"Assessing Our Support: What Future Do We Envision for Live Music in Europe?" New Study Reveals Four Companies' Dominance Over Europe's Live Music Scene.] - Guitar | Technique

Some new research published by Live DMA, a Europe-wide network that represents promoters and live music stakeholders, has revealed the grip just four companies have on European live music.

Those four are Live Nation (surprise, surprise), AEG, CTS Eventim and Superstruct Entertainment Together, they apparently control 150 of the continent’s largest festivals. Of those, Live Nation is the dominant player, controlling some 120 European subsidiaries and with a turnover of $16.7 billion. Superstruct controls more than 80 festivals across 10 countries and CTS Eventim has generated $1.9 billion across more than 20 countries.

The research also shows that the big four are tightening their grip. Between 2022 and 2025 the number of festivals linked to Live Nation increased from 74 to 78, and to CTS Eventim from 42 to 51. Meanwhile, both AEG and Superstruct almost or succeeded in doubling their share, increasing from 5 to 10 and 34 to 63, respectively.

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And of course, a crucial factor in this control has been ticketing. “Ticketing appears as another key node in this configuration,” Live DMA explains. “Several major live music groups also control or operate large ticketing platforms, raising questions already documented in policy and market analyses regarding speculative resale, high-demand events, and access.”

Then there is the increasing tendency of the big four to own the venues as well. AEG owns London’s O2 Arena and Berlin’s Mercedes-Benz Arena and the much-loved Hammersmith Odeon hasn’t been the official name of the Hammersmith Odeon for years. It’s now the Eventim Apollo.

Live DMA said in a statement that whilst their research does not claim to be “exhaustive…(it) makes visible a reality that has long been overlooked. They invite institutions, professionals, and citizens to ask a simple question: when we buy a ticket for a festival or a concert, who do we really support, and what kind of ecosystem do we want for live music in Europe?”

That, really, is something for Europe’s policy makers to get to grips with. Reacting to the research, Emma Rafowicz, the MEP and Vice Chair of the Committee on Culture and Education said in a statement: “More than ever, the growing concentration in the live music ecosystem, highlighted by this new map and study, threatens cultural diversity and the independence of artists and producers.”

“Europe must take action by limiting vertical integration, separating activities across the value chain, and restricting the ownership of multiple events within the same country or across Europe single operator.”