Raising Cane's Chicken Fingers’ Post

MCKINNEY’S MULTI-MILLION DOLLAR MUSIC VENUE: A nearly quarter-billion-dollar music venue is coming to one of Dallas’ premier suburbs. McKinney is building the 20,000-seat Sunset Amphitheater just northeast of the 75/121 exchange! It’s going to have 250 luxury fire pit suites, custom-built suites, and a landscaped grass berm. It’s even going to incorporate technology to warm up outdoor concerts in the cooler months. The Colorado-based developer says they expect the venue to host 50 to 55 shows a year. Let’s do some math real fast. 50 to 55 shows a year times 20,000 tickets… and that’s not counting the money to be made off of concessions and merchandise inside the amphitheater. It’s not outrageous to predict that this construction could have a MULTIBILLION-dollar impact on McKinney’s (and the surrounding areas’) economy. Construction is expected to begin this year and the theater will open in 2026. And on top of that, let’s imagine for a second the people who are going to be coming into town to build this behemoth of a project. Where do you imagine they’ll be living? Our money is affordable (for now!) homes to the north in Grayson County. This is just another piece of evidence that you need to INVEST NOW in Grayson County. If you want to learn more about the growth in that area, be on the lookout for city spotlights in your email inboxes coming from Slaughter Investing! If you want to join our mailing list today, head to our website: https://lnkd.in/g3NYhkNH READ MORE: https://lnkd.in/gWQQjXEP

MCKINNEY’S MULTI-MILLION DOLLAR MUSIC VENUE: A nearly quarter-billion-dollar music venue is coming to one of Dallas’ premier suburbs. McKinney is building the 20,000-seat Sunset Amphitheater just northeast of the 75/121 exchange! It’s going to have 250 luxury fire pit suites, custom-built suites, and a landscaped grass berm. It’s even going to incorporate technology to warm up outdoor concerts in the cooler months. The Colorado-based developer says they expect the venue to host 50 to 55 shows a year. Let’s do some math real fast. 50 to 55 shows a year times 20,000 tickets… and that’s not counting the money to be made off of concessions and merchandise inside the amphitheater. It’s not outrageous to predict that this construction could have a MULTIBILLION-dollar impact on McKinney’s (and the surrounding areas’) economy. Construction is expected to begin this year and the theater will open in 2026. And on top of that, let’s imagine for a second the people who are going to be coming into town to build this behemoth of a project. Where do you imagine they’ll be living? Our money is affordable (for now!) homes to the north in Grayson County. This is just another piece of evidence that you need to INVEST NOW in Grayson County. If you want to learn more about the growth in that area, be on the lookout for city spotlights in your email inboxes coming from Slaughter Investing! If you want to join our mailing list today, head to our website: https://lnkd.in/g57qhYHV READ MORE: https://lnkd.in/gbD3MpYg

We wanted to see which agencies are behind Manchester, Tennessee’s Bonnaroo Music and Arts Festival. Using Booking Agent Info, we researched the agencies representing this year’s lineup (rounded for simplicity). Wasserman comes in with 30%, representing almost a third of the festival. They also had the most talent at Governors Ball. Their roster includes headliners Fisher and Fred Again.. , as well as other artists like Diplo and Thundercat. Creative Artists Agency is next with 16%. Their roster includes headliner Pretty Lights and Red Hot Chili Peppers, as well as other artists like T-Pain, Melanie Martinez, and Jon Batiste. WME | William Morris Endeavor follows with 10%. Their roster features Carly Rae Jepsen, Joey Bada$$, and HoneyLuv. United Talent Agency (UTA) also with 10%, has headliner Post Malone, along with Teezo Touchdown, and Sean Paul. Independent Artist Group (IAG) with 6% includes Key Glock, BigXthaPlug , and Cage The Elephant. Ground Control Touring with 4% includes Mdou Moctar and Gregory Alan Isakov. High Road Touring with 4% includes Interpol and Brittany Howard. Arrival Artists with 4% includes Abby Holliday and Trousdale TBA Agency with 2% includes Faye Webster and Geese. It should be noted that we excluded 1 artist from our dataset who we didn’t have data Follow Booking Agent Info for more insights like this Access our music industry data here: bit.ly/4amgFps

New Inquiry — Australia’s live music industry here my thoughts The House of Representatives Standing Committee on Communications and the Arts should consider. The rising costs associated with insurance, police charges, permit fees, excess regulations for outdoor festivals, and the specificities of liquor licences significantly impact the overall profitability of live music festivals. As the Committee explores the challenges and opportunities within the Australian live music industry post-COVID-19, it is important to address these financial and regulatory barriers comprehensively. These costs not only diminish the profit margins but also complicate the planning and execution of such events, potentially stifling the sector's growth. In their inquiry, I would recommend a detailed examination of: The Types and Costs of Required Insurances: Understanding the scope and premiums of event insurance, public liability insurance, and any other pertinent insurance could help in advocating for more competitive rates or industry-specific products. Regulatory Fees and Charges: A thorough review of the fees for police presence, permits for venues and public spaces, and other regulatory costs that festival organisers are obliged to pay. Liquor Licensing Regulations: Since these vary notably for festivals, an evaluation of the current licensing policies and costs could lead to recommendations for more streamlined and cost-effective licensing processes tailored to large-scale, temporary events. Excess Regulations Impacting Outdoor Events: Specifically, the implications of these regulations on operational logistics and costs. Simplifying excess regulations could significantly reduce the overheads for organisers and possibly encourage more frequent and diverse events. Addressing these points will not only aid in maintaining the vibrant community nature of live events but also ensure they are economically sustainable and growth-oriented for the event and local community. I look forward to the Committee's findings and am keen to see strategic initiatives that will revitalise and sustain the live music industry in Australia but will it just be a glossy paper with no legs.

To celebrate Independent Venue Week 2024, we've put together a list of our top Independent Music Venues across the UK! According to The Music Venue Trust (MVT), an organisation focused on supporting grassroots music, they "play a vital role in the cultural and economic vibrancy of any town or city lucky enough to have one. Without these music venues, we wouldn't have had the The Beatles, The Clash, Kate Bush, Dire Straits or Radiohead. And if we don't recognise the role they play there won’t be any more Adeles or Ed Sheerans". Jamie Johnston, BA Live Event and Festival Management Programme Leader, agrees. He said: "You simply don’t get the best new acts without the grassroots music venues. The live music industry can be viewed as a pyramid with Glastonbury's Pyramid Stage at the top, then the arenas, the theatres, large town venues, and grassroots spaces all underneath. This shows how the smaller spaces have cultural significance and importance — if you remove the bottom layer of a pyramid, then you are damaging the integrity on which everything is built. These spaces not only help performers hone their skills, but provide jobs and places for local music communities to come together. If we don't have these spaces where artists and professionals can cut their teeth, then we're at risk of losing our music culture." Ahead of Independent Venue Week 2024, we have compiled a list of some our favourite independent live music venues. Check them out below 👇 https://lnkd.in/eK8vUMw6

Ever wondered how your favorite beer brand became the ultimate festival buddy? You know, the one that's always there to make the party bigger and better? Well, let's dive into the story of how Heineken became the go-to beer for music lovers around the world! The HEINEKEN Company is always a big part of the fun at music festivals! First, some cool stats: • Heineken is one of the top beer brands in the world, with the market expected to grow to $750 billion by 2025! • Music festivals are a huge deal, with a global market size of $26 billion! So, what did Heineken do? • They partnered with festivals like Coachella to connect with young fans who love great beer and music! • They created unforgettable experiences, like interactive events and activations! • They tapped into the emotional highs of festival-goers, making memories that last a lifetime! • They teamed up with well-known festivals to amplify their brand reach! • They stayed on top of youth trends, adapting to what's hot and what's not! That's how Heineken became a rockstar in the music festival scene! Takeaways for brand strategists: • Connect with your audience's passions! • Partner with the right people! • Create experiences that wow! • Stay on top of trends! • Tap into emotions! Heineken's success is all about aligning their brand with the lifestyle and passions of their audience, creating memorable experiences, and adapting to trends. Cheers to that! __________________________________________________________ Hi, for more such brand insights and stories, follow me here Shardul Nandapurkar!

In 2022, the average quarterly U.S. household spending on plays, theater, opera, and concerts amounted to $79 according to the Bureau of Labor Statistics, a drastic increase both compared to pre-pandemic levels as well as to 2020 and 2021. While this evidence is anecdotal, it suggests that either Americans are willing to spend more on live entertainment or costs for such events have risen by such a degree that could explain the spending jump. Whichever reason might be true: The live industry is back from its coronavirus slump, at least in terms of the volume of concerts, festivals and other cultural live events booked. PwC noted in their latest Global Entertainment and Media Outlook that in 2022, live music generated $20 billion worldwide, while cinema box office revenues stood at $25 billion. A recent Statista Consumer Insights survey shows that when it comes to choosing where to buy a ticket for an event, a majority of U.S. Americans surveyed favored Ticketmaster. 61 percent of online event ticket buyers had engaged in business with the platform, which was merged with Live Nation in 2010 and has recently come under anti-trust scrutiny due to the problems with the pre-sale of Taylor Swift's Eras tour in 2022, in the past 12 months. Ranking second and third are Eventbrite and StubHub with 33 and 29 percent, respectively. The former company was founded in 2006 and went public in 2018, while the latter is not a first-party seller but rather a ticket exchange and resale platform which has also come under scrutiny for sellers buying up tickets in bulk and reselling them for highly inflated prices. Of the eight most popular ticketing websites, five are at least partially in the ticket reselling business, with SeatGeek offering up tickets directly from the venues and organizers as well as resale tickets.

PULSE: A DJ provides the soundtrack to the party at bars, nightclubs, concert venues, parties, raves, and music festivals. DJs must constantly work to refine their craft and to produce new music under their brand names if they want to stay competitive. Click here to read more: ( https://lnkd.in/gMC4TQc3 ) #entertainmentnews

🎥 Ep. 4: What Brands Can Learn from Music Festivals Mr Mike Bayly is back and we're up to no good in London again! We started our afternoon at The Hawley Arms & Camden Hells' Brewery (AB InBev) chatting about Amy Winehouse, Music & Music Festivals. 🎤 Festivals are masterclasses in brand building. Brands should invest in creating long-term relationships and offer experiences that audiences genuinely crave...like music festivals. Music festivals normally don't make money for the first three years, so how do you balance organic growth and performance to get bums on seats in the meantime. 🎸 Sponsor-led festivals offer something a bit different, Primavera Sound for example, where I had the joy of seeing Vampire Weekend & Amyl and the Sniffers 10 days ago, have their stages dominated by sponsors, which allows them to book truly incredible lineups featuring some of the world's top talents. It's a day of immersive live action, but also a day of immersive paid advertising. Big shouts to PULL&BEAR, Estrella Damm & Boiler Room for bringing 72 hours of straight vibes. 🖼️ Lastly, how do you capture the electric atmosphere of a live festival in a static poster? It's a challenge that every designer/creative director dreams of (and has nightmares about.) Building strong branding through typography and a great asset bank can help you stay in touch with your audience and help them keep a taste of the event/brand whilst their not directly experiencing it! #Branding #MusicFestivals #MarketingStrategy #CreativeDirection #LiveExperiences