IQ103 by IQ Magazine

103 An ILMC Publication SEPTEMBER 2021 | £25 | €25

Industry leaders predict boom times

NEW BOSSES 2021

GREEN GUARDIANS GUIDE

BUILDING(S) FOR THE FUTURE

Bullet For My Valentine

Find Out More At business.ticketmaster.co.uk/heavymusic

IQ103 CONTENTS

Cover: Liam Gallagher at Reading Festival © Alastair Brookes

14 NEWS

FEATURES

COMMENT AND COLUMNS

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Index In Brief The main headlines over the last month Analysis Key stories and news analysis from around the live music world New Signings & Rising Stars A roundup of the latest acts that that have been added to the rosters of international agents

The New Bosses 2021 IQ reveals the young professionals who have impressed their peers during the last 12 months Green Guardians Guide As sustainability becomes an industry priority, we profile 40 individuals, companies and initiatives that are driving the green agenda Building(s) for the Future Lisa Henderson studies the architects' plans for the upcoming arena projects that will revolutionise global touring

Disaster prompts help and solidarity Holger Jan Schmidt details the live music community's extraordinary efforts in the aftermath of the Ahr Valley flooding For what it's worth Adele Slater reveals what went into Liam Gallagher’s “life-affirming” show for NHS workers at The O2 in London IPM Production Notes The Roadie Cookbook's Nick Gosling and Julie Cotton discuss mental health Your Shout Who would you want on your team during a zombie apocalypse?

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Magazine

A BIGGER BANG

opefully by now, most of you in the industry will have been able to attend a gig following the long layoff. For me, the first gig back was Gorillaz at The O2 arena in London, along with 17,500 other ecstatic fans, for what was truly a fantastic night. At the time of writing, the UK has just had its biggest music weekend in two years, with Reading and Leeds Festivals and All Points East amongst a number of gatherings held over our endof-August bank holiday weekend. So, the predictions of various industry leaders that the boom times are just around the corner (see page 10) seem nailed on to me – the demand for live entertainment has never been so strong, as people attempt to make up for 18 months of silence. The death of Charlie Watts in August reinforced my desire to go to more gigs. I’ve been lucky enough to see the Rolling Stones a number of times across four different countries and two continents, but there are other heroes, notably Glen Campbell, who I regret never seeing live, and that fear of missing out remains a driver for me to pack in as many gigs as possible, now that I’m no longer taking live music for granted. I imagine millions of others are feeling the same way, so we may finally be experiencing the start of the roaring 20s. Speaking of 20s, this issue of IQ carries our annual New Bosses list (page 20), where a dozen of the industry’s brightest and best are recognised for their hard work and vision. Congratulations to all who made the 2021 shortlist. This edition also features our Green Guardians Guide (page 28), which champions various organisations and individuals that are trying hard to improve the sustainability credentials of the live entertainment industry. It’s a message that’s at the forefront of nearly every business as we get back to work but judging by some of the photos and negative press coverage of the thousands of abandoned tents at festival sites in the past few days, there’s still a lot of work to be done in communicating the green agenda to consumers. For anyone needing pointers on messaging, as well as how to reduce their carbon footprint, the summer edition of the Green Events and Innovations Conference on 16 September is an ideal place to start. Finally, Lisa Henderson takes a look at developments in the indoor venue business by profiling some of the exciting new arena projects that are in the pipeline over the next few years (page 46), proving that confidence (and investment) in the live entertainment sector remains high, despite the setbacks that Covid has thrown our way. There are undoubtedly some challenges still to overcome – tour cancellations remain all too frequent as the virus hits musicians and crew, for instance. But ticket sales and artist bookings are hitting unprecedented levels, so as Messrs Rapino, Emanuel, Schulenberg, Lustgarten and Lublin attest on page 10, 2022 could indeed herald the beginning of another golden era.

ISSUE 103 LIVE MUSIC INTELLIGENCE IQ Magazine Unit 31 Tileyard Road London, N7 9AH info@iq-mag.net www.iq-mag.net Tel: +44 (0)20 3743 0300 Twitter: @iq_mag Publisher ILMC and Suspicious Marketing Editor Gordon Masson News Editor Jon Chapple Staff Writer Lisa Henderson Advertising Manager Steve Woollett Design Rather Nice Design Sub Editor Michael Muldoon Head of Digital Ben Delger Contributors Julie Cotton, Nick Gosling, Holger Jan Schmidt, Adele Slater Editorial Contact Gordon Masson gordon@iq-mag.net Tel: +44 (0)20 3743 0303 Advertising Contact Steve Woollett steve@iq-mag.net Tel: +44 (0)20 3743 0304 ISSN 2633-0636

Magazine

IN BRIEF INDEX The concert business digest

Anghami announces plans to open music venues in Dubai, Riyadh and several other Middle Eastern cities, as well as in the UK and North America. Werchter Parklife concludes with a Covid-secure mini-festival with 2,500 fans. 23,000+ events are cancelled in Australia in July. Agent Craig D’Souza, known for his work with UK rap and hip-hop artists such as Stormzy, Dave, J Hus, and Krept & Konan, joins WME as a partner. Norway postpones the final step in the reopening of its economy for a second time. Strandkorb Open Air loses two of its biggest stars after the singers criticised coronavirus restrictions. New York City will require proof of being vaccinated for anyone who wants to attend an indoor live show. UK’s X-ray Touring forms new strategic alliance with New York’s Artist Group International, part of Yucaipa’s Y Entertainment Group.

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Italy’s Barley Arts announces the first edition of a brand new festival centred on the idea of comfort.

The British government announces a £750million (€876m) insurance scheme for live events.

All but eight EU member states confirm that British artists will not need visas or work permits when European touring resumes.

Ireland’s Electric Picnic presses the government for a reopening plan.

CTS Eventim announces plans to build a new multipurpose arena in Milan, Italy. Live Nation returns to profitability in Q2 2021. ID&T says it sees no legal grounds to advance with the preliminary injunction proceedings against the Dutch government. ASM Global’s chief commercial officer Richard Krezwick announces his departure from the company.

Clockenflap Presents, Hong Kong’s biggest annual music festival, announces Long Time No See – a one-day festival showcasing local talent. The Catalan government gleans “valuable information” about how major events could take place in the future from a study of three festivals. Exit Festival 2021 does not lead to a significant increase in new cases of Covid-19 at either a local or national level.

Belgium’s Pukkelpop announces an alternative event in lieu of the flagship festival.

AmazeVR inks a deal to create an immersive virtual reality concert experience for Grammy award-winning artist Megan Thee Stallion.

Scotland’s biggest music festival, Glasgow’s Trnsmt, is permitted to go ahead with up to 50,000 nonsocially distanced fans per day.

New York academics urge the US consumer watchdog, the Federal Trade Commission (FTC), to ban so-called ‘drip pricing.’

Live Nation allows artists performing at its US venues to require all attendees and staff to be fully vaccinated or to show a negative test result to gain entry. Australian live industry calls for UK-style insurance. Roblox announces virtual album launch party for YouTube star and professional boxer KSI. Silver Lake, Roc Nation invest in merch company Fanatics. ASM Global is appointed as the managing operator of the largest exhibition and convention centre in the Middle East. A swathe of concerts, festivals and tours in the US are cancelled or postponed amid concerns over the spread of the delta variant of Covid-19. Global Citizen Live announces the line-ups for the upcoming poverty and vaccine benefit concerts in New York, Paris, and Lagos, Nigeria. ASM Global announces the appointment of Mirco Markfort as general manager of the König Pilsener Arena in Oberhausen, Germany.

In Brief

Dutch brand DGTL announces the final piece in its “overall sustainability puzzle” after partnering with SkyNRG, a pioneer in sustainable aviation fuel. Estonia’s Station Narva welcomes international acts. Live music crew members curate a non-profit cookbook with the aim of funding mental health first aid training for “every tour bus in the UK.” YouTube Theater, the new 6,000seat live music and entertainment venue located at Hollywood Park in California, opens. CTS Eventim signs a ticketing agreement with the Austrian Federal Theatres Group. Live Nation and AEG will both require all full-time employees in the US to be vaccinated against Covid-19 when they return to the office. Baracuda Music organises a “scientifically supported” one-day festival, following the cancellation of its FM4 Frequency Festival. UK pros sign a new pledge to improve safety for women at live music events, called Safe Spaces Now. Rock in Rio founder plans new 105,000-cap festival The Town. Kanye West’s second Donda listening party at the MercedesBenz Stadium is reportedly Apple Music’s biggest-ever live-stream. Norway announces plans to relax all restrictions before the end of September. The O2 resumes at full capacity for the first time since March 2020, welcoming 34,000 people to two shows by Gorillaz.

DEAG Classics announces the acquisition of a majority stake in lit.Cologne, one of Europe’s largest literary festivals.

Berlin’s Clubculture Reboot organisers welcome what they describe as positive interim results from the recent pilot event series.

350+ organisations from the Dutch event industry back a protest march against the government’s “arbitrary” restrictions.

Endeavor Group Holdings, the parent company of WME Entertainment, appoints veteran technology and media executive Jackie Reses to its board of directors.

Live Nation will require all artists, crew and fans to produce proof of Covid-19 vaccination or a negative test to gain entry to its US venues and festivals. UK’s CMA calls for stronger controls on resale sites. Hundreds of thousands of music fans attend festivals across Belgium. We for India raises more than $5m (€4.3m) for the India Covid Response Fund. WME sees double-digit growth in its bookings compared to the prepandemic era. Los Angeles’ Staples Center reopens after 513 days. Pol’and’Rock says it has “introduced a blueprint for holding events in the new normal,” following its successful 27th edition. Laivā, the unique crossover festival with a partly floating audience, returns to Riga, welcoming 5,000 people. The Los Angeles County Department of Public Health issues order stating that attendees of any major outdoor event will be required to wear a mask. Fest Festival welcomes 35,000 festivalgoers over four days for this year’s edition, making it the biggest event in Poland in 2021.

Attitude is Everything’s new survey indicates that a majority of Deaf, disabled and neurodivergent people want to return to live events. MCD Production’s boss says the Republic of Ireland’s live sector is “frustrated, disappointed and angry,” by the prolonged shutdown. Live Nation, AEG Europe, CTS Eventim and DEAG/Kilimanjaro outline how they plan to approach Covid-19 entry requirements. Music Venue Trust’s new report finds a strong desire in the UK live music industry to create safe concert spaces following the country’s reopening. Canada welcomes US artists to perform on the country’s stages for the first time in 18 months. Pollen, a UK-based startup that develops an influencer marketplace for events, announces its latest artist-curated weekender with Justin Bieber. The world’s first-ever 5G-powered festival is on track to take place early next year in the UK, following another successful round of trials. China’s ministry of culture and tourism implements a new centralised ticketing system for the country’s live performance sector.

Denmark’s live music industry organises a test project to gather knowledge and evidence on how major events can take place safely during the pandemic. We Love NYC: The Homecoming Concert, the star-studded show held in New York’s Central Park, becomes the biggest victim of Hurricane Henri. Tens of thousands of people take part in the Unmute Us protest march in cities across the Netherlands. Ticketmaster Switzerland signs a deal with Samsung Hall, the renowned 5,000-capacity venue located in Dübendorf, Zurich. The Australian state of New South Wales is set to gain two multimillion-dollar arenas. CTS Eventim’s Q2 financial results show that the company is “optimally positioned for the return of live entertainment.” DEAG brings together more than 20,000 people, despite ongoing restrictions on large events in Germany. Boardmasters returns to the Cornish town of Newquay for the first time since 2018. MSG Entertainment expects shows to “begin ramping back up” next month, its president says. Unmute Us threatens Dutch government with second, larger protest if its questions aren’t answered. Swiss festival Open Air Gampel successfully returns with a sold-out 2021 edition, where 10,000 fans per day are entertained by acts from Germany, Switerland and Austria.

Singaporean sovereign-wealth fund GIC acquires a 5% stake in Eventbrite.

Magazine

Analysis

COVID & WEATHER DISRUPT LIVE RETURN IN USA

he resurgent coronavirus and extreme weather slowed the pace of America's world-leading return to live music in August, with the highly infectious Delta variant and Hurricane Henri forcing the cancellation of many of the autumn’s most anticipated concert events. Among the casualties of the deteriorating public health situation were AEG's huge New Orleans Jazz & Heritage Festival, which would have taken place from 8 to 17 October with artists including Stevie Nicks, Foo Fighters, Lizzo, and Dead & Company, and tours by Michael Bublé, Limp Bizkit, Lynyrd Skynyrd, and Fall Out Boy (who pulled out of a number of Hella Mega tour dates with Green Day and Weezer after one of their team tested positive for Covid). Announcing the postponement of his August arena tour dates to October, Bublé said: “I do not want to put my fans at risk, nor my band and crew, by putting them in a situation that could possibly affect their health and therefore their friends and family. It is better for me to reschedule these shows to a time when all of us are confident that we can relax and enjoy the show.” Elsewhere, We Love NYC: The Homecoming Concert, the star-studded show held in New York’s Central Park on Saturday 21 August, became the biggest victim of Hurricane Henri, the trop-

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ical storm that battered New England and the north-eastern states later in the month. The concert, first announced by the mayor of New York city, Bill de Blasio, in June, was put together by veteran label exec Clive Davis in association with Live Nation, and was to have featured performances by Bruce Springsteen, Patti Smith, Paul Simon, Barry Manilow, The Killers, Jennifer Hudson, Run DMC, Carlos Santana, LL Cool J, Andrea Bocelli and more. However, the 60,000-strong crowd were asked to leave Central Park early – at around 8pm, during Barry Manilow’s set, and before Springsteen, Simon, and The Killers could take the stage – as the heavens opened and lightning filled the sky, giving authorities no choice but to call time on the event. While most tickets for the show were given free to New York residents, VIP tickets were available, priced between $399 (€255) and $5,000 (€4,252). In a statement, De Blasio acknowledged that

“while it’s disappointing that tonight’s concert had to end early, the safety of everyone in attendance had to come first.” Other events were also called off after the state of New York declared a state of emergency the morning of 21 August ahead of Henri (by then downgraded to a tropical storm) making landfall. The Eagles’ highly anticipated return to Madison Square Garden, part of the band’s Hotel California tour, on Sunday 22 August, was cancelled by the arena, as was a Jason Mraz show at Mohegan Sun Arena (10,000-cap) in Uncasville, Connecticut, the same night. Elsewhere in Connecticut, Kiss’s show at the 30,000-capacity Xfinity Theatre in Hartford was pushed back to Monday 23 August after being postponed from Sunday due to the hurricane. Sporting events such as the PGA Tour golf tournament, which is in New Jersey, also cancelled or postponed scheduled fixtures.

“I do not want to put my fans at risk, nor my band and crew, by putting them in a situation that could possibly affect their health and therefore their friends and family” Statement from Michael Bublé

Analysis

MULTINATIONAL PROMOTERS PREDICT MULTISTAGE RESTART

nternational concert businesses Live Nation, AEG, CTS Eventim and DEAG have said they expect to take a market-by-market approach to Covid-status certification as live music resumes this year. Last month, Live Nation announced that, from 4 October, it will require all artists, crew, and fans to produce proof of Covid-19 vaccination or a negative test to gain entry to its US venues and festivals. Local Live Nation representatives also confirmed that it plans to do the same in the UK – which is fully reopen – as well as Canada, which last week opened to fully vaccinated Americans and permanent residents, and Australia. As for other countries, IQ understands that Live Nation will take a market-by-market approach based on local governments’ requirements – many of which already utilise Covid-status certification (vaccine passports) for entry to public spaces. AEG Presents, AEG’s concert promotion division, will also require all fans in the US to be vaccinated from 1 October. In Europe, AEG “will be adopting an approach that is appropriate to the prevailing conditions and local health department and/or leg-

islative requirements in each market,” confirms John Langford, the company’s COO. The company has already implemented measures to check attendees’ Covid-19 status at its landmark venue, the 20,000-capacity O2 arena in London. In line with the advice and guidance from UK and local government, ticket holders are required to present an NHS Covid Pass in order to gain access to the arena. Last month saw the London arena back at full capacity for the first time since March 2020, welcoming 34,000 people to two shows by Gorillaz, followed by a free event for NHS workers headlined by Liam Gallagher (see page 16). The Gorillaz shows were promoted by DEAGowned Kilimanjaro Live. Peter Schwenkow, CEO of DEAG, says that the company has to handle different restrictions in all its territories, which includes Germany, Switzerland, the UK, and the Republic of Ireland. “It very much depends on local authorities: For example, Bavaria is different to Berlin and Zürich different to Geneva,” he explains. “Denmark is partly open, the rest of Scandinavia is currently still very complicated. Ireland continues to be problematic, but the UK is by far the best country to promote shows [in] at

the moment; Kilimanjaro Live did two sold-out shows at The O2 last week with the Gorillaz. Generally, we do prefer the ‘3G’ rule: vaccinated, recovered or tested. Anybody else will not be allowed to work, stay backstage, or even enter the venue,” he says. European ticketing and promoting powerhouse CTS Eventim is taking a similar bespoke approach to Covid-19 safety measures. “In Germany, if concerts are allowed to take place, our promoters will develop individual concepts in close coordination with the local authorities in the various regions and the corresponding local regulations for the protection against Corona,” a representative tells IQ. The ticketing services and live entertainment giant has interests in 21 countries including major markets such as Germany, Spain, Italy, and the UK. The Eventim group comprises concert, tour and festival promoter companies for events like Rock am Ring, Rock im Park, Hurricane, Southside and Lucca Summer, while owned or operated venues include the Lanxess Arena (18,000-cap) in Cologne, K.B. Hallen (4,500-cap) in Copenhagen, the Waldbühne (22,290-cap) in Berlin, and the Eventim Apollo (2,500-cap) in London. Magazine

INDUSTRY HEADS PREDICT HUGE RECOVERY

ndustry leaders including Live Nation CEO Michael Rapino, WME head Ari Emanuel, CTS Eventim’s Klaus-Peter Schulenberg, and MSG Entertainment president Andy Lustgarten have predicted a boom time for live entertainment as concerts resume from late 2021. Speaking during the company’s Q4 2021 earnings call, Lustgarten said he expected “concert touring to begin ramping back up in late September, leading to a strong concert booking schedule on a full-year basis” for Madison Square Garden Entertainment, owner of the eponymous New York arena, as well as upcoming venues in Las Vegas and London. “In fact, fiscal 2022 is currently pacing ahead of fiscal 2020, which was slated to be a record bookings year for our company prior to the onset of the pandemic,” he said, adding that holds at Madison Square Garden are up 50% on 2019, the last pre-pandemic year. Lustgarten also referenced recent remarks by Live Nation CEO Michael Rapino that the live music market will explode when coronavirus restric-

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tions are lifted, particularly from 2022 onwards. “There is real demand for artists to be on the road,” said Lustgarten. “We feel even more confident in this after listening to Live Nation’s recent public comments, where they talk about the touring business for the years to come. Live Nation has a different purview to what we do, because they are buying global tours and mapping them out at the right time, so while we speak directly to artists, they are speaking to whole tours. “Together – between what we are seeing and hearing from artists, and what we are hearing from Live Nation – we feel really good about not only this fiscal year but what the future could be for the next few.” Speaking in July, Rapino explained that Live Nation's stock – which at press time is worth $85 (€72), $10 (€8.50) more than its all-time pre-pandemic high – remains so valuable because financial analysts are expecting a live entertainment boom as the final coronavirus restrictions are lifted in the US and internationally. “Wall Street’s buying the future, not the present,” Rapino explained. “So if you’re an investor look-

ing at Live Nation, you’re probably saying, ‘Well, I think this live experience business in general is going to boom. We see that happening.’” Wall Street would have been particularly encouraged by the low rate of people returning their tickets for cash and Live Nation’s extensive programme of cost-cutting (estimated at $800million [€680m] as of this time last year), he continued: “If you’re an investor and you’ve already valued me at $75 going into the crisis, you’ll be sat there saying, ‘What do I think about the future? I think they’re going to be leaner than they were before they went in, so they’ll make a bit more money. I think there’s a boom happening. And [I think] this thing called live must be really, really valuable to customers, because there’s not even cashing it in [during] one of the greatest crises in history. So I want to bet on this category, and I want to bet on the market leader.” Comparing recorded to live music, Rapino added: “I think live is very, very unique. It's the only unduplicatable asset that's really survived this entertainment revolution. Everything else pretty much got duplicated and digitised. And

Analysis

The O2 arena celebrated its first shows in 17 months in spectacular style when Kilimanjaro Live promoted back-to-back shows by Gorillaz to 35,000 – the first night of which, on 10 August, being a free concert for National Health Service workers

that's great, but those goosebumps you get when you watch the Eagles, [for example], you don't get that on an iPad. So we have this very unique industry that is not duplicatable. And in a world where everything else has become duplicatable and commoditised, I think this category has a long life.” He elaborated: “You know, when the crisis happened, there were people on Wall Street and elsewhere that were saying, ‘Oh my God, no one’s gonna ever gather again, we’re all going to be living in our houses forever, no one’s going to go to a movie theatre or concert.’ But I always remember it was the May long weekend [in 2020] and there was a CNN report from the Ozark lakes, where everyone was partying like crazy, and in the middle of this crisis with no vaccine. That moment showed that, no matter how dangerous it was, people still wanted to gather [with other] people, they wanted to get out.” Emanuel, the CEO of WME parent Endeavor, echoed Lustgarten’s comments, saying during

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his company’s Q2 earnings call that “bookings for the second half of 2021 are double digits over where they were at the same point in 2019, the most recent non-Covid-impacted year.” Endeavor CFO Jason Lublin added that country music is “leading the way” for a rebound in live music in the US in the second half of 2021, with highlights including sold-out tours by Garth Brooks and Eric Church. “As Ari mentioned, we’re pacing ahead as it relates to WME booking for the second half of the year, and we’re booking clients for dates much further into the future,” he added. “We have experienced recovery in our business happening slightly faster than we had originally anticipated,” Lublin continued. “And although we continue to closely monitor the Delta variant, bookings, ticket sales and other indicators remain positive for the balance of the year.” In Europe, it’s a similar story, said CTS Eventim CEO Schulenberg, whose company owns the multinational promoter network Eventim Live.

“Together – between what we are seeing and hearing from artists, and what we are hearing from Live Nation – we feel really good about not only this fiscal year but what the future could be for the next few” Andy Lustgarten | MSG Entertainment

“Ticket sales are recovering, which confirms our view that people are yearning for live entertainment after a year and a half of the pandemic,” he explained after presenting Eventim’s positive Q2 results. “However,” he warned, “politicians must set out a framework so that it is economically viable for events to be held again. Government support is very helpful, but the industry wants to finally be able to earn its money by returning to work.”

NEW SIGNINGS & NEW MUSIC

LISTEN TO ’S ‘NEW MUSIC’ AGENCY PLAYLIST HERE

Each month, ’s partner agencies help us to compile a playlist of new music, much of it released by the new signings to their rosters. Among the tracks on September’s playlist are submissions from ATC Live, CAA, ITB, Paradigm and UTA.

ALICE LONGYU GAO

fter failing the entrance exam to the Shanghai Conservatory of Music at age 14, Alice Longyu Gao used the failure to fuel an unconventional artistic career. Aged 17, she moved to the US from China, a transition that inspired her to revisit music, but this time on her own terms. While taking piano lessons and writing/releasing songs on the side, Alice began hustling in the fashion world. She would spend her days interning at Commes Des Garçons and PAPER Magazine; DJing in New York, Paris, Berlin and Tokyo; and making runway tracks for the likes of Juicy Couture, Hennessy and Red Bull. This led her to cross paths with Dylan Brady (from 100 gecs), with whom she made Rich Bitch Juice and Dumb Bitch Juice released on Dog Show Records in 2019. Lady Gaga featured Rich Bitch Juice as a top-three track in her Women of Choice Apple Music playlist highlighting female artists she views as “club-pop visionaries.” These releases catapulted Alice’s career and gave her reassurance that she could be the unconventional pop star she saw herself as.

(US)

AGENT Rob McGee FMLY

THE GREETING COMMITTEE AGENTS Stuart Kennedy &

Colin Keenan ATC Live

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F (US)

ormed in 2014, The Greeting Committee self-released debut EP It’s Not All That Bad the following year. Lead single Hands Down quickly became a breakout hit, leading to the band signing to Harvest Records whilst they were all still in high school. After making their Harvest debut with the Meeting People Is Easy EP in 2017 and the subsequent release of This Is It, the band spent much of the next few years on the road with soldout headline shows in major markets such as Chicago, Austin, New York, Los Angeles and Minneapolis. To date, The Greeting Committee have toured with the likes of Bombay Bicycle Club, Tennis, Hippo Campus, and Rainbow Kitten Surprise and have taken the stage at leading festivals such as Lollapalooza and SXSW, in addition to delivering the I’m Afraid I’m Not Angry EP in late 2019 and appearing in Netflix’s teen comedy To All the Boys: Always and Forever. The coming months are set to be busier still with the band’s second album, Dandelion, out 24 September.

New Signings

ARTIST LISTINGS Alice Longyu Gao (US)

Rob McGee, FMLY Agency

Alignment (IT) Arooj Aftab (US/PK)

Nick Cave, Paradigm Eleanor McGuinness, PlayBook Artists

ASIA (UK)

Steve Zapp, ITB

Faye Meana (UK) Fuzzy Sun (US) Holiday Ghosts (UK) Isaac Stuart (UK)

Aya Nakamura (FR)

Carlos Abreu & Jules de Lattre, UTA

Banks Arcade (AU)

Ross Warnock, UTA

John Summit (US)

Beenie Man (JM)

Myles Jessop, UTA

KAS:ST (FR)

Buffalo Nichols (US) Chloé Caillet (UK)

Skully Kaplan, ATC Live Laetitia Descouens, Primary Talent

Current Value (DE) De’Wayne (US) DEADLETTER (UK)

Cecilia Chan, Paradigm Paul Ryan, James Masters & Jacob Simone, UTA Colin Keenan & Steve Taylor, ATC Live

Jayla Kai (US)

Keeya Keys (UK) Lucia & The Best Boys (UK) Morly (UK)

Alice Hogg, ATC Live Skully Kaplan, ATC Live Duncan Smith, PlayBook Artists Alex Bruford & Alice Hogg, ATC Live Matt Pickering-Copley, Primary Talent Dave Blackgrove & Nick Cave, Paradigm Nick Cave & Jim O’Regan, Paradigm Mike Malak, Paradigm Sally Dunstone, Primary Talent Alice Hogg, ATC Live

Nina Utashiro (JP/DE)

Beckie Sugden, Primary Talent

Phabo (US)

Kevin Jergenson, ICM Partners

Deathcrash (UK)

Dave Jennings, Art & Industry

Pizzagirl (UK)

Steve Zapp, ITB

DELPHii (UK)

Sally Dunstone, Primary Talent

Quinquis (FR)

Dave Jennings, Art & Industry

Empath (US)

Graham Clewes, ATC live

Enumclaw (US) EST Gee (US)

Alex Bruford, ATC Live Ari Bernstein, ICM Partners

Fats’e (US)

Ed Sellers, Primary Talent

Tenderlonious (UK) The Greeting Committee (US) Tory Lanez (CA) Yasmin Williams (US)

Darren James-Thomas, FMLY Agency Stuart Kennedy & Colin Keenan, ATC Live Scott Mantell, ICM Partners Beth Morton & Angie Rance, UTA

HOTTEST NEW ACTS THIS MONTH 1 2 3 4 5 6 7 8 9 10 11 12 13 14 15

LAST MONTH 10 32 18 8 21 4 6 12 7 1 -

PREDICTIONS FOR SEPTEMBER 2021

ARTIST MARCUS YOUNG (US) SMILEY (CA) ARIK ANCELIN (US) DYLAN (UK) LVL1 (ES) SHOUSE (AU) KENNDOG (US) BABYXSOSA (US) LUKE HEMMINGS (AU) SLUMP6S (US) JETSONMADE (US) DHRUV (UK/IN) LIANA FLORES (US) RANCID EDDIE (AU) STUNNA GAMBINO (US) TOM CARDY (AU), LILYISTHATYOU (US), PIRI (CA), SHIRE T (UK), NARDO WICK (US)

Artists not in the current top 15, but growing quickly

Fastest growing artists in terms of music consumption, aggregated across a number of online sources.

AUGUST 2021

Magazine

Comment

Flood disaster prompts help and solidarity Holger Jan Schmidt details the extraordinary efforts of those in the live music business who have helped the thousands of people who lost everything in the Ahr Valley flooding.

he floods in western Germany, and in particular in the Ahr Valley (30 kilometres from my hometown, Bonn) made headlines around the world in July. They caused unprecedented damage and losses of life – the most ever recorded for a natural disaster in Germany with almost 200 people left dead. Since then, help has been the order of the day. In addition to kind donations, what was needed were volunteers with skill and experience, not to mention heart and soul. This gave birth to the #Ahrtal-Flood-Relief initiative by Infinity Staging and friends. I’ve known Infinity Staging since they took care of two stages at our RhEINKULTUR Festival more than 15 years ago. The company normally provides technical equipment for festivals and large tours in Europe’s major concert venues. However, since the pandemic, these activities have been on hold. This has made it possible for Infinity’s team, located in Grafschaft – situated between Bonn and the Ahr Valley – to become the nucleus for a major, privately organised, relief initiative, which began the day after the flood. My friend and Infinity CEO Thomas Kläser told newspaper Süddeutsche Zeitung on 19 July, shortly after the relief initiative was launched, that: “Logistics is our business and we took advantage of that. We have now been in action for 72 hours with 75 helpers working in two shifts. We are supplying villages with medicine, drinking water and food. In this way, we have ensured the initial supply for six contact points and organised direct aid through companies we are friends with.” It is impressive how quickly and successfully the network of the wider live music industry can be activated. A volunteer service coordinating up to 6,000 helpers was implemented and is autonomously running to this date, while a three-digit number of volunteers from the event industry and the private and business networks of those involved continue to contrib-

ute their expertise, connections and above all (wo)manpower. Support came from festivals and their crews including Rock Am Ring, Nature One, Das Fest, Rocco del Schlacko; logistics and infrastructure service providers like eps Deutschland, Coach Service, allbuyone, Boels Rental, Trucking-Service GmbH, and Show Hire; artists and their agencies; sponsors e.g., Warsteiner, Coca-Cola, Fritz Kola; catering suppliers; and finally from friends and colleagues in the industry, and those who have since become friends. We are talking about stage managers, truck drivers, singers, sound & light engineers, bookers, riggers, backliners… The initiative even went beyond borders with friends from OpenAir St.Gallen and Roskilde Festival coming to getting their hands dirty. Phase 1 of the Ahrtal Aid initiative of Infinity Staging & friends ran for about ten days and the results were impressive: ■ More than 500t of relief goods were collected, sorted,

packed and distributed to the people who needed them. ■ Over 500,000 litres of drinking water was organised and made available to those villages without a water supply. ■ Access roads to the destroyed villages were reopened and paved. ■ Six supply points for relief goods were set up in the affected villages and are kept stocked with materials from Infinity HQ. ■ Three temporary pharmacies were set up in Rech, Mayschoß and Altenburg and are kept stocked with medicines. ■ Thousands of volunteer hours have been worked and holidays were cancelled in order that volunteers could continue helping. ■ Countless tonnes of mud were shovelled. ■ A little happiness was given to people enduring what is probably the hardest time of their lives.

“I am immensely proud of all the great people in our industry that have proven to be there when you need them the most”

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The penultimate point is the main reason why the initiative was extended. Because even though basic supplies had been guaranteed for those affected, a lot remains to be done, as there is still water and contaminated mud in 200 to 300 houses that were not completely swept away by the flood. Phase 2 hopefully offered a little more relief for the victims of the disaster but in any case, it meant further logistical effort and the need for machinery, working materials, volunteers and medicines. Six construction teams with up to 30 people – (a total of up to 180 helpers) were deployed in the affected region, recognisable by their green safety vests. In addition, 50 machines were in use every day. The volunteers rebuilt, reconnected houses and cleared away rubble and mud. Relief goods, pharmaceutical supplies and drinking water are still now being provided. Along with volunteers and generous donations, financial contributions (almost €25,000, collected in just a short time) were collected through private means to finance these extensive measures. That is incredible, especially considering a lot

of the donations came from colleagues in the event industry who have not been able to do their jobs for a year and a half, and from people in the region who, like me, have relatives and friends in the affected areas who they are also helping. I am immensely proud of all the great people in our industry that have proven to be there when you need them the most. The close networking, trusting interaction, shared values, and the hand-in-hand approach of all those involved in #Ahrtal-Relief were important building blocks for its success. The sense of responsibility that leads to selflessly doing what is essential at the right moment and using know-how for positive impact is another. We are proud of what we have achieved together so far and grateful to everyone who has contributed. This is about our home and the issue will be with us for a long time. We will continue to need support from many to help the people of the Ahr region in the future – especially when the disaster is no longer dominating the headlines. We will let you know when and what for!

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For what it’s worth Paradigm Talent Agency’s Adele Slater reveals what went into Liam Gallagher’s “life-affirming” show for NHS workers at The O2 in London.

n March, Paradigm was approached by Liam Gallagher’s management (Debbie Gwyther and Sam Eldridge) to say he really wanted to do something to acknowledge the tireless effort and work all the NHS frontline workers and care workers had done (and continue to do) throughout the pandemic. He wanted to give something back and to show how much they are appreciated. As it is widely known, people who work for the NHS are not paid what is generally considered to be a good wage based on their value to society, and the pandemic highlighted this even more. While we couldn’t offer them the pay rise they deserve, we could offer them something, and that’s a gig, for free. What we do best. We did the announcement and made tickets available as we would do a traditional show but at zero cost and any booking fees in the process were waived, attendees just had to show proof that they worked for the NHS when they arrived at the venue. There was an overwhelming demand for the tickets, we had over 100,000 people online queuing for tickets five minutes before they were released. We had 17,000 tickets available, and they were all taken up within the first few minutes. Special mentions must go to Christian D’Acuña at The O2 in London (who dramatically reduced the venue costs); Lee Laborde and the team at Live Nation; Chris York at SJM; and all the artists and managers who gave their time for free. Tim Pearson and Claire Bewers on our branding team worked tirelessly to secure the JD/Pretty Green sponsorship, which was instrumental in enabling the show to go ahead. And last but not least, Alex Hardee, who did a sponsored run and raised over £17,000 (€20,000) for the show.

With regards to the support acts, Primal Scream were complete stars and without hesitation were in it from the start, staying with us throughout all the rescheduled dates. It was obvious the cause was something they cared very passionately about, and Bobby gave a heartfelt shout out in support of the NHS during their set. Black Honey were only approached very recently for this specific gig but came back really quickly to say they were all in and rose to the occasion on the night. Both supports gave their time for free, and without question were more than happy to be involved and support the cause. The atmosphere at the show was electric. It was a perfect celebration and a much needed few hours of escapism, allowing us to forget the nightmare we have all been living through in the past 18 months. It felt like such a long time since thousands of people had been in a venue all together, singing their hearts out, and that was really emotional. I think all the reviews of the show have reflected what we all felt about it being “life-affirming” and all the social media posts and feedback from the NHS workers were overwhelmingly positive. Liam is an absolute legend, with unwavering generosity; I feel very privileged and proud to be part of such a wonderful team around him, and for the support from everyone in making this show a reality. As we have all experienced recently, with the constant rescheduling and moving of shows, this one was no exception. But it was a case of third-time lucky, and we finally got there, and it actually made the anticipation of the show that much more. It was a huge relief to finally get back to live shows, and hopefully, we are now back, and this is the start of many more to come.

“The atmosphere at the show was electric. It was a perfect celebration and a much needed few hours of escapism, allowing us to forget the nightmare we have all been living through in the past 18 months”

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THE LIVE INDUSTRY IS UNITED. JOIN US. PANEL Creativity Conquers Conflict (presented by In Place of War)

KEYNOTE CONVERSATION Fearlessly Feminine – Earth Unleashed

PANEL A Greener Tour – V for Vendor (presented by TPG)

QUICK FIRE INNOVATION ROUND Audio / Stages / Batteries

PANEL A Greener Arena Emerging

CASE STUDY Tyndall Centre – Toward super-low carbon live music (Massive Attack Study)

PANEL Artists Creating Change

PANEL Carbon Removals and Climate Healing

LAUNCH United Action Behind LIVE Green Declaration (presented by LIVE Green)

SPEAK TO THE EXPERTS Energy & Power SPEAK TO THE EXPERTS Sustainable Signage and Branding

www.agreenerfestival.com/gei • hello@agreenerfestival.com

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PRODUCTION NOTES

Toured there, ate that Production manager Nick Gosling (Nile Rodgers & Chic) and production coordinator Julie Cotton (Massive Attack) discuss the inspiration behind their new book The Roadie Cookbook: Toured There, Ate That.

verybody has health and no one is immune to ill health – physical or mental. This is such a key point in the story of how our cookbook came together. Touring is hard. It takes its toll on you physically – long days, sleep deprivation, jet lag, and gruelling schedules. Sure, it brings extreme highs when the lights go on and it all comes together, as there really is no comparison to the buzz of working in live music. However, we also recognise that touring, and the live music industry in general, can have a detrimental impact on the emotional and mental wellbeing of its workers. There are long periods away from home. When we do return, there’s then the period of decompression and re-engaging in ‘civilian’ life. There are no highs when you hit the light switch at home. There’s constant readjustment and refamiliarising. Yet for those who do tour, it’s not simply a job; our choice of work becomes a lifestyle. And to get there, it takes persistence and determination. For most road crew, we couldn’t imagine doing anything else. We are freelancers and we’re a unique travelling breed. The global shutdown meant we were suddenly all at home, often alone, and mostly experiencing shock, isolation and bouts of unexpected ill mental health. What we soon noticed was that our crewmates were missing mealtimes together. The catering chat, the jokes, the catchups. We wanted to come together and to cook together. After all, we’ve learnt so much from different cultures and cuisines from world tours, why not relive the good times while – what felt like – the apocalypse was coming? Changes have to be made in the way we approach mental wellbeing on tour. We are striving to destigmatise ill mental health and encourage people to talk openly about it. Along with our cookbook colleagues, Rich House and Athena Caramitsos, we want people to feel supported and feel able to ask for help if they need to. Food and nutrition play a key role. We can make positive

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change by looking at how we approach catering going forward, looking after ourselves and looking after the planet. We encourage more plant-based options, less carbon footprint and food waste, and working with the local communities we visit. They say we should leave no mark, but we’d like to leave a good one. We’re hoping seeing a copy of The Roadie Cookbook on tour buses will be a reminder of that. Ultimately, we’re raising funds for two charities; Music Support and Stagehand. All profits will go towards buying Mental Health First Aid (MHFA) courses for touring professionals, and it’s our aim that in the not-too-distant future, every tour bus in the UK will have at least one trained mental health first aider on board. We want to prevent crisis, normalise the conversations around difficult topics, and for casual talks to happen regularly. We care so much about delivering the best times for punters; as an industry we need to care as much about our internal experiences. We cannot emphasise enough the importance of looking after live music crews both physically and mentally as we transition back into full-time work this autumn and next year. And in addition to MHFA, we have been educating ourselves further through the Music Support Addiction & Recovery Awareness course, which Nick also helped bring to fruition. Essentially, while a cookbook may not be the obvious choice for a touring industry fundraiser, it is the vehicle we needed to discover what it means to feel nourished and to best support others. Together, we can all make small changes that will hopefully, eventually, make a cultural shift to a kinder type of touring. So, do take time to enjoy a good meal and open conversation. After all, it’s more rock & roll to rebel against the norm. And upon reflection, the norm simply wasn’t working. Help us to future-proof our industry and pre-order your copy of The Roadie Cookbook today. Theroadiecookbook.com

is now

New branding: “SC Exhibitions” stands for “Semmel Concerts Exhibitions.” We thought a little refresh would be nice, so we have rebranded to “Semmel Exhibitions.” New exhibition celebrating 100 Years of Disney: Apart from working on a new logo, we are in the middle of the creative development of the oﬃcial exhibition marking the centennial of The Walt Disney Company. We will produce two exhibitions: one touring the Americas and the other a global tour. The ﬁrst exhibition will open in February 2023 at The Franklin Institute in Philadelphia. We are now planning the 2023–26 tour, so please contact us if that sounds interesting to you.

The stunning reconstruction of the Royal tomb and treasures in this huge historic exhibition is now open in Seoul at the War Memorial of Korea until April 2022. The Europe tour opens next on September 10 at the Reiss-Engelhorn-Museum in Mannheim, Germany. There are three iterations of our current exhibition touring worldwide, and the 2023–25 tour is now in planning. We would love to hear from you!

For people around the world, Marvel conjures up images of one thing: super heroes. Whether in the vibrant colours of comic books, or the all-consuming brilliance of the big screen, Marvel characters have captured imaginations for a little over 80 years now. The exhibition is open until the end of October at the Museum of Science and Industry in Chicago, where we are sold out almost every day. We are now planning the Europe and world tour from the end of 2023. For a list of contacts and to subscribe to our newsletter visit www.semmel-exhibitions.com

Despite the most challenging period in the history of the live music industry, The New Bosses 2021 – ’s annual celebration of the most promising talent in the business today – has been a soaraway success. Anecdotal tales of industry professionals working in harmony have been backed by a welcome lack of partisanship across the swathe of nominees, with people happy to single out colleagues across the divide, be that from rival companies or agents nominating promoters, etc. Indeed, our distinguished dozen is dominated by rising stars in the agency and promoter side of the business, underscoring the cameraderie that has been prevalent throughout an 18-month period when very few live shows took place. Congratulations to everyone who made it into The New Bosses 2021 – being recognised by a jury of your peers is truly one of the finest accolades you can receive. The profiles on the following pages are heavily edited versions of interviews that website in the coming weeks. will appear in full on the 20

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New Bosses_Feature

Talissa Buhl (29)

Jenna Dooling (29)

FESTIVAL BOOKER FKP SCORPIO (DE)

AGENT WME (UK)

Born and raised in Oldenburg, Germany, Buhl always wanted to live in Hamburg, where she has been for the past nine years. After leaving school, she travelled through Australia and New Zealand, and then decided that rather than studying, she wanted to do something more hands-on. She secured an apprenticeship at Kontor Records but her main interest was always the live music business. Indeed, Buhl recalls being at Hurricane Festival in 2010, and realising she’d love to work behind the scenes. Six years later, she started working with FKP’s festival booking team, booking Hurricane (among many other festivals), and now she leads the team.

Dooling’s path into the music industry began in her hometown of Liverpool, where she first began working for a club promoter. This prompted her to apply for a course at the Liverpool Institute of Performing Arts (LIPA), for a degree in music, theatre and entertainment management. During her studies she also worked for various promoters and realised she wanted to be in London to pursue a career in the music industry, and just months after graduating she began working at WME. Five years later she is an agent at WME having worked her way up from mailroom assistant in 2015. She is now handling all club bookings across the UK and Ireland for the agency’s electronic roster, while her own roster includes Black Coffee, Fatboy Slim, and Damian Lazarus (alongside David Levy).

Do you think working on the record label side of the business helped you in your career on the festivals side? The entertainment industry is not one dimensional. It’s important to try to have a good understanding and knowledge of the landscape we work in in its entirety. I’d applied for an apprenticeship at FKP before I worked at Kontor Records but didn’t get the job at the time. This was the best thing that could’ve happened because in the end working at the label gave me enough experience to get a proper job in the festival department. As a new boss, what one thing would you change to make the live music industry a better place? More diversity within the industry, and on festival bills. There’s still room for improvement and the whole industry needs to be aware of its responsibilities. It’s incredibly important to be proactive and not reactive on this subject. We must include diversity in our conversations from the start of the process, whether that’s booking a festival or hiring staff. What’s the biggest challenge for you and the FKP Scorpio team in the year ahead? Honestly, probably something really boring such as finding a Covid-clause for the contracts that everyone can agree to. Other than that, we need to be able to adapt to an ever-changing landscape around us. We have to be aware of possible cancellations and have solutions in our back pocket so that we can keep fans and artists happy. What advice would you give to anyone who is trying to find a job in live music? You don’t need to go a conventional road (e.g. university). Your network and patience are way more important. Always trust your gut and don’t forget to take holidays. You have to take care of your own mental health and be mindful of those around you.

WME’s mailroom programme is legendary. Can you tell us a bit about it and how it helped set you up for a path into being an agent? Like any job, you have to start from the bottom and work your way up. From answering calls, handling the mail, to tea/coffee runs, ordering cabs, you have to think of the end goal and that this is only temporary until you have proven yourself. You had some experience working on the promoter side when you were younger – do you think that’s helped make you a better agent? Being a former promoter, I understand what it’s like being on the other side of the fence. It’s given me a real appreciation of how hard [promoters] work in order to help deliver a successful show for our clients. Your determination played a significant role in you getting your foot in the door. What advice would you give to others trying to break into the live music business? The most important aspect in the entertainment industry is building strong, long-standing relationships. Attend as many events and conferences as possible, you never know who you will meet. There’s no harm in reaching out to people on email with a friendly introduction, asking for some advice etc. Don’t be put off when some people don’t respond, consistency is key, so don’t give up! What are you most looking forward to about the year ahead? I can’t wait to get back to the office to be with my colleagues and friends. Since everything reopened in the UK, it feels so good to be back, attending gigs and festivals – what we have all been waiting (patiently) for and hoping it continues back to normal across the world. Magazine

Feature_New Bosses

Emma Greco (28)

Paris Harding (30)

PROMOTER AEG PRESENTS FRANCE

PROMOTER SJM (UK)

After internships at the likes of Aiken Promotions in Ireland, and Nuits de Fourvière festival in Lyon, Greco joined Le Periscope in her hometown of Grenoble, France, in 2015, having graduated with a BSc in economics and a Masters in culture from Grenoble University. Working as a booking agent, she handled domestic acts such as Baden Baden, Joyce Jonathan and Fréro Delavega across Latin America, Asia and Russia, as well as working on productions from small clubs to arenas and festivals throughout France. In 2018, she moved to Paris to become a promoter at Super, working on both domestic and international acts. In 2019, Greco joined AEG Presents France and has developed the roster by signing new acts such as Rina Sawayama, Griff, Zoe Wees, Benee, Beabadoobee and Daði Freyr.

Born and raised in Liverpool, Harding belongs to a family of musicians, artists and performers, with multiple generations of his family having a presence in and around the industry. Influenced by the first grime wave, Harding learned to produce music and opened a small recording studio where he worked with local talent, and ultimately landed remix placements with the likes of Wiley, Sneakbo, Dappy, Steve Aoki, Iggy Azalea and others. Stints as a club DJ introduced him to other emerging acts, prompting him to promote his own events and underground nights, which led to curating line-ups and securing talent for local festivals. His focus then switched to touring and concert promotion and in 2019 he began a new chapter at SJM Concerts.

You found some amazing internships early on – what advice could you give to others on getting some good experience? Getting an internship is not easy when you’re at university or when you’ve just graduated, but if you’re determined enough, you will get there. And when you do, make the most of it! Be curious, ask questions, seize every opportunity, talk to people, start building your network – it will take you places.

What has been the highlight of your career, so far? I’ve been lucky enough to have many, which have all been relatively important to where I was in life and what my goals where at that time. I would say the present moment – even as we limp out from a global pandemic – feels like the highlight for me; the artists, tours and projects I’m able to work across on a daily basis whilst being such a fan and follower of the music and culture itself and be able to make a real contribution to it… incredible.

You’ve made the switch from agent to promoter. Was that a difficult learning curve? I’ve had experienced colleagues to learn from and was given the freedom and trust to find my own place, which made the transition easier. It is important to have a good insight of everyone’s role in the industry, it has taught me to be more patient and understanding.

What advice would you give to anyone trying to find a job in live music? Think laterally; your specialities and skillset can be used and will be needed in numerous ways. Try not to become restricted to the idea of only having one role or path. Say yes to opportunities that feel uncomfortable, pick up the experience and aim to become the nucleus.

Have you been able to do anything during the pandemic to strengthen your career credentials? I had a career assessment toward the beginning of the pandemic and it really helped me work on strengths and weaknesses and set goals for the future, one of them being to make it onto the New Bosses list!

Where do you see yourself in five years’ time? I want to continue to help bring through new artists and play my part in building their live career experience with the aim of taking them to the highest level possible (with a few arena-level tours under my belt by that time.) I’ve always been involved in the creative process from production, visuals, to release campaigns, so I’d also like to bring those aspects to the table as an all-round offering.

What are you most looking forward to in the year ahead? Finally seeing all the shows we’ve worked so hard on putting together. It has been so frustrating not to be able to see the results. What one thing would you like to change to make the live music industry a better place? I would like to see more women in leading positions. There’s still a long way to go but I believe we, especially the younger generation, have the power to change things.

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What’s the biggest challenge for you and SJM now that the business is emerging from lockdown restrictions? I think helping everyone regain confidence in attending shows, managing crowds, performing and travelling safely and successfully. From this we’ll be able to better play our role in helping the industry thrive again. To achieve this we need patience and a solid end to the year, but things are already looking really positive.

New Bosses_Feature

Tessie Lammle (28)

Will Marshall (28)

AGENT UTA (US)

AGENT PRIMARY TALENT/ICM PARTNERS (UK)

After graduating from Bentley University, Lammle began her career in the mailroom at UTA, rising through the ranks to become an agent who represents artists including The Aces, Tierra Whack, TLC, Pussycat Dolls, Lil Wayne, SAINt JHN and many more. When traditional touring paused due to Covid-19, Lammle rethought how artists could reach their fans and collaborated with UTA’s Music Innovation division to book various virtual performances and showcases. A passionate advocate for other women in the music industry, Lammle is a founding member of UTA’s La Femme Majeure event series and is on the leadership board of the company’s Justice Now task force. Outside of UTA, she is a member of the MusiCares Next Generation Board, and she volunteers with Habitat for Humanity.

Born and raised in London, Marshall started out running monthly showcase events in the city’s East End, combined with spells working for Live Nation’s festival production team, while studying.. Earning a degree in architecture, in 2014 he dropped the books to join Metropolis Music before heading to Primary Talent in 2016 as an agent, working with Matt Bates. Marshall’s roster is as eclectic and wide ranging as the London music scene he grew up admiring: alt pop, electronic, rap, rock, folk and indie acts all garner attention.

Can you tell us how you got involved with La Femme Majeure (LFM) and what its goals are? A group of colleagues and I founded LFM in 2018. We wanted to create a space for young women in the industry where we could be ourselves and network comfortably. Our main goal is to focus on music’s next era of women leaders. You interned at Universal Music and ICM – what advice would you give to others when it comes to landing meaningful internships? There’s a common misconception that you must know someone to break into the industry. The best thing I did to get my foot in the door was to network. It also helps to remember that everyone was in the same situation in the beginning, so you might as well say hello, send an email, and reach out to your potential mentors on LinkedIn. Always lead with kindness.

A degree in architecture isn’t the traditional route into music – are there any parallels at all with being an agent? Both have set me up for a life of late nights and impending deadlines, but in all seriousness there is a problem-solving nature that connects the two, usually within a collaborative framework, and almost always with a slightly competitive drive. You ran regular showcases when you were a student. How did you find the talent and has that experience helped you understand the job of promoters better? In terms of the latter, definitely. When it comes to decision making and giving clear advice, the understanding and knowledge of those companies, their different departments and how they operate is key. Regarding sourcing talent, it sounds simple but I would just put on events and book acts whose music I liked. The way in which music is consumed now means that everyone is their own curator; the tastes you are catering for have exploded exponentially. That is exciting, especially as we push for a more inclusive music scene.

If you had a magic wand, what one thing would you change or introduce to improve the live music industry? More diversity, equity, and inclusion across the board. There has been some great forward momentum and that’s what makes our industry exciting and forever evolving.

What are you most looking forward to as pandemic restrictions are lifted? Crowds, and the energy, together with the artist, that they can create. Whilst the advent of widespread live-streaming presented artists and their teams and crew with much needed earning opportunities, it also highlighted just how pivotal crowds are in creating the special moments that we all do this for.

You signed a number of artists during lockdown. Were those difficult pitches, and can you say anything about how you tailor your career plan strategies depending on the artist and genre? I always thought that I had to see a live show to truly understand an artist and their potential, but this past year has forced me to adapt. No two artists ever have the same goals, even within the same genre. I am a firm believer that you must cater to the artist first and hear their visions before you set a strategy.

The pandemic has been hard on us all – are there any positive aspects that you are taking out of it? We’ve seen a lot of people struggling in the slow down and the uncertainty. The pause has given us a moment to make decisions more consciously and in disrupting the pace there has been more time for conversations around sustainability, and gender and race equality. I hope these conversations continue and that they can further shape behaviour and action. Magazine

Feature_New Bosses

Arjun Mehta (25)

Flo Noseda-Littler (30)

FOUNDER & CEO MOMENT HOUSE (US)

AGENCY ASSISTANT PARADIGM (UK)

Born and raised in Fremont, California, Mehta graduated from USC’s Iovine and Young Academy in Los Angeles. Moment House was his first endeavour coming out of college.

Born in London’s Waterloo area, Noseda-Littler was brought up around jazz and soul music by a family of entertainers – her mum is a singer, granddad a pianist, and grandmother a dancer. At university, where she studied civil engineering, Noseda-Littler started booking musician friends into venues and festivals around the UK, and after graduating she started working under the wing of her cousin at Academy Music Group, which also provided her with a chance to work at Wireless Festival. An internship at Brixton Academy followed, before, in 2015, she found herself a job as general agency assistant at Paradigm, where for the last three years she has been on several committees and task forces to bridge the gap between support staff and agency management.

Tell us a bit about Moment House and some of the challenges you’ve experienced in developing it? Fandom is increasingly globalising. For the artists and creators we love the most, we don’t want to only receive content, we also want to participate in experiences. The problem is that fans are everywhere, while artists and creators can’t regularly go everywhere. The biggest challenge is that the music industry is filled with people that think short-term. We deal with this by identifying the forward thinkers in the business, partnering with them, and paving the new normal for everyone else. As someone with no family connections in music, did attending your specific academy at USC open any doors into the industry for you? I was very fortunate to have Jimmy Iovine as a mentor, which was made possible by attending the school. He made a few key introductions at the start of the Moment House journey that were impactful. What advice would you give anyone who wants to get their foot in the door to the music business? Talk to everyone you possibly can and always think in any situation, how can I add value here? Be persistent without being annoying. What are the biggest challenges facing you and your colleagues as the live music industry starts to get back on its feet? Growing the team fast enough. It might seem counterintuitive, but our business is growing faster in a post-Covid world. It’s logistically easier to travel, rehearse, film, etc. and the global fan engagement and digital ticket/merch revenue opportunities are too compelling to ignore. What are you most looking forward to about the year ahead? The last date of every tour should be a digital tour stop – a special digital media experience created for an at-home audience. Even if an artist does a 200-city tour, that’s a fraction of their fanbase. There’s an incredible opportunity to engage with fans in a compelling way no matter where they live, and the team and I are very excited to establish digital tour stops as the new norm in the year ahead. I am also excited for artists to start to realise that this is a new creative format – another outlet for their genius. This isn’t just a monetisation tool. It’s a new form of art.

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What set you on your path in the industry? At university I fell into booking my boyfriend’s band. I started a database of contacts and soon managed to get gigs at cool UK venues and festivals. Something ignited in me and I knew I had to do this full-time! Do you think working on the venues side of the business has helped you in your career on the agency side? Working at Brixton and AMG gave me the building blocks to understand live shows, from promotion and ticketing to backstage issues and settlements. I got to shadow lots of different staff, which showed me the practicalities of how much it takes to execute a show onsite. It was so useful to draw on those experiences when learning the agency world and routing shows together. You’ve become one of the go-to people for younger staff at Paradigm. What advice would you give to other young people who are trying to break into the live music business? Festivals offer a range of volunteering roles so it’s worth checking them out to gain experience and meet people if there’s nothing music related on your CV. Internships often involve being thrown into the deep end, but you shouldn’t be afraid to ask questions. What really gets noticed is eagerness to learn and integrity of work. As a new boss, what one thing would you change to make the live music industry a better place? One of the most urgent issues is energy consumption. There are some great initiatives, like The Green Rider, but bigger effort is needed across the industry to reduce waste, lower emissions, and protect the future of our planet.

New Bosses_Feature

Anna Parry (28)

Theo Quiblier (25)

PROGRAMMING MANAGER THE O2 (UK)

HEAD OF CONCERTS TWO GENTLEMEN (CH)

Born in Calgary, Canada, Parry travelled to Spain to study global entertainment and music business at Berklee College of Music in Valencia. With an independent promoter as a father, she grew up in backstage corridors and tour buses and quickly learned the ropes of the live business as a production runner, tour manager, logistics coordinator, promoter rep, etc. Her move to London initially involved an internship at UTA, while also running the events programme for she.grows, the mentorship programme for shesaid.so. Parry joined the programming team at The O2 in 2018 and now deals with the biggest artists in the world and best talent in the business.

Quiblier started like a lot of people in the industry – in a band with classmates – but quickly realised he was better at finding shows than playing them. He began promoting shows at La Parenthèse in his hometown of Nyon, Switzerland, aged just 16, while also working for festivals such as Montreux Jazz and Antigel. Spending more time booking shows than studying at university in Geneva, Quiblier was approached by Two Gentlemen’s Patrick David, who offered him a job as a junior booker. Fast-forward a few years and he is the company’s head of concerts and touring and works with a roster that includes The National, Angel Olsen, The War on Drugs, Sharon Van Etten, Squid, Fontaines D.C., Father John Misty, Viagra Boys, as well as powerhouse Swiss supergroup Brandão Faber Hunger. Quiblier also manages Dino Brandão.

What’s been the highlight of your career so far? There are two: seeing Paul McCartney at The O2. My dad became a promoter because of his love for The Beatles and seeing him perform in my place of work was a full-circle moment for me; and I’m currently working on a project with Prince’s estate to honour his 21-night legacy at The O2. It’s a surreal feeling to be working with one of the most influential teams in the business. As a new boss, what one thing would you change to make the live music industry a better place? A more diverse recruitment process. We need to see diversity in every level of organisations, ensuring equal opportunities for people to get their foot in the door and a framework for them to progress. What is really going to make a difference is diversity in the top positions. Tell us a bit about your work with she.grows/she said.so. I came across shesaid.so when I was a promoter rep in my hometown of Calgary, and I was working with the only female promoter in the area who told me about the incredible community. She then said her biggest regret was not moving internationally and that’s when I started thinking about the opportunity the industry provided in a global context. It then all came full circle for me when I was able to act as the events manager for the she.grows mentorship programme in London, and was introduced to a plethora of inspiring women. You’ve travelled thousands of miles to study and find work, what advice would you give to anyone trying to break into the business? Never give up, and never take no for an answer. The door is never fully closed, you just need to find a new way to open it.

You’re a promoter, an agent, and an artist manager – which role is your favourite? It’s the diversity of roles. Being able to work every day with everyone in the team on so many different topics is thrilling. The more you understand each aspect of the industry, the better you can service your clients and partners. As you began working in the business as a teenager, do you have a mentor or anyone you turn to for advice? Patrick David. His experience and knowledge are an inexhaustible source of inspiration to me. If we don’t spend at least one hour on the phone a day debating, it’s probably because one of us is sick. Also, Sébastien Vuignier who has always given me his time. A true legend! What has been the highlight of your career, so far? The National at Samsung Hall in Zürich in 2019. When you do this job you secretly dream of promoting your absolute favourite band. What advice would you give to anyone trying to find a job in live music? Never be afraid to make mistakes. You learn so much from one single mistake simply because you will not forget it. That’s so valuable and entirely part of the process. The pandemic has been hard on us all – are there any positive aspects that you and Two Gentlemen are taking out of it? Being able to press pause, sit down together as a company and ask “How are we feeling? How are we doing? How can we improve?”, has been a gift. Also, cooperation with others has never been so good. I can definitely feel a real sense of togetherness. Magazine

Feature_New Bosses

Dan Roberts (29)

Age Versluis (29)

PROMOTER LIVE NATION (UK)

PROMOTER FRIENDLY FIRE (NL)

Roberts was born in Boston, Massachusetts, but brought up in Nottinghamshire in the UK. His introduction to live music began, aged 16, when Liars Club owner Ricky Haley paid him to put up posters. From there Roberts moved to Leeds to study biology, while local entrepreneur Ash Kollakowski taught him how to rep shows and book local supports. When he completed his studies, he found a job at DHP, where he learned to be a national promoter, and five years later he moved to Metropolis Music and the Live Nation family.

As one of the worst drummers in his hometown, Utrecht, Versluis realised that organising shows was a better option. During his music management studies, he interned for a festival, a venue, a record label and a promoter to help him decide what his next step would be. Having interned at the first edition of Best Kept Secret festival in 2013, Versluis remianed at Friendly Fire, where he became a promoter five years ago. His has since developed a roster that includes Khruangbin, Fontaines D.C., Black Pumas, Cigarettes After Sex, Phoebe Bridgers and many others. Friendly Fire also runs an open-air venue in Amsterdam throughout the summer, which Versluis operates.

You studied biology – are there any parallels at all with your work, or did any of the disciplines learned at university help you? Communicating concisely in writing and applying a functional, transactional mindset to the processes that go into building a show. You can’t teach taste though. You started working on shows while you were a student: do you have a mentor or anyone you turn to for advice? Ricky Haley, Dan McEvoy, Ash Kollakowski, Dan Ealam, George Akins, Anton Lockwood, Raye Cosbert, Will Marshall, Bob Angus, Denis Desmond, Melvin Benn… What Denis, Raye and Bob can communicate with ten words would take most people a hundred. What has been the highlight of your career, so far? Taking acts from 200-cap rooms to Brixton Academy is incredibly rewarding. Show-wise it would have to be The Strokes at the Roundhouse in February 2020, which I worked on with Bob. Implementing 100% digital ticketing with Ticketmaster was an operational win. The pandemic has been hard on us all – are there any positive aspects that you are taking out of it? This time has given me a chance to get closer to the teams at Metropolis, Live Nation, Festival Republic and Ticketmaster. What are you most looking forward to as restrictions lift? Fontaines D.C. playing A Lucid Dream to 10,250 people at Ally Pally. More specifically, the bit at the start where Grian goes “shew”. That on a big L-Acoustics or d&b rig at about 103db, with their wonderful team around me at FOH, that would be nice. What’s the biggest challenge for you and your colleagues now that the business is emerging from lockdown restrictions? Everyone is coming back to shows from different places and from different experiences during lockdown, so empathy is a must. Our communal mental health is very important as we return.

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Do you have a mentor or anyone you turn to for advice? Roel Coppen has taught me everything about spotting talent and working out a long-term approach for an artist. For the last couple of years I have been learning more about bigger shows and collaborations from Rense van Kessel and Lauri van Ommen in our office. What has been the highlight of your career, so far? The biggest highlight is convincing an artist to trust and play multiple shows in the Netherlands early on in their career and then to see that confidence pay off. For example, with two amazing sold-out nights for Khruangbin in Paradiso, December 2020. What advice would you give to anyone trying to find a job in live music? Go to shows, lots of them, talk with the people at the door, at the stand, at the FOH, production staff, everyone. Volunteer for as many things as you can sustain. Go to conferences, panels, and try to get a quick meeting in for some advice/feedback with someone that inspires you. Where do you see yourself in five years’ time? I’d love to work on new outdoor concepts and specialise in that part of live music, as I really like the novelty of it. So far the majority of my shows were in the Netherlands, but we are doing more outside our territory now, and that’s something that I hope is going to stick. What’s the biggest challenge for you and the Friendly Fire team now that the business is emerging from lockdown restrictions? We have all been very busy juggling shows and limitations, now it’s important that we focus and plan a workflow for shows that are actually happening. The biggest challenge will be building up customer trust to buy tickets again.

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Welcome to IQ Magazine’s 2021 Green Guardians Guide – an annual list (and badge of honour) that we launched last year to boost the profile of those working at the forefront of sustainability, in the hope that it might also inspire others to take up the challenges of making live events, and day-to-day life, more environmentally friendly.

he Green Guardians Guide is spearheaded by IQ and the Green Events & Innovations Conference, which is holding its inaugural summer edition on 16 September and will be featuring representatives of a number of this year’s shortlisted Green Guardians. Tickets for the event can still be purchased by clicking here. This year’s winners have been chosen by a judging panel that includes experts from A Greener Festival, Greener Events, Julie’s Bicycle, the Sustainability in Production Alliance, the Sustainable Event Council and the Tour Production Group.

The 2021 list includes 40 entries across eight categories, highlighting some of the organisations and individuals who are working so tirelessly to reduce the carbon footprint of the live entertainment business. As the live evnts business around the world begins its road to recovery, numerous companies and professionals have made pledges to build back better. One of the goals of our annual Green Guardians Guide is to point the decision makers toward suppliers and consultants who can help everyone involved in the live entertainment industry to improve their sustainability credentials. Magazine

aunched by the UK’s Association of Independent Festivals (AIF) in association with RAW Foundation to coincide with Earth Day in 2018, #DrasticOnPlastic saw more than 60 AIF member festival websites ‘wrapped in plastic’ for 24 hours to raise awareness of the devastating effects of single-use plastic. Website visitors were faced with facts about the extent and impact of everyday plastic use, alongside links to RAW Foundation resources. One of the key messages was to promote re-use as opposed to single-use, and to illustrate the footprint of festivals, with 23,500 tons of waste generated and audiences consuming ten million plastic bottles annually. The campaign attracted global media attention across TV, radio and online, generating over 15m impressions on social media. Crucially, all participating festivals committed to banning plastic straws onsite in 2018, as a minimum first step, and pledged to eliminate all single-use plastic at their events by 2022, in light of the COVID-19 crisis and festival reschedules.

tmosfair is a German non-profit organisation that actively contributes to CO2 mitigation by promoting, developing and financing renewable energies in more than 15 countries. It relies exclusively on voluntary climate payments from private individuals and businesses. Aiming to decarbonise the world economy, atmosfair’s software tools and consulting services assist businesses in executing their climate policies, with a particular focus on business travel. The company’s philosophy is to only compensate what can’t be avoided or reduced. This approach constitutes the foundation for all the organisation’s partnerships, ensuring not only climate integrity but also cost efficiency. Atmosfair cooperates with the travel sector worldwide in order to strengthen climate protection. Among its many partners are tour operators, airlines, airports, travel agencies for leisure/business travel, organisations such as the German Travel Association and the German Business Travel Association, as well as travel media such as guidebooks. One of its main areas of interest lies in preparing comprehensive CO2 analyses for companies with high numbers of business trips and then providing tailored travel management advice. This not only saves CO2 emissions, but also money – and not least improves employee satisfaction. Atmosfair.de

Aiforg.com/initiatives/drastic-on-plastic

ow two years since its launch, Music Declares Emergency (MDE) has continued to build on that initial demonstration of intent from the music industry and recording artists to ensure that music plays a pivotal role in responding to the climate emergency and encourages everyone to take an interest in how we make the world a better place for all life. The organisation’s Turn Up The Volume week around Earth Day 2021 saw a series of major announcements on sustainability from businesses, with Beggars Group and Ninja Tune outlining their paths to becoming net-zero businesses, and Earth Percent, a new charity that will work with the industry to fund climate causes, announcing their launch and board members. Despite the lockdowns, MDE managed to trial its Bandstand event in Weston-Super-Mare in the UK, with the help of local community and arts groups. This saw local talent join forces with businesses and environmental and community groups in the area for a day of free entertainment and talks, covering everything from local transport issues to beach cleaning, wildlife preservation, and plastics reduction. By using music the community organisers brought together a diverse audience to consider how their community could become more sustainable; the logic of MDE in practice. As we approach COP26, MDE is working on a major national-scale activation – more on that soon – and it continues to help sister groups launch around the world, putting music at the heart of the campaign for a greener, fairer future for all.

Musicdeclares.net

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ENVIRAL

he world is in a super interesting place right now. People everywhere are stopping and thinking about the impact they are having on the planet. Enviral reports a surge in demand for many of its sustainable clients as people see just how much impact is possible if we all work together. The company contends it is lucky to work with some amazing clients who are at the forefront in the fight for our planet and who are calling for its health to be put at the heart of all recovery business decisions. As an agency, Enviral has come a long way over the last couple of years. Not only is it Pending B Corps, but it has been working on some really high impact campaigns recently, especially in the run up to COP26, which includes working with many of the company’s environmental and business heroes. Enviral remains fully committed to pushing boundaries in order to be the best that it can be – from calling out greenwash to turning down clients regularly if they are just looking to tick boxes or get a quick purpose feel-good campaign out the door. The company believes that storytelling plays a crucial role in communicating our way out of the climate crisis, and Enviral is truly dedicated to championing that. Enviral.co.uk

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eacourt’s mission is to create a positive impact on the environment, society and economy through print services and printed communication. The company’s aim is to be the market leader in terms of sustainability and quality, and to help its clients, its client’s clients and its supply chain to become more sustainable. The company’s ethos is to lead by example, living the values and leaving a positive legacy for future generations. Seacourt was amongst the first printers to adopt waterless printing, then pushing the boundaries of print. It went on to develop LightTouch – a pioneering printing technology using no water or harmful chemicals and with instant LED drying. ▶ 100% waterless LED drying offset printing ▶ 100% alcohol and chemical free ▶ VOC free inks ▶ 100% renewable energy ▶ Zero waste to landfill ▶ Net positive (beyond carbon neutral including the entire supply chain) ▶ Four Queens Awards for Sustainable Development ▶ Highest scoring B-Corp printing company in the world ▶ B-Corp “Best for the world” for 2021

Seacourt’s commitment has proved there is a better way to approach printing. The company calls it “planet positive printing”: every time its customers produce a piece of print, it will have a positive impact on society and the environment. Seacourt.net Magazine

Paula Birtwistle

uring the pandemic, Paula Birtwistle’s work life switched from travelling across the country to large gigs, to creating hyper-local experiences in her hometown. Working with local partners Culture Weston, Loves music venue, and Music Declares Emergency, she has been able to produce a series of live gigs with low environmental impact but huge social impact. Birtwistle attended online training with Walk The Plank/Green Production Lab, a course designed to empower production managers to make better environmental choices in their work. “It’s interesting how people accept my advice on health and safety matters, but my advice on environmental impact should be taken just as seriously – and I am starting to see this happen,” she reports. “For my latest series of gigs, I used a solar system to power them, backed up with investment in some very efficient lighting and sound kit. Even with Kosheen rocking the tent of 120 people we only pulled about 1,100W, or less than half [the amount of power required to boil] a domestic kettle!” In addition to thinking about power, Birtwistle made sure everything was sourced locally, even down to beer brewed in the town and locally made vegan food. “I’ve also been thinking more about how to start important conversations,” she adds. “For example, I worked with Music Declares Emergency on a really cool inclusive gig that used the pull of free, quality live music to talk about local climate issues and small changes people could make. We hope to take this bandstand model around the country.” Cultureweston.org.uk

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Greenbelt Festival

ode Red for Humanity – that was the stark warning on 9 August from UN secretary general António Guterres. A brutal but realistic assessment highlighting just how important it is that we all join forces to avert a rapidly approaching climate catastrophe. Organisers at Greenbelt have always advocated that there is strength in unity, in working together and learning from others, and that has been no different during the pandemic. Throughout this tricky time of cancelled festivals and plans A, B, C and D for any interim events, Greenbelt’s Green Guardians have persisted with their desire to find new and sustainable ways of doing things. The organisation has talked regularly with the A Greener Festival community, shared knowledge with others in training sessions, and envisioned how the festival might be improved in 2022. They’ve continued to support Vision:2025 and helped to set up a sustainability steering group for the Association of Independent Festivals (AIF). “One thing we know for certain is that, battered and bruised as it is, the UK live events industry is made up of incredibly talented, problem-solving individuals – people with exactly the skills needed to find new sustainable solutions, new ways of powering things, of avoiding waste and inspiring audiences to make changes,” says Greenbelt’s Mary Corfield. “We can do this, if we all work together – we look forward to working alongside you.” Greenbelt.org.uk

Alison Hussey

fter 32 years of being the first global concierge service to actively offer green and ethical options and support to rock stars and events, and with a history of working with global superstar vegans and activists, lockdown changed everything for Alison Hussey – as it did for so many. Finding a silver lining in the situation allowed her to work towards the Vision:2025 aim of building the industry back greener (#BuildBackGreener) and to continue concentrating on promoting green lifestyles, holistic living and sustainability behind the scenes via social media, with her own company VIPZeronauts. She was also able to devote more time to her advisory roles with Openstage and NOQ, helping to empower companies that are making a difference in sustainability. Openstage – with its capacity to use fan data to quantify and reduce emissions associated with live events, analysing location clusters of ticket purchasers and offering lower-emission travel alternatives to attendees – is seeking to help reduce greenhouse gas emissions by 50,000 tons of CO2e per annum from the UK music market, and by 10% in any other country they operate meaningfully within. NOQ, meanwhile, is revolutionising food and drink ordering at events and venues, solving problems around queue management whilst enhancing customer experience and providing a covid-safe solution. The NOQ app is an all-round more sustainable solution for events and venues, increasing sales whilst reducing food wastage, manpower and cash transactions through pre-ordering, and working with NCASS, AIF and NOEA. Alisonhussey.com

Chris Johnson

n 2019, Chris Johnson spent around six months on furlough – his first break from festival organising in 20 years. As well as giving him the time and space to learn how to relax, it also provided him with the opportunity to get involved with various sustainability projects. Johnson recently joined the Climate Live Advisory Board and is proud to have played a small role in getting singer-songwriter and political activist Declan McKenna onto a boat outside the UK Houses of Parliament with the message “Can you hear us yet?” Meanwhile, at Vision:2025, which Johnson chairs, efforts were refocussed on communication and resources to support climate action. A monthly industry newsletter was launched, and a new ‘knowledge hub’ website constructed. The organisation also gained EU funding to develop a European knowledge hub and e-learning course for event professionals, which is under development. In his role as CEO of UK music industry sustainable travel charity ecolibrium, Johnson was able to support a rebrand and strategic review, giving the organisation stronger foundations. Last year, he also launched Chris Johnson Consulting, which has been working with marketing agencies, events companies and industry bodies on sustainability strategy. And if all that wasn’t enough, his festival, Shambala, has also been busy on the sustainability front, including becoming a disposables-free event, embracing new energy technologies, and working on diversity and a radical new food strategy. “I can’t wait to get my teeth back into this in 2022,” says Johnson.

Sam Lee

n addition to being a working artist, Sam Lee keeps himself busy through multiple projects. He is a co-founder of Music Declares Emergency, hosting their monthly radio show, supporting their No Music on a Dead Planet campaign, and sits on the Live Green working group focusing on creating a greener Live Music Charter. Informing IQ how he has spent the pandemic, Lee says, “I released my first book, The Nightingale, a biography of this red-list endangered bird and its cultural importance. “Through my arts and environment organisation, The Nest Collective, I have been running many ecological awareness projects including my six-week concert series, Singing with Nightingales, both in person and hosting the online broadcast series for Earth Day and International Dawn Chorus Day.” Lee is also leading a series of the ecologically unique chalk stream awareness nature walks for audiences around the southeast of the UK. He continues, “I produced and led an artists’ development programme called Amplify, giving 25 musicians a three-day immersion into nature connection and environmental awareness training. I’ve also been holding numerous lectures and panels at conferences and events online on the importance of arts and creativity in the campaign for climate justice and sustainability.”

Samleesong.co.uk

Chrisjohnson.earth Magazine

ontinest container units are a market-leading, award-winning and eco-friendly portable accommodation solution, utilising innovative foldable container technology. The flat-packed containers are specially constructed to enable quick and easy transportation, installation and relocation, and their groundbreaking design has won plaudits around the world. A great solution for events, venues and brands looking to increase their facility and temporary accommodation capacity in an environmentally conscious way, Continest provides solutions to help meet sustainability targets. Due to their patented design, multiple units can be transported on a single truck, enabling huge savings on road

ware of the impact that the live entertainment industry has on the environment, d&b makes a conscious effort to ensure that sustainability is a permanent part of its mission with the company developing effective programmes to support this undertaking. d&b is EMAS certified meaning it observes a set of guiding principles, including upholding human rights and well-being, resource protection, energy and emission reduction, product responsibility, sustainable innovation, and much more. In 2020, d&b launched its Certified Pre-Owned (CPO) programme offering customers reconditioned loudspeaker systems. Purchasers benefit from a rider-friendly sound reinforcement system while helping reduce greenhouse gas emissions and the consumption of raw materials. This programme makes d&b one of the first sound companies to adopt an organised approach to sustainability and reliability in the pro audio industry. The first ever CPO J-Series system was recently installed at Westville Music Bowl in Connecticut, USA. d&b is committed to ensuring its new products are environmentally responsible as well. The recently launched D40 amplifier combines advanced voltage management to drive systems that demand less input power. The D40 includes enhanced energy saving features, power efficiency and automatic wake-up for environmentally responsible and sustainable green building requirements. dbaudio.com

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haulage costs and impressive reductions in carbon emissions: a foldable building solution can offer an 80% reduction in logistical and storage costs, and a similar reduction in CO2 and GHG emissions, compared to traditional fixed-frame buildings. The units, fully modular in nature, can also be joined together to form multiple configurations, including multistorey buildings. Continest units have been manufactured and developed in Hungary since 2017 and the continual expansion of its product range has seen the development of Contimed, a fast response medical suite, as well as bespoke merchandising units and box offices with roller shutters, counter tops and back-wall display areas. Continest and its European partner, Cube Modular, are currently developing a 20-room event hotel that can be delivered on two trucks, for the 2022 event season. Continest.com

ustainable practices have been at the heart of PRG’s ongoing development throughout the pandemic. The company now boasts a huge global network, having set up a goup of 22 digital studios around the world in one year, including xR Virtual Production Studios in Los Angeles, Hamburg and Paris. This ensures that the company’s EMEA customer base has access to PRG’s state-of-the-art facilities and expertise wherever they are in the world. This global reach is aided by The PRG Alliance, a series of 15 partner companies worldwide that support clients locally with an exceptional quality of innovative event production solutions. The company’s commitment to providing consistent service locally is mobilised largely thanks to the PRG Crew Platform, which allows warehouses and events to be staffed with local talent, reducing the global carbon footprint involved in transporting employees. PRG is also committed to sustainable practices in its technology and is a member of various industry accredited programmes, including Albert. Alongside its recycling and responsible disposal of end-of-life equipment, PRG regularly rebalances equipment to reduce freight. Its products adhere to this sustainable mission. The PRG Spaceframe™, for example, is an ultra-lightweight, collapsible and fully wind-braced, carbon-fibre touring frame with integrated LED panels. This product dramatically reduces pre-tour engineering time, shipping footprint/weight, carbon emissions, load-in and load-out times, as well as labour required on tour and locally. Prg.com

NNN was created to target the audio market with a disruptive solution and mindset, combining acoustic quality with sustainability. The company’s patents enable it to do with sound what LED did with light, and it has succeeded in designing speaker solutions that reduce energy consumption by up to 90% compared to other brands. As yet another U.N. climate report has made abundantly clear, developing more sustainable solutions is a no-brainer. Yet, NNNN says it still experiences challenges with businesses that choose traditional solutions over greener alternatives. Therefore, it has been key for the company to both initiate and join conversations, both nationally and internationally, with regard to sustainable development in the live entertainment industry. In spite of Covid, a lot has been happening at NNNN in the past year:

▶ The company has been developing new products, making better and more sustainable audio solutions available for green buildings, houses of culture, and consumers. ▶ In November 2020, NNNN won the Green Founder award – an initiative established by Drammen Rotary to accelerate green and sustainable development in the region. ▶ NNNN has been Eco-Lighthouse certified, which is the most widely used environmental certification scheme in Norway, verified to hold the quality and standard matching international eco-labeling schemes (EMAS and ISO 14001). ▶ The company also became an associate member of A Greener Festival. Nnnn.no

uring 2020 and into 2021, TAIT focused on updating its library of assets, making all assets available for use globally and throughout the business. This builds on practices that the company has developed over many years and optimises sustainable use and reuse of equipment. Crucially, this also reduces reliance on virgin materials. In addition, TAIT is continuing to build dedicated resources to empower clients and design teams to call on this vast library of existing components. This year, TAIT’s UK offices are beginning the transition to renewable energy, and its waste and recycling streams are being monitored to ensure it maximises recycling potential. The company’s UK facilities in Neasden and Haverhill are now both ISO14001 accredited, and it has installed infrastructure to collate carbon emissions for Scope 1 & Scope 2 and key elements from Scope 3 globally. This will form the basis for TAIT’s carbon reduction strategy. The group has partnered with organisations such as the Sustainability in Production Alliance (SiPA), Theatre Green Book, and Live Green to help drive industry-wide change, educate teams, and further sustainability efforts. In order to give back to the communities and institutions that helped build the success of the organisation, TAIT’s principal sustainability advocate, Carol Scott, guest lectures at colleges and universities on incorporating sustainable practices into the ecosystem of live events. Taittowers.com Magazine

Le Festif!

e Festif! is recognised in Quebec, Canada, as a pioneer and leader in environmentally sustainable festivals. The event’s strategy for food and drink is simple but admirable. For alcohol, everything is 100% local, be it craft beer and cider, or wine, vodka and gin. And organisers take a similar approach to catering, as the food for the artists, the staff and the participants is also sourced from local producers. As part of its sustainability drive, the festival has also stopped selling bottles of water by building free water stations; cigarette ends are recycled; the festival relies on bulk food orders for catering to eliminate plastic waste; no promotional paper is used; a tree planting programme compensates for carbon emissions; and it has ceased sales of merchandise such as t-shirts and hoodies to further reduce its carbon footprint.

Lefestif.ca

our hundred tonnes of food is thrown away at UK festivals every year, this means 953,352 meals go to waste. With one tonne of waste equal to four tons of CO2, 8th Plate was founded to tackle this challenge. Combating food waste is extremely important, not only because of the environmental impact, but because there are people in the UK forced to get food from food banks. 8th Plate’s aim is to help prevent food waste, and this has been welcomed by the events and catering communities alike. NCASS (The Nationwide Caterers Association), who support small independent food and drink businesses across the UK, teamed up with A Greener Festival to find a solution to food waste at events, food markets and festivals. They work with festivals, events, and street food businesses to redirect food to charities such as Open Kitchen, Fare Share and Refresh, who ensure that the food is given to people who need it. In order to make sure 8th Plate itself is a sustainable initiative, the team train festival and event teams to work alongside ambassadors who, with the support from NCASS and A Greener Festival, deliver the initiative in-house and train future ambassadors in the process. Pre-pandemic, in 2019 alone, 8th Plate salvaged 18 tonnes of food; the equivalent of 42,560 meals, across 11 festivals. Imagine what could be achieved if this was replicated across the whole industry.

Ncass.org.uk/tag/eighth-plate/

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Det Runde Bord

ue to Covid, Det Runde Bord has been unable to attend festivals and events to collect and distribute surplus food, as it normally does, but it has still used its experience and network to help deliver food to socially vulnerable citizens in Denmark. When the country locked down, hundreds of canteens and restaurants also locked down. Meanwhile, food wholesalers were unable to find buyers for huge quantities of produce. So, charity Det Runde Bord stepped in, collecting and distributing between 3-5 tonnes of surplus food daily, feeding socially vulnerable fellow citizens including addicts and the mentally ill. In the weeks after lockdown, the organisation and its partners delivered fresh produce corresponding to 1 million meals at a value of more than €2million. When organisers learned that Denmark’s soup kitchens had all been closed due to the danger of Covid infection, they launched The Necessary Food Club in a shuttered restaurant, before moving to a huge production kitchen, where between 300 and 1,100 single-packed meals could be prepared every day. “Imagine that a food waste project [that started at] Roskilde Festival in 2014 has resulted in the delivery of more than 7 million meals to socially vulnerable citizens in Denmark, in addition to being an inspiration to people and organisations around the world,” says Det Runde Bord’s Peter Haugelund. “I am very proud, especially of the more than 500 fantastic volunteers who have made an effort far beyond expectations.” .dk

Tollwood Festival

ollwood Festival unites a zest for life, an enjoyment of culture, and a commitment to a tolerant, peaceful and sustainable world. Since the first festival in 1988, ecological and social commitment has formed the way the festival thinks and acts, and its key focus is to keep its carbon footprint as small as possible. Tollwood is known for its international gastronomy, which is provided by around 50 restaurateurs. Since 2003, the festival’s catering has been certified in accordance with EU organic council regulation. This means that the event’s visitors can enjoy a diverse selection of 100% organic, vegetarian and vegan food from 20 or so nations. This dedication to organic, plant-based cuisine saves the festival 116 tonnes of CO2 per year. As a leader in its field, Tollwood is often contacted by other festivals and venues requesting information about its returnable system and waste sorting systems. “If you change conditions, you change behaviour! Your guests will act sustainably, when sustainability is the standard. It’s your turn, it’s your responsibility, act now!” Tollwood.de

espite the pandemic, the team at Stack-Cup has continued its mission to reduce single-use plastic and replace it with the company’s unique reusable cups. The company has launched the Stack-Flute in the UK and Europe, as well as expanding its reach internationally, and improving its service. Stack-Flute has a unique, patented design, which was successfully launched at Pub in the Park with Slurp and We Are Quantum. The flutes are washed and reused at each event. Meanwhile, Stack-Cup has made its debut in Australia and New Zealand with the launch of a cup hire and washing service that is expanding rapidly from the company’s base in Adelaide. Finally, the organisation has focussed on how it serves and communicates with customers. For example, with pub chain Greene King, it has removed the £1 customer deposit and replaced it with a micro charge, with profits going to the Macmillan Cancer Support charity. This is facilitated through better technology and customer communication. “We are really optimistic about the future of reusable cups,” says managing director James Roles. “Being more sustainable isn’t optional now but a necessity, and we are fortunate to have built up a decade of experience in running reusable cup programmes. We recognise that partnerships are key to success and our aim for 2022 is to cement transformative relationships with partners that care as much as we do. Actions speak louder than words.” Stack-cup.com Magazine

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ith its infinitely recyclable aluminium cups, Ball Corporation has signed a number of deals to supply the product line to events, including the 2020 Superbowl in Miami and PGA’s Waste Management Phoenix Open, effectively replacing millions of single-use plastic cups. Durable, cool to the touch and extremely eco-friendly, extensive research on both sides of the Atlantic claims that consumers believe a venue that serves beverages in aluminium cups cares about the environment and that the drinking experience at that venue would be higher quality/better than other unrecyclable formats currently on offer. Ball Corporation says that aluminium can be recycled infinitely without ever losing quality. In fact, it cites research that suggests that nearly 75% of all aluminium ever made is still in use today. The cups can easily be made (minimum order of 50,000 applies) with custom logos and graphics to correspond with venues, events, teams, brands and more. Additionally, Ball’s drinking vessels are sturdier and more durable than other options, reducing breakage incidents and increasing quality perceptions.

Ball.com

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aste is a key issue that the festival community needs to tackle head-on, particularly the ongoing problem of discarded tents and camping equipment left behind at the end of most camping festivals, creating one of the biggest environmental issues facing organisers. With this in mind, Eco Action Partnership launched Love Your Tent, a campaign designed to bond people with their portable homes and encourage them to reuse them instead of discarding them. The organisation’s aim is to publicise the issue and create some solid solutions for change that will benefit the whole of the festival community. Rick Storey, who helped initiate the campaign, explains, “We are determined to make festivals greener, more sustainable, and more enjoyable events for audiences and organisers, and one way of doing that is to cut down on the number of discarded tents. This can’t be done in solus, it needs to happen across the festival community and should involve tent retailers, festivalgoers and organisers.” As part of its range of services, Eco Action Partnership also conducts carbon audits for events and businesses, helping to pinpoint where the main impacts are. Ecoactionpartnership.com

ased in Bristol, UK, waste and recycling specialist Greenbox offers a unique and forward-thinking approach to event waste management. It pioneers the most sustainable strategies whilst keeping events clean, tidy and safe. The Greenbox team builds on a wealth of experience that dates back to the mid-90s when recycling was first taking a foothold in the events industry. Its specially designed, distinctive and robust recycling stations are renowned for their ease of use and high recycling yield. The company maintains that it’s what you don’t see that’s most important; through strategic deployment of its teams Greenbox tackles cleansing issues before they become a problem. Greenbox operates throughout the UK, frequently in remote areas with limited or difficult access, as well as busy city centres, and at high-profile sporting events. It provides all the necessary vehicles, personnel, equipment and expertise to ensure events are cleaned efficiently, professionally and more sustainably.

n 2021, Pitched for You has been delivering initial contracts, taking on crew and forming important relationships within the industry. As a supplier, the company took on every event it could, only to have half cancel and others pop up out of the blue with requests like isolation camps, glamp sites or a restaurant on a cliff. As a B2B accommodation supplier, Pitched for You is forming pacts with ticket sellers, green travel companies, event assessors and production companies to deliver mass accommodation smoothly in one package. Although determined to develop a real circular economy service, on the product side materials remain a great challenge, as there are simply no circular economy tent fabrics, yet. So the company is working with Nikwax to help develop these, finding that the correct fibres, coatings and maintenance techniques can make its material last “forever.” On the service side, Pitched For You took advice from Aston Business School’s Advanced Services Group to ensure its business model is truly sustainable. While on the manufacturing side, Covid is presenting all sorts of international trade issues, so the company is considering moving manufacture entirely to the UK.

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Oak View Group

ith a mission to innovate and improve the live venue experience, Oak View Group (OVG) is leading the development and operations of the Climate Pledge Arena in Seattle, which it says will be the first net-zero carbon arena in the world. OVG believes the new building will be the most sustainable arena venue in the world, serving as a long-lasting and regular reminder of the urgent need for climate action. Among the multiple strategies the company is relying on to achieve its goals, it has committed to no fossil fuel consumption in the arena for daily use; it will use an extensive solar panel installation combined with off-site supplementary renewable energy for 100% renewable energy power; and it will offset any carbon emission activities it cannot eliminate – like transportation – by purchasing credible carbon offsets. Other initiatives include a sustainable food and beverage strategy, ensuring that 75% of all produce is sourced within a 300-mile range. Additionally, the arena will have a zero single-use plastic policy, advanced water conservation measures, and by simplifying its supply chain OVG will target a zero-waste goal. The new arena, which opens in October, will be used to inform future OVG developments including UBS Arena in New York; Moody Center in Austin, Texas; Co-op Live Arena in Manchester, UK; Coachella Valley Arena, California; and new projects in Savannah, Georgia and Milan, Italy.

Oakviewgroup.com Magazine

E ig Green Coach (BGC) was established in 2009 by Danny Newby and Kevin Green to provide environmentally responsible transport options to live events. Their environmental commitment goes further than just providing coach travel as a viable alternative to cars, as they plant trees for every coach transported to an event. The company now provides coach travel and/or shuttle buses to most major festivals in the UK and Europe (Download, Creamfields, Boardmasters, Reading, Leeds, Parklife, Boomtown to name just a few in the UK; and the likes of Tomorrowland and Rock Werchter on the continent), as well as for most major UK tours. BGC’s environmental commitment now extends to protecting five square feet of Amazonian Rainforest for ten years for every customer they transport to live events. This has resulted in millions of square feet being protected thanks to BGC customers. From 2022, all the company’s services will be carbon neutral (this year their services for Camp Bestival, Creamfields, Isle of Wight Festival, Latitude, Leeds Festival, Reading Festival and Wireless were all carbon neutral). This is a significant step forward, as it involves approximately 2,000 coach journeys.

ntertainment freighting company Global Motion (GM) has been championing environmental solutions within the live music industry since long before the pandemic, however, during this time, the company says it found a captive audience. GM’s managing director, Adam Hatton, has been vocal in the sustainability conversation since the Tour Production Group, a group of touring decision makers, formed in early 2020. GM encourages its clients to minimise, then neutralise. Hatton says, “As a global population we need to establish how much carbon we can spend and then work out what we are prepared to spend it on. V8 engines might be out, but live performance is vital to the human experience; there’s no doubt touring will continue worldwide. “Any offsetting scheme Global Motion offers has to be gold standard, delivering on all of its promises. To that end, we have partnered with DHL, the world’s largest freight forwarder. Owned by Deutsche Post, DHL’s scheme is subject to the highest scrutiny. Global Motion can now offer verified carbon neutralisation of the highest level on all of our tours through DHL’s proven system – a system currently utilised by Formula 1.”

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espite the enormous impact that the coronavirus had on its daily business, Pieter Smit continues to improve its green credentials. Pre-planned investments in the group’s real estate included the company renovating a building in the Amsterdam area with a geothermal installation. A storage hall was completely rebuilt with high-density insulation panels, and the long-term goal is to add solar panels to create a zero emission building. In Dortmund, Germany, the company is renovating an old industrial hall for rehearsals and small events, renewing the roof and windows with the best possible materials, and installing an air/water heat pump system. The company is offering customers the opportunity to use vehicles that rely on synthetic diesel fuel, made from waste materials, for their projects. Additionally, Pieter Smit has invested in E-cars (VW ID.3) for the use of office employees, while a number of Mercedes eVito vans have been acquired to bolster the group’s electric vehicle fleet, which, together with the extensive programme of solar panel installations, is a significant step toward reducing the company’s overall carbon footprint. Pietersmit.com

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he aim of Tuned in Travel is to find innovative solutions to the negative environmental impact of audience travel, which, on average, accounts for 60-80% of an event’s overall carbon footprint. Since 2013, the company has been working directly with event organisers to provide audiences with safe, reliable transport options, helping to reduce the number of vehicles taken to an event. When the pandemic hit, the demand for passenger transport all but ceased. However, this did not deter Tuned in Travel from pushing forward with their green initiatives and goals to improve the industry. The company has continued to expand its UK-wide operator network; an expansion that allowed it to work with operators local to partnered events, helping to reduce dead mileage and fuel consumption on services. Tuned in Travel continued to work closely with event organisers and industry specialists for 2021/22 events, still guaranteeing that they would offset 100% of the carbon emissions generated during their services through donations to Ecolibrium. Collaborating with the Department for Digital, Culture, Media & Sport, Public Health England, Association of Independent Festivals, and others, Tuned in Travel helped produce The Purple Guide Covid-19: a comprehensive guide for festivals in event planning and travel safety (click here to access the document).

Tunedintravel.com

VeloConcerts

eloConcerts’ aim is to explore the possibilities of the modern stage. Founder Jonas Skielboe knew he wanted to rethink the classical performance to include environmental awareness and modern mobility. The company has collaborated with industry professionals and artists to bring opera to the street and take rock out of the garage. VeloConcert’s technical engineering combines a clean design with the compact transport of a professional sound system that doesn’t rely on an external power source. The stage is incredibly mobile thanks to the help of an e-bike motor that makes for easy and safe transport, uphill and down. There’s no need for any tools and no risk of forgetting an important component. Packing and unpacking a stage that can host up to seven performers at once can be achieved in a matter of minutes. VeloConcerts offers the fastest path to hosting a non-invasive event in any environment. From the carbon footprint to set-up time, their professional stages are minimal where it counts. Advanced e-bike technology allows musicians to arrive on the spot with a pristine sound system, ready to create new levels of interaction between performers and audiences alike. Veloconcerts.com Magazine

E Club La Feria

n May 2019, La Feria club in Santiago, Chile, became the first nightclub in the world to sustainably cover 100% of the energy it uses. In a collaboration with Budweiser, the project included carefully retrofitting the historical structure with 35 photovoltaic panels on the roof and in the main wall. In total, the facility will produce 1,299 kWh of energy monthly – more than enough to power its strobe lighting, cool down overheated clubgoers, run the sound system, and provide all other electrical needs. This translates to a saving of 6.51 tons of CO2 annually that would have been otherwise emitted into the atmosphere – more than what five houses would consume. That “Chile is at the forefront of sustainability in the region and probably the world,” is La Feria and Budweiser’s vision. “We hope this initiative can inspire and motivate other clubs in Chile, and that in a few years [those that] operate on renewable energy are the rule and not the exception.” The undertaking is the fusion of both worlds from the club and the brand. La Feria’s commitment to inspire green initiatives in the music industry and in its community unites with Budweiser’s goal to transform its global production by 2025 to 100% clean energy.

Laferia.cl

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cotricity’s mission is to fight climate change by scrapping the use of fossil fuels and giving people an alternative – green energy. The company started with one windmill in Gloucestershire, UK, and has carried on building new wind and solar parks around the country. Whenever a home or business switches to Ecotricity for their electricity, they stop using fossil fuel to power their home and start using green energy. Other energy companies have followed Ecotricity’s lead, and today around 33% of the energy used in the UK comes from green sources. Across the UK, homes and businesses are still predominantly heated using fossil fuels – mainly natural gas. Although Ecotricity’s gas is only about 1% from sustainable sources, the rest is carbon neutralised gas (the company invests in carbon reduction programmes to cancel out the carbon burned). However, the company believes green gas is the way forward and it is constructing green gas mills – making biomethane from grass cuttings – to replace natural gas in the grid. When the grass grows back, it absorbs the carbon dioxide created by burning green gas. Then that grass is cut to make more green gas, and the sustainable cycle repeats itself.

Ecotricity.co.uk

Greener

reener was founded in January 2018, in order to make an impact on the carbon dioxide footprint of on- and off-grid energy markets, using mobile batteries and smart energy planning. The idea emerged in 2014, after a backstage visit to one of the biggest festivals in The Netherlands. Greener’s founders were shocked to discover how little thought had gone into accurately and efficiently planning the power supply of equipment such as lights, audio and food trucks. As they investigated further, they saw the same lack of planning for energy efficiency in other areas, like construction sites and grid maintenance. Instead, all they could see was needlessly massive equipment running on very low efficiency rates – a situation they felt compelled to change. The people behind Greener are convinced that there are many opportunities to make practices in the energy sector less of a burden on the environment. The company sees solutions in technological innovation and it is bringing these to the market to make our world greener.

Greener.nl

ohoda on the Ground, the miniature 2021 version of Pohoda Festival with capacity limited to 1,000, was able to operate using just electricity from the grid. Pohoda takes place on a local airfield that is in regular use. In its partnership with local energy provider, ZSE, the event’s production crew researched the maximum capacity of the local network and set up four points on the airport, where they could temporarily place high voltage 630kVA transformers. “For the full capacity festival with 12 stages and 30,000 visitors, it covered about 40% of the festival energy needs in 2019. For the limited-edition 2021 [event], just two transformers were enough to cover it completely,” reports the event’s sustainability chief, Michal Sládek. “As we cannot expand the local network further, our next intention is to use the transformers more efficiently. Although they are ideal for stages to handle the energy peaks in the shows, it appears that more energy is consumed in the services that are running continuously for the whole festival, as well as the food concessions. So, for the next edition of Pohoda, we plan to analyse thoroughly the energy use to find any possible savings and the optimal setup to feed the festival, efficiently, with energy.”

ffering consultancy in energy and s u s t a i n a b i l i t y, ZAP Concepts has created a unique, straightforward, online power supplies application that has been designed to calculate the amount of power that an event needs in advance. The new web application makes the collection of power information from all event suppliers extremely easy, quick, and efficient. All suppliers receive a link where they can submit details of their power consuming gear directly into the application, and event producers can select their gear from the database, which contains all possible power consumers at events, including all required data to make accurate energy calculations. Instead of a power supplier trying to estimate the energy consumption at an event, organisers can select their own equipment in the tool. Zap can then calculate energy consumption with the help of an extensive set of parameters, and the system will create a customised Smart Power Plan within 72 hours. The Zap tool provides information and suggests the most sustainable and efficient power supply for an event, allowing organisers to cut up to 80% of emissions, use fewer generators, increase the use of green batteries and create the most reliable power network for their event.

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Zapconcepts.com

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I rank Water CIC is a social enterprise that raises funds for the charity’s safe water projects overseas and helps inspire the UK (and beyond) to adopt a more sustainable approach to water. The organisation has a diverse portfolio of services and products that help support the charity financially, whilst promoting its ethos of sustainability. For example, its festival refill service enables festivals to substantially reduce levels of plastic waste. During 2020, this service was obviously impacted by Covid-19, but Frank is back on the festival circuit in 2021, at the likes of Green Man, End of the Road, TankFest and Beautiful Days. As well as supporting the charity’s emergency response to Covid-19 in India and Nepal, the organisation spent time during the pandemic developing its UK education programme and designing a new look for its range of glass-bottled spring water, because while it stresses that tap water is always best, Frank wants to give consumers an ethical, sustainable choice. Looking to the future and further developing its work around global water stewardship, Frank Water has also created a tech platform, WASH Connect, which consists of a suite of digital tools and applications to support brands and companies to develop and deliver their water stewardship programmes and manage the risks to water security in their supply chain.

n recent years, it has become clear that the tipping point for climate change is approaching, especially when it comes to water. Water is not a single-use commodity and shouldn’t be treated like one. With this in mind, I-QUA started ECOZ Mobile, its pilot project for mobile water treatment at events, offering local water sanitation and striving to make water treatment systems circular. Wastewater goes in, clear water comes out. It’s that easy. Say goodbye to brown gunk and hello to clear water! ECOZ Mobile has already been spotted at Belgian festivals such as Paradise City and Dranouter – ideal opportunities to test how the project copes in challenging conditions. With 2020 being low on festivals, ECOZ founder Wouter Igodt used the opportunity to launch a new startup – Hello Water – whose aim is to help get the idea of environmentally friendly local water treatment out in the open, beyond festivals. The organisation’s motto is: “Where water flows, life grows.”

Frankwater.com

Hellowater.be

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Natural Event

aving launched in 2000 with an alternative solution toilet, Natural Event Composting Toilet Systems are changing the world literally from the bottom up. The company has designed and operates one of the most effective, practical, pleasant-to-use toilet systems for festivals, events and gatherings. Natural Event was created after the organisers of The Festival of Folk, Rhythm and Life, Victoria, Australia, realised that the toilet system they had created to cater for their own three-day festival could easily be deployed nationally and internationally. The company’s aim is to provide festivals and events with planet-friendly water usage systems that consume much less energy than the previous systems that involved transporting massive quantities of waste. Not only are Nature Event’s composting toilets better for the environment but they provide a substantially more pleasant user experience, producing no smell, even in the blistering Australian sun, five days into a huge camping festival. All hail the pong-less bog. Naturalevent.com.au

OsheagA

ince losing all event contracts in March 2020, management of The Green Stop decided to rebrand the company changing its name to O’land, and made their filland-wash stations safer in terms of hygiene and safe distancing. The organisation has maintained its mission of eliminating waste from single-use plastics, by improving its bottle refill solutions and providing hand-wash and sink facilities. Ideal for large crowds with multiuser safe access, O’land’s 360-degree-designed stainless-steel stations are both beautiful and ecological – making them attractive for sponsorship and branding opportunities. In addition, O’land’s near-realtime antennas record daily water usage so that analysts can easily document the number of bottles refilled and plastic waste saved.

ver the years, Osheaga has implemented multiple sustainability initiatives to ensure that its operations are responsible. Beyond the artistic and cultural experience, the festival wants to minimise the negative impact it has on the environment and maximise the positive influence it has on society and the economy. It’s Water for Everyone programme in partnership with National Bank has helped provide Osheaga with more than 31,500 litres of drinking water, 14 additional water-refill stations, and 9,000 reusable water bottles. Additionally, Osheaga Play (powered by National Bank) allows festivalgoers to trade in plastic water bottles and see them get recycled into special-edition Osheaga T-shirts. In 2018, Osheaga enacted a ban on plastic straws, it has been using reusable eco-cups in onsite concessions for over five years, and in 2019, the festival’s Perrier tent implemented more environmentally friendly paper cups. The event continually examines its practices with water and waste to ensure it is doing everything it can to improve its sustainability credentials. In recognition of those efforts, Osheaga has achieved level 2 of the Standard BNQ (Bureau de normalisation du Québec) 9700-253 for responsible event management, delivered by Modus Operandi Logistiques. Osheaga.com

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Feature_Building(s) For The Future

Swansea’snew arena project is part of a £1 billion redevelopment of the city’s Copr Bay

BUILDING(S) FOR THE FUTURE

Lisa Henderson looks at some of the new arena projects that promise to take indoor shows to the next level as the live entertainment industry prepares for what could be the busiest years in its history.

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2021

CLIMATE PLEDGE ARENA (SEATTLE, US) Oak View Group

Naming sponsor: Amazon Purpose: Sport and live entertainment Opening date: October 2021 Configurations: 18,100 total. Capacities for different events will vary Cost to build: $1billion (€0.85bn) of private investment Design: Populous. McLennan Design advised on green/ sustainability features Partnerships: Amazon’s The Climate Pledge, Alaska Airlines, Coors Light, Symetra, Virginia Mason Franciscan Health, WaFd Bank, Verizon and Ticketmaster SPECIAL FEATURES ■ Expected to be the first net zero carbon certified arena in the world and will harness the power of sports and entertainment to inspire change on the climate crises. ■ OVG has respectfully retained the iconic roof of the Seattle Center Coliseum, originally built for the 1962 Seattle World’s Fair and designed by renowned architect Paul Thiry. “There is no question that the state of our planet is a critical issue for all of us. We have a responsibility to future generations to try to leave them with a better world. We love that Amazon is using its naming rights for a cause we care deeply about – this partnership is a visionary step for the facilities business and sport and music industries. Our goal is to be the most progressive, responsible, and sustainable venue in the world. It is not just about one arena – it’s a platform for us to step up and heal our planet.” Tim Leiweke, CEO, Oak View Group

UBS ARENA (NEW YORK, US) Oak View Group

Naming sponsor: UBS signed on for a 20-year naming rights deal worth $250million (€213m) Purpose: Made for music and built for hockey Opening date: Autumn 2021 Configurations: 18,500 total. NHL capacity: 17,000. Concert capacity: 18,500 Cost to build: $1.5bn (€1.3bn) Design: Populous Partnerships: UBS, Northwell Health, Verizon, Heineken, Dime and Ticketmaster Special features ■ State-of-the-art sound system that leverages sophisticated engineering acoustics to amplify the audio experience. ■ The first venue of its kind in New York to be eligible to achieve certification under the LEED V4 Building Design + Construction rating system while featuring state-of-the-art sustainable technology. ■ Arena displays will include the largest scoreboard in New York with industry-leading high-definition technology and two levels of high-resolution LED ribbon boards. ■ The utilisation of the Verizon 5G Ultra-Wideband network. “We like to call this arena ‘the next most famous arena for the next century.’ It will be ‘the last great arena that will be built in all of our lifetimes’ in the New York City area.” Tim Leiweke, CEO, Oak View Group

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COCA-COLA MUSIC HALL (PUERTO RICO) ASM Global

Naming sponsor: Coca-Cola Purpose: Coca-Cola Music Hall has a flexible and innovative design that will cater to a wide range of events, including concerts, family shows, boxing matches, corporate events, and much more Opening date: 14 August 2021 Configurations: Up to 5,000 guests Cost to build: $40m Programming: Beatriz Colón Special features: Coca-Cola Music Hall is the first medium-sized venue in Puerto Rico.

2022

MTS LIVE ARENA (MOSCOW, RUSSIA) ASM Global

Naming sponsor: MTS (Mobile TeleSystems PJSC) Purpose: Music, sports (basketball, MMA, etc), corporate events Opening date: Q1 2022 Configurations: Standing floor + seated lower bowl + suites + upper bowl; or all seated; or banquet tables on the floor + seated lower level + suites + upper bowl Cost to build: TBC Design: HOK, Gensler Financial backers: Private investment

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Programming: AEG and ASM Global Special features: Best rigging capacity in the country: up to 200 tons in total with a 4.5 ton point load Partnerships: Ticketland (ticketing company owned by the naming rights partner); Bose (sound equipment); Compass Group (venue-wide catering); and AB InBev/Efes, L-wine, and Ahmad Tea (beverages). “We are confident that a thriving, beautiful city like Moscow needs this one-of-a-kind new venue, which will be in demand for all European tours once the business is back to normal. No expense has been spared to create the world-class amenities and ultimate convenience for the artists and the fans.” Rick Krezwick, ASM Global

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SWANSEA ARENA (SWANSEA, WALES) Ambassador Theatre Group

Naming sponsor: TBC Purpose: Live music, comedy, theatre, sports, e-sports and conferences Opening date: Early 2022 Configurations: 2,151 seated. 3,500 seated/standing. 2,500 standing only. 750 seated in section separated by auditorium wall Cost to build: The Swansea Arena forms part of the £135m (€158m) Copr Bay phase one district that also includes a 1.1-acre coastal park, a landmark bridge, new homes, car parking and spaces for leisure and hospitality businesses Design: Friedrich Ludewig of Acme Financial backers: Swansea Council and the Swansea Bay City Deal. The Swansea Bay City Deal is an investment in nine programmes and projects across the Swansea Bay City region. It’s funded by the UK Government, the Welsh Government, the public sector and the private sector Programming: Ambassador Theatre Group Partnerships: TBC Special features: Over 1,600 gold-coloured panels are being fitted around the outside of Swansea Arena, complete with over 95,000 LED lights. These will enable the screening of the light shows, as well as the potential to promote upcoming shows, concerts and other events. “Located within touching distance of our world-class seafront, Swansea Arena will be among the best facilities of its kind. The stunning, gold-coloured LED skin surrounding the attraction also means the arena is in keeping with the digital age, with top quality Wi-Fi being made available there for visitors too.” Councilor Rob Stewart, leader, Swansea Council “Ambassador Theatre Group is incredibly excited to be operating the brand-new stateof-the-art Swansea Arena. Not only because we are able to play a part in the incredible regeneration that is happening in the city, but to also bring artists and events to the area that have never had the opportunity to before. The venue is incredibly flexible and can host a great range of shows and events – we can’t wait to get the doors open!” Lisa Mart, general manager, Swansea Arena Magazine

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MOODY CENTER (AUSTIN, US)

Oak View Group, Live Nation/C3 Presents Naming sponsor: Moody Foundation Purpose: Live music, family shows, community events and sports Opening date: Spring 2022 Configurations: 15,000+ seat venue with the largest event floor in the US Cost to build: $338m (€228m) Design: Gensler Financial backers: Privately financed through a partnership between Oak View Group, Live Nation/C3 Presents, actor Matthew McConaughey, and the University of Texas at Austin

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Programming: Live Nation in conjunction with subsidiary C3 Presents Special features: Designed specifically for concerts, this modern arena will provide state-of-the-art amenities and top-tier hospitality for artists and fans. “As a proud alumnus and professor at the University of Texas, I’m honoured, now as minister of culture, to convey what a special place the university and the city of Austin are through the design and hospitality of the new Moody Center. It should be the first place the biggest bands in the world want to play, but the last place a visiting basketball team wants to play.” Matthew McConaughey

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COACHELLA VALLEY ARENA (CALIFORNIA, US) Oak View Group

Naming sponsor: TBD Purpose: AHL Hockey, concerts, and family shows Opening date: Autumn 2022 Configurations: 11,679 for concerts, 9,918 for hockey, 10,815 for basketball and other sporting events. The lower bowl of the venue will seat close to 8,000 Cost to build: $290m (€247m) Design: Populous. McLennan Design advised on green/ sustainability features Financial backers: Privately financed by Oak View Group Partnerships: Ticketmaster, Live Nation, Verizon, Alaska Airlines Special features: ■ 300,000-square foot arena. ■ 20 suites. ■ A 145-capacity private club. ■ A pair of VIP clubs and a premium concourse club that seats 590.

TECH PORT CENTER + ARENA (SAN ANTONIO, US) ASM Global

Naming sponsor: TBC (imminent) Purpose: The Tech Port Arena will host national touring concerts, comedy, Ted Talks, regional/national conferences, product launches, and regional/national/international e-sport events supporting the aerospace, cyber security, and robotics tenants located at Port San Antonio. Opening date: April 2022 Configurations: The arena will have 3,200 seats on two levels that will include 1,200 retractable seats that can host GA full-floor shows, seated configurations, and banquets. Cost to build: $60m Design: RVK Architects Financial backers: American Triple I Partners, Port San Antonio Programming: ASM Global will operate the venue and it will be an

open venue to all promoters. Tech Port will co-promote or buy direct from agents. Special features: ■ Tech Port Arena will have a first-class in-house sound system, 60’ LED wall for performances, and a lighting system that will include a 7.1 surround sound system in the arena for conferences, e-sports and music events. ■ Tech Port Center and Arena will also have a seven-day-a-week restaurant and bar experience to support the 15,000 employees that work at Port San Antonio, which will have live bands and DJs hosting after-hours events and festivals. ■ E-sports will be a large part of the complex, which will have a LAN centre and the first e-sport-focused, 60 station, LAN/Arena complex built in the US. ■ The building will be the first test site for the Genesis Water System, which converts air to water and will be a lifesaver for millions of people around the world looking for water in any environment. Partnerships: TBC

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Feature_Building(s) For The Future

2023

CO-OP LIVE (MANCHESTER, UK) Oak View Group

Naming sponsor: A 15-year partnership with the Co-op to bring one of the most planet-friendly arenas in Europe to east Manchester Purpose: Live music, sports, comedy, awards, and family entertainment events Opening date: 2023 Configurations: 23,500-capacity, making it the UK’s biggest venue Cost to build: £350m (€409m), 100% privately financed Design: Populous Financial backers: Oak View Group and City Football Group (CFG) are equal joint venture partners and investors in Co-op Live, along with Harry Styles as an investor Partnerships: Ticketmaster will be providing digital ticketing technology Special features: ■ Smart bowl design providing an intimate experience for fans and ‘black box’ for artists. ■ Innovative LED programmable halo around the building facade. ■ A football-pitch-and-a-half of solar panels on its roof. ■ Ten tennis courts creating a green biodiverse ring. ■ 100% rainwater harvesting. ■ 100% electric. ■ Targeting zero-waste to support carbon neutral goals. ■ Sustainable food sourcing via local producers. electric. ■ Local supply chain for the build creating jobs and apprentices. “I am incredibly proud to be partnering with OVG on their plans for Co-op Live. Manchester is an incredible city, filled with incredible people, and I couldn’t be happier to be involved in their project. It feels very much like coming home.” Harry Styles

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MSG SPHERE AT THE VENETIAN (LAS VEGAS, US) MSG Entertainment

Purpose: Attractions, concert residencies, corporate events, award shows, product launches and select sporting events Opening date: 2023 Configurations: Scalable capacity of approximately 17,500 seated to 20,000 with a mix of seated and standing Design: The vision for MSG Sphere, including its design, is being driven by a talented team at MSG Entertainment, which has also brought on board Populous, one of the world’s most acclaimed design and architectural firms, to help make MSG Entertainment’s vision a reality – both in Las Vegas and London Special features: ■ Fully programmable LED exterior – creating a digital showcase for artists, brands and partners. ■ The highest resolution LED screen on Earth – an immersive display plane that will wrap up, over, and behind the audience at a resolution over 100 times that of a high-definition television. ■ Advanced acoustics system delivering crystal clear audio to every guest. ■ The system will use a variety of technologies including beamforming, enabling audio to be directed to specific locations in the bowl at a volume that remains constant – from point of origin to destination. This means two people – sitting in different seat sections – could hear completely different things, adding to the possibilities for a truly customised experience. ■ An infrasound haptic system that will use deep vibrations so guests can “feel” the experience. ■ A new architecture for connectivity that delivers more than 25 megabits per second for every guest – enabling a broader range of content and greater interaction.

Building(s) For The Future_Feature

KAI TAK SPORTS PARK (HONG KONG) ASM Global

Naming sponsor: TBC Purpose: Live entertainment, sport, conferences, seminars, meetings, exhibitions and trade shows Opening date: Late 2023 Configurations: 10,000 maximum capacity with retractable seating systems to provide as much flexibility as possible. Cost to build: HK$30bn (€3bn) including a 50,000 capacity stadium and other facilities Design: Populous (architects), Arup (engineering disciplines) Financial backers: The Government of Hong Kong under a design build operate contract for 25 years Programming: ASM Global (concerts and other live entertainment, conferences and functions), Sportfive (sport content) Special features: Kai Tak Sports Park will integrate world-class sports facilities with retail, wellness and community leisure spaces to create an urban oasis. With its Pearl of the Orient theme, the main stadium will boast a retractable roof and flexible pitch surface that can host a wide range of international, regional and local events in any weather.

Partnerships: The Kai Tak Sports Park consortium is led by Kai Tak Sports Park Ltd (KTSPL), a subsidiary of New World Development Company Limited and NWS Holdings Limited. The KTSPL project team comprises of recognised local and global industry leaders with extensive experience in the design, construction and operation of large-scale projects. ASM Global will be responsible for management and operation of the precinct. The Park will include 57,000m² of retail space, 3,000m² of restaurants, a bowling centre, a sports health/wellness centre, an event village, a main plaza, a children’s play area, and numerous outdoor sports courts. “Kai Tak Sports Park will transform the sports landscape in Hong Kong. ASM Global will bring world-class sports and entertainment events and deliver an outstanding experience to fans and clients alike. The renders of the venues provide a tantalising glimpse as to what that experience will look and feel like and we can’t wait to start delivering events.” Darren Burden, executive director, ASM Global

Magazine

Feature_Building(s) For The Future

2024

NEWCASTLEGATESHEAD QUAYS (NEWCASTLE, UK) ASM Global

Naming sponsor: TBC Purpose: Concerts, live entertainment, boxing, mixed martial arts, sport, family entertainment, comedy, e-sport, e-gaming, conferencing, association events, exhibitions and regionally tailored and produced events Opening date: Summer 2024 Configurations: 12,500-capacity arena plus conference and exhibition centre with over 6,300m² including conference suite for 900, exhibition halls totaling 5,500m² Cost to build: £260m (€304m) Design: Hook Financial backers: Ask and Patrizia Programming: ASM Global Partnerships: Local and national premium brands, Gateshead Council, regional stakeholder and education institutions

DERBY BECKETWELL ARENA (DERBY, UK) ASM Global

Naming sponsor: TBC Purpose: Concerts, live entertainment, family entertainment, comedy, sports entertainment, conferencing, exhibitions and corporate events Opening date: 2024 Configurations: 3,500 capacity auditorium with flexible seating and standing modes Cost to build: £39m (€45m) Design: Corstorphine and Wright Financial backers: St James Securities and Derby City Council Programming: ASM Global Special features: Becketwell Arena follows in the footsteps of the success of Bonus Arena in Hull and joins Swansea Arena as part of a cohort of new 3,000-4,000 capacity venues in the UK, which represent a significant growth opportunity for the UK touring market. This new venue in the heart of the city of Derby will present intimate arena shows with fantastic sight lines and a firstclass audience experience. Partnerships: Close collaboration with Derby City Council and other regional stakeholders, putting the new venue at the heart of the city’s regeneration strategy, with a new entertainment, cultural and business events programme. “We look forward to bringing world-class entertainment, sports entertainment and business events to Derby, in an innovative new venue, which is perfectly placed to benefit from the demonstrable growth in 3,000-4,000 capacity shows in the UK. We have been inspired by the vision shared for the city, and the growth and opportunities for the East Midlands economy more broadly. Along with a busy concert and entertainment programme, the venue will attract a wide range of business events and provide a great meeting place and activation platform for the region’s world-leading industrial sectors.” Tom Lynch, group commercial director & senior vice president, Europe, ASM Global

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Building(s) For The Future_Feature

EMLIVE (BANGKOK, THAILAND) ASM Global

Naming sponsor: TBC Purpose: Primarily entertainment and corporate banquets Opening date: late 2024 Configurations: 5,000 maximum capacity Cost to build: TBC Design: The Mall Group Financial backers: The Mall Group, AEG Real Estate Programming: AEG Asia Special features: Built atop a major mall development Partnerships: TBC

2025

CARDIFF ATLANTIC WHARF ARENA (WALES, UK) Oak View Group, Live Nation

Naming sponsor: TBC Purpose: Live music, family shows, comedy and sport Opening date: Spring 2025 Configurations: 15,000 capacity – standing and seated Cost to build: £150m (€175m) Design: HKO Financial backers: Cardiff Council, Live Nation Entertainment, and Oak View Group, with Robertson Group as developers Special features: ■ Single-tier arena to intensify the atmosphere for spectators and performers.

■ Seating and floor space that adapts to audience sizes anywhere between 3,500 and 15,000, and a variety of events from sports to family shows as well as live music and entertainment. ■ With world-class acoustics, fans and performers will be guaranteed the ultimate sound experience while noise levels are reduced to maintain a peaceful environment outside the arena. “This project has reached an important milestone. It has been 22 years in the making, and we have made significant progress in recent years. The new indoor arena will be the primary catalyst of the regeneration of Atlantic Wharf.” Russell Goodway, cabinet member for investment and development, Cardiff Council

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Feature_Building(s) For The Future

JEDDAH ARENA (SAUDI ARABIA) ASM Global

Naming sponsor: TBC Purpose: Primarily entertainment and sport Opening date: December 2025 Configurations: 20,000 maximum capacity Cost to build: TBC Design: Chapman Taylor Financial backers: SARH Real Estate Investments Programming: ASM Global Special features: First international standard arena in the Kingdom of Saudi Arabia Partnerships: TBC “ASM Global is looking forward to being an integral part of the team to deliver this visionary project in Jeddah. We pride ourselves on joining forces with partners with whom we know we can make a difference to creating and delivering amazing experiences.” Harvey Lister, chairman & chief executive, ASM Global (Asia Pacific & Gulf Region)

2026

MILANO SANTA GIULIA ARENA (MILAN, ITALY)

Cost to build: €180m Design: TBC Financial backers: TBC

Naming sponsor: TBC Purpose: 2026 Winter Olympic and Paralympic Games, live music Opening date: 2026 Configurations: 16,000-capacity indoors. Plus outdoor area of more than 10,000m² for open-air events

“Our new arena in Milan will be a must-play for all major tours, and we will also be able to offer top events from the Eventim portfolio to the region around Milan and beyond in our own arena through the four Italian promoters in our Eventim Live promoter network. This is another excellent addition to our value chain.” Klaus-Peter Schulenberg, CEO, CTS Eventim

CTS Eventim

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Building(s) For The Future_Feature

BANGKOK ARENA (THAILAND) ASM Global

Naming sponsor: TBC Purpose: Primarily entertainment Opening date: Late 2026 Configurations: 15,000 maximum capacity Cost to build: TBC Design: The Mall Group Financial backers: The Mall Group, AEG Real Estate Programming: AEG Asia Special features: Built atop a major mall development Partnerships: TBC

TBC

MSG SPHERE (LONDON, UK)

MSG Entertainment

Purpose: Attractions, concert residencies, corporate events, award shows, product launches and select sporting events Opening date: TBC. Planning application currently under consideration by the LLDC. “As we work through this process, our timeline will continue to evolve.” Configurations: Scalable capacity of up to 17,500 seated or 21,500 when there is a mix of seated and standing Design: See MSG Sphere at The Venetian Special features: See MSG Sphere at The Venetian

Magazine

Your Shout

The zombie apocalypse is coming: who are the two people you want on your team?

Noggin the Nog and Nogbad the Bad (to make it an even fight). John Jackson | K2

TOP SHOUT

Mark Davyd and Beverley Whitrick from the Music Venue Trust. They’ve played a blinder. And relentlessness is just what you want in the face of zombie apocalypse… Can we also give a mention to the Arts Council officers who have been managing the Cultural Recovery Fund? They’ve worked their socks off on impossible timescales and in brand-new territory. Richard Haswell | Royal Liverpool Philharmonic

Andy Copping (Live Nation Head of UK touring): the man who holds us all together. He has had to make tough decisions over the past year, and does everything in his power to keep us all sane and happy. He has a heart of gold, he keeps us motivated, he takes the time to check in, he will pick up the phone no matter how busy he is and give an inspirational speech if you’re having a bad day. When you feel like giving up, Copping is your man, he can make you feel better in seconds with just a few words of wisdom. Tom Bownes (Live Nation promoter and Wilderness booker): Tom deserves a shout out for being amazing 24/7. The world was falling apart and Tom continued to be positive, approachable, and just lovely and friendly throughout it all. He’s the best mentor I could ask for, always a phone call away, constantly helping me grow as a promoter, and always has a smile on his face. Not to mention he also completely smashed

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Nick Gosling – who I met via Tour Production Group and who co-chairs mental welfare. Again, someone I have the global pandemic to thank! As well as being a top-rate production manager, and heavily involved with Nile Rogers’ We are Family Foundation, he’s an ideas guy – we’ve had endless catch-ups over the past year and he is the best person to bounce ideas off, but importantly has the oomph to make you believe they can happen. It’s directly because of Nick that the addiction and recovery workshop now offered for free to music professionals via Music Support came into fruition and his recent involvement also helped bring about the Roadie Cookbook with it’s 100% profits to mental health support. He most definitely would have to be on my team. Suzi Green | tour manager

booking his first Wilderness during a pandemic, he’s an inspiration. Maddie Arnold | Live Nation I would want both Rod Argent and Colin Blunstone on my team. They are the only Zombies I have ever met. Ed Grossman | Brackman Chopra Joanne Croxford – her work around diversity and inclusion has been pioneering. Add to that the three years’ background working with Music Support including running their help line, and her ongoing voluntary work with 3T and Girls Rock London, and the fact she is the best friend ever! Always there to listen and offer advice in my darkest moments these past 18 months. All that and I only met her online at the start of last summer and now I can’t imagine a zombie apocalypse without her.

I am going to the ones who have been in the business as long as me: Ruud Berends as a longtime friend and a guy I share a lot of stories with; and Tobbe Lorentz because he is Swedish, likes to drink, and has great taste in music. Sabine Waltz | International Booking Department My team would have to include Caroline Giddings and Ed Bicknell. Caroline is one of THE most important people in this year’s festival season in the UK. Earlier in the year, she took on the creation and implementation of staff, crew and artist Covid testing and safety protocols at the Liverpool festival pilot for Festival Republic, spending more than a week in the city ensuring that the event was put on safely, and helping to pave a way back for the festival industry. This invaluable learning was shared freely with others and, on the back of that work, Caroline has gone on to run the crew testing and Covid-safety operation on-site at all the major Festival Republic events in 2021, including Download, Latitude and more. This has led to her being away from home for weeks on end – basically the entire summer moving from one festival to the next overseeing safety and testing. Her resourcefulness, work ethic and incredibly good humour would make Caroline a superb companion in the face of a zombie apocalypse – and her rigorous testing processes would ensure that whatever the zombies did, we’d be living in a very Covid-secure way! And as the industry’s finest raconteur, Ed Bicknell could both entertain the troops and distract the zombie hordes with his tales of wayward superstars and backstage antics. Gordon Masson | IQ

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