Please welcome our newest members who joined IAVM in September 2023. Thank you for being a part of the association! Also, let us get to know you better by participating in the I Am Venue Management series. Please visit here to share your story and photo.

Emily Adams, FreshStrategies and Solutions, Phoenix, AZ
Michael Avila, Mesa Arts Center, Mesa, AZ
Quinn Beekwilder, Belmont Abbey College, Belmont, NC
Kendall Comolli, Amarillo Civic Center Complex, Amarillo, TX
Brandy Cooper, University of Utah, Salt Lake City, UT
Kimberly Donovan, The Berry Center, Houston, TX
Derek Droese, Clear-Com, LLC, Alameda, CA
Andrew Dubowski, San Francisco Symphony – Davies Symphony Hall, San Francisco, CA
Kelly Farrow, Mesa Arts Center, Mesa, AZ
Stoney Field, MetraPark, Billings, MT
Doreen Foote, Church of Jesus Christ of Latter-day Saints, Salt Lake City, UT
Jo Fostock, Xpodigital, Orlando, FL
Rich Fresques, Maverik Center, West Valley City, UT
Hannah Hall, The University of Alabama, Birmingham, AL
Tristan Hallman, 22nd DAA/Del Mar Fairgrounds, Del Mar, CA
Randall Holley, University of Utah, Salt Lake City, UT
Courtney Holton, Mesa Arts Center, Mesa, AZ
Brenda Jimenez, Mesa Arts Center, Mesa, AZ
Troy Johnson, Maverik Center, West Valley City, UT
Robert Johnston, San Francisco Symphony – Davies Symphony Hall, San Francisco, CA
Chloe Jones, University of Utah, Salt Lake City, UT
Charis Krank, MetraPark, Billings, MT
Kenneth Lewis, Wolf Trap National Park for the Performing Arts, Vienna, VA
Leah Madden, Maverik Center, West Valley City, UT
Alicia Marcial, Maverik Center, West Valley City, UT
Dave McKay, Maverik Center, West Valley City, UT
George Michaels, George Michaels Consultant, Sans Souci, NSW, Australia
Angela Miers, Ticketek Australia, Spring Hill, QLD, Australia
Casey Mills, Maverik Center, West Valley City, UT
Di Misic, VenuesWest, Perth, WAu, Australia
Shaun Mitchell, Brisbane Convention & Exhibition Centre-ASM Global Pty Ltd, Southbank, QLD, Australia
Katrina Monaghan, Quayclean Australia Pty Ltd, Tullamarine, VIC, Australia
Dennis Monteiro, HID Global, Melbourne, VIC, Australia
Michelle Morgan, Populous, Brisbane, QLD, Australia
Tim Morgan, SwiftPOS, Brisbane, QLD, Australia
Jennifer Muldoon, Sydney Opera House, Sydney, NSW, Australia
Kym-Maree Murphy, Hinkler Hall of Aviation, Bundaberg, QLD, Australia
Tas Nicolaidis, Ticketek Australia, Melbourne, VIC, Australia
James Niederer, Adelaide Oval SMA, North Adelaide, SA, Australia
Jo-anna Nisbet, Sydney Opera House, Stanmore, NSW, Australia
Andy North, VenuesLive Management Services (NSW) Pty Ltd, Sydney, NSW, Australia
Asher Nowlan, Melbourne Cricket Club, East Melbourne, VIC, Australia
Jessica O’Brien, Marvel Stadium – Melbourne Stadiums Limited, Docklands, VIC, Australia
Brian O’Connor, Brisbane Entertainment Centre, Boondall, QLD, Australia
Jodie O’Donohue, Melbourne Cricket Club, East Melbourne, VIC, Australia
Rob O’Dwyer, Brisbane Entertainment Centre, Boondall, QLD, Australia
Delia O’Hara, City of Newcastle, Newcastle, NSW, Australia
Michael O’Leary, MAP Co, Melbourne, VIC, Australia
Rachel O’Sullivan, Cairns Convention Centre, Cairns, QLD, Australia
Jonathan Olsen, Maverik Center, West Valley City, UT
William Overman, Melbourne Sports Centres, Albert Park, VIC, Australia
Vicky Papamihail, Ticketmaster, , NSW, Australia
Angela Parkinson, MadisonAV, Silverwater, QLD, Australia
Lauren Payne, Sydney Showground, Sydney Olympic Park, NSW, Australia
Jono Perry, Queensland Performing Arts Centre, South Bank, QLD, Australia
Lee Pessall, O’Brien Group Australia, North Melbourne, VIC, Australia
Tasha Petrie, City Parklands Services, South Brisbane, QLD, Australia
Kellie Pitt, Melbourne Racing Club, Caulfield East, VIC, Australia
Mark Piwkowski, Quayclean Australia Pty Ltd, Tullamarine, VIC, Australia
Jasmine Pohl, Adelaide Venue Management Corporation, Adelaide, SA, Australia
Michael Poulson, Church of Jesus Christ of Latter-day Saints, Salt Lake City, UT
Fiona Preston, Melbourne Sports Centres, Albert Park, VIC, Australia
Donna Priestley, HOTA, Home of the Arts, Gold Coast Mail Centre, QLD, Australia
Larissa Propato, Momentus Technologies, Brisbane, QLD, Australia
Anna Purdy, Marvel Stadium – Melbourne Stadiums Limited, Docklands, VIC, Australia
Jason Quinones, Baryshnikov Arts Center, New York, NY
Aaron Rainey, Five Flags Center, Dubuque, IA
Laura Rathgeber, City of Gold Coast – Major Sporting Venues, Gold Coast, QLD, Australia
Scott Ratuki, Tompkins Wake, Hamilton, New Zealand
Ashley Renzi, Maverik Center, West Valley City, UT
Carlos Reyna, SureVision, Gladesville, NSW, Australia
Philip Rhodes, Dwyer Arena – Niagara University, Niagara University, NY
Megan Rhymer, Sporting Kansas City, Kansas City, KS
Brett Richardson, O’Brien Group Australia, North Melbourne, VIC, Australia
Nikki Ring, Spark Arena, Auckland,
Curtis Rondeau, BAI Communications, Chatswood, NSW, Australia
Bec Rose, Momentus Technologies, Brisbane, QLD, Australia
Mel Russell, Adelaide Venue Management Corporation, Adelaide, SA, Australia
Tom Sanson, Ticketek Australia, Brisbane, QLD, Australia
Eva Sarah, Reliance Risk, Bondi Junction, NSW, Australia
Kris Satish, SwiftPOS, Brisbane, QLD, Australia
Matthew Scheenhouwer, Netball Queensland Limited, Upper Mount Gravat, QLD, Australia
Brandi Schmidt, Ford Idaho Center, Nampa, ID
Lee Scott, Melbourne Racing Club, Caulfield East, VIC, Australia
Nicholas Searcy, Hampton Coliseum, Hampton, VA
Yesenia SeguraVilla, Mesa Arts Center, Mesa, AZ
Anthony Serra, Carlton Football Club, Carlton North, VIC, Australia
Chris Sewell, Mott MacDonald Australia Pty Ltd, Adelaide, SA, Australia
Casey Shields, Netball Queensland Limited, Upper Mount Gravat, QLD, Australia
Kym Shilton, Wrightson, Johnson, Haddon & Williams, Inc. (WJHW), Melbourne, VIC, Australia
Darren Simpson, Tennis NSW, Silverwater, NSW, Australia
Craig Skelly, MyState Bank Arena, Glenorchy, TAS, Australia
Daniel Smith, O’Brien Group Australia, North Melbourne, VIC, Australia
Jason Smith, Momentus Technologies, Sydney, NSW, Australia
Mitchell Stace, MAP Co, Melbourne, VIC, Australia
Fiona Stafford, Arts Centre Melbourne, St Kilda Road, VIC, Australia
Michelle Stevens, Bay Venues, Mount Maunganui, New Zealand
Michelle Stewart, City of Gold Coast, City of Gold Coast, QLD, Australia
Mo Stoycoff, Robert and Margrit Mondavi Center for the Performing Arts, UC Davis, Davis, CA
David Strangio, Melbourne Convention and Exhibition Centre, South Wharf, VIC, Australia
James Sutton, Qudos Bank Arena, Sydney Markets, NSW, Australia
Ben Swanson, Adelaide Oval SMA, North Adelaide, SA, Australia
Sina Szabados, Luther Burbank Center for the Arts, Santa Rosa, CA
Dylan Tadic, VenuesLive Management Services (NSW) Pty Ltd, Sydney, NSW, Australia
Gary Taylor, H3 Group, Hamilton, New Zealand
Alexandra Thompson, Merrigong Theatre Company, Wollongong, NSW, Australia
Danielle Thompson, Te Pae The Christchurch Convention Centre, Christchurch, New Zealand
Rebecca Thompson, Cairns Convention Centre, Cairns, QLD, Australia
Jake Tolsher, Ross Video, Alexandria, NSW, Australia
Aubs Tredget, Sydney Opera House, Sydney, NSW, Australia
James Treloar, VenuesLive Management Services (NSW) Pty Ltd, Sydney, NSW, Australia
Chantal Trimboli, Melbourne Convention and Exhibition Centre, South Wharf, VIC, Australia
Terrence Trujillo, Qudos Bank Arena, Sydney Markets, NSW, Australia
Leigh Ustapetrov, NEC Australia, Docklands, VIC, Australia
Jude Veith, Palais Theatre, St Kilda South, VIC, Australia
James Verlaque, Bepoz, Mascot, NSW, Australia
David Vulin, VenuesWest, Mount Claremont, WAu, Australia
Jason Wade, Invercargill City Council, Invercargill, New Zealand
James Wagg, ASM Global (APAC), Brisbane, QLD, Australia
Colleen Walker, Maple Leaf Sports & Entertainment, Scotiabank Arena, Toronto, ON
Damon Walker, HBF Stadium, Floreat, WAu, Australia
Emma Walker, Northern Territory Major Events Company, Darwin, NTe, Australia
David Walsh, Regent on Broadway, Palmerston North, New Zealand
Nicole Walters, Brisbane Entertainment Centre, Boondall, QLD, Australia
Greg Ward, Isaac Theatre Royal, Christchurch, New Zealand
Paul Warman, Quayclean Australia Pty Ltd, Tullamarine, VIC, Australia
Natalie Wasley, HBF Park, Floreat, WAu, Australia
Adriana Watson, Whistling Kite, Secret Harbour, WAu, Australia
Cameron Wedemeyer, Ross Video, Alexandria, NSW, Australia
Kirsty West, RAC Arena – ASM Global Pty Lt, West Perth, WAu, Australia
Georgia Whiteley, Kardinia Park Stadium Trust, Geelong, VIC, Australia
Michelle Whittle, Momentus Technologies, O’Fallon, MO
Javon Williams, Meydenbauer Center, Bellevue, WA
Justyne Wilson, Bundaberg Regional Council, Bundaberg, QLD, Australia
Cleadus Woodbury, University of Utah, Salt Lake City, UT
Luke Woolley, Populous, Singapore
Ben Wright, Gema Group, West End, QLD, Australia
Gary Wyatt, Platform 4 Group (P4G), Auckland, New Zealand
Anthony Yates, Certis Security Australia, Perth, WAu, Australia
Theresa Yeoh, HBF Stadium, Floreat, WAu, Australia
Adrian Young, Great Barrier Reef Arena, South Mackay, QLD, Australia
Layne Young, Lynnwood Event Center, Lynnwood, WA
Jason Zagame, Cedar Mill Group, Newcastle, NSW, Australia
Nathan Zervos, Cedar Mill Group, Newcastle, NSW, Australia
Daniel Zimardi, San Francisco Symphony – Davies Symphony Hall, San Francisco, CA
Amanda Zvirblis, San Francisco Symphony – Davies Symphony Hall, San Francisco, CA

Henderson Engineers, a national building systems design firm and member of IAVM, is honored to announce the completion of a $250 million north end renovation of Gillette Stadium, home of the NFL’s New England Patriots and the MLS’ New England Revolution. Standout features include a state-of-the-art curved-radius video board and a new 22-story “Lighthouse.” Concluded this September in alignment with the start of the 2023-2024 NFL season, the project is the largest ever modernization of Gillette Stadium since it opened 21 years ago.

“Gillette Stadium hosts football, soccer, concerts, and other smaller events year-round, so a high level of collaboration was needed across the entire design and construction team to keep the venue operational throughout the two-year north end renovation,” said Tyler Johnson, venue sector practice manager at Henderson Engineers. “While Henderson has worked on various other Gillette Stadium enhancements since 2014, nothing beats the excitement of successfully delivering the most complex and significant transformation yet.”

Photo credit: Eric J. Adler/New England Patriots

Spanning 22,200-square-feet, the new high-definition videoboard follows the arc of the stadium and is the largest of its kind in American sports. Audio-video experts from Henderson helped nail down specifications for the jumbotron while its electrical team oversaw controls and power systems. The board was installed in phases during the last two consecutive summers so as to not interfere with the stadium’s large events schedule.   

Standing at 220 feet high, the “Lighthouse” includes a 360-degree observation deck offering breathtaking views of the surrounding Boston and Rhode Island region. In collaboration with LAM Partners, Henderson equipped the lights within the tower with color changing and color tuning functionality, providing the capability to illuminate numerous hues and patterns for game day celebrations and other festivities. Henderson furthermore designed for a snow melt system to keep the observation deck accessible to patrons during all seasons.

Other notable Henderson-engineered enhancements include a revamped Enel Plaza, offering a new grand entrance to the venue. Above the plaza sits the new 50,000-square-foot A-P Atrium, a multipurpose space that overlooks the field and functions as a premium club on game days and an event space on other occasions. 

“Gillette Stadium is a beloved landmark for millions of fans in the Northeast and across the country. This renovation project further entrenches it as not only as premier destination for sports events, but also for other recreational activities throughout the year,” said Johnson.  

In addition to audio-video, electrical, and lighting, Henderson’s full scope of design services for the north end renovation included acoustical consulting, energy modeling, fire protection, mechanical, plumbing, security, and telecom. Populous served as the architect and Suffolk Construction was the general contractor.

iCommit is IAVM’s annual membership recruitment campaign. Existing members are rewarded for referring new members. Encourage your employees, colleagues, suppliers, interns, and more to become an IAVM member today. Consider adding a new Group Membership for your venue or organization; it is a great way to increase the number of entries in the raffle. Plus, your Professional or Allied referral can save the one-time initiation fee of $150.00.

“Members continue to spread the word about the importance of belonging and help our network, our family, to grow,” said Gina Brydson, director of membership. “The iCommit member referral program added 336 new members last year. It is the best recruitment tool we have – our members telling their stories.”

IAVM’s membership reached an all-time high in July of 7,291 members. The new campaign aims to grow our global community by 10%.

For each new member you refer, you could receive one of the following prizes:

• The grand prize will be a complimentary registration to VenueConnect 2024 (value up to $1,000).
• Win one of five, $500 American Express Gift cards – receive one raffle entry for each new member you refer.
• The IAVM Region that adds the most new members will choose one recipient to apply for the CVP designation; we will waive the $125 application fee (the Region Director will choose the recipient within the winning region).

To ensure you are eligible to win one of the prizes, ask your applicant to do the following:

• List your name in the Application Section titled, “Who Recommended IAVM To You/How Did You Hear About IAVM?” – this ensures you receive credit for the new member.
• For new Professional or Allied membership, the $150 one-time initiation fee will be waived; the applicant must enter the promo code “iCommit” to save the fee.
• Some membership types do not have an initiation fee; the dues will not be discounted.

All winners will be notified in January 2024. Contact membership@iavm.org if you have any questions.

Speculative ticket selling should be banned completely, Dave Touhey emphasized to Congressmen and staff. “It is fraud and of no benefit to consumers.”

Touhey, Connett Consulting, was representing IAVM, and by extension, the Fix The Tix Coalition of which IAVM is a member, during testimony before the Subcommittee on Innovation, Data and Commerce Sept. 27 in Washington, D.C. The subcommittee, part of the Committee on Energy and Commerce, was holding a hearing on 14 proposed bills, including three that impact ticketing – the Ticket Act, the Boss and Swift Act, and the Speculative Ticketing Draft.

The hearing was a mid-step in the legislative process. The Representatives were seeking further information from experts in the field. Touhey was speaking to all three bills, not just speculative ticketing. “I was speaking to what was introduced, but said none of it goes far enough. I introduced some insight to why it didn’t go far enough,” Touhey said.

The most compelling part of his original five-minute testimony was by example. He told members how he had gone online to buy tickets to Wu Tang Clan at Capital One Center in Washington. He clicked on the first site that came up, one that had a photo of the building and acted like it was the venue’s site.

He quickly found two tickets in Section 2, Row P for $1,503 all in, but with no seat location. “That’s always an indication it’s not an official sales site, and often a sign that the tickets are speculative,” Touhey testified. That means the seller does not have the tickets in his possession; he is speculating he can get them if he can find a buyer.

John Breyault, National Consumers League; Dave Touhey, IAVM, and Scott Benevidez, Automobile Service Association

Touhey then went to the venue’s actual site (a venue he once managed) and immediately found Seats 15 and 16 in Section 2, Row P, at an all-in cost of $637.40. The reseller also knew those seats existed, and had Touhey purchased them from him, he presumably would have gone to the venue’s site and bought them to resell to Touhey at a markup of $865.60, a huge profit with no risk to the reseller.

“When I talked about the markup of tickets, going on a secondary site and finding two tickets, then going on a primary site and finding basically the same tickets,and they were marked up almost $800, I looked up to see the reaction. There were quite a few members paying attention to my testimony, and you could see a sort of shock, a ‘Wow, that’s a lot,” Touhey said.

Touhey was given five minutes toward the beginning of the two hour, 30 minute hearing to state his case. After each of the witnesses had their five minutes, the hearing moved to questions, most of which were for further information. “The committee on this is fairly bipartisan,” Touhey noted. “I didn’t feel like I was getting different questions from the left or the right. They were trying to learn.”

Touhey worked with IAVM’s lobbyist, Elizabeth Frazee of TwinLogic Strategies, and IAVM’s Committee on Industry Affairs, of which he is vice chair, on the content of his testimony. Some of it came from his pre-testimony interviews with the committee staff, whom he met with the Friday prior.

“I had some more real-time examples of tickets from a tour that doesn’t go on sale till next week that have tickets ‘available ’on some sites already. I had done it with some of the staff, and they went to the websites themselves,” Touhey said.

“After the hearing, I told someone to go back to your office and look at MorganWallen.com. You can see six to eight tour dates he announced for next spring or summer. He says they don’t go on sale until next week. Then go to secondary sites, and you can see you can buy tickets for those dates, but if you go to the primary site, all you can do is register to purchase those tickets. That’s a speculative ticket,” Touhey said.

The Fix the Tix Coalition’s goal is for them to ban speculative tickets, to make it illegal to list tickets you don’t have, Touhey said. Only the ticket reseller benefits from this large mark up. No one associated with the event does — not the artist, not the venue, and not the promoter, he told the subcommittee.

Touhey said the members didn’t ask as many questions as he’d  thought they would and he had prepared for. Nor did they ask some he wished they had, some which his written and spoken testimony somewhat addressed.

THE EXPERIENCE

It was an interesting week for Touhey, who did not know till the Friday prior that he would be testifying on Wednesday morning. He has talked with Congressional staff about different legislative issues over the past year, but never testified at a committee hearing.

“I’ve been in D.C. almost 20 years and only in the past year and a half have I been to the Capitol for anything other than to go to the Visitors Center when guests came in from out of town,” Touhey said. “Now I’ve done the ultimate and testified before Congress.”

He joked that “the most comprehensive study I’ve done of a Bill Becoming a Law was the cartoon “Schoolhouse Rock” on TV as a kid. Some things stick with you. The show had different educational components and one was the How a Bill Becomes a Law song.” Honestly, though, he has more total recall of Schoolhouse Rock’s “Conjunction Junction, What’s Your Function?” on the rules of grammar.

For a bill to become law, it has to be read out of the committee first. Of the three ticketing bills, the Ticket Act has bipartisan support and could move out of committee pretty quickly, he said. The Boss and Swift Act is backed by Democrats and needs Republican support to be fully introduced. The Speculative Ticket Draft could possibly to be incorporated into existing discussion, he added.

The view of the subcommittee hearing dais from where Dave Touhey sat at the witness table.

Tapped on Friday at 6:30 p.m. to be the witness for IAVM, Touhey then learned the written testimony had to be submitted by 10:30 a.m. Monday. He had a full weekend of sports events and even a camping tripped planned, but he was going to multi-task around that. However, Tropical Storm Ophelia interrupted his outdoor plans, so he hunkered down to write.

After submitting the 1,700-word written testimony, he went to work on the spoken testimony. He had learned from prior experience that it takes five minutes to say 700-800 words. Monday, he worked with IAVM’s lobbyists and Bobby Goldwater, CVE, of Georgetown University on questions he might be asked.

The spoken testimony is a summary of the written testimony and both are part of the official record, he said. In the end, his speech was just under five minutes. “I looked up at the timer towards the end, and I had more time than I thought I was going to,” he remembered, flashing back to the fear he was talking too fast.

Sitting at the witness table, you never know when you are on camera, he added. He quickly realized if the witness to either side of him was talking, he, too, was in the picture. And you always have to be anticipating a question from whatever member is speaking. As one staffer on the Hill told him, being a witness at a Congressional hearing is “like Little League. You don’t want to be caught picking daisies in the outfield.”

The feedback has been good, Touhey said. He even got feedback while at the witness table and was able to sneak a look at his watch to respond to a text from Tammy Koolbeck, CVE.

“The challenging thing about all this advocacy is that unless you’re paying attention to it, you don’t always know it’s coming up, but it’s very important to this industry,” Touhey said. “This showed me a little more how the government works. There’s a lot more behind the scenes than you realize when you watch testimony, not that I’ve watched a lot.”

When being evaluated to be a witness, he met with the staff from both sides. “Staff working on the draft who asked me questions have those answers. Though it didn’t happen in the actual hearing, it’s still part of the process,” Touhey said.

THE MESSAGE

Post hearing, the Industry Affairs Committee met per usual Friday morning, and the subject of deceptive URL’s dominated the conversation.

It’s a nuance Touhey had to explain to a Capitol Hill staffer, who asked, ‘if I go to StubHub, and  it says Capital One Arena, is that deceptive?’ No, you are on StubHub, and their logo is on that site. You are looking at their Capital One sales page, but it clearly says StubHub or SeatGeek or Ticketmaster. What we’re trying to target is when you Google Capital One Arena or Arena in Washington, D.C., and up pops a site that is WashingtonArena.com or Washingtontickets.com. When you go on it, it has a logo that looks like the building’s or it has a picture of the building and it has other information about the building, trying to make it look like the venue’s website. That’s deceptive.”

The deceptive site Touhey found for Capital One Arena, says Capital One Arena on it, but in a lot of the language it still says Verizon Center, the arena’s former name. They even have some of the venue’s rules, but they don’t even have an up-to-date bag policy, he added.

Deceptive URL website could have valid tickets, but they are still scalper tickets, still being resold. Or tickets might never come, as happened for some Taylor Swift shows. “Those people had booked flights and hotel rooms to go to an out-of-town stadium to see the show,” Touhey noted in his testimony.

“If you don’t have the actual ticket in your possession, you shouldn’t be able to list it for sale. There should be a fine or punishment if someone’s caught listing a speculative ticket.”

It’s fraud, but it’s a very gray area. The FTC website where consumers report fraud is geared toward issues like stolen credit cards, not speculative tickets.

Another nuance to this issue is that a lot of these speculative sites are “secure” in that they have the lock icon, but that just means they are PCI compliant with credit card processors. “It’s a legitimate credit card account, a legitimate charge. That has nothing to do with the legitimacy of the site,” Touhey said.

Touhey was pleased with points he was able to make and allowed in his observation that none of the bills introduced go far enough in addressing the real issues.

“I think we will have the opportunity to get some of the language changed and addressed for speculative tickets and hopefully get some deceptive URL language inserted. That would be a great first step, but there is a lot that needs to be done to really Fix the Tix problem,” Touhey said. “If we can get a couple of the problems fixed, that’s a lot better than where we are now.”

More than that, he urged all IAVM members to stay involved as this issue progresses.

“When we call or email to ask you to reach out to a politician, a Congressman, or Senator, please help us out,” Touhey urged IAVM members. “Pay attention to ticketing, because if unchecked, the secondary market has a very active lobbying group and will get language and legislation that benefits them under the guise of being beneficial to the consumer. That will really hurt venues, artists,

and consumers.”

For a long time, venues didn’t have to get involved in politics, he believes. “Only recently have there been these types of issues, effecting how we operate as venues. We need to stay ahead of it.”

ASM Global has appointed Alex Bowen as vice president of live entertainment.

In his new role, Bowen will manage event procurement and live-entertainment bookings for ASM Global venues in New Orleans, including Caesars Superdome, Smoothie King Center, Champions Square and Shrine on Airline as well as the new Thunder Ridge Nature’s Arena in Ridgedale, Missouri.

Alex Bowen, Vice President of Live Entertainment, ASM Global

He will also oversee live-content development and booking responsibilities for venues in the Southeast U.S. region, including Brookshire Grocery Arena (Bossier City, Louisiana), Raising Cane’s River Center Arena (Baton Rouge, Louisiana), The Buddy Holly Hall (Lubbock, Texas), Pensacola Bay Center (Pensacola, Florida), Boeing Center at Tech Port (San Antonio, Texas) and more.

With more than a decade of live-event experience, Bowen has expertise in many areas, ranging from concert production, artist management and marketing to operations, event procurement and talent booking. With prior stints at several well-known entertainment venues throughout New Orleans and Baton Rouge, such as the House of Blues and Fillmore, Bowen has become a key player in Louisiana’s entertainment industry, eventually earning his most recent role as senior talent buyer for events promoter Live Nation, overseeing multiple markets and large-scale venues.

“As a native of Louisiana, Bowen has been intertwined in every aspect of the state’s rich live music and entertainment culture and throughout his career has even helped to revive venues with the caliber of talent he brings to the stage,” said John Boyle, ASM Global’s chief content officer. “Between his knowledge of Louisiana and southern U.S. regions and his deep understanding of what it takes to produce great shows, we are confident that his transition to ASM Global will be seamless; and we are excited to have him join our world-class team.”