It’s all change in the European ticketing industry, and from the old hands to the new players, everyone’s trying to keep one step ahead, as Greg Parmley reports.

When Fred Rosen, former CEO and president of Ticketmaster delivered his keynote address at Europe Talks Tickets (ETT) in February, he spoke candidly about an industry in immense flux. “Ticketing is one of the last things the entertainment industry has come to grips with,” he said. “This industry has to grow up. It’s going through a life change and the Internet caused it.”

Technology is changing the face of ticketing, and some of the possibilities are almost unrecognisable…

Like all aspects of life, the ticketing industry is being gradually but radically altered by new technology. A ticket is now as likely to take the form of a print at home sheet or SMS barcode as the traditional paper coupons of old, but according to certain future-minded folk, it still has a long way to go.

Wishful thinking for some, industry wrecking ball for others, secondary ticketing became a primary topic in 2007…

Whether it's referred to as reselling or touting, the last 12 months have seen the secondary ticketing market develop alarmingly fast through the developed markets of Europe. What was once confined to the US is now established, accepted by many consumers and undoubtedly here to stay.

With more festivals per capita than any other country, the Swiss market is fields ahead, but will the grass remain as green in the future?

If Europe in general is basking in a golden age of live music, Switzerland is the market that makes all the others look like they aren’t pushing the festival concept quite hard enough.

30 years since the first Dire Straits album, and currently promoting his 20th studio release, Mark Knopfler is touring entirely on his own terms. Adam Woods reports.

During his Dire Straits years, Mark Knopfler graduated briskly from the pubs and clubs of the post-punk era to the stadiums and signature sweatbands of the 80s and early 90s.

 Tim Dowdall, VP Live Nation Central and Eastern Europe, makes a case for corporatization…

. 

With continued growth in 2007, a burst of corporate activity at the end of the year and a vibrant beginning to 2008, the arena business is positively buzzing. Lex Hunter takes a prime seat to watch the show unfold.

As far as the big boys go, it’s AEG who have been capturing the headlines. Over the past few weeks and months the US giant has opened the Nokia Theatre in Los Angeles, acquired the Color Line Arena in Hamburg and signed a joint venue deal with Odgen in Australia, finding time in between the open The O2 in London, with O2 World in Berlin following later this year.

After being named 2007’s Woman of the Year, Emma Banks chatted to Greg Parmley about wasted talent, hard work and old fashioned values.

2007 was an annus magnus for booking agent Emma Banks: a year that began with a new company, continued with a string of successful tours and ended with her crowned as the UK music industry’s Woman of the Year.

Under pressure from labels and with deals tighter than ever, is the traditional role of the promoter under threat? Gordon Masson investigates…

Just like any large-scale industry, when a particular sector starts to enjoy sustained growth and increasing revenues, the eagle-eyed moneymen try to take advantage of the upswing.

The ILMC may have been first conceived as a one off meeting, but 20 years on, the grandfather of live music events has come of age. Greg Parmley reports.

There was a time, before the internet, email and even fax, when the world seemed a much bigger place. The live music industry was struggling through puberty, and as with all hormonal teenagers, communication was limited.