Clubbing Clout: European Clubs Critical For Up-And-Coming Acts

At the club level in Europe, Ancienne Belgique in Brussels, Belgium dominated in terms of total tickets sold (138,287), but it found itself in third place in terms of ticket grosses ($5,052,139), with the Palladium in Cologne, Germany in first place ($5,262,496), followed by Barrowland in Glasgow, Scotland in second place ($5,229,626).

Barrowland was in second place in terms of total ticket sales (122,245), with the Palladium just behind it (112,610). Ancienne Belgique, the Palladium and Barrowland were the only European clubs to sell over 100,000 tickets each last year. Equally, they were the only clubs to gross over $5 million each.

Despite the dominance of these three clubs, there were also strong showings in terms of both volume of tickets sold and the value of tickets sold from Haus Auensee (Leipzig, Germany), Columbiahalle (Berlin, Germany) and Fabrique (Milan, Italy).

Such venues are critical bridges for artists between grassroots venues and the next move up to theatres and then arenas. These clubs are where acts pass through a critical growth curve to prepare them for the next levels and they can, through support slots and showcases, give important early backing for new local and international talent.

Kurt​​​​ Overbergh, Artistic Director at Ancienne Belgique, says 2019, with 300,000 visitors, was previously held up as the peak year in its long history since 1979, but that was eclipsed by 350,000 visitors in 2024.

He says the venue, as it is partly subsidized by the Flemish government, has a commitment to support local acts (especially in its smaller 300-cap room), noting that 40% of Ancienne Belgique’s bookings now are of Belgian acts.

That government funding applies across other small venues in Belgium, but it does not follow that they are completely insulated against financial worries. “[The small Belgian venues are] subsidized, so they have security for the future,” says Overbergh. “But they, of course, have their own problems. If you only have a small club of 200 or 300 capacity, it’s hard to [make] any money. Besides our small club, we have the main hall in-house as well with 2,000 capacity. So we can generate our own ecosystem within the venue.”

Overbergh says that venues like his are benefitting from wider shifts in the festival market. “In Belgium, the indoor season is stretching out,” he explains. “Ten years ago, we started at the end of September. Now we start on 1st September until the end of June. The season ten years ago used to go from the beginning of October until the beginning of June, so that means there are an extra two months where we’re booking shows. That leads to more turnover, more shows and more people.”

Tom Joyes, general manager of Barrowland in Glasgow, Scotland, calls 2024 “a remarkable year”, pointing to standout shows by Paul Weller, Biffy Clyro, Del Amitri, The Libertines and Callum Beattie. Barrowland was also named the best venue in the UK in 2023 by musicians in a poll conducted by Time Out magazine.
“Barrowland continues to evolve,” says Joyes of why its drawing power endures. “Many legacy bands are still touring and, in some cases, selling more tickets now than they did in their heyday. The venue has become a ‘bucket list’ destination for artists, with an increasing number of country, urban, folk, and LGBTQ+ acts choosing Barrowland as a must-play venue.”

The venue, which dates back to 1934, is deeply embedded in the Scottish live scene but, like all old buildings, needs to be regularly updated to retain its supremacy. “We made a series of physical improvements to the venue, including the installation of an accessible lift for disabled guests,” says Joyes. “To further enhance our operations, we brought in new marketing and IT expertise, and the team is now functioning seamlessly, delivering great results.”
Spiralling costs mean that venues of this size are reluctantly having to increase ticket prices. Overbergh says this is not so much a concern for established names but it could negatively impact emerging names playing at this level. “It’s not a problem to raise the ticket price [for bigger names],” he argues, “but it’s becoming a problem with shows on a lower scale.”

He adds, “That’s a big challenge in the future. How are we going to be able to maintain our volume? Because we have over 200 club shows on a yearly basis.”
Nicole Tenbrock, Managing Director of Columbiahalle in Berlin, Germany, expresses concern over creeping consolidation in the live music space and especially what it means for venues the size of the Columbiahalle.

“Beware of the monopolization of large companies and takeovers,” she says, noting how the biggest players can also dictate the specifications of shows or the ticket price. “The price ranking and the associated costs are difficult to manage, especially for smaller venues.”

She says rising real estate prices and rolling gentrification in Berlin is creating an existential crisis for club venues in the city. “The event market will remain dynamic,” she warns, “but the trend in 2025 will be towards larger acts, venues and festivals.”

Joyes says spiralling costs are making it harder for new acts to build and move up the live food chain. “The rising costs of touring, the closure of grassroots venues, and the intense competition for fan attention make it increasingly difficult for young artists to grow their fanbase or break out of their local areas,” he cautions. “This highlights the importance of events that showcase new talent, such as [showcase event] Tenement Trail, and the growing need for established artists to bring up-and-coming bands or local support acts on tour.”

He warns, however, that the rising costs in shows at this level should not create a perilous situation where fans are presented with increasingly unaffordable tickets. He says, “One concern for the industry is the potential for market saturation, coupled with exorbitant ticket prices and exploitative tactics that prey on fans’ emotions, leaving them struggling to afford regular gigs.”