Bryan Adams has announced a tour of small UK venues to celebrate the release of his 16th studio album Roll With The Punches.

The Canadian, who releases the LP on 29 August, is partnering with record stores to play Leeds’ Brudenell Social Club (30 August), Newcastle’s Boiler Shop (31 August), Content, Liverpool (1 September), UEA LCR, Norwich and a venue TBC in Kingston on 3 September.

Adams will only be playing songs from his new album at the intimate gigs, which will have a strict no phones/no recording policy in place.

The shows will follow the singer-songwriter’s July/August stops across Europe in Italy, Croatia, Slovakia, Poland, Czechia, Austria, Germany, Denmark, Finland, Estonia and the UK.

His agent Chris Dalston of CAA praised the 65-year-old’s work ethic as part of IQ Magazine‘s tour report on Adams’ ongoing Roll With The Punches Tour, which features in our latest issue.

“There are specific times when Bryan is not available, but otherwise, he works tremendously hard and just puts on a great show, night after night,” says Dalston. “Even when he has a couple of weeks off in the tour schedule, he’ll call and ask us to book in some of his acoustic Bare Bones shows, which allows us to visit smaller venues and places that are not on the normal tour route.”

“In 2026, I think we’ll be looking at Japan, Asia, South Africa, and others, as well as a full European arena tour”

Bare Bones dates in 2025 have included stop-offs in the likes of Inverness in the Scottish Highlands, the Faroe Islands, Iceland, Northern Macedonia, and Albania, to name but a few.

“I think there will be a full Bare Bones tour at some point, but for the time being, we’re still planning Roll With The Punches dates, and we’re looking at two European runs this year, then North America,” adds Dalston. “In 2026, I think we’ll be looking at Japan, Asia, South Africa, and others, as well as a full European arena tour toward the end of the year.”

Richard Hörmann at Vienna-based NuCoast Concerts visited ten countries with the rocker this year, prior to July’s Roll With The Punches dates.

“The upcoming shows this summer are beyond expectations,” says Hörmann. “The dates are a mixture of festivals like Clam Castle and regular indoor shows like Krakow, both of which were almost sold out three months in advance. But we’re also visiting unique places like the Amphitheatre in Pula, Croatia, which we have had on our bucket list for quite some time.”

German promoter Marek Lieberberg of Live Nation says that demand is so great that Adams can play two cycles in the territory each year, one indoor and one outdoor.

“These are all standalone headline dates, and there always seems to be room for more,” he says. “Bryan has performed to sell-out crowds for decades, and we have been spoiled by one sell out after the other. There’s nothing different about this tour, with attendances of up to 20,000!”

“You have to understand that you can’t physically promote every show that he plays in your market, because he wants to play everywhere”

Robert De Niento of Barcelona-based Doctor Music tells IQ that Adams is “stronger than ever in Spain”, where he played multiple headline dates as well as headlining O Son Do Camiño festival.

“He has a very loyal fanbase, with many who have followed him from day one,” he says. “What’s especially wonderful is how their passion for Bryan’s music has now been passed down to their children and families. Today, his audience is truly diverse and intergenerational, singing along together at every show.”

In the UK, TEG Europe MD Toby Leighton-Pope has been Adams’ promoter for around the last 25 years.

“Bryan’s plan was always eight to ten shows every six to eight weeks, but he’s now doing longer runs than that because he loves performing live; his work ethic means he’s never off the road for long,” he says.

Leighton-Pope notes that such is Adams’ eagerness to perform that regular promoters sometimes have to step aside to allow competitors to benefit.

“Being Bryan’s promoter, you have to understand that you can’t physically promote every show that he plays in your market, because he wants to play everywhere,” he says. “So, if there’s a castle somewhere, or a stately home, or a crazy theatre, or unique event, then Bryan wants to play it. That means you need to let other people do those shows, and you have to just cheer him on.”

IQ subscribers can read the full tour report here.

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As Legends and ASM Global enter a transformative new phase through their strategic partnership, the company reinforces its position as the world’s pre-eminent venue and live experience operator. And while the fan experience remains paramount, Brian Celler talks to IQ about the importance of creating a promoter and artist experience that is nothing short of world-class.

In the UK and Europe alone, ASM Global’s portfolio spans the continent’s most iconic and diverse venues, from grassroots music halls to world-famous stadiums. With the likes of AO Arena in Manchester, OVO Arena Wembley, Strawberry Arena, first direct arena, P&J Live and Real Madrid’s iconic Santiago Bernabéu to name but a few, the re-launch of Stockholm’s Avicii Arena, and the newly opened Vaillant Live Derby, Legends and ASM Global continues to set the standard for what a world-class venue network can achieve.

This partnership gives promoters and artists more than just great venues – it opens the door to a connected, global community with deep local roots. With one trusted team guiding the way, planning a tour feels more personal, more seamless. Whether it’s a stadium, arena, or concert hall, artists can reach more fans in more places, with less friction and more support every step of the way.

Celler, SVP & head of programming and content at Legends/ASM Global (UK/EU/INTL), explains why a commitment to the promoter and artist experience is a top priority for the group.

“We’re putting a real focus on the promoter experience and making it as seamless as possible,” Celler says. “By streamlining routing and tour planning, we’re creating an environment where both local and independents can thrive along with our global promoter partners. Whether we’re talking about a rising artist playing concert halls, or an international tour hitting big arenas, Legends and ASM Global is built to be the choice for promoters at every stage of an artist’s career.”

A considered approach to a more meaningful promoter and artist experience is a cornerstone of ASM’s approach

In 2025, ASM Global further expanded its UK footprint by adding Utilita Arena Sheffield, Sheffield City Hall, and Vaillant Live Derby to its portfolio, alongside programming support for Manchester’s New Century Hall, London Stadium and in Europe, the re-launch of Stockholm’s iconic Avicii Arena and the opening of Fábricas at Lisbon’s LX Factory. These venues complement existing locations such as Connexin Live Hull and York Barbican, creating what Celler describes as “a powerful and scalable network that enables promoters to route full tours, unlock cross-programming efficiencies and means that we can develop even deeper relationships with artists and their teams.”

A considered approach to a more meaningful promoter and artist experience is a cornerstone of ASM’s approach. With capacities ranging from 1,000 to 60,000, the company supports a natural progression for acts, from their grassroots beginnings to main stage arena/stadium headliners. Venues like Connexin Live and Vaillant Live offer state-of-the-art production capabilities and the flexibility to host both intimate gigs and large-scale shows, providing critical stepping stones for emerging talent.

That commitment extends to ASM Global’s support of the grassroots ecosystem. Through an expanded partnership with Music Venue Trust, Legends and ASM Global are investing in the future of live music with fundraising, marketing support, and in-kind donations to protect vital independent spaces across the UK.

Crucially, ASM Global is investing heavily in the artist experience. Celler said, “Redevelopments at some of our major venues like AO Arena, OVO Arena Wembley, Utilita Arena Newcastle and Olympia London are transforming venue environments. The enhancements include front-of-house upgrades, with expanded capacities and elevated audience experiences, ensuring each of our venues are firmly ahead of the game, cutting-edge and an attractive must-play proposition.”

“AO Arena is a great case study for us, in how transformative investment can directly enhance the venue experience for everyone”

He adds: “AO Arena is a great case study for us, in how transformative investment can directly enhance the venue experience for everyone – from promoters and artists, to production teams and of course the fans. The upgrades to the back of house areas, including modernised dressing rooms, better loading access, upgraded production facilities and more thoughtful crew amenities, have all made a real impact. The feedback we’re getting from the teams who have experienced this first-hand is that they feel genuinely heard, in terms of us exceeding their needs and the audience’s expectations. That is something we’re really proud of, and it’s that top level that we want them to continue to expect across our entire network.”

AO Arena is set to host over 200 events this year, welcoming iconic music artists, ground-breaking sporting events highlighting our boxing/MMA/WWE promoter partners along with major conferences. OVO Arena Wembley, celebrating its 90th year, is continuing to break records into 2025 that reflects its enduring must-play status as a legendary listed arena.

Together, Legends/ASM Global provide more than venues – they serve as environments which enhance the economic base of their local markets, as centres of gathering and community, places which foster creativity, meaningful engagement and sustainable growth. As the live entertainment landscape continues to evolve, Legends/ASM Global’s network is a leader in the industry, offering high-quality experiences for fans, artists and promoters alike.

MAIN PHOTO: Brian Celler

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All over the world, new arenas are taking shape, from major capitals to fast-growing regional hubs. Ben Lee spotlights the projects set to open in the near future.

NORTH AMERICA

TD Coliseum
Hamilton, Ontario, Canada
Scheduled reopening date: late 2025

Not a brand-new arena, per se, but a total renovation of an existing space. Oak View Group (partnering with Live Nation) is involved with transforming the FirstOntario Centre, enabling it to scale up to 18,000 capacity for concerts.

There will be 100 events planned per year, with Andrea Bocelli already booked for this December. It’s estimated to have cost CA$290m and includes the acoustical panelling featured across many OVG venues and a 10x10m support rigging that can accommodate larger touring shows.

OVG CEO Tim Leiweke says it will “completely transform the downtown area with its accessibility, technology-forward improvements, and priority on sustainability.”

Mobile Arena
Mobile, Alabama, US
Scheduled opening date: 2027

The $237m project to replace the Civic Center aims to entice more acts to stop by and perform in the scalable 10,000-cap venue. Concerts, family shows, and sporting events will make up the programme.

The 22-acre site has been designed to support the city’s Mardi Gras traditions, with multiple ballrooms and space for conventions. Conrad Albrizio’s 1965 mosaics that were displayed in the foyer of the old arena will also feature in the new building.

Mobile’s mayor, Sandy Stimpson, says OVG’s experience will “turn this new venue into a hub for entertainment, culture, and community on the Gulf Coast.”

LATIN AMERICA

Arena Primavera
Medellín, Colombia
Scheduled opening date: 2026

The fast-growing Colombian market is set to improve even further once Arena Primavera is completed. The 16,250-cap venue is part of an urban renewal master plan that is being redeveloped over a 55,000 sqm area.

The five-storey arena will programme around 75 events annually and welcome 600,000 visitors, with 1,000 direct and indirect jobs generated per event.

Designers HOK have implemented a changing LED façade, while natural ventilation and water conservation systems will position the arena as the country’s first carbon-neutral venue.

Arena Primavera will cost around $55m and is funded by consortium CLK Group, who own Movistar Arena in Bogotá.

CLK strategy director Gabriel Sanchez Olea says: “This new venue will complement Movistar Arena Colombia, strengthening Colombia’s position as a must-visit destination for artists touring South America. This is yet another step in our commitment to the country and the incredible talent of our people.”

EUROPE

Arena Brno
Brno, Czechia
Scheduled opening date: late 2026

Arena Brno is set to become one of the busiest arenas in Europe as it will be the home of ice hockey team HC Kometa Brno and will host Oktagon MMA matches. The venue will be able to seat just over 12,000, which can extend to 14,000 for concerts, with plans to programme a mixture of music, family shows, and sport.

Technical specifications include a 100-ton rigging capacity over the stage, 30m ceiling height, and retractable elements to build the stage away from the performance area.

The arena confirmed it would book in-house but is also collaborating with local and international promoters. The chairman of the venue’s board of directors, Petr Kratochvíl, says he could not “confirm anything 100% yet” regarding who it will work with but that “everything is going according to plan.”

Cardiff Atlantic Wharf Arena
Wales, UK
Scheduled opening date: 2026

Cardiff Atlantic Wharf Arena is part of a wider 30-acre regeneration project for Cardiff Bay. The venue was projected to have a capacity of 17,000 to host a mix of events that could be scaled down to 3,500-capacity.

But according to Architects’ Journal, the arena’s height, width, and length have shrunk, reducing the venue’s capacity from 17,000 to 15,348, due to inflation causing construction costs to jump from £180m to £280m, according to Wales Online.

It was reported that Live Nation (in partnership with OVG and Cardiff City Council) invested £100m into the arena. Cardiff City Council estimates 1m people will visit each year and says it could create £92m in annual spend and help stimulate an additional 1,000+ jobs in the area.

YTL Arena
Bristol, UK
Scheduled opening date: 2027/2028

The YTL Arena confirmed last year that it would be delaying opening for concerts. However, the Malaysian developer and naming-rights partner has since announced a £2bn investment injection to support the wider Brabazon Bristol development project so that progress could continue.

The 19,500-capacity, carbon-neutral arena will transform Filton Airfield’s hangars (where Concorde was built), into the UK’s fourth-largest indoor arena, with column-less exhibition and convention halls. It will host 140 events a year, with approximately 70–75% of programming dedicated to concerts.

The floor area reaches 11,000m2, with height clearance of 21 metres. It will also be a flexible hub for entertainment, film, TV, and music rehearsals. The new arena will ensure the UK’s biggest city without an arena will soon refute that claim after a 20-year wait since the initial plans were drawn up.

The arena’s CEO, Andrew Billingham, says: “We have tackled challenges head-on, making crucial decisions to expedite the opening while ensuring we deliver one of the premier arenas in Europe.”

Arena Milano
Italy
Scheduled opening date: 2025/2026

In the southeast of the city, the 16,000-capacity Arena Milano will become Italy’s largest indoor venue, according to its operator CTS Eventim. The €180m multipurpose arena will also have 10,000sqm of space for open-air events.

Part of the Milano Santa Giulia urban development project, Arena Milano will be used for the 2026 Winter Olympic and Paralympic Games.

The design by architect Sir David Chipperfield includes three aluminium rings of increasing heights that wrap around the whole building, evoking similarities to the city’s former Roman amphitheatre. It will be powered by 4,000 south-facing photovoltaic roof panels, which will enable it to meet its energy needs sustainably.

CTS Eventim have brought in Luca Martinazzoli as MD ahead of the venue’s completion.

“With Milan as a global hub of culture and innovation, the arena presents a unique opportunity to inspire audiences and attract world-class events,” says Martinazzoli.

Munich Arena
Germany
Scheduled opening date: 2029

The Munich Arena (formerly MUCcc), with its prime location close to Munich International Airport, will boast a capacity of 20,000. Live Nation have recently been announced as a long-term partner for the building, which has been designed by Populous in a 270° horseshoe shape.

It is hoped that the arena will receive DGNB Gold certification through the reduction of its carbon footprint during construction, as well as sustainable strategies for building operation. It will install several thousand PV/solar panels on the roof of the arena, car park, and hotel, in order to provide self-sufficient energy.

A recent Deloitte study estimates an annual gross value-added impact of €354m for the local economy, plus, an additional €391m projected during the construction phase. The wood-steel hybrid roof beams will span over 100 metres, with an integrated rigging level, and specialist audio firms have been engaged to ensure that eventgoers will benefit from “perfect sound” no matter where they’re seated.

Live Nation EMEA venues president Tom Lynch says: “We are proud to be part of this groundbreaking project in Bavaria, which has the potential to become a cultural and live entertainment hotspot at the heart of Europe.”

Ratapiha Arena
Turku, Finland
Scheduled opening date: 2029

The 10,000-capacity Ratapiha Arena will be the centrepiece of the Turku Railway Yard development that hopes to attract 5–6m visitors a year. The venue is set to open along with residential buildings, costing at least €410m, with a train connection currently being constructed between Turku and Helsinki enabling easier access.

Ticketmaster was appointed as its ticketing partner for concerts, and Turku Live will operate the venue. Ratapiha Arena will also become the home of HC TPS ice hockey team, with capacity scaling down to 8,900 for matches.

Roig Arena
Valencia, Spain
Scheduled opening date: 2025

With more than 30 concerts already announced, this much- anticipated, highly-flexible venue in Spain’s third most- populous city will be a welcome addition to the market.

Covering 47,000 sqm and with a capacity of up to 20,000 for concerts, Roig Arena has programmed its first events for the autumn with Camilo performing in September followed by André Rieu, The Psychedelic Furs, and Hans Zimmer.

Juan Roig, president of Spanish supermarket giant Mercadona, has funded the €280m project. The venue will scale down to 15,600 for when Valencia Basket Club play games there, while football club Villarreal have secured a sponsorship deal with the arena.

The venue’s MD, Víctor Sendra, says: “There is no venue like it in Spain. We are completely changing the mentality.”

ASIA

Kyoto Arena
Japan
Scheduled opening date: TBC

The Kyoto Arena is being built to address the prefecture of Kyoto’s shortage of indoor facilities for touring events. It is located in the city of Mukō on a site that also houses the Mukomachi Keirin Velodrome. The arena will seat 8,925 fans for sporting events and 9,328 for concerts.

It is intended that it will become the future home of basketball team Kyoto Hannaryz, amid a potential nine new venues planned across the country. The arena will adhere to new rules for Japan’s men’s basketball leagues, as the B. League requires average attendance of 4,000 per game in venues that can hold at least 5,000.

Kyoto Prefecture has signed an agreement with a consortium to develop the new venue, which is expected to cost ¥34.8bn.

IG Arena
Nagoya, Japan
Scheduled opening date: 2025

With a summer opening approaching fast, the 17,500-capacity IG Arena will welcome 1.4m visitors to over 150 events a year.

Set inside Nagoya Castle, the venue will replace Aichi Arena, with its hybrid oval bowl enabling both oval and horseshoe configurations. It will be the first in Japan to offer a fine dining experience in an arena.

Operated by Aichi Smart Arena Group, a consortium that includes AEG, it will be the main indoor venue for the 2026 Asian Games and has already welcomed Hans Zimmer for a pre-opening test event.

IG Japan’s Tomoharu Furuichi says he believes “IG Arena will mark a new chapter for both fans and the city of Nagoya.”

Osaka Arena
Japan
Scheduled opening date: 2030

Located within Expo ‘70 Commemorative Park, Osaka Arena will host over 145 concerts and welcome 1.6m visitors per year. The 18,000-seater will include 42 suites and three hospitality lounges and is part of an entertainment district.
AEG is partnering with the Mitsubishi Corporation Urban Development and Kanden Realty & Development on the arena, which will include a retractable seating system and rigging grid to allow for smooth overnight changeovers from one event to another, ensuring the arena can be booked at maximum capacity all year round.

Bangkok Mall Arena
Thailand
Scheduled opening date: 2028

The 18,000-capacity Bangkok Mall Arena, adjacent to the Mall of Bangkok, will aim to welcome a million guests across more than 90 events each year.

The new CEO for AEG International, Alex Hill, will be overseeing the completion of the arena.

Seoul Arena
South Korea
Scheduled opening date: 2027

Seoul Arena’s completion has been put back a couple of years due to rising costs, but it’s set to draw in 2.5m visitors a year, when it opens, as the country tries to meet the demand for K-pop concerts and combat the lack of venues to host them.

IT giant Kakao is partnering with government on the 18,269-seat arena that can scale up to 28,000 for standing events. There will be a separate 2,010-seat performance hall on site, and it’s been reported that the arena will have “cutting-edge acoustics, clear sightlines, tech trappings, and bespoke infrastructure.”

AUSTRALASIA

Entertainment Quarter Arena
Sydney, Australia
Scheduled opening date: TBC

A 15,000–20,000-capacity arena is expected to transform Sydney’s Entertainment Quarter at Moore Park, as Australasian Leisure Management reported last year that an open tender process would be held to attract developers to submit plans for the 11-hectare site.

The New South Wales government said: “The Entertainment Quarter is one of Sydney’s key entertainment and sports precincts and a hub for creative industries, but it is currently underutilised considering its prime location.”

According to NSW premier Chris Minns, “There’s literally hundreds of acts around the world that want to come and tour Australia, and Sydney in particular.”

MIDDLE EAST

Jeddah Arena
Saudi Arabia
Scheduled opening date: TBC

Legends/ASM Global is planning a 20,000-capacity arena as part of the Jeddah Airport City complex, which will include shops, homes, an artisan district and food yard.

The GM of Jeddah’s Onyx Arena, Imad M. Bitar, describes Saudi Arabia’s rapid development as an “attractive and emerging global entertainment destination for international talent and audiences alike.

“With strong government backing, global companies heading and establishing in KSA as per the Vision 2030 [government programme], a young experience-driven population, tech-savvy youth, and a push to position the kingdom as a global cultural, sports, and entertainment destination, the opportunities are immense.”

Diriyah Gate Arena
Saudi Arabia
Scheduled opening date: TBC

The HKS-designed Diriyah Gate Arena is a 20,000-cap multipurpose venue that will span over 76,000 sqm on the outskirts of Riyadh and will reflect the traditional Najdi architecture native to Diriyah.

The venue will seamlessly transition between different configurations, so it can host various events in quick succession with quality acoustics and optimal viewing angles from every seat.

OVG is believed to be involved in the project, which will represent an integral part of the development that features Saudi’s first opera house, a new contemporary art museum, and a full-size version of Paris’s Champs-Élysées Boulevard.

Diriyah Company CEO Jerry Inzerillo says, “The arena in Diriyah is a cornerstone element of our mission to blend tradition with innovation. It exemplifies Diriyah’s unique lifestyle offering that harmonises community, culture, and natural connection, setting a new standard for world-class destinations rooted in Saudi heritage.”

AFRICA

Lagos Arena
Nigeria
Scheduled opening date: TBC

The multipurpose, 12,000-capacity Lagos Arena will operate mainly as a concert hall but host congresses and sports events, too. Located on Victoria Island, the main business and financial centre of Lagos, its terraces will offer views towards the river and ocean.

A consortium that includes Live Nation and OVG is developing the arena to create opportunities for local and regional talent to play to larger audiences in Nigeria and reduce the number of temporary venues built to accommodate big artists. The venue is estimated to cost $100m, will create over 1,500 direct and indirect jobs, and will host 200 events annually.

When the project was announced, OVG’s Tim Leiweke said: “Nigerian artists are some of the most influential in the world right now, and yet they have nowhere to play in their home market. We want to change that.”

View a preview of the Global Arena Guide 2025 below. Subscribe now to read the full publication.

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Live Nation’s Tom Lynch says the company is primed to put Finland “back on the international touring map” after confirming a reopening date and naming rights partnership for Helsinki Halli.

The country’s largest entertainment venue, which will relaunch this September, is to be renamed Veikkaus Arena as part of a 10-year agreement with Veikkaus, Finland’s state-owned gaming operator.

Live Nation took on a 20-year lease to operate the 15,500-cap arena, which has been closed since 2020/21, earlier this year.

“Securing a naming rights partner is always one of our top priorities,” Lynch, LN’s president of venues EMEA, tells IQ. “And in this case, when a venue has been closed for so long, it’s great to relaunch with a big brand that has a great vision around culture, community and visibility. It makes a bold, long-term statement when a brand wants to put its name on the building.

“Veikkaus really stood out because they share our commitment to restoring the building, restoring the arena back to its former glory, and making it the number one destination for entertainment and events in Finland. That alignment of our vision and their vision is essential.”

“A capital city without an arena doesn’t make sense – it always leaves a huge hole in the cultural landscape”

Veikkaus Arena will be positioned as a premier destination for global tours and brand partnerships in the Nordic live entertainment market.

“The arena is the heart of our capital city and a hub for high-quality events,” adds Olli Sarekoski, CEO of Veikkaus. “It is important that as many people as possible get to enjoy the arena’s diverse offering of culture, sports, and entertainment. Veikkaus wants to actively promote and enable those experiences together with Live Nation.”

First opened in 1997, the former Hartwall Arena has been mothballed for the past three years due to sanctions on its previous Russian ownership. It was acquired in early 2025 by a consortium led by Finnish investor Heikki Viitikko and Trevian Asset Management Oy.

“The arena is Finland’s premier live entertainment space, and has been closed down pretty much since Covid,” says Lynch. “A capital city without an arena doesn’t make sense – it always leaves a huge hole in the cultural landscape. So first and foremost, we’re looking forward to bringing international and domestic stars back to the city, which has been sorely missed for nearly five years. It’s brilliant to bring such a significant venue back online.”

In addition, Live Nation will continue its collaboration with long-time venue partner, Hartwall – a Helsinki-based beverage giant – focusing on F&B offerings. Discussions are also underway to explore the arena’s potential sporting uses. And despite its lengthy spell of inactivity, Lynch reports the venue is in “pretty good shape”.

“It’s been very well maintained,” he says. “It’s been closed for five years, but it’s had a team of people in there looking after it, which is really important. So we’re upgrading the venue with new concourses, new VIP lounges and a whole new F&B experience, because five years is a long time in terms of how much the fan experience has moved on.

“We’re also reconfiguring some of the seating to maximise the capacity and sight lines for concerts. We’re investing in the infrastructure, investing in the experience, and bringing big acts back to the city. That’s what will underpin all of our work.”

He continues: “We’re running some community test events over the summer and are looking to reopen with our first show in early September. Announcements around the first acts will be made very soon, and we can’t wait to get back to business. We think it will be a strong Q4 and that people will be excited about the acts that are coming back to Helsinki.”

“Certainly in my time, I think this is the best year on record. It’s a very, very strong year for arena acts”

Through the years, the arena has welcomed icons such as David Bowie, Lady Gaga, Elton John, the Spice Girls, Robbie Williams, Iron Maiden, Metallica, Bruno Mars, Justin Bieber, Lana Del Rey, Whitney Houston, Rihanna, Prince and Black Sabbath.

“This venue is a big deal for Finland, so to have it closed left a huge gap for concerts, sports and cultural events,” says Lynch. “It’s a key stop on the touring route across Scandinavia, so will have a significant knock-on effect to the Helsinki and wider Finnish economy. We had a big run of stadium shows last year with Metallica, Coldplay and Bruce Springsteen, which brought around €114 million in economic impact to the market, and we think that reopening the arena will drive another €100m annually to the Helsinki economy. So it’s big deal culturally. It’s a big deal for the city’s identity, but it really means a lot in terms of the economic impact.”

The venue’s reintegration on the circuit promises to bolster an already buoyant sector.

“Certainly in my time, I think this is the best year on record,” says Lynch. “It’s a very, very strong 2025 for arena acts – probably the highest in terms of show count and ticket sales that we’ve ever seen at our venues across Europe. And what’s most impressive is the diversity: We’re seeing more diversity of genres, more diversity of acts, both domestic and international. That’s the most satisfying thing – it’s not just a good year, you can see the market evolving with the breadth of acts and genres.”

He concludes: “I go back five or six years, and we were wondering where all the headliners were coming from. Now, we’ve now got headliners in five or six genres, and all age ranges of fans, coming from all over the world. That’s a really positive change for the market on an arena level, and we’re seeing it on a stadium level, too.”

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Rebecca Kane Burton, executive VP of venue management at OVG, discusses the future of the venue industry.

Having delivered some of the world’s most high-profile arenas – why is refurbishing existing venues just as important to OVG as building new ones?
We’re focused on finding the optimum solution for each market. While new builds, like Co-op Live [in the UK] are transformative, we also see huge potential in existing infrastructure. Sometimes a venue just needs a mini facelift – better acoustics, improved flow, or an enhanced fan experience – to restore its competitiveness. A great example is Hamilton Arena in Ontario, where our investment has been laser-focused on ensuring it can regain its competitive edge.

What’s also critical is understanding the specific market you are operating in. No two markets are the same, and success lies in identifying your unique edge – what makes your offer stand out – and delivering that within your venue with precision. Staying close to industry trends and understanding your competitors is essential, but knowing your strengths is what truly sets you apart.

What defines a great customer experience in arenas today – and where do venues still fall short?
The gold standard is simple: seamless, stress-free, memorable experiences. That includes intuitive queuing systems; streamlined and effective security; and ensuring every touchpoint within the venue is user-friendly. Technology is critical here – using it to speed up delivery, personalise experiences, and reduce friction at every stage of the fan journey.

One of the biggest opportunities that we continue to focus on is premium. Requirements have shifted massively recently; we invest thought and ingenuity, not just at the top end but across a range of budgets. Tailored tiered experiences are where we continue to see huge growth potential.

One common pitfall? Poor staff training – especially when it comes to outsourced teams. At OVG, we outsource very little, but we train all staff, whether they’re in-house or third-party, as one unified team. The fan doesn’t care who you work for – they just want a great night out.

“Retail moves so fast, and it is all about agility… It’s about staying ahead of the curve and pivoting when something isn’t working”

What can arenas learn from other industries?
Retail and aviation have been major sources of inspiration throughout my career. Both sectors are fast-moving and focused on delivering for the customer – and that’s where arenas need to be.

Retail moves so fast, and it is all about agility. Look at how high streets have changed – it’s about staying ahead of the curve and pivoting when something isn’t working.

In aviation, it’s the tech – seamless digital journeys that reduce stress and enhance the experience. Airport retail is big business. “Reduce the stress of making it to the plane and I’ll consume at leisure.” It’s the same formula in arenas.

How are you thinking about sustainability – not just in design and operations but in terms of long-term audience and community impact?
The pandemic reminded us just how much we all need spaces to connect, celebrate, and escape. Venues aren’t just buildings – they’re a vital part of community life.

Sustainability is baked into how we operate. Co-op Live, for instance, is Europe’s first all-electric arena – powered by renewables, with rainwater harvesting, solar energy, and heat pumps. This helps make tangible impacts on the local area. In Manchester alone, we support over 12,000 jobs, with 80% of the Co-op Live workforce living within ten miles of the venue.

Long-term sustainability means being a responsible neighbour and a positive force for economic and social good – that’s what drives us.

With so many new venues coming online globally, what will set the best arenas apart in the next decade?
Three things: sound, service, and staying power.

Sound is fast becoming the key differentiator. Artists, fans, and promoters want venues where the audio experience is second to none. At Co-op Live, we’ve designed acoustics that are world- class, because we know that’s what artists and fans deserve.

Then there’s service. F&B can no longer be an afterthought – it’s a core part of the fan experience. An amazing setlist paired with sub-par food doesn’t cut it. Venues need to match the ambition of their shows with hospitality to match.

Finally, relevance. The best venues will be those that stay agile – identifying emerging trends, adapting to fan expectations, and ensuring they’re always one step ahead. We’re in a competitive, choice-rich market – and it’s the venues that evolve fast that will lead the next decade.

This article was originally published in the Global Arena Guide 2025. View a preview below and subscribe now to read the full publication.

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DHP Family owner George Akins has spoken of his pride at promoting Kneecap and the realities of life as an independent in an interview with IQ.

The promoter and venue operator is staging Primary Talent International-represented Kneecap’s biggest headline show outside Ireland to date – at London’s 12,500-cap OVO Arena Wembley on 18 September.

The Belfast rap trio’s Mo Chara appeared in court last week charged with of displaying a flag “in such a way or in such circumstances as to arouse reasonable suspicion he is a supporter of a proscribed organisation”, namely Hezbollah – during a concert in London in November 2024. He has been bailed until 20 August.

Like many within the music community, Akins is resolute in his support of the group.

“We’re really proud to be Kneecap’s promoter and to be able to support them in their careers,” he says. “We aren’t going to run scared when the pressure hits. It’s a joy to be involved with a band that are on a mission. Musically, they are brilliant and have so many things going for them: a great record company, great agent, great management, great guys.”

Controversy around Kneecap, who also announced their biggest non-UKI show so far for Amsterdam’s AFAS Live in the Netherlands on 12 November, intensified after they shared a “fuck Israel, free Palestine” message onstage at Coachella in April. The trio were subsequently dropped from a slew of festivals in Germany and the UK, with a number of headline shows also cancelled by venues on “safety grounds”. This week UK prime minister Keir Starmer said he did not think it was “appropriate” for the group’s set at Glastonbury this Saturday (28 June) to go ahead.

But more than 100 acts – including Massive Attack, Paul Weller and Idles – have signed a statement in support of the band, registering their opposition to “any political repression of artistic freedom”.

“The Wembley show is selling very well. We expect it to sell out, and I’m looking forward to see how they perform at Glastonbury”

“There are days where it takes everything out,” says Akins. “I get a Kneecap call in the morning, and that’s my day. Every time we have to pull a show down, we’re having to go out and find another venue. Every time a show goes down, we’ve got to find another show.

“But there is always someone that is prepared to take the risk, because they know that these are good guys and they are doing what they believe is right. And a lot of people believe in that, and a lot of people don’t believe in that.”

Akins credits Wembley as “a joy to work with”, adding: “That show is selling very well. We expect it to sell out, and I’m looking forward to seeing how they perform at Glastonbury.”

DHP, which reported significant growth in its concert business in 2024, now stages around 1,600 shows a year. Its portfolio includes its flagship Rock City (cap. 2,000), Rescue Rooms (450), Stealth (660), Bodega (220) and The Palais (2,500), which it reopened last year, all in its native Nottingham. It also operates Bristol’s Thekla (400) and London’s Oslo (600), Garage (600) and The Grace (150).

“We’re a true independent company,” says Akins. “We are a true grassroots company. Our music venues – Thekla, Bodega, Oslo, Rescue Rooms, Stealth – are all true grassroots music venues, dealing with bands playing their first shows on the circuit, or supporting local scenes.

“You know that you can ring me – the owner of the company – and that I’m involved in every aspect of what we do. That gives you the knowledge that you’re dealing with someone personally. Obviously, we want to be financially successful, but the be all and end all is not about next year’s share price, or making sure that we are constantly seeing growth, we want to be around in another 40 years.”

Akins, who fronts DHP alongside director of live Anton Lockwood, oversaw a 135% increase in turnover from 2013-23. It promotes tours and shows by the likes of James Blunt, Lewis Capaldi, Belinda Carlisle, Sam Fender, Rufus Wainwright, The Flaming Lips,  Electric Callboy, English Teacher and Royel Otis, and has previously worked with the likes of Lana Del Rey and Ed Sheeran – co-promoting multiple UK stadium tours by the latter.

“We have the capability of doing anything from 100-capacity shows, all the way up to stadiums”

However, Akins confides that life as an independent is not straightforward.

“There are not many of us left and that probably tells you a lot about the challenges,” Akins tells IQ. “We’re not interested in being part of a bigger corporate machine – that’s not part of the ethos of this company. But actually, quite a lot of artists, agents and managers have been burned by the system and want to work with the alternative – and that’s what we offer.

“We have the capability of doing anything from 100-capacity shows, all the way up to stadiums. We’re able to do everything, and we are interested in supporting people’s careers at every level.”

Akins expresses his concerns over the trajectory of ticket prices for live events.

“There’s obviously been a great deal of inflation over the last few years and, therefore, ticket prices are going up, but they are going up exponentially,” he says. “We want everyone to come to live music, not just upper middle class people, and we also want those people that are going to more than one event a year. We want them to be able to go and see live music throughout the year as much as they can, and you’re not going to do that if ticket prices are excessive.”

“It’s all about a 10/20-year plan, not just what we’re going to do this year”

DHP also runs a slate of festivals, including the 25,000-capacity Splendour in Nottingham, which returns to Wollaton Park from 19-20 July, headlined by Bloc Party, Jake Bugg, Kaiser Chiefs and Travis. The firm agreed a new five-year contract with Nottingham City Council after Splendour’s 2024 edition was axed due to delays over tendering.

“The decision got left so late that we ended up not doing last year’s event,” says Akins. “And it took enough time that this year’s event was also delayed in getting organised. So it’s great to now have a proper contract so we can develop and build back.”

DHP also bought into Derbyshire camping festival Bearded Theory in 2022, and stages Bristol and Nottingham city festival Dot To Dot, which marked 20 years last month. In addition, it runs Footsteps, a new multi venue festival in London, plus charity festival Beat The Streets in Nottingham which has raised more than £500,000 for the homeless since its inception in 2018, as well as Foolhardy Folk Festival in collaboration with folk artist Bean on Toast.

“It’s all about a 10/20-year plan, not just what we’re going to do this year,” says Akins. “You can see the venues, the festivals, everything we’ve done has got longevity, and everything is about those building blocks to allow us to keep venues trading longer and longer.

“We are always thinking about the longevity of our businesses, and we think about our customers in that way as well. So when we’re thinking about ticket prices, it’s like, ‘Yeah, it might be good for this one tour, but what are we dealing with in five years’ time?’ Because that’s what we’re about.”

Revisit IQ‘s 2024 profile of Akins exploring his 30 years in music here.

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Broadwick Group has announced a partnership with East London’s Troxy, aimed at establishing a “broader and more ambitious programming and commercial vision” for the venue.

The link-up will see the 3,100-cap venue continue to operate as an independent brand with live music as its focus, while expanding its offering across brand activations, cultural showcases, film and TV production, corporate events, and creative hires.

As part of the “landmark” arrangement, Broadwick – the firm behind venues such as venues such as Magazine London, Printworks and Landing 42 – will invest in the Grade II-listed building’s ongoing £1.5 million (€1.75m) redevelopment alongside the venue’s landlords.

“This partnership marks a hugely exciting next chapter for Troxy,” says Troxy MD Tom Sutton-Roberts. “It’s been an incredible journey to get to this point and working with Broadwick feels like a natural evolution. As a team we are really excited for what’s ahead and looking forward to working with the wider Broadwick team whose experience includes creating some of London’s most iconic venues in recent years.

“We’re ready to take Troxy to the next level, delivering even more unforgettable experiences across music, culture, and beyond”

“With big plans already on the horizon, including thoughtful venue developments and new ways to use the space, we’re ready to take Troxy to the next level, delivering even more unforgettable experiences across music, culture, and beyond, while staying true to the people and spirit that make it special.”

Troxy, which will host the 2025 LIVE Awards on 10 December, has upcoming concerts with acts including Matt Berninger, John Grant and The Cat Empire. It has previously welcomed the likes of The Cure, Robbie Williams, Stereophonics, Jack White, London Grammar, Biffy Clyro and Liam Gallagher & John Squire, as well as the NME Awards and the Kerrang! Awards.

“Troxy has hosted some of the most unforgettable nights of comedy, music and spoken word, as well as thousands of celebrations that give it a special place in East London history,” says Simon Tracey, Group CEO of Broadwick. “We’re incredibly proud to support the next chapter, one that not only protects its soul but also unlocks new potential across music, culture, and experience.”

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A new 4,500-cap indoor arena in Nigeria is set to be launched as part of plans to develop the country’s first “comprehensive” venue network.

Located in the arts and crafts village of the capital Abuja, the flagship scheme is being headed by entertainment brand Mefa, in partnership with the National Council for Arts and Culture (NCAC).

The privately-funded project, which is expected to be completed in 2026, will host up to 250 events a year and has been hailed as “the beginning of building a domestic touring ecosystem for live entertainment, sports and cultural events”. It is slated to be the first of six new venues planned across the country.

Speaking at the Abuja venue’s groundbreaking ceremony, Mefa founder Yinka Obebe told reporters: “Mefa was born out of necessity, out of frustration that our creatives lacked spaces worthy of their genius.

“This arena is a tribute to the incredible artists, dancers, producers, and fans who deserve world-class venues in their own country. We are not just building a structure, we are building hope, pride, and prosperity.”

The Nation reports the first phase rollout will extend to venues in the cities of Enugu, Kaduna, Jos and Port Harcourt.

“It pains me that we lack arenas to enjoy our world class talent”

Nigerian culture minister Hannatu Musa Musawa described the “state-of-the-art” Abuja development as a “defining moment” for the country, which has produced global stars such as Burna Boy, Davido and Wizkid.

“As a Nigerian, it pains me that we lack arenas to enjoy our world class talent,” she said. “I shouldn’t have to travel to Ghana or Rwanda to witness world-class performances in world class venues.”

In a separate project, it was announced last year that Live Nation and Oak View Group are among the backers of Africa’s first purpose-built arena. The $100 million, 12,000-cap arena is scheduled to open in Lagos, Nigeria, at the end of 2025.

IQ‘s newly published Global Arena Guide 2025 notes that the most consistently used venue for international-standard indoor concerts in Nigeria is currently the Eko Convention Center in Lagos. A banqueting hall, the space is reconfigured for concerts and accommodates up to 6,000 standing. It has hosted events headlined by Gunna, Roddy Ricch, Tyla and Megan Thee Stallion in recent years.

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Luxembourg’s Rockhal is to stage two special events later this year as part of its 20th anniversary celebrations.

The 6,500-cap concert hall, located on the former industrial site of Belval in Esch-sur-Alzette, has welcomed talent such as P!nk, Kylie Minogue, Depeche Mode, Prince, Bruno Mars, Bob Dylan, Katy Perry, The Killers, Imagine Dragons and Red Hot Chili Peppers since launching with The Prodigy in autumn 2005.

The venue’s main hall will host Encore!, a free show featuring dozens of domestic acts, for its first commemorative event on 24 September. Confirmed names including Adriano Selva, De Läb, Angel at My Table, Mutiny on the Bounty, Pleasing and Tuys will be joined by a house band comprising 18 musicians from the local scene.

“These are our artists. We put our heart and soul into this,” the venue’s CEO Olivier Toth told a press conference. “For this event, the people who have accompanied us as the Rockhal for 20 years and who have created unforgettable moments will be on stage.”

A second free event, entitled the Monumental Tour, will then take place outdoors on 27 September in partnership with the Belval Fund. French DJ Michael Canitrot will host a musical set at the “immersive” open air electronic music show, which will feature artists “who have made Rockhal history over the past two decades”.

“The anniversary events revolve around three groups of people: the artists, the audience, and all those who work behind the scenes”

Officially the Centre de Musiques Amplifiées, the venue is set to hold gigs by Jimmy Eat World, the Black Keys, Air, Jorja Smith, Judas Priest, Yungblud, Lorde, Electric Callboy, Tom Odell and Jason Derulo later this year. Toth explained why he decided against marking the anniversary with a big name artist.

“Concerts and major headliners are our core business. It’s something we do every day,” he said. “The anniversary events revolve around three groups of people: the artists, the audience, and all those who work behind the scenes. This trio creates what we have been able to build for 20 years. This is how the energy that drives and inspires us is created,”

European Arenas Association (EAA) president Toth also shared his hopes that a balcony will be installed in Rockhal’s main hall in the future.

“A balcony would make our offering even more accessible, allowing visitors who can’t or don’t want to stand during a concert to take a seat there,” he added. “Furthermore, this additional capacity can be used in a variety of ways: as regular seating or as part of a premium package,” said the concert hall director.

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As migration has made the world a more diverse landscape over the past half-century, delivering live entertainment in the native language of those migrants is becoming big business in urban metropolises. Eamonn Forde reports on the emerging market for specialist diaspora events.

Every week, somewhere around the world, crowds of migrants attend local venues to be entertained by fellow countrymen and women, while the citizens of the towns and cities that host these shows are blissfully unaware of the spectacle that doesn’t just entertain but strengthens bonds among communities living in foreign climes.

Migration is a defining feature of the modern world due to a complex combination of economic, political, cultural, and familial factors. The International Organization for Migration’s World Migration Report 2024 stated that in 2020 there were 281m people living in countries other than their countries of birth. This is an increase from 153m in 1990 and more than triple the number in 1970.

Those who relocate to other countries often cleave to certain things that provide a powerful and direct connection to “home” – and chief among them are food and music. These are a way for people to keep their culture alive and also introduce it into the places they have migrated to.

A few countries have historically dominated the export of popular music globally (the US, the UK, Sweden), but as immigration grows, so too does what we can term “diaspora touring.” This is where, when immigrant communities become established and reach a certain size, it becomes possible for acts from their home countries to play to them where they now live.

A Taste of India
Rock On Music has been, in its own words, “bringing the heartbeat of Indian music to the UK” since 1986, promoting artists in cities with long-standing Asian communities, such as London, Birmingham, and Manchester (as well as Rotterdam in the Netherlands).

“Artists will play in the UK on the way to the States or on the way back from the States. It is a way of breaking up the journey and earning a bit more money”

At a London press conference ahead of shows at the De Montfort Hall (Leicester) and Indigo at The O2 (London) in April, Indian superstar Armaan Malik spoke of how it had been eight years since his last shows in the UK, but in that time, his profile had been massively increased through a collaboration with Ed Sheeran on his track 2Step in 2022.

He described Rock On as “the real backbone behind the shows” and added that, because he sings in multiple languages, he can appeal to a wide range of Indian and Indian diaspora listeners. (Alongside English, he sings in Hindi, Telugu, Kannada, Bengali, Marathi, Tamil, Gujarati, Urdu and Malayalam – a level of polyglotism that is rare but that gives him a deeper connection with many of Indian heritage.)

It was with Bollywood singers that OVO Arena Wembley, a pioneering venue in the UK for diaspora shows, started to become aware of the scale of the demand for artists from markets that, historically, have not been regarded as major music exporters. This is now a key part of its booking policy and its business model, with nine Indian artists and nine South Korean artists having played headline shows there in 2024 (compared to 18 from the UK and 21 from the US).

“[Bollywood] here makes sense with a local community,” says John Drury, vice president and general manager at OVO Arena Wembley, of the cultural make up of the local area while also pointing to the venue’s vast potential catchment area covering London and the south. “What we still see is that those artists will play in the UK on the way to the States or on the way back from the States. It is a way of breaking up the journey and earning a bit more money on the way while they play some shows across the Atlantic. That was the start of it – and then it has grown.”

James Harrison, vice president of programming for UK and EU at ASM Global, adds that shows by such acts are travelling far beyond London (with its characteristic cosmopolitanism and regular turnover of international students). “Leicester, Birmingham, or Coventry would typically be the second play,” he says of acts coming into Wembley, “and then maybe they’d do Leeds or Manchester.”

Beyond Bollywood
Alongside London, Paris and Berlin are seen as the key diaspora cities for European shows by such acts. Speaking to IQ for its Global Arenas Guide 2025, Britta Kriesten of the Rudolf Weber-Arena says that Oberhausen, being one of the most multicultural areas in Germany, is also an increasingly important destination here. “We see an increase in arena-size concerts of artists from Arabic countries and Eastern Europe for our region,” she says.

“Rather than just focusing on bringing the same artists back, our strategy is to grow the roster of talent appealing to these audiences”

The Royal Albert Hall in London has also positioned itself as a key venue for diaspora shows, giving the venue a strongly international cultural remit. Dave Gamble, head of programming at the venue, points to Chinese singer Hins Cheung (who played three sold-out nights in 2023), Iranian singer Homayoun Shajarian (two sold-out nights in 2024), plus Ukrainian rock band Okean Elzy and Greek singer Konstantinos Argiros as examples of the venue’s recent diverse booking policy.

“In a multicultural city like London, it just increases the potential audience numbers we can welcome each year,” he says.

The immigration boom in the United Arab Emirates is also now seeing a sharp uptick in shows aimed at the different diasporas now living there.

James Craven, president of Live Nation Middle East, cites shows this year by Taiwanese star Jay Chou and Filipino rock band Rivermaya as being indicative of where the market is going there.

“[These acts’] shows were the first concerts organised by Live Nation Middle East specifically targeting these communities and are part of a growing trend of global artists, especially from Asia, connecting with their audiences here,” he says. “Rather than just focusing on bringing the same artists back, our strategy is to grow the roster of talent appealing to these audiences. There is clearly a demand for Mandopop, Cantopop and Original Pilipino Music – opening the door for more artists within these genres to perform in the Middle East.”

Tours by acts with strong diasporic audiences in Europe are increasingly seeing opportunities being unlocked in North America.

Live Nation Belgium is working to expand the reach of Murda, a Turkish-Dutch artist who raps in Turkish

Live Nation Belgium is working to expand the reach of Murda, a Turkish-Dutch artist who raps in Turkish. As well as playing shows in a number of Turkish cities, he has toured in Antwerp, Paris, Hamburg, Cologne, Berlin, Zurich, Stuttgart, Stockholm, Copenhagen, and London – but also, and more interestingly, Toronto, Los Angeles, New York, and Boston.

Robin Tulkens, head of talent buyers at Live Nation in Belgium, says this all sprang from a growing relationship with Omer Karabulut at Amsterdam-based Capitol Bookings. “Arno de Waard, one of our talent buyers, and I have been promoting shows with domestic artists for many years,” says Tulkens. “Three years ago, Omer reached out to us asking if we could help him with building a European tour and use the Live Nation network for that.”

Most of the rooms Murda played on his first run had a capacity of 1,000–1,500, dropping down to 450 in Copenhagen (which has a smaller Turkish community), but leaping to 2,300 in London.

It is a sign of how important these touring segments have become that both Live Nation and AEG are getting involved here and hoping to capitalise on the current market and, in doing so, accelerate its growth. Praise, however, for the pioneering work here has to go to a wide range of specialist promoters and ticketing companies who began by serving their own diasporic communities.

Know the Experts
Raven Twigg is senior programming manager for the arenas division at ASM Global. She says specialist promoters, like TCO Group, have been central to getting the market to where it is today.

While a company like FishCanFly does not have a UK office, Twigg says they were key in driving the NO Music Festival at Wembley in December. “They were a brand-new promoter, and we were quite cautious about it,” she admits. “But it ended up selling really well, and it was a great show.”

It is important, Twigg says, to nurture new promoters and to lean on their expertise in matching international acts to diaspora audiences. Magic Sound Entertainment is a key name bringing acts from China, Hong Kong, South Korea, and Taiwan into Western markets. “They are based [in the UK], but they spend a lot of time over in China, and they just know what works,” she says. “We’ve built a really good relationship with them. Last year, they were just behind Live Nation in the amount of money they made for the arena.”

“Our relationships with specialist promoters and their knowledge, understanding, and passion for their culture are essential”

Drury says it is critical that venues develop deep relationships with specialist promoters. “They can inform us about what’s the best angle and where they think you can draw from the community in the best way,” he says. “We defer to them.”

Jen Mitchell, managing director of NEC Group Arenas (covering Birmingham’s Utilita Arena and bp pulse LIVE), says linking up with key local promoters has been central to growing this part of their business.

“We have proactively developed close working relationships with specialist promoters such as TCO, Grace Entertainment, The Musik World, TLC Events, Rock On Music, and Skystar Media as part of a very deliberate strategy to grow the presence of South Asian music events in our programme,” she says. “Our relationships with specialist promoters and their knowledge, understanding, and passion for their culture are essential to delivering these events successfully while growing audiences year on year.”

Within this, however, is a need to do due diligence on new companies in the space; but there is also a need to help develop and guide the new wave of promoters coming through, not just relying on the established names. New promoters rising up can make the bookings more interesting and find the headliners of tomorrow.

“We get references, and we make sure that the people putting on the shows have got that experience of working to a certain level,” says Harrison. “But also, at the same time, we are open to working with new ideas and helping promoters. The team here does an amazing job with assisting promoters to do their first arena shows.”

Melting Pot
Wembley is keen to develop a reputation as the UK venue most open to acts from different countries who can play to growing diasporic audiences. In helping new specialist promoters, they see a domino effect whereby other promoters are coming to the venue with their own ideas for shows.

“Wembley has built up this profile that we are easy to work with and that we’re willing to try these types of shows”

“In attracting new promoters and new markets, Wembley has built up this profile that we are easy to work with and that we’re willing to try these types of shows,” says Twigg. “We had one Iranian show last year [Googoosh], and now we’ve got three Iranian shows booked this year [including Moein and Ebi Hamedi]. People see it and think, ‘I want to do this for my community. I’m going to reach out to Wembley Arena.’”

At the Albert Hall, a hybrid way of operating is now firmly established – supporting new and specialist names as well as working with the biggest names in global promotion.

“We’ve welcomed a mix of promoters, from independent names linked closely to their communities, such as Tar Events [for Homayoun] and Beyond Basket [for Okean Elzy], to co-promotions between diaspora-linked promoters, such as Uptown Events, working alongside established UK promoters, such as Senbla, all the way up to Live Nation, who promoted the three nights of Hins Cheung successfully,” explains Gamble. “We appreciate that playing at the Royal Albert Hall will carry deep meaning for a large number of artists and audiences.”

Live Nation is also deploying a composite strategy for the acts it is bringing into the Middle East. Its shows in early 2025 for Jay Chou and Rivermaya were done “through close collaboration with a range of local and international partners,” says Craven. This means a potent mix of market muscle and audience/community expertise, suggesting new working templates for the future.

While many of the diaspora shows are targeted at communities and audiences that have been steadily building up, often across multiple generations, in particular areas, some are happening due to unexpectedly swift migration patterns.

Speaking to IQ for our Global Promoters Report last year, Sara Gigante, general manager at Charm Music Belgrade, explained how a significant new audience category has rapidly become evident in Serbia and Türkiye. Many (often educated and affluent) Russians are leaving their home country in protest at the actions of Vladimir Putin, most significantly the war in Ukraine.

“Belgrade, together with Istanbul, [is where they move],” she explained. “Russians don’t move to the countryside – they move to Belgrade. This has created a new trend, which is promoting Russian bands in Serbia – for Russians – with considerably high ticket prices.”

“Marketing and promoting these shows requires a more tailored approach than the campaigns for major US or British acts”

Audience in Sight
For some audiences, data is now everything. For others, experts within the diasporic communities will best know the types of shows that could work.

“With K-pop, we have a lot of data as that’s a very online audience,” says Harrison. “With South Asian artists, that’s still a very traditional approach of hard tickets in shops in the community. You need to be plugged into that community to shift tickets.”

Craven says the marketing strategy in the Middle East has to be characteristically different from marketing Western acts. “Marketing and promoting these shows requires a more tailored approach than the campaigns for major US or British acts,” he explains. “We work closely with community-focused media to directly engage with the audiences we’re trying to reach. For Rivermaya, we partnered with Filipino outlets with strong ties to the local Filipino community to make sure the message reached the right audience. For Jay Chou, our partner launched a dedicated campaign in China that targeted Mandopop fans and promoted Dubai as a must-visit destination, boosting both ticket sales and tourism.”

Gamble says the refined strategy at the Albert Hall is a potent blend of old and new marketing techniques. “For example, we have an upcoming performance of the Telugu-language film RRR [for the In Concert series] on 11 May, which has meant we’ve had to explore new channels to reach audiences beyond the tried-and-tested methods,” he says. “This might mean working alongside partners in local communities to spread the word or even exploring the use of TV adverts on smaller diaspora-focused channels, as well as more physical promotion techniques, which are less used for the majority of shows these days.”

For the Murda shows, Tulkens took a blended approach. “We’ve worked together closely with Murda’s team to identify the best target audience for online advertising,” he says. “We’ve also worked together with local Turkish street promoters in some markets, which really helped us in targeting the right audience.”

Speaking to IQ for its Global Arenas Guide 2025, Steve Hevern, general manager of the Qudos Bank Arena in Sydney, Australia, explained how investment in organisational systems and teams is critical when approaching this burgeoning market.

“[We] launched a strategic programme to enhance audience engagement through a mix of customised communications and segmented marketing, driving deeper connections with culturally specific communities,” he said. “[This includes] messaging in the primary languages of key audience groups, such as Mandarin, Hindi, Korean, and Punjabi.”

“Streaming and social media enable artists to build enormous followings quickly”

Geolocated social media and streaming data is now offering insight tools that were inconceivable in the last century. Along with traditional marketing strategies, this gives promoters and venues greater precision in their bookings.

Have Love, Will Follow
“We work closely with streaming platforms to track listening trends, social media to analyse engagement and audience demographics, and local tourism boards to understand which markets are driving visitors to the UAE,” says Craven. “We also collaborate with local media and radio to monitor demand and identify which artists are generating interest. Together, this helps us identify which international acts resonate most with audiences in the region.”

Mitchell is effusive about the multitude of benefits these new digital platforms are bringing to live music.

“Streaming and social media enable artists to build enormous followings quickly,” she says. “This means that artists who have perhaps never performed in the UK may have strong potential audiences, and their management can track hot-spots of these audiences through streaming platforms to identify what regions would likely deliver the best ticket sales.”

Digital data can dramatically de-risk things here, turning hesitancy around some bookings into certainty.

“The ability to quickly check to see the number of followers and plays an artist has in the UK market and worldwide is of amazing help in terms of decision making,” says Gamble. “Recently, we were able to decide on an international comedy/Internet sensation who had yet to play in the UK. Working with the promoter, we could see that, despite the main markets for the artist being in the Far East, the artist still had a strong enough following in the UK – their third-biggest market according to followers and plays – to take a chance on the date. This was proven as we very quickly sold out a single night and rolled to a second date. In previous years, this would likely have been the sort of inquiry we wouldn’t be able to take a risk on.”

“We’ve done more K-pop shows than any other arena in the UK, without a doubt”

Some acts can start out appealing exclusively to the diaspora in a certain city but then go beyond that to appeal to multiple different audience segments. K-pop, Latin, and Afrobeats are all clear examples of genres that have achieved this in the past decade or so.

“We’ve done more K-pop shows than any other arena in the UK, without a doubt,” says Drury of Wembley’s central role in building the live K-pop market in the country. “Our first one was BigBang in 2012. Then the audience was entirely diaspora-based because nobody else really knew what the band were about […] Now, it’s such a crossover.”

Not all diaspora shows will cross over like K-pop has – and nor should they. They do not have to be solely measured on their mass market appeal because many are serving a particular cultural function for the diaspora in specific cities. They are celebrations of the music and culture of the diaspora and should not automatically be expected to compromise, artistically or linguistically, to travel outside of the diaspora.

“With the Iranian shows [we have booked at Wembley], there’s definitely not a crossover with anyone outside of that community,” says Twigg. “It is for the community. […] That is a market that’s growing. It has got the attention of that community. They’re just coming out to the shows and enjoying it.”

Gamble believes the live business is only scratching the surface of what is possible here as new opportunities for previously underserved (or ignored) diasporas are opening up.

“We are seeing an increased number of enquiries from Middle Eastern and Persian artists, as well as artists from across the African continent, with audiences who are very keen to come along and support [them],” he says, adding that upcoming bookings include Georgian artist Valery Meladze, acts from the Philippines and Tanzania, as well as a multi-artist gospel music bill with artists from South Africa, Ghana, Nigeria, and Jamaica.

There are a multitude of reasons for investing in more diaspora shows and expanding the addressable audiences. But this should not be something where commercial reasons are given priority over cultural reasons. Any moves here have to be fully informed and culturally aware, which is why carefully collaborating with, or formally partnering with, diaspora-based experts is essential. It is they who best understand their own communities, as well as how to find and nurture loyal audiences. This is how a richer and more expansive diaspora touring sector can truly flourish.

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