Music Week reported last week that Legends and ASM Global has promotedJames Harrison to vice president of programming, UK and Europe.
It’s a key role for the arena business, at a time when the industry is looking both at greater support for the grassroots sector and the elevation of artists to bigger stages.
ASM Global is a full-service venue company with a portfolio of more than 400 arenas, stadiums, convention/exhibition centres and performing arts venues. Legends is the global premium experiences company that works with brands in sports and entertainment.
ASM Global’s portfolio includes AO Arena in Manchester, OVO Arena Wembley, Leeds’ First Direct Arena, Utilita Arena Sheffield, Utilita Arena Newcastle, P&J Live Aberdeen, and more.
Here, following the appointment to his new role, James Harrison reflects on the expansion of ASM Global, new developments in the programming team and the live giant’s role in helping to develop artists and support a wider array of genres… plus the continuing trend for boy band nostalgia.
You joined in 2017, how has ASM Global grown its UK presence in that time, what have been the key developments?
“I first joined in 2017 as part of the team at OVO Arena Wembley. Since then, it’s been an incredible journey being a part of ASM Global as it’s developed and grown in the UK. The company officially formed in 2019 following a merger, but just as things were picking up, Covid put the brakes on live entertainment. And with that in mind, we were only really able to get going properly in 2021, when we set up and started to develop the new central programming team. Since then, company growth has been exponential. All of the services we provide across our venues have been supercharged – taking customer experience, facilities and experiences to the next level. On top of that, our UK and European portfolio has expanded and diversified in a big way, giving us a much stronger presence in the industry. It’s been an exciting journey so far, with much more still to come.”
One of the big advantages of Legends/ASM Global’s concert halls is that they provide a stage for emerging artists on their natural progression up to bigger stages
James Harrison
You have restructured the programming team – what was the motivation there in terms of the venue portfolio? How is this working so far?
“In 2025, we’ve already added four UK venues to the group – Utilita Arena Sheffield, Sheffield City Hall, the new Becketwell Live in Derby and taken on the programming function to support the brilliant team at New Century Hall in Manchester. One of the key drivers behind the restructure of the programming team was to maximise cross-programming opportunities. We already do this across our arenas, where we’re always working to secure as many dates as possible on a tour across multiple venues.
“Now, with a new team structure, we’re applying the same strategy to our concert halls. Connexin Live Hull [3,700 capacity] and Becketwell Live Derby [3,500] have similar standing capacities, and Sheffield City Hall [2,271 seated], Becketwell Live Derby [2,000 all seated], and York Barbican [1,800 standing, 1,466 seated] all align really well in terms of size and routing, which means we can work across those venues in a more streamlined way and provide cross-programming support on that scale, too.
“We’ve added Paige Martin to the team who joins from the O2 Apollo Manchester and brings fantastic experience to the mix. Our Arenas team now consists of Raven Twigg and Ross Allerton, and Concert Halls team is made up of Katie Morgan and Paige Martin. The new structure gives us a real focus when it comes to our venues, and provides a knowledgeable focal point for promoters, making it easier to secure the right shows for the right spaces.”
How can ASM’s new concert halls help to elevate artists to bigger stages?
“One of the big advantages of Legends/ASM Global’s concert halls is that they provide a stage for emerging artists on their natural progression up to bigger stages. Within our venue portfolio, we can support an artist’s complete journey from 1,000 to 3,000 capacity venues and eventually onto the arena stages, which is really exciting in terms of going along that journey with them.
“We’ve also got venues that can do both – Connexin Live Hull and Becketwell Live Derby are perfect mid-sized venues that bridge this gap. Both are state-of-the-art, new spaces that can accommodate those more intimate gigs, to large-scale productions from established acts, too. What is important to us as a team isn’t just the booking of shows, it’s also about how we can help artists grow, develop their live performances and build their audiences across our network.”
You are putting a greater focus on the promoter experience – can this help to develop UK artists and increase their audience reach?
“We’re putting a real focus on the promoter experience, which is something we want to make as smooth and efficient as possible. Through our centralised programming team, promoters can work with multiple venues through a single point of contact, making tour routing and planning much simpler. We’re also passionate about making this process as accessible as possible for local and independent promoters, as well as the major nationals – by making those connections and being open to working with promoters across all scales, we can help them nurture touring artists at every stage of their careers, making sure they have a clear pathway from smaller venues to large stages.
“With our newly established concert halls division, we can apply our standards of operating and programming venues across the board, giving promoters and artists the opportunity to build their audiences before making the jump to bigger stages. We’re making sure that behind the scenes, the experience is seamless as well. Back-of-house redevelopments across our venues have been put in place to make life easier for promoters, crews and artists when they visit.”
Grassroots venues are a brilliant training ground for the next generation of industry professionals and artists, so their survival is incredibly important
James Harrison
There’s a reported crisis in grassroots venues – how can Legends/ASM help in this area?
“Grassroots venues are such a vital part of the live music industry, not just for artists but for the entire ecosystem of people who make it all happen. It’s something I’m incredibly passionate about – my first job in the industry was actually at an independent venue, The Zodiac in Oxford. These venues are the places where so many of us got our start – this could be anything from programming, lighting, sound, ticketing, merch – there are tons of opportunities. These venues are a brilliant training ground for the next generation of industry professionals and artists, so their survival is incredibly important. That’s why ASM Global has been actively supporting Music Venue Trust for some time now.
“In 2024, Legends and ASM Global expanded their commitment even further. Through the partnership, we’re working to protect independent spaces in each of our venues’ regional locations through fundraising, in-venue donations, providing marketing support, donations of venue and stage furniture and more.”
AO Arena has undergone a major refurb – what impact has that had on ticket sales and artist bookings – especially in the increasingly competitive Manchester music market?
“AO Arena is an iconic Manchester venue and the transformation has been incredible. The improvements to the back-of-house experience have been brilliant, and the promoters, artists and crews who come through have been full of praise. They know that when they bring a show here, they’re getting a seamless and world-class experience, so that’s something we’re really proud of. On the front-of-house side, the redevelopment meant we were able to double our standing capacity. This has allowed us to host more standing shows and attract a wider range of genres, including EDM. AO Arena is going to have another busy year and we welcome competition in the market.
“The appetite for live entertainment in Manchester is huge – there are set to be over 200 arena shows in the city this year alone which is massive. This year, AO Arena is set to welcome Kylie Minogue, Katy Perry, Twenty One Pilots and Kevin Hart to name a few, and having recently seen the likes Chris Stapleton and Ateez perform to sold-out audiences. Not to mention the upcoming shows 42, 43, 44, 45 and 46 of Peter Kay’s amazing three-year run at the AO Arena.”
Wembley is one of the most iconic venues in the UK, how busy will it be in 2025 – what are the highlights in the schedule?
“OVO Arena Wembley is showing no signs of slowing down. We had over 140 shows in 2024 including 50 first-time headliners, and we expect to top that again in 2025. We’ve got huge highlights on the way, including You Me At Six playing their final ever show on Friday, and Parcels making their arena debut. We’re also about to go on sale with My Bloody Valentine, playing probably their biggest headline show in England for 30-plus years, so there’s loads happening. It’s Wembley’s 90th year and it’s still a must-play venue – it’s buoyant, and more in demand than ever. The venue has kicked off phase one of its redevelopment too, with upgraded seats, the Coors Lounge and back-of-house improvements already underway. It’s a busy, buzzing venue and it’s only going to keep growing.”
It’s Wembley’s 90th year and it’s still a must-play venue – it’s buoyant, and more in demand than ever
James Harrison
You set new booking records across the venues in 2024, what’s the outlook for 2025? How would you assess the strength of the live business at arena level across the UK?
“2024 was a record-breaking year and that’s down to the amazing work from both our central and venue teams who are not only passionate but know the business inside out and genuinely care about delivering for the artists and fans. 2025 is shaping up to be even bigger. We’ve got four new venues in the group, more shows than ever, and we’re already seeing a really strong first half of the year. Q4 has already got some big names locked in, so we’re set up well for the rest of the year.
“At arena level, the live business is in good health and what’s exciting is how much more diverse it’s becoming – more diverse by way of venue capabilities and the types of shows we’re seeing. It’s not just rock and pop coming through our doors – there’s K-pop, country, EDM, comedy, sport, and tons more genres finding their place in arenas now.”
How can your global operation support touring activity in the UK across Legends/ASM venues?
“One of the big advantages we have is our global network, from the US and APAC, to the UK and Europe, we’ve got real reach. That means we can share what’s working, best practices, and help promoters and artists shape the best possible experience for fans across different regions. If a show’s played through in one of our markets, we’ve got that knowledge to help make it even better when it comes elsewhere. Plus, we can connect promoters, agents and managers to partners all over the world.”
2025 shows included Busted v McFy and Five - what’s the demand like for UK boy band reformations?
“Five have done incredible business with their upcoming tour, and we’ve been delighted to get roll dates and shows across our whole network. Similarly, Busted vs McFly is shaping up to be one of the most talked about shows of the year. I think what we’re seeing play out is the maturing of the millennial fan, and the demand from that audience for ’90s and ’00s artists reforming. Interestingly, where we may have previously defined ‘heritage’ acts as being from the ’70s, ’80s era, there seems to be a much shorter lead time on nostalgia now.”
Are there any artists who are stepping up to arenas this year we should be looking out for?
“Personally, I can’t wait to see Parcels take that step at OVO Arena Wembley later this year. Self Esteem’s massive homecoming show at Utilita Arena Sheffield is going to be something special – that will be the only arena date on her tour. Teddy Swims put on two huge sold-out shows at OVO Arena Wembley this year, and there was definite demand there for more. And I have to mention You Me At Six, whose farewell tour wrapped up at Wembley on Friday [April 4]”.
Subscribers can read Music Week’s new interview with Self Esteem and her team.
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