With everyone across the major live events industry immersed in preparations for the summer ahead , Access gauges the views of key events professionals on the challenges and opportunities that lay ahead
Words : Christopher Barrett
W hether it is Glastonbury ( cap . 210,000 ), Taylor Swift ’ s US stadium run or Peter Kay ’ s 110-date arena tour , there are no shortage of examples of incredible demand remaining for top-draw live entertainment shows despite inflation and interest rates making life difficult for consumers .
Having reported record summer results and $ 6.2 billion (£ 5.5bn ) in third quarter 2022 revenue , up 63 % on the equivalent pre-pandemic period in 2019 , Live Nation Entertainment ( LNE ) CEO Michael Rapino is among those who has expressed informed optimism about 2023 .
While the big names are making the headlines with sold out runs of dates , Rapino has insisted demand remains strong for shows across the board : “ A concert ticket is still a really affordable ticket . The majority of the tickets sold are $ 50 [£ 41 ] to $ 75 [£ 61 ]. So , although we have a great premium business we are seeing demand strong on all levels , whether it ’ s a $ 19 [£ 15 ] ticket or premium at the stadiums and arenas .”
Glastonbury is not the only UK festival to have already sold out well in advance , among the others is the stalwart independent Green Man ( 25,000 ), while many others are seeing strong demand . Night time economy advisor for Greater Manchester Sacha Lord , who co-founded the 80,000-capacity Parklife festival and club night brand The Warehouse Project , says the former is almost sold out this year and the latter has seen “ tremendous ” ticket sales .
“ Brexit hasn ’ t done any favours in terms of getting infrastructure in from Europe and costs are rocketing across the board with suppliers , but we are certainly selling tickets . It ’ s been a very strong year ,” he says .
Both Lord ’ s festival and nightclub businesses were acquired by LNE in 2016 , and while he says the huge conglomerates have an important role to play in maintaining a buoyant festival market , he is concerned that grassroots festival will have a tough time this year .
“ The big organisations are brilliant at what they do , whether it is Live Nation with Parklife and Creamfields , or Superstruct Entertainment with festivals such as Kendal Calling , but it is the smaller boutique festivals , the ones at a grassroots level , that are possibly more important because you have to have that supply chain for new talent to come through .
“ Without those smaller events chomping at your heels , the industry becomes quite stagnated . I don ’ t think we ’ re going to see many bursts of new festival openings in 2023 and 2024 but then I think come 2025 and 26 things will ease and I am confident we will see another explosion in new events again .
“ In 2023 and 2024 it ’ s going to be a matter of holding your nerve . I think we ’ re in for a rough ride .”
Independent approach Clare Goodchild , a director at live event production agency Organise Chaos , works with independent festivals throughout the UK including We Out Here ( 10,000 ), Detonate ( 15,000 ) and Standon Calling ( 17,000 ).
She has witnessed the independent sector being hit hard by cost increases and slower ticket sales , with both showing no signs of abatement : “ A lot of independent shows , like the ones we work with , are operating on really small margins and it is becoming harder and harder to make budgets add up . We are working with suppliers where we can , but they are also being hit with the price of fuel , staffing and energy .
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