LIVE UK, a sister publication to AUDIENCE, is the only publication dedicated to the country's contemporary live music business, providing news, features, tour plans and information to the people that drive the industry – promoters, festival organisers, venue operators, artiste managers, booking agents, ticketing companies, media and key professionals in dozens of related sectors.
The UK's Best Venues for Contemporary Live Music as an annual round-up of the most prominent and proactive venues, from pubs to stadiums and open-air sites, that play a part in keeping the UK a world leader in contemporary music. This 84-page publication features interviews with venue operators, profiles key personalities – from pub landlords to stadium bosses, and includes a survey of trends in areas such as ticketing and marketing.
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Audience is the world's leading monthly magazine for the international contemporary live music industry, providing news, features and information to professionals in more than 80 countries worldwide. Circulation includes thousands of promoters, festival organisers, venue operators and key people in dozens of related sectors.
View digital magazine here.


Summit Report 2013

Revelations flow at the Summit

Promoter's kickbacks, ticket abuse and too many new acts

THE RISE of the live sector, AEG’s domination of major London venues, Justin Bieber’s tardiness and the all-too familiar topic of ticket abuse were among the issues pored over at the LIVE UK Summit.
More than 300 music industry professionals were in attendance at the annual conference, held at the Radisson Blu Portman Hotel in London on 17 October.

The opening The Dynamic Ticket panel examined the fragmented nature of the ticketing industry and the problems that can bring.
“Promoters like the power to be able to shift tickets around to where they can get the best kickback from the ticket agents,” claimed The Ticket Factory director Will Queckett, saying that the practice was “confusing” for the public.

Eventim MD Rob Edwards continued on the theme. “There’s a significant difference in Europe with regards to how many different parties are selling tickets,” he said. “For the most part in Europe, when a customer buys the ticket … they are buying the best available ticket from a single inventory source, whereas customers in the UK will be buying the best ticket that one of 15 different ticket agents has got available at that given time.

“If you happen to be a customer going to the one that doesn’t have the availability at that given time, you may not bother looking anywhere else, you may assume there aren’t tickets available.

“We’ve got a very imperfect, fragmented industry.”

The issue of how to tackle growing ticket abuse resulted in near consensus among politicians and industry leaders on the panel, during the Politics & Live Music panel.

Ticket Trouble | Bieber Fever