Our industry was the target of another news piece that lacked data and understanding of the convention center industry. A recent New York Times article missed the forest for the trees by criticizing cities for renovating existing convention centers or building new ones. Recent data directly counters this argument, shedding light on why cities—and politicians specifically—continue to support these new builds: to remain competitive, cities must adapt to customer demand for an enhanced, more immersive experience. While the industry data backs up these trends, so does your own experience of how your venue is performing. Here are a few points we want to make you aware of in case you get questions from others:

• The latest barometer from Oxford Economics for the Events Industry Council underscores this shift. Business events in North America are fully back, with future RFP activity already outpacing 2019 levels. The barometer reveals that group room rates have rebounded, marking a critical indicator of hotel pricing health for business events. Additionally, Oxford Economics forecasts that U.S. business travel spending on events will recover to within 1% of 2019 levels this year, with an anticipated 5% growth in 2025.
• Adam Sacks, President of Tourism Economics (an Oxford Economics company), explains in a recent email to IAVM staff, “This is separate from the massive economic benefits that these centers produce for their destinations…. Even if a center operates with a financial deficit, the destination’s economic benefits far outweigh the operating cost of the venue. These venues are catalysts of economic development as companies and investors descend on destinations and are exposed to the best of a city. Further, a convention center is a catalyst for related investment in hotels, restaurants, and entertainment, which make a place more attractive for residents and investors.”
• Our President and CEO, Trevor Mitchell, MBA, FASAE, CAE, CDP, was recently quoted in Skift Meetings response to the NYT piece, noting, “The notion that a convention center is a money suck is counter to how they are operated and the ecosystem they support. Hotels, retail outlets, and restaurants all benefit when a convention is in town—not to mention the jobs created by these centers.”

Convention centers are more than venues; they are engines of opportunity. They foster a ripple effect that strengthens local economies, sustains small businesses, and brings new vibrancy to communities. When cities invest in their convention centers, they invest in a future that brings long-term benefits, not only for visitors, but for everyone who calls the city home.

Latest Global Barometer Points to Sustained

Recovery for Business Events Industry – https://eventscouncil.org/Portals/0/Release_Global%20Events%20Barometer%20Q2%202024.pdf

Global Events Barometer 2024 Q2 Executive Summary – https://online.flippingbook.com/view/740998457/

2023 Global Economic Significance of Business Events Study – https://eventscouncil.org/Leadership/Economic-Significance-Study

Taylor Swift’s Eras Tour at Caesars Superdome. Photos courtesy of Caesars Superdome.

No one can deny the impact that Taylor Swift has had on the world, let alone on the venue industry. By the end of her Eras Tour, Swift will have performed 149 shows across 54 cities worldwide — an estimated total economic impact that will likely surpass $10 billion, according to the U.S. Travel Association.

Fans spend hundreds of dollars on merchandise, travel, and food as part of their pilgrimages to see the musician.

“Between the two of us, we are traveling over 1,000 miles one way to see this show!” said Rachel Daugherty, a self-identified Swiftie.

“I’m headed to the Indianapolis Eras Tour with my best friend who I met in Girl Scouts as a kindergartener. We are thrilled to spend the weekend empowering women, cheering on the iconic Taylor Swift, and trading friendship bracelets with friends and strangers!” said Daugherty.

Friendship Bracelets

The trend of wearing friendship bracelets to a Taylor Swift concert began with lyrics in her song “You’re On Your Own, Kid” from the album “Midnights”:

This October, Caesars Superdome (New Orleans) took this trend to the next level when they enlisted artist and sculptor Shawn Kolodny to construct giant friendship bracelets to festoon the outside of their venue.

Concertgoers attending the Eras Tour at the Superdome were greeted by the incredible sight of seven feet tall inflatable “beads” on 140 feet long “bracelets”.

“Originally, the idea was to try to figure out a way to make a friendship bracelet that would go around the circumference of the Superdome. I was doing research online trying to figure out what the best way to create a bracelet that would be able to withstand unknown weather conditions and would not cause any damage to the building,” said Abby Jones, ASM New Orleans Director of Sales & Marketing.

“I found bigshinyballs.com, and thought their product would be perfect.” She explained, “Once we received approval to move forward with the art installation, I was able to get a meeting with Big Shiny Balls’ owner, Shawn Kolodny. Through this design process, he suggested that we go with the inflatable nylon material that was used. Working within the restrictions of lead-time to create the bracelets and budget, we were able to decide on the final project. Sadly, one large bracelet to go all the way around the Superdome was not realistic, but I was more than thrilled with the final project.”

The friendship bracelet installation at Caesars Superdome. Photos courtesy of Caesars Superdome.

Taylor Swift herself spoke about the friendship bracelets while on stage at the Superdome, saying to her fans, “You’ve turned this into such a fun thing. And now I roll into New Orleans and there’s a giant friendship bracelet on the outside of the stadium — you did that.”

When asked how it felt to hear such praise, Jones said, “It was incredible! The bracelets were created to be experienced by the fans and show all of the Swifites coming to New Orleans how excited we were to have them. When she acknowledged them from the stage and knew they were a celebration of her fan’s traditions, it was the best feeling in the world.”

Adding to that feeling, Jones said, “The reaction from the fans was more than I could have ever expected. My favorite part of each night was standing out on the Plaza, watching our guests gather and take pictures underneath them.”

It was the fans who encouraged offering the giant friendship bracelets to the next stop on the tour, Lucas Oil Stadium.

“I loved that they asked us about sharing them, it got us moving on how to make it happen. The fact that we get to share this experience with the other venues and the fans attending those concerts is just the cherry on top of an amazing experience,” said Jones.

A Symbol

Lucas Oil Stadium Director Eric Neuburger said, “We were delighted and honestly, a little giddy,” to receive the bracelet installation.

“Among venues, we share ideas and best practices, and we do a lot of commiserating. While we’re technically competitors, it’s really a friendly competition, and we always cheer one another on and are pleased to see each other succeed,” he continued. “I remember when I saw the bracelets go up on the Caesars Superdome, I wished we’d thought of it, but I mostly thought, ‘Well done New Orleans!’”

“Then, when we got the call offering us the friendship bracelets, it was completely in keeping with the way venues work together and share our successes and genius ideas,” he said. “We’re profoundly thankful that Caesars Superdome reached out with this symbol of friendship and camaraderie.”

The feeling of friendship and camaraderie reached the entire city of Indianapolis — the last U.S. city on the Eras Tour — with Mayor Joe Hogsett proclaiming the first weekend of November 2024 as ‘Taylor Swift Weekend’.

When asked what that meant to Lucas Oil Stadium, Neuberger said, “It’s awesome, and it goes to show the collaborative way we do big events. Our entire city and civic organizations come out to create an ecosystem for the events we host in our buildings. We did it most recently of course with the Eras Tour, but also other big events like the U.S. Olympic Team Trials – Swimming, NBA All-Stars, March Madness.”

Neuberger explained that the bracelets have since come down from the exterior of their venue, saying, “We had some heavy winds on the north side of Lucas Oil Stadium where the bracelets were hung, and they were getting pretty banged up. To be respectful of this beacon of our relationship, the decision was made to bring them in from the elements.” However, he reassured everyone, “The Lucas Oil Stadium friendship with the Caesar’s Superdome remains strong and undamaged.”

Typically, Swifties trade friendship bracelets at her concerts, which made me wonder: did Lucas Oil Stadium give Caesars Superdome something in return?

According to Neuberger, “We haven’t yet, but we’re keeping our radar attuned for good opportunities to show our thanks! Unfortunately, it’s going to be REALLY hard to top the giant friendship bracelets.”

International Reach

The installation arrived at Rogers Centre in Toronto, Canada, the week of November 11 ahead of Swift’s sold-out run at the venue, proving that venue camaraderie crosses international borders.

It seems likely that Swifties will get to see the now famous giant friendship bracelets travel to the next and final stop on the Eras tour, BC Place in Vancouver, Canada. Where they go from there remains to be seen, but I have no doubt that the joy they have brought to fans will be remembered, and I bet we can look forward to other exciting ideas from venues to come.

The lesson: make the friendship bracelets, but, unlike the song, you’re not on your own, kid — at least not in the venue industry.

The Greater Tacoma Convention Center (GTCC) is marking the milestone of 20 years serving the community with an open house reception on Thursday, November 21, 2024, from 4 p.m. to 7 p.m. This celebration invites community members, partners, clients, and local organizations to come together and celebrate two decades of the convention center’s lasting contributions to Tacoma and the surrounding region. Attendees are encouraged to RSVP at tacomaconventioncenter.org.

Since opening in 2004, the GTCC has been an economic catalyst, drawing over 100,000 visitors annually for a total of nearly 2.5 million guests and a cumulative economic impact over $650 million. In 2023 alone, events hosted at the convention center generated an estimated $27 million in economic benefit and supported 26,000 hotel room nights throughout Pierce County, including Fife, University Place, and Lakewood.

“We’re excited to open our doors to the community to share this celebration,” said Adam S. Cook, Director of Tacoma Venues & Events. “For the past 20 years, the convention center has driven economic impact for the region, holding a diverse array of events that serve as a gathering place for our community and a gateway for visitors to experience the vibrant culture and offerings of our city. This milestone is an opportunity to reflect on the center’s impact and look forward to its continued role in Tacoma’s growth.”

As Tacoma’s reputation as a premier event destination has grown, so too has the convention center’s role in driving major economic events. Its staff, recognized for excellence and innovation, continue to provide outstanding service to a variety of events, from large conventions and tradeshows to regional and national sporting competitions. The award-winning team, some of whom have been with the venue since its inception, were recognized in 2019 with the International Association of Venue Managers (IAVM) Venue Excellence Award and, this year, the facility was again named among EXHIBITOR Magazine’s Centers of Excellence for the fifth time, underscoring the commitment to world-class hospitality and adaptability.

The Convention Center’s ability to host large-scale events received a significant boost with the opening of the Marriott Tacoma Downtown Hotel in 2021. This addition, along with other recent hotel offerings, expanded the city’s hotel capacity, enabling the center to attract larger scale regional, national, and international events. This strategic shift by the GTCC has allowed the convention sales team at Visit Tacoma-Pierce County (VT-PC) to target larger events, resulting in a higher number of room nights and greater economic impact to the region. By late 2024, VT-PC has already secured over 39,000 future room nights and nearly $29 million in projected economic impact.

Youth sports competitions have also found a home at the GTCC, transforming the first quarter each year into a vibrant season of athletic events. Over the past decade, youth sports have grown from contributing 5% to an estimated 25% of the center’s economic impact, with events ranging from gymnastics to martial arts and dance. These competitions bring thousands of young athletes, families, and spectators to Tacoma, creating an influx of visitors and a lasting positive economic effect throughout Pierce County.

Reflecting Tacoma’s commitment to diversity, the GTCC has become a dynamic venue known for its adaptability and commitment to inclusive events. Working closely with clients, the center’s team designs tailored event logistics and catering that reflect each client’s unique cultural preferences, providing an authentic experience for attendees. By partnering with local caterers, the GTCC creates meaningful experiences that honor and celebrate cultural events such as weddings and other celebrations.

In its two decades, the Greater Tacoma Convention Center has integrated unique artistic elements that enrich visitor and community experiences. The center features key pieces of the City of Tacoma’s public art collection, showcasing the region’s vibrant creative spirit. Seven installations are displayed throughout the facility, including Andy Warhol’s Flower for the Tacoma Dome and Apotheosis by Stuart Keeler and Michael Machnic, which is crafted from reclaimed old-growth timber and hand-hewn by J. Michael McGuire of the Fort Nisqually Living History Museum. Each winter, the GTCC also joins the annual Tacoma Light Trail, becoming a radiant stop along an illuminated art walk that brightens the season and celebrates the community’s creativity.

The 20th Anniversary celebration promises an engaging evening, showcasing the warm and genuine hospitality for which the venue is known. For more information about the Greater Tacoma Convention Center and its 20th Anniversary celebration, visit tacomaconventioncenter.org.

Please welcome our newest members who joined IAVM in October 2024. 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.

Andrew Adrian, Sydney Showground, Sydney Olympic Park, NSW, Australia
Alex Alcantar, California Exposition & State Fair, Sacramento, CA
Danielle Allen, California Exposition & State Fair, Sacramento, CA
Georgia Angus, John Cain Arena, Melbourne, VIC, Australia
Amir Asady, Melbourne Convention and Exhibition Centre, South Wharf, VIC, Australia
Matthew Ashley, Adrienne Arsht Center for the Performing Arts, Miami, FL
Jess Audsley, Canberra Theatre Centre, Canberra, ACT, Australia
Sidney Bailey, Nationwide Arena, Columbus, OH
Philip Barber, Ticketmaster, Mortdale, NSW, Australia
Rachel Barber, Mackay Entertainment & Convention Centre, Mackay, QLD, Australia
Lyla Bartman, Pittsburgh Cultural Trust, Pittsburgh, PA
Tran Hannah Bi, University of California San Diego, San Jose, CA
Joe Bisson, Chase Center, San Francisco, CA
Leonard Boyer, Colorado Convention Center, Denver, CO
Samantha Brandenburg, 22nd DAA/Del Mar Fairgrounds, Del Mar, CA
G. Bryan Briggs, Pittsburgh Cultural Trust, Pittsburgh, PA
Cameron Bull, Geelong Arts Centre, Geelong, VIC, Australia
Jacob Butcher, ASM Richmond, Richmond, VA
Sarah Candelaria, 22nd DAA/Del Mar Fairgrounds, Del Mar, CA
Austin Cleary, New Jersey Performing Arts Center (NJPAC), Newark, NJ
Katelyn Colwell, Pittsburgh Cultural Trust, Pittsburgh, PA
Brenton Conlan, Margaret Court Arena, Melbourne, VIC, Australia
Ernie Cooper, Blumenthal Arts, Charlotte, NC
Brittany Cornell, Ryan Center & Boss Ice Arena – OVG, Kingston, RI
Matt Cranford, California Exposition & State Fair, Sacramento, CA
Jacob Craven, Alliant Energy PowerHouse, Cedar Rapids, IA
Ethan Croft, RAC Arena, West Perth, Wau, Australia
Ryan Davey, Heritage Bank Stadium, Carrara, QLD, Australia
Chanuka William Dias, Quayclean Australia Pty Ltd, Tullamarine, VIC, Australia
David Dias, New Jersey Performing Arts Center (NJPAC), Newark, NJ
Seth Diser, Alliant Energy PowerHouse, Cedar Rapids, IA
Tyce Dockstader, Brigham Young University, Provo, UT
Paula Eagleman, Cerritos Center for the Performing Arts, Cerritos, CA
Troy Enright, Momentus Technologies, Perth, WAu, Australia
Sarah Field, Phoenix Convention Center & Venues, Phoenix, AZ
Deanna Forsyth, Spark Arena, Auckland,
Rick Franklin, Acrisure Arena – OVG, Palm Desert, CA
Genessy Galindo, California Exposition & State Fair, Sacramento, CA
Jennifer George, The Slover, Norfolk, VA
Chad Gilliam, ASM Richmond, Richmond, VA
Andrew Gitchel, Harvard University, Cambridge, MA
Adrian Gleeson, Sydney Showground, Sydney Olympic Park, NSW, Australia
Jeff Goran, Joffe Emergency Services, Santa Monica, CA
Hrannar Hafsteinsson, Live Production, Reykjavik, Iceland
Dana Hall, Ticketmaster, Collingwood, VIC, Australia
Jenni Hall, Carterton Events Centre, Carterton, New Zealand
Johanna Hamilton, National Capital Authority, Parkes, ACT, Australia
Katye Heim, Kentucky Performing Arts, Louisville, KY
Erika Hernandez, Curtis Culwell Center, Garland, TX
Socorro Hernandez, Acrisure Arena – OVG, Palm Desert, CA
Dale Hess, Pittsburgh Cultural Trust, Pittsburgh, PA
Jason Hiester, Colorado Convention Center, Denver, CO
Diane Hines, Pittsburgh Cultural Trust, Pittsburgh, PA
Phillip Holmes, Curtis Culwell Center, Garland, TX
Natalie Horton, Ticketmaster, Melbourne, VIC, Australia
Bryan Hudson, Colorado Convention Center, Denver, CO
Sandi Hurtgen Montiero, California Exposition & State Fair, Sacramento, CA
Jack Iacono, Ticketmaster, Melbourne, VIC, Australia
Joseph Jackson, Amalie Arena, Tampa, FL
Samuel Jackson, Adelaide Entertainment Centre, Adelaide, SA, Australia
Kane Kete, Ticketmaster, Melbourne, VIC, Australia
Chelsea Keys, New Jersey Performing Arts Center (NJPAC), Newark, NJ
Melinda Kibukamusoke, National Museum of Australia, Canberra, ACT, Australia
Steven King, Sydney Showground, Sydney Olympic Park, NSW, Australia
Laura King-Marshall, ASM Richmond, Richmond, VA
Suresh Kumar, Quayclean Australia Pty Ltd, Tullamarine, VIC, Australia
Shelby Lackman, Pearl Concert Theater, Las Vegas, NV
Emily Laskowski, Gogue Performing Arts Center, Auburn, AL
Kathleen Leach, Nationwide Arena, Columbus, OH
Eddie Leuluai, Rosehill Gardens Racecourse, Randwick, NSW, Australia
Leo Leung, Hong Kong Convention and Exhibition Centre (Management) Limited, Hong Kong, China
Sin I Leung, Momentus Technologies, Brisbane, QLD, Australia
Erica Linney, Stadiums Queensland, Milton, QLD, Australia
Carter Little, University of South Carolina, Cayce, SC
Max Luuko, Acrisure Arena – OVG, Palm Desert, CA
Phill Madore, Pittsburgh Cultural Trust, Pittsburgh, PA
Veronica Marmolejo, Acrisure Arena – OVG, Palm Desert, CA
Tom Martinez, California Exposition & State Fair, Sacramento, CA
Ian McDoom, Chase Center, San Francisco, CA
Finn McLennan-Elliott, The Tuning Fork, Auckland, New Zealand
Daniel McPherson, AAMI Park, Melbourne, VIC, Australia
Mark Mekalick, Trafalgar Centre & Trafalgar Park, Nelson,
Jennifer Mireles, Cerritos Center for the Performing Arts, Cerritos, CA
Joseph Morrison, Pittsburgh Cultural Trust, Pittsburgh, PA
John Mumper, Pittsburgh Cultural Trust, Pittsburgh, PA
Donna O’Leary, 22nd DAA/Del Mar Fairgrounds, Del Mar, CA
Lisa Odom Murphy, Georgia World Congress Center, Atlanta, GA
Dominique Osorio, ASM Richmond, Richmond, VA
Daniel Page, Brisbane Racing Club Limited, Hamilton Central, QLD, Australia
Emily Parker, ASM Richmond, Richmond, VA
Craig Pearce, New Jersey Performing Arts Center (NJPAC), Newark, NJ
Dani Placek, Stadiums Queensland, Milton, QLD, Australia
DJ Ploughman, Melbourne Convention and Exhibition Centre, South Wharf, VIC, Australia
Leonard Prednis, 22nd DAA/Del Mar Fairgrounds, Del Mar, CA
Mitch Pryor, California Exposition & State Fair, Sacramento, CA
Emily Purchase, AAMI Park, Melbourne, VIC, Australia
Kevin Rabbits, Pittsburgh Cultural Trust, Pittsburgh, PA
Brandon Radeke, Zamboni & Co., Paramount, CA
Simone Roberts, RAC Arena, West Perth, WAu, Australia
Bob Rogers, Blumenthal Arts, Charlotte, NC
Zoe Ruth, Pittsburgh Cultural Trust, Pittsburgh, PA
Suzanne Santry, New Jersey Performing Arts Center (NJPAC), Newark, NJ
Christina Sawyer, Holder Construction Company, Atlanta, GA
Beth Silver, New Jersey Performing Arts Center (NJPAC), Newark, NJ
Andrew Smith, University of Central Florida, Orlando, FL
Mandy Smoot, Amarillo Civic Center Complex, Amarillo, TX
Kim Smout, Adelaide Festival Centre, Adelaide, SA, Australia
Jessika Spearing, Venue Management Association, Beenleigh, QLD, Australia
Donald Squires, Pittsburgh Cultural Trust, Pittsburgh, PA
Nicholas Stenzel, Gordon Field House & Activities Center, Rochester, NY
Caroline Surette, Western Carolina University, Cullowhee, NC
Georgina Swain, Melbourne Cricket Club, East Melbourne, VIC, Australia
Caitlin Tilbee, Stadiums Queensland, Brisbane, QLD, Australia
Kendra Todd, The Trusts Arena, Auckland, New Zealand
Andrew Tolman, Concordia University Irvine, La Mirada, CA
Mandy Tripoli, Mesa Arts Center, Mesa, AZ
Kayla VanCleve, Colorado Convention Center, Denver, CO
Thomas Vecchione, ASM Richmond, Richmond, VA
Oscar Veloz, Curtis Culwell Center, Garland, TX
Christine Wagner, Pittsburgh Cultural Trust, Pittsburgh, PA
Amanda Walker, Melbourne Convention and Exhibition Centre, South Wharf, VIC, Australia
Grant Wallis, South Bank Parklands, Roma Street Parklands, Victoria Park, South Brisbane, QLD, Australia
Craig Walton, California Exposition & State Fair, Sacramento, CA
Cheri Wilbur, Colorado Convention Center, Denver, CO
Tyrie Wilkinson, Melbourne Cricket Club, East Melbourne, VIC, Australia
Nicole Zeak, Pittsburgh Cultural Trust, Pittsburgh, PA

Louis Messina, CEO of TMG, during his Q&A with Eric Church at the IEBA conference in Nashville. (Photo courtesy of IEBA Conference Youtube.)

Legendary promoter Louis Messina, Founder and CEO of Messina Touring Group, regaled attendees at the International Entertainment Buyers Assn. (IEBA) convention with his stories about how he was kidnapped, what leads to new clients, and what motivates him every day. Eric Church, one among his roster of premier clients, asked the questions.

The October convention drew a sold-out crowd of 1,650 in Nashville, Tenn. Filled with trending concerns for buyers of talent, from arenas to festivals to clubs and theaters, the annual event also showcases up-and-coming talent each night. An awards ceremony that saw Messina inducted into the IEBA Hall of Fame closed the event.

That same night, Barclays Center, Brooklyn, N.Y., was named IEBA Arena of the Year; Orpheum Theatre, Minneapolis, and Ruth Eckerd Hall, Clearwater, Fla., tied for Theater of the Year; Hollywood Bowl, Calif., won Amphitheater of the Year; and Minnesota State Fair, St. Paul, Minn., won Fair/Expo of the Year. Venue Executive of the Year was David Kells, Bridgestone Arena, Nashville.

During the exclusive Q&A, Church was quick to ask Messina how he selected the people he works with.

“I have to have passion for what the artist does,” Messina said. “I have to have a connection.” He watches the artist interact with the audience, and with Church, he saw that connection, watching the audience’s eyes locked on the artist and their lips mouthing the words to all his songs. “I see it as a spiritual connection. When I see that, I know I’ve got to be a part of this.”

He said he only works with artists who want to work with him. “It’s got to be more than I want to go out and make money with you. We have to want to go on journeys together.”

Serendipitously, every artist Messina works with was the opening act for someone he already represents, apart from the Lumineers. Church opened for Kenny Chesney, Taylor Swift worked with George Strait. “Through Taylor, I met Ed Sheeran and Shawn Mendez; through George I met Kenny, Tim McGraw, and Faith Hill. That’s how I built “our” career. You have to trust me, and I have to trust you. It’s not just an artist/promoter relationship,” Messina said.

On Nov. 3, Messina celebrated 52 years in the industry, having learned the business with the late Allen Becker and PACE Concerts.

In the 70s, it was a different business, and a young Louis Messina was just attempting to make it in live entertainment. He was living in New Orleans and pretty much broke. He partnered with Shelly Finkle and Jimmy Koplik to promote a Led Zeppelin concert at West Palm Beach Speedway, Fla. Both thought the other had deep pockets, but that being a non-starter, they had to be creative. They decided to do mail order ticketing so they could use all that money to pay the deposits. They still had to borrow $100,000 — which would be like borrowing $5 million today — to get the ball rolling. They found Phil, a wise guy out of New Jersey, to advance the funds.

“The big day comes; the mail was coming. We must have had 20 people around the table waiting for the mailman to come so we could open sacks and sacks of mail. Finally, the mailman comes, and he didn’t have a sack. He had like 50 letters in his hand. The next day, he had 100. After a week, my partner and I went to New York to figure out how we would get money,” Messina remembers.

So they’re in their hotel room in New York, and there’s a knock on the door. These two guys say, ‘Phil wants to see you.’

“Fine, we’ll be here tomorrow.”

“Phil wants to see you now.”

Messina and his partner were packed up and on their way out the door in minutes. Where are we going? West Palm Beach.

They ended up in Florida at Phil’s place for several days. Phil finally let Messina’s partner leave to “find the money,” while Messina stayed behind as insurance. He finally said this is silly and talked his own way out.

But, it’s a great story. Messina was “kidnapped” and can say with assurance that “I’m the only concert promoter in the history of music who ever canceled Led Zeppelin for lack of ticket sales.”

Church noted that Messina has always been honest with him about his business and artistic opinions. He recalled that on his Heart & Soul tour, they started with a less-than-ideal stage that “looked like a Mardi Gras barge.” They were playing in the round, and the top of the barge, where everyone could “see” Church, was up really high with a railing. After rehearsal ahead of a sold-out show, Messina came into Church’s dressing room and started his hemming and hawing, “Whoo, whoo, well, do you like the stage?” he asked. It’s the night before the show. “I’m kind of getting used to it,” Church said. “Well, I hate it,” Messina declared.

“We played the show, which was incredible given the circumstances, and later we modified the stage,” Church said. “But what I want to know, Louis, is: are you as honest with all your other artists as you are with me?”

“It depends on how much I’ve had to drink,” Messina whipped back, adding, to applause, that he “stopped drinking 22 months ago, but I have to tell the truth. We’re in partnership; we’re professionals. We have to be honest with each other.”

Asked about his legacy, Messina said, “I got involved with artists who believed in me.  I’ve been with Strait for 30 years, Taylor 10 years, Chesney 25 years, you a dozen years. I want this to continue.

“I’m not a tour promoter; I’m a career promoter. I say tell me about your next 10 years. The first time I met Taylor, she was 17. I love being part of the dream.”

Church confirmed: “That’s what you’ve always said: ‘Tell me your dreams and I’ll out-dream you.’”

To watch the full IEBA 2024 Louis Messina Keynote, you can view it here.

Jeff Davis, CVE, College Park Center, Arlington, Texas, and Evelyn Ingram, Prism.fm, were among IAVM members attending IEBA. (VP Photo)

Lexie Boone, left, Colonial Life Arena, Columbia, S.C., and Scott Johnson, of the re-branded Greensboro (N.C.) Coliseum Complex which now includes First Horizon Coliseum, shop IEBA for ideas. (VP Photo)

Other 2024 IEBA industry award winners included: Club of the Year —Troubadour, W. Hollywood, Calif.; Casino — Seminole Hard Rock Hotel & Casino, Hollywood, Fla.; Festival — Bourbon & Beyond, Louisville, Ky.; Club Buyer — Sonia Grover, First Avenue; Casino Buyer — Andrew Saunders, Hard Rock/Seminole Gaming; Special Events/Corporate Buyer — EastCoast Entertainment; International Buyer — Jim Cressman, Invictus Entertainment Group; Fair/Expo Buyer — Lacey Hayes, Romeo Entertainment Group; Festival Buyer — Stacy Vee, Goldenvoice; Young Professional — Kelly Mosiman, Wasserman Music; Music & Entertainment Industry Educator — Chuck Morris, Colorado State University; Agent — Keith Levy, Wasserman Music; and Promoter — Rich Schaefer, AEG Presents.