, Zucchero, and Bruce Springsteen & the E Street Band for dates at Milan’s San Siro stadium.

Since lockdown, the gold rush has scarcely abated for a second. Italy’s concert industry was worth almost €1bn to the country’s economy in 2023, according to FIMI, using data from IFPI, Deloitte, Italian Society of Authors and Publishers (SIAE), DISMA, and GfK.

The concert sector was the biggest driver of the country’s wider €3.1bn music industry, generating €967.4m from more than 36,000 events that attracted 23.7m spectators. Combined with dance and musical entertainment (€780.5m), the segment was responsible for 56.8% of direct contributions.

“The pre-pandemic numbers of 2019 have doubled – data that testifies to a constantly growing music scene and a professional and dynamic supply chain, capable of organising high-impact events in absolute safety,” Carlo Parodi, president of trade body Assomusica told Milan Music Week in November.

“This year, we have 53, 54 stadiums or open airs, and 39 of them will be local artists”

If 2024 wasn’t quite the year that 2023 was, in some eyes, with a marginally smaller number of stadium tourers on the move, then 2025 promises big things.

“This year, we have 53, 54 stadiums or open airs, and 39 of them will be local artists,” says Roberto De Luca, president of Live Nation Italy. “In ’23, the big international artists toured a lot. In ‘24, they toured a bit less. In ’25, they will tour extensively.”

With a heavy slate of hot young Italian acts, many of them from the fertile trap and rap world, Clemente Zard, CEO of CTS Eventim’s Vivo Concerti, likewise sees only growth. “From what I’ve observed, the Italian music market is buzzing, with growing opportunities in live events, especially as fans return to concerts with enthusiasm,” he says. “The competition is definitely heating up as more emerging artists enter the live industry. International players are also showing increased interest in the Italian market, driving local companies to innovate and stay competitive.”

Longstanding rock promoter Andrea Pieroni of DEAG joint venture MC2 endorses the sentiment. “These are good times, I would say,” he says. “2022 was very challenging after Covid. Then 2023 was a record year, even better than 2019. And 2024 was even better than 2023, for us. People are buying tickets, although the prices have gone up dramatically because of the rise in costs.”

That is not the only challenge in a market bedevilled by concert caps, venue availability, and that Italian speciality: red tape.

“One of the main issues we face as promoters is bureaucracy, which keeps growing every year,” says Di & Gi CEO Mimmo D’Alessandro. “Organising events requires compliance with a lengthy list of regulations and rules, which often vary not only from region to region but even at the municipal level.”

“If you want to have a big success in Italy, you have to sing in Italian”

The length and depth of the pandemic lockdown was a profoundly sore point among Italian promoters, and the perception of limited support grumbles on. In his address to Milan Music Week, Parodi noted that profit-making music companies are not able to access the FNSV [National Fund for Live Performance], locking them out of the “art bonus” tax credit available to individuals, institutions, and companies who support Italian cultural heritage. There are also issues with the availability of larger venues, usage of which is capped and, some say, not always equitably distributed.

For Italian talent, however, this is a golden age of a sort, and there is even a potentially promising export picture. In 2023, revenues from Italian music consumed abroad rose to €26m, according to FIMI. Chief among the international growers, by some distance, is Vivo act Måneskin, the Roman rockers whose global exploits have set a bar for Italian exports that seems unlikely to be beaten soon.

“It’s basically a power trio, at the end of the day, which you don’t really find in pop music anymore,” says Milan-based staging and production specialist Delamaison Productions’ Vittorio Dellacasa, who was production manager on the band’s recent world tour. “I’ve been lucky enough to go around the world with this band that is basically the only Italian band that has had huge success. Last year, we went everywhere. We played all the biggest festivals all over the world. I was shocked by the success they had in Japan. We did four arenas, sold out. It was like The Beatles.”

And yet, while the success of Måneskin might seem to point to a breakthrough for Italian pop, there are also straightforward reasons why such a thing is fairly unlikely.

“If you want to have a big success in Italy, you have to sing in Italian,” says Dellacasa. “The huge success today in Italy is made by all this new trap, rap, and hip-hop stuff. Everyone loves the lyrics, which are all Italian slang, but that is also the reason why I don’t see so much international potential for the big Italian acts. Måneskin became immediately global, but that is because they sing in English.”

Promoters
Give or take a few independents, the Italian live market is a slugfest between heavyweight corporate groups Live Nation and Eventim.

“Italian promoters are investing heavily in their rosters, which has made the market more competitive”

In the Eventim corner is Vivo Concerti – which has cornered the market in the young domestic stars often to be found filling Italian stadiums – along with Di & Gi, Friends & Partners, and Vertigo, which between them cover a wide variety of old and new Italian talent and prominent international names.

Vivo’s youthful cutting edge has seen it rapidly grow its business in recent years, and it remains the live force behind such headline-grabbing homegrown stars as Lazza, Ultimo, Elodie, and Gazzelle – all of whom play Italian stadiums this summer – along with numerous others.

“We’ve recently announced Måneskin’s Damiano David’s world solo tour, which is set to kick off next autumn. The tour will see him take over Europe, Australia, North America, South America, and Asia,” says Zard, who notes that, at home, the rush among promoters to build their domestic business has changed the game a little.

“Italian promoters are investing heavily in their rosters, which has made the market more competitive,” says Zard. “However, Vivo Concerti remains a top choice for emerging acts thanks to our track record of nurturing talent and creating career-defining moments. Many of today’s arena and stadium artists started their journey with us, and we take pride in growing alongside them and building lasting relationships.”

Di & Gi had a strong 2024, from which D’Alessandro highlights Taylor Swift’s two concerts at Milan’s San Siro and David Gilmour’s six shows at the Circus Maximus in Rome. “It was a true honour to host his only concerts in mainland Europe,” he says.

The promoter’s two major festivals, Lucca Summer Festival and La Prima Estate, are once again key areas of focus this year. “We are also excited about hosting major events, starting with The Rolling Stones’ concert at the Stadio Olimpico in Rome,” says D’Alessandro. “Additionally, we will have incredible artists performing on various stages across Italy, including Lenny Kravitz, Tyler, The Creator, Rod Stewart, Nile Rodgers, Nick Cave, and many others. We’re also excited to produce four shows with the great conductor Riccardo Muti – his first tour outside classical theatres.”

“The international artists have higher ticket prices, and the local artists have slightly lower ticket prices, though, of course, they are rising”

In the opposite corner is Live Nation Italy, whose big attractions this year include Bruce Springsteen and the E Street Band at the San Siro (with Barley Arts), Ed Sheeran at Rome’s Stadio Olimpico, a dozen stadiums for Marco Mengoni, and similar numbers for Vasco Rossi and Cesare Cremonini, as well as the Firenze Rocks and I-Days festivals. The latter two hoover up large amounts of international talent, while the stadium market is more typically – though not exclusively – the preserve of the local superstar.

The international and domestic markets operate in slightly different ways, according to De Luca. “The international artists have higher ticket prices, and the local artists have slightly lower ticket prices, though, of course, they are rising,” he says. “But the international artists come one year and then they don’t come back to Italy for another three years. Big local artists play every year – 10, 12, 15 stadiums, selling out every time. The stadiums in ‘25 have been sold out since July last year. But that’s one reason why the local artists have a cheaper ticket price – because they play more often.”

Other international operators are scaling up in Italy, too. Vertigo veteran Andrea Pieroni departed the company – and the group – for his own DEAG-backed MC2 venture at the end of 2023 but continued to fulfil outstanding Vertigo bookings throughout 2024.

“The last show happened a couple of weeks ago,” he told IQ just before Christmas, “so I no longer have any commitment with Vertigo or Eventim. Finally, I can focus totally on MC2 and the new venture with DEAG.”

MC2 specialises in rock and metal, with ambitions to go broader over the next few years. Iron Maiden, Marilyn Manson, Dream Theater, Lindemann, King Diamond, and Pantera are all on the 2025 calendar, along with the less metallic Skunk Anansie, Steven Wilson, and Hooverphonic.

“Not only do we aim to maintain our current positions, which are already satisfactory, but we also want to expand our market share,” says Pieroni. “We are already leaders in the rock and metal sector, and our goal is to grow into other areas of the market as well.”

“I’m particularly proud of the record-breaking AC/DC show at the beautiful open-air RCF Arena in Reggio Emilia”

Independents in Italy need to be smart to stay alive, and there are strong examples, old and new. Claudio Trotta’s Barley Arts, a mainstay of the business since 1979, last year staged around 400 events, the largest of them involving 100,00 tickets for AC/DC in Reggio Emilia, as well as street-food festivals, musicals, and comedy.

“I’m particularly proud of the record-breaking AC/DC show at the beautiful open-air RCF Arena in Reggio Emilia, less than an hour away from Milan, where unfortunately the quality of the open-air venues is very low,” says Trotta.

Barley Arts head of booking Marco Ercolani namechecks Loreena McKennitt’s comeback with two sold-out theatres in spring and six further shows in the summer, and Garbage and Alice Cooper’s only Italian shows.

“We also had The Hives Day, a festival we created in Bologna, obviously headlined by The Hives, with The Interrupters and Scowl playing before them,” says Ercolani.

“We also had Wolfmother’s first time in Sardinia, Xavier Rudd in the middle of the Apennines, Therapy’s sold out 30th anniversary show in Milano, and an awesome solo tour of Peter Hammill, with five full beautiful theatres and churches, almost 50 years after his first Italian run.”

“Our market is in an extraordinary state of excitement”

2025 promises to be equally rich and varied, with confirmations including two dates at the San Siro Stadium in Milan with Bruce Springsteen and The E Street Band (in collaboration with Live Nation Italy); Sam Fender and Tamino with shows already sold out; the highly anticipated returns of Ryan Adams; The The, James Blunt, Europe, Joe Bonamassa, Fantastic Negrito, and The Kenny Wayne Shepherd Band; as well as its STREEAT® Food Truck Festival.

“As the main independent promoter in Italy since 1979, we can guarantee a quality of care and attention to detail that is a real value and often makes the difference,” says Trotta. “The main attitude of Barley Arts over the years has been its big variety. We love developing new acts and genres of many different nationalities, and we are very good at doing big shows, according to the feedback we have from audience and artists, but we also do lots of small and medium shows every year.

“We like producing and promoting musicals like We Will Rock You, comedy and food events, too, like Streeat, the main national event dedicated to food truckers, and we are leaders in all these fields on the Italian market.”

In October 2023, Italian music group Artist First – already a record company, distributor, management stable, publisher, and more – launched its live music promotions division, Artist First Live, positioning it as the market’s first 360-degree operator. A little over a year in, Artist First CEO Claudio Ferrante remains enthused.

“Our market is in an extraordinary state of excitement,” he says. “Ticket sales are high, and public interest in concerts is growing more and more. I’d say the interesting part is that, in our view, despite the big players like Live Nation and Eventim, there is still space for other companies.

“Of course, all of this is extremely challenging, but we don’t focus on making million-dollar offers to artists. We focus on the quality of our work, on the integration of the processes – repertoire, promotion, distribution, and live shows – for artists who require special attention. We don’t want to sign 80 of them.”

“I come from an era where you start from the club. Now, if you do X Factor, you might do a stadium next”

The plan, says Ferrante, is “to grow organically, without rushing. Without fake sell-outs announced to the media that only risk harming careers. We don’t believe in artists who, just two years after their first single, announce stadium concerts.”

Initial successes include UK artist Blue, who sold 40,000 tickets in Italian arenas, and breaking singer and rapper Alfa from Genoa, who sold out dates at the Unipol Forum in Milan in 2024, as well as shows in Padua, Rome, and Florence.

“We are the only Italian company with a 360-degree model,” says Ferrante. “If an artist like Alfa hadn’t been managed according to this model, where everything – from song selection, to production, promotion, marketing, distribution, and finally, live shows – is handled, I don’t think he would have turned out the way he did.”

There are certainly those who believe the current thirst for stadium shows is a phenomenon that may be hard to sustain.

“Stadium shows for Italian artists are a different scenario from the past,” says Dellacasa. “In the past, what happened was that there was a San Siro Stadium or a Rome Olympic Stadium. You had your stage, your gear, your stuff. Now, because of the concentration of promoters, they basically put one stage and they do five shows in a row for five different acts. I come from an era where you start from the club. Now, if you do X Factor, you might do a stadium next.”

“Live performances are the best way to build a career, starting from the very beginning”

Ferrante evidently shares some of the same misgivings but is also convinced that live is the sharpest tool at the disposal of promising new acts.

“Live performances are the best way to build a career, starting from the very beginning,” he says. “In an era where artists pop up everywhere, it’s essential to think concretely about proximity to the fans, even in small clubs.

“Of course, there needs to be an initial core of fans, there needs to be some level of interest in an artist. But I see that it’s increasingly important for people to leave their homes and go see a small artist perform; that’s also the value of a discovery.”

Part two of the Italy market report can be read here.

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A fresh wave of new festivals have been confirmed around the globe as the 2025 international schedule continues to expand.

Electronic music record label and event series Afterlife has announced two Afterlife Festivals across North America and Europe, taking place in Mexico and Spain.

Each day of the two-stage event – set for Hipódromo de las Américas, Mexico City (9-10 May) and Circuit de Barcelona-Catalunya (13-14 June) – will be curated by Anyma and MRAK, respectively, and focus on “the essence of Afterlife’s music, artists and community”.

Also in the electronic music sphere, Stufish Entertainment Architects have been unveiled as the stage designers for the inaugural Adriatic Sound Festival, which is set to take place at Fano Airport, Italy, from 13-14 June. Acts will include Sven Väth and Armand Van Helden and Stephan Bodzin.

Saudi-based promoter MDLBeast has also revealed another addition to its portfolio in the form of 1001 Nights. Scheduled for 24-25 April, the festival will be held in Riyadh, Saudi Arabia. Billed as “a festival like no other, where music and stories come together, journey through a realm of grooves, rhythm and our tales reimagined”, the gathering will be open from 4pm to 4am. Lineup details are yet to be announced.

“We’re creating an unprecedented experience for Asian music fans”

Elsewhere, global experiential entertainment company Allied Gaming & Entertainment (AGAE) has announced the launch of RythmX x Strawberry Music Festival in partnership with Beijing Modern Sky Cultural Development Co. and Macau Elite Fun Entertainment. Billed as a “first-of-its-kind co-branded music festival”, it will take place in October at Macau’s new 50,000-capacity outdoor music venue.

The three-day event will feature an exclusive pre-night concert followed by two full days of performances from international and Asian artists.

“This festival is a major step in expanding AGAE’s entertainment footprint,” says AGAE CEO Yinghua Chen. “By bringing together our RythmX brand with Modern Sky’s 16-year well-established Strawberry Music Festival, and hosting it in Macau’s largest outdoor venue, we’re creating an unprecedented experience for Asian music fans. Our goal is to establish this as a must-attend annual festival that draws music lovers from across the region.”

And in the UK, longstanding festival venue Chai Wallahs is bidding to bolster the struggling independent music sector with the launch of Grassroots Rising from 18-21 June 2026.

The event will invite independent festivals, venues and promoters to create a collaborative event over one weekend, cutting costs while enabling audiences to discover new artists. The “pioneering” new model will offer audiences a voice in shaping lineups when they buy membership via a crowdfunder.

“We believe this idea is a solution for our whole industry”

“We believe this idea is a solution for our whole industry,” says Chai Wallahs creative director Si Chai. “By joining together as a ‘Community Benefit Society’ we can massively reduce our independent running costs and bring down ticket prices to a more affordable level. It’s an alternative model that won’t cost partners anything, but will allow them to generate an income and keep their audiences warm and content.

“Grassroots Rising not only offers a solution to the financial challenges the industry faces but, as a celebration of strictly ‘independent music and grassroots culture’, will also address the imbalances between commercially supported and non-supported artists.”

Secret Garden Party (SGP) landowner Freddie Fellowes will host the event at the SGP site in Abbots Ripton Estate, Huntingdon.

“Having made a stand last year, with our last Secret Garden Party, about the importance of grassroots support and the worries about multinational companies’ influence on the live music scene, I am thrilled to be working with Chai Wallahs on this all important event to highlight the rich wonders that the now overlooked grassroots music scene holds,” says Fellowes.

Venues across the UK have already signed up to run a stage at the festival, which has also been endorsed by the Association of Independent Festivals (AIF), Save Our Scene and the Music Venue Trust (MVT).

“It’s an important opportunity to bring together independent musicians, venues, promoters, bookers, festivals, and the whole ecosystem in which grassroots culture exists,” says MVT chief Mark Davyd. “It’s this kind of initiative that will foster multiple platforms for emerging artists to perform but also provide great spaces for some of the country’s best loved grassroots venues to present the breadth and depth of their programming.”

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Jack White is offering $20 (€19.30) tickets to students for the US leg of his No Name Tour.

The former White Stripes frontman, who released live EP No Name Live this week, is finishing up his US run, with dates at Brooklyn Paramount tonight (12 February) and two nights at Boston Roadrunner (17-18 February) still to go.

General sale tickets for the Boston gigs are currently available for $79 to $299. The discounted tickets can only be bought from the relevant venue’s box office on the day of the concert.

“For every stop on the No Name Tour, a limited number of student tickets will be available to purchase in-person only at each venue’s box office on show day,” reads a post on the guitarist’s Instagram page. “These tickets will be sold on a first come, first served basis with a valid student ID (1 ticket per student ID).”

White heads to Europe later this month, with stops in Paris, France at La Cigale (21 February) and Le Trianon (22-23 February) and TivoliVredenburg in Utrecht, the Netherlands (25-26 February), plus London Troxy (28 February & 1 March), O2 Academy Birmingham (2 March) and Glasgow Barrowland (3 March) in the UK.

He also has two nights booked at Toyosu Pit in Tokyo, Japan (15 & 17 March).

The 49-year-old American played a pop-up tour of intimate venues last year, performing last-minute shows “mostly at small clubs and backyard fetes”.

“The goal of Next Beat is to encourage socialisation, reflection and cultural sharing among the girls and boys of the city”

On a similar theme, Italy’s Fondazione Musica per Roma (Music Foundation for Rome) and Roma Capitale have launched the Next Beat initiative, offering more than 1,000 tickets for concerts at Auditorium Parco della Musica Ennio Morricone concert hall at a discounted price of €5 for young people under 35 living in Rome.

“The goal of Next Beat is to encourage socialisation, reflection and cultural sharing among the girls and boys of the city, through the experience of live music and the discovery of great artists,” reads a statement.

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Barley Arts’ Comfort Festival is set to move to Milan for its fourth edition this July, with the first batch of national and international artists already announced.

The five-day festival, which takes place on 4-5, 9-10 and 13 July, will transition from its previous location in Ferrara to Milan’s historic Villa Casati Stampa in Cinisello Balsamo. Organisers plan to stage the expanded festival inside the seventeenth-century noble residence’s garden.

“The years from 2021 to 2024 have seen three wonderful editions of the Comfort Festival, as well as the passionate and memorable concert by Bruce Springsteen [in Monza in 2023],” says Claudio Trotta, Barley Arts and festival founder. “The bond is solid, sincere and concrete, and I am sure that we will see each other again soon in Ferrara.”

The first artists announced include the Warren Haynes Band, Ben Harper & The Innocent Criminals, Fink, Wolfmother, Blackberry Smoke, Treves Blues Band, and the Satchvai Band featuring Joe Satriani and Steve Vai. More artists will be announced in the coming months.

The Italian promoter is set for a busy year, with two stadium shows from Bruce Springsteen in Milan

The event, staged in 2021, 2023 and 2024, has grown from two days to five and featured acts like Jack Johnson, The Gaslight Anthem, Gary Clark Jr. and Nathaniel Rateliff & The Night Sweats, along with Italian acts like Edoardo Bennato and Gianluca Grignani.

National promoter Barley Arts is set for a busy year, with two stadium shows from Bruce Springsteen and the E Street Band at Milan’s San Siro Stadium (cap. 80,018) in July, along with performances from Joe Bonamassa, Soccer Mommy, Lovesick, and others.

Single-day tickets for the event are on sale now and range from at €35-€65 + fees and are available exclusively through TicketOne.

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