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Dunedin stadium boss departs after 18 months as concert gap stretches past two years | Collector
Dunedin stadium boss departs after 18 months as concert gap stretches past two years
Newstalk ZB

Dunedin stadium boss departs after 18 months as concert gap stretches past two years

The chief executive of Forsyth Barr Stadium in Dunedin has resigned after 18 months in the role, as a wait for major concerts at the venue continues. It has been more than two years since the stadium last held a top international concert. Dunedin Venues Management Ltd (DVML) confirmed that Paul Doorn had been appointed to an “exciting international opportunity” and will leave his southern role, with further details yet to be announced. The departure comes shortly after the Dunedin City Council approved increased funding for the stadium, including an additional $1.25 million in its draft Annual Plan, with a further $1.25m for the following year, principally aimed at managing and controlling stadium debt. It also coincides with the upcoming opening of Christchurch’s Te Kaha One New Zealand stadium next weekend. The new covered stadium, which will have a 30,000 capacity for sports and 37,500 for concerts, will further intensify competition for major acts in the South Island. While Dunedin’s stadium has no announced upcoming concerts, Christchurch is already locking in a packed calendar, with Six60 opening the venue’s music programme on May 16, followed by Robbie Williams on November 28 and the Foo Fighters on January 19. It will also host Super Round from April 24 - 26, with 10 Super Rugby Pacific teams to play five matches at the central city stadium. Te Kaha One New Zealand Stadium in Christchurch is due to open next weekend. According to DVML’s latest annual report, the organisation recorded a $48,000 loss in the year to June 2025, compared with a $208,000 profit the previous year, while revenue fell from $17.4m to $11.7m. The report also shows Doorn received total remuneration of $259,000. DVML chair Lee Piper said: “We are immensely proud of Paul and the recognition his new appointment will bring to our organisation and our city. The Board thanks Paul for his leadership and contribution to Dunedin Venues. “He leaves the organisation in strong shape, with a dedicated team, solid commercial partnerships and an exciting number of initiatives on track to improve our event pipeline. We will move promptly to commence a thorough search for his permanent successor.” Doorn said: “Leaving Dunedin is bittersweet. This is a city with heart, incredible people, and venues that punch well above their weight on the national and international stage. I am deeply grateful to the Board, our team, our partners, and the wider community for their support. “The opportunity ahead is once in a career. My experience at Forsyth Barr Stadium, the Dunedin Centre, and across the broader Australasian venue industry has been the foundation for this next chapter. I will always be proud of my time in Dunedin and will remain an ambassador for this extraordinary city.” His tenure coincided with an extended gap in major concerts at the stadium. The last was Pink in March 2024. Since then, the venue has hosted a range of events, including an All Blacks test match, Monster Trucks, Freestyle Kings, Beerfest and community events such as Nature Dome and Moana Nui Festival. Doorn said DVML could not comment on potential future concerts before formal announcements. Paul Doorn has resigned as chief executive of Dunedin Venues Management Limited after 18 months in the role. Photo / Supplied “As a general principle, DVML is not able to comment on or confirm any future major concert bookings at Forsyth Barr Stadium prior to a formal announcement being made by the promoter. “This applies to artists that may be contracted, in negotiation, or under consideration, including any potential timeframes.” He said gaps between international touring acts were influenced by factors largely outside the venue’s control. “More broadly, gaps between international touring acts are influenced by a range of factors largely outside the venue’s control - including global touring cycles, New Zealand’s geographic location within tour routings, artist availability, and promoter economics....

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