All Things Live Middle East is the regional division of All Things Live, a leading independent live entertainment company. Launched in May 2023, the expansion strengthens the company’s presence in the global entertainment industry. All Things Live Middle East focuses on organizing and promoting concerts, festivals, and live events, bringing a diverse range of performances to audiences across the region. With a commitment to creating new opportunities and collaborations, the company aims to contribute to the growth of the live entertainment sector in the Middle East.
In an exclusive interview with EVENTFAQS Media, Thomas Ovesen, CEO of All Things Live Middle East, shares insights on the company’s origins, growth journey, and his role in expanding the business. He discusses how All Things Live differs from traditional talent agencies, the decision-making process behind self-producing or collaborating, and the challenges of securing major shows in the region. He also explores revenue distribution between ticketing and sponsorships, the potential of festivals versus standalone shows, and opportunities beyond music and comedy in alternative entertainment experiences.
How did All Things Live start, and what has been its growth journey? Why did you join, and how has it helped you expand your business?
All Things Live is a European-based project comprising multiple promoters, talent agencies, talent management companies, and festivals. Its business model focuses on expansion without disrupting key industry players, with the potential for future partnerships or acquisitions. I joined in February 2023 to access a strong network, cash flow, and business acquisition opportunities, which enabled me to expand faster than I could have done independently.
What regions do you manage, and is there a plan for further expansion?
I handle a vast region, covering the Levant, Turkey, the Subcontinent, the GCC, and Saudi Arabia. While our event volume is growing, we haven’t yet reached the scale of some European offices, which manage up to 500 shows annually. However, we are ramping up operations and continuously exploring market expansion.
How does your role differ from a traditional talent agency, and how do you decide whether to self-produce or collaborate with partners?
Unlike traditional agencies, we don’t represent talent. Most artists have UK or US-based representation. Instead, we ensure high-quality event execution, particularly in markets where promoters may lack experience. Regarding production, our business is roughly 60% self-promoted events and 40% collaborations. If a partner adds strategic value, we work together; otherwise, we take on the risk ourselves if we believe in the event.
How was the Green Day concert managed, and what factors influence decisions on event production?
Green Day was a self-produced event, and while it was commercially successful, it required a long sales cycle of 10-11 months. Marketing was challenging, and we only had clarity on profitability a week before the event. We choose to self-produce when we believe in an event’s potential and when bringing in a partner would only add costs rather than value.
What are the biggest challenges in announcing and securing major shows in the region?
Competition is intense, especially in the UAE, where cities like Abu Dhabi offer substantial tourism funding. While Dubai remains a preferred location for many artists due to its diverse audience, other promoters backed by government funds create challenges in securing exclusivity. Agents and artists may prioritize higher financial offers, even if they come from less experienced promoters.
How does revenue split between ticketing and sponsorships, and why is sponsorship limited in some markets?
Sponsorship revenue is minimal, with tourism authorities providing most of the financial support. Since the pandemic, cash sponsorships from private brands have significantly declined, as corporate decision-makers prefer traditional media buys. As a result, ticket pricing assumes little to no sponsorship revenue, with most sponsorship funds going into the artist’s share.
Why do tourism boards in the GCC provide financial backing, while those in the Subcontinent do not?
In the GCC, governments actively invest in entertainment to boost tourism and residency appeal, making them primary financial backers of events. In contrast, Subcontinent tourism boards offer only logistical support, such as permissions or venue cost reductions, but rarely provide direct financial contributions.
How do you program artists given the diverse audience and cultural considerations?
With over 200 nationalities in the UAE, event programming must appeal to broad audiences to be commercially viable and secure government support. This naturally filters out niche or artistic acts, as both sponsors and tourism authorities prioritize mainstream artists who attract large audiences. The same trend applies to the Indian market, where large-scale promotions focus on mass-appeal talent.
How do you go about planning events and shows in the Middle East?
The biggest challenge is that when approached by an artist agent, they often assume that contacting me will result in securing shows for them across Saudi, GCC, and India. However, I often have to tell them that there may not be potential for their artist, except perhaps for a small theater in Dubai. They find it hard to believe, but in Dubai, with a large population, they might sell 300-400 tickets, whereas in Bahrain, it wouldn’t work. Additionally, travel costs make it difficult for smaller or upcoming artists to make a profit. In Europe, they can tour between cities by bus or truck, but that doesn’t work here.
Is there a touring circuit in this region?
In India, the touring circuit has only developed in the last two to three years, but distances and costs remain a challenge. When we did the Bryan Adams tour, it was only possible because the entire crew and freight were transported via charter flights. In the Gulf, travel is primarily via jets, and land travel takes too long. Freight also gets stuck at borders, so it must be air-freighted. However, with Saudi’s growth, I believe artists will soon be able to perform 2-3 shows in Saudi, 2-3 in the GCC, and hopefully, if the Levant stabilizes, shows in Lebanon and Egypt as well. This could result in a six to seven-show circuit in the Middle East, and when combined with India, a tour of 10-12 shows becomes feasible for the right artist.
Do you see comedy as a more feasible touring option compared to music?
Comedy is an interesting business model because production costs are much lower compared to music. However, fees are a major factor. Some comedians demand fees that are too high for it to be feasible. Even though it’s just a microphone and a spotlight with a small tour party, if a comedian wants a million dollars, they still need to sell 20,000 tickets to justify that fee. That said, comedy works well in this market because the audience is older and willing to attend shows on weekdays, unlike younger audiences who prefer weekend events. There are also more venue options available for comedy than large-scale music concerts.
Do you think festivals or standalone shows have more potential in this region?
More touring will happen in the region, as youth across different nationalities listen to similar music. Festivals have great potential because they provide better returns for sponsors who can commit for multiple years. Festivals also allow for a mix of local and international talent. Unlike standalone shows, which are highly dependent on one artist, festivals can continue as long as they have a strong lineup. Homegrown festival brands are the way forward rather than importing brands like Lollapalooza. A model where the same festival occurs in different regions using 70% of the same artists could work well.
What do you think about artist-led festivals?
Artist-led festivals often struggle because they focus too much on headliners and lose track of financial sustainability. In India, many festivals use music as the primary draw, whether it’s alcohol-focused, food-based, or flea markets. The most successful festivals globally offer more than just music—destination, camping, community experience, arts, crafts, and culinary elements. In this region, without a camping culture, most festivals are one-day, multi-act events. Festivals built on community and experience, rather than just headliners, have better longevity.
How strong is the independent music scene in this region?
Unlike India, where local artists have a thriving market, independent music here is different. Arabic artists exist but haven’t had a strong touring culture. Many expat performers have full-time jobs, and in some GCC countries, artists can’t even get a visa solely for performing. Saudi’s young population is changing this, and we expect a boom in local talent who will eventually tour the region. However, for now, local artists mostly get support slots at bigger concerts, which makes it hard for them to sell their own tickets later.
Outside of music and comedy, is there potential in alternative entertainment experiences?
Yes, there is a huge market for spoken-word performances, motivational speakers, TED-style talks, beauty and fashion segments, and celebrity interviews. These transcend nationality and age groups, appealing to audiences who may not attend music events. With the casino opening in Ras Al Khaimah in 2027, we expect heavy investment in entertainment to attract families. Dubai Opera and other theaters also provide venues for such experiences, making this segment one with strong growth potential.
What are your plans for the next five years?
More diverse programming, including non-music events. Partnerships across the region will be key to expanding the number of shows and sold tickets. Instead of waiting to open offices in new markets, I am looking to collaborate with partners in India, Saudi, and across the Gulf to accelerate growth.
