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News February 13, 2020

Ticketmaster expands into Asia

Senior Journalist, B2B
Ticketmaster expands into Asia

Ticketmaster is expanding its footprint in Asia through the launch of Ticketmaster Singapore and the acquisition of Taiwan’s Tixcraft.

Investing in Asia makes sense, explains Mark Yovich, the Australian-born president of Ticketmaster International, who characterises the region as a key one with a growing live entertainment business and significant venues.

As a result of these deals, Chad Phillips, former Managing Director for APACTix, becomes Managing Director Ticketmaster Asia, based in Singapore. Founded in 2014 by KT Chiu, Tixcraft is recognised as Taiwan’s leading music ticketing platform. Financial details weren’t disclosed.

The development, announced today, comes two months after Ticketmaster secured a place on the Sports Hub panel in Singapore, which means it’s one of three ticketing companies that promoters can select in market. Sports Hub is Singapore’s Sports and Entertainment complex, which includes the 55,000 capacity stadium, a 12,000 capacity venue and a 3,000-max arena.

Singapore and Taiwan have emerged as go-to spots for touring artists working both sides of the globe. Neon Lights hosted its fourth annual festival in Singapore in 2019, and Australia’s Laneway has held multiple events in the market.

And just last year, U2 brought the Joshua Tree Tour to Singapore, the legendary Irish rock band’s first ever visit to the city state. Ticketmaster’s parent company Live Nation produced that show and others on the global trek.

Former Chugg Entertainment CEO Matthew Lazarus-Hall recently relocated to Singapore to join AEG Presents, Live Nation’s main rival, in a pan-Asian executive role.

On the ticketing side, Ticketmaster rival Ticketek already operates in several Asian territories, including Singapore. Geoff Jones, CEO of Ticketek-owner TEG has talked of rolling out its model across the region, which would set up another playing field on which the two ticketing giants could lock horns.

This article originally appeared on The Industry Observer, which is now part of The Music Network.

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