Magna Charta: Promoters Meet Demand With Local Talent, Quick Thinking

Europe’s live sector is showing “a high degree of resilience” and is best understood as a complex interlocking of national businesses.

“Around 90% of live business is driven by local and regional content, rooted in strong cultural identities, diverse markets and outstanding artists,” explains Klaus-Peter Schulenberg, CEO of Eventim Live. “This depth is a real strength of the European live ecosystem.”

The dominant names in promotion remain Live Nation and Eventim Live. The former was No. 1 in terms of gross ($1.77 billion compared to Eventim’s $1.75 billion), but the ranking switched when it came to ticket sales. With 22.9 million sales, Eventim outperformed Live Nation’s 16.4 million reported.

In third place was UK-based SJM Concerts with a gross of $293 million. It was seventh in volume with 2.9 million ticket sales. John Cornwell, director and promoter at SJM, referred to 2025 as “a spectacular year” at the company, with over 2,440 shows under its belt last year. He cites Oasis’ “incredible 17-date reunion tour” and Coldplay’s
“record-breaking 10-night residency at Wembley Stadium” as particular standouts, alongside Sam Fender at London Stadium and arena shows by the likes of Lorde, Wolf Alice, Gracie Abrams, Myles Smith and Lewis Capaldi.

Cornwell says promoters need to move in lockstep with the constant changes in the business. “The way we market tours is very different, as is the way we ticket shows,” he says. “The venues have changed a lot for the better, too, as has the fan experience as a result. Co-op Live in Manchester is testament to that.”

Eventim Live, via its many regional divisions, had a highly successful year and dominated the top 10. FKP Scorpio was ranked in sixth place with a gross of $245 million, with other top contenders including Friends & Partners in fifth place ($259.8 million), Semmel Concerts in fourth ($271 million) and Vico Concerti in seventh at $228 million grossed.
Schulenberg names the 40th anniversary editions of Rock am Ring and Rock im Park as particular highlights. “These anniversaries were not about nostalgia, but about demonstrating continued relevance, energy and emotional impact,” he says.

He notes how the live business is becoming more international and more adept at using data, better able to understand fan behaviour and specific market trends. This, however, should be a catalyst for qualitative improvements. “Technology is a key enabler, but trust remains central,” he says. “Strong brands, reliable partnerships, operational excellence and the ability to deliver added value beyond the ticket itself are emerging as decisive competitive factors.”

Cornwell says the biggest shows might grab the headlines, but the industry as a whole has an obligation to protect and support the grassroots, notably via the work of LIVE Trust and Music Venue Trust. “In order to develop new live acts of the future in the UK we need to be both mindful and supportive of all pieces of the puzzle that creates our live grassroots circuit,” he argues. “That’s all the venues, artists, and the staff who all make this possible. Without the circuit we’ll cut out the opportunity for bands and artists to develop and grow.”

Schulenberg says rising costs remains a concern for the live business, and suggests it is becoming a “highly polarized” sector, with the biggest artists thriving while smaller artists struggle.

“Not every concert or festival format will succeed in the current environment,” he says, “but where quality, clarity and professionalism come together, live music continues to prove its strength.”