CTS Eventim chief Klaus-Peter Schulenberg has hailed the company’s international acquisition strategy after confirming record earnings for 2024.

The German-headquartered ticketing and live entertainment giant reported consolidated revenue of €2.809 billion for the year – up 19.1% – alongside adjusted EBITDA of €542.2 million, a 21.9% increase.

Its ticketing segment jumped 22.7% to €879.9m, with adjusted EBITDA ascending 21.1% to €416.5m, boosted by the additions of See Tickets and France Billet, plus Chile’s Punto Ticket and Peru’s Teleticket, to its portfolio over the 12-month period.

“Besides the consolidation of revenue and earnings, these acquisitions will give rise to further positive synergies in future,” says the firm, whose live entertainment strand posted revenue of €1.971bn (+17.6%) in 2024, with adjusted EBITDA of €125.6m (+24.4%).

CTS attributes the success of the division to “the strong local content of national and international promoters”, as well as the “successful operation of several iconic European venues”.

Hit productions included Eventim Live’s Elf The Musical, Formula 1 and Harry Potter touring exhibitions and David Gilmour’s tour of Italy and the US.

“Rising demand, organic growth, ongoing synergies and a successful international acquisition policy are the pillars of our robust growth”

“Rising demand, organic growth, ongoing synergies and a successful international acquisition policy are the pillars of our robust growth,” says Schulenberg. “We have ensured that – in addition to our technologies – our processes and business models are becoming great exports. They are the basis on which we will integrate future acquisitions even more quickly, realise synergies even sooner and enhance our success and attractiveness as a partner for international acquisitions and equity investments.”

CTS’ Arena Milano project in Italy is due to be completed at the end of this year, and the firm was also awarded the contract to build and operate a planned new multipurpose arena in Vienna, Austria, last November.

“Against a backdrop of stable macroeconomic conditions, CTS Eventim is anticipating a moderate rise in both total revenue and adjusted EBITDA in 2025,” concludes the company.

In view of the results, the CTS board is planning a to distribute a record €159.3m in dividends – €1.66 per share to shareholders.

CTS’ share price was flat at just over €100 at press time, giving the firm a market cap of €9.63bn.

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See Tickets US has become Eventim, following its acquisition by CTS Eventim in June 2024.

The companies say the name change marks “the beginning of a new phase of growth” and will give them a better foothold in the US market, offering enhanced ticketing solutions and greater opportunities for promoters and venues.

Munich-based CTS Eventim launched in North America in 2023 through a joint venture with US promoters Mammoth Inc and AG Entertainment Touring. It later launched a boutique live entertainment company with US promoter Walter McDonald.

The firm’s other US business includes a deal with the Olympic and Paralympic Games LA28 as the official ticketing partner alongside AXS.

Eventim says it will continue to operate with the same team in the US, building on the foundation established by See Tickets US, which opened in Los Angeles in 2014.

“Since joining the Eventim family, we’ve been able to unlock new opportunities”

Alongside the rebranding, Eventim has announced several new and continuing partnerships including a 10-year extension with Planet Bluegrass, the Colorado-based organiser of the Telluride Bluegrass Festival, RockyGrass, and the Rocky Mountain Folks Festival.

Eventim has struck a new partnership with Jay Goldberg Events and Entertainment in Illinois across its portfolio of events and venues, including Summer Camp Music Festival, Canopy Club, Jay Goldberg Events & Entertainment and Kenny’s Westside Pub.

The firm will also provide ticketing services for both Furnace Fest and the newly launched Iron Hills Festival, both held at the historic Sloss Furnaces National Historic Landmark in Birmingham, Alabama.

“Our transition to Eventim represents an exciting new chapter for our clients and the entire live entertainment industry in North America,” says Joe Salem, managing director of the newly renamed Eventim.

“Since joining the Eventim family, we’ve been able to unlock new opportunities, invest in cutting-edge technology, and offer more robust support to our partners. And the best part? We’re just getting started.”

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The controversy over Oasis’ UK reunion shows has taken another twist after a number of customers complained of having their tickets cancelled by Ticketmaster and See Tickets after being identified as bots.

The ticket agents began emailing and refunding those believed to have broken the terms and conditions imposed for the 2025 stadium run last Friday (7 February), only for several fans to claim they bought their tickets legitimately.

An appeals process is in place for those who feel they have been wrongfully targeted.

“Anyone who has been contacted and believes a refund was made in error has been sent a form to fill in for the tour’s promoters to review,” says a Ticketmaster spokesperson.

Promoters Live Nation and SJM said last October they would cancel up to 50,000 tickets deemed to have breached the rules in an effort to clamp down on unofficial resale sites.

“All ticket sales data will be manually forensically examined and any use of bots, multiple identities, false identities, or other fraudulent means of acquiring tickets may be reported,” read the T&Cs.

“These terms and conditions were successfully put in place to take action against the reselling of tickets through unauthorised secondary ticketing companies”

IQ understands that tickets will only be cancelled if the promoter and band management are completely convinced that the buyer is not a genuine customer, with multiple layers of checks before people were contacted. Internally, there is confidence the crackdown has been carried out correctly.

“These terms and conditions were successfully put in place to take action against the reselling of tickets through unauthorised secondary ticketing companies at grossly inflated prices for huge profit,” says a post on Ticketmaster and See Tickets’ websites. “The examination of ticket sales is ongoing and the results will be passed to relevant law enforcement once complete where appropriate.

“Refunded tickets will be made available again at face value in due course from the official ticket agent Ticketmaster.”

It continues: “Expert Abuse and Fraud teams have reviewed all sales and identified any made by bots. We cannot go into more detail, as we do not want bot-using touts to have any further information on the process.”

Oasis Live ’25 was the biggest concert launch ever seen in the UK and Ireland when it went on sale last August as more than 10 million fans from 158 countries attempted to buy the 1.4 million tickets available for the group’s first shows since 2009. The on-sale became infamously marred by a dynamic ticketing row that triggered multiple inquiries in the UK and Ireland.

Strict anti-touting measures were put in place in a bid to ensure tickets are resold for no more than face value, with Twickets selected as the tour’s official ticket resale platform.

However, despite the use of unauthorised resellers being against the ticket terms and conditions, there has been no word from the tour as to whether they will seek to cancel all tickets currently listed on secondary sites, many at inflated prices.

In a previous high-profile case, organisers of Ed Sheeran’s 2018 ÷ Tour stadium run cancelled around 10,000 tickets after Viagogo refused a request from Sheeran’s team not to list the tickets for resale.

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CTS Eventim has elevated Marijke van den Bosch to lead the ticketing activity of CTS Eventim Group across the Benelux region.

Van den Bosch was CEO of See Tickets Benelux, which was acquired by CTS Eventim last year. She will oversee the ticketing activity for the See Tickets and Eventim Netherlands brands across Belgium, the Netherlands and Luxembourg, and will report to COO Alexander Ruoff.

The promotion comes as long-serving CTS Eventim Netherlands managing director Henk Schuit stepped down at the end of 2024.

“I would like to thank Alexander and the CTS Eventim Board for their trust, as well as Henk for his achievements over the past two decades. He has built a strong foundation for CTS Eventim Netherlands, which I am proud to build upon,” van den Bosch says.

“I am excited to take on this role, lead the talented teams in Benelux, and contribute to the continued growth of CTS Eventim in the region.”

“We aim to deliver even better and more tailored solutions for our partners and customers”

Schuit has departed the company after two decades to “take a new direction in my career,” he adds.

“I am proud of what we have achieved together at CTS Eventim Netherlands, from strengthening our position in the ticketing market to fostering innovation and collaboration across the industry. I am confident that Marijke will build on this strong foundation and take the company to new heights.”

In June 2024 the Germany-headquartered live entertainment and ticketing firm acquired See Tickets and its associated live entertainment business from Vivendi. The €300 million deal also included a portfolio of 11 festivals.

The company’s Q3 results reflected strong year-on-year growth, reporting revenues above €2bn for the first nine months of 2024, up 16% YOY, despite profitability coming into question. The leadership structure shake-up signals a refresh in the region for the firm.

“Looking ahead, I am confident that Marijke’s expertise and leadership will be instrumental in driving the continued success of our ticketing operations in the Benelux region. With the unified management structure, we aim to deliver even better and more tailored solutions for our partners and customers,” says COO Alexander Ruoff.

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With the end of 2024 in sight, IQ presents a look back the biggest live music industry stories from the past year. Revisit the most notable moments from the last 12 months below – and there is only one place to start…

A $2bn juggernaut: Taylor Swift wraps up Eras Tour

After 149 shows, five continents and an unprecedented box office gross, Taylor Swift’s The Eras Tour came to an end in Vancouver, Canada, in December.

The epoch-defining 21-month trek garnered an all-time record US$2,077,618,725 (€1.96 billion) at the box office after selling more than 10.1 million tickets, with the economic benefits of staging an Eras residency for host cities even earning its own term – “Swiftonomics”.

The run’s 80 shows this year raked in $1,043,421,552 (€993.4m) from 5.2m ticket sales at an average ticket price of $200.27 (€190.68). IQ explored how Swift captured the zeitgeist like no other artist in decades upon the conclusion of the tour’s European leg at London’s Wembley Stadium in August.

Coldplay’s Music of the Spheres World Tour was a distant second in the tour rankings – grossing $421.7m, having moved 3.3m tickets for 54 concerts (average ticket price: $128.05). The ongoing run has also made history after claiming the overall record for tickets sold on a single tour, shifting 10.3m tickets since commencing in March 2022, and is already the second highest-grossing ever.

The top 10 list was completed by P!nk (367.3m), Luis Miguel ($261.5m), Bruce Springsteen & The E Street Band ($251.3m), the Rolling Stones ($235m), Bad Bunny ($210.9m), Zach Bryan ($199.2m), Metallica ($179.4m), and Madonna ($178.8m).

Global investment firm buys Superstruct for €1.3bn

American global investment firm KKR acquired festival giant Superstruct Entertainment from Providence in a €1.3 billion deal.

Fellow private equity firm CVC also went on to secure a stake in the firm, which owns and operates over 80 music festivals across 10 countries in Europe and Australia, including Wacken Open Air, Parookaville, Tinderbox, Sónar, Øya, Benicàssim, Kendal Calling and Boardmasters.

Superstruct was launched in 2017 by Creamfields founder and former Live Nation president of electronic music James Barton and Roderik Schlosser while at Providence.

IQ charted the increasingly close links between the international touring industry and PE here.

Meanwhile, Superstruct’s Barton will give his first interview in the company’s history at next year’s International Live Music Conference (ILMC).

Oasis confirm 2025 reunion tour

Legendary British rock band Oasis confirmed they are reuniting for a 2025 world tour.

The Gallagher brothers last performed together in August 2009, when they split following a backstage bust-up at France’s Rock en Seine.

The Oasis Live ‘25 Tour was the biggest concert launch ever seen in UK and Ireland, with more than 10 million fans from 158 countries attempting to buy tickets for the group’s first shows since 2009.

However, the unprecedented demand soon gave way to a dynamic ticketing controversy that has prompted multiple inquiries. There was widespread media coverage of fan anger after customers were offered “in demand” tickets for more than twice the advertised face value under surge pricing after queuing online for several hours.

Dynamic pricing was subsequently not employed for the group’s other tour dates in North America, South America, Asia and Australia, which have all sold out.

Adele’s Munich run ‘a milestone in music history’

The team behind Adele’s historic German run hailed acclaimed show as “a milestone in music history”.

More than 730,000 tickets were sold for the singer’s 10-night stint at a giant pop-up stadium in Munich, held between 2-31 August. The “bespoke” outdoor venue boasted a 220m x 30m LED screen, supplied by Solotech, which has been certified by Guinness World Records as the Largest Continuous Outdoor LED Screen (temporary) ever built.

Alongside the venue, the 75,000-square-metre Adele World – which included an authentic English pub, a fairground wheel, karaoke, Farmers Markets, merchandise and a typical Bavarian beer garden with live entertainment – attracted 500,000 visitors.

“We could not simply use a blueprint of another project – we had to start from scratch,” said Live Nation GSA CEO Marek Lieberberg, who co-promoted the residency with Klaus Leutgeb, CEO of Austria’s Leutgeb Entertainment Group.

“Before this started, I said: ‘Never before and never again.’ Now, I would say, ‘Never before but maybe again.

“It’s a milestone in music history, for sure. And it seems too good to waste. But if we ever did something like this again, it has to cater to the specific vision of the artist, like this one has.”

Co-op Live Manchester bounces back

A whirlwind first six months for Manchester’s Co-op Live (cap. 23,500) saw the UK’s largest live entertainment rebound from its delayed opening.

The £365 million facility hosted prestigious events including the UFC and the MTV EMAs, as well as indoor shows by Paul McCartney, the Eagles and Pearl Jam.

NEC Group veteran Guy Dunstan joined in October as its new general manager and SVP, with Rebecca Kane Burton, formerly of The O2, LW Theatres and Sodexo Live, becoming EVP of venue management for OVG International.

Originally slated to join the OVG fold over the summer, Kane Burton was parachuted in as interim boss of Manchester’s Co-op Live in April, as the venue’s launch was pushed back two weeks following a series of hitches. It ultimately launched on 14 May with a triumphant hometown concert by Elbow.

“I think any of us now, if we hear any Elbow music, will cry tears of joy, because that’s the moment we finally got the doors open and ready and away,” Kane Burton told IQ. “And then June just was amazing, because it was just literally back-to-back gigs and you start becoming a very well-oiled machine.”

CTS Eventim wins race to acquire See Tickets

CTS Eventim acquired Vivendi’s festival and international ticketing businesses in a €300 million deal.

The agreement included See Tickets and a portfolio of 11 festivals including the UK’s Love Supreme and Kite, as well as Garorock in France. Vivendi concert halls including L’Olympia concert hall in Paris, plus See Tickets France and Brive Festival, are not part of the deal.

The French firm’s ticketing and festival activities acquired by CTS collectively produced €137 million in revenues in 2023.

“With See Tickets and its festival operations, Vivendi has established two notable players in the ticketing and live entertainment sector,” said CTS CEO Klaus-Peter Schulenberg.

“The acquisition supports our internationalisation strategy and will also benefit artists and their managers, as we will be able to offer even more seamless services on a global scale. We look forward to collaborating with our new colleagues on shaping the future of live entertainment.”

DOJ sues Live Nation over alleged ‘monopoly’

The US Department of Justice (DOJ) launched an explosive lawsuit which could seek to break up Live Nation-Ticketmaster after alleging the company has violated antitrust laws.

LN and Ticketmaster, who merged in 2010, are accused of using their “power and influence” to “insert themselves at the centre and the edges of virtually every aspect of the live music ecosystem”.

The suit, which was filed in May in the United States District Court Southern District of New York, claims: “Through a self-reinforcing ‘flywheel’ that Live Nation-Ticketmaster created to connect their multiple interconnected businesses and interests, Live Nation and Ticketmaster have engaged in numerous forms of anticompetitive conduct.”

The defendants vigorously contest the claims, with the case set to go to trial in 2026.

Live Nation’s share price rocketed to an all-time high in the wake of Donald Trump’s election victory in November, and the company has said it is “hopeful” the imminent administration change will have a positive impact on its antitrust battle.

Second Sphere venue location revealed

The world’s second Sphere venue is to be built in Abu Dhabi, it was revealed.

Sphere Entertainment and the Department of Culture and Tourism – Abu Dhabi confirmed the longstanding rumours, announcing they will work together to bring the next-generation project to life in the UAE capital.

Since opening the $2.3 billion Sphere in Las Vegas, US, in September 2023, Sphere Entertainment has pursued plans to develop a global network of Sphere venues, with the expansion expected to provide “significant growth potential and drive new revenue streams”.

“The vision for Sphere has always included a global network of venues, and today’s announcement is a significant milestone toward that goal,” said Sphere Entertainment executive chair and CEO James Dolan. “Sphere is redefining live entertainment and extending the reach of its transformative impact. We are proud to collaborate with DCT Abu Dhabi to develop Sphere in their city.”

The partners say the venue will be located in a “prime spot” in Abu Dhabi and echo the scale of the 20,000-cap Las Vegas original, which has so far hosted residencies by U2, Phish, Dead & Company and the Eagles’ ongoing run, as well as the Darren Aronofsky-directed immersive production Postcard from Earth.

CAA trio appointed co-heads of global touring

Creative Artists Agency (CAA) announced senior agents Emma Banks, Darryl Eaton and Rick Roskin as co-heads of global touring.

The trio, all long-time senior members of the firm’s leadership team, will oversee the department’s continued international growth and build upon the work of predecessor Rob Light, who was named CAA MD earlier in the year after a quarter of a century as head of global touring.

“With the most talented team of agents ever at one agency, and serving the most influential artists in the world, we see unlimited opportunities ahead,” said Roskin, Eaton and Banks. “The live business has never been stronger nor had more momentum, and artists have never had more ways to express themselves and grow their careers, making this an absolutely incredible time to help chart CAA’s path for the future.

“We’re fortunate to have shared in the success, stability and uniquely strong culture that the department has enjoyed under Rob’s outstanding leadership. Our vision, and commitment moving forward, is to foster cutting-edge ideas that drive the market and ensure that CAA remains the most exciting and empowering agency for the industry’s best agents and artists to thrive.”

Live legends remembered

SJM Concerts director Chris York, one of the UK’s leading and most respected promoters, died in July aged 55 following a long illness.

Over the course of 30 years, York worked with artists including Oasis, Foo Fighters, Green Day, The Chemical Brothers, Lily Allen, Massive Attack, Robert Plant, Underworld, Lorde, Morrissey, Placebo, Suede and Stereophonics.

In a statement, SJM said it was “deeply saddened” at news of his passing. York joined the Manchester-based company in 1993, forming a “solid and unshakeable partnership and friendship” with founder Simon Moran.

“We have lost a leader, a mentor a force of nature and a friend,” said the firm. “His loss will be felt keenly by all the staff at the company and by many industry professionals and artists around the world. His influence and personality will live forever within SJM Concerts.”

The music world also lost Mean Fiddler founder and festival pioneer Vince Power in March, aged 76. The Irish promoter helped change the face of the music industry, working across festivals such as Glastonbury, Reading & Leeds, Phoenix, The Fleadh, Madstock and Spain’s Benicassim,

Power opened the Mean Fiddler venue in Harlesden, London, in 1982, which formed the springboard for his Mean Fiddler Group empire.

“Vince’s passing is a massive loss to the music industry and to me personally,” said Festival Republic MD Melvin Benn. “A visionary with a willingness to take risks to enable his vision but always with a humbleness that belied his importance. We had an amazing 20 years together that helped shape the music industry as we know it now.”

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See Tickets UK co-founder and CEO Rob Wilmshurst has assumed responsibility for all of CTS Eventim Group’s ticketing activities in the territory.

The company operates in the UK under the See Tickets and Eventim UK brands, having completed its acquisition of Vivendi’s festival and international ticketing businesses – including See – in a €300 million deal earlier this year. The deal, which concluded in June, also included a portfolio of 11 festivals including the UK’s Love Supreme and Kite, plus Garorock in France.

Wilmshurst is taking on the enhanced role at the firm amid the exit of Eventim UK MD Martin Fitzgerald, who is leaving at his own request to devote more time to his personal projects outside of ticketing.

John Gibson will remain with the company as MD, forming part of an expanded management team under Wilmshurst’s leadership.

“I congratulate Rob on his new role and look forward to working closely with him,” says CTS Eventim COO Alexander Ruoff. “I would like to thank Martin for his contributions in building Eventim UK and wish him all the best in his personal and professional endeavours. I also welcome John’s continued commitment to expanding our UK business.

“We are confident that the newly integrated management team will play a key role in further developing both the brands See Tickets and Eventim UK, and in offering our partners even better, more tailored solutions. I wish Rob and his expanded team continued success.”

Wilmshurst co-founded the Way Ahead Group in 1998

Wilmshurst began his career at Nottingham record shop Way Ahead Records. In 1998, he co-founded the Way Ahead Group and expanded into ticket sales. Since 2004, the company has operated under the See Tickets brand.

Fitzgerald, meanwhile, joined London-based Eventim UK in 2021 after 18 years with See, latterly as chief commercial officer, and is stepping back from ticketing after serving in the sector for more than three decades.

Elaborating on his departure on LinkedIn, he wrote: “Anyone who has known me for more than an hour knows my real passion is writing. That received an outlet in 2017 when I wrote first book and, as a result of that, I was asked to write a film. I’m now very pleased to announce that the film is in pre-production and shooting starts this November in London, Scotland and Rome.

“So, in short, I’m off to follow my passion and hopefully write more, something I’m extremely excited about. In the future I may dip in with the odd bit of consultancy but, for now, it very much is goodbye and thank you.”

Last month, CTS Eventim raised its guidance for 2024 in light of its “excellent” Q2 financial results, which included its recently acquired festival and international ticketing businesses from Vivendi for the first time.

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CTS Eventim’s share price has soared to an all-time high after the company raised its guidance for 2024 in light of its “excellent” Q2 financial results.

Shares in the German-headquartered giant jumped more than 7% to a new peak of €91.15 on the back of the figures, which included its recently acquired festival and international ticketing businesses from Vivendi for the first time. The deal, which concluded in June, includes See Tickets and a portfolio of 11 festivals including the UK’s Love Supreme and Kite, as well as Garorock in France.

Consolidated revenue for the second quarter was up 21.2% year-on-year to €793.6 million, almost doubling the 11.6% growth it achieved in Q1. Adjusted EBITDA grew at an even faster rate than revenue, rising 23.3% to €110m.

For the first six months of the year, consolidated revenue came to €1.202 billion (+17.7%) and adjusted EBITDA amounted to €202.2m (+28.9%).

“We will achieve further growth this year, both organically and through a successful acquisition”

“Our performance in terms of growth and earnings has been excellent in the second quarter of 2024,” says CEO Klaus-Peter Schulenberg. “As announced, we will achieve further growth this year, both organically and through a successful acquisition. Through See Tickets and its associated live entertainment activities, we have not only enhanced our market position in two of our focus markets – the UK and the US – but also expanded our team to include additional highly motivated and highly qualified units.

“Combined with the innovative technologies and solutions that we have acquired, this is a valuable asset for our company and opens up even more scope for international expansion going forward.”

While business in CTS’ home market of Germany remained strong, the company credits its international business activities with delivering “important growth impetus”.

Its reinforced ticketing segment was a key driver, growing by 28.5% to €175.2m. Adjusted EBITDA also increased by 35.1% to €73.4m in the same period. Three out of the five biggest-selling events took place in other European countries or South America, including concerts by Italian rap superstar Ultimo and South American reggae stars Natiruts.

“For 2024 as a whole, the executive board now expects adjusted EBITDA to grow significantly year on year”

For the first six months of 2024, ticketing revenue came to €358m (+25.8%), with adjusted EBITDA at €156.6m (+29.5%).

In CTS’ live entertainment division meanwhile, four of its top five events took place outside Germany, with Bruce Springsteen in Spain, and Ultimo, Pinguini Tattici Nucleari and Max Pezzali in Italy. Furthermore, the company says its festival season got off to a good start thanks to events such as Rock am Ring, Rock im Park, Hurricane, Southside and Nova Rock, with “very good advance ticket sales” for upcoming festivals suggesting the upward trend is set to continue,” it notes.

Live entertainment revenue advanced by 19.7% to €631.1m and adjusted EBITDA rose by 5% to €36.6m in the same period. H1 revenue reached €865.6m (+15.2%) and adjusted EBITDA came to €45.6 million (+26.9%), with the adjusted EBITDA margin improving to 5.3%, compared with 4.8% in the prior-year period.

“Plenty of summer shows, open air events and a variety of festivals are due to take place in the third quarter, which will provide a further boost for the live entertainment segment,” adds the company, which has put forward a bullish forecast for the rest of the year.

“In light of the strong first six months and the See Tickets entities being consolidated in full from the start of June, the executive board is optimistic about business performance in the second half of the year,” it concludes. “For 2024 as a whole, the executive board now expects adjusted EBITDA to grow significantly year on year.”

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Trade umbrella organisation LIVE (Live music Industry Venues & Entertainment) has announced a new round of ‘committed partners’ for its 2024 programme of LIVE Talks.

Launched two years ago, LIVE Talks is a series of free online workshops and conversations supporting EDI, wellbeing and sustainability issues affecting the live music industry.

This year’s programme will be supported by The Royal Albert Hall, OVO Hydro, See Tickets, Skiddle and The O2, which join previously announced supporters AEG, Live Nation, SJM Concerts and Kilimanjaro.

Two new events for 2024 – which are open to all and free to sign up – have also been revealed.

Menstruation and Menstrual Health in the Live Music Industry will take place on Wednesday 14 August between 12:00–13:00 in partnership with The Musicians Union & Hen Picked: Menopause in the Workplace.

“We believe that coming together to discuss and listen can positively contribute to people’s experiences of working in the live music industry”

From Melas to Stadiums: Exploring Opportunities within South Asian Live Music will take place on Thursday 24 October between 12:00–13:00 in partnership with award-winning DEI Specialist & Cultural Consultant Sania Haq. Anyone who wishes to register their interest in attending can email: [email protected].

“We are very appreciative of the support we receive from our committed partners who have fully engaged with what we are trying to achieve with LIVE Talks,” says Gaby Cartwright, head of partnerships at LIVE. “Since we launched this initiative in 2022, we have hosted 15 free talks covering a wide range of topics and issues and believe that coming together to discuss and listen can positively contribute to people’s experiences of working in the live music industry. With that in mind we are always looking to open this platform to other fantastic organisations who can share their insights and expertise and look forward to announcing more events in the near future.”

There have been 15 talks to date since LIVE Talks’s inception, all of which can be accessed via the LIVE website.

Previous topics include: Trans education and inclusion, breaking down barriers for disabled people, ADHD struggles and strengths, supporting parents and carers in music and mental health support for artists and backstage workers.

The importance of representation for Black Event Professionals, understanding sustainability terminology, supporting the music industry’s LGBTQIA+ community and mental health first aid have also been on the agenda.

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CTS Eventim has completed its acquisition of Vivendi’s festival and international ticketing businesses in a €300 million deal.

The agreement includes See Tickets and a portfolio of 11 festivals including the UK’s Love Supreme and Kite, as well as Garorock in France. Vivendi concert halls including L’Olympia concert hall in Paris, plus See Tickets France and Brive Festival, are not part of the deal.

The French firm’s ticketing and festival activities acquired by CTS collectively produced €137 million in revenues in 2023. The ticketing division generated roughly €105m of that, with an EBITDA of €26m.

The UK market was responsible for the largest share of the revenues, followed by the US, while the festival business generated an additional €32m in revenues. Vivendi bought See Tickets for €96m in 2011. The UK-headquartered ticketing company, which operates in nine countries worldwide, sold around 44 million tickets in 2023.

The companies say the transaction offers new development opportunities to Vivendi’s festival portfolio and See Tickets’ international activities, while ensuring maximum continuity for all their partners. Both See Tickets and the festival business will retain their existing identities and management.

A put option agreement was signed on 2 April.

“The acquisition supports our internationalisation strategy and will also benefit artists and their managers, as we will be able to offer even more seamless services on a global scale”

“With See Tickets and its festival operations, Vivendi has established two notable players in the ticketing and live entertainment sector,” said CTS CEO Klaus-Peter Schulenberg at the time. “I’d like to thank Vivendi for the productive negotiations, which have created a strong foundation for success in an industry enjoying robust growth across Europe.

“The acquisition supports our internationalisation strategy and will also benefit artists and their managers, as we will be able to offer even more seamless services on a global scale. We look forward to collaborating with our new colleagues on shaping the future of live entertainment.”

Pan-European giant CTS’ share price currently sits at €80.45 and is up 28% for the year to-date. The German-headquartered company was among several parties to register interest in buying See Tickets, along with AEG.

In its recently published financial results for Q1 2024, CTS posted consolidated revenue of €408.7m, up 11.6% year-on-year. Ticketing revenue climbed by 23.3% year-on-year to €182.8m, while adjusted EBITDA rose by 24.9% to €83.3m. It acquired Punto Ticket and Teleticket, market leaders in Chile and Peru, respectively, in late 2023.

CTS, which recently confirmed its 18th record year of revenue since its IPO in 2000, also recently secured ticketing deals for several international handball tournaments and was appointed official ticketing service provider for the 2028 Olympics and Paralympics in partnership with AEG’s AXS.

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See Tickets North America has unveiled its new business development leadership team after elevating several executives.

Phil Lawrence, who brings experience in agency, sponsorship and other strategic roles, is promoted to SVP of business development and head of music. He will now sit on the company’s North American executive committee and lead growth of the music side of the firm.

Former concert promoter and talent buyer Daniel Spicka, who joined See Tickets from Vendini in 2017, is upped to EVP and director of strategic partnerships and will now lead growth of a new business development team, which will focus on further expansion into a diverse set of ticketing verticals.

In addition, ex-CrowdTorch, Ticketfly and Eventbrite veteran MaryMargaret Bilus is promoted to VP of sales operations, while Tony DiCamillo becomes SVP of business development and sits on the executive committee. DiCamillo has been in the ticketing industry for over 20 years in a variety of leadership positions at ExtremeTix and Etix, plus roles with the Houston Rockets and SMG.

“These leaders have each been integral to the expansion of the US business,” says Joe Salem, MD of See Tickets North America. “Each displays the daily integrity and commitment to excellence it takes to drive profitable growth of our music business. I continue to be amazed by the talent on our remarkable team. I’m excited to see what they do next.”

“We love to promote from within our ranks”

Founded in the UK more than 30 years ago, Vivendi-owned See Tickets has offices across Europe and the US including in Los Angeles, Austin, Nottingham, Paris, Berlin, Amsterdam and Madrid.

“We love to promote from within our ranks,” says See Tickets Group CEO Rob Wilmshurst. “This group, without exception, shares the business acumen, leadership abilities and integrity it takes to grow a sound, profitable ticketing business in the US.”

It was announced last month that CTS Eventim is set to acquire See Tickets and a portfolio of festivals from the French-headquartered media group Vivendi. The German live entertainment behemoth was among several parties to register interest in buying See Tickets, along with AEG.

However, CTS disclosed that it has signed a put option agreement on Vivendi’s festival and international ticketing activities, which form part of its Vivendi Village subsidiary. The transaction is expected to be complete in the coming months and both See Tickets and the festival business will retain their existing identities and management.

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