Barclays has announced new partnerships with two of the UK’s leading live music venues.

The bank has become founding partner of Co-op Live (cap. 23,500) in Manchester and principal partner of The O2 (20,000) in London, with Barclays customers now able to purchase specially reserved tickets across both venues and gain access to premium lounges and hospitality suites.

“We’re thrilled to announce our new partnerships with Co-op Live and The O2,” says Tom Corbett, MD of sponsorship and client experience at Barclays. “These world-class venues join our growing entertainment portfolio, reinforcing Barclays as a leading brand in entertainment, across music, sports and the arts. These partnerships also mean even more exclusive perks and unforgettable experiences for our customers.”

“Barclays have consistently demonstrated a deep understanding of live entertainment”

Barclays will also be supporting community projects as part of both partnerships with more details being announced soon.

“We’re excited to welcome Barclays to The O2, the world’s busiest live entertainment arena, and we’re looking forward to creating more memorable moments for fans together,” says Nathan Kosky, VP Europe, AEG Global Partnerships. “Delivering a best-in-class experience is at the heart of everything we do and we’re excited to be working with a partner who passionately shares this ethos.”

Co-op Live SVP and general manager Guy Dunstan adds: “Partnering with Barclays not only further elevates Co-op Live’s celebrated fan experience, but also extends our commitment to the North West and its community. Barclays have consistently demonstrated a deep understanding of live entertainment, and we are delighted to bring their expertise and passion to the world’s most acclaimed new arena.”

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Those in the live industry are well attuned to the need for cancellation insurance for things like adverse weather conditions or travel disruption. But recent years have seen acts pull out of shows and festivals for ideological reasons and opposition to certain types of sponsors being involved. In this chapter from IQ‘s Touring Business Handbook, Lewis Lawrence, senior associate at Russells Solicitors, considers the legal implications for acts who see withdrawing from bills as their most powerful and potent form of protest.

The music industry descends on Brighton in the UK every May, bristling with excitement to see the next wave of emerging artists to perform at The Great Escape. However, in 2024, the festival felt markedly different; it was overshadowed by over 100 artists cancelling their performances due to the festival’s sponsorship arrangement with Barclays, which they claimed had financial ties with arms companies supplying weapons to Israel.

The company denied this, saying in a statement: “We have been asked why we invest in nine defence companies supplying Israel, but this mistakes what we do. We trade in shares of listed companies in response to client instruction or demand and that may result in us holding shares. We are not making investments for Barclays, and Barclays is not a ‘shareholder’ or ‘investor’ in that sense in relation to these companies.”

A growing number of artists have pulled out of events in recent years over concerns about the political affiliations or the ethical values of event sponsors. Over 100 artists cancelled their performances at SXSW 2024 due to the US Army and a defence contractor being partners of the festival. Several well-known artists have also cancelled headline performances in recent years, citing similar reasons in their press statements.

In an increasingly polarised world, many performers feel compelled to distance themselves from brands whose values conflict with their own, to uphold their personal beliefs and/or protect their reputation with fans. This raises questions about how the issue should be dealt with when contracting for performances.

“The damage to a promoter’s reputation in suing an artist could potentially outweigh any benefit of litigation”

HOW THE ISSUE IS DEALT WITH CURRENTLY
In most performance contracts between artists and promoters, artists do not have a contractual right to pull out of a performance based on disagreements over the identity of sponsors. Therefore, in most cases, an artist cancelling a performance under such circumstances technically constitutes a breach of contract.

This potentially leaves the artist open to a claim by a promoter for their losses, which could be substantial. Those losses could include all of the promoter’s costs for the show (e.g. venue and equipment hire, staffing, marketing costs), unless the “limitation of liability” clause in the contract caps an artist’s liability in the circumstances.

Despite this, many artists have been able to cancel shows on this basis without facing significant legal repercussions, with disputes resolved behind closed doors. This is primarily because promoters are reluctant to sue artists.

Firstly, court proceedings in the UK (and most other jurisdictions) are public, meaning that a company’s public image needs to be a factor in deciding whether to initiate litigation – especially where the person or company being sued, such as an artist, has a substantial following. The damage to a promoter’s reputation in suing an artist could potentially outweigh any benefit of litigation.

Secondly, there is an interdependency between booking agents and promoters in the live music industry; promoters are aware of the importance of preserving relationships with companies with whom they often have repeat business.

Thirdly, the concept of “safety in numbers” also plays a significant role here. The collective nature of cancellations by artists for similar reasons can make it difficult for promoters to take a hardline stance, and it can put pressure on organisers to comply with artists’ requests. For example, both of the respective promoters of The Great Escape and SXSW have confirmed that they will be changing sponsors for future events.

“The growing frequency of these cancellations poses a question as to whether or not the current industry approach is fit for purpose”

HOW THE ISSUE CAN BE HANDLED MOVING FORWARD
With the above context in mind, artists already have some de facto protections that deter promoters from litigation against them. However, the growing frequency of these cancellations poses a question as to whether or not the current industry approach is fit for purpose and whether or not new practical measures or contracting changes should be considered.

From a practical perspective, promoters would ideally disclose their sponsorship arrangements as soon as possible when engaging with artists; visibility of sponsorship affiliations at the outset could allow artists to make informed decisions about their participation. However, this does not quite align with how promoters engage sponsorships. For festivals, promoters secure sponsorship deals at various stages, meaning that sponsors may be engaged closer to the event date after artists have already signed performance contracts.

Giving artists a contractual right to cancel performances each time a major sponsorship affiliation is agreed (after an artist has already confirmed their performances) would likely present an unacceptable degree of uncertainty and would be impractical if offered to all artists. Artists with sufficient bargaining power could potentially request a list of “banned” festival sponsors within their performance contracts, but this is perhaps unfeasible. The fluid nature of branding partnerships means such lists would require constant updates and monitoring. Unless the list was short (and exhaustive), it would likely be difficult to negotiate.

For artists performing on headline tours (i.e. not festivals), they do have some level of control over the identity of sponsors, given that their identity should be made subject to mutual agreement in performance contracts. However, venue owners often have their own wider sponsorship deals that may not be within the promoter’s control, making it difficult for promoters to provide comprehensive disclosures regarding all brand associations.

From a contractual perspective, one solution is for artist agents to negotiate a “reputation clause” into contracts, which allows for artists to cancel a performance if the identity of a sponsor could cause harm to the artist’s reputation due to the brand’s political affiliation or ethical stances. This is potentially justifiable from an artist’s perspective, given that some promoters seek to negotiate the same right to terminate a contract against artists (e.g. if an artist commits an act that could harm the promoter’s reputation).

However, a promoter’s concern would be that the principle could be open to abuse. Artists may seek to cancel performances based on subjective interpretations of what constitutes a reputational risk. Given that promoters already bear a lot of risk in funding shows, they may find what could be construed as a wide cancellation right unacceptable. The exact wording of these clauses is important. They can be drafted to read more objectively, which mitigates some of the promoter’s risk.

Promoters could also seek to widen the scope of their ability to terminate their arrangements with sponsors; similar reputation clauses (as mentioned above) are worth considering including in sponsorship agreements. However, there would be practical and financial implications to terminating a sponsorship arrangement, especially if terminated close to an event date. Promoters may struggle to find alternative sponsorship funding, which may be essential for profitability.

“With brand-related cancellations becoming more frequent, informal approaches to the issue may no longer suffice”

CONCLUSION
In an unstable landscape for promoters, facing rising costs and unpredictable ticket-selling metrics, sponsorship income continues to be a key revenue stream for events.

If contracts become too rigid or heavily focused on the identity of sponsors, they may reduce the flexibility needed for promoters to engage in sponsorship deals.

Equally, many artists prioritise their values and their reputation in an environment that is increasingly politically conscious and polarised and are willing to cancel shows (and face the potential repercussions) if an event sponsor’s values do not align with their own.

The interconnected and public nature of the live music industry has led to many disputes being resolved without substantial legal repercussions, and after the fact. However, with brand-related cancellations becoming more frequent, informal approaches to the issue may no longer suffice.

Promoters, agents, and artists may find it necessary to take proactive steps to adapt to these issues and protect themselves and their reputations – whether by revisiting contractual norms, artist booking procedures, or transparency of communication over brand partnerships.

As the industry adapts to these new challenges, it will be essential for all parties involved to strike a balance between the financial risk of promoters, artistic freedom, and reputation, and the realities of the ever-changing politicised public.

• The 2025 edition of The Touring Business Handbook, published in association with Chorus TM, is available in print, digitally, and on this dedicated year-round mini-site. To purchase a print copy of the report, get in touch.

A preview version of The Touring Business Handbook 2025 is below.

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Isle of Wight Festival has gained a new headline sponsor after inking a multi-year deal with Sky.

Billed as Sky’s first ever major festival partnership, content from the UK event will be broadcast across three Sky TV channels – Sky Arts, Sky Showcase and Sky Mix – throughout the 19-22 June festival, as well as immersive and interactive on-site activations. Further exclusive behind the scenes content will also be available on Sky TV’s YouTube channel.

Sky Arts has been broadcaster partner of the Isle of Wight Festival since 2011.

“We’re thrilled to have Sky on board as our headline partner,” says festival director Caroline Giddings. “The brand has had a presence at the festival for more than a decade thanks to our Sky Arts broadcast partnership and we’re excited to develop that relationship and further enhance the Isle of Wight Festival experience for our customers.”

Sky’s director of partnerships & promotions Joel Keoghan says the deal reflects its commitment to “strategic, audience-led partnerships”.

“This collaboration allows us to show up and connect in key cultural and social spaces in a more expressive and authentic way”

“This collaboration allows us to show up and connect in key cultural and social spaces in a more expressive and authentic way,” he says. “We’re excited to build on our fantastic relationship with the festival and create more unforgettable experiences for music lovers, both at the festival and through our platforms.”

IOW 2025 will be headlined by Sting, Stereophonics and Justin Timberlake, with the bill also including Faithless, The Script, Jess Glynne, Supergrass, The Corrs, Busted, Olly Murs, Lottery Winners, Razorlight, Yard Act, Pale Waves and Remember Monday, among others.

Also, UK new music festival The Great Escape (14-17 May) has unveiled more than 175 new and rising artists for this year’s lineup in Brighton, along with rock veterans Skunk Anansie, who will headline The Independent Stage on 16 May.

Fresh names include Sim0ne, Courting, Nia Smith, The Molotovs, Ugly, Maruja, Goddess, Mechatok, CLT DRP, SLAG, Bruise Control, Zinadelphia, Knats, Carol Ades, Girlpuppy, Mandrake Handshake and RIP Magic.

Elsewhere, Charli XCX heads a list of 20 names added to the bill at Denmark’s Roskilde (28 June-5 July).

“Charli XCX is one of the most vital voices in pop today,” says Roskilde head of music Thomas Sønderby Jepsen. “With her fearless and boundary-pushing approach, she breaks conventions and shifts gears like no one else. In true Charli XCX fashion, she’s already reinvented her live show with an extravagant new concept, and we can’t wait to bring it to life on the Orange Stage this summer.”

“We make a great effort to create a lineup packed with names that you won’t find at other festivals”

Other new additions include Tyla, and Africa Express – the pan-African collective led by Damon Albarn – plus Brazil’s Charanga do França, Congo’s Ngwaka Son Systéme and Sweden’s Katarina Barruk. Previously announced acts include Olivia Rodrigo, Doechii, Lola Young, Fontaines D.C., Deftones, Nine Inch Nails, Beth Gibbons, Arca, A.G. Cook, Stormzy, Jamie XX, and Wet Leg.

“We make a great effort to create a lineup packed with names that you won’t find at other festivals,” adds Jepsen. “We are now at 171 music acts from a total of 40 countries. The lineup is close to being complete – but not quite yet.”

Spain’s Mallorca Live Festival (12-14 June) has unveiled the full lineup for its eighth edition. Taking place in Calvià, the Balearic Islands’ biggest event will feature the likes of Massive Attack, Iggy Pop, Suede, Nathy Peluso, Mercury Rev, Bad Gyal, Rigoberta Bandini, Antònia Font and Dorian.

The Mallorcan festival will also continue its mobility plan, using a shuttle bus service to transport festivalgoers from different parts of the island and promoting environmental responsibility.

“Since our inception, we’ve understood that the festival goes far beyond music,” says Mallorca Live CEO Álvaro Martínez. “The event positions the island as a cultural destination and promotes the music industry, and it’s a project we’re currently working on based on three pillars: sustainability, tradition, and quality of experience.

“We continue working to generate the lowest environmental impact on the destination, to showcase Mallorca’s culture and tradition, and to offer the best experience with improvements within the venue for our attendees, a local, national, and international audience with a high cultural level who love to travel, attracted by music and to enjoy the experience.”

Portugal’s MEO Kalorama (19-21 June), which will be headlined by Pet Shop Boys, FKA Twigs, Damiano David and Jorja Smith, has unveiled a new wave of artists set for the Lisbon festival. The list includes Royel Otis, Capital da Bulgária, David Bruno, Heartworms, Noga Erez, Carla, and Chelas É O Sítio, The Blessed Madonna, Helena Hauff, Daniel Avery, Jennifer Cardini, Identified Patient, Viegas, Anish Kumar, Bernardo Vaz, Ryan Elliott, Kierastoboy, Olof Dreijer and Roi Perez.

MDLBeast has also revealed the lineup for the debut of its 1001 Festival (24-25 April) at the UG Complex in Binban, Riyadh, Saudi Arabia.

The two-day “celebration of music, fantasy and Arabian folklore” will bring together DJs across five custom-designed stages. Acts will include Eric Prydz, ARTBAT, DJ Snake, Hot Since 82, Salvatore Ganacci, Mochakk, Dixon, Seth Troxler, DJ Tennis, Innellea, Marco Carola and Nicole Moudabe.

All Things Go Festival has announced it is expanding from two to three days for its 2025 edition

Europe’s newest electronic music festival Adriatic Sound will bring artists such as Rüfüs Du Sol (DJ set), Stella Bossi, Richie Hawtin, Nicole Moudaber, Sven Väth, Sama’ Abdulhadi, Solardo, Stephan Bodzin Live and Kasia to Fano Airport in Italy, on 13-14 June.

Meanwhile, Italy’s avant-pop C2C Festival (30 October-2 November) has announced “Per aspera ad astra” (Through hardship to the stars) as the theme of its 23rd edition in tribute to founder and director Sergio Ricciardone, who passed away in March.

Six new international artists have now been confirmed for the Turin event: Daniel Blumberg, Florence Sinclair, Isabella Lovestory, Jenny Hval, Malibu, and YHWH Nailgun, joining A. G. Cook, Blood Orange, Four Tet, Model/Actriz, Skee Mask Ali Sethi & Nicolas Jaar, Djrum, Ecco2k, IOSONOUNCANE & Daniela Pes, John Maus, Nourished By Time, Saya Gray and Titanic.

In the US, All Things Go Festival has announced it is expanding from two to three days for its 2025 edition, which will return to Merriweather Post Pavilion in Columbia, MD, and Forest Hills Stadium in New York from 26-28 September.

Plus, C3 Presents’ Soundside Music Festival (27-28 September) will star headliners The Killers and Hozier on Sunday along the shore of the Long Island Sound at Seaside Park in Bridgeport, CT. Weezer, Vampire Weekend, The Backseat Lovers, Djo, Remi Wolf, Japanese Breakfast, The Last Dinner Party, Connecticut local Chelsea Cutler and Inhaler are among those also confirmed.

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Belgium’s largest indoor concert venue, the Sportpaleis, is being renamed as part of a new partnership.

From 1 September, the 23,001-cap Antwerp arena will be known as AFAS Dome after linking up with AFAS Software.

The new name was chosen following a public call for suggestions, which saw almost 4,000 entries submitted – hundreds of which featured the word “Dome”.

“Our venue is at a historic turning point,” says Jan Van Esbroeck, MD of be•at (formerly Sportpaleis Group). “The large-scale infrastructure works resulting from the Oosterweel connection not only allow us to move forward with full force but also to usher in a new era.”

According to the team, the new name reflects the “grandeur” of the venue and also symbolises the future.

“We are taking this iconic venue to the next level, with respect for its rich history and an eye on the future”

“We are taking this iconic venue to the next level, with respect for its rich history and an eye on the future,” continues Van Esbroeck. “The name AFAS Dome reflects that ambition and underscores our pride as the country’s leading event venue.”

The naming rights deal will also enable venue improvements including the launch of premium suite the AFAS VIP area, as well as other innovative technologies and enhanced facilities. AFAS has also sponsored the 6,000-cap AFS Live in Amsterdam, the Netherlands, since 2016.

“At AFAS Software, we believe in innovation and experience,” says Machiel den Dekker, CEO of AFAS Software in Belgium. “That is precisely why we have entered into this partnership: to take an iconic venue to an even higher level. With AFAS Dome, we want to contribute to a future where technology and entertainment go hand in hand, ensuring visitors enjoy an unforgettable experience time and again.”

AFAS Dome will host Lady Gaga’s The Mayhem Ball Tour this November, and will also welcome acts such as Ghost, Tyler, the Creator, Tate McRae, Duran Duran, Dua Lipa, Pitbull, Lionel Richie, Kylie Minogue and Katy Perry in the coming months.

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Cancel culture and the ethical decisions confronting the touring business were tackled head on in ILMC 37’s gripping Ethics & Activism: Adapting to Artist & Fan Views panel.

Chaired by Media Insight Consulting chief Chris Carey, the session at London’s Royal Lancaster ran the rule over some of the thornier questions facing the industry in 2025.

Ola Krakowska of Poland’s largest independent promoter Alter Art, organiser of Open’er Festival, spoke of the “moral backbone” that guides the company’s decision-making on everything from sponsorship partnerships to its artist lineup.

“It’s about integrity, honesty and also fairness,” she said. “We all know how difficult it is to navigate, but we really stick to this. We always double-check everything that we’re doing, and we really dig into it. Each year we say no to several sponsors. We have cases of companies that we dropped because of moral reasons.

“We do the same with the artists. I’m sorry, but we’re checking you guys…. We really focus on the lineups and we really check the backgrounds.”

Asked whether its policy made it hard to balance the books, Krakowska responded: “No, I think that when you’re good, the good people come to you.”

She also expressed her admiration for Dua Lipa for speaking out against performing at the 2022 FIFA World Cup in Qatar due to the country’s human rights record.

“We really admire those artists who just say no,” said Krakowska. “I love the quote [from Dua Lipa]. She basically said, ‘I look forward to visiting Qatar when it has fulfilled all human rights pledges it made when it won the right to host the World Cup.'”

“Where and when possible, we should all be amplifying our voices and supporting one another”

Music and culture executive Amanda Maxwell considered the pitfalls artists can encounter by taking a stand publicly, thereby putting themselves at risk of being “immediately shut down and immediately cancelled”.

“That is the tightrope that everybody is very concerned about at the moment,” she advised. “It feels particularly hot – or has done over the last 18 months – with various different things that we’ve seen going on in the world, so it becomes really difficult. But I think where and when possible, we should all be amplifying our voices and supporting one another.”

Artist manager Bradley Kulisic of Singing Light Music pointed out that some artists “self-censor”.

“If people want to be agnostic about what they say on the stage and to their audiences, they should be allowed to,” he added. “And if people want to confront and put opinions forward and, in turn, accept the accountability for that, I would support them as well – as long as they’re not being disgusting or exclusive.”

However, he acknowledged that by sticking their head above the parapet, acts left themselves open to criticism down the line.

“If you are putting yourself in various activist conversations, you will be held to a certain standard,” he said. “And if, for whatever reason, you’ve crossed the picket line on a certain issue that that community feels strongly about, you will be held to a harder account. And whether or not I think that’s fair… if you get in the ring, you’re going to get hit.”

“More and more artists are  probably going to just disengage… because they think, ‘Is it worth me facing the criticism?”

Alt-J’s Gus Unger-Hamilton brought up the recent backlash to Stormzy’s partnership with McDonald’s.

“I think if an actor or musician who had no history of activism had done a brand partnership with McDonald’s, they wouldn’t face as much criticism as Stormzy did,” he said. “I don’t know how you protect artists in an age of social media because, of course, the democracy of social media is that everybody has the same voice. You can write a tweet at an artist and that tweet has just as much relevance as any other tweet that was sent that day to that artist.

“Sadly, I think more and more artists are probably going to just disengage, not look at their social media, not put their hand up and stand up for good causes, because they think, ‘Is it worth me facing the criticism? Do you want me to lose fans over this? Maybe I’m just going to kind of keep my head down, stay in my seat and just make music,’ which I think is a pity.”

Unger-Hamilton suggested that several issues were “peaking at once” in the current climate, creating a dilemma for musicians.

“The cost of touring crisis for artists is really, really hard,” he said. “Artists are more than ever struggling to pay the bills go on tour. And I’m not just talking about grassroots artists, I’m talking about artists who might be perceived to be at the top of their game, and therefore, where corporate partnerships and endorsements might well be a way to actually balance the books.

“Unfortunately, that is coming at a time of greater than ever scrutiny and a feeling perhaps that people are either perfect or completely terrible. There’s not much nuance in the views of people in that way.”

“Where is the line between approving of a regime by going to a place, or going there and bringing new perspectives and a new message?”

Unger-Hamilton admitted to personal regrets over playing in certain territories in the past.

“We’ve played in Russia two or three times – of course, before Ukraine was invaded – and at the time, I think the view we took was, ‘Where do you stop with scrutinising a country’s ethical record?’ You can’t really say where the line is,” he argued. “Everybody talks about the boycotts of South Africa that went on in the 80s. That’s generally agreed to have been a very good thing, but it’s hard to say now what that equivalent is.

“Let’s not forget that Russia was under a lot of quite correct international criticism for its treatment of LGBT people – it wasn’t like invading Ukraine was the first bad thing Russia had done in the 21st century. We played in Ukraine as well, I’m happy to say, and would like to play there again if we could.”

Unger-Hamilton pondered whether playing in a country automatically represented an endorsement of its government.

“I suppose there seems to be a consensus that the answer to that question is yes, but I’m not sure if that is true every time,” he said. “I do think that there is a validity in the viewpoint that perhaps by going to a country with a repressive regime and bringing in music which people might not have heard before – which might have a message in it that would counter what those regimes are saying to their people – could be a good thing.

“It is really hard to know where the line is. Where is the line between approving of a regime by going to a place, or going there and bringing new perspectives and a new message to that place?”

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South By Southwest (SXSW) has discontinued its partnership with the US Army and the defense contractor RTX Corporation, the festival announced on Wednesday (26 June).

The announcement comes after more than 80 artists pulled out of this year’s event in Austin, Texas, in protest of the military’s support for Israel in the war in Gaza.

Squirrel Flower, Kneecap, Lambrini Girls, Sprints, Proper, Eliza McLamb, Mamalarky, Scowl, Gel and Okay Shalom cancelled sets at the 8–16 March festival.

SXSW responded to the cancellations in a statement: “We are an organisation that welcomes diverse viewpoints. Music is the soul of SXSW, and it has long been our legacy. We fully respect the decision these artists made to exercise their right to free speech.”

Explaining its sponsorship with the US Army, SXSW wrote: “The defence industry has historically been a proving ground for many of the systems we rely on today. These institutions are often leaders in emerging technologies, and we believe it’s better to understand how their approach will impact our lives.”

“After careful consideration of our offerings, we are revising our sponsorship model”

Now, the festival has shared a statement announcing that they have cut ties with the US Army and defense contractor RTX Corporation. “After careful consideration of our offerings, we are revising our sponsorship model. As a result, the US Army, and companies who engage in weapons manufacturing, will not be sponsors of SXSW 2025.”

The festival has also ceased its partnership with Collins Aerospace, a subsidiary of weapons manufacturer RTX Corporation (formerly known as Raytheon). Next year’s edition of SXSW is set to take place on March 7-15 2025 in downtown Austin.

Barclays also recently suspended its sponsorship of Live Nation UK’s remaining 2024 festivals following a raft of artist withdrawals over the bank’s ties to Israel.

In other news, SXSW recently confirmed that a London festival edition will take place in 2025 and announced a raft of hires.

Katy Arnander has been appointed director of programming for SXSW London, having previously worked for organisations including Ambassadors Theatre Group (ATG), Sadler’s Wells, Southbank Centre and the Barbican.

Adem Holness has joins as head of music following a spell at the Southbank Centre, Elliot Willis joins as the European commercial director and Alex Poots will serve as creative advisor while continuing his work full-time at The Shed in New York.

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AEG Global Partnerships is searching for naming rights partners for its new venue at Olympia in London.

Set to open in summer 2025, the 4,000-cap West London venue will form the centrepiece of the £1.3 billion (€1.55bn) redevelopment of the 14-acre Olympia Estate.

The venue, which will be located above the existing west exhibition hall, will be operated by AEG, which signed a ‘long-term agreement’ with owners Yoo Capital and Deutsche Finance International who acquired Olympia in 2017 for €330 million.

In addition, the team – the partnerships arm of AEG Europe – is also seeking a partner for the Hammersmith Apollo, with its current naming rights partnership with Eventim expiring at the end of the year.

“Since the pandemic, brands have been keen to get back in front of consumers, and build truly long-lasting relationships based on mutual benefits and trust”

“Since the pandemic, brands have been keen to get back in front of consumers, and build truly long-lasting relationships based on mutual benefits and trust,” says Paul Samuels, EVP of AEG Global Partnerships. “Sponsored events are rated the preferred media channel among consumers, according to the 2023 Kantar Media Reactions survey, because unlike an advert that lasts just seconds, an event lasts hours, giving brands longer to engage with fans and – better still – enhance their experience.”

The new naming rights partners will join Qatar Airways, IG Group and Uber, who have all joined the ranks since the beginning of 2024.

“We’ve started working with more than 110 new partners in the past 12 months, and now we’re looking for two ambitious brands who want to take on the naming rights to two world-class venues,” adds Samuels. “In addition to the obvious perks of being a naming rights partner, wider activations can help to achieve a range of objectives, from increasing consideration and rewarding loyal customers, to meeting sustainability objectives.”

Along with naming rights partners, AEG Global Partnerships is seeking category partners who will be able to elevate the experiences of those visiting the venue.

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South By Southwest (SXSW) says it “fully” respects the decision of dozens of artists to pull out of this year’s event in protest of the festival’s ties to the US Army and defence industry.

Acts such as Squirrel Flower, Kneecap, Lambrini Girls, Sprints, Proper, Eliza McLamb, Mamalarky, Scowl, Gel and Okay Shalom cancelled scheduled sets in response to the military’s support for Israel in the war in Gaza.

SXSW 2024 runs in Austin, Texas, from 8-16 March and typically attracts more than 300,000 attendees to each annual edition.

The army is listed as a “super sponsor” of the event, which has also agreed a number of defence industry partnerships.

Texas governor Greg Abbott posted yesterday (12 March) on X: “Bands pull out of SXSW over US Army sponsorship. Bye. Don’t come back. Austin remains the HQ for the Army Futures Command. San Antonio is Military City USA. We are proud of the US military in Texas. If you don’t like it, don’t come here.”

The tweet prompted a response from SXSW, which stressed it “does not agree” with Abbott’s viewpoint.

“We fully respect the decision these artists made to exercise their right to free speech”

“We are an organisation that welcomes diverse viewpoints,” it said via its official social media accounts. “Music is the soul of SXSW, and it has long been our legacy. We fully respect the decision these artists made to exercise their right to free speech.

“Across the globe, we are witnessing unspeakable tragedies, the rise of repressive regimes, and the increasing spread of violent conflict. It’s more crucial than ever that we come together to solve these greater humanitarian issues.”

The festival went on to explain its reasoning regarding the controversial sponsorship agreements.

“The defence industry has historically been a proving ground for many of the systems we rely on today,” it said. “These institutions are often leaders in emerging technologies, and we believe it’s better to understand how their approach will impact our lives.

“The Army’s sponsorship is part of our commitment to bring forward ideas that shape our world. In regard to Collins Aerospace, they participated this year as a sponsor of two SXSW Pitch categories, giving entrepreneurs visibility and funding for potentially game-changing work.

“We have and will continue to support human rights for all. The situation in the Middle East is tragic, and it illuminates the heightened importance of standing together against injustice.”

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Utilita Energy and NEC Group have agreed an early extension to their existing multi-year partnership, which includes the naming rights for Utilita Arena Birmingham.

As part of the seven-figure agreement, the Birmingham venue will carry Utilita’s name through to 2030.

The deal will also have a heavy focus on charity and sustainability. In what is believed to be a UK first, the arena has renamed its VIP lounge after the supplier’s partner charity, Utilita Giving, which supports people in food and fuel poverty.

“It’s fantastic that we’ve been able to extend our partnership with Utilita Energy,” says NEC Group Arenas MD Guy Dunstan. “We love working with the team and it’s clear they’re committed to investing in Birmingham.

“Alongside the world-class live music, sport and comedy we stage at Utilita Arena Birmingham, we’re continually looking at ways to make the arena a more enjoyable destination for visitors. We’re all about giving our customers amazing experiences, and with Utilita sharing that vision, we’re looking forward to continuing our partnership for the years ahead.”

“This is far more than just a naming rights deal. We vow to build on the strong foundations we have established in this great city”

Utilita aims to be a net zero business by 2030 and will also work side by side with the venue to support its own sustainability goals.

“This is far more than just a naming rights deal,” says Bill Bullen, CEO and co-founder of Utilita Energy. “We vow to build on the strong foundations we have established in this great city and will continue to educate and inform through our campaigns which have proved crucial to everyday people throughout the cost of living crisis.

“The arena is also a great platform to help Utilita Giving access a wider pool of people who urgently need help out of fuel and food poverty.

“Our main goal as a business is to help consumers make their energy go further, meaning they spend less on their bills, and this will continue to be at the crux of how we give back to the local community here in Birmingham.”

Upcoming concerts at the venue include James Arthur, Jason Derulo, Simple Minds, Thirty Seconds to Mars, Keane, Olivia Rodrigo, Take That, Nickelback, Pet Shop Boys, Jonas Brothers, Kings of Leon, Justin Timberlake and Noah Kahan.

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Uber and AEG Europe have inked the largest naming rights partnership in Germany.

The companies have agreed a long-term deal for AEG’s two venues in Berlin-Friedrichshain, as well as the surrounding entertainment district.

From 22 March, Berlin’s Mercedes-Benz Arena and Verti Music Hall will be renamed Uber Arena and Uber Eats Music Hall, respectively – alongside the adjacent restaurants, cinema and bowling alley that make up Uber Platz (currently Mercedes Platz) – in a first-of-its-kind deal in the market.

“In Uber we have gained an innovative, globally renowned brand, who like AEG Europe, are passionate about creating a best-in-class customer journey and guest experience,” says Paul Samuels, EVP for AEG Global Partnerships. “We are thrilled to be collaborating with Uber and look forward to opening the doors of the Uber Arena and Uber Eats Music Hall for the first time in an official capacity on 22 March, yet also extend our appreciation to Mercedes-Benz and Verti, whom Uber succeeds as naming rights partner, for their collaboration over the past eight and six years respectively.”

“This one-of-a-kind investment is a big testament to our commitment to German cities and in particular to Berlin’s art, culture and sports scene”

Attracting 1.5 million visitors a year, the Uber Arena (cap. 17,000) opened in 2008 and was recently ranked the second highest-grossing arena in the world. The neighbouring Arthur Award-nominated 4,350-capacity Verti Music Hall, meanwhile, launched in 2018.

“We couldn’t hope for a better way to celebrate Uber’s 10th anniversary in Germany,” adds Uber Germany head Christoph Weigler. “This one-of-a-kind investment is a big testament to our commitment to German cities and in particular to Berlin’s art, culture and sports scene.”

The Mercedes-Benz brand will be staying on board as a partner of the Uber Arena in a more general capacity. While specific plans will be announced in the coming months, Uber – in close partnership with AEG Europe – is aiming to elevate guest experience at all levels, from transport arrival and departure, as well as bringing innovative new food and beverage ordering options to events.

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