Who Receives IQ Magazine?

• Multinational, corporate and independent concert promoters operating in all venues, from clubs to stadiums, worldwide.
• Festival and outdoor event organisers in over 50 countries: one of the fastest growing areas of the industry.
• International booking agents as well as the increasing number of national agents who focus on their own territory.
• Artist managers actively engaged in touring their artists. With the live arena the last remaining cash cow of the music business, the gig grounds are more vital to them than ever.
• Venues and venue management companies. From clubs and small theatres to arenas and stadia, IQ is read by the key performance spaces worldwide.
• Production companies including light, PA, security, shipping, staging and catering specialists. Show producers of dance and ice spectaculars, family and sports shows who are increasingly cooperating with music promoters and producers, often using the same venue.
• Press, radio and other media companies who work within the live sector of the music business.
• Record companies and publishers, including the specialist live music divisions or personnel within them.
• National music offices including arts and cultural organisations involved in live music for trade and cultural purposes.
• Ancillary industries such as lawyers, accoun-tants and insurance companies.

Reader Sample:

Live Nation, AEG, William Morris Agency, DEAG Entertainment, Universal Music, EMI, Sony BMG, International Talent Booking, Frontier Touring Company, House Of Blues, CAA, Wembley Arena, The Agency Group, Glastonbury Festival, Peter Rieger Konzertagentur, Scorpio Konzertproduktionen, Metropolis Music, Karsten Jahnke Konzertdirektion, Barley Arts, Tournee, Gay And Company, Multimedia Concerts, Chugg Entertainment, Primary Talent, SMG, Academy Music Group, ASS Concert & Promotion, Little Big Man, ICM, Monterey Peninsula Artists, Mean Fiddler, Helter Skelter, Roskilde Festival. 

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